the folk song v

8/6/2019 The Folk Song V

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§ §§ §

~ The Folk-Song Sight Singing Series ~

~

~ Compiled and edited bY! §

EDGAR CROWE, ANNIE LAWTON, and W. GILLIES WHITTAKER

§ A COLLECTION of Folk Tunes of many count ries , c ar eful ly graded for schools and §§ § col lege s, wi th notes and advice a s to use. In a ll c ase s phLlSlng and expre ss ion marks §

are added, and the orizin of the tune stated. §

~

§ BOOK I (IlO tImes) Modal tunes . § ~§ Less easy me of b•• nd se and of §

Doh chord and s cale. chromatics.

Leaps of a thi rd IIIsoh and fah chords, Further modulation with keys " at ed.

§0 r . . ; · p ~ notes and rest!: ries. Compound tuuc, 1 and J rests, and §~.rtc!,wise in itself and in quittance, r · J i

~ BOOK:>' (100 tlilles) BOOK 7 (91 wnes) ~

~ §

Leaps r-f, f-r; all 4th, and 5ths in the More dil'flcult leaps. Practice in pre- Ih ree c hi d chor ds. VOUS ru a tc t ial u sed i ll mo re d it li -

C J i ll very e asy leaps . i r » and cult ""'ys. Modulation without, . • • 1 . . . . 1 s ta tement of key .I V III very easy passages. Various misccl lancous difficulti es ,

§~ Fluency in quaver-scale passages. p and ° 1 as beat. !few ea sy t un es i n t he Mi ll ar mode . I

BOOK 3 (100 t l lnes) II C i.Ie . . ! " I I ~ " ' I I &c.

§ Leaf" 1 1 1 - ' , . ,-tl: all 4th, and j tl u in BOOK 8 (50 tunes) § §

§ uy and lah chord" Two-part: easy f ol k t un es wi th eas y

~

f e u sed st ep w i se: m- se- t and eas y 4tlu descants. Individual lines of about ~

In mmor. the diffICulty of Books I . I I . a nd I II .

~ scale wise only.§ BOOK 9 (50 trmes) §

~

BOOK 4 (100 tunes) T w o-parr: moderately diffICult folk ~

Leaps d-I: f-t\: t\-f: tl-s: tl-m. t un es wi th d esc an ts. I nd iv idua l

ta step wise ; ba-se in minor. lines of about the difficulty of§ ? Book s I II and IV, §

§ Easy I I "' , "'1 1 ~ ~ " 'I I " "" 1 1 §... ..: l - "-J-j BOOK 10 (50 tunes)

!Ea sy compound l ime IIW'r Two-part: folk tunes with descants. ~

more difficult.

BOOK 5 (93 tunes)

Any d iat on ic l eap within an octave, BOOK II (160 runes) !~

and some octave practire. Solfa notation only, comprising the

f-sc, se-f and se-ba in minor. g ra di ng o f Book s I . I I. and II I. b ut

Easy chromatics. Simple modulation ~"~,, §with keys s tared. without fe and ~.

I I ~ - , 1 1 - '~ I I and easy e:

I~ in compound time. BOOK 12 (160 tunes)

Sol fa not at io n onl y, comp ri si ng f e,

BOOK 6 (90 wnes) and the mel od ic d if fic ul ti es o f

""' Books IV-VII. No quarter pulses

UU '" and ~ r ~ " '=' f c , ; : : . ' " Ii : ; ; ' : : O : : : ; ; ' C ' : : ; ; : : : : : : : caand nor sixths

~~~~~~~~~~~~~~~~~~~~~~

ISBN 0 19 330255 1

The Folk Song'\';:/\",I •

Sight Singing Series

Book V

Compiled and Edited by EDGAR CROWE

ANNIE LAWTON, and w. GILLIES WHITTAKER

OXFORD UNIVERSITY PRESS



PREFACE TO BOOK V

KEYSand KEYSIGNATURES.-Fora discussion of these matters

see Prefaces to Books I l., II, and II I.

SOLfA TRAINING

It is assumed that solfa training has been sound, and is beingcontinued. To attempt to apply solfa names to the staff withoutthorough and systematic modulator practice previously is to courtdisaster. Reading.to laa is usually mere guess-work. No certainty

can he obtained without a constant use of the solfa syllables. Ifa good foundation of solfa has been laid most easy leaps areprepared for. Reading from solfa notation also is an indispensableaid to securing fluency in the use of the syllables.

GRADING

No collection of sight-singing examples can possibly meet allneeds, or suit everybody's plan of grading. To secure sufficientvariety, and to maintain interest in class, it is necessary to employ

various forms of reading practice by use of the modulator, writtenexamples and printed tests. Teachers should be ready to invent,and write on the board, additional melodies giving practice in anyspecial difficulties of either time or tune which may arise in a lesson.

All new time divisions should be prepared by time exercisesalone before being used in time and tune combined.Itmust not be assumed that every tune in these books is neces-sarilymore difficult than those immediately preceding it. Exceptingfor the new factor, the first tunes in each Section are sometimeseasier than those at the end of the previous Section. But theSections are arranged in order of difficulty, and the tunes gradedwithin each Section.With tune, the primary difficulty is to attain speed in thinkingout the solfa names of the notes, but facility in this is merely amatter of careful grading and well directed practice. Progressionscommonly in use should be systematically introduced and practicelimited to those until they are mastered.

It is sometimes overlooked that an interval which is easy to singmay be difficult to read. It requires systematic practice and eyetraining to name the second note of certain intervals withouthesitation, and the grading of these books has been planned with

this in mind.

SUGGESTED PLANS FOR READING

It is suggested that at first each tune may be sung in all of the

following ways:



r) To sol fa without time.2) In monotone (a) to time names, (b) to doh.3) Combined time and tune to sol fa.4) Combined time and tune to laa, twice if necessary, and thenonce a t least wi th a11expression marks observed (and to anaccompaniment where the teacher is sufficiently skilled toimprovise one).

The class should always beat t ime or tap each beat s ilently.When the class is more advanced each test should be sung atleast three times, as follows:

I) To solfa.2) To laa .3) With all expression marks observed (and to an accompani-ment where the teacher is sufficiently skilled to improvise one).

Classes must learn to think in phrases. As an a id to this, phrasingis marked in a ll tunes, and cases of irregular rhythmic structureare noted. Observation of these points of construction not onlyhelps towards intell igent reading, but also increases the interestof the lesson.All repea ts should be observed: expression marks in bracketsrefer to the second time.Tempo and other indications mayor may nut be attended to on

a first reading, according to the capacity of the singers, but ata later s tage all indications should be observed in order that sight-singing may be linked up with musical enjoyment. There is toooften a tendency to divorce sight-singing from music, and one

object of this collection is to provide material which is at oncemusica l and useful, and which wi ll he lp towards making this partof the singing lesson a delight to the c lass.To add interest, the nationalities of the tunes are given. Verysl ight al tera tions have been made occasional ly in order to bringtunes within the limitations of a parti cular sec tion; all such casesare indicated by a *The proport ion of tunes containing cer tain leaps is not the result

of an arbitrary choice but of an analysis of some hundreds ofsimple folk tunes.This anAlysis has revealed that much sight-singing that has beenbased upon theoretical plans is not in line with the findingsresultant upon the arranging of a large number of folk-tunes inorder of difficulty. It may be argued therefore that the basi s of thescheme fol lowed in these books i s a natural and not an arti ficialone. The collect ion thus becomes a compendium of the difficult iesl ikely to be met with in elementary reading.

INDEX

Tunes in the minor mode may be found in any Section (seecomplete l ist given bclew), but new material in that mode doesnot occur until Section VI.

SECTIONI.Nos. I-II.

New time divisions E : C . f : " 1 C : C iSF.CT:ONII. Nos. 12-46.

Leaps, within an oc tave , not al ready studied, and some octavepractice.

SECTIONIII. Nos. 47-58.

Compound time introducing t ~Sscrto» IV. Nos. 59-69.

New chromatic notes: re, de , rna, Ie.

SECTIONV. Nos. 70-83.Tunes containing modulation. In each case the new key IS

stated and the change in the solfa shown.

SECTIONVI. Nos. 84-93.Minor mode: f-se, se-f, se-ba.

(Complete li st of tunes using the minor mode: Nos. 5,8, 15, 16.17, 24, 30, 39, 50, 52, 57, 59-62 inclusive, 64, 65, 66, 68-73

inclusive, 84-93 inclusive.)

I\'ore.- The Editors wish to express their indebtedness to MessrsBela Bartok and Karol Hlawiczka for kind permiss ion to use manyfine Hungarian and Polish tunes from their collect ions . It may benoted that in these, as well as in some other melodies, the phras ingseems unusua l, but it has been dicta ted by the original words.

ii iii



FOLK-SONG SIGHT SINGING SERIESBOOK V

A few exarnp les will be found of semiquavers moving by leaps, but

in each case the leap is an easy one: further practice in this is given in later

books. Tunes in the minor mode may occur in all Sections. (see complete

list in Index), but new progressions in that mode do not occur until SectionVI.

SECTION I.Nos. I-IINew time divisions, ~~~: ' " 1 _ : - .,

. . . , ~ ~No~. 1-3 r:t.! tafatai

All . Britishegro VIVO Nott! the s~!!uences __

~~ p_ ~ ~ ~ r

I @ ~ b~~i? J J O lfi.AJ 1 4 1 J :ell] £l'1

Moderato 2+2+~+4 ~t:s Austrian

2~~tifDljiJl aJJJ I ;OJIcUu l recr l___________ cresco lIif

~~mJ) In r IQ IW E r 1ml) In a I

Copyright 19" Oxford University Press. Renewed in U.S.A. 1961. Printed in G reat BritainOXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, WALTON STREET, OXFORD OX2 6DP

Photocopying this copyright material is ILLEGAL.



2

Nos.4-7 ., ~ saat ei

Lively Note the3 diffe reut prese ntat ions of the opening idea. British

mf ~...--- ~ CT~.

4 '~~.eJnJnIFFr dHJnJ DIe;iDj],ll

r

'~b&lnJn Iffr ' f I F J - . J-;3-I-J}) a]

3

In March time :\' t e the interp"jdliL'lI pf 2 one -bar g ruups DutchJ' ~ p------

(,,- c:air r r 1 5 1 " 1 0 IOJ. JI~·1 1 1 1 3 . J \ J J I(nif)

-----....._ cresc. __ ~IIP "~

$ f J J Jf T 3 . JJ J IJ J !H:JJE:r J 1 3 1.I' __________

'~ r~tnlrrTrIr-Fr#IFjrrJ. ~IP1



4 5SECTION II. Nos. 12-46

Leaps within an octave not previously studied and some octave practice.Allegretto Cumparv the I",t 2 phrp"'s Bohemian

"if »< .:>:>:> :>:> :>

I5Eti~J~ " ~ r z - q - - m : F F r J ? t r - : ~1J = - . - j~~ J:±rJn rr""ioll8 Looks hinh on the reading of new leap" have been given whenever it ",'as

thought des i ra b le. By this tim!', c lasses should be suff icient ly experienced to think

out fresh intervals Cor themse lves. Wltbthis Section,tberefore.thelpapliarenottrPltteri

separately, but to enconrage the continuance of Bornesyst ern in rf'ading,tbe following-hints

are off..r..d.

Oneof the best ways of naming the note to which a leap is made is by i tBposition relat lve

I..on.' or more not.. 1 of th.. tonic chord. For Instance, te and ray are read as being respf'c-

th'dy one IIt..p below andone step above doh: fah as one above tnt' or one below soh.which-

ever i . more convenient to the reader: lah as a 3rd below duhor a ht"!' above soh.

7th. and oetane may be read either in Ihe above manner or byfi<miliarilywiththcstaff

names: the latter makes octaves easy, and 7ths are read a, one d"I!'r.'., l.,,~,(lindincorsrac.'

spaee}. Instrumcnta.Iist s will adopt this plan unconsciously,

Each tune.before beiDI:'~unl!',should be examined by the class, the new Ir-apor leapsdlecov-

, 'red, and the 801fa namn found. Once the names are known the diffiruIty Is removed,as-

~lIming that preparatory modulator and other practice haa been Ihorough.

Allegretto 3 setsor 4 bar~::==-- Fmnisb

Ii i ~#ifWlQ"tll£tr;l]IJhIDn]J)P~fUSC. "if

flQdJD), 1&rnq~fi*F711Section IL\ NOi. 12-17 New leaps of a 4th and a 5th

Section lIB. Nos, rS-22New leaps of a e th

Mdt Swedish

po ~ - = - ~ ~ = = = = = = = : : : : : : . err-c.

1 8 *&i\IE±:JrtH5f I r · tqtB=J J2j



7

Section n..Nos. 23-38. New leaps ofa 7th

Bj;,ghtly ''''g"'"1 7 " 3 "Ibm . ~~ Dut,h

23 ~JiIJ JJ 1 " 3 1 nD; fJrHrlE . : 1 1(II!!'!

Allegro Firidout the leqllencel Swedish

~ ~ P21 JAiJilr 0IFU lu rr It! J if&~ # . _ cresc .

- i / ! ' i t - Qr' Ihf r m r I F 0 j1"l @ 'tj]

_ " n f iT J , A n iJI n J O l I U J j " j r j o j

Allegretto French

24 ~]UJ IJ J I;] J Do 10 ~ ~IJoJI

J - q f J . IU SW I ; ] . IJ j2fj :i~ll I~ - ~ ~. . . . . ~

~ "if __ ---- dim,

~ J _ J I i J J fTJ\J I J. I~CJJIJ J . )1 j.JJ ~

Allegretto -=- dim, p Briti ..h

2S *iliti!Crj~JiJ I t tm I1 g lJ O i iM



8 Note the striking a lt er at io n i n t he zn.l phrase, and the UHl f

Merrily the same conclusi0n flr the 1st de Jrd phr a ses . British

27 ,~~&!}uJl im n IJt J J I_EJ-Ul l- J _ b =r= - + lIif - -1 :> . . :> . .

~ ~ & J U J J J F i r e r r ; I J · . ~ I F r J 1 2 r J 1 4 ~ # 4 1cresco .~

~ . ~ C » » J OJ3WUJ IJWJOr ijJ DuplE]

' ~ v - rr r If U trEJIJ J J.nIl i J . JlIj.~cresc . _ "if

'~':JTIJ 3ft rB L FaEld I; ] I(f)

J



10

Moderato Britishcrcsc . f

3 6ft'] IJ U J JJIJ U J iIi c r J J I~~ (I. . . . _ _ - = - - - - -

II

Allegro L"('mpar( ' phrd~"~ 1 &: 3· Nvle the sequences i ll th . . c tht' r~ Swedi sh

: i _ IIi/' ~ ~ ~

33 e 2 ; }jJJJJ I; E Z ; I~ 12= f2l

- 1 - - erne. f~ . ~

! N ' € _ J l J 2 J J J 1 J 1 ! J 1e t r 1 E J i t I I

Allegretto Note the 7 bar phra se British

41 ~~h~~!S@J J IJ W · I t% d J H J 1 '44 9

~~&\J4J jIJW · IQIu JUUg l=

P"dJ( IF r IE r IF r IJ ·i N IJ J 3 D . 1' _

- ;wr~ @UIJ ~IJ.!]::I

SECTION lID NOS.39-46Pract icc in octaves and further 7ths

Moderato Flemish

39~~#~JJlhFPl

i* f iL J 'lIJ J J:itLJjlr·-~JljjJ)illtlt\f~~H} J .J lIJJn I; II

--------.:

I'lliish

Allegro N, tc' the 3 pr",c'lltdti"Il~ «tth« I ,t phr i1~c Br it ish~p =----==----- _ cresco:::._____ r--........ --........ : = -- : - - - . ~

40:?J I F r J D J : l l t J J J I r re fit? IJ J J l' I



r12

British

SpanishAllegretto Compare the first :z phrilSl~ with the last .2 r. : t--:-:---1r p~ /~ pp~ ~"i

461:1 ; U I J r J I ; r I J M J J I j J I J r e R(mfl . ." (dim.) . .

['2i1nIme

f1 . 1 " D 5 G I r F I J J Jim llih I F r I r a F l

~ "''C. -: --,..._ ,,"

. r llJiJJ 1 1 7 1 1 4 1 4 1 # r.IJJJJ I J d I t1tI lJ. ~

SECTION III Nos.47- 58 13

Compound time,introducing , ,

.

IJ



I S

Allegretto British

53 '~{Ji1&rct! l&nt L n : J ; D I J B r i 1pp

4 W £ H ( L t I C & r @3lJJl@ I I

Allegretto S ih

~

Iz " ' .1 ' ' ~ cr~ pan s

58~ B:JJJJ) I~ ' J . IAPtPI f · :11c t r lJ · r ' I(pp)- .-

~~'lb;;Trr'J.lmilr·1Compound time may now occur in any Section

SECTION IV. Nos.59-69

Chromatic notes re, de, rna, le

Moderato Polish

59 ~~~{w'rI n _ U n uib r I : J U Q ] I

~"~JJ. J J I JJ J J u S J J r I;n.D I~

Allegretto Germanmf__

55 ' ~2 ) I J i j l i JA i l~N~EJ lm~1

f!~J#_j j IE! m ~rJ i t U r @ ~j l l6!411



Allegro moderato Italian

67 '~ \ e J J J l r ~ r i i F , W [ J l r ~ E i f I r E f f i J

, ~ . f uJ'JJJ_li,.;QJ l1&hi~J: --.......... Fine r

il

• J M lcr t,.H l l lw l§J ; JsmlJ J t J D J

, ~ .• JoLW IJm IJaB ·rl

Andante : 'I'ute tht! ~qu t :nC t l di Spanishp~ mp 1m. p

63 ;fi]JW 4'JltcfJ):. r - r@J IJ npi(PP) _1':'1 dim. p

~ cresco >~ .~ i i i I i j

~tj iJJJJJJJ I ; ] _ J I W S i If~ IJ~;J J 7 D - I-~-Allegretto Polish

64 ~,,"{Pr~~C P i r r 1 m J W l I

¥ t W J J IJ) J J P iJ J J I~ U- . . . . . . . . : . : _

- -Larghetto Lithuanian

65 lull r r! r IfF~fl'~J.;#3 IJ O J IF Ifi3 ~ IFJ I

,



18 19

SECTION V. Nos.70-83

ModulationNos.70-73 contain modulations only to the relative major or minor, involv-

ing no change in the solfa. Specimens of this have occurred previously.

Nos.7-l-83 contain other rno :1ulations: in each case the change of key is sta-

ted and the so l fa bridge notes given.

Allegretto A rnaj. British

7oi ¥ ! :UPJJIJJ J !JJJJJl;1Jr- :1 f~iJ.~IJh~(P)' . . . . . . . .

F# mL p A maj. F# mi.' ~ Q J~J.} IJJj !qtr J . ~IH J . .h ln_J· j IH J II

Largo Russian

. J _ p -= =-- ---- ..---:-:-

7' 6~lJfcrnJJIJ·#hrlcr;qJJiJ lJIJJJJ I

= = - - - Bb maj. G mi.

- i.~ --- --- ~ ~mf ~ ~ dim.

·i~' ~ ~ r l E ! n ~ J E J I # h q J ] Q 5 E f E f l r J W # 4 . J

¥p. js~gpt ' j IJJJJlrJ J J i~11



20 21

British'"

Allegretto G British

78 '{; I F - ~r I; JJJ] I;·dJr j t o w njJj

Allegro Ik~'i ll ' i ll 'Jll" hy and "lids in allother British

=;~ p ~~ CTt'SC.

82W~~· JE11¥f J1A.]2J J1- : nlli, '

~_ .. 'I. d im. P

.~JM-riJHiPI@:J t··J.:rijJ J !



22 23

French

SECTION VI Nos.8+-93

Minor Mode. f-se: st:-f: se-ba.

Mdt Italiano era 0 "if

~. p ~ ~ ~

84 t !~J I J j J J I $ Q U l : tn lb l l iE_:J j i#Jdim. P

J J - E c; I E ~ErlhiI?lI E S E F I E - U l r r & C J ¥ l

Moderato H2+2 Polish

88 ~#jtr f fr IF llJ J ] : liQ f tJ IJ J ;p ~W IIModerato 3+3+2+2+~ Polish



Allegretto Compare phrases 1,2 de 4 Frenchp cresc . "If' _

92 'tiMJJ JJ I.;.~ Q nIJil l r ' ~H e ~ I

,-alF I; .; I~·fir:! j F If ~I

~ dim. P

,- f;ffir· ¢vr r r IE/or I; I;m I

Moderato2+2+3

Polish

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the folk song v

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