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FIFTY STEPS IN

SiGHT-SINGING
(CURWEN'S EDITION,
5130.)

BY

ARTHUR SOMERVELL,
MUS.DOC. (CANTAB.).

FOURTH EDITION

LONDON:
J.

K
Books) 6d. each.

CURWEN & SONS


First

LTD.,

24

BERNERS STREET, W.

PRICE
and Second
sets of exercises (Pupils'

B18TRE./ONTST

BOSTON
"nvn & Son

Mr
870

PREFACE.
IT
is

slowly beginning to be recognised that to be unable to read a single line of


is,

music at sight

after

all,

rather a sign of ignorance.


of

This

is

encouraging,

and should be made the most

by

all

who have

at

heart the spread of

musical education, and the consequent advancement of music in this country.

In our elementary schools


of

the

teaching

of

sight-reading
are

forms part
obtained
in

the

curriculum

and

although

good

results

only

places

where enthusiasm backs the requirements of the Board of Education,


is

there

no reason

why

much wider and more thorough knowledge


if

of

this

subject should not be fostered,

teachers could only realise the fact that the


gifts,

teaching of sight-reading

is

not a subject demanding special artistic

any more than the teaching

of reading requires a special

knowledge

of literature.

But putting
work
is

aside the elementary schools, where, in


if

many

places, excellent

being done in this direction,

we turn
few

to the secondary schools, it is


cases, totally neglected.

here that

we

find the subject, except in a


is

In most of them singing


class,

rarely treated

educationally*

The singing-

where there

is

one, exists

mainly for the practice of music (learned


It
is

for the

most part by ear), for a school entertainment.


hands
;

true that the


all
is

members
it is

of the class usually hold the music in their

but for
all

the value

to

them, books of the words would in most cases supply

that

needed.
,

In boys' preparatory schools the subject


with the result that practically no boy

is

even more generally neglected

who goes on

to a public school can read

music at
subject

all,

unless he happens to have picked


;

up the barest smattering


is,

of the

by learning an instrument
it

and even then, unless he

musically,

unusually intelligent,

is

of little value to

him when he comes

to sing a part

* No subject can be treated educationally in the time usually allowed one hour per week.
Fifty Steps in Sight- singing.

from half au hour to

IV

PREFACE.

in a choir.

Nor

does there seem to be any attempt in these schools to foster

a love of or veneration for music.

When
master such a
is

the boys pass on to a public school they usually find that the music

not only a first-rate musician, but an enthusiast.


is

But the work

of

man

greatly hampered

by the

fact that the large majority of


is,

boys

come

to

him, not only ignorant of what music


it.

but totally unequipped

for the study of

Those who are put into the choir gradually pick up a


;

vague idea of reading

but the time wasted in grinding through and through


is

a piece of music, in order to teach the bare notes,


fact

heart-breaking
at

while the

that the boys

never learned

when young to read


really to acquire the

sight
to

makes

it

practically impossible for

them ever

power

do

so.

This
teachers
;

is

a point which cannot be urged too strongly upon parents and

for experience shows that the

younger a child

is

(within reason)

when
I

he begins to learn sight-reading the more easily will he master the subject.

have often heard whole


the staff in the key of

classes of
;

children under six years old singing from


in

and I know one school

West Norfolk where every

child over twelve years old can sing almost anything at sight, because they have

been properly taught from infancy.


ten minutes a day.

The time given

to music in this school

is

Many

parents are

now beginning

to see the folly of allowing the

younger

generation to

grow up

ignorant of a subject so easily taught in childhood,

and

are asking that this state of things, at least as regards their

own

children, shall

cease to exist.
for a

And

so

numerous have been the enquiries from

different sources

book which will be a guide in working out a scheme of sight-reading


am, to a certain extent, trying to meet
this

lessons that I

demand by publishing
go on from one lesson
lesson

some

of the results of

my own

experiences with a class of small children.


discretion as to

Teachers must use their

own

when

to

to the next, for, in the case of

some

children, the

same

may

have to be
will

worked through several times, and frequent recapitulation of back work


be found advisable.

short time (say fifteen minutes) spent on these lessons

every day will be found more valuable than a longer time once or twice a week.

The important
songs,

of question of the training of the child-voice, the learning

and the

class of

music to be learned have not been touched upon; but with

Fifty Steps in Sight -singing.

PREFACE.

regard to the

last, it

should be remembered that to teach a child, or perform

" 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

same time giving some idea


it

what the drudgery

will eventually lead to

therefore
class of

behoves parents to

see that their children are introduced to a

good

music alongside the

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

and that herein

lies

the impossibility of giving children any knowledge of

in families where no

one plays the piano


classical in

well.

But

there

is

a huge storehouse of good music,


is

every sense of the word, which

not only not

difficult, but,

on the

contrary, delightfully easy to learn

the traditional songs of England, Scotland,

Wales, and Ireland.

These can be learned and sung (many would say with

advantage) without pianoforte accompaniment;

and

it is

hardly necessary to

point out that children have a right to this great national

and natural

heritage.

Those who have never

tried to teach these songs will be astonished at the ease


;

and pleasure with which children pick them up


with large acquaintance

and there

is

no doubt that a

them forms the


life,

best

and most normal foundation upon


its

which to build, in later


greatest forms.

a knowledge and appreciation of music in

NOTE TO THIRD EDITION.


to the

The

attention of teachers

is

particularly called

two Appendices

at the

end of the book.

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

music on the other.

(v)

An MS.

music-book for each

child.

THE STAFF MODULATOE.

A stave should be drawn upon the


apart whenever a
in

blackboard with lines about three inches


explained.
It
is

new key

is

being

first

not necessary to write

more than the chord of the Key.

or

-&fifty Steps in Sight-ringing,

FIFTY STEPS IN SIGHT-SINGING,


STEP
(i)

I (SOL-FA).
effect of

The

class

should learn the mental

doh soh doh and afterwards the


1

me may be added.
aotes
(ii)

The hand-signs should


any

also

be taught, and the

class

learn to sing these notes in

order, the teacher either pointing to the

on the modulator or giving the hand-signs.

The

following or similar passages should be written on the blackboard and


class.

sung slowly by the


Example
:

dmdsmdd'sd'smsdsd'smd'msd
(iii)

Ear-tests.

One

of the four notes should be


class, or

sung by the teacher

to

the

syllable laa,

and the

individual children, should then sing any one

of the other three asked for.

This

is

a most useful exercise.

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 middle C written

and

called

doh.

The

class

should then count the scale degrees on

the Tonic Sol-fa Modulator from doh to doh\ and then the lines and spaces

on the stave from middle


found, and in the same

upwards.

The

place of doh* can thus be


soh.

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

or similar passages should be written on the blackboard


class
:

and

sung slowly by the

(iv) Ear-tests.

The

teacher should sing very slowly a passage formed from these

notes, using the Sol-fa names,


staff

and the children must write them down in the


Afterwards a similar passage should be
It will

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

Fifty Steps in Sight-singing.

STEP
(i)

III (SOL-FA).
te,

The

class

should learn the mental effect of ray and

and should sing from


he taken

pointing on the modulator, as well as from hand-signs, passages introducing


the six notes already learned.
skip
(ii)

Ray and
te).

te

should not at

first

by

(e.g., soli

ray, soh

te,

or

me

The following
:

or similar passages introducing the

new
:

notes should be

written on the blackboard, and sung slowly


Example

by the

class

drmsmrdsd'td'smrmsd'td'smrd
(iii)

The following or similar down in their note-books.


between each
test,
:

ear-tests should

be given for the

class to write

The chord
test

of the

key must be played or sung

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

part of Step III.

(ii)

modulator having been drawn on the blackboard and the chord of


in,

written

the places of

rat/

and

te

may

easily be

found by the children by

reference to the Sol-fa modulator.

When

found, these

may

be written on

the blackboard as small opaque notes to the right of the chord.

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

sung slowly by the children.

4fe-^-^
(iv)

Ear-tests.

The chord

of the

should sing to the syllable


children should write

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.

Fifty Steps in Sight-singing.

STEP V
(i)

(SOL-FA).
fa/i,

The

class

should learn the mental effect of fall and

and should sing from


be taken by

pointing on the modulator, as well as from hand-signs, passages introducing


all

the notes of the octave.


(e.g.,

Fah and
1

lah should not at first

skip
(ii)

ml

&o.).

The following

or similar passages, introducing the

new

notes, should

be

written on the blackboard, and sung slowly

by

the

class.

Example

drmrmsfmrdd'tltd'slsfms
(iii)

td'sfmrd
The chord
test

The following

or similar ear-tests should be

sung

to the syllable laa (or

played) for the class to write

down

in their note-books.
test,

of the

key must be played or sung between each


Example
s
:

and each

given twice.

si

&c.

STEP YI
(i)

(STAFF;.

A short recapitulation of
The
Staff

the

first

part of Step Y.

(ii)

notes already learned, the places of fah and lah


children

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

or similar passages should be written on the blackboard,

and

sung slowly by the children.

-f

c?-

4
(iv) Ear-tests.

Fifty Steps in Sight- singing

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).

Practice on the modulator.*

(ii)

Two -beat measure


well-known tunes in

this

should be explained to the class, and examples of time sung, both teacher and class beating time.

(iii)

The following
sung
first

or similar time tests should be written on the blackboard

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)

should be sung, with teacher and class beating time KEY

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.

Fifty Steps in Sight-singing.

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

Step V) should be sung or played and written

down by

the children in their note-books.

STEP VIII
(i)
(ii)

(STAFF).

Practice on the modulator.


\

and

tunes in this time

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

Fifty Steps in Sight-singing.

(iii)

The following

or similar exercises should be written on the blackboard,

and

sung slowly by

the

class.

(iv)

Ear-tests
notation.

of

two notes should be taken down by the

class in the

staff

STEP IX
(i)

(SOL-FA).

Practice on the modulator.

(ii)

simple piece of two -beat rhythm should be written on the blackboard,


:

and sung by the children


Example,
:
:

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

a few times, they should

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

the children improve in writing the ear-tests correctly the difficulty


tests of three notes

may

be increased, occasionally
Example
:

being given.

dmr

sis

d'tl

msf&c.

Fifty Steps in Sight-singing.

STEP
(i)

(STAFF).

Practice on the modulator.

(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

Fifty Steps in Sight- singing.

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

Criterion Sight Beader," Part I

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

Fifty Steps in Sight-singing.


KEY

|: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)

Fifty Steps in Sight-singing.


Ear-tests to include fe

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

chord of the key, the

F being
FJ

sharpened to the right and the


for the class

flattened

to the left of the lines.

In pointing
(fe),

to the right of the

right

hand

line is always
(ta).

to the left of the left

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

Time and Tune

gB-^-H-

SL

Fifty Steps in Sight- singing.

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

to the syllable laa.


:

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

Fifty Steps in Sight-singing.

: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

this point the tests should

always comprise three notes.

Fifty Steps in Sight-singing.

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:

the blackboard, and

Z22T

(iii)

A few exercises in Time and Tune sung to laa


32tz

_l

X[_

14

Fifty Steps in Sight-singing.

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

beating time (down, right, up).


(iii)

The following

or similar tests to be written on the blackboard,

and sung by

the class to the time-names and afterwards to the syllable doh.


Examples
:

d
il

:d

:d

Id

:d

Id

:d

Id

:d

:d

d
ii

:d

Id

:d

:d

Id

:d

Id

/r

>

Fifty Steps in Sight-singing.


KEY

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

Time and Tune

-$*-

W*^^

2
=(==[=

16

Fifty Steps in Sight-singing.

vT

#j

Fifty Steps in Sight-singing.


<iv)

17
I,

(a) Exercises in Sol-fa (" Criterion

Music Beader," Part


:
1

Ex. 49, 50, 53, 55)

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
:

Fifty Steps in Sight-singing,

~^-

*3r

\
J

/L

Fifty Steps in Sight- singing.


Ear-tests containing

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

Modulator should now be extended to the right so as to include the

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 following and

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

Time and Tune

in Gr major.

Fifty Steps in Sight-singing.

.yT

Fifty Steps in Sight- singing.


KEY F-

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

Fifty Steps in Sight-singing.

STEP
(i)

XX
Gr,

(STAFF).

Modulator practice in the key of

(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

Time and Tune.

-elr

==

Fifty Steps in Sight-singing.

23

zt=

H*

f^

24

Fifty Steps in Sight-singing.

STEP XXII
(i)

(STAFF).
left so as to

The

Staff

Modulator should now be extended to the

include the

key of P.

Explain the formation of the

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

Time and Tune.

/r

Fifty Steps in Sight-singing.

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).

Modulator practice in three keys.

(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

Time and Tune

(36,

37,

and 38 in the " Criterion Sight

Header," Part IV).


KEY F.

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 :

Fifty Steps in Sight-singing.

: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)

Ear-tests, in tune only, should

now be given

to the children in a variety of

keys.

Before each test

it

will be well to let the class sing the

new

doh.

STEP XXIY
(i)

(STAFF).

Modulator practice should be extended so as to introduce the other notes of


the key of F.

(ii)

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.

Fifty Steps in Sight-singing.


Example
:

27

(iii)

Exercises in

Time and Tune.


(if

(iv)

Ear-tests of three notes, occasionally one with, four notes


one) should be given to the children,
staff

it is

an easy
in the

and written down by them

notation (in the key of C).

-/nr^

28

Fifty Steps in Sight- sing ing.

Recapitulation of Steps

STEP XXV XVII and XIX.

(SOL-FA).

STEP XXVI
Recapitulation of
(iii)
(i)

(STAFF).

and

(ii)

in Steps

XVIII and

XX introducing CJ and Ffl.

Exercises in

Time and Tune.

-4

..

:= i

-=!--

Fifty Steps in Sight-singing.


(iv)

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,

introducing Bfl and

tfc

=3-

-1-

?E

-fe

30

Fifty Steps in Sight-singing.

-=}-

at
F
in the staff notation.

rz:

(iv)

The

ear-tests should

he given to the children, and written down hy them in

the key of

STEP XXIX
(i)

(SOL-FA).

Modulator practice in three keys, introducing various accidentals,


of four notes

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

Fifty Steps in Sight-singing.

31

\
I

t=fz
(iii)

The

class

should he ahle to write

down

in the staff notation ear-tests of four

notes in the three keys already learned.

STEP XXXI
(i)
(ii)

(SOL-FA).

A short practice with the modulator, introducing various accidentals.


Exercises in

(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

or similar passages should he written on the "blackboard,

and

to the syllable doh, both teacher

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)

Fifty Steps in Sight-singing.

short rhythmic phrase on one note, introducing one or two half -beat

notes, should he played

two or three times.

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

they should then sing


write
it

themselves, and when they can do

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

Fifty Steps in Sight- singing.


(iv)

33

Exercises in

Time and Tune.

(v)

A short rhythmic phrase on one


times to the
dotted notes.
class.

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

Fifty Steps in Sight-singing.

STEP XXXIII
(i)

(SOL-PA).
se,

Practice on the modulator, in the minor mode, introducing

but the passage

fse
(ii)

should be avoided at

first.

The following or similar exercises should be sung slowly by the class.


Example:

written on the blackboard, and

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

on pages 64 to 76 in Appendix III.

adopted the teacher should omit Steps XXXIII to XL, and take On no account should both methods be taught."

Fifty Steps in Sight-singing.

35
if

The
Easy

class

should at
it

first

sing the tune only, without the time,

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).

The modulator should now be drawn


key into prominence.
This

so as to bring the notes of the


:

minor

may

be done as in the illustration

The teacher should only point to the right of the chord of he wishes to indicate GrJ.
(ii)

minor when

The following

or similar exercises in tune only should be written on the

blackboard, and sung slowly

by the

class.

f^

^T-

(iii)

Exercises in the

Minor Key

=-Q

e\r3gj-

36

Fifty Steps in Sight-singing.

-I

4 4

:*=

iE^^E^i
r

(iv)

Ear-tests in

A minor should

be given to the

class

and written down by them

in the staff notation*

STEP
(i)

XXXV

(SOL-FA).
se

Practice

on the
se lah.

modulator, in the minor mode, introducing ba

lah,

and//i
<ii)

The following and similar exercises should be and sung slowly by the class.

written on the blackboard,

Fifty Steps in Sight- singing.

37

Example :

G Imd'tlsfmmselmbaseld 1ml sfmdrmfsel sel


Lah
is

(iii)

Exercises in

Time and Tune


Part, III).

(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)

Ear-tests in the minor

mode should be sung


in their note-books.

or played to the children,

and

written

down by them

Examplts:

A. minor.
1

se

d n

se

se

d t
1

se

se

38

Fifty Steps in Sight-singing.

STEP XXXVI
(i)

(STAFF).

Practice on the modulator, in the

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\

Fifty Steps in Sight- singing.

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

Fifty Steps in Sight-singing.


:m
.d

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

Fifty Steps in Sight- singing.

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)

Exercises in the Minor

Key

42

Fifty Steps in Sight-singing.

S5^^e e
N4
W
J

Fifty Steps in Sight-singing.

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

Fifty Steps in Sight-singing.

=S

(iv)

Four

or eight bars of a well-known tune to be written out

by the

children

in staff notation.

STEP XL.
(i)

Practice on the modulator in the key of

minor

(see

Step

XXXIY,

i),

introducing both forms of the minor

scale.

Bjtfe

5T-fi

(ii)

The following and similar sung slowly by the class.


Example
:

exercises should

be written on the blackboard, and

1/^^r

Fiffy Steps in Sight-singing.


(iii)

45

Exercises in

minor.

t:

m
^

I
1

?^*

f?r^

if::

(iv)

Four or eight bars


the staff notation.

of a

well-known tune to be written out by the

class in

46

Fifty Steps in Sight- singing.

STEP XLI.
(i)

Practice on the modulator in the key of D.

The modulator should now be


transitions

extended so as to include the

new key

and

from

to Gr

may

with advantage be introduced.


at
first.

Only easy

intervals should be practised

*=p?
(ii)

The following and similar sung slowly by the class.


Example
:

exercises should be written

on the blackboard, and

C?"

(iii)

Exercises in

D major.

*=1

^F^

Fifty Steps in Sight-singing.

tit

(iv)

Easy

ear-tests should

be played or sung, and written down by the children,

in the

key of D.

STEP XLIL
(i)

Practice on the modulator introducing

more

difficult intervals in

the key

of'

D,
(ii)

also

G#

and

Dfl.

The following and similar sung slowly by the class


:

exercises should be written

on the blackboard, and

Example

(iii)

Exercises in D, including /e and

ta.

?L

!_

-*

48

Fifty Steps in Sight-singing.

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

Fifty Steps in Sight-singing.

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

with advantage be introduced.


first.

Only easy

intervals should

be

practised at

-|_0-

(ii)

The following and similar exercises should be and sung slowly by the class
:

written out on the blackboard,

Example

^~j

^~1 ^ -^

C^y
^*r^|

IZ2I

zi2:

(iii)

Exercises in Bt7.

50

Fifty Steps in Sight-singing.

i
:*:=*

=&
EEE

-^
/

^=
^
-^L
.^3
J

(iv)

Easy

ear-tests should

be played or sung, and written down by the children

in the

key
:

of Bb..

Examples

_I^2

-& &-\ n ^3

--^-nn'r^"^^

STEP XLIY.
(i)

Practice on the modulator, introducing


B!?, also Efl

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)

Exercises in Bt7 including/^ and

fa.

ZT5Z2 -

|*

Fifty Steps in Sight-singing.

61

(iv) Ear-tests,

including Efl and Ab, should be played or sung to the


in

class,

and

written

down by them

Bb.

Examples :

021

52

Fifty Steps in Sight-singing.

STEP XLY.
(i)

Practice on the modulator in the

key of A.

extended to the right so as to include the to may with advantage be introduced.

The modulator should be new key and transition from A


;

Only easy

intervals should be

practised at

first.

m
(ii)

a=B=
exercises should be written

The following and similar sung slowly by the class


Example
:

on the blackboard, and

-aj&-$

_,

3-

(iii)

Exercises in A.

Fifty Steps in Sight-singing.

=1-

"-yH
4-

=tf*

(iv)

Easy

ear-tests should

be played or sung, and written down by the children

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

Fifty Steps in Sight-singing.

r#n

F*1

F^*
-jMjj

=s^=

ri

-S*

(iv)

Four

or eight bars of a well-known tune to be written


class.

down

in the key of

by the

STEP XLYII.
(i)

Practice on the modulator in the key of

Eb.

The modulator should be


;

extended to the
to

left so as to include

the

new key

and

transitions

from

Eb

Bb may with
first.

advantage be introduced.

Only

easy intervals should be

practised at

Fifty Steps in Sight-singing.


'(ii)

55
on the blackboard, and

The following and similar sung slowly by the class.


Example :

exercises should be written

rxz

Z2I 221

(iii)

Exercises in

fr-rr
1-

atttf

56

Fifty Steps in Sight-singing.

(iv)

Easy

ear-tests should

be played or sung, and written

down by

the children

in the

key
:

of E!7.

Examples

1221

STEP XLYIII.
(i)

Practice on the modulator in the

(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)

Exercises in Efr, including

/^

and ^.

Fifty Steps in Sight- singing.


1-

57

_r_Lt

--1

(iv)

Four

or eight bars of a well-known tune should be written

down by the class.

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)

Fifty Steps in Sight-singing.


Exercises in
time.

fct=g*z =*

3rf

(iv)

Ear-tests should consist of

short phrases in

Time and Tune, which the


to the syllable laa,

children should

first

learn to sing

by heart

and then

write down.

Fifty Steps in Sight-singing.


Example :

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,

Exercises in dotted quaver.

0-

ts

?*.

60

Fifty Steps in Sight-singing.

^^ &

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,
;

A few keys and

A, and Bb, and the

difficulty of

different signatures is not great.

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
;

for it is manifestly impossible in a

book of

this size

and nature

to provide for

every contingency, or to predict the questions arising from the ingenuity of the
juvenile mind.

Fifty Steps in Sight-singing.

61

APPENDIX
A TABLE OF HAND
.

I.
(with Illustrations).

SIGNS

The diagrams show

the

as seen from the front.

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

Fifty Steps in Sight-singing.

APPENDIX
TIME NAMES.

II.

This book was originally intended for teachers

who had

learned the Sol-fa

Notation, in order to give them a method for connecting the two notations from
the beginning.
Sol-fa
is

But

the book has been so widely taken

up by those

to

whom

unfamiliar, that, in response to

many

requests, certain essentials of that

notation are
latter

now

included,

viz.,

the Hand-signs

and the Time-names

the

with instructions as to the Steps in the book when they should be used.
the immense
is

It is impossible to overrate

value of these names in the

teaching of time

for the system

not based upon an intellectual arithmetical

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

which reproduces the pattern of the music,


a single beat
is

A note occupying
may
taa.

called taa, whatever the length of the beat


is taa.

be

Thus
|

in J time each crotchet


is taa.

In

time each crotchet


is taa.

is

In

time each minim

In

time each dotted crotchet


(e.g.,

(ii)

If a note

is

prolonged beyond the length of a beat


is

dotted, tied, or

doubled), the consonant

dropped and the next beat

is

called aa.

Thus

taa

aa

taa

aa

taa

aa

sai

(the

sound used for a


is

rest)

(iii)

When

a beat

is

divided into two

equal parts the time-name

taatai

(pronounced taatay).
crotchets,

Thus

in times where

each beat

is

a minim, two
;

forming together a complete beat, are called taatai


is

and, in the

same way, when each beat

worth a

crotchet,

two quavers, forming

together a complete beat, are also called taatai.

M^

taa

taa

taa

taatai taatai taatai

taa-aa

taatai

taa- aa- aa

The same time-names would

also be

used for the following

Examples

of dotted beats

taa

aatai

taa

aatai

taa-aatai taa

taa taa-aatai

(iv)

When

a beat

is

divided into four notes of equal length the time-names are

tafatefe.

tafatefe

taa

tafatefe

taa

tafatefe

taa

In the same
are
called

way

a half and two quarters

J~S
jf*-*)
'!

j^

taatefe,

while for two quarters followed by a half-beat the


I

time-names are

ta/atai

H""i n VW^^'^W^'
I

(vi)

For any beat divided

into three equal notes the time-names are taataitee.

(These names apply both to triplets and to the natural subdivision of a

compound

beat.)

64

Fifty Steps in Sight- singing.

APPENDIX
There
lias

III.

always been a difference of opinion between orthodox Sol-faists

and advocates

of the Staff Notation regarding the treatment of the of


it

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

and the Sol-fa treatment

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

those of the major scale.

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

requests from teachers

who

find the

book

useful, but

who

dissent

from the Sol-fa

treatment of the minor

scale.

There

is

one obvious advantage in the Sol-fa treatment of the minor for

those students

who

are not likely to proceed to instrumental

work

for, if

the

minor tune does not modulate beyond the


are

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
;

inclination to sing doh for lah

especially

when

it

is

taken by skip, in reality

most natural and musical mistake to make.

Fifty Steps in Sight- singing.

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

" mental effects " are

now

the same in both major and minor keys.

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

scale (melodic form) the sixth note

As
keys,

in the case of the major keys, best to take

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.

In order that children


scales,
it is

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

find one sharp as the signature

minor, and they will soon Other examples might be given.


for them,
e.g.,

66

Fifty Steps in Sight-singing.

STEP XXXIII
(i)

(SOL-FA\
tonic, using

Practise on the modulator in the

minor key, taking Doh as the


lah.

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

Exercises in time and tune.

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,

la, :la, |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

sing the tune only, without the time,

the teacher

advisable.

Easy

ear-tests in the

minor key should be given

to the children,

and written

down by them

in their note-books.

Fifty Steps in Sight-singing.


Examples
:-

67

nia

J> d

minor.
t,

t,

d ma

ma

la

STEP XXXIV
(i)

(STAFF).

The following

or similar exercises should be written on the blackboard, and

sung slowly by the children (C or C$ minor).

- --t !

-^
C minor and Qf

(ii)

Exercises in time and tune in

minor.

68

Fifty Steps in Sight-singing.

(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).

Practise on the modulator in the minor key, introducing


(the melodic minor
scale).

sit

and

d* ta la s

(ii)

The following

or similar passages should be written out on the blackboard,


class
:

and sung slowly by the

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

Exercises in time and tune

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

Fifty Steps in Sight- sing ing.

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,

Explain once more the two forms of the minor

and make the

class sing

them
(ii)

to the Sol-fa syllables.

The following

or similar passages should be written on the blackboard, and sung slowly by the class (C minor and CJf minor).

C-/

Exercises in time and tune in

minor and

CjJ minor.

Ki=F^F

70

Fifty Steps in Sight-singing.

^J

~"U~

^P-

it

(iv)

Ear-tests, introducing the

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).

Modulator practice in the minor key.


Exercises in time and tune
(*).
:

(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:-:

Fifty Steps in Sight- singing.


mnor.

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,

and put into proper time the next.

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

major keys side by


to

(ii)

Exercises in time and tune in

C minor and

Qjf minor.

(The notes which

should be bridge-notes are marked with a

star).

~~n

'

72

Fifty Steps in Sight-singing.

r=r^

^^i^rgEfcEgJzg^zF

Efc

Fifty Steps in Sight- sing ing.

JA~^z=^iqzz=p^:r_^_
The
class

g^zr

qsj=z

(iii)

should continue to practise the writing out of well-known tunes,

following the recommendation in Step

XXXVII

(iii).

STEP XXXIX.
(i)

The following

or similar passages should be written on the blackboard, and


class.

sung slowly by the

Key

Gr

minor and Gr# minor.

(iij

Exercises in time and tune in

minor and

G$

minor.

74

Fifty Steps in Sight- sing ing.

:=*:

-*

^r.

fe

Fifty Steps in Sight-singing.

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)

Exercises in time and tune in the keys of

minor and FJf minor.

g^U^LQ^

76

Fifty Steps in Sight-singing.

ft

fl

tt

f5a.

*^

-.

ps^

P3-r

*=:*&*
;-*

(iii)

Ear-tests as in the last Step.

Somervell, (Sir) Arthur Fifty steps in sightsinging

UNIVERSITY OF TORONTO

EDWARD JOHNSON
MUSIC LIBRARY

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