hymn accompaniment - sol fah notation guide

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Forgotten and 'unfashionable', Sol-Fah 'music' continues to be used in many churches and amateur choirs today and this is one of the few remaining text-books giving an insight into its workings.

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SCHOOL MUSIC TEACHER

THE

SCHOOL MUSIC TEACHER.TO TEACHING SINGING IN SCHOOLS TONIC SOL-FA NOTATION AND STAFF NOTATION.

l

ormerly;nperintendent of Singing to the School Board for London ;

J

JOHN EVANS,

W.

G.

McNAUGHT,

Mus.Doc.,

Fellow of the Royal Academy of Music, &c. &c.

TENTH

EDITION.

Authorised as a Text Book for the School Teacher's Music Certificate Examination hy the Tonic Sol-fa College.

LONDON:J.

CURWEN

& SONS

LTD., 24

BERNERS STREET, W.

PRICE

TWO SHILLINGS AXD SIXPENCE.

PEEFACE.THEissued

note singing requirements of the revised Code by the English Education Department in

1884, and adopted

by the Scotch Department

in

1887, made 100,000 school teachers responsible for the elementary training of the ears and voices of 5,000,000 of children. Much of the musical futureof

Great Britain was thus made dependent upon

the measure of ability and earnestness that school teachers can bring to bear upon this serious task. The musical culture of the teacher is, therefore, the

key of the

position.

This book

is

a contribution

in aid of school

teachers.

Its authors offer their

experience in the hope that it will lighten the labours of their co-workers in a great cause. The plan of the book is to deal in detail withthe Tonic Sol-fa and Staff Notation note singing

requirements of the Code, and also to prepare candidates for the School Teacher's Music Certificateexamination, instituted by the Tonic Sol-fa College in order that competent teachers may have theirqualificationsto

teach

childrencertified.

to

sing

by note

satisfactorily tested

and

JOHN EVANS.W.a.

McNAUaHT.

PEEFACE TO THE NINTH EDITION.EVERY teacher of school singing should be able to apply Tonic Sol-fa principles to the Staff Notation.The demandfor teachers competentas well as to teach the

universal Staff Notation

the ancillary

Tonic Sol-fa Notationincrease.

is

reasonable,

and

likely to

The best - taught Tonic make the best Staff Notation alwaysshould

Sol-fareaders.

pupils

TheStaff

foundations

be

strongly laid.

The

Notation requirements of the examination for the School Teacher's Music Certificate will be obligatory

on and

after June, 1904. (liequirements for Staff Notation, see p. xi; also see Appendix II, p. 305,

and Appendix

III, p. 318.)

The

abolition of the

Music Grant (one

shilling for

note singing and sixpence for ear singing), in 1900, " and the substitution of " surprise Inspection for an

examination at a known period of the school year, have considerably altered the school circumstancesexisting

when

this

book was

first

published in 1888.is

The

progress of

music in schools

now more

than ever a responsibility of the teacher. May all teachers realise how substantially they can contribute to the sunny side of the life of thenation

by developing the natural musical

ability of

the children under their charge.

W.August, 1903.

GK

McN.

CONTENTS.Manual Signsof

Tones in

Key.

.

.

PAGB viviiviii

Finger Signs for Time

.

.

.

.

.

.

.

.

.

The ModulatorCertificate

.

.

.

.

.

.

.

.

.

.

.

.

Syllabus of Examination for the School Teacher's Music.

.

.

.

.

.

. .

.

.

.

.

ixxxiii

Board

Education in Singingof.

Instructions as to Examinations.

.

.

.

.

.

.

.

.

CHAPTERVoluntaries, &c..

I.

Memorizing School Songs The Modulator The Code Requirements and the Steps of the Method..

.

.

.

.

.

.

1

CHAPTERThe Tune or Note RequirementsTransition and the MinorIntervals and Pitch

II.

of the III..

Music Code.

.

.

18

CHAPTERMode.

.

.

.'.

.

.

46107

CHAPTER.

IV..

.

.

.

.

.

.

.

.

.

V. Systematic Ear Training for Standards I to VII

CHAPTER

.

.

134

CHAPTERTimeTime-names

VI.of

The Teaching

Time

.

.

.

.

160

CHAPTERTime and Tune CombinedExecution.

VII.. ..

CHAPTER..

School Songs VIII... .

.

220237

.

.

. .

.

.

.

.

CHAPTEROrder and Manner of Teaching

IX..

SummaryX.. .

.

.

.

255

CHAPTER.

Miscellaneous Points connected with the Teaching of . . 269 . Singing.. ..

.

.

.

.

APPENDIX.Sight-Singing Tests in Transition, Minor Mode, and 278 Chromatics, &c..

.

.

.

.

.

.

.

.

.

APPENDIXThe Relation of Tonic Sol-fa Comments for Teacherstions for Class Practice.

II.

to the Staff NotationPractical Skill Sugges..

.

.

.

.305

APPENDIXTheMusic

III.

Staff Notation requirements of the School Teacher's Certificate 318.

MANUALNOTE.

SIGNS OF TONES IN KEY.the

The diagrams show teen from the front.

hand as

seen

from the

left

of the teacher, not atthis.

Teachers should particularly notice

SOH.The GRANDor bright tone.

TE.The PIERCTXQor sensitive tone.

ME.The STEADYor calm tone

DOH.The STRONGor firm tone.

RAY.The"Rorsrxo or hopeful tone.

LAH.The SAPFor Fe,let

PAH.The DESOLATEor awe-inspiring tone.

or weeping tone.

the teacher point his first finger horizontally to the left. For Ta, ditto to the right. To the class these positions will he reversed, and will correspond with the Modulator. For Se, let the teacher point, his forefinger straight towards the class.

Vll

FINGER SIGNS FOE TIME.A*.vert

from

the Teacher* s point of view, the back of the

hand leiny shown

to

the pnpih.

taatai.

tafatet'e.

taatefe.

taafe.

tafatai.

-aa.

aatai.

taasat.

saatai

.

Vlll

THE MODULATOR[COPYRIGHT.]

Db*'

.

Ab1

Eb

Bbs

F

C1

G1

Dr1

A

E

B

r

1

dt

fmr1re-

s

dt

1

f

r

1

s

dt

1

f

ee

m

nr

1

1

sde'

dt

1

f

d'

f

M1se

ba

n

1se

r

t

mr dt,

sba

dob, 1

te

nlrsdt,

f

1>

s

dt,

fni

flahia

r

s

dt,

f

s

f

Msobbafe

nr

1,86,

mr

1,se,

r

dt,

f

mr

1,SC|

s,

mr

1,

s,

dt,

fah

mema

1,

s,

dt|

f,

s,

dt,

f,

nde

sei

n|

m,

1,rase,

raydoht,ta,

s,ba,

dt,

f,PI,

dt|

f|

1,66 1

T,

n,

1,se>

r,

s,i

f|PI,

1,

r,

s,

d,

li,

r,

s

i

d

i

*i

^1,se,

t2d,f,P1|

t2

m,

r,

s,

S

l

dl

*l'

t2d,f,

12

t2

n,

12se a

r,

s,fe,

fn,12

t2

n,

12

r,

s2

r,

s2

d,

f,8e.

(

2)

n

s

d r n f n d

t|

d

si

1,

t|

d

s

n r d

tai

1|

t|

d

Time. The class should be able to sing on one sound to the syllable doh or laa exercises in three-pulse or four-pulse measure,3.

containing one-pulse notes, half-pule notes, and whole-pulse rests on the non-accented pulses of the measure.Examples(1):

j|d

:d

|d

:d

|d:d

:d,d|d:

:d

:d

|d:

|d

:

:

|d

|d

;

j

id(2)

:d,d|d

Id

|d

:

j|dId|

:d

:d

:d

:d ,d :d

:

: j

|d::

|d:

|d:

Id

:d

Id

:d

Id

:

:

II

tically

be an advantage if pulee-and-a-half notes are also pracexplained in the lessons. 4. Combined Time and Tune. Studies combining the foregoing points should form part of the course of instruction.It will

XXVITraining. The teaching should be directed to enable individual pupils to name any three consecutive notes of the scale of5.

Ear

twice sung to the syllable laa (or played), the chord or the scale being each time first given. The exercise should generally commence on some note of the key-chord. N.B. This test should only be applied to the more advanced children of this division. Not more than half of the children in an average class taught by a skilled teacher can be expected to freely answer such questions.of

Examples(1) B11

:

f n||

(2) s 1

(3)

(4)

(5)

(6)

(7)11

t||

n f

s||

n r d||

d

1

t 1||

d r n1

d r n||

||

Songs. Folk-songs, the words of which are suitable for school use, should be memorised. It is desirable also (not instead) that in well-staffed schools easy two-part songs and rounds should be studied.6.

Good unison songs should be

used.

GRADE TV.1.

(Suitable for Standards

V and

upwards.}

voices of the children will now begin to differ more widely in compass. The altos or second trebles should not be permitted to strain their voices and spoil the singing generally by endeavouring to sing notes beyond their compass. If all the children sing in unison the range must be limited. Special exercises calculated to secure full clear tone on the principal vowels should be used. Indications of bad intonation or flat singing should be carefully noted, and means adopted to ensure correct intonation. good pattern is the best practical lesson. Children with voices well in tune should sing to the others. The class should be able to sol-fa at sight from printed 2. Tune. or written copies slowly, simple diatonic passages in the major key, and simple passages containing a transition of one remove indicated by bridge notes. Examples : KEY I>. A.t. f.D.Voice.

The

A

(l)dnsfnrds dt|dnrd d sfnsltd's

(2)

d

s

KEY Kbn f r d n

Eb-t. f-Ab. s d dl s f n r f n "1 t d s n d n r11

1

s

t|

d

Also, to sol-fa passages in these

minor key or mode, introducing

I se I, but without introducing fah, or lay, or soli. Lah is A, Doh is C. 1 t d t 1 se 1 t d 1 r d t 1 d t 1 se 1 It is desirable, especially in Standards VI and upwards, that passages including oblique approach to bridge notes and the complete minor scale should be familiar to the class. Examples : KEYF. *f.F. *C-t. d s n d n s f n ir d t d s 1 t d "1 s f n r n d (1)

used thus:

Example

1

1

1

1

1

1

1

1

1

(2)

1]

t|

d

1|

n f n r n n ba se

1

n d

ti

li

XXVll

The class should be able to sing at sight on 3. Time. series of notes in two-pulse, three-pulse, or four-pulse

one tone, measure.

including pulse- and-a-half notes, and simple phrases in six-pulse measure, beating twice to the measure. Examples :

j|d(2)

:|

:

:d

|d

|d

:-,d|dd

:d.d|d

:||

d(3)

:-

,d :d

:-

:-

Beating twice.

J|d

:-

:-

|d

:d

:d

:|d

:d

Other rhythmic effects will have to be studied in connection with the songs used but while it is desirable that pupils should intelligently understand the notation of the music they sing, it is not to be expected that such difficulties should be performed at;

first sight.

Time and Tune. In schools with an average 4. Combined attendance of more than sixty older scholars, the upper class should be able to sing at sight simple passages combining time andtune.(1)

Examples KEY O.::

:

IdJ

:n

Ids-,r|n,r:d

Is

|r(2)

|m

:n,f|s

:t|

Id

:

II

KEY F.sti

djl

:d

:

jn

:r

:d

:- ,n :r

|s:lis,

|n

|r

d

:ti

:-

:d

t,

:d,r:n,rd

:-

:-

jt,

Other more

difficult

passages should be studied, but not neces-

sarily as first sight- singing tests.

Individuals in the class should be able to name 5. Ear Training. the notes of a simple diatonic phrase, consisting of not more than four notes of the scale of C, sung twice to laa (or played), the chord or the scale of C being given each time.to

Only the more advanced children of answer correctly,6.

this division

can be expected

Songs.- Good two-part songs (accompanied if possible) and (accompanied or unaccompanied) should be practised. In addition it is advisable that good, sterling unison songs, of the national or folk-song type, should be learnt by every scholar in the class.trios

xxvui

STAFF NOTATION,GRADE(SameI.

INFANTS.

exactly as for Tonic Sol-fa Notation, Grade I.)II.

GRADE1.

(Suitable as

a rule for Standards I and II.}

(Same as for Tonic Sol-fa.) The class should be able to sing at sight slowly, using the sol-fa syllables, the ascending and descending notes of the scale of C, the notes of the key- chord of (Do, Mi, Sol, Do] in any order, and also small groups of consecutive notes of the scale of 0.Voice.2.

Tune.

Examples U)

:

^->

&

^>

*=*

^ &~

n

G>

^

U

f^

&

H

3. Time. The class should be able to sing at sight on one sound, to the syllable Ian or doh, an exercise in 2-4 or 4-4 time, which should include minims and crotchets.

Example

.

Quaver and crotchet4. 5. 6.

rests should alsotests.\\

be studied, but should not be

included in sight reading

Combined Time and Tune.

Ear Training.Songs.

(Same as

for Tonic Sol-fa.)

)

XXIX

GRADE1.

III.

(Suitable for Standards

III and IV.)

(Same as for Tonic Sol-fa.) 2. Tune. The class should be able to sing at sight slowly, using Ihe sol-fa syllables, a series of notes in the key of C, containing an F sharp contradicted by an F natural, and a B flat contradicted by a B natural. The F sharp should be approached by the note as in the example, and the B flat should be and return to as in the example. approached by C and be followed byVoice.

G

G

A

Example

:

The sharpened 4th and the

flattened 7th should also, studied in other keys (G, D, F, and B flat).

if

possible, be

3. Time. The class should be able to sing at sight on one sound to the syllable doh or laa exercises in 4-4 or 3-4 time containing semibreves (in 4-4 time), minims, crotchets, quavers, and dotted minims and rests on non- accented pulses of the bar.

Examples a)

:

I^^-JL.

ljjp

+11.

It will

be an advantage explained in the lessons.4.5.

if

dotted crotchets are also practically

Combined Time and Tune.Ear-training.Songs.

(Same as for Tonic

Sol-fa.

6.

GRADE1.

IV.

(Suitable for Standards

V and upwards.}

(The same as for Tonic Sol-fa.) class should be able to sing at sight slowly, using the sol-fa syllables, simple diatonic passages in the keys of G (one and sharp), D (two sharps), F (one flat), or B flat (two flats) similar simple passages containing accidentals to raise the fourth of the scale (approached by the third or fifth) and to flatten the seventh (approached by the octave), properly contradicted.Voice.2.

Tune.

The

;

*>&-