A HANDBOOK OF VOCAL MUSIC ILLUSTRATING NORMAL METHODS THROUGH €f)e iBormal jHustc Course Cije Cectltan Series of g>tutip anO g>ong; Cfje Common §>ct)00l Course BY JOHN W. TUFTS SILVER, BURDETT AND COMPANY New York . . . BOSTON . . . Chicago 1896Copyright, 1896, By Silver, Burdett and Company, tyxm: John Wilson and Son, Cambridge, U. S. A.DEDICATED '90 TO ®f)e ffHang Eearijers of ffflusic WHO HAVE EXPRESSED THEIR KINDLY APPRECIATION OF THE AUTHOR’S WORK FOR PUBLIC SCHOOL MUSIC AS REPRESENTED IN THE THREE SERIES OF WHICH THIS BOOK TREATS, WITH THE HOPE THAT THEY WILL BE BENEFITED BY THE EXPLANATIONS AND SUGGESTIONS HEREIN AFFORDED, AND ALSO WITH A FEELING OF GRATITUDE FOR THEIR SYMPATHY AND AID.PREFACE. THIS Handbook has been prepared in order to bring about a greater harmony in teaching, and to explain in detail the various steps which must be taken in the study of the books of the different series. Mere methods are of little value unless the material is in strict accordance with the right educational idea; indeed, with the best elementary method the music may be such as utterly to defeat the plan. It is important that every succession of tones, however simple, should be introduced and studied with the musical development ever in view. Mere sight-singing, however skilfully exercised, is but a stepping-stone to the right musical rendering. When the first is over-estimated, we have little that is helpful to the student or singer. Every technical point should im- mediately have its musical application. This is an original feature of the Normal Music Course. This principle applies in a large degree to music without words, so that the language of tones may exercise the strongest influence over the mind. In the songs with words, the words must be chosen with the greatest care, each poem simply as read expressing a positive idea. In the union, then, of the music and words, there must be the most positive agreement. The music is the most pertinent and suggestive; but the words, as far as possible, should second the expression of the tones; and in the combination there should be the most accurate correspondence. This correspondence should always be shown after the preparatory work with music and words is fully mastered, so that in the rendering of either there may be no uncertainty. Mere prettiness should never take the place of the best and most earnest expression of musical and literary thought. The selections need not, how- ever, be mere problems of tune or time to be worked out. The music should be at all times full of suggestion, never dull nor insipid in its form or expression. This Handbook is intended to furnish clear andPreface. v concise assistance to the teacher, and should be read with care. The author believes that no directions to teachers should appear in the books used by the singers. The reasons for this are obvious to those who are to impart the requisite information to the pupils. The books contain compositions selected from Hie works of many of the best masters, and as nearly as possible in the forms in which they were given to the world. The regular grade teachers are, as a rule, faithful and conscientious workers, and upon them is imposed the task of teaching many different studies, while specialists have but one or two in charge. Music in the department of sight-singing is one of the later introductions to the school curriculum, and some time must elapse before it can be established upon a proper and firm basis. The author has endeavored to explain the progressive steps in musical training, and he trusts that this contribution to pedagogy in music will aid in establishing this department on an equal footing with other branches of school work. Although music has been ordinarily looked upon as a mere accomplish- ment or means of recreation, he believes that, if the work is done in accord- ance with the plan laid down in the Handbook, the mental discipline will be beneficial, in the same direction as in the study of mathematics or kindred branches. To the grade teachers and supervisors must be accorded the praise for much of the gain to music which has been made in the last few years. It is to be hoped that while performing this labor of love, as it may be called, they will be partially repaid by the personal profit to themselves which comes from a knowledge of the language of tones, and from an acquaintance with the rich productions of the greatest masters of the art. The author would again express his indebtedness to Mr. W. W. Caldwell and Dr. Philip Woolf for the carefully written original poems and translations which they have prepared for his use. JOHN W. TUFTS Boston, June 26, 1896.CONTENTS. Section .Page I. Preliminary Suggestions ....................................... 9 1. The Normal Music Course. 2. The Cecilian Series. 3. The Common School Course. 4. Music in the Schoolroom. II. Vocalization....................................................... r3 1. Position. 2. Inhaling. 3. Exhaling. 4. Vowel and Consonant Practice. III. Tune............................................................... 15 1. Mental Work. 2. Tables upon Scale Tones. IV. SOLMIZ ATION . ................................................ * 20 V. Child Life in Song...................................................21 VI. Time. Mental Work....................................................24 1. Establishing Time Perception. 2. Two-part Measure. 3. Three-part Measure. 4. Four-part Measure. 5. Six-part Measure. 6. Impor- tance of Time Work. 7. Exercises from the Outline of Study. VII. Tone Color........................................................ 31 VIII. The Representation of Tune and Time..................................55 1. Preparatory Work. 2. Notation — Tune; Time. IX. The First Reader. Part I...................................... 57 1. Analysis of Exercises and Songs. 2. Introduction of the Divided Scale. 3. Introduction of the Key of G. 4. Form. 5. Introduction of the Key of D. 6. Introduction of the Key of F. 7. Introduction of the KeyofBt?. 8. Introduction of the Key of A. 9. Accent. 10. Intro- duction of the Key of Eb. 11. Introduction of the Key of E. 12. Introduction of the Key of At?. 13. Use of the C Pitch Pipe. X. The First Reader. Part II............................................71 1. Enlarged Review. 2. A Word of Caution. 3. Analysis of One-part Exercises and Songs. 4. Exercises and Songs for Two Voices. 5. A Bit of Harmony. 6. Concords and Discords. XI. The First Reader. Part III...........................................7$Contents. vii Section Page XII. The Cecilian Series of Study and Song. Book I. Part I. . 79 Analysis of Exercises. XIII. The Cecilian Series of Study and Song. Book I. Part II. . 83 Suggestions for the Songs. XIV. Common School Course. Part I. ........... 87 1. Analysis of Exercises and Songs. 2. Recapitulation. XV. The Relation of Keys .......................................96 XVI. Chromatic Tones ............................................97 XVII. Divided (Half) Pulsations . .... 0 ....... . 108 XVIII. Metronomic Signs ......................................... 109 Motions in Beating Time. XIX. Second Reader. Part I. .......................................m 1. Analysis of Exercises and Songs. 2. Introduction of a New Division of Pulsation. 3. Analysis of Exercises and Songs con- tinued. 4. Recapitulation. XX. Minor Scales ............................................ 131? 1. Tune. 2. Time. 3. Tone Color. XXI. Second Reader. Part I. ................................... 142; Beginning Two Voice Work. XXII. The Cecilian Series of Study and Song. Book II. Part I. . 148, 1. General Scope. 2. Vocal Range. 3. Analysis of Two Voice Exer- cises. 4. Exercises in Divided (Various Fractional) Pulsations. 5. Studies in Chromatic Tones. 6. Exercises in Triplets. XXIII. The Cecilian Series of Study and Song. Book II. Part II. 157 XXIV. Common School Course. Part II. ... ....... . 162 Two Voices. XXV. Songs Without Words . . . ......................... . 166 XXVI. Characteristics of Keys .................................. 167 XXVII. The Second Reader. Part II. ............ 169 1. Arrangements for Three Part Work. 2. Analysis of Exercises and Songs. 3. Counterpoint. 4. Analysis of Exercises and Songs continued. XXVIII. The Introductory Third Reader ........... 175; 1. Timely Suggestions. 2. Analysis of Exercises and Songs. 3. Dia- tonic Modulation. 4. Chromatic Modulation. 5. Scale and Interval Work. XXIX. The Cecilian Series of Study and Song. Book III. Part I. 185,. 1. General Analysis and Suggestions. 2. Analysis of Exercises and Studies. 3. A Suggestion.Contents. viii Section Page XXX. The Cadence ................................. . . . . . . 195 XXXI. The Major, Chromatic, and Enharmonic Scales in the G and F Clefs................................................197 XXXII. The Clefs .................................................211 XXXIII. The English and German Pitch Names .......... 212 XXXIV. The Cecilian Series of Study and Song. Book III. Part II. 212 XXXV. Common School Course. Part III.......................... . . . 219 1. Introductory Suggestions. 2. Analysis of Exercises. 3. Sugges- tions concerning Songs. XXXVI. The Third Reader for Unchanged Voices....................226 1. Preliminary Suggestions. 2. Exercises in Modulation. 3. Analysis of Exercises and Songs. 4. Modulation. 5. Analysis of Exer- - cises and Songs continued. XXXVII. The Second Reader. Part II.............................. 235 1. Hints and Suggestions. 2. Analysis of Exercises and Songs. XXXVIII. The Cecilian Series of Study and Song. Book IV. Part I. 240 1. The Scope of Book IV. 2. The Series of Melodic Studies. 3. Analysis of Exercises and Studies, XXXIX. The Cecilian Series of Study and Song. Book IV. Part II. 259 Part Songs and Choruses. XL. The Cecilian Series of Study and Song. Book IV. Part III. 265 Occasional Songs. XLI. The Cecilian Series of Study and Song. Book IV. Part IV. 266 National and Patriotic Songs. XLII. The Cecilian Series of Study and Song. Book IV. Part V. 267 Sacred Songs. XLIII. Third Reader for Mixed Voices..................... 270 1. Introductory Suggestions. 2. Analysis of Exercises and Songs. 3. The Triad. 4. The Degrees of the Scale. 5. Analysis of Exercises and Songs continued. XLIV. Appendix to Third Reader for Mixed Voices . ...... . 283 XLV. Common School Course. Part IV........................ 284 1. Introduction of the Tenor Part. 2. Analysis of Exercises and Songs. XLVI. Representation of the Common Intervals ........ 288 XLVII. The Acedean Collection..................... 296 XLV III. The High School Collection . .... * ...... . 296 XLIX. The Euterpean ................................................297A HANDBOOK OF VOCAL MUSIC. I. PRELIMINARY SUGGESTIONS. THE books of the three series or courses — the Normal Music Course, The Cecilian Series of Study and Song, and the Common School Course — were issued, after many years of preparation in writing and teaching, to carry out a well- defined course or plan of study, each book leading in the same direction, but embrac- ing different fields of labor. Each First Book begins with the earliest mental perception of Tune and Time, and each series is intended to cover all reason- able difficulties likely to be encountered by the average student or singer. THE NORMAL MUSIC COURSE. The Normal Music Course is complete in itself, is carefully graded, and was writ- ten with a distinct and clear plan of development. In the carrying out of this plan, the Five Books or Readers are entirely orig- inal ; and the singers look to the accom- panying books — the Aoedean, the High School Collection, and the Euterpean — for compiled works from well-known com- posers, for illustration and practice. In the Readers there will be found an abundance of technical and expressive work, fully illustrating the three elements of Tune, Time, and Color. These are wrought out in a larger but less progres- sive way in the various compilations. The progressive order of exercises and songs demands a careful following of each as presented in the Normal Music Course, the author having seriously consid- ered every proposition as presented, and believing that any departure from this rule would prove of serious detriment to the study. The original Normal Music Course dif- fered in several particulars from the pres- ent. The First Reader had for its second part the melodies of the book called “ Child Life in Song,” then known as Rote Songs. This arrangement it was later thought ad- visable to change. This First Reader and the First Series of Charts had figures under the notes. At the time these were deemed by others toIO A Handbook of Vocal Music. be necessary for a clear understanding of the intervals that were used. The author has always maintained that many exercises should be read, as they are necessary in order to gain a feeling for the language of music without words; and therefore a great number were intro- duced. It was later considered best to omit the song melodies, and to prepare a new second part. This was done, and the book, in the general estimation, made more complete. A short Third Part was also added. The Second Series of Charts should be considered as a preparation for the Second Reader, especially in the melodies for a single voice. The Second Reader was planned to con- tain exercises and songs for one, two, and three unchanged voices. A diversion was made to introduce exercises and songs for the study of the F clef. It was later thought advisable to change. Another change became necessary. The Second Part of the Second Reader was enlarged by the introduction of more work on the F clef, and a new book was worked out to take its place when so desired. This comprised advanced exercises and songs in three parts, for which there was already an increasing demand ; and the result was the Introductory Third Reader. The Third Reader for Unchanged or Female Voices followed as the fourth volume. The Third (originally called the Fourth) Reader for Mixed Voices was the fifth book. The original plan provided for a Sup- plementary volume for each Reader, or Grammar division, as it might be called, The Aoedean, High School, and Euter- pean collections formed a part of that plan. Selections from these supplemen- tary volumes, somewhat modified in form, have been issued as an independent, yet complemental series, under the title of “ The Cecilian Series of Study and Song.” The large and important place which this series is designed to fill will be indicated later. THE CECILIAN SERIES OF STUDY AND SONG. In the four books of The Cecilian Series there is a somewhat different plan of de- velopment. The books are illustrations of a different kind. The songs are pre- ceded by exercises in one, two, or three parts, they being, as it were, a preparation for what is to follow. Naturally this prep- aration is of a more general kind. The same plan of study is to be followed as with the Normal Music Course, but the songs are selected and arranged from the best sources to illustrate the various grades of work. In this way the series may be used as supplementary to the Normal Course ; or as an independent course complete in itself. It may also form a series in combination with selections from the other two courses.Preliminary Suggestions. 11 THE COMMON SCHOOL COURSE. The Third, or Common School Course is intended to occupy an important posi- tion in school work. Graded schools are to be found in the cities and larger towns, but there are many thousands of schoolhouses scattered over our country, where all voices or parts are represented, and where, owing to the small number of singers, only one book can be used. This book was especially designed for such cases, and it is complete in itself, proceeding from the earliest perception of Tune and Time to the difficulties of ora- torio chorus practice. It is partly original and partly compiled. It will also be found sufficiently full and detailed for chorus study, and it com- pletely covers the ground usually required both for sacred and for secular purposes. MUSIC IN THE SCHOOLROOM. The author hopes that in this way he has provided for all the important divis- ions of musical school life and endeavor. If the exercises and songs of all of these books are followed in the order in which they are printed, the author feels confi- dent that the progressive arrangement will bring about the desired result in school practice. In music, as in other branches of study, a way should be provided through which the student may solve any problems in Tune, Time, or Expression, unaided by a special teacher. This can be easily accomplished, and in after life a body of singers may come to- gether, competent to help themselves, and to make of music something more than the song-singing of poorly, if not incor- rectly written popular melodies suggesting sickly sentimentality, or of another kind of doggerel rhymes miscalled sacred. If one really desires, the great realm of music may be entered with confidence, profit, and pleasure. This task is really no more difficult than to read the litera- ture of one’s mother tongue ; and as the demands in music are not as varied in character, the study may be completed in a shorter time and in a simpler way. Music should no longer be a sealed book. There should always be found in any social gathering a sufficient number of persons capable of singing a glee, part- song, choral, or chorus at sight, with accu- racy and tunefulness. The expressive side of music will be readily suggested and gained when the tones of the representation are mentally known. We see a printed or written sen- tence, and we at once know how it would sound if spoken. We hear a sentence read, and we know how it would appear if written or printed. The same is neces- sary when we desire to sing at sight. We lose much when unable mentally to read the music that we see.12 A Handbook of Vocal Music. When this ability is gained, we can soon reach the desired end, — music and what it suggests. Reading at sight is the means to that end. The illustrations must be very simple at first, and gradually the skill to solve quickly any problem in tune or time will be acquired. It is suggested that quartets and cho- ruses should be formed for singing to- gether, devoting a little time, at regular intervals, to study and practice. The de- light felt in being able to help each other will amply repay for the time and labor spent in the study. It may be asked, “ Why does music need a particular manual or guide? ” In reply, it may be stated that music has been studied in a very superficial manner; and “grade,” or regular teachers, even when they possess some skill in reading, and therefore to some extent appreciate the beauties of the language, are entirely lost when called upon to teach the subject. They perhaps have some crude notions, gained through the syllables do, re, mi, etc., which generally stand for the thing instead of being the thing itself; or, the teacher who loves music follows another course, — and it is generally the more musical one, — of singing the tune of the parts, as well as she may be able, ask- ing for imitation by the pupils. This is usually a slow and tedious process, and it is not generally a successful one in fur- nishing a knowledge of the minor parts. The teacher who has a piano or organ is quite relieved, for a little skill upon an instrument is sufficient to produce the re- quired sounds. Knowledge of music was not a condition when he or she gained a position, and school committees were glad to have the services of one who had this additional accomplishment in however small a degree. The syllables were rarely used in all their changes. They were oftener sung because they belonged to certain degrees than because through them pupils could gain a perception of the pitch. Such singingwas painful in the attempts to get the right syllable for the right tone ; and the listeners frequently heard a mel- ody triumphantly rendered, where the music was correctly sung, or nearly so, from an inner perception of what it should be, while the syllables were applied, obliv- ious of the fact that the do, la, etc., were sadly misplaced. In some cases the singers exulted more because the right syllable was used than because the tone was in agreement. We are now called upon to relieve the minds of teachers of uncertainty, and to help them in their work in music, as they have in the past been helped in other studies. We thus place music upon a higher plane, and make it a study better than nursery-song singing or much of the church music of the day. It is hoped that these various books may tend to elevate this department of study.Vocalization. 13 II. VOCALIZATION. 1. POSITION. BUT little time need be given to special exercises in breathing, and a few simple directions will suffice. The singers should not be wearied by numerous mechanical actions or technical terms of doubtful value. An erect position of the body, the chest being held firmly and somewhat expanded, is necessary at all times, whether standing or sitting, with the head held erectly, so that the vocal organs may not be cramped. 2. INHALING. 1. Draw the breath very slowly through the nostrils, until the lungs are filled, when the air may be suddenly expelled. 2. Draw the breath very slowly through the mouth, the lips being almost closed. Fill the' lungs as before, and then quickly expel the air. 3. Draw the breath as at 1. When this has been started, add the current of air through the mouth, as in 2, and completely fill the lungs. When this has been done, expel the air quickly. It will be felt that the lungs can be more easily and com- pletely filled by the third process than by the first two separately. Beyond this also, with 3 no sound of breathing can possibly be made. Singers in this simple manner, might avoid that most distressing gasping so often heard. In inhaling the breath, the air must be kept in constant motion, until the lungs are fully inflated. This, with a little practice, can be done in the time of a second. 3. EXHALING. Fill the lungs, and then reverse the preceding practice. 1. Let the breath escape very slowly through the nostrils. 2. Let the breath escape very slowly through the mouth, the lips being opened as little as possible. 3. Let the breath escape very slowly through both nostrils and mouth. This will require a little practice. Do this at different times for a few minutes (say two or three) only not long enough to become weary; otherwise the practice will be of no value. 4. VOWEL AND CONSONANT PRACTICE. Vowels are sung. Consonants are made. The following tables are prepared for the practice of vowels and consonants in combination. In the first table, the vowel is prefixed to the mechanical (consonant) action, show- ing a large variety of the latter. In the second table the mechanical (consonant) action precedes the vowel. In the third table the two are united.H A Handbook of Vocal Music. After the correct action in producing the vowel shapes has been acquired, one of the 6 vowel shapes, followed by the dif- ferent consonants, may be taken, changing from day to day, until the vowel sound is in no way disturbed by the mechanical action. Six vowel shapes are given for practice, and these will suffice. It will not be necessary to push this study to its extreme limits. Do not pause upon the consonants. Make them short and clear, weighing care- fully the vowel sounds. First Table. a—a—e—a—o—u M. a N. u B. CC p. cc D. cc T. Cl R. cc L. cc G. hard. Cl K. or C. hard. cc V. cc F. cc Z. cc S. cc Wh. cc H. cc Th. cc G. soft. cc Ch. soft. (C Sh. Second Table. M. a—a—e—a—o—u N. B. cc P. cc D. cc T. cc R. cc L. cc G. hard. cc K. or C. hard. cc Y. cc F. cc Z. cc S. cc Wh. u H. cc Th. cc G. soft. cc Ch. soft. cc. Sh. cc Each of the exercises in the First and Second Tables should be repeated several times in order to gain in quality of the vocal tones and in articulation of the different consonants. Third Table. M. a—a—e—a—o- -u M. N. N. B. B. P. P. D. “ D. T. “ T. R. L. cc R. L.Tune. 15 Third Table (continued.) G. hard, a—a— -e—a—0—u G. hard. K. or C. hard. a K. or C. hard. V. (( V. F. C( F. Z. a Z. S. « S. Wh. u Wh. H. tC H. Th. u Th. G. soft. a G. soft. Ch. a Ch. Sh. u Sh. Further study of this subject does not belong to the years of school study in music. If the music is intelligently prepared, with the human voice constantly in mind, the singers will have a practical training sufficient for their needs. If, on the con- trary, the music is thought out through the medium of an instrument, injury to the voices must inevitably result. This matter should be considered with the greatest care, for music is our end and aim at all times. III. TUNE. MENTAL WORK. IN a book to serve as a guide for teachers using the three courses of music that have been already men- tioned, the general outline must be the same. When the three great underlying princi- ples have been treated, special references will be made to the different grades in each series. That these principles may be taken up in their natural order, let us begin with Tune, first premising that the pupil is without knowledge or cultivation. The series of tones forming our so- called Major Scale has a mathematical basis derived from the law of vibration. Our scale differs chiefly from the math- ematical succession in having a regular subdivision into two tetrachords of four notes each, and these are relatively alike. The lower tetrachord is from 1 to 4, the upper 5 to 8, both inclusive. These tetrachords enable us to use our scale freely in modulation. We have become ac- customed to the series of eight tones, and it gives us pleasure as a succession. It is called the Major Scale, the word “ Major ” in this connection meaning bright and cheerful; and on account of its uniformity it can be learned with ease. There are many other series acknowledged and fol- lowed. These are found among semi-civ- ilized or barbarous nations. Their variedA Handbook of Vocal Music. 16 successions are satisfactory to them, al- though differing materially from the order used by us. Our Major Scale does not exist in na- ture, but it is a compromise deviating from the mathematical succession so slightly that in its accepted form it is sufficiently exact and satisfactory. Nevertheless, this being the case, we cannot call our Major Scale the natural one, for in that case all nations would have the same standard succession. Assuming that this Major Scale is our basis, it will be necessary that the teacher shall at least be able to sing this order of tones in tune, and with a pleasant, musical quality of voice. In order to gain an agreeable average quality of tone, let us look at the simplest means that we have at hand. Our aids will be the various vowels most frequently met with in the English language. They are: a------a-------e a------o-------u Changes may be made in the following manner. Place the lips and mouth as if to produce a and then without change sing a. In the same way make the shape o and sing a. Again make the shape u and sing e. These combinations will be the best for general practice, but do not discard the others. This practice will serve to broaden the vowels, and will help to coun- teract the tendency, which most pupils show, to sing with a rigid setting of the mouth and jaws. The necessity for such practice and the resultant improvements in articulation can hardly be overstated. In this way also the sound of some of the most troublesome foreign diphthongs may be readily acquired. It will further be seen that in this way we shall have a greater variety of vowel shapes than can be found in the familiar do, re, mi, etc. In a simple way we may define a vowel as a sound with a shape. A consonant is the result of a mechanical action, but has no open tone. As before stated, vowels are sung : consonants are made. “ What is a vowel ? What is a consonant ? “A vowel is defined as a non-frictional emission of the voice or of unvocalized breath through an oral channel, with mo- mentarily fixed configuration. Vowels, there- fore, run smoothly into one another by merely altering the shape of the oral passage with- out interrupting it. “ A consonant is defined as an intercep- tion of the breath or voice by oral stoppage, or by emission through side channels or through narrow chinks. The change from one consonant to another thus involves a motion of the articulating organs, producing, with more or less audibility, a puff, a flap, or a sibilation ” — A. Melville Bell. For the beginning of the drill work the teacher may sing the ascending Major I Scale slowly, using the real names, one,Tune. 17 two, three, four, five, six, seven, and eight. Let the teacher do this with great. care, producing the tones in as perfect tune as possible. Let each tone be fairly and surely attacked, avoiding anything like drawling or sliding from tone to tone. Were the author to make an innovation in a better direction, as he thinks, he would teach the scale by tetrachords. He would begin with the first four notes, establishing them surely in the minds of the children. When this had been gained, he would take the second four in like manner. Having made these sure, he would unite the two series, and so complete the scale. The smaller group of four notes would be more easily grasped by the singers. The author makes this suggestion, leaving it for the teachers to follow the new plan or the old. This is only done to establish the scale as a whole, and is but a preparatory drill. The scale will now be known through its real names, one, two, three, etc. In like manner, sing the descending scale. Sing softly and intently. When the ascending and descending scale has been learned, let it be vocal- ized, and as a vehicle use the broadened a. In this way the relative tones will become clear to the child’s mind. A few minutes only should be devoted to this work, for the young singers should never become weary. Always sing softly, and at first slowly. Let the tones be pro- duced so purely that there cannot be a doubt as to the pitch. If any vagueness exists, the trouble will invariably increase to the injury of all. A diversion may be introduced, from time to time, by teaching the class some Rote song, such as are found in a collec- tion called the Child Life in Song,” or from the songs in the First Book of The Cecilian Series of Study and Song. The well-known difficulty of finding teachers in the primary grades who can give illustrations for imitation in singing Rote songs will be encountered, but it is to be hoped that this will gradually disappear. At any rate, the trouble is here reduced to a minimum, and need not alarm us, as the children will soon outgrow the necessity of following any model. In this way the teacher can show her taste and skill. Where instruments are at hand, an accompaniment may be played to advantage, but the teacher should never sing any exercise, or guide the pupils ex- cept in the scale as a whole. The author believes that such work in Rote singing will be very useful during the first two or even three years of school life. Proceeding with the work, the table of intervals may be taken up, a few at a time, making frequent repetitions to se- cure accuracy of tune and attack. The succeeding tables indicate the tones of the scale. They are divided into groups for study.A Handbook of Vocal Music% They are carefully graded, and should be studied in the order in which they are printed. This is considered an essential point. TABLES UPON SCALE TONES. First Year. First Series of Tones. — Take as the pitch of one (i) C, C#, D, Eb, or E. Mental study of the Major Scale above the key-note. Call or point from the scale-ladder the Groups i, 2, 3, 4, in succession (page 19). These numbers are arranged in a sys- tematic order, and in the practice of them the characteristic mental effect of each sound will be developed in the mind of the singer. The first series of charts is but an illus- tration of the material to be found in the First Reader. Its first page contains the following tables of figures (names of the degrees of the scale), and it will be of great value in calling the attention of the class to any desired point. A graphic representation of the scale in the middle of the page may assist somewhat in using the pointer, but the singers should really depend upon a recollection of the series of tones as given at the outset. Other series of tones may also be called by the teacher, and in these the scale or ladder of tones in the graphic picture will be useful. Do not forget to make from time to time a change in the pitch of i, and thereby re- lieve the monotony of tone and rest the voices by a slightly higher or lower pitch. In the earlier work, C should be the low- est tone, and that should not be frequently used. The younger singers should not be allowed to sing above E. Every teacher should have a pitch- pipe, giving one or more tones. Only in this way can the mistake of making too wide a range be avoided. Individual work should begin in the pri- mary school, and pupils should be taught to expect the same training in music as in other studies. If begun thus early, the singers will become accustomed to such tasks, and will not feel it to be an especial hardship to respond in any way to individual work. The suggestions made elsewhere about the different vowel-forms will, if carefully followed, prevent harsh and disagreeable tones. The other injunction — “No tones should be required that cannot be sung softly ” — must not be forgotten.Tune. i9 No. 1. 1. 1, 2, 3, 4, 5, 6, 7, 8. — 8, 7, 6, 5, 4, 3, 2, 1. 2. 1, 2, l. — l, 2, 3, 1. —1, 3 3, 4, 1. .3. 1,2, 3, 4, 5,1. 4. 1, 2, 3, 4, 5, 4, 5, 4, 3, 5, 4, 3, 2, 5, 1. 5. 1, 2, 2, 1. — 1, 2, 3, 3, 2, 1. — 1, 2, 3, 4, 4, 3, 2, 1. 0. 1, 2, 3, 4, 5, 5, 1, 5, 4, 3, 2, 1. 7. 1, 2, 3, 4, 5, 5, 4, 3, 5, 4, 3, 2, 5, 1. 8. 1, 2, 3, 4, 5, 6, 7, 8, 8, 7, 8. 9. 8, 7, 6, 8. — 8, 7, 6, 5, 8. — 8, 7, 7, 8. 10. 8, 7, 6, 6, 7, 8. — 8, 7, 6, 5, 5, 6, 7, 8. 11. 8, 7, 8. — 8, 7, 6, 7, 8. — 8, 7, 6, 5, 6, 7, 8. 12. 1, 2, 3, 1, 3, 2, 1.—1, 3, 5, 3, 1. 13. 1, 3, 5, 8, 5, 3, 1. Follow with Exercise No. 2. No. 2. 1. 1, 2, 3, 1, 3, 1, 3, 2, 1. —1, 2, 3, 4, 1, 4, 1, 4, 3, 2, 1. 2. 1, 2, 3, 4, 5, 1, 5, 1, 5, 4, 3, 5, 4, 3, 2, 5, 1. 3. 1, 2, 3, 4, 5, 6, 1, 6, 1, 6, 5, 4, 3, 4, 3, 2, 3, 2, 5, 1. 4. 1, 2, 2, 3, 4, 2, 4, 2, 1. 5. 1, 2, 3, 3, 4, 5, 3, 5, 3, 4, 2, 1. 6. 1, 3, 5, 3, 4, 2, 1. 7. 1, 2, 3, 4, 4, 5, 6, 4, 6, 4, 5, 3, 4, 2, 3, 2, 1. 8. 1, 2, 3, 4, 4, 3, 2, 4, 2, 4, 3, 2, 1. 9. 1, 3, 2, 4, 3, 5, 4, 2, 1. — 1, 3, 5, 6, 4, 2, 1. 10. 1, 5, 4, 3, 5, 4, 3, 2, 4, 3, 2, 1. 11. 1, 2, 3, 4, 2, 3, 4, 5, 3, 4, 5, 6, 7, 5, 8, 7, 8, 6, 4, 2, 1. 12. 1, 3, 5, 7, 8, 6, 4, 2, 1. Follow with Exercise No. 3. No. 3. 1. 1, 2, 3, 2, 3, 2. — 2, 3, 4, 2, 4, 2. 2. 2, 3, 4, 5, 2, 5, 2. — 2, 3, 4, 5, 6, 2, 6, 2. 3. 2, 3, 4, 5, 6, 7, 2, 7, 2. — 2, 3, 4, 5, 6, 7, 8, 2, 8, 2, 1. 4. 1, 2, 3, 4, 3, 4, 3. — 3, 4, 5, 3, 5, 3. 5. 3, 4, 5, 6, 3, 6, 3. — 3, 4, 5, 6, 7, 3, 7, 3. 6. 3,4, 5, 6, 7, 8, 3, 8,3, 2, 1.-1,2, 3,4, 5, 4, 5, 4. 7. 4, 5, 6,4, 6, 4.—4, 5, 6, 7, 4, 7,4. 8. 4, 5, 6, 7, 8, 4, 8, 4.-4, 3, 2, 4, 3, 2, 1. 9. 1, 2, 3, 4, 5, 6, 5, 6, 5.-5, 6, 7, 5, 7, 5. 10. 5, 6, 7, 8, 5, 8, 5. — 1, 2, 3, 4, 5, 6, 7, 6, 7, 6. 11. 1, 3, 5, 6, 7, 5, 6. — 6, 7, 8, 6, 5, 6. 12. 1, 8, 7, 8, 5, 7, 5, 3, 1. — 1, 3, 5, 8, 7, 5, 4, 2, 1. Follow with Exercise No. 4. Copyright, 1889, J895, by Silver, Burdett & Company. No. 4. 1. 1,2, 1,3, 5, 6, 5.—5, 2, 4, 3, 2, 3,1. 2. 1, 3, 5, 3, 4, 3, 2, 1. - 1, 3, 5, 3, 4, 6, 5, 3, 1. 3. 1, 5, 6, 8, 6, 4, 5,1. — 1, 8, 6, 8,1, 5, 3, 5, 1. 4. 1, 3, 5, 3, 4, 6, 8, 6, 5. — 1, 8, 6, 4, 5, 3, 1. 5. 1, 4, 6, 8, 5, 3, 1. — 1, 8, 6, 4, 2, 5, 1. 6. 3, 5, 4, 6, 2, 5, 3.—3, 4, 6, 5, 4, 2, 1. 7. 3, 8, 5, 3, 2, 5, 4, 2,1. —3, 6, 5, 1,2, 3,1. 8. 4, 3, 2, 1, 5, 2, 4, 3, 1. — 4, 6, 5, 1, 2, 3, 1. 9. 5, 6, 5, 1, 2, 3, 1. — 5, 3, 6, 5, 6, 7, 8. 10. 1, 6, 5, 8, 8, 7, 8.-6, 5, 7, 6, 5, 2, 3. 11. 1, 3, 5, 7, 8, 3, 5. — 1, 8, 6, 4, 2, 5, 1. 12. 1, 4, 3, 6, 5, 7, 8. — 8, 5, 6, 4, 2, 5, 1.20 A Handbook of Vocal Music. IV. SOLMIZATION. SYLLABLES; like do, re, mi, etc. have been used for many centuries, and much of the sight singing done in our day is through their repetition. Guido in the nth century found a hymn, written about the year 770 by Paulus Diaconus, for the festival of St. John the Baptist. It was so constructed that its successive phrases began with the six sounds of the Hexachord taken in their regular order. He adapted the syllables to his system of solmization. These were Ut, Re, Mi, Fa, Sol and La. Theorists afterwards adopted Si for the seventh tone, the two letters of which were suggested by the initials of “ Sancte Ioannes.” Ut was changed to Do by G. B. Doni, an old writer of music, who died in 1669. The hymn to Saint John is as follows : — Ut quaeant laxis AYsonare fibris Mira gastorum JFamuli tuorum Solvi polluti Zabii reatum .Sancte /oannes It may be translated, “ Oh, Saint John, that the students may be able to sing with relaxed cords the wonders of thy deeds, take away from them the reproach of unclean lips.” The old singers were no doubt troubled with colds in their noses, hence the above prayer. The change of Ut to Do has changed the significance of the whole series of syllables, and they should go into oblivion with many other fantastic and useless formulas, well known and practised in past centuries. Syllables are meaningless as names, and not suffi- ciently varied to suit our present needs. As used, syllables represent the names of things and not the things themselves. The best work is done through the thought of the real names, which is a con- stant reminder of the relative tones; to- gether with such single vowels as may seem best to the teacher for the correction of faulty habits in the production of tones. The singers should be able to give any note of the scale with any vowel that may be called for, and no note of the scale should be impressed upon the mind through a particular vowel. Why should two always be re or six la? The variety of vowel shapes that have been given will be quite sufficient, and much more beneficial than the syllables in establishing a good tone quality or habit of thought. Let the teacher frequently change these vowel shapes. The names one, two, three, four, five, six, seven, and eight may, and indeed should be, sung at the outset to establish the relative tones of the scale, but this need not be done afterwards. Do not leave any series of numbers until it hasChild L ife in Song. 21 been thoroughly learned and can be easily sung. The foregoing forms the first and most important work for the child in the schools. It is also as necessary for the adult who wishes to learn to read music. He can practise at any time and anywhere, and it will soon be a pleasure to feel that he can sing correctly any succession of tones, and can preserve the tonality without the intervention of any arbitrary signs. Too much mental work is hardly pos- sible, and there should be no haste to represent what is known — there will be time enough for all that. The power to think and to produce the different tones of the Major Scale forms the first and most important work for the student. All other tones are derivative, and will be produced in regular order. These tones of our Major Scale must be known at first men- tally, and in their production all the varie- ties of quality and force will be gained. In no case let the children sing loudly. The highest art is to sing purely and tunefully. Vary the exercise frequently, and do not let the children become wearied. A good illustration of the advantage of a better nomenclature is shown in the names of our notes, whole, half, and other fractions, instead of the old ones, semi- breve, minim, crotchet, and quaver. The author would not assert his ideas in a dogmatic way. He desires to make a gradual change for the better. Those teachers who by education have become attached to the syllables, might retain them, but he would diminish the number of repetitions as soon as possible, so that the class might learn to vocalize the notes, and thus avoid the mingling of vowels and consonants. This is an offence to the musician, and seriously impairs the purity of tones, especially where several parts are sung at once. V. CHILD LIFE IN SONG. THIS little book has been prepared for the early years of a child’s school life. It is, as its name indicates, a series of musical pictures, and it will prove to be interesting with or without accompani- ments. It affords an opportunity for the teacher to show her taste in the interpre- tation of the words, in the purity of tone, and in the light and shade necessary for their best rendering. Such work may be done, more or less, during the first three years of study. These little songs are not arranged in a progressive order of difficulty, and the teacher should make such a selection from week to week as may seem best for the22 A Handbook of Vocal Music. class. Classes of very young children differ so greatly, that no prescribed course can be followed by all at this time. It is a mistake to think that only mel- odies that have a very simple harmonic basis are suitable for children. Many lit- tle children will, from imitation, sing the themes of great masters, having little com- prehension of their beauty, and many of these melodies remain in their minds through life. The melodies for the Pri- mary schools should be natural in the order of notes, with few or no chromatic deviations, and in simple rhythm, that can be learned without difficulty. The words, even if simple, should, as a whole, be of an elevated character, drawn from the best sources and worth the labor of remem- bering, for all these songs must be memorized. The songs may be at times somewhat nonsensical, but the humor should be obvious as such to the child's mind. Horace Walpole says : “ A care- less song, with a little nonsense in it now and then, does not misbecome a mon- arch.” The words should be such as the singers can readily understand, and such as they could naturally use. There should be a certain spontaneity about all this. Good advice may be given to children, but it can hardly be expected that they will sing such words with enthusiasm. Even here the greatest care should be taken to sing purely, in a tone of good quality, in the best tune possible, and with strict regard to tone values. Be very careful about the range that you ask your class to sing. A little more than an octave — from C to E — is all that should be required. Make no effort to explain anything more than the general idea conveyed through the words, and take care to speak these words with the utmost distinctness. Above all things, do not allow the children to sing loudly or harshly. It is a great accomplishment for a class to be able to sing in tune and softly. The average child can do this, and the class should not be judged by a few members who may not be mentally active or musical. An occasional sugges- tive action by the singers, to illustrate the subject of the song, will not be out of place. At any rate keep them wide awake and interested in what they are doing. Attention is here called to a few of the characteristics of this book. Harmonies need not be restricted to any great exten in their character. Suggestions of con- trasted concords and discords are very necessary, for they furnish the first evi- dences of Tone-color, which is treated more fully later on. These songs are all marked for move- ments indicated by a metronome, the fig- ures representing the number of swings or vibrations in a minute, and the note, the kind of note representing or filling the pul- sation. This movement is generally made rather slow, and it may be somewhat ac- celerated as the song becomes familiar. The collection fittingly opens withChild Life in Song. 23 No. 1, “Morning Song,” where this pecu- liarity is readily seen and felt. No. 7. “ Little Rain Drops.” It will be observed that this harmony could have been made much simpler, had it been desirable. No. 11. “ Butterflies Are Pretty Things.” The accompaniment has a richer develop- ment of the melody. No. 13. “ Engine Song.” The con- tinuously repeated g in the bass is called organ-point, and is suggestive of the en- gine’s motion. No. 16. “Winter Jewels.” Attention is called to the uncommon beauty of the poem. No. 19. “Coasting.” This begins cheer- fully in the key of G, but the labor of going up hill, on the next page, is sug- gested by the sombre key of e minor. No. 22. “A Little Girl’s Fancies.” The poem is of itself a charming picture. No. 28. “ Cock-a-doodle-do.” The children will quickly appreciate the story. The accompanist, if there is one, can help the illustration very much. No. 30. “The Little Dreamer,” tells what often proves true to older people. The key of f minor need not frighten the teacher. The children like the Minor keys, especially when they alternate with those of the brighter Major mode. No. 36. “The Wave’s Gift.” Do not be disturbed by the chromatic harmony to- wards the close. The same may also be said of the accompaniment to No. 37. No. 39. “Three Children Sliding.” There are some of the absurdities of Mother Goose1 in the words. The music, in the style of a sailor song, adds another. No. 41. “The Swallow Is Come.” Call the attention of the children to the picture, and ask them to think of the swift and graceful motion of the bird while they are singing. No. 43. “ The North Wind Doth Blow.” A pathetic story. Explain it and talk about it to the children. No. 44. “ If All The World Was Apple Pie.” Some more absurd jingle from Mother Goose. The rhymes from Mother Goose, which are largely from English sources, have always attracted both young and old. Learned men and English statesmen have made translations of them into Latin and Greek. They have always afforded amusement. No. 52. “ Little White Lily.” The waltz movement is not out of place in the musical setting of this charming little poem. 1 Elizabeth Foster, known as Mother Goose, was born in Charlestown, Mass., in 1665 ; mar- ried Isaac Goose of Boston in 1692; became a member of the Old South Church in 1698; was left a widow in 1710. The first edition of her melodies was published in 1719. She died in 1757. Her home in Boston is said to have been in the three-story wooden house which stood where the junction of Temple Place and Washington Street now is. These rhymes did not originate with her. Mother Goose was, however, the first to gather them from various sources, and they were published in a little book for children.24 A Handbook of Vocal Music. No. 55. “Old Gaelic Lullaby.” A melody in a peculiar scale, having no 7th. The accompaniment is based upon an organ-point note, and it is also in the Minor key. All this seems very forbid- ding. Try it with the little folks and see if they rebel. You will find that they are by no means opposed to any of these peculiarities. This scale seems well fitted to express the sentiment of the words. No. 56. “Little Brown Birds.” A story with a sad ending. The harmony is somewhat elaborate, but in this way more suggestions are made to the singers. The melody has one chromatic tone, al- though in the Minor as well as the Major key. No. 57. “Ding, Dong! ” A combina- tion of Major and Minor keys. Something more beside this alternation was intended, which will be felt in the singing. No. 58. “ Now The Sun Is Sinking.” A good-night song. It will be seen that these little tunes are fitted for the home as well as the school life. The children should be encouraged to express their emotions by music as well as by words. VI. TIME. MENTAL WORK. 1. Establishing Time Perception. Shakespeare said in “ Richard n ”: “ How sour sweet music is when time is broke and no proportion kept.” Mozart said : “ It is time that is at once the most desirable, the most difficult, and the most essential requisite in music.” Rousseau said in the last century : “The more time is beaten, the less it is kept.” This is as true to-day as in his time. Keeping time is not the observance of the regular pulsations, but rather keeping regularly recurring accents. If the mind does not have a clear and accurate perception of time, or, what is better, the regular accents of the measure, the motion of the hand will be in exact accordance with the mental defect. If the mind has been trained to perceive the accents, the beating is unnecessary. In class work, the singer’s neighbor is usually the guide, and under this condition prompt and certain accents are impossible. As a teacher, the author’s attention was called many years ago to the difficulty of teaching pupils to keep accurate time. In the year 1857 it occurred to him that a simple pendulum, swinging silently, was the best medium and guide. At first he employed a simple Maelzel metronome, without clockwork, and required his pupils to sit before the instrument and to think the varied accents, as follows : —Time. 25 1, 2 | 1, 2 | &c. TTs, 3 1 iTs, 3 I &c. IT2, 3, 4 | f^2, 3, 4 | &c. 1^2, 3, 4, 5, 6 | IT2, 3, 4, 5, 6 | &C. After using the Maelzel metronome for a while it was discarded for a simple tape measure. The rate of vibration, governed by the length of the pendulum, was marked in figures upon the back. No such met- ronomes being for sale at that time they were made by hand. To determine the length of the pendulum, the well known table of Godfrey Weber was used. Regular time is more difficult to acquire ithan tune, and the two elements should be taught separately until each is secured. Tune must be in strict accordance with the scale standard. Time must be secured through a feeling for regularly recurring accents guided by a visible pendulum. The pendulum is infallible. Each kind of measure must be gained by many repetitions. When the Normal Music Course was projected it was deemed best to use the French Language of Time invented by M. Aime Paris in 1829. This, to the author’s mind, required modifications, and the introduction of a new vowel or syllable, in order to establish the secondary or subordinate accent. Some suggestions regarding the use of the pendulum as a time guide may be help- ful at this point. The pendulum should never be held in the hand, but it should be securely fixed.. This may be easily done by fastening a projecting hook to the wall. Do not, by motions, try to influence the class while repeating the Time-names. Let the class look steadily at the metro- nome and repeat the syllables promptly in accordance with its vibrations. When a feeling for these pulsations, especially the accented ones, has been gained, the metronome may be placed on one side. Even when placed quite outside the direct line of vision, the vibrations will be per- ceived and used as a guide. Occasionally test the class by having them turn their backs upon the metronome to see if they can continue the regular movement. The length of the pendulum should be changed from time to time, but these changes should generally be slight, so that the movement may be exactly kept. Estab- lish each rate before making a change. 2. Two-Part Measure. This is indicated in time by the syllables or names Ta (Tah) and Ta (Tay). First of all let it be remembered that these names should never be sung. This leads to a slipshod and drawling habit which is not conducive to good work. The practice of time through these names is a different one from that of tune, and it must be established without other aid than the swinging pendulum. In all cases the Ta should be spoken with a strong accent.26 A Handbook of Vocal Music. It will be found that this accent, even if exaggerated in the practice of time, will rarely be so when applied as a principle in singing a melody. It then resolves itself into a fairer proportion, and will not be in excess. Should a sound continue through two or more pulsations the t’s of the succeed- ing syllables are omitted, and the Time- name is Ta-a, &c., the vowels being connected by a hyphen or dash. If rests are introduced the same Time- names are used, but they are whispered, the Td receiving the same accent. This is much better than simple silence, as the singer is reminded of the accents, an essential element at all times. To repre- sent a rest the Time-names are printed in italics. Some teachers may have a prejudice against the Time-names, but this arises largely from a want of experience in their use. In place of the Time-names, the following may be used to establish the accents of the measures : Two-part measure, Strong, weak. Three-part measure, Strong, weak, weak. Four-part measure, Strong, weak, strong, weak. Six-part measure, Strong, weak, weak — Strong, weak, weak. This will serve when the pulsation is undivided, but no farther. Yet even this small amount of time drill is of value. In the development of the Time-names it will be seen how superior they are. The pendulum may at the outset be set in motion at the rate of 60 vibrations a minute, giving the suggested accent. The teacher, standing near by, can renew the vibration when the length of the swing has become too small to be readily followed. The rate of vibration is determined by the i length of the pendulum, and not by the distance through which it passes. When the feeling for the accent at the rate of j 60 has been attained, set it at 90, and 1 afterwards at 120. Vary the practice with a range as great as from 60 to 192. Establish each rate by many repetitions* before a new one is given. Each rate of vibration should be secured before making any change, and above all things the teacher should not hurry or be- come impatient. The children should grow into a feeling of mensural accent, and be themselves desirous of moving and think- ing in accordance with the vibrations oi the pendulum. Should the pendulum be moving at times when the class is not singing, it will do no more harm than the swinging and even ticking of a clock in the room, of which they are temporarily' unconscious. If such time work is faith- fully and conscientiously done, the teacher will soon find her class in thorough sym- pathy with her in the practice of keeping time, — i. e. keeping regular accents. One can easily see that it would be very difficult to read music rapidly at sight if either one of the elementary processes was insecure. By the methods recom- mended, correct time perception may beTime. 27 [quickly established, and the attention of the mind can be directed to the succes- sive tones and thus be, as it were, free. This part of the study of music has been neglected, and the old way of beat- ing, tapping, etc., has been too long continued; especially as in this way the mind has not been properly trained to a ' feeling for regular accents and pulsations. For all this work no representation is necessary. 3. Three-Part Measure. The next form of simple time is that with three pulsations in a measure, regu- larly repeated. So far as is known to the author there is no exact production of a I three-part measure in nature. It is a dis- turbance which may be called artificial. I It can be illustrated and compared with two-part measures somewhat in the follow- ing manner: — Ta. Ta | Ta. Ta | Ta. Ta || ^ Ti Ta Te | Ta. Ta Te || This disturbance will require naturally a stronger accent than would be given in a measure with two pulsations, for the 1 reason that in watching the pendulum it will be seen that the accent will be made mentally to the alternate right and left swing. This is an added proof of how useful the pendulum will become, and how carefully the student should try to make a strong accent, even stronger than before. Various combinations can be made, among which are the following : Ta — a — e Ta —a Te Ta Ta — e. The same should be whispered in the case of rests. 4. Four-Part Measure. Before the publication of the Normal Music Course little had been done to establish the unit of any beyond two and three part measures. It was alluded to as a fact, but little was done in practice. k If learned as such it was by imitation and after many repetitions. The four-part measure is not the same as two two-part measures combined. It is a unit in itself, and must be so learned and practised. This form of measure has two accents, a primary and also a secondary one. The primary comes on the first and the sec- ondary on the third pulse or swing. An illustration like the following will show this. Ta. Ta To Te The first accent must be stronger than the second. In the new study it became necessary to give a new vowel in order to gain the right result. It was thought .that the new syllable To would get very nearly its proper force by the almost involuntary protrusion of the lips in giving the vowel. Many combinations may be made, a few of which are the following:28 A Handbook of Vocal Music. Ta Ta To Te Ta - — a To Te Ta Ta - - 0 Te Ta- — a - - 6 Te Ta Ta - - o - — e Ta - — a - - 6 - — e The same can also be represented by rests, not forgetting the whispered accents. A chart for teacher’s use has been pub- lished which gives many illustrations in various forms of measure.1 Do not forget to make changes in the length of the pendulum. The singers having learned to give the Time-names with regularity at a slow rate, should be encouraged to increase the rapidity to a movement as quick as possible. Come to a pause when- ever a change is made in the length of the pendulum, and begin, after a measure of silence, exactly in agreement with the pulse. This variation will be much enjoyed by the pupils. Repeat each measure many times. 5. Six-Part Measure. This is also a unit, and must be treated as in the preceding form. The primary (stronger) accent is upon the first and the secondary (marked, but less so) on the fourth pulse. The measure may be rep- resented as follows, with also a few other combinations. For study, see the Rhyth- mic Chart, or the Outline of Study. 1 Rhythmic Chart for Undivided Pulsations, published by Silver, Burdett and Company. Ta Ta Te To Ta Te Td — a Te > To — a Te Td — a — e > To — a — e Td — a — e > — 0 — a — e It will be noticed that in every form except two-part measure the final syllable j is always Te or in combination e. This] fact will be of assistance in the study o the Time-names, and will be easily remem- bered. Study the same representations foi rests, whispering to indicate the accents ir the same manner. 6. Importance of Time Work. The teacher may perhaps think that too much time is spent upon a small matter, but she is assured that faithful work in this elementary direction is of the greatest value to her pupils. No freedom of move- ment in its best condition can be gained, until absolute accuracy in keeping time (mensural accents) is assured. This should 1 be done as soon as possible, for the teacher 1 will need it all as the rote songs are intro- duced for recreative work. Much can be done in the first years of a child’s school life through these little * melodious songs, and they will require much freedom of movement to express all the varying sentiment of the words. This can be indicated by slight movements of the hand alone or with a pointer or baton. These motions should be very simple, andTime. 29 need not closely follow the standard forms, which will be given hereafter. A new experience will be gained in teaching time through the use of a visible pendulum. After a little while all the pupils will gain a feeling for the mensural accents, and they will learn to think in the four preceding forms of measure. By the frequent use of the swinging pendulum, pupils may gain an unconscious education in time perception, without the aid or direction of the teacher. Suppose the pendulum be swinging at a fairly quick rate, Four little children, sitting side by side, may be thinking a different measure : No. 1. Three-part, No. 2. Four-part, No. 3. Two-part, and No. 4. Six-part measure, and each without telling his neighbor. Let everything be done at short inter- vals and let cheerfulness and good nature abound. Even these little folks will be glad to do what they thoroughly under- stand. If trouble ensues and listlessness is shawm, the query may well be raised whether it is all to be charged to the children. We are more inclined to believe that the larger share of the blame should be laid at the door of the teacher. This will complete the first year of the child's school life. It will be seen that the work has all the desired variety, and that it need not become wearisome. Indeed the teacher with proper tact may make this first year’s work not only interesting but also of great value as a preparation for that which is to follow. 7. Exercises from the Outline of Study. MENSURAL RHYTHM WITH TIME-NAMES. The various forms of measure in general use may be classed as follows: 1. Two-part measure, with one accent upon the first pulsation. — The Time- names are Ta, Ta. 2. Three-part measure, with one accent upon the first pulsation. — The Time- names are Ta, Ta, Te. 3. Four-part measure, with two accents ; a strong one on the first, and a weaker one on the third pulsation. — The Time- names are Ta, Ta, To, Te, 4. Six-part measure with two accents; a strong one on the first, and a weaker one on the fourth pulsation.—The Time* > names are Ta, Ta, Te, To, Ta, Te. If one or more pulsations are united by longer or tied notes, the first consonant only is spoken, the changes in the vowel shapes being made as the units occur. The Division of the Pulsation, 1. When two sounds are given to each pulsation. — The Time-names are: Two- part measure, Ta fa, Ta fa. Three-part measure, Ta fa, Ta fa, Te fe, Four-part measure, Ta fa, Ta fa, To fo, Te fe. Six- part measure, Ta fa, Ta % T€ fe, To fo, Ta fa, Te, fe, 2. Three sounds in each pulsation, — The Time-names are: Tw'o-part measure,30 A Handbook of Vocal Music. Ta ra la, Ta ra la. Three-part measure, Ta ra la, Ta ra la, Te re le. Four-part measure, Ta rii la, 'la ra la, To ro 15, Te re 16. Six part measure, Ta ra la, Ta ra la, Te re le, To ro lo, Ta ra la, 1 e re le. 4. Four sounds in each pulsation. The Time-names are: Two-part measure, Ta za fa na, Ta za fa na. _ Three-part measure, lii za fa na, Ta za fa na, Te z6 fe ne. Four-part measure, Ta za fa na, Ta za fa na, To zo fd no, Te ze fe ne. Six-part measure, Ta za fa na, Ta za fa na, Te ze fe ne, To zo fo no, Ta za la na, Te ze fe ne. Undivided Pulsations. 2 J J s=- m m > ^ >■ > 00 1 > > J Jd K l ! ^ \ ] 1 J— J X - J 1 CS "" 0— j y —,'Cr~ ^ 1 1 ^ J Ta Ta Td Td Ta-5 Td-d Ta Td —« 0— Td Ta —0—0— Ta Ta —# 0—- - a Ta ^^^ UL > —nai" “ Zs* J j _ > Kill -v. ! II A J _ 8 J J J —-J,— X- ~m j 1 1 J . J s. > 4' * -g-JU —— \_J. i Te -y a. J 1 -*—K * j' „ > —# 0—0— ^JLJLJL 8 Ta Ta Td Td Te Ta-a-e c\ i Td-d Te W —“t—■ Ta-a Te Ta Td-e Ta Td Te - a Ta Te U-J-J- 1 > > > > J-J-J- =n > --! JU J J-J-J Ta Ta T6 Te Td Td To Te Taa-5-e Td-d-o'e Ta-a T8 Te Ta Ta T6-e Ta T5-o Te Td-d To-e e>--,—est-r |S-j—J- J J-J-J f I 't t ! - J Lrn-/n *-*.*+*-*. -k=dJj- Ta Ta Te T5 Ta Te Td Td Te TS Td Te Ta-a-e-o-a-e TS-S Te Ts-a Ts Tii-a-S To-a-S T5 Ta-5 Te Ta-5 *JJJ-J T J-JtiTone Color. 3i VII. TONE COLOR. WHAT is tone color? Our words Major (large) and Minor (small) do not express what they should. An interval is not indicative of any senti- ment, and it may properly be called Per- fect, Major, Minor, Augmented or Dimin- ished, but the Scales and Keys should have other names. Those in use by the Germans are much more appropriate and significant. For Major they use the Latin word durus (hard or bright) and for Minor the word mollis (soft and plaintive). These words are usually printed in the contracted forms, dur, and moll. After long study and practice the author became convinced that tone color afforded through modulation which was merely suggested, would aid in producing the best musical results. This has been done, especially in the single melodies of, the Normal Music Course, The Cecilian Series, and the Common School Course. These peculiar melodies suggest the following changes or modulations. 1. Major key into another Major key. 2. Major key into a Minor key. 3. Minor key into a Major key. 4. Minor key into another Minor key. About these modulations nothing should be said to the singers by way of explana- tion, but it will be interesting to watch the effect of these musical suggestions upon the little ones. Contrary to the popular belief, the youngest children are by no means insensible to the peculiar beauties of the Minor key or mode, especially when contrasted with the Major. They need not, at first, know that it is called minor. Let them enjoy its peculiar tone color, as we may well call it. It is well known that a greater part of the melodies of barbarous or semi-civilized nations and of the tradi- tional folk songs are in the minor keys. Minor keys are also the resort of the musician for his contrasted tone color. Throughout the author's music read- ers, these modulating melodies are to be found both in the exercises and in the songs. In the latter they assist largely iff the expression of the sentiment of the words. As this peculiarity has been studied for many years, and as the author has deliberately worked out his plan on this basis, it will be well to stop here and to illustrate this fact at once, by giving a few of the harmonies suggested through the melodies. This being done, a return will be made to the books for further detail. Some of these harmonies do not show modulations, but they are introduced to indicate some peculiarities in the melo- dies of the songs. The succeeding songs have been taken from the first books of the three Courses. It is not contended32 A Handbook of Vocal Music. that these are the only harmonies which could be used, but they are those which occurred to the writer, and also such as would be the most obvious to the edu- cated musician* They suggest the various modulations before mentioned, and also some peculiarities which may mentally in- fluence the singers for good. No marks of movement or expression are given, as the author feels that some latitude should be allowed in what may be suggested by the words, and he would leave both teacher and singers untrammelled in their efforts to render them musically. Let the teachers consider this matter very thought- fully. Where modulations are not indicated, the sharps and flats are but passing chro- matic deviations.Tone Color, — Illustrations 33 First Series of Charts, Page 17, (With suggested Harmonies.) dream , . Do no - ble things, First Series of Charts, Page 21. E (With suggested Harmonies.) A ^ F—N m f — |l p -A « —-2— §*a=zs Now A r-r~-■ - see the red ——.,—0—- morn - ing, So r -—# ....:£. gay - ly is J — here ; 1 I 1 ■ —7—■—1 f "Jf' Tr-H>—rv N J jg^ 1 J J [ J ... ' 1 A*4— ft frF\ " c) ,'1 W- - 9 —2 I ] a \ p 1 1 K+V —“H—2— * - -2—H r f□ L» . 9 A M \ tr~—a~t £ -a- * f ' C f % f r~1—3 , -J i-n 1 rrr.-jrit TT~ ^! • ' . J • . 4 9 ,, .IT x r i « V 3 » ..... -- - r T -- [ 1 a. 1 it 7f—+- I 1—„——— VJW * '0—8 - - d —4 L J— Jf—1 1—¥ A ~1 N- N—f 1 — : ^ w “’Jc S, Ip -7712” r \ M 0 11 &rc- if - yt J W~ ’— 1 - S . ; .. tj 1 if ..... p :i L:tl VAt— ~A ‘ # jJ 7 Li 111 w ■—— — rg On mead - ow and brook - let The sun - beams shine clear. ✓ ~"0~ g *’■—~~ '|TT~~~ i — —l - —-1 •——i - -i— —ar——j—~i— 1 vn-1 — d * J V . j u d—-—. J" Hi 0 9 1 Hi 1 y ~~i~— r i r 1 1 *————«— 4*' - —3- j • ! 2 Kj — ^ • £ v vr w w 9 uy a 0 ft ■ 1 p l (o'* 3- r r 1 A 0 .... (S2 • p ' I s - -hr ^ — ft ^ 1 •J —j —, I f } ■ ft SJ ^ ft ft £ as - 1 1 fr hr 0 j d J J ft ft j \ V Id—H—9 9 J 9 9 0 0 * 0 * * j t r ° -J- i l ■ r r 1 1 1 is ! j L J N J- f /w\ • 0 ! 1 9 • ft -+T * - ' m * f ft 5j 1 su f 1 i L u /« 1 £ —* ft -1 U ■1 1 L-L-J Tone Color, — Illustrations. 37 First Reader, Normal Music Course, Page 19. e (With suggested Harmonies.) Old Win-ter is com-ing a - gain, a -• lack ! How i - cy and cold is he ! First Reader, Normal Music Course, Page 21. b (With suggested Harmonies.) i 7-ffi, A T , 1 i : 1 M —- 3 ' 3LJ± J J "Pa ( j d 9 9 w r 9 - w 9 N J 4- p 9 r h 9 tr l ] A.M [t was a bl ess - e :d sum - mer day. The flow - ers bloomed, tfc ie ^^ I . 1 ' {-A i 1 1 1 % ,4- i # —| a j 4 A n ^ (i 4 5,-4 * j 4 9 « - w- # 1 W 1?— Z Cb 9 * 0 f w a & r L r^r • r 1 j . « r- i 1 J. i j ' r r L "j u — fl dr ' fmAlit A, £j ^ « r—r LuZ* 4+w dL 0 P r 1 , ^ & f —(—^=z=^i r— V W'—jL A —r i H r— t— \ TV M-r 1 — r r birds poured was38 A Handbook of Vocal Music. -9-th—1 ' 1 ' ' ' 1 znj — 1 1 III Zjt J Zj -J - II If Y ^ .J 9 ' 9 J J J J J u 11 VUX ~ 9 9 9 ! 9 .9 ... J ..... 1! r 9 ~ 9 forth their lay, And eve - ry - thing in na - ture smiled. 4* , ^ ^ **T. ~~]7tT u. 1□. J - ~f ■ O -J ... %J J J ■J J —1 -J J J II if T * 9 J J j d i II ) m d m 9 ~2 d || fj * . * * wi 1 4 1 ; | # *- 1: T 0 1 T / J A f ! " 1 Avtt q r c (£> +L b J« L —1- —1 f 1 v/ ii r J r r 1 A J 9 1 * L # L L J- • J S3 1 '• 1 b Hr First Reader, Normal Music Course, Page 39. (With stiggested Harmonies.) -i fcd2—3-q q=q i— 1 j 1 ■ —1 1 i " j > l 5 w.3E 11 11 9 J . 1 j fr Y^ Z a d2 id 0.—... - w 9 9 d U, i" 1 . 9 . 1 . . .* j j 1 to (7 A g9 m 1 0 ~ d 9 9 9 d ... 9 1 \v 7 tp •.j # 9 ^ a. ™ \ to G3* 1 1 J J" J J w. l J- -i J J- /•V L ~A w - ^ ..0/5? .. Pi \Z>U\ A — r WZHZHk 1 Tone Color, — Illustrations. 39 First Reader, Normal Music Course, Page 55. (With suggested Harmonies.) 2= FF=4=^ T1 1. ’T is Christ - mas time, the sweet yule time, Light up 2. All pleas - ant things are ours to - day, While hoi T- the iy id: P=iEj * * m •• i 4=f* 2-E *-----»----- =f==£ Fed. Fed.40 A Handbook of Vocal Music. First Reader, Normal Music Course, Page 58. ( With suggested Harmonies.) iVn 1 a— N-, 1 \ / TL ?) | J 9 m 1 fr y^* 0 9 9 9 " 9 L l r 9 w J 9 nr n 9 1 7 L r Red buds shine on the ma - pie 1 7 tree, The trail - ing May blooms / 0# 4x fs -1 -Nn , u J 7*r u. 0 "S l j 4 ip 1 x 'it ?> X . d 0 1 i fr \ * 0 9 9 u 9 ~ 9 0 9 m d T O 9 9 to P 7 ru P X -r c r P X 9 ' P ! I j J s V 2) jh / f i 7^ 1 ^ b 1 A ** A 9 1 \ IX1 • 2 V 0 % 9 ffj s io f ■ 9 t -F 1 #-T -f-X p • ri 7-87; ; 1 ; — -A-! j N- ^ l 1 N N 1 J 7 1 J 1 fL 1 ft K * ! J • 9 9 ~ ~fv 1 x 1 7' 9 • 9 9 J 9 i 1 w w 9 9 9 9 fair . . Un - der their green leaves peep at me, For the Spring has 0 "3 \ w 4 T«ii- 1 X § it1 — h 1 n J H X ! h. I f rv * 1 1 1 J J ? 9j hN fS I ' ^ ! . \u \) 9 • . 9 ....... 9 . J J ! « 91 J ) -9- • -9 1 X1' 9 0 0 9 9 , 9 9 -9- -9 s . . f J t £ h j k . Z®V rv w ] # A P r 9r Sh 3 ** ixy • Bil ^ / H 5^ ^ L 1 H LJL p 1 J ^ XZ7 Jf * • \ 0 V 1 7 U' ' I/ 17 !, V ! ^3- .-3 V V 9 9 9 9 b kissed them there, D -v- For the Spring has kissed N N I * J—J1 7 9 -N 9 4- them there.Tone Color, — Illustrations. 4i First Reader, Normal Music Course, Page 60. ( With suggested Harmonies.) d night, And well day and know, what - me both tect - ing e’er I want, His lov 9 ing kind - ness still will grant.42 A Handbook of Vocal Music. First Reader, Normal Music Course, Page 65- (IVith suggested Harmonies-) ijLA p - d 4 4 4=r j I — Up J 9 m J J J .. 9 9 f(TY ^ A a A 9 m 9 9 L r J J r w L L 9 9 9 r t 1 When the win - try wind is blow - ing, When the year’s bright days h; ave J 4-+JH/L i 1 J -J J j ^.j 1 1 2 LJS-J±j J 9 9 9 A • 0 ] I] ml 9— 9 - r A. 17 A. J J 3 3 a m j ^ V 7 *¥ 9 9 9 9 9 9 a.9 d 9<2 ...... f J ll (ii t % i 9 B9 Vy * S i i r s VI [AT S3 /aA* U.mL l— L ^ 1 1 [ | 1 ! 1 1 r WK 4 Hh 1 ^ t± rfidz— a m m m — 1—1 1 1— jeL-h. | ' j\ - * 9 9 9 9 J 9 J ! ! m ^ & L L fill 9 F 9 9 V-l/ • 9 1 1 1 . ty ) flee Q- W — I; When the pret - ty flowers h; . J J m ive fad - ed, And the gay gi ■een leaves are 1 /J2 H H m 4 m ^ □ m 1 1 ! “1 1 l 2 0. \ ... . 3 H 9 9 9 A A H A H H 1 Cl -V A A- l ^ 9 2 5 9A A £ ... * 1 t U- & 9 9 \ r 9 ft fA 99 ™9 9 9 fh* 1 b? 9 m 9 9„ T ' ' * J # -& # * "5- 2m w '9 & (— 1 ‘<2 9 9 J 1 1 —1 — ■ - b- U-' v U '0 i' F " F" * 1 - F F f \— 1 j 1 1 i 9 - ^ 1 1-! JL- 9- || * r r 9 9 - H IJ LOA.17 ^ m 9M 9 r r 1 — w A #» LL —H * —r r — i~ 9 fj dead; With the spring we say, st: ~n. k ill hop-ing, Will re - turn the flowers that fled. • -1 -A -i i - , 0 -T ^ XL-b. J J ==m J • i 9 9 ^ d i II ilLy 17 A 0 0 A9 W # d 0 & XhLL 'A 9 A 9 & P tr -g - 1 1 *c -g- 1 1 r f bj r± Vi r i j Ia-v -u.a.m 9 iz gp 1-! i-U r? li SavW. L f t 0 1 r F I 1 1 h 1= —1 ? IJ Tone Color., — Illustrations. 43 First Reader, Normal Music Course, Page 68. E ( With suggested Harmonies.') ri 3 3J.S p ^ -i ~d ij — 1 N # ''a J i lJ n J m 0 • * .*4 ..sj... d . fr v ■" o r r L i i i * 1 m ' 9 L W ! ^ # t rri b ^ b nz fc .J Li L L • * p- ir r- i ✓ 1. Sum-mer suns are glow - ing 2. God’s free mer-cy stream - eth w r- | J/ 0 - ver land and sea, Hap - py light is 0 - ver all the world, And his ban-ner o * ti j r^s, i — I -A. i r J j— ! V 7 r~ tl tt i m 9 s * • a ! 1 J A. * 0 ^ h ri r k * u S 0 p~f m A 9 1—Zj! Zj • • rr n .... ri r m m a M M 9 Z # t r [—r r P Jf- f -fz- d J) J. ». |s ,„ ij. IT" • • Z 1 S W r V 9 • r /aY u n c r W- • P h— §-* * 0 V S] ( L LJ ■ pL.- ..i. SI SL ... t 1 [1 * 1 l—\ [ 1 L ^ u 1 ' 1 A - b j N 1 v 1 — i* . .«#i i—=^-= 7r#mi—gzzj—sp —=1 z FH h b h—f F—^ * J - m—*— • dr-\ 1 J J >- ^ i- u i 1 r t* : flow - ing, Boun-ti . - ful and free. Ev-’ry-thing re - joic - es gleam-eth, Ev - ’ry-where un - furled. Broad and deep and glo - ri - ous O 4+ ft N 1 r --. k J'"l JS - J|S J - #¥— i -i t*—1—^ i z -i J 1——*—«—•— ■ 0 * i -g : 0—9 m • i «!j - ^=s-l 1 1 1 1 0 • (t 2. * 0 * • # • 1 * #5 r-' r r i r 5 i Hi. ^ 1^ IN s.—9 1. w 1. *— S-f- T j n r 4+,r # . # m Sr- ' # »| *4 vr tt ir —7i—1 9 • | 0 0- V ff f—- * • 1 r ^ - r 11 A--- - D.....A H TSh#—, i f —7^^ — 1 N —-—- =fc=h— / r—it——0 0 ■ « ^ i i §> 0 I m a rr hr # J n r i ... r * * # b 9 0 m M— & * m 1 ' a tt # ^ fr b 1 b .. r i/ t r ^ In the mel-low As the heaven a - ^ r- - r rays, All earth’s thousand voi- ■ bove, Shines in might vic-to-ri- ces Swell the psalm of praise, ous, His e - ter - nal love. o tt ‘it N 1 n h ! N , , M.\ i k —"r H rSi i J b T' i j i rs j—..p ] ■ ^. —b 1J > r—r • * J d • d **i h 9 0- r 53| m i j f f\ Kf -0 • 0 11 9 0 fi J 1'Zj 9 0 9 2 9 *4 l-l rr 2 fv * \ 0 J 0 j Ij r r " r f* i • r * r r ... j . //•V J+ TL 1 W0 * j 1 r r u i 0. ... 0 r * 0 ' •i *1II —i i “h V—i r i r~ j „| I # U. A . L ? P i i 1 L « - A 1 1 1 i ^ V 1 ^ 1 ^ 44 A Handbook of Vocal Music. First Reader, Normal Music Course, Page 74. (With stcggested Harmonies.) foun - tains Mur w mur, -—0* “ God w* is good! ” —0 wak " *ng, Ech 0, ble, “ God is good I ” ^sing - ing> —feu War “ God is good! ” 1tr r-l iTone Color, — Illustrations. 45 Second Series of Charts, Page 6. (With suggested Harmonies.) o* ii 4-gji. .. -I n / ' a 2s i 9 (l v -4, 4 * r ® « * 0 2 t± J L to The wa Tidt ttch is tick - ing, ti< sk - ing, 7] | 1 - - y ' 5 £| j m jJ i A] (( A * A- J 9 9 { 4 #1 9 s 2 t± A ■—4 » w r 0 ja -0- ^ *^-1 1 1 9 , J- J i J i z * f -* i s [£!• By* £I : —9 i tf -A ' 1 1 1 +r /if , 1 * i ri W— 1 r—— ~i 9 m J* 9 f Pa (2 N4 O ! 9 » * 9 # c \ * i r r r L C 9 . r j V- Z Li 1 J 1/ | 1 V J i 1— (— *2 r v 1 Tick - ing my min - utes a - i way, " | And | m in - utes make up the J ®=3fia / J J . M - .-J. . . 1 9 „JL J a 9 9 0 J 9. .. " W 9 9~ 3 i \ 9(7 9 (2 9 (2 i? | L V ) ! \ ^ 1 ^ „ C5 ri ,L j«L :?: j n "a 1 1 ^ 1 l n j n A* 4+ E e w '^Hr-F —^ =-f =* 1= & (22 t4=^=— =C hours, And hours w. i ee make up 9 -0 -W-46 A Handbook of Vocal Music. Second Series of Charts, Page g. ( With suggested Harmoniesi) / 1 9 ^ -fSy ^ . (S — v—b 1 / J M | ) P js V|s . . J .. #. *1 s T ^ 1 * w • mm j 9 » r d^ -A w w • * s 9 ... u .... j Wher ■ 0 v- r 0 -e’er you go, in weal or woe, What - ev - er fate be - fall; In z i a p ]j n ( 7 b ^ J 1 1 ^ r d * 0 0 Ok 9 ~ A- 1 \v 7 T • M 9 ~ M 9 m d m 1 b 1 \, r r—r ^ 1 5 ^ 1 N * ___ J • !, T rn ! r 1 s f Id-) * iT m 0 m a 9 9 tyC A 9 9 M ^ h w k 4.. L .. 9 • ft ft* ft • # H 9 j x a 4- 1/ —h h —1 e-— —j h—J a 0 1 =1 't=\ 7^ \ n f—h 1 7 i A J • JA \ m W rA I y m 11 (r kw 9 & * ^ 9~? -A 1~ H # —pV \ 1 t " II Y~ - 1—— 9 9 V V 9 H 9 IJ sun * ny glade, in for - est shade, A Heaven is o - ver all. The Cecilian Series of Study and Song, Book L, Ex. 82, Page 15. ( With stiggesfed Harmonies.) ~ dTone Color, — Illustrations. 47 The Cecilian Series of Study and Song, Book I., Ex. 143, Page 21. (With suggested Harmonies.) d m d -g>- tJ 5 -g*- r^ffpn'’;rrV 3ti J=7 r -£2- The Cecilian Series of Study and Song, Book I., Ex. 214, Page 27. (With suggested Harmonies.) -...........................t ... E *-----* « a sS * 2* r r—"g-r-g -J-J--J----1^3-sJ-^ 3=#= »« -f—-S-f- -s4f- /s £ =r= jstn r j Pfe*=£=feEE*E J48 A Handbook of Vocal Music. The t± Cecilian Series of Study and Song, Book I., Ex. 233, Page 29. (With suggested Harmonies.) ................f........................ . . —— .---------- * ■ -1= =^=3=H- ' ' ' I -IV -V Gr3 0--l :=j- O: N I ■ J- ' i/ N IN H------!- t ^ ^ I * 5 n # s 1 1 1 ictfi: tfcSz =t^T= -3—f- -5—*- h - ^LP- The Cecilian Series of Study and Song, Book I, Ex. 262, Page 32. {JVitk suggested Harmonies.) Ab ....................................... r— =J= i-HHi £a= ft / 9-, Hr r~~ 1 1 1— in —* f H— 17. ..W * —« J J— CF —i. 0—? - d HVk 1 i— » 9 fl 1 4 * 1 1— J "1—3 i =1 q B z e>z- * *— i r€ d *• •*-- —J I| 1 1 T j % 1 ^ j—j--, J”pi ] fM )—h—1 m—— ju. * » s r A |—v -=^-\ —m £ ff s|f "Hr 1 1 * r— * * 1 V —1 —FTone Color, — Illustrations. 49 Common School Course, Page 25. {With suggested Harmonies.) SE : ,1 • •—1 0-----0---*----J---• The finch - es are sing - ing, The brown bees are hum • ming, The f rTT* t "t -S- -£2- D G grass - es are spring-ing, The sum - mer is com - ing, For A - pril J=+ ~^rr j i i i j s>- -i- -f2- r here — For A - pril is here — For A pril is50 A Handbook of Vocal Music. Common School Course, Page 31. (With suggested Harmonies.)Tone Color, — Illustrations. 5152 A Handbook of Vocal Music. Common School Course, Page 33. {With suggested Har monies i) —=j q □ =T 1 1 1 —r— r '1 " I J J J /Hj J J fc ^ /I . j .... 1 1 1 m m - j.. as - w J ^ 2 9 V 9 m 9 & • O 9 t I know the or - gan is a liv - ing thir ig; He speaks on r\ i* ^ ,| ^ 7 ft if. \ . | —1 —j —1 1 j □ (to J J J A & — N* I t i j e\ j 4 4r 1 v: rr # j 2 # 9 e 9 a £2 X • \ t 1 ^ r ■ itr 1 1 " . 1 1 ! 1 \ \ A ) 1. f 2 4 2 4 ^ f 72NUH—1 9 £ 1 Lw' * 5] u 4" ^-^7 ,0 * "v* ^ m r V sz jfc£i=!^ J r r Nt Trj? 3E.... - - -r .1 ^ .T T""" ^ L L 1 A ~9rfc- —1— L ■ ti 2 ft2^ 1 1— <> Nr* a « 9 r nv ^ ~ 9 p-> £> ^ r L 1 1 if Sun - days when they sing, And when t :he chor - is - 0 ++ 1 1 J ✓ \J ftu. ft . ft j j j . 9 ~ 2 / /T TI < P N* 9 W & fTTv * 9 w • r\ tv ~ 1 - tv ^ ^ p fft_ r 1 1 • » ^ 1 . 1 ' % • r 1 j j Ai / /WV tt # . # TV9 GST 1 frAft,,. i ^ £ppp r r ^ - fV m w r m ^ — -1 1 1 IT 1 D d Hfc— P |- ! 1 1 1 11 Jn 3t /r. 1 \* 1 '» I in A T ^ ^ & • v 2 , J n 1 1 ! 1 * 1 ill V1 z 1 I !J fj l | ^ V v (V ^ 1/ V. i fr\ • I Nr* -9m • \* 1 It- I hn ^ K 1 ^ [ 1 l=2 * 1—M ms=pj L—= « 1 Tone Color, — Illustrations. 53 Common School Course, Page 49. (With stiggested Hdr monies.) wis - dom tie strength And lit F or oth child may do by its love, . things a54 A Handbook of Vocal Music. Common School Course, Page 56. ( With suggested Harmonies )The Representation of Tune and Time. 55 VIII. THE REPRESENTATION OF TUNE AND TIME. 1. PREPARATORY WORK. UP to this time no representation of Tune or Time has been brought before the pupils, yet, without this, the children have by doing, become ac- quainted with musical tones and values. They are mentally familiar with the Major Scale and have sung many successions of tones, using one (i) as a starting point or base line. They have gained an idea of four kinds of measure, and in all this they have not been subjected to any hard or dry study. This work has occupied one year of school life, and if the time has been well employed the children will have learned a number of Rote Songs and have gained many ideas about tone quality and expression. Let it be known that untuneful sing- ing is, in nearly every case, caused by doubt. If each interval of the scale is known, the pitch will be kept. This is particularly the case where the question of time does not intrude upon that of tune. It might be well if upon every page of this manual the direction “ sing softly ” were printed. 2. NOTATION. TUNE. The scale upon the staff comes next in order. The staff is the name of the five horizontal and parallel lines on and between which the notes are placed. The clef at the beginning may be explained in- cidentally by simply drawing the sign upon the blackboard and showing that the curl upon the second line indicates the posi- tion of G; from which it is called the G clef. The scale may be studied in the following manner: — i 2 3 4 5 6 7 8 C DEFGABC or better yet, 1234 C D E F followed by l$£=i ‘ ==j-----*---1 ^5678 G A B C As has been stated, these groups are called tetrachords (series of four notes) and the two in succession form what we call our Major Scale. When learned in separate groups they may then be united. Sing this scale ascending and descending in the following manner : —56 A Handbook of Vocal Music. 1. With the real names, — i, 2, 3, 4, 5, 6, 7, 8, — 8, 7, 6, 5, 4, 3, 2, 1. 2. With the pitch.names,— C, D, E, F, G, A, B, C, — C, B, A, G, F, E, D, C. Do this in singing the whole scale as an exercise; afterwards it should be known without the necessity of giving the names. With the preceding practice pupils ought to be able to sing the scale easily, taking any vowel shape as a vehicle. (See table of vowels.) Change the vowel from time to time. Tell the children that this is called the Major Scale from C. The mental knowledge of the scale can now be applied by calling the scale tones from the Drill- cards, First Series. This should be done until they can be sung rapidly and easily. As yet notes, which represent values, are unknown, and this preliminary drill is from dots which represent only the names. Continue the practice of Rote Songs as a diversion. TIME. The next consideration is that of value, and this can be presented in the following very simple and easy manner. Start the pendulum at a moderate movement and apply the syllables Ta, Ta. This will con- stitute a two-part measure, which can be represented as follows : Ta Ta Measures are divisions of time separated by vertical lines called bars. In this case each note represents a swing or pulse, and it is called a quarter note. The sign £ represents silence of the same duration, and is called a quarter note rest. If two of these sounds were united it would represent two swings. The sign is J and it is called a half note. The sign represents two pulsations in silence. It is called a half note rest. Together they appear : # Quarter note. £ Quarter note rest. J Half note. Half note rest. A Study of Time. Ta Ta Ta Ta Ta-a Td-d Ta Ta Ta Ta The figures at the beginning are called the time-signature. The upper figure rep- resents the number of pulsations and the lower figure the kind of note which repre- sents each pulsation. The various kinds of measure will be taken up as we proceed. We come now to the important plan in the composition of the material of the different books comprising the Normal, Cecilian and Common School Courses. It was the intention of the author to pre- sent in every exercise and song some greater or less problem. Illustrations and explanations will be given in the order in which the songs and exercises appear.The First Reader, Part /. 57 IX. THE FIRST READER. Part I. 1. ANALYSIS OF EXERCISES AND SONGS. IN the preceding section an explanation was made of the simplest form of two-part measure. The work of the second year of the primary grades will comprise the First Series of Charts and Part I. of the First Reader. This amount of work can be easily accomplished if the mental study of the first year has been well done. An occasional review of a song or two, which has been learned by rote, will be useful and pleasant to the singers. In this way they will see what gain has been made. As the charts are but illustrations of the books, it does not seem necessary to give here analyses of the exercises and songs found in the charts. Every suggestion with reference to the book is also appli- cable to the charts. Ex. i. The measure £. Repeated notes. In singing a repeated note use a con- sonant in such a syllable as la, 16, or le. This will assist in the articulation. Ex. 2. Repeated note upon an accent. Ex. 3. Repeated note without accent. Ex. 4. Third note of the scale. Ex. 5. Repeated second with third. Ex. 6. Third note of scale without accent. Ex. 7. The fourth note of scale. Ex. 8. The fourth with new approach and repeated two. Ex. 9. Repeated three with four. Ex. 10. Repeated four. Ex. n. Five. Repose on note. Ex. 12. Five. Conjunct melody. [Con- junct motion is where the melody goes on by degree. Disjunct motion is where there are skips.] Ex. 13. Five. New melody. Ex. 14. Five. New melody. Rhythm, in a new order. Ex. 15. Five. New melody. Rhythm of measures. Slight changes are of great value, as they lead to closer examination. Ex. 16. Five. New melody. Ex. 17. Five. Another melody. Ex. 18. Six. Ex. 19. Six. Another melody. Ex. 20. Six. Another melody. Ex. 21. Six. Another melody. Rhythm. Ex 22. Seven. Ex. 23. Seven. Another melody. Ex. 24. The completed scale. The two tetrachords are shown, — the lower and upper. Four part measure appears. This is sometimes called common time, and is represented by the sign g or J. The time-signature as shown in this book58 A Handbook of Vocal Music. is in every way preferable, as it makes no exception to the kinds of measure, and in- dicates by figures the number and kind of notes that are used in the pulsations or beats. Four-part measure has been explained and studied, but has not been represented. There are two new signs, representing in this case four pulsations and its correspond- ing rest. <2? is called a whole note. ■- is called a whole note rest. Study in four-part measure. Ta Ta To Te Ta Td To Te Ta-a-o-e Ta-a To Te Ta Ta To-e Ta-a-o-e Ta-a To-e A special study may be made of each measure. Ex. 25. Interval of a third. It is not necessary that the pupil should know what kind of a third this is. It is simply the third of the scale, and thought of in this way the tonality of the key is observed and remembered. Ex. 26. The third analyzed from above. Ex. 27. The fifth examined through ascent and descent. Ex. 28. 1,3 and 3, 5 combined. Ex. 30 Interval r, 5. Ex. 31. Interval 2, 4. Ex. 32. Interval 4, 2, descent. Ex. 33. Interval 2, 5. Ex. 34. Interval r, 4. Ex. 35. Interval 5, 8. Ex. 37. Interval 4, 6. Ex. 40. The tetrachords analyzed and represented. Ex. 44. The quarter note rest. Ex. 45. The quarter note rest in four- pait measure. Ex. 46. The quarter note rest upon an accent. Ex. 48. Rests in conjunction upon un- accented and accented pulsations. Ex. 49. Measure with two quarter note rests : also with half note rest. There are many slight variations, but the teacher will soon see that the problems are clear ones to the singer, and that they are valuable. Ex. 56. New form of two-part measure. The pulsation is represented by a half note. A whole note combines two pulsations. Exercise for practice. Ta Ta Ta Td Ta-a Ta-d Ta Td Ta Ta Do not practise this exercise at a slower rate, merely because it is represented in half notes. Remember that these time names are never sung. Exs. 56-61. These are in two-part mea- sure, with half notes. Page 12. The first song. A song should be first sung as a melody, observing the accents of the measure. The words should then be read very carefully, and the teacher should point out the agreement between the accents of the music and words. LetThe First Reader, Part / 59 the words suggest the movement. The suggestion of Tone-color in the second line of words, “ How silently it floats,” is ex- plained in the accompaniment of the song already given on page 35. It is a modu- lation into another Major key. Take the second song rather fast. Met. 120 = J Ex. 62. A new measure. Three-part, in quarter notes. This has had much drill work already. A representation for practice. la 7 - 1 J 1 N* N* . 1 L 1 14 1 1 * 1 Ta Ta Te Td Td Te Ta-a-e Td-d Te Ta-a Te Ta Td Te Each measure may be taken as an exer- cise for practice. See direction for re- peated notes. Songs, p. 13. “An Untruth Once Ut- tered.” Met. 116 — J “Rain, Rain, Go Away.” Met. 144 = J The slur indicates that two notes are sung to one syllable. Ex. 72. A new representation of three- part measure. Three-part measure in eighth notes. A pulsation represented by an eighth note. A new note and rest. ^ is called an eighth note. 1 is called an eighth note rest. A representation for practice. la 7 / T 1 L 1 Is • " # 1 h1 1 —1 Ta Ta Te Td Td Te Ta-a-e | *---3-|-J—*T| Td-d Te Ta-a Te Td Ta-e Ta. Td Te Each measure may be used as an exer- cise for practice. Song, p. 18. “Said a Drop to a Drop.” Met. 144=^ The sign o is called a hold. It at least doubles the value of the note, and except in the case of long notes, a note that bears this sign should be held even more than twice its ordinary length. This will in many cases depend upon the effect to be produced by the words. In this song give the note the time of four pulsations. Song, p. 14. “Pussy, Where Have You Been To-day?” See accompaniment al- ready given on page 36, where the modu- lation into a Minor key is shown. The song should be practised until the move- ment may be taken as rapidly as Met. 176 = j' Song, p. 15. “ The Merry Mice.” Sing merrily and rapidly, — as fast as the words can be distinctly spoken. Two notes are joined by the tie prolonging the sound. Ex. 84. A new problem is shown, for which some preparation should be made by farther mental work. 2. INTRODUCTION OF THE DIVIDED SCALE. In the scale from C all the exercises (1 to 83 inclusive) are written above the key note. The scale may be considered in this graphic form : —6o A Handbook of Vocal Music. In the new departure, the key note (i) is raised and the study is made below as well as above it. The following diagram will present this idea in graphic form : — For work upon this the following tables of exercises have been prepared. The teacher is advised to begin every lesson with drill work upon these successions of tones. They are progressive in arrange- ment, and will secure the greatest ease in reading.The First Reader, Part T 61 Progressive Exercises in the Major Scale, above and below the Key Note. Second Series of Tones. — Keys P, G, At?, A, Bt?.1 Divided Scale. Note. — Figures in Italics represent tones below the key note, i-8 descending. 8-1 ascending. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 1. 2. 3. 4. 5. 6. No. 1. 1, 2, 3, 4, 5, 4, 3, 2, 1. 1-8, 7, 6} 5, 6, 7, 5. ^ 1, 2, 3, 4, 5, 4, 3, 2, q 1-S, 7, 0, 5, 0, 7, 8. < 1-8^7, 6, 5, 6, 7, 8-1, « W2, 3, 4, 5, 4, 3, 2^1 • t 1, 2, 1,2,1. * 1-8, 7, 8, 7, 8. 7 1-8, 7, 8-1, 2, 1. a 1, 2, 3, 2, 3, 2, 1. ” 1-8, 7, 6, 7, 6, 7, 8. » 1-8, 7, 6, 7, 8. p 1,2,3^4, 3,2,1-8,7,8. 1-8, 7, 6, 5, 778-1, ^2, 1. 1-8, 7, 8. 7, 6, 7, 8. U8, 7, 8-1, 2, 3,2,1. M, 3, %1 -8, 7, 6, 7, 8. No. 2. 1-8, 7, 8-1, 2, 1-8, 7, 2,1. 1-8, 7, 2Tl, 3, 7^8- l72, 3, 1-8, 6, 7, 8. 1, 2, 3, 2,T-S, 7, 8-1, 3, 7, 8. 1-8, 7, 6, 7^8, 6, 2^1. i72, 4, 3, 2, 7, 8. 1 Copyrighted 1889, 1895, by Silver, Burdett, & Company. 7. 1, 3, 4, 7, 8. 8. 1, 3, 2, 4, 7, 2, 1. 9. 1, 4, 6, 7, 8. 10. 1-8, 7, 6, 2, 1-S, 7, 8. 11. 1-8, 6, 3, 2, <7 7, 8. 12. 7, 8-1, 2, 7, 8. 13. 1, 3, 6, TV, 2, 1. 14. 1-8, 6, 7, 3, 2, 1. 15. 1-8, 5, 8-1, 3, 2, 1. 16. l74,l-8^6,7, 8. 17. 1-8, <7 5, 6', 8-1, 3, 4, 3, 1. No. 3. 1. 3, 1, 6, 2, 1-8, 7, 8. 2. 3, 5, 3, 1 -77 3, 7, 8. 3. 3, 4, 3, 1-8, 6, 7, 8. 4. 3,1-8, 5^8-1, 7, 2, 1. 5. 3, M. 3. 77 8. 6. 3, 1, 6, 2, 5, 7, 8. 7. 3, 4, 6, 7, 8. 8. 5, 3, 1-8, 5, 6, 7, 8. 9. 5, 5, Tl, 3, 2, 7, 8. 10. 5, 1, 77 8-1, 2, 1. 11. 5, 3, 4, 2, l7?, 7, 8. 12. 5, 2, 3, 1-77 7, 5. 13 5, 4, 3, 0, 5, 7, 8. 14. 6, 8, 6, 2^1-8, 7, 8.62 A Handbook of Vocal Music. 15. 16. 17. 5, 6, 5, 8-1, 7, 2, 1. 5, 8-1, 2^3, 4, 7, 8. 5, fl, 4, 3, 2, 7, 18. 5, fl, 3, 2, 4, 3. 19. 5, 3, 1, 3, 2, 7, 8. 20. 5, 7, 2, 1, 4, 2, L 21. 5, 6, 7, 2, 1, 4, 3. No. 4. 1. 2, 1, 4, 3, 2, 7, 8. 2. 3. 2, 4, 3, 2, 1-8, 7, 8. 2, 3, 2, 3, 4^7, 8. 4. 2, 7, 8, 5, 8-1, 2, 1. 5.‘ 2, 3, 4, 7, 5JL, 2, 1. 6. 2, 4, 2, 7, 5^7, 8. 7. 2, tf, 7, 8-1, 4, 2, 1. 8. 2, 5, 3, if2, 5, 8. 9. 7, 8-1, 4, 3, 2, 7, 8. 10. 7, if 8-1, 4, 3, 2, 1. 11. 6, 7, f 7, 8-1, 2, 1. 12. 6, 5, 6, 7, fl, 2, 1. 13. 6. 8, 7, 2, C4, 3. 14. J, 5, 7, 4, 2, 1. 15. 6, 2, 1, 4, 3, 2, 3, 1. 16. 6, 4, 3, 2, 1-5, 7, 5. 17. 5, 8, 7, 4, 3T7. 5. 18. 4, 2, 7, 5-1, 2, 7, 5. 19. 4, 5, 3, 1^2, 7, 5. 20. 4, 7, 5-1, 2, 5, 7, 5. 21. 4, 3, 6f7, 5-1, 2. 1. 22 4, 2, 5, 7, 5-1, 2, 6, 7, 5. 23 4, 5, 3, 1, 4^7, 5. 3. INTRODUCTION OF THE KEY OF a. At Ex. 84 a new key (G) appears, of which the following is a representation. -j t T.S' / - m 9 I =K 1 8 * 1 z. ■ 123456 78 GABCDE F# G With prefixed signature. OJA m *. ZLft # « * I / rr #« I =p tJ As 1 2 3 4 5 6 78 GABCDE F# G the natural pitch of the scale will be too high for the younger singers, a lower starting-point, like D or E, may be taken, and practice be made, using the first tables of intervals. This change of the pitch of one (1) is but a temporary arrangement, made only for the very young singers, who should not be required to sing above E. This will establish the order of tones with reference to the key note in the same way as was done with the Key of C When this has been done, write the scale in the following manner upon the blackboard and give the class the correct pitch of one, introducing the signature with the notes. j 1 2 3 l 8 7 6 ( G A B ( G F# E w 4 c D 8 -8- 5 4 D C 6 EThe First Reader, Part L 63 With prefixed signature. 1“ir:sr . « m / m iT T m # 9 ■ ■ VV ) 9 .M * u r_ m f (I 2 3 4 5 6 j 8 7 6 5 U ( G A B C D E ( G F# E D C With the raising of the key note (1) or base line we may say that we have a di- vided scale. Melodies written above the key note are called authentic, those written above and below,filagal. The author would earnestly advise that the order of keys here given should be exactly followed. Some teachers have changed this order, but by no means to the benefit of the singers. It will be seen that easier exercises are presented on the introduction of a new key, but it will also be found that before the key is left a greater degree of difficulty is shown. It is of the utmost importance that the teacher should be thoroughly acquainted with the material about which instruction is to be imparted. Too frequently instruc- tion in music has meant no more to the regular school teacher than the singing of a few songs. Both teacher and pupil will be greatly benefited if the music is con- sidered of some value for mental disci- pline. It will also be productive of good in other directions. Exs. 84-89 are in the new key, and above the key note. Song, p. 16. “I Am a Honey Bee.” Met. 132 = J Observe the rests, and give them their full value. Do not let the singing become stiff and dirge-like. Im- agine how these little poems would be read without the encumbrance of notes. In many cases the pendulum would scarcely move fast enough. Picture to the children the subjects of the poems. Song, p. 17. “ If Wisdom’s Ways.” Mu- sic written in long, half, or whole notes, as in this case, is called choral. It should be sung in a measured and dignified manner. The tunes of the Lutheran and English churches are notable examples of this kind of writing. In our day it has become the custom to print these melodies in quarter instead of half notes. This is a gain, for thereby the dreadful groaning of the olden time is banished. 4. FORM. Irregular Measures. Some criticism may be made with ref- erence to the odd number of measures in a few exercises and songs. This is hardly worthy an apology, since every author has at his own pleasure written such forms, and innumerable examples are to be found in the best writing. The attention of hypercritical critics is called to the many illustrations afforded in the so-called shoit metre tunes. These may be usually divided into groups of measures like the following:64 A Handbook of Vocal Music. 123 4 —i 1 j # d ——ai C d-J —1 —1 d * -1 4 L^— -H- -t-F” * 5 0 4+ U ! 1 6 7 —1 - 1 1 8 - L&Jm — -U J—b -J H 4- -fix ^—3 aw si This is the melody of the familiar tune called Mornington,” composed by Lord Mornington (1735-1781), the father of the Duke of Wellington. This and others have been sung innumerable times without a suspicion on the part of the singers that they were committing a crime against good taste. The author published this tune many years ago, correcting this form and giving it a regular number of measures. Some of the melodies of the First Reader of the Normal Music Course that have been mentioned as faulty, are based upon melodies and themes by noted composers, and their forms and in some cases the exact notes are given. The author would hereby warn his critics, as they may un- consciously be doing injustice to otherwise worthy musicians. When uneven or irregular forms are introduced, the exercises are intended as studies of single measures, Form consists in the number of measures employed, and usually their regular combinations. Ex. 117. Variation in the rhythm in first and second measures. It suggests accent on the second note, but this should not be done. Accent the eighth note. Sing the quarter note softly. Song, p. 19. “ Old Winter is Coming.’’ This is a more decided illustration of what is elsewhere called tone-color. Upon this idea a large part of the work in the author’s courses of music is based. This song would be ‘‘orthodox” to musicians of little expe- rience were the last note G. By changing it to E the tone-color is in keeping with the sentiment of the words. See melody with accompaniment, already given on Page 37- 5. INTRODUCTION OF THE KEY OF D. On page 20, Ex. 122, a new key is in- troduced. Its key note is D. Present it on the blackboard in the following manner, using dots, not notes. 3 c 9 ft# • I (c 2 « tw*1 1 2 345^78 8 7 D E F# G A B C# D D C# With prefixed signature. 1 0 *T —J 11 gt w I (l 9 0 1 V 2 0 9 9 1 r # ; 9 -#- 1 2 3 4 5 6 7 8 8 7 D E F}t G A B C# D D C#The First Reader, Part /. 65 Song, p. 20. “ The Day is Gone.” This is really a choral, set in quarter notes. These are less forbidding to the eyes of the young singers. Exs. 129-137. In half notes. Do not sing them too slowly. Song, p. 21. “It Was a Blessed Summer Day.” In this the color is more decidedly expressed. See song with accompani- ment, already given on page 37. Ex. 138. This is based on the two tetra- chords. Song, p. 23. “ The Merriest Month.” Practise a quick and clear enunciation of the words. The music must be sung rapidly. Met. 192—^ Ex. 152. Accent the first note in the first and second measures strongly, and do not add anything to the value of the second note. The note before the rest should be short and light. Ex. 154. See direction for Ex. 117. Song, p. 24. Based upon the scale. Met. 168 = J' 6. INTRODUCTION OF THE KEY OF F. On page 25, a new key, F, is introduced. Present as follows : Without prefixed signature, for general practice. 1234 5678 fgab!?cdef A higher pitch requires more practice below the key note. Lower to D or E when the scale is sung as a whole. Divided scale. By making the practice in this way, and singing the pitch names, there is a gain, but these names should not be sung except in the study of the scale as a whole. Divided scale, with prefixed signature. Song, p. 25. “Why Should You be Dull?” Call attention to the note for the word “ half.” The accent coincides with the value of the word. Ex. 163. Such a rest as this half note rest is a test of the feeling of the class for mensural accent. This may seem a slight matter, but it is the observance of these little things which gives character to the singing. Song, p. 26. “ Now With Weariness Op- prest.” This is symmetrically constructed. It is a choral-like melody divided into regular sections of four measures each.66 A Handbook of Vocal Music. Exs. 175, 176. Do not displace the ac- cent in the first measure of each exercise. Sing the half notes softly. Prefix a consonant to the vowel when singing a repeated note. Ex. 188. Imitation of a group of notes. 7. INTRODUCTION OF THE KEY OF Bb. Page 29. A new key,—Bb. For the practice of the undivided scale, raise the pitch to C or D. Undivided scale, without prefixed sig- nature. £ Jl. I ZOX « 9 *w 1 p ^ ' • ' - ' 1 2345678 Bb C D Eb F G A Bb Divided scale. i 1 5 Bb Bb 2 7 C A 3 4 6 5 U 3 D Eb G F Eb D Divided scale, with prefixed signature. t b - # 1 S\~ n m * 1 fix' 9 # ~ 1 r * * * 1 f 1 234 ( 8 7 6 5 4 3 ( Bb C D Eb 1 Bb A G F Eb D Do not lose the feeling for the mensural accent when the measure begins with a rest. Exs. 208, 209. Notice the peculiarities of the rhythm. They have already been explained. Song, No. 1, p. 32. If sung clearly it will be hardly possible to take too rapid a movement. Song, No. 2, p. 32. This will be a good study of rests. Be careful not to clip them. Go over the ground carefully with Time-names, then sing the melody, and lastly apply the words. Song, p. 33. Give the tied notes their full value. 8. INTRODUCTION OF THE KEY OF A. A new key, — A. Undivided scale, with- out prefixed signature. 1 Vs \J $.9 Vr9 1 5*- * * 12345678 A B C# D E F# G# A Raise the pitch to C or D when singing the whole scale. Undivided scale with, prefixed signature. fcs-* , / '' s ■ ~ 1 t Y ~ a I \s 2- a*9*| — -m- -9- 9 1 2 3 4 5 6 7 8 A B Cf D E F} Gf AThe First Reader, Part /. 6 7 Divided scale, without prefixed signa- ture. . . l/ ik /m£ 1 ■f K 9 S I \± J* 0 | (5 7 6 5 U 3 (A B C# D E (A G# F# E D C# Divided scale, with prefixed signature. u — a v S' • * f( \ 'ir .9 f ) 9 # m 0 9 # ( 5 7 6 5 4 5 (A B C# D E 1 A G# F# E DC# Ex. 229. The third note is generally sung incorrectly. Let the teacher find the error. The exercise was written in the interest of accuracy. Song, p. 35. “ Pine Tree and Willow Tree.” Query : Suppose the last five notes to have been the following, would there have been gain or loss in the expressive effect? 1 TL 0 $ ■1 ^ ■ ■ J cs 1 / 0 ' 1 - V fJ This question is worth study. Ex. 231. Observe the first rest. 9. ACCENT. Regular and Irregular. The following tables are prepared to give an idea of the approximate value of the regular accents in four kinds of meas- ure No attempt is made to show the smaller sub-divisions, as they are practi- cally innumerable. These tables give a conception of the accent to be produced in the ordinary forms, but the composer may introduce other and stranger varieties of expressive force. The Time-names are retained. The figures placed below give an idea of the relative weight. Notes are not necessary here, because the question relates to the number and not the kind of notes in the measure. The latter is of no consequence. Two-part measure. Ta Ta | Ta Ta | Ta Ta | Ta Ta || 3232 3232 Three part measure. Ta Ta Te | Ta Ta Te | Ta Ta Te || 322 322322 Four-part measure. Two accents. Ta Ta To Te | Ta Ta To Te || 4232 4232 Six-part measure. Two accents. Ta Ta Te To Ta Te | Ta Ta Te To Ta Te || 422322 422322 No better practice can be given for establishing these mensural accents than drill upon these four kinds of measure at different rates of speed. Unless these regular accents are well established the exceptions will have little value. The second table shows some varia- tions from the regular rule. They are called syncopations.68 A Handbook of Vocal Music. Syncopations are of two kinds : 1. Those which interrupt the accent by anticipation; 2. Those which disturb the regular pulsation, but do not disturb the accent. Let us take up a few of the first kind, using quarter notes in the illustration. The rule applies, as a matter of course, to the other varieties in which other kinds of notes are used, as whole, half, eighth, or sixteenth notes. These syncopations or anticipations acquire an added force from the fact that the regular accent is not given. In such cases the note of anticipation has the added force of the next pulsation. By a careful practice of such measures, both regular and irregular, a feeling for accent, as introduced in ordi- nary vocal music, will be awakened and enforced. Ta Ta — a Ta Ta Ta — a Ta 3 2—32 32—32 1 1 3 5 --- 2 3 5 -- 2 Ta Ta Te Ta Ta Te — a Ta Te 3 2 2 3 2 2 — 3 2 2 3 322325 ----------- 2 2 Ta Ta Td Te Ta Ta-o Te - a Ta-o Te 4 23 2 4 2-3 2-4 2-3 2 111 42324 5--- 6—5---- 2 Ta Ta Te To Ta Te - a Ta Te-o Ta Te 4 2 23 2 2-42 2-32 2 1 2 42232 6--- 2 5---2 2 Where variations occur differing from these the singers are governed by the natural suggestions, or they will find, in most cases, marks of the irregular accents. The general rule is a safe one to follow, and it will afford much pleasure from its observance, Ex. 235 is an example of a disturbed accent. The C should receive a greater stress or attack. Ex. 208 is an illustration of a disturbance without an accent. This may be illustrated as follows : — i H 1 , “I rH . .. b* > -J! II 1 , m 1 IL 4 ~ & 2 72 \S \1 4 9 72 9 I In this case the joined 2d and 3d pul- sations do not require an accent, but the writer, had he so desired, could have made a secondary accent by a special sign. In this case it will be noticed that the musical character is much improved by giving the half notes softly. 10. INTRODUCTION OF THE KEY OF Eb. Ex. 242. Make a dimmuendo in the first measure. Practise at first very slowly. A new key, Eb, is now introduced.The First Reader, Part L 69 Signature not prefixed. Signature prefixed. n l - ! | IZSZk 0 * 1 -fr ^ 0 0 9 1 rz a 9 9 1 r 9 0 .0. 9 -0- 12345678 8 7 6 < e!? F G Ab Bb C D Eb Ub D C Exs. 244-248. Studies in half note pul- sations. It will be necessary to keep the movement very steady. Song, p. 38. Read the words of the song and see if, in consequence, some- thing more cannot be made out of it. Song, p. 39. “ Now the Sun Departing.” This may be called a child’s evening song in the form of a choral. Song, p. 39. “ Beautiful and Still and Holy.” See accompaniment already given, on page 38. Ex. 261. The use of the tie. Attack the second tie more strongly because the note anticipates an accent. Song, p. 41. Make a careful study of the time of the song before singing the tones or applying the words. Ex. 267. Sing the first two notes very sharply, and do this always when a short note is followed by a rest. Teachers and children should remember that it is a great blemish, if not almost a crime, to sing out of tune or with a harsh, loud, unmusical tone. Do not forget the injunction already so often given, — sing softly. 11. INTRODUCTION OF THE KEY OF E. A new key, — E. Scale, without pre- fixed signature. —1 T ik 9 l [ m jl® TI .... I fr hr u, ftx—• 9 ^ I iz « eft*—ft* 1 ) ft 9 %9~ (1 2345678 l 8 7 6 (E F# G# A B C# D# E I E D# C# Scale with prefixed signature. — 9-s-»g » ° \ \ > •. s : # 1 12345678 8 7 6 E F# G# A B C# D# E E D# Cjf Ex. 276. Articulate the repeated note in this, as in other cases, by the use of the syllable la, 16, or le. Song, p. 43. Read the words very care- fully, and try to express the sentiment of the words through the care in making the tones. Song, p. 45. Read the rests of the song very carefully. Ex. 293. Do not accent the quarter notes. Song, p. 46. “ Hey, My Kitten.” Met. 1168 =j^70 A Handbook of Vocal Music. 12. INTRODUCTION OF THE KEY OF Ab. A new key, — Ab. The whole scale, without prefixed sig- nature. Take a lower pitch, — E or Eb. 12345 678 Ab Bb C D? Eb F- G Ab The divided scale. Without prefixed signature. With prefixed signature. Exs. 297-302. Sing promptly. Exs. 303, 304. The reversed tetrachord. Song, p. 49. “ Slide, Slide.” Met. 184 — f Enunciate clearly. Ex. 314. Be very careful in the articu- lation of repeated notes. Page 50 contains exercises in the nine keys with the signatures introduced in con- nection with the notes, affording a simple recapitulation in melodic form. 13. USE OF THE C PITCH PIPE. The following simple formula, the in- vention of Mr. Emory P. Russell, teacher and director of music, Providence, R. I., will be helpful to teachers using the C Pitch Pipe. A Formula to be Used in Securing the “Key Note” with the “C” Pitch Pipe. 1 Sharp, Key of G. Sing 8 (Key of C), sing 5 and call it 1. 2 Sharps, Key of D. Sing 8 (Key of C), sing 2 and call it 1. 3 Sharps, Key of A. Sing 8 (Key of C), sing 6 and call it 1. 4 Sharps, Key of E. Sing 8 (Key of C), sing 3 and call it 1. 4 Flats, Key of Ab. Sing 8 (Key of C), sing 5, call it 7, now sing 8. 3 Flats, Key of E?. Sing 8 (Key of C), sing 2, call it 7, now sing 8. 2 Flats, Key of Bb. Sing 8 (Key of C), sing 6, call it 7, now sing 8. 1 Flat, Key of F. Sing 8 (Key of C), sing 4 and then call it 1. The First Reader, //. 71 X. THE FIRST READER. Part II. 1. ENLARGED REVIEW. IF the Normal Music Course is used as a text-book, the First Reader should be completed in the third year of the Primary school. This can be done very easily, and with time enough for some re- view work. These three years are the most important in the child’s experience; and they should not be slighted. Music, for itself; is of more consequence than the names of the characters by which it is represented. The latter become known as they are incidentally introduced, and much time should not be given to the writing of clefs, scales, notes, rests, &c. This clerical work often occupies too prominent a place, music being under- valued and neglected. Beginning of the Third Year. In Part I. the exercises and songs are largely conjunct with simple harmonic suggestions. In Part II. the intervals are wider and the harmonic suggestions are more varied. The same nine keys are used, and as these have already been presented it will not be necessary to refer again to the original scales. If trouble, such as uncertainty of pitch, becomes apparent, resort should be made at once to a study of the Major Scale, and for this work its representation is of minor importance. 2. A WORD OF CAUTION. Above all things, the teacher should not scream or sing harshly. During the first year, the teacher must give examples with her own voice in teaching the Major Scale and the Rote songs. After that, it would be much better if the teacher should never sing. All that she needs to do is to cor- rect the quality of tone, and that is readily accomplished, even without a sound for imitation. One of the greatest drawbacks to progress is the intrusion of the teacher, — first by singing, and second by beating, stamping, or shouting the time noisily. This is a great mistake on the part of the teacher, and few are aware what a hin- drance such personal action is to the advancement of the pupils. Individual work should be encouraged to the utmost. Any pupil in a class should be willing to respond without hes- itation in any exercise or song. Encour- age this feeling of freedom to the utmost, and endeavor to banish all timidity. Let each pupil feel that he or she may be called upon at any time. 3. ANALYSIS OF ONE-PART EXER- CISES AND SONGS. Page 51. Ask the class to compare Exs. 1 and 3, 2 and 4, 5 and 7.72 A Handbook of Vocal Music. Ex. 8. Call attention to the way in which the melody moves, and ask an explanation. Song, p. 52. A regularly constructed choral in the old style. Let the teacher compare this with the measures of the so-called Common Metre tune, having syllables 8, 6, 8, 6, and see in what the difference consists. Not all Common Metre tunes are faulty, but many are. Ex. 15. Do not accent the quarter notes of the 1 st, 2d, 5th, and 6th measures. Ex. 18. Watch the effect of the mel- ody. It is in the Minor mode, but the singers need not be told so. Let them feel and enjoy the melodic progression. Ex. 20. Study of time. Prepare for it. Exs. 21, 22, 23, and 24, have the same melody expressed through various time- signatures, but this will make no differ- ence in the singing. Treat them as you would those in ordinary use. In the exercises of this Reader are to be found many illustrations of the use of a motive or subject, where a group of notes is repeated or imitated in melody or rhythm. See Exs. 1, 2, 3, 4, 5, 6, 7, 8, 12, where there are short motives. Ex. 25. A longer succession of five measures. Ex. 27. Motive of four notes. Ex. 29. Syncopation, without the use of a tie. The half notes in the 1st and 3d measures anticipate the secondary accent. Ex. 34. Shows the necessity of mental work, as the intervals are large and irregu- lar. In every case the tonality of the key should be kept in mind. In studying such intervals the mind should know the intervening notes, and at the outset may go over them. Of course there are those who recognize any interval on hearing the two sounds vocally or on an instrument; this is, however, by no means so indis- pensable an accomplishment. But the singer should be able to give quickly any interval, with its intervening notes. Take for example the interval from C to G, and put it into the different keys where it may be found. This would be the result. In C. In Bfe. 7- =1 F ! ! — 1 L * : 0 s ' 0 # n In At?. In G. In F. El ... h . 1 I A—At—t~*A rt # * — # J —1 L - , * IT C—J -0- F- -0-f~ / In Eb\ -— In e. In f — -— 1 1 :fe L- ^ '* * Many other illustrations might be given, but these will suffice. It will be seen, that with this knowledge of the intervening notes, a new and interesting thought is suggested, and that this simple interval does not of necessity belong to C alone, where it was first found.The First Reader, Part II. 73 This mental work is done so rapidly, after a little practice, that the mind goes over the tones as the eye estimates the length of a piece of wood or string, by going quickly from end to end over the intervening inches. All this work gives us a feeling for the tone-color, of which every one should desire to gain a knowledge. Ex. 41. Attention is called to this mel- ody, which is that of a noted German choral. From this it will be seen that the author is justified in the occasional intro- duction of melodies having an uneven or irregular number of measures. Exs. 43, 46, 48, 50, 51, 52, and 53, show motives. These may be similar in melody, but are not always exactly alike in the intervals. Ex. 61. Two groups of four measures each. They are nearly alike in the inter- vals, but they are quite unlike in character. The first four are sombre (minor), the second bright (major). The author would call the attention of the teacher to these matters. He would by no means urge upon the singers a se- ries of tones having a mathematical tinge. This might be called up afterwards in a review. No student can afford not to know these easy problems in music, and they should be sought out and practised. Ex. 66. Here the order is reversed^ the first half being major, and the second minor. Ex. 72 introduces a new measure, — six part. This has two accents : one, the pri- mary, on the first pulsation; and another, the secondary, on the fourth pulsation. They may be presented in the same man- ner as those of two, three, and four parts. The time names are Ta Ta Te To Ta Te, of which this is an illustration. The fol- lowing can be taken for study, using each measure separately. B T 1 J j 1 1 > > N* N» N* N* . .. V 4 " ' ' ' fi J J J J W IF 1 J J ^ eKr\ 53 srj 53 53 ^ g * 0 0 0 9 Ta Ta Te To Ta Te Ta Td Te To Id Te b J > J J & & j.^j. j / j Ta-a-e-o-a-e Ta - a Te To- a Te 1 1 b j > J J O' J. J. . I' m l 0 & J Ta- a - e To - a - e Ta Ta - e To Ta - e This will answer for the present, but the variety is practically inexhaustible. Exs. 72 and 73 are melodies in the new measures and in the Minor mode. Song, p. 62. “ When You ’re All in Bed.” Attention is called to the poem, which has uncommon beauty. Talk about it to the singers, and bring the picture to their74 A Handbook of Vocal Music. minds. Such study will be productive of much good in every way. Song, p. 63. This has much contrasted Tone-color. Exs. 89 and 90 are alike in melody. In Ex. 90, make the eighth notes very short, and attack them in strict time. Do not at any time let the music drag. En- courage an easy and elastic movement. If exact in time, let the movement go fast, rather than slow. Song, p. 65. Suggested modulation from Major to Minor mode. Exs. 96 and 97 have the same melody, but they differ in the accent. Song, p. 67. “ How Beautiful is Night.” Set the metronome at 72 Repeat the melody until the time is exactly even. When that point is reached, the teacher should allow the necessary freedom of movement, which can be gained through the motion of the hand or baton. Exs. hi, 112, 113, 114, 115, 116, 117, and 118 have the same melody, but differ- ent time-signatures and accents. Ex. 123. Syncopation without tie. Ex. 131. Motive of three notes. Ex. 140. Observe the time very carefully. Ex. 152. Peculiar groupings. Go over each one carefully with the Time-names before singing the melody. Many other points might be considered in this Handbook, but the preceding will suffice to arouse interest in the study. The author trusts that these will encour- age teachers and students to observe the many effects of a similar kind that may be found in other musical compositions. Ex. 157. Observe the accents very strictly. Song, p. 76. Met. 92 = J' Practise at first in rigid time. When the singers have become familiar with the notes, make a ritardando and diminuendo during the last four measures. End as softly as possible. Song, p. 77, The time-signature f is rarely used. Treat as would be done in | measure. Met. 132=^ 4. EXERCISES AND SONGS FOR TWO VOICES. A series of exercises and songs for two voices begins on page 78. The range in these is not too great to be taken by all the singers, and all should sing both parts. Always begin with the lowest part. Study each separately, and when learned, sing them together. Individual work is always desirable, and without this no certain gauge of the progress is attainable. It should be called for as often as possible. By it these two-part exercises can be enjoyed and made very profitable. As the number of parts increases, the harmonic effects are represented, not sug- gested, and at this time there will be less variety of color, owing to the necessity of very simple successions. As skill is ac- quired, and the number of parts increases, we gradually arrive at the full enjoyment of our musical language. No dividedThe First Reader, Part IL 75 pulsations or chromatic signs could prop- erly appear in the First Reader, and on this account the author has been restricted to the simplest elements. 5. A BIT OF HARMONY. As will have been noticed, little atten- tion has been paid to the names of things in music, and even if now mentioned, it is with the hope that their consideration may be confined to teachers only. The interested teacher will be glad to know a little of what is really a fascinating study. Our musical alphabet, as it may be called, has twenty-five intervals in general use, and of each there are twenty-one representations. This occurs because ev- ery letter can be represented by a fcj, J, or b. This will make in all five hundred and twenty-five letters, or mental facts, for con- sideration. Many of these are alike in sound, but they differ in notation or rep- resentation, and they cannot be consid- ered as the same in reality. A thorough knowledge of them can only be acquired after years of study and experience, and few are able to define them through the ear. In the early stages of study they are of no practical value, and, taught as dis- tinct mental objects, are insecure in attack or tune. Before it can be sung, the representa- tion must first be known from its notation, and it is wrong to burden a little child’s mind with a study that takes away the enjoyment of a “ melody and what it sug- gests,” and troubles him with the dry routine of interval facts. No possible good can be derived from such work. It might gratify the vanity of the teacher to air his or her knowledge of a few technical names of things, but it would be of no value to little children. Let them look at music in a different light. Let music ap- peal to them through their emotions. Let it excite their imaginations in the direc- tion of something higher and better than the dry mathematical question or problem of how much greater a major third is than a minor, — neither of which terms have any real meaning to their young minds. Be- sides all this, why begin in the primary classes a complicated study that cannot be carried out to any reasonable extent ? For the information of teachers, that they may watch the work of little children, a bit of harmony may profitably be given. In music there are but three perfect concords,—the Prime (the first, or uni- son), when two parts sing the same note, the Fifth, and the Eighth. There are four imperfect concords, and they are the so- called major and minor thirds, and the major and minor sixths. Represented from C they are as follows : Perfect Concords. -H hr : 1 1 S3 S K ^ 1 1 i; 1 a c 1 -S29- Prime. Fifth. Eighth.76 A Handbook of Vocal Music. Imperfect Concords. [--3 c 1 l 1 1=1 i ^ 1 r fr hr: 2/^ 1 lz:——1 1—— ■ j 1 1 1 Major Minor Major Minor thiid. thiid. sixth. sixth. All other intervals are discords. In com- paring the sounds of intervals, so that they can be known and determined, the two sounds must be produced by some instrument like a piano or organ, or by two voices. The earliest experience of the child in singing should be through the melody of the part he or she sings, and as, in this stage, no elements foreign to the Major Scale can be studied, everything becomes simple and clear. If the succession is in conjunct motion, the child goes on with the confidence arising from a knowledge of the scale from which the melody is derived. If a skip occurs, the interval in the melody is readily filled in the mind with the intervening notes in their natural order. There is no serious labor, as all problems may be solved by resort to the Major Scale. This will keep the tonality in mind. To take any common melody and give rapidly the technical names of the intervals as they occur, is a feat that could be accomplished with much study and practice, but it would be ludicrously difficult, and without any compensating advantage. Music has no sentiment because it is major (larger) or minor (smaller) in the distance of some of its notes from certain other notes, but it does suggest innumera- ble emotions from the indefinable tone- color arising from the combinations. In the successive notes of a given melody there are no ideas of concord or discord inculcated, but when two parts are pro- duced simultaneously, the effect of the two is clearly evident. 6. CONCORDS AND DISCORDS. Exs. 166 to 178 are all consonant The perfect concord indicates perfect rest. The imperfect concord suggests motion. The discord demands motion. Were mu- sic composed entirely of concords, it would weary us with its sweet monotony, The art of the composer is to introduce his discords with care, and use the concords as points of rest. Discords are used in three ways : — 1. Where two parts forming a concord are converted to a discord by the motion of one of the parts. This is a prepared discord. f f 2. Where a discordant note comes be- tween two concords. This is a passing discord.The First Reader, Part II. 77 3. Where a discord is introduced with- out preparation and is afterwards resolved. This is called a free discord. j * j j J . —TT TP H 1 g I r 1 Xs\) Z L 1 ^ r * * 0 * tt J. 1 ~i / .Tl 0 1 | 1 I 1 & TP J I — I f( y # & J 1 I T Z & 1 tj & 1 P The discords are marked with a *. Song, p. 80. “ O Thou, who Kindly Dost Provide.” The second note in the lowest voice (D), is a discord in transition. Ex. 180. The second note of the upper voice (C), is a discord in transition. In the last measure but one, G is a prepared discord. Ex. 182. Second measure, lower voice, second note — a passing discord. Song, p. 82. Last measure, lower voice, G is a free discord. Ex. 184. Last note but two, lower voice — a free discord. Ex. 186 has two prepared discords. Ex. 187 has live discords in transition. Ex. 188 has an accented syncopation. Ex. 189. In the second measure, lower voice, there are two free discords. There is another in the last measure but one. Ex. 190 has several passing discords. Song, p. 84. In so-called Common Metre. The syllables are 8, 6, 8, 6. It is correctly printed. The regularity is pre- served through the tied notes. Exs. 191-196. Studies in measure, mel- ody, concords, and discords. Song, p. 86. “ Hark ! the Pealing.” The woids afford suggestions of the manner of singing. They should be carefully read and studied. Sing softly, and with broad accents of the measure. Give full value to the slurred and tied notes. Song, p. 88. Met. 132 = J Study the sentiment of the words, and sing with expression. Ex. 206. This has a motive which ascends and descends. There are free discords in the 6th and 7th measures. Met. 160 = J Ex. 208. There are two syncopations, which should receive especially strong accents. Song, p. 90. “The Leaf-Tongues,” Met. 138=^ Ex. 209. Illustrations of syncopations and suspensions. Ex. 214. Practise until it can be sung with two beats in a measure. Song, p. 92. “ Pansies, Lilies,” should be sung in strict time, speaking the words very distinctly, and in a somewhat de- tached manner. Met, 108 = J Exs. 215, 2 16, 217, 218. Special studies in time. Exs. 219, 220, 221, 222. Melodic studies. Ex. 223. A somewhat unusual begin- ning. It will require especial practice to take the notes in tune. Prepare them by interval work.78 A Handbook of Vocal Music. Song, p. 95. “ Bright Yellow, Red, and Orange.” A charming poem by Ailing- ham. Explain the words to the singers. Interest them in the sentiment. Song, p. 96. “ Make Thou my Spirit Pure.” A choral. Give ample time to the holds. Attention is called to these little prob- lems or peculiarities, not because they may be hard to find, but in order to encourage close examination of all musi- cal compositions. 'This will greatly en- hance the pleasure both of hearing and of rendering music. The teacher is advised to make a study of these points for her own good, as well as that of her class : “ Attempt no tone that cannot be sung softly.” “If the singers know the tones, of which the notes are the representations, they will sing with earnestness and in tune.” “ Let the class know that our songs must first be known without words. The language of music is full of beauty and suggestion, and when this is known it will afford delight to all.” Reviews of the work may be taken from selections that were studied during the preceding year. This should be espe- cially the case in song singing, when ques- tions of expressive light and shade in tone, and varied movements in time, may be studied. The number of songs need not be large. The teacher should strive to produce as finished a result as possible. This will please listeners. Even though they may care little how this is brought about, they will yet see that music is the end in view. Problems in sight-singing are only the means to that end, and they should be kept in the background as far as listeners are concerned. XL THE FIRST READER. Part III. THIS comprises seven songs with ac- companiments. There is nothing in these songs that conflicts with the studies of the Reader, and they should not be learned by imitation. Page 97. “ Rise, my Soul ! ” This is quite irregular in structure, but this very departure from the regular form will please. The quaint hymn will interest even the children. Pages 98 and 99. These are simple tunes that will readily find a place in the schoolroom. Pages 100 and 101. Should be sung lightly, and yet not at too rapid a pace. Page 102. “ Summer.” The time-sig- nature is not a common one, but the author wished it to be studied with four pulsations in the measure, and the appearance of quarter and half notes would make it seemThe Cecilian Series, Book /., Part 1. 79 too heavy. Give the beats as rapidly as Met. 168 = The last song, “ My Country, ’t is of Thee ! ” must be learned by rote, as there are several cases of divided pulsations. The song is introduced here, so that little children may take part in singing it on public occasions. Not all long notes are sacred, neither are all short notes profane. In the songs the teacher should be gov- erned by the sentiment of the words, and it is not essential, in order to give a meiry song its right rendering, to have it written in sixteenth notes, nor to have a devo- tional one written in whole notes. It is * hoped that the old-fashioned idea may be exploded, and that we may be brought to appreciate a merry thought even should it be presented in long notes of the old psalm- tune profundity. It only requires that the song in long notes shall be sung at a greater degree of rapidity. Let the natural action of young singers be considered. XII. THE CECILIAN SERIES OF STUDY AND SONG, BOOK I. Part I. ANALYSIS OF EXERCISES. HE First Book of The Cecilian Se- ries of Study and Song corresponds closely with the First Reader of the Normal Music Course, and covers about three years of school life. The Major Scale is presented in each of the nine keys, as was done in the First Reader, and illustrations in the various time-signatures, in rhythm, melody, and mensural accent precede the notes to be sung. Explanations that have been given for the First Reader are also applicable here. The new songs, mostly to be learned by rote, will be found to be of interest. They represent phases of child life which appeal to the youngest singers. The songs have been prepared with much care, and they are provided with accompaniments; but these are not absolutely necessary in their study. Teachers should read very carefully the preceding directions and make especial study of the four sections : 1. Tune — Mental work (see pp. 15-19). 2. Time — Mental work (see pp. 24-30). 3. Tone color (see pp 31, 32). 4. The representation of Tune and Time (see pp. 55, 56). These divisions, and in this order, are always applicable, but all the books of the three Courses are carefully prepared to illustrate these facts? The first three sec- tions must be studied in preparation for Book I. of The Cecilian Series. Pages 7-11. The Major Scale from C is presented for the study of tune, and the8o A Handbook of Vocal Mtisic. First Series of drill cards 1 should be used for its development. It is presumed that much attention will be given to the prac- tice of the Major Scale. In singing the whole scale at the outset, sing the real and the pitch names. This is only for prelim- inary work for establishing the names in this key. The writer believes this to be important. Afterwaids any vowel may be used. For this study read pages 13 to 15, on the use of vowels Attention is next called to the question of time, and various kinds of measure arc shown, although three forms are sufficient to illustrate the principles of accent. These are two, three, and four part measure. The varieties given should be studied, keeping in view the regularly swinging metronome or pendulum. Many repeti- tions should be made. If Time-names are used they should be spoken, but never sung. The exercises a 1 e in progressive order through nine keys. These nine keys are deemed sufficient for nearly all the study in our schools. The range of voices is kept low for the younger children, E being the highest note. The use of the syllable la, lo, or le is suggested wherever a note in an exercise is repeated. It will help the articulation. Exs. 1-50 are in C, and are authentic melodies, — above the key note. The scale will therefore be presented as hereto- 1 Progressive Exercises in the Major Scale, First Series, published by Silver, Burdett & Company. fore explained. The time-signatures used qrp 2 2 3 3 puid ^ Ctic 4? 2> 4’ 8? clllu 4* Ex. 21. Explain the repeat. Ex. 50. Articulate the repeated notes. Page 12. The scale from G is introduced. When singing the whole scale give the key note, one, a lower pitch. In preparation for the divided scale write it as previously directed, upon the board, and use the Second Series of drill cards for study above and below the key note.1 With the di- vided scale use the correct pitch. Ex. 57. Explain the tie. Ex. 58 Explain the syncopation. See the section upon this subject, page 68. Ex. 65. The accented part of the measure represented by a rest. Practise carefully with the sharply whispered Time- name Ta. Ex. 70. Study the difference between the first two and second two measures. The second should have a more decided accent. Exs. 71 and 78. The use of ties. In the latter the first and second measures are like the fifth and sixth. Ex. 81. Do not accent the quarter notes except in the fourth and eighth measures. Ex. 90. This begins upon the second pulsation, which has no accent. Page 16. A new key, — D. Prepare for its introduction, as suggested above, under the key of C. 1 Progressive Exercises in the Major Scale, Second Series, published by Silver, Burdett & Company.The Cecilian Series, Book /., Part /. 81 Ex. 94. Three strongly marked synco- pations. Ex. 96. Explain the hold. Ex. 97. A group or motive, thrice re- peated, followed by a syncopation. • Ex. 100. Be careful not to shorten the rests. Ex. 102. Scale in ascent. Repeated notes. For each repeated note use a syllable like la, 16, or le. This will help articulation. Ex. 103. Descending scale. Exs. hi, 112, 113. Groups with inter- vening rests. Keep strict time. Ex. 116. In the Minor. No explanation necessary. See Tone color, pages 31, 32. Ex. 119. Useful study in accent. Ex. 121. Mark the second note in the first three measures by a strong accent. Observe the final rest. Ex. 122. Repetition of a motive of four notes. Ex. 125. Division, through slurs, into groups Each group may be slightly de- tached. Notes covered by slurs should be closely connected. Page 19. New measure. Six-part meas- ure illustrated. For suggestions regarding the study of this form of measure see pages 28, 6 7, 73. Prepare for it by careful mental work. A new key. The Major Scale from F. Prepare for this key, using the same method as in the preparation for the key of G. Ex. 130. In d1 minor. The children 1 Capital letters indicate Major keys, small italic letters represent Minor keys. will recognize its peculiarity. No expla- nation is necessary. Ex. 132. Begin 1st, 3d, and 5th meas- ures with a strong accent. Establish the time of these accented measures and diminish the tone as indicated. Ex. 134. Groups of four notes, indi- cated by slurs. Slurs connect tones upon different degrees. Ties unite notes of the same pitch, thereby forming a single note which is sustained for the full value of all the tied notes. Ex. 143. In the minor. Ex. 146. Exceptional accents upon the second pulsation. They are marked. Ex. 149. The measure accents should be somewhat stronger than usual. Ex. 154. Observe the signs for accents. Exs. 157, 158, 159, 160. Six-part meas- ure. Make due preparation for this new form of measure, using Time-names, with the pendulum at different rates of move- ment. Page 22. A new key, — Bb. As the key note pitch is too low for general prac- tice, raise it to C or D. Sing the real and pitch names when practising the whole scale. Sing the scale ascending and de- scending. One of this scale is the correct pitch for use when singing above and below the key note. Exs. 163, 165, 168, 170, 172. Remem- ber that the values of the rests must be as carefully considered as those of the notes. Even the final rest must not be neglected. Ex. 175. Give a mental accent to the rests of the 5th, 6th, and 7th measures.A Handbook of Vocal Music. Ex. 182. Met. 120 = J Exs. 185-190. Six-part measures in eighth note pulsations. Page 25. x\ new key, — A. Raise the pitch for the whole scale practice, using real and pitch names. Restore the pitch when the scale is divided. Ex. 193. First half in A. Last half an imitation of the first in f$. Let the class be influenced by singing. No explanation is necessary. Ex. 198. In ftf. Ex. 204. A study of rests. Do not shorten them. Always keep the accents in mind. Ex. 213. Observe the accents produced by syncopation. See page 68. Ex. 214. In ftf. Say nothing to the class about the key. Page 28. A new key, — Ei?. Give the same practice as for C or D. No change of pitch is here necessary. It will be well to have a little practice of 8, 7, 8, etc. Ex. 220. A little difficult in time. Prac- tise with the pendulum until the measure is fully established. Make many repetitions. Accent the syncopations strongly. Ex. 222. Practise with pendulum. Use the whispered Time-names upon the meas- ures of rest. This work should be done at various degrees of rapidity. Ex. 226. Study of rhythm. Make the notes before the rests short and sharp. Ex. 230. A new time-signature. It is rarely used. Practise like any other four- part measure. Ex. 233. In c. Say nothing about the minor, but watch the effect upon the singers. Page 30. A new key, — E. Practise in the same way as before, adding the 8, 7, 6. Ex. 236. The first half in E, the second in cff. Ex. 238. Begins on 7. Give the key note, and ask the class to start without experiment. Ex. 245. Sing the last note very softly. Page 31. A new key, — A1?. Raise the pitch to C or D for the practice of the whole scale. Use the correct pitch for the divided form of the scale. Ex. 258. Make the strong accents in the 2d and 3d measures, but do not forget the regular form. Ex. 262. In the Minor mode. The exercises of this book are sufficient for the three years of the primary school work, and the result would be satisfactory if these 267 exercises could be sung, during that time, without hesitation. Follow identically the same course as was suggested for the First Reader of the Normal Music Course. If this is done, the book may be satisfactorily used, either independently, as complete in itself, or as supplementary to the First Reader. If the underlying principles of Tune and Time are thoroughly established, these exercises will demand no severe study, and the singers will enjoy solving the little problems, more or less peculiar to each melody.The Cecilian Series, Book /., Part IP 83 XIII. THE CECILIAN SERIES OF STUDY AND SONG, BOOK I. Part II. SUGGESTIONS FOR THE SONGS. THE songs of this book are largely compiled. The accompaniments have been simplified for the benefit of unskilled players. In school work, as a rule, no accompaniment should be used; certainly not, except in the case of Rote songs, until the song has been correctly read at sight. In many cases the harmonies of these accompaniments are somewhat chro- matic, but this will be of real benefit to the children, who should not be kept too long upon the simple chords of the 1st, 4th, and 5th degrees of the scale. These songs must be taught by imita- tion, and in this lies the greater difficulty of teaching music in the primary schools. The author is aware how great this task is to the average teacher, but it cannot be avoided. It is to be hoped, therefore, that the teacher will try to prepare her- self to give as good illustrations of each song as possible. Where this cannot be done, she must call others to her aid. The difficulty, if difficulty there be, is by no means insurmountable. Page 33. “ Morning Song.” Sing in a bright and cheery way. Met. 126 = Pages 34 and 35. The songs should be sung in accordance with the humor of the rhymes. As a guide, set the pendulum for the first song at 192 = ^ and for the second at 152 =J The note values have little to do with this. There has been altogether too much importance attached to a half note. Many compositions have also been spoiled through a miscon- ception of the time-signature; for ex- ample : when, with a two-part measure of quarter notes, eighth notes are beaten, thus confounding a measure having one accent with another having two. It is true that composers have sometimes made this mistake, but this is rare, and it can be readily detected by any student, if the accents of a four-part measure are exag- gerated in one of two pulsations. It will be seen that these songs must be taught by imitation in many cases, as the exercises have, up to this time, given no illustrations of divided pulsations. As Rote songs they are very effective. Page 36. “ Morning is Rising.” Met. 126 = ^ Page 36. “See the Rain is Falling.” This melody has no divided pulsations, and may be used for a study in sight reading. All eighth note melodies should be vocalized.84 A Handbook of Vocal Music. Page 38. “Tinkle, Tinkle, Tinkle.” The accompaniment will add much to the interest, if well played. Page 39. Carl Reinecke (1827- ) has written many charming melodies for chil- dren, and several of them have been in- troduced in this book. Page 40. “ Pat-a-cake ” is a very old English nursery song. Page 41. “Sweet White Lily.” An easy tune to learn and sing. Do not sing it too slowly. Take great care to produce tones that are tuneful and musical. Met. 108 — J Page 42. “ The Little Leaves.” A good study in enunciation. Met. 120 = ^ Page 43. “ A Disastrous Ride.” Atten- tion is called to the pretty idea expressed in the poem. Explain the words to the singers. Page 44. “ Dancing Song.” Tempo commodo. At an easy gait, neither fast nor slow. Page 46. “ The Clock.” The words of the different stanzas may be sung by a single voice, and all the children can come in on the “Tick, tack.” Make a long pause after the last note of the first brace, p. 47. Let the children come in exactly together, and sing in time. Page 48. “ Annie’s Wish.” Analyze the value of the notes as found at the beginning. Page 49. “ Many Seeds we Sow.” This should be taken somewhat slowly, so that the rhythm may be correct. Let the children get the exact relative values of the dotted eighth and sixteenth notes. Page 51. “Work and Play.” Tell the story in a characteristic way. Page 52. “I Saw Three Ships.” This song is quite as old as Mother Goose’s famous collection. Page 52. “Lady Moon.” Observe the movement. Ideas can be advanced in a simple way that will be of great value by and by. Attention is called to these rhythmic effects. Page 53. “The Clouds.” The first line will suggest a fitting movement. Read the poem and make it clear to the children. All these mental pictures should be absorbed. Page 54. “ xA Carriage to Ride In.” The movement should be free. Follow the marks of movement and expression. In the ritard make a gradual, not a sud- den, change, Piu lento indicates a slower movement in strict time. Page 56. “A Tale.” This is a serio- comic story which should be taken up with much spirit. In the agitato portion the accompaniment furnishes the tragic side. Take the last four measures in a quicker movement. It will be noticed that there is no chromatic note in the melody. Page 58. “ Hey, my Kitten, my Kitten.” This belongs to the older English nursery songs. See explanation of l measure. Page 59* “ Robin ! Robin! ” Mr. Gatty has written many songs for chil- dren that are deservedly popular. This is a good example.The Cecilian Series, Book /., Part II. 85 Page 60. “ Piper, Listen, Piper Dear.” This seems a little difficult, but imitation is strong with young children, and there will be but little difficulty in teaching these chromatic tones. It is quite another mat- ter when they are required to sing them from a knowledge of their tone relations. Page 62. “ The Fairy.” Keep a bright movement and make decided accents. Page 63. “ Higgledy, Piggledy.” A lively nonsense-song, to be sung in accord- ance with the jingle. Page 64. “ The Baby.” A French nursery song. It is very characteristic. Observe the proper accents. Let the pupils study this song before applying the words. Page 65. “ Sleepland ” A famous French melody. It is always charming. The modulations are interesting, especially in the suggestion of the neighboring Minor key. Where there are no divided pulsa- tions the melody may be studied like any of the exercises, before applying the words. Page 66. “ The Bee.” A character- istic bit. Page 67. “ When the Snow is on the Ground.” This is a good illustration of the English variety of children’s songs. Page 68. “ Pretty Patty.” This may be taken up for sight-singing. There are no divided pulsations. Page 69. “ A Boy once Caught a Tit- mouse Gay.” Reinecke understands the little singers. Page 70. “ What are they made For?” Gatty has given the young singers a prac- tical lesson in life. Page 72. “Little Bird.” A song that will please. It will give many a new idea of French character. Page 73. “ The Forget-me-not.” This must be learned as a Rote song. Begin the melody without words. Page 74. “The Fine Little Lady.” Another contribution from the French, and a welcome one. Page 75. “The Field Daisy.” This may appear as a contrast to its French neighbor, and may be studied for this leason, if for no other. Observe the word calcmdo, — gradually diminishing in tone. Page 76. “The Babes in the Wood.” A very old song. Let the children know the sad legend. It will interest them. Page 77. “Good Night to the Birds.” The accompaniment will make the song attractive. Page 79. “Spring.” Solo and refrain. The melody is easy to learn. The har- mony need not and will not disturb the singers. In the melody there is but one chromatic deviation, the B£. The har- mony gives color, and the apparent re- moteness is a gain. It is just such things that the children really need and crave. The better musical side is too often a sealed book to them. A teacher’s expe- rience reveals this and more. Page 80. “Why is the Moon Awake ?” Macdonald surely understands children.86 A Handbook of Vocal Music. Page 81. “ The Swallow.” This is in a more familiar form, and will please at the outset. Many of these songs are, like this, not necessarily Rote songs. Page 82. “ We are Little Soldiers.” The little folks, on a public occasion, are usually placed in the background, unless it be to display their skill in singing tones at dictation This is all very well and proper, but it is not taking a real part. This song may be introduced on festival days, and as a march for children will, it is hoped, give much pleasure. They should think out this march movement while standing com- paratively still. Page 84. “ Festival Song.” This French melody carries out the same idea but in a more pretentious manner. The rhythm is strong. It may be learned and sung with- out accompaniment, but on m state occa- sions ” it should have a vigorous one. The seven concluding selections in this book are of a sacred character. They will be found useful on many occasions. Page 86. “The Wise may bring their Learning.” Page 88. “ Night.” Page 89. “ God Intrusts to All.” Page 90. “ Morning Prayer.” Page 91. “God, make my Life a Little Light.” Page 92. “ God, the Father in Heaven.” Page 93. “ Christmas Voices.” A carol with a fitting accompaniment. In early times “ carol ” was the name of a dance. Later the name was given to a church song, generally one of praise or devotion, although sometimes mournful in character. Carols are now more frequently sung at the two festivals, Christmas and Easter, and they are especially fitted for young voices. Association with church bells is very common. “ Christmas Voices ” is a good example. The songs serve as a recreation. Owing to the limited space and the demand for ac- companiments to the songs, the real sight- singing is confined almost entirely to the exercises. If these are carefully done, the singers will be well fitted during these three years of the primary school work to enter upon more varied and difficult tasks, either as found imposed in the music for a single voice in Part I. of the Second Reader of the Normal Music Course, or in Book II. of The Cecilian Series of Study and Song. Teachers should not be in haste to cover much ground. It is better to sing a few songs musically, than to go through many in an uncertain way, with only toler- able results in tune and time. Occasional departures are well, as tests in sight sing- ing, but teachers should not forget that this is chiefly for the purpose of learning the language of music “ in the rough,” and schooling the eyes to anticipate men- tally whatever may be introduced. Look- ing at the notes at the instant of singing produces only unmusical stammering and doubt.Common School Course, Part /. 87 XIV. COMMON SCHOOL COURSE. Part I. ANALYSIS OF EXERCISES AND SONGS. THE book comprises, in condensed form, the various divisions of study, which are carried out in greater de- tail in the two works previously issued, the Normal Music Course and The Cecilian Series of Study and Song, Much impor- tance is attached to the book, for in it the subject of sight-singing is fully explained and exemplified, in such a way as to be of great service to one who is limited in time. It affords all the aid necessary to enable school children, as well as their elders, to become successful readers of opera or church music. This study, beginning with the first per- ceptions of Tune and Time as mental ob- jects, is continued, until in Part IV. there may be found some of the finest composi- tions from oratorios and for church use. No more interesting work can be done, and the study of music pursued in this manner will materially help other school branches. As a means of mental develop- ment music stands on an equal footing with mathematics. It need not be con- sidered as a mathematical study, although it has such a basis. It is a language of suggestion making a direct appeal to every individual who is brought under its influ- ence. In its production it requires much concentration of mind. What love is to man, music is to the arts and to mankind. Music is love itself,— it is the purest, most ethereal language of passion, showing in a thousand ways all possible changes of color and feeling; and though only true in a single instance, it can yet be understood by thousands of men, who all feel differently. — C. M. von Weber. In the book will be found an introduc- tion of sixteen pages, entitled “ Hints and Directions to Teachers ” which gives many practical hints as to the best way of proceeding. The teacher who studies this chapter carefully will gain a knowledge of Tune and Time that will greatly add to her ability to understand and to present these subjects. The importance of mental preparation is strongly urged, and it is hoped that the various tables of intervals will be practised until every step can be taken with the greatest ease. Let the work go slowly and thoroughly, and no one need be troubled about the result. The different steps in the study have been thoroughly explained in the refer- ences already made to the other two88 A Handbook of Vocal Music. books, and they need not be repeated here. The same general plan should be pursued. The book should be fol- lowed, step by step, in the order in which it is printed. On page 17 the real work begins. Here the Major Scale from C is presented. In studying it as a scale the practice should be only from C to C, one octave. At the outset sing the real names, i. e. the num- bers, and the pitch names, i. e. the letters, ascending and descending. After this has been done, the other notes above and below the octave may be practised, but in all cases the teacher should be governed by the natural range when working with young children. The youngest singers should not sing below C (first added line below the staff) or above E on the fourth space. The exercises and songs of Part I. are limited to these ten degrees. In the scale work in the key of C, apply the drill tables on the eighth page. Use any of the vowel shapes that will best secure a good quality of tone. Do not allow the singers to produce loud or harsh tones. Sing softly, and study to produce sounds that are tuneful and pure. Those who desire, and the author hopes there will be many such, can use the Time- names, as found in the First and Second Readers of the Normal Music Course, and in this Handbook ; see pp. 24-30. Exs. 1-27, illustrate various kinds of notes and rests. These are very simple, and can be easily sung. Read and study the treatment already given to the two divisions,- Tune and Time.1 This is the key to the whole subject. On page 19 will be found a song. These songs are necessarily very easy. The exercises have prepared the children to sing the tones correctly, and the teacher must see that the words are understood and correctly spoken before they are applied. The teacher should never sing with the pupils, except in the first production of the Major Scale. If properly led, the class will do the work for themselves. No greater mistake can be made by the teacher than to give the tones to be sung, through the voice or upon an instrument. No rote work should be done in connec- tion with the material in this book. If any Rote songs are desired, an abundance of simple and appropriate songs may be found in a little book called “ Child Life in Song,” and also in Book I. of The Cecilian Series of Study and Song. Page 20. A new time-signature, Practise carefully with a swinging pendu- lum, at different degrees of rapidity. Page 20, last song. Much assistance may be derived from a careful reading of the words. Endeavor to express the sen- timent. The humorous side has not been forgotten, and the serious has not been made doleful. Robert Louis Stevenson wrote the words. 1 See pp. 16 to 19 and pp. 24 to 30.Common School Course, Part /. 89 Page 21. Anew time-signature. Ob- serve the syncopation in the time exercise produced by a tie. Give a very strong accent to the note of anticipation. Meas- ures beginning with a rest should be men- tally accented. Explain the tie. With little singers, when a note is repeated, the syllable la, 16, or le will make the articula- tion clear. Page 22. A new time-signature. It does not differ from that on page 21 ex- cept that the pulsation is represented by a new sign, an eighth note. Ex. 42 will be a surprise. It closes in a Minor key, but the teacher need not say anything about it. At the foot of the page is found another time-signature, f. Each measure may be made a study at different rates of move- ment. The special points are the primary and secondary accents, strong on the first and weaker on the third pulsation. Note also the syncopation in the seventh meas- ure, where the secondary accent is antici- pated by the half note. Accent the note strongly. The questions of motive, tone color, and expression may be profitably studied by the teacher, and it is certain that thereby his or her own interest will be awakened. Many of us are called upon at times to join in a song or a chorus, and there can be no regret over the time and labor spent in learning to sing music at sight. “ Should this work in its earliest stages seem slow, it must be considered that the singers are hereby learning to read music as they learn the English language, silently or audibly, and that they are storing up for the future innumerable music pictures, which may and will be recalled with pleas- ure and profit in after years.” Ex. 47. The first four measures are in C, the second four in a.1 Page 23. A new scale representation. The Major Scale from G. When the little children sing the whole scale, take a lower pitch (C, D, or E) for G. Sing both real and pitch names ascending and descend- ing. In singing the divided scale, take the correct pitch. The new scale should be prepared by drill in mental work from the tables on the 10th and nth pages. When the children can sing these exer- cises, transfer the same to the represented scale. The rate of progress hereafter will depend upon the mental work. It should be referred to and repeated more or less every day. Such mental work is as necessary in teaching adults as in teaching children, for it is the foundation of all work. We cannot properly sing what we do not mentally know. Exs. 49-56. Melodies above and below the key note. Ex. 57. Two syncopations. Accent B and C. Ex. 59. Two syncopations. Accent G and A. Ex. 60. Exercise in the two tetra- 1 Major keys are represented by capital letters ; Minor keys by small, italic letters.9° A Handbook of Vocal Music. chords. A tetrachord is a system of four sounds. Two tetrachords are comprised in the Major Scale, the lower from one to four, and the higher from five to eight; tor instance, in C. Lower. Upper. The two series are relatively alike. Ex. 61. Mentally accent the rests and doubly accent the syncopations. These are very useful studies. Page 25. “ Through the Silent Hours.” Morning Song. A choral. Exs. 62-68. Three-part measure. Ex. 63. Study the Tone color. Ex. 66. A motive repeated in a lower pitch. Song. “The Finches are Singing.” Met. 132 = J Work up a climax on the long D. Sing the repeated words, “ For April is here,” 1st time p., 2d, mf> 3d. f Exs. 69, 70, 71. Practise until they can be sung rapidly, yet clearly. Song, p. 26. “ Down in the Fairy Dell.” Met. 160 = J'1 In directing the class, give but one beat in a measure. This should only be done after the song is thoroughly learned. Exs. 72-77. Four-part measure. Do not shorten the measures of rest. Think out the pulsations. Song, p. 27. “The Best of Wine.” Do not take the movement too slowly. Page 27. A new key, — D. Go through the preparatory work as suggested for the key of C. Exs. 78, 79, 80. Two-part measure. Melodic studies. In 79 give the rest its full value. Ex. 81. Study in b. Song, p. 28. “Don’t you Hear the Blue Bird?” Make it a characteristic “ Good Morning.” Song, p. 29. “The Friendly Cow.” A pleasant rhyme upon a homely subject by Stevenson. Exs. 88, 89, 90, 91. Sing no slower because these melodies are in half notes. Study the disturbances caused by syncopations. Song, p. 29. “ Robin, Robin Redbreast.” Do not sing too slowly. Song, p. 30. “ On goes the River.” Met. 120—J Keep up a bright and free movement. Exs. 92-96. Studies in three-part measure. Song, p. 31. “ If I were a Bird.” Met. 138 = J Exs. 97-100. Pulsations represented by eighth notes or rests. Ex. 98, is in b, but that need not be explained to the children. Song, p. 32. “ Dear Little Birdie.” Met. 144 = f Exs. 101-105. These are in four-part measure. Do not forget the two men- sural accents and that they are not alike. Song, p. 33. “ I Know the Organ.”Common School Course, Part L 9i This is a pretty picture with which to interest the class. See accompaniment given on page 52 of this Handbook. There are suggestions of modulation. Let the last four measures be gradually re- tarded and diminished. Page 33. New key. Major Scale from F. If the new scale representation is too high, take the pitch of D or E temporarily, or while practising the whole scale, above the key note. Take the correct pitch for the divided scale. Exs. 106, 107, 10S are in two-part measure. Song, p. 34. ■“ Drop, Drop, Drop.” Keep the time very steadily. On the word still, hold the vowel shape during the two measures. Pupils rarely hold the complex vowels without change unless they have been carefully taught to do so. Exs. 109-114. Various melodies in two-part measure. Exs. 115-118. Melodies in half notes. Two-part measure. Songs, p. 35. “ Stars are Shining” and “ All Things Bright and Beautiful.” Two simple melodies, the second a choral, regularly constructed. Song, p. 36. “ With Welcome.” Met. 112 = J Do not sing year as yee-ur or hear as hee-ur, — a small matter, but important. Exs. 119-122. Three-part measure. Song, p. 36. “ Come out of your Beds.” Met. 138 = J A very bright song. Song, p. 37. “Kind Words can Never Die.” Met. 112 = J Suggestions of modulation. Song, p. 37. “ Said a Pansy.” Met. 126 ^ A study in melody and rhythm. Be very careful to observe the rests and ties. Exs. 123-127. Melodic exercises. Practise until they can be sung easily and rapidly. The rapidity must always be governed by the clearness. Examine the form of these tunes, the motives or figures, and the rhythmic problems. Ex. 125. This has imitation. The first four measures are like the second four. Ex. 126. Do not accent the quarter notes in the 5th, 6th, and 7th measures. Song, p. 38. “The Rain is Raining.” A bit of humor in the words. Exs. 128, 129, 130. Four-part measure. Studies in rhythm. Song, p. 38. “O Lovely Bright Star.” A regularly constructed melody in short groups, each of which may be taken as a study. Page 39. Study in time. Six-part meas- ure. The pulsation represented by a quarter note or a quarter note rest. Exs. 131, 132, 133. Studies in the new measure. Song, p. 39. “ Every Flower.” The new measure with words. Remember the ac- cents, strong upon the first and less strong upon the fourth pulsation. This should be practised without notes. If notes are applied the proportion or strength of accent will come out naturally. Page 40. New notation of six-part92 A Handbook of Vocal Music. measure. Pulsation represented by an eighth note. The quarter notes in the 8th measure do not require accents. The same is also the case in the 3d and the 1st quarter note of the 4th measure of Ex. 134. Exs. 134-137. These are studies in the new measure. The last note of each should be slightly accented. Song, p. 40. “ Suppose the Earth were Barren.” Met. 144 = J' Give the tied notes their full value. Do not change the vowel shapes. Page 41. A new key, — B!?. In singing the whole scale, raise the pitch to C or D. In the divided scale, the F may be omitted or the pitch may be dropped to Ai?. Sing the scale ascending and descending. Do not let the young singers sing the upper notes loudly. Exs. 138-141 and Song. Very simple illustrations in the new key. Ex. 138. The tetrachords, the lower one reversed, making a continuous and con- junct melody. Ex. 140. This will require much care on account of the rests. Carry a strong accent in the mind. In using the Time- names whisper Ta with much energy. Song, p. 42. “ See how Fast the Snow.” Take care that the words night and light are not sung nl-eet and ll-eet. The vowels a and o are complex, and the shapes should be held. Exs. 142, 143. Study the rests. Do not shorten them, but bring the succeed- ing note in promptly. Ex. 144. This has three syncopations. Ex. 145. It begins upon five. The teacher will give one, and the class must take up the correct note promptly at call. Song, p. 42. *( Little Moments.” Met. 126 = J There are suggestions of modu- lations. Watch the effect of these upon the singers. Say nothing in explanation. Such effects will contribute much to the student’s perception of the language of music. Ex. 146. This ends in g. Song, p. 43. “ God of Heaven.” This is a choral for children, and it should be taken faster for them than for adults. Exs. 148, 149. Ties and syncopations. Song, p. 43. “ Listen how the Bells are Pealing.” Met. 120 — J Exs. 150-153. These are all in three- ' part measure. Song, p. 44. “ How Calmly.” Met. 92 = J Study the word sky. There is a con- stant inclination to change 1 into I-e and a into a-e. Hold the initial shape firmly. Song, p. 44. “ Oh, Tell Me, Dreams.” Met. 108 = j A poem worth singing, and singing well. Do not neglect it. Three- part measure in eighth notes. The sugges- tion made in the preceding song holds here. Exs. 154-158 are examples of three- part measure in eighth notes. The shorter notes suggest, but do not necessarily de- mand, a quicker movement. Ex. 158. The quarter notes in 1st, 2d, 3d, 5th, and 6th measures do not require an accent. Sing them softly.Common School Course, Part /. 93 The songs should be sung lightly and rather fast. A modulation is suggested in the second. Song, p. 45. “ Of Speckled Eggs.” The words are by Stevenson. Fun for the children. Exs. 159, 160, and 161 show forms of rhythm in four-part measure. Song, p. 46. “ Upon the Wall.” char- acteristic German song. Pronounce the syllables of the refrain, Fa-re-fa-ra, fa-room. Exs. 162-167. Practice of wide inter- vals in quick motion. Song, p. 47. “The Lark is so Brimful of Gladness.” Met. 144=^ This will require much vocalizing before the words are applied. Page 48. A new key, — A. As in other cases change the pitch to C or D for scale practice, but return to the right pitch for the divided scale. Exs. 168-175. Practice in two-part measure with quarter note pulsations. Song, p. 49. “ How Many Deeds of Kindness.” Give full value to the note at the end of the second and fourth lines. Ex. 176. This represents the same idea in whole and half notes. Prolong the note over which a o is placed. Song, p. 49. “ The Valley Rings.” Met. 120 = ^ Give the notes under the ^ double their ordinary value. Exs. 177-182. Different melodies in three-part measure. Song, p. 50. An old English ditty. Sing it in a characteristic manner. Exs. 183-186. Met. 80 = J or meas- ure. Practise in eighth notes. Song, p. 51. “The Stormy March.” This will require considerable practice. Begin with a careful study of the pulsa- tions. Sing without words at the outset, and yet keep the words in mind. As skill is gained, increase the rapidity until the teacher can direct with single beats. It must have at last a swing of consider- able force. Song, p. 51. “Oh, the Sunny Summer Time.” Met. 160 = It begins upon the second pulsation, and the measures should be carefully accented. Exs. 187-190. Four-part measure. Ob- serve the primary and secondary accents. These two songs serve as illustrations of the measure. Each poem is worthy of careful attention. Exs. 191, 192. Six-part measure with quarter notes. Exs. 193, 194, 195. Six-part measure with eighth notes. Song, p. 53. “The Flowers are Bloom- ing.” Met. 132 =J Song, p. 53. “The Spring-tide Hour.” Met. 84 = / Page 54. A new key, — E'T Take the full scale at first. When this has been practised sufficiently the divided scale may be tried as printed. If more of these lower tones are desired, raise temporarily the pitch of the key note. Exs. 196, 197, and 198. Illustrations of two-part measure in quarter notes.94 A Handbook of Vocal Music. Song, p. 54. “The Air is Balmy.” Sing the refrain, “ O Lovely May,” with much expression. Encourage such singing in the classes for the young children. Exs. 199-205. Each of these introduces some special study or problem which will explain itself in the doing. Ex. 200. All the accents are marked, as reminders to teachers and singers. Song, p. 55. “The Fitful April Sunshine.” Met. 132 = J Modulations are suggested. Exs. 206, 207, and 208. Melodies in three-part measure with eighth note pul- sations. Song, p. 56. “ Lullaby.” The words are by Hood. It is a real cradle song, and worth study. It is given on page 54 of this Handbook, with an accompaniment that shows the suggested or foundation har- monies. Exs. 209, 210. Four-part measure. Song, p. 57. “The World is so Full.” Sing it in a rollicking way and with much spirit. Words by Stevenson. Exs. 211, 212, 213. Six-part measure with eighth note pulsations. Song, p. 57. “ Here We Go Up.” This has been the property of the nursery for many years. Page 58. A new key, — E. The same practice as in the key of Eb. Exs. 214-220 illustrate two-part measure in quarter notes. Ex. 217 contrasts Major and Minor modes, ending with the latter. Song, p. 59. “A, A, A.” An old Ger- man song. Especially fitting for Christmas time. Notes followed by rests may be somewhat shortened. Exs. 221, 222. Further illustrations in four-part measure. Ex. 223. Six-part measure, with quarter note pulsations. Song, p. 60. “Under the Green Hedges.” Met. ii6 = J Suggested modulation. Ex. 224. Another form of six-part measure. Eighth notes. Song, p. 60. “The Seed that Springs.” This should be taken rather fast, and sung in an easy and graceful way. Exs. 225, 226. Two-part measure in half note pulsations. Song, p. 61. “Of Birds who Sing.” Met. 80 = ^ A choral for children, but do not sing it in a doleful manner, with notes of great length. Children cannot easily control the breath in such slow move- ments, and the interest will soon be lost. Exs. 227-230. Three-part measure with quarter and eighth notes. Page 62. A new key, — Ab. Try an intermediate pitch for the whole scale, say D or E. For the divided scale the pitch is right. Give careful drill from the exer- cises written for this purpose.1 Exs. 231-234 are in two-part measure with quarter note pulsations. Song, p. 62. “ Summer Suns are Glow- ing.” Met. 120 = J Ex. 234. Two-part measure in half notes. 1 Progressive Exercises in the Major Scale, Second Series, Published by Silver, Burdett, & Company.Common School Course, Part /. 95 Ex. 236. For contrast in mode. Ex. 237. Three-part measure in quarter notes. Song, p. 63. “I Am a Bold Fellow/1 It should be sung in a dashing way, with plenty of life. Ex. 238. Four-part measure. Song, p. 63. “ There was a Man/’ This is a good illustration of the perplexities of the English language. All foreigners ap- preciate these. Exs. 239, 240. Three-part measure. Exs. 241, 242, 243. Six-part measure, with eighth note pulsations. Song, p. 64. ‘‘ While my Maidens Spin- ning.” The words will readily suggest a fitting movement. 2. RECAPITULATION. This closes Part I. of the Course. It will be seen that this part of the Common School Course easily covers the field, and introduces the varied forms likely to be met with in the earlier stages of study. The nine keys are sufficient in 'number, and the variety is all that is needed in ordinary practice. The range for young voices should not be higher than E, or lower than C, and either extreme should be sung softly. The movements that are suggested may seem fast, but the author has so often seen little children physi- cally exhausted from singing too slowly, that he would prefer to err in the direction of shorter notes. In any event, it should be remembered that it is music that we desire, and that the children must always be interested and kept on the alert. Let the movement be in consonance with that manifested in other things. It should be understood that every exercise and song must at first be taken up slowly and carefully. Do not let any tone be sung that is not first mentally known. This can be easily established, not by the dry mathematical calculation of how far it is from F to B, or from C£ to G, and what it should be called, but by its relative connection with what the singers can easily learn and know, — the foundation of ev- erything, •—our accepted Major Scale. In average cases, the work that has been considered may be completed in the three years of the primary schools. Before taking up the next section of work it may be well to state in recapitu- lation the various heads that have been noticed. 1. Tone-quality, perfected through the use of the different vowel shapes. This, with a fair amount of tact, can be made interesting to the youngest singers. A succession of a few notes, five, or the scale series, may be used for this purpose. 2. Mental work through the names (numbers) of the degrees or intervals. Sing from the tables. 3. Practice of Time, using the pen- dulum metronome, repeating the Time- names. Do not sing them. Gradually acquire skill in two, three, four, and six96 A Handbook of Vocal Music. part measures. During all this compara- tively dry work the little singers should be interested in music by the use of attractive Rote songs, in which freedom of move- ment and expression may be taught. Al- ways aim for the most finished tone, — never loud, but pure and sweet. Try to have pupils sing in as accurate tune as possible. Make these lessons short, and do not let the children become physically weary. Settle all doubts in their minds, and they will be interested in doing all they can. 4. Presentation of the scale upon the staff. For illustration, use at first the Chart, and afterward the book. When there are no charts, take up each key as directed in the Handbook. 5. Time, as represented by notes and illustrated by Time-names. 6. Mensural accents must be carefully and persistently repeated and established. The success of the succeeding studies depends entirely upon this work of pre- paration. XV. THE RELATION OF KEYS. MUCH outside preparatory drill should be done, before taking up the exer- cises and songs of the Second Reader, Normal Music Course; but if the exercises are followed in regular order, there will be little difficulty. The exer- cises upon the Second Series of Charts may be used as an introduction. The first page of the Second Series of Charts is a so-called Graphic Modulator. This represents, in an exhaustive way, the relation of the various keys to each other, and the tones common to the keys where a transition may be made. As an exhibit of this relationship the Chart is of much value. It may be easily established in the stu- dents’ mind that our whole tonal system is based upon the Major Scale, a tone of which being given, the rest may be known and sung. In this way any note may be chosen, as in the first table of intervals upon the drill cards. The names, real and pitch, are shown for every key, and some practice may be made in transition into different keys ; but it would be a waste of time and effort to endeavor to make a complete circuit through all the keys. In several of the books a series of practical exercises will be found which establish all tone relations and note representations. The endeavor to go from C, through several keys, returning to the starting- point, may occasionally be accomplished in tune, but if so it will be an exception to the general result. Teachers are cautioned against long continued practice of this character, as it becomes very wearisome. Few, even skilled singers, can hold the pitch withChromatic Tones. 97 sufficient accuracy. The Chart is only a statement of the facts, simple with instru- ments, but subject to failure with human voices. Chart No. 2 shows the tone relation between the keys used in the books, rep- resented in notes. The same caution is to be used here as in Chart No. 1. Tune- fulness is such an absolute necessity in singing that the whole attention should be directed to that end. “ Tolerable tune is not to be tolerated.” Accuracy of pitch and purity of the tone quality should be the aim of all. It may be well at this time to place in regular order the various divisions as con- sidered and treated in the three different Courses already described. r 1. Mental. Tune . . . ,-s 2. Represented. ( 3. Divided or chromatic, r 1. Mental. Time ....•< 2. Represented. ( 3. Divided pulsations. c 1. Mental — suggested. Tone color . •< 2. Represented. ( 3. Combined — chromatic. XVI. CHROMATIC TONES. A LTHOUGH but a part of the chro- ii matic tones are represented in the Second Reader, they should all be known in all the keys commonly used in the school music readers. The complete series in all the keys with their names are here published. They are shown as they are derived from the Major Scale. In considering this question from C there will be indicated : 1. The Major Scale. 2. The Chromatic Scale. 3. The Enharmonic Scale. The following is a graphic representation of the Major Scale from C. Ascending. —t T -ft Y . Z? ^ V 1 Descending. Cl J I 7 ft Y & £2 & I Xs Without using technical terms, the wider spaces may be called whole steps, the smaller ones half steps. Within these whole steps may be introduced other notes, called chromatic, which divide these spaces into half steps. This is done by the use of chromatic signs as follows; B (natural), % (sharp), * (double sharp), b (flat), or bb (double flat). The following shows the chromatic ad- ditions to the ascending and descending Major Scale from C. These foreign or chromatic notes were formerly often printed or written in colored ink, hence the term.98 A Handbook of Vocal Music. In ascending, the change is more easily made from the lower note ; in descending, it is made from the higher. The Major Scale from C, with added chromatic notes. (The large notes are those of the Major Scale. The small notes show the chro- matic deviations.) By the use of two different kinds of notes the chromatic deviations are made clearer. Ascending. I r\ 2 3 4 5 6 7 8 gfe — ft* & ^ 1 ^ -S’- -z? ## ^ —<2 #• 0 —S*fL . ^ 1 sharp 1 sharp 2 sharp 4 sharp 5 sharp 6 Descending. 87 6 5 4 3. 2 1 —& b# ^ ^ b# 2?— 1 T1 flat 7 flat 6 flat 5 —^ 9-0 flat 3 2? VW ^ flat 2 In the ascending scale the chromatic notes are known as sharp one, sharp two, sharp four, sharp five, and sharp six. In descending they are known as flat seven, flat six, flat five, flat three, and flat two. These are their real names. Later on they receive their technical designations, and a complete table is shown elsewhere. This is at first the simpler way of pre- senting these notes and tones, and thus learned they do not burden the mind with names which at the outset have little significance. A B is raised by means of a # A $ n v ^ Ab „ „ ■ B A t| is lowered by means of a b A# „ B At? „ „ bb It will be noticed that the intervening half-steps have two notations, but these are alike in sound. Some teachers have endeavored to make a difference in pitch between these two representations, raising the chromatic tone more than half way to the step above, or in descent lowering it beyond a midway position. This is not demanded by the ear or by mathematical rule. In this way much time and labor was wasted by the suffering singers owing to the ignorance of the teacher. An even division will be more in accordance with the mathematical or true scale. This so-called tempered scale is near enough to satisfy ordinary ears. John Sebastian Bach was content with our present scale, and wrote the celebrated ((Well-tempered Clavichord,” using the notation of all the keys.Chromatic Tones. 99 The Enharmonic Scale represents both chromatic notes. The difference between these is one of notation, not one of reality. Compare, for instance : Jfi and t?2 ; #2 and t?3 ; #4 and I?5 ; (5 and [76 ; #6 and by. The Enharmonic Scale from C. 1 2 .34 •p-'N-tfzr #1 ^ #2 b3 1^- 5 6 7 #4 1?S #5 P6 #6 b7 The distance from 1 to Jfi or i?2, from Ji or b 2 to 2 is the same as from 3 to 4, or from 7 to 8. In the study of the chro- matic tones they are most easily learned by taking them from the next letter; for instance, b2 from 1, %i from 2, followed up in a similar manner throughout the octave. Again, we may make a division of our Major Scale in the following manner : 1 to 3 is precisely the same as 4 to 6, or 5 to 7, and the study of the first embraces all the difficulties of the octave. Repre- sented in notes of the key of C these divisions would be as follows : \J „ I jt 51 gl - I ((\ T " £2 IZ —: >0 12 1 Written in order they are as follows : 1 2 3344 5 65 6 778 ri y- j j 1 1 h-a, -L« J4< ~fr fy , JJ. LL uhar x-4+ar b.#Q.^J 1 J The teacher is advised to limit the prac- tice at a single lesson to one of the three divisions,— 1 to 3, 3 to 6, and 5 to 7. The intervals 3, 4 and 7, 8 are diatonic semi- tones, and they represent the tonal differ- ences in the chromatic sequence. The author would here emphasize the great importance of proper attention to this chromatic work. If the various prob- lems are simply presented, at the outset, in the order already suggested, the pupil will, without any especial hardship, soon lay the foundation for independent chromatic work. Such preparatory study will also be found very helpful when the pupils come to take up the subject of Minor Scales. The succeeding tables have been pre- pared for the study of chromatic intervals. In the more distant skips the chromatic tones may be readily learned, by thinking the intervening diatonic tones to the note above or below the desired deviation. Follow the rule previously given, taking the chromatic tone from the nearest half-step above for a jfi, and the next half-step below for a (?•IOO A Handbook of Vocal Music. Progressive Exercises in Chromatic Tones, for the Guidance of Teachers. 1 Mental work preparatory to the study of the notation upon the staff. Take as the pitch of one (i) C, C#, D, Eb, or E, for Sopranos and Tenors. For Altos and Basses G, Ab, A, Bb, B, or C. 1. 1, 2, 3, 4, 5, 6, 7, 8. — 8, 7, 6, S, 4, 3, 2, 1. 2. 3, 4, and 7, 8, represent the space be- tween adjacent chromatic tones. Enharmonic tones are alike in sound, but differ in name and notation. They are indicated by slurs. 3. 1, 2, 1. —2, 3, 2. —1, 2, 3, 2, 1. 4. 1,12,1. — 2, {1, 2. — 1,12tjl, 2.-2, Rl, 12, 1. —2, 13, 2.-3, 12, 3X2, 13 12, 3— 3. J213, 2.— 1, |1, 1—2,b2, X-2, {2, 2. -3, 13, 3. 5. 3, 4, 3. —4, 3, 4. 6. 4, 5, 4. —5, 6, 4.-4, S, 6, 5, 4. 7. 4, 15, 4. — 5,14, 5.-4, 15 R4, 5. — 5,|415, 4. -5,16, 5.-6, Jt5, 6^—5,16 J5, (X 6,35 16, 5. — 4,J4,4. — 5,l5,5X5,B5, 5. -6,16, 6. 8. 5, 6, 5. —6, 7, 6. — 5, 6, 7, 6, 5, 9. 5, 16, 5.-6, 35, 6.-5,16 35,6.-6,8516, 5. -6,17, 6. — 7, 86, 7X6,17 J6, X 7, J617, 6.-5,15, 5. — 5,15, X6, #6, 6. -X, 17, 7. 10. 7, 8, 7. — 8, 7, 8. The Completed Scale, ljl, 2,82, 3,4,84, 5,85, 6, 86, 7, 8. 8, 7,17, 6,16, 5,15,4,3,13,2,12, 1. The Enharmonic Scale. 1, gi 12, 2, 82 13, 3, 4, 84 15, 5, 85 16, 6, jX, 7, 8. """ General Drill. Take as the pitch of one (1) C, Cif, D, DS, or E, for Sopranos and Tenors. For Altos and Basses, Ab, A, B7, B, or C. 1. 1,2,81,2,1.-2,81,2,1.-3,81,2,1— 4,81, 2, 1—5,81,2,1.-6,81,2,1— 7, fil, 2, 1—8,81, 2, 1. 2. 1, 3,82, 3, 1—1, 2, 82, 3, 1—3, J}2, 3,1. -4, }2, 3, 1—5,82,3, 1—6, 82, 3, 1. -7, 82, 3, 1— 8, 82,3, 1. 3. 1, 5, fi4, 5, 1—2, J4, 5, 1—3,84, 5, 1— 4,84,5, 1—5, 84,5, 1—6,84, 5, 1— 7, J4, 5, 1—8, #4, 5, 1. 4. 1, 6,85, 6—2, 85, 6, 5, 3—3, fl5, 6, 5, 1. — 4, 85, 6, 5, 1—5, 85, 6, 7, 8—6, 85, 6, 7, 8—8, 7, 35, 6, 8—8, 85, 6, 8. 5. 8, 7,86, 7, 8—5,86, 7, 8—4,36, 7, 8— 3, 86, 7, 8.-2,86, 7, 8. 6. 1,1-2, 1. — 2, b2, 2, 1—3,b2,l—4,b2,1. — 5, b2, 1. —6,1-2, 1-7,!-2, 1—8,b2, 1, 8. 7. 1, 2, 1-3, 2, 1—1, 1-3, 1—4, b3, 2, 1—5, b8, 2, 1—6, b8, 2, 1—7, bS, 2, 1— 8, b3, 2, 1. 8. 1, 2, 3, 4, b5, 4, 3, 2, 1. 9. 1, 3, 5, b6, 5, 1— 1, b6, 5, 3, 1—3, b6, 5, 1— 4, b6, 5, 4, 3—5, b6, 5, 8—7, be, 5— 8, b6, 5, 4, 3, 2, 1. 10. 1, 3, 5, 6, b7, 6, 5, 3, 1—1, b7, 6—2, b7, 6— 4, b7, 6—5, !>7, 6, 5, 1—6, b7, 6, 5, 3—8, 1-7, 6, 4, 2, 5, 1. Copyright, 1895, by Silver, Burdett & Company.Chromatic Tones. IOI Since few regular teachers have received The author has therefore deemed it more than a very limited education in best, at the risk of some repetition, to music, it is no easy matter for them to reproduce here all the Major, Minor and transpose a particular exercise into other Enharmonic forms that are brought into forms, although they may be able to work use in the books or that are to be found well with it when represented. in ordinary music. The Major Scale from G. i 2 3 4 5 6 7 8 zzirig ^ & / ^ & & t Y & 2? & z & ; u sm rhe Chromatic Scale from G. (The large notes are those of the Major Scale. The all notes are the chromatic deviations.) Ascending. 1 2 3 4 5 6 78 > T 0 * -f r #2 #4 #5 #6 Descending. 87 6 5 4 3 2 1 n ,4i ^ H- .... u L. LZ^2? '79 h- i T ^ ^ 22 n-rn h- 1 4 } ^ 2£ 12# & ] b7 b6 b s b3 b2 The Enharmonic Scale. 1 2 3 4 5 6 78 0- jt 1 L l- . u. ^ T.:If “ TT" Ri (2#&2? ttP CP P^ I u. • ^ Hm <5 It* “ P# . H ^ 1 (L T <7 .fli7* u2? z# tr^ * —■==b^ 4 ~T J *T TT "J tfi32 S233 #4 b 5 fo b6 $6 J>7 A t5 affects a # as a b does a Q. The Major Scale from D. n *, 1 2 3 4 s 6 7 8 12, jj — (5? -| it „5 ^ ® 1 102 A Handbook of Vocal Music. The Chromatic Scale from D. i 2 34 5 6 787 4 3 -8-- P P #4 #5 P b 7 b6 bs b3 b2 The Enharmonic Scale. 1 2 #1 172 #2 b3 #4 bs #5 b6 £6 b7 The Major Scale from A. 1 2 3 --------- 5 ~z?~ 6 -£?- 7 jg 8 -fS>- The Chromatic Scale from A. A * changes a # as a f does a tj. 1234567876 5 4321 ri > z: tc y. ~^TSg ^ ^ „ 1 IT J 4! I #1 #2 £4 £s #6 b7 b6 bs b3 b2 The Enharmonic Scale. 1 2 3 4 5 6 78 n £ _ l t~ 12. 4+^ V/- b# L/ 4fu.TI | - u- . S3 \J 9 U& JL* \s T1 ~zzr j£ ~ zzks 5^5 tti P?& M TT V S’ Up ter "Z"fT —^ At P b2 #2 t>3 #4 bs #s ’ b6 #6 t>7 The Major Scale from E. 1 2 3 4 5 6 7 8Chromatic Tones. 103 The Chromatic Scale from E. 1 2 3 4 5 6 787 65 43 2 1 ITS- Lf ElIHrIZ?[l*Y©I5S ■' j it ^ ^ i-jj, .7 b6 bs b3 b2 The Enharmonic Scale. ^JtZ?3 4 5 6 7 8 J LJkJiSi1 u. jl e- gz; 1 „tra m. pr^ -~a^ rjp—tts? fp &• 1 Y ^ ** ^Km 8^^ j£»z* —s# * a ? | \S z ^zj&jq ft* %&** h# * -=g’^ —-| fj 1 #1^2? #2_j3 If+Jjj #5_b6 #6jT7 The Major Scale from B. tt 1 2 3 4 5 6 7 8 1 7 1 jl S*iii 1 IT T tt ^ Z? ^ I 'S T * . ^ . Z5> ^ 1 tj gjj &* "Z2‘ The Chromatic Scale from B. n*tt 1 2 3 4 5 6 78765 43 2 1 \ TL 4+ji, ^7 l- ... —1 Cc W 1 tt 4 & & u * Km . H — I V [7 * ^ 75T-f»^ H- ^ tt* 6 \>s b b2 The Enharmonic Scale. 1 2 p t>2 #2 b3 #4 i>5 #5 b6 J6t77 3 4 7 8 THE SAME SCALES REPRESENTED FROM FLAT KEYS. The Major Scale from F. 1234567 £ The Chromatic Scale from F. 1 23456 787 4 3 -rs P P P P. P t>7 b6 t»5 The Enharmonic Scale. 1 2 3 4 I? 3 t>2 7 8 #1 t>2 #2 b3' #4 b5 #5 b6 #6 t>7 The Major Scale from Bi?. 122 ---^ fj Chromatic Tones. 105 I The Chromatic Scale from Bit. 12 34 56 787 4 3 £ :SF-----------------n- - The Chromatic Scale from Eb. 123456 fc 787 4 3 =22#*: ~b-»-gHzi -#5=2=#* #1 #2 #4 #5 #6 b7 b6 bs The Enharmonic Scale. 1 2 life tr b3 ba 7 8 ^^=^l*=^=fe|g==Ig: #i^_b2 P^h, #4__bs #s^_b6 #6^7 A bb affects a b as a b does a Q. To restore bb to b write t]b. To restore a * to £ write t®. The Major Scale from Ab. 23 ' " 1 4 5 6 7io6 A Handbook of Vocal Music. The Chromatic Scale from Ab. i 2 34 s 6 7 %_ 7 , 6 5 43 2 i Cl k—4- - — — - . ., . m- ^ Mm p o vs h* lu ZZlH-b~ 3 &-&S- l, -, , i / y^—[/ P pj#^^ w* —PI?t?# ■ &—i r #1 #2 #4 #5 #6 b7 b6 bs b3 b2 The Enharmonic Scale. i 2 34 s 6 78 Q w^ b« B/9 -«’- -JJUlJZ bL , i r - K--J, vvs □ l/P^ l -/hT-p -h- h bb# &inz*—^ ff* ^ t ^ 1 //tv ^n7 p It#trfc^i&' w# ^ ^ ^ ^ JEEZ z^ — ~ 1 L #02 #03 #4 bs Jts^_b6 #0.7 The Major Scale from D>. 12345678 zzpzza ,,1 -J& :s jyT: >5 p ' 1 —i ft] Y^OZ-k ^ p^ 1 Z 17 - . ^sr & •' ' 1 J The Chromatic Scale from Db. 12 345678765432 1 / iy~tr “7i Z3 kz ^ ^ Ri~~p ^ ph7»" >kk- .ll. n if i- * t) ^ nm & p^-^-P717# „ L. 1 ~j 2/ £j# ^ W® ^ 6W#-^—1 Jt1 #2 #4 #5 #6 i>7 [76 bs b3 (72 The Enharmonic Scale. a l , 2 3 4 5 6 78 —]/■...U-ZZS . ... , , l T ,-4414- - LL TL ^ hk- Hh^ L/PlTP ^ 1 -t: Ltlr| , , , l kpR^rvforwp H# PPtf-flFP ^ ■ 1 • £ -zi—tp-w-*-g^=gg=ft^T—^ ■■af JU-ZLT —H ZZZZZ3 #1^2 #2^b3 #4j?5 #5j6 #6jT The Major Scale from Gb. I 2 3 4 S 6 00 NChromatic Tones. 107 The Chromatic Scale. 1 234 HH 787 ^5—£2—^ 4 3 -&W site #1 #2 #4 #5 #6 t>7 b6 bs b3 bz The Enharmonic Scale. 1 2 z=b 5 6 78 ^^5rj=p=bbg=t|bg=tt^fz&g—^ fli b2 p b3 U bs #5 b6 #6 b7 It is to be regretted that the words sharp, flat, and natural are interchanged, but, by carefully observing the signatures, they can be easily adjusted. The introduction of the chromatic notes and tones brings us to a consideration of the second division of our study of Tone color. In the melodies of the earlier exercises and songs there were no jis, bs, or tjs, to show deviations from the Major Scale. The only hint was that derived from hearing or singing the melodies, which suggested a feeling of changes in the key or mode. These changes, many times varied or repeated, were pictures in Tone color, that after a while made their impressions and were enjoyed. In the next stage, drill was prepared in all the chromatic changes. They were named and now they are represented. In these cases a different kind of suggestion is made, and the singers are slowly but effectually brought to consider the higher sentiments of music, and to recognize a more advanced thought stimulated through the words. It will thus be seen that in Tune the three heads have been introduced. They are mental, represented, and divided. The third will soon be considered more in detail as the course is followed. Time has also been developed as mental and represented in undivided pulsation. The divided pulsations begin with the Second Reader. Tone color has been mentally consid- ered. Its representation through modu- lation and mode is a more gradual work, and will be approached very slowly. This will all be developed in the singing. The simplest melodies and songs are of great value, and they bring delightful memories to the mind. We never forget the songs of this nature, but there is a bound to this simplicity. The limitationsio8 A Handbook of Vocal Music. of at most three or four harmonies weary us. As has been stated with reference to concords and discords, all music needs the vigor derived from the harsher sounds, and the judicious intermingling of the two gives to music its indescrib- able charm. The more varied effects should yet be free from the combinations and successions which are artificial or “ made.” All these effects should be clear and natural. No regular order is observed in the introduction of chromatic notes in the Second Reader of the Normal Music Course, as the author desired and ex- pected that the Chromatic Scale, both mental and represented, should be pre- viously studied from the Second Series of Charts. According to this plan any chro- matic note might have been introduced at the outset. On many accounts this would be the better way, but as, in the ordinary work of sight-singing, the more familiar forms of modulations give fewer devia- tions, the earliest attention may be di- rected to #4, !?7 and £5. In The Cecilian Series and in the Common School Course these three common chromatic notes pre- cede the rest, and are presented in each key in regular order. XVII. DIVIDED (HALF) PULSATIONS. IN this case two notes are sung with each pulsation or swing of the pendu- lum. These sub-divisions are repre- sented by the Time-names Ta fa, Ta fa, To fo, Te fe. The pendulum should be kept in con- stant use. Do not neglect the accents of the measure. Let each syllable be spoken (not sung) as clearly as possible, and let every exercise be prepared for by a drill in time. Each variety of measure will be taken up in the succeeding pages, as it appears in the Second Reader, Normal Music Course, and exercises in prepara- tion for it will be suggested. The practice should be done at differ- ent rates of speed, and each exercise must be repeated many times so that when notes are sung the mind may not be disturbed by the endeavor to bring together the two qualities of Tune and Time. The question of time must not be neglected, and when skill is gained through the knowledge and perception of the mensural accents, the study will be very interesting. The following series may serve as an introduction to the use of syllables or Time- names, representing the divided pulsation in two-part measure. Ta Ta fa Ta fa Ta Ta fa Ta faMetronomic Signs. 109 In the case of tied notes the vowel sound is retained but the consonant is omitted. Illustrations. Ta fa Ta fa spoken Ta fa — a fa Ta Ta fa “ Ta — a fa Ta fa Ta “ Ta fa — a When rests are introduced, great care should be taken to preserve the accents. It is good practice to represent by rests every possible combination of sounds, hav- ing the Time-names produced in energetic whispers. Keep the eyes upon the pen- dulum. Vary the rates of movement. EXERCISES IN TIME. Two-part measure in quarter notes. Ta Ta fa Ta Ta fa K '' ' 1 \t^-* \ Ta fa Ta Td fa Td 12 n n I 2 H M H Hi E 1 E 1 Ta fa Ta fa Td fa Td fd \z j1 12 M I E * * # 1 I4T* 1 Ta - - a fa Td — d fd 12 / J I 2 H N* H I E ' * 1 E " ^ 1 Ta fa — a fa Td fd — d fd 12 „ l E # 1 E 1 Ta — a Td — d 12 J I 12 1 E 1 E 1 Ta — a Td — d Take each of these as a study, and do ! not leave any one of them until it can be | perfectly done at different rates of rapidity. XVIII. METRONOMIC SIGNS. THESE signs of movement are given in the succeeding pages for each song ; for instance, Song No. 1, Second Reader, is marked 84 = J, which indicates that this is the rate of pulsation for quar- ter notes. Set the metronome at 84 and it will vibrate so many times a minute, giving the time for each pulsation repre- sented by a quarter note. The figures always indicate the unit of pulsation. It may be well for the teacher to prac- tise giving the beat with a pencil, baton, or pointer. The singers should, when itI IO A Handbook of Vocal Music. is possible, learn to sing the song from memory, and the teacher can then easily lead the class with the freedom necessary to give expression to the sentiment of the words. This should be done with great care. Avoid extravagance of movement. Do not pound upon a book or desk. Do not stamp the foot or make violent ges- tures or demonstrations. If you are liable to give way impatiently to these very annoying intrusions, sacrifice your own individuality and, lest you be heard, lay aside pencil or pointer and use the hand only. No offence is greater than these superfluous movements and noises, es- pecially when indulged in on public occasions. It may be well to suggest at this time that the class should never be required to do their most trying work before the public. Take some selections from the preced- ing year so that they may have the requi- site confidence. Do not ask the public to have sympathy for, but always sympathy with the singers. Often have I said from my very soul with Luther, — and will here say again,— “ Music is a fair and glorious gift of God. I would not for the world forego my humble share of it.’7—Anton F. J. Thibaut, Purity in Musical A rt. Ye pedlers in art, do ye not sink into the earth when ye are reminded of the words of Beethoven on his dying bed, “ I believe I am yet but at the beginning ” ? Robert Schumann. MOTIONS IN BEATING TIME. Two-part Measure (|, |). i down — 2 up. Three-part Measure (f, J, f). Four-part Measure (f, %, |). Six-part Measure (J, |).The Second Reader, Part I. m XIX. THE SECOND READER. Part I. 1. ANALYSIS OF EXERCISES AND SONGS. IN the following pages, hints are given to assist the teacher. They have ref- erence to problems that are to be solved in the exercises and songs. Exs. 1-14 contain no novelties in tune, but they serve as illustrations in time, giving many half divisions of the pulsation. Preparation must be made for these in the preceding exercises in timeras already suggested. If the accents are felt, then there will be no difficulty in singing melo- dies in which these divisions occur. Ex. 15 is a recapitulation of the preced- ing. Although it presents some difficulties, they are by no means insurmountable. Exs. 16, 17, 18. Rests in various applications. Prepare for these exercises with the Time-names. The Time-names are printed below the exercises as guides, and every new division is shown as it appears. Song, p. 7. “ Morning Hymn.” This is a simple melody. The words should be scanned. This will show, by reading, the metrical structure. Make an agree- ment between the words and the music. Words having the vowels a or ! should be carefully watched, as they are rarely given correctly. As a preparation for the next exercises, give the following time drill with great care. DIVIDED (HALF) PULSATIONS. Ta Ta Td Td \9 J J 1 1 J J J J 1 J 1 |2 « « I 1 v* 1 1 ! 12 \ r* # 4 # i r" 1 |2 - | ^ ^ ^ ^ 1 f S Ta fa Ta fa Ta fa Ta Td fd Td fd Ta fa Td I! - * *—II - * ------1 Ta fa Ta Td fd Td 12 J j J 12 . - 1 12 ~ Ta Ta 12 fa Td Td faI 12 A Handbook of Vocal Music. 12 J . 1. ill 12 V* N* - 1 12 Ta fa Ta ’ 1 fa 12 Td «\ fd 72 * 1 fl 12 J J I [2 * I 12 Ta — a * 1 fa 12 Td 72 : 1 fa |2 J J I L2 v» BB 12 Ta fa — a 1 12 r\ za fd — d * 1 fa 12 ! J J I 12 s 1 v. Nf X 1 12 & I ^ * I b 1 i ^ rs 1 fa Ta fa Ta fd Ta /« Td Exs. 19-27. Divided pulsations in two-part measure with half notes. Ex. 21. This is in the Minor mode. THREE-PART MEASURE. HALF PULSATIONS. The following exercises illustrate the more familiar forms in the various measures. o \ s s s s N Ta f a Ta fa Te fe Td fd Td fa Tefe Ta/a Ta fa Te fe Td fa Td fa Te fe Ta fa Ta Te fe Ta-a fa Te FOUR-PART MEASURE. *11111*1111-J—T2-J—1 - / *1 / *i /1 - Ta fa Ta fa To fo Te fe Td fd Td fd To fd Te fe Ta Ta fa To Te fe Ta fd Ta fd To fd Te fi U r J >3 SJ J J ^>JAl iT h T, j li ri j 1 "n 11 Ta-afaTo-efe Ta fa-a fa To fo-efe | 1 " 1 W \ W 1 • |~» • W Td fa TS fa Td fd Te fe Ta fa Ti ' ' '1 l To fo TeThe Second Reader, Part L ii3 SIX-PART MEASURE. Ta fa Ta fa Te fe To fo Ta fa Te fe > 8* Ta fa Ta fa Te fe To fo Ta fa Te fe j-ju~n Ta - a Te fe To - a Te fe Ta-afa Te To-a fa Te Ta - a fa Te fe To-a fa Te fe —-A- Ta Ta fa Te fe To - a Te Ex. 28. Three-part measure, with quar- ter notes. Ex. 32. Do not accent the half notes in the first and second measures. Ex. 33. Syncopation. Accent the third pulsation strongly. Exs. 34-40. Half pulsations. Exs. 41, 42, 43. Some peculiarities of rhythm. Ex. 44. Introduces a new measure. Three-part measure with eighth notes. Ex. 48. A short melody in a Minor key. At first these melodies, when de- rived from the Major, will seem strange. By and by, in the course of the study, the Minor key wall be known in the same way as is the Major, from its key note, when 6 of the Major becomes 1 of the corres- ponding Minor. Exs. 49-55* Varieties in rhythm. Ex. 56. Four-part measure. The songs for a single voice continue the suggestive character indicated in the pre- ceding books, but with the added variety that comes from divided pulsations. These melodies gain greatly from the new forms of rhythm. As an illustration of this, the song, No. 2, on the 12th page, is here repro- duced on the three following pages, with the harmonies upon which the melody is based. It is hoped that this idea may not be looked upon as a vagary. If the teacher will watch the effect of this as it is developed by the singing, the author feels sure that it will be seen to have a reasonable foundation. In the melody of this song there are two imitative passages. Compare the group of measures 1-4 with 5-8. The intervals are not identical, but there is a similarity at once apparent to the eye. The accompaniment also carries out this idea. The Tone color shown through the harmony is interesting. The first four measures are in C, the 5th and 6th are in a, and the 7th and 8th show a modulation into G, which is supplemented in the same key by measures 9-12. The second imi- tation is shown with the words “And like the flower, which all may see.” Here the intervals are exact. Questions of this kind will be of much interest to the earnest teacher or lover of music, and lead to a higher estimate of the intellectual value of the art.ii4 A Handbook of Vocal Music. A WISH. Second Reader, Normal Music Course, Page 12. (With suggested Harmonies.) n h 1—Xn M * [ 1 1 \ —1 K 1 r— 9E j —d j w 9 5 , , .V Thy heart should like a foun - tain be, So calm, so full of .-fX : —1 i 1 b a -1 = r h ItHk—=t —J d a 9 —^ £ 1 =1 N— 1 =1 k J 3 A—0 1 « £ wT-—S—d 0 fl J —j— tr ' ' r J., , [-4 4 . a.— .^ H ■■ >f H 5* T—m £2 9 ^ H ^ d ^ j/J- P r r -f- 1- —0 0 jz i] ^ ^—hr 1 J 1 9 —3^—9—J—9—r—1 ^ * • t=j - • 1 pur - i - ty, And 9 lik 9 e the sun, that, t - k far a - way, Still 1 ^ 1 1 h—1 Pd—1 (3 r s ^ \ 1 4 9 iP=d 0 * J hr d n 1 H p » 3 1 1 p j \ \r 0 . d d d # a J —4 1 J 4 ^ J r 1 s>- -0- •- A r ^ "j i 9 9 9 * * -9- ~ 1 J 1 1 tty; 1 w p j j j j I ftTT: 9 r 9 ... Nf fl a^ m a ^ J . J^J^ 4* 1- W =H 9 1 9 9 9 dt* . 9 =f* ^ 1 ^ 9 ^ r . “ | W ' i r 9 ynT 1 r t 9 r r i Vdrr lt r 1 ■ -—9-- 1 1 1 r 1 sends o’er earth its friend - ly ray, And ii: ke the sun, that, n. >J r~J r . N I r i j j / 4L d p.d 41 91 1 1 —3 9 4 j [ / 9 M J 0 1 J 9 9 9 \ tax m 1 ® * ^ 9 J N» 1 v^U. r 110 ^ r *< W r 1 [ )9^. i. U 1 1 zsv sz> 9 1 tf f 1.3J • L N* L N* 1 Is* +r & 1 9 S 9 V t h rThe Second Reader, Part I. "5 j j iv 1 t i] m “~TT P 1 (l A- r L 1 # 9 r m W~i 2 2 ~ d i 2 55s w w w id far a - way, Still sends o’er ea rth its friend - ly ray; And rn . J, J j # j j J □ j J .SI 1 V 1 2 - 9 J - 9 ! 1 ^ ni -r“i ft- m # 1 • 2 2 1 -J -1 2 p & 5 & JL ^ i LJfJ p • r r * “i 1 i 1 ^ 1 J JV 1 s j j. J - i L -i f • ^ ^ -9- | 9 9 (22 <3 y {2— P P 'n r -1 r h -1 1 -4 ^ k ~b - zS:—j 1 : 1 3 - . ~N 1 1 ... 1 "I 1 Jr' J 9 1 J 1 i tm. 9 9 9 9 9 9 ^2 2 9 2 i & W f like a flower, which all may se x A' e, And like a flower, which JL L J | 9 * P | ' 1 i 9 -U i □ sr\ 9 9 9 9 ^ 9 2 W i & *2. O 9 - i 0 \ 1 .X 1 1 > - i 1 JT 9 ! -J- J:—'—\ ! JX" 1 1 1 9 9 ^ s s r . . r\ 2/ —-—=^- ! “T7 v i 1 N V >L 9 • i l i i Ti ft\ r 99 ^ - m m j ... m . j | 9 9 9 * & J 9 9 ^ all may see, Grow - ing towards Heaven con - tin - - ual - U ... J ...... N. . 1 1 v fSta 2 9 • j ' 1 \*.. | p | | x fT \ 0 0*^ | V ^ 2 2 2 ^ tj r r r f f-' s ; //•V if <2 9 (5J* <2 9 N* i X 9 j v X 1 9 A Handbook of Vocal Music. 116 -V K V 0 ^2 j II i— 1— ^ X -H L L '1 ^ Jj > i J 9 9 j ZL 1 1 1 1 l— Ij 1/ r & r\ Grow - ing towards Heaven con - ■ 1 Lin - ual iy- 1 - J" j " li —| ~r i i M —1- r~ ' 'i ■" ' ■— _ m • - .. . -4 hr —1 . J \ 0 A A J ^ r hr ! 2 9\ 9 A ■ Z ?—■W -0-^ V ~9~ * ^ ^^ 1 >.-p- a fa Xi W i a i t <2. | —r %i • t | (2 ^ 1- & L-R 1 -F= & s? h IJ Ex. 57. Four-part measure. Exs. 58, 59. The same with half divi- sions of the pulsation. Exs. 60, 61. Six-part measure. Song No. 3, p. 14. The F# is >4 in C and 7 in G. It shows a modulation into G beginning at D in the 3d measure, and continuing to the G in the. 6th measure. Ex. 62. Four-part measure, with new rhythm. Ex. 63. Six-part measure in quarter notes. Song No. 4, p. 15. A bit of humor. Carry it out in singing. Study the words. Ex. 64. Introduces a new key, — G. Exs. 65-73. Varieties of melody. Ex. 70. Do not accent the quarter note in 1 st, 3d, and 7th measures. Song No. 5, p. 17. This song has a definite object, which will be seen by examination of the music upon the oppo- site page. It was written to illustrate in the simplest manner possible the Tone color, produced through key progression, of the original first movement of the sonata and symphony. This form of composition is the basis of most that we prize in the works of the great composers. Of this peculiar arrangement this song is but the merest hint of the question of form or color. None of the greater compositions were accurately sub-divided, and regularity belonged only to the theme, which led the movement. After that the form was freely cast and treated. In ‘-The Little Moon” the key successions are as follows : G — G — D : || D — C — G || Play these harmonies and you will feel how satisfactory they are to the ear. The old writers understood this influence and employed it, especially in vocal music, more largely even than in the rhythmical structure of the phrases. Reference will be made to this subject later on. It may be interesting to watch this, as it is the basis of many notable compositions. Be careful to give the rests their full value. In ordinary practice the note is apt to encroach upon the time of the following rest. It would be better to shorten the note, taking care, however, that the value of the whole measure is not diminished.The Second Reader, Part /. ii 7 THE LITTLE MOON. Second Reader, Normal Music Course, Page 17. (With suggested Harmonies.') Came moon soon, Looked thin white. shone. Twin - stars one118 A Handbook of Vocal Music. drove them all quite out of sight.The Second Reader, Part L 119 Ex. 74. Think of the strongly whis- pered accent upon the rest, at the begin- ning of the 3d and 6th measures. Exs. 75-85. Varied melodies. Ex. 77. In the Minor mode. Ex. 82. In G and its relative e minor. Ex. 85. Do not shorten the 5th and 6th measures. Song No. 6, p. 20. “ Little Star.” Sug- gestions of Modulation. Exs. 86-100. Melodic studies. Ex. 87. Do not accent the half notps in the 1st and 2d measures. Ex. 90. In e minor. Ex. 94, 7th measure, the D should not be accented. Ex. 96. Keep rigid time with the tied notes. Ex. 99. The tied quarter and eighth notes represent a dotted quarter note. Ex. 100. The half notes in 1st, 2d, and 3d measures are syncopations. Accent strongly. Song No. 7, p. 23. . Sing eight measures rather softly, either as solo or with a small number of voices. Let all come in on the chorus. Ex. 107. In G and e. Ex. hi. Do not accent the last note of the 1 st measure. These deviations from the' regular forms are introduced in order that the regular accents of the meas- ure may be intensified. Song No. 8, p. 25. Begin the practice by singing slowly. Gradually increase the movement until the song can be directed with two motions of the baton. Ex. 114. A new key, — D. Ex. 117. Introduction of the Triplet. The class should be taught that the notes of a triplet are sung -in the time of two ordinary notes of the same denomination. The notes forming the triplet are not what they seem to represent, but may be really third, sixth, ninth, or twelfth notes. The triplet is usually indicated by a figure 3 above or below the notes. This is one of the earliest indications that our notation is not quite adequate to express all the musical ideas in time. This ex- ception does not, however, make strict accuracy in time less necessary. When the class is able to keep accurate time, it will be easy for them to make, under cer- tain limitations, the slight departures that give an expressive musical rendering its delightful freedom. The Time-names are Ta ra la, Ta ra la5 To ro 15, Te re le. The following will serve as illustrations. 14 3 3 14 3 rn*Tmj-n-rnj-n-1 3 14 3 8 3 3 | Ta ra la Ta ra la 47"' 3 ^ ' 3 ' ' 3 ’ |4 ' 3 ’ ’ 3 ' ' 3 ' ' 3 Ta ra la Ta ra la Te re le Ta ra la Ta ra la To ro lo Te re le A slight accent may be given. to the 1 not interfere with the regular mensural first note in each triplet, but this must | accent.120 A Handbook of Vocal Music. As has been stated before, the chro- matic notes must be studied in advance of the Second Reader. The special exer- cises already given should be practised at every lesson. Some chromatic notes will be seen here and there, but they are not introduced with any regularity. Retain the thought of key relation when chromatic deviations occur. Change the relation when a modula- tion is made. Ex. 119. Two chromatic notes G±f (#4) and CtS (77). Song No. 9, p. 27. “ The Piper.” Study the words very carefully. The rhythm of the poem is heightened by the mensural accent of the melody. Song No. 10, p. 28. G? shows a modu- lation into the key of A. It continues for four measures, returning to D. Kx. 124. Read the Time-names care- fully. The groups of three notes are not triplets. Ex. 125. Two triplets in the 1st and 5th measures. The groups should be sung gracefully and not too fast. Make the notes of equal value. Ex. 127. Do not accent the quarter notes in the 1st, 2d, 5th, and 6th measures. Song No. 11, p. 30. G+f ($4) is a chro- matic deviation. It is not a modulation, but a modulation is suggested in the 6th, 7th, and 8th measures. Ex. 128. CtJ is £7 in the key. Song No. 12, p. 31. Gif (>4) makes a modulation into A. This song is in the style of a choral. Ex. 133. In b. Ex. 136. A new key, — A. Ex. 138. Chromatics, D£ is #4 and G£| is I? 7. Song No. 13, p. 33. Aff (#1) is a chro- matic deviation. Exs. 139-147. Studies in time and melody. Ex. 148. D# is #4. A chromatic deviation. Ex. 149. Chromatics D£ (#4) and G fcj (i? 7). Song No. 14, p. 36. The difference between a modulation and a temporary deviation is shown. The first D;J (£4) leads into the key of E, while the next Dfj is simply a chromatic in transition. Song No. 15, p. 37. Study to make a graceful movement. A suggested modu- lation into E. Song No. 16, p. 38. Study the move- ment. Express the sentiment of the words, which should be carefully studied. Ex. 154. A new key, — E. Ex. 157. Strong syncopations. Ex. 161. This is a valuable exercise if it is studied until it can be sung softly and quickly. Make the notes before the rests rather shorter than their represented value, but do not take anything from the whole measure. Song No. 17, p. 40. The metronomic sign, 126 = J\ is for convenience only. Beat with two pulsations. Ex. 164. A£ (£4), chromatic note.The Second Reader, Part /. I 2 I Song No. 18, p. 42. A# (#4), chromatic notes. Study the note values. Care must be taken in order to give them correctly. Song No. 19, p. 44. AJt (#4). A short modulation in one measure. It can be sung easily as a chromatic note or as 5, 6, 7, 8. Exs. 168, 169. Study of melody. No- tice the one strongly syncopated note. Song No. 20, p. 45. A$ (#4) is a chro- matic note which shows a transition into a Minor key, g%. This will be treated hereafter. Sing the song with a decided and accurate movement. Exs. 170, 171. Melodic Studies. Ex. 172. A new key, — F. 2. INTRODUCTION OF A NEW DI- VISION OF THE PULSATION. A half and a third division of the pulsa- tion have already been presented, and many illustrations of them have been given. The only other form of divided pulsation that properly comes into school work, is that where four notes are sung to one pulsation. This is indicated, in the use of the Time- names, by the consonants T, z, f, and n, as Ta za fa na, Ta za fa na, To zo fo no, and Te ze fe ne. Innumerable combina- tions can be made, a few of which are given on the following page. The careful student will see that these French Time-names are not really fair sub- jects for ridicule. The repetition of a vowel to indicate the subdivision of the pulsation is very objectionable, both because it is not euphonious, and because it is li- able to be irregular and inaccurate from the difficulty of enunciation. Would not the following be very awkward to produce,— One-un-un-un, Two-oo-oo-oo, Three-e-e-e, and Four-ore-ore-ore? Besides this, these vowels indicate simply the number of divi- sions, but not any particular sub-division. The Time-names represent fixed relative parts of the measure, and with the pendu- lum in sight, the singer can give the exact value of any note, as short as one sixteenth of a four-part measure. Thus in four-part measure the value and place of such names as za, na, fo, or ne, is instantly known, as the following. | j - *TT5 I 1 za na fo ne ■ To some teachers it seems a long task to learn all these syllables. It would be if they were all to be taken up at once, but when brought in gradually through some years of practice the work is neither tax- ing, confusing, nor difficult. “Time in music is the most difficult of acquirement, for the memory of values is a very uncertain factor. There must be some unerring agent and guide on hand.” This is the pendulum. Make selections from the following tables. Practise each form of this sub-division many times. These measures will cover the ordinary forms, and if these are well known the other problems will be readily solved.122 A Handbook of Vocal Music. DIVIDED (VARIOUS FRACTIONAL) PULSATIONS. Ta-a-a na Ta-a-a na •rTs AT; Ta za-a na Ta za-a na Ta za fa na Ta za fa na Te ze fe ne Ta fa na Ta fa na Te fe ne Ta-a-a na Ta-a-a na Te-e-e ne 14 j 1 r-s r—5 “1 -J—31 —0—0—-0 Ta za fa na Ta za fa na To zo fo n5 Te ze fe ne Ta-a-a na Ta-a-a na To-o-o no Te-e-e ne Ta za fa na Ta-a-a na To fo Te ze fe Ta Ta za fa na Td fo Te Ta fa Ta za fa na To fo Te ze fe ne Ta za fa na Ta za fa na Te ze fe ne To zo fo no Ta za fa na Te ze fe ne Ta-a Te ze fe ne To-a Te ze fe ne Ta Ta - o Te - a Ta fa To Te fe Td Ta T5 f5 Te Ta Ta za fa na T5 Te ze fe ne Ta-a To-e |i_-| Ta ra la Ta fa To Te - a Ta ra la To fo Te Ta-a-a na Ta ra la To fo Te 7a-d To-e Td-d-d-e 3. ANALYSIS OF EXERCISES AND SONO-S, — Continued. Exs. 173, 174. Some of the more familiar forms of this sub-division. Song No. 2i? p. 47. Direct with two beats in the measure. BS ($4 in F) in the 3d and 4th staves makes a modulation into C. Ex. 176. The Triplet contrasted with the dotted eighth and sixteenth in combi- nation. This exercise is very rarely sung accurately, and it is a serious problem whenThe Second Reader, Part /. 123 taught in the usual way, With the Time- names the values can be given with great ease and certainty. In the old way, even if the superintendent or director is sure of his own ability to keep time, the regular teacher, who does nearly all the teaching, with little training or experience, is wholly unequal to the task. As has been pre- viously stated, all singers and students have imperfect memories of time values, and no surety of correctness. With the Ta Ta ra la Ta Ta Another test may be made by dividing the class and practising the measures together; for example : 2 1 1 j ~ . 4 0 W 3 Ta Ta ra la 2 1 14 ' ' Ta - a - a na Ta - a - a na Do not underestimate this matter of time. Remember that freedom of movement is only gained after absolute regularity has become possible. Above all things give the singers a means of doing accurate work without your assistance. Let them be able to solve any question in Time unaided. It has been sometimes stated that there are not enough examples of the pendulum and Time-names the accuracy can be made absolute. This would be difficult to do without the pendulum, and even uncertain without the Time-names, but in combination they make it an easy and pleasant practice. As this study gives one of the most puzzling specimens in time, let the class repeat the two measures separately with the pendulum until the exact values are established. Take the following for practice, !-|-J—J—| Ta-a-a na Ta-a-a na Ta Ta quarter division of the pulsation, but the following will be found among the melo- dies for one voice. Exs. 173, 174, Song No. 21, Exs. 176, 177, 179, 180, 186, 188, 194, 195, Song No. 27, Ex. 198, Song No. 29, Exs. 210, 211, 214, Song No. 31, Exs. 228, 235. Ex. 179. Carefully observe the accent. If the mensural accents are made, the sub-divisions will be very much easier to attain. Song No. 22, p. 49. BC| (#4) chromatic deviation. Ex. 185. Met. 132 = J Strong syn- copations. Exs. 188, 189. Study in two important sub-divisions of the pulsation. Song No. 23, p. 51. The harmonies are given on p. 124, in an accompaniment showing the harmonic basis.124 A Handbook of Vocal Music. THE HONEY BEE. Second Reader, Normal Music Course, Page 51. ( With suggested Harmonies.) — —S 1^“ -T"^! -A -1— —fs--^ -H Fr“ 9 P 9 S A 9 - wake, —0 ® #- lit - tie 4* • mor tals! —t^-l No 1 E har - ^ X 1 vest for ' -pP-fcrf?- 4c b-d X tT=3-^- \ ■ —~ Vy- js —«— E". j & A V * S—} * » ! is "1 S' : zj: 0 # —Sr* —0 1 , fr ,^-a- , 1 r. rn —y_±. ■ : ' • 8 X 9 —■-#—P- —, 4- —9— 1—f~~— X h ~rn 9 1 K N-| K | -N - 1 T 4 pv 5d—j X v ■y-P- 0 . 0 0 . —1 j J P!S 0 * 0 j p— 9 0 9 0 0 * 0 T 7 0 those . . Who waste their best hours . . In sloth - ful re - * -j X- N ^ X 4 ^ TV- ~z J - n — J j \ r □— fr hr-4- #—-f™ ! • * M j 0 m m xjsI 1 i rr ~~3i—9 n. 0^0 J J V J v w m j 1 \ t, ) -4- S 9 -9- ■ *• “r -9 -9 C- - f ttf. —- h " ”r*l * 1 !N ^ h X 1 1 ^ N 1 i - I I i (S , 9 -^9—j—• » S * - 1 & 90 1 9 J 9 -9 9 • J ® ^z7-k h -p~i S r i 9 > ^* —■—j ■ 9 * -1 1 V 9 J #JL *S- ~tr, K N 1 N I 1 1 1 >L 51 |S *1 ^ | ^ | 1 f ... 9m m- - -- f(\\ 4 4V 1&l ■j—. 9 0 VmT J P r # j 9 1j 0 pose. Come out, come out, to the me w >rn - ing, All bright things be - 1 V ~Y 1 1 N I |1 J' r\ ^ *1 ^ ^ p\ | | . i ' H N | s m ^iCrs ^ 1 n ! k ^ • J 1 x Zd J d 0 # J Is* A A TT -9fj9- -9^y ' ^ ^ ^ • cres. *—. ^ # . > //•V x x H h 9 0 1 ^ 0 0 (®J- 1 • • 0 H X r^s ^ & j v r 1 H 1 0 . 1 r k 3 . 3 ^ i 1 r 1 1 4 1 »s .5 • 0 p X- ry- . , | 1 ^ ™ '^11^ The Second Reader, Part /. 125 3 4-tr- 9 ~ m -J 0 p K--9- r r ^ P S J» P'~ H ~ ^ j y y—. K \ s 1 H u r — G tz : —A 1 ~r ^ -A H fy / —f 0 * long— And lis - ten a - while, And lis - te 1 1—— — n a - while #—~——-0 ———0— ^. J .... ■ - — l ^ H H 51 H \ It- X J £ # 1 d~ d m 9 — n 1 H - --- ) ^ ^X f -V: ' • 4 ^ —*-+#~r is:..-. £ h E%—p~. j»—U- P- t ^ f — *—— 1' V —r-~ L—-— te — .» :l s-k h—* * ■■ ~~1 ~v —i ~r d . v ^ ^=*r- P^- ■ -] / [ wmmJt- V V—— =*— d • JA „ f—J -0- To the hon - ey - bee’ s song. . . Mer - ri - ly sing - ing, (“tr" ■ . 1 J tr f- »-•- * * (- * #p - *m * A ; *Hv f 9-~ mmmmdmmmd .. .1. | p- .[ p "Tp* J “ U£ prJ 5- E* -V 5q -+• ~ ^-P- p;. ^ rr] —^ | P^ Bus - i - ly wing--mg, In - dus - try ev - er its own re-ward bring-ing.126 A Handbook of Vocal Music. Song, No. 24, p. 52. A simple melody. Study the words. Scan them. Ex. 191. A melody in six-part measure. Ex. 192. A new key,— Bh. Sing re- peated note with la. Ex. 193. Melodic study. Song No. 25, p. 53. The words must be studied very carefully in order to fit them to the music, or vice versa. Exs. 194-197. Various kinds of melody. Song No. 26, p. 54. Met. 92 = J Beat the measure with two pulsations. Song No. 27, p. 55. Bi3 (#i) and Efl (#4) are chromatics. Ex. 198. A more trying rhythm. Go over the exercise with Time-names many times. It will be good practice. Ex. 199. Do not accent the half note in 1 st, 2d, 5th and 6th measures. Exs. 200-204. A review. Ex. 203. A special exercise in time. Song No. 28, p. 57. A rapid movement. Do not let it drag. The words will require especial care in the enunciation. Ex. 205. Eft is £4. Exs. 206-208. Varieties of melody and rhythm. Ex. 209. A new key, — Eh. Song No. 29, p. 59. Met. 56 = J This is the real movement with two pul- sations, or two-part measure. A3 is £4, BS is #5. Exs. 210-213. Varieties of melody and rhythm. Song No. 30, p. 60. It has #4 (Aft) and >7 (D*7). Ex. 214. Has the same chromatics as the preceding song. Ex. 215-220. Varieties of measure. Song No. 31, p. 62. AS indicates a modulation into Bh, beginning at the 13th measure. Ex. 222. Eft is £ 1 in this key. Song No. 32, p. 63. Six-part measure. Change gradually into two-part measure, giving the time with two beats. Exs. 223-224. Rhythm. Ex. 225. A new key, — Ah. Exs. 227, 228. Dft is #4. A chromatic deviation. Exs. 229-234. Melodies and rhythmic studies. Ex. 233. #4. Song No. 33, p. 66. Sing in a bright and cheerful manner. Gradually increase the rapidity. Ex. 235. Study of the quarter pulsation. Song No. 34, p. 67. This needs a char- acteristic reading. Sing with spirit. Ob- serve the hold. Ex. 236. A simple melody. These are introduced from time to time to give op- portunity for the study of tone quality, using various vowels. Song No. 35, p. 68. Make a careful study of the words. £4 (Dft). Ex. 237. Practice exercise. Song No. 36, p. 69. A cheerful poem. Give the music a rendering in keeping with the words. Ex. 238. $4 (D©.The Second Reader, Part /. 127 Exs. 239, 240. Studies in six-part measure. Two songs from this Reader are shown on this and following pages, with accom- paniments. 4. RECAPITULATION. This completes the work that classes, under ordinary conditions, would have mastered at the close of the fourth year of school work, and the average time allotted to music on five days of the week has probably been but fifteen minutes. Even in this limited space all the varied questions of Tune and Time, having been introduced gradually and with practical illustrations, should have been easily set- tled. The most important matter in time is the measure with undivided pulsations and marked accents. When this is firmly established the sub-divisions will be very simple. For this reason the work in the three years of the primary school is of far greater importance than the showy work of the upper grammar grades or of the High School. Some one may query whether the author is inconsistent in banishing the do, re, mi, etc., and retaining the Time-names. In reply he would say that the Time-names are never sung. They are used in con- junction with the pendulum to determine the exact values of pulsations and their sub-divisions. At the end of the fourth year their regular mission is completed, and their constant use may be discon- tinued. They should, however, be called up to settle doubtful points in time. THE VIOLET. Second Reader, Normal Music Course, Page 69. (With suggested Harmonies.) uj: _ . , \ N m 41 viTr n st" p | . A lZLR \T t) s N. 1 ( J 9 m k m m r (L V—2—0—1 ~f 9 12 —^ 9 f r f— r- w (— —rA Z J \J u J 1 b r i -- ' 1. I love all things the sea - sons bring, All 2. I love, how much I love the rose, On 3. She comes, the first, the fair - est thing That 4. What mod • est thoughts the Vio - let teach-es, Whal 1 p ^ buds that start, all whose soft lips the heaven up - on the t gra - cious boons the CL L 1 ^^ ^ ^ N j Z 1 n a p —1 1 1 Lk () v ^ H cj -ft 1 1 H IL S ^ \) 0:r f, w H H 9 —J ~ 1 J 1 g % tz . 9 2 S —t i , - -v ; / 4 > 14 • 4 > CifO* hi ft • Jr , W Iffy-1 v b *> b ^ t ; 1 9 r * 1 *1 | b'—^ r 1 —v 1 » ■ j ~ U- 128 A Handbook of Vocal Music. All leaves from white to jet; . . In pret-ty, am-orous threat; _ Ere win-ter’s star has set —. Vio-let preach-es, Bright maid-en, ne’er for - get 1. , birds that sing, south-wind blows, earth doth fling, All leaves from white to In pret-ty, am-orous Ere Win-ter’s star has Bright maid-en, ne’er for - EggSHE -K- 4= ~3=±=U i : ZAJL-ifh. - - I 9 . 0 ! h br-= IS- —9 5 =f<- 1 ~A-3—-h- — | i * #— S1Z 0--—a 0—1 ^ 1 y— J i —1—— f—- — * S «E fS. 0 t 9 jet;' All the sweet words that sum-mer sends, When she re - calls her threat ; The li - ly pal - er than the moon, The o-dorous, won-drous set; She dwells be - hind her leaf - y screen, And gives, as an - gels get! But learn, and love, and so de - part, And sing thou with thy M -i ~~i—3- -A-sf—3- -3- Si E -St—=1- -tr dz: -y- i flow-ery friends, But chief, the Vi - o world of June, Yet more the Vi - o give, un-seen, So, love the Vi - o wis - er heart, “Long live the Vi - o let! But chief, the Vi -o let! Yet more the Vi -o let! So, love the Vi - o let! Long live the Vi - o :dVsi let! let! let! let!” Barry Cornwall. ■hr 4^ SI -A-I' N S*E i - -5^4- -3-4- The Second Reader, Part /. 129 THE MILE. Second Reader, Normal Music Course, Page 62. -{With suggested. Harmonies.') : 3^- ! 1 @ -4— f * | 4 -1 * •—- 1. Wind 2. Wind kfes — # - ing and - ing and 1 * —0 grind - ing grind - ing, 0 w. Round goes the Work through the -3- I mill; day, % rv; u <0—i nun H T"j —#®—0 ®— j-: 0 9—1 9— 9 » — 0 ——0—1 0— 1 • ^ 0 1 0 ^ 1/ - ~<5 ■Mini* if! ~LJ u Lj Wind-ing and grind - ing Should nev - er stand still. Grief ^nev - er mind - ing, Grind it a - way! small; Ask not if neigh - bor What though tears drop - ping, Grind Rust great or they fall ?130 A Handbook of Vocal Music. Spare not your la - bor, Grind your wheat all, , . . . Have no wheel stop - ping, Work com - forts all, . . . .Minor Scales. *3X XX. MINOR SCALES. BEFORE calling attention in detail to the various two-part exercises and songs of the Second Reader, a new subject is to be represented, — the Minor Scales. The Major Scale is the basis for all we have in music. There is but one Major Scale, and it affords the material for the Minor, which is derived from it and is used in several forms. The Minor Scale is artificial in its structure and may be changed to suit the taste and skill of the composer. One of its forms appea*^d in the First Reader. It was not named there, but its effect was evident, and this peculiar character became known to the little children through the singing. The same was also the case in Book I. of The Cecilian Series of Study and Song, and in the exercises and the songs of Part I. of the Common School Course. On the introduction of the study of chromatic tones and notes preparatory to the Second Reader a few of the foreign signs peculiar to the Minor mode were seen, but it has not yet been named or represented to the singers. Here and there the strange sounds were heard, and at first they were to the singers almost as discords and they shrank from them, fearing that a mistake had been made. After a little while it was found that the successions were in consonance with the sentiment of the words, and they then learned to know and love what we have called their Tone Color. It is now in order to give all the ordi- nary forms of the Minor Scale, and to name them so that they may always be recognized. Progressive Exercises in the Minor Scales,1 for the Guidance of Teachers. — Mental Work preparatory to the Study of the Notation upon the Staff, — Take as the pitch of one (1) D, Dft E, F, FJ, or G. Note. — In Italics belo the key note. 1-8 descending. 8-1 ascending. To accompany the use of the Normal Music Course, and The Cecilian Series of Study and Song, Minor Scale — Diatonic. 1. 1 -8, 7, 6, 7, 1-8, 7, 6. 2. 1^8, 7, 2, 1 -8f7, 8, 6. 3. f2, 3, 2, 1-8, 7, 6. 4. 6, 7, 8-1, 2M-8, 7, 6. 5. 3, 4, 3^2, 1 -8/T, 6. 6. 3, 1-8. 7, 2, 1-8, 7, 6. 7. 1-S6, 3, 2, 1^8, 7, 6. 8. l73, 2, 7, 1-iTV, 6. 9. 6, 8-1, 3, %1 -8, 7, 6, 10. 6, {T'jf,, 8, 6, f 6. 11. 6,3, 1-8, 7, 6, 7, 6. 1 Copyright, 1895, by Silver, Burdett, and Company.r32 A Handbook of Vocal Music. 12. 6, 3, 2, 1, 2, 7, 6. 13. 6, 7, 8-1, 2, 3, 4, 5, 6 — 6, 5, 4, 3, 2, 1-5, 7, Harmonic Form. 1. 1, 2, 3, 6,15, 6, 3. 2. 3,6,|5,6,8,7,6. 3. 8,6,15,6,3,35,6. 4. 4,6,35,6,4, 35,6. 5. 3, 6, 35, 6, 3, J5, 6. 6. 2,6,35,6,2,35,6. 7. 6, 6, 35, 6, 1-8, 7, 6. 8. 6,15, 6, 4, K 2, 1. 9. 6,85, 4, 3, 2, 4, 3. 10. 6, 4, 3, 2, 1-5, 7, 6. 11. 6,85, 4, 3, f 1-8, 7, 6. The Completed Scale. 12. 6, 7, 8-1, 2, 3, 4,35, 6 — 6, #5, 4, 3, 2,1-8, 7, ef Melodic Form. 1. 1,5,84,5,3,2,1. 2. 1, 5, 4, 5, 3, 2, 1. 3. 1,5,84,4,3,2,1. 4. 2, 6, #5, 6, 4, 3, 2. 5. 2, 6, 5, 6, 4, 3, 2. 6. 2, 6, 85, 5, 4, 3, 2. 7. 3,84,85,6,5,4,3. 8. 3, 84,85, 6, 5, 4, 5, 3. 9. 3, 84, 85, 6, 4, 3, 4, 2. 10. 3,84,85,6,3,2,3,1. The Completed Scale. 11. 6, 7, 5-1, 2, 3, 84, |5, 6 — 6, 5, 4, 3, 2, 1-5, 7, 6. Combined Forms. 1. 6,6, 4, 3, 2, 1-5, 7, 3, 6. 2. 6, 6, 85, 6, 4, 3^ 2, 3, 1. 3. 3, J4, |5, 6, 3, 6, 8, 7, 6. 4. 8, 7, 6, 5, 4, 3, 2, 3, 1. 5. 6, 7, £-1, 2, 3, 4, 5, 6 — 6, 5, 4, 3, 2, 1-5, 7, ^ 6. 6, 7, 5-1, 2, 3, 4, 85, 6 — 6, }5, 4, 3, 2, 1-5,Y, 5. 7. 5, 2, 3, J4, 85, 6 — 6, 5, 4, 3, 2, 1-5/7, 6. 8. 5, 2, 3, J4, #5, 6 — 6, J5, 4, 3, 2, 1-8/T, 6. The Minor Scale begins upon the 6th degree of the Major and it has the same signature. There are four forms in gen- eral use. 1. The Normal or original form makes no change from the Major. It has a cha- racter that is sad and plaintive. All the Minor effects of the First Reader are pro- duced in this form. 2. The Harmonic form. In this the 7 th is raised a semitone ascending and descending. 3. The Melodic form. In this the 6th and 7 th are raised a semitone ascending and they are restored descending. 4. The Combined or mixed forms. The ascent is made in the Melodic and the descent in the Harmonic form. An explanation of these changes belongs to a work upon Harmony.Minor Scales. 133 c.i 71~' " ~ 1 1 j-o ^ 1 5 ^ . s-j 25& V z ^ 27^ H ty a Normal. ^—g g ^ ..g- IE TT - “ ^ 25 n— rr e^— . .<3 ..... <5T ^ or — tr \25 ^ 25 ) ■ 1 J a Melodic. -&sr nr • - - --—"-s?" —z5—z 1 7 fr V ^25 1 - Z ’ =1 G. ztr-ff ^—z?—& ^ 1 r 2JT- C*- — 4 a- — 9 ' -d L ^ Normal. —--p S* P : I : t >—; ty r~ 2 ^ Melodic. 1 -fig-£g--^ggj^ST- ^---5T- I ^ Combined. i - IT tj ^ -ar * ® -®- TS- f% Normal. Harmonic. Melodic. Combined.Minor Scales. 135 5PE m -Z7—«g~ £ *8a cjj Normal. -&—^—---^ cj Melodic. s= -&-----251- V dfcfi <;# Combined. 'it-i- -fiz^-&g—gggt-fpg- a fe0* ~z? g§ Normal. ^—~136 A Handbook of Vocal Music. m 5fe d$ Normal. "-gr- ~ Z?~ *isp- d§ Harmonic. #lrF*= SEE -27—^- d§ Melodic. ---- —&—zs^-----^—^r- „ -&—^---------------- ^—Z?~ -zr =^=22- -®—25- d% Combined. — ^ ^g-jgzgrzgg^g, --- -&—«2 e------ ■ M — (g gr- F — / [ ^ <3 ^ 1 * k ^ ^ 1 KH- 2? ^ ——- jr z?—^I 1 1 Normal. - T - -I s. V & & ^ 25 & 4 s z ^ -22 e: & ^ d Harmonic. d Melodic. d Combined.Minor Scales. 137 Bb. Z. jJ2r~~. ■ 1 L Jt T .... .. .. .-5 . 25 ^ I z ^ ^ ^ . 1 tj -Z7- ^ Q k - p- Normal. ? ^ ^ 7 1 1/ ^ 75 ^ ^ ^ | -b- .... - 0£2 ^ ^ ^ 22 ^ 75 ^ 1 E ^ 15...& ... & 75 ^ 1 s 7 ^ ... . & 1 p Combined. * ^ 4t^. k .... .. ... 7 1 7 ^ ^ Q22 ^ ~ 1 / k ^ S? » * ^ 25 ^ j I lr tj ~~LT, 7 ~ - ".. <2 h U S5 ^ Cl 2*o 22^ c Normal. T\b - - I / tr ^ O & & 75 ^ 1 H- ■■ „ 25—^ ; ~~ ~& 23? -— 1 c Harmonic. — ^ u , / h h <2 1 (r F ^t-*-*-32-- —ia? ^ 1 c Melodic. c Combined. %A Handbook of Vocal Music. 3: r b u 1 y I F \v ■> ^ 72 ^ \ ~72T ~&~ f Normal. 7Z|l/b ^^ <2 ^ C2 ^ t / LlHJbf ZHZZH 72 & 7> -& 1 IT T 2? ^ ^ S^l / Harmonic. */ w « ^ [/ -j lZ tx - ■ —*n — - I FT^t ~ Pi 2? «s" ^ ^ I 72 *2 ^ 72 \ Kj i f Melodic. ^ U-o ^ k-^v-J — ( Z, Z 5 UL52'A-JAO b.^. 1 ^T> ^^ ~72Z^ "i fc^- 3? I r F [7 2?^ ^ 25 | fc f Combined. 7~7l/ h ^ ^ U25 h^j I > * h iT^ ^ 72^\X<2* n *1 \rZ* 72 2\1 fr |V^ V - r? 2 ^ ^ 7> & ^ 1 \s 7 72 ^ ^ 72 \ tJ d!>. &F -g—g- %F- by Normal. m b\> Harmonic. ^ q^ & ^ ^ —gy b'y Melodic. flg flg- -HA^AL'z A 5=z=si & b\> Combined. ^ ^2^~ m Minor Scales. 139 Gt> life e\) Normal. ¥ feSfc Harmonic. =g^=5=g fe^fe' -P— t ===d v| fr f( b\ ^ ^ 1 VC -T 1 L\L 1/ v 1 r — .g). 0 ~ u 7 8-1 2 3 4 ! 6 #5 6 When these have been thoroughly them be sung continuously by all, with many learned, the parts singing alternately, let repetitions, the result being as follows : -J T — 2? 3+^ VF* 72^ ^ 1 6 78-12 3 4 #5 6 #5 4 3 2 1-8 7 6 In this way we have easily gained two of the forms, the Normal and Harmonic, and our work is more than half done. In learning the Melodic form, divide the singers as before, giving one part / r 1 f( \ 1 V ) 1 ty ^ - and to the other . £ —- - - -- - -t V ) - ty or the last may be considered simply as T. 1 ~tc V u. . 4+ ^ 1 Vv ty r "2 3 4 or its equivalent Ah- } W ^ ... ..... 1 ty Joi ' 5 "6 7 8 in the two parts, letting the pupils sing f , -J V ji. ^ Repeat it many times, ascending only. When the parts have been well joined let all sing the whole scale. When this is known, make a pause upon the upper note and then descend upon the already known normal series, which will read as follows : -3 f ==q l(r 6 78-12 3 #4 #5 6 54321-876 1 2 3 4Minor Scales. 14'i When these three forms have been learned, the combined form is easily mastered. Having learned the four forms in this manner, all that remains is to establish and make the four melodies familiar. This can only be done by singing them at call until each melody is known. The teacher may sing them and call upon the class to tell the peculiar form given. Let it be understood that a wide field has been covered, —too much, far too much for the school year; but it was necessary to make a beginning, and the forms of all the scales are given for the teacher’s benefit. Afterwards, some of the acquired knowl- edge may be given gradually to the class. By going over all of this work, we have gained a key to all the real difficulties in sight reading and singing. Another re- view will do no harm. TUNE. 1. Mental. The Major Scale and all its intervals. 2. Represented. All the usual repre- sentations of the scale with the signatures. 3. Divided. The Chromatic scale and intervals. The Minor Scales in all their forms. TIME. 1. Mental. The Measure and its ac- cents. The movement should be estab- lished through the pendulum. Four kinds of measure, — two, three, four, and six part. 2. Represented. The first appearance of notes. These were explained and the measures were shown in numerous examples. 3. Divided. The half, third, and quar- ter pulsations. TONE COLOR. 1. Mental. Many suggestions from the Melody alone. These related to mode and modulation. 2. Representation. Modulations and transitions shown through the various so-called chromatic signs. Many illustra- tions in Concords and Discords. 3. Combined voices in parts more or less in number, bring in combination many chromatic deviations. These may be an- alyzed or considered together. Of the varieties of such combinations there can be no end as long as music exists. There is in some music a strange effect beyond the reach of words. Those myste- rious sharps and flats and major and minor chords are an alphabet, that in some occult combinations forms another higher language than that of speech, —a language which, as we listen, thrills us to the heart. — Sir Charles Danvers.H2 A Handbook of Vocal Music. XXI. THE SECOND READER. • Part I.—Two Voice Work. 1. BEGINNING TWO VOICE WORK. I^XERCISES and songs for two voices begin upon the 70th page. Music for two parts was given in the First Reader, but in a very restricted form, as no chromatic signs or divided pulsations could be used. No such restriction now exists. As far as possible all the singers should sing both parts, beginning with the lowest. This will extend their ability to read, and will thus be incidentally beneficial. Temporarily change the pitch of one (1) should the range be too wide. Carry up the Alto or lower part for the benefit of the Sopranos, and lower the pitch of the Soprano part when sung by the Altos. When singing in parts, give the correct pitch. In all writing, for one or many voices, the melodic idea should be the basis. The lower or subordinate parts should be made as interesting as possible. The lower as well as the upper melody in the song should be written to express the sen- timent of the words. It should not be a series of thirds or sixths following the Soprano in parallel lines, neither should it be a series of meaningless skips progress- ing in zigzag fashion merely to represent another voice. The outline of motion should be varied and graceful, showing by contrary move- ment, by syncopation, and by judicious successions of concord and discord a changing Tone color. Such study, even if presenting some difficulty, will repay for the added labor. Do not be troubled about the harmony. That is incidental to a combination of melodies, and for this the composer is alone responsible. Pause now and then, and study the effect of some of these combinations. At the beginning of this division, when two parts are brought together, the repre- sentation of the Time-names is discon- tinued, as it is considered that the subject has become sufficiently familiar. Should any new difficulty in time-values arise, re- sort can be made to the syllables for the solution. The importance of this mode of in- struction cannot be too strongly impressed upon the minds of teachers. No guide is so sure as the pendulum, and no other way, so far as is known to the author, affords so accurate a perception of the accents and of the fractional divisions of the pulsations, as the use of the Time-names. Some may fear the close adherence to the metro- nome, but no chorus has yet been heardl he Second Reader, Part /. (Two Voice Work). H3 that was too regular in time, and no chorus, unless trained in this regular manner, can be made in any other way so obedient to the baton of the leader. Even an exag- geration of regular accents will right itself when varieties of motion in the music are brought into play. Exs. 241 to 249 are composed of the simplest combinations and progressions. Song, No. 37. Study the parts sepa- rately and apply the words to each. Is it not fitting that the Alto should have a melody which will not do violence to the sentiment of the words ? Ex. 251. A discord produced by sus- pension. Ex. 252. The same in another way. Ex. 254. Varied suspensions and dis- cords. This exercise may well serve to illustrate the melodic idea. The endeavor is made to write a melodious subordinate part in such a way that it may interest all the singers. This form of composition is found in all the best glee and part songs, and is everywhere seen in the oratorio, the mass, and great choral works. This education should begin in a simple way in the school work, to be developed in after experiences. Song, No. 38, p. 73. This song is given below with a tenor and bass added, showing the full harmony. SLEEP, BABY, SLEEP! Second Reader, Page 73. ( With suggested Harmonies.) sleep ! Thy fa - ther’s watch-ing the sleep! The large stars are the sleep! A - way to tend the sheep, The144 A Handbook of Vocal Music. a ! ! | |J j 1 t m 9 m - m ......- J J q :. -j zjv□ 9 9 € 9 P f P ^ » 9 9L 4 ^ Ij z '—9—F ^ ^ ts 9 —F — Ary- moth - er’s shak - ing the dream-land tree, And down drops a lit - tie stars are lambs, I guess, The bright moon way, thou sheep - dog fierce and wild, And do not lit - tie dream for thee. Sleep, ba - by, sleep! is the shep - herd - ess. Sleep, • ba - by, sleep! harm my sleep - mg child. Sleep, ba - by, sleep! German, tr. bv Elizabeth Prentiss. 1 Exs. 255-258. Melodic combinations. Ex. 259. A problem for the Alto in the 3d measure. Exs. 260, 261. Melodies. Song, No. 39, p. 76. The first four measures are in C ; the second four in G; the next two in C, afterwards imitated in a. The 13th and 14th are in G, followed by a close in C. These are all positive modulations. Many of the chromatic notes are simply transitions, and should be taken as such. A little study on the part of the teacher will settle such matters. Ex. 262. Melodies.The Second Reader, Part /. (Two Voice Work). 145 Song, No. 40, p. 77. The words will suggest a fitting manner of movement and style. Exs. 263-266. Varied groups. The Time - names may be necessary for a while. Song, No. 41, p. 79. A modulation begins in the 4th measure leading into a, and ending at the rests, in the 7th and 8th measures. Give these their full value. Exs. 267-269. Varied combinations. Song, No. 42, p. 8t. A very sim- ple two-part song. Let the Alto come in promptly without disturbing the other part. Practise this lower part with Time-names and pendulum. Exs. 270, 271. Novelties only in the notation. Ex. 272. Make a preparatory study of the time with Time-names. Singers rarely give correct values to notes such as the first in 1st, 2d, 5th, and 6th measures, Exs. 273-277. Introduction of synco- pations. One exception occurs in Ex. 276 in the last measure but one, lower voice. Accent E, not D. D does not an- ticipate an accent. Song, No. 43, p. 84. There are two modulations, first into A, beginning on the last half of the 12th measure. It is complete in four measures. Second, on page 85, beginning on the last half of the 7th measure, and ending on the 6th measure of the 2d brace, is a modulation into /#. The change can be treated as if in the key of A. In this case E# is #5 and the only chromatic. The music returns at once to D. Ex. 279. The Sopranos should begin promptly and with a strong accent. Make the discord that ensues very marked. Song, No. 44, p. 87. GJ is a chro- matic transition. Exs. 281, 282. Exercises in time. Song, No. 45, p. 89. Apply what has been said about Ex. 272. Exs. 283, 284. Illustrations will be seen of the use of a motive. See Index for sections which treat of it. Song, No. 46, p. 91. Go through the music with Time-names to insure accu- racy in singing the quarter divisions of the pulsation. Song, No. 47, p. 92. Two pulsations in a measure. Study the time, and also the spirit of the words. Do not direct as in four-part measure. Ex. 287. Let the Alto keep the time and come in with confidence. Ex. 288. Met. 92 — J Special prac- tice of Ta-a-a na Ex. 293. Such studies as this should be taken rather fast. When directed by the teacher’s baton only two beats need be given, down and up, but the singers should feel all the pulsations, — six in the measure.146 A Handbook of Vocal Music. Ex. 294. Two strong syncopations in the Soprano, and one in the Alto. Song No. 48, p. 96. This seems to begin in the key of D. D# may be treated as a chromatic note. Ex. 300. Useful study in rhythm. Song No. 49, p. 100. The metro- nomic direction says 72 = j or 144 = ^ This alternation is merely for convenience in using the pendulum. Direct with two beats. Give special attention to the prepa- ration of the 3d and similar measures. The Time-names are Ta-a-a na Ta-a-ana Do not sing such groups as Triplets. if-.—1—.'-1 Ta - a la Ta - a la In the latter cases the life would be taken out of the movement. Song No. 50, p. 102. There are two modulations : from the 13th to 20th meas- ures into B through A# (#4). The next 16 measures are in e. If the Minor Scale has been studied, this is easily compassed; otherwise treat GtJ as I73, or as achromatic note. Or, take the scale of E and change the third and sixth to ^3 and b6, and all is done. Gt] is^3 and Ct| is b6. Song No. 51, p. 104. Study the time very carefully, and give full value to all half notes. The author has, to his sur- prise, heard the first measure sung as three even quarter notes ! Ex. 308. This will make a good study for quarter divisions of the pulsation. Re- peat many times in order to gain rapidity, and always endeavor to keep the articula- tion clear. Song No. 52, p. 106. Two beats only in the measure. Don’t try to make it easier by doubling the number. The up- per figure in the time-signature is always the index. Ex. 310. The silent partners must be very observant. Song No. 53, p. 108. If carefully studied, it will afford several suggestions of a graceful movement. Song No. 54, p. no. Verses 4, 5, 6, and 7 of each stanza show a modulation into C. The other chromatic notes are but transitions. Ex. 315. The rhythm is apt to be mis- understood or neglected. Song No. 55, p. 112. There are some unusual chromatics. Treat them all as deviations, not modulations. Song No. 56, p. 114. Let it be gay, as indicated by the words. Song No. 57, p. 115. Some latitude is taken by the poet, but all will go well if the movement is strictly followed. The same song for one voice is found on page 53; No. 25- Ex. 323. A somewhat difficult study in time, but it will repay for some hard work.The Second Reader, Part I. (Two Voice Work). 147 THE BIRD’S SONG. Second Reader, Normal Music Course, Page 129, ( With suggested Harmonies.) 1. Swing-ing in my air - y nest,. . Four speckled eggs be - 2. Far a - bove the white clouds drift, . . All a - round the 3. On the ground clear drops of dew . . Trem - ble in a 4. Swing-ing in my air - y nest . . Four lit - tie heads sleep neath my breast; Sing - ing, swing - ing, yet at rest, sun - rays sift Through the leaves, a gold - en gift, cup of blue; There I sip and war - ble too. un - der my breast; With what joy am I pos - sessed ! Henry Gillman.148 A Handbook of Vocal Music. Ex. 324. Let there be no. break be- tween the parts. Exs. 329, 330. Observe the rests. Song No. 58, p. 119. Modulation into B? from 9th to 16th measures. Ex. 333. Let the second voice come in with a strong accent. Ex. 335. Be exact in singing the meas- ures with rests. Song No. 59, p. 122. Beginning on the last pulsation of the 6th and con- tinuing through two measures is a modu- lation into g through the At] (#4). Song No. 60, p. 124. Sing, if the tones are clear, at a somewhat faster rate than that designated. Work up to Met. 144 = j' #2 (E#) and #4 (Atl) are chro- matics. A modulation into B? is found in the 6th, 7th, and 8th measures. Ex. 340. In /, — normal form. Song No. 61, p. 125. Sing in a strong choral-like manner. Ex. 341. Study in time. Met. i20 = J Sing with the pendulum. Song No. 62, p. 126. Words like these should be an inspiration. No sug- gestion is necessary. In measures 17-24 there is a modulation into EP. Ex. 344. Try this with a deliberate movement. Song No. 63, p. 129. Picture the scene. The song is given on page 147 with an accompaniment. On page . 130, Part I. of the Reader closes. It is not the material, but the workman that is wanting. — Carlyle. All music to which instruments con- tribute, must be to a degree more earthly than that in which human voices are alone to themselves sufficient, where nothing me- chanical is needed. — Baroness Bunsen. XXII. THE CECILIAN SERIES OF STUDY AND SONG. BOOK II. Part I. 1. GENERAL SCOPE. THE music in this book is, to a large extent, parallel in difficulty with the two-voice work found in the First Reader of the Normal Music Course, pp. 78-96, and in the Second Reader, pp. 70-130. The studies have been some- what simplified for general use. They are arranged for two Soprano parts, or for Soprano and Alto, and the usual nine keys are introduced. The range of voices is also somewhat extended in order to allow the singers greater freedom of move- ment. The book begins in accordanceThe Cecilian Series, Book //., Part /. 149 with the plan laid down in the books of the Normal Music Course, that of varied melody, avoiding long continued passages in thirds and sixths, which become so monotonous and wearisome in singing. In school work each part should be inde- pendent, and all voices should know all the notes. This will help to make up for the lack of individual work, which is so desirable. It will also give the pupils confidence. A condensed review of the book is here given with such suggestions as will be of value to the teachers. Few teachers have given the thought or study to music that they have to other branches, and these hints are such as will, on general princi- ples, appeal to all. 2. VOCAL RANGE. On page 7, the Major Scale from C is presented. It also has the notes above and below the octave to accommodate Soprano and Alto voices. For prepara- tion, use both the First and the Second series of Progressive Exercises in the Major Scale (Cards). Mental work should never be suspended. Every musician who can teach feels its importance. In those books of Normal Music Course, The Ce- cilian Series of Study and Song, and the Common School Course, that have already been considered, the range of notes has been very limited in order to accommodate the young singers. The notes for Soprano voices have been : For Alto voices notes to G are written, in extreme cases, but A might be con- sidered to be a fair limit. The Alto range has been: The lower notes are weak with young voices, and should not be pushed. It will be seen that they are not often called for. Three kinds of measure are presented for practice. The Time-names (see Out- line of Study, or preceding suggestions for the First Reader), will be found to be of great value, and after a little drill work they will relieve the teacher of much care and anxiety. Remember that the children must be so taught that they can help them- selves in after years. Questions in time cannot easily be settled by the memory of measures sung years ago while in school; and beating time in a class is a bad habit, that leads to uncertainty and lack of pre- cision in the attack of phrases. Observe a large chorus where this has been allowed, and see if the ludicrous side is not at once apparent. See the swaying heads and books, and the wiggling thumbs ; even the sound of foot taps is not uncommon. Can anything be more objectionable or destructive of unity?A Handbook of Vocal Music. 150 3. ANALYSIS OF TWO VOICE EXERCISES. Page 8. Here the work for two voices begins. For a while the movement is in parallel motion. The first departure is in Ex. 3 in the 7th measure. Ex. 4. Second part shows a discord pre- pared by a concord. See preceding sec- tion, “ A bit of harmony,” page 75. Ex. 5 shows a discord prepared and re- solved in the lower voice. Ex. 6. 7th measure shows the introduc- tion of a free discord in the last measure but one. Ex. 7. Two free discords in the Alto in the 2d and 4th measures. Exs. 10, 11. Have prepared discords in the 2d and 4th measures, and a free dis- cord in the 5 th. Ex. 12. Begins with a rest. The accent must be felt, if not expressed. Ex. 13. Free discord in the 4th, and a passing one in the 7th measure. Exs. 14-18. Three-part measure. The movement of the parts is not parallel, and the interest is thereby enlivened. Ex. 16. Melody of the Soprano imitated in the Alto part. Exs. 19, 20, 21. Three-part measure in eighth notes. Studies of rests. Make the note before a rest light and short. Ex. 22. Do not forget the mensural accents in four-part measure. They are marked in the 1st measure. Ex. 23. A syncopation in the 3d measure without the use of a tie. Ex. 24. The time of the rests must be kept very accurately. These five silent pulsations are important Page 12. A table of some of the more important half pulsations in the forms of measure that appear in the book. See table of Time-names already given, on pages 112, 113. It will not be necessary to practise these exercises as printed. Each measure may be taken as a study, to be fixed in the mind through many repetitions. This will be the better way for such classes as seem to be deficient in a feeling for the regular accents of the meas- ure. It must not be forgotten that keep- ing time through the regularly recurring accents of the measure is in reality the question for study, and not merely the uniform attack of each succeeding pulsa- tion. No pains should be spared in fixing this point in the minds of students. Do not consider that all this work can be accomplished in the primary schools. It is never ending, and should be taken up and carried out by the class itself, the teacher simply acting as a supervisor of the work. Page 13. The Major Scale from G. Take a medium pitch for general practice, as advised in the suggestions already given regarding the use of Book I. of The Ce- cilian Series. All the singers should be united in the work, keeping the real and pitch names in view, especially when sing- ing the scale. The correct pitch should be taken for the divided scale.The Cecilian Series, Book //., Part /. The author has deemed it best to give in this book a large number of studies in two parts, and to show the general features of melodic combinations in a simple form. This kind of work will excite much interest from the resulting intervals, as well as from the shades of Tone color. Intervals can be accurately learned only when studied in this manner. Ex. 28. Three suspensions — prepared discords. Ex. 29. Imitation by Soprano and Alto. Ex. 31. Study of rests. Ex. 32. An initial rest. Practise first with the Time-names, giving a strongly whispered accent to the first pulsation. Ex. 36. Imitation. Exs. 37-40. Use of figures and motives. Exs. 41-45. Melodic figures. Page 17. The key of D introduced. Proceed as with the Major Scale from C. The key of D presents no difficulties. It only offers a new notation under different pitch names. Ex. 48. Give a strong accent at the be- ginning of the 1 st and 3d measures. Diminish in force, but with the full value of the tied notes. Ex. 49. Four syncopations with accent. Ex. 50. Needs careful attention to the time. Study at first with pendulum. Exs. 51, 52. Studies in melody. Ex. 53. Give to the note over which a hold is placed at least double its ordinary value. The class should be governed by a beat, given by the teacher after the hold, 151 so that the singers may attack the next note promptly. Ex. 54. Do not give the lime with divided pulsations. This would mean a secondary accent, which is not required. If this secondary accent were made, the unity of the two-part measure would be destroyed. Page 19. Various forms of rhythm in three-part measure. In Ex. 58 an excep- tional accent is called for in the second measure, lower voice. Without the sign the note would be sung softly. Exs. 61, 62, 63. Melodic Studies. 4. EXERCISES IN DIVIDED (VARIOUS FRACTIONAL) PULSATIONS. For a study of these fractional pulsa- tions, attention is called to the section upon this division of time, pages 121, 122, and it is advised that each measure be made a special study with many repetitions. If the accent is established without divided pulsations the rest will be easy. Page 21. The Major Scale from F. Study as follows. 1. The whole scale with real and pitch names, using the pitch of D or E for all voices in unison. 2. The divided scale — all voices. 3. The correct pitch for Soprano and Alto. Exs. 65-69. These contain quarter divi- sions of a kind found frequently in the152 A Handbook of Vocal Music. older oratorios. Preparatory drill for each measure should be made. Exs. 70-80. These complete the stud- ies in the key of F. A frequent use has been made of the group consisting of a dotted eighth and a sixteenth note. These two notes are very often sung as though written in triplets, |—# 3 —• 3 T-1 the first note being twice the length of the second. If sung as represented, the first note would be three times as long as the second. The careful use of the Time-names will make this clear. Exs. 79, 80. Do not forget the second- ary accents. 5. STUDIES IN CHROMATIC TONES. In the Second Series of Charts prepara- tory exercises are given for all chromatic tones and notes, and in the studies and songs of the Normal Music Course, these foreign notes are introduced in any con- venient way, not in a progressive order. In The Cecilian Series, which is designed for more popular use, it seemed best to begin with a smaller number of chromatics for special study. Those selected were the #4, !?7, and 5$, which appear most fre- quently in ordinary music. They are here presented in all the usual keys, with signa- tures and with a designation of the related or near keys. Those related most nearly to C are G, F, and a} The heavy lines indicate the tendency of the chromatic notes and tones, and the notes so con- nected should be practised together. m—# > 1 Capital letters indicate Major keys, and small italic letters the Minor keys.The Cecilian Series, Book //., Part I. T53i54 A Handbook of Vocal Music. B(? =3^- #4 i Eb b 7 A EE=s^iiil Eb ■ :s Bb Ab > A. * * »---* #4 i b==®==^ Ab b7 PE^=SE5a^gg tts Ab -A. Eb «—* < * » #4 i Db -#-£#- b7 i fc£: ■/ « * -ar— #5 eb Ab #4 Gb =fcb h &> % « * Gb Trrtf! #5 Db % -• *• • 2 V #4 , , »» CP —tf-b-#—9—------ -«— 4, 3- Song. “ We ’ll bring to the Spring-time.” This introduces #4 and !77. Exs. 15 and 16 are preparatory to the song, “Tell me what the Brook doth Sing.” It has an F (#4). Ex. 17. Six-part measure. It should be repeated until it can be sung quickly. Ex. 18. A lead is made into a through Q% (#5). Singers who sing both parts will find that the upper voice does not contain all the melody. Those who sing the164 A Handbook of Vocal Music. lower notes in the songs will find a fitting melody in which to express the sentiment; for that is possible in music without words. Page 70. The Major Scale from G. Also the Major Scale with the three devia- tions #4, b 7, and #5, leading to the keys D, C, and e. Exs. 19, 20, 21. Unison melodies show- ing the same. Ex. 22. Four-part measure. Make a careful study of this form, giving the ac- cents. The Time-names will greatly aid in establishing these. Song, p. 71. “ God is Love.” A Ger- man choral, printed in quarter instead of half notes. Children find it irksome to sing the latter when taken in a slow and doleful style. Ex. 25. #4 (C#). Two syncopations. The second song is a setting of Claudius’ (1740-1815) charming poem. It is set to the familiar music. Exs. 24, 25. Studies of rests. Met. 132 =J Make the single quarter notes short. Do not let them trespass upon the following rests. Song, p. 72. “When find we at Sun- set.” (Friedrich Heinrich Himmel, 1765 -1814, a composer of much melodious music, chiefly vocal). When the Sopranos sing the lower part the pitch must be raised. Try C. Ex. 26. Melodic study. Ex. 27. Introduction of a chromatic note by skip. C# and Djf indicate a modulation into e. Ex. 28. Shows Tone color, Major and minor. Ex. 29. This is in e. Ex. 30. Tone color through passing chromatic notes. Exs. 32, 33, 34 are in six-part measure. They should receive some preparatory drill. Use the pendulum. Observe the primary and secondary accents. Song, p. 74. “The Golden Glow is Paling.” (A. Randegger 1832—, a pop- ular composer and teacher, now living in London.) Met. 72= j The b7 (Ft]) appears. Page 74. A new scale representation. Key of D, with the three chromatic devia- tions. The keys into which they lead are A, G, and b. Exs. 35, 36, 37, 38. Unison practice in three chromatic tones. Exs. 39, 40. Melodic studies. Song, p. 76. “I’m a pretty little Thing.” Simple duet, Ajf ((5), G# (#4). Ex. 41. Practice in time. The voices should closely match. Exs. 43, 44, 45. Melodic studies. The last has two strong syncopations. Page 77. A hymn tune. Melody with sacred words. This differs from a choral in that the melody is more florid. It con- tains GS (#4), A# (#5), Cft (b7). Exs. 46-51. Melodic studies, with sev- eral different time-signatures. One six- part measure should not be treated as two measures of three pulsations each. Page 78. Major Scale from F, alsoCommon School Course, Part 11. with the three chromatics. They lead into C, B?, and d. Practise them from all de- grees of the scale. Exs. 52, 53, 54. Unison melodies intro- ducing the preceding chromatic tones. Exs. 55-59. Chromatic notes and other problems for two voices. Ex. 57 is entirely in d. Song, p. 79. “ Through the restful Night.” A familiar German song set with words suitable for a morning hymn. Exs. 60-65. Review of preceding prob- lems in new forms. Song, p. 80. “ Spring-time is drawing near.” German folk-song. Song. “ Buds and Bells.” An arrange- ment in simple form, with a larger use of parallel motion in the voices. Song, p. 81. “ We builded a House.” A familiar folk-song. Of the origin of many of these tunes little is known. There are hundreds of such, and in their re-ap- pearance they differ only in the harmony. Page 82. - A new key, — B7. The Major Scale alone, and also with chromatic addi- tions. They lead into F, Eb, and£■. Prac- tise from a higher pitch. Ex. 66. Two-part measure in half-note pulsations. Ex. 67. With %4 showing a modulation in passing into F. Ex. 68. The first half in g, the second in B'Z. Exs. 69-74. These introduce the three chromatic notes, and have fresh melodies in the new key. Ex. 73 in g. 165 Song, p. 83. “ The Cuckoo.” Draw attention to the cuckoo call. Song, p. 84. “ Down by the Neckar Stream.” A folk-song. Ex. 75. Study of rests. Song. “ Arouse up, ye Sleepers.” Met. 126 = J Sing in a brisk manner. Exs. 76-81. Melodic studies. Exs. 77 and 80 show leads into g from Bb. Song, p. 85. “ If I a Bird could be.” Make a special study of the lower voice part. Page 86. Major scale from A, also with three chromatic notes. They lead into the keys E, D, and /}. Ex. 82. The scale in the lower voice with syncopations above. Exs. 83, 84. Melodic forms. Exs. 85, 86. Practice in rests. Exs. 87, 88. Melodic forms. Ex. 89. In A and Song, p. 87. “ Day by Day.” An Eng- lish hymn tune, which makes a good school song. Exs. 90, 91. Various melodic pro- gressions. Song, p. 88. “ Put out the Light.” Met. 8o — J A new rhythm. The words are translated from the German. Exs. 92, 93. Give accurate note values. Song. “Sister, Awake!” Met. 160 = A fine old poem. Ex. 94. Six-part measure, with quarter note pulsations. Page 89. A new key, — Eb. The dia- tonic (Major) scale and also the sameA Handbook of Vocal Music. 166 with chromatic notes. The leads are into Bb, Ab, and c. Exs. 95,96,97. Melodies in combination. Song, p. 90. “ A cooling Breeze.” Met. 12 o = J Ex. 98. Syncopations. Keys of c and Eb. Song. “ Song fills our Life with Beauty.” A fine poem in praise of singing. The translation is admirable. Compare the two measures, beginning with the words “Song is God’s Angel,” with the next two. This is called a harmonic sequence. It will be seen that the first succession is repeated at a higher pitch. Many of these will be noticed hereafter. Exs. 99, 100, 101. These should be practised until they can be sung rapidly. Ex. 102. Is in c. Ex. 103. Introduces in both parts. Song, p. 91. “There’s not a Tint.” The parts move freely, but are not difficult. Ex. 104. Practise until the rate reaches Met. 92 = J Page 92. A new key, —- E. The Major Scale, also the scale with the chromatic deviations leading into B, A, and c\f. XXV. SONGS W IT may be asked why so many exercises are given. In reply two reasons may be stated : —• 1. In order that every simple problem in tune or time may be illustrated and solved. Exs. 105, 107. Melodic parts. Ex. 106. Sing the notes of the first four measures very short. Use pendulum. Ex. 108. In c%. Ex. 109. Free use of thirds. Song, p. 93. “ Sweet Spring is returning. ” One of the best of the German school songs. A new second voice has been added. Practise each part as a melody, without and also with the words. Exs. no, in, 112, 113. Somewhat more difficult studies both in melody and rhythm. Read each part separately. Song, p. 94. “Little Robin.” Study each part carefully for its melody. Page 95. A new key, — Ab. Study all the scale forms as presented. The chro- matic notes lead into the keys Eb, D), and f. Exs. 114, 115, 116. More varied melodies. Exs. 117-120 show some of the greater difficulties, but all have been previously presented in one or more keys. Song, p. 96. “ Where *s the Use of Sighing? ” A quaint poem that the added tones need not injure. rnouT words. 2. That the singers may know more of the language of sounds. It will be understood that the second reason is the more important of the two, when we consider how large a proportion of our music is instrumental. The organ,167 Characteristics of Keys. piano, nearly all the instruments of the orchestra, single or in combination, the military band, and many other arrange- ments give us some of the finest language of which we can conceive. The same might also be true with voices. We would by no means discard the vocal composi- tions with words, but we know how ines- timable the songs without words are. Do not neglect these little studies, or exercises, as they are called, for they lead to a better conception of the songs. No words can or will fully express all that the music conveys. Let the music be tho- roughly learned, and then, in using the words, the singers will afterwards feel how much deeper the suggestions are. Music of itself means nothing, but it is full of suggestions, of which no lan- guage can convey a meaning. Words are too vague. Having learned the sounds, and being governed by the rules for melody, accent, and rhythm, the words can be ap- plied and the attention devoted wholly to the most careful expression of the language as applied to the music. This will place a higher value upon what we call song- singing, which is too often sing-song, and lacking in all that is noble and inspiring. Music is the vapor of art. It is to poetry what revery is to thought, what fluid is to liquid, what the ocean of clouds is to the ocean of waves. — Victor Hugo. 4 It is a strange thing, the subtle form and conditions of music. When the composer has conceived it in his mind, it is not there ; when he has committed it to paper, it is not there ; when he has called together his orches- tra and choristers from north and south, it is there, but is gone again when they disap- pear. It has always, as it were, to put on immortality afresh. It is forever being born again, — born, indeed, to die, and leave dead notes and dumb instruments behind. — Lady Eastlake. XXVI. CHARACTERISTICS OF KEYS. MUCH has been written and spoken about the characteristic qualities of the different keys in music. Schel- ling, in his “ Philosophy of the Beautiful in Music,” published in 1838, endeavored to establish peculiar effects produced by each key, and of course cites instances to establish his claim. His statements in this direction are of little value, for his rules would have many exceptions. Undoubt- edly a composition written in C would have a more brilliant effect if played in D, but the change of pitch and increased rapidity of vibration would readily account for the impression. This must be more willingly granted if we accept the use of equal temperament in tuning. Advocates of the key quality would, if they sought, find some strange contradictions, a few of which may be cited. C and D are called bright keys suited for joyous and jubilant effects, yet Handel chose C for “Thei68 A Handbook of Vocal Music. Dead March in Saul.” The march is plaintive, and wonderfully expresses the sor- row of a funeral occasion, notwithstanding its key. Eb is usually called an effeminate key. In the oratorio 44 The Creation ” Haydn chooses E’7 for the great chorus, 44 Achieved is the glorious Work,” and also for the duet 44 Graceful Consort,” which is intended to express entirely different senti- ments. Sentimentalists say that the key of is mild and tender, and speaks of green fields, running brooks, and such scenes in nature. Handel uses it for his great chorus, 4* For unto us a Child is Born.” B? is called a brilliant key, but Handel chooses it for 44 Fie shall Feed his Flock,” as also for 44 His Yoke is Easy.” Haydn may choose C for 44 The Heavens are Telling,” but Handel uses it for the Pastoral Sym- phony. Meyerbeer sets his Coronation March in E-7, while Mendelssohn chooses the same key for 44 Cast thy Burden upon the Lord.” Mendelssohn uses C for 44 O Rest in the Lord; ” and Bi? for the bril- liant chorus, 44 The Nations are now the Lord’s.” Changes of pitch have been very marked in the past. Handel’s tuning fork of 1740 gave for A 416 vibrations, while the Paris standard of 1858 is 448. This is about two-thirds of a tone in a little over a cen- tury. The constantly ascending pitch made it necessary, for the sake of voices, to adopt a fixed and lower standard. This is now established at 435 vibrations for the. A. These changes in the pitch will not affect the statements that have been made about the peculiarities of keys, for C be- comes Bb, or nearly so, D becomes C, and so on. Absolute pitch is also claimed, but it will be seen from this that it is but the memory of tones, and has no other value. William Gardner, a gossipy English writer, has also given his views on this subject. He is, however, just as much at sea. The conceit is a fanciful one, and is largely entertained by those who know little of the great masters. It would be easy to find hundreds of compositions utterly at variance with this 44 charming idea.” The probability in regard to the character of the keys is, that they were chosen by the composer to suit the compass of the voices. G, A, Ab, B, or Bb, would be convenient for certain plagal melodies for higher voices, while C, D, E, Eb, and F, might be taken for Soprano or Tenor melodies largely authentic, or having motives generally above the key note. These keys would also answer for plagal melodies for lower voices. Other elements would enter into the ques- tion of contrast, of which the most impor- tant would be rhythm or tone combinations in the harmony. The imagination should be cultivated, but it must not be influenced by fanciful theories inconsistent with the real facts. Extravagance in these matters can only do harm, for such notions must, sooner or later, be laid aside.The Second Reader, Part //. (Three Voice Work). 169 XXVII. THE SECOND READER, Part II. Three Voice Work. 1. ARRANGEMENTS FOR THREE PART WORK. IN the selection of voices, only those pupils should be taken for the lowest part who can sing firmly, but very softly, the lowest G. The use of these low notes could not be avoided in writing for three parts, but their use is a restricted one, and care should be taken not to force the tones in singing. As often suggested, all the singers should sing all the notes, beginning with the lowest part. This should be done, if for no other purpose, for the practice of reading. The singers will see that the melodies of the subordinate parts can be used to express the sentiment of the words, and that they are melodious in character. In demonstrating this, give a higher pitch for the Alto part, and a lower one for the First Soprano, when sung by all voices. In this way the singers will become more musical by being more critical, and with a knowledge of the other parts they will learn to adjust themselves to the combined effect. No more useful study can be found. 2. ANALYSIS OF EXERCISES AND SONGS. Page 131, Exs. 351-356. These are all very simple, and the combinations produce few dissonant effects. Attention is again called to the use of some consonant in producing a repeated note. Exs. 357-367. The succeeding exer- cises and songs will gradually introduce a great variety of combinations in harmony, illustrating consonant and dissonant effects. As the parts increase in number, less is left to the imagination, as the harmony will be fully expressed. All modulations are now positively made and represented through the requisite chromatic signs. Each should be known, named, and ex- plained before the words are used. The words also should be studied by analysis, scanned, and read very thoughtfully. By experiment it will be found that the subor- dinate melodies are of such a character as will enable the singers to give expression to the sentiment of the words. Song No. 64, p. 134. The melody and rhythm are easily established, after which there are chromatic changes to be con- sidered. The rule with reference to a chromatic sign should be more rigidly ob- served. It does not extend beyond the measure. If restored in the same meas- ure it would need the proper sign, but there should be no necessity for a restora- tion on its next appearance in another measure. Were the rule carefully followed there would be no doubt.170 A Handbook of Vocal Music. The first chromatic is FJf. This is a tone necessary in the key of G, but it is only touched, Ft| causing a return at once to C. In the study prepare the note sim- ply as #4. In the third brace G# appears. By reference to the succession of chro- matics, it will be found that this leads to a, which is the relative minor of C. This is a real modulation, and it lasts for nine pulsations. In the second measure on page 135, CS is a chromatic deviation. From such examples the necessity of a knowledge of the chromatic signs will be easily seen. Practice, especially without words, will show the beauty of Tone color in harmony. This illustrates the third division of the study of chromatic tones, — those that are brought out through com- bination. A further study in this direction would be out of place in school work, but these effects, already mentioned, will be felt and known through singing and hearing. Song No. 65, p. 135. In the 3d meas- ure there is a modulation into G. In the 5th and 6th measures the harmony moves into dy from which it returns to C for a cadence, or close. Song No. 66, p. 136. In six-part meas- ure. Begin with a study through single pulsations. When the notes have been learned, gradually hasten the movement until it can be easily directed and sung with two beats in the measure. Exs. 368, 369. Illustrative studies in melody and rhythm. Page 137. A new key,— G. A return is made to the simple forms and progres- sions. The teacher should not select these throughout the book, but should follow the exercises and songs in regular order. As each new key appears there are some added problems, and in this way there is a constant advance. These changes in harmony may be so slight as to be almost imperceptible, but they have their influence. Song No. 67, p. 138. There are two chromatic changes. No study of modula- tion is necessary. In the second measure, second brace, lower voice, in going from Djf to F$ keep in mind the intervening note, but do not sing it. The Fjf will then be very simple, and in this manner the tonality of the key will be preserved. Exs. 375, 376, and 377. A succession of ties is the problem. It is easily solved if the mensural accents are well fixed in the mind. Song No. 68, p. 140. The notes should be vocalized many times without words, observing the rhythm and accents. Read the words until the sentiment is understood. Much of this may be done by the singers unaided by the teacher. At the end the music and words may be combined with- out interference. Song No. 69, p. 142. Sing the first eight measures in semi-chorus, and this will make the chorus with all the voices more effective. The new chromatic in the 3d measure should be studied as P3. As it comes in natural order this will be easy to do.The Second Reader, Part II. (Three Voice Work). Exs. 378, 379, 380. The new key, — D. A return to simple forms and har- monies. Song No. 70, p. 143. It is necessary that this song should be vocalized before applying the words, otherwise the two chromatics may be imperfectly given. They are #1 and #5. Song No. 71, p. 144. Imitations in the melodies of the parts. The chromatic notes have been studied. The real prob- lem is one of time. The rests must be felt by. those who have them to keep, otherwise the entrances will be disturbing. Exs. 381, 382, 383, 384. Studies in melody and rhythm. These will be inter- esting if the time is very strictly kept. Song No. 72, p. 147. Something new in rhythm. It will not be good unless the note values are correctly given. Usually the dotted quarter notes are not properly sustained. Use Time-names with pendu- lum in order to sing these notes with ex- actness. Exs. 385, 386. The use of discords. Exs. 387, 388, 389. A new key, — A. Song No. 73, p, 149. A little faster movement may be taken when the music has become familiar. The illustration will furnish a suggestion. Song No. 74, p. 150. There is an imi- tation in the Alto and Second Soprano parts in the second brace. Make the six notes a little stronger in each case. Sing the last note with precision and energy, and bring the last two notes in on strict time. 1 71 Ex. 390. This is a sequence. It oc- curs when the same succession is imitated by ascent or descent. Exs. 391,392. Studies in rhythm. They are somewhat more difficult than those which introduced the key of D. Ex. 393. This is a very simple form of Organ or Pedal Point. This occurs when one note is held while the other parts move freely. I11 this study E is held by the Second Soprano for four measures. It is then taken by the Alto for three measures. Song No. 75, p. 152. A modulation is made in the 5th, 6th, 7th, and 8th meas- ures into E. The next four measures are in c$. Be careful that the time does not drag. Ex. 394. Two syncopations. Strong accents. Exs. 395, 396. A new key, — E. A return to simple harmonies. 3. COUNTERPOINT. The first music, as far as we know, was written for a single voice or for several voices in unison. It was expressed by signs called points. In the first develop- ment of harmony, or music for two voices, another series of notes or points was placed above or below the first melody, which brought point against point (tone against tone), hence the term coun- terpoint. The original meanirfg of the word was, therefore, simply a combination of melodies. These were at the outset172 A Handbook of Vocal Music. very crude. In our day we would not tolerate them. As musicians acquired skill these combined melodies became very in- tricate and were carried to great excess. They were often mathematical puzzles. In modern times this has been modified until each melody contributes to the har- monic whole. In this way the sentiment of the words is clearly expressed. The author has always believed that this form of writing should be employed, in order that the singers might acquire indepen- dence in reading and singing. This has been done in no spirit of pedantry, but with the desire to contribute to the pro- motion of real music. The warrant for this kind of writing is found in all the Ora- torios, Masses, and great choruses of the masters in composition. All the illustra- tions in the books of the Normal Music Course and The Cecilian Series of Study and Song are but aids to the understanding of great works. Song No. 76, p. 154. “The Carol of Spring Water,” is written in contrapuntal manner, each part moving freely. The harmony is the result of a combination of these melodies. The higher or more com-, plicated forms of combination, like the canon or fugue, could not be introduced in the Music Readers owing to lack of room. The Canon is the strictest form of imi- tation. The principle of a canon is that one voice begins a melody, which is imi- tated precisely, note for note, interval for interval, by another voice beginning a few pulsations later. A Fugue (meaning a flight), is a com- position in two or more parts, developed from a given theme according to strict rules of counterpoint. The theme is first given out by one voice or part, and then, while that pursues its way, it is repeated by another at an interval of a fifth or fourth, and so on until all the parts have answered. Some of these canons and fugues are very florid in melody, while others are very simple, and are easily sung. The endeavor in all the author’s Music Readers is to encourage a feeling for the spirit shown in the great choral works. It has been thought that such music could not be learned by young singers. This is a mistake. It can be done if the under- lying principles of melody and structure are known. Its success only depends upon the way in which the subject is pre- sented. If properly done there are no wearisome problems to be wrought out. The growth in the right direction may be almost imperceptible, but it is sure. If music is to attain a higher position in our country, it will arrive there not by appeals to men and women of mature years, but by the knowledge gained by the children through doing. This cannot be done by imitation. Imitation is not with- out value, but it is neither reliable nor permanent. It should not be used in school work except in the earliest years. There it has its uses.i73 The Second Reader, Part II. (Three Voice Work). 4. ANALYSIS OF EXERCISES AND SONGS. — Continued. Exs. 397, 398. Two simple studies. Ex. 399. Met. 132 = j A short study in waltz movement, in which the melody is sung by the First Sopranos, the accom- paniment by the Second Sopranos and Altos. The accompaniment should be sung lightly, and always subordinate to the melody. Song No. 77, p. 157. It is hoped that the advice here given will be heeded by young and old. Mr. Colesworthy, the author of the poem, was truly a pioneer. Song No. 78, p. 158. Met. 132=^ This song contains two sequences, to which attention is called. Dtl is f?7, G is another chromatic note. The A# indicates transi- tion into the next key, — B. There are illus- trations of the sequence in the second and fourth braces. Do not let the movement drag or become heavy. There are several expressive effects that will be observed when the notes are thoroughly learned. Exs. 401-404. A new key, — F. This is a return to simple progressions. Song No. 79, p. 160. There are illus- trations here of all kinds of fourths. They will be known in the singing. It is not necessary to give the technical names. The names of all intervals will be given later on. F# is Jfi of the key. CJf leads into d, the relative minor. Exs. 405-408. These are melodic studies. Song No. 80, p. 162. This must be thoroughly studied as a vocal exercise be- fore the words are applied. Read the words, but do not use them as long as any difficulty remains in the singing. Song No. 81, p. 164. Practise very slowly at first. Give the beat for each pulsation until the metronomic direction of 60 = J, can be followed. After this apply the words. Observe the metronomic sign. Exs. 411-417. A new key, — Bb. The introduction is through very simple har- monies. Song No. 82, p. 167. A general lesson. Song No. 83, p. 168. A study of melody in three parts. Exs. 418-420. Melodic studies. Ex. 419 shows a transition from Minor to Major. The Tone color of the Minor is apparent without the introduction of chro- matic signs. Song No. 84, p. 170. Observe the mensural accents. Exs. 421, 422. The next key in order, — Ek Song, No. 85, p. 171. A hymn for chil- dren. F# (#2) and Aft (#4), are passing chromatics, as also Cb (b6). From 5th to 8th measures there is a modulation into f Ex. 423. A continuous conjunct melody sung by different voices. Let there be no break. Exs. 424, 425. Studies in melody and rhythm. Song No. 86, p. 173. A hymn. The music is repeated.174 A Handbook of Vocal Music. Song No. 87, p. 174. Six-part measure is one of the most graceful and interesting of movements, as it unites the natural and artificial combinations of accents. An idea of this may be gained from the following. 16 I 2 3 / 7 4 5 7 6 7 1 If 16 7 7 7 > 7 7 # 1 7 1 18 > - 1 1 2 The last indicates a more rapid movement directed by the teacher’s hand or baton, through two pulsations. Although the direction is given in this way, do not lose thought of the division of each half meas- ure into three pulsations. In this song it will be seen that the sentiment and move- ment are in agreement. Exs. 426, 427, 428, complete the key. Ex. 429. Entrance of the new key, — A’?. As before, the entrance begins with simple harmonies. Song No. 88, p. 177. '‘Bell Song,” with movement like chiming. Sing in strict time. ' Exs. 430-437. Studies which introduce melodies of varying difficulty in time and tune. Song No. 89, p. 179. Sing softly, and in a graceful way. The music is regularly constructed. It has four sections of four measures each. The first establishes the key; in the second there is a modulation into E7 ; in the third and fourth the mo- tive, Eb, D t3, D?, is taken by each voice, and the whole ends with a cadence not often used in the book. Give a slight accent to the second note, diminishing and retarding to the close. End very softly. Song No. 90, p. 181. After a little practice take a faster movement. If a little quicker than the one indicated it will do no harm. Read the words carefully, and speak them with accuracy. With Ex. 437 this division of the Second Reader closes. The author’s original plan was to complete the book by the introduc- tion of more complicated three-part exer- cises for Sopranos and Altos. A change, which did not afterwards prove so desir- able, was made by bringing in the use of the F Clef. An almost universal desire for more three-part exercise work led to the prepa- ration of the Introductory Third Reader, and the division of the Second Reader into parts. In this way, those who wish may go directly from two-part exercises to the Introductory Third Reader, or con- tinue to the 438th exercise. The author would advise the classes to complete the work up to the introduction of the F Clef. A return to the Second Reader can be made later, for practice with Soprano, Alto, and Bass voices in conjunction.The Introductory Third Reader. 175 XXVIII. THE INTRODUCTORY THIRD READER. 1. TIMELY SUGGESTIONS. PROGRESSIONS in single tones or in two and three-part harmonies can be given with the fingers of the hand, and when done by expert teachers the result is quite startling to the uninitiated. This practice might be allowed were teachers familiar with the rules of har- mony. The author must strongly protest against its general use, for when practised by the uneducated it would be very false and injurious. Whenever done, use only such harmonies as may be found in the book, or those similar to them. This use of the hand is not a novelty, as is claimed by some teachers. It was described and suggested in a book printed in Cologne as long ago as 1508. Much time is also wasted in writing exercises upon the board. Only very skilled teachers can write impromptu exer- cises sufficiently accurate for practice. If listlessness and inattention appear, doubt upon some simple underlying prin- ciple lingers in the minds of the singers. Study the class closely, and endeavor to find where the trouble lies. Impatience and nervousness will only increase the difficulty. Mental uncertainty is surely there, and in nine cases out of ten the fault is in unfinished work that has been passed over. The old fashion of singing many songs, largely from imitation, still leads to a neglect of things that would assist singers to help themselves. Another trouble arises from the feeling on the part of many teachers that song- singing and rough, loud, boisterous shout- ing are synonymous. Such is not the case, and a wide distinction should be made. By this it is not intended that sickly sentimentality should be encouraged. Boys can be manly and strong without becoming boors or rowdies. There is another matter to which we should give attention What is meant by an exercise song? Songs intelligently read in the course of study are none the less songs for enjoyment and improvement. They are really of more value for musical entertainment, as the singers have become, through their knowledge of tune, time, ac- cent, and expression, more keenly alive to the whole effect. Why these should be relegated into the background as com- paratively worthless, it would be difficult to discover. Why should compositions, taken up at random and learned in a hap- hazard way, be pushed forward for display? Let us consider this subject seriously, and bring our daily work up to a higher plane. 2. ANALYSIS OF EXERCISES AND SONGS. Exs. 1-8. These are similar to the ex- ercises in the Second Reader, but there is a freer use of discords.A Handbook of Vocal Music. 176 Ex. 8. The alternate syncopations and regular accents should be noticed. Ex. 9. G# is used in transition without modulation. Ex. 10. Gjf causes a modulation into a. All chromatic notes should be studied from the Progressive Exercise cards 1 prepared for the purpose. Ex. 11 A bit of organ point. Ex. 12. Syncopation without tied notes. Ex. 14. If a measure begins with a free discord it should receive a strong accent. See 2d measure. Ex. 15. In the usual treatment of a dis- cord a resolution is made into a concord upon the next degree. In the 2d meas- ure there is an exception in the inter- posed G, but it will not sound badly. In the lower voice of the 3d measure the E becomes discordant through the^F and A. Ex. 17. Syncopations. The three most prominent chromatic notes are introduced, $4, ?7, #5. Let all sing each part. The songs of this Reader are not ar- ranged in progressive order, but such can be selected from time to time as may seem to be the most desirable. Taken together they illustrate the problems contained in the exercises. Their chief value is in the practice of movement and expression. In the study no doubt should remain as to the tones of all the parts. Should any re- main, it will be impossible to render the music in a proper manner. Rather than permit such failure, it would be far better 1 Published by Silver, Burdett and Company. to confine the attention to the exercises and the simplest songs, or, as suggested in the preface, to sing only the melodies. A few songs sung tunefully would be far better than a superficial reading. This work, even if it should be prolonged, will repay the effort, and all singers will delight in tuneful and expressive singing. A few marks of expression are given, which will be of assistance. Song No. 1, p. 8. This has two modula- tions. (1.) In the 9th, 10th, nth, 12th, and 13th measures it goes into e. (2.) In the 14th, 15th, 16th, and 17th measures it goes into G. On the 2d brace, Second Soprano part, 3d measure, take G as one and treat Dff as a chromatic note. On the 2d brace, 6th measure, Alto part, sing B, Cj, D#, E, as 5, 6, 7, 8. Much skill may be shown in the rendering after the notes are fully learned. Ex. 19. Imitative groups or motives. Ex. 20. Study of rhythm. Practise, using Time-names and pendulum. Let the Sopranos come in promptly upon the sixteenth notes. Use a consonant with vowel, as lo or le, upon a repeated note. This book introduces many exercises in chromatic notes. This is done to illustrate all the facts about them that are already known. They are used here in new com- binations, and in this way they are an introduction to the department of study in its more advanced stage, — Tone color in part writing. This will prove to be one of the most interesting of studies.The Introductory Third Reader\ 177 Exs. 22, 23. The key of G. These studies are very simple. There are in them several new chords of the seventh, or discordant notes, that will be interesting to the singers. Song No. 2, p. 11. This is a plain choral, or sacred song. Direct with two pulsations in the measure. Exs. 24, 25, introduce suspensions and syncopations. Ex. 26 begins with the measure exactly as if a note were there instead of a rest. In the preparatory study with Time-names Ta should be sharply whispered. Mere silence will not convey the impression of an accent strongly enough. Exs. 27 and 28 have imitative groups. Ex. 29. Last brace, 1st measure, give a very strong accent to D. The harmony of the two preceding measures is the same, but an added emphasis is given by the syncopation. Song No. 3, p. 14. The motive given (the first five notes) is one well known on bells. It is repeated in the 2d brace. The words will suggest a fitting manner and movement. Exs. 30, 31, are alike in melody and harmony. They differ in note values, but may be taken at the same rate of move- ment, Met. 92 = J or J Ex. 32. A study of fourths. Ex. 33. A study of rhythm and accent. Song No. 4, p. 16. Vivace is not a definite term in movement, but a lively pulse is suggested. Observe the rallen- tando on p. 17. This does not indicate a sudden change from fast to slow, but a gradual retarding, each succeeding note having greater length, and in this case, increased force. This change is not so common. At a tempo the original move- ment is resumed. Exs. 35-38. Melodic studies. In Ex. 37a sombre tinge is given to the first five measures. This comes from the character of the harmonies and melodies. It would have the same color if written in the same relation to any other key note. Song No. 5, p. 19. The author believes that no canon of good taste has been vio- lated in the selection of the key of C for the expression of sentiment in “ ?T is Peace- ful Night.” By certain sentimentalists C has been called a very bright key. The class should know the music thoroughly before applying the words. The some- what unusual harmony of the last two measures should be studied very carefully. It will be easy to go astray at the A!?, es- pecially with a natural diminuendo. Exs. 39-42. Studies in rhythm and harmony. There is but one foreign note, D# (#4). This is a chromatic deviation. Song No. 6, p. 21. It will do no harm to observe the sentiment of the words. The “ lesson for the day ” is a good one. In the 2d measure of the 3d brace observe the effect of the Ft] and DJ in conjunction. Exs. 44, 45. Melodic studies. Ex. 46. Take the movement at first178 A Handbook of Vocal Music. slowly, and continue the practice until the movement is very rapid, — like two triplets. Ex. 47. Shows the co-relation between and A, the progressions being relatively alike. Song No. 7, p. 23. Make this a jolly song for boys, just as the “ Ettrick Shep- herd ” intended it to be. Ex. 48. A bit of organ-point. Ex. 49. Melodic study. Ex. 50. Imitation in the keys of E and f%. Let all sing each part. This will make the class observant of rests. Song No. 8, p. 25. Met. 120 = ^ A bright morning song. Ex. 51. Contrasted Major and Minor effects. Exs. 52, 53. Melodic studies. Song No. 9, p. 27. A figured choral, in which an almost continuous movement is kept up. Study it so that the class will be zealous to keep the pitch. Observe the brisk eighth notes. Look up the life of Bishop Ken. Ex. 54. The Time-names for nine-part measure will be found on page 156. They should be applied here as follows : — 19 J' J -N 1 1 A b I ' 1 ! 1 18 1 1 la Te-e le Ta-a-a Tara la Te re le Let all sing all the parts. This injunc- tion has been frequently repeated. From this it will be judged how important the author considers the practice. Ex. 55. The class should observe the long rests and come in promptly, if possi- ble without a hint from the teacher. If the singers feel the mensural accents, this will be easy, and it will give zest to the practice. It also develops individuality. Song No. 10, p. 29. This is a kind of choral, and it contains new harmonies. See 9th, 10th, and 14th measures. They will please if sung in tune, but do not let the class grope for them. Song No. it, p. 30. This presents many new things, some of which may be mentioned. Every chromatic note used in the song is taken in a natural succes- sion, that is, without skip, except the Eft in the 1st measure of the 31st page. In reading this, follow (mentally) the series from B to E, and then the Ft] will be easy to sing. Or it may be read in the key of C, when the names will be 7, 4. The Second Soprano parts are doubled in the last five measures to give fulness to the har- mony. Divide the singers of the part. Observe the marks of expression. Some exaggeration will do no harm. Exs. 57 to 65 inclusive, are illustrations in melody and harmony. All this practice will aid in reading and singing the songs. Ex. 66. Remember the strongly ac- cented syncopations. Let the Alto sing lightly in the 5th and 6th measures. It may be well to use thej syllable “ la ” for these notes. It will be noticed that each key has been introduced by simple harmonies, butThe Introductory Third Reader. 179 the teacher should not select the easy studies in each key/neglecting others. If this is done there will be but little progress. The exercises should be taken in the order of the book, but the songs may be chosen as seems best to the teacher. Song No. 12, p. 34. Met. 126 — ^ This is a simple study in melody, and in practice the attention should be devoted to this feature. There are no chromatic difficulties to interfere. Exs. 67, 68, are in keeping with the song. They are somewhat more florid. As must be done in all good teaching, the greater difficulties of tune and time are here prepared for in the technical or pre- paratory studies. 'The songs, with very few exceptions, do not present hard prob- lems, so far as matters of tune and time are concerned. Exs. 69-76. The key of Bb comes in with simple studies. Ex. 72 shows a con- trast between g and its relative B5?. They have similar successions of harmonies. Ex. 74, in g. In the style of a choral. The last four notes of the Second Soprano may be read as 5, 6, 7, 8. They belong to a form of Minor Scale which will be treated later. Song No. 13, p. 39. This should be made full of life. Be very careful to give the exact value of the notes in the fourth beat of the 1st measure in the lower brace. Use Time-names to make the rhythm sure. Ex. 77. This looks rather black, but it is a simple figure introduced in the dif- ferent parts. Sing very softly and rather fast. Ex. 79. Make a modulation in meas- ures 10-13 int0 F. Without this thought the exercise may prove a puzzle to those who are wedded to do, re, mi usages. Song No. 14, p. 42. Sing softly and lightly, and when learned set the metro- nome at 1^2 — I Do not let the time drag. 'Phis song is by no means difficult so far as tune and time go, but requires much practice to give it the requisite deli- cacy, and the real value of the dotted eighth and sixteenth notes. It should be sung from memory, so that the teacher can point out any shade of expression that is desired. Exs. 80, 81. Melody and .rhythm. Song No. 15, p. 45. In the olden style. Sing briskly and in rather rigid time. Herrick’s words are somewhat changed. Exs. 82-85. The same melodic and harmonic idea, but with different time signatures and notations. Ex. 86. Met. 84 = i Use of a simple I motive contrasted with quiet, sustained harmony, rather softly sung. Be careful not to prolong the note before the rest. Song No. 16, p. /8. Be very observant of the rhythmical effect of the first three notes. It is a group that is many times repeated, and its accurate rendering is an important feature of the song. The keys are A and E, and the changes are fre- quently made. On page 49, beginning ati8o A Handbook of Vocal Music. the 8th measure, last note, is a passage of two measures in /j, to be contrasted with the next two in A. They are counterparts. Observe the rit. ma non dim. Consult the glossary. Exs. 87, 88. Syncopations. Although the differences in these studies may be slight, still they have been carefully written, and they will make the singers observant of every point. The change of a single note may be of great benefit in this matter of sight singing. Ex. 89. Scale from Eb harmonized. Ex. 90. Scale from Ab harmonized. Let it be well-sustained, but without dragging. Song No. 17, p. 52. Contrast the sen- timent of the last line of the first stanza with the last verse of the second stanza. This is changed by a transition into the Minor. It is not the key (so-called bright D), but the harmonic combination that gives the tinge of Tone color. Exs. 92, 93, 94. Melodic combinations. Ex. 95. Use the syllable la for the re- peated notes. Ex. 97. It has a melodic motive of six notes, ascending in the 1st, 2d, 3d, and 4th measures, and descending in the 9th, 10th, nth, and 12th. When learned sing very rapidly. In this way, technical facility will be gained by all, and the unison singing of many voices will be interesting. Song No. 18, p. 56. A certain swing and freedom can be gained if the right emphasis is given to the first note of the measure, especially where the dotted quar- ter note is tied to the" eighth. Give such notes a strong accent. Exs. 98, 99. Not many exercises are seen having repeated notes, as these be- long to study of rhythm rather than to melody. An interpolated syllable, as la, 16, or le, upon a repeated note will make the note clearer. Song No. 19, p. 58. To a large extent a study in chromatic tones. There are several modulations. (1). The key note B? is established in four measures. (2). Four measures in g, stopping in D. (3). Four measures in Eb. (4). Four meas- ures in^, (5). Four measures in D. (6). D is taken as the third of B^, the original key. (7). Bb, the original key, continued with a few chromatic notes to the close. A very valuable study in modulation, and all the singers should become familiar with each part. Ex. 100. A melodic study in six-part measure. The notes of the upper voices in the 7th, 9th, and nth measures should be sung softly, slightly accenting the first note of the groups. Exs. 101-110. Various exercises in chro- matic notes, to be sung in unison by all voices. These are illustrated in the Second Series of Charts, and should long since have become familiar to the singers. The exercises are written so that the chromatic notes may be easily taken from the degree above or below. Song No. 20, p. 62. Met. 112 = J InThe Introductory Third Reader. the style of the modern English part song. The keys are as follows : Beginning on last half of the 2d measure of the 2d brace, and continuing into the 3d measure of the third, the music is in E?. From the last half measure on page 62, and continuing for eight measures, the key is C. Calling C the third of Ab, it returns to the original key, and so remains to the close. The song will require some study, especially on account of the rhythm. Vocalize it many times before applying the words. The various marks of expression should be followed. Observe the pp. pas- sage on page 63. Induce the class to sing it from memory, so that the whole attention may be centred upon the teach- er’s baton. Exs. 111-121. Various chromatic notes in studies for two voices. Song No. 21, p. 68. This song has a suggestion of organ-point in the continued use of the note C, and it may be made effective if that idea is considered. It has a swinging movement. In the rit motto on the 69th page, make the movement gradually slower. Do not at once change from allegretto to grave. All changes of movement indicated by such words as accel- erando, ritardando, or rallentando must be carefully studied to attain this graduation. Exs. 122-130. The chromatic studies are here introduced for three voices, other- wise there is nothing new. Give all the voices practice in these chromatic notes. It will interest the singers. Take a slow l8l rate of time and be sure that the singers know the tones so well, that they can make a correct estimate of the tunefulness of the intervals and of their derivation. Song No. 22, p. 72. Owing to the irregu- larity in the number of syllables, there are some apparent difficulties. These will soon disappear if the mensural accents are ob- served throughout. Carefully vocalize the song and commit it to memory, before applying the words. Exs. 131-141, introduce the Minor Scales in different keys and forms. It will be remembered that all this has been anticipated, and there should be no diffi- culty in reading these exercises slowly at sight. The chromatic tones may be taken as such, or treated as parts of the Minor Scale in one of its forms. The latter is preferable. Exs. 142-148. These are similar studies for two voices. Song No. 23, p. 78. This is supposed to agree in its movement with the motion of skating, but this is only a suggestion. It should not be treated as programme music, neither need the singers be labelled as skaters. Ex. 149. Contrasted Major and Minor modes. They are similar in intervals and rhythm. Exs. 150, 151, 152. The two-part exer- cises in the Minor mode completed. Exs. 153-162. Studies in the Minor for three voices. Varieties of melody and measure.182 A Handbook of Vocal Music. Song No. 24, p. 85. This is in nine-part measure. The use of the Time-names, Ta, ra, la, etc. as a guide has been ex- plained. In the 2d brace is a modu- lation into G. The transition may be easily made by calling B (5 in the key of E) 3 in the key of G. Reverse the order in returning to the original key. Notice the word lento near the close. 3. DIATONIC MODULATION. Modulation is the transition from one key to another. There are many ways of making this transition, but only a few of them are used in the Introductory Third Reader. In the First Reader modulation was only suggested, as no notes foreign to the Diatonic Scale could be used. It was then named and represented in the Second Reader. At this time it is treated in a more systematic manner. The sugges- tions at first were as follows : — 1. From a Major into another Major key. 2. From a Major into a Minor key. 3. From a Minor into a Major key. 4. From a Minor into another Minor key. The modulations that are here treated may be divided into two classes, Diatonic and Chromatic. In diatonic modulations every two or more successive notes are in the same key, or the transition may be through a note common to two keys. The first series of exercises shows diatonic modulations in unison. The figures above the notes indi- cate the relation. Ex. 163. Modulation from the key of C to the key of G. This is done through the common note G, which is 5 in the key of C, and 1 in the key of G. Exs. 164-171. Similar transitions. The graphic representation may be found in the Second Series of Charts. Diatonic notes are those of the Major Scale. Chro- matic notes are those which are foreign to the signature. These are indicated by some chromatic sign, like fc|, #, or I?. In the Minor the changed 6th and 7 th may be considered as diatonic, as they are a part of one of the forms of the Minor Scale, — Harmonic, Melodic, or the two in combination. The Normal form, used in many exercises, especially in the First Reader, requires no change. These melo- dies prepared the ear for the true Tone color effect See directions already given for the use of the First Reader, of the exercises of The Cecilian Series, Book I, and of the Common School Course, Part I. Song No. 25, p. 88. The first three stanzas are in C. The fourth is in c. In c think the tones in the signature of E1^, treating the foreign notes as chromatic deviations. If the Minor Scales have been studied, the music may be read in the Minor as such. The Minor shows the change in the sentiment of the words. This stanza suggests quite naturally a some- what slower movement.The Introductory Third Reader. 183 Exs. 171-178. Diatonic modulations for two voices. In these the pupils gain an idea of new Tone colors in combination. Song No. 26, p. 94. There should be a marked difference in the rendering of the two pages of this song. The maestoso movement should be taken deliberately, giving each pulsation distinctly. As a guide set the metronome at 138 = The andantino must go much faster, with the feeling of two pulsations in the measure. It should sound like a choral, slightly modi- fied by the three-part motion and accent. Such changes may be made effective when sung firmly by a large chorus. The word andantino signifies that the movement is “ going ” but a little slower than andante. Ma non troppo (but not too much) is a caution against making the time too heavy. Exs. 179-186. These are diatonic modulations for three voices. Song No. 27, p. 100. Much care must be taken in order to sing this song in tune. Set the metronome at 96 — j Avoid the general tendency to dragging. Do not lose the easy and elastic effect. The general key is c, but the first eight meas- ures may be treated as if in E'?. Begin- ning at the second chord of 2d measure on the 3d brace, and continuing to the hold (/-s), the key is G. FJ, the first note in the Soprano part, 4th brace, should be strongly accentedalso at the top of page 101. After the hold the key is c throughout until the 3d measure, 2d brace, p. 101. The At] and Bt} in this brace show the artificial character of the Minor. The raised 6th and 7th are used in descent as well as ascent. The poem by Geibel is worthy of careful attention. 4. CHROMATIC MODULATION. In this form any succession of notes can be taken and any note can be changed by a chromatic sign. In all this the composer must be governed by the laws of harmony. Reference is made only to the reading. This may be called free writing. In the preparation for sight-singing a careful study must be made of the chromatic scales. Another preparation should be made through the use of the Progressive Exer- cises in the Chromatic Scale (cards), as the chromatic tones must at times be taken by skips. Exs. 187-194. Melodies to be sung by all voices. They are studies in chromatic modulation. Song No. 28, p. 104. Attention should be called to the quaint poem. There is a persistency in the question that arrests the attention. On page 105, 2d brace, the diminuendo should not begin before the 3d measure. Sing the first phrase, “ What would you buy?” mode- rately loud ; the second time, very softly, making a continuous ritardando. Set the metronome at 92 = 0 for the general tempo, but take it only as a guide, and not as a fixed standard. Hold the last note as softly as possible.184 A Handbook of Vocal Music. Exs. 195-198. Chromatic modulation for two voices. All these are real studies, and especially constructed for the purpose. Song No. 29, p. 108. A short chorus in modern style. It has rather more chro- matic notes than are usually seen in such compositions. Song No. 30, p. no. A plain choral. Metronome not slower than 96 = J . Exs. 199-202. More chromatic modu- lations for two voices. Song No. 31, p. 113. The first four measures may be sung by a single voice as a sort of recitative. The recitative is a kind of musical declamation, which has all the freedom of impressive reading, without conforming to rigid time. The melody should be studied without words, yet with the words in mind. The recitative is em- ployed largely in oratorio and opera. The highest art can be shown in this form of singing. In the 2d brace the crescendo must be a very marked one, ending at the beginning of the 3d measure on the long note sung/i The last two measures should form a very marked contrast being sung very softly and ending with a careful ral- lentando. In the last three chords the Second Soprano is in two parts to give greater fulness to the harmony. In prac- tice the singers may be easily assigned to the different notes. Exs. 203-210. These complete the study of chromatic modulation. They are only illustrations, for the variety is inexhausti- ble. Volumes might be filled with speci- mens of this kind of study, but these are deemed sufficient for school use. Song No. 32, p. 118. Another choral. Do not let the time drag. Sing as if writ- ten in two-part measure, with quarter notes. Song No. 33, p. 119. A four-part com- position for Sopranos and Altos. A little care will be necessary in assigning the voices. The parts should be well balanced. In ordinary schools it will be more difficult to find Alto voices who are able to sing the notes clearly and firmly. They should always sing softly. The song should be fully known before the words are used. 5. SCALE AND INTERVAL WORK. Pages 120-125. The Major, Minor, and Chromatic Scales are here presented nearly complete. They will also be found on pp. 97-107 of this Handbook. There two forms of the chromatic series are given. Teachers interested in the subject of music may profitably make a study of the differ- ence between the forms. It will be noticed that they are called the “ Minor Scale, melodic form, with chro- matic notes,” and the “ Major Scale with the added foreign notes. ” These foreign or chromatic notes are printed in dots. The large notes belong to the diatonic scales. This distinction is seldom made, but it is essential, if the tones are correctly represented. A table of intervals in general use mayThe Cecilian Series, Book III., Part 1. i85 be found on pp. 126, 127 of this Third Reader. On page 127 the enharmonic intervals are given from C. These intervals are alike in sound, but they differ in nota- tion. They are written only from C. Should any teacher wish to gain knowl- edge and skill in this subject, no better way can be taken than to write all these intervals from the following notes : C - CJf- Cb - D - D# - Db - E - E# - Eb - F-F#-Fb-G-G#-Gb-A-A#-Ab- B-B#-Bb. School books should not be filled with definitions of things. The names even may be in part omitted. The intervals are presented from C only as illustrations. Few would be able to commit them to memory, and a complete knowledge of them could not be gained during the school years. In sight-reading do not endeavor to call up the technical names of the intervals as found in a melody. It would be much better to fill these intervals with the notes of the diatonic scales. Do this mentally, and the tonality of the keys will be kept fresh. Those who desire to pur- sue the study of music as a specialty can in later years devote some time to the subject, but this should not be done in the schoolroom, where it is of little or no use. A song will outlive all sermons in the memory. — Henry Giles. To singseemsa deliverance from bondage. Music expresses that which cannot be said and which cannot be suppressed. — Victor Hugo. XXIX. THE CECILIAN SERIES OF STUDY AND SONG, BOOK III. 1. GENERAL ANALYSIS AND SUGGESTIONS. IN many respects this is the most impor- tant book of this series, as it fully sup- plies the study for Sopranos and Altos, and presents material for undeveloped Tenors of low or limited range. For the Basses notes have also been added, so that their voices may gradually get a repre- Part I. sentation within their natural range. For unchanged voices the book may be con- sidered as parallel to the three-part exer- cises in the Second Reader, or to ' the Introductory Third Reader of the Normal Music Course. The studies are graded in a somewhat different manner, and they are not quite so difficult in some particu- lars. All the chromatic or foreign notesi86 A Handbook of Vocal Music. are represented and explained, and all or- dinary sub-divisions of the pulsation are presented for study. The Index to Exercises at the begin- ning of the book will enable the teacher to find at once a treatment of any chro- matic interval. This is nearly complete in every key; at any rate it is sufficiently so for all practical purposes. As an illustra- tion of this take ^3 of F. On turning to the index we find under the head of F that the interval is introduced in Ex. 81. The note is A!?, and is in the Second Soprano melody. This melody can then be taken, transposed if necessary, and sung by all the voices. The intervals appear in all the nine keys, and the scale names are plainly given. This is very important, and it will assist both teachers and singers to work out any ordinary problem- in tune. Questions in time receive all the needed attention, and there is a great variety of sub divisions. As this subject has been already presented several times, it has not been considered necessary to add further tables. The most important question in time is the accent of the measure, whether primary (simple) or secondary (compound), and if this has been properly studied the sub-divisions are very easy. As a whole, the question of time presents greater diffi- culties than that of tune, and it should have a large share of the practice. The knowledge of Time, gained through the use of Time-names, has been treated else- where. The author would strongly urge their use, as he believes them to be, with the aid of a pendulum, of great value. In the presentation of the scales the F clef is brought into use. All that will be neces- sary for Tenors and Basses to know is the position or place of one (1) in each key, and also the pitch names of each key. This last is learned when the scale is sung as a whole. Study in Tune can, if neces- sary, be done by the Tenors and Basses in a class by themselves, using the drill cards for establishing the intervals in the mind. In the duplication of the Alto notes upon the F clef the singers will be helped by the appearance of the notes in two different representations. In this way they will almost unconsciously become used to the new clef, and the work can go on with little or no delay. In the first 156 exer- cises the Alto score is duplicated for Bass and Tenor voices. When these singers experience a change of voice, the range of the Tenor grows in an upward direction, and the range of the Bass in a downward direction. At the outset the voices are very unsettled and insecure. At this time their notes should be written neither high nor low. Even later on, the real Tenors will be very rare, as also pure Basses. The Bass voices will generally be of a Baritone character, and somewhat “reedy” in quality. In the grammar grades there will be very few voices in either of these two classes; but as the author feels that they should not be neglected, he has, at the risk ofThe Cecilian Series, Book III., Par/ /. 187 being charged with taking an almost un- warranted license, duplicated the Alto notes for these parts. The Trio effect for the Sopranos and Altos is complete, and all the exercises may be sung without the lower octave. The exercises in this book are somewhat easier than those of the Introductory Third Reader, and it was not thought necessary to arrange them so carefully in accordance with a progressive plan. On page 71 begins a recapitulation of the studies that have preceded, omitting the F clef part. It is felt that the Tenors and Basses have had a fair share of the preparatory work. Should this work be deemed insufficient, farther study or review of the 156 studies will be, it is hoped, not too serious a task. In the following suggestions it will be seen that there is no intention of defining every problem, but only those that are of special importance and concerning which there may be some doubt. With proper preliminary work there need be no trouble in taking up these exercises, and from the many illustrations of the two leading divi- sions, Tune and Time, we may arrive at the desired result, — music as expressed by our familiar notation. This is really so simple that no new invention is necessary for the representation of anything that we desire to express, and this, too, in the best way, — the graphic form. A careful reading of the whole Hand- book, noting, through reference to the different books the special objects of at- tention in each, is advisable. Each key begins with the presentation of the Major, the Chromatic, and the En- harmonic Scales. The Minor Scale has been presented in parts, but long practice, as a whole, in its different forms, has not been deemed essential, although the edu- cational effect would be valuable. The Chromatic Scale comprises all the devia- tions of the Minor, and through it the “Minor tones” can be easily acquired. The Chromatic Scale need never be prac- tised as a whole. The class should know the divisions 1 to 3, 4 to 6, and 5 to 7 thoroughly. See the drill cards “Progres- sive Exercises in Chromatic Tones.” The study of 1 to 3, in varied movements to and from the chromatics, is the same rela- tively as from 4 to 6 or from 5 to 7. Do not spare the mental study. On this the success depends, and the transfer- ence of this thought work to the notation will be very simple. It should, in the end, be done in all keys. 2. ANALYSIS OF EXERCISES AND STUDIES. Page 7. The Major Scale from C, pre- sented with the G and also with the F clef. This is done for the few Basses or Tenors that may appear. The number is always uncertain. In some rooms there may be but two or three, generally Baritones of small range. In other cases there may be enough to make a quartet. It is a hard-A Handbook of Vocal Music. 188 ship for them to be deprived of opportuni- ties for reading and singing, and it is here intended that they shall take part. If they have had previous study in the lower grades, they will be familiar with the notes upon the G clef; and as the notes for these singers are but duplications of the Alto part, they will, seeing the two nota- tions in conjunction, easily follow the new one. Following the Major Scale is a repre- sentation of the same with the foreign or chromatic notes, ascending and descend- ing. Next in order is the Enharmonic Scale, where the various pairs of notes, which are alike in sound but different in notation, are placed in conjunction. In a preceding section a method for the prac- tice of these notes has been shown. Page 8. The exercises in time show varied forms of undivided pulsations in two, three, and four-part measures, with syncopations. To these the Time-names may be applied, as explained in preceding pages. Exs. 1-6. These are progressions in the simplest harmonies, nearly always consonant. Exs. 7-9. In these there are syncopa- tions. For an explanation see preceding section on the subject, p. 68. Exs. 10, 11. Continue the practice. Exs. 12, 13, contain some marked ac- cents. They do not disturb the regular mensural accents. Ex. 14. There are two special accents that are marked. Without the sign they would be sung softly. Ex. 15. Two special accents are marked. The syncopations in the 5th and 6th meas- ures are governed by the general law of accents. Ex. 16. A short specimen of what is called organ-point, — the holding of a note while the harmonies are changing. Ex. 17. Study of rests. Ex. 18. Two irregular accents. Ex. 19. Sing the notes having the sylla- bles la, la, softly and in a detached manner. The 3d, 4th, and 7th measures should be sung in a connected or legato manner. Ex. 20. The accents are marked in the 5th and 6th measures on account of the repeated notes on the strong part of the measure. The syncopated note of the 6th would have the accent proper in such cases. Study these effects carefully. It will be seen that they are consistent with the regular rules, and that the musical result is enhanced. Exs. 21, 22. These are studies in mel- ody. The singers should know all the notes. Exs. 23, 24, 25. Further illustrations of the preceding. Ex. 26. F# (#4) is brought into each part. Ex. 27. Bb (t?7) is illustrated. Ex. 28. G# (#5), shows a transition or lead into a. Ex. 29. Eb (b3), is seen in each part. It must be understood that a classificationThe Cecilian Series, Book III., Part I. 189 of these chromatic deviations is not neces- sary, yet it is considered best to make the singers familiar with the more common varieties. The forms of melody are prac- tically inexhaustible. The aim in the books is not to show every variety, but to .cover the more important harmonic effects. It will be remembered that these are based upon the combinations of the melodies of the different parts. These lit- tle studies may, perhaps, induce some of the singers to study harmony after leaving school. Page 15. Exercises in time. Half pulsa- tions in two, three, and four-part measure. The application of Time-names is advised. Page 16. The key of G. The three scales. In the study of the scale as a whole, lower the pitch from G to D or C. Various changes must be made for differ- ent voices. Do not require tones that cannot be sung softly. Ex. 32 has six examples in simple har- mony. There are three discords. Exs. 33, 34, 35, resume the melodic work in the new key. Ex. 37. Let the Sopranos come in on the 8th measure without disturbing the time. Exs. 36, 38. Melodic studies. See pre- ceding section on concords and discords, pp. 75-77- Study it carefully. Ex. 39. An expressive effect that will require study. Make the cres. e rail, in a very decided way. Where marked f end the passage with a short and loud note. A long pause should follow upon the rest, after which sing softly to the end. Ex. 40. This introduces b7 and #4. Ex. 41. Illustrates the free introduction of discords. See 2d, 4th, 6th, and 7th measures. Ex. 42. This may be made a study in expression. Observe the dim. e rail, and make a long pause on the 8th measure, ending very softly. This half close or pro- gression is called a deceptive cadence. From it the exercise progresses to the end through a final cadence. A cadence is a close. There are many kinds. Some are final, others are temporary, like a,colon or a point of exclamation. See section on Cadences. Ex. 43. Practise until it can be sung very softly and rapidly. Articulate all the tones clearly. Exs. 44, 45. Use of the hold. Study of rests. A license may be taken with short notes followed by rests. A little can be taken from the value of each note. Ex. 46. Sing the notes marked sos- tenuto in a smooth and connected manner. Ex. 48. Sing in exact time. Prepare with the pendulum. Ex. 49. Met. 132 —j' Various chro- matic notes. The effect of the cadence is shown in this study. It is not necessary to name the kinds used. The dim. e rail. must be carefully managed. Ex. 50. Special accents. Exs. 51, 52. Melodic effects and syn- copations.A Handbook of Vocal Music. i go Ex. 53. Key transitions —^and G. A study in Tone color. Ex. 54. Met. 152 = f Study the time with pendulum and Time-names. The first eight measures in e. The next four are in G. Let the Altos and Basses enter in strict time. Observe the dim. e rail. Make the note with hold pp. In the last four measures there is a return to e. Ex. 55. Melodic combinations. Ex. 56. A bit of sombre color made by the E? (i?6). This suggests a Minor key. Page 25. New measure, — six-part, in two notations. In the Time-exercises ap- ply the Time-names. Page 26. The Major Scale from D with the other derivative forms. Exs. 5 7, 58. Various problems in melody and rhythm. Ex. 59. G; as 84. No modulation. Ex. 60. Use of free discords. Ex. 61. A# (85). A transition in the first four measures. In the second half a modulation into b. Ex. 62. The Altos and Basses must come in exactly in time. Ex. 63. Study in broken measures. Ex. 64. C-tj is b>7 in D. Ex. 65. The long notes must be held very firmly. Ex. 66. Observe the Time-signature and do not confound it with four-part measure. Ex. 67. Eb (96) in all the parts. Ex. 68. A motive of four notes Ex. 69. Dg (81). Exs. 70, 71, 72. Forms of rhythm and melody. Ex. 73. Ffl (t>3). Ex. 74. Eb f 2) and Bb (t>6). Ex. 75. The Major Scale from D har- monized. C S (b 7) and GJ (84). Observe the holds. Ex. 76. Eg (82) and Gg (84). In the 5th and 6th measures are scale passages. Page 33- The Major Scale from F; the Chromatic and Enharmonic Scales. Page 34. Exercises in Time. Divided (various fractional) Pulsations. Fifteen years’ use of Time-names has convinced the author of their efficacy. Disputed or doubtful points in time are easily set- tled, but the pendulum should also serve as a guide, especially for undivided pulsa- tions. When accuracy of accent has been gained, the Time-names may be discon- tinued for general work. Following this course there are no difficulties in the way. Exs. 77, 78. Rhythmic and melodic studies. Ex. 79. Interchange of detached and singing tones. Observe the mensural accents. Exs. 80, 81. Chromatic deviations 5 7 (E?),s5 (CS),b3 (A>). and g4 (Bfcj). Ask the class to designate them, and show the way to learn them by practice. Ex. 82. In d. Cg (85) is the leading tone. Ex. 83. A study in rhythm. Ex. 84. Six-part measure, with quarter notes. A new illustration of gi.The Cecilian Series, Book III., Part I. Ex. 85. A motive consisting of one half note and fohr eighth notes. It is used four times. Ex. 86. Rhythmical study. Chromatic notes, Gff (#2) and B£ (#4). Ex. 87. Flat 2 (Gb) is not often used. A good study for Bass and Alto. Ex. 88. Another somewhat unusual in- terval, #6 (DJ), also #2 and #4. Ex. 89. A familiar rhythm used in mar- tial music. #4 (B£|). Study the notes with care. It is rare to hear them given correctly. Ex. 90. Six-part measure in eighth notes. Ex. 91. Useful study in rhythm, — es- pecially prepared for the Sopranos. Fix the time before singing the notes. The notes for Bass and Alto should be sus- tained throughout. The Soprano notes must be sung softly and delicately. Ex. 92. A long study, chiefly upon one rhythmic figure. Careful preparation in time is necessary. In all studies or vocal- ized singing various vowels should be used, all parts singing one vowel-shape at the same time. All the vowels may be sung in succession, but never different ones at the same time; otherwise, the tone will be very unsatisfactory from the confused sounds. In chorus work this is different, as the words form in succession an intelli- gible phrase or group. 191 Page 40. A new key, — B7. Observe the directions given for the preceding key. Exs. 93, 94, 95. These are illustrations in the key of B!?. Ex. 96. This may be sung as a march, not marching, however. Make careful study of the notes S71 Remember in singing that the dotted eighth note is three times the length of the following sixteenth. The Time-names make this right, as Ta-a-a-na, etc. Ex. 97. Flat 5 (Fb) is rarely seen. It is used here only as an illustration. The other foreign notes are b3 (Db) and b6 (Gb)- Exs. 98, 99, 100. Various studies in rhythm and Tone color. Ex. 101. A study of somewhat larger development. Three chromatic notes b7, }f4, and b6. When the time is surely fixed through drill exercises, a good effect can be produced by following the marks of expression. Remember that piano is not simply less loud. Make differences that will seem at first as extravagancies. Wide contrasts between forte (f) and piano (p) will do no harm. Ex. 102. Met. 160 — J' Ex. 103. Et| (#4) and C# (£2). Ex. 104. A sharply defined rhythm is necessary. The detached notes must be made very short, but not loud. A decided difference must be made between these and those having no intervening rests.192 A Handbook of Vocal Music. The tones not separated by rests should be very connected. Ex. 105. Begin with the metronome at 92 = f At each repetition take a faster rate until it reaches 84 = J . Keep the movement steady throughout. At the lat- ter rate direct with two beats of the hand or baton. Ex. 106. Pursue the same course as with Ex. 105. Ex. 107. This is the most difficult study yet encountered. It introduces the chro- matics— #5, by, gi, $4, b6, and %2. Let the class designate them. Make each part a separate study, and let all sing the differ- ent parts. Test every harmony as it is produced, and see that it is in tune. When so sung it will give much pleasure. Do not sing harshly. The key is g. Page 47. Triplets applied to two, three, and four part measures. In using the trip- let a very slight accent is given to the first note. This has no reference to the regu- lar mensural accents. Page 48. The new key, A, with the usual chromatic deviations. Treat them in accordance with suggestions made for other keys. On looking back it will be seen that there are many directions for drill above the key note, as well as with the divided scale. Whenever doubt arises, go back to the mental work. Should classes object to this study, it may be well to remind them that the best readers do this work continu- ously, never dreaming that it can be dull or tiresome. In fact, the most expert reader is one who has done this so long that he is unconscious that he is mentally passing from note to note through the in- tervening tones. In this way, also, the tonality of the key is kept in mind. Inter- vals represent definite distances, but the mental effect depends largely upon the position of the lower note on the scale. The language of music must not be con- founded with the notation. Music is not confined to notes and rests produced with varying degrees of force or rapidity. In music, that is, vocal music, all tones are relative. When this is not considered by the composer, the result is harsh and in- jurious to the singers. Another class of readers are the absolute pitch claimants. These must have a peculiarly trying time when the given pitch is less than a semi- tone above or below their special standard. It is quite a question if the memory of a pitch is a real benefit. Ex. 108. Some simple harmonies. Ex. 109. Various fifths. Ex. no. Study to produce the final notes in strict time. Test with Time-names and pendulum. Ex. in. A problem in time for the Sopranos. Ex. 112. Met. 84 = J In choral style, but do not take the time too slowly. Ex. 113. Triplets. In the 6th measure the Soprano and Alto parts should be con-The Cecilian Series, Book III., Part I 193 trasted. Practise until each can be pro- duced in an even and steady manner. Ex. 114. A melodic study. Ex. 115. The same at a quicker rate. Ex. 116. Study until it can be directed with a single beat in the measure. Ex. 117. The first and the last notes of the 1 st measure should be attacked with force, while the other two parts glide down- ward in a diminuendo. The same kind of motive appears in the 5th and 6th measures. Ex. 118. Study of rests upon an ac- cented pulsation. To the mind, a rest in this place is as important as a note would be. Ex. 119. Study of rhythm in /#. In the lower brace, 1st measure, there is a descent in the melodic minor like the ascent, and this is an evidence of the arti- ficial character of the scale. Page 53. The Major Scale from Eb, with the usual chromatic series. Ex. 120. Plain harmony. Ex. 121. Met. i20 = j Study of rests. Make the notes preceding the rest very short. Ex. 122. In e, with foreign notes. Ex. T23. Slow and sustained harmonies. Sing in tune. Ex. 124. A running figure in the upper voice with sustained harmonies below. All voices should be called upon to sing the Soprano part. Transpose to suit the range. Of course Tenor and Bass notes sound an octave lower. Ex. 125. Melody in the lower part. There are two exceptional accents in .the Alto, which are marked. Ex. 126. Imitation. Ex. 127. A more extended study in waltz time. Set the metronome at 160 = The sostenuto effects in the lower voices, beginning at the 5th measure, with the softly detached upper notes, make the study interesting. It should be practised until the teacher can direct it at will. Ex. 128. Met. 76 = ^ Sustained notes with chromatics, t>7, b6, #4, and #2. Ex. 129. The Major Scale harmonized, using the familiar chromatics, b7, #5, #4. Ex. 130. Met. 96 — J Six-part meas- ure in rapid movement. Beat the time with two pulsations in the measure. Ex. 131. A rhythmic figure several times repeated. Ex. 132. A similar movement and study. Page 59. Major Scale from E with the other chromatic series. Ex. 133. Holding an upper note against moving harmonies. Ex. 134. Similar effects. Sing accu- rately in tune and in time. Ex. 135. Study the difference between the triplet and the group made by a dotted eighth and a sixteenth note. They repre- sent the same value — a quarter note. Be careful to sing in accurate time. The study should be given in a pompous style. Ex. 136. Steadily sustained notes. Ex. 137. The first four measures are in c% with no distinguishing chromatic. Thei94 A Handbook of Vocal Music. second four measures are in E with a transient #4. Ex. 138. A modulation is made through A+f (#4) into B. In the last four measures there are two transient chromatic notes,!? 7 and (4. Neither of these transitions last long enough to make a real change of key. Ex. 139. A study of motives and rhythm. There are various chromatics and also several new harmonies. The cres. e rail. may be made quite effective if sung steadily and in tune. At the hold the singers should watch the baton and leave the tone exactly together, when the signal is given. Ex. 140. Another quick movement. The first four measures in E, the second four in c% with the indicative #5. The 13th measure has #1. Ex. 141. Met. 132 =J^ Three pulsa- tions. Ex. 142. The first half of a noted Ger- man choral, newly harmonized. It has a full cadence in the key. Ex. 143. Syncopations. Ex. 144. Met. 126—J Six-part meas- ure in 4t- Ex. 145. Met. 152=^ Quick six- part measure. An extended study, requir- ing careful work. Page 65. The new key, — A'). The three scales. To be sung as suggested for other keys. Ex. 146. Met. 72 =J A quiet study, with chromatics. Ex. 147. Melodic study. Ex. 148. Some unusual chromatics, such as {?2, (76, and (?3, which will require practice. Ex. 149. Quiet, choral-like effects. A modulation into Ei7 and c. Ex. 150. Study of triplets. Ex. 151. Rhythmic effects. They will require exact definitions. Ex. 152. A rhythmic figure. Ex. 153. Quiet, sustained harmony. Ex. 154. Syncopations and melodic studies. Exs. 155, 156. Two studies that will require much practice. These studies may be considered as making a climax in the vocalized work. Attention is again drawn to the general habit of dragging, and a want of clear and positive mensural ac- cents. Better a very few exercises or songs musically rendered, than a multi- tude of notes sung in a half-hearted way. Where the time is thumped and the singers are driven to keep a nearly regu- lar movement, the teacher is only be- traying a lack of control over the class. To the observer and listener this is one of the gravest offences. The singers arrive at the end of the song or exercise, but in a listless and indifferent way, manifesting, in full sympathy with the listeners, their pleasure that it is over. The study of time is pleasant and easy if it is taken up in a proper manner. Use the pendulum and establish the accents in the four kinds of measure. Do not fear exaggeration. ItThe Cadence. I95 will all come right when a song is ren- dered, and the expressive directions are followed. Pages 71 to 80 are a recapitulation of the preceding studies. They are largely selections from well-known, compositions. As the peculiar features of the 156 exer- cises have been shown, it will not be necessary to repeat them in this review. Change the single melody exercises to a convenient pitch, and let all sing. Treat those for two voices in a similar way. The material for such work is inexhaustible. In the present book only such matter has been chosen as will illustrate in the best manner what the singer may find in the ordinary music, which he will be called upon to sing. XXX. THE REFERENCE has been made several times to the cadence in music. Cadences or closes are certain successions of harmonies which in music answer the purpose of stops in language. They are usually expressed by two chords, but these two are much affected by the chords that immediately precede; and these also should be considered in the general effect. Treated in this way there are many kinds of cadences, and in the books of the three Series or Courses be- tween one and two hundred varieties may be found. It will be an interesting study for both teachers and students to examine these in their different aspects. 3. A SUGGESTION. As the ordinary grade teacher has rarely had an opportunity for the study of music, especially with reference to teaching it, the author would suggest to supervisors the importance of meeting the teachers in a body as often as possible. At such meet- ings the general topics of Tune, Time, and Color, both mental and represented, should be taken up for discussion. After this the various divisions of grade work should be laid out and explained. The importance of such elementary music-work cannot be over-estimated; it will be found to have a beneficial effect upon all other branches of study. Teachers should be asked to give illustrations, using their associates as pupils. CADENCE. Cadences are usually classified under four heads. 1. Perfect. 3. Half. 2. Plagal. 4. Interrupted. 1. The Perfect Cadence is made by the progression from the chord of the fifth (dominant) to that of the first (tonic) de- gree. The last enters upon an accented pulsation. In Major keys both chords are Major. In Minor keys the first is Major and the second Minor. The seventh, leading-tone (sub-tonic) usually goes to the key note (tonic) in the same part, but there are occasional exceptions, when these notes are in an inner part.196 A Handbook of Vocal Music. Major. £ -^27- Minor. 3 ■gzr- 2. The Plagal Cadence. This is made with the chords of the fourth (sub-domi- nant) and the first (tonic). It may be a final cadence, and is introduced with great frequency as a kind of coda to the perfect form. Major. With chromatic change. Minor. 3. The Half Cadence. In this form the order of harmonies in the Perfect Ca- dence is reversed. It is but a temporary pause, and is not final. The following is Major. 3 F— V- >- O' \ Vi ) ^ r & 3? “ r & 2? 4. The Interrupted Cadence. This is sometimes called a deceptive or broken cadence. It is based upon the idea that, as in the perfect cadence, the leading tone the usual form ; but, as in the others, there are many modifications, each, however, ending upon the chord of the fifth (domi- nant) degree. Minor. ft 2? V 1 ^ tJ ^ /wy 2? and key note follow each other, but in this cadence the key note is part of some other harmony, and this causes a surprise and interruption.The Cadence. 197 Major. Minor. Space will not allow a multiplication of illustrations, but the preceding will serve to show the peculiar features of each form of cadence. XXXI. THE MAJOR, CHROMATIC, AND ENHARMONIC SCALES, IN THE G AND F CLEFS. UPON the following thirteen pages there are representations of the Major, Chromatic, and Enharmonic scales in all keys, using the F and G clefs. These have been introduced so that the teachers may be sure of the notations, especially in the more distant keys. The author advises those who wish to become acquainted with the elementary material of musical composition to famil- iarize themselves with these various suc- cessions by writing, several times a day, one or more of the different scales. This practice should be continued until each of them can be written or sung with fluency and ease. It may seem a little thing to write the Major Scale from C using the G clef, but few Soprano or Alto singers or teachers are equally at home when the notation of even that scale is expressed upon the F clef, yet to the earnest worker this ability is equally im- perative. In the Handbook there will also be found full representations of the Minor Scales and of the various intervals. These should be treated in a similar man- ner. This writing is not advised in order to gain merely a knowledge of the scale forms, for this is a simple matter, but that the mere clerical work may be done with- out hesitancy. The author is fully aware of the fact that school teachers have already many demands upon their time ; but it has been proved that much outside personal pleas- ure may be derived from this really charm- ing study and work, and that it is rather recreative than laborious if it is considered as a process derived from the simplest of elementary principles. The forbidding appearance of the many chromatic changes and signs will not frighten or deter stu- dents in the practice of musical notation when it is pursued in the right way.A Handbook of Vocal Music. 198 The Diatonic (Major) Scale from C. G CLEF. F CLEF. The Chromatic Scale.1* Ascending and descending. 1 2 34 56 7 -n — r\ u- ft^=2 ft^ & jj, g? ft # ^ ^ r e- ^—it-*- ^ * #1 #2 #4 #5 #6 ..ULm a ' ZSS , ,<5 ft • ^ w - - X&T* TT~ ^ 2? ^ W9 .* .. ' 2? & -g-* :: 1 2 3 4 5 6 7 The Enharmonic Scale. 1 2 3 4 5 6 7 8 9- — , - 1 . k.u——^J+-—h—0^ fr hyr? ft ^ 17 * 11 0 t u u. e ^ 31: # ^ w ^ ft# ^ ^ * — -- t3 ^ ^ . # 4 C* S # 5"? 6 % 6 t> 7 #1 P2 #2 t»3 ' ' ' ' ^ ^ "~” 'U. :L. Li b^[7 . # ' 1 U. . jt2. . ft m IZ. • □ CS ft * ^ H ft w ^ ’n I ^ lx M ft ^ 17 * n ^ ^ i Kzp v 9 U ft* ;H^ I 1 2 3 4 5 6 78 1 The large notes are those of the Diatonic (Major) Scale. The small notes are the Chromatic deviations.The Major, Chromatic, and Enharmonic Scales. 199 The Major Scale from G. 5BE ry 0 & / -dr—“ — ^ -- - 1 V ^ 2? 3 8 ISI -g>- The Chromatic Scale. Ascending and descending. 1 2 3 4 5 6 ~7g~ =#2= 7 8 £2 =Si= ~g~ m Pr #1 2 W #2 #4 «—#-*- #5 .#6 8 -ft-* ■ zMEEMi -g -s^ The Enharmonic Scale. 1 2 7 IiP2 #2 P3 #4 t>5 # 5 b6 %6 b7 -----------------n-----------------. ,, l u ~b » t| z? W-* 1200 A Handbook of Vocal Music. The Major Scale from D. r-\ 2 .'j '& l ( l ^ z&& & / ^ i 2 34 5 6 7 8 :« .... ^ -a- (mX.ft - . ^ ^ i £5z^ ^ — 1 ^ | The Chromatic Scale. Ascending and descending. 2 3 4 5 6 78 (zk 4—*£j* ^ ■ £ . u. . ^ ST^ 72 & 1 i ILX 21 **~W^TTP ^1 1 • , r z?—^—Or* ^ — ^ 1 I 1 #1 #2 2 3 #4 4 # s s —<5? g-#— 6 *6 Z2 JL* 7 -6*- 8 ^2. '§ —^—t»~ —&— —^ ft 9 ■ tf. The Enharmonic Scale.The Major, Chromatic, and Enharmonic Scales. 201 The Major Scale from A. 3-fl # — i KX——^ ■■ ^ —■■ -- 1 2 — ^cs | Z*. -or ~ * 1 2 3 4 S 6 7 8 11 ~ ZI : TT^I 2?I ^ •— B ^ - - ■ - . muzz | The Chromatic Scale. Ascending and descending. The Enharmonic Scale, i 2 £ 6 7 8 (9 #1 C2 #2 t>3 #4_b^S # Sj76 #6^7 I 3 4 5 6 7 8202 A Handbook of Vocal Music. The Major Scale from E. ^ Z? 1 / Y ^ - ■» ^ “ — - ~~~ ~ ~ I I 2 3 4 5 G 6 7 8 7?: TL'YTU' "TL ^ ^ .1 rT7»4«rIf.TrJ4‘Z> ^ ^ 1 -i s.... ..... & ^ 1 ■ ^ ^ ^ ^ i -<&- 25 The Chromatic Scale. Ascending and descending. „ M tt 1 2 34 5 6 78 , —T7*r-..-a- . .... ... .. . . ... . ... . . — . ^ £> . 1 ( s\ r—ipff g i7 5L ii^ 1 l XT EZ - rj Wm ^ -*9 ^ * I \ t r & ft * #1 #2 S4 #5 #6 1 2 3 4 5 6 78 . 1 ... ^£2 It.* ^ JZ — f if U ~ j, ^ vz- ^ ■H,w 1 1 cJ n m ^ x 9 & & I v sfcrrft # ^ Mrs ^IX»& 1 +r Z? TT9 ^ fr® I n >T3 sz-ai & tr — ° / /...-ScL—ft & fZ? -0—# ?*- H—m I t 7 ^4r* “ &nnx . r m i fL X * & ^ S?h m 1 Vi z ^ w *-g?—n~w- ^1 177 b 6 b 5 b3 b 2 87 6 s 4 3 2 1 ^ a V* ^ ^ & u # ^ h — « yaffle^IX* ^ n 9 zs IS- 1 g— .g... , - ==— i The Enharmonic Scale.The Major, Chromatic., and Enharmonic Scales. 203 The Major Scale from B. The Chromatic Scale. Ascending and descending. -iutfl 1£ 3 4 5 6 7 8 ( — .1 i m « # rrr—r— -■ XT3 —g-# 2? « 1 ^ ~25r fi-g- ^ —<5?— ¥• ^ gig ^ I 81 #2 #4 1 2 3 4 #5 5 6 #6 nag— s=rrxjc: 7 8 -(5>------ ^ 1 fr 27 O' 1 ^ ■ ■ 27 — J The Chromatic Scale. Ascending and descending. 1 2 3 4 5 -s-«- 3E #1 #2 #4 9 5 #6 -- —jfr- The Enharmonic Scale.206 A Handbook of Vocal Music. The Major Scale from Bt> fe ■ 3 4 ~zy i 2 7 -(5>- 8 £2 m-., v .. 2? J ' ’& J & 1 The Chromatic Scale. Ascending and descending, i 2 3 4 5 - -g-«- =#x= Cpr #1 I 2 #2 #4 if s 6 ~z?~ #6 7 -- m The Enharmonic Scale.The Major, Chromatic, and Enharmonic Scales. 207 The Major Scale from E?. The Chromatic Scale. Ascending and descending. 12 3 4 5 6 7 8 -j IT u. , ^ 25 . n~w . tr* * 1 V 1t ppr^ 25 jr» ^ ^ :: : 1 p ^ tr# * #1 #2 #4 #5 #6 1 2 3 4 5 6 78 . .. . . ^22 Hjt $k*Z— L. Zp» - 25 ^ .M ~ 1 1 (“J-, 1) z?ctw & S • u. 1 U l. H h ^ pfi jr» ^ 1 ^±±± —„—^ ® -it* ® *1 87 6 5 4 3 2 1 J \ \) t*) ^ L* - 1- | - ' . l k u 25 [7# 2> 1? # 1 & ^m 25k «~~ u" ft ^ ^ 25 17# ^ b 7 b 6 b 5 b3 b2 87 6 5 43 2 1 — -*- b-#- ^ bb- u L.. I ZSV U I ^ LT» ^ 1 \ 'C7pL ^ P-* 25 V v hh m n L. . 1 N - & W-* & & b * gr^H7-» ■ The Enharmonic Scale. #6 b 7 2 3 4 5 6 7 8208 A Handbook of Vocal Music. The Chromatic Scale. Ascending and descending. / d hM . g, ® *—I-* S u 5-fe—-—tr»-^———— s ^ * I—*-**-* J li #2 #4 #5 #'6 i 2 3 4 5 6 7 8 ^-b-t ^ 2? Ct* - ^ \ ^ 7 t>6 t> 5 t>3 ^2 87 6 s 4 3 2 1 i rvi 1 . & 19 1/9 ^ RT ^ i»u , ... .. . ►75. b~k ^ z?1?Ptp k . - -h—. - ^7-kv-P- ^ 19 v 9 - . ^,, bb~* 'TJZ J 1 The Enharmonic Scale. 1 2 34 5^6 7 8 O L | —r 2^a# ^ h i 1C Y^ L> <5> # ■UVL-&—\J; ^ ^ — . L, H u. b « h b n* 'h .bb mhb h if v* vT7? ^ &r# ^ ** —^ :;—'I k I' l) £? n- # r 9 ^ ^ 1 1 2 3 4 S 6 78 The Major? Chromatic? and Enharmonic Scales. 209 The Major Scale from Db» d#.....■■■' ------ ~gr~ ' §§te 4 ~z?~ 5 6 -£2 7 e! The Chromatic Scale. Ascending and descending. 1 2 3 4 5 =fc*z 4-*- # 2 -z?---tF*" #1 #4 4 =S=tp*= 5 #5 6 #6 4-*- 7 =4= ¥—- 1?~» tt 3 ($K b-b—- —3 3 1- —^—99-0 25—J b 2 2 I ' ■ —<5» A#— zs bb-g—->7 “-*12?J The Enharmonic Scale. 1 2 #1 ^2 #2 t>3 #4 t»_s #5_A6 #6_^7 bt>»Bb^» B» &- ^ ... ... . . -y 1j 1 2 3 4 s 6 78 zpri l, , ai sj .. ^ 1 w k TXT? ^ ^ ... 1 ^ d J The Chromatic Scale. Ascending and descending. i 2 3 4 5 6 7 8 —& \h*— =rH2!r» —z, ,, hh i £ 5-fe/ 8 t>7 7 b.6 bs 6 5 4 ^ W?- # b 3 3 :: -W79——-^- ^ b2 2 1 q C> (7"“ —^—!zfc* •<$? - bb-«—s?— ——bb-#— s te i J The Enharmonic Scale. #6 b 7 3 4 5 6 7 8The Clefs. 211 XXXII. THE CLEFS. THE word clef is derived from the Latin clavis, a key, and the sign is used to determine the exact posi- tion of some one note upon the staff. There are three clefs in general use : (i) jjgjj representing middle C; (2) the fifth above; and (3) @ the fifth below. In for- mer times the C clef was always used for the Soprano, Alto, and Tenor parts, the position upon the staff being changed for each voice. The F clef has always been used for the Bass. The G clef was sometimes called the violin clef, as it was employed for the notes of that instrument. The following will show the use of the Jj|:: clef for vocal parts. Soprano, former. -22- present. III iL ...... . Hi S £ Alto, former. J2L- present. Tenor, former. present. 1 —r 4 ize: 1 w 1 1 fr\\ .1 ^ J ~ar Bass. -Ws p 15: —l-r 2? KIP & - - A. ~ ' 1 The F clef was formerly, as now, placed upon the fourth line. The representation of the full vocal score with the C and F 8va lower. clefs, taking the last four measures of the familiar tune “ The Old Hundredthn as an illustration, would read as follows : — m Soprano. —5?- m Alto. -&— -£2- -12- Tenor. 1 3=I Bass. e~- -(2- 212 A Handbook of Vocal Music. A mis-use of the C clef has been made 1 third space as an indication of the Tenor by some compilers, by placing it upon the I part. XXXIII. THE ENGLISH AND GERMAN PITCH-NAMES. 1 1 I I 1 1- — — 1 L~& ^ ' H _ 1=^ —te" 1—^ -#S—' —£<5*—1 1 2? English. C ' C# Cb D D# Db E E# E b F F# German. C Cis Ces D Dis Des E Eis Es F Fis 3 t==\ — I \sr- Ty^r- 1 l( u 1 - & i/Z? I/O ] R 2E lz 2 & ! 1 ^ \r& 1 1 1 1 1 English. Fb G G# Gb A A# Ab B B# Bb C German. Fes G Gis Ges A Ais As H His B C The German writers add for a sharp is, and for a flat s or es, except on B, where we find AT and His. For a double flat (I?I?) the syllable is repeated : as Eses, Asas, Deses, etc. Our Bbb would be Bes. For a double sharp (*) another is is added, as cisis, disis,fisis, etc. XXXIV. THE CECILIAN SERIES OF STUDY AND SONG, BOOK III. Part II. PART II. is a compilation of Part-songs and Choruses, by different com- posers. They are not progressively arranged, and such selections may be made as will at the time be most profit- able for study. In the following sugges- tions, the compositions will be taken up in order and the attention will be drawn to any peculiarities in harmony or melody, points of expression, or problems that are useful in practice for teacher and class. Page 81. “ School Friends.” A familiar German song, suitable for a school festi- val. Notes for Tenors and Basses are added. Page 82. “The Rose.” The Alto part is not duplicated, and the male voices have a new experience in time. Let them come in promptly. Page 83. “ Upborne on Wings.” A characteristic song in praise of music. The first part may be sung by a quartet orThe Cecilian Series, Book III., //. 213 semi-chorus. All should sing the chorus, and in a spirited way. The song is suit- able for a school celebration. If necessary the Bass part may be omitted. Page 84. “All Hearts Rejoice.” A new setting of an opera chorus by Doni- zetti. The notes for Bass and Tenor are, from this point on, no longer exact dupli- cations of the Alto part. They are changed here and there in order that these singers may gradually gain confidence in reading. This has been deemed the best way. Page 86. “ Loreley.” A new arrange- ment of an old favorite. Simple as the melody is, it is easy to get astray in the rhythm, unless special outside practice is given. Page 87. (i There’s nought that Con- tinues.” There are certain difficulties in time that should be prepared, especially in the 2d and 3d measures of the lower brace. No Sopranos who cannot produce the tones very softly, should sing these measures. Page 88. “ Trust.” A simple melody, newly arranged. Observe the differences between the Bass and Alto parts. Page 89. “ Cease this Dreaming.” Met. 80 = J Direct as if in two-part measure. Page90. “May-day.” Metronome 144 = J. This song enlarges the field some- what. The composition is a short waltz song, a melody with accompaniment. The melody may be sung by one or more voices in unison. If sung by a number there should be at least three. With two there is apt to be a lack of unity. The quarter notes of the First and Second So- pranos should be particularly light, almost staccato (detached), while the Basses and Altos should softly hum the long notes. The whole accompaniment must be sung pianissimo, so that it may not overpower the melody. Page 92. “Were I a Brooklet clear.” Met. 104 = ^ Sing softly, and with a graceful movement. Make a diminuendo on the 8th and 10th measures, and sing the last two measures delicately. The Basses should come in without a cue from the director. Page 93. “The Butterfly.” Notice the word leggier0, meaning lightly. Page 94. “ An Autumn Song.” Met. 60 = J Andante means going ; that is walking, but it would, perhaps, be better to consider the eighth note as a guide or suggestion of movement. Page 96. “The Herd-boy’s Spring Song.” This is a good study of a some- what unusual rhythm. It contains much that is profitable for work. Do not apply the words until the music is thoroughly known. Page 98. “ The Angler’s Song.” Henry Lawes was a distinguished musician in the first half of the seventeenth century. The song is really a madrigal, a kind of com- position much in fashion at that period. The words, by Isaac Walton, were set to music by Lawes, probably at Walton’s re- quest. Both words and music are very214 A Handbook of Vocal Music. quaint and interesting. The editor con- sidered that the insertion of the music at this time, so near the 300th anniversary of Walton’s birth, would be a pleasant re- minder of that rare old worthy, and also of his friend, the musician Lawes. Page 99. “ Last Night.” An arrange- ment of a popular song for three parts, with accompaniment. The latter may be used if desired, but it is not essential in the schoolroom. It may be introduced on special occasions. Page 102. “ When do Flowerets Bud and Blow?” An effective song, which should go of itself without accompani- ment. Page 103. “The Fisher.” Goethe’s poem has had many settings, but this is one of the best. It was originally a song. This arrangement is entirely new. Page 104. “Swinging.” The song has a suggestive accompaniment. In direct- ing the class give but two beats in each measure. This will require careful prac- tice with the baton (see section on the subject, p. no), so that the motions may become certain, yet not stiff. Do not make the beats in an extravagant way. If the class has been properly taught time with the pendulum, a motion of the hand from the wrist, with or without a pencil or small baton, will be sufficient. The author has often seen and, unfortunately, heard the special teacher working desperately with hands, head, and feet, while the regu- lar teacher stood near by, assisting anxiously in a very demonstrative way. All the while the poor children were beating time spas- modically with their hands, their eyes fixed upon the book, having no regard for the teacher’s efforts, and governed only by what they heard. If, by accident, the end was reached without a breakdown there was exhibited a feeling of exultation at the result; but the music had been entirely forgotten. Now all this might have been avoided if the necessary mental prepara- tion had been made. This mental work underlies everything else, and in time it outweighs in difficulty the work in tune. Let no day pass without some, however little, of this study of time. Page 107. “Song in Autumn.” A very melodious trio, with many musical suggestions. Page 108. “Merrily Trip and Go.” Follow the sentiment of the words, speak- ing them as rapidly as they can be pro- nounced clearly. Page no. “ Pastorale.” This beautiful trio is an illustration of melodious music. A great composer can write in a simple manner, and of this the Pastorale is a notable example. It is the air which is the charm of music ; it is also that which it is most difficult to produce. The invention of a fine air is a work of genius. The truth is, a fine air needs neither ornaments nor accessories in order to please. Would you know whether it be really fine ? Strip it of its accompaniments. — Haydn.The Cecilian Series, Book ///., //. 215 Page 112. “ Youth and Age.” An ar- rangement of a charming melody. Weber’s melodies never tire. They appeal with equal positiveness to the learned and un- learned in music. They give no evidence of the trials and constant suffering of the composer, who died alone in London, June 4, 1826, at the age of forty. The peculiarity of this song is its rhythm. Give the first accent of each measure with con- siderable strength, and let each measure float itself along. This will give the gra- zioso (graceful) movement that is required. Page 113. “The Little Dustman.” A little collection of songs arranged for chil- dren, of which this is one, is as near as the great musician of our time (Brahms) comes to the heart of the simple lovers of melody. Going back a century more or less, all of the great men, Handel, Haydn, Mozart, Beethoven, Schubert, Weber, and others, wrote for all classes, and they are to-day loved for their efforts to raise the popular standard. Nowadays we have the intellec- tual side and many mathematical puzzles, but few compositions that would appeal to our emotions. The editor would present to students as wide a range as possible, and this necessarily includes the prominent names of our time. Page 114. “ In liquid Notes.” Attwood had the gift of melody. He was for a while one of the few pupils of Mozart, who wrote about his talent. He was not a voluminous writer. This chorus betrays no influence of his master, but it is never- theless pleasant music, and peculiarly Eng- lish in character. Page 116. “The Evening Bell.” A pleasant melody written by the once ex- ceedingly popular composer, Donizetti (1797-1848). It is a question whether the regularly constructed melodies of his time were not as true music as the ram- bling motives of the present day. The average music lover still listens to them with a tender affection. Will the modern writers stretch as far 011 the road towards immortality? On the 3d brace there is a delightful modulation. Its solution is as follows : D, the 5th of G, becomes the 3d of Bb. In the last measure of that brace it returns to G through g. Page 118. “ The Alpine Hunter.” One of Schubert’s less known melodies ar- ranged for three voices. It is a graceful song. Page 120. “Prayer during Battle.” Met. 63 = An arrangement for a four- part chorus. A good translation of Kor- ner’s famous poem. Follow the sentiment of the words. Page 121. “Softly sighs the Voice.” The original is a prayer for a Soprano voice, in Weber’s Opera Der Freischutz (The Wild Huntsman). It is here arranged for four parts, and may be sung by any number of voices, or simply as a quartet. It is an illustration of a beautiful melody such as Weber knew how to write. Al- though it has been arranged as a hymn tune it has no place in church music.A Handbook of Vocal Music. 216 Practise it carefully, and see how far it will lead you in the direction of expressive singing. Page 122. “I’m a little Peasant Maiden.” Met. 160=^ A waltz song. The melody may be sung by a single voice, or by several in unison. The other parts produce the instrumental accom- paniment vocally. Cultivate freedom in the movement, and do not let the accom- paniment overpower the solo. The former should be sung softly and in a detached manner, while the melody should be sung broadly and in a sustained way. This is a bright exhibition piece, and should have an instrument. Page 128. “ My Sweetheart.” This is a fine study for a contrast between the Major and Minor modes. The first part is largely in . Ex. 22. Flat 7 (Ft!) in Alto part. The scale from G descending. Exs. 23, 24. Study of rests. Repeat the time practice before singing. Ex. 25. Increased variety of movement. The original form for two Sopranos and Alto is complete, but the added Bass notes give the full harmony. Page 106. The scales from D. Page 107. Exercises in Time. Divided (various fractional) pulsations. Establish every variety by many repetitions, always using the pendulum. Make a study of each measure. Ex. 26. Introduction of b7 (Ctl). Ex. 27. Four notes to a pulsation. Use offi4 (G#) and #5 (A#). Ex. 28. Four notes to each pulsation in a unison passage for all voices. Use the visible pendulum. Do not mark the time with either hand or foot. It will do222 A Handbook of Vocal Music. no good before a feeling for the mensural accents is established. Afterwards it is unnecessary. With a class the teacher acts as director, using the hand or a pencil as baton. Ex. 29. Three chromatic notes,—b7 (CB), b6 (B?), and tf4 (GJ). Ex. 30. A special study in time. Ex. 31. Six-part measure of eighth note pulsations, introducing dotted notes. Ex. 32. Three-part measure. Dotted notes showing division (quarter) of the pulsation. #4 (G£). Ex. 33- b3 (Ft])* New rhythm. Ex. 34 in b. £5 (A#) and #4 (G#). Ex. 35. Met. 160 = J"' #4 (GJt). Prac- tise until it can be sung rapidly and easily. Page no. The scales from F. Page in. The Triplet in two, three, and four part measure. Make the notes of the triplet even, giving the first one a very slight accent. Ex. 36. Simple harmonies to establish the key. Ex. 37. Two chromatic notes, by (Eb), and #4 (Bft). Ex. 38. Two foreign or chromatic notes, £4 (Btj) and £2 (G£). Never has- ten the work. Be sure that each point is understood before going on. “ Don’t get impatient.” “ Stop and think.” Ex. 39. Full four-part harmony. Another use of the £2 and £4. Ex. 40. £1 (F£). Ex. 41. The triplet and some novelties in time. #5 (C£), and #4 (Bft). The ex- ercise is in d, the relative minor of F. Ex. 42. Six-part measure in quarter note pulsations. Eb is t7 7 of the key. Page 113. The scales from Bb. Ex. 43. Melodic study. Ex. 44. Introduction of #4 (Eft). Ex. 45. A more unusual chromatic #6 (G#)- Ex. 46. Study in rhythm. Get the correct relative value of the dotted eighth and sixteenth notes. Ex. 47. In g. It is indicated by F£, which is £5 of the new key. Ex. 48. by (Ab). Page 115. The scales from A. Ex. 49. £1 and b 7. Ex. 50. £4 and £2. Ex. 51. Study of rests. In/£. £5 (E£). Ex. 52. A similar study in A. Page 117. The scales from Eb. Ex. 53. £4 (Aft). Ex. 54. by. Two measures, one in Ab, and one in Eb. Similar figure in each key. Ex. 55. The triplet and other varieties in rhythm. Ex. 56. In c, £4 and £5. Should diffi- culty arise in the 3d measure, treat G, Aft, Bft, and C, as 1, 2, 3, 4, or better, 5, 6, 7, 8. Page 119. The scales from E. Ex. 57. b2 and £4. The first is seldom used in school music. Ex. 58. b 7 Is Dft. Ex. 59. In cjf. £5 and £4.Common School Course, Part III. Ex. 60. bs« Another strange chro- matic. Page 121. The scales from Ab. Ex. 61. Gb is b 7. Ex. 62. Use of the triplet. Ex. 63. #2 and #4. Ex. 64. Six-part measure, with dotted notes. Ex. 65. Study the relative values of the first two notes, and do not confound them with a triplet. The exercise is in At? and /, and the leading tone of the latter, #5, (Eti) is shown. 3. SUGGESTIONS CONCERNING SONGS. Page 123. “ Birds in the Pine-woods.” German folk-song — simple and melo- dious. Page 124. “Song should Breathe.” Melody that of the chorus in Beethoven’s Ninth Symphony. The original is a setting of Schiller’s hymn “To Joy.” This ar- rangement is complete without the Bass, but the part differs so much from the Alto as to make it a desirable addition. Page 125. “The Festive Day.” Suit- able for a public school day. It will be well for the teacher to select some simple song for a festival occasion. Too often difficult music is chosen, which causes labor and struggle. A musical endeavor of that kind is not an inspiration. Page 126. “Hail, all Hail!” Met. 92 = J A bright chorus by von Weber. He had the rare faculty of writing bright 223' and melodious music, which is at the same time not too difficult. Page 127. “Murmur, Gentle Lyre.” Rinck was a great organist and voluminous composer, born 1770, died 1846. The song is an arrangement and adaptation. It has an attractive melody. Page 128. “ Sweet Bells.” An arrange- ment from Mozart’s opera, “ The Magic Flute.” Simple and melodious. Page 130. “Brothers, Hand in Hand.” Another selection from Mozart. A good hymn in simple form, and especially adapted for school use. Page 131. “When the Rosy Morn.” A bright and pleasant round. See previous description of the round, p. 218. William Shield (1748-1829) wrote many compo- sitions. In England some have main- tained that he is the greatest English composer since Purcell. Page 132. “The Linden Tree.” An arrangement of one of Schubert’s (1797- 1828) most popular songs. Page 133. “Ark of Freedom.” A good patriotic selection. The music is of German origin. Page 134. “.On the Wings of Morn- ing.” An arrangement from von Weber (1786-1826). It should be sung in a graceful, flowing style. Page 135. “In the wondrous, lovely Month of May.” A new setting of Heine’s fine love song. The Bass part is not absolutely necessary, but it is nearly independent. The song should be224 A Handbook of Vocal Music. sung from memory, and with much ex- pression. Observe the words, “ flowing” and “growing.” Ex. 136. “ Dearest Home.” A new setting of a fine melody. Page 137. “Hark, I hear a Joyous. Note.” This and the preceding should be sung from memory. Singing from memory under the direction of the teacher or leader produces an entirely different and much finer effect. Page 138. “ A Rosy Crown we Twine.” Peasant’s chorus from Weber’s opera, “The Wild Huntsman.” Page 139. “The Breaking Waves Dashed High.” 'Mrs. Hemans wrote the words and her sister, Miss Browne, com- posed the song, which is here arranged. It is appropriate for Forefathers’ Day. Page 141. “Song for Decoration Day.” There are several modulations and transi- tions. They bring into use #4, #2, Ji, #6, by, and #5. Make a separate study of these foreign notes. They are easily pro- duced in the song. Page 142. “ Home, Sweet Home.” It seems at last to be settled that Sir Henry R. Bishop (1786-1855) wrote the music, which he introduced into an opera called Clari. John Howard Payne, author of the words, was born in New York in 1791. He died in Tunis, Africa, in 1852. The arrangement here given is a new one, re- quiring a little study, but it has no difficul- ties that are not easily surmounted. Page 143. “When Verdure Clothes.” A modern hymn tune of a somewhat sen- timental character. It has two modula- tions, — into G and a. These require the chromatics £4 and #5. Page 144. “Song for Arbor Day.” A suggestion for Arbor Day was made in the Second Reader (p. 184). Labor Day was suggested in the same book, p. 200. The modulations are into C and g. Page 145. “ Song to the Flag.” Met. 84 = J A new expression of patriotism. Page 146. “The Harp that once through Tara’s Halls.” A new arrangement. The harmony will warrant careful practice. Page 147. “'The Morning Stars were Singing.” This may answer as a song for Christmas-tide. Page 149. “Freedom.” Both music and words are fine. They are worthy fre- quent repetitions. Page 150. “The Master’s Call.” A temperance song newly arranged. It has a bright and rippling melody. Page 151. “ Heavenly Father.” Prayer from Mendelssohn’s(1809-1847)“Elijah.” The melody and harmony are unchanged, but the song is transposed into a lower key, so that all may sing with ease. The simple beauty of the melody and the rich and characteristic harmony will al- ways command the admiration of those who love music. The value of such com- positions is inestimable. What a surprise and delight it would be to hear this sung in some out-of-the-way District SchoolCommon School Course, Part III\ 225 house ! This is by no means an impossi- bility. The words are an adaptation. Page 152. “Look not on the Wine.” Another temperance song. Page 153. “Trust.” Met. 60 = J A new arrangement. Page 154. “ Holy, Holy, Holy Lord.” John Sebastian Bach (1685-1750), was one of the greatest musicians who ever lived. He was also one of the most learned, but as will be seen in this sacred hymn, he was not, as has been charged, always simply mathematical. Page 154. “They who on the Lord Rely.” A German choral, slightly ab- breviated. Page 155. “ My Shepherd will Supply my Need.” A famous choral, dignified and strong in character. The composer, Nicolaus Herrmann, died in 1561. Page 156. “Awake, my Soul.” A fine English hymn tune. Page 157. “Now Thank we all our God.” There is a latent force in these old chorals, that strangely affects us. In the Lutheran churches, where they are at home, they are drawled and tortured out of all shape. To preserve a seeming reg- ularity short instrumental interludes are often introduced. They are generally known by the first line of the hymn to which they are sung. Sometimes, however, they are sung to other words. In spite of their continued bad treatment they are likely to remain in use for many years to come. Page 158. “O Paradise.” A melody that rightfully enjoys continued popularity. Page 159. “My Soul, be on thy Guard.” A specimen of a strong English hymn tune. Author unknown. Page 160. “ My Country, ’t is of Thee.” This tune, the national anthem of Eng- land, was first sung by Carey in 1740. With this closes the third part of the Common School Course. It has been the aim of the editor to bring together as many varieties in simple form as could be embraced in the limited number of pages. The characteristic hymns are : — “ Holy, Holy, Holy Lord.” . . . Bach, “ They who on the Lord Rely”............. German Choral, “ My Shepherd Will Supply.” Herrmann, “ Awake, my Soul.” .... Barthelemon, “ Now Thank we all.” .... Rinckart. “ O Paradise.”.................Barnby. “ My Soul, be on thy Guard.” . English. In this part we find the following promi- nent names, — Bach, Beethoven, Mozart, Weber, Mendelssohn, Schubert, Rinck, Rinckart, Herrmann, Rhigini, Barnby. The singing of such compositions must surely elevate the standard, and leave in the pupils’ minds a memory of these great musicians. If we can have such music in our schools, a higher and nobler feeling will be developed, which in time will ban- ish the tricksy and frivolous jingle too often designated as music. Much of our so-called church music is in the lowest instead of the highest form.226 A Handbook of Vocal Music. XXXVI. THE THIRD READER FOR UNCHANGED VOICES. 1. PRELIMINARY SUGGESTIONS. THIS Reader, the fourth book of the Normal Music Course, practically completes the distinctive work for unchanged voices (Sopranos and Altos), although much more work will be found in other books, where male and female voices are brought together. This book pre- supposes a fair knowledge of the preced- ing books of the Normal Music Course or The Ceciiian Series. There is much, also, that is new, combined with reviews in new forms, which will prove interesting. The Third Reader, like the preceding books, will here be taken up in order, so that each step may be made clear to the teacher. It will be seen that greater musi- cal experience is required in order to guide the singers skilfully in the use of these advanced books. In all intelligent teaching a frequent return to the Major Scale is necessary J in fact we never can be free from a consid- eration of this series of tones. This scale series is the basis of everything that we, at present, call music. The succession of tones is established as a scale from its keynote (i) and, by a similar practice, the series must be completed when the note of any other degree is given. In order to know these intervals the teacher should use the First and Second Series of Progressive Exercises in the Major Scale. 2. EXERCISES IN MODULATION. Let us begin with the Exercises in Modulation, which prepare the transitions from one key to another. These exercises, while showing the leads in the change of keys, simply tell us where we are. In reading music the most important ques- tion to be asked is, Where are we? For example, taking the note C, we find that it forms a part of seven different scale representations. Taking them in order they are as follows : — Ex. i. C is i of the key of C. This is shown in a characteristic way by the series 8, 7, 8, seven being a leading tone, and indicative of the key. Ex. 2. C is 2 in the key of Bb, and the melody shows a simple succession in the scale from Bb. Ex. 3. C is 3 in the scale from Ab. Ex. 4. C is 4 in the scale from G. Ex. 5. C is 5 in the scale from F. Ex. 6. C is 6 in the scale from Eb. Ex. 7. C is 7 in the scale from Db. From this we learn that when the tone C is given we can at will place ourselves in seven different keys. This might be done by singing the tones without the measured successions. It seemed better to give these a variety by formal melodies, and so to derive some benefit from that practice. In the earliest study, the drill cards introduced this question of toneThe Third Reader for Unchanged Voices. 227 relation. It is now given with the requi- site notation. Exs. 8-T4, place D in the seven keys. Exs. 15-21, place E in the seven keys. Exs. 22-28, place F in the seven keys. Exs. 29-35, P^ace G in the seven keys. Exs. 36-42, place A in the seven keys. Exs. 43-49, place B in the seven keys. All sharp and flat letters receive the same treatment unless the lead should be into too distant keys. For example Cj as 1 in the key C# would place it in a key rarely used and seldom called for. Also C# as 4 in the key of G# is never seen. To practise these might be of use, but there would be little time for it, and the notation would be troublesome. Such problems belong rather to the study of harmony. There is no easier and surer way by which students can become familiar with the Major Scale and its relations. It is hoped that a little time may be given every day to this practice. It will take the place of the preceding preparatory work. Exercises of this kind, in Modula- tion, are introduced in the Third Reader for Mixed Voices of the Normal Music Course, and also in the Book IV. of The Cecilian Series. Notices of them will be found later. The songs of this Reader are not arranged in progressive order. They can, however, be studied as they are intro- duced, and the chromatic or other diffi- culties will not be found too great. 3. ANALYSIS OF EXERCISES AND SONGS. Song No. 1, p. 11. “The Cuckoo.” A simple song that needs but little beyond attention to the rhythm. Ex. 91. hj and #1. Song No. 2, p. 12. “Calling the Violet.” 1. Study the tone representations. 2. Bring the parts into a close observ- ance of the accent and expression. 3. Scan the words, looking for any difficulty that may occur in gaining clear enunciation. 4. Bring the words and music together. 5. This having been done slowly and carefully, increase the rapidity until the two in conjunction rightly express the sentiment. A similar course should be adopted in studying any song. By all means get at the spirit of the music and words. Better a few well-rendered songs than an imper- fect, untuneful, and unmusical attempt at many. In this careful study the singers will learn to enjoy music for itself, and crude singing will disappear. Ex. 92. Do not forget the accents be- longing to syncopations. Attack the notes squarely, and with a positive force. Ex. 93. A short waltz movement. 'The melody is taken at first by the Second and afterwards by the First Sopranos, the other voices singing an accompaniment. The melody should slightly predominate. Ex. 94. This contains several important228 A Handbook of Vocal Music. musical effects. It will be explained in the doing. Song No. 3, p. 16. “ Wee Bird in the Forest Old.” The range of the Soprano notes is somewhat extended. The high notes can be reached by the more mature voices, but they should be able to sing them softly. There are no extreme notes in the book. An occasional G or A is the extent. If each part is studied, as has been previously suggested, by all voices, transposing the music when necessary, it will be found that no part is difficult; and if independent work is established, the combination of parts will be easily made. Ex. 95. A melodic study. Ex. 96. A continuous exercise in mod- ulation. It begins at C and ends at F#. Ex. 97. This does the same through the flat keys to Gb. Song No. 4, p. 20. “At Early Morn.” This song is based upon a motive of three notes, beginning with the first notes of the Soprano part. This motive consists of two semitones, sometimes ascending and at other times descending. It will interest the singers to seek out the various repetitions. The music should be care- fully studied and learned before the words are applied. No Sopranos should sing this part song who cannot reach tr.e ’nigh G very softly. Begin the study with the lowest part. Ex. 98. Observe the syncopations and exceptional accents. Song No. 5, p. 23. “ Lady-bird.” Met. 132 = f Sing it delicately and in a manner not too connected. Song No. 6, p. 24. “ How Beautiful at Evening Hour.” Modulation into B? in 2d, 3d, and 4th measures. In the 5th and 6th there is a transition into c. In the last measure but one, Alto part, accent the second G strongly. Ex. 99. In the contrapuntal style. Song No. 7, p. 26. “Holy Nature.” A simple song with but one chromatic note. Ex. 100. Descending Major Scale in Alto. Ex. 101. A modulation from C to E. The figures indicate where the transitions are made. Ex. 102. In A. New harmonies in the 5th and 6th measures. Song No. 8, p. 28. “ I Welcome Thee.” Study the difference between the two groups J and Two modula- tions are made, into Bb in 2d brace, 3d and 4th measures, and thence into gy its relative. Retard the last four notes, without change from f Ex. 103. A preparation for the pre- ceding song. Song No. 9, p. 30. “When the Sun comes back.” Met. 80 = J A bit of humor in music. The manner should intensify the sentiment. Some exaggera- tion will do no harm. Song No. 10, p. 32. “ A Cuckoo Here.” Sing carefully, but not heavily ; as if speak- ing, parlando. There are several modu- lations, which can be easily followed.The Third Reader for Unchanged Voices. 229 Ex. 104. A preparation for the pre- ceding song. The notes with dots below them should be sung in a short, detached manner, called staccato. Those not thus marked should be connected in a smooth but not heavy way. The same manner should be observed in singing the pre- ceding song. Exs. 105, 106. Transcription of a mo- tive from C to Fjf. This direction is called forward. The same in a backward direc- tion to G?, enharmonically the same as F#. Song No. 11, p. 36. “ Sun, you Lazy Fellow.” In a sentimental vein. It is a study of rhythm. Ex. 107. To gain familiarity with the distant key Db. Song No. 12, p. 38. “The Roses and Carnations.” For a general movement set the metronome at 108 = but there are several changes in time. The standard must be rigidly established before making the ritardandos. These must each be made with a diminuendo, and the degree of tone and rapidity must be carefully graded. Much of the beauty of the ren- dering depends upon this. Ex. 108. In a. Ex. 109. Met. 84 — J Problems in melody. Fix each part beyond doubt, and the harmonic result will be satisfactory. Song No. 13, p. 42. “The Night is Calm.” In the piu mo to, accelerando e crescendo, p. 42, there should be gradual, yet great change, growing louder and faster until the 2d brace of the 43d page, when a ritardando e diminuendo begins, which leads to a slow movement, marked lento. The last two measures should end pianissimo, and be sung with a gradually retarded movement. There is here abundant opportunity to show skill, both in directing and singing. Song No. 14, p. 44. “At Midnight thro’ the Forest.” The poem tells its own story, a charming conceit, and it is hoped that the music will assist. Ex. no. A melody for the Alto. The other parts should sing softly. Song No. 15, p. 46. “A Leaf is softly Falling.” The b7 in a new way. Do not take too slow a movement, Met. 126 = f The descending notes of each measure should be sung diminuendo. Ex. in. Beat as if in two-part measure. A sort of choral effect. Never attempt to sing a note not first mentally known. Song No. 16, p. 47. “Birdie, Birdie, whet your Whistle.” There is a modula- tion into B upon the 49th page, preceded by a suggestion of 4f- The song should be sung in a cheery way and with the utmost good humor. Ex. 112. A rhythm frequently found in the march compositions of olden times. The study should be especially directed to the group HTJ If the Time-names 0.0 are used there will be a gain. They will be Ta-a-a, na, etc. The first two meas- ures are in E, nine measures in c% and then a return to E.A Handbook of Vocal Music. 230 Song No. 17, p. 50. “Look up ! o’er- head Already.” Met. 104=^ In the song the direction should be through six beats in the measure. Page 51, upper brace, 3d and 4th measures, modulation into B. Second brace is in g%, the relative minor of B. Song No. 18, p. 52. “O Linden Trees.” This is marked allegretto, moderately quick. Set the metronome at 108 =J There is much freedom of motion in the parts, which will require accuracy of attack. Beginning on the last note of the 2d brace there is a modulation into D, con- tinuing to the end of the rail. Another modulation into e occurs ^on the 3d brace of the 53d page. On p. 54 there is a new treatment of chromatics, with a skip to GJ. Treat G#, A as 7, 8. Note the three sharps at the close. They are of the same character. Ex. 113. This is an illustration of a simple motive with a chromatic note. Song No. 19, p. 56. “ The Glow-worm would a-roving Go.” This is in a dis- tant and unusual key. It is introduced here to show a complete series of keys. In 2d brace, p, 56, treat B# as #4. The B# and Gx, on p. 58, are chromatic deviations, the first #4, the second #2. Study the quarter sub-divisions of the pulsation, and direct with two beats in a measure. Ex. 114. In F# with b6 (D'tj). Ex. 115. In Db. Study in chromatics. Treat them all as transient deviations. Song No. 20, p. 60. “June’s Sweetest Flower.” There is a modulation into D, beginning on p. 60, last measure but one. Also into C on p. 61, 2d brace, 3d measure. The first of these is called a forward, the second a backward modu- lation. It will be seen that throughout the Reader each part is an independent melody. 4. MODULATION. Diatonic modulations may be called “ forward ” when a change is made into keys having more sharps or less flats. Backward modulations may be so called when they are made into keys having in the signature more fiats or less sharps. There are many other forms, but these apply to those of a simpler and more regular kind. Each of these steps, forward or backward, may be called removes. For example : from C to G, or Bb to F, is a forward modulation, while from C to F, or E to A, is a backward one. As a rule, forward movements seem brighter than those in the opposite direction. The following diagram represents the circle of keys. From left to right is forward, from right to left is backward, the motion being like that of the hands upon the clock face. The teacher will not need to write these modulations, but it will be worth the while to study the diagram and try to become familiar with all the keys and their signa- tures.The Third Reader for Unchanged Voices. 231 c Gb F# The capital letters indicate Major keys; the small italic letters their relative minors. The number of removes can be easily traced, for instance : Forward. C to G, one remove. C to D, two removes. C to A, three removes. C to E, four removes. C to B, five removes. C to Fjf, six removes. Backward. C to F, one remove. C to Bh, two removes. C to Eb, three removes. C to Ab, four removes. C to Db, five removes. C to Gb, six removes. By reference to the diagram the same distances can be followed from all the other key notes. Another suggestion is found in modulation, which may be illus- trated by the following diagram. G F Between C and C the key is established. From C to G is a rising or forward modu- lation, from G to F is a falling or back- ward modulation, and from F to C is again a rising one. The ascent to G is bright, and if from G to F it is somewhat dulled, the return to C is naturally brighter. This may seem rather fanciful, but the Sonata form will show on examination many illustrations of this Tone color. Of course the sections are by no means accu- rately measured, but the study of this will be found interesting. 5. ANALYSIS OF EXERCISES AND SONGS, — Continued. Song No. 21, p. 62. “ O Little Birds.” Compare keys and modulations with those of Song No. 20. The succession will be found to be nearly the same. Ex. 116. This study has various rhyth- mical effects, and among them one unac- cented syncopation in the Soprano part, nth measure. Song No. 22, p. 64. “Oh, how Clear the Sunlight.” Met. The word232 A Handbook of Vocal Music. lento (slow) refers to the time of the quar- ter notes, and these indicate the movement. The two braces on p. 65 illustrate a se- quence. A sequence may occur in one or more parts, ascending or descending, in exact or similar intervals. It will be seen in this case that the melodies and harmonies of the 1st brace are imitated in the 2d, one degree higher. Effects of this kind are very interesting to the stu- dent, and offer something in the way of suggestion. Exs. 117,118, are studies in melody and rhythm. Song No. 23, p. 68. “ A Youth, un- known, I Wander.” An analysis of the keys shows the following measures : 1-6 in B(, 7, 8 in^; then at once into D at the pin moto. Measures 9-12 are in D, 15-18 in g. There is a sequence, — 19, 20 form the Coda or close. Song No. 24, p. 70. “ Only a Glimpse.” Con anima, with feeling, is a caution not to let the movement drag. Should the G prove too trying for the Sopranos, take the pitch of E? for one (1). The 2d brace (p. 71) should be sung with the greatest care, steadily retarding and dimin- ishing the tone until at the close it is a mere breath. Song No. 25, p. 72. “There’s a New Year Coming.” Met. 66 = J There are various modulations, but none that are difficult or especially new. The notations are different. Ex. 119, introduces an imitation, a crossing of the parts, and a syncopation. Ask the class for explanations. Ex. 120 in e. Song No. 26, p. 76. “On the Sea.” It is written in a, with alternate sections in C. A regular transition from Minor to Major. After the double bar, there are two measures in a and two in e. Then there are hints of d and a with a close in the original key. Sing the last four meas- ures very softly. Song No. 27, p. 78. Met. 76 = j “I heard a Brooklet.” A noted poem, newly translated. It is one of a series by Muller called “The Pretty Maid of the Mill.” They were set as songs by Schubert. Don’t let the miller’s apprentice travel in a faint-hearted manner. The music and words must sound bright and cheerful. Ex. 121. A number of novelties in har- mony. Let the class find them. Let them be known through singing. Song No. 28, p. 82. “ Love in a Rose- bush.” Met. 69 = J This should have several repetitions before the words are applied. Study each melody separately, and afterwards put them together. Con- trast the last four measures of the 83d and 85th pages. In the first produce a diminuendo, soft to the last degree. In the second there should be a rapturous crescendo with but slight change in the movement. Ex. 122. Study in rhythm and synco- pation. Ex. 124. This begins in Gb and at the233 The Third Reader for Unchanged Voices. middle the signature is changed to Fjf, its enharmonic synonym. Song No. 29, p. 88. “ Once more the Lingering Light of Day.” A hymn in music. In the 4th measure there is a modulation into g, but the F# may be taken as a chromatic note. In the 2d brace it modulates into a. At the close it returns to the original key, — F. Ex. 123. A study in IP, the melodies of which are largely in conjunct motion. Song No. 30, p. 90. “ Far in the Wood.” Sing it with much vigor. A distant modu- lation (see table *) is made into D, but it will be very easy to make the transition. On p. 92, 2d brace, a return is made, beginning at the note D. Call this three (3) of the old key. The change passes through g and F to Bb. Song No. 31, p. 94. “ Swallow Song.” Met. 132 = A somewhat unusual form of writing, as the two middle voices fre- quently cross each other. If this is care- fully managed a new effect is produced by linking the parts firmly together. Observe the words “ uplifting,” “ pillowing,” “ bear- ing,” and “ blowing,” and give decided ac- cents in each measure. Make the music express the meaning of the words. Change the whole character at the words un poco lento (a little slower) and follow the sentiment. The close should be soft and , peaceful. Song No. 32. “ Nature, ever Sweet and True.” Met. 60 ==j The key seems at 1 P. 231. first very difficult on account of the many flats in the signature. It is not so, for all keys are alike when rightly studied. Few are familiar with this representation. G flat is no more difficult than G natural. On p. 98, lower brace, is an imitation, much like a sequence. Study each part separately. Ex. 125. Study in Gb. Ex. 126. In , Ex. 469. Met. 176 = ^ Exs. 470, 471, 472. Illustrations in rhythm. Song No. 107, p. 207. “ Flower Dances.” See also Song No. 35, p. 68. Sing in a gay manner. Observe the metronomic sign. Exs. 473, 474. Two easy studies in melody. Song No. 108, p. 208. “ Light.'” It would be difficult to give the exquisite poem such a musical setting as it really deserves. The desire that the children should enjoy the words has led to this composition for three parts, in which the author must needs impose upon himself certain limitations as to difficulty of reading. The author trusts to a careful rendering of the sentiment. When a division of the Second Reader seemed advisable the following pages (210-241) were added. They are of some- what greater difficulty, and they were in- tended to take the place of more extended practice, especially where this book might be used to complete the school work in music. Exs. 475, 476, are in counterpoint, the melodies being used in imitative form. A single reading will show this, and all that is necessary to gain absolute independence in singing in chorus. It will be well for all to sing each part. Song No. 109, p. 211. “The Cuckoo.” Two Sopranos, an Alto, and Bass make a quartet, without a Tenor part. Three modulations are made : the first into d, the second into E?, and the third into g, with a cadence into the original key, Bb. Song No. no, p. 212. “ How Gal- lantly.” Several modulations. Key of B, cjf, and gjf with different chromatic devia- tions. Ex. 477. Met. 92 = J Exs. 478, 479, 480, 481. Studies in melody. Song No. in, p. 216. “In the Sun’s bright Gold.” Continued practice in four- voiced harmony. The Tenor is repre- sented by the Alto, the notes being within the range of that part.239 The Second Reader, Part II. (The F Clef). Ex. 482. Some novelties in harmony. Ex. 483. Begins on the second degree of the scale, — an opening that is not often seen. A new cadence. Song No. 112, p. 219. “ Round us all is Motion.” Some novelties in harmony. Make special study of each melody. Song No. 113, p. 220. “ Moonrise.” New uses of chromatic notes. Exs. 484, 485. Several syncopations, needing strong accents. Exs. 486, 487. Imitations and some complications in rhythm. Song No. 114, p. 224. “ Twilight.” Fundamental key C. Transitions: 6th measure G; 7th, 9th, and 10th, a\ nth and 12th, F; 13th and 14th, G ; returning to the original key C. Sing very softly at the close. Ex. 488. Study of melodies. Ex. 489. Imitative work. Quarter di- vision of pulsation. Ex. 490. Met. 92 = J Song No. 115, p. 227. “ In Praise of Water.7; A temperance song, which will require some careful study before the words are applied. It should be sung with much life. Ex. 491. Study in rhythm. Ex. 492. Imitation, with chromatic notes. Ex. 493. New use of chromatic notes in the 2d measure. Song No. 116, p. 231. “ The World is not wholly Forsaken.” Another song of somewhat greater elaboration; also new chromatic effects. Ex. 494. New rhythm. Ex. 495. Imitation and syncopation. Song No. 117, p. 235. “Morning Thoughts.” In the style of a modern English part-song. Song No. 118, p. 236. “Farewell.” Suitable for use at the close of the term of school. It should be rendered with much expression and some freedom of movement. Ex. 496. Study in syncopation and chromatic notes. Ex. 497. Imitations. Ex. 498. Begins in B, but ends in E. This is allowable in a study. Song No. 119, p. 239. “Come, my Soul!” Song No. 120, p. 240. “Good Life.” Song No. 121, p. 241. “When all Thy Mercies.” Three sacred selections. Others of a similar character will be found in the Reader. These may together be sufficient for school hymns, but few being required. Pages 242, 243. A table of characters. These have become known in the course of study. They are gathered as a table for reference. Pages 244, 245. Italian words and phrases that have been brought into general use. For farther development in four-part chorus or quartet singing, with or without the use of Tenor voices, see other books such as The High School Collection, The Euterpean, The Cecilian Series, Book IV., or Common School Course, Part IV.240 A Handbook of Vocal Music. XXXVIII. THE CECILIAN SERIES OF STUDY AND SONG, BOOK IV. Part I. — Exercises and Studies. 1. THE SCOPE OF BOOK IV. THIS is the closing book of The Ce- cilian Series. As it is designed for the use of the upper grammar and lower high school grades, where few Tenors are found, no special part is furnished for those voices. The Alto takes the place of the Tenor, and sings in the same range, thus completing the quartet. Should there be any 'Tenor voices, they may sing the Alto part, reading it an octave higher, or they may unite with the Bass. The necessary suggestions in the preparatory work in Tune aftd Time may be found elsewhere. Attention will be called to the exercises and songs that are new, or that require special mention. 'This will save teachers the trouble of looking over a large field to find the solution of any par- ticular problem that they may desire to solve. 2. THE SERIES OF MELODIC STUDIES. Preceding the work peculiar to this book are some directions that may serve as a preface or manual. Beginning on p. iv there is a representation of the Major Scale, with and without the prefixed signa- tures, in all the keys which are in general use. These are so given that all may be able to practise them as scales and to know them by their real and pitch names. On pages viii, ix, x, and xi, are representations of many kinds of Time. These are ex- plained in preceding sections, where the question of Time is treated in detail. Pages xii-xviii contain a series of melodic studies. As explained in the paragraph preceding them — “The exercises are prepared in order to es- tablish the scale representations, and also to show the position of every note in the scale series. The first exercises showed the vari- ous series and signatures. These exercises reverse the operation by taking a given note and then going to the key notes of the keys to which it belongs. The figures at the be- ginning of each exercise indicate the degree of the scale upon which the note is found. Assuming this, it will be an easy task to fol- low the notes to the end of the exercises. This practice is indispensable to those who would be sure in reading the notes of our different scale representations.” These melodies differ from those used in the Third Reader for Unchanged Voices and the Third Reader for Mixed Voices of the Normal Music Course, but they all have the same idea in view. As this Handbook is intended as a guide, these melodies are here introduced so that the student may have the material for practice in this important matter, without referring to the different books.The Cecilian Series, Book IVPart /. 241 TABLE OF TONE RELATIONS. (See also the series found in the Third Reader for Mixed Voices.) The note C. 1 2 * —T -1—1 d i; ir-ft-a—^ l i 1 1 1 Tl \~~Yl /k-'-f—*—- £L 1 1 S\ Ar 9 K — U p 18 1 Iffy 4—-j ZL_ 1 1 wt\ a r r~9 m P 1 —d i H 1 J , m j— - J _! 1 J h h r h 9 r h- SJ \ tJ -49- 9 9 M 1 V 9 9- TT ) I 9 ^ ; r I ' I—1—>—■ \y m ~ b ^ / d s — 1 I -/*)! 4.— IX p u £2:4—* * gir—* * -J zJ—l i-—1 1- —— 1 V -3: L 9 1 —1 11 3 —Q. -I 1 ,1 J 1,, 4 X UM~A J tJ-m J, 1 1.1 US5 H — — i n 1 -JL —-t B 1 B hX-S. 4vj . ' If /T n # 2 tv;-' z 1 —1 ^11 i (CX-A —J-H- J2jB - 22 V\frv\A r 9 d p ,,d 1 ^2±fc—J K-J • ]1 r r p > «H*-^ \ fj -0-1/9 l t, -—/£ \> 0 ,\i» - ® ' r~ r—1—T 4 I S foA-A L z-Z- m 1 XZkY* O 1 [ 9 , r? 4+ ^ 11 I ZE 1:! 1 I ■ ICV» O #-# If f S-S-A 1 tx bn.: - b H Y 1 1—— r V fE J 3t ... . r - _4_ M242 A Handbook of Vocal Music. The note D. bTi : a jeZi -4-1 -d—j —i~ v.::^ : fj ft-M 3 rrm . -i L l / 3 s —4—b j——j *3—|l tf-*) —m n . L E. 5. .4. 5! J U 1 '25 i 2 /^\« 4^ 1 | —i 1— I^V O J 1— — —r). a 1 ,1. 1 0 m & —# J— {- 0 ——N 2 jt9 £IJ a" e J 9 ^ 14 ^^ " Li ^ U The note E. 14 15 ~@r 4- J—hJ , -i f— 4 S\ T- i ! U J L ! i 1 1 1171 2? 1 1 1 j - 1 N* J *?r* ^ - i " r • 1 WrrtsrA 1—tti— | . ] * J mazi s~j r— £ ' 'ji It ^ 3 tw4—d—-ihg— VJ i ^ * -ii|rr 7 fc># U .... xr |—i r #f i a l \ v r # v u r a u r5> 4- A !? « r \) o 1 s*rr m m <2 0 n* n f ^ ' 1 r ^z> a— —=-j W* r. -•>-H —i j 3E ! 1—1-ilThe Cecilian Series, Book IV/. 243 16 17 z q:—1 1 . - xi t~A Hr 1 , 1 III 1 , 1 * 11 1 . J 1 -j 1 -v -in i d . ll.' d 1 i I frvdf .... Ij zj q j ^ 11 [Tvtt <+ j j tl # 1 r « : 1 J K A J IJ 1 1 I 1 1 r r f' -f—m ~ f - - -£2 0— (3 - 0 e&h 4 ilJ The note F.244 A Handbook of Vocal Music. 23 24 25 26 IV "o - .7 □ 373 771 " . ' 1 - , “1 1 ; I I y? tJ -1 J 3 £ ... - b ... ! b H v* ii v E J ^ ^ * S H 4 r i 71 7 -i —M fJ j I 1 ' 9 -4- -4- i !J it. , | 1 1' i£V» f 5?J L 4! .J i 1 1 I v» I /i L J J p j »?g f? .<7 I ^ ^ W ^ ^ 4 xr~0 1 27 L 1 SJ, H Pg -g-1 : T—- •••* 11 6 (Wi-9—f-b-s f—f— r*c r ^ 1 r -7=i =^f 7|] ^-4 t-.. . 7 1!The Cecilian Series, Book IV^ Part /. 245 The note G. 28 29 (4 J (Tk 1 J uj H-q d]L rd 1 -Q.— 1 =t—=f- 11 /Tj || .| 7^3 !?.# k J .. u.J 1— L L> L M—— —4 ^ —^ j— FI [ fr h\ /t ! k J L/T> h-i :: 1 17 r 1/ .ft Q-0 |- Lt 1— d L- h- ^ rrAF *— IV \J JO. 1 ^ iZ— J ^ 11 r 1^rn 7 L. k-U ' 1 r r Vp- b# / j I I5*" 1 f -Q. 1 71 r-T7-» ir-—1/- # 1 ^r...iL0 1 LLo-y g."-fg,.. : .^2 11 s nrrr-z—w l L 1 | X A ! || p— 1 ^ L L 11 irh 0 LJ II V ^ l -L—I IJ 30 / #-a—(— 1 J 4|l| k j j i §g=p— / 2 i ~J- ■ 5 ^ *— 1 1 f 1 1 ~i t~ r-~ —J -H 1 / (W:ft~ P— rY r f =32 x || (^4 t-r 1 E-L-f -4-—I.. ' 1 l- --U 31 (-Jfst—|—-p !—r j k J L. ! 32 2 -t—t- ~, ^ ~ H i^f=r < 3 t-j^-—l—L -4—H N^#gT=*H f 4 —1 -4— r r —1—r^- r aJ- —1 H f / p- T~-- -p—Ffip 2 f---IfE m 0 . n W- 4 II ( ^4 1-—f— =t : ! — t 11^ -4: - —1— 11 33 f 4 4 -| -| 1 I 1 1 1 | J J —1 ! — —1 0 J 0 f 1 f 1 =ti—B A J p4 p—p—.—i— J 1• 0 m =f=F=? f~ F^==n V^3 i - >=Et:-4== w -• 1 i — 1246 A Handbook of Vocal Music. 34 H ?—9 j —| ■■ .t J 1 1—j - ■ 1 | H / f Z \ ! fv.J ^ \» II tr 1/ p 1 V 9 * IJ kaj' 3- r zjz c j j ij r f f ' 9 ^ 6 t> * .. w P ' . j u rr j' 2j r r [W— «--] L J|J c h —r ) # hjj * 11 ZZE ^ t/ • |j The note A. 38 h r..o -j: 1 4 1 1 1 1 Z | { / | *1 L - J J v» 1 1 ( \a cJ r # J . ^ I 1 V P i i 27 B \ 0 1 i 3 1 ' * b 1 1 # ~ . ff foY Q \' * 9 - | T P 1 {?*>•> S j 1 d J r x N* II 2 p ! r ^ ri v 4. r HThe Cecilian Series, Book IV., Part /. 247 39 "/ f-H—■ -j —f— 4 J- , & (S ~*r *r 4 if H ft m. Ly-...^p =¥*=r=i== 1 • —B 1 3i -M=—*= 1 !■ j. p;:.-*r —(-] —K- 1 -t— ~1 40 41 1 2..j-. __2__r. i) pa- J f ,.frf--^.., -t—1 ts£±— t r r 6 -fpa-h- “r ? -r=4—f—^ [j ^1= 42 -0r> —i 1 1—, t±=t 1= ,—J U— 4 -r- 4- j 3 t? yiT =3=*?—H —* i— -f- f —^—-j ^ X |l SZ3EZ tJ TX'vV.o -h—E ^ 7 —i 1 f~~ 1 1 u 1 f—=4= 11 -1 1 11 f“> fS ^4- .-J. .4j— *= -par —Jp-J J b~J —|j The note B. 43 j 1 tt«ji~J~-4i J—l——FFt^7j ■■ '-I- H*—pd^ i—: 44 1 S3 J gJ:-|jtJ—15 2 -#---#- =fci= 248 A Handbook of Vocal Music. 48The Cecilian Series, Book IV., Part I. 249A Handbook of Vocal Music. 250 The note £#. 57 58 / 0 .0 — —I p—Ti TT / 7?' £ 1 1 J 1 J I 4I j r/ a 1 J H l (l\-A L J IJ A TT U* J £-#-0- ft i ■ LL I /j T ! 14 1 \Li4uJ J JuL*J 1 ftr. a tf 1 2 13 VslJ Tff j It # ft 1 F tt V SPJ u 14 ^ Tf r -1 f r g r * < 7 ”1—^ r 7 T) 1 lii IV TH -4 1 1 Cm)9 O -ff« r a # # # O LL 1 *f W TL # if* - ,, 44 ^ 1 ft f * p ft f I u # *t r — 1 LLJ ^ r v a *9 r r 1 L 1 .. )- f- 1“ v—4 1 1 t— _ ^-4 L n 1 fcw I. The note F#. 59 60 61 ~—-q-"=r: 1— TTo i —1 p 1 1 l / - Ti J j 1 1 A -J— -1 f/ z 1 ■ -4 P ;—! 4 f£ X-A-H-J L 1 —J 1 *— 4i-xs »\ 1 rt\ /iTi r~- pri—* r 1 W ii 2L - J ^ jam/ 4 » a h- - ■ft d r "t- 1 j0 1 1 ftr r 1 1 1 1 < 2 1 m ^ 1 r ■ i 1 1 1 p 3 I (mY~ H g-# ~rr —5 u—- IL<2 44- +r^. w~ m 11 f 152^4 ft. g ^ j4 r — ~r * ^ II l w A EL-ft-r -J 1 I ^A T P— 1— —t- r~ & H V tt 1 4—1~ -J 1 . : !-—r P11 62 r bn, i ij—: H 4fs —d-i—1 1 IT 1 / .JU ±b-A 0 5 jfw ^ —p~i— si 14 1 LC ^A LL J L iLm — a—14 1 nji alc^ - r) — it ] 0 1 r < 5 i J g-j- V S^- -zd ! -hl\«1, I O ILfi—tt j 1 J 1 , l 1 F P/’-f) +LZj J | 4+ ^ LL j —, ^ 1 ! S^mZ,.,A J—J 1 i*J # ft ft ^ 7Z—! —! r\ i V! -4--*J =¥4 ^ ^ J The Cecilian Series, Book IVPI 251 63 . 64 —1 =r- =T=^=r |/1 : . ; -r sSfe >=•'.' 1 : • i 6 wrtw= "• n F 7 f-«——f- =£==P=:g -11 - L * ■ —1— =S=-d—F —=—|g—1=—- 1 - 11 The note Gjf. 65 ' 66252 A Handbook of Vocal Music. 68 =^Z= M: ISfc tl- ~-=r 5 PIF#-^—f-: 1 o 0 l =j j -—| —1 ' ^ 4— ' 1 p* * -Jr- —zh— =3—*-- 69 The note A#. ffz =t= 1 l A H 1 s. 1- 4$4 s*—=&? ~ f — H— - r =#* -S? -HfJ x —T— 3 / V-: y< S-# JVm isr~ e — : 1 •—LLj itp- #-F u * 1—3-# 4f-» TL .I ^f=V ^ p -j—— -H 70 I =#3t #4 I B TS" / —i 1—-A 1 '"' m — jjrJ '" "‘“J 1 =1 —i =q —F V 4 b-0—= IZji U ^ LA-& ■* tEEE t=r^=P= t=-h=\ The Cecilian Series, Book IV., Part I. 255 84 ...id — J-. J J u ! i —H .^^f- p-f—f -f—^— -b-J— - r— br^f=F ^ -b-jv— 1 ^-4 ! ..... . -j The note Bt>. 85256 A Handbook of Vocal Music. 88 0 , ... i i .1 -» -— i 1 i 1 ( \..fy Si or ^-J zl J 1 I fr rv /i v4 9 0 J ^ 0 ft ^ 1. \ v rr^t 0 ^ & L ) ^ r 1 ' r 1 • r r 1 r 1 F il A / 'm v. 0 1 r 0 - 0 r 0 ~ r r .... r 1 r ■ p s* 1 1 V v 1 1 L L ^ II V 3 ^ L ... . U 90 / #-2—fa-j J = r=i^^— f*i— =^-J , 1 V -e— —B=*g— • —fr? 1— j- 1 Uj=1 1 m 6 JLm- The note C!?.The Cecilian Series, Book IV., Part I 257 3. ANALYSIS OF EXERCISES AND STUDIES. On pages xix and xx there is an expla- nation of the Chromatic Scale, and the way in which it may be studied or taught. The exercises beginning on page xxi are the real commencement of the special work of the book. They are of the same character as those in the Second Reader after the introduction of the F clef. Exs. 1-7 are diatonic, using the half pulsation. The voices employed are So- prano, Alto, and Bass. Ex. 2 has the descending scale in the Bass. Ex. 4 has the descending Major Scale, but with a new harmony belonging to the family of sequences. Ex. 6. The introduction of the half note on the second pulsation does not indicate an accent. Sing such notes softly, unless a special accent is indicated. Ex. 7. A study in F. Ex. 8 has a modulation into C. Ex. 9. Scale work. Ex. 10. In this exercise the melody of the upper part is imitated in the lower voice. Ex. 11. Six-part measure in quarter notes. Ex. 12. Choral-like harmony. Ex. 13. A continuous movement of eighth notes. A chromatic #1 appears. Ex. 14. Free introduction of discords in the 2d, 4th, 6th, and 7th measures. Ex. 15. Descending scale in lower voice. Short, detached notes. Use the syllable m la ” to give them distinctness. Ex. 16. A figure in the Bass. Ex. 17. An irregular number of meas- ures not unfrequently met. Exs. 18, 19, 20, 21. Melodic studies in different movements. Ex. 22. Met. 72 = J A rapid move- ment in six-part measure, beginning on the sixth pulsation. Never forget the men- sural accents. Ex. 23. This form is often seen in the older church music. Do not make the rate too slow. Met. 76 = J Ex. 24. Use the syllable “la” in order to articulate the repeated notes clearly. This may be well in any cases of similar notes. Ex. 30. The eighth notes are printed separately to show that there is no differ- ence in value. Ex. 31. Chromatic #4 (F#), not a modulation. Ex. 32. Chromatic b7 (Bb), not a modulation. Ex. 33. Chromatic %i (G#), not a modulation. Ex. 34. Chromatic jfi (DJ), and £7 (Cfcl) —not modulations. Ex. 35. Chromatic b3 (Bb), not a modulation. Ex. 36. Chromatic #5 (C#) and #1 (F#), not modulations. Ex. 37. Chromatic #6 (Eif), not a modulation.258 A Handbook of Vocal Music. Ex. 38. Chromatic i?6 (Cp), not a modulation. Ex. 39. Chromatic ^2 (Db), not a modulation. Ex. 40. Chromatic ^3 (Db) and ^5 (Fb), not modulations. Ex. 41. Chromatic #2 (Gf) and 54 (Bp), not modulations. Ex. 42. Chromatic b7 (Gb), not a modulation. Ex. 43. Chromatic #5 (Bp), not a modulation. Ex. 44. Chromatic #4 (Ep) and #2 (C#), not modulations. Exs. 45, 46, 47. These show quarter divisions of the pulsation. Ex. 48. Chromatics 6 (C#), #1 (Ep), and #2 (Fjt). Notice the contrast in time between the 6th and 7th measures. Use the pendulum. Ex. 49. This needs especial practice in measures 1-3 and 5-7. Do not shorten the rests. The second half of the study has a motive which is imitated. Ex. 50. Study in time. It contains syncopations and #4 (Bp) as a chromatic. Ex. 51. Quarter pulsations. Ex. 52. #4 (D#). Ex. 53. This contains some divisions of the measure that at first are very trying. They occur in the 1st and 2d measures. Compare the 2d and 3d pulsations, and make the two clear to singer and listener. With the pendulum and Time-names the solution is very simple. The measures should be repeated many times, at first slowly and afterwards at a faster rate. b6 (EP). In ordinary chorus or solo singing these rhythmic tunes are rarely mastered. Ex. 55. In the Minor Mode. This has been thoroughly explained in preceding sections.1 The progression, E, F# (#4), Gjf (£5), and A, is a part of the so-called Melodic form. If the Minor Scales are not known, these four notes may be sung as 5, 6, 7, and 8 of the Major Scale. The key is a. Ex. 56. This is in Bending Lowly.” After the pupils are sure of the tones, the movement may be* increased in rapidity. The 7th and 8th- measures introduce a deceptive or broken cadence. This takes place when an un- usual harmony comes in instead of that ordinarily expected. In the 2d measure of the 3d brace, th^ Bass would naturally go to F instead of D. This produces a temporary interruption. The full cadence follows in the next two measures. Song No. 11, p. 51. “Let Nothing274 A Handbook of Vocal Music. Disturb thee,” This is an illustration of a constantly moving combination of melo- dies, or florid counterpoint. Song No. i2, p, 52. “He Prayeth Best.” This is a transfer. For sugges- tions concerning any transfers from the Second Reader see references to that book, pages 235-239. Ex. 138. In //. Melodic form of the scale. Ex. 139. The Basses sing the Major Scale from BtL Ex. 140. In^. Song No. 13, p. 54. 44 Onward.” This should be sung in the style of a vigorous march, with a decisive accent, in keeping with the spirit of the words. Ex. 14*. G Minor Scale in melodic form. Ex. 142. Melodic form of g scale in Alto and Bass. Song No. 14, p. 56. “ Song after Labor” A transfer, Exs. 143, 144, 145* Transfers. Song No. 15, p. 58. 44Contentment.” A careful adaptation of words to the music should be the chief study. Exs. 146, 147. Transfers. Song No. 16, p. 61. “ Never Give Up ” A transfer. / Ex. 148. The four Chromatic changes are of the same character, and should be studied in the same tnanner. Song No. 17, p. 623/. “The Sun is Up” If any change is mteide let it be in the direction of greater Rapidity. The move- ment, if accurate, may be increased to nearly if not quite 120 ~ j Great care should be taken with the dotted eighth and sixteenth notes, The whole should be sung with earnestness and fire. Song No. 18, p. 64. “Like to Like.” At the outset give six beats to the meas- ure, and gradually take a more rapid move- ment, not by accelerando, but throughout. Ex. 149, Let the parts enter with pre- cision, not anticipating the beat. Exs, 150, 151. Studies in rhythm and melody. Do not lay aside the pendulum. Song No, 19, p. 67. “ Autumnal.” A transfer. Ex. 152, A transfer. Notice the rests. Sing in strict time. Ex. 153. Met. 84 Well sustained movement. Song No, 20. “The Heavenly Father.” A transfer. Ex. 154. Study in independent melodies. Exs. 155, 156. Transfers. Song No. 21, p. 71. 44The Moon.” An even trio. Keep the parts well balanced. Exs, 157, 158, 159. Transfers. Song No. 22, p. 73, “The Immensity of God.” A transfer, Exs, 160, 161. Transfers, Song No. 23, p. 74, 44 Light.” A transfer. Song No. 24, p. 76, 44 How bright Grows the Daylight.” A trio in effect. The first four measures are in the second four in its relative /. The third four hintThe Third Reader for Mixed Voices. 275 at D!?, and then follows a return to the original key. This form of modulation is one of the most satisfactory to the ear, and it is the one most frequently employed in the Symphony and Sonata. 3. THE TRIAD. A triad is made by placing above any note its 3d and 5th. If taken from the scale without change, triads are the basis of harmony. It will be seen that the three triads, those on the 1st, 4th, and 5th de- grees, comprise all the notes of the Major Scale. They are, -y ■■ —— —n Jr\ . .... . . & .. , ....... | 3ar %— ^ - - * 1 Many teachers lay great stress upon this fact, but there is no need for special study of this subject at this time. Besides this, there is an objection to forming a scale upon triads having the same color. The triads of the 1st, 4th, and 5th degrees are all Major. If the following were se- lected, we should have all the degrees of the scale, and they would be represented in three kinds of triads, and thus have more variety of Tone color. — t= r rrj x —~~——- - —1 V C' I ii vii-- The first is Major, the second Minor, and the third Diminished. 4. THE DEGREES OF THE SCALE. It may be well to give at this time the technical names of the degrees of the scale. They are as follows: First, Tonic. Second, Super-tonic, Third. Super-mediant. Fourth. Sub-dominant. Fifth. Dominant. Sixth. Sub-mediant. Seventh. Sub-tonic. Eighth. The Tonic. If we take the Major Scale from C as an illustration, we shall better understand the use of these names. The First is called Tonic, or key note. The Second is called Super-tonic, because it is just above the Tonic. The Third is called the Mediant, or what is better, the Super-mediant, because it is the third above or mediant (middle note) of the first triad. The Fourth is called the Sub-dominant because it is upon the degree below the Dominant. The Fifth is called the Dominant, be- cause, through its third, it governs the key. It should be known that the third largely determines the character of the triad. The Sixth is called the Sub-mediant.276 A Handbook of Vocal Music. Should we form a triad downward from the eighth, or key note, this would be the inter- mediate third. The Seventh is called the Sub-tonic,— the note below the eighth. It will be seen that these names have a real significance, derived from the offices they fill. We say that the Minor is a derivative scale, and so we practise and learn it; but when learned, its degrees and their charac- ter should be known and designated, as are those of the Major. For this purpose we take as a basis the harmonic form, in which the seventh only is raised. Taking a as an illustration, we will form the triads as follows: 1 iv V On examination we shall find that these triads are not like those of the Major. On the 1 st and 4th degrees they are Minor, on the 5th degree Major. This gives the peculiar sombreness to the Minor mode. Placing the two scales side by side we find the following: C — a Tonic. D — h Super-tonic. E — c Super-mediant, F—d Sub-dominant. G — e Dominant. A—f Sub-mediant. B—Sub-tonic. C — a Tonic. These technical names do not present any very forbidding features, and they may save the trouble of obscurity in nam- ing the degrees. They are like the real names one, two, three, four, five, six, seven, and eight, and help to a better knowledge of the relative importance of the offices they fill. 5. ANALYSIS OF EXERCISES AND SONGS, — Continued. Ex. 162, In A!?, with intermediate chro- matic notes in the melodic form of the scale off. A preparation for the preceding song. Song No. 25, p. 78. “ Sing on, ye Lit- tle Birds.’' The signature at first sight seems a bit troublesome, but it is really no more difficult than if written in F instead of F£. The various chromatics have been explained. Their names are £5 (O), £4 (B£), and that is all there is to know. Ex. 163. Illustration in F£. Song No. 26, p. 81. “The Little Flower." A simple trio with the chro* matics £5 (F *),£4 (E£), h6 (GS), P7 (AS). These are familiar deviations. Song No. 27, p. 82. “ How Brightly and Serenely." There are some new things here: — 1. It begins in a strange way, off the key as it were. It will be a little problemThe Third Reader for Mixed Voices. 277 to start this from the pitch of the key note, but a few trials will make it all clear, and the practice will be of value to the singers in the future. 2. There is a bold skip in the 4th and 12th measures, where the Alto leaps above the Soprano part. 3. It is a study of many fourths, and they may be practised as such. 4. There are new notations of chromat- ics, #4 (E#), t>3 (DtD, i?5 (FtD, and b6 (GtJ). Take ample time to finish this exercise, pausing upon each interval until the effect is shown and felt. Ex. 164. This may be called a pre- paratory study for song No. 27. Song No. 28, p. 84. “ Awake, Awake.” A spirited song, with several chromatic tones in transition and in modulation. Let each singer know all the parts. Song No. 29, p. 86. “ Again we ’re Gladly Meeting.” A distant key (Gb), not often used, but it presents no difficul- ties beyond those of notation. There are the following chromatics ; #5 (Dtl), b6 (E?b), #4 (CH), and #2 (At]). It will be seen that the movement is a rather rapid one. Ex. 165. Study in the same key as the preceding song, — Gb, Song No. 30, p. 88. A study should always be used in preparation for each song | first a preparation in tune, and second in time. Look up all the chro- matic deviations and know them by name. In the first four measures they are #2, #4, and #1. Beginning at the 5th measure there is a modulation into F, in which key will be found #6, #1, and #2. Returning to Bb, there are #2, by, #1, and #4. Attention is called to the words “The sun will never fail,” which are repeated. Notice the difference in the harmony on the last two words. The first has the vagueness of the deceptive cadence, while the second is more decisive and com- plete. See the section on “ The Cadence,” pp. 195, 196, 197. Song No. 31, p. 90. “ Sleigh Song.” A characteristic movement which should be kept up with great regularity. Ex. 166. Study in chromatic tones. Sing at first very slowly, dividing the exer- cise into groups of four measures each. Let each chromatic tone be determined and felt. This will prove a very interest- ing practice. Song No. 32, p. 93. “Summer Song.” Study until the music can be sung with strict adherence to the time. When this has been gained, much freedom may be taken, in order to get the expressive effects. Some of these effects are made in the change of the note values, others are sug- gested by the words. This is especially so when the solos appear. The words con espressione convey the idea of a slower movement, while vivace should be sung in quick time. Song No. 33, p. 96. “ Folk-Song.” A quaint German poem. It must be treated in a dainty and expressive way. A sug-278 A Handbook of Vocal Music. gestion is again in place about the render- ing of a crescendo passage. It requires thought and skill. It should be a gradual increase of force and not a sudden out- burst of tone. Watch the effects of each succeeding note. So with the words, ral- lentando or ritardando, there should be a gradual retarding of the movement, each beat being slower than the one that pre- cedes. The word ritenuto indicates a slower movement in strict time. Sometimes a piece of music like this has been called an exercise song, perhaps on account of the preparatory studies or exercises. The name may have been applied to distinguish it from some special selection. This should be a distinction without a difference. In fact, no compo- sition can be intelligently sung that is not mentally known to the singers. Let us seriously consider this matter lest we become negligent in our school work. It has been stated many times that sight- singing is a means to the end. Without it we can never give the best interpreta- tion to a musical composition. With it alone we are led into a stiff and formal manner in no way satisfactory. No song or exercise should be laid aside until a full consideration has been given to the most finished expressive effects of which the class is capable. If these songs are thus carefully studied, every outside sug- gestion will be fully appreciated. Listeners may well wonder at a class which can read a given song or exercise with fair accuracy in tune and time. How much greater delight would they express were the song or exercise rendered in a finished manner from a musical standpoint! Learn to sing with a musical tone. Learn to sing softly when necessary. Learn to recognize what both the music and the words suggest. Ex. 167. A melodic study. Song No. 34. “Oh, how Sweet.” An expressive study in time and force. The class should be governed by the teacher’s baton, which should guide, not follow. It will be well for the teacher to practise the use of the baton. See suggestions and directions, pp. 109, no. Ex. 168. New things in melody. Ex. 169. Repetition in a new con- nection of some peculiarities in rhythm that are seldom given with accuracy. Song No. 35, p. 101. “ Flower Dances.’' A transfer. Ex. 170. Melody and rhythm. Song No. 36, p. 103. “When e’er a Noble Deed.” A transfer. Song No. 37, p. 104. “The Streams.” A vivid mental picture of flowing water may assist in a sympathetic rendering of the music. Ex. 171. Some new chromatic com- binations. Song No. 38, p. 106. 41 The Spring is Here.” Bring the movement up to the metronomic direction, and sing with ani- mation. Much variety may be gained by observing the various signs.The Third Reader for Mixed Voices. 279 Song No. 39, p. 108. “Fisher’s Song.” A barcarolle movement. Six-part measure with eighth notes. Preserve an easy and graceful manner. This will make it in consonance with the dolce far niente life indicated in the poem. They were no hard-working fishermen. Song No. 40, p. no. “The Seasons.” Written for three voices. The movement is simple, yet it will have variety enough when learned. The single part may be sung as a solo. Song No. 41, p. 113. “ In Early Spring.” A joyous trio-chorus in which the time must never flag. Give the requisite variety through solo, duet, and chorus. Song No. 42, p. 118. “The World is not so Bad.” Con brio signifies with fire or briskness. This is an indication of the spirit of the song. It should be sung in a manner something like talking. In the words there is good advice mingled with some philosophy. Ex. 172. Preparatory to Song No. 42. Song No. 43, p. 121. “Pack Clouds Away.” A setting of an old poem by Heywood (1600) which demanded char- acteristic music. In this case the words and the music may be mutually helpful. Piu moto indicates a more rapid but regular movement. Ex. 173. A study in rhythm prepara- tory to Song No. 43. Song No. 44, p. 124. “Joys Bloom like Roses.” A trio-chorus which requires an easy movement and confident ability to sing, in order to produce the desired effect. Song No. 45, p. 126. “A Glee for Winter.” Nine-part measure is not a common time-signature. If each pulsa- tion is indicated in directing, make three motions downward, three to left or right, and three upward; or the three pulsations may be given in one beat, indicating three- part measure. The Time-names, if they are used, will be as follows: Ta ra la, Ta ra la, and Te re le. With the metro- nome at 80 = J. (three pulsations as one), the movement is a fast one, and with a right estimate of the words, the poem will have a brilliant setting. Study both music and words, scan them, the first in measures, the second in feet, so that there need be no disagreement. This is rarely done, but it should never be neglected. Ex. 174. Preparatory to preceding song. Song No. 46, p. 129. “Sweet Spring is Returning.” In the style of a German part-song, but somewhat restricted for want of a Tenor part. Absolute precision is necessary to give these sixteenth notes their exact value, and it is advised that the music be vocalized many times before the words are applied. This may not be an inopportune time to call attention to the matter of vocalized work. Although the author does not be- lieve in the necessity of using the syllables, he does not antagonize them. He would280 A Handbook of Vocal Music. only ask those who are wedded to their use to repeat them as little as possible. Vocalized songs and exercises give pleas- ure, but what must be the effect in singing an exercise if do, fa, sol, si, are sung together? The singers can gain but an imperfect idea of pure tones in such com- binations. If syllables are used, do not attempt to do more with them than to establish the position of the tones; when this has been done resort to some common vowel. Do not adhere to a single vowel. Each vowel has its use in gaining tone quality, but if pupils are confined to ii or 6 the result will be injurious. By vary- ing these vowels, a broader, finer tone may be gained. If vocalized work is properly done, the voices soon acquire an instrumental skill, and much pleasure will be afforded the singers. It matters little how they acquire the musical intelligence; it may be by humming, or even by whistling. Do what- ever can be done to give zest to this exer- cise. It will please, and will produce a musical atmosphere, full of variety and beauty. Constant thought must be given to this language of music. This will intro- duce the “ maker of tones ” to a world suggestive of ail that is delightful in sound. Ex. 175. The melodic form of e appears in Bass and Alto. Ex. 176. Minor scale, melodic form in Bass. The older writers, like Bach and Handel, seemed to prefer this form of the Minor, for its melodious character. It was peculiarly adapted to the style in vogue in their time. Song No. 47, p. 133. “ Longing/’ A three-part song with many chromatic changes. These changes will be an inter- esting study. There should be a faster movement at the words con moto. Song No. 48, p. 136. “ When Lilac Buds begin to Swell.” This charming idyl by Mr. Caldwell should assist the singer to give the right expression to the music. Follow the directions very care- fully. The crescendos and diminuendos should be well shaded. In the last two measures retard the time and diminish the tone to the softest one possible. Song No. 49, p. 139. “The Year’s at the Spring.” There are a number of har- monies treated after a new and interesting fashion. It will be understood that our fund of melody and harmony is practically inexhaustible. Besides the more common harmonies there are also many forms, with instruments, in general use that should be known to singers. The author does not believe that even school children should be restricted to commonplace thirds and sixths. Such music soon ceases to interest, and even the trash of popular songs brings relief from the monotony simply through the rhythm. If, as is constantly being proved, a more varied style can be learned incidentally and without more effort, there is no reason why the field should not be enlarged, and the pupils be introduced to the composi-The Third Reader for Mixed Voices. 281 tions of the great masters. Some of the music written for the children in Germany (a country to which the attention of musi- cians has been turned for many years), has been open to objection on the score of triviality. There has, of late, been a de- parture into a higher field for the older singers. Why not give the children as elevated sentiments in music as in litera- ture ? Properly presented, such music will |be enjoyed and fully appreciated. Pupils [should also be given now and then some rollicking songs, full of humor and life. Ex. 177, prepares for the preceding song. Song No. 50, p. 141. “ Autumn.” The sombre tone of the first stanza is set in g, with its alternate Bb, and the chromatic changes incidental to the melodic form of the Minor Scale are freely used. The key changes to G in a piu moto (faster) move- ment. At the lower brace of the 143d page a crescendo begins, and for eight measures there is a somewhat accelerated time, the force steadily increasing to the ff note, retarding the movement slightly. This will require much study in order that the effect of the crescendo may not be lost. In the last eight measures there is a return to a tempo, for which the metronome may be set at 112 = J It will not be necessary to go through this Reader as rapidly as possible, con- tent with merely reading the notes. That would be but a poor result. ' There should be an endeavor to produce a few selections in a very finished manner. In the time usually allotted to this work, it is thought that nearly every piece may become well known. VVe wish to read notes easily, so that we may more quickly get at the music and its sentiment. This must be the aim. It is a high and noble one, and if fairly held up during the school years it will remain for life. Song No. 51, p. 145. “ Morning Song.” A somewhat fragmentary rhythm, which is in agreement with the words. It will re- quire care in the attack of each phrase. Let the voices begin promptly together. The chorus should sing in a bold and jubilant manner. Ex. 178. Study in Db. The melodic combinations should receive careful at- tention. Song No. 52, p. 150. “ Summer Woods.” A somewhat longer composi- tion. It would be suitable for a large chorus on a public occasion. Observe all the marks of expression. The metronomic direction as given, may seem a little slow at first, but the time should be accurately sustained, and the chorus should be sung with vigor. The song should “go” with- out the slightest symptom of dragging or indecision. Ex. 179. Met. 63 —j. Study in bb, the relative of Db. Song No. 53, p. 157. “ Summer’s Over.” The chorus begins in a and in the last measures of the page a modulation is made into e. Its correlative in the Major282 A Handbook of Vocal Music. would be from C to G. On p. 158, 2d brace, 2d measure, there is a chromatic sequence that will be an interesting study. This is followed by a ritardando to the hold, after which a return is made to the first phrase. On p. 159, 2d brace and 3d measure, there is a chromatic passage which should be sung with great force and in a very broad way. Give ample time to the hold. At the a tempo grazioso on p. r 59, is a change into A, suggested by the words, which is better expressed in the Major key of the same letter as a, A. The close should be made very broadly. Make the rallentando very steadily without a diminuendo. Ex. 180. In a and A. Practice in Tone- color. Song No. 54, p. 161. “Church Bells.” This begins with a suggestive figure fre- quently used in bell-ringing, continued for six measures, then leading through B to the original key. On p. 162, 1st, 2d, and 3d measures, is a passage in/# imitated in the 3d, 4th, and 5th measures in g$. This is followed by a coda, or close,—a re- peated passage in the original key. Study the words very carefully, and express the sentiment of the poem as clearly as possible. Ex. 181. Study in E, with some chro- matic work. Ex. 182. A long and difficult study with modulation from F to Db and return. Song No. 55, p. 165. “God of our Fathers.” A sacred selection in the style of a choral. An imitation of the first four measures is made in the section compris- ing the third group of four measures, the contrast being shown between the key A and e%. Song No. 56, p. 166. “Give to the Winds thy Fears.” A hymn tune in modern style. Song No. 57, p. 167. “ Now the Shades J of Night are Gone.’7 A melody from the® Second Reader, harmonized. Song No. 58, p. 168. “They who onl the Lord Rely.” A hymn tune. ■ Song No. 59, p. 169. “Try me, 0 1 God.” A sentence or short anthem, suit- able for school use. It will be more effective without the doubled Alto melody. I Song No. 60, p. 171. “My Soul, be on thy Guard.” In the style of a modern J English church tune. | Song No. 61, p. 172. “We will Lay us , down in Peace.” Another short anthem, which may be used as an evening hymn. j Song No. 62, p. 174. “ Magnificat.” | Met. 112 — ^ One of the canticles in the service of the Episcopal church, set to a chant in the usual form. The first note of each division is called the reciting note ; the others are cadence notes. Speak the words of the reciting note as in good read- | ing, accenting and making a slight pause upon the syllable printed in italics. Sing the cadence notes in strict time. The ac- cents are placed upon the syllables in such a way as not to conflict with good and in- telligent reading. This will give unity toAppendix to the Third Reader for Mixed Voices. 28 o the recitation. Too often the words of the recitation are spoken so rapidly and indistinctly as to be unintelligible. This should be avoided. Let every word be clear to the listener. It were better to err in the direction of too slow a movement than to speak the words in an unmeaning chatter. XLIV. APPENDIX TO THE THIRD READER FOR MIXED VOICES. THIS appendix consists of a collection of compositions selected in agree- ment with those of the book, though without special progressive arrangement. They have been chosen with care. Some of them appear elsewhere in other forms. Page 3. “ My Country, ’t is of Thee.” Page 4. “ Contentment.” A simple German melody specially arranged. Page 6. “ Love.” One of von Weber’s simple but effective melodies. Page 7. “To Spring.” A popular Ger- man song. Page 8. “ Peaceful Slumbering on the Ocean.” This song may be found else- where, but it will bear repetition. Page 9. “ The Coming of Spring.” Another arrangement from the German. Page 10. “The May-bells and the Flowers.” Met. 92 = J An arrange- ment of a duet by Mendelssohn. There are added notes for the Bass. Sing lightly and very delicately. Page 16. “ The Daylight Fades.” A familiar part-song arranged as a trio. Page 17. “ Hail, Columbia.” This seems to be at present our best patriotic song. The editor in his arrangement has, on the 18th page, somewhat changed the harmony, thereby giving the music a stronger Tone-color. Page 20. “The Spacious Firmament.” The theme from Haydn’s oratorio, “ The Creation,” set to Addison’s fine poem. Page 22. “ Portuguese Hymn.” The composer, John Reading (1720-1764) wrote the melody for the Latin words Adeste ftdeles, etc. This is the text now used in the Roman Church. It is said to have received its name of “ Portuguese Hymn” from Novello, who was for a long while organist of the Portuguese chapel in London. It is the Christmas hymn of the Roman Catholic Church, and is everywhere known. Page 23. “ Praise the Lord.” The music is by Haydn. It is the national air of Austria. Page 25. “ St. Michaels.” A fine old English choral. Page 26. “ Tytherton.” An English tune. Sing as if written in quarter note pulsations. Tage 27. “ Evening Hymn.” Thomas284 A Handbook of Vocal Music. Tally s, or Tallis, born 151-, died 1585, was the father of English cathedral music. He was a learned musician and organist. The tune is here printed as it is usually sung, but it was originally written as a canon. Page 28. “ Nicsea.” Dr. Dykes’ most famous hymn tune. Page 30. “ Incline thine Ear.’1 * * * * * 7 An arrangement of a Latin hymn by Himmel. A simple and beautiful melody, ever fresh. Page 33. “When the Early Morn is Stealing.” An arrangement of a melody by Mozart. Page 36. “ Song should Breathe.” Mel- ody from Beethoven’s Ninth symphony. Set to Schiller’s “ Hymn To Joy.” Page 38. “ Freedom.” A popular Ger- man song. One of the best in every way. Page 39. “Alone.” Arrangement of a melody from von Weber’s opera “ Pre- ciosa.” Page 41. “Home.” A fine part-song by Sir Julius Benedict, who was a pupil of von Weber and Hummel. Benedict was born in Stuttgart in 1804, and died in London in 1885. He went to London in 1835, where he remained to his death. He wrote much for the stage and con- cert room, and was the friend of the great musicians of the century. One of his most notable works is the oratorio “St. Peter.” Page 45. “A Mighty Fortress.” One of the greatest chorals ever written. The words and music are by Martin Luther (1483-1546). Dr. Hedge’s translation is without doubt the best ever made, and it is in exact accord with the spirit of the original. Page 48. “God of our Fathers.” A plain choral. It will be seen that this book, which completes the regular series of the Nor- mal Music Course, presents as many advanced phases of the work as can be carried out during the school years. This well-established routine will prepare the singers for all the demands that may be made after leaving school. XLV. COMMON SCHOOL COURSE, PART IV. 1. INTRODUCTION OF THE TENOR PART. IT seemed best to introduce in Part IV. of this Course a number of selections for all voices, Soprano, Alto, Tenor, and Bass. These compositions show differ- ent forms of writing, which will make them especially interesting to the older students and singers. Some greater difficulties will be found in the reading, yet these need not deter the singers. The various selec- tions should be repeated until they can be sung with certainty and ease. On p. 162, the notes for the Tenor partCommon School Course, Part IV\ 285 are shown in the F and G clefs. For drill, use the tables of intervals which have been introduced in the earlier portion of the work.1 All the usual Major keys are presented, and little trouble will be found in the reading, as the pupils singing Tenor have already had some experience in both clefs. The representation of all other scales will be found elsewhere.2 2. ANALYSIS OF EXERCISES AND SONGS. Page 165. “The Wild Rose.” A simple setting by Werner of Goethe’s familiar poem. This is the usual version. Page 166. “ Over the Summer Sea.” An arrangement of a melody from Verdi’s opera “ Rigoletto.” Words, different from the original, were long ago adapted to this music, and have become well known to many. A careful study should be made of the rhythm of the measures so that the movement may be bright and exact. In the lower brace of p. 166, and also on p. 167, make the sixteenth notes before the rest very short. The triplets should be rendered very exactly, with a slight stress upon the first note. Look with special care at the melody in the lower brace of p. 167. When well sung this chorus is sure to please. Page 168. “ Canadian Boat Song.” A very well known air, usually sung as a 1 See pp. 19, 61, 62. 2 See pp. 198-209. duet to Moore’s words. Follow the direc- tions for expression. Page 169. “When the Early Morn.” Arrangement of a melody by Mozart. Page 170. “Oft in the Stilly Night.” The air is an old Scotch strathspey. This was a dance that got its name from a district in Scotland called Strathspey. It was like a reel, but slower. There is a strange similarity between this and another air, which is very popular and known to almost every one. Page 172. “The Return.” Met. 63 = J' A charming air by Rossini. It has some chromatic changes, but they are easily learned. It will be seen that the movement is slow. The tones should be sung in a smooth and sustained manner. Page 175. “Springtime.” Met. 96 = J A German part song. Page 176. “Farewell to the Forest.” Mendelssohn wrote a number of part songs. Of them, this seems to be the general favorite. He had the happy fac- ulty of writing melodies that can be re- membered. This is a fine study for phras- ing and expression. Page 178. “The Old Oaken Bucket.” The familiar temperance song by Samuel Woodworth. The poet was born in Scit- uate, Mass., in 1785, and died in New York in 1842. With but a limited early education, he went to Boston and was apprenticed to Benjamin Russell, editor and publisher of the “ Columbian Centi- nel.” He was afterward engaged with286 A Handbook of Vocal Music. John Howard Payne in the publication of a child’s paper called “ The Fly.” He then went to New York, and in 1823 was in conjunction with George P. Morris, one of the founders of the “New York Mirror.” Page 180. “ May Song.” A very beau- tiful part song by Robert Franz, one of the finest of the German song writers. He was born in Halle in 1815, where he died October 24, 1892. He lived a quiet and retired life in his native town. “ With- out touching the highest heavens or deep- est depths, he has illustrated with his music the entire world of German lyrical poetry.” Page 184. “ Fisher Song.” Met. 92 = J Auber has, by the writing of this bar- carolle, or boat-song, shown how closely he could catch the spirit of Italian music, of which this could well be called an illustration. Page 187. “ See the Conquering Hero Comes.” A selection from Handel’s well- known oratorio, “Joshua,” which is suit- able for school use on special occasions. It is printed here in the usual forms. Page 190. “O Spirit of the Nation, Come.” A patriotic song. Page 192. “Music, Spread thy Voice Around.” The chorus is somewhat abbre- viated, but not to its serious detriment. No finer selection in praise of music could be found, and it would be a fine climax in a public festival at the close of the school year. If well done it could not fail to please. It is one of a series which Handel may be said to have written in praise of music. This selection is by no means difficult if the singers are able to keep their attention upon their individual parts. It will be found that each part is easy and melodious, for Handel was a master in vocal composition. His Italian train- ing is everywhere apparent. The art of writing for voices is almost a lost one, musicians being apt to consider the human voice as a mere machine, which should be able to express every tone as it would be given by a keyed instrument. No greater mistake could be made. Thousands of voices are ruined by the ignorance of com- posers of the limitations of the human voice. Were they to write for any instru- ment of the orchestra in this way, they would be subjected to ridicule. Owing to their want of knowledge, the poor singers must suffer and retire after a few years, utterly broken down. An illustration of better work is shown in a letter of John Braham to Griineisen, the London critic. At the age of seventy- three the famous English Tenor writes that he “ gave nearly four hundred concerts in thirty-seven weeks, two each day, and travelled by railroads, post, stages, etc., and never disappointed an audience by pleading hoarseness or fatigue.” He un- doubtedly knew the character of the selec- tions he would be called upon to sing. In addition to Handel, who was to him an ideal writer, he sang from the older Eng-Common School Course, Part IV, 287 lish composers, who were also adepts in vocal writing. • Page 197. “Cast thy Burden upon the Lord.” A choral from Mendelssohn’s oratorio “ Elijah.” Page 198. “ Lord, for thy Tender Mer- cies’ Sake.” Richard Farrant was one of the gentlemen of the Chapel Royal in the sixteenth century. In 1564 he was made Master of the Children of St. George’s Chapel, Windsor. He was lay vicar and organist. The date of his birth is un- known, but he died November 30, 1580. “ Farrant’s church music merits all the eulogy which has been bestowed upon it, for solemnity and pathos.” The anthem here printed has hardly been equalled for its simple beauty and tenderness. It has perhaps been sung more frequently than any other anthem in the music of the Eng- lish Church. The words are from Lydley’s Prayers. Page 200. “ The Spacious Firmament on High.” A selection and arrangement taken from the chorus “The Heavens are telling,” in Haydn’s oratorio, “ The Creation.” Page 202. “ Lo, ’tis Night.” Met. 60 = J An arrangement of a melody by Beethoven, which will be very effective when sung with expression. Page 204. “ God of our Fathers.”' A plain choral. Page 205. “ The King of Love my Shepherd is.” One of the best of Dr. Dykes’ hymn tunes. Page 206. “ The Lord Descended from Above.” Melody by Nicolaus Hermann, who was cantor in Joachimsthal in Bo- hemia. He was much esteemed as both poet and musician, in his day. He died, a very old man, in 1561. The hymn which he used here is from the collection of Sternhold and Hopkins, which was pub- lished in 1549. It was in general use for a long time in England. This choral may be made exceedingly effective, by having it sung either in unison, with an accom- paniment, or in parts, in a broad and vigorous way, by a large body of singers. This will show the sturdy strength there is in these simple old choral melodies, and the memory of such a performance will linger long in the mind. Page 207. “God is Love.” The Ger- man choral known as “Sollt’ es gleich bisweilen scheinen,” found in Kuhnau’s and Saemann’s collections. Here it is newly harmonized. The melody is one of the best. It dates from the 17th century.288 A Handbook of Vocal Music. XLVI. REPRESENTATION OF THE COMMON INTERVALS. rT^O make this book a treasury of ele- JL mentary material, all kinds of scales • have been represented in all keys. To complete this, the author adds here a representation, from all the letters, of all the intervals in general use. The intervals are called perfect, major, minor, augmented, and diminished. As will be seen by studying the Enhar- monic Scale, several of the intervals are alike in sound but differ in notation. The musician must know every representation, as the treatment depends upon the nota- tion. Right and write are alike in sound. Does anyone contend that it is of no con- sequence how the two are applied? Every musician at once sees the difference be- tween the two following phrases : The first two notes are alike in sound in both cases, but they lead to widely dif- ferent results, according to the notations. All enharmonic intervals require the same care wherever used. This question belongs to the subject of theory. It is mentioned here simply to show the impor- tance of calling things by their right names, and of knowing also what they are when seen. Having full faith in the melodic idea, the author would devote neither space nor time to a consideration of the triads and other combinations of notes. These, in his opinion, do not belong to the schoolroom. In each of the three Courses of which this book treats, it has been the aim of the author to produce a carefully graded and progressive series. Elemen- tary work in tune and time is always valuable as a review exercise, but it should be a matter of dictation. Should some of the advanced books seem hard to read, it must be remembered that they were prepared for those who have com- pleted their studies through the several grades leading up to these more difficult problems. In the following tables of intervals, the signs below the notes are introduced as a matter of convenience. The sign o indicates a perfect interval. “ “ + “ “ major “ “ “ - “ “ minor “ “ “ ++ “ “ augmented “ “ “ — “ “ diminished “Representation of the Common Intervals. 289 From G —(7- . 1 -fl — — 1 IS 1 1 tt’ 2? ——h~&— ———<$>—J ol -H-2 -2 +2 -H-2 --3 -3 +3 --&- From Cjf. I I 1 t I V y 1 k » '1 %■&- ^ ol ++I -2 +2 -H-2 !H9-rBr '8-®- *0-*^ --3 -3 +3 —[y I 1 1 —1 7 _ XL —, J fr T ^ S 2? I s ^ S 2-r, ^ -n X-Sd L ^ 4-r ^ * ^ 1 1 —i G 8-^- S'^- ~S-^- --4 04 ++4 --5 05 ++5 -6 +6 ++6 — g ( n XL 1 & ($» |-| / k ^2 » ^ 1 1 &~z\ X7-C* | 1—-— 1 1 11 tf?-^ W W s-®- W '8-^- "i7-®- --7 -7 +7 --8 08 ++8 -9 +9 From Ct>. 1 1 | H r= Nr kb—^ \\—jn— k— ^ -H-I -H-2 ■~3 -3 + 3 ±b -H-4 I "H 1 V L I F" to 1 -—~V-&- y\ tors?- ~W'7S --4 L-^_ 04 05 -6 L^ +6 L-^ ++6 , U — I 1 1 uu u-I 1—W-& r/1 kk k I mr&r- Z 0 ■■ H rfn Y [/tTV-& trtr-c? rf-“Ci* | —J H ts ±o , 1 1, 1 1 1 | j 11 ^~r^- pH^- " b" " [?■ <5?- " ^ —-------------- --7 -7 +7 --8 08 ++8 -9 +9290 A Handbook of Vocal Music, From D. J-z?—1— ++1 ms---& + 2 -& ++2 -27“ ms— -3 ms +3 II =S^ -fr-zy- =#22: ^1 —4 0 4 “H■ 4 05 -H-S +6 ++6 ~7~ i 1 S-^-1 p f 1 4. iT-gj) 73 | ty r- z?" --7 From D#. -7 1 -w——1 + 7 | l-z? --8 25? ~ 08 | -h-8 ■ 25? -9 ■ z? ■ n +9 -jrL- — — ^ 4+--^— L* ^— -4+-y^— -X 1 -2 + 2 -H-2 -3 -3 +3 ito 'tj <5>— i>"25' -i?=,i7 37- bfc Ml --3 +3 ;to: —b-- - . 1 --4 04 ++4 --5 05 ++5 -6 +6 ++6 —W75~l----~ ~— dfc ■{7-2?— +9 1Z - “lb-2? ~—iVfymsr -7 +7 ++8 -7 08 -9Representation of the Common Intervals, 291 From E. —I—<$<- zpv~ X2I ++I + 3 i ifcs: ---1-^— =S^= -4 04 —b-<5>- ++4 -<5>- --5 05 =F fezg ++S -6 +6 ++6 - ;#es: --4 04 ++4 --5 05 ++5 —: + 6 ++ 6 1 71 <$?- X-n-. =¥5= ¥r&—\ 1 —zX~v- ft^- 1—=Sz^l r-— Vv F¥® ^ Lft^ 1 1 bs? 1 tg-«——1 ¥® JJ --7 -7 From Eb. +7 --8 o 8 ++8 -9 +9 •S’ L >' Li\;y fcs—22: 1 O I + 2 + 3 I §* d2fc -W tsi? -~4 °4 ++4 --5 05 L-^--- ++ 5 jfsd j----1 +6 ++6 V-&- -t- £ —1 'QP* -tel 4^ ^<5» ' lp-<5> §-& 4?-^ 1 t- U --7 -7 +7 --8 08 ++8292 A Handbook of Vocal Music. From F. 7“. 1 [ 1 r ] l 1 UL J jfr A 1 b —, 4+ I ~VV 25 ^ 25 T 25 25 -g 25 ^ 2? fF6''—| 1 2? & 25 J fJ ol ++1 -2 +2 -H- 2 --3 -3 +3 f ■ , | u~— b - 25 / bn *7 rj I & 1/ O' S ^ 1 Lit "Y \?xr-£> I L—&. 25 25 2> ~25 <2? a 25 ~25 | —4 04 +■+ 4 — 5 o 5 ++ 5 ~ 6 +6 -f-t- 6 r j 9- —1717-25— 17-25— 25—I , V-&—\ 5-^n 1 ~w 1 /1 .H K 1 n 1 1 ts U <5 25 j5 L25 >5 25 | 25 25 □ --7 -7 +7 --8 08 ++8 -9 +9 From F#. ^ , T- I 1 , I :± M. -u.. - jf < If 25^+f ^ H"25 1 I#23 1 fJ ol ++I -2 +2 ++ 2 --3 -3 +3 ~~77 1 3Z ij. "1 5' ft i' 1 / ,b-/Q >9 I <5 11 $ 25 ~W&~1 ^ » <5 7X V 1 f ft Lji U- 1 Lf JH 1 Xi ZJI <5 H- ^ *25 s if jf25 rj|25 IT25 ■jf 25 1 ty -4 04 4H-4 --5 05 -h-5 -6 + 6 -h-6 ++8 + 7 +9 From F(7. 3 2: - - 1 1 n— 1 LLL —R—1 r —bv— Hv— |U rtpj 17 25 ^ -25 U I L, !7I7!725- h vv&— h i7~25 I v^ izliz 25 1/ (25 fa5 h 2?zJ 1.17 25 77 -25 7 <5 117^25^ 1Tizr I7:s^ - 1 ol ++1 -2 +2 ++2 --3 -3 +3 1 —1 1 UL s bb i—hhh^ bb^> rj 1 ^717^5^ b"25- 25 1 \rxr<5n> tTG* ^ 1 r , bb25- 1 u u L, 1 Hi L Hi H vi ZJZT25 Z^5 i71 L125 2-25 12-25 It25,.. 2~25 1 fJ --4 04 ++4 --5 05 ++5 -6 +6 ++6 ■ jt—teteq —ibb-25- b~25 1 j 72-25-1 2-<5H Q-&-\ |- ^ ^ n qfe 44^-^, w — L I h u h i h h II -VI 12725 te5 2-25 1 Lt2^2 tz? 17-25 1 R7-25 fegz H Representation of the Common Intervals. 293 From G. T 1—n—— . 1 7 1 ..... LL I 1 f if 1 ^ 1/ & i-'S* ^ TL 1 ^ V & - ^ 1 V C-^ TT I ^ 1 01 4-41 - 2 + 2 -H-2 --3 -3 +3 r#—b—i — b rs* jr^n 1 b~^— —zr~ — 'tt'25* V o* CJ I * 1 frh O 1 G3* C* & 1 j . --4 04 +4-4 --5 05 •H-5 -6 + 6 ++6 -------^ ,------g-g ..fe-g-r.... g-,---------%GL zv. Jf C3-— IT— 1 —1 i_ -vL. 4 . (m^ ^5? & - n 1 >9 ✓j I 1 sz 1 ^ ^ J L __7 From Gjf. + 7 --8 08 44-8 -9 +9 7- 1 ~1 r— “I > i ^ 1 33 ^ 1 t ft -o 44.^ Jet J af ^ “ff ^ W-zr-Y&—J9~& -H ^ ^ -jt^t 1 V- ; J+^ 34- ^ ff ^ * ^ YW& ~W& 1 0 I 441 -2 42 44-2 --3 -3 + 3 ri ; -— IL 1 ^ +t \V ^3 E jrz?~ srs? 1 / ft £4 ,, * & \ tx j if I IT \ ft *3 4+ >0 L 44j 4+ | Iff — "ff ■ff — 1 \N 7 ff ^ 31 ^ 33 ^ | rff^ ir*5' 1 ir*5' - fj 4 o 4 ++4 —5 o 5 -H- 5 —6 +6 ++6 =3= - 1 ff-^— “^1 | 1 f?\\M-rt ■ff ^ - rff - 4+ ^7 4t s 1 3+ "ff — "1" w ff ^ 73 ^ 33^ | w& rff-^ fJ -7 -7 From G7. + 7 --8 08 4+8 -9 +9 4- R 1 1 7 U-—|— | -1 1 I U.U. ! L. 1 hnh -o 1 r»n 1 n <2 - - I f , 1 h 1/1/ ^ h ^ ^ <24 U -b- t7bH4 L ^\)V & 13 P ^ I X".: 21/^ [7 ^ 17 iS> tf & |-t7--C> tT-C?' -y-c* -14-(54 \-tr~c?' 47--&1 | 01 ++I -2 + 2 44-2 --3 -3 + 3 --7 -7 +7 - -8 08 -h-8 -9 +9294 A Handbook of Vocal Music. From A. r-t . | r I 1 ... .... .. 1 [7 —3 I Q^ ^ 2 25^ . 1 1 z> Z? z> Z5 z? 25 I T 1 --4 04 44-4 --5 ++5 -6 4-6 4-+6 ,cp F3 rr —n R i II r/H jV 25 25 Z> 25 Z5 ^ 25 2> 25 11 tsi 1 1 Id --7 -7 +7 --8 08 ++8 -9 +9 From A#. * 1 ^ ij. ij- it /m .... u. . -X 25 /Fritz? tt'z? -g-25- *25 1 g z? ^ irz5 s ^ .g 25“ |lg 25 4> ^ ^ 4f 25 1 -Hz'* * -+f —- |~rr ■rr •rr oI 4-4-1 -2 +2 ++2 --3 -3 +3 n +*■ — v | 2? ft 25“ w& i -ir^ Shg-i rl it- ^ 71 7XC>—1 ii -y I-gU*—■^ if* y> I fnT U 25 U Z5 HZ? I H 2/ jt 0 if 25 | u 25 -3+ 2> g 25 I -Hr* +r rf rr | *rr * I *T --4 04 ++4 --5 o5 +4-5 -6 4-6 4-4- 6 g — -75T-I =C Y^T-z?—b“Z5 iZ"Z5 Jq-25 1 7" 2^^ ^ ' 17 25 ,(^ -4-27 -P- ■ 4-27 | Xi 1 J- 1 0 I 4-4- I -2 . +2 4-4-2 --3 -3 + 3 ~~A 04 ++4 --5 05 ++5 -6 +6 -h-6 _________________________sl b-b-z?- _________________b-g- &-g- k-g>_ |-^7|yA"z5 !Z_Z2_ - 1 ■b-yr) F^-fl ./ ^ H JZ 25 v r- m ^ ' fl --7 -7 +7 --8 08 -h-8 -9 +9Representation of the Common Intervals. 295 From B. -As-—& -&& \~& * ^-4:^ ^12? 0 I ++i -2 +2 ++2 -3 -3 + 3 —Q- \ro- Sr- —^ — ~7*n r—^ ——— i^r — 1 —^ g —7, and Jfs, 152. Claudius, Mathias, 164, 262. Clefs, The G, F, and C, 211. Colesworthy, D. C, 173. Color, Tone, 31, 116.Index. 3°5 Color, Tone, Combined Voices, 141. “ “ Mental, 141. “ “ Represented, 141. Commencement Day, 223, 235, 239, 266. Concords, The Perfect, 75. “ The Imperfect, 76. Conjunct Motion, 57. Consonants, The, 13. Cornwall, Barry, 128, Counterpoint, 171, 264. Crueger, Johann, 268. Danvers, Sir Charles, 141. Decoration, or Memorial Day, 224, 263, 266. Degrees of the Scale, Names of the, 275. Diaconus, Paulus, 20. Discords, The, 76, 77. Disjunct Motion, 57, Divided Scale, 59. Do noble Things, 33. Doni, G. B., 20. Donizetti, Gaetano, 213, 215. Doubt, 55. Drake, Joseph Rodman, 266. Drill Cards, 19. “ “ Divided Scale, 61, 100, 131. Dykes, John Bacchus, 268, 269, 284, 287. Eastlake, Lady, 167. Enharmonic Scale, The, 99, 188. Equal Temperament, 167. Ettrick Shepherd, The (James Hogg), 178. Euterpean Collection, 297. Farrant, Richard, 267, 287. Final Rest, 81. Flemming, Paul, 262. Flotow, Friedrich von, 264 Forefathers’ Day, 224, 265. Form; Irregular Measures, 63. Four-part Measure, 58. Franz, Robert, 261, 286. Fugue, The, 172. Fyles, 266. Gaelic Scale, 24. Gardner, William, 168. Gatty, A. S., 84, 85. Gauntlett, Henry John, 161. Giardini, Felice, 269. Giles, Henry, T85. Gillman, Henry, 147. Goethe, Johann Wolfgang von, 159, 214, 216, 285. Goose, Mother, 23. Gounod, Charles, 267. Graduation Day, 272. Griineisen, 286. Guido, 20. Handel, George Frederick, 161. 167, 286. Hand Signs, 175. Harmony, A Bit of, 75. Haydn, Joseph, 168, 214, 217, 283, 287. Hedge, F. H., 284. Heine, Heinrich, 223. Hemans, Felicia Dorothea, 224, 265. Herrmann, Nicolaus, 225, 287. Heywood, Thomas, 279. High School Collection, The, 296= Hiller, Ferdinand, 160. Himmel, Friedrich Heinrich, 164, 261, 284. Honey Bee, The, 124. Hood, Thomas, 94. Hopkins, Edward John, 268. Hopkinson, Francis, 266. Hopkinson, Joseph, 266. How many Deeds of Kindness, 53. Hugo, Victor, 167, 185.3°6 Index. If I were a Bird, 50. I know the Organ, 52. Imitation, 66, 113, 144, 177, 238, 239, 257, 282. Individual work, 74. Irregular measures, 63. Interval; one in various Keys, 72. Intervals; The Perfect Concords, 75. “ The Imperfect Concords, 76. “ The Discords, 76. “ The technical Names, 31, 288. It was a blessed Summer Day, 37. Jodling, 159. John, Saint, Hymn to, 20. Keller, Carl, 160. Ken, Bishop, 178. Key, Francis Scott, 161. Key Successions, 116. Korner, Theodor, 215, 262. Koschat, Thomas, 263. Kotzebue, A. A. F. von, 259, 261. Kiicken, Friedrich, 158, 217. Labor Day, 237. Lawes, Henry, 213. Liszt, Franz, 263. Lullaby Baby, 54. Luther, Martin, 284. Macdonald, George, 85. Maelzel, Johann Nepomuk, 24, Major Scale; Mental Work, 18. Major Scale, above the Key note. Progressive Exercises, 19. Major Scale; Divided. Above and below the Key note, 59. Major Scale; Progressive Exercises. Above and below the Key note, 61. Marshall, Leonard B., 264. Measures, 56. “ irregular, 63. Melodic Writing, 142. Mendelssohn-Bartholdy, Felix, 168, 224,262, 267, 269, 283, 285, 287. Metronome, The, 24. Metronomic Signs, 109. Meyerbeer, Giacomo, 168. Mill, The, 129. Minor Keys, Designation of, 258. i Minor Scale, Study of the, 131-139. | “ “ Progressive Exercises, 131. j “ “ Normal Form, 131. “ “ Harmonic Form, 132. “ “ Melodic Form, 132. “ “ Combined Forms, 132. “ “ with added Chromatics, 184. Minuet, The, 157, 217. Modulation, Diatonic, 182, 230. “ Chromatic, 183. “ Diagrams, 231. “ Forward, 230. ** Backward, 230. Modulator, The graphic, 96. Moon, The little, 117. Moore, Thomas, 159, 217, 267, 285. Morn amid the Mountains, 44. Mornington, Lord, 64. Morris, George P., 286. Moscheles, Ignace, 160. Motions in beating Time, no. Motive, 72, 77, 81, 176, 177, 228, 258. Mozart, W. A., 24, 157, 160, 223, 261, 262, 269, 284, 2S5. Muller, Wilhelm, 232. Mulock, Miss, 130. Names, Real, 56, 88. “ Pitch, 56, 88. National, 79, 217, 225, 266, 267, 283.Index. 307 Newman, John Henry, 268. Nine-part Measure, 155. Novello, Vincent, 283. Now see the red Morning, 33. Old Winter is coming, 37. Organ or Pedal Point, 23, 171, 176, 178, 181. Patriotic, 179, 218, 262, 266, 284, 286. Payne, John Howard, 224, 265, 286. Pendulum Metronome, 24. Pinsuti, Ciro, 160. Pitch, Changes in, 168. Pitch Names, German, 212. Pitch Pipe, 18, 70. Plagal Melodies, 63. Problems, 56 Public Exhibitions, no. Pulsations, Divided (half), 29, 108, in. “ Triplet, 30, 119, 192. “ Divided (various) 30, 121. Pussy, Where have you been, 36. Randegger, Alberto, 164, 216. Reading, John, 283. Reay, Samuel, 264. Recitative, 184. Red buds shine, 40. Reinecke, Karl, 84. Relation of Keys, The, 96. Righini, Vincenzo, 160. Rinck, Johann Christian Heinrich, 223. Rinckart, M., 225. Robin Adair, 218. Rossini, Gioachino Antonio, 160, 261, 264, 285. Rote-singing, 17. Round, The, 218, 264. Rousseau, J. J., 24. Rubinstein, Anton Gregor, 264. Russell, Benjamin, 285. Russell, Emory P., 70. Russian Melodies, 218. Scale, the Major, 18. “ “ “ Divided, 59. “ Chromatic, 98. “ Enharmonic, 99. Schilling, Gustav, 167. Schiller, Friedrich von, 223, 259, 284. Schubert, Franz, 159, 215, 223, 232, 263, 264. Schumann, Robert, no, 260. Sequence, The, 171, 173, 232. Shakespeare, 24. Shield, William, 223. Six-part Measure, 28, 68, 73, 174. Sleep, Baby, Sleep, 143. Slurs, 81. Smith, Samuel Francis, 266. Solmization, 20. Songs without Words, 166. Spohr, Louis, 269. Stadler, Maximilian, 269. Sterling, Elizabeth, 264. Stevenson, Robert Louis, 88, 90, 93, 94. Storace, Stephen, 261. Strathspey, 285. Summer Suns are Glowing, 43. Syncopations, 68. Tallis, Thomas, 284. Teachers’ Meetings, 195. Temperance, 90, 225, 236, 239, 265, 285. Tetrachord, The, 15, 17, 55, 90, 92. The Finches are Singing, 49. The Watch is Ticking, 45. Thibaut, Anton F. J., no. Three-part Measures, 59.3°8 Index. Thus far He’s guided me, 41. Ties, 81. Time, 24. “ Mental, 24, 141. “ Names, 25, 112, 113, 121. u Representation, 56, 141. u Half Pulsation, 29, 108, hi, 141. “ Triplet, 30, 119. “ Divided (Various), 30, 121. “ Regularity and Freedom, 123. ’T is Christmas Time, 39. Tone Color, 31, 116. “ “ Combined, 141, 170. Triads, The, 275. Triplet, The, 119, 192. Tune; Mental Work, 15, 19, 141. “ Representation, 555,141. “ Time; Color, 97, 141. “ Divided, 141. Tunefulness, 96. Twelve-part Measure, 155. Two-part Measure, 56, 58. Untunefulness in Singing, 162. Verdi, Giuseppe, 217, 261, 285. Violet, The, 127. Vocalization, 13. Voices ; Range of Notes, 149. “ Changes of, 186. Vowel, 16. Vowels, The, 13. Wagner, Richard, 263. Walpole, Horace, 22. Walton, Isaac, 213. Webbe, Samuel, 268, 269. Weber, C. M. von, 87, 215, 223, 224, 260, 263, 283, 284. Weber, Godfrey, 25. Weigl, Joseph, 260. Wesley, Samuel Sebastian, 268. When the Wintry Winds, 42. Where’er You Go, 46. Wiesenthal, i"6i. Wish, A, 114. Woodworth, Samuel, 285. You See the Gentle Water, 35*