Escolar Documentos
Profissional Documentos
Cultura Documentos
SiGHT-SINGING
(CURWEN'S EDITION,
5130.)
BY
ARTHUR SOMERVELL,
MUS.DOC. (CANTAB.).
FOURTH EDITION
LONDON:
J.
K
Books) 6d. each.
LTD.,
24
BERNERS STREET, W.
PRICE
and Second
sets of exercises (Pupils'
B18TRE./ONTST
BOSTON
"nvn & Son
Mr
870
PREFACE.
IT
is
music at sight
after
all,
This
is
encouraging,
by
all
who have
at
the
teaching
of
sight-reading
are
forms part
obtained
in
the
curriculum
and
although
good
results
only
places
there
no reason
why
of
this
teaching of sight-reading
is
knowledge
of literature.
But putting
work
is
many
places, excellent
we turn
few
here that
we
rarely treated
educationally*
The singing-
where there
is
one, exists
for the
members
it is
but for
all
the value
to
that
needed.
,
is
who goes on
music at
subject
all,
of the
by learning an instrument
it
musically,
unusually intelligent,
is
of little value to
to sing a part
* No subject can be treated educationally in the time usually allowed one hour per week.
Fifty Steps in Sight- singing.
IV
PREFACE.
in a choir.
Nor
When
master such a
is
the boys pass on to a public school they usually find that the music
of
man
greatly hampered
by the
boys
come
to
heart-breaking
at
while the
never learned
sight
to
makes
it
them ever
power
do
so.
This
teachers
;
is
younger a child
is
(within reason)
when
I
he begins to learn sight-reading the more easily will he master the subject.
classes of
;
child over twelve years old can sing almost anything at sight, because they have
is
Many
parents are
now beginning
younger
generation to
grow up
and
own
children, shall
cease to exist.
for a
And
so
different sources
lessons that I
demand by publishing
go on from one lesson
lesson
some
of the results of
my own
own
when
to
some
children, the
same
may
have to be
will
every day will be found more valuable than a longer time once or twice a week.
The important
songs,
and the
class of
PREFACE.
regard to the
last, it
" for his delectation," a piece of bad music, is as unpardonable as to recommend " " It is unfair to make anyone grind as an example of literary art. Scraps
at a subject such as sight-reading, without at the
of
therefore
class of
behoves parents to
good
sight-reading lessons; exactly as most children learn poetry and have stories
read to them while they are learning to read. " It is commonly asserted that " good music
is difficult,
it
lies
in families where no
well.
But
there
is
difficult, but,
on the
and
it is
hardly necessary to
and natural
heritage.
and there
is
no doubt that a
best
The
attention of teachers
is
particularly called
two Appendices
at the
AETHUK SOMEHYELL.
KENSINGTON, 1904.
Fifty Steps in Sight-singing.
VI
FREFACE.
APPAEATUS.
(i)
(ii)
(iii)
A pointer or small baton. A Tonic Sol-fa Modulator (seven keys) A blackboard, blank on one side and ruled (iv) A note-book for each child.
.
for
(v)
An MS.
child.
new key
is
being
first
or
I (SOL-FA).
effect of
The
class
me may be added.
aotes
(ii)
also
class
The
dmdsmdd'sd'smsdsd'smd'msd
(iii)
Ear-tests.
One
to
the
syllable laa,
and the
This
is
STEP
(i)
(ii)
II (STAFF).
A short recapitulation of the first part of Step I. A large stave should be drawn on the blackboard,
in
and
called
doh.
The
class
the Tonic Sol-fa Modulator from doh to doh\ and then the lines and spaces
upwards.
The
way
the places of
me and
The
class
should
then (using the Sol-fa names) sing these notes in any order as the teacher
points to
(iii)
them on the
Staff Modulator.
The following
and
(iv) Ear-tests.
The
notation in their
MS.
books.
sung slowly to the syllable laa and taken down by the children. be found advisable to sing the doh between every two notes.
2
STEP
(i)
III (SOL-FA).
te,
The
class
Ray and
te).
te
should not at
first
by
(e.g., soli
ray, soh
te,
or
me
The following
:
new
:
notes should be
by the
class
drmsmrdsd'td'smrmsd'td'smrd
(iii)
ear-tests should
class to write
The chord
test
of the
and each
given twice.
dr
(i)
Examples
dm
mr
the
first
ms
d't
sn&c.
STEP IV
(STAFF).
A short recapitulation of
The
staff
(ii)
written
the places of
rat/
and
te
may
easily be
When
found, these
may
be written on
The
to
(iii)
class
should then sing the notes already learned as the teacher points
them.
or similar passages should be written on the blackboard
The following
and
4fe-^-^
(iv)
Ear-tests.
The chord
of the
key having been sung or played the teacher laa any two of the notes already learned, and the
in the staff notation in their
them down
MS.
books.
STEP V
(i)
(SOL-FA).
fa/i,
The
class
Fah and
1
skip
(ii)
ml
&o.).
The following
new
notes, should
be
by
the
class.
Example
drmrmsfmrdd'tltd'slsfms
(iii)
td'sfmrd
The chord
test
The following
sung
down
in their note-books.
test,
of the
and each
given twice.
si
&c.
STEP YI
(i)
(STAFF;.
A short recapitulation of
The
Staff
the
first
part of Step Y.
(ii)
Modulator having been drawn on the blackboard with the six may easily be found by the
reference to the Sol-fa Modulator.
by
When
found, these
may
be
written on the blackboard as small opaque notes to the right of the chord
of C.
The
class
should then sing the notes already learned as the teacher points
to them.
(iii)
The following
and
-f
c?-
4
(iv) Ear-tests.
The chord of the key having been sung or played, the teacher should sing to the syllable laa any two of the notes already learned, and the children should write them down in the staff notation in their
MS.
books.
STEP YII
(i)
(SOL-FA).
(ii)
this
should be explained to the class, and examples of time sung, both teacher and class beating time.
(iii)
The following
sung
first
and
to the
is
ways doh
:
time-namest and afterwards to the syllable doh or lah (in some better than lah, as it is an easier sound to articulate sharply
:
Id
Id
:d
jld
Id
:d
Id
:d
Id
:d
Id
I]
(iv)
Exercises 1,
3, 4, 5, 6,
and 7
in the
"
Criterion Sight-reader
:
"
(Part I)
jld
:n
Is
:f
In
:r
If
:m
Ir
:m
Id
:r
It,
:1,
Is,
(\s
:f
Im
:r
|d
:t,
Ir
:d
II,
:t,
Id
:s'|f
:r
Id
II
KEY F-
jlm
:f
II
:s
If
:m
Ir
:d
Ir
:n
Is
:f
In
:r
|m
:r
If
:m
||d
XEY Eb.
1
|r
:n
:f
In
:f
II
:s
:r
Id
:-
|s
|f
jld
:s
im
:f
Is
:d
:r
|m
It,
:d
Ir
:m
If
:m
if
:f
Jim
II
:s
If
:s
It
:1
Id
:s
Im
:f
|m
:r
Id
:-
*Each lesson should now begin with a short practice on the Sol-fa or Staff Modulator, be gradually according to the notation in use at the lesson, when the more difficult intervals may mastered. tSee Appendix II.
KEY Cs
:s
Id
:d
|r
:m
|f
:d
Is
:f
In
:f
|r
:n
If |f
:1
In |m
:f
Is
:d'
Is
:s
Id
;d
:m
Id
II
|r
EET
:n
|s
:f
:r
|n
|d
:s
|n
|d'
:1
Is
:f
|n
:n
|d
:r
:f
||s
KKY
:t,
|n
|s
:s
fd
|n
:f
In
:r
|d
II
|d
:r
:f
jn
|n
Is
:1
|s
:f
In
:f
|r
:
|
:f
jln
|m
:r
Id
:m
|s
Is
:1
|s
:d
:n
|r
|d
II
(v)
Ear-tests of
two notes
(as in
down by
STEP VIII
(i)
(ii)
(STAFF).
and
time should be explained to the class and examples of well-known (simple duple) again sung, both teacher and class
or similar time-tests should be written on the blackboard, time-names* and afterwards to the syllable doh.
beating time,
(iii)
The following
sung
first
and
to the
Z.J.
l_f
/I
(iii)
The following
and
sung slowly by
the
class.
(iv)
Ear-tests
notation.
of
class in the
staff
STEP IX
(i)
(SOL-FA).
(ii)
Id
:d
Id
:d
Id
Id
:d
Id
:d
Id
:d
Id
:
j
||d
:d
Id
:d
Id
:d
Id
:d
Id
Id
Id
||d
followed
:!-:-
by a passage
in tune only
dmsfmrrmf
When
these
:
Example :
fmd't
through
td's
Isfrd
be
have
been
read
combined
Example :
:
||d
Id
1
In
:s
If
:m
:m
If
:1
Is
:f
|r
:t
|r
:f
:
:
|m
Id
:
|
:t
II
Id
:s
|1
(iii)
|m
|r
||
As
may
be increased, occasionally
Example
:
being given.
dmr
sis
d'tl
msf&c.
STEP
(i)
(STAFF).
(ii)
A simple
by the
Example :
piece of f
class first to
rhythm should be written on the blackboard, and sung the time-names and afterwards to the syllable doh.
>T
8
Example : m s
d
s
fe
1
m d
1
r
1
d
s
s
1
fe
t
d
1
ta fe
fe
ta
(iii)
Exercises 26 to 32 in the
KEY
Cr.
jlm
:r.m|r
:d,r|d
:m
:t,
|t,
:d
|r
:d,t,|l,
:d
It,
:s,
Mm
i
:r.m|f
II,
:1,
|r
:d.r|m
:r
Is,
:
|
:s,
c?
,
c<
c?
* c?
c?
Ht
S|f
\\
tS|iS||S|
S|iS|iSj
* c*
loi
i
* c;
s,
s,
tS|
m in
I
in IT* trm|r
T*
/i Y* /I .u.iici
I
'4*
*4~
(
t,
|i
o ,S|
*
:m.f|m
:r
Is
\
:s,,l,[ t,
I
:s,
:l,.t,|d
I
si,
:t,.d
jlr
Id
\
:t,
:d.r|m
:r,m|r
:d.r|d
:t,
|t,
:m
|r
:-iS,|s,
:r
J
:-.l,|l,
:f
In
I
is,
|s,
:s,
Is,
I
:s,
|l,.t,:d.r|m
I
:r.m|r
:d.r
^jd
v|r
I
:t,
|t,.d:r.m|f.f:f
|m.m:m |d.d:d
I
|r
:s
|r
:s
:s,
|r
:s,
Is,
I
:s,
|s,
:s,
KEY A.
Mm
(\
rs.J.ls,
Js.J.ls,
I
:d
|d
:r.m|f
I
|f
If
I
HI
Hs,
:
|
:s,.l,|s,
:s,.l,|s,
:d
|d
:-,t,ji
|d
:s,
1,
:s,.l,|t,
:l,.t,|d
:t,.d|r
:d.r|m
I
:s,.l,|s,
Is, :d
I
|d
|l,:r
:
|r
It, :m
|m :m
s,
:d
|d
|m
:s,
ssi.lJs^B,.!,!
It,
|1,
Is,
:-.s,|s,
:-.s,|s,
|s,
:s,
Is,
:s,
|l,.t,
In
:s,.l,|s,
ts.J.ls,
:d
|d,r:m.f|n
|r
Id
|:d
s
||
|d
:d
:r.m|f
:m
11
:1
|s
:d'
|r
:-.rn|s
:f
|m
:-.
:f
j
|d'
:-.t|l
:d'
|s
:f.m|r.m:f
|m
KEY
|.t,:d
|t,.d:r
|r
:
|m
:r.d|t,,d:r.d|
t,.t,:l,
Is,
|.s,:s,
Is,
:l|.lJs,
Ir.rrr
|l|.li:li
|l|.l|.'li
|r
Hd
d
1
:d.d|
t,.t,:t|
1,
:1|.1,|
s,
If,
:s,,l,|s,.l,:t,.d|r
:t,
Id
II
KEY :d
|d
:d]
|d,r:m,f|m.r:d
-*i
i
:r
|r
"P
1
|r
:s
:r,m|f
01/^1
f\
|m
*\
r*
nt
^"
t\
f\
||d.r:n.f|
:
|
|m.r:d
|m.r:d
1
|d
:-.n|r
:d
:-.f|m
:-.s|
:
Uf
\\
:-.l|s
:-.t|l
\
:-.d'|t
j-.r'ld
I
:d
|d
|d 8 r:m
I
\
)
KEY
.l:s.f
:r
1
: :
|m.f:m,r|d
|m,r:d.r |m.f:s.l
|r
:
:m.f
:l.t Id'.tid'J
j|s.l:s.l|s
KEY
|s,l:s.l|s
|s.n:d.f |r
jd
||d.s,:d.r|m
||d.s,:d.r|m
t,
:r.d|s
:-.s|s
:f
:
|f.s:f.m|r
|n.s:d.m
:
|m.f:m,r |d
:r
:
:r.d|f
|r
I
|f
:-.r|r
I
s,.d:m.s
|
|m
|d
:n
|ni
I
:l,.t,|d.r:m
I
Id
I
:t,.d|r.m:f
I
In
I
s.m:d.s,|d.r:m
f,r:t,.s,|
t,.r:f
|m
:s,
|m
:s,
:r
|m
:
jd
Id
:-,d|d
:d
:d
|
:d.d|d
|d
|d
10
(iv)
and
ta
only
when taken
stepwise
(e.g.,
fe
s,
d ta
1
1).
STEP XII
(i)
(STAFF).
Practice on the modulator, introducing the sharpened 4th and flattened 7th of the scale. Perpendicular lines should be drawn on each side of the
F being
FJ
flattened
In pointing
(fe),
right
hand
line is always
(ta).
hand
line is
always
Bb
ta
(ii)
The
following or similar exercises should be written on the blackboard, and sung slowly by the class.
Example:
(iii)
Easy
A*.
exercises in
gB-^-H-
SL
11
3Et
* *
1
-I
1
^3
(iv)
Ear-tests introducing
F$ and
Bfr only
when taken
stepwise,
e.g.
STEP XIII
(i)
(SOL-FA).
The
learn to sing from the modulator, in the open key, using the syllable laa instead of the Sol-fa names. Practice must be slow at first to ensure the realisation of the mental effect of each note before it
class
should
now
is
(ii)
sung,
or similar exercises should be written on the blackboard,
The following
sung
and
dmsmrmfsltd'slsfm
Example
(iii)
few easy exercises from the "Criterion Sight Beader" (Part sung
to laa
:
I,
Ex.
1623)
KEY BbIs,
|
:1,
:t,
Id
:t,
II,
:t,
Is,
:f,
:n,
|s,
jlr,
:f,
In,
:r,
Id,
Id
Id,
KEY G-
(\d
|d
Id
:d
|r
If
:m
|n
:r
Id
Us
|s
Is
|r
:f
in
12
KEY F. :m |s
:d
||m
:s
|d
|m
:m
|f
|r
:m
If
:1
|s
.sis
|f
:m
|m
|r
Id
:s,
|1,
:t,
Id
:d
|d
KEX-
Ab:s,
:d
|r
:r
|m
:d
|m
:s,
:m
If
:f
is
:s,
:s
:1,
:f
|m
:s,
:r
in
|m
:s,
:r
Id
KKY
Sis
:f
:r
~
'
If
:m
:d
|m
:r
:1,
It,
:d
|r
:m
:f
'.
>
"
jls,
:1,
:t.
Id
:s
:f
|r
Id
:m
:r
Id
KEY E.
(\d
|t,
:d
|r
|d
:r
|m
:r
|d
:m
|r
:
|
jlm
|r
:m
If
|m
:f
Is
:f
|r
:t,
Id
II
KEY C.
1
jld
:d'
|s
:s
|m
:n
|d
:d
|r
:r
|m
:f
Is
:1
|s
:
j
jld
:d'
|s
:s
|m
:n
|d
:d
|r
sm
|f
:s
II
:s
|d
KEY
jld
:m
|s
:f
II
:s
|t
:1
|d'
:t
|s
:1
If
:s
|m
:s
jlm
|d'
:t
:d'
|r
|1
:t
Is
:1
|f
:s
:r
|m
|d
(iv)
Ear-tests.
From
13
STEP XIY
(i)
(STAFF).
The
should learn to sing from the Staff modulator in the key of C, the Practice at first must syllable laa instead of the Sol-fa names. using
class
be slow.
(ii)
The following or similar exercises should be written on sung slowly by the children to the syllable laa.
Example:
Z22T
(iii)
_l
X[_
14
STEP
(i)
XV
(SOL-FA
AND
STAFF).
Practice on the modulator (Sol-fa). (ii) Three -beat measure and f time (staff notation) should be explained to the class, and well-known tunes in triple time sung, both teacher and children
The following
and sung by
d
il
:d
:d
Id
:d
Id
:d
Id
:d
:d
d
ii
:d
Id
:d
:d
Id
:d
Id
/r
>
15
:f
:s
In
:s,
:m
:1
:s
:n
:f
|r
|r
It,
:d
:r
LI,
:t,
sj
:f
:m
Is
:f
:n
|r
II,
:t,
:d
II
:s
:f
It,
:d
Urn
:1,
:f
In
:s,
:m
|r
-II, :-:r
I
Id
: t^~
I I
A Q
(b) Exercises in
-$*-
W*^^
2
=(==[=
16
vT
#j
17
I,
jld
f
KEY D:d |s
In
:m
id
:s
|f
:1
Is
|n
:
j
:m
|r
Is
:f
|m
Id
|s
:m
|d
KEY IX
ild
|r
In
Id
:
j
jld
|r
In
|d
Id
sr
|n
:d
In
:d
|n
:
|
Hn
iin
:f
|B
In
is
|d'
In
|f
Is
|s
Id
In
|s
:KEY D.
jld
|d
ild
|n
:n
Is
:s
|d'
:s
|d
Is
|d
jld
:|-:-
Id
j-
Id
|d
Id
:-
KEY D.
:d
In
:r
:n
:f
:s
|d
|s
[n
:d'
jll
|s
:n
Id
|f
|r
|d
:r
|s
|n
jld
id
1
|d
Id
:s
Id
:d
:m
|d
:m
jls
|s
:n
Id
:m
|s
Id
|d'
|d
18
(b) Exercises in Staff
:
~^-
*3r
\
J
/L
19
t
(iii)
more
difficult intervals
(sin
d f ).
1
Examples
KEY D.
d'mr
d
s,
d'fm
d
f
t,
sdl
d
1,
fmt
d
r
s,
td's
f r
t,
KEY G. f
s,
STEP XVIII
(i)
(STAFF).
The
Staff
key
of GK
~i
1
Explain the formation of the scale, showing why F becomes FJf in the new Practise transitions from C to Gr and vice versa. key. Only the notes of
(ii)
the chord of Gr should be taught at first. similar exercises, in tune only, should be written on the blackboard, and sung slowly by the class to the Sol-fa names.
I
(iii)
Exercises in
in Gr major.
.yT
21
M.
160.
:
Us
jlm,
:n
:d
In
:d
|t,
|r
:
:1,
It,
:d
:r
|
,r, :m,
:f,
j
:r,
KB,:
:r
:1,
:d
jd,
:t,
|t,
II,
:t,
:d
In
:r
;|d
^B.lf,
,l,:t,
:m
:|r
:t
Is
:m
|d
:d
:r
:d
j
|r
:d'
:s,
jpt,:!,
|f,
^.l.jt,
pi
pm
:-
:r
Id
:-
II
KEY Gi.8,:l,.8||d
M.
152.
:d
|d
:d
id
i-.s.sl^sJt,
:f jf
:t,
|t,
:t,
It,
I
.a,:!,
.s,|
ta
,f
:f
|f
|f
|s
:f
>
jlm
f
:f
|m
In
:f
|-.*s,sl,.s,jf
Is
|f
:f
|
:f
ni
|m
i-.s,
|s
:r :|r
138.
is
|d
|d
Id
|-
KEY G.
s
:
M.
|r
:f
|m
:- |- ::f
ds
::d
|r
:f
ni |:
-.|_._
:t,
d
|
s:-|f
:t
|
|"1,:
|t,
|r
:f
:|n
In
:
|s
dl
If
fe
|
|s,
:f
:r
|f
:m
|
ds
:r
|f
:m
t,:r
|1,
:t,
Id
(iv)
An
easy piece of rhythm should be played or sung two or three times, and The teacher should the children should write it down in their note-books.
the class in what pulse-measure the test will be, and the books should be barred beforehand.
tell
Example :
Sid
id
Id
:d
Id
II
22
STEP
(i)
XX
Gr,
(STAFF).
(ii)
including all the notes of the scale, The following and similar exercises should be written on the blackboard, and sung slowly by the class, to the Sol-fa names.
Example :
-g
(iii)
Exercises in
-elr
==
23
zt=
H*
f^
24
STEP XXII
(i)
(STAFF).
left so as to
The
Staff
include the
key of P.
scale,
showing why
becomes Bb in the
key. Only the notes of the chord of F should be taught at first. The children should now evolve for themselves the important rule that when doli is a line the me and so/i are the next lines above, the upper doli being a
new
(ii)
Modulator practice in C and F. The following or similar exercises, in tune only, should be written on the blackboard, and sung slowly by the class to the Sol-fa names.
space,
and
vice versa.
Example :
JLJL
is:
(iii)
Exercises in
/r
25
EJ^
3
(iv)
An
easy piece of rhythm should be played or sung two or three times, and written down by the children in the staff notation.
STEP XXIII
(i)
(SOL-FA).
(ii)
The following or similar passages should be written on the sung slowly by the class
:
blackboard, and
Example
KEY C. r m
G.t.
f.C.
t,
nt
IP.
dl
C.t.
1
"1
(iii)
Exercises in
(36,
37,
M.
:1
152.
If
:f
:s
|:m
|m
:d
:r
:m
:m
:d
|r
It,
:1,
:s,
II,
:t,
:*s,
It,
:r.m|f
:f
:1
:f
:s
nl
|m
:r
:t
dl
:f
In
:1,
:s,
:d
st,
:s
:t
Id
:s
:t
Id
:f
:t
Id
:n
st
Id
:r'
:t
j-d'ir
dl
:f
:m
|r
:d
:m
:d
It,
8
:
:s,
|
,r,
:m,
:f,
If,
:m,
",!, :t,
Id
:t,
:d
:m
:f
If
:m
:r
Id
:r
:t,
Id
jr
26
KEY D. M. 160. : :d :
:m
:s
:f
In
Kd
:d
Ir
||d
|r
:n
|f
:s
:f
|m
:-:-|ni
If
: :
:t
:d'
:-:s
|t
:t,
:d
pi,
It,
:-:!,
|
,r
:r
:m
f
|
:r
:m
If
In
j|
nl
|
It
:1
:t
Id
in
:
|
n
l,
:1,
:t,
Id
:- :j
d'
:d'
It
:1
s
:
r If
:f
|
jit,
:r
:d
|
:s
If
:m
:r
In
:r
II
jln
|d
KEY G.
M.
|r
160.
jld
:m
it,
|d
II,
|t,
:d
Is,
j|
,d
|r
:m
It,
|d
Ir
|m
:f
Is
Is
|1
:t
|
dl
|d
II,
|t,
:d
Ir
d'
:t
|d'
:1
|
:t,
|d
:1,
Is,
|t,
Id
(iv)
now be given
keys.
it
new
doh.
STEP XXIY
(i)
(STAFF).
(ii)
The following
on the
by the
class, to
27
(iii)
Exercises in
(iv)
it is
an easy
in the
-/nr^
28
Recapitulation of Steps
(SOL-FA).
STEP XXVI
Recapitulation of
(iii)
(i)
(STAFF).
and
(ii)
in Steps
XVIII and
Exercises in
-4
..
:= i
-=!--
29
The
ear-tests should
Gr.
the key of
It
is
be given to the children, and written down by them in most important that children should write with the
new key
signature.
STEP XXYII
Eecapitulation of Steps
(SOL-FA).
XXI
and XXIII.
STEP XXVIII
Eecapitulation of (i) and (ii) in Steps in Time and Tune. (iii) Exercises
(STAFF).
XXII
and
XXIY,
tfc
=3-
-1-
?E
-fe
30
-=}-
at
F
in the staff notation.
rz:
(iv)
The
ear-tests should
the key of
STEP XXIX
(i)
(SOL-FA).
Easy exercises in Time and Tune introducing "bridge-notes, should be able by this time to write down ear-tests (iii) The class
(ii)
with
tolerable ease.
STEP
(i)
XXX
(STAFF).
Modulator practice in the keys of C, Gr, and F, introducing various accidentals. in Time and Tune in the three keys. (ii) Exercises
,
I-
3H
4t^
-1
31
\
I
t=fz
(iii)
The
class
down
STEP XXXI
(i)
(ii)
(SOL-FA).
(iii)
Time and Tune, introducing "bridge-notes. Half -heat notes should he explained to the children in two-,
four -heat measure.
three-,
and
(iv)
The following
sung
and
and
class
beating time.
Examples
Jd
I
:d
|d,d:d.d|d
I
:d,d|d
II
:d
|d
:d.d|d.d:d
|d.d:d
I
|d.d:d.d|d
I
I
:-
II
II
Id
:d
:d
|d.d:d.d:d
:d
Id
:d
:d.d|d
:d
,d :d
:d
j|d
Id
I
Jd.dld
Id ,d :d .d :d .did
:d
:d
|d
sd.dld
:d
:d.d|d
:-.
:d,d|d.d:d,d|d
:d
:d,d|d
||d
:-.d|d
:-,d|d
:-.d|d
Id
:-,d|d.d:d.d|d
|d
32
(v)
short rhythmic phrase on one note, introducing one or two half -beat
Example
Id
:d
Id
:d ,d Id .d :d ,d Id
:;
(vi)
The
children should heat time while the teacher sings or plays the phrase
it
this should
down
in their note-books.
STEP XXXII
(i)
(STAFF).
short
practice
on the modulator
in three
keys,
introducing various
accidentals.
(ii)
Quavers and dotted notes should be explained to the class, or similar exercises should be written on the blackboard, and (iii) The following sung first to the time-names and afterwards to the syllable doh, both teacher
and
class
beating time
Examples:
r "f
rn
-i
33
Exercises in
(v)
One
or
note should be played or sung two or three two quavers should be introduced, but no
Example
The
children should beat time while the teacher sings or plays the phrase.
this,
They should then sing it themselves, and when they can do write it down in the staff notation in their MS. books.
4
should
34
STEP XXXIII
(i)
(SOL-PA).
se,
fse
(ii)
should be avoided at
first.
Lah
1
is
A.
d
1
se
se
drmld'tlmflmltsel
(iii)
Exercises 38, 39, 42, and 41 in the "Criterion Sight-Reader," Part III
Lah
:d
is
F.
|m
M.
:
132.
jld
II,
:1,
|d
:d
|r
|t,
:d
:f
|r
|m
Um
:m
|r
id
:d
|t,
1,
:m,
|1,
:d
It,
:1,
|1,
Lah
jll,
is
G.
|1,
M.
:m,
132.
:m,
II,
:d
|m
|r
:t,
|d
:1,
Id
:1,
|t,
:d
|1,
:d
1,
:d
|n,
:-f,
:f,
|m,
:1,
:t,
|1,
:-
Lah
is
D.
:m
:f
II
:m
Id
:r
In
II,
:t,
id
:r
:m
jlr
:d
It,
|m
:f
:m
:m
Id
:r
|r
:m
:
j
ill,
:t,
:f
:r
|t,
:d
|m
M.
108.
:
II,
:-
Lah
jll,
is
JE.
:t,
:d
It,
:1,
In
If
|m
Id
:m
:r
jld
:t,
:1,
:t,
:1,
|r
|r
It,
:d
:~
{<
II
:-
In
is
:r
:f
In
:d
:t,
II,
:- :-
%*
them
If the Tonic
Minor Method
as set out
adopted the teacher should omit Steps XXXIII to XL, and take On no account should both methods be taught."
35
if
The
Easy
class
should at
it
first
the
teacher considers
(iv)
advisahle.
ear-tests in the
minor mode.
Examples
JD minor. se 1
se
se
m d m
se
STEP XXXIV
(i)
(STAFF).
minor
may
The teacher should only point to the right of the chord of he wishes to indicate GrJ.
(ii)
minor when
The following
by the
class.
f^
^T-
(iii)
Exercises in the
Minor Key
=-Q
e\r3gj-
36
-I
4 4
:*=
iE^^E^i
r
(iv)
Ear-tests in
A minor should
be given to the
class
STEP
(i)
XXXV
(SOL-FA).
se
Practice
on the
se lah.
lah,
and//i
<ii)
The following and similar exercises should be and sung slowly by the class.
37
Example :
(iii)
Exercises in
(48,
52,
55,
and
60,
in the
"Criterion
Sight Keader,"
:m,
Lah is F. In :
M.
I
126.
:m,
In
:m,
|m
:n
|r
:f
|n
:r
:m
|d
t,
:r
|t,
l,
:d
|t,
1,
II
Lah
is
]).
M. 104.
:
:1,
II
:s
:f
in
:r
Id
:t,
:1,
|t,
II
:-:
|m
|m
II,
Lah
is
C.
M.
:
96.
||n
:1,
Id
II
:m
II
:d'
It
:1
In
:d
In
:1
|m
:1
Id
:m
|1,
:m
If
:m
II
:1,
Id
:n
:d
|1
|m
Lah
ill
:1
is
C. |m
M.
:m
100.
Id
:d
|1,
It,
:t,
|d
:r
:f
|m
:n
|m
Jll
:1
|m
:n
Id
:d
|1,
It,
:d
|r
If
:m
|1,
II
(iv)
and
written
down by them
Examplts:
A. minor.
1
se
d n
se
se
d t
1
se
se
38
STEP XXXVI
(i)
(STAFF).
and
minor, introducing F, Gjf, A, key of the two of minor scale, and make the forms Explain FJf, Gfl, class sing them to the Sol-fa names.
A.
(ii)
Exercises in the
Minor Key
J\
39
STEP XXXVII
(i)
(SOL-FA).
Modulator practice in the minor mode. " Criterion Exercises 8, 9, 18, 19, and 22 in the Sight Keader," Part (ii)
KEY D.
IY
M.
116.
:s,
jld
:-.s,|r
:m
Id
:1
|d.r:m.f|s
Id
1
|l.,s:m,d|r
:-.
j
Hd
:s,
|r
:s,
:d'
|d,r:n.f|s
'
:fe.l|s
:r.n|d
:
|
:m
:s
J|r.r:d.r|m
:m
|f.f:m.f|l
Id
Jf.f:r.r|s
:t,,d|r
:
j
:m
:s
||r.r:d.r|pi
|f.f:m.f|l
:m
Id
:t.l|s
:f
In
:r
js
jld
is,
|r
is,
|d.r:m.f|s
jd
Id
1
:1
|l.,s:m.,dlr
Jld
:s,
|r
:s,
|d.r:m.f|s
:d'
:fe.l|s.
:r.m|d.
:s,.s,|d.r:m.f
Is
|
id.
:B,.8,|d.r:m.f|8
Is
:- I-
jt
:- I-
d'
:-
KEY G.
M.
100.
Us
:f
:m,r.m,fs
:f
:m,r.m,fs
.f
:m
.f
:n
,,
Ud
ils
:t,
r
:S|,l,.t,,d|
.s
:m
:S|,l,.t|,d|
.s
:m
:d,r.m,f
j
:f
.m
:r
.,d|d
st,
.d,r:m
.f
:f
:m,r.m,f
jls
:f
.f
:m
.f
:m
:m,r.m,f|s
.,r|d
:t,
,t,
Hd,r.m,f:s
.m
:r
|d,r,m,f:s
.m
:r
|d,r.m,f:s
.s
:s
.s
40
.s
It l9 d.r 9 d:t,
:1,
i|8,1.8,f:m
ll.jt^t,:!,
:s,
Ul,,t,.d,r:m
:m
In
,f
:m
.r
:d
,t,
l,,t,.d,r:m
sn
||n
.f
:m
.r
:d
.t,
Id
.t,
:d
.r
:m
.f
|
:f
:m,r,m,f
jls
Jf
:m,r.m,f|s
.f
:m
.f
:m
,,r|d
:t,
:S|.l,.t,,d|
J|r.s:m
Lah
.s :m
:s,,l|.t,,d|r
:d,r.m,f|
:8|.8,:l, M
t,|
t,
:d
I!
is
E.
:
M.
144.
:
jd
:1,
|d.t,:d.r:m
|r.d:t,
:t,.l,|se,
:t,
Id
:1,
>
||d.t,:d.r:m
|r.d:t,
1,
.d:r.m:f
.rnlr
:d.t,[
|r
:t,
||r.d:t,.d:r,m|d
:-.t,:l,
|f .m:r.d:t,
|m .r:d.t,:l,.d|
t,.l,:se,
:-.l
(II,
|d.t,:d.t,:d.r|n
:d
|r
,d:r.d:r .nlf
:- ,m:r
Id
:m
Id
:m
1,,!,:!,^,^.!,! t,.d:t,
:-.l|l,
KEY G.
M.
126.
jls
:f ,m:r.,m|f
:-.m:r,,d|m
Urn
:-.r:d.,r|s,
.8i:l|t8,:t,. 9 dim
:r
.s,:l,.s,:t|.d/
s,
j|n.,r:d
:
Is,
SS.MS.JS,,,!,! s,
:
|
Is^s.js,.!,:!,.^!
:s
i|
.Bi:l|.t||d.,ti:r
:s,.l,:t|.d|r
:s,
:f.n:r.,m|
:d
SI
.mlm
:-.rsd,,r|m
.s,:l|,t,:m.,r|r
41
Lah
is
f
m n
x
l
__
:
Id
:r
:m
:s
:f
In
:se II
:t
se
1
II
:m
:f
In
tsl
v r
m in
I
_. ~-~
:-:
||1
(iii)
se
:ni
Id
:r
:m
1
1,
The
as
class
"
God
save the
should practise writing out well-known tunes, in easy time (such King "). Time and tune together should not at first be
The notes of a tune might be written one day and put into attempted. the proper time the next.
STEP XXXVIII
(i)
(STAFF).
Modulator practice in the key of A minor. Exercises from the " Simplex Music Eeader," to be selected by the teacher, (ii) for practising the class in any points in which he thinks they are specially
deficient.
(iii)
Key
42
S5^^e e
N4
W
J
43
(ii)
The following and similar exercises should be written on the blackboard, and sung slowly by the class
:
Example :
^3
zz:
(iii)
Exercises in
E minor.
:*a
1-
44
=S
(iv)
Four
by the
children
in staff notation.
STEP XL.
(i)
minor
(see
Step
XXXIY,
i),
scale.
Bjtfe
5T-fi
(ii)
exercises should
1/^^r
45
Exercises in
minor.
t:
m
^
I
1
?^*
f?r^
if::
(iv)
of a
class in
46
STEP XLI.
(i)
new key
and
from
to Gr
may
Only easy
*=p?
(ii)
C?"
(iii)
Exercises in
D major.
*=1
^F^
tit
(iv)
Easy
ear-tests should
in the
key of D.
STEP XLIL
(i)
more
difficult intervals in
the key
of'
D,
(ii)
also
G#
and
Dfl.
Example
(iii)
ta.
?L
!_
-*
48
dl
(iv) Ear-tests,
written
down
:
including Grjf and Cfl, should be sung or played to the class, and in the key of D.
Examples
49
STEP XLIII.
(i)
Practice on the modulator in the key of Bb. The modulator should- now be extended to the left, so as to include the new key ; and transition from Bt?
to
F may
Only easy
intervals should
be
practised at
-|_0-
(ii)
The following and similar exercises should be and sung slowly by the class
:
Example
^~j
^~1 ^ -^
C^y
^*r^|
IZ2I
zi2:
(iii)
Exercises in Bt7.
50
i
:*:=*
=&
EEE
-^
/
^=
^
-^L
.^3
J
(iv)
Easy
ear-tests should
in the
key
:
of Bb..
Examples
_I^2
-& &-\ n ^3
--^-nn'r^"^^
STEP XLIY.
(i)
more
difficult intervals in
the key of
and Ab.
written on the blackboard, and
(ii)
The following and similar exercises should be sung slowly by the children
:
Example
(iii)
fa.
ZT5Z2 -
|*
61
(iv) Ear-tests,
class,
and
written
down by them
Bb.
Examples :
021
52
STEP XLY.
(i)
key of A.
Only easy
intervals should be
practised at
first.
m
(ii)
a=B=
exercises should be written
-aj&-$
_,
3-
(iii)
Exercises in A.
=1-
"-yH
4-
=tf*
(iv)
Easy
ear-tests should
in the key of A.
Examples
STEP XLYI.
(i)
Practice
on the modulator in the key of A, introducing more intervals, including DJf and GrH.
difficult
(ii)
and following and similar exercises should be written on the blackboard, class sung slowly by the
The
Example
m
(iii)
Examples
in
A, including /e and
fs
54
r#n
F*1
F^*
-jMjj
=s^=
ri
-S*
(iv)
Four
down
in the key of
by the
STEP XLYII.
(i)
Eb.
extended to the
to
left so as to include
the
new key
and
transitions
from
Eb
Bb may with
first.
advantage be introduced.
Only
practised at
55
on the blackboard, and
rxz
Z2I 221
(iii)
Exercises in
fr-rr
1-
atttf
56
(iv)
Easy
ear-tests should
down by
the children
in the
key
:
of E!7.
Examples
1221
STEP XLYIII.
(i)
(ii)
key of Eb, introducing more difficult and DJX intervals, including Aj| The following and similar exercises should be written on the blackboard, and
sung slowly by the
class.
(iii)
/^
and ^.
57
_r_Lt
--1
(iv)
Four
STEP XLIX.
Compound duple time should be explained to the children, and well-known tunes sung by them (e.g., " Come, lasses and lads"). Time (two beats in each bar) should be beaten by both teacher and class. (ii) The following or similar exercises should be written on the blackboard, and sung by the children, who should also beat time.
(i)
Example
,T
tf ^J-^v^ J-N
I I
58
(iii)
fct=g*z =*
3rf
(iv)
short phrases in
children should
first
learn to sing
by heart
and then
write down.
59
or.
STEP
(i)
L.
The semiquaver and dotted quaver should be explained to the class, (ii) The following and similar exercises should be written on the blackboard, and
sung, both teacher and class beating time.
-cq
atatrat:
By removing the alternate bar marks the phrase can be changed into and the class should sing it beating 4 in a bar.
(iii)
| time,
0-
ts
?*.
60
^^ &
IE =E
^ir-tl
(iv)
Ear-tests as in Step
XLIX.
times only remain to be learned but it is unnecessary to in which these should be taught. The indicate further the methods or order children should be able to sing moderately difficult passages in C, D, Eb, F, Gr,
;
difficulty of
adjusting themselves to these tonics with For instance, if they can sing in Eb with the
Tonic Sol-fa names, they will find, when they know the signatures, that Efl with four sharps is just as easy. Many small points are sure to arise incidentally during the lessons which must be left to the teacher to deal with
;
book of
this size
and nature
to provide for
every contingency, or to predict the questions arising from the ingenuity of the
juvenile mind.
61
APPENDIX
A TABLE OF HAND
.
I.
(with Illustrations).
SIGNS
the
hand as seen from the left of the teacher, noi Teachers should particularly notice thin.
SOH.
The GRAND
or bright tone.
TE.
The PIERCING
or sensitive tone.
ME.
The STEADY
or calm tone
DOH.
The STRONG
or firm tone.
RAY.
The ROUSING
or hopeful tone.
LAH.
The SAD
NOTE.
tones of the scale
FAH.
The DESOLATE
or awe-inspiring tone.
or weeping tone.
These proximate verbal descriptions of mental effect are only true of the when sung slowly when the ear is filled with the key, and when the effect is not modified by harmony. For Fe, let the teacher point his first finger horizontally to the left. For Ta, ditto to the right. To the class these positions will be reversed, and will correspond with the Modulator. For Se let the teacher point his forefinger straight towards the class.
62
APPENDIX
TIME NAMES.
II.
who had
Notation, in order to give them a method for connecting the two notations from
the beginning.
Sol-fa
is
But
up by those
to
whom
many
notation are
latter
now
included,
viz.,
the Hand-signs
the
with instructions as to the Steps in the book when they should be used.
the immense
is
It is impossible to overrate
teaching of time
learning of time and accent, but upon the sense impression given
by the
pattering sound of certain monosyllabic names for notes of different value, the
combined sound
(i)
of
A note occupying
may
taa.
be
Thus
|
In
is
In
In
(ii)
If a note
is
dotted, tied, or
is
called aa.
Thus
taa
aa
taa
aa
taa
aa
sai
(the
rest)
(iii)
When
a beat
is
taatai
(pronounced taatay).
crotchets,
Thus
in times where
each beat
is
a minim, two
;
and, in the
worth a
crotchet,
M^
taa
taa
taa
taa-aa
taatai
taa- aa- aa
also be
Examples
of dotted beats
taa
aatai
taa
aatai
taa-aatai taa
taa taa-aatai
(iv)
When
a beat
is
tafatefe.
tafatefe
taa
tafatefe
taa
tafatefe
taa
In the same
are
called
way
J~S
jf*-*)
'!
j^
taatefe,
time-names are
ta/atai
H""i n VW^^'^W^'
I
(vi)
compound
beat.)
64
APPENDIX
There
lias
III.
and advocates
minor
scale
has probably been one of the reasons why many The Tonic musicians have been unwilling to adopt the system as a whole. Sol-faist treats the minor scale as merely the relative to its major ; while the
large majority of musicians treat the minor scale as a self-existent scale with its own tonic, &c., obeying its own laws which, in most respects, are the same as
Sawyer's Sight-reading book, embodying this view, while at the same time using many of the excellences of the Tonic Sol-fa system, is well
The
late Dr.
known
most teachers, and has been used at many of the best-known There is therefore nothing new in the -alternative institutions for many years. system advocated in this Appendix, which has been added in response to
to
who
find the
book
useful, but
who
dissent
scale.
There
is
those students
who
work
for, if
the
relative major, the key, so far as the does not From a musical point of view, concerned, syllables change. it is a distinct disadvantage that singers should be unaware that a however, modulation has taken place and this is likely to be the case with all but the
;
specially gifted.
\
/
|
Again, through the adoption of the relative instead of the tonic minor the whole case for "mental effects" (the basis of the Tonic Sol-fa method) is to a
large extent stultified.
Tonic, instead of being the firm note, is merely the sad note (lah of the major scale) the third note of the scale, instead of being the calm note, becomes the /?/7 note (i.e., the real tonic of the key); while the
;
%
The
note of the scale, instead of being the bright note, becomes the calm note, " and its special dominating character is denied by the " mental effect given to it. " " The difficulty of adjusting the ideas to these new mental effects is shown in irresistible an almost various ways by the pupils one of the most usual being
fifth
;
especially
when
it
is
65
In teaching the tonic minor it is advisable to let the class look through the tune before singing it, and point out any modulation to the relative major, and The singing of such tunes with the place where it returns to the original key.
names sometimes entails the use of bridge-notes (which do not tend simplicity), and it is therefore recommended that children should, as soon
Sol-fa
to
as
The great advantage of this possible, sing the minor tunes to the syllable laa. is that children minor realise from the first that the Tonic the of treatment key
minor is doh just as it is in the major, and this is a knowledge that will be of great service to them in their instrumental work, and especially so in
in the
transposition.
The
now
MAJOR.
MENTAL EFFECT.
Firm
..Piercing
MINOR.
Doh
Te Lah
Soh
Doh
Sad
Bright
Desolate
.
Te La (pronounced
Soh
"
law ")
Fah
Fah
Me
Ray Doh
In the ascending minor
in the major).
.Calm
Ma
"
(pronounced
maw ";
Rousing
Firm
Ray Doh
becomes
lah (as
As
keys,
C major was
taken
first
so in the
minor
it is
C minor
first.
In the following Steps the Sol-fa tunes have been translated into the tonic
minor, or
new ones
substituted.
may
a good plan semitones occur as compared with their position in the major scale) to write up on the blackboard the two forms of the minor scale in (say) C minor, and get the
learn to find the right signatures of the minor the (after discussing with them the places where
children to say which signature would be most likely to fit them. They will soon see that the signature of three flats comes nearest to what they want.
Another
scale
might be written up
66
STEP XXXIII
(i)
(SOL-FA\
tonic, using
ma
instead of me,
first.
and
la
instead of
The passage
la
te
dott should
be
avoided at
(ii)
The following or similar exercises should be written on the blackboard, and sung slowly by the class.
Example
:
drmardmas
(iii)
lasd'td's lasd's
la s
la
ma r d
F minor.
\\m
(\
:ma |s
Id
I
:d
|ma
If
I
:ma |r
:ma If
I
:la |s
j
(
-
j|s
:s
|f
Ima :ma
|r
Id
:s
|d
:ma|r
:d
|d
:~
mnor.
jld
jld
:s,
|d
:s,
Id
:ma |s
If
:r
|ma :d
Ima :d Ima :r
|r
:ma |d
:ma Id
:ma
|s,
:d
|d
minor.
jls
:la
:s
id
if
:s
Ima
:f
Is
Id
Id
1
:r
j
jima
jlma
:
:f
:s
:ma
Is
|r
:f
:la
:s
:s
j
If
:s
Id
:r
:la|
:f
|r
:ma|d
jEJ
minor.
d
jl
:r
:ma
:d
Is
Is
la :s
:f
Uma
:
:r
:d
If
If
Ima :r
:d
|r
:ma
id
Is
:f
:la|s The
considers
(iv)
:ma:r id
:mad
if
class
it
should at
first
the teacher
advisable.
Easy
ear-tests in the
to the children,
and written
down by them
in their note-books.
67
nia
J> d
minor.
t,
t,
d ma
ma
la
STEP XXXIV
(i)
(STAFF).
The following
- --t !
-^
C minor and Qf
(ii)
minor.
68
(Hi) Ear-tests,
introducing the new notes learned, should be sung or played to the children, and written down by them in the Staff Notation in the key of
C minor
or
CJ
minor.
STEP
(i)
XXXV
(SOL-FA).
sit
and
d* ta la s
(ii)
The following
D
(iii)
Example
minor.
1
d ma r d s
d d ta la s d
1
ta la s
la s
ma r d
F
U
minor.
I
:s
|f
:la is
:f
na :s
|ma
:f
|r
|r
Id
:ma
|r
Id
J)
minor.
:
:ta
:ma
Is
:1
:t
:s
la
:s
:ma
:ma
:r
||d'
C minor.
:ma
Is
:~
1
:s
Id
Is
:1
it
:d
Ita :la Is
:
j
jld
jma
If
|ila:s
Id
:s
:lajs
:ma Id
:s
II
:t
Id
Id
II
69
C minor.
'
:ta
:1
:- :|s
:f
Ima
|la:s
:t
:d'
::t
If
:ma
:r
:ma
:s
:|t
:t
:d'
Id
jjd
|1
|
:-
:s
|r'
:las :- :-
:ta
:las
:ma|d
(iv)
;-:-
II
Ear-tests in the minor key should be sung or played to the children, a ad written down by them in their note-books.
Example : A. minor.
t,
d na
ma,
s,
t,
d ma r
t,
la
ta,
la,
s,
STEP
(i)
XXVI
(STAFF).
scale,
class sing
them
(ii)
The following
or similar passages should be written on the blackboard, and sung slowly by the class (C minor and CJf minor).
C-/
minor and
CjJ minor.
Ki=F^F
70
^J
~"U~
^P-
it
(iv)
children,
and written
or CJf minor.
new notes learned, should be sung or played to the down by them in the Staff Notation in the key of
C minor
STEP XXXVII
(i)
(SOL-FA).
(ii)
C minor.
Us
jif
:l.t|d'
:ta.lajs
:d,ma|r
:d
la :s.f|s
:r :d'.sjla.s:f.ma|ma
1
:la.f|s
:d.ma|
la:d',la|s
:f
Ima.rJd.rlma.sJl.tld
:s.ma|d
G- minor.
:s
Jld
jls,
:s
:ma.r:d.t,|d
|la:s
Is
:
:f
Is
:-.ma:d
Id
:ta,
:-.l,:t,.d|r
:ma
:d
Is
:r.ma:f
ma :r^ia:
is
:s
|la,f:ma:r
|d:s
:d,na|pia,r:d
:t||d:-:
71
ma :d
jl
|ma.r:ma.f:s
|f,ma;r
jr.dlt,
:r
ma :d
j|ma,r:ma,f:s
ta s :f.m
j|
|f.ma:r
d
:ma.r|
Is
:l.t
:d'
|d':ta.la:s;
jr.mld
ps
:l.t
:d'
Id
:ta.la:s
|ma:f.s:la
: :
l|la:s.f:ma Is
:fjna:r.n^a!d
:s
|f.la:s.ma:rj>ia|d
(iii)
The
class should begin to practise writing out well-known tunes in easy time (such as " north country rnaid")- Time and tune together need not be attempted at first. The notes of the tune might be written out one day,
STEP XXXVIII
(i)
(STAFF).
Exercises in time and tune, introducing modulation to the relative major. This may be practised on a modulator which introduces both minor and
side. The best bridge-notes are (where possible) me in the relative major and ma changing to doh (minor), changing in the relative major, and vice versa. The first note is very often fa (changing to soh] for fa may mean merely the descending melodic minor, or it may mean a modulation into the relative major.
relative
so/i
(ii)
C minor and
Qjf minor.
star).
~~n
'
72
r=r^
^^i^rgEfcEgJzg^zF
Efc
JA~^z=^iqzz=p^:r_^_
The
class
g^zr
qsj=z
(iii)
XXXVII
(iii).
STEP XXXIX.
(i)
The following
Key
Gr
(iij
minor and
G$
minor.
74
:=*:
-*
^r.
fe
75
(iii)
Four
or eight bars of a well-known tune to be written out in the Staff Notation in the key of Gr minor or Qjf minor.
by the
children
STEP XL.
(i)
The following and similar passages should be written out on and sung slowly by the class (F minor and FJf minor).
the blackboard,
s=
^IZ2.
*&=
$
122: -Qi
(ii)
g^U^LQ^
76
ft
fl
tt
f5a.
*^
-.
ps^
P3-r
*=:*&*
;-*
(iii)
UNIVERSITY OF TORONTO
EDWARD JOHNSON
MUSIC LIBRARY