Lf Le La = a = uh 43 bhdcdddddassagsaay i a L4 d INTRODUCTION I The Place of Store-reading in Musical Educotion ALLE SERIOUS mul into am a ring hr suas genal education in musie as well as mastery of their own particular instrument oF Uranc ‘of study. My own teaching experience, both in England andethe U.S.A has led me to the belcf that ehis general education commonly lays too much emphasis on the writing fof harmony and counterpoint exercises as such, and not enough on the analysis and detailed study of the great masterpieces of orchestral and chamber rnusic. “This study is the ultimate test of musical culture, but its a study open only to those tho ean find their way readily through the complications of an orchestea score. Score Feading is therefore an essential clement of musical education, and the object of these txerelses is 0 provide the means of sel-training for it. Before considering further the problems of actual score-reading, however, let us briefly examine those of harmonic and Contrapuntal study, viewed not 3s ends in themselves, but as agents ofthis wider purpose. “This study must sll be ranked as of primary importance, with a three-fold aspect (1) Ava key to the understanding of the basic principles of musical structure, (2) Asa means of developing the inner ear. (3) Incidentally, ss affording practice in the use of the C-clch. Bearing allthis striedly in mind, [ should say ehat the right policy forthe general seudent that of & limited objective, combined with 2 mote precise and exacting standard of avement within those limits, Harmonie study need only go up t the diatonic and Giminished sevenths, including, of course, che principles governing modulation and the use of unessential and chromatially altered notes. Counterpoint need not go beyond three-part work, and it should be ordinary harmonic counterpoint of the kind the student encounters every day in the great clasical masters from Bach to Brahins, Strict counter- point, ever of the authentic kind, is far too specialized a branch of study co find ay wsefut place in the general curriculum. Te should be reserved for special types of student, 6g. those wishing to become church or cathedral choirmasters, And even for them T should recommend it more asa guide to understanding than asa discipline. Precisely the same holds good of aural training—the objective should be limited, but the stindacd precise. Aural taining and harmonic study are coa large extent one and the same. IF you went to develop your sents of armory, cain your ear if you want to improve your power of hearing, study harmony and counterpoint—only ie the right way. They must be studied a1 seumrd, not as mathematical equations. Tt will soon be Tound that a single inward faculty is involved both in aural and harmonic training, For this reason it seems 2 mistake to separate the two branches of study as is commonly done. They are in the deepest sense interdependent, and should be pursued 3o'a single study, under the guidance of one and the sime instructor, u The Special Problems inuclved in Scereereading and playing from Score Score-reading and playing from score are two different things. Both pre-suppose the ably to deal with ll ef and wish savor sar from this the former depends mainly on the power of the inner hearing, the latter on facility of Finger and keyboard resourcefulness [tis obviously posible to imagine either of these capacities heing highly developed while the other is rudimentary or non-existent.For our present purpose, however, it may be asumed that the students desirous off essen both process to the fll extent of his, or her individsl ‘capacity. “The term ac ay may therefore be taken in the present contest as implying bility © ay ae well asthe ability wo read Score-readig in this sense will Be found to involve & Tynthess of the following distinct capactis feat any given moment. harmonies and modulations. Sj or trae the details of spacings figuration, etém a6 may Fe necessary to get the music under the fingers (5) To read the C-clefs without hesitation (8) ‘To make the necessary transpositions of Key. Te may as well be admitced at once that this fs a” ext Ly difficult synthesis. Fluent score: readers are few and far between and the achiev in its highest form has ways an air of genuine wizardry. ‘This is in sell 2 good th ign these days when the seeiehcy fo ey sid make all exy for everyone, One must taf is PPO this (ere) the han fact cha co be good musician & net easy IRS TNS effort tendency th la er of yeas, Lf the supericially-minded ave dacouraged by see rect de beter, “Phe others wil be content co peogees a far 00 Hers lies: mentee Fihay may find cha i alin co master all the incicaies of « Wagnet 8 they haye uni Psayed the abiiy wo rad any quartet with ease. And that tne itself is no meat rewar tae ernie separately each of the sx proceses enumernted abune, NO, ( {@), and (4) le outside our presen scope, They can only be mastered by practical ese with Scualfull scores, A esfel preliminary exerci 10 SOPs 3 Flovofore arrangement with che original score co se what as Boor eft out, and what Fifa ieee been necouary 0 make a Keyboard performance frie NS dee is {Peter Editon) of the Hayds, Mozart Beethoven and Brshms Sym area ill afford the necessary insight into these problems (G) of course depends principally on harmonic swudy. Playing = sight from figured se ec iivatuable necenory. Exgencia of space mad peaceable to include sy aes alta themselves hey would have been desirable; but after a hey be found elsewhere without difficulty Way snd (6 remain a5 tc subject mater of his bok and hey canset Ws 9h elsewhere (Cree ieee) in this lated form. ‘The iu books of exerees 1 ‘peppin and Baymont (bth Novello) are very wells far 2 they gos but do not neatly far enovgh. ana ecmerisredthatorchestal anspsiion smo ike teansPOsNg » pisce bodily peace ere anather Im the later case you se the harmonics and Progiesor ffance and reprnivee cher (ith luck) inthe new ey. Ts “orchestral transposition only Bn a Pie tbe traponed, and it is therefore meconary citer (1) fe Ceemgor cei eet sone jo (2) to sbttute at imaginary clef puting i the aeccsaey exch individual mae 0) hero we wen ted Seer cing connexions should therefore be borne in eind: (1) Soprano clef with A transpositions, {G) ‘Tenor clef with B fat transpositions (3) Alto clef with D anspastions (3) Bass clef with E and E, fat transpositions (8) Meceo-soprano clef with F transpositions. {@) Baritone clef with G transpositions 1 aeaee ie fs thee ae inoperable for thei own ses apt Gam Wane” dong by reason of their constant occurrence in stringed sd vocal scores.» ek with them, it will be good for him to try and guess from internal evidence when and by thom they were written, There ate no bowing, phrasing, or expression marks, The omission is primarily due to motives of economy; but here again it will he an exercise in musical tact to try and determine from the content of the notes themsclves what i the appropriate style and pace. Certain liberties will be noticed—omisions, ‘These do not call for serious apology; the object has been to round off the extracts so that they areall complete in themselves, of the right length, and presentingin due measure the specific problems of clef and transposition for whieh they are best adepred, Cheliea, R.O.M. Mey 1930. dovetalings, transpositions and the fke.section sa sB gc gD gE gH sy sk gL CONTENTS 2-PART Alto clef. Tenor clef Alto and ‘Tenor clef Soprano clef. Soprano, Alto and Tenor clefs 3-PART Alto and ‘Teuor lets. Soprano, Alto and Tenor clef, 4-PART Sering Quartet Allto and Tenor elefs Soprano, Alto and Tenor clef. VARIOUS Orchestral Transpositions number 1-10 120 2128 29-34 35—48 49-63 678 79-86 87-94 95102 103-126following publishers We have toacknowledge the courtesy of the from their publica for their kind permission to print quotations hoes Moar Novello & Coy for quotations fom Purl Paity Queen’. Men J. & W, Chester Lad for quotations from their collection of ‘Old French Pieces for ‘the Harpsichord ', Slited by Gabriel Grove, Messrs Schott & Co. Ltd., for quotations from their edition re Hfandele Piece edted by Barclay Squire for quotations from ther eiion aited by Pesce Warlock Messrs J. 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