the folk song i

8/6/2019 The Folk Song I

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ISBN 0 19 330251 9

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The Folk SongSight Singing Series

Book ICompiled and Edited by IDGAJI. CROWE

hl"NIE LhWTON, and w. GILLIES WHITTI\KUI

OXt-ORD UNIVERSITY PRESS


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PREFACE TO BOOK IKEYSThe editors can see no justification for rcstrictin~ early sight-sin,inato key C, with a gradual addition of other kcys. Thcir rca sons arc asfollows:- '

1) The chief cause of hesitation and inaccuracy has nothing to dowith key: it is due to unccnainty as to the pitch of the notes to besung. A fluent application of the solfa syllablcs to the suff docs awaywith this difficulty. Therefore, what is nccded is a grading of thisapplication in a manner suitable for all keys. That is what this Seriessets out to supply.:!) C i snot the easiest key in either the treble or the baslltan. (h isthe easiest key for the piano, certainly, but the mental procC5lCS ofsight-singing, cspecially in the carliest ye:.n, arc toully different fromthose involved in playing R keyboard instrument.)3) Although early results may be quicker if key C is adhered to a'first, succeeding stages arc rendered more difficuh; ul timately, themost Auent reading is secured by variety of keys from the beginning.4) -S o longas there arc no accidentals (which do not come Wltila muchlater stalc), pitch names arc only an encumbrance to the mind and:I hindrance to reading. All that matters at first is to know theposition of doh, and to be ready with the most commonly used leaps;for instance: to remember that if d is on a line, d m 5 and s t r' 'A'iUbe line, line, line, and f Id 1 will be space, space, space; that if d is ina space d m sand s t rl will be space, space, space, and f Idl willbe line. line. line. The less the pianofone keyboard il thought aboutthe better.

KHY S IG NA T UI t ESThere is no need for beginners to know the full meaning of key liana-rures. The following two simple rules arc all that isnecessary:1) Where there arc sharp~ at the beginning of the line, the Jalt sharp,that furthest to the right, is t; dl is. step above.2) Where there arc Aats at the beginning of the: line, the last Oat,that furthest to the right, is f; d is three steps down. fm rd.Pitch namcs need not be thought of at all. But, in order to meet theneeds both of reachers who lise kcy signatures from the bClinnin, andthose who do not, in the first So runes the key signature is given, andthe posit ion of d is also indicated by . From No SJ the is omitted.Practice should precede theory; knowledge of unessential details 1houldbe left over until progress justifies their introduction

PRELI MIN ARY SO L F A T RAr NIN GIt is assumed that preliminary solfa training has been sound. and thatthe three cardinal chords of the major key arc thoroughly familiar.To attempt to apply solfa names to the staff without thorough andsystematic modulator practice previously is to court disaster. Reading tolaa is ultually mere guess-work. 1'0certAinlY can be obtained ",ithout aconstant use of Ihe solfa syllables. If a good foundation of solfa hasbeen laid most easy leaps are prepared for. Reading from solfa nota-tion also is an invaluable and necessary aid to securing fluency in theuse of the syllables. Material for this will be found in Books Xl and XII.which contain solfa notation only: they are intended to be preparatoryand complementary to the staff books.

GRADING.No collection of sight-sin,ing examples can possibly meet all needs,


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r or SWI everybody's plan of grading To secure sufficient variety, anJto nuinr:lln Interest in class, il is necessary to employ various forms ofreading practice by use of the modulator, written examples and printedtests . Teachers should be rudy 10 invent, and Write on the board.additional melodies gi\'ing practice in any special difficulties of either limeor tune which may arise in a lesson. ItmUSInot be assumed that everytune in these books is necessarily more di.ncult than those immediatelypreceding it. Excepting for the new factor, the first runes in each Sectionarc someum ..s easier than those at the end of the previous Section. Butthe Sections arc arranged an order ofdifficulty and the tunes graded withineach Section.With tunc, the primary difficulty is to attain speed in thinkin& out thesoU. names (){ the notes, but facili ty in this IS merely a matter of carefulgrading and well-directed practice. Progressions commonly in use shouldbe systematically introduced and practice l imited to those unt il they aremastered.The plan of grading in this book is one which can be adapted to meetvanous needs according to the ideas of the teacher concerned.The tunes Ire arranged 10 three Sections.Section I IS limned 10 the use of the doh chord with iu various leaps,and scale passages.Section 2 adds the usc of the soh chord; andSection 3 the fah chord; but in the case of the soh and fah chordsleaps arc hmited to thi rds only, so that throughout the hook the only leap.,reater than a third arc those of the doh chord.Each Section is subdivided in to three parts, A, 8and C.In each case:A is limited to tunes containing only if' (J ' 0B introduces rests, but none shorter than a ... ilole pulse.C introduces U but always stepwise in itself and in quinance.Within these limi tat ions r r is not difficult, and the increasedrhythmic interest which it aTords is too valuable a factcr to justify irspostponement longer than is necessary. Teachers who prefer to omitit until the three cardinal chords hive been learnt can do this by leavinaout the C groups until all the A and B tunes have been studied.SUGGESTED PLANS FOR READINGIn the early sta,es of readin, it is suggested thlt each tunc m.y be sun,in IU of the following ways:

I) To solfa without time.2) In monotone (a) to time names, (b) to doh.J) Combined time and tune to solfa.4) Combined time and tunc ro laa, twice if necessary, and then onceat least with all expression marks observed (and toan accompanimentwhere the teacher is sufficiently skilled to improvise one).The dass should aiway~ beat rime or tar each beat silent ly. It is desir-able [0usc tapping in the early sta,es but to proceed to beatina Isoon as the class is ready.When the class is sufficiently advanced each test should be ,un.at Ieut three times, &I follows:I) To solfa.2) To laa .Jl With al l expression martls observed (and to an accom~nimcntwhere the teacher is sufficiently skilled to improvitc one).After the arlint ItageS of DOte-to-Dote readml, claases must leam

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to think in phraset. As an aid to this, phrasing is marked in all tunes,and cases of i rregular rhythmic st ructure arc noted ObKrvat ion of theseroints of construction not only helpi towards more intelligent readingbut also mcreases the interest of the lesson. Al l repeats should be observed:expression marks in brackets {efer to the second time.Tempo and other indications mayor may not be attended to on a firsrreading according to the capacny of the singers, but at a later staReall indications should be observed in order that light-singing may belinked up with musical enjoyment. There is 100 often a tendency todivorce sight-singing from music, and one object of this collection isto provide material which is at once musical and useful, and whichwil l help towards makina this pan of the sin,inR lesson a delight to theClalS.To add interest, the nationalities of the tunes are given. Very slightaJteratjons have been made occasionally in order to brinatunes withinthe limi tat ions of a particular sect ion; a ll such cases arc indicated by a *.The proportion of tunes conta ining certain leaps, e.g. ,dlmand others ,is not the result of an arbitrary choice but of an analysis of many hun-dreds of simple folk-tunes.This analysis has revealed that much si,ht-singing that has been basedupon theoretical plans is not in line with the findings resultant uponthe arranling of a large number of folk-tunes in order of difficulty. Itmay be argued. therefore, that the basis of the scheme followed in thesebooks is natural and not an artif icial one. The collect ion thus becomesa compendium of the difficultiel likely to be met with in elementarynadin,.

INDEXSECTION 1. NOS. [-S9IA. Nos. 1-3J. Doh chord wi th all i tl leaps, and scale passa,es.r 0 p 0Time value,: I IlB. Nos. 34-,p. As [A, plus rests, but with none shorter thana whole pulse.IC. No. 41-S9. As lB. plua ~j stepwi.e in itself and in

qwttaD. SECTION 1. NOS. 60-80The soh chord is added but with leaps of. third onlYi i.e. I-tj

t-s; I-rli rl-c. .0 (:.;'o2A. NOl. 60-68. Time vaJues: I I rlB. Nos. 69-71. As 2A. plus rests, but none Ihoner than awhole pulse.lC. Nos. 73-80. As lB, plus w .tepwilC in itself and inqWlIan. SECTION 3. NOS.81-1 [0The fait chord il added but with leaps of a third oDly; i.e., I-I;I-f; l-dl; dl-1. T I 0 f:J. 0JA. Nos. 81~. rme va ues, I I I 3B. Nos. 100--104. As 3A plus rests, but noDe sboner thaD whole pulse.3C. NOI. [OS-I 10. As 3B, plul U stepwise In itself and iD

quittance.III


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SECTION I. Nos. I-59 ISection IA.Nos.I-33. Doh chord (with all its leaps) and scale passages.: t . # Allegretto dim. P BritiahJ ,t'f.J@!i IrA iP IP IJ lhJl_Le Ir-l . Moderato dim. Dutch2 it J f l 3 r r l r r r r lJ J}J. J O J r r 1 r r r r I J J f [ J 1

r- i . Andante - Eastern !!!rope(Liturgical)3 ~ ~ ; * J d ! I E J J J t E J J J I J H ! J~ r r P l i l J IP pp .---==r't.~. J . Allegretto Hungarian4 i J ~1 : 4 f V 1 2 l t J l 4 t J d I . I J j I J J I J J I J J J I J J I J j IJ IIIIf 11 ~ pp"""_____. J .Andante Latin5 6 t r H 4 J J [ i ! @ J J ! ; u ! J J J ? ! 9 r r r r t t I F ' III ~ cresc. f- J . Moderato British6 i1 ~2: J n IJ r r I rJ r J 0 J J IJ J J I r 5 T r [Ip . f~"j r Ie r Ir r i g I!tIJJ J IJlJ.1 9 . I

c o 19~1. Odor


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2Allegretto Dutch

[0''';I''J Q r IJ J I) c r t ; J [j J U J 1J7Tt]~ ~m., ! L V j r I J U 1 3 m U ' a O J I J J I J 7 P j I

ppAllegretto French"'~I.:qiJ J 1 $ J 3 M I r ' I J { r o .1'j aG r ' IJ ~ i 1 ? J 3 1 4 Ie IJ U W, Icresco dim.

,~ Moderato ( g , . n . . . . r 4 ..... U , '''''g, en ~'-l Latin

12 =~2 .J l fJJ~tiJIU,IJlr4 JJI4JjJ]JIJj r l U a "P erne. dim. pAlle~tto Flemish[3 ' 5 1 . ; : J I r - r I E fir FreE I r - E I U ra~ .'j U & g 1 I J J 1 3 U f J J J E [ J U I J . I ) U IJ . IAndantino French

[4 ,t-I.Ar r -1 - J J J j J B l : lJ 1 J l rr - I J U J ~ J W Ip ppAllegretto giocoso Latin

1 5 "I .mrrt.rnrrl fftIWJ"IJ~ajIWI"" cresco dIm. PAllegro German

1 6 ' ~ f ~ l : : JF ' r I 4 4 m : . r r n l f r 4 N JiN]'i UJUJ@lujjJjf) IfJ IF'r lHUt:. IlIP crete. f


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4 Moderato BritishZ 3 'I.;1j) 1i@F , , {W I 1fS!G;1

]I, . n r lE li"ffFS I;-:E ijf) Ifm r~ Icrete. f dim. pAllegretto British

Z4 6 1 1 1 f1..JHr IrrJliJl~JflrlrrJln fl]I cresc. dim.6~ frrlrrJIJ]D JW rlr Jgp

Allegretto French*Z 5 ,!hl.tir r I; iI]. IJaU J I J [HI ;)p cr..sc.6~1IF FI; W. ItilH J I; r u . Idim.

sA IModerato 5 1 014 1. G.........Z9 !""I.mr~~IJJtJ.Pi r r I#ij). I;[JJll@"fI' ~ C1YU.r tmB ItPIUJJjJJJjTJ1(8r rIJa~1f dim. P

Allegretto GermanJO '~I. 1 1 ; ; I ; J iD I r E f Ir r I F F e r r I"!I cresc,, , , J 7 1 F r I F FW 1 M I; J I) tria

dim. .".Allegretto Britisll

31 'W IJfF rIF rJ~Fm JUjJIJJJIJ Uj}1 I" "llegretto Prrnch32 ' t .j# J 4 I i f tJ @ 4 I jr p I A f i 1 4 1 4 4 r O IP lI P pp cresco "If"Allegretto German3 3 'V V I ..r u - : i l l f J fW # lt< l r1~J Ii ; IJjmf'J \1 !1 FQ J JJp Q lJJW (i' J I;iN I

P dim. PSECTION IR.Nos.,34-.pAI Section lA, plul r U (none shorter than wbole pul . . ).Allegro lIP oerm~

14 ,. !I J Z I J J Ii fi;J HiCkIHi (IJjI, 'il J I J J 1 '1 Iij- jJ ~ I ~ IJ 3D Isresc, dim,

Mode~ Serbian3 5 '~I.tJJJfFrr(JJ:l IJ~JIJJi.PIp mf p~


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. .

7Allegro Hungarian42~I.IJ1friID IJij irr I tr tr- IJMJllkl~ p, rcpllGl ",orr softlvJ - I - r 1 - r P l 2 8 J liJ 1 - r I-.r 1 4 2 2 t B 9 1 - ~ 1 - f d" r dim. 1;J. @J 1 M 1 - E 1 - r I ~ J i 1 1 f I #lJJ~ 1 3JI~ = : 1 '1 ' ~ crrsc . ~SECTION Ie. Nos.43-S9AI Section I., plus ~ scalewise in it.elf and in quittance.Allegretto . British4J J-"2~J iJ IHr IrrffiilJ :il ISJJ I J E t J . i 1~. -= =- dll'Pt, PP44 :lffiejj11 J J J Ikr6m1071~ f Pl~:r J J n 1m6E r 1Pr I, cresco f

. .


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r

Allegretto Briti.h4 9 + !..5 iJ J J I J J J l iJ ; J J U J J I J J J I [DptO J uj-J-j-Ij-J j-1r-U rjr 1 ; 4 J I@I

. .!t

~

.It Moderato (hS) G __ ~ :>:> erman5 7 i f # 1 J I J - a J D I JU J ! J J J I J J J * J J~ J~"'II'~ -- >: -::: -_ _.~d i J I J i D J J I J I J ) J E & ; o r u 1 ~ ~ jpp~ ~ f ~?J

~ Allegretto B "t " h58 ih J J I r F r I J 00 . J I ) J J I J J J I ) J j Ip ....__--, - u J @ J I J J J l r iJ } ! per I J H IJ ~ . ~ Icresc. dim. ~ : Allegretto (H~: .. Russian59 , . . - ! J I lPFf f l r oj in Ji reiPI'"i-i..! -- ~-rJ J ) In n I e r e I J J B e J ' i E r I?illcresr. dim. P


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10 SECTION u,NOI.60-80TIM"'" ,honlll added but witb leaps of a 3td only, Le. -t. t-l, t-r', r'-t.Section&. NOI.6o-68. Leap. of II3rd in tbe lob chord (no relb or U I!Moderato Frencb60 tl,tf!) 1@JJ ltun IJ J I] A,. UJi 1t!J I ~ t ! JJ I J U I

Allegro giocolO German61 'JI,!H JJ Ir~ r If r7} ~ J d JI,JJI; J!J I,~ if~ JIJ~ r Ir? lf JP JIJ 3 1@)tfiJIJ " Il' :::--;" @ r F i l J J I J J J 1 ;1J}J @ j I i 3 1 1 m I

cresco fAllegro German

6z , . ! J9JJJ ! t1# J'& r&& JJJJ@ l]J#fR ?'1l' cresc, IIif dIm.'Ad . ili~m, D ant. (F.~ .... w . "' ft_nt >63 ~I JIJJJJIJJJjlJr rlIDiffJfilp---- .-

,"(1]) J 1 f i T i i I t ' (ir E r rD IModerato French1 > 4 "Iliff" I @ ! ! ! : J Ftt' I @ J IJ . ) I" @ JIJ!JJIJ 33JIJJ I@ JIJYJIJJJJ!Jjl

cresco ~ .11m . ~


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J2

SECTION lie.Nos. 73-80

Moderato . Britilh

79 '~'!m J . 1 I ; u ! ' 2 ' l 2 U ;jjcrlfrJJlr il' ~ = - t P W r t f i u @ J : t i S u l g t } j H r J

"" dim, II


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SECTION W.Netl.81-1l0Tbe /ah c ho rd isadded but witb leap! ofII3rd only, Le . f-I, I-f, l-d', d '-1.Scctionlll.&.No .81-CJ9.Leaps ofa 3rd in tbe fah cbord (no rests or U),

A d t d i" ) Latinan e (A o mo .1 t IUDIU aD raJ rit,8. '~ t, .4 @ ! @ J J jN e E i r tr 1 r d 'M l f J ' J J i J

Allegretto (T~.,u(h(HOIIrb.ra) German82~! JM r l r r J i l i J J l i i J d l r rJ l o t l J 8 I J r W lJ r W l J Ip ~Alleg~ _ ;..renchS :l'~ !JIJ Jle rlr Ir f f 1 JIJ d id RiJ1P == - - tiP -=$~':f - ! r ' r I g 7 T h W -Ir r IJ J ip;!.q

Moderato ~ ~ Latin

!4 '~ ti r 1m2%] IJJi?etiJJIE I." ,_ , llegretto (7gr(1Up. of Z blan) Frencb85 ,. i Jfrlr]:1IQJJ:IJ}lIAt-Elt2f?14M1j; ==- JlP~ . d IJ I( jJJlE tr l# irrlF U IJffJJliW J~ crcsc. JfI/ pP

~atin

' SAllegretto 8ritilh88 '9\1 J i l Jlr C W W J i j f F ir d ? l r t1 1P ,cresc. < l l l fdi"'.'~f~rHIJJtujj JJ IJ J IJJ) I

8 1 > , . . i : : t ! T 3 IJ J Iry JJf E I r : J I; dl, ..J Jf r Ie r 1 ; 1 1 r J J i l l J I J ) I JD J Idim. P

Andante Latin87 '~itaJ I) d jJ ar 6ft r IJ J IJ 1 '1p,,,,. ) Jij r Ir r IJ r o fi r I; J IJR~I

cresco ~

~ Moderato ('0... ' ' ' ' ' + F ' T ) Latin89 ~t f t JJJJI" :O IJ~ IU jJIJJj IJ:JiiJfJ fp ~4 t k JJJJIP r Iffrr@ IJ'J1 d]lJIJm r ~ Icresc, f dim, rit,

Moderato Spanilh9oi~1 dfrlJ JIiJW Jf rlrtrlArA~ "fI" cresco J'~fi A J U iD J1F-r-r- 'r-r- , - t ) ? J Idam. JIllAllegro Russian-9' ,1 ft arr~rrJfMt!tlJI'W#bYJJlljI"!I" cresco dim: I I ! / , "Allegretto Latin

92 ~ f01;JJrFtr~fIILlIJJlFfJ4t1ff iJlp (n~ ~

Allqrreuo (; ,b..~ ,,"b .r 4b .n,r.I..... b , H 4 ..3. 1 Lot'n9 3 iV, PIJrrlCEfiA I i ? J i r rlrrtrr'l6iiia~ p - - = = . - ===- - - cresco&~@ Jiblr rlW Jih IJJoo .lf jl~ ~ ~m. W?H IM J i 1 J i f r T t t t r k ' I@ jJrrlrrfi:JI. I: w - = ~ . .f


12/13

16 Andante BritishQ4i"I!"MJIffl'rkiIJJ~I@,IJ~J, 1

~ p =-- % . . . . J j j j J j f f J f J , I J i l I r T r i i r w ' Iril J J J I b l g ,I~ --== = = - - cresc. dim. p

Allegro German-9 5 # 2 J1] J J IJ J J IJ.]J I J . J r r J IJ f a~ p cresc,---iJ JjJ J IiJ J IJ]]r r f f f r r I J fR t I, m f cresc, f

Allegretto Britilh-96-' .... ' j U J J I J J J l r F J t J ; W J J ! J J J i j ] t 3 I

p ~ dim. German-~Alla MarCia 6;--' -::;_ '"9 7 & t i t JtfftDl l i t t f f f J ' oorrmFI~ f~ ~ttln r 4 1 W I J aJ Ifj)ii J ~ ro J! crcsc, r

Moderato British-98 &tlttJI]JJ Ii J J IJ$.J Q ir r N l r r r J i jF S @~.. ~ .. cresc. Ifp

SECTION 1Iln. NOS.IOO-I04 17As IliA, plus rests (none tess than whole pulse IAl1~o Norwegian

100, ' I ! r r t I r - r r I J d ~ 1 L ! lr H lr r ~ I . . T O 11~.tftlr hi;4~i)tftlr- trl ..ill- Ic re sc . p o c o a p o co .> fMod


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,8 SECTION IIle. Nos.roj-rroAs above, plus Ustepwise in itself and in quittance.Andante Ge rrnan

105 t f t \ l J h l n IJ;JJ 1 3 , 1 ] m n J Icd 1 1 2 1, ~ . ) P i ( rr i r rfi]:J _ n I J J J IkEnPP cusc'mf--

Allegro ~ ~ ~~ian106 ,. t JJJJJUJtPJJ1rFJffliii'trlJ:lJJ IJ Jilmf~ cresco f dIm. p

Allegretto British107 , 1 1 1 ;#18 In@ I{Jig) I~~ I, ' I J nib J J 4 j I J IJ~J J

cresco fModerato BlUishl08rtd.QI~, JI4JD.r~D:~fi6iJIiiImf . Repea: P "if . .Repeat pftifir aii f t i J O _ J Em 'IJ Repeat JI P

Allegretto German'09 '''I 4 l ; J l J , J i J J J J f r ' rWfflrftJlJJJUp C~ ~ ~. p Allegretto ~rench1 1 0 * ' JrrlJW m r JlrrrlrrrlJJJlr' 1:> >- :>p,~ J ~J r j ! : E J 1 3 rJ lrun, Icresc. dim, liP

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