MELODIAA COMPREHENSIVE COURSE IN

SIGHT-SINGING(SOLFEGGIO)

THE EDUCATIONAL PLAN BY

SAMUEL W. CpLEDIRECTOR OF MUSIC IN THE PUBLIC SCHOOLS OFBROOKLINE, MASS., AND INSTRUCTOR IN THENEW ENGLAND CONSERVATORY OF MUSIC

THE EXERCISES WRITTEN AND SELECTED BY

LEO R. LEWISPROFESSOR OF MUSIC AT TUFTS COLLEGE

OLIVER DITSON COMPANYTHEODORE PRESSER CO., DISTRIBUTORS

BRYN MAWR, PENNSYLVANIA

MADE IN U. S. A.

Copyrlghc ltd), l>04, by Ssmad "V. Col< isd Leo R. Ltwii

Copyright iisigncd to OlWcr Ditson Complnyi 1909

'^5

Book Two

INTRODUCTORYThe Value of Sight-Singing

For at least two centuries training in sight-sing-

ing has been recognized in Europe as fundamental

to all technical education in music. Americans

have seemed to set little store by such training;

for, today, the great majority of our professional

musicians, not only instrumentalists but also vocal-

ists, need unerring instrumental support in " sing-

ing at sight " a part-song or an anthem which has

modulations to any except closely related keys, or

which abounds in the larger intervals. Obviously,

inability to read at sight does not preclude good

performance, after familiarity has been gained by

instrumental assistance; but probably no one

would deny that the possibilities of artistic

achievement are infinitely greater when one has

acquired the confidence born of genuine ability to

sing at sight— which ability may be defined as the

power to know the units of rhythm and of relative

pitch of any rational musical phrase, and to prove

that knowledge by singing it correctly at first

sight.

Much Material is Necessary

Many works on sight-singing have been com-

piled and written for use in the public schools.

But the authors of Melodia believe that there is

need of more and better graded material for use in

conservatories and by private teachers. The pres-

ent work is an attempt to meet this need. It rep-

resents the results of many years' experience, and

is based on the belief that, whatever be the method

of presenting the elements of the subject, the sur-

est road to growth is through actual performance

of a great number of carefully graded tasks.

Confidence Must be Developed

A second fundamental thought has been that a

high degree of self-confidence must be developed

before one can " stand up and sing " alone at sight

a somewhat difficult musical phrase, without other

assistance than the sounding of the key-note. Ex-

perience has shown that rhythmical problems are

quite as often stumbling-blocks to musical students

as are to^ial problems. Therefore, in Melodia, the

first eighty pages, which are written without skips

primarily to develop a ready confidence, contain

many and varied examples of each of the conven-

tional rhythm-forms ; and the most deliberate pro-

gressiveness is maintained in the introduction of

new difficulties. In a word, it is a feature of

Melodia that early emphasis is laid upon rhythmi-

cal problems.

The Treatment of Large Intervals

In the treatment of the larger intervals there is

also a departure from the conventional procedure.

Instead of taking them in the order of small to

great, the octave is first presented, because experi-

ence shows that it is the only " skip " definitely

recognized as such by most beginners. The sev-

enths, sixths, etc., are then presented both in their

relation to the octave and as composites of the

steps and half-steps with which the student is

already thoroughly familiar.

General Features of Melodia

A glance at the headings of the successive Series

will indicate in detail the comprehensiveness of the

plan. The following general points may be noted

:

1, The typographical arrangement is such that a verylarge amount of material is brought within comparatively

narrow limits;

2, The normal compass of average voices (an octaveand five notes from low A) is seldom exceeded

;

3, Nearly one-half of the unison exercises are writtenin the bass clef, thus forcing sopranos and altos to becomefamiliar with that clef

;

4, The two-part exercises are all written so that theymay be inverted, the bass being made the tune, and the

tune the bass ; or they may be sung by male voices only orby female voices only; thus, each two-part page repre-

sents two pages of practice material

;

5, Again, the two-part exercises are adapted to use byteacher with pupil in private vocal lessons;

6, Since all indications of phrasing are lacking, oppor-tunity is offered for constructive work of the highest edu-cational value.

Individual Work Essential

It is expected that, even when the book is

studied in large classes, much work in individual

reading will be required by the Instructor; for,

after all, no one has fully mastered sight-singing

who cannot sing alone, while beating time after

the conventional forms.

As a special—and, perhaps, novel—^help in de-

veloping the sense of individual independence in

ensemble, there have been included, in Series I,

exercises which may be sung simultaneously.

Cases of this sort are indicated in connection with

each of the respective exercises. Thus I 233 maybe sung with I 243, I 246 with I 263, etc. Someteachers believe so fully in this method of devel-

oping independence that they cause exercises in

the same key, and with the same number of mea-

sures, to be sung together, without regard to the

tone-content of the exercises. This practice, ar-

tistically unjustifiable, may have, in moderate use,

educational value.

The Goal of Melodia

Melodia undertakes to prepare students to meet

the most difficult tasks in pitch and rhythm set by

masters of choral composition. If suggestions of

phrases from some of the masters have occasion-

ally been incorporated in the original exercises,

the reader may be willing to waive a charge of un-

justifiable appropriation, in view of the specific

object of the whole work.

The Modulatory Studies

Pages 76 to 80 contain Modulatory Exercises,

some of which may well be studied earlier than

their position in the book would indicate. The

relationship between the objective keys and the

tonic is indicated by Roman numerals,—capitals

for major keys and small capitals for minor keys.

Thus, "To II " means that the exercise illus-

trates modulation to the minor key based on its

Super-tonic of the prevailing scale—to D minor,

if the piece is in C major. Such an exercise

may well be studied in connection with any ear-

lier exercise which modulates to any similarly re-

lated key—to F-sharp minor from E major, for

instance. Reference to these exercises is occa-

sionally made in the earlier pages of Series IV

;

but the teacher may best judge whether more

detailed study of key-relationship is desirable.

Matters of Notation.

There has been no attempt to preserve absolute

uniformity as to the details of notation through-

out the book. On the contrary, it has been

deemed wise to present a variety of forms and

usages, in order to accustom the student to the

practices of various authors and editors.

A word is necessary as to the insertion of clefs

and the use of bars, which features, on casual

view, might appear to be unsystematic and need-

lessly unconventional. As a matter of fact, con-

siderations of brevity have prompted several

departures from the established usage. For the

guidance of the singer, however, but a single

direction is necessary : the prevailing key-signa-

ture and time-signature are not cancelled

unless a clef or the regular double-bar [II] is

inserted. The double-thin-bar [||] is therefore

not to be regarded as necessitating a new indica-

tion of key or time. The time-signature maychange while the key-signature remains. The reg-

ular double-bar appears where either a clef or a

A^y-signature is changed. The meaning of the

single-thick-bar [I] or the double-thick-bar [II],

as in the Modulatory Exercises and in connection

with repeat-signs, is, in the respective cases,

obvious.

THE SOURCES OF THE SELECTED EXERCISESThe authorship of the selected exercises and of the excerpts, is indicated by letters following

the respective numbers. An asterisk shows that some modification other than transposition has

been made, but not such as to impair the original character. Below is a key to the indications

of the letters. All exercises not so marked have been written for this book.

Ad T. Anderton [1836- ]

Ab D. F. E. Auber [1782-1871]

Bh J. S. Bach [1685-1750]

Be U van Beethoven [1770-1827]

Bt A. Bertalotti [166S-1730( ?)]

Bh H: Bonicke [1821-1879]

Br J. Brahms [1833-1897]

a G. Carulli [1800-1877]

Cb E. Chabrier [1842-1894]

Ck G. W. Chadwick [1854- 1

Ch L. Cherubini [1760-1842]

Cn P. Cornelius [1824-1874]

Du F. Durante 1:1684-1755]

Fi C. H. Fischer [1800-187S(?)]

Fr C. Franck [1822-1890]

Gn

TABLE OF CONTENTS

INTRODUCTORY V

BOOK I

FIRST SERIES I

One-part diatonic exercises in step-wise melody— G and F clefs— All major keys to B and to D-flat

inclusive— All representations of notes and rests of whole-beat length and multiples thereof—Elementary presentation of the divided beat,

SECOND SERIES 21

Two-part diatonic exercises in step-wise melody— Keys to B and to D-flat inclusive— Alt representa-

tions of notes as in First Series, with greater variety and length of rests— The divided beat in fuller

presentation.

BOOK II

THIRD SERIES 41

One-part exercises in step-wise melody in all keys— Graded presentation of all chromatic tones, except

flat-2 and flat-5— Development of the minor— The dotted note involving division of the beat—Triple and quadruple division of the beat.

FOURTH SERIES 61

Two-part exercises in step-wise melody in all keys— Chromatic tones, modulatory and ornamental—Development of incidental and extended modulation— Syncopation— Mingling of double and triple

divisions of the beat.

FIFTH SERIES 81

One-part exercises— Systematic treatment of intervals, beginning with the larger— Skips to and fromchromatic tones having obvious key-relationship—The commoner augmented and diminished intervals.

BOOK III

SIXTH SERIES loi

Two-part exercises embodying all intervals treated in Fifth Series— More elaborate development ofrhythmical difficulties, especially of syncopation— Lengthy solfeggi from German, French, andEnglish sources— Canon and Fugue.

SEVENTH SERIES 131

One-part exercises— Systematic treatment of skips to, from, and between chromatic tones— Intro-ductory study of passages whose chromatics "deny" the signature— Advanced solfeggi from foreignsources— Specimen difliculties, without text, from the classics.

EIGHTH SERIES 151

Two-part exercises, involving all the difficulties treated in Seventh Series, and fully reviewing therhythmical problems earlier treated — Maximum difficulties of mediated modulation— Special studiesin the development of independence of the parts.

BOOK IVNINTH SERIES ....... 161

One-part exercises— Typical passages from early and recent composers, with text, of d'.fticulty rangingfrom medium to great— Full exposition of chromatics which "deny" the signature— Arbitrarychanges of tonality.

TENTH SERIES 177

Two-part exercises, with text— Representative excerpts from early and recent composers, with a fewnew exercises, embodying maximum difficulties of pitch and rhythm, as well as the utmost independenceof parts.

ELEVENTH SERIES 191

Two-part exercises, partly without and, partly with text, in the following Church Modes : ^olian,Dorian, Jonian, Mixolydian, Phrygian — Canonic imitation, strict and free, in other intervals than that

of the octave.

41

MELODIA - BOOK II

THIRD SERIES

One-part exercises in step-wise melody in all keys — Graded presentation of all chromatic tones,

except l»2 and l»5 — Development of the minor — The dotted note involving- division of the

beat — Triple and qtiadruple division of the beat

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FOURTH SERIES

Two-part exercises m step-wise melody in all keys — Chromatic tones, modulatory and

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81

FIFTH SERIES

One-part exercises — Systematic treatment of intervals, beg'inning' with the larg^er

Skips to and from chromatic tones having- obvious key-relationship — The commoner augmen-

ted and diminished intervsds

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