Presented to the of Music Library by

VX^TT TC T/^ 0f MUML,

UNIVERSITY OF TORONTO

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MUSICAL THEORY. 3«. 6rf.

The main divisions of the work are five ; the Common Scale and Time, the Minor Mode and Transition, Musical Form, Expression, and Harmony.

TIIE TEACHER'S MANUAL. 5*.

The Art of Teaching in general, and especially as applied to Music. ,

HOW TO OBSERVE HARMONY. 2*.

The whole series of chords employed in Modern Musin is described in progressive order, and by the use of biiigle chants car 1 1 in shown in its common connection.

THE STAFF NOTATION. 6c/.

A Practical Introduction, on the principles of the Tonic Sol-fa Method.

HOW TO READ MUSIC. 1«.

Teaches Sight-singing by the Tonic Sol-fa system, then applies the knowledge gained to the Staff Notation, and teaches that thorough!/.

THE

STANDARD COURSE

OF LESSONS AND EXERCISES

8J0rrijc

(FOUNDED ON Miss GLOVER'S "SCHEME FOR RENDERING PSALMODY CONGREGATIONAL," 1835)).

WITH

ADDITIONAL EXEECISES.

BY

JOHN CUEWEN.

TENTH EDITION.

Uontton :

J. CUEWEN & SONS, 8 & 9 WARWICK LANE, E.G.

PRICE THREE SHILLINGS AND SIXPENCE.

Entered at Stationers' Hall. The right of translation reserved.

1892.

NOTICE

Several friends have said to me " why do you not arrange your book in lessons ? It would be so convenient for us, every time we go to our class, to know exactly how much and how little we have to teach." I would gladly have done this ; but the different capacities, tastes, and circumstances of our pupils make it impossible. A School lesson and a lesson to an Evening class, a Reformatory lesson and a College lesson, differ exceedingly both in the manner of teaching and in the number of things which can be taught. I can only pro- vide a general method, some points of which are essential and some non-essential, leaving the teacher to adapt this method to the particular class he has to deal with. Such topics as Harmony, Pronuncia- tion, Musical Form, Voice Training, and the difficult parts of Time, Tune, and Expression may, however important, be reckoned as non-essentials, and will have to be omitted in many classes.

Although I could not fix the exact amount of instruction and exercise which every class can receive lesson by lesson, I have divided the method into Steps. By a step I mean a certain stage of the pupil's progress at which he is expected to stop and examine himself, and bring the different divi- sions of his labours (tune, time and expression) abreast of one another. This is what is called, in the counting house, "taking stock," in the House of Commons, " Reporting progress." It is ascer- tained that ordinary students do learn a certain proportion of each branch of the subject con currently, and this proportion is given as nearly as possible in each step. One-sidcdness of study is most danger- ous and miserable to the student. A clever reader of tune who cannot keep time is constantly finding himself wrong, and annoying his neighbours, and a good timeist who is often singing out of tune feels himself to be unsatisfactory, and often stops the class to get his errors corrected. The steps, with their amplitude of questions at the end, enable all the members of a class to march together, — to keep step.

But the Lesson is a different thing from the Step.

- A very dull class may require three or four lessons

before they finish the first stage of progress and

bring themselves up to the mark distinctly drawn by the examination at the close of the first step. Rarely have we found classes so quick and ready that they can accomplish the first step at a single lesson. The teacher studies the kind of class he is about to teach, and draws out the plan of his lessons accordingly. Until he knows his class more per- fectly he will seldom be able to do in a lesson exactly what he had planned to do, but be always goes to his class with a plan, — having chosen the exercises to be done, and having anticipated in his own mind and pictured to his imagination, the blunders he will be required to correct, and the brief verbal explanations he will be expected to make.

When a new topic is introduced, it occupies a larger portion of time than the other topics, and may at first do this even to the exclusion of others. But directly a subject has reached the "wearying point " in a class it must stop, even if it has occu- pied only a short time. At first the chief care will be given to the subject of tune, and not until the attention of the class gets near the wearying point, does the teacher introduce the first elements of time, as a variety. When the association of syllable and interval in d m s is fully established, and not till then, will much attention be given to the earlier time names. It is not wise to introduce a great number of neiv topics in one lesson. The Voice exercises should occupy a brief portion of each lesson at its opening. On all teachers, taking up our Method, I urge faithful attention from the begin- ning to three things — the Pattern — the Mental Effects, and the preparation for Certificates. The experienced teacher knows how to arrange the topics of his class, how to pass promptly from one to the other, how to keep up the interest, and how to secure an even progress in all the branches of study. For the inexperienced teacher, I have gathered together all the helps I could think of, in the " Teacher's Manual of the Tonic Sol-fa method."*

Plaistow, 2nd July, 1872. * Price Five Shillings.

JOHN CURWEN.

a 2

TUNE. Absolute pitch and pitching tiuies^ 3,

Key relationship • ^

Octaves •.••••;• .«' go

Mental effects •••-;••;:}£' 4' 15> 2

Speed of movement and ditto «>

Names and signs - R3'7°

Pattern - •••; .

Solfaa-ingand l**-*°8 ••••"— ' Modulator ...v, 8, 8, 11, 12, 24,

Manual signs Ear exercises The scale

^

]v- ^ *^' ^. "'

. ~

Perception of Transition ......... 49, &o

Distinguishing tones of 1st remove .

INDEX OF TOPICS,

Repeated and prolonged tones 99

Melodic imitations and marked en-

trance •• luo

Subordination of parts and accom-

paniment •

Imitative sounds ••• •••••

Tones congenial to the sentiment or

spirit of the tune ™1, iv*

Rapid passages • •••••• •- ••

Effect of theExplosive and Pressure

tones and the Legato & Staccato

styles

Unison, "Cadence, Distinguishing

tones J"

Dissonances •• ^-•^""M

of words. Effect of

Mental effect of transition ..^'Jl

The second remove "'» "°

Chromatic effects „„

Cadence transition

Agility, strength, and downward extension 151, 1W

HARMONY.

A chord

Relation of chords D & 8 20, 27

The common intervals 21,36

Positions and Constitutions of

chords 2?-'27'*8

Dissonances and their resolution 21, 36,69

Chord 4S and doh against ray ... 21,27 Chord "S, fah against soh, and the

partial dissonance 36,46

Relationship of F with D and 8,

ambiguity •••••;••" 4,5' *j

Chords major, minor, or diminished •

Chord RAH and grave ray

Chords T, L, M, and 7R 46, 47

Mental effect* of Chords 47

Cadences 48' 62> „„

Apologies for dissonance .

PRONUNCIATION.

plying transition S I Collective reading •• Ql5'lti I Sbffomatfc chords and their resolu-

Extended transition •• » Recitation on a monotone 35, 36, 4., tifm ....-.•-«•» "i" 5

Memorizing adjacent keys ...... 60,T7 59,82

Themodes ' <£' «? The Consonants or articulation* «,«,

The modern minor ' 5«

The Grave ray .-v:::"" ! Importance of the Glide, in singing

Modulation and transitional ditto.. 88 C{,ngonant8 ••

The third remove ** Order of accents in speech and »

• --*-»— »-i- ° I Preparing recitations 35, 59, 63, Jd,

The Vowels, their mechanism, aad dialectic varieties 136 to 1

The Dipththongs 1*2 to

TIME. Accent, pulse, measure 6, 7, 18,

Chord relation in the Minor mode

MUSICAL FORM. General principles and divisions of

melody ••••• ™

The Parsing of melody 70

Relative motion of parts and imi-

86 LM

Continued tones and half pulses ...

Silent pulse. Pulse-and-a-haif tones

Quarter-pulse tones »

'pulse toneP Two quarters and a half. Half and two quarters.

Good klang and quality

Svnconation ^i"."i i"

Silent quarter-pulse. Thirds of a

Sixths? Eighthsi "ktatihi"*£,'of »

pulse :

Time ear exercises .-...»• ••

Rate of movement, sustaining and remembering it 83, 34, HO

11"

EXPRESSION

Breathing for the sense The normal force of a piece.. Type marks for expression of

General principles ....... •^"•IvJ!?

Tees of Force, with their binatiou and modes of de-

.. 16 80,98

VOICE TRAINING.

156

2

"{, 2, 3, 14, 26, 46, 81, 95 Control of breath... 2, 3, 14, 26, 45, 81

Breathing Places ••••• »'

Tuning of voices together 1 . ^ ^

/, 29. 106, 109

Compass «tflft 107

The Registers 32,6b1iw

Thin Register

Thick Register

Small Register lu

Voice Modulator..... •••

Examination of voices ... 81,

Blending of Registers .-

Optional tones &> •• }J£

Boys' voices o« an 81 108 109

Flattening \\

Choral contrivances *™

tations

Parsmg fugal passages

Hounds ••-•"

Chants 35, W, «s*

The Response, Chant, Hymn Tune

144,146

,1^6to 148 ,,rioandCan-

Uta .................................... 148' 148

Chorus

The Canon and Fugue ..._... Recitative, Opera, Oratorio i

NOTAT ION . Of tune and octaves .............. 5, 29

Of accent and measure ........... »• »i»

Of vocal parts and musical sections Of repetition ...... ........ .. ..... ......... •• I

Of sounding and silent pulses and theirparte ............... 6,7,18,34,64

••

as

The

swell, appogiatura, turn 160. 161, ^ Training in class 160,151

Of rate of movement

Of chanting

Of transition

Of registers •• ~

Of the minor mode •• ™> °'

Of expression "°, 96, »<

Of consonantal sound* Ji

Of vowel sounds ••••••• ™

Writing exercises "• ""i

FINQER-SIG-NS FOE TIME,

AS SEEN FROM THE PUPIL'S (NOT THE TEACHEB'S) POINT OF VIEW.

8AA.

SAATAL

Tiii

MENTAL EFFECTS AND MANUAL SIGNS OF TONES IN KEY.

NOTE. — These diagrams show the hand as seen by pupils sitting on the left-hand side of the teacher. Ihe teacher makes his signs in front of his ribs, chest, face, and head, rising a little as the tones go tip, and falling at they go down.

FIRST STEP.

SECOND STEP.

THIRD STEP.

The GRAND or bright tone, — the Major DOMINANT, making with Te and Kay the Dominant Chord, — the Chord S, and with Fah also the Chord 7S.

TE.

The PIERCING or sensitive tone, — the Major LEADING TONE, making with Baya.nd.Fa h the weak Chord T.

LAH.

The SAD or weeping tone, — the Major SUBMEDIANT, making with Doh and Me the Chord L.

ME.

The STEADY or calm tone, — the Major MEDIANT, making with Soh and Te the rarely used Chord M.

DOH.

The STRONG or firm tone, — the Major TONIC, making with Me and Soh the Tonic Chord, Jhe Chord D.

RAY.

The HOUSING or hopeful tone, v A TJ — the Major SUPERTONIO, mak- rAH. ing with Fah and Lah the Chord The DESOLATE or awe-inspiring R, — in which case it is naturally tone, — the Major S UBDOJIINANT, eung a comma flatter, and may making with Lah and Doh, the Sub- be distinguished as Rah. dominant Chord, — the Chord F.

,% For fe let the teacher point his first finger horizontally to the left. For ta ditto to the right. "When seen by the class these positions will be reversed, and will correspond with the Modulator. For •e let the teacher point his forefinger straight towards the class.

NOTE. — These proximate verbal descriptions of mental effect are only true of the tones of the scale when tung slowly — when the ear it filled with the key, and when the effect is not modified by harmony.

MENTAL EFFECTS AND MANUAL SIGNS OF TONES IN KEY. SECOND STEP. FIRST STEP. THIRD STEP.

TE.

The PIERCING or sensitive tone — the Major LEADING TONE, making with Ray and Fah, the weak Chord T.

RAY.

The ROUSING or hopeful tone — the Major SUPEETONIC, mak- ing with Fahand Lahihe Chord R — in which case it is naturally sung a komma flatter, and may be distinguished as Rah.

The

GRAND or bright tone — the Major DOMINANT, making with Te and Ray

the Domin- ant Chord — the Chord S, and with Fah also the Chord »S.

ME.

The STEADY or calm tone — the Major MEDIANT, making with Soh and Te the rarely used Chord M.

DOH.

The STRONG or firm tone — the Major TONIC, making with Me and Soh, the Tonic Chord, the Chord D.

LAH.

The SAD or weeping tone— the Major SUBMEDIANT, making with Doh and Me, the Chord L.

FAH.

The DESOLATE or awe-in- spiring tone — the Major SUB- DOMINANT, making with Lah and Doh, the Subdominant Chord— the Chord F.

TA. SE. ' FE.

NOTE.— These diagrams show the hand as seen ly the pupil, standing in front of the teacher. The proximate verbal description of mental effect are only true of the tones of the scale when sung slowly— ivhcn the ear is filled with the key, and when the effect is not modified ly harmony.

TONIC SOL-FA TIME CHART.	d1 T f
BY JOHN CTTEWEN.	: :
(Copyright.)	t .	ml 1
Wholes. Halves. Quarters. Thirds.
:1	:1 ,1 .1 ,1	:1 (1 ,1			rei
'TAA	tafatefe-	taataitee		I	r\ 1
:—	:1 .1 ,1	. 1 (— (1		86	de'
• -AA	TAAtefe	TAAtee
g				S	doh1
SAA	TAAfe	taatai-ee		7*1 te |
				i
:1 .1	:1 ,1 .1	: (1 (1		f E	le
TAATAI	taftiTAi	saitaitee		PH O
:- .1	: ,1 -1 ,1	• *• <~ <		8- m	lahlay *
-AATAI	aafatefe	it^see		od	se
: .1	:1 ,1-1 ,	:1 , «		0 H r -	soh, J.
SAATAl	tafateae	tiuisai-ee		<
:1	:1 . ,1	:1 .I		H	ba fc
TAAS4/	TAA.rfe	taasditee		Q d	fah
Eighths. -11111111 Sixths. -11 11 t 1 .11,11.11,11 3 accents. • 1 1 <1 1 <1 1		2 *, i me
tanafanatenefene tafatefetifi		^
			re
Ninths, .ifl ifl ]\] Sixths. «1 1 1 1 f 1 .lll(lll(lli. 2accents. •*»* .111 taralatereletirili ' taralaterele		W as • * ; : 1	r rahfay -
NOTB. — " Ai" i? pronounced as in maid, fail, &c. "Aa"	H se,	** de
is pronounced as in father, "a" as in mod, " e " as in l«d, and "i" as in lid. These time-names are copied from	s, .	doh
11. Paris' s " Langue des durees." The minute divisions	: :
are seldom used except in instrumental music. In the	ba,	£, -
Tonic Sol-fa notation we often write two measures in the
place of one in the common notation, thus expressing the	*|	ta,
accent more truly.
The flats of the scale, ta, la, ma, ra, are pronounced taw,	m.	^1 $
law, &c. ; and the sharps, de, re, fe, le, are pronounced
dee, ree, &c. Ba (the sharp sixth of the minor scale) is
pronounced bay.		se.
St. Co.	r\	S | —

v ;

DOH=Gb Dl> At>

THE EXTENDED MODULATOR.

EP BP F C GDA

TT pi)vr~lTh Tiii^~::~	:+£-— «:L-E__ t-j__ *^		1 ^E- ^ ~[ « — f- 8^ - ^-fJy ( gtff gaipjjf g=pg*y ygq
Lah = Ev Bb F	O Q D A E B .FJ CJ <?J Z)J
• ie ba	t< n i	D.	r1 r*	D.	s d1 f se
8 d1 f	se	b		t	ba t PI 1 J S
ba t PI f	1 r s 86 ba	C' B	DOH1 TE	Ci £	f 86 ba m 1 r s d f
1 T* PI 1 X r*	s d f	fr	ta le	$	86 ba t, m
s.	ba *, H	A	LAH	A	r s d f r*
r s d r»	f	b	la se	9	ba t, PI 1, r
ba t, Pl__l, r"	G	SOH	G	d f
d f	86,	b	ba fe *	t, m 1, r s, d
t, n 1.	r s, d	F	FAH	F	se. ba, t,
se,	ba, *,	E	ME	E	i, ,' •• d f.
1, r s, d f,	b	ma re	t	sei ba, t, PI, 1,
"ei ba.	t, -n, 1,	D	EAY r'	D	s, d f, se,
S, d f,	se.	b	ra de	•	ba, t, PI, 1, J, S,
ba, *, PI, 1, ', S, te. ba,	C	DOH t,	C	f, 8ei ba, m, 1, J, s, d, f,

THE STANDARD COURSE

TONIC SOL-FA METHOD OF TEACHING TO SING.

FIRST STEP.

To produce a good tone. To train the muscles which rule the lungs. Given a key tone, to recognize and produce itsfijth and third. To recognize and produce its upper octave and the lower octave of its Jifth. To recognize

and produce the simplest divisions of time.

VOICE TRAINING

A singing lesson is a calisthenic exercise, and should be preceded, where possible, by such gym- nastic movements of the arms and shoulders as will exercise and strengthen the muscles of the chest.

Good Tone. — From the earliest exercise, the pupil should try to produce a good tone, that is, a tone clear and pure (without any admixture of breathi- ness), and of a pleasant quality. For this purpose constant, if possible, daily attention must be directed to three thiiigs: 1st, the "shock of the glottis;" 2nd, the throwing forward of the voice ; and 3rd, the control of the breath. Purity of tone depends on the first and third of these, quality on the second and third. The lump in our throat called the larynx or " Adam's apple," is the instrument of voice. The glottis is the slit between those lips of the larynx (or vocal cords), which form its lower opening. When Garcia und other voice-trainers speak of the " shock of the glottis ;" and when Dr. Rush, Mr. Melville Bell, and other elocutionists speak of the clear "explosion" of vowel sounds, they refer to the firm closing, followed by the distinct opening of these lips of the larynx. The action of the lips of the mouth, in pronouncing strongly the letter p, in papa, will illustrate this ; and the " shock of the glottis " may be felt in a

St. Co. (New.)

slight cough, or in pronouncing clearly the letter g, as in game; or k, as in keep. This "shock" does not require force, but only definiteness of action. It must also be delivered with as little breath as possible. The word skaalaa, (aa as in father) which many voice-trainers use for their exercises, has this advantage, that its first syllable necessitates that clearly marked "explosion" of the vowel of which we speak ; but in using it, the s must be scarcely heard, and the k must be delivered sharply.

Quality of voice (timbre, that which makes the difference between a hard wiry voice, a soft clear voice, a full rich voice, &c.) depends chiefly on the habit of throwing the air-stream forward in the mouth. Professor Helmholtz' experiments, as well as the practice of Garcia and others, support this view. The stream of vocalized air should strike against the palate as near as possible to the root of the upper teeth. Some vowels naturally favour this habit more than others. In English, ee, ai (as in fail, maid, &c.), oa (as in oar, coat, &c.), and oo, are all " forward " vowels, as any one may know by a few experiments with his own voice. The frequent use of these vowels, in vocalizing, in connection with a proper management of the breath, enables the voice-trainer " to form," says Madame Seiler, "out of a sharp, hard, and dis-

FIRST STEP.

agreeable voice, a voice sweet and pleasing." The open vowel art ^as in father) is commonly formed, by the English, the French, and the Germans, far back in the mouth ; hut " the Italians," says Madame Seller, " form no vowel so far front as their clear-sounding beautiful act." When we copy the old Italian voice-trainers in employing this vowel — so useful in vocalizing, because it opens the mouth properly — let us take care to throw it for- ward, and so give it the soft round Italian quality. It is unfortunate that our ee, ai, oa, and oo, do not, like the Italian aa, promote the proper opening of the mouth.

The proper management of breath promotes a correct Mrikinir «>!' the t»nrs, as well as their purity and quality. Insufficient breath causes flatness of pitch, at the same time with thin and poor quality. The slightest unnecessary force of breath makes itself heard along with the vocal klanir, and causes mixture and impurity of tone. "Every tone," says Madame Seller, "requires, for its greatest possible perfection, only a certain qii..ntitv of breath, which cannot be diminished or iner, i-' <1 without injury." AN the liiva:h In-; to !»• received into the lunirs l>y tin- HUM ch.mu.-l through which it leaves them, it is obvious that the regular action of breathing must be interrupted when we speak or sing. Hence the necessity of care and management. Elocutionists as well as voice-trainers recommend that the lungs should be kept fairly full. Mrs. Elaine Hunt says : "Accustom yourself to take breath wherever you can, although you may not feel the necessity for it at the time. This is important to beginners, as it teaches them soon to take it without exertion, and less perceptibly to the hearer." Of course the sensible singer can- not take breath in any place in which his doing so would spoil the sense and continuity of the words, or of the musical phrases. There is no need of noisy effort to draw in the breath ; the nose and mouth being open, it is only necessary to expand tlii- rili- and the lungs are filled. In the beginning of his studies the singer should take breath at the end. and at some convenient place in the middle of each line of poetry. Gradually the muscles which hold the ribs distended sideways, as well as those underneath the lungs, by which alone the breath should be expelled, or rather expended, will gain strength. A long sustained tone should not be expected at first ; and the swell upon such tones, properly delivered, is, as Garcia, Rossini, and others shew, among the last attainments of vocal

St. Co. (New.)

power. Exercise steadily pursued, and nothing else can give to the muscles the requisite power of control. Voice, exercises should, for a long time, bo_sung, as the old Italian masters required, only effort to sing softly (or piano], with a full but not overcrowded chest, compels attention to the control of the muscles ; it also the better enables the pupil to perceive for ///»/*,//" what is meant hy purity and beautiful quality of tone. Until this perception is formed nothing is done. The pupil in a popular evening class, must, in this matter, rely chiefly on himself and his daily practice. It is but little study of individual voices which a class-teacher can give. Much, however, is done in classes by imitation and sympathy. Wo \\n\e, noticed thai every teacher who hi ins. 11 understand.-* what " a good tone" is, will have it in his class ; and when once the right habit is established there, new comers naturally and easily fall into it.

Position. — The singer should (a) stand with heels together or in the soldiers posture of " stand at ease.;" (b) with h ad erect, but not thrown hade ; (c) with shoulders held back, but not up; (rf) with lungs kept naturally filled — not with raised chest, except on extraordinary occasions — but with the ribs, never allowed to collapse, pressing against the clothes at each side, and the lower muscles of the abdomen drawn in ; (e j with the mouth freely open, but not in the fish-mouth shape 0, — the lips being pressed upon the teeth, and drawn somewhat away from the opening, so as not to deaden the sound, — the lower jaw falling, — the palate so raised as to catch on its front-part the stream of air from the lungs. — and the tongue flat, its tip just touching the lower teeth. These rules have to be carefully studied by the singer, and, at first, they will make him stiff and self- conscious ; but soon, and with care, the proper position will grow into a habit. Everything will be most easy, and the motto of the old masters will be realized — " Pleasant face makes pleasant tone." The teacher " calls his pupils into position " by giving out as words of command — "a," " 4," " c," "d," " e." At each order, the pupils take the position indicated by those letters as above, and the teacher watches to make sure that they do so properly. He makes a sign — a motion — with the fingers of his left hand to those who do not open the mouth sideways as much as he wishes, and another sign to those who do not keep their teeth about two finger-breadths apart. He shakes his head at those who do not make a "pleasant face," and so on. Garcia says : " Open mouths of

^'IEOT STEP.

an oval shape, like those of fishes, produce tones of a sorrowful and grumbling character ; those of which the lips project, in the form of a funnel, give a hard harking voice; very wide mouths, which exhibit the teeth too much, render the tone rough ; those which have the teeth too close, form shrivelled tones." These points must be attended to at the commencement and in the course of every early lesson. There is no other way in which the pupil can be saved from slovenly habits and coarse fiat singing.

Ex. 1. — To train the muscles at the sides of the 'lungs and under them. — To be repeated at the open- ing of each lesson of the first step.

The pupils standing, if possible, in single file, round the room (so that the teacher may approach each one and quietly signify any defect of position while the exercise is going on), the teacher raises his hand while the pupils take in breath slowly, and without noise. The pupils hold*their breath while the hand remains high, and let out the breath again through the mouth, and gradually as the teacher lowers his hand. The teacher counts " one," "two," "three," &c (at the rate of M. 60, or as slowly as a common eight-day clock ticks) , while he lowers his hand. The pupils say, by holding up hands, who held out as far as "three," "four," " six,' ' &c. The teacher is well satisfied with " four ' ' at first, and does not require even that from weak lungs.

Ex. 2. — To train the larynx for the production of pure vocal klang. To be repeated at the opening of each lesson in the first step.

The teacher sings on the syllable ai (as in gain, pail, &c.) a middle tone of the voice, say G- or A. The pupils imitate that tone, commencing immedi- ately the teacher opens his hand, and cutting it off1 sharply the instant the teacher closes his hand. This done, he gives the vowel ai again, but immedi- ately changes it into the more open and pleasant aa ; changing, however, as little as possible the ai position of the tongue, so as to secure the " for- ward " Italian aa. The pupils imitate, attention being given exclusively to the position and to purity of the voice. This is done with various tones — say with D, with F, and with A.

FIRST EXERCISES IN TUNE.

Pitch. — By " pitch," we mean the highness or lowness of sounds ; the difference between the sounds produced towards the right hand on the

St. Co. (New •) • By means of the ribs, not the throat.

piano and those towards the left, or between a squeak and a growl. We are not anxious, at present, to teach the absolute pitch of sounds. Our first and chief work is to teach the relation of sounds in a tune to what is called the key-sound of that tune.

Key Tone. — Everything in a tune depends on a certain "given" sound called its governing, or key -tone, from which all the other tones measure their places. At present the teacher will pitch the key-tone for the pupil. The modulator represents this key- tone with its six related tones, in the way in which they are commonly used. The pupil will learn to sing .them by first learning to perceive their effects on the mind, and not by noticing their relative distances from each other. .

Pattern. — The teacher never sings with his pupils, but sings them a brief and soft " pattern." The first art of the pupil is to listen well to the pattern, and then to imitate it exactly. He that listens best, sings best. "When it is the pupil's turn to sing let him strike the tones firmly, and hold them as long as the teacher pleases. As soon as the modulator is used, the teacher points on it while he sets the pattern, and also while the pupil imitates.

Ex. 3. — The Teacher asks his pupils for a rather low sound of their voice. He gets them to sing it clearly, and well drawn out, to the open syllable aa. He takes it for the key tone of a tune. He sings it, and immediately adds to it what is known as the fifth above. The pupils try to imitate the " pattern," singing (still to aa) the key tone and its nearest related tone. When, by patient pattern. and imitation, this is done, —

Ex. 4. The Teacher gives a different low sound of the voice for the key tone, and asks the pupils to give him that other related tone again. This he does several times, always changing the key tone.

Names and Signs. — Immediately that a thing is understood it is important to have a name for it, and sometimes a sign also. Any name or sign which is agreed upon between Teacher and pupil, will answer the purpose. But it is convenient to use the same names which others use. On our modulator and in our notation we call the key tone just given Doh, and the other nearly related sound Soh. For voice Exercises, in which the Teacher has to look at pupils while he gives them signals to guide their singing, it will be useful to employ the closed hand as a sign for Doh, and the open hand, pointing outwards, with the thumb upwards, for Sok.

FIRST STEP.

Ex. 5. The Teacher gives Doh and Soh (to the open aa") and, immediately after, another sound, different from Soh, which he knows as the third of the scale. The pupils imitate his pattern. The Tonic Solfa name for this sound is Me, and the sign is the open hand with the palm downwards,

Ex. 6 . TheTeacher, by the above named manual signs, causes the pupils to sing (while he watches their position and the opening of their mouths,) to the open sound aa such phrases as the following, Doh, Soh, Me, Soh, Doh. — Doh, Me, Soh.— Soh, Me, Doh, Me, &c., &c. The Teacher changes his key tone with nearly every new Exercise, lest the pupils should be tempted to try and sing by absolute pitch, instead of directing their attention to the relation of sounds.

Mental Effect.— The effect felt by the mind as it listens to these three tones, arises first from their difference in pitch, one being higher or lower than the other, and secondly and chiefly from their agreeing well with each other, — so that it is pleasant to hear them one immediately after the other, and pleasant to hear them sounded together. The science of sound shows how closely and beautifully these three tones are related to each other, in the

number of their vibrations. Their agreement may be shewn by sounding together 1st Doh and Soh, 2nd Doh and Me, 3rd Me and Soh, and 4th Doh Me Soh. When three tones are thus related, and sounded together, they are called a Chord. The pupils will be led to notice the different effect on their minds of the three tones of this Chord. As they form the Chord of the key tone, they are the bold, strong, pillar tones of the scale, on which the others lean, but they differ in the manner of their boldness, one being brighter, another stronger and more restful, another more peaceful, &c. The Teacher, having brought his pupils to a clear con- ception of these tones, apart from syllabic asso- ciation, now attaches to each of them its singing syllable, — teaching by pattern, and pointing on the modulator the six following exercises. For the sake of solitary students, who cannot be thus taught, these exercises are printed, in the form of diagrams, with skeleton modulators at the side. The first letters of the syllables on the modulator are used to indicate the notes, and so point to the modulator in the mind's eye. A narrower type and somewhat altered form is given to the letter m (n), for convenience in printing.

Ex. 7. KEYS D & F.

Ex. 8. KEYS D & F. Ex. 9. KEYS D & F.

SOH

HE

DOH d

8—8

Ex. 10. KEYS D & F. Ex. 11. KEYS D & F.

s s

DOH

St. Co. (New.)

Ex. 12. KEYS D & F. S 8

n n n

v

\

FIRST STEP

Octaves or Replicates. — It is in the nature of music, that tones, which vibrate twice as fast or twice as slow as some other tone, should sound so like that other tone, and blend so perfectly with it, that they are treated as the same tone and receive the same name. They are the same in Relative position and mental effect, — the difference of pitch being the only difference between them. Thus every sound has its " replicate " or repetition above and below. The two sounds are called octaves one to another, because if you count the tones of a scale from any sound to its replicate (including the tones at both ends) you count eight or an octave of sounds. "We put a figure one upward thus — ('), as a mark for the upper octave, and downward thus — (|), as a mark for the lower octave. If vre wish to indicate higher or lower octaves still, we use the figure (2). The sign for a higher octave would be given by

raising the hand which gives the sign, and for a lower octave by lowering it.

Ex. 13. The Teacher gives a low sound of the voice for Doh, and patterns to the open syllable aa, d, n, S, d1. The pupils imitate. Again, by manual signs, the Teacher requires the pupils to sing which ever of these notes he pleases, while he watches the position and the opening of the mouth, — in each exercise varying the key.

Ex. 14. The Teacher gives a middle sound of the voice for Doh, and then patterns to the open aa, d, PI, S, Si, d. The pupils imitate. Again, watch- ing his pupils, he requires them, by manual signs, to make any of these tones he pleases, in each exer- cise varying the key.

The Teacher sets for each of the following Exer- cises a Solfa pattern on the modulator.

d'

•

SOU ME

DOH

Ex. 15. KEY C.

d'-d1

s s

\

n

/

Ex. 16. KEY C.

d1 d' d'

Ex. 17. KEY G.

FiHsf EXERCISES IN NOTATION. In the following Exercises, "Key G," " Key C," " Key A," tell the Teacher where to pitch his Doh. The letters point on the modulator in the mind's eye. The Teacher pitches the key tone. The pupils " sound the chord," singing (when they have a middle soxmd of the voice for Doh,) Doh, Soh(, Me, Doh, and when they have a low sound, Doh, Me,

St. Co. (New).

Boh. As there is no indication of time, the tones may be made as long or as short as the Teacher likes. A gentle tap on the desk will tell the pupils when to begin each tone. During this Exercise it may be well to let the large modulator hang before the pupils, that they may glance at it when their mental modulator fails them.

Ex. 1C. KEY G.

sf d PI s

Ex. 19. KEY C.

s

s m s n

PIEST STEP.

Ex. 21. KEY C.

nsmd s m s d d

Ex. 22. KEY A.

S

Ex. 18—24.

Ex. 20. KEY A.

S

n

s d d

FIRST EXERCISES IN TIME.

Time and Rhythm. The word time is commonly «sed in three different senses. Sometimes it means the deyree of speed at which the music is sung, as when we speak of quick time, slow time, etc. This •we call " The Rate of Movement." Sometimes it means the arrangement of accents in a tune, as when we say " common time," " triple time," etc. This we call " The Measure." Sometimes it means the varied lengths of a set of notes standing to- gether, as when we speak of " keeping the time " in a certain phrase. These time -arrangements of brief musical phrases we call " Rhythms." The •word Rhythm is also used in a general sense to ex- press the larger relations of time and accent, such as the number and kind of measures in a tune, and the proportion which is given to each " section " of the tune.

Accent or Stress. The Teacher, by singing on one tone such an exercise as the following,

KEY G.

d :d

wake, H-

tld :d d :d : 1 1 aw - ful dawn- 1»:/\\

leads his pupils to distinguish the difference be- tween a weak and a strong accent both in words and music. The Teacher will be careful not to let his pupils exaggerate the strong accent, so as to make a jerked tone instead of simply an accented tone. Accent is produced by the combined use of distinct ness (or abruptness) and/orre — in their vari- ous degrees, and it differs in quality as one or the other element predominates. An upright bur ( | ) _>h \s> ill il tin' nut.' whii-h 1'iill.jws it is to ]»• Mini,' wit, she stronger accent. Two 'lots, thus, ;:)shew that the note which follows them is to be sung with t.hr wrak accent.

Pulsea. — It will be noticed that in music the voice is naturally delivered in successive beats or impulses, some having the strong and some the

St. Co. fNew.i

n s

n d n

Ex. 23. KEY C.

s

m

m

s

weak accent. These we call Pulses. The Teacher illustrates this. The pulses move faster in some cases and slower in others, but the pulses of the same tune are equal in length one to the other. The Teacher illustrates this. The beginning of a pulse of time is indicated by an accent mark as above, and its end is shown by the next accent mark. In Tonic Solfa printing we place the accent marks in each line of the music, at equal distances, so as to measure time pictorially.

Measure. — In music the accents recur in regu- lar order, — that is, if they begin thus, — STRONG. weak, they go on in the same way, — if they begin STRONG, weak, weak, they continue to recur in that order and so on. The Teacher illustrates this by singing tunes to his pupils, and requiring them to tell him which order of accents he uses. The time which extends from one strong accent to the next is called a measure. It is the primary form of a measure. If the tune begins on a weak accent the measure is reckoned from that, and extends till the same accent recurs again, This is the secondary form of a measure.

Two-pulse measure. — When the accents of a tune recur in the following regular order, STRONG, weak, STRONG, weak, and so on, or weak, STRONG, weak, STRONG, and so on, that tune is said to be in two pulse measure. The primary form of two pulse

measure would be represented thus j I ' I and the secondary form thus | : (

Time Names.— We call a single pulse (whatever be the rate of movement) TAA.

Ex. 24. The Teacher causes his pupils to sing a number of primary two-pulse measures on one tone to the time-names, while he beats the time steadily. He does this till all have "got into the

FIKST STEP.

swing" of the rhythm (TAA, TAA, TAA, TAA, &c.)» so that all the voices strike the beginning of each pulse perfectly together. Alternate measures are thejDLBungJby teacher and pupils, maintaining the same rate. They do this again with an entirely difie.rent rate of movement, only taking eare to keep up the rate of movement when once begun. In this exercise let the pupils be careful to sing each pulse fully to the end. The second vowel AI is often added to make him do so.*

Ex. 25. The teacher in the same manner makes his pupils practise secondary two-pulse measures

TAA, TAA, TAA, TAA, &0.

Ex. 26. Sing Exs. 20, 22, and 23, beginning •with the strong accent, and again beginning with the weak.

Ex. 27. Sing Exs. 18, 19. and 21, beginning with the weak accent, and again beginning with the strong.

Three-pulse Measure. — When the accents of a tune recur at regular intervals thus, STRONG, weak, weak, STRONG, weak, weak, and so on (that is" like the accents in the words "heavewfy," "hapjoz- ness" and so on) or weak, STRONG, weak, weak, STRING, weak, and so on, (that is like the accents in the words " avaxing" " aTavndcDit," and so on) the tune is said to be in three pulse measure. The primary form of three pulse measure is this | : : || and the secondary this : | : || In the three pulse measure, when sung slowly, the second accent is not weak, but often nearly as strong as the first. For convenience, however, we always write this measure as above.

Ex. 28. The Teacher will make his pupils sing TAA, TAA, TAA (primary three-pulse measure) on a single tone, while he beats time, first at one rate of movement and then at another rate, always sustaining, in each exercise, the rate at which he commences it.

Ex. 29. The'teacher will do the same with TAA, TAA, TAA (secondary three-pulse measure).

Ex. 30. Sing exercises 20 and 22 in the pir- mary three-pulse measure, making two measures, and the first pulse of the next, to each exercise.

Ex. 31. Sing exercises 18 and 19 in secondary three-pulse measure, making for .each exercise, two measures and two pulses of a third measure.

Continued Tones. — When a tone is continued from one pulse into the next, we mark the continu- ation by a horizontal line, thus ( — ) . The time-name for continuations is always obtained by dropping the consonant, thus, TAA, -AA, Sec. Pupils are apt to

St. Co. (New).

fail in giving their full length to prolonged tones.

Half-pulses. — When a pulse (TAA) is equally divided into two parts, we give it the name TAATAI. The sign for an equally divided pulse is a dot in the middle, thus ( [ , ; ), and thus (\ d .m : )•

Beating Time. — Pupils should never be allowed to "beat" time till they have gained a sense of time.

Speaking in Time. — The value of the Time- names depends on their being habitually used in time — each syllable having its true proportion.

Taatai-ing. — "Wepropose to use this as a shortword for the phrase "singing on one tone to the time names, " just as we use " Solfaa-ing " to save the circumlo- cution " singing with the use of the Solfa syllables." In the early steps of any art it is better to learn each element separately. As the pupil has first learnt tune separately from time on the Modulator, so now, with the help of the Time Chart, he studies (True separately from tune. The rule of good teaeh- ing that, at the first' introduction of any distinct topic, that topic should occupy much more than its ordinary proportion of each lesson, will strongly apply in this case; for we have to establish in the memory an association of syllable and rhythm, just as, in teaching tune, we have already begun to establish a mnemonic "association of syllable and interval through mental effect. 1st. The teacher patterns and points on the Time Chart (just as he patterns and points on the Modulator) and the pupils imitate (taatai-ing on one tone) the first half of one of the time exercises. The Teacher's pointer will sufficiently well beat time as it strikes on the Chart. 2nd. Teacher and pupils Taatai the time-phrase alternately, the teacher singing softly, with clear accent and very exact and well filled time, but only pointing or tapping on the Time Chart when the pupils take their turn. This is done till the pupils " get into theswing," striking the accent well together and giving each tone its full length. 3rd. The second half of the exercise is taught in the same way by patternand alternating repetition. 4th. The two parts are put together and patterned and alternated as above, but at a quicker rate, with- out pointing, — the teacher beating time only when it is the pupils turn to sing. 5th. The pupils Taa- tai from the book as directed in Ex. 32. The other processes of Time-laaing, of Tuning the time- forms and of Taatai-ing in tune, are introduced a little later, when the time-names are familiar. Each process is only continued till the exercise is * Latpr on (p. 18) the AI may be omitted.

WEST STEP.

perfect. These many processes, each increasing in difficulty, give variety to the work of the learner

and keep his attention fixed on an otherwise unin- teresting hut most important suhject.

Ex. 32. First aftwZy— repeated so at least three times— and then quickly, and repeated so six times.

il

( J

TAA TAA I TAA

Ex. 33. Slowly — and quickly.

1 :1 II

TAA TAA | TAA

Ex. 34. Slowly— and quickly.

1 :—

TAA -AA

Ex. 35. Slowly — and quickly.

1 :1 :1

-AA

1 :—

TAA

TAA

TAA

TAA

Ex. 36. Slowly — and quickly.

1 :1

TAA TAA TAA TAA

i TAA

1

TAA

Time Laa-ing. — The Teacher when 'all the above exercises have been properly learnt, with time names, will cause them to be sung again in the same way, but to the open syllable Laa. The time syllables are, like the Solfa syllables, valuable as mnemonics, and must be much used, especially in the early steps. But they must not be too exclusively used, lest our pupils should be able to sing correct time to nothing else.

Ex. 37. Laa Exs. 32 to 36.

TUXE.

Tune Laa-ing. — As soon as the memory-helping Solfa syllables have been rendered familiar, every tune should be Laad from the book. Some teachers mako a habit of Laa-ing from the modulator, directly after the Solfa pattern has been learnt. One study should be always before the teacher's mind while his pupils are Laa-ing, — that of the blending and tuning of the voices. As all arc using the same syllable Laa (not law or loa} it is more easy to notice whether in unison (that is when all sing the same tones) the tones blend as into one voice, — and whether, in harmony (that is when several melodies are sung together) the tones tune well with each other.

Two-part Singing.— It is at first very difficult for St. Co. (New.)

TAA TAA

1

TAA

TAA TAA

1 :1

TAA TAA

:- II

TAA

1 TAA

=1

TAA

pupils to sing independently one of another. The simplest form of two-part singing is that in which one set of voices repeatedly strikes the same tono i^" tolls the bell"), while the other set sings the tune, as In exercises 38 to 41. These exercises should first be taught by pattern from the modulator, and then sung from the books, the Teacher beating the pulses by gentle taps on the desk. If the long tones are not held the proper length, they must bo sung to the time names.

( Brackets are used both at the beginning and ( ending of lines to shew what parts of the music may be sung together.

Double Bars (||) are used to shew the end of a tune, or the end of what is called a musical " section," g< 'ii< Tally corresponding to a lino of poetry. Where the double bar occurs, the regular accent mark, whether strong or weak, is omitted. But it must nevertheless be understood and observed.

Exchanging Parts. — The exercises of this and the second step do not go too high for low voices, or too low for high voices. All kinds of voices can sing both the upper and the lower parts. At these two steps, therefore, as soon as an exercise is sun<r, and without a moments pause, it should be sung over again, — those who have sung the higher part

FIEST STEP.

taking the lower, and those who have sung the lower taking the higher. It is obvious that these early exercises are best fitted for those classes in which the voices arc all of the same sort, that is, all men's voices, or else all women's and children's voices. If, however, the class is a mixed one, the exercises can well be used, although they will not be so pleasant. It is better in this case to let the voices be mixed for both of the parts; for variety, how- ever, ihe teacher may occasionally give the higher part to the ladies, and the lower to the gentlemen. Breathing Places. — It will be soon felt that

music naturally divides itself into short portions or phrases. Just before the opening of a phrase is, musically considered, always the best breathing place. The pupil will soon learn to select breath- ing places for himself ; but at the present step we have marked the most convenient breathing places by means of a dagger thus f. The endings of lines, however, are not marked, as breath should ahrayx be taken there. The pupil who sings on till his ribs collapse and his lungs are empty, </i//l then takes breath, produces a flat tone, and feels uncomfortable.

Ex. 38. KEY D. f

d :-	n : —	s : —	d1
d :d	d :d	d :d	d
Ex. 39. d : d	KEY D. f n : n	s : s	d1
d :-	d : —	d :-	d
Ex. 40. r :- d :d	KEY F. f s : — d :d	n : — d :d	d d
Ex. 41. d :n	KEY D. f s : n	s : n	d
d :d	d :d	d :d	d
Ex. 42. d : n	KEY D. Q n : s	tiekly. s :d'	d
d : —	— : —	n : —	—
Ex. 43. d :-	KEY B. f Si : —	n : —	d
HI : Pii	n, : n,	si : s.	HI
Ex. 44. d : n	KEY F. Q s : n	tticldy. d : PI s
d :-	s, : —	d : — n
s : n	d : n	s : n d
n : —	d : —	ri : — d

t

s cl

d1 d

d1 n

n d

St. Co. (New.).

d : —

d :d

s : n

d :d

n : d

d : —

t

— s, : —

di HI t S|

: n s

: — n

: n d

- :- d

d :-

d :-

d : —

d : —

son

ME

EOH

s : —

10

II1-

Ex. 45. Slowly, — and quickly.

.1 1

TAATAI

TAA KEY C.

|d : n .s I d' : s .n ! s .n : s .n | d

XEYC.

Id1 : s.n |d : n.s i d'.s : d'.s |n

II

Ex. 46. Slowly, — and quickly.

1 .1

TAATAI

FIRST STEP.

1 .1

TAATAI

TAA TAA

|d :n |s.n:d ! s.n : s.n s.n : d | n : d id.n : s |d.n: s.nld.n : s

I .1 :1 .1 II : —

TAATAI TAATAI I TAA -AA

KEY G.

|d :si.d|n : d.d |n.d : n.d| s : —

KEY G.

|d : S|.S||d : S|.n|d.d : s,.n|d : —

1 .1

TAATAI

1 .1

TAATAI

1 .1

TAATAI

|d' :s |n.s:d' | d'.s: n.s I n.s :d Id : s, |d.n:d | d.s,: d.s,| d.n : d

Taatai-ing in Tone. — Laa-ing on one tone helps to form that abstract idea of a rhythm which is desired. But such an idea is never truly established until the ear can recognize a rhythm as the same, through all the various disguises which different tune-forms put upon it. To learn the abstract, you must recognize it in many concretes, — tho abstract idea "round" in tho concretes — wheel, plate, full moon, penny, &c., &c. ; of "crimson" in a shawl, a feather, a flower, a punctured tinger, &c., &c. If we saw nothing round but a wheel, we could not form an abstract idea of " roundness." As a help to this distinct conception of rhythm, it is useful to taatai each time exercise on various tune forms. Tho Teacher 1st, tunes the time-form, solfaa-ing and teaching, by pattern, one of the phrases printed under the time exercises, — 2nd,

patterns tho same from the Modulator, as before, but taatai-iny, as ho points, instead of solfaa-iug. Tho pupils imitate. The time-names shew them the sameness of tho rhythm, while the modulator points them to tho difference in tune, — 3rd, causes his pupils to sing tho same from the book.

Ex. 47. — Taatai in tune, all the tune-forms printed below Ex. 45 and 46, and any others, the Teacher may invent.

The following exercises (introducing three-pulse measure without divided pulses, and taatai in two- pulse measure), should now be solfaad by pattern, from the modulator, taataid from the book, solfaad from tho book, and load from the book. Let each " part " be taught separately before the two parts are sung together.

Ex. 48. KEY D. Quickly, — and slowly.

:d :d :- :d

n : — : —

d :- :-

- :d

: s

: s

: — :n

St. Co. (New.)

: cl : d1

: s

: n

			FIRST STEP					1
Ex. 49. KEY d : PI : s	D. Quickly, — and slowly. d1 : — : — d1 : s	: PI d		; —	: _		d1
d : — : d	n s	—	: — PI : -	- :d d		: —	: -
i PI : s :d	1 s :	—	:- 8 :n	:s d		: —	:-	- || son
( n : — :n	PI :	—	: — PI : -	: PI d		: —	:-	- 1
Ex. 50. KEY : s, d : -	G. Slowly,- - :d	-and quickly, f- PI : d : n s	: — : s		n	. _		ME
: si PI, : -	- : BI	d	: — : d n	: — : PI		d	; —
j : d s, : d	: n	S|	: d : PI s	:- is,		d	: _		DOH
t : n, n, : -	- : s,	rii	: si : d n,	: — : si		Pii	:~		•
Ex. 51. KEY C id : n s	'. Slowly, — and qui : s t d .n : s .d'	ckly. f s : — PI :	t s d' : d1	d	.8	d'.s	S( n : —
d :d n	: n d .d	: n .s	PI : — d :	PI PI ; PI	PI .PI	n .PI	d : —
Ex. 52. KEY ( ; : s, d : n .d >	3-. Slowly, — s, t:d	and quickly. f PI : d s : PI	t d : Si.d n	:d	s	S|	d ||
i ' S| pii ; ri|.n	i pii .HI i Pii	s,	: d s, : s.	HI : pi|.S| d .d	:d	PII	S|	PI, II
Ex.63. KEY : d .PI : n d .PI	D. Slowly, — and qu : PI t s : s	ickly. PI : — t n .s :	s PI .s : s t	d	i .	s	d1 :-
d :d d	: d |d .PI	: PI	d : — n :	PI PI ; PI	n	.s :	s	n : —

MODULATOR VOLUNTARIES. A.t every lesson, the pupils will be exercised in following the Teacher's pointing on the modulator, without a pattern. The difficulty of this is, that the pointer cannot shew accent, — but, in cases of diffi- culty, by means of the time names the teacher can explain any rhythm he wants. The pupils will learn to follow promptly, and to form the habit of holding the tones as long as the pointer stays on a note.

St. Co. fNew)

The movements of the pointer are most visible when it passes from note to note with a curve side- ways The Teacher can invent his voluntaries or take them from other Courses. But they should never include greater difficulties than belong to the step which the class has reached. See the " Hints for Voluntaries." These Exercises will prepare for the next.

FIRST STEP.

EAR EXERCISES.

The Teacher will now give his pupils short musi- cal phrases, sung to figures, and ask them to tell him to which figure or figures d fell ? — to which m ? — to which s ? — to which d ? — to which s, ? He will also give them a key tone and chord, singing immediately to the sharply opening syllable skaa, either d, m, s, d1, or s(, and requiring the pupils to tell him what tone he has sung. The answers to these exercises should not come from a few only of the class, but the Teacher will contrive (by subdividing the class or otherwise), that all shall feel the responsibility of thinking and preparing an answer, and all will be interested. See " Hints for Ear Exercises," It is a great advantage when the answers to these ear exercises can be written fty the pupil, and afterwards examined and regis- tered by the teacher or his assistants.

POINTING FROM MEMORY.

At the close of each lesson the pupils should take a pride in shewing their teacher how many of the previous exercises they can point and Sol-fa from memory. These Exorcises should be registered in favour of each pupil. Musical memory should be cultivated from the first, because it will greatly facilitate the progress of the pupil in future steps, and will be of constant service to him in after life.

WRITING EXERCISES.

Notation is best taught by writing, and the thing noted is more quickly and easily practised when the notation is clear and familiar to the mind. Hence the value of writing exercises. For the first step the teacher should bid his pupils draw on slate or paper four (or eight or sixteen) two pulse measures, in the primary (or secondary) form. The teacher may do the same on a black board to shew his pupils what is meant. When the measures are properly drawn out, the teacher will dictate the notes to be written in each pulse, or ho will write them on the blackboard for bos pupils to copy. These notes he may invent for himself, or copy from other courses, but they must always belong to the same "step."

DICTATION.

Dictation has always been difficult as soon as the time became at all complicated, but the time

St. Co. (New.)

names give us a means cf dictating, by very brief orders, one pulse at a time, " Rhythm," " Accent," and " Tune," at once. Thus, if we were dictating Ex. 52, we should first say to our pupils "secondary two-pulse measure." "Prepare for 8 measures." "TAA lower •,," "TAA d," " TAATAI m d," &c., or in Ex. 53 " TAATAI d m," "TAA m," &c.

The Tonic Sol-fa music paper will be found very useful for dictation. By this means a whole class may be permanently supplied with copies of a tune, while in the process of writing they make ;i thorough acquaintance with the tune, and are thus prepared to sing it. The Sol-fa music paper is so ruled that the copyist can keep his pulses of equal lengths throughout the tune. He can allow one compartment to a pulse, or two. In either case he will not find it necessary to mark with the pen or pencil more than the strong accents.

WRITING FROM MEMORY.

Pupils should also be well practised in writing tunes from memory. Even where it is difficult for a whole class to point on their modulators from memory at the same moment, so as to be seen by the teacher, it is not difficult to engage a whole class at the same moment, in writing with closed books from memory, the tunes they have learnt. If every pupil has his number, and writes that number on the right hand upper corner of the exercise, in- stead of his name, assistants can be employed to correct the exercises, and to register a mark for every pulse properly written.

SUPPLEMENTARY EXERCISES. The Teacher naturally desires to see that all the members of his class (except the careless and inat- tentive who have no claim upon him) have mastered the topics of each step before that stop is left. Some classes require longer practice on one topic, and some on others. For this purpose as well as with the view of gathering all eyes to one point in his elementary explanations, he is recommended to make good use of the black board, andthe "Standard Charts," pp. 1 to 5 (Tonic Sol-fa Agency). The "Wall Sheets," No. 1 (for time exercises), and Nos. 7 and 8 (for tune) may also be used as supple- mentary to the exercises of this step.

FIRST STEP.

13

QUESTIONS FOR WRITTEN OR ORAL EXAMINATION.

1 To what three practices must the pupil give daily attention in order to produce a pure and pleasant tone .'

2 What two habits improve the purity of tone 1

3 What two habits improve the quality of tone?

4 Which are the forward vowels in the English language ?

5 What three things are promoted by a proper management of the breath ?

6 What mismanagement of the breathing causes flatness of pitch ?

7 What effect on a tone arises from the use of too much breath 1

8 Where should a beginner regularly take breath ?

9 Where should we not take breath 1

10 By the action of which set of muscles should the breath be expended ?

1 1 What are the two reasons for sing- ing the early voice exercises softly ?

12 Describe the best position for the body in singing— for the head— for the shoulders — for the chest — for the mouth — the lips — the lower jaw — the palate — the tongue.

13 Describe the bad effects of any wrong positions of mouth or body.

14 What do we mean by the " pitch " of sounds 1

15 What is your idea of a key tone ?

16 Why is it important to listen well to the pattern ?

17 What is the name for the key tone of a tune, and what is its manual sign 1

18 What are the names and signs (1) for the tone which is commonly known as the fifth above the key tone, and (2) for that which is known as the third above it 1

19 From what two causes arise the different effects of the related tones Doh, Me, and SoU on the mind I

57 Hold a steady tone, without taking breath, for five seconds.

58 Sing any two of the exercises 38 to 44, and 48 to 53, chosen by the teacher, to the open syllable Laa, correctly and rvithout oreathiness of tone.

59 Sing to the open syllable Laa, the Soh to any Doh the teacher gives you.

60 Sing in the same manner the lower Soh,.

61 Sing in the same manner the upper Do ft'.

62 Singin the same manner the J/e.

63 Sing in the same manner the lower

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DOCTEINE.

20 What is the name given to a set i of three tones thus related ?

21 What is an octave or replicate, and its sign ?

22 We can tell pupils what tones of the scale to sing, either by pointing on the modulator, or by giving them manual signs. What other way have we of doing so ?

23 What do "Key G," "Key C," "Key A" mean at the beginning of a tune?

24 What are the three common uses of the word "Time," and what distinct name do we give to each of the three things ?

25 How is "Accent" produced?

26 What is the sign for a strong ac- cent, and what for a weak ?

27 What is the name we give to the time which extends between one accent (of either sort) and the next ?

28 What is the time name for a one- pulse tone ?

29 In what cases may pulses be dif- ferent in length one from the other ?

30 In what circumstances are pulses the same in length one with the other ?

31 What is the order of accents in the primary form of two-pulse mea- sure ? What in its secondary form !

32 What is the order of accents in the primary form of three-pulse mea- sure ? What in its secondary form .'

33 Give the time names which re- present a primary two-pulse measure, and a secondary three-pulse measure ?

34 How do you mark a two-pulse tone, and how do you name it ?

35 How do you mark and name a three-pulse tone ?

36 Why is it important, in elemen- tary teaching, to use distinct names for continuations ?

PEACTICE.

64 Taatai the upper "part" in one of the Exs. 51, 52, or 53, chosen by the teacher.

65 Taatai in tune one of the Exs. 51, 52, or 53, but not the same as in the last requirement, chosen by the teacher.

66 Point on the modulator from memory any one of the Exs. 46 to 51, chosen by the teacher.

67 Write down from memory an- other of these exercises.

68 From any phrase (belonging to this stage) sung to figures, tell your teacher, or write down, which figure was sung to Me.

37 What educational principle dis- tinguishes the early steps of any art ?

33 How long should the pupils re- peat the first time exercises (

39 What is the difficult thing which the teacher has to maintain in the time exercises .'

40 Why are the pupils at first not to beat time ?

41 How is it that the Sol-fa syllables come to be mnemonics (or memory- helps) of tune, and the time syllables mnemonics of time 2

42 What is the use of Laa-ing ?

43 What is the meaning of a bracket ?

44 What is the meaning of a double bar?

45 What are the best breathing- places when music only is considered ?

46 What is the sign for a pulse equally divided into two-parts ? What is its time name ?

47 What do you mean by taatai-ing ? 43 What is meant by taatai-ing in

tune?

49 How does the practice of taatai- ing help the mind to individualize — to form a distinct conception of — a rhythm ?

50 In the practice of modulator vol- untaries, what two habits must the pupil form ?

51 What difficulties must not be in- cluded in voluntaries ?

52 Describe the two forms in which ear exercises can be presented ?

53 Why should musical memory be cultivated ?

54 What is the best way of teaching notation ?

55 What advantage does the singer get from the practice of writing music ?

56 How would you dictate the air of the first four measures of Ex. 53 ?

69 Ditto Soh.

70 Ditto Doh.

71 Ditto Doh1.

72 Ditto Soht.

73 Having heard the chord, tell, or write down which tone of the scale wa& sung to Skaa. Do this with two dif- ferent tones belonging to this step.

74 follow to the teacher's pointing on the modulator in a new voluntary, containing Doh, Me, Soh, Doh1, and Soh,.

TAA, TAA-AA, and TAATAI.

75 Write from dictation, and after- wards sing a similar exercise.

14

Ex. 54—5.

SECOND STEP.

To train the voice in purity, beauty, and good accord. To distinguish the mental effects of d, m, s, t and r. To produce them. To distinguish and produce the medium accent and the four-pulse and six-put .<• mi'timires, — also the whole-pntse silence, the half-pulse sounds in three pulse measure, and the fourths of a pulse in their simplest form. To observe the reasons for breathing vlaces. To commence the study of chords, intervals, dis- cords, and passing tones.

VOICE TRAINING.

The teacher calls his pupils into position just as he did at the beginning of every lesson in the first step. Every lesson of the present step should open Nvlth the following three exercises. It is exceed- ingly important that the pupils should cultivate Jor themselves a good position in singing. It will then become an easy habit.

Ex. 54. CHEST EXERCISE, to strengthen the muscles under the lungs and on its sides, and give them control over the slow emission of breath. The same as Ex. 1, except that the breath should be breathed out more slowly, and that a sound may accompany it. Some will now be able to continue the tone while the teacher slowly counts ten, say for ton seconds. The weak -chested must not be discouraged. This exercise daily practised will be life and health to them.

Ex. 55. VOCAL KLANG EXERCISE. — The same as Ex. 2, except that instead of using only one tone the pupils will sing the Tonic chord. They will sing, in obedience to the teacher's manual signs d m s d1 d s m d. The manual signs enable the teacher to watch the posture of his pupils, and the pupils to watch the commands and intimations of the teacher. This exercise will be sung slowly (say at M. 60) and also softly, for the sake of studying beauty in the quality of tone. When in any exer- cise, the teacher feels that he has secured that good quality, he occasionally ventures on a middle force of voice, but always strives to maintain the same good quality. In mixed classes of men and women this exercise will, of course, be sung in octaves, as the voices of men and women are naturally an octave apart. The importance of this simple exer- cise, and the difficulty of obtaining a perfect and pure unison of voices in it are strongly i-nforced by Fetis (see " Choir and Chorus Singing," page 9).

The exercise is 1st, Bol-faad once, 2nd, sung once to the forward syllable lai. 3rd, sung three times to the forward and pleasant Italian syllable laa, and 4th, sung once to the best English syllable for the sharp accented delivery of tones — koo, striking four sharp koos to each tone. The first step of this pro- cess puts the ear in tune : the second places the

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tongue properly, and so prepares the mouth for the real Italian aa : the third gives the best form of mouth for the production of a beautiful sound : and the fourth strengthens the voice by vigorous (not forced) action, and favours that downward motion of the larynx on the delivery of short and accented (though not loud) tones which has to be formed into a habit for after use. The exercise, having been thus six times sung in Key C, the same pro- cess will bo repeated in Key D.

Tuning Exercises can now be added for the pur- pose of teaching voices singing different parts to study one another, and to chord well together. To some extent this is done in every exercise, but it requires also separate study. The teacher divides his women's and children's voices into three "parts," (1st, 2nd, and 3rd) and causes them first to sol-faa and then to lai and laa, the following exercise. When this is done to the teacher's satisfaction he utters the word " change " and those who have sung the first part take the second, the second the third, and the third thefirst. At the word"change" againthesameprocessisrepeated. Tho teacherthen divides his men's voices in a similar manner and carries them through the same six-fold exercise. The teacher, in this exercise, watches his pupils — .first, to ensure the holding of their books easily, not cramping the chest, as high as possible (so as just to see their conductor over the top) and with- out bending the head, — second, to secure a uniformly clear, soft tone, making a signal to anyone whose voice is so prominent as to stan i out from the rest, — and third, to maintain the perfect tuning into each other of all the parts of the chord. The distinct entry of each " part " is meant to assist the percep- tion of "just" or exactly true intonation. See Fetis, page 9. It is not every class that has the thoughtfulness and courage to take this exercise at the beginning of the second step, but it should be attempted. The division of voices is a severe test of independence, and therefore useful. Some sing- ers will never be independent till you compel them to try. For some time the accord of tho voices will be very rough and imperfect, but soft singing and listening will amend the fault.

SECOND STEI'.

15

Ex. 56. KEYS F and Gf.

1st. /

2nd j 3rd. I

n : —

x s	• - -.	[Silent pulse, t n :-	ee S	Pris.]
n	: n		d	: —		;
d	:d		d	; —		:

: s

n : —

d : s,

TUNE.

Mental Effects. — It is of small importance what names the pupil gives to the mental effect of the different tones, but it is all-important that he him- self (not his teacher, nor his class-mates) should give those names, or if he cannot find a name, that he should at least form for himself a distinct idea of each mental effect. Let him listen carefully, therefore, while his teacher sings to the class such " exercises for ascertaining the mental effect" as those below. («) The teacher first sings the exer- cise to consecutive figures, telling his pupils that he is about to introduce a new tone (that is, one not d m or s) and asking them to tell him on which figure it falls, (b) When they have distinguished the new tone, he sings the exercise again — laa-ing it — and asks them to tell him how that tone " makes them feel." Those who can describe the feeling hold up their hands, and the teacher asks one for the

Ex.57. KEY B?. Effect of .R0y, high in pitch.

|d :s, |n :d |r :— |d :— II

Ex. 58. KEY B!?. Ditto. : s, |d : — : n I r : — : s, |d : — ||

Ex. 59. KEY F. Effect of Ray, low in pitch.

: si |d :n :d |r : — : n |d •— || Ex. 60. KEY D. Ditto. |d :s |n :d |r : — in : — ||

Collective Beading. — The following exercises 65 to 70 (including leaps of r and t without any nevr difficulties of time) will now be taught, in the same manner and with the same processes as Ex, 48 to 53- with this addition, that after the tune has been Load correctly and easily, the words will be studied. Ttie Teacher reads the portion of words from one breathing place to another, giving clear vowels and sharp consonants, the pupils imitate collectively. Vowels are ways of emitting the breath ; conso-

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description. But others, who are not satisfied with words, may also perceive and feel. The teacher can tell by their eyes whether they have done so. He nurttiplies examples (like those in "Studies," &c., which he may point on the modulator) until all the class have their attention fully awakened to the effect of the new tone, (c) This done he tells his pupils the Sol-fa name and the manual sign for the new tone, and guides them by the signs to Sol-fa the exercise, and themselves produce the proper effect. The signs are better, in this case, than the modulator or the notation, because with them the teacher can best command the attention of every eye, and ear, and voice, and at the first introduction of a tone, attention should be acute.

The manual sign for ray is the upturned hand, open, and shewing the palm ; that for te is the upturned hand, pointing with the forefinger.

Ex. 61. KEY D. Effect of Te, high in pitch.

Id :n |s :t It i— Id1 :- ||

Ex. 62. KEY D. Ditto.

|d :n |s :t |t :s Id1 :- ||

Ex. 63. KEY F. Effect of Te, low in pitch,

|d :s |n :t, 1 1, :- Id :- |j

Ex. 64. KEY F. Ditto.

:s, |d :n |s :— |t, :— Id ||

nants ways of interrupting it. Both require definite positions and movements of the lip and tongue. Many uneducated persons are lazy in their use of both organs. The object of the teacher will be to shew by pattern that marked and clear utterance which is the beauty of speech. Musical tones can- not be prolonged on consonants ; the vowels are therefore the more important to the singer. The elocutionary studies of " accent," and " inflection," need not occupy the time of the class, because there

16

SECOND STE?.

iu no inflection in a musical tone, and the music necessarily decides the accent. A simple monoton- ous delivery of vowels and consonants will therefore be sufficient for the teacher's present purpose. The pupils will enjoy this exercise in proportion as their teacher criticises their pronunciation with care. A closer study of the subject will follow in the fourth step.

Breathing Places have, thus far been chosen to suit the natural division of a line of music into " phrases." But the sense of the words i* more important than the marked distinction of phrases. It therefore over-rules all. Let the pupil notice that in Ex. 65, we take breath before each cry of " fire." This is a case of " breathing for emphasis," and illustrates an important rule for taking breath. In Ex. 67 let him notice that the musical phrasing would place the breathing place between " I " and "love," but the poetic phrasing does not allow us to disconnect any parts of a word or any two closely related words. ' ' Morning bells I ' ' would not sound well, there fore the division "Morning bells" t " I love to hear." This is a case of " breathing for sense." In Ex. 69, the musical phrases of the first line nat'irally divide bet ween m and r, each being two measures in length. This breathing place is quite suitable for the first and third verses, but it would cut a word in two if it were used for the second or the fourth. In the third line the musical division suits the first and second verses, but if adopted for the third and fourth verses would make the nonsense "Shall foster and" t "mature the grain," and "The angel reap-" f "era shall descend." The practice of dividing the " announcements " for Collective Reading at the breathing places, is of great use in calling attention to this important

Ex. 65. KEY O. A round for four parts, t t

subject. In every exercise of this step there should be with the collective reading a discussion on the correctness or doubtfulness of the breathing places here marked, — but the teacher will di-ciilc for the whole class, so thatthe breathing may be with one consent. A delightful effect of unity and clear ex- pression is produced by this unanimity of breathing.

Bounds. — Ex. 65, is a Round for four "parts." The first "part" commences the Round alone, and goes on steadily repeating it until stopped. When thojirst "part" is going to strike the note under the asterisk (*) the second " part " strikes the first note of the Round, and so on. The third " part " follows the second, as the second imitated the first. A clap or some other signal of the teacher's hand tells you when to stop a Round. It should first be learnt from the modulator by the whole class as one part, and should not be sung as a "round" till the third step, unless the class has been very well practised in maintaining the rate of movement. When the whole class can sol-fa it " by heart," watching the teacher's beat and keeping most exact time with the stroke of his hand, — let the class be divided into four parts, and each part tested in the power to sing separately. Even when this is fairly done, the parts will still find it difficult to " hold their own," as soon as the other parts enter. The difficulty of maintaining the rate of movement is very much increased when the Round is in three-pulse measure or contains divided pulses. It is this difficulty which makes the Round so valuable an exercise in time keeping.

Da Capo pronounced Daa Caapoa [oa as in coal] and abbreviated D.C. means " return to the beginning."

(is, : s.	d :d	s, : s,	d :d		r : —	n : —	r : — rt : —
1 1 Seot-land'e	burn - ing	Scot-land's burn - ing,	Look	out,	Look	out,
t t t	t t D.C.
^^ Us :-	— — s : —	.--•- — •• s : — • : —	ti : r d : d ti : r	d :d
M Fire!	Fire ! Fire !	Fire!		Pour on	wa - ter,	pour on	wa - ter.
Ex. 66. KEY D. A round for four parts.
t * t	t D.C.
hd :r	n : d	n : s	> • ™~	d'.d'rt.t	d'.s : n.d	s : a	d :-
\
1 1 Sing it	o - vcr	with your	might,	Never leave it,	Never leave it	«U 'tis	right.

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SECOND STEP. Ex. 67. KEY C. A round for four parts.

17

d :s

]\Iorn-in«:

t

s : s bells I

n : s love to

d> : —

hear,

d' :r'

Ring -ing

n'.d':d'

merri-ly,

Ex. 68. KEY E.

"GONE IS THE HOUR OF SONG."

Round for four parts.

d1 :d'.d

Gone is the

hour of

S

: s .s

Now let us

s : s

say to

s : t

loud and

all, good

B.C.

d1 :-

clear.

J. C.

n : —

night.

: n .n r : r

Sweet sleep & plea - sant dreams, Good night,

: n

: d .d s, : s.

Once more to all, good night !

B.C.

d :- - :-

Ex. 69. KEY G.

SOW IN THE MORN THY SEED."

A. L. C.

Words by James Montgomery.

: s,

To O'er

: si

Shall The

:d	n	: n	n : r	d : —	- :t,	r :	n	r :d	ti :-
1. Sow 2. The :d	in the good f the d :d	morn f thy fruit - f ul s, : s, •	seed, ground, m, : —	At Ex- — : s,	eve fhold pect not f t, :d	not thy here nor si :n.	hand ; there ; s, : —
3. Thou 4. Thence,	canst not when the	toil f in glo - rious	vain : end, —	Cold, The	heat,f and day of	moist and God f is	dry, come,
d :d	t, :d	•m	: n	r	: s	s : n	r : r		d :
doubt and hill and HI : n.	fearf give dale,t by s, :n.	thou no plots, 'tis Si : d	heed, Broad found Go t : S(	•cast it f forth, then, f n : d	o'er the ev - 'ry - d : t.	land, where. d :
fos - terf an - gel	and ma - reap - ers f	ture the shall de -	grain, For scend, And	gar - ners -\ heav'n cry 1	in the " Har-vest	sky. home.'
Ex. 70.	KEY B.		" FRET	NOT THYSELF."
i s, :	R|	: si	d	:t,	:d	n	:r :d	d :- :-		t, :
I Fret not ( PI, :d,	thy. : HI	selff HI	tho' thy : r, : n,	way be fall d, : r, : n,	drear s, : — : -		y» s, :
C" :	d	: n	r	:t.	: r d : n : r	r : — : -		d
\ bright-er ( d :d	to - :d	mor t,	- row fis : t : t,	dawn -ing fto d : Si : Si	cheer s, : — : -		thee. d

R.P.

: r A

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Cease thy complaining — f thy thoughtless t repining, Tho clouds may be black, f but the sun is still t shining. Though thou art hemm'd in f by mountains f of sorrow, Stand still — f a broad path f may be open'd f to-morrow.

18

SEC01TD STEP.

TIME.

The Medium Accent. — Pupils will easily be brought by examples and illustrations to notice that in addition to the strong and weak accent, there is also a medium accent to many tunes. The intro- duction of the medium accent makes two two-pulse measures into a four-pulse measure, and two three- pulse measures into a six-pulse measure. This mark | is used for the medium accent.

It will be noticed that several of the exercises already sung, require (when not sung slowly) this medium accent, in place of every alternate strong

accent. Let the pupils try Ex. 66 and 69, singing them quickly and lightly. They will soon perceive the natural necessity for a medium accent. The teacher, however, must not expect too great a nicety of distinction at first. The finer points, both of time and tune, require much practice.

Four-pulse Measure. — When the accents of a tune are arranged in the order strong, weak, MEDIUM, weak (as in the words "mMUWTAry," " plan^TAry "), and so on. it is said to be in the four- pulse measure. The pupils will taatai on one tone, as below, while the teacher beats, first slowly, then quickly.

NOTB.— When the pupil has learnt to hold his tones to their full length, and where nearly all the pulses are undivided, it will be sufficient* to call a pulse TAA, omitting the AI.

II

A primary four-pulse measure.

TAA TAA TAA TAA

A secondary form.

:1 II

TAA TAA

U

Six-pulse Measure. — When the accents of a tune are arranged in the order strong, weak, weak, MEDIUM, weak, weak (as in the words ' ' spi ri tu AL i ty,"

H

A primary six-pulse measure.

A secondary form.

H

Silent Pulse. — It is more difficult for pupils to appreciate time in silences than in sounds. There- fore the silent pulse was not introduced in the first step. The name for a silent pulse is SAA. In taatai-ing, after the first time of gtAng through an exercise, or as soon as the rhythm is perti-ctly learnt, the silence-syllables should be less and loss heard. M. Paris uses only the one word " Hush " for all the silences. In dictation, as well as for the purpose of first marking and measuring them dis- tinctly to the mind, we find the advantage of a .-oparate name for each silence corresponding with

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Another form.

U

Another form.

U :1

TAA TAA

:1

1

TAA

"immutability "), and so on, it is said to be in six- pulse measure. The pupils will taatai on one tone, as below, while the teacher beats slowly.

Another form.

Another form.

1

TAA

the names we use for sound. Silences are denoted in the Tonic Sol-fa notation, by the simple absence of any name for sound. Even if an accent mark is placed at the end of a line, a silent pulse is sup- posed to follow it.

Pulse and a half Tones are very common and easily learnt. They are named and written as be- low.

Quarter Pulse Tones are more easily learnt when the pulse is divided into four distinct quarters than when it is divided into a half and two quarters — two quarters and a half— or a three-quarter tone

SECOND STEP.

19

and a quarter tone. Therefore the " four quarters ' ' are introduced in this early step. They are thus named, tafatefe [a is the short vowel for aa, and e is the short vowel for aij] Thus the vowels still divide the pulse as hefore. If the time-names are to become aids to the memory, we must again repeat that even in speaking hoth teachers and pupils should form the careful habit of uttering them in their proper time. Thus, TAA should be as long as TAATAI, and " tafatefe " should occupy no more time than either ;

neither TAA nor TAI should have longer utterance one than the other ; and tafatefe should form foui exactly equal lengths. In the Tonic Sol-fa nota- tion a comma divides a half pulse into quarters.

Let the Exercises 7 1 to 75 be (a) taught by pattern and repeated, see page 7. The exercise may be divided into two patterns if necessary. It should be sung at at least two distinct rates, (b) Alter- nated, see p. 7. (c) Laad, see p. 8. (d) Taataid in tune, see p. 10.

Ex. 71.
II1-. :	8AA
KEY G. | d :	Id
KEY F. | s :	U
KEY A. | d :	Ir
Ex. 72.
Si1 :	1
C 1 TAA	TAA

TAA SAA

|d :d.r|n :d is :n.r Id : n In :ti.r Id : s.

SAA

1	: 1 .1	1 : 1
TAA	TAATAI	TAA TAA
KEY A.	Is, : It,	: Id :s|.t(|d	: r
KEY F.	Is : |n	: Ir :t,.d|r	: n
KEY F.	In : |s	: In :r.tdr	:d

: 1 . 1 1 : - . 1 1.1:1

KEY G. |d :si | :d.r|n :-.d|t(.d:r II KEY F. |n :d | :r.dls :-.n|r.d:t, || KEYG. |r :s I :r.t||S| :-.ti|d.r:n ||

Ex. 73.

1 : - .1 : 1 .1 1 .1 : 1

TAA -AATAI TAATAI TAATAI TAA KEY G.

I d : - ,t( : d ,r | n ,r : d : | n .r -. d : s(

KEY F.

Id :-.r :n.s|t,.r:d : |t,.r:d : s,

KEY A.

In :-.r :d.t,|r.d:d : |r.d:v, :d |

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TAATAI TAA

KEYB. |d :ti | :r.d!s( :-.dm.r:d I, KEY F. |n :r | :d.nis :-.t||r.d:d || KEYF. |n :d | :s.nin :-.rjn.s:s I

8AA

1.1:1 : 1 ||

TAATAI TAA TAA

KEY A.

Id : -.s :n.d|s,,t,:r : |s,.ti:r : t( if

KEY A.

In :-.d: t,.d|n.r:n : |d.t,:d : s, ||

KEY G.

j s. : -.t,: r.t.l d.n : n : |n.s:s :n II

20

SECOND STEP.

Ex. 74.
1 :	1	1 .1 : 1 1 .1 : 1 .1	1 .	1 :	1
TAA	TAA	TAATAI TAA TAATAI TAATAI TAATAI	TAA
11,1.1,1 : 1 tafatefe	1 .1 TAATAI	1,1.1,1 : 1 .1 1,1.1,1 : 1 .1 tafatefe TAATAI tafatefe TAATAI	1 .1 : TAATAI	1 TAA
KEY G. I5' !	si 81 .n : d S| .n : d .s(	8, 1	.n :	d
s,,si.si,s, :	Si .t i	t ,t(.t| ,t| : ti .r d ,d .d ,d : d .n	r	.t, :	S|
KEY G. |. :	s	s .n : d s .n : d .n	s	.n :	d
1 s ,s . s ,s :	s .n	n ,n .n ,n : n .d r,r.r,r:r .t, Id	.n :	s
Ex. 75.
1 TAA	1 .1 TAATAI	1 : 1 1 .1 : 1 .1 TAA TAA TAATAI TAATAI	1 t TAA	1 TAA
11 : 1 TAA	1,1.1,1 tafatefe	1.1 : 1 1,1.1,1 : 1,1.1,1 TAATAI TAA tafatofo tafatefe	1 .1 : TAATAI	1 TAA
KEY G. 1 J f J 1	:d | r .t,: r .t, | r : s, |d :n,r.d,r | m .d : d |r,d.t,,d	:r,d.t,,d	r .t, :
KEY E. d :t..r|d	:m |t,.r:d m|r :s |d :t,,d.r,t,|d .m: n |t,,d.r,t,	:d,r.ni,d | r .s :

TUNE.

The Two Principal Chords. — As the tones d m and s, sung together form a chord, so do the tones 8 1 and r I . Tile first we call the chord of Do h, the second the chord of Soh. We always write chord-names in capital letters, D, S. These two chords considered separately and in themselves, are exactly alike. Their tones are precisely at the same distances of pitch one from the other, and if the chord S, or the successive tones • t r' were heard without the sound of any previous chord of D, or succession of d m 8, they would produce precisely the same effect npon the mind. But as soon as we place two such chords at a certain interval one from the other wo establish a new set of relations, and so enrich the mental effect. It is no longer one chord and its

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u

interval relations which the ear perceives, but two chords and their relations to each other, — so strong and rapid is the power of mental association. That chord, in a tune, which is the first to occupy the ear, rules the chords which follow. Thus in Exercises 57 to 64 we were careful to " establish the key " by making d m s heard before we could make the mental effects of t and r felt. This relation between D and S, that is between any chord and that other which starts from its own highest tone, is a peculiar and very important one. It is called the relation between Tonic (D) and Dominant (S). It is the chief element in key-relationship. These two chords alone are sufficient to make music. Many a single page of brilliant classic music con- sists of the chords D and S.

Ex. 76.

SECOND STEP.

21

Thirds, Sixths, and Tenths. — Most classes and all self-teaching pupils will be glad to study the harmony (or the sounding together of tones) as they sing, and they will sing the better for doing so. Intervals or distances between tones, are generally counted step -wise on the scale — always including the two extremes. Thus the distances between d and r or m and f are called a second, those between d and m or r and f are called a third, and so on. By counting, in this way, on the modulator, it will be seen that from d to the m next above is a third, — from d to the m next below (ffij) is an inverted third, or a sixth, — and from d to the higher octave of it am above (ml) is a tenth. So also from 1( to d is a third (a minor or lesser third) from 1 to d is a sixth, and from lj to d' is a tenth. What are the intervals between m and s ? — m and S| ? — m and si ? These intervals (which are the third in various positions) form the sweetness of all harmony, and are therefore, abundantly used. In Exercise 69 find twelve thirds and six sixths. In Exercise 80 find a sixth followed by a tenth.

Octaves and Unisons. — Exercise 69 has its first tone and its last, in both parts, the same, that is in identical unison. At the beginning of the last line of words it has an octave between the parts. These unisons and octaves do not give the true feeling of harmony, — that is, separateness with agreement, and they sire seldom used on a strong pulse where they would be much noticed, but they are useful xa the flow of the harmony — allowing the parts to pass through them to something sweeter or stronger, or bringing them to a close on the key tone. Two such inter- vals, one following the other, would make the harmony disappear. Therefore, such a succession is, as the pupil will notice, carefully avoided. In speaking of unison above, we have referred to absolute unison, but the word unison is also commonly used to indicate the singing of the same tones, by male and female voices, an octave apart, as in our " Vocal Klang Exercises."

Eifths and Fourths. — In Exercise 69 there are two fifths (s, to r in both cases) and in Exercise 70 there is a fourth s, to d. The two tones of a fifth agree with one another more perfectly than those of any other interval except the octave, but they have not the sweetness of the thirds. Their agreement is somewhat hard and cold, though strong and sure. They are, therefore, not very much used in two-

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part harmony, and two of them in succession are the dread of all composers. Fourths are the inver- sions of fifths (as sixths are of thirds) but are very much less acceptable to the ear. They have neither the perfect agreement of the fifths, nor the sweet agreement of the thirds, and are much avoided in two-part harmony ; even bald unisons and octaves being prefered to them. Where used they are found on a weak (and therefore, less observed) pulse or on a strong pulse in places where they suggest to the mind certain familiar habits of chords to be hereafter explained.

Discords.— Octaves, fifths, fourths, and thirds are concords. Seconds, as f against 8, or d against r, whether close together or separated by octaves (that is, whether seconds, or sevenths, or ninths) are discords. They sound harshly together. But a Discord may be so sweetly introduced, and so pleasantly brought to a close, and the "part" which contains it may move so smoothly that it is made agreeable. This is because the ear naturally notices the motion of the two melodies as well as the actual consonance or dissonance of the moment. Thus, in Exercise 69, we have, on the fifth pulse counting from the last, or the fifth-last pulse, d dissonating against r, but it is so "prepared" by its own previous "sweet" consonance witti m, and so smoothly " resolved" by going down stop- wise to t,, and there satisfying the ear with another sweet consonance, that it cannot be called unpleasant. It is only unpleasant when singers are afraid of it, and so put themselves out of tune. Hence the advantage of knowing what you sing. Find a similar discord at the close of Exercise 78. A note undergoes preparation when it is heard in a previous chord as a consonance ; it undergoes resolution when (being a discord) it moves down one step.

Passing Tones. — As we have observed that the weak pulse is less noticed by the ear than the strong pulse, so is the second or weak part of a pulse less noticed than the first part. Therefore, things may bo allowed there which the ear objects to else- where. Thus in Exercise 79, second score, third measure, second pulse, we find an apology for the dissonant r, because it is on the weak part of a pulse, and because it moves smoothly step-wise from one tone of the scale to the next. Find other ex- amples of the same " part-pulse passing tone " in the same Exercise 79

Ex. 76. — Name, pulse by pulse, the harmonic uJlervals of Exercises 69, 70, 77, 78, 79, and 80.

22

SECOND STEP.

Let the Exercises which follow, be taught with the same process of Pattern from the Modulator, first one part and then the other — taatai-ing in tune every difficult rhythm — Sol-faa-ing from the book — laa-ing from the book — collective reading of words

— study of breathing places — and singing to worda, as before. Before each exercise, when the key -tone is pitched, let the pupils sol-faa by the manual signs the ttco chords, thus — d m a, a t r> d1, or in middle keys d S| m, it t, r d.

Ex. 77. KEY A.

WHEN LANDS ABE

: s

When

: s.

:d

When

d : - .d|n : r

lands are gone f and

HI i - .HI! S| : S|

and

ii ;-.i

lands are

r gone

: d |r : r

mon - ey's spent, Then

d :d

: - .n | n

2 In youth t the time we thus employ, Is counted as t the richest joy.

t,

mon-eys spent, Then

Then

GONE. n : - .n Is

learn - ing is

d : - .d 1 1,

s :d r loam - ing is

t, : d Is,

learn - ing is

3 When little else t old age can cheer, These harvests are t most rich and rare.

		2. P.
: r	n	: r	'd )
tmost	ex d	- ccl : si	- lent. I |pli
: - .r	n	: r	Id
tmost : - .s,	ex 8,	- eel	- lent. Id
tmost	ex	- eel	- lent.

Ex. 78. KBY B). M. 72.	FARMER JOHN.
' • s.	d : S| | n, : d|	s, : s, |s, :	s	t| :t| |d :d t(
(2'. Hard 3. Con - ^ s,	hale old man t is work - er, too, t is tent - ed soul \'\& d : s i | r.i : d,	Far - mer John, A hap - py man is he; Far - mer John, He la - hours ev - 'ry day, Far - mer John, Light- heart - ed, gay, and free ; si : s, |si : s, s, : s, |n, : d, si
: s.	d : s, |n, : d.	s, : s, |s, : s.		n : n |r : r d : —
He And In : s,	ris - es, t with the as he ploughs, tor win - ter cold, t or d : s, |n, :d.	lark t at morn.And sows the seed, He sum - mer bright,He	sings right mer - ri - ly. sings his cheer-ful lay. whis- ties mer - ri - ly. d, : d |t, : s, d : —
| Tralala la la, la, la, [181,81.81,81! S| 18, | t.	: —	s, ,S|.S| ,S| : s, .d | n Tralala la, la, la, la,
, in .n : r .r |n ,n	n /i : r .r d	.d :d .t, |d II
Mia la la la, t Tralala la la, Tra la 'Id, .d : t, .t, |d ,d .d ,d : t, .&< n,	la la la la. .HI : TI ,T\ |d|
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A. L.C.

•s, Tra

.s,

SKCOND STEP.

Ex. 79. KEY F. M. ( s .s : s : n	76. Words by Fletcher. n .r : r :	d .d : d : PI	A. L. G. r .r : r :
1. Little flow'r with 2. Basking in the n .n : n : d	starry brow, gladsome beam ; d .t : t, :	Slumb'ring in thy Or, be- side some d .d :d :d	bed of snow ; murmuring stream, Si .s, : t, :
3. Thee no wind nor 4. Type of truth, and s .s : s : n Or with light - ly Gently bow - ing n .n : n : d Nor the slee - ty, Close may sor - rows	storm can tear, emblem fair, n .r : r : tinged ray, from thy nest, d .t, : ti : sweeping rain, hem it round,	From thy love - ly Virtue strug - gling d .d : d .r : n .r	mountain lair ; through despair, d :— : way. breast. d :— : plain, ground ;
Winter gone & storms a- Greet the water's sil- ver d .d : d .d : d .t.
Root thee from thy native Troubles bend it to the
r .r : r : n	r .d :	t, :	d .r : n : s	n .d : r ; '
Peeping from thy Or mid fis - sure t| .ti : t[ : d	couch of green, of the rock, s, .s^ : s, :	With thy mod - est Hidden from the d .d : d : m	simple mien, tempest's shock, d .d :t,
Winter's cold, nor Yet the soul with -	summer's heat, in is calm,	Blights thee in thy Dreads no an - guish,	snug re-treat ; fears no harm ;
s .s : s : n	n .r :	r :	d .d :d .r :	n .r	d :- :
How I love to Vie with snow - y n .n : n : d	see thee lie, li - ly's bell, — d .t, : t, :	In thy low se - re -ni- Queen and fai- ry of the d .d : d .d :d .t,	ty. dell. d :- :
Chill'd by snow or Conscious that its	scorch' d by flame, head may rise,	Thou for ev-er art the Planted 'neath congenial	same, skies.
Ex. 80. KEY D. M. 60, twice. n : — : — I n : r : n	COME, GENTLE MAY. S t "~* • """" ^~* • ™~~ • May, May, May, n : — : — | — : — : n : s : s |n : s : s Win-ter, cold win - ter f has Chil-dren are long - ing f for Deck with thy beau - ty t each d : t, : t. d : n : n	d1 :	A. L. C. — :— It :r' :t
1. Come, gen . 2. Come, flow' 3. Come, love d :— :— |d :t	- tie • ry iy , :d	Come, gen - tie Come, flow' - ry Come, love - ly n : — : — r : ti : r
d- :- :- |- :- May, May, May, n : — : — |— : -	d1 : ling ver wav n :	— : n is : — : — \ er'd long dant fields, ing bough, - : d it, : — : —

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SECOND STEP.

t :t :t Id1 :- :s

Now let thy balm - yt Deck'd with thy flow'rs t so Bring us the haw - thorn' sf

r : r : r I n : — : n

s

breez -

bright

whit

n : —

— : n I r : — : —

es play ; and gay, cn'd spray ;

:d It, :-

d1 :-	: n Is : -
birds'	sweet song :
£res ng	ence yields ; 'rest thou?
n : —	:d |t, :-

) ling - I" ^

Come, Come, Come,

d :-

Beating twice to the measure.— Let Ex. 80 be patiently taataid, while the teacher beats every pulse, never pausing and never hurrying. Only thus can the exact lengths of sound and silence be appreciated. But when six-pulse measure moves more quickly than this should do, each pulse is regarded by the ear as a third of a pulse, and t whole measure as a two-pulse measure with ample use of " thirds." In this case the conductor beats only twice in a measure.

Modulator Voluntaries are used at every lesson.

Ear Exercises, like those in "Hints for Ear Exercises," and if possible, ear exercises in which the pupil writes the answer, will also bo as con- stant as the lesson hour. If tho teacher finds that the pupils do not discover which is r easily, he docs not either tell them or let them guess, but he reminds them again of the mental effect ot r, and illustrates over again the high rousing r and the low prayerful r, and then again tests them. After the Sol-fa prelude, the pupils must bo very careful to note to which tone figure one f They do not possess a sufficient clue unless they catch the first note. The teacher should be very careful to make his own pattern clear. One way in which a teacher keeps all his class at work is to cause all that can answer to hold up their hands, and then to select those whose answers he wishes. Another way is to give the proper answer and ask all who wore right to hold up hands.

In time ear exercises the teacher 1st taataii with accent two plain measures, then continuously loan a rhythm of two measures on one tone, which he requires his pupils to write or taatai. 2nd, he sol- fau a short rhythm, and requires his pupils to taatai it fw tune. Many of the old exercises and some of the "Hints for Ear Exercises will give him ready materials. St. Co. (XcwJ

n : r : n

tie

- ry

gen

flow'

lov

d : t, : d

n : s : s In : s : s

Fill all the woodsf with the Longing for plea-sure f thy Beau-ti - ful May-time,twhy

d : t, : t, Id :n :n s : — : — 1 — s — s

May.

May. May.

in : —

Dictation. — Notation, and with it, clear percep- tion, will be cultivated by Dictation Exercises. The second part of Ex. 77, second score (or line), fifth measure (always counting the first part of a mea- sure as one) would be dictated thus:— "TAA lower t," "-AA-TAir" "TAAr" « SAA " "SAA" &c. >.x. 78, third score, first measure, would be dictated thus:— "tafatefe lower s, s, s, s," "TAATAI lower s, lower t," "TAA -AA r."

Pointing from Memory and Writing from Memory will still be practised diligently, as rccom- mcndedatpage 12. The teacher who can appoint half an hour before or after the regular class meeting for memory pointing, memory writing, and dictation exercises finds the interest of his class and the accuracy of its knowledge ten folded. At the close of every- lesson, one or two of the exercises should bo chosen for the memory exercises bf tho next meeting. Tho pupil should copy that exercise six or ten times from tho book, until he finds by testing himself that he can write it from memory. In tho presence of the teacher, even at first, ten minutes is sufficient for writing from memory on clear paper without book. Meantime the teacher may walk about his class to give advice or information In less than five minutes the quickest have their exer- cisesready. The teacher glances over them andmarki them as suggested at page 12,andthe secretary credits the marks in favour of each pupil, in tho class book. The teacher can make remarks on the common errors, or shew them on the black board.

Elementary Certificate.— Pupils now begin to make up their list of six tunes for the Elementary Certificate. See Preface.

SUPPLEMENTARY EXERCISES for this step may be found in Wall Sheets

SECOND STEP.

25

QUESTIONS FOR WRITTEN OR ORAL EXAMINATION.

1 Is the watchfulness of a Class- teacher sufficient to form in his pupils habits of position, &c. 1 Who must form 'ihern ?

2 What is the object of the " Chest Exercises?"

3 In the "Vocal Klang Exercises" •what are the chief points of the pupil's study 1

4 Describe the four steps of this ex- ercise and the reasons for each ?

5 What is the special purpose of the "Tuning Exercises," and what are the three points to which the teacher will give attention during these exercises 1

6 When the tonic chord is established in the ear, what do you yourself feel to be the mental effect of a high May when sung somewhat slowly ? Describe the effect in your own words, as nearly as you can describe it, but be careful to-- describe only your own perceptions not those of others.

7 In the same way, describe the effect of a low Ray.

8 What mental impression do you receive from a high Te 'I

9 What feeling is produced by a low Tel

10 How do you distinguish vowels and consonants ?

11 What kind of persons are com- monly lazy in their use of lip and tongue, and consequently indefinite in their vowels and consonants ?

12 Why is the clear and marked de- livery of vowels so important to the singer ?

DOCTRINE.

13 In choosing breathing-places, what consideration is more important than that of the natural division of the mu- sical line or section into phrases 1

14 Give an example (different from those referred to above) in which " breathing for sense" would contradict the "breathing for phrase."

15 Give an illustration of " breathing for emphasis."

16 Describe the "musical form" called a Round.

17 What is the chief difficulty in sing- ing a Round ?

18 Describe the Four-pulse Mea- sure.

19 Describe the Six-pulse Measure.

20 What sign is used for the medium accent?

21 What is the time name for a silent pulse ?

22 What is the name for a tone a pulse-and-a-half long ?

23 How do we name that quarter of a pulse which occurs at the end of the first half! — that, at the end of the second half ? — that, at the beginning of the first half ?— that, at the beginning of the second half ?

24 How would you dictate the last three measures of Ex. 79.

25 When tones related to one another as Doh, Me, and Soft are, or as Soh,, Tet, and Bay are, are sung together or in succession, what is such a combination called ?

26 When one such chord has been first heard and has pre-occupied the ear,

if another such chord starts from the highest tone of the first what can you say of the relationship between them .'

27 Name or write a third, — a sixth,— a tenth.

28 How are sixths related to thirds ? How are tenths related to thirds ?

29 What is the quality in these inter- vals which makes them so much used in Harmony.

30 What is the difference between a common unison and an identical r.ni- son?

31 Where are octaves and identical unisons useful in two-part harmony ?

32 What effect on the harmony would consecutive octaves and unisons produce ?

33 Name or write two fifths, and two fourths.

34 How are fourths related to fifths ?

35 Of fifths, fourth, and thirds, which contain the nearest or most perfect agreement of vibrations? Which the sweetest ?

36 In what case are fifths avoided by composers ?

37 Why are they not very much used in two-part harmony ?

38 How are fourths regarded in rela- tion to harmony ?

39 Name or write four different sorts of Concords.

40 Name or write several Discords.

41 Describe how the Discords you have heard are prepared and resolved.

42 Describe the passing tones you i have noticed on the weak part of a ! pulse.

43 Hold a steady tone without taking breath for ten seconds.

44 Sing Doh, Me, Soh, DoW, Doh\ Soh, 3Ie, Doh, in Keys D or C, to the " for- ward" Italian Laa, as softly and as pleasantly as you can.

45 Sol-fa any example you please shewing the Mental Effect of high Bay1, — of low Bay, — of high Te, — of low Te.

46 Sing to words the upper part of any one of the Exs. 65 to 70, chosen by the examiner. Sing correctly as to Time Tune and Pronunciation, without breathiness of tone and with proper breathing places. Marks should be giver, for each of these four points.

47 Ditto with Ex. 77 to 80.

48 Sing to Laa the Kay and the Te, to any Doh the teacher gives.

49 Sing to Laa the Hay' and the Te to

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PRACTICE.

any Doh the teacher gives you. 50 Taatai from memory any one of the Exs. 71 to 75, chosen by the ex- aminer.

.'51 Taatai the upper part of one of the Exs. 77 or 78, chosen by the teacher.

52 Taatai-in-tune the upper part of one of the Exs. 79 or 80, chosen by the examiner.

53 Point on the modulator from mem- ory (sol-faaing) any one of the follow- ing lour Exs. 65, 66, 67, 69, chosen by the examiner.

54 Follow the examiner's pointing in a new " voluntary," containing Doh, Me, Soh, Te and Kay, but no difficulties of time.

55 Write, from memory, any other of these exercises chosen by the examiner.

56 From any phrase (belonging to this stage) sung to figures, tell your ex-

aminer (or write down) which figure was sung to Rny, — to Bay1,— to Te,,— to Te.

57 Having heard the tonic chord, tell your examiner (or write down) which tone of the scale (Doh, Me, Soh, Te or Bay] was immediately sung to skaa. Do this with two different tones.

58 Taatai any Rhythm of at least two measures belonging to this step which the examiner shall laa to you. He will first give you the measure and the rate of movement by taatai-ing two plain measures and marking the accents without beating time, but the two measures you have to copy he will aim- ply laa on one tone.

59 Taatai-in-tune any Rhythm of at least two measm-es, belonging to this step, which, after giving the measure and rate as above, the examiner may sol-faa to you.

26 Ex. 81—3.

THIRD STEP.

To execute more difficult Chest, Klang and Tuning Exercises. To recognize the a and b positions, and the various constitutions of Chords, — the resolution of the " Major Dominant," — and the dissonance d <i'inn«t \ iti S. To recognize and produce the Fourth and Sixth of the Scale. To observe the relation of speed of movement to mental effect. To recognize the different sorts of voices. To recognize and produce one tone in absolute pitch and one rate of movement. To pitch tunes. To select breathing places. To gain first ideas of Expression. To be- come conscious of the great break from the thick or first to the thin or second register. To strengthen in men the thin or second register. To recognize and produce half-pulse silences, various divisions of sound produced by combinations of quarter-pulse and syncopations. To study the elements of Chanting. To recognize the partial dissonance t f, and the unprepared dissonance f against s. To recognize the relative motion of two parts.

Ex. 81. CHEST EXERCISE. The same as Ex. 54, except that 15 seconds may now be expected from all instead of ten. If the teacher is not quite sure of being able to count M. 60, ho will use at least a string metronome.

Ex. 82. VOCAL KLANG EXERCISE. To be used with Manual Signs and with the same processes as Ex. 55. After exercising in each key, let the teacher test the pitch. There should be no flatten- ing in these chordal exercises.

II'

KEY C, B and D. Vocal Klang Exercise.

d1 :-

Ex. 83. TUNING EXERCISE. To be used with the same processes as Ex. 56, taking care to secure a soft tone, each part listening for the others and

learning to enjoy the perfect blending of the voices. Ex. 85 and 86 to bo used in the same way, without words.

KEY D. Tuning Exercise for three

d' :— Is :d' t

n : — Is d :— In

: n :d

'equal" voices.

r1

I

Positions of Chords. — In connexion with the toning exercises, a study of the " positions " and " constitutions " of chords will promote thoughtful, and therefore sure singing. Only the more intelli- gent classes, or the more intelligent members of classes will be expected to pursue this study. When the tones of a chord stand one above the other as closely as possible (as D when it stands in tHc order d, m, s counting upwards, — or S when it stands in the order s, t, r) they are said to bo in their normal position, the lowest tone being called th(s Root, the middle tone its Third, and the highest its Fifth. In Ex. 56, measures 3" and 8 D is in its 44 normal " position. In Ex. 83, measure 3, pulses 1 and 2 S is in its normal position. Let the pupils listen to them afresh, and feel their strength. In Ex.

St. Co. (New.)

— S

— :— s

d1 :- I- :-

n :—!—:-

s, : — It, : si

y .o- - y

83, measure 3, pulse 4, S has its root in the lowest part, but is not in its normal position. When the root is in the lowest part the chord, even if not in its close normal form, the chord is in the « position. When the third is in the lowest part, the chord is in its b position See Db in Ex. 85, measure 2, pulse 1, and SA in Ex. 83, measure 3, pulse 3. Lot the pupils listen to them afresh and mark their compara- tive weakness. When the fifth is in the lowest part, the chord is in its c position. This will be illustrated at the next step. The a position is best and most used. The b position is much used to make the melody of the lowest part smoother .,r more pleasant. The. c position is only used in cases, to be afterwards noted, but chiefly in the close of a section, as in Ex. 85.

Ex. 84—6.

THIRD STEP.

•27

institution of Chords. — One or more of the constituent parts of a chord may be omitted or . doubled. In Ex. 56, measures 3 and 8 D ih <n>m- plc-to. Completoieas we mark (when we wish to mark constitutions) by a figure 1, thus Dal. See Sal in Ex. S3, measure 3, pulses 1, 2, and 4. The root (the most important tone of the chord) is often and freely doubled. The trebling of the root „ (not uncommon in four-part harmony) i&^narked Tiy > 2. In Ex. 56 measure 7, pulse 2, the root is trebled, — indeed, the chord has to be supposed. If, however, a third or fifth were added to this trebled root we should call it the chord S«2. The third, the source of sweetness, is rarely omitted. Its omission would be indicated by 3. The third is doubled frequently in D«, DC, Fn, and F< ; but in Db and Fb, where the third is already made prominent by being in the lowest part, its doubling (too much sweetness) is avoided (See Minor Chords, page 46) except for the sake of better melody in the parts ; and in S the third cannot be doubled, because its t always goes to d1 of the next chord, and we should then have the bald effect of two t's going to two d''s — consecutive octaves. See page 21. The doubled third is marked by 4. It is quite common to omit the fifth. Being so like the root, its presence or absence is less noticed than that of the third. Its omission is marked 5, its doubling 6. See Da5 in Ex. 56, measures 4 and 7, and Ex. 83, measures 1 and 4.' See S«5 in Ex. 83, measure 2, and S£5 in

Ex. /T\ d1	85. KE d':d'	Y C. ' t :-	?unin, /> . t	* Exerc d':d'	ise, as a d':t	bove. d':-
n	s : n	s : -	S	s : n	n : r	n :-
d	rv : d	s : -	S	n : d	s,: si	d:-

measure 3. Omitted roots — omitted foundations — are marked om, but we only interpret a chord as having its root omitted when the habits of the ear make it absolutely necessary tor us to think of the absent root in such a place. See Ex. 83, measure 1. Progression of 8.— Notice that S seldom moires to any other chord than D, its t going to d', its/ r to m or d, and its s to d or s or more rarely to m. See the close of Ex. 83, and Exs. 85 and 86. Thus these two chords, which are in their own internal structure the same, acknowledge a relationship to one another. S proves itself the clinging depen- dent on D. But, like other dependents, it is said to dominate — that is to rule the key,-^and is called the Dominant. In fact, its clear declaration of allegiance to D decides the key. Wherever, in the region of pitch, two such chords thus cling together there is a key. Let the pupils listen afresh to the softly load close of Ex. 83.

The Chord Four Soh. — Notice, at the close of Ex. 86, the dissonance d against r occurring in the chord of S, the third of the chord being omitted to make room for it. It would be counted as a fourth in this chord. We call the chord " Four Soh," and write it thus 4S. In this case the posi- tion is a and the constitution 3.

Ex. 84. Name, pulse by pulse, the chords, with their positions and constitutions, of Ex. 85 and 86. Thus Dad, Sal, &c.

Ex. n	86. KI n : r	Y G. n : -	Tunin /r\ n	g Exerc r :d	ise, as a r : r	bove. n :-
d	d :t,	d :-	d	ti : d	d: t.	d:-
d	d : si	d :-	d	si :PI,	s,: si	d:-

L/ froms to AX. i

'From ail-that dwell -be | low the skies — Let the- Ore | a tor's praise a rise —

Words to Er. 85 to be taught at Ex. 110.

'E ternal are-thy | mer cies Lord

'E ter nal | truth at tends thy word —

Let the-Re deem er's | name be sung — Through every | land by ev' ry tongue —

Words to Ex. 86 to be taught at Ex. 110.

'Thy praise-shall sound 'from | shore to shore Till suns-shall I rise and set no more —

Glory-to thee-my God-this night 'for all-the

blessings | of the light — Keep-me-O keep-me King-of Kings 'be neath-

thine | own Al might y wings —

For give-me Lord-for thy-dear Son 'the ill-that

I-this. | day have done — That with-the world-my self-and thee . I

ere-I | sleep at peace may bo —

St. Co. (New.)

Teach-me-to live-that I-may dread 'the grave-as

little | as my bed —

Teach-me-to die-that so-I may . rise glorious | at the judg ment day —

'0 may-my soul-on thee-re pose 'and with. sweet

sleep- mine | eye lids close — Sleep-that -may me-more vigorous make 'to

serve-my | God when I a wake —

'• / -•

28

THIRD STEP.

Ex. 87—96.

The Hold (/r\) signifies that the note below it may be held as long as the conductor or singer pleases.

Mental Effects of Fah and Lah. — The mental effects of these tones are developed with the same process which was used for t and r, page 15.

The manual sign for fah is the hand firmly pointing downwards. The manual sign lor lah is the hand hanging down from the wrist.

Ex. 87. KEY A. Effect of high Fah. Id .t, :d .r |n :d |f :- ||

Ex. 88. KEY A. Effect of high Fah. |d :n |t, :s, |f :f In : - ||

Ex. 89. KEY A. Effect of low Fah.

Id .t, :d .r |n :d | f, :- li

Ex. 90. KEY A. Effect of low Fah.

Id :t,.d|n.r:d | f , : f , | s, : - ||

Ex. 91. KEY G. Effect of low Lah.

|d.r:n.t,!r : 1, |d : t, | 1, : - ||

Ex. 92. KEY F. Effect of low Lah.

:s, |d :n :d |1, :- : t, Id :- ||

Ex. 93. KEY D. Effect of high Lah.

:d In :s It :1 |1 :- Id1 ||

Ex. 94. KEY D. Ditto.

Id :n Is :n |1 :- |s : - ||

Ex. 95. KEY A. Effect of Fah and Lah.

Id :B, In :d 1 1, :f |n :- II Ex. 96. KEY D. Ditto.

Id :s |n :1 |f :s id : — ||

Speed of movement and mental effect. — Hitherto we have studied the mental effect of tones when sung slowly. Let the pupils sing any exercise containing lah and fah very slowly indeed, and notice how their mental effects are brought out. Then let them sol-faa the same piece as quickly as they can, keeping tho time and observing the change. Lah and fah are now gay and abandoned

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instead of weeping and desolate in their effect, and the other tones undergo a similar modification. Let the pupils try in the same way any other tunes which are deemed most characteristic. They will thus discover for themselves that great speed of movement makes the bold tones (d m s) sharper in their effect, though still firm ; and makes the emo- tional tones (r f 1 1) more bright and lively, but leaves them still the emotional tones of the scale. Handel in his songs calls " to arms " chiefly by the use of d m s, but he also employs d m s with great rapidity of movement to express the abandonment of jolly laughter. Emotional laughter, however, he expresses by the rapid use of t r f 1. It is also well known how effectively his songs employ these emotional tones in their slow and more serious moods. Ex. 113 includes good illustrations of f and 1 in both aspects. In measure 3, pulse 2, and measure 4. pulse 2 wo have the quick fah in its lively, abandoned spirit. In measure 5, pulses 1 and 2 we have the slower fah in its more solemn effect. In measure 7, pulse 1 we have the quick lah in its brilliant emotion. In the second-last measure we have the slower lah in its loving, earnest, serious emotion.

The Scale. — We have now studied a key- tone with its six related tones. Seven tones thus related to each other are called a scale. The successive tones of the scale ascending in pitch are, drmfsltd descending, d'tlsfmrd. The pupil must now prac- tise himself in repeating the names of the notes, in their successive order both in ascend- ing and descending, d m and s are readily classified as the bold and strong tones of the scale, and t r f 1 as the leaning tones. Of these last t and f have the strongest leaning or leading tendency, t leading upward to d', and f downward to m. Of the intervals of this scale and its harmonic structure, more at the next step.

The Standard Scale of Pitch. — Hitherto the teacher has fixed the pitch of the key-tone. Tho pupils themselves should now learn to do it in turn. Any conceivable sound can be taken as a key-tone, and the relationships of chord and scale, which we have already studied, will spring out of it. But, — it is found convenient to have one standard scale of pitch tones by which others may be gauged. For this purpose a certain tone called tenor or middle C, which stands high in a man's voice — low in a woman's, and is producible by a

cl'

t

I

THIKD STEP.

29

stretched string giving 256 complete vibrations in a second, is fixed upon as the standard, and its scale is called the " standard scale." This is given at the side. The octave of this tone C1 (512 vibrations) is usually given in tuning-forks „, for vocal purposes.

Pitching Tunes. — The pupil strikes the •" C1 tuning-fork, and runs down to the tone he wants. That tone he swells out, * and then repeats it to the ayllable-doh. At first it will help the pupil's memory to ® notice that he has to spell the words " bag " and " fed " in running down this scale, £ thus :— i™

Id1 :- It :1 Is :f In :r |d :- || D

C' SAG fUDC

Eemembering C1. — It is much more easy ~ to fix on the memory one tone in absolute pitch than is commonly thought, and it is a great advantage to be able to do so. Frequently the teacher asks his pupils to sound C; (which in a man's voice is really C) and then tests them with the tuning-fork. In this way the power of recol- lection is soon developed. In estimating the chances of certainty, however, we should always bear in mind that any bodily or mental depression has a tendency to flatten even our recollections.

Classification of Voices. — In the following ex- ercises the parts are not kept within so close a range as before. It will not now be possible to " exchange parts." It is therefore necessary that the teacher should (either himself or by his assistants) examine every voice in his class and divide them into higher and lower voices. The female and children's voices are naturally pitched about an octave higher than the men's. The pitch tone G- stands at about the middle of the range of female and children's voices. In examining these voices, the teacher pitches this tone as a key tone and requires the pupil to sol-faa, first upward and then downward from it. If the fuller — more beautiful — and more easily produced tones of the voice lie above G it may be classed as a high voice. If the best tones of the voice lie below G, it may be called a low voice. Cultivation may afterwards make a dif- ference, but this simple mode of classification answers our present purpose. The high voices of women and children are called Soprano (pro- nounced Sopraano) ; the low voices, Contralto. The G, an octave lower than the last, serves to divide the men's voices in the same way. It is the quality of the tones above and below G

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or G,, not the present reach of the voice, which decides the question. The high voices of men are called Tenor ; the low voices, Bass.

The Compass of Voices upward and a downward varies greatly, and is not , a sufficient test of their fitness for the high or low "part" in the music, but it is useful to bear in memory that the easy compass of most voices is about an octave and a half. Basses and Con- traltos easily compass — one from G3 to C, the other from G, to C'. Tenors and Sopranos easily compass — one from C, to F, and the other from C to F'. Voice trainers commonly give the name Mezzo- pronounced Metso) Soprano to voices which seem to be between Contralto and Soprano, and Baritone to voices which j are neither Bass nor Tenor. But the & most scientific of them have reached the | conclusion that true medium voices are j comparatively rare, and that those |'

UVUl^JGUroUVOAjr ICUCy CU1U LIUIU MUHJBQ

which seem so are commonly only un- ! cultivated Tenors or Contraltos, — the high part of a man's voice and the low part of a woman's being the most liable to neglect. The diagram, at the side, shows the common easy compass of voices as given above. The difference of the type in the letters and the double printing of F, E, D is explained under the heading " Registers," p. 32.

D<

G

E E

D D

C

I;

D,

C, B2

A2

Octave Marks. — The pitch of doh is always taken from the unmarked octave of the Standard Scale, and this d with the scale above it are without octave marks. But, to save the unnecessary multiplicity of octave marks both in writing and printing, the Tenor and Bass part are always written an octave higher than they really are. In quot- ing octave marks, as in dictation, it may be useful to distinguish the higher octave marks by naming them before the note, and the lower by naming them after, — thus D3 "two-D"— D3 " D-two "— G3 " three G" C| " C-one," &c. It will help the memory to notice that the higher comes first. Thus, we sav that the easy Bass compass is, as above, " from G- two to unmarked C," that of the Contralto "from G-one to one~C," that of the Tenor "from C-one to

30

THIRD STEP.

unmarked F," that of the Soprano "from unmarked C to one-F."

Men's and Women's Voices. — Ask a man to sound the same note as a woman, girl, or boy, or ask them to sing together the air of a tune, and they will sing an octave apart. If you doubt this, get the woman, girl, or boy, after sounding what is commonly called the same note, to sing down the scale an octave ; the man then resounds the note he first struck. The ear will then feel that these two sounds last struck are really in unison, and that what commonly goes by the name of unison is really octaves.

Naming of Parts —In the titles of tunes the initial-letters are used to name the parts, thus : — S for Soprano, C for Contralto, 1 for Tenor, and B for Bats.

Breathing Places.— After Ex. 113, the breathing places are no longer marked, but if the markings already given have been carefully studied, the pupils will be able to mark breathing places for themselves. Before the words are read collectively the class should do this under the guidance of the teacher, who will often remind them of the prin- ciples laid down, page 16. In addition, it may be noticed that if one wishes to take breath before a strong pulse, the time of the breath must be taken from the end of the previous weak pulse ; but that if one wishes to take breath before a weak pulse, the time of it may be taken away from the beginning of the same pulse ; that it is not only convenient but necessary to take a good breath before all long sustained tones or long connected passages. In sol-faaing or laaing breath should still betaken "for phrasing." This will lead to a study of the musical phrases. The importance of taking breath for clear soft "emphasis" will appear in such Exercises as 97, where the purity of the tone on the first dl will be wonderfully improved by requiring a breath to be taken before it.

Expression is such a use of loudwss and softnes* in singing as tends to make the music more expres- sive. Even in the earliest steps, pupils enjoy thus embellishing their music. In the fifth step the subject is more fully treated. Here it is enough to draw attention occasionally to what is indeed the chief part of expression — that which is suggested by the words. In our Tonic Sol-fa books we early adopted the plan of using type-marks for this kind of expression. First, there must be fixed the medium or normal degree of force proper to the general sentiment of the piece to be sung ; then whatever words are printed in the common type are to be sung with that appropriate medium force, whatever words are printed in small CAPITALS are to be sung louder, and whatever words are printed in italic* are to be sung more softly. In writing, a single line is drawn under the words for italics, and a double line for small capitals. These marks of the pen can be easily added by the student to his printed copy. In Ex. 97, the general sentiment of the words is subdued and prayerful ; therefore the common type indicates soft singing, but in the last two lines the spirit of earnestness rises to a climax, and demands greater force of voice. The general spirit of Ex. 100 is soft and gentle, but it should begin very softly — increasing in force as the phrase ascends. Ex. 101 and 102 also open with ascending phrases to be treated in a similar way. Continuous or repeated tones, as in the second line of Ex. 103 and in Ex. 65, suggest the same treatment. Notice that any tun$s like Ex. 102 and 103 which require a light and tripping style, require also a soft voice Observe, in all these cases, how useful this distinction of loud and soft is in marking out the musical phrases or in " phrasing."

Ex. 97 to 103 should now be taught in the same manner as before, except that previous to each exer- cise, the teacher will put the voices in tune by causing his pupils to sing, after his manual signs, for a low key-tone, d m s — f 1 dl — s t r1 d' —and for a middle key-tone d 8( m d — ti 1( d — s, t, r d.

SUN OF MY SOUL.

Ex. 97. KEY C.

Mainzer.

l.Sun

IWhen

:n

3.A -

4. Come

s :s |d' :t of my soul.t thou the soft dewst of n :n |d :r bide with met from neart and bless us

Sa - viour dear, It kind -ly sleep My f :f |n :d morn till eve, For when we wake, Ere

f is |n :d' is not nightf if wear-ied eye - lidst r :t| |d :n with -out theet I thro' the worldfour

t :1 Is ' thod be near : gen - tly steep, r :d jti can - not live : way we take :

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: s

Oh Be : S

A -

TILL

s : s Id1 : t

may f no earth - born my last thought, t — How

r,

: s

bide with me t when

IN THE O - CEANf

	THIKD STEP. 31
1 :1	Is : s	1 :t Id' :n'.r'	di :t id1
cloud a sweet to 1 :f	. rise, To rest For |n : n	hide thee f from thy ev - er f on my f :r |n :f	ser - vant's eyes. Sav-iour's breast! s : -.f in
night is OP THY	nigh, For LOVE WE	with - out thee f I LOSE OUR - SELVESflK	dare not die. HEAV'N A-BOVE.

Ex. 98. KEY G.

d : n Is : s

La - hour's strongfand No de - spond - ing,f

LABOUR'S STRONG AND MERRY CHILDREN.

1 :s

No

Round for two parts.

mer - ry chil - dren,

re - pin - ing!

: n !r : d

Com - radesfof the Lei - sure must t by

t, :d |r :

ris - ing sun, toil be bought ;

s :-.s|f :-.f

Let us sing f a

Nev - er yet t was

: - .PI I r

: r

song to-ge - ther, good ac-com-plished,

d : s, | 1( : t.

Now our toil f is With-out hand f and

done, thought.

D.C.

il

d

All

ALL THE SPRINGING FLOWERS.

Ex. 99. KB? F. Eound for two parts.

:r |n :f

the spring-ini

d1 : 1 Is : f

All the stars a -

f : —

How - -

n

ers,

bove,

Are

n :f

All the

1 :f

s :

fruit - f ul

: t,

tell - ing God is

t :

show

- ers, )

D.C.

-Id :

love.

Ex. 100. KEY D.

d .r : n .f | s : —

Lulla-lul-\a. -by,

LULLABY.

Round for two parts.

d' :d' |t : —

lul - la - by,

is :-

lul - la - by,

f :f

Sweet-ty

In

sleep

:n *

with )

r

M

: r la

f

lul

f

la

n :-

lul - la -

f : f In : n

Sweet - ly sleep with

St. Co. (New.)

r

M

r it

Id

by.

D.O.

THIRD ST1CP.

Ex. 101. KEY G. Round for four parts.

DOH, BAY, ME.

(Id :- I- :- ' 1 Loh,	Ray,	Me,	f :- |- FAH,	. —
1 Us : s |1 :s ' I HOLD YOUR HEAD UP	f :f |s :f in sol - faa - ing,	n : n | f : n O - pen well your	t r : r |n mouth in laa •	B.C. : r ing.
WHO COMES LAUGHING?
Ex. 102. KEY E>. Hd : d |r : r Who comes laugh - ing,	Round for three parts, t n : n |f : f laugh-ing, laugh-ing,	s : d1 |s : n Who comes laugh-ing	•i- r : d .r! n here a - main	P
* t Hn :n |f : f We come laugh - ing	s .s : s .s | s .f : n .r Ha,ha,ha,ha,ha,ha,ha,ha,	d : s |n : d We come laugh - ing	s, : s, |d hero a - main	t »
t ( 1 s .s : s .s| s .f : n .r f 1 Ha, ha, ha, ha, ha, ha, ha, ha,	d .d : d .d|r .r : r .r //a, ha, ha, ha, ha, ha, ha, ha,	t n .n : n .n| s .s : s .s lla, ha, ha, ha, ha, ha, ha, ha,	s .f : n .r |d Ha, ha, ha, ha, ha.	B.C.
GLAD HEARTS AND FREE.
Ex. 103. KEY A. I nd : r : ti f | Glad hearts and	mind for four parts, d : — : free,	* n : f : r Come sing u'ith	n : — : me.
MS : s : s < 1 J ..-I, la, LA,	s : f .n : r .d LA, la, la, la, la,	si : Si : Si Well wo A -	d :- : GREE.	D.C.

Registers. — In the highest part of the compass of men's voices, and in the lowest part of the com- pass of women's voices, may be noticed a remark- able change in the quality of the tones. The place where this change occurs is called "the great break." It is in all voices between F and G. The break arises from the different way in which the tones are produced in the larynx. Below the break the tones are produced by what we may call the first or thick register of the voice, above the break by the second or thin register. In women's voices there is a yet higher register, beginning with g', which we may call the third or small register. These registers of the voice are indicated on page 29, the "thick" register being shown by large capital letters, the " thin " by ordinary small

St. Co. (New.)

capitals, and the '• small " by common letters.*

Optional Tones. — Although the lower registers cannot be forced upward, beyond the limits men- tioned, without injury to the voice, the higher registers can in all cases be used some way below their proper limit. So much is this the case with the thin register, that the three tones F, E, and D are called optional tones, and the pupil is advised to exercise his voice in order to equalise tin; quality and power of these three tones, and to use either M-^-i.stcr interchangeably. In women's voices it is this thick register at the bottom which is commonly found to be uncultivated, and in men's voices it is the thin register at the top which is commonly left untrained.

• Italic capitals shew the Upper thick and thin registers.

Ex. 104.

THIRD STEP,

33

Recognition of the Lower Thin Register. — It will bo seen from the scale, p. 29, that women naturally use this register in the middle of their voices and have no difficulty in recognising it, — that, among men, Basses have little need for it except for solo singing and for any part-music which demands an uncommon compass of voice, — hut that Tenors require a careful cultivation of this register and of the " optional tones." It may also be noticed that Contraltos require a special culti- vation of the first or thick register, but that is deferred till the next step. In order to enable men to discover and recognise the thin register, the teacher causes them to take a loud tone for doh (say D) , which is decidedly within the thick register, and then guiacs them by his manual signs to sing the chord slowly, thus, d m s. If he allows them to sing the soh softly, they will instinctively produce it in the thin register. Having once found that register, it will not be difficult for them to continue the same quality of tone in a downward phrase like the following, s f m r d. Having got back to the doh in the thin register they may then take breath and sing it again in the thick. Of course the pupils can take A| or G| for their key-tone. They will then have to follow the manual signs thus, d m s d1 ; — d' will be delivered softly in the thin register, and the descending passage in the same register would be d1 t 1 s f m r d. It is better that all the men's voices should go through this experiment.

Strengthening of the Lower Thin Register. — Ex- ercise— regular exercise — strengthens the tones of this register so as to make them blend easily into the tones of the stronger register. Like all other exer- cises intended to strengthen th e muscles . it must have something of force and violence in it, a marked shock of the glottis (see p. 1) , but must not be over-strained. For strengthening the legs a run is better than a walk, but ot-er-exertion does more harm than good. Therefore the necessity in the following exercise of using well the forceful staccato syllable koo. It will be remembered that a new combination of the delicate muscles of the larynx is required for every conceivable sound which it produces and that all these muscles and combinations of muscles have to be exercised. Hence, the necessity of using this exercise in various keys, so as to bring intervening tones into play. Ex. 104 should be first sol-faad with the manual signs ; second, sung to koo five or more times, much more quickly and force- fully ; third, sol-faad again. On sol-faaing the second time the quality of the tone will be found

St. Co. (New.}

to be very much improved. But care must be taken not to fatigue the voices. At first five koo- ings will do this, and there must be a rest before the exercise is used in another key. The first and second keys will bo quite fatiguing enough at first. The keys are so arranged that without the use of the tuning-fork the teacher can pass from one to another. For example, after exercising in key B, he strikes ray, calls it doh, strikes the chord and proceeds with the exercise again. After thus using what is called the key of C sharp, he strikes te,, calls it doh, strikes the chord and proceeds with the exercise in key C. In the same way the ray of key C will give him key D. This exercise should be used for a very short time, at every future lesson of this step. If the class is a mixed one, women should join in this exercise, which lies in the lower compass of their voices, and is easy to them. They will encourage the men's voices, and prepare them- selves for a blending of the thick and thin registers at the next step.

Ex. 104. To strengthen the Lower Thin Regis- ter. To be sung in the highest part of men's voices, and the lower part of women's voices.

KEYS B, CJ, C, D.

S

n

n

TIME.

ti :-

The Metronome (pronounced mctronoani) is an in- strument for regulating the rate of movement in a piece of music. It is a pendulum which can be made to swing at various rates per minute. M. 60 placed at the beginning of a tune in the Tonic Sol-fa notation means " Let the pulses of this tune move at the rate of 60 in a minute." The stroke of the metronome is the moment when it passes the lowest point of its arc. In the case of very quick six-pulse measure, the metronome rate is made to correspond not with pulses but with half measures — " beating twice in the measure."

Sustaining the rate of Movement. — When a tune, as in psalmody, is intended to be sung to several verses, the singers may vary the rate of movement according to the sense of the words, and in simple songs this rate of movement may be occasionally accelerated or retarded to suit the sentiment. But even this power of varying the rate of movement with any good effect depends upon a previously gained power of sustaining the rate of movement uniformly. Exercises for the cultiva-

34 THIRD STEP.

tioa and testing of this power are frequently in- troduced. The teacher causes his pupils to taatai on one tone a simple measure, thus, TRAA TAA TLAA TAA, repeating it steadily, say six times with the metronome, so as to get into the swing. He then stops the metronome and they continue holding the rhythm steadily for another six measures. Just at the stroke of the first pulse in the next measure he lets his metronome go, and then the class immediately see whether they have sustained the rate. Accomplished musicians say that this power of sustaining a uniform speed is one of the first and most important musical elements. The irregular and ever-varying speed of movement, without any apology, on the ground of Expression, which many organists and precentors indulge m, is very painful to practised ears.

Remembering M. 60.— It is quite common among Tonic Sol-faists to be able by habit to form a concep- tion in their own minds of the rate of movement given in the title of a tune, without referring to a metro- nome. This power is gained by first fixing in the mind the rate of M. 60 as a standard of comparison. Then, twice that speed, M. 120, or a speed half as fast again, M. 90, are easily conceived. Even some intermediate rates are recollected with considerable precision. To fix M. 60 in the mind, the teacher frequently asks his pupils to begin taatai-wg at what they conceive to be that rate, and then tests them well with his metronome. The recollection of rate of movement is, like the recollection of pitch, af- fected by temperament of body and mood of mind. But these difficulties can be conquered, so that de- pression of either kind shall not make us sing too

°The silent half-pulse is indicated by the absence of any note between the dot which divides the pulse in two and the accent mark. It is named SAA on the accented and SAI on the unaccented part of the pulse. See Exa. 105, 106, 107.

The three-quarter-pulse tone is indicated by a comma placed close after a dot, leaving a quarter to fill up the pulse. It is named as below, TAAfe. Ex. 105. Slowly, — and quickly.

With lighter accent and quicker speed TAAfe is the same thing as TAA-AA-TAI. And this is the same thing in small as TAA-AA-AA TAA. The teacher causes such an exercise as 71 to be sung quit kly and lightly.

Two quarters and a half are indicated by the use of the comma and dot, as below, Ex. 106. Thin pulse-form is called tafaiAi. It is the sum. in its nature with the larger and more strongly accented time-forms TAATAI TAA and TAA TAA TAA -AA. The teacher causes such exercises as 72 to l>u sung rapidly.

A half and two quarters are indicated as below, Ex. 107, and are called TAAtefe. This pulse-form is the same in its nature as TAA TAATAI and

TAA-AA TAA TAA. Sec Ex. 76

Syncopation is the anticipation of accent. requires an accent to be struck before its regularly recurring time— changing a weak pulse or weak part of pulse into a strong one and the immediately following strong pulse or part of a pulse into a weak one Its effect in time is like that of a discord in tune It is a contradiction of the usual and ex- pected. Both the discord and the syncopation should be boldly attacked and firmly held by the voice,— just as one grasps a stinging nettle to master it. Insufficient definitions of syncopation have led many singers to strike the new accent, indeed, but also to retain the original strong accent on the immediately folio wing pulse. This common misunderstanding entirely destroys the intended effect. In Ex. 108 the first line shews how synco- pations are commonly written, and the second line shews the real alteration of accent which they create and the manner in which they should be sung. Note that it is difficult to "beat the measure" in the ordinary way (see preface) during syncopations, because they seem to contradict the beating. It is easier to beat simply pulse by pulse.

Exs. 105 to 109 should be taught as above, pp. 7, 8, and 19, especially with " time-laa-ing," p 8.

1 .1	.1	1 .1 :
TAATAI	SAA-TAl	TAATAI SA
KBY F.
n.r : .d	Ir.d: Is	. f : n . | n .r : d .
KHY Q.
s:. : t	,d.n: if	.r:t,. |B.n:d.
St. Co.	(New).

TAATAI KBY F.

| s.r, : .lls.n:

TJLA.SAI TAATAI TAA5J7

Is.f :r I f .n : d . ||

KEY

n.s:

f.l:

f.r.f. |n.d:n.

THIRD STKP.

85

Ex. 10& Slowly, — and quickly.

ul .1,1 : 1 .1 | .1:1

\ I TAAtefe TAATAI

SAA1A.I

1,1.1 : 1 .1 |1 •

tafaTAI TAATAI I TAA&4/

KEY Q.

d.r.n: d.S|| .l(:

: f .n|r. :d

KEY F.

|s.f,n:r.n| .f :n |n,r,d : t,.d | n. :r

KEY G.

n.s,f: n.d | .f : r |n,s.f : n.d 1 1|. :d

KEY C.

s.l,t:d'.s| .1 :s

': t.s |f . :n

Ex. 107. Slowly — and quickly.

1 .1,1:1 .,111,1.1,1:1

TAAtefe TAAfe I tafatefe TAA

1 .,1:1 .,111 .1 :1 .1

TAAfe

TAAfe

KEY F.

|s .f,nr.r .,d|t,,d.r,m:f

KEY D.

|d .r,m:f .,m|r,m.f,s:l |s ,,f:m .,r|s .f :n .r

KEY D.

|m .f,s:l .,t|d',l.s,m:r |d .,m:r .,f IPI .s :f .1 Ex. 108. Slowly — and quickly.

) TAA TAA TAA TAA -AA TAA TAA TAA

.f :s .m fl

|s .m,d:s .,d|s,f .pi,r:m |r .,f:m .,d|f .1 :s ,m

-AA TAA TAA

Ex. 109. Skwly — and quickly.

I :1 1 .1

, ,

.1 11.1 :-.! l-.l :1 .1 II

TAATAA TAATAI TAATAI -AATAI -AATAI TAATAI TAA

Chanting is the recitation of words on a single1 tone with, a musical close or cadence at the end. The chant of English origin, called the Anglican Chant, has either two reciting tones with cadences, in which case it is called a " single chant," or four recitations with cadences and is called a " double chant." The most important rule in reference to chanting is that the music should be well learnt •'by heart" before any attempt to apply words to it. The chant is commonly and properly applied to prose words (see next step), but the chanting of hymns is not out of place when the hymns are very long. It also forms a good exercise preparatory to the art of prose-recitation. The rhythms are so

St. Co. (New.}

simple and admit of so little variation that attention can be almost exclusively given to distinct and sharp utterance.

The division of words for Chanting is commonly made simply by placing a single bar where the cadence begins and a double bar where the cadence ends. In addition to this there have been many contrivances for guiding the manner of the recita- tion so as to secure appropriate breathing places and to prevent confusion. Our Tonic Sol-fa teach- ings naturally suggest the division of the whole into pulses. Our simple rules are that the syllables which ktmid together — whether joined by hyphens or otherwise — are to be sung in one pulse, — that

36

TlilKD STEP.

Ex. 110

this mark ' before a syllable denotes a silence on the first half of a pulse and a convenient breathing place, — that this mark . denotes a silent pulse, and this — the continuation of a sound. In Ex. 8-5 notice the rhythms to the short recitations TAA TAATAI twice, SAATA.I TAA TAA once, and SAATAI TAATAI once, and the rhythms to the longer recitations S^TAI TAATAI TAATAI twice, TAA

tAATAI TAA TAA OnC6, and SAATAl TAATAI TAA

SAATA.I once. Verify each of these rhythms and study the reasons for their differences of rhythmic form. Why will not one form do for all the short recita- tions, and another for all the long ones ? It is important to notice that the pulses of the cadence and of the recitation move at the same rate although it is customary and also natural to put more syllables into each pulse of the recitation than into those of the cadence.

In teaching Chanting the teacher causes his pupils (a) to taatai a line by pattern, (b) to recite it by pattern, clearly and distinctly, and (c) to sing it to the chant already learnt by heart.

Ex. 110. Chant the words to Exs. 8-3 and 86.

New Consonances. — Hitherto we have had for thirds and sixths and fifths and fourths (See p. 21) :

n s t r1 s r1

AND

d n s t II

Now, there are added

1 d' f d1 1 n'

AXD

fir f n 1

The harmony student will find and mark cases of each new consonance, and listen to them while the music is sung.

The Partial Dissonance. — The very peculiar interval of the scale f to t with its inversion f to t, is not a discord according to the description at p. 21. But its effect on the ear forbids it to bo called a concord. The ear requires rest and sweetness after it, and therefore expects f to go to m and t, to d. We call it the partial dissonance. See and hear Ex. 116, M, m \,p 4. — NOTE. — / stands for lint or score, m for measure, and p for pulse, — Ex. 119, I 1, m 4, p 4. But the effect of the partial dissonance is specially illustrated in the cadences of Ex. 99.

New dissonances. — We have hitherto studied (see p. 21) one dissonance, d against r. It is the model of those dissonances which occur on the strong pulse and

St. Co.

are regularly "prepared" and "resolved." We now have other dissonances of the same kind. In Ex. 114, in addition to d against r in m 3 and 6, we have 8 against 1 in m 4, and f against s in m 2. In Ex. 116, in addition to the ordinary d against r, I o,m 1, we have the same dissonance with delayed resolution / 4, m 1, and m against f with the less common interrupted resolution, — the consonance 1 "interrupting" the resolution of m' upon r', and f against s in II, m 2.

f against s. — Although this dissonance is used on the strong pulse, and with tho same kind of preparation as above, it is far more commonly used on the weak pulse and often without any sort of preparation. Its favourite form of melodic pre- paration, however, is when the f comes down step- wise from s and goes on as it always must to m. See and listen to Ex. 97, I 2, m 2, p \, 2,— Ex. Ill, m 7, p i — where f is unprepared and has an inter- rupted resolution, — and Ex. 118, m 5, p 2. This dissonance f against s is tho model of unprepared discords.

Belative Motion of Farts. — Two parts may follow each other upward or downward at the same time. This is called similar motion, and is generally sweet and pleasant, as in Ex. 97, m 5, and in Ex. 99, when the first two measures are sung with the second two. Two parts n?ay move upward anddownward in opposite directions. This is called contrary motion, and is exceedingly gratifying to the ear. See and listen to Ex. 97, pulses 3 to 6 and 9 to 12, and Ex. 99, when the third and fourth measures are sung with the fifth and sixth. In the last case, indeed, the parts cross one another. The crossing of parts is common in Rounds, but not in other composi- tions. Anything which tends to confuse ono part •with another is objected to in modern music. Oblique motion is that in which one part "stands" — that is, continues the same sound, while the other part moves downwards or upwards. See Ex. 117, m 6, 7, und Ex. 97, beginning of line 2. Very much of the relative motion of parts cannot be described by these simple terms. The ear could not be satisfied with one sort of relative motion only. It requires variety ; but that which satisfies longest is the similar motion.

Imitation. — The music-student cannot fail to notice that every kind of imitation is agreeable to the ear. It is a great help to the singer to notice such cases. Imitations in the waving of the

THIRD STEP.

37

melody — or melodic figure — such as that simple one in Ex. 70, I 2, where the air of the second measure imitates, in figure, that of the first, — or that in Ex. 98, between the two parts at the opening of line 2, — or those in Ex. 101, I 2, are easily per- ceived. The imitations in Ex. 116 are interesting. In the opening, the second part is imitated by the first, for a measure and a half, starting a fifth above. In the second line the music of " grief of heart " is replied to, a fifth above, by that of " killing care ; " then, the second part repeats "grief of heart" a small step higher and is again replied to by the air a fifth higher. Let the student carefully verify observations like these ; it will teach him to see more in a piece of music than most others see. When the imitation is in two or more parts simul- taneously, as in Ex. 97, pulses 9, 10, with 11, 12, it is called a harmonic sequence. The study of rhythmic imitation is very interesting. See in Ex. 113, I 2, tafaTAi tafaTAi TAA quickly replied to by the same rhythm with contrary motion. See TAA TAATAI TAA in Ex. 116. Find other examples.

41 Elementary Rhythms," containing passages selected from popular songs, and published separ- ately, will now make good home practice and prepare for the elementary certificate.

Ex. 111.

II

d

Oh!

r

give

OH ! GIVE

KEY A. Hound for four parts. t

n : d ,,d

thanks to the

Laa Voluntaries. — When once the use of the Sol- fa syllables is fixed in the ear and has obtained mnemonic power, it becomes very important to prevent that otherwise useful power satisfying the pupil. The practice of laa-iny every tune which has already been sol-faad is a step towards liberty, but laa-ing the Modulator voluntaries is a step further still towards that ready perception of the mental effects of the tones, apart from associated syllables, which is desired. This practice, there- fore, of laa-ing at first sight from the teacher's pointing should be constantly used.

The Pupil's Pointing on the Modulator while lie sol-faas must still be encouraged. Where it is possible for the pupils to point in class — each using a mounted " Home Modulator," and holding it up, while the teacher passes along the rows behind or stands on a chair or table so as to overlook all — that is the best plan. It makes all work.

The " Standard Additional Exercises" appended to this book, introduce four-part pieces at this step.

The " Standard Mixed- Voice Exercises " and the " Standard Men's Voice Exercises " introduce four- part music in the course of this step.

THANKS.

		* t
r :	ti	d	: s,	n : f	s : n .,n	f	:r.,r	n	:d
God	of	hea	- ven,	For his	mer- cy en-	dur- eth for	cv	- er.
				B.C.
Si :	S|	S|	:d	:	:	S	: s	S	: n
Hai-	le-	lu	- jah,			Hal	-le -	lu	- jah.

PEACE, LOVELY PEACE. Ex. 112. KEY El?. Round for four parts.

t

d	: r .r	n	: - .r	n .n	:f .f	S
Peace,	love - ly	peace	a -	gain re	- news her	youth,
t			t
S	A\ . f rl i,U . I .,!	d1 .s	:s .f	n	: r	d
rah,	hur- rah for	Dcace and	lib - er -	ty	and	truth.
St. Co. (New.)

Hur- D.C.

38

THIRD STEP.

PRAISE YE THE LORD.

Ex. 113. KEY A. s, : - .s, |d : - .81 Praise the Lord f with PI, :- .n, |n :- .s s.f.n :f,n.r |n :	n : r |d : .s cheer - ful voice, f Ke- d : Si | HI : f :- .£ in Praise the Lord .81 li,t,.d :ti,d.r |d	A. L. C. s,f .n : f,n.r |n : .s
joice, f re- : .t,|d : Ee-joice, : - .n r : f f with cheer - ful ; .S| li,ti .d i ti,d .r
joice, : .t, Id : re - joice, in : .s 1,8. f :n
re- joice, .8 |f,n.r : d .n r	re- joice, :- .r |d : re - joice. :- -f, in, : re - joice. n :- .f |s :d To our God. f the s, :- .f, |n, : n, Sing the great - ness Ev - 'ry liv - ing n : r |d : — ment f on high, d :s, |n, : — psal - fry bring, t no - blest song, t n,r.d : r,d.t, |d .r : n .s
voic«, re- joice, - - - d : 1, .t; : d .s, 1, ,t, :d .s, f,
Praise t, :- .d |r .d : t, .d	the Lord, re- joice, r :n |f ; — t joy - ful raise fi : a, 1 1, : — acts f ro - cord, name di - vine, s, : - .81 id : - .s, While the fir - ma- rii : - .n, in, : - . s, Trum - pet, harp, t and Bring your sweet - est, n r id : .r ma - jes ty. t Re- Si : f i mi : tune - ful string, loud and long, 1 :- .1 is :- .d Praise the Lord f with f :- .f, in, :- ,n,
1. In his tern - pie r, : - .HI |f .n, : r, .HI
2. Now his migh - ty 3. Now to praise t the r .n : r .d |ti : —
song of praise, f, .8, :f, .PI, ir, : —
t of our Lord, t crea - ture join, 8 : - .f |n .r :n .f
Sing his pow'r fond. n : - .r |d .ti : d .1,	joice, f re- : .8, |d : - .n Re-joice, t, :r id : — cheer - ful voice. si : - .f, |n, : —
Sound his praise f with Swell the chor - rusf / s,f.n : f,n.r |n .f : s
] joice, ( n,r.d : r,d.t, |d .r : n

St. Co. (New.)

EX. 114. KEY C.

S A~

:f

THIRD STEP.

AMEN.

"" """ • V	1 :r
r	: s	— :f
. •	-

39

Mainzer.

- :d'	- :t	d1 :-. men, d :-. i men,
n : 1	r : s
-	-

S ! d1	f	:t	PI :1
A .n	:- .1	- .r	: - .s	- .d :"- .f
A	.	.

r : s	- .t :1 .t	d1 men. PI men.
- .ti : - .n	r .s : f
.	.

THE SKYLARK.
Ex.115. KEY E|?. Words by Ho/jg.	M. 96.	A. L. C.
s : - .1 : s	S	: - . f : PI	n	-.f :s	1 :-.s:f	n : r : n
1. Bird of the rep. Em- blem of PJ : - .f : n	wil - der-ness, hap - pi -ness, PI : - ,r : d	Blithe - Blest d :-	some and is thy - .r : n	cum - ber-less, dwell- ing-place — f : - .n : r	Sweet be *hy Oh! to a - d : t, :d I
2. Then, when the rep. Emblem, &c. s : - .f : PI	glo<	im - ing comes,	Low	in the	hea ' ther blooms,	Sweet will thy
1st time. r : n : f	n : •	D.O.	2nd time. r : n : r	d :- :
ma - tin o'er bide in the PI : - .r : d	moor-land and t, : d : r	lea! d :		de - sert with t, : t, ': t.	thee! d :- :
wel - come and	bed of love	be;		de - sert with	thee!
P • • 1 .t,d': s .n : s		1 ,t,d': s .n	: s la, : PI	d .r,m: r .n,f : PI .f,s f .s,l: s ,l,t:d' \
La la la la, f .f : n .d : n	la la la f .f :n .d	La la la la la la, t d . : t( . : d . r : n .f : n
1 .t,d': s .n : s		1 .t,d': s .n	: s la, : PI	d .r,n: f ,s,l: s .l,t d1	: — :
La la la la, f .f : n .d : n	la la la f .f :PI .d	La la la la a . : r . : n .f n
St. Co. (New.)

TIIIKD STEP.

Ex. 116. KEY C.

; i :

d : r .n I f :f In sweet mu - sic,

IN SWEET MUSIC.

s :l.t|d' :d'

In sweet mu - sic

f : PI .r |n : d

r : —	|r	:f	n :	1 :
Kill -	ing		care,
t, :-	It,	: r	d :	.n|n : d	S
				and grief of	heart

Id1 :1

kill - ing

I— : —

heart,

— : d1 |t : t

and grief of

r ;n.f |g :f

sleep, or hear - ing

r :— |r : —

hear - ing

d :— |t, :-

n1 :-|

care,

— : — |s

d1 : —

heart,

PI : —

die,

d :-

die.

d : —

1 .s

	Gebhardi.
d1 :t.l	is : —	1 :s.f|n : \
is such	art,	is such art, f
1 :s.f	in : —	f :n.r|d : k
;	It : s	r1 :— |— :- \
	kill - ing	care,
s : —	1 — • —	- :s |f :r
heart,	and grief of
- : 1 and	grief	— :s id1 : — of heart, /
f x • ~~ sleep,	If :s.f fall a -	PI : — |PI : f .n( sleep, fall a - t
1 : —	is :f	n : — |n : —
Fall	a	sleep or
f :-	|n : r	d :— |d : —

Ex. 117. KEY D.

HALLELUJAH.

>	Hal- -.t:T	t :-.! lo • lu- -..:?	S : f .n	r.l :s.f	n .d': —	— : t	d' : men. n : -jah.
jah, Hal- - .n : r	le - lu -	jah, A - d .n : 1 .s mcn,Hallelu	f .r:s.f -jah,Hallelu
A -			-	-
Ex. 118. d.s:-.f	KEY A. - .n : - .r	H/ r .d: - .t.	iLLELUJAH, AME d . : n r : f	N. PI : S	f :r	Mainzer. d. :
Halle - lu d :t,	- jah, A- 1. :s,.s	men, A-	men, Hal- n;.sr. d .t	le - lu -	jah, A -	men, A -	men. d. :
Hal - le -	lu - jah.A-	men, A -	mcn,Hallelu	- jah, Hal-	- le - lu-	- jah, A-	men.

St. Co. (Xeic.J

THIRD STEP.

41

Ex. 119. KEY A. : d .t,

Art thou

^ : n,.f,

: - .r |n .,f : s .,d

poor, yet hast thou golden

n, : - .t, |d .,li: t(.,d

ART THOU POOH.

t, :~ id :-

slum

bers,

:— |d : —

: n .,f

Art thou

: d .,r

r

rich

ti

: - .d I ti .,r : d

yet is thy mind per

:-.lils,

r :-

-plex'd,

s, :

ment !

s, :

'n : r

num - bers

Id :t,

:d.t,

Dost thou

:n

d : - .r In .,f : s .,d

laugh to see how fools are

1, : -.t( |d .,r : n .,d

:d

gold - en num - bers,

1, :s, |f, :n,

r

Oh

r,

r : — I n : f	F. L. R. n : —
O sweet con • - d :— |d :t(	• tent! d : —
1 :	d :-	t, :1,
1 :	Oh 1, :-	pun • ish - r, : r,
t( : d	- .r : n .,f	s :f
vex - ed Si : d	To add to - .t, : d .,1,	gold - en t, :r
n : r	d :— |— :
sweet con •	tent!
S; : f |	n, :- I- :

WHERE DO THE FAIRIES DWELL?

Ex. 120. KEY C.	A. L. C.
s .1 ,t : d1	.r1 |n' .r1 : d1 r',c	I'.t : In'.r'.d1 :	.d1 :t .d1
Tell roe where the fair-ies dwell, t Te] n .r :n .f |s .f :n	L me, t Tell me t : s,f .n 1 : f ,n .r r	where fair-ies i : r .n
		Tell me, Tell ma;
r1 :	.r1 :n'.r> Id1 :-	f .f \t \- .n :r .f	1 : .1
dwell ? f : s,f .n Tellu	where fair-ies dwell ? f : s .f |n : - ic	In some cay - ern dark an r .r : r .r |r .d : t( .r	d deep ? Oh ( f ^ \ d deep?
In some cavern dark an
r1 : s	.s:s |-.f:n.d't	: .t n1 : r'.r':r |-.d:	t .1 s : .s
no! I — : r I	n some qui - et mossy cell ? .n : n .n|n .r : d .n s	Oh no! In the depths of shady woods? Oh :— — f .f :f.f if .n:r.f n : —
n some quiet mos - sy cell ?	In the depths of sha - dy woods? ,
St. Co. (New.)	D

42

THIRD STEP.

Id' no!

Not .3

r'

there, t

.s In1 j'.d'rr' .t not there do the fair-ies .8 | s .f ,n : f .r

d'

dwell n

'" J

Thenl

r^d'.t tell me

>» : s,f jn

tell me,

tell me,

:	t	:r'	|f
: f ,n .r	where, S	where, :f	where ? Ir
tell me,

s .n',r' : d1 .t ) All a - mongthe' n .s,f : n .s (

fra- grant flow'rs,

f .f :n

f .8,1 : s .f |n .f,s : r

'Neuth the drooping li - ly's bell, r .n,f : n .r id .d : t.

s jn',r': d1 .t I .t ,d': s .s

In tho pur-pie vio-let's Ded,'Tis

n .s ,f : n .s I f ,f : n .n

r1 .U:n' .r

there the lair- irs dwell.

f .f :s .f In

s .n'.r'rd' .t |1 .t,d': s

La la la la la k la la la, n .8 ,f : n . ! f .f : n

f .s,l:s .f La la la la la

r .n,f : n .

Iln .f,s : r la la la la.

Id .d :t,

s .n'.r'td1 .t !1 .t,d': s .s

La la la la la la la la la "i'is

n .s,f : n . |f .f : n .n

Modulator Voluntaries have now increased in rapidity and difficulty, though they are still confined to one scale. To make sure of avoiding mannerisms and to secure variety, the best teachers find it necessary to study and prepare their voluntaries when they come to this step. The " Hints for Voluntaries " are only intended to suggest such as are suitable for each step. The teacher who wishes his pupils to follow his pointing rapidly can teach them to do so, by never letting his pointer wait for them.

Ear Exercises. — A tew two-part Ear Exercises, as in the " Hints," can now be wisely introduced, but only to quick and observant classes. To others each " part " of the exercise will serve as a separate exercise. When the great majority of the class do not follow the ear exercises with pleasure, the teacher goes back to earlier steps, — continually re- minding his pupils, not by words, but by examples and illustrations, of the mental effects of particular tones, and continually urging them to notice the first tone of the exercise after the " prelude." The

St. Co. (NewJ

r1 .d^tin1 .r1 Id1

there the fair-ies dwell.

f .f :• .f In

necessity of written answers to the ear exercises increases with the length of the exercises.

Time Ear Exercises as at page 24, are still con- tinued.

Dictation. — See pp. 12, 24, but name the octim * as at p. 29. Thus, the beginning of the last line above "TAAtefe m f s" — "TAA r" "TAAtefe s, one-m, one-r."

Pointing from memory, writing from memory as at pp. 12 and 24.

Elementary Certificate Slips being given to the pupils, they are now, — that is six weeks before the close of the class, — constantly coming up for indi- vidual examination in one requirement or the other, first passing the examination of the assistants, and then that of the teacher himself. The examination is conducted sometimes before the whole class, some- times privately, according to the convenience of teacher and pupils. All the requirements must be done within six weeks, else the examination begins again.

THIRD STEP. QUESTIONS FOR WRITTEN OR ORAL EXAMINATION.

43

I What is a " hold "—What does it signify .'

•2 What is the advantage of a know- ledge of chords to the singer !

3 Describe the normal position of a chord .'

4 What are the root— the third— and fifth of a chord .'

5 What is the difference between the a position and the normal position of a chord ?

6 What is the b position of a chord ? — the c position ?

7 Which of these positions is the most acceptable to the ear .' and how are the other positions used .'

8 What does the name " Constitu- tion" of chords refer to .'

9 How do we figure the omission of the third ?— of the fifth '!— of the root ?

10 How do we figure the doubling of the third !— and fifth .' — and trebling of the root .'

II Which of the three tones of a chord is most easily oni'tted without notice ?

12 What quality of a chord is lost by omitting the third .'—the root .'

13 Which tone of a chord can be easily doubled because it is the least noticed .' — and which because it is the most characteristic and important ?

14 In the resolution of S into D where does te go ? — sohl — ray ?

15 Why is S called the Dominant ?

16 Describe the chord *8

17 What do you yourselves feel to be the mental effect of low lah .' — of high lah 1

18 What is the effect of high fan 1 of low/a/U

19 How does greater speed of move- ment modify the mental effect of doh, me, and soft I — of ray, fah, lah, te > Mention any examples that occur to you.

20 Which are the strong tones of the scale, and which the leaning tones >. Which have the strongest leaning tendency '.'

21 What are the successive tones of the scale descending in pitch 1 — What are they ascending ;

22 How many vibrations in a second give the standard pitch tone, middle

3 ?— In what part of men's voices is this C ? Where is it in women's voices ?

23 Describe the manner in which tunes are pitched from the standard scale.

St. Co. (New).

DOCTRINE.

24 What variable circumstances affect our power of recollecting a tone in absolute pitch ?

25 What pitch tone stands at about the middle range of female and chil- dren's voices ? — of male voices .'

26 How do we judge whether an uncultivated voice belongs to the con- tralto or bass class of voices, or to the soprano or tenor ?

27 What is the easy compass of the soprano voice ?— of the contralto ?

28 WTiat is the easy compass of the tenor voice ? — of the bass