Music: Teachers Manual
Music: Teachers Manual
MUSIC
THIRD YEAR
Teachers Manual
By
JUSTINE WARD
natures are studied and the principle which governs the sequence of sharps and
flats is presented.
The study of Intervals, in the revised edition, is approached from several
angles: first the interval is heard melodically—one sound after the other; then
the interior designs which may occur within these intervals (Pentachords, Tetra-
chords, Thirds, Major and Minor, etc.) are studied; next, the intervals are sounded
simultaneously, vertically as in harmony; finally, the intervals are heard in move-
ment as in polyphony, the voices moving toward one another, meeting, separat-
ing to meet again, and an elementary notion of direction is given the children:
when and how voices may meet, which lays a foundation for a future study of
polyphony in later volumes of this series.
POLYPHONY
The concentration required for polyphonic singing is so great that the exam-
ples included in this volume have been reduced to mere fragments. Thus, the
effort required will not be unduly sustained. In the briefest polyphonic fragment,
the voices differ in pitch, each group sustaining its own melody independently of
the other group, yet in fusion at certain points; the voices differ in rhythm, one
voice singing long notes, the other brief notes, one voice moving in binary groups,
the other in ternary ones; one voice rising on an arsis where the other relaxes in
a thesis; one voice executing a crescendo while the other executes a diminuendo.
Because of these difficulties, we have followed the principle on which our study
has always been based: the separation of difficulties in order to overcome a com-
plex problem. First, the children will find Rhythmic Exercises for two voices
without any melody; next the melody alone of the polyphonic phrases; finally
Rhythm and Melody will be united. All the early exercises in polyphony have
been prepared in this manner, and the later examples should be analyzed by the
teacher to conform to the above schema, first being sung rhythmically, then
melodically, then as a whole with both elements.
The polyphonic phrases with text and the few polyphonic songs included in
the THIRD YEAR MANUAL, have all been built up in advance either as Vocal Exer-
cises or as Polyphonic Phrases in the preceding chapters. Practically all the themes
have been taken from the works of the great masters of the sixteenth and seven-
teenth centuries, composers such as Palestrina, Gabrielli, Durante, Victoria,
O. Lassus, Jimenes, Morley, Wilbye, Wm. Greaves and Michael East. These frag-
ments are usually the introduction, the thematic material of a larger composition
4
PREFACE TO THE NEW EDITION
for mixed voices, and in using these themes, cadences have had to be supplied
which follow the rules of strict counterpoint characteristic of the period. While
the use of these fragments out of their context may be open to criticism, we believe
that their use is justified by the fact that the children's first impressions of poly-
phony will be based on models which will form their taste and predispose them
to an appreciation of what is noblest in the art of polyphony, when, in later years,
they will join their voices to others in a chorus of mixed voices permitting the
execution of complete compositions by the classical masters. One composition
by Morley which is complete, having been composed for equal voices, is included
in the Children's Manual, but with an adapted text.
REPERTOIRE
The Children's Song Maniial, in addition to the polyphonic fragments men-
tioned above, contains 155 songs and melodies by the greatest masters of the art
of song. The majority are by authors of the sixteenth and seventeenth centuries,
because this was a vocal period as distinct from an instrumental period. More-
over, the music of that epoch, even where it was not specifically religious, possessed
a quality of nobility and distinction characteristic of true art. While it differed
from the liturgical chant it did not contradict the spirit and tone of Catholic life
and feeling.
In our judgment, a song has no value per se. To be of value, a song must
be beautiful; it must be, in a true sense, a work of art. To teach a mediocre song
to children on the pretext that it illustrates a technical point is to misunderstand
the fundamental purpose of a musical education. The object in view should be to
lift the children above the mediocre both in feeling and in its expression, to remove
them from all that is common and ugly into a superior world of beauty and dis-
tinction. A song that is mediocre is not merely a waste of time but is harmful.
It is like an inoculation against music itself.
Evidently, the songs must be graded in such a manner as to permit the prep-
aration in advance of all difficulties of a technical nature. This, however, does
not require that poor songs be used. On the contrary, it means that our technical
training must be of such a nature that it will lead directly and logically to the
interpretation of masterpieces. A technical point in music is not worth develop-
ing unless it be found amply illustrated in the works of the great composers of
vocal music.
Upon the principle set forth above, these text-books have been composed
and revised. The new edition contains many more illustrations of each musical
5
MUSIC—THIRD YEAR
problem than the old. The names of the composers are indicative of the quality
of these melodies. Among the Italians of the sixteenth and seventeenth centuries,
will be found such authors as Baretti, Bononcini, Caccini, Caprioli, Cavalli, Ca-
rissimi, Cesti, Falconieri, Frescobaldi, Fallamero, Marco da Gagliano, Lonati,
Manzolo, Monteverdi, Melani, Pasquini, Peri, Sabbatini, Scarlatti, Stradella,
Tenaglia and Vecchi. Many of their melodies are published for the first time in
this volume. The classical English composers are represented by John Dowland,
Robert Jones, Thomas Campion, John Bartlet, Thomas Morley and William
Byrd. The Flemish, by Valerius; the Germans by Bach, Handel, Haydn, Mozart,
Schubert and Brahms.
The original texts have not been reproduced. Even when these texts are
not in a foreign language, they are unsuited to children. In order to make these
splendid melodies available, new texts have been specially adapted to them in
view of their inclusion in this book. Sometimes the texts themselves are the work
of great authors such as Shakespeare, Chaucer, etc.; sometimes the texts are
more modern. In every case,* where a melody and a text are thus combined, some
slight adaptation of one or the other is always necessary. We have tried to pre-
serve, first of all, the character of the music, submitting the text to the necessary
adjustments, and—without going to the extreme limits of repetition indulged in
by the English Madrigalists—we have repeated a word or a phrase when it became
necessary to do so in order to retain the rhythm of the melody. Moreover, the
ancient texts have been sufficiently modernized to make them comprehensible to
the children.
We trust that this collection of melodies and songs may bring to the children
of our schools some of the beauty and nobility that distinguished the golden epoch
of song, even when that song was not in the strict sense of the word, religious. We
believe that it is of the utmost importance that the general culture of the children
and the orientation of their emotional life—even outside their strictly religious
duties—shall be of such a nature as not to contradict the whole tone of Catholic
life and feeling. There is an element of restraint, of dignity, of purity which is
characteristic of all true art, whether religious or secular, and we must reach out
toward the ideals of true art if our work is to deserve the name of musical education.
Such has been the ideal of the author and such, we feel sure, will be the ideal of
those teachers whose vocation it is to bring what is best into the lives of the chil-
dred confided to their care.
Feast of All Saints, 1937. JUST,NE WARD.
ADVICE TO TEACHERS
ADVICE TO TEACHERS
The pedagogical principles upon which these text-books are based are familiar
to the teacher who has applied them in the earlier books of the series. It will be
sufficient for our purpose to remind the teacher that a rounded musical develop-
ment requires that the education of the ear should keep pace with that of the eye;
that difficulties of a complex nature need to be separated in order to be mastered;
that concentration and action must be alternated; that each lesson should be
composed of all the elements contained in music: of vocal exercises, of intonation
exercises, of rhythmic exercises, of ear training, of reading from the staff, and of
the interpretation of melodies and songs. Moreover, the teacher will remember
that, if the material embodied in each chapter covers approximately a week's
work, this material needs to be organized into individual lessons, that each element
be given its due importance, and that this requires intelligent planning by the
individual teacher.
As in the case of the Second Year Manual, there are more melodies and songs
included in each chapter than can be learned by any one class in a week. We
have preferred to provide a wealth of material rather than a strict minimum, in
order that the repertoire of a school may be more vast and more varied than that
of the individual class.
THE STUDY OF INTERVALS
Hitherto, intervals have been studied in their relation to a given Mode, as
part of this Mode. They have not been considered in the abstract—as intervals.
This study is undertaken during the Third Year. Fifths, Fourths, Thirds (Major
and Minor) should be recognized as such, and the character of each one, become
familiar. It is by experience that the children should learn to appreciate the
pure, open, rather hollow sound of the Fifth; the unmistakable difference between
the Major and Minor Third; the effect of adding to an open Fifth a Third—Major
or Minor—which takes us out of the vague into the defined, and gives us the
characteristics of a Mode, as though from an open field we entered a walled garden.
These and other musical truths are interesting to the children only insofar as they
form part of their personal experience. The same is true of the consonant and
dissonant intervals. It is not what they are told but what they discover that
fascinates the children.
As regards the eye, the Fifths and Thirds are easy to recognize: the latter are
7
MUSIC—THIRD YEAR
on consecutive lines (or on consecutive spaces), the former on lines next but one
(or spaces next but one).
ni _ ^ ^—in v _ ^
I o 2 I
own part. The polyphonic singing should be legato and not loud. It must be
neat, in strict time, the dynamics following the melody and differing in the two
voices. When the final cadence is approached, both groups should look at the
teacher and follow his gesture, for the end must be approached allargando.
Certain general rules of politeness may be explained to the children from
the beginning:
1. When two voices meet in unison (as happens in most of the final cadences)
the doubling of a single note would sound harsh and piercing unless both groups
sing softly.
2. When one group is holding a long note and the other group is singing a
series of short notes, the voice that is standing still must sing very softly, giving
the right of way to the voice that is moving so that the latter may be heard clearly.
In order to form this habit, the children should learn to attack a long note positively
and then make a sudden diminuendo (as in Vocal Exercise 33)} By this we do not
mean that the above rule is absolute nor applicable to all cases, but it is a good
general principle. When this technique has been acquired, it may be modified
according to the needs of the phrases in question.
ACCIDENTALS
The new accidentals studied in the Third Year are Feh (fi) expressed by the
number jL, and Deh (di) expressed by the number X. While these are the only
new accidentals applied practically in this book, it is necessary that the children
should know the names of all the accidentals (both flats and sharps) because they
are needed for the building up of scales and the recognition of key signatures on
the staff. We have therefore thought it useful to provide in this connection a
diagram of the natural tones with their names when raised or lowered artificially.
/ De / Ra / Me / Fe / Se / Le / Te /
I I I I I I I I
I DO I RE I MI I FA I SOL / LA / TI /DO
I I I I I I I I
I Deu / Reu / Meu / Feu / Seu / Leu / Teu / Deu
| b b b b b b b b
Diagram of the Sharps and Flats with Their Names
Page 26.
10
ADVICE TO TEACHERS
The names given above are those in common use. Wherever a local custom
has established another system of naming the sharps and flats, as is the case in
certain parts of the United States, the names that are locally in use should be
substituted for those given above. Thus confusion will be avoided.
MODULATION
The study of Modulation is greatly facilitated by the aid of the colored charts.
The simplest modulation which has been prepared in the Second Year, and which,
in the strict sense of the term, is not a true modulation, is the passage from Major
to relative Minor and from Minor to relative Major. This passage serves, how-
ever, to prepare the children for what is to follow: Modulation from the Major
Mode to the Dominant Major; from the Minor Mode to the Dominant Minor,
and from the Major to the Tonic Minor and vice versa. The colored charts should
be kept before the children during all this training for two reasons: first, in order
that the eye may aid the ear during the passage from one tonality to another;
next, that the danger of using too large a range for the voices, be eliminated. The
charts should be used, even when a given modulation has been mastered, theo-
retically, as a means of preparing the melodies and songs embodied in the Chil-
dren's Manual. When a modulation occurs in one of these, the teacher should
prepare it on the chart, using approximately the same lines of approach and pass-
ing from one column to the other at the same point as is found in the melody.
This brief moment of preparation will give the children greater assurance in read-
ing from the printed page.
RHYTHM
The study of 3/8, 6/8, 9/8 and 12/8 time offers no difficulty when introduced
simply as a reduction of the familiar ternary groups studied under 3/4 time. What
is new in the Third Year is the presentation of certain exceptions to the normal
laws of rhythm which are called syncopations. The rules of natural rhythm require
that long notes be placed at the beginning of a group or measure, and not in the
center. The fact that the children are familiar with this rule and its application
will enable them to appreciate at its true value the exception to that rule, and its
reason for being. The object of an exception is to produce a surprise—a rhythmic
shock. Such shocks may take place inside a measure or in the linking of one
measure to another. The impression created by a syncopation is akin to that
felt by a person walking normally who encounters an obstacle in his path which
11
MUSIC—THIRD YEAR
interrupts his step half way; or, on the other hand, the sensation of a person walk-
ing who is forced to reach out and step over something. One syncopation cuts
the step short; the other prolongs it unduly. In rhythm, everything that dis-
turbs the natural step (that is the normal position of the rhythmic ictus) is a
syncopation.
What is the reason for these exceptions? Usually the composer who makes
use of this device wishes to produce a surprise, a shock, a sense of effort or of
resistance.
Example of a Syncopation Inside a Measure
Melody 405 {Scarlatti)
(a) _ (b)
|| 1 2 . | 3 54 32 | 1 5 insteadof || 1 . 2 | 3 54 32 |
Row- ers Row- ers
This syncopation gives the impression of a jerk—one feels the stroke of the oars
and pull of the boat through the water. Compare this with the normal rhythm
given above under (b), and the energy of the syncopation in this connection can
clearly be felt.
Here the syncopation prolongs the normal step of the rhythm and the effect
is to enhance the accent of the word "crimson" while diminishing the value of
the last syllable by placing it on a weak beat. Compare this with the normal
rhythm given above under (6), and the effect of insistence upon the accented
syllable by prolonging the note into the next measure is justified by the added
eloquence given to the word itself. In this case, where an accented syllable is
prolonged by syncopation it is usually given a dynamic accent; the ictus of the
new measure, on the other hand, must not be stressed, but whatever stress there
be belongs to the note that is held for three pulses. This is the general rule for
12
ADVICE TO TEACHERS
all notes that are held over from one measure to another. There are exceptions,
however, of which we shall now speak.
There are cases of apparent syncopation: these appear in polyphonic composi-
tions where one voice holds a note from one measure to another across the bar
line while the other voice moves according to the regular laws of rhythm. These
are not, in reality, syncopations, because the ictus is heard in its normal place.
The two voices form, together, an inseparable whole.
interpretation, we have omitted the bar line (or indicated it by a dotted line)
in the voice where it might create a false syncopation.
Example
(Greaves)
II 2 . 71 I 2 i_ 7
II X X 5 . | . 34 5 t |3
Staff Notation
During the Third Year special attention should be given to reading from
the Staff. In the earlier books the acquisition of a musical vocabulary has been
the principal object in view; the children have been trained to sing and to hear
correctly. Music itself is more important than the particular system of notation
used to symbolise sounds. These systems have changed and will no doubt con-
tinue to change, but it is well that the children should be able to read currently
the notation which is in common use today. Thus in the Third Year, all the posi-
tions of Do on the Staff are presented, first with the C clef, then with the G clef
and the sharps and flats of the Key signature. Directions for this work are given
in the course of the chapters. The Staff Hand Chart is extremely useful for acquir-
ing familiarity with the various Key signatures and saves much writing on the
board. Before reading a melody or a song from the Manual, the children should
be given a few moments of preparation with the Hand Chart. Where a tonality
is familiar, this brief preparation will give the children greater confidence in read-
ing from the printed page. Where an unfamiliar tonality is concerned, this drill
on the Hand Chart should be preceded by a preliminary exercise on the board
using the diagram of the new tonality as given in the Teachers Manual. Both
these moments of preparation may be brief but they are necessary. They create
confidence and assurance. A few moments devoted to preparation is in reality
a saving of time for it takes longer to correct an error or elucidate an obscurity
than the time required to avoid such misfortunes by proper preventive measures.
because the poem was too long or because only part of it was appropriate for the
use of children.
TERMINOLOGY
One of the principal causes of confusion in the arts and sciences can be traced
to lack of precision in the use of terms. The history of music bristles with artificial
complications resulting from a loose or inaccurate terminology: Scales, Tones,
Modes, Keys^-have different and often contradictory meanings as used by various
authors or at different epochs. Modern text-books are not always free from
similar confusions. For that reason, it may not be amiss to provide the teachers
with a glossary of terms and the sense in which they are used in these Manuals.
1. MODE.—A Mode is a combination of tones and half tones which forms
a complete design that is invariable. A Mode may be placed at any pitch—high
or low—but the relation between the intervals does not change.
is a framework within which the tones move freely in any direction, and by means
of any intervals.
When we speak of the Major Mode, for instance, it is not at all the same as
when we speak of the Major Scale: the latter limits us to a certain sequence of
tones; the former limits us merely to a framework within which we may use tones
freely, according to the Scale or the chord, using larger intervals, etc., provided
we keep within the modal framework.
3. MODALITY.—The particular Mode.
4. TONALITY, or KEY.—The fixed pitch at which a given Mode is placed.
Thus a melody in the Major Mode may be sung in the tonality (or Key) of C, of
G, of E, etc. The Mode remains intangible as regards its relative intervals, what-
ever may be the pitch at which it is sung. Tonality is the more useful term for
indicating the pitch; "Key" is more commonly used to indicate the signature as
written on the staff, though these two terms are often used as equivalents.
5. INTERVAL is the space that is assumed to exist between one sound and
another. If the sounds are at the same pitch, this is called Unison. If they are
not at the same pitch, the distance between them is calculated in the progression
of the scale, counting from the lower to the upper note, each note of the scale being
counted as one unit, thus:
Second: The distance from one tone of the scale to the next.
Minor Seconds: 3-4, 7-8, etc., (i. e., a half tone).
Major Seconds: 1-2, 2-3, 4-5, 5-6, 6-7, etc., (a whole tone).
Third: Contains two Seconds.
Major Thirds: Contain two Major Seconds: 1 3, 4 6
1-2, 2-3 ^-5 5-6, etc.
Minor Thirds: Contains two Seconds, one Major and one Minor:
2 4, 3 5 6 1
2-3 3-4 34 45 677i, etc.
(for the full list of Thirds see Diagram 106)
6 4 Sixth (Minor)
6-7,71,1-2,2-3,34
Seventh (Major): Contains five tones and one half tone, thus:
1 7 Seventh (Major)
1-2,2-3, 34,4-5,5-6,6-7
(Minor): Contains four tones and two half tones, thus:
2 j Seventh (Minor)
2-3,34,4^5,5-6,6-7, 7 i
Octave: Contains five tones and two half tones, thus:
Among the intervals described above, some are known as Consonant, others,
as Dissonant. The former are classified as:
3. Dissonances:
(a) Seconds (Major and Minor).
(b) Fourths (Perfect), the tritone being forbidden.
(c) Sevenths (Major and Minor)
(d) Ninths, Elevenths, etc., and all augmented and diminished inter-
vals, i.e., intervals which are altered by an accidental or other-
wise in such a manner as no longer to conform to the required
number of tones and semi-tones described above.
6. RHYTHM is ordered movement. It is a term which applies to the phrase
rather than to its details. The smallest possible rhythmic unit consists of one
arsis and one thesis—-a beginning and an ending. A single note can have no
rhythm: it can have brevity or length. At least two distinct sounds are necessary
to make a rhythm.
7. TIME is the grouping of notes into feet or measures. Time can be meas-
ured in binary units, in ternary units or in a free mixture of both. These time
units include also their multiples in modern music.
8. TEMPO is the pace at which the composition as a whole is rendered:
rapidly, slowly, moderately, etc. The tempo of a composition is usually indicated
by one or other of the following terms (all Italian):
Allegro—a rapid movement.
Allegretto—briskly, (not so rapidly as Allegro).
Moderato—at a moderate pace, not fast.
Andante—rather slowly.
Adagio—very slowly.
All these terms are relative. It would not be possible to fix a definite metro-
nomic value for each one.
19
MUSIC—THIRD YEAR
VOCAL EXERCISES
The Vocal Exercises of the Third Year aim at developing:
1. Perfect breath control.
2. Consequent control over dynamics.
3. Flexibility of lips and tongue in the articulation of consonants.
4. Increase of the range (including F sharp on the fifth line of the staff and
C on the leger line below the staff).
1. Breath control.—The Vocal Exercises of the Second Year with their long
phrases have produced an unconscious and automatic control of the breath through
the mere fact of adjusting the volume of air taken into the lungs to the length
20
VOCAL EXERCISES
of the phrase to be sung, with the necessary economy of air involved in the process.
The children are ready for the further step by which this control is intensified
and becomes voluntary, conscious and intelligent.
BREATHING WITHOUT SINGING
Position of the body.—Erect without rigidity. The shoulders thrown back,
the arms hanging naturally at each side.
1. Empty the lungs of the residuary air that usually remains between one
breath and another. Lean slightly forward bringing the arms together flat over
the abdomen which narrows the chest. In this position exhale in a short puff.
2. Fill the lungs.—Reverse the position: throw the head up, throw out the
chest, pull the arms backward, and inhale fully through the nose. The air should
not be forced in but allowed to penetrate naturally of itself which it will do all the
more effectively because of the preliminary emptying of the lungs. Then empty
the lungs, breathing out through the mouth, without changing the position of
the body.
This should be done more than once during a lesson, but after each of these
deliberate breaths, the children should be allowed to breathe normally, turning
to something else meanwhile.
2. When the children can breathe in and out as described, the same exercise
should be repeated but this time the air—after being inhaled—should be held,
the teacher counting "one-two," or "one-two-three-four" according to the capacity
of the class. The position of the children when holding the air in the lungs should
be the same as that when inhaling, save that the mouth should be open. Then
the air is exhaled through the mouth, suddenly. The erect position should be
maintained.
3. Instead of counting, during the time that the children are holding the
column of air in their lungs, they will execute two rhythmic gestures: arsis-thesis,
arsis-thesis, while holding their breath. The position of the chest must remain
high and the head well back, but without rigidity.
4. Add to the rhythmic gesture, steps—forward with the arsis, backward
with the thesis. Vary these gestures: Arsis, arsis, thesis, thesis, etc. A child who
is moving and keeping step with others is rarely rigid, and rigidity is one of the
chief enemies to the art of song.
5. Instead of exhaling fully, all at once, exhale by short puffs, stopping between
them, as though the pupils were saying p-p-p staccato. Between each puff, open
the mouth and exhale thus until the lungs are empty.
21
MUSIC—THIRD YEAR
by rests), then exhale fully. Before each of these exercises, the teacher should
see that the children empty their lungs before inhaling.
Vocal Exercise 32 gives the sound Ha, followed by the sound A. The former
is to be used only the first time the exercise is sung, that there be no possibility
of rigidity or contraction of the throat. Then the exercise is sung on A—where
there is no waste of the breath supply as in the case of Ha.
These single tones should be practiced by semi-tones up to F (and later in
the year to F sharp) and down to D (later in the year, to E, E flat and C).
No. 33 is similar to No. 32, save that the tone, once attacked, is brought to
an abrupt diminuendo, and held very softly.
No. 34 is similar to No. 33 save that the diminuendo is gradual, which is more
difficult. The voice must not diminish in strength by jerks, but smoothly. The
throat must remain relaxed throughout.
No. 35 begins softly and a gradual crescendo follows. The temptation to
exaggerate must be resisted: the tone must not become a shriek, but must remain
round and sweet, fully controlled. A slight dynamic shade is sufficient.
No. 36 begins softly followed by a crescendo for two measures, then a dimin-
uendo for two measures. A slight dynamic shade is sufficient.
No. 37 begins loud followed by a diminuendo; another crescendo and another
diminuendo.
These preliminary exercises on single tones for breath control and dynamics
should not be completely abandoned even after the more complex exercises which
follow are undertaken. They are useful throughout the year. Other vowels in
addition to A should be used: consonants may be added (labials such as p and 6,
dentals such as d and t, which must be pronounced, the former by a little puff of
air between the lips, the latter by a little purl between the tongue and the teeth).
These consonants may be prepared without singing, each one repeated very rapidly
in a whisper. Then the two types should be alternated in the same manner—
very fast b-t, b-t, etc., that both the lips and the tongue may be active and flexible.
Many children, especially in America, have" a habit of speaking with stiff lips.
They do not really articulate, and this becomes a serious fault in singing.
The purity of the tone must be watched over. A pure tone is one in which
there is no unnecessary air. The impression to the singer is that no air at all is
escaping. This mental impression is essential. The habit of holding the breath
longer than the sound sung is valuable from the point of view of the final cadences.
It is not necessary to hold the breath for a whole measure longer than the tone,
but there must be some reserve of breath back of the tone when a phrase ends.
23
MUSIC—THIRD YEAR
This prevents those hurried, weak or wheezy endings that are caused by poor
breath control. The habit, then, of keeping a reserve until after the end of the
note sung should be applied, not only to the vocal exercises but to the melodies
and songs.
If a tone is properly controlled, the amount of air required to sustain it is
infinitesimal. The attack of the tone, on the other hand, must be positive: a
timid attack produces a pinched tone and often contraction of the throat. Should
there be a slight sound of h when the tone is attacked, this will disappear in time
provided the effort of the teacher be directed toward suppressing the h while the
tone is being sustained: while sustaining the sound (not the attack) the children
should have the impression of sipping in the air, not of blowing it out. The slight
drawing in of the muscles of the abdomen and keeping the chest high is another
way of bringing home to the children this active control. It is essential that the
column of air be steady and even.
The Second Series may be studied as soon as a certain proficiency has been
attained in sustaining single tones with dynamic shades. Here breath control,
dynamics and melody are combined. All the remarks regarding Series One apply
also to Series Two, with this addition, that the dynamics must be distributed, as
a general rule, according to the rise and fall of the melody.
The Third Series develops the same qualities but in exercises for two or more
voices. No. 43a introduces open fifths in unison, it is followed by 43b where the
Fifth is sung by two voices. Each voice should attack its own note with a full,
round tone followed at once by a diminuendo. At the first attempt the children
should not listen to each other. Later, they should both sing and listen in order to
appreciate the character of the open Fifth. But this should be encouraged only
after each group can sustain its own sound without wavering.
Nos. 44a and b are Pentachords sung in the form of a Canon. Each group
should repeat the measures within the signs of repetition as often as is agreed
upon in advance, and then, without interrupting the rhythm, continue to the end.
No. 51 combines text and music. The exercise may first be sung on vowels
only, those that are later to be used with the text.
Nos. 52 and 53 are for the purpose of attaining dexterity in the use of con-
sonants, the former for /, d, t; the latter for b and br, bringing into play the lips
for b and the tip of the tongue for r. The singer's r is a delicate roll of the tongue
against the upper teeth and not a sound in the throat.
Nos. 54 and 55 are to be sung in unison. They are devised for the purpose of
adding C below the staff to the range of the voices. The danger of developing the
24
VOCAL EXERCISES
lower tones of a soprano voice is that the upper ones may be lost or may diminish
in purity and brilliance. To avoid such a danger these exercises begin by placing
the voice in the upper register; the same quality must be maintained all the way
down to C, and this is best accomplished by giving the children a mental picture
by which the tone that descends is held higher and further forward in the head the
lower the pitch. Unless this impression is kept in mind the tones will become
harsh as they descend and will lack resonance. If need be, an M or an N can be
used during the lower notes of the exercise to hold the tone up in the head.
The other exercises are mere variants of those that we have described. No new
principles are involved. Everything is in the manner in which they are rendered.
These exercises which begin directly on the vowel A (or other vowel) may, at
first, tend to disturb the forward placing of the tone. At the first sign of this fault,
the teacher should place before the vowel the consonant M or JV, and this, until
such time as the fault has been corrected. The first series of exercises may be
presented as follows:
The M and N are sung with closed lips but not with closed teeth. These
sounds fill the head with vibrations. As soon as the a is reached, then the breath
should be held and controlled. The Hm pushes the sound up into the head but
wastes a great deal of breath. Consequently, as soon as its purpose has been
accomplished, it should be suppressed.
In theory, the exercises on open vowels with breath control should not injure
the fine tone quality built up during the earlier years, but should, on the contrary,
add to the purity and brilliance of the tone. In practice, however, the mere fact
that the children's attention is concentrated on a new point may lead to an un-
conscious relaxation in the careful placing of the tone.
What we have said regarding Polyphony on Page 8 applies to the Poly-
phonic Vocal Exercises. The exercises where there is text as well as melody are
in Latin. The words are not always those of the original compositions but have
been selected for their simplicity in the belief that they may be used, according
to the season, as prayers for the opening and closing of the Music Class. More-
over, the Latin syllables, from a technical standpoint, have the advantage of pure
open vowels.
25
MUSIC—THIRD YEAR
VOCAL EXERCISES
Series I.—Breath Control and Dynamics.
No.33
> > > H As above and with
IUUI AJI I • • • * * * II all the vowels
A
No.84
t >U.)|iH» Ju As above
No.35
As above
No.36
No.37
IHUIn As above
26
VOCAL EXERCISES
A
O
No. 38b
A
O.
No. 39 a
No.40
Na_ o na o na o a i u.
No.4l
Na o
No.42a
A o e
27
MUSIC-THIRD YEAR
No.42b
aleo:42c
No.43a
«» I • • I f »
-No. 43b
No. 44a
Nu o
>r r
a e i Nu o
ftf1
) ft
4
4 i - t.) r if r i
Nu o a e
28
VOCAL EXERCISES
T T
!•• I.)
a e 1 Nu o a e
m Nu o a e i e a o u
No. 44b
#
Mu o a e i Mu o
^
Mu o a e
^
a e Mu o a e u
^ ^
^ P^==^ XE
Mu o a e i e a o
No. 45
Other vowels
also.
v—p
29
MUSIC—THIRD YEAR
No. 46a
% « N ir f r i f J N• J
1 U
i - u J i r r if r ir r i ^
.No.40b
W - U .)\i~[> I M ' I
A o
No. 47
U'u j j j J u rr JJ rr i r
J nrrr
r m irrrA o e 1 u
30
VOCAL EXERCISES
No. 48a
A o a e i a o a e i o a
No.48b
o u a o u a o u a
No.49 Slowly
Bach
i - 1 - 1 r i-11* .i i - I -i
o u o a o e o 1
ii
9-
^ O
n
u
r* T ^ e.
o a o
**—tf
e o i
^m
No.50 Slowly
Wilbye
II
U
JJIJ JJ
o a e i u
^ ^ ^
o a.
31
MUSIC—THIRD YEAR
51a Theme: Perti
\bcal Exercises
151a and b are
(primarily for
A - men ^ e intervals of
pp Thirds andFifths,
superposed to
* '-ftjii—11 Hfofm chords.
They should be
Ex au- di-nos,Do-mi - ne sung first on
vowels only;
"then the text
should be sung
— as indicated.
Ex au - di nos. Do mi - ne
rrirJff i i
Do mi nus re-gna - vit, ex-ul-tet ter - ra.
II
Do -
m
mi - nus re - gna - vit.
III J
Do - mi nus re-gna - vit.
No. 5 2
Jimenez (XVI C)
§*
La
Da
lo
do
lu
du
la
da
lo le li le
do de di de
m la
da
lo
do
lu.
du.
Ta to tu ta to te ti te ta te tu.
I La
Da
Ta
lo lu
do du
to tu
la
da
ta
lo le
do de
to te
li la
di da
ti ta
lo
do
to
lu.
du
tu,
32
VOCAL EXERCISES
No.53
S. Aguilera de Heredia
> I *\
ing mobility of
(Ab - ba ab - bo ab - be ab - bi ab - bu. lips and tongue,
(A- bra, a - bro, a - bre, a - bri, a - bru. Th^R"must be
delicately rolled
on the tip
¥ - i-,11,1,1 u - t j , i j , ] j B r r the tongue-t
"singer's R"
(Ab-ba, ab-bo, ab - bi, ab - bu.
1 A - b r a , a-bro, a - bri, a - bru.
No. 54 (Unison)
For enlarg-
ing range
u.
Na.55 (Unison)
I
_^» rj
<Glo ri - a Pa - tri et Fi - li - o,
' et Spi-ri - tu - i San - cto A - men.
,1 ,) I J ,1 1
(Glo - ri - a Pa tri et Fi li o,
< et Spi-ri tu - i San-cto A men
33
No. 57 Trabacci
B
* =
O
r r r p ir r
ad- mi - ra - bi - le Com-mer - ci - urn
^
iH 1 " I
O ad- mi - ra - bi -le Com - mer ci - urn.
No. 58 Wilbye
j ir r
Ma - ne no - bis-cum, Do - mi - ne, Al la.
J
Ma -
r
ne no-bis-cum
r r if Do mi - ne.
W Al - le - lu ia
^m
(Lau-da-te
ff^?
pu - e - ri Do - mi - num. (Also in the Key
<Lau-da'-te no - men Do - mi - ni. ofSol = AJ>,
Sol=A,
SoliBk)
Bring out the accents of the text, in each part, by a crescendo followed by a
diminuendo, in order that the accents of the other voice may prevail, each one
in turn.
No. 62
Theme: Palestrina
£
A - ve Ma-ri-a, gra-ti-a ple-na Do - mi-nus t e cum
rnrrfJ
Re - qui - em ae- ter - nam do -
J JJJ
liix per-pe - - tu - a lii- ce-at e is.
Ju-bi-la-te D e - o o mnister
f^-
J JUJJfll
ra Ser - vi - te Do - mi-no inlae-ti - ti - a
Ho di e ap pa - ru-it, ap - pa - ru-it in
II * = _iJ J f Fir
Ho di e ap - pa - ru - it, ap - pa - ru -
III V - I
Ho di e
r r it r r r i t r r pi
Is - ra - el, ap - pa - ru - it Em - ma - mi - el!
j J J
II
»r r r r i r r r F I r
it in Is-ra - el, ap-pa- ru - it Em-ma-nu - el!
JI
III
ap -pa - ru - it
r N JJj
in Is - ra - el Em-ma-nu - el!
U O
37
MUSIC—THIRD YEAR
CHAPTER ONE
Vocal Exercises.—Review of the five vowels: Nu, no, na, ne, ni.
1. Single tones: A. B\ B, C, C # , D, E* and E (ascending).
and A, A\ G, F 1 , F, E* and E (descending).
2. Exercise 27a, Second Year, in A*, A and B. / \ A LJ 3 >• 1
Intonation.—Review of the Major Mode: The scale, the chord, and the
Compass Exercises, using the Diagram No. 29 for the number nota-
tion and Diagram 28b (Key of E flat and E) for the staff notation.
This covers the review of the Major Mode in the authentic range.
For the plagal range, use Diagram No. 13 for the number notation
and Diagram No. 33 for the staff notation (Key of G or A).
For additional drill in the Key of G and E, use the Hand
Chart, bringing out particularly, the Tonic Chord, the Dominant
Chord and the various forms of the Compass Exercise.
The Hand Chart should also be used for rapid observation
and memory work.
Diagram 85.
II i . 5 . I 4 32 i 7 I i . . XI
| i . 2 . | i 7 6 5 j l | 5 . . X |
I 5 . 5 . I4 35 i 7 Ii . . . II
Staff Notation
A sharp ($) raises a note.
A natural (fc)) cancels the sharp.
In the number notation, the diagonal line from right to left indicates that the
note through which it passes is raised. The mere absence of this line indicates
that the note is normal, or "natural."
39
MUSIC—THIRD YEAR
In the staff notation, as we have seen already (Music Second Year, Page
173-4), the sharp can be cancelled in two ways:
(a) By a bar line which indicates a new measure.
(6) By a natural placed before the note itself when the cancellation of a
sharp takes place inside the limits of the measure.
Example of ft on the Staff. Its cancellation.
Key of C
A '4 * 4
Sharp cancelled by a Natural. Sharp cancelled by a New
Measure.
jt in the
Key of G
* 5 4
Diagram 87a.
jL in the
Key of E
Diagram 87b.
11 I 11 Ill I 111
Binary Division. Ternary Division.
In presenting 6/8 time to the children, we must link the unknown to the
thing that is familiar. They are accustomed to seeing a group of three notes
40
CHAPTER ONE
tinder one arsis and three under a thesis in composite time (3/4). This must
be our link. There is, indeed, no fundamental difference, rhythmically, between
the following figures:
If the example in 3/4 time be taken at a rapid tempo, and the example in
6/8 time at a slow tempo, the effect of the two are identical insofar as the aural
impression is concerned.
Why should there be this difference in writing?
Sometimes it is merely arbitrary. Usually, however, the use of 6/8 time
indicates a rapid, light and vivacious movement. Musical notation does not
express absolute values. Everything is relative. The history of musical writing
shows a tendency to use notes of ever increasing brevity, and our preference,
today, is for short notes rather than long ones. This fact does not prevent us
from broadening out a problem in rhythm in order to overcome a difficulty. Thus
a problem in 6/8 time may always be prepared in 3/4 time until it is grasped by
the children; after it has been mastered, the figure should be restored to the 6/8
time grouping.
The designs under Rhythmic Exercise 45 may be introduced as two measures
of 3/4 time. Then the teacher will explain that there is another and more rapid
way of writing groups of three units.
(f>) m I r: (b)
(0
-i—T
1 TIT to i
(d) o I rr
The designs should be used as those of Music Second Year: two or more brief
figures—similar or contrasting—should be combined to form longer designs: a + b;
41
MUSIC—THIRD YEAR
c + d, etc. They should be used as ear tests, the teacher tapping and the chil-
dren naming the designs thus tapped. Melodies should be composed based on
one or more designs used as a rhythmic theme.
Rhythm and Melody
6/8 ||: 512 | 321 512 | TT7 :|| (a + b)
573 | 432 573 | 177 (c + d)
172 | 32T 612 | T7T || (c +b)
In 6/8 time, we count two (three units in each count) and not six. Our count
touches the first note of each group.
Melodic Dictation Melody and Rhythm
(a) (b)
1 4 3
3 2
CHAPTER TWO
Vocal Exercises.—1. The five vowels. Single tones, as in Chapter 1.
2. Vocal Exercise 28a (Music Second Year). Key of G, A* and A. >
b
3. Vocal Exercise 32 (Music Third Year) for breath control. ~
Intonation.—Study of £ approached from below.
Intonation Exercise 165
(Key of G or A)
(a) (b)
1 3 5 5 3 5 5^5 5 4 3 2 1 3 2 1
1 3 5 5 3 5 5 £ 5 5 4 3 2 1 3 2 3
1 3 5 3 5£ 5 5 4 3 2 1 3 2 3
1 3 3 5 4 3 2 1 3 2 3 2 1
Children's Song Manual:
S i n g Melodies 255 a n d 2 5 6 , p a g e ^ . / / ' ' • • '
Intonation Exercise 166
(Key of C)
Preparation: i 5 5 6 7 i 2 . 2 i 7 6 5 . 5 £ 5 2
(fi)
(a)
LLX1 5 5 2 3 5 5 £5 5 £ 5
5^5
532
532
25
25
5 2 7 5 5 2 3 5 5*5
5 2 7 5 £ 5 23 i 5£ 5 3 2 2 5 4 3 2 1
5
Rhythmic Exercise 46. Time (Continued)
After using the diagrams (which should be written on the board), additional
drill should be given with the hand chart.
Theory. How to Build a Major Scale on Sol
We can build a Major Scale beginning on any note provided we maintain
the proper relation between the half tones and whole tones. To do this correctly,
we shall use accidentals in order to conform to the design of the Major Scale built
on Do.
Where should the large intervals come ?
Where should we place the small intervals?
44
CHAPTER TWO
45
MUSIC—THIRD YEAR
CHAPTER THREE
Vocal Exercises.—No. 28a (Music Second Year) same tonalities as last week.
No. 32 (Music Third Year) for breath control as last week. Add single
tones on F, top line, and on E* and D lower line of staff.
No. 33, toward the middle of the week.
Intonation.—Study of * approached from above and below by a skip.
Practice this exercise on Number Diagram 90a and Staff Diagrams 90b, 90c
46
CHAPTER THREE
and 90d. Then horizontally and in strict time as written above. In Line c, the
help-note must be thought in strict time precisely as when it was sung in Line b.
6b c os o:
Diagram 90b. Diagram 90c.
Diagram 90d.
Diagram 90a.
Staff Notation.—Continue drill in the Key of D Major and B Minor (with the
C clef). For this purpose, use the Hand Chart, the Diagrams for rapid visualiza-
tion and the children may be asked to write on the staff in the Key of D, melodies
in whole or in part, which they have sung in numbers. Melody 265 by Haydn
may well be used for this purpose.
Carry out this work as described in Chapter 2. The teacher will remember
that all the value of this theoretical work will be lost if the matter be imposed
from without. The children must discover for themselves why it is that sharps
are needed. Failing this, the matter becomes a dry memory load which will soon
be forgotten and will fail to function as an aid to precise reading from staff nota-
tion. Thus, the teacher will write the left column on the board, then the central
column, and lastly, at the dictation of the children, the right hand column of
Diagram 91a.
47
MUSIC—THIRD YEAR
i
tafe
4 2
i 7 Diagram 91b.
6 7 '
Rhythmic Exercise 47. ISlotes Held Over, or Tied, into the Following Measure
1 1 1 1 .
<rTr>
. 1 1 1 1 . l|:J|JJj l J J J J | J - : |
Rhythm and Melody
3113 5. 4 3 4| 2
3I13 5 . 4 3 2I 1
Rhythmic Exercise 48
111. IT IT J
111. l U l l l l . . :|| t J l J J J
Rhythm and Melody
1 3 5 34 2 2
7 5 6 43 2 2
£ 5 6 67 i 7
5 6 5 I .4 34 2 2
The Same on the Staff
JUJ*
When a note from one measure is held over (or tied) into another measure,
it should be held for less time than the value of the original note. Thus: a half
note prolonged by a quarter note: d :=J |IJd a quarter note prolonged by an eighth
note:
This is the best tradition as regards notes which are held over into a new
measure. Occasionally, we may find instances of a note that is held over for an
49
MUSIC—THIRD YEAR
:J
equal value, thus: d ija but there are usually reasons for this exception which
we need not deal with now. It is sufficient to know that the best practice is that
the tied note be equal to one half the value of the original note, or less.
Dictation
Melodic Melody and Rhythm
(a) I j 5 6 6 5 | (b) | 1 3 5 jt 5 I || 1 i 5 5 I 6 jL 5 . |
I 15665£ 5 | | 135£ 565 | | i 5 6 6 I5 £ 5 . I
I i 56£5 | | 135^65 | | 5 4 3 5 I6 ^ 5 . I
1^56^5 | 1^6543211 | * 6 5 4 I 3 5 i . ||
Rhythm and Melody
II 1_ 76 5 . | 74 32 1 . | The teacher should beat time while
I 23 42 3 5 | ^4 32 3 . | dictating these phrases, that the first note
I 5_ T7 6 . | .5 43 2 . | of the measure may be perceived by the
I 34 56 5 i | 77 67 i . || eye even though it be robbed of its ictus
as regards the ear. For it is a great mistake to consider all cases of notes which
are tied over from one measure to another as syncopations requiring a strong dy-
namic accent. There are cases where such treatment is possible, though rarely in
good taste. The vast majority of cases, particularly in polyphonic writing, are
not syncopations in any possible sense. They occur because themes which were
composed without any bars of division have been edited with bars to aid the eye.
These bars run arbitrarily through the note of prolongation in some voices and
not in others. Yet there is no difference of rendition required because of this ill
advised action of the printer. In other cases, there is a change of harmony at the
point where the note is prolonged, which in no sense demands a dynamic accent;
indeed it is often at the cadences—medium or final—that these prolongations
occur, where a quiet diminuendo is indicated by the phraseological context. Need-
less to say, the children can be guided by example rather than precept in such
matters. What we have written above is for the teacher's information, that the
prevalent error of presupposing a dynamic accent on each tied note be eliminated
once for all.
Children's Song Manual:
Melodies 265, page 10; 266, 267, 268, page 12.
Song: Now Is the Month of Maying, page 11.
50
CHAPTER FOUR
CHAPTER FOUR
Vocal Exercises—28b (Second Year), 32 and 33 (Third Year).
Intonation.—Study of jt as accidental in minor melodies. Model
Intonation Exercise 170 2 6
(D Minor)
5
6 5 4 3 | 3 5 ^ 5 6 6 5 £ 3 I ^7
| 3 5 £ 5 6 6 5 £ 3 I
I 3 4 5 6 6 5 4 3 I 6 3
Diagram 92.
Sing Intonation Exercise 170, using the help-notes. Next sing the model
2 i7 6 7i 2, the upper tetrachord of the First Mode, and then sing at the same
pitch, the upper tetrachord of the Minor Mode with the accidental "jl". (Diagram
92.) The identity of these two tetrachords will at once be clear to the children.
Thus, whenever we see a jL as accidental in a, minor melody, we can be fairly cer-
tain that it is really a melody in the First Mode, and not a melody in the Modern
Minor Mode. ~:i
Model
Intonation Exercise 171
6 3
((6 = A)
6 71 2 3 5 2
I 3 2 i 7 6 6 5 £ 5 3 35^56 67i23
I 3 2 i 7 6 5 ft 5 3 3 5 j i 5 6 7 i 2 3
Rhythmic Exercise 49
\T. [ |r I
11:6 | 6 7 1 I 2 . . I . 1 7 | 1 6 :|| 6 . ||
3 | 2 . 3 | 4 . . | . . 3 | 2 .
3 I 1 . 2 I 3 . . | . 1 7 | 6 . || .
Rhythmic Exercise 50
: 5 J 1 1 1 | 17 12 34 | 5 5 5 I 5
5 | 1 1 1 I 77 12 34 | 3 . 2 | 1
3 | 4 4 ' 4 I 73 2 3 | 4 . 3 I 2
3 | 5 5 5|74 3 2 l 2 | 5 1 7 | l
52
CHAPTER FOUR
Relative minor
Diagram 95.
The teacher should use the Hand Chart with one sharp at the Key signature,
and bring out the Major Scale (G Major) using the plagal range (5 - 5), the chord
and intervals of the Compass Exercises; then, without changing the Key signa-
ture, bring out: (a) the Minor Scale in authentic range ( 6 - 6 ) , with the chord
and compass exercises. Thus the children will see that it is not the Key signa-
ture that makes the difference between Major and Relative Minor, but the se-
quence of sounds selected. It is not necessary to insist on this point at present.
It is enough to lay a foundation for future work.
53
MUSIC—THIRD YEAR
Dictation
Melodic Visualization Melody and Rhythm
1 -6 7 1 2 3 31 6? 12 3 3 . 6/8 II 666 I 377 666 I 3 . .
1 66 5 t 5 61 34 33 6 . 6 . 65? I 372 377 1 377
1 66 5 t 3 31 3* H 3 3 . 666 I 177 324 I 377
1 34 3 6 3 31 33 6 6 . 323 I 67T T7. 1677 II
1 63 5 6 61 6. H 3 . 2 . 3 .
1 65 3 6 61 3. 4. 36
3. 43 2. 17 6 .
CHAPTER FIVE
Vocal Exercises.—Nos. 33, 34 and 35 for breath control and dynamics.
Intonation.—Study of Do sharp, called Deh (or Di) as accidental. (I)
Sing at same pitch: Model
6 t 6
La Seh La
(si)
2 X 2
Re Deh Re
(di)
Diagram 96.
As soon as these intervals have been sung at the same pitch and their equiva-
lence has been established, place the melody of "2 X 2" where it belongs in rela-
tion to the surrounding tones. In Intonation Exercise 172, it is used in connection
with the Pentachord 2 3 4 5 6 (Mode of Re); in Intonation Exercise 173, in con-
nection with the Pentachord 6 7 12 3 (Minor Mode) and in Intonation Exercise 174,
in connection with the Pentachord 1 2 3 4 5 (Major Mode). Before studying
these exercises, the teacher should show the children Diagram 96, and encourage
them to sing up and down the left column, which is thoroughly familiar, then,
passing to the right column, establish the equivalence. With this preparation, the
Intonation Exercises will be easily mastered.
6 7 12 3 3 4 3 212 2 12 23432176 6£ 6
6 1 3 4 3 212 212 3432176 6£ 6
Intonation Exercise 174
/q^ Notation
Use the Hand Chart for familiarizing the children with the Key of G Major
and E Minor; also with the Keys of D Major and B Minor, as in Diagrams 88a
and 88b, page 44, that they may not be forgotten.
(Major) (adlib.)
(Cv) v * \
SitSS
Diagram 97a. (FMajor) ~ (F% Major)
The diagrams should be written on the board. The C clef should be used
until the children are thoroughly familiar with the new position of Do. The Major
Mode should be mastered before proceeding to the Relative Minor. Finally, and
this may not be advisable for a week or more, the Hand Chart can be used in the
56
CHAPTER FIVE
Key of F, explaining to the children that the flat at the Key signature is like a
Fa. By counting down Fa, Mi Re Do or up Fa Sol La Ti Do, they can find the
place of low Do or high Do in Signatures with flats. (See the little / on the staff.)
We have used the F as well as the C to aid in orientating the children in their
staff reading. As is well known, this double lettering was commonly used in the
manuscripts of the middle ages. The C line was brought out in one color, the F
line in another; this contrast was a great help in accurate reading. The teacher
may easily follow this system by marking the Do line in rejjdialk and the .£ftjine
in yellow, when offering phrases on the staff for visualization. This would be
particularly valuable when the children are studying a new position of Do on the
staff.
There is another reason why we have used the F as well as the C. Should
the children be called upon later to take part in choral work where the vocal parts
are written in the C and F clefs; or should they, later, take part in orchestral
work; should any of them take piano lessons, they will not be astonished to see
that the F clef exists and must be considered as well as the G clef. It is not neces-
sary to insist upon this point at the present time; our purpose will have been
accomplished by the mere fact that the children know the existence of this clef
and its relation (melodically) to the C clef.
In Diagram 97a we have emphasized the Key of F. (One flat.) Evidently,
the Key of F sharp is precisely the same from the point of view of the eye. The
teacher may drill the children in both tonalities or may choose one or the other.
There will be no difference in the Major Scale. In the Relative Minor there will
be a difference when " $ " is to be expressed. In D Minor, this accidental is ex-
pressed by a sharp (see Diagram 97b), whereas in D sharp Minor, it will be ex-
pressed by a double-sharp (the tone C being already sharped at the Key signature,
it can only be raised artificially by adding another sharp to the one already there).
The sign for the double sharp is: x
The teacher will judge according to the capacity of the class how soon, if
at all, to introduce F sharp Major and D sharp Minor. For children of the Third
Grade, it would, in our judgment, be best to postpone this study until the scales
with sharps at the Key signature Jiave been built up as far as six sharps. For
older children studying the same chapter, whose experience may well include some
instrumental technique, it will be valuable to explain both tonalities and drill
them accordingly. The idea is simple. It only needs to be explained. It is no
more difficult to read in F sharp than in F. For older children, then, we should
57
MUSIC—THIRD YEAR
advise drilling simultaneously in the two tonalities with Do on the fifth line. For
this purpose, the Hand Chart will be useful and diverting.
Rhythmic Exercise 51
The teacher will use these figures, not as a dry memory load, but will show
the forms required as needed. At this point it is essential that the children should
know the form of the rest which is worth a quarter note and that which is worth
an eighth note.
Dictation
Melodic (T.—names first note)
to-
to-
to-
(a) 1 2 1 2 3 4 5 6 I 00 6 7 i i
to-
to-
1 6 5 4 3 2 X 2 1 i 2 i 7 6 1
to-
to-
1 2 X 2 3 4 2 6 I 6 i 2 i 2 I
to-
to-
1 6 t 6 2 X 2 I I i 76 6 1
to 1 6 17 2 3 4 21 1 2 3 4 5 3 2
12 i 2 2 1 7 6 1 2 2 3 4 2 1
16 1 3 4 2 X 21 1 5 4 3 2 2
1 1 2 3 2 1 7 61 3 5 3 2 1 7 1
Observation and Memory on Staff, using the Hand Chart in the
various tonalities that are familiar, and insisting upon the new posi-
tion of Do on the fifth line.
59
MUSIC-THIRD YEAR
The teacher, in carrying out this exercise in reading from the staff, may dictate
the first line of a melody already known to the children (a melody from Year I
or Year II). As soon as the children have recognized the familiar melody, ask
them to finish it on the board (one or several children) and on their slates or copy
books (for those who are not working at the board). The teacher will indicate
the Key in which it should be written—according to the range of the melody
itself. The children will write the melody not from dictation but from the memory
picture. This gives them at once a review, an exercise in memory, an exercise
in staff notation and an exercise in application of the known to the related unknown.
Dictation. (Rhythm)
Follow rather closely the designs of Rhythmic Exercise 51. '
Dictation. (Rhythm and Melody)
II 666 | 377 234 I 377 || 666 I 377 234 | 377
333 I 577 732 | 377 X33 | 677 754 | 377
321 I 777 776 I £77 X32 I 177 776 I 77T
671 I 677 ?77 I 677 II SSI I 677 777 I 677 II
Children's Song Manual:
Melodies 275,276, 277, page 15.
Song: The Daddy Long Legs and the Fly, page 16.
60
CHAPTER SIX
CHAPTER SIX
Vocal Exercises.—Nos. 33, 34, 35 and 36 for breath control and dynamics.
Nos. 38a and b for dynamics in phrasing.
Intonation.—Continue the study of 1 with the melodies listed in Chapters 5
and 6.
Rhythm.—Continue the study of 6/8 time, applying the designs of Rhythmic
Exercise 51. For this purpose, see Children's Song Manual, Melodies 282, 283, 284
and 285. Also, the song: The Coasts of High Barbary, page 21.
Staff Notation.—Study on the diagrams and the Hand Chart the Keys of
C Major and A Minor. (Nothing at the signature.)
G Major and E Minor. (One sharp at the signature.)
D Major and B Minor. (Two sharps.)
F Major and D Minor. (One flat and if desired, F* Major and D*
Minor, six sharps.)
These tonalities should be familiar so that the use of the C clef be no longer
necessary for sight reading. As a convenience to the teacher, we give, below, a
table of the tonalities which should be familiar at this point and a suggestion
regarding the range to use in each.
C Major ^ G Major D Major
Diagram 98.
61
MUSIC—THIRD YEAR
Use the words of The Coasts of High Barbary as a rhythmic recitation before
singing the melody. Then sing the melody alone. Finally, take certain indi-
vidual figures that are highly rhythmic and expressive—melody and words—and
visualize the two, as a whole thus:
The teacher should use the Hand Chart in the position of F Major, and when
this key with one flat has been grasped, then the Relative Minor in D may be
worked out practically. We have the same notes as in F Major and the same Key
signature. What is the only difference as far as the eye is concerned? We must
know how to write f> accidental. See Diagrams 97a and 97b, page 56.
Children's Song Manual:
Melodies 278, 279, 280, page 18 (for the study of X).
Melodies 282, 283, 284 and 285, page 20 (for rhythm in 6/8 time).
Songs: Sursum corda, page 19; and The Coasts of High Barbary, page 21.
J-
jV ;„'. • p r > f. o
64
CHAPTER SEVEN
CHAPTER SEVEN
Vocal Exercises.—Nos. 33, 34, 35, 36 and 37. Also 38a and b.
Intonation.—Preparation for Modulation. Major to Relative Minor.
Minor to Relative Major.
A change from the Major Mode to its own Relative Minor, and the converse,
is not, in the strict sense of the word, a modulation. Yet this change of mood may
well serve as a preparation for the true modulations which will follow in subse-
quent chapters.
In Music Second Year, Chapter 26, a foundation has been laid for the present
study. The children have become familiar with the two "families"—the Do
family and the La family—and they know that the same notes appear in both
(save the accidental $ which occasionally appears in the La family) but the
relative importance and function of these notes differ in the
raJ
5
4 I-
L two families. The structural notes of the Do family are:
1 3 5 8, whereas those of the La family are: 6 1 3 6.
The children have learned by experience to recognize the
characteristic quality of each. They have not yet learned
3 '^*N3 how to move from Major to Minor or from Minor to Major
2 2 and return to the original family. In this chapter we pro-
pose to open up this new horizon.
1~ 1 As an aid to the eye, Diagram 100 (see Chart) is pro-
7 7 duced in two colors: red, for the Major Pentachord ( 1 2 3
4 5) and blue for the Minor Pentachord ( 6 7 1 2 3 ) .
6 We are going to pass from one column to the other. There
is a convenient bridge at Mi, another at Do. They are
't not the only ones as we shall see later.
Diagram 100.
(Chart page 1) Intonation Exercise 175
( A Major)
',Begin on Red Column
M. 1 1 2 3 4 5 4 3 2 1 7 1 2 3 . . XI (cross bridge at 3)
m. 1 3 2 1 7 6 t 6 7 1 2 3 2 3 . *i (cross back at 3)
M. 1 3 4 5 4 3 2
i 2 3 2 1 7 1 .
m. 1 1 7 6 t 6 7 6 7 1 2 3 2 1 .
. xi (cross bridge at 1)
. xi (cross back at 1)
M. 1 1 7 i 2 3 5 4 3 2 4 3 2 1 . . xi
65
MUSIC—THIRD YEAR
m. 11 2 3 2 1
m. 7 i 2 (reproduce this in Af.) 1 1 7 1 2 3 4 5 . II
•ON
•ON
3 . II
•ON
is easier than one which is merely melodic. The children must be allowed to think
for a moment—of an exact equivalent in the Minor Mode. An individual will
sing or write on the board the Minor phrase (the other children writing it in their
copy books). Then it will be discussed. Is it an exact reproduction? (For the
moment it should be so.) Is it the same melody—but in Minor? The same rhyth-
mic design? If not, how could we correct it?
The same proceeding should be carried out for reproducing a Minor Theme
in the relative Major. We give below some themes which would be suitable for
such exercises, with their equivalent in the relative Mode. These equivalents
should not be shown to the children, for whom the problem is—precisely—to
find the equivalent.
Major Themes Minor Counterparts
1 3 54 32 | 1 . . 6 1 32 17 | 6 . .
12 34 5 6 I 5 . . 67 12 3 4 | 3 . .
1 5 3 1 | 7 2 1 6 3 1 6 | # 7 6
5 32 1 2 I 1 7 1 3 T7 6 7 I6 $ 6
The diagram should be kept before class {Diagram 100) that the eye may
aid the ear, at least during the early stages of this work. Later such aid will not
be required; the ear alone will suffice for this literal translation from a Major
Mode to its relative Minor and vice versa.
Improvisation
Project 1. Application of the Above to Musical Conversations
A question in the Major Mode. An answer in the Minor Mode.
Another phrase in the Minor Mode. A final phrase in the Major Mode.
68
CHAPTER SEVEN
Project 2
Read in silence, one line at a time, and sing with backs turned to the black-
board.
(The same phrases can be used for an exercise in aural memory but in this
case two lines should be sung and then repeated by memory with backs turned
to the blackboard.)
M. II 1 34 3 56 1 5 . . . | m. II 6 7 1 6 12 1 1 34 | 3 . 1 .
m. 1 6 12 1 34 1 3 . . . II M. 12 I 1 34 1 3 56 I 5 . 1 .
69
MUSIC—THIRD YEAR
•ON
•ON
7
After singing these phrases once, they should be repeated a second time
while a child marks before each phrase (on the board) M. or m. as required.
Melody by Bach
(See Children's Manual, page 23, for This Same Melody on the Staff)
Slowly m. II 6 7 1 2 | 7 . 6 . 1
M. | 1 2 3 43 | 2 . l . |
m. I 7 6 67 $ I 6 . . X |
M. I 32 34 5 3 I 4 3 2 . | 1 . . . |
m. I 23 -42 3 6 I 2 17 7 . | 6 . .. . ||
The teacher should not indicate M. or m. opposite the phrases when putting
this melody on the board, but should leave to the children the joy of discovery.
They will sing the melody, first without marking the phrases, then, a second
time, marking them m. or M.
Rhythmic Exercise 52
_ 1; I II 2. .1
(a) II: 1 1 1 1 . 1 . . 1 . . :|| 1
Do
Diagram 101a. Diagram 101b.
The teacher should use the Hand Chart with three sharps at the Key signa-
ture, giving the children the usual preparation in order to establish this new tonal-
ity (scale, tonic chord, compass exercises, etc., all in the plagal range.)
Children's Song Manual:
Melodies 287, 288, page 23; 289, page 24 and 290, page 25.
Song: The Lamb, page 22; and Summer is Icumen in, page 24.
* Name the notes in brackets but do not sing them.
71
MUSIC—THIRD YEAR
CHAPTER EIGHT
Vocal Exercises.—Nos. 36, 37, 38a and b, and 39a and b.
It is not necessary to use all these vocal exercises at each lesson, but they
should be used during the week. The teacher should avoid an exaggeration in
the dynamic shades lest the voice should be forced (pushed outward) at the sum-
mit of the crescendo and pinched at the limit of the diminuendo. The breath con-
trol must be watched: the children should always inhale and count one measure
before singing, and at the conclusion of the exercise, hold the breath for one measure
before exhaling.
Intonation.—Modulation from Major to Relative Minor
6 and from Minor to Relative Major (continued).
5 (5)
t
Intonation Exercise 177a
4 4 (i = G)
3- 3
M. II1 1 5 1 354 3 .* 3 4 3 6 6 f 6 . 3* II m.
2- 2 M. I 1 3 4 5 4 3 2 1 .* 1 2 1 7 * II m
•ON
$ 6
M. I: 1 23 4 2 .* 2 4 3 2 1 7 6 II m
•ON
•C/l
1 1
7 7 m. 1 1 6 t 6 3 2 4 3 .* 3 5 3 2 4 2 1 • \\M
m. | 1 3 6 6 5 4 3 .* 34 53 2 2 1 .* II Af
Diagram 102.
(See Chart Page 1.) m. I1 1 6 t 6 7 1 2 .* 23 5 4 3 2 1 . II Af
Intonation Exercises 177a and 2776 should be carried out on Diagram 102
passing from one column to the other at the point marked by the asterisk. Allow
time for a brief pause at the asterisk that the children may prepare their minds
for the transition. The teacher may vary the above exercises at will, but in so
doing, should bear in mind that the structural tones of each modality should be
emphasized. They may even be repeated with profit.
72
CHAPTER EIGHT
Thus: 1 5 5 1 3 4 5 . 5 4 3 . * 3 3 3 4 3. 6 . 6 ^ 6 6 3 ., etc.
In Intonation Exercise 177a and b, the phrase on one column ends on the note
of transition and the new phrase (after crossing the bridge at the asterisk) begins
on that same note, in the new column. Exercise 178 is devised to lay a founda-
tion for beginning the new phrase on a different note. The help-note in the new
column indicates the note on which the bridge has been crossed: it is to be thought.
M.\ 1 5 1 2 3 4 5 4 3 . * 8 2 3 2 1 7 7 6 J J 6 . , |*m.
Af. | 6 5 1 2 3 5 43 2.* 2 3 2 1 7 6 # 6 7 6 . \ * m.
M.\ 5 6 1 2 1 4 3 2 1 . * i 2 1 7 2 1 7 6 1 3 . | * « .
M. I , 432543221.*" 1 2 3 4 3 2 1 7 6 # 6 . | m.
Composition
In Chapter 7, the children have transposed brief melodic motifs from Major
to Minor and from Minor to Major. The first step in the understanding of such
a transformation was to reproduce the given design precisely. In this way the
ear is formed to recognize a given motif in the two Modes. An exact reproduc-
tion, however, is far from being the only way of modulating, nor is it usually the
best way. Often a reversal of melodic direction is advisable and for two reasons:
(1) The melody itself gains in interest. (2) The danger of exceeding the normal
compass of the voices is minimized.
The phrases under Melody and Rhythm (Children's Song Manual, page 25)
provide several examples of a passage from Major to Minor and from Minor to
Major with a change of melodic direction at the point where the modulation oc-
curs. The same change of direction will be found in the melodies to be studied
with Chapter 8.
73
MUSIC—THIRD YEAR
Sing the phrases under Melody and Rhythm. Then use the following phrases
as themes to be developed in two ways:
1. Reproduced exactly in the Relative Mode.
2. Answered in a contrasting melodic direction in the Relative Mode.
Example*
1. Exact. Imitation
M. I 1 5 3 1 1 3 15 . 6 15 1*
m. 1 3 • 1 1 6 • 1 13 . 4 1 3 • II
M. I 1 1 1 1 1 3 72 1 I 3 3 3 1 5 74 3 1 5 4 3 1 2
•Os
m. 6 6 1 1 .7 6 1 1 1 1 1 3 .2 1 13 2 1 1 7
2. Contrasting Direction
M. | 1 5 3 1 1 3 15 . 6 1 5 1*
m. 1 3 • 6 13 - 2 11 - 7 1 6 • • II
M. I 1 1 1 1 1 3 72 1 1 3 3 3 1 5 74 3 I 5 4 3 1 2
•Os
m. 1 1 1 1 .7 1 1 6 6 6 1 7 .1 2 1 3 6 $ 1 6
It is not necessary, after modulating, that the children should begin the new
phrase by the same tone on which the original phrase ended. They are free to
do so or not, as they please.
74
CHAPTER EIGHT
In all this work as outlined above, the asterisk (*) is merely an arbitrary-
sign used for the convenience of the teacher.
The M. indicates the Major Mode; the m., the Minor Mode.
There is another sign that will be found in some of the melodies to be sung
during the week. It is an n. meaning Neutral. Often, between a phrase that is
clearly Major or clearly Minor, there appears a phrase or a tiny melodic frag-
ment that is transitional and that might belong to either one of the two modalities.
It is a melodic link. By its use the modulation becomes less abrupt. Look at
Diagram 102. Which are the notes that are clearly structural in the Major and
not in the Minor? In the Minor and not in the Major? Sol, especially in rela-
tion to the other notes of the tonic chord (1 3 5) is clearly Major. Seh Q$) is
clearly Minor; clearly Minor, also, is the note La in relation to the tonic chord
(6 1 3).
But there are passages that are common to both modalities.
Thus: . Melodic episodes that play around 1 2 3 2
71 2 34 5 3 4 3 2 and 1 7 1 2 4 3 2 could well belong
6 71 2 34 f> to Major or to Minor. In themselves, they
do not determine the modality, and often they appear like melodic links that are
interposed to make the modulation less abrupt.
See Melodies 294 and 295.—In No. 294, the first line ends in the Major; the
second line begins I 3 2 i | 2 . 3 I; is this M. or m. ? It might be either one.
It is a Neutral link. It leads to a Major cadence but it could easily have led to
a cadence that was Minor.
In No. 295, the entire second line is Neutral. We have two measures in the
Major Mode, two in the Minor and then I 3 2 3 3 | 2 i 2 2 | etc. We have
marked it Neutral (n.). When a phrase is transitional, a sort of Neutral link
that cannot be characterized clearly, we indicate this fact by the letter n.
Needless to say, we are looking at these melodies from a melodic standpoint
only. It is the only one with which the children can come into experimental con-
tact. In the harmonic treatment of these compositions, the Neutral links (Neu-
tral melodically) are often characterized definitely in one sense or the other. This
is a consideration which can best be developed later when the children are admitted
to a chorus of mixed voices or when they begin the study of an instrument such
as the piano. At present we are deliberately limiting ourselves to the study of
melody.
The best way of studying these Neutral links and their use is in the melodies
75
MUSIC—THIRD YEAR
by great masters provided in the Children's Song Manual. On the other hand
it is useful to provide an exercise embodying these Neutral links that the chil-
dren's attention be directed to them in a special manner. Thus Intonation Exer-
cise 179 should be used for this purpose as soon as the class has grasped clearly,
the more abrupt modulation without a link. (For examples of abrupt modulation,
see Melody 291 and Melody 293 of this chapter.
M. | 1 3 55 4566 535 . 1 * . I 24 32 33 2 1 7 . |
m. | 6 1 3 4 3 6 6 ^ 6 . 3 . I *. I 2 1 7 2 3 4 3 2 3 . 1
M. | 3 1 5 5 4566 5 3 5 . 1 * . I 4 3 2 1 2 3 1 7 6 . Im.
Example
n. /{a) 5 4 I3 . ^ | M.
m. II 6 7 1 2 | 3 . 1 7 | 6 . X X | 7 1 2 3 | 2 .
\(b) 3 6 I f . SX I m.
Problem 1.—Resolve the Neutral link in two ways.
*• / M.
(a) M. || 1 | 1 . 1 | 5 . 5 I 6 . 6 I 5 . 3 I 2 . 2 | 1 . 21
\ w.
__ __ w_ __ SM.
(6) M. || 12 34 5 5 | 4 3 2 . I 23 43 2 2 I
\w.
76
CHAPTER EIGHT
_ _ _
(&) w . II 67 12 3 6 I 3 . 3 . I I 2 .1 7 .1 I 2
Problem 2.—Connect the following phrases by a Neutral Link.
m. n. M.
(a) II. 6 6 3 3 I 2 3 6 . I . | 1 1 5 5 3 2 1 . I
Compose final phrase to end melody in the original tonality.
M. n. m.
(6) I 1 5 5. 4 I 3 2 1 . I | 3 3 6 6 ^ 6 3 . |
Compose a final phrase to end the melody in the original tonality.
It must not be supposed that a modulation connected by a Neutral link is
superior to the more direct form of modulation. They are two different ways of
modulating, and each one is interesting when it is well carried out.
The little problems given above should be placed on the board and the whole
class should take an active part in the solution of the problem. Notice that the
presence of Sol, on the one hand, and of jJ, on the other, particularly 5 in connec-
tion with the other fundamental tones of the Major chord and f> used in connec-
tion with 6, characterize a phrase definitely as Major or Minor.
Rhythmic Exercise 53
6/8 Time
- J
: lTI 1.1 I 177 in I i -.11 l|:« « U — * 4 ^
: ITT TIT I T7T O I 177 777 :|| I
77
MUSIC—THIRD YEAR
78
CHAPTER NINE
CHAPTER NINE
Vocal Exercises.—Nos. 36, 37, 38, 39 and 40.
Intonation.—The study of Intervals. Fifths.
Without interrupting the study of modulation which needs to be taken quietly,
allowing time for assimilation, we should begin to lay a foundation for the study
of intervals as such. The study of intervals will greatly facilitate the study of
modulation and vice versa.
We propose to present the various intervals; (1) melodically, (2) vertically,
the two notes of the interval sounding simultaneously whenever the nature of the
interval itself admits of such treatment. Finally, the interval will appear in
action, polyphonically. When two or more melodic lines sound simultaneously,
we shall see how they meet and on which intervals they may meet. When two
melodies must move sympathetically they are less free than when one melody
moves alone. Each one must make concessions and abide by rules for the com-
mon good. This will be touched upon superficially in the present volume, but
will be developed in those that follow. Our purpose in the Third Grade is not
to teach polyphony as such but merely to train the children's ear to discern inter-
vals accurately, and this can best be accomplished by giving them an opportunity
to hear them both horizontally and vertically.
The study of intervals will be correlated, step by step, with the study of the
designs that exist inside of each interval; thus, with Fifths, the various Penta-
chords that can be formed within the Fifth; with the Fourths, the various Tetra-
chords, etc.
no longer be needed. The exercise should be sung slowly, measuring each Fifth
conscientiously. Later, it should be taken at a brisk pace and in strict time.
Let no child feel that he should be ashamed of requiring the aid of the mental
help-notes. On the contrary, the quick thinking of the help-notes may be an
act of virtue on the part of a pupil who is not sure of singing his Fifths in tune.
The tendency of the average child is to drop the help-notes too soon. The teach-
er's influence should be exerted in the opposite sense.
We have put this preparatory intonation exercise in the Children's Song
Manual in order that it may be convenient to turn to it frequently, without hav-
ing to write it on the board. It will facilitate the study if the teacher encourages
the children to visualize each phrase as a whole.
Continue the study begun in the last chapter. The following melodies may
be studied on the board with the idea of deciding whether the modulations are
abrupt or prepared by a neutral link. The same melodies will be found in the
Children's Song Manual but on the staff, which is somewhat less convenient for
the purpose of analysis.
Melody 296
(Bibl. Vat. fondo Chigi) A., Melani (fragment)
m. II X 6 7 I1 1 2 1 3 . | XX X 1
n.
1 X6? 1 1 23 11 43 43 I 2 . . 1
M. 1 5 4 3 13 2 71 11 1. . I X X X 1
M. 1 x5 ~I 1 3 2 71 1 V34 32 | 1 45 43 1 21 2 I 3 2 .1 |
Melody 297
(Bibl. Vat. fondo Chigi) Bermardo Pasquini
M. II 3 3 3 13 2 2 | 2 12 :T 1 1
2 2
n.+M .m. 14 4 3 13 2 1 I 42 1 76 16 i; l I 6
80
CHAPTER NINE
Melody 296 begins in the Minor Mode. The second line appears to be a
repetition of the first, but when we examine the whole melody, we see that the
second line is in reality a neutral link from the second measure on, which prepares
the third line that is in the Major Mode.
Melody 297 is Major and at a superficial glance would seem to remain so
throughout. But it ends in the Minor Mode, in view of which fact the second
line appears to be a neutral link.
These points need not be insisted upon. They are mentioned in order that
the teacher may grasp some of the different ways in which modulations can be
prepared.
Rhythmic Exercise 54
{6/8 Time)
312 345 I 6.. .54 | 3.. TTT I X12 343 | 277 7T7 6..
XX6 321 I 771 2l2 | 377 777 I XX3 565 | 743 432 TTT
S55 O I 577 743 I 277 TTT I ST2 571 I 677 TTT
S SSI 5TT I TTT 2T2 I TTT TTT II
377 I TTT 272 I 377 TTT I SSI
81
MUSIC—THIRD YEAR
Staff Notation
Problem.—Build a Major Scale on Mi.
How many notes have we changed?
Where shall we find these sharps on the staff ?
Where should we write the Do clef?
The Do clef on the first line of the staff offers no diffi-
culty to the children, as this position is already familiar.
The only new element is that of building up the scale by
means of sharps instead of depending on the C clef to
indicate the tonic of the Mode.
C o
Diagram 103a. Diagram 103b.
CHAPTER TEN
Vocal Exercises.—Nos. 36, 37, 38 and 39, 40 and 41.
Intonation.—Fifths and Pentachords.
5 2 3 6 7 i}
A iv 2 5 6
(
3 7> 6
/I 4 } 5
(
2 6 7 3 5
4,
1 5 6 2 3} 4
These Fifths are all alike: the red, the blue, the green and the yellow. They
are called Perfect Fifths. There is an equal distance between the lower note and
the upper note in each of these Fifths. Why are they called "perfect"? Because
they contain just the right number of tones and half tones.
The Red Ones: Tone + Tone + y2 T. + Tone. In all: Three and a half.
The Blue Ones: Tone + y2 T. + Tone + Tone. In all Three and a half.
The Green One: y2 T. + Tone + Tone + Tone. In all Three and a half.
The Yellow One: Tone + Tone + Tone + W T . In all: Three and a half.
Now look at the Purple Fifth. Does it contain three tones and one half
tone? No. It is too small.
The Purple One: y£T.+ Tone + Tone + y£ T. In all: Two tones and two half tones.
It is not a Perfect Fifth. It is called a "Diminished Fifth."
We may, therefore, leave it aside for the moment and confine our attention
to the six Perfect Fifths, the ones that are the right size.
When we speak of "six Perfect Fifths," the teacher will realize that we mean
those that are found in the natural scale, without the use of accidentals. By
83
MUSIC—THIRD YEAR
using accidentals, we can create Perfect Fifths in other ways than those listed
under Diagram 104.
Counting the intervals is an intellectual drill only. In music, it is not enough
to know a thing; we must hear it and feel it. The mental concept is useful only
insofar as it is embodied in practical experience. The children should understand
the character of the Perfect Fifth through the ear, through the eye, and should
recognize it among other intervals without the slightest hesitation. The exercises
that follow are devised for this purpose.
Red Pentachords
Blue Pentachords
Blue Pentachords
Green Pentachords
Yellow Pentachords
II.
This exercise should be carried out on Diagram 104.
84
CHAPTER TEN
The class is divided into two groups. Group I sings the top line of the exercise
(always from the Diagram) and Group II sings the one note allotted to it, at a
sign from the teacher. It will facilitate the exercise if the teacher makes use of
two pointers of different color or size, that each group may know what is expected.
Let the groups in the class alternate; giving Part I first to one group, then to the
other. It must not be thought that those who sing one note only have the easier
part, for they must find the basic note of the Fifth while the other group is hold-
ing the top note. On no account must the children be allowed to shriek in their
effort to avoid being disturbed by the others. On the contrary, this exercise
should be carried out pianissimo, particularly as regards the long sustained note
of Group I.
Intonation Exercise 182
(Each Phrase Begins on G or A, If Preferred)
I. (Also: 2 3 4 5 6)
II. II 6 7 1 2 3 . . .
Treat all the Fifths and Pentachords in this manner.
This exercise is similar to the one preceding it, but the upper note of the
Fifth is to be found by Group I while Group II holds the lower note.
Intonation 183
{Children's Song Manual, Page 34)
Divide the class in two groups, a and b. The first two measures of each
phrase are sung by both groups together in unison. The last three measures are
executed as follows: Group a sings the upper line and Group b the lower line.
This exercise, like those which precede it, has one single purpose: to bring
home to the children in the most realistic manner, the character of the Perfect
85
MUSIC—THIRD YEAR
Fifth. They will experience its pure, rather hollow perfection. Later, much
later, they will find out how to use it and combine it with other intervals which
place its perfection in the proper setting. But for the moment, the teacher should
be satisfied with the mere fact that the children realize that all Perfect Fifths
are alike.
Ear Training
1. The teacher sounds a tone on the harmonium: (G, A or A flat).
2. He shows a Flash Card indicating: ''Fifth above." The children sing the
Fifth. (The Flash Cards use the Roman numerals to indicate intervals. This is
in order to avoid confusion between the numbers that denote intervals and the
numbers which we use melodically, to represent the Pentachord designs within
the Fifth. Thus the Flash Card "V" might call for the Fifth: "1-5" or the Fijth:
"2-6" etc. All that the Flash Card requires is that the tone one Fifth above the
note struck on the harmonium be sung by the class.
This same exercise should be given using a Flash Card calling for the "Fifth
below." In this case the teacher will sound a higher tone on the harmonium
(D, E flat or E). It is well to keep Diagram 104 in view of the class during these
exercises.
Later, this same exercise can be repeated as follows:
1. Divide the class in two groups.
2. Group a sings and sustains the note sounded by the teacher while Group b
sings and sustains the Fifth above.
3. Group a sings the Fifth above the note sounded by the teacher and sus-
tains it and Group b adds, and sustains, the lower note of the Fifth. An example
of each is given below.
2. Teacher sounds G
3. Teacher sounds G
Gr.b
86
CHAPTER TEN
Rhythmic Exercise 55
9/8 Time
JJJ j. j.
H
-
For 9/8 time, beginning on the up-beat, count: "three one two," etc., and use
Rhythmic Movement 3. Each beat contains three units. The movement is rapid.
be the extreme limit of their rhythmic sensibility. For of two evils, we must
choose the lesser. It is less fatal to allow the melody to lose a shade of its char-
acter and become a bit heavy and choppy rather than run the risk of insufficient
precision. The larger chironomy (line 3 of our example) presupposes precision
of detail. Hesitation or inaccuracy in the use of line 3 would be a more serious
fault than the dangers attached to line 2.
First: Beat time: "Up - | down right up | down right," etc.
Second: Chironomy: "Arsis - | thesis thesis arsis | thesis thesis," etc.
Third: Third rhythmic movement: Arsis I thesis - undulation I thesis.
Example
88
CHAPTER ELEVEN
CHAPTER ELEVEN
Vocal Exercises.—Nos. 42a, 42b, 43a and 43b.
Intonation.—Fifths and Pentachords.
Using Diagram 104 (Chart, page 2) study the various designs of the Penta-
chords within the Fifths.
The Fifths are alike. Not so, the Pentachords.
There are six Pentachords on our Chart (without counting the purple one
which is too small), but there are only jour designs.
There are two similar designs in red (1 2 34 5 and 5 6 11 2);
There are two similar designs in blue ( 6 7 1 2 3 and 2 34 5 6);
There is only one green design (34 5 6 7);
There is only one yellow design (4 5 6 7i).
What is alike in the two red Pentachords? In the two blue ones?
What is the difference between the green Pentachord and the yellow one?
The difference between these Pentachords is the position of the half-tone,
in relation to the upper and lower note of the Fifth.
Thus: The two red Pentachords: }4 tone between the 3rd and 4th degrees.
The two blue Pentachords: }4 tone between the 2nd and 3rd degrees.
The green Pentachord: }4 tone between the 1st and 2nd degrees.
The yellow Pentachord: % tone between the 4th and 5th degrees.
What is wrong with the purple Pentachord? It has two half tone intervals and
not enough whole tones. We will exclude it for the moment, and confine our study
to the Pentachords that are of the normal size.
That the similarity and difference may stand out in bold relief, the teacher
should use a common basic tone* {G, A flat or A) on which the children should
* In order to facilitate the first efforts, the teacher may vary the basic tone, and thus avoid
the danger of having the children change the names without changing the sounds that corre-
spond. As soon as the pupils have acquired assurance, then the common basic tone should be
maintained. When changing the basic tone for the preliminary drill, it is quite enough to change
the fundamental sound by a tone or even by a half tone, in order to create a fresh mental picture.
Thus: Teacher sounds G: asks for a red Pentachord. Teacher sounds A or A fiat; asks for a blue
Pentachord. This slight change eliminates the impression of the first Pentachord. Very soon,
however, the children will realize that any Pentachord can be built on any basic tone: it is a mat-
ter of keeping the half tones where they belong. *
89
MUSIC—THIRD YEAR
construct a Pentachord of any design called for, using the Chart for this work.
Thus:
Teacher sounds G and points to the red Pentachords.
Children sing 1 2 34 5 43 2 1 (G A BC D CB A G)
or 5 6 71 2 17 6 5 (G A BC D CB A G)
Teacher sounds G and points to the blue Pentachords.
Children sing 2 34 5 6 5 43 2 (G A B* C D CB* A G)
or 6 71 2 3 2 17 6 (G A B> C D CB* A G)
and so forth for the two other designs.
That the children may not slip into an error through inadvertance, the teacher
should allow plenty of time—after flashing the card—for the children to look at
the Pentachord in the corresponding color on the Chart, to sing the top note (the
Fifth should offer no difficulty after the drill of last week) and then to think the
whole Pentachord—up and down—before singing the figure proposed. At a
sign from the teacher, the children begin to sing. This pause should be reduced
and finally eliminated as the exercise becomes familiar.
It is best to confine the exercise to finding the Fifth above and singing the
Pentachord according to color. The Fifth below should be presented later.
Ear Training b
The same exercise should be carried out by the reverse process. The teacher
sings without naming the notes (or sounds on the harmonium) one or the other
of the Fifths with the Pentachord design therein. The children answer: red, blue,
etc., as the phrase requires.
children. Usually the episode B is not as long as the original theme, and the
repetition of A is not as long the second time as the first. We give the same
example as above.
A. (Major): Sing Melody 139 in its entirety as above. Then:
B. (Minor Episode): | 6 6 6 | l 7 7 6 | l l l | 3 7 2 3 | 6 £ 61 3 . . |
Rhythmic Exercise 56
9/8 Time
1. \\2:
a 11:111 1.1 1.1 H I i.i r r :i JJUJUB
6 | | : 1 . 1 | 111 111 1 1 1 1 . . 1 . . :||1 II foRfJ-
567 | ITS 375 432 | 177 577 ' 543 | O 273 432 I I
676 | 343 232 T76 | 3 ~ 377 ' 376 | 321 2l7 67| | 6"
676 | 377 171 2l2 I 377 27Tf 376 | 372 177 617 | 6"
93
MUSIC—THIRD YEAR
5to# Notation
This position of Do on the third line of the staff is already familiar to the
children. The only new element in the situation is the process of building up this
scale with its five sharps.
For the information of the teacher and, later, for that of the children also,
we place beside the Key of B, the Key of B flat, where Do is also on the third
line of the staff. To the eye, there is no difference between the two.
In studying the melodies and songs of this week, attention should be drawn
to the various Pentachords and Fifths that are used. Blue Pentachords dominate
No. 303 (A Carol for Christmas and New Year). Red Pentachords dominate
Nos. 305, 306 and 308. The latter contains blue Pentachords also.
In Melody 308, the children should notice the Form: A + B + A.
Part 1, which we will call A, is Major and contains eighteen measures.
Part 2, which we will call B, is an episode in the relative Minor, and contains
eleven measures that are characteristically Minor, followed by a neutral transi-
tion that leads us back to:
Part 3, which we will call C, is Major and repeats the original theme of A,
but not in an exact duplication of the original. There are little variations. The
last eight measures give the theme of B in Major and in reversed direction, which
leads up to the grand finale.
94
CHAPTER ELEVEN
This custom of ending a melody with something new yet in the same spirit
as the rest of the composition is a well known device. This new bit is called a
"coda" which means a tail. Who can point to where the coda begins in
Melody 308?
Children's Song Manual:
Melodies 304, page 39; 305, 306, 307, page 40; and 308, page 41.
Song: A Carol for Christmas and New Year, page 38.
95
MUSIC—THIRD YEAR
CHAPTER TWELVE
Vocal Exercises.—Nos. 42a, 42b, 43b and 44a and b.
44(a). The latter should be written on the board as follows:
Part 1 should be sung in unison by the entire class with dynamics carefully
brought out: crescendo in ascending passages, diminuendo in the descending ones.
Then Part 2 should be sung in the same way. The children will discover that
the melodies are similar, except at the end, where the two parts differ. They
differ in melody and in rhythm.
Now divide the class in two groups. Let each group sing its own part. The
children will see that, throughout, the melodies run after each other without
ever catching up and that is what is amusing in the exercise. It is only at the
end that an arrangement is made by which the two parts arrive together in unison.
When the exercise has been studied for accuracy, it should be studied for
style. One of the rules of part-singing is a rule of courtesy; the group that is
96
CHAPTER TWELVE
holding a long note and is stationary, gives way before the group that is moving.
The long note is attacked firmly but held on a diminuendo, so that the moving
voice may be heard clearly. Sometimes the diminuendo is quite sudden (as in
Vocal Exercise 33), again it may be a gradual one (as in Vocal Exercise 34). This
depends on the individual composition, on taste also, but in the majority of cases,
the long note that is stationary gives way before the brief notes that are in motion.
When both parts are in motion, the crescendo and diminuendo of each part
follows the rise and fall of the melody: thus while one part rises and is in full cre-
scendo, the other part descends and is in diminuendo.
We have, then, quite a number of contrasts to consider:
1. Contrasts of melody.
2. Contrasts of rhythm.
3. Contrasts of dynamics.
That the children may not be puzzled by so much that is new, the following
is suggested:
1. Each part sung in unison by the whole class.
2. Separate the groups and read through the exercise rhythmically without
singing, in strict time and using the names of the notes. This rhythmic reading
should be carried out (a) beating time for precision; (b) with rhythmic gestures
(arsis and thesis) for phrasing.
3. Sing the exercise without gestures, confining the work to the four measures
within the signs of repetition. Carry out this part of the drill for No. 44a and 44b.
4. Repeat the above using chironomy and dynamics as described.
5. Prepare the end of the exercise, particularly the last three measures, using
the process described already: each part sung in unison by all, rhythmic reading
by the two groups, beating time, then with chironomy, and finally, singing the
composition.
What chironomy should we use for the measures of the cadence? We have
duplex groups in the lower line and two triplex groups in the top line. There are
two ways in which this can be executed: one way is to beat time and the held
over note will be interpreted as a syncopation. Another and more musical way
is to treat these groups as groups of three notes and use chironomy based on the
fundamental nature of the groups themselves. This latter interpretation will
give a melodic line that is not only more fluid and graceful but that conveys the
true meaning of each melody. It must be remembered that the use of bar lines
97
MUSIC—THIRD YEAR
in polyphonic music is quite modern. Those composers who barred their pieces
used the bar in a sense that is quite different from our barring today, for their
barring had no relation to the rhythmic interpretation.
The teachers are free to use either method, but we have indicated the chi-
ronomy as well as the barring that the choice may be facilitated. If the chironomy
be used, each group should execute its own chironomy, independently, for the two
parts will differ.
Avoid at all costs that the children should shriek. As soon as the tendency
is seen, the teacher should abandon the part work and return to vocal exercises in
unison. The rules we have given for an immediate diminuendo on a long note
should do much toward overcoming this tendency to sing loud in order to cover
the voices of the other group. Should this fault be tolerated, even in a slight
form, it will destroy in a few weeks and irremediably all the work that has been
done in the preceding years to place and develop the voice. Keep the voices
light, sweet and controlled.
6. When theTparts begin to move easily, freely, yet in strict time, the chi-
ronomy should be made with the right hand only and with a small gesture that
nothing may interfere with the perfect legato of the singing.
It sometimes happens that children who have learned to phrase correctly
and fluidly when singing in unison, become suddenly quite stilted and wooden
in their phrasing when singing polyphonically. This should not be. It is a fault
which is as fatal to polyphony as to monody. It is avoidable and quite easily, pro-
vided we teach the children to think horizontally—not vertically—and to think
of their phrase exactly as though they were singing in unison. Evidently, they
must keep strict time, but this is equally true of monody. The flexibility of the
chironomy will be infinitely more valuable in this connection, than the beating
of time.
Since the principles briefly outlined in this chapter apply to all polyphonic
singing, we need not return to them, but will assume their application to subse-
quent compositions for two voices.
98
CHAPTER TWELVE
3 6 7
A 1, 5 2
(
3 7}
2 5 6
(4 X
)
2 6 3 7
1 4 5
Major Thirds are all alike. They contain Two Whole Tones.
Minor Thirds are alike. They contain One Tone and One }4 Tone.
The design of all the Major Thirds is similar.
The interior design of the Minor Thirds differs according to the position of
the y2 Tone. (See Diagram 106.)
The Blue Minor Thirds are composed of One Tone + One % Tone.
The Purple Minor Thirds are composed of One }4 Tone + One Tone.
We have grouped these Thirds according to design, but a musician will realize
that they are not absolutely equivalent, only approximatively so. On a tempered
instrument, like the piano or the harmonium, they are identical and for the pur-
pose of interval study, they may be treated as above. Actually, when singing,
these intervals will be true only when conceived as part of a system—a scale, a
chord, etc.—where they will take on their true function and be more nearly true
to pitch than when measured on a tempered instrument. It is not necessary to
explain this fact to the children. We have mentioned it only that the teacher
may understand and apply it in practice. As far as the pupils are concerned,
their attention should be drawn to the likeness and difference between the designs
as shown on the diagram. They have already had enough experience in melody
of various modes and of intervals treated in relation to systems, that the danger
is remote, for them. Their previous experience will protect them against a rigid
99
MUSIC—THIRD YEAR
I. II 1 2 3 . | 3 1 3 . | . . . . — 3 . . .
II. II — I — I I..-.. . 3 2 1 . 1 3 1 . . . . .
I. 4 56 . 64 6 . . . . .
II. 4 . . . 6 5 4 . 4 6 4 . . . . .
I. 56 7. 7-5 7 . — — 7 . . .
II. — — 15... 7 6 5 . 5 7 5 . . . . .
CHAPTER TWELVE
I . II 6 7 1 . | 1 6 1 . I .... — — • 1 . . .
I I . II — I — I6 . . .
I . II 3 4 5 . I 5 3 5 .
. . . II II I — I 2 . . . ||
I I . II — I — I 7. . . . II II 2 1 7 . \\ 2 7 . I . . . . I t
Intonation Exercises 184 and 185 should be carried out on the diagram, the
teacher using two pointers, one for each group, as described in Chapter 10. Take
a common basic pitch for all the Thirds.* Study Column a of both exercises.
The teacher should sound the tone {A or B) before beginning each line; and at the
end of each line, the Third should be sounded on the harmonium—after the chil-
dred have finished singing it. Thus they will hear the sounds vertically as sung
by themselves and, while they are silent, on the instrument.
Then sing Column b of both exercises, in the same manner exactly.
Finally, place the exercise on the board and sing horizontally across the
page: a + b of each line of the two exercises. Evidently this should not be done
at a single lesson. The work should be graded according to the facility shown by
the pupils.
Insist upon a sweet, controlled tone.
* See footnote, page 89.
101
MUSIC—THIRD YEAR
At first, the children must concentrate on their own part in the singing,
without listening to what the other group is doing. But as soon as they can do so
safely (that is, without losing the command of their own note) they should listen
to the joint sound produced by their group plus the other group. The first point
to make such an experiment is the last measure of Intonation Exercises 184 and
185. Each group thinks exclusively of its own note until the vertical Third has
sounded; then, while holding the Third, the pupils can try to listen to the com-
bination of the two sounds. This will be facilitated by the fact that they will have
heard the Third sounded on the harmonium between the lines of their singing.
Ear Training
Taking the tone A as a starting point, the teacher will call for Thirds (above
or below) by means of Flash Cards in the color corresponding to the type of Third
desired.
The children will respond by singing the tone called for—i.e., a Major (or
Minor) Third above (or below). Thus:
Teacher sounds A and flashes red card for Major Third above.
Children sing C sharp.
Teacher sounds A andflashesblue card for Minor Third above.
IE
Children sing C.
and so forth for the other colors.
For the Thirds below, the process will be the same, but the
teacher should sound C or D, as foundation tone. Thus:
Teacher sounds C andflashesred card for Major Third below.
Children sing A flat.
Teacher sounds C and flashes blue card for Minor Third below.
m
Children sing A.
and so forth for the other colors.
259, 265, 267 and 268 {Children's Song Manual, pages 8, 10 and 12) which contain
Thirds beautifully used. It is always best to give the children good models rather
than rely upon mere drill to develop their taste.
As soon as the children can answer readily to the request for a Major or
Minor Third (above or below), let the answer take the following form which
contains the Third and also its interior design.
Teacher sounds A and flashes red card for Major Third above. Announces
Do, or Fa, or Sol.
Children sing: |[ 3 . 1 . I 32 12 3 3 I 1
or: || 6 . 4 . | 65 45 6 6 | 4 Red
or: II 7 . 5 . I 76 56 7 7 I5
naming the notes as they sing, and answering according to the teacher's question.
Teacher sounds A and flashes blue card or purple card for Minor Third above.
Announces Re, or La, or Mi, or Si.
Children sing: || 4 . 2 . I 43 23 4 4 | 2 . . . . .
Blue
or: II 1 . 6 . I 17 67 1 1 I6 . . .
or: || 5 . 3 . I 54 34 5 5 | 3
Purple
or: || 2 . 7 . | 2l 71 2 2 | 7
Evidently the teacher will not dictate the questions in the order given above,
but will alternate the demands for Major and Minor Thirds. We have classified
them merely for the convenience of the teacher.
The same exercise should be carried out for the Thirds below. Until this
exercise is familiar to the children, it will simplify matters if the teacher write
the various forms for the answers on the board in colored chalk corresponding to
the Major Thirds (red) and the two designs of the Minor Thirds (blue and purple
respectively) and thus the children will not have a double difficulty: that of recog-
nizing and finding the desired interval and that of remembering and singing cor-
103
MUSIC—THIRD YEAR
rectly the little formula. When these last have been memorized, then the writing
may be taken off the board.
For the convenience of the teacher, we add the answers for the Flash Card
calling for Thirds below.
Red
T Children
(C-3) 1i i . 3 . 1 12 32 1 1 13
(C-6) 1 1 4 . 6 . 1 45 65 4 4 1 6
(C-7) 11 5 . 7 . I 56 76 5 5 1 7
Blue
(C-4) 11 2 . 4 . I 23 43 2 2 1 4
1 . 1 67 TT 6 6 1 1
•ON
(C=l) 1
Purple
(C=5) I 1 3 . 5 . 134 54 3 3 15
(C=2) 11 7 . 2 . ITT 21 7 7 1 2
Finally, when the intervals and the interior designs are thoroughly familiar,
and the children can answer readily to any question asked by the Flash Cards
taking the intervals melodically, they may carry out these same exercises singing
the final note of the formula vertically as in Intonation Exercises 184 and 185. For
this, the class will be divided in two groups. Both groups will sing in unison
throughout: at the last note one group will sing 3 and the other 1. Thus:
ss . . . II
II 1 . 3 . I 12 32 1 1 I || and thus for each formula.
M . . . II
The children should not be hurried into this last answer. It may take several
weeks of melodic training first before the feeling for the Third sung vertically
develops naturally. With some children this sense is much more acute than with
others, andrttley are ready for this solution before the teacher believes it possible.
Another form of Ear Test should be carried on simultaneously with those
described above. The teacher will sound Major and Minor Thirds on the har-
monium.
104
CHAPTER TWELVE
1. Melodically (F - A,
F - A flat), Third above, etc.
(A - F
A - F sharp) for instance for Third below.
The children must answer "Major Third" or "Minor Third."
2. Harmonically. The teacher strikes the two notes simultaneously and
holds them.
The children must answer "Major Third" or "Minor Third."
3. Sound a Fifth; (a) melodically, (b) harmonically.
The children should recognize the Fifth and distinguish it from the Thirds.
In drilling on Thirds, they must not be allowed to forget the Fifths. The
teacher should continue the use of the Flash Cards for Fifths above and Fifths
below. It is only by these means that the new matter becomes correlated with
the old.
Continue the study of Modulation.
One of the most usual ways of introducing a modulation is not to finish the
original melody entirely but to let it melt into the episode. Here is an example
of a Minor melody with a Major episode introduced in this way:
must give the impression of finality and of emphasizing what we have already
said. Here are one or two examples of a coda:
Coda: (a) 1 I 7 6 | jB 7 I6 . I . II
(b) 3 I 4 32 | 1 7 | 6 . | . • ||
(c) 6 | 3 3 I6 jU 6 • I • II
Children's Song Manual:
Melody and Rhythm to prepare the study of Thirds, page 42; Melody 309,
page 43.
Songs: Gifts, page 43; and The Star, page 44.
Polyphonic Phrases 1, Z and 3, page 45.
The teacher will do well to read the advice given in the introduction to this
volume as regards the study of these polyphonic phrases.
106
CHAPTER THIRTEEN
CHAPTER THIRTEEN
Vocal Exercises.—Nos. 45 and 46a and b.
Intonation.—Continue the study of Thirds as described in Chapter 12.
Continue the study of Modulation from Major to relative Minor and from
Minor to relative Major, as described in Chapters 11 and 12.
Major melodies to which a Minor episode should be composed by the children:
Melody 1.—Introduce a Minor episode at point indicated by *. Then sing
the last line.
4/4 II 12 32 T? 65 | 1 2 3 2 3 | 4 3 2 3 2 l | 2 5 1 . |(*)
I 4 432 3 4 | 5 7 4 3 2 3 | 4 3 2 3 2 l | 2 5 1 . | |
(Sing the melody from beginning to end. Then repeat up to point marked *;
modulate to relative Minor, substituting this Minor passage for the original melody
up to the point marked +. Then finish the melody in Major just as it is written
in the original.)
Minor melodies to which a Major episode should be composed by the children.
After using the diagrams, singing the scale, tonic chord, Compass Exercises,
etc., in this new Key (A Major and its relative, F sharp Minor) additional drill
should be given by means of the Staff Hand Chart. A little of this drill given
regularly each day is better than a long concentrated effort.
Rhythmic Exercise 57
9/8 Time Beginning on the "Down Beat.'1 (Count: "One, Two, Three.")
The new material in this chapter has been reduced in order to allow time
to apply in detail the problems exposed in Chapter 12. The preparation of carols
for Christmas and the New Year, as provided in the Children's Song Manual, will
require attention at this stage.
Among the melodies of this week, Nos. 311 and 312 are examples of 9/8 time;
Nos. 314, 315 and 318* are examples of modulation from Major to Minor and vice
109
MUSIC—THIRD YEAR
versa. In most of these melodies there is a good deal of repetition, and they may-
be used as examples for the system, already described, of forcing the children to
look ahead by covering the measure they are actually singing. This drill will
require that the melodies be written on the board, at least in part, that the notes
may be covered progressively. After that, the Song Manual should be used.
Children's Song Manual:
Polyphonic Phrases No. 4, page 46. (Those also of last week should be per-
fected.)
Melodies Nos. 311 and 312, page 46; 314 and 315, page 49; 317 and 318, page 51.
Songs: The Stem and the Flower, page 47; A New Year's Carol, page 48; and
A Babe is Born, page 50.
Both songs—The Stem and the Flower, and A Babe is Born—can be studied
earlier in the year, if desired, since they contain no new problems.
110
CHAPTER FOURTEEN
CHAPTER FOURTEEN
Vocal Exercises.—Nos. 46a and 46b. Also No. 47.
Intonation.—Modulation to the Dominant. (Major to Major.)
This is a modulation in the strict sense of the word.
We do not change from one Mode to another but
we move from Major to Major in another tonality.
At a given point, the notes change their function:
The sound that was Sol (Dominant) in the first tonality
becomes Do (Tonic) in the new tonality into which
we modulate.
For the children, this problem should be approached
like a game of transformations. Show them the dia-
gram in color on the Chart. On the left (Diagram
108a) we have our red Pentachord (1 2 34 5), and
above it, to the right, there is another red Pentachord.
The Do of the new Pentachord is opposite the Sol of
the old Pentachord. These two notes are connected
by a bridge. We can cross the bridge.
1 Using the diagram, the children will sing going up
the left column from Do to Sol. Sing: 5 ^ 5 . Cross
Diagram 108a.
over to the right column and while crossing the bridge,
(See Chart Page 4.) sing: Sol turns into Do.
On the right column, sing: 1 7 1 . 1 2 34 5 4 3 2 1.
We have modulated to. the Dominant.
To return to the original tonality, sing down the right column : 5 4 3 2 1 . 17 1.
Cross the bridge while singing: Do turns into Sol.
On the left column sing: 5 ^ 5 . 5 4 3 2 1.
We have modulated back to the original tonality.
Let the children sing up and down these two columns, crossing the bridge
over and back and pronouncing (recto tono on the pitch of the note of transforma-
lon
'' Sol turns into Do (for the modulation)
Do turns into Sol (for the return)
As soon as this process of transformation is clearly understood, (Sol to Do
and Do to Sol) we must make the process more rapid and more mysterious by
giving the transformation tone a name.
Ill
MUSIC—THIRD YEAR
When Sol turns into Do it is partly Sol and partly Do. We call it S'do.
When Do turns into Solt it is partly Do and partly Sol. We call it D'sol.
Practice going up and down the columns, crossing the bridge as before but
quickly and without the long phrase. We say S'do as we modulate and D'sol
when we return. The teacher will move the pointer rapidly across the bridge so
that the two sounds are like one single sound.
*In this game of transformations, the teacher need not use stepwise progression
only, but should vary the work by using the chord line also. The Intonation Ex-
ercises which follow are suggestions for the use of the diagram. It is only when
the passage from one column to the other has become perfectly familiar that
the Intonation Exercises can be sung horizontally as written.
In using Diagram 108c, there are two bridges: one at the top, the other at the
bottom.
Intonation Exercise 187
(Key of A)
(5 - i ) (1 — 5)
I 1 5 1 3 5 ^ 5 | S'do I 1 7 6 5 4 2 1 I ' D'sol | 5 1 2 3 4 2 1 , I
| 1 5 3 2 3 4 5 | 1 1 56 7 1 7 1 I | 5 4 3 4 2 2 1 . I
| 1 5 5 4 3 4 5 | I i 7 6 5 i 5 i | 1 5 1 4 3 2 2 1 . I
In all these exercises, there is a brief pause at the "bridge," giving time to
the children to readjust their mental conception. Gradually this instant of pause
should be reduced so that in the end it may disappear completely.
Staff Notation.—Modulation to the Dominant.
There are two ways in which a modulation can be indicated in Staff Notation.
We should learn to recognize both ways, but for the time being, it is best to con-
fine the drill to the second way.
1. An accidental is used to raise the sound in question each time it appears.
Thus when modulating to the Dominant, a sharp is put before Fa in signatures
with sharps, or a natural, in signatures with flats.
Example
Flats:
Et>Maj. Bl>Maj. B^Maj.
J
2. The other way is to change the Key signature. In Key signatures with
sharps a modulation to the Dominant is indicated by placing an additional sharp
113
MUSIC—THIRD YEAR
at the Key signature; in Key signatures with flats, by suppressing one flat. Usually
a natural replaces this flat at the Key signature to draw attention to the change.
Example
Flats:
jiri,J r P ^. r r r J
The first way is the one usually employed where the modulating episode is
very brief. The change of Key signature is reserved for modulating episodes of
some importance.
While the children are studying modulation, the change of Key signature is
the more practical system from two points of view: it draws their attention to
the fact that a modulation has taken place, and it gives them valuable experience
in using sharps and flats.
(a) Formula for building up the Keys with Sharps.
(b) Formula for building down the Keys with Flats.
(5=1)
CHAPTER FOURTEEN
Flats:
(5 = 1) (5=i)
To modulate further
(5=1) would take us into the sharps.
We include the flats as well as the sharps in the example above, that the
teacher may have both systems available for use when the children have grasped
the sharps.
The sign that reveals a modulation to the Dominant in music written on
the staff is one more sharp (in sharp signatures) and one lessflat(in flat signatures).
If we see the fourth degree of the scale raised constantly by an accidental, or
raised in similar fashion by a new Key signature, we know that there has been
a modulation to the Dominant. The return to the original Key is indicated by
the reverse process: one less sharp, one more flat.
This information is placed here for the convenience of the teacher. The
children will learn by practice.
When they have looked at Diagram 109, and have modulated without diffi-
culty, let them sing Staff Exercise on Modulation to Dominant, Children's Song
Manual, page 53.
Rhythm
Continue to practice the Polyphonic Phrases 1, 2, 3 and 4.
Composition and Improvisation
Improvisation
Use Diagram 108b. The teacher sings a theme on the left column. The
children answer it on the right column.
Examples
Left Column Right Column
(5 - i>
a II 1 2 3 4 5 6 I 5 jt 5 . | 13 T7 6 5 16 7 i
b II 1 5 3 4 5 6 I 5 jL 5 . I i 5 67 1 i7 i
* II 1 3 4 5 3 | 4 6 5 . | i 76 5 i 1 27 i
Keep the diagram always before the children both to aid them in making a
good modulation and to avoid exceeding the proper compass of the voices. They
should not use notes that are not on the diagram. It is well to encourage the
children to imitate the rhythmic design of the question in their reply.
Examples
Left Column Right Column Left Column
(S - i) (i = 5)
When the children move from the left column to the right one, it is better
to turn in a different direction, as in the answers given above.
Children's Song Manual:
Melody and Rhythm (authentic range and plagal range), page 52.
Staff Exercise. Modulation to Dominant and return, page 53.
Continue the study of the songs and carols of Chapters 12 and 13. Also,
the Polyphonic Phrases Nos. i, 2, 3 and 4.
117
MUSIC—THIRD YEAR
CHAPTER FIFTEEN
Vocal Exercises.—Nos. 47, 48a and 48b.
The two measures between the signs of repetition in Nos. 48a and b should
be sung with chironomy and with dynamics distributed delicately so that the
short notes in movement are arsic in character and the long notes in repose are
thetic; thus the former are crescendo, the latter, diminuendo. Two cadences are
given under (1) and (2) respectively: The first should be used exclusively until
it can be perfectly executed. Then the second cadence, under (2), should be studied
and used exclusively. It is more difficult to sing the interval of a second than an
interval of a Fifth or of a Third. Moreover the cadences offer difficulties of rhythm
as the groups do not move together. The cadences, consequently, require par-
ticular attention as regards their preparation.
Intonation.—Modulation to the Dominant (Major to Major) continued.
In Chapter 14, we have prepared a modulation to the Dominant by means
of the formula 5 = i and a return to the original tonality by means of the formula
i = 5. This process has been carried out slowly that the children should have
plenty of time to think, and therefore the modulation has been placed at the end
of a phrase where there is a pause.
In the present chapter the children must learn to use these modulating formulae
without pausing. The modulation will take place in the center of a phrase. The
syllables S'do and D'sol must be pronounced crisply, taking no more time to
pronounce than the name of an ordinary sound that does not modulate.
118
CHAPTER FIFTEEN
The whole point of Intonation Exercise 188 and the phrases under Melody
and Rhythm is to modulate without any pause on the modulating syllable. It is
as though we crossed the bridge at one single spring, instead of crawling from one
side to the other.
Children's Manual, Melody and Rhythm, page 54 and Melodies 320, 321 and
322. The modulations of these melodies should be prepared in advance on the
board, so that the children may not hesitate when reading from their manuals.
Melodies 320 and 321 are given in two tonalities: one with sharps and one with
flats. The similarity of effect produced, on the one hand, by adding a sharp to
produce a modulation to the Dominant, and, on the other hand, by suppressing a
flat for the same purpose, is clear. Melody 320 should be sung in the tonality of
the second version F to avoid using G above the staff, unless the children's voices
are capable of singing G with ease.
modulation, S'do, the child writes a natural; at the return, D'sol, the child writes
SL flat.
The actual design of sharps and flats as well as naturals should be practiced
on the board by several pupils while the others draw these signs in the air, all
together, rhythmically.
The sharp: two vertical lines, parallel, sloping from right to left, slightly.
Begin each line at the top. Then make two shorter lines, also parallel, but hor-
izontal. The motion for the children is "down, down, right, right." The strokes
are detached from one another. Begin high for the down strokes, and well to
the left for the crosswise strokes. (See Design A.)
The natural is composed of two angles. The two lines are attached. The
first: down, right. The second: right, down. (See Design B.)
The flat is made in a single gesture, all the lines being attached. Down (with
palm turned toward the left) up (half way back over the down stroke) and then
a curve outward and down, and back to meet the point of the first down stroke. The
hand, at the end of this curve has its palm turned toward the ceiling. The hand
outlines this curve. (See Design C.)
For convenience, we have marked the down-stroke in a solid line, the return-
stroke upward in a dotted line, and the curve, once more, in a solid line. *
The gestures should be large and from the shoulder. These details may
seem petty and unworthy of so minute a description, but the hesitation of a child
before a problem is often caused, not by the problem itself that is set before him,
but by some infinitely small detail of technique that has remained blurred in his
mind and which causes an inhibition.
Sf //7>3
4
-<
120
CHAPTER FIFTEEN
Example
Theme {Left Column) Modulation {Right Column)
(<
_ (5 = i) $ | i . 2 . 1 3 ~ ¥ 5 6 1 4 3 2 2 | i . . . ||
111 . 5 . 1.3 . 4 5 5 1 6 5 4 3 1 2 . 5 . I ^
<5-i) ( ^ | i . 5 . I 6 . 7 i 2 | 7 5 6 7 | i . . .11
Examples
L. R. L.
4 / 4 | | l | l 2 3 4 | 5 5 5 . | 4 5 6 . | 5 . . 5 = i | i i 7 7 | 6 6 5 . | 4 5 6 7 | i = 5 . X
L.
5 | 6 5 4 3 | 4 3 2 . | 3 4 3 2 | 1 . . | |
L. R. L.
(5 - i) (i - 5)
3/4 | | 3 | 3 4 3 | 5 5 5 | 3 4 3 | 5 . i | 7 i 7 | 6 6 6 | 5 6 7 | i . 5 | 3 4 3 |
I 5 5 5 I 4 3 2 I 1 . II
* Obscure modulations are often used by the great composers—obscure in a melodic sense,
but the harmony (or the movement of the various voices in polyphony) provide the key to the
secret. In the classroom, we are naturally dealing with melody only and must reveal our modu-
lations in the melody itself.
122
CHAPTER FIFTEEN
The same type of exercise should be carried out using Diagram 108c for Modu-
lation to the Dominant from a theme that is in the plagal range. Here it is the
upper part of the two columns that differs.
Examples
L. (5 = i> R.
4/4 | | 5 | l 2 3 2 | 3 . 5 4 | 3 . X 5 | l 2 3 2 | 3 . 5 £ | 5 . . i | 5 6 7 i |
(i - 5) L.
I 2. i 7 | i . 5 . | 4 5 6 7 | i . . 7 | i . X 5 . | l 2 3 2 | 3 . 5 4 |
| 3 . . 3 | 4 3 2 3 | 4 3 2 2 | l . . | | (Here we have used 2, one note more
than the diagram contains. This is permissible.)
L. (E = i> R.
4/4 ||5|l234|5.35|4323|4323|5..i|7567|i..5
(1 - 5) L.
5 | 4 3 2 3 | 4 3 2 3 | 1 .'. 5 | 1 2 3 4 | 5 . 3 5 | 4 3 2 3 | 4 3 2 3 | l . . ||
by modulation. That they should move easily along the two columns, crossing
the bridge at 5 = i and i = 5 is all that can be expected for the moment. Later,
when the technique of modulation has become familiar, suggestions will be given
for the guiding of the children's efforts along these lines.
Rhythm. 12/8 Time
In 12/8 time each measure contains four beats or pulses, each beat containing
three eighth notes (or their sub-division, as we shall see later). While we have
twelve eighth notes, in all, we do not count "twelve" but "four."
It is evident that a measure in 12/8 time is equal to two measures in 6/8
time. Musicians often use this larger measure for the sake of the phrase, to avoid
breaking it up by useless bars.
The general movement of the composition is brisk and quite animated.
It is impossible by means of Rhythmic Designs to give all the forms that can
occur. A few will answer our purpose, which is merely to give the children a
certain experience which will enable them to conquer for themselves the prob-
lems that are likely to occur. For additional drill, if such be required, we suggest
that the teacher should use the melodies in 12/8 time as Rhythmic Exercises before
singing them with their melody and rhythm.
In many of these melodies, the accurate counting of rests requires some practice.
Sometimes there is more than a measure of complete silence and the children
must learn to follow the rhythm as precisely as though their voices were taking
part in the melody. A pupil may be given the task of counting aloud the silent
beats, while the others await the proper moment to sing. This aid should be
suppressed as soon as possible, and it should be replaced by chironomy.
Rhythmic Exercise 58. 12/8 Time
12/8_(o)
||: l l l l 1 . 1 1 . 1 1 . . l l l l 1 . 1 1 . . 1 . . :||(<.
/ T \ ft
Not all of these designs need be studied during the present week. They
can be taken one at a time as preparation for the individual melodies listed in the
next chapter, and only in so far as they are required in practice. They have
been placed together under a single exercise for the convenience of the teacher.
Children's Song Manual:
Melody and Rhythm, page 54, Modulation (by adding a sharp) and page 55,
(by suppressing a flat).
Melodies 320a and 320b, page 53; 321a, 322, page 54; 321b, 323, 324, page 55;
325, 326, page 56.
Song: Spring's Welcome, page 57.
Polyphonic Phrases, No. 5, page 56.
125
MUSIC—THIRD YEAR
CHAPTER SIXTEEN
Vocal Exercises.—Nos. 48a, 48b. Also 49 and 50.
Intonation.—Modulation to the Dominant (Major to Major) continued.
Modulate by the Formula: 2 = 5. Return by: 5 = 2, also: i = 5.
So far, we have used the bridge: 5 = i to modulate and have returned by the
same bridge: i = 5. This week, we are going to cross anew bridge: 2 = 5. We
may return by that same bridge, 5 = 2 or we may vary the affair, by crossing at
one point and coming back at another: thus we could cross at 2 = 5 and return
by the bridge i = 5 (the bridge of last week). Which one is best? That will de-
pend on the melody itself.
The teacher will use Diagrams 108b and 108c exactly as in the preceding
chapters, but will substitute the new bridge for the old. At first, when crossing
the new bridge, the children will sing, recto tono:
"Re turns into Sol11 (modulating)
"Sol turns into Re" (returning)
but as soon as possible, the process should be reduced to a single syllable: R'sol
and SWe. These syllables are not easy to pronounce, especially the former, and
the process will soon reduce itself to thinking R for Re and singing Sol, which is
the point at which we should aim. In other words, the Re of the old tonality
becomes a mere help-note to arrive at Sol, and the same is true of the return syl-
lables. Let the teacher encourage the mere thinking of the first half of the modulat-
ing syllable; but under no circumstances should this secret thought be omitted.
The modulation would suffer, not only as to mental conception but as to the
resulting technique which would be weak and probably not quite true.
1 2 2 3 4 5 4 3 2 5 3 1 2 1 I5 i76 5 6 5 * 2 3 4 2 1 |
126
CHAPTER SIXTEEN
I l i 7 6 5 i 5 4 3 1 2 3 2 . |*| 5 4 5 6 i 7 6 i 2 3 4 2 i |*| 5 1 2 3 4 3 2 . l . |
I 1 5 1 2 3 2 4 3 2 |*| 5 i 7 6 5 3 5 6 5 |*| 2 5 4 3 2 4 3 2 1 I
(2 = 5) (1 = 5)
I 1 2 3 5 4 3 2 1 7 1 2 |*| 5 i 7 6 5 4 3 2 1 |*| 5 1 2 3 5 4 3 2 1 |
(2 = 5) (i =. 5)
I 1 5 5 4 3 2 1 3 2 |*| 5 6 7 5 i 5 6 7 i | I 5 4 3 2 4 2 17 1 |
Melody and Rhythm a and b, {Children^ Song Manual, page 58) and Melodies
328, page 58; 333 and 334, page 62.
Themes to use for modulating to the Dominant by the bridge: 2 = 5. Let
the children return by 5 = 2 or by i = 5 or again by 1 = 5 as they please.
(2 - 5)
3/4 || 55 I 1 1 23 I 4 . 5 I 45 65 43 I 2 . Modulate and Return.
(2 - 5)
When the children have grasped the process of modulation by these rapid
changes which are devised to give them a. certain dexterity in moving from a
tonality to its Dominant and back to the original, then the teacher may begin
127
MUSIC—THIRD YEAR
5 | 5 5 4 4 | 3 3 2 . | 3 4 3 2 | 1 . .
3 | 3 2 3 4 | 5 . 4 . | 3 . . 3 | 3 2 3 4 | 5 . 4 . | 3 . .
1 1 1 2 3 4 | 5 5 5 . | 4 5 6 . | S . .
5 | 5 4 3 4 | 5 5 5 . | 4 5 6 . | 5 . .
5 | 5 5 4 4 | 3 3 2 . | 3 4 3 2 | 1 . . | [ Ending.
128
CHAPTER SIXTEEN
II 1 | 1 2 3 4 | 5 5 5 . | 4 5 6 . | 5 . .
5 | 5 5 4 4 | 3 3 2 . | 3 4 3 2 | 1 . . II T h e original melody i n part.
(5 = i)
II 1 | 1 2 3 4 | 5 5 5 . I£ 5 6 . I5 . . Modulation.
(i = 5)
i | i i 7 7 I6 6 5 . | 5 4 3 2 | i . .
5 1 5 4 3 4 | 5 5 5 . I4 5 6 . I5 . . Return.
5 | 5 5 4 4 | 3 3 2 .1 3 4 3 2 | 1 , . II Ending.
i I5 4 3 2 | 1 .. || Coda ad libitum.
Let the children experiment in this way using Melody 28 of Year I.
II 1 . 2 | 3 . . T 3 . 4 l 3 . 2 l 3 . . | 1 . 21 3 . . | 3 . 4 | 3 . 2 | l . .1
I 1 . 2 | 3 . . | 3 . 2 | 3 . ^ | 5 . . | ( 5 - i ) Modulate and return.
Children's Song Manual:
Melody and Rhythm in numbers (a and b) page 58.
Melody and Rhythm on the staff (a, b and c) page 60.
Melodies 328, page 58; 329, 330, 331, page 59; 332, page 60; 333 and 334,
page 62.
Song: The Shepherdess, page 61.
The melodies that modulate are Nos. 328, 333 and 334. Those which illustrate
12/8 time are Nos. 329, 330, 331 and 332.
129
MUSIC—THIRD YEAR
CHAPTER SEVENTEEN
Vocal Exercises.—Nos. 49, 50 and 51a.
Intonation.—Intervals: Thirds, Fifths and Pentachords. Use Diagram 110,
(Chart, page 5).
Modulation to the Dominant (continued). Use Diagrams 108b
and 108c.
Using the colored chart, take the class up and down the various Thirds, as
follows:
Intonation Exercise 193
(Key of F or G)
Major + Minor Minor + Major
(b) >
Red andll 2 3 3 i 5 5 4 3 3 2 1 12 3 4 4 s 6 6 5 4 4 a 2\Blue
Purple I1 3 3 5 5 3 3 1 2 4 4 6 6 4 4 2 land Red
Red andl 5 e 7 7 i 2- 2 i 7 7 e 5 6 7 1 I2 3 3 2 1 I?
Purple 15 7 7 22 77 5 6 ' 1 1 33 11 6 land Red
Red and\ 4 5 6 6 7 1 j 7 6 6 5 4 3 4 5 5e 7 7 c 5 5 4 3 \Purple
Blue 14 6 6 i i 6 6 4 3 5 5 7 7 5 5 3 land Red
130
CHAPTER SEVENTEEN
In the first section of Exercise 193 we have a Major Third below and a Minor
Third above. In the second section, we have a Minor Third below and a Major
Third above. In each case, there is one Major Third and one Minor Third. It
is not pleasant to combine, one above the other, two Major Thirds nor two Minor
Thirds. Little by little the children should learn these things by experience. The
diagrams and the colors will be an aid to the eye.
The character of these Thirds, superposed as above, can best be felt when
the tones are sung simultaneously. Intonation Exercises 194 and 195 should be
studied as soon as the designs as presented above can be sung easily and in tune.
The class should be divided in three groups. It is best to begin by singing the
open Fifth which is familiar, and then add the Third; thus the children will
learn by experience that it is the Third which gives a chord its character, Major
or Minor.
I . II X X X X | 2 . . . | . . . . || I.
II: II X X X X l X X X X l 7 . . . II I I . XXXX XX XX 1 . . .
III. II 5 . . . | . . . . | . . . . || I I I .
I . II x x x x l i . . . | . . . . || i.
II. II X X X X l X X X X l 6 . . . || I I .
III. II 4 . . . | . . . . | . . . . || I I I .
The Fifth is identical in all cases given above: it should be attacked with
assurance—and held. When the Third is added between the two tones that form
the Fifth, the children will hear a chord—sometimes Major and sometimes Minor.
131
MUSIC—THIRD YEAR
It is the Third, then, that gives the character to the chord. If the Major Third
is below and the Minor Third, above: the result is a Major Chord. When the
Minor Third is below, and the Major Third, above, the result is a Minor chord.
Far in the right-hand corner of the colored chart we see a purple diagram,
representing a chord that is too small to be either Major or Minor. It is composed
of a Minor Third + another Minor Third. It is called a diminished chord. Let
the children sing it and realize its character:
Example
(a) Sing melodically: (b) Then harmonically:
1 7 1 2 2 1 7 2 3 4 4 3 2 2 1 7 1 I . || X X X X I 4 . . . | . . . . ||
|7 2 2 7 2 4 4 2 2 71 II. | | X X X X | X X X X | 2 . . . U
I I I . II 7 . . . I . . . . I . . . . II
This chord is neither Major nor Minor. It does not satisfy us. Why? Be-
cause two Minor Thirds are insufficient to make up a perfect chord. All the other
chords that we have heard have been perfect. They have contained one Major
Third and one Minor Third. Anything less than this is an imperfection. (Two
Major Thirds, one on top of the other would be still more offensive to the ear.
We need not even consider this combination.)
All the above examples should be practiced at the same pitch, taking F or G
or A as the basic tone for all the chords. It is well to vary this basic tone when
the exercise is repeated on another day, but during one lesson it is preferable to
maintain a single basic tone for all the chords. The choice of the tone will de-
pend on the character of the children's voices; some classes singing with more
pleasure in a Key that is relatively high, others finding a central pitch more agree-
able. The pitch chosen should be one that can be taken without strain during this
period when we are creating a sense of how single tones combine to form chords.
Melody and Rhythm, Children's Song Manual, Page 64
The perfect chord—three notes yet one sound—has often been used as a
symbol of the Blessed Trinity.
Ear Training
The teacher will sound an open Fifth on the harmonium.
The children should recognize it and write a "V" on the board or in their
copy books.
132
CHAPTER SEVENTEEN
The teacher repeats the Fifth and then introduces the Third (Major or Minor).
The children should recognize the chord and write "III M." or "III w." as
the case may be, after their "V."
The teacher should limit this drill to Major and Minor chords, without intro-
ducing the diminished chord. Should the children find any difficulty in distin-
guishing the chords, the work should be prepared by dictation in melodic form
(as in Intonation Exercise 193); then follow this form of dictation by sounding
the tones progressively, as in Intonation Exercises 194 and 195. The base, the
Fifth and then the Third. When this preparation has been made, the children
will rapidly arrive at the point where they can distinguish the character of the
chord when the three tones are sounded simultaneously.
This drill should be given briefly but frequently. Meanwhile the study of
modulation should be continued.
Modulation to the Dominant by the Formula: 6 = 2
Return: 2 = 6 and i = 5.
I i 5 3 4 5 i 6 7 6 -I I2 3 42 i76 i2 | | 6 i 7 6 5 3 4 2 l |
(i - 5)
I 5 3 4 5 6 5 i 7 6 | |2 7 i 2 3 i 6 7 i I |532435421 I
I 1 2 3 4 5 6 i 7 6 | I2 3 2 i 6 i 7 6 i I 1565343221 I
Il5|i". 7 | 6 . 5 | 3 . 4 | . 5 . 5 | i . 2 | i . 7 | 6 . . | . X
2 | 3 . 2 | i . 7 | 6 . 7 | i . 2 l 3 . 4 | 3 . 2 | i . . | . X
(2 - 6)
2 | i . 7 | 6 . 6 | - 6 . 2 | i . 3 | 2 . 3 | 4 . 3 | 2 . . | . X
6 | 5 . 6 | 5 . i t 5 . 4 | 3 . 5 | 4 . 3 | 2 . 2 | l . . | . X ||
133
MUSIC—THIRD YEAR
6 i ^
Major E Major
5
4
3 5 i ? 6 ^ - ^
(7 Minor
2 4 Diagram 111b.
1 Use the Hand Chart with three flats for the usual
exercises in the Key of E flat Major and its relative
Diagram Ilia. Minor (Cm.).
134
CHAPTER EIGHTEEN
CHAPTER EIGHTEEN
Vocal Exercises.—Nos. 49, 50, 51a and 51b.
Intonation.—Intervals: Continue the study of Fifths and Thirds.
the children have overcome the difficulty of singing the chord perfectly in tune,
they can sing all three notes simultaneously, each group remembering what note
is required of his or her division.
A few moments each day devoted to this type of exercise will give better re-
sults than a concentrated effort at a single session, for the exercise should be ap-
proached as a game and should not be permitted to lose its freshness by making
it a dull routine affair.
Modulation to the Dominant. Mod. 3 = 6
Ret. i=5and6 = 3
I 1 2 3 4565431 I 67 i 2 32 i 7 6 I | 3 4 5 4 3 2 1 2 l |
I i 7 6 5 6 5 4 4 3 | I67i23i776 I | 3 4 3 5 6 5 6 7 i |
(i - 5)
| i 7 6 5 6 5 4 4 3 | | 67 i 2 3i 27 i I I5^5435231 I
Rhythm. 12/8 Time Beginning on the "Down-Beat"
(Count "one - two - three - four" for each measure)
Rhythmic Exercise 60
12/8
JDJ-JBJ-i
(a) ||:111 111 111 l l l | 111 1.. I l l 1 . . :||
Variations
1. By combining the first measure of Line a with the second measure of Line b;
the first measure of Line b with the second, of Line a; and interchanging, in the
same way, one measure of Line c with one of Line a orb.
2. Substitute rests for the first beat of each measure at the beginning of a
design. Then substitute rests for the first and second beats; then for the first,
second and third beats. Thus, for Line a;
Example
3. Sing each design in turn as written, but between the designs to be sung,
interpose an equal number of measures of silence, where the rhythm must be main-
tained with precision. In order to build up this habit which is essential to en-
semble singing, the teacher may divide the class into two groups, which work
alternately, thus:
Group I sings Design a-^-while Group II counts in silence.
Group II sings Design b—while Group I counts in silence.
When the groups enter and stop with perfect precision, the teacher should
omit the alternation; the silent measures being counted by the entire class in
unison.
137
MUSIC—THIRD YEAR
Group I: r\\: TIT ITT III TTI I TTT TT7 TTT ITT
111. XXX XXX XXX XXX | XXX XXX XXX XXX
Group II^W:
Group I:
: I XXX XXX XXX XXX | XXX XXX XXX XXX :\\\
Group III: I TTTTTTOTTTITTTTTTTTTITT :|r
: 111 111 111 111| 111 1.. I l l 1 . . I XXX XXX XXX XXX I XXX XXX XXX XXX [
II 1.1 1.1 1.1 1.. I 1 . 1 1 . . 1.1 1 . . I XXX XXX XXX XXX I XXX XXX XXX XXX: ||
The number of silent measures can and should be varied. Instead of an even
number, the silence may be equal to half the time of the sung measures (two
measures sung, one measure of silence); or the silence may be twice as long as the
sung measures (one measure sung, followed by two measures of silence).
The object of this exercise is the creation of a sense of rhythm that is inde-
pendent of sound. The feeling of ordered movement should persist in the imagina-
tion and—in a certain sense—in the muscles, even though these last be in a state
of immobility.
To obtain the object, it is not enough that the children should laboriously
count the silent beats. Such an exercise would give the result externally, but would
be of little use to the child rhythmically. It would be a mere exercise of con-
centration of a material and mathematical nature.
What is needed here, and what this exercise should develop is so strong a
sense of ordered movement—springing from an interior necessity—that this rhythmic
sense itself imposes its form upon what appears to be silence. It is almost an act of
creation—for, out of nothing—which is the silence represented by the written
rest-signs—the children create a form—a rhythm that exists truly but that is
138
CHAPTER EIGHTEEN
139
MUSIC—THIRD YEAR
CHAPTER NINETEEN
Vocal Exercises.—Nos. 51a and by 52 and 53. Add No. 54 for enlargement of
range.
Intonation.—Study of Fifths and Thirds, continued. Modulation to the Dom-
inant, continued, using the various formulae presented in the preceding chapters.
Polyphonic Phrases for two voices, continued.
These subjects are treated through illustrations and examples, which will be
found in the Children's Song Manual.
Rhythmic Exercise 61
Sixteenth Notes: Four to One Beat
A group of four:
2/4
(«) J-i
li~_l.lr~ llf—[ I—I 112 I I
(6)1 11 11 11 111 1 1 1 1*11 1
Ml 1 11 11 111 1 1 1 1 :|| 1 J1J1
(d) i IT n I n n :i
Rhythm and Melody
(a) 1 5 5 I 6 54 32 17 6 7 12
(b) 54 32 12 34 5~5 5~5 I 34 32 12 12 3
(0 5 34 54 32 n 3~4 i (c) 6 54 32 17 6~7 Yl
(d) 5 43 2 34 5~5 5~5 I (d) 3 2l 7 17 6
(c) 5 43 2l 76 5"I 2"7 I
(d) 1 23 4 "32 1 . II
140
CHAPTER NINETEEN
i
7 5
5 Si
4 f t
3 1
5ca/e 0/ F Minor (Relative of A Flat Major)
2 Diagram 112b
1 5s Use the Hand Chart with Key signature of four flats. Also
the signature of three sharps. For sight reading the two are equiva-
Diagram 112a. lent.
141
MUSIC—THIRD YEAR
CHAPTER TWENTY
Vocal Exercises.—No. 55 for enlargement of range. Continue exercises for
two voices of earlier chapters.
Intonation.—Intervals: Fourths and Tetrachords.
Modulation to the Dominant (continued).
Too Large
r7
5 2 6 3
4 j> A U) 5 2
6 '
(
2 6 3 7 5
1 5 2 6 !> 4
Perfect Fourths
Diagram 113. {See Chart, Page 6.)
Each Perfect Fourth contains two whole tones and one half-tone.
Perfect Fourths are all alike.
The Tetrachords (within the compass of these Fourths) differ in design. Wherein
do they differ? In the position of the half-tone.
There are two Tetrachords where the half-tone is at the top: the red ones.
There are two, where the half-tone is in the middle: the blue ones.
There are two, where the half-tone is at the bottom: the green ones.
There is one design in purple to the right of the Chart. Is this Fourth (4 5 6 7)
a perfect one? No, it is too large. It does not contain any half-tone—but instead
of that, it is made up of three whole tones in succession. Because of this excess, it
is known as an "augmented" Fourth, or a "Tritone" (which means three-tones),
and by another ugly name: "the devil in music."
To avoid this interval, composers used to lower the 7 by a flat: making a
142
CHAPTER TWENTY
Tetrachord with its half-tone at the top, like the red ones; or else they would
raise the 4 by a sharp, making a Tetrachord with its half-tone at the bottom,
like the green ones. Usually, it was the 7 that was turned into -7.
Preparation:
Intonation Exercise 199a
(Key of G)
3/4
111 5 5 I 1 . . 1
(a) || 5 67 17 I 6 71 211 7 12 32 I 1 23 43 | 2 34 541 3 45 65 I 6 X XI
(b) ||5 . 1 I6 . 2 | 7 . 3 | 1 . 4 I2 . 5 I3 . 6 I 6X X|
Sing LtW a from beginning to end of the exercise. Then sing Line b. Line b
should not be attempted until Line a can be sung perfectly true to pitch. The
teacher should verify carefully on the harmonium oh arrival at the last note of
the ascending sequence, and again at the end of the descending sequence. Should
there be any uncertainty of pitch, jthen the individual figures should be detached,
thus: | 5 67 17 | 6 . . | 6 7l 2T | 7 . . I etc., each figure being visualized
as a whole in silence, then sung, with backs turned to the blackboard.
The Fourth is a harsh interval. We cannot sing it vertically as we sang the
Fifth and the Third. It forms a dissonance and strict rules limit its use, rules
which do not concern us at the present time. The drill, then, will be purely melodic.
Even so, the teacher should avoid the augmented Fourth: 4 - 7 in phrases for
dictation, etc. The prejudice against the "tritone" still exists among musicians.
In melody, and particularly in Gregorian Chant, this interval may be used freely,
but where we deal with harmonized music or with polyphony, the "tritone" was
and remains "the devil in music."
Using the colored chart, take the class up and down the various Tetrachords
and Fourths as follows:
143
MUSIC—THIRD YEAR
(Key of A or G)
As will be seen above, these three Modes—the Dorian, the Phrygian and the
Lydian,—had a perfect and homogeneous structure, being composed of two Tetra-
chords of similar design, superposed.
The other Modes were mere transpositions or adaptations of the above schema,
as will be explained in subsequent volumes of this series.
It will be seen at a glance that our Major Mode corresponds, as to its inter-
vals, with the Lydian Mode.
The color scheme adopted on the chart is purely arbitrary, and is a mere
convenience for characterizing the Tetrachords in a manner which wiH make
the distinction clear to the children.
Drill on Fourths and Tetrachords should be brief but frequent during this
week and the weeks that follow. As soon as the natural Tetrachords have be-
come familiar, the teacher may add to the red Tetrachords, the artificial Tetra-
chord: 4 5 6-7; and to the green Tetrachords, the artificial Tetrachord: £5 6 7.
(7 - 3 ) < r - 5)
| 1 5 1 3 2 1 7 | 1 3 4 5 4 3 2 1 I |5 1 2 3 4 2 1 7 1 I
{Key of D)
(7 - 3 ) (3 - 7)
11 2 3 4 5 i 7 1 | 3 4 3 2 i 7 6 6 7 i 2 3 I | 7 6 i 7 6 5 6 3 4 3 2 2 l |
(*= 7) (1 = 5)
11 3 5 i 5 6 5 ^ l | 7 1 2 4 3 2 l | f 5 6 5 3 4 2 11
146
CHAPTER TWENTY
Sol turns into Do is easy because we change on the Dominant of the Major
Mode.
Mi turns into La is easy because we change on the Dominant of the Minor
Mode. This modulation is characteristic of a modulation from the Minor to the
Dominant Minor (as we shall see in Chapter 23). It is also found in modulation
from the Major Mode, but usually it produces a momentary sense of the Minor.
Re turns into Sol is easy because Re is a natural note of cadence in Major
melodies as in Minor ones, but the Sol is more characteristic of the Major Mode,
and thus this passage gives us a sense of the Major.
La turns into Re has a tendency to be Minor rather than Major but can be
used for both.
Rhythm. Sixteenth Notes in 2/4 Time
Use the exercise of last week. Then sing the following melodies in the Chil-
dren's Song Manual, page 75, Nos. 351, 352 and 354. Use them as Rhythmic Ex-
ercises, pronouncing rhythmically, the names of the notes. Then repeat, singing
the melody in strict time.
147
MUSIC—THIRD YEAR
Composition
The children should be allowed to embody Fourths in their melodies, but
they should not employ this interval more than once or twice, because it is an
awkward interval to use and usually lacks distinction.
A principle that they may learn to apply in their compositions is the follow-
ing: A large interval (such as a Fifth, a Fourth or an Octave) usually produces
the*effect of a change of direction in the melody.
Example
5^ . 6 5 After a skip upward the
/"\5 ^\3 melody turns down.
3/ \4 5/ Mete.
CHAPTER TWENTY-ONE
Vocal Exercises.—Nos. 52 and 53 for consonants; No. 55 for enlargement of
range; No. 56 for Vocal Exercise with words. (Melodically No. 56 is the same as
No. 49.)
Intonation.—The Melodic Minor.
While continuing the study of Fourths and Tetrachords outlined in Chapter
20, the children should be introduced to a third form which the Minor Mode
assumes and which is composed of a blue Pentachord upon which is grafted a red
Tetrachord. This form which is partly Minor and partly Major, is called The
Melodic Minor.
6
Harmonic Minor: An accidental series of notes which do not cor-
respond to any model, because we have half-
tone, + one and a half tones, + half-tone.
Diagram 114a.
For melodies, the Harmonic Minor is less useful than the others. It is more modern,
and belongs less to the age of song than to the instrumental period. It will be very
easy to sing the Melodic Minor scale by turning Mi into Sol, thus:
6 71 2 3 = 5 6 7i i7 6 5 = 3 2 17 6
M'sol S'mi
149
MUSIC—THIRD YEAR
Often it happens that composers use the Melodic Minor for ascending passages
and the Natural Minor for descending passages.
I6 i 3 2 i 7 6 6 0 6 6 5 4 3 3 £ 0 6 6 0 6 |
6 3 23 i 76 6 3 4 3^06 6 5 4 3 6 0 6
6 7 i 7 606 6 3 i 6 5 4 3 3 £ 0 6 i 76
Diagram 114b.
150
CHAPTER TWENTY-ONE
II i 7 67 16 7 i 12 i 76 n 16
I 6 3 n 1 7 i 76 I 7 3 6} 16
I 3 3 3 13 4 151 3 6 76 }1 16
I 6 3 2 31|3 3 2 I2| i 7 6 7? | 6 . . ||
Children's Song Manual:
Melody 358, page 81 (for Fourths and Tetrachords).
Melodies 359, 360, page 81, and 362, page 82; 363 and 364, page 83 (for the
Melodic Minor).
Song: Down-a-Down, page 80 (for Fourths and Tetrachords); and 361, Temples,
page 82 (for the Melodic Minor).
151
MUSIC—THIRD YEAR
CHAPTER TWENTY-TWO
Vocal Exercises.—Nos. 42c, 55, 56 and 57. Nos. 56 and 57 should be sung
without words, then with text.
Intonation.—The Melodic Minor (continued).
Continue the study of the Melodic Minor in the authentic range and in the
plagal range, using the diagrams of Chapter 21. In order to make the mental
conception extremely clear, the following exercise will be useful.
Intonation Exercise 206a with Modulating Formula
{Key of E m.)
(3 == 5) (i - 6)
6 7 1 2 3 | 15 6 7 i | 1 6 5 4 3 3 2 1 7 6
6 1 3 4 3 I 15 6 7 i I 1 6 5 4 3 2 3 1 7 6
Intonation Exercise 207a with Modulating Formula
{Key of A m.)
(3 = 5) (1 - 6)
I 6 3 2 1 7 6 £ 6 . 6543. I I5 6 7 1 | |671232i76.|
I 63 2 i 7 6 ^ 6 . 65 M • I I5 67 1 I |6i32i7606-l
These two exercises, instead of using the accidental sharps required by the
Melodic Minor, modulate into a red Tetrachord. This is actually what happens.
The Melodic Minor is made up of a Minor Pentachord + a Major Tetrachord.
It is partly Major and partly Minor. Below will be found the same exercises,
with the accidental sharps instead of the modulation. Thus a comparison can be
made. The children will realize that the same effect is produced on the ear by
either of the two processes.
Intonation Exercise 206b with Accidentals
1 6 7 1 2 3 3 £ £ 6 6 5 4 3 3 2 1 7 6 |
1 6 1 3 4 3 3 £ £ 6 6 5 4 3 2 3 1 7 6 |
In melodies which move in the Melodic Minor, the accidental sharps are—
as a general rule—confined to ascending passages, and the descending passages use
the natural tones. Occasionally, however, we find £ in descending passages, as
in the second line of Intonation Exercise 207. See Melody 359, page 81, and Prayer
Before Sleeping, page 86, Children's Song Manual.
Occasionally we find the two accidentals used in descending passages at ca-
daKes:
II 6 H I 6 . II
An example will be found in the song: A Prayer before Sleeping, Children's Song
Manual, page 86.
This difficulty should be prepared on the board thus:
(6 - i)
(a) II i 7 6 f 6 . 6 $ If 6 . II (b) i 7 6 $ 6 . i 7 6 7 i . ||
The melody of this song begins in the Natural Minor without any accidentals.
Then there is a passage that is clearly Major, beginning: "Four corners to my bed."
At the words "I go by land" the melody returns to the Minor, this time with
an accidental "£." Finally, the Melodic Minor cadence:
| 7 6 f . I 6 7 JJ 6 . II
( ( * - 7 ) | T~7 6 7 i . ||)
gives us an impression of a Major ending.
These Major endings to a Minor melody are extremely common in ployphonic
music. A Minor ending was considered inconclusive. The composers thought it
better to end with a Major cadence, no matter what the melody may have been
until then.
Rhythmic Exercise 63
\ i n* I
Key of 0 flat Mayor Key ofD Major
five flats two sharps
i 7 '6 '6
Key of Bflat minor Key of B minor
(Relative minor of D flat) (Relative minor of D)
Diagram 115b.
Diagram 115a.
The teacher will use the Hand Chart to provide effective drill in these tonalities.
Since the Key of D flat Major is equivalent, as far as the eye is concerned, to the
Key of D Major which is already familiar, the children will have no difficulty in
singing from the Hand Chart in the Key of D flat Major. In the case of B flat
Minor (the relative Minor) the only difficulty will be the writing of "$". In the
familiar Key of B Minor, "$" is expressed by a sharp, whereas in B flat Minor it
is expressed by a natural.
Children's Song Manual:
Melodies 365, 366, page 83; 368 and 369, page 85.
Songs: Resurrexit, page 84; Prayer before Sleeping, page 86, and Christ's
Sacrifice, page 87.
154
CHAPTER TWENTY-THREE
CHAPTER TWENTY-THREE
Vocal Exercises.—No. 54 or No. 55 and No. 58.
I
To Modulate: 3 = 6. To Ret.: 6 = 3
to-
3 6
(See Color Chart, Page 7) $
2 (5) 1
We move from a blue Pentachord into 7
i another blue Pentachord. 4
7 3 -- 6
See Diagram 116a
2 (5)
3 -- 6
Sing up and down the left column, end-
ing on 3. 1 4
L Cross to the right column, while singing 7 3
"Mi turns into La" Move up and down
1
the right column ending on 6. Cross to the 6 2
7
left column, singing llLa turns into Mi"
and sing up and down the left column end-
6
ing on 6. Diagram 116b.
This process of singing "Mi turns into Chart, page 7.
La}' and "La turns into Mi" can be reduced
Diagram 116a.
Chart, page 7.
rapidly to M'la and Umi because these
transitional notes are already familiar to
the children from their experience in modulating to the Dominant and back in the
Major Mode.
After this preliminary work, the children should sing Intonation Exercises 208
and 209, followed by the phrases under Melody and Rhythm, a and b, in the Chil-
dren's Song Manual, pages 88 and 89.
155
MUSIC—THIRD YEAR
671232123 1 |67i6636£6l I3 4 3 6 3 2 1 7 6 I
6132343231 I6^636i776 I I36^63217-6 I
6321763431 | 6367 i76?6 I |3436176^6|
Diagram 117 represents, in the plagal range, the same prob-
lem that is covered by Diagram 116, in the authentic range.
This diagram should be studied in the same manner as the
former, but instead of modulating in the center of the range at
3 = 6, the modulation will be made, by the same formula, at the
summit (3 = 6) or at the base (3 = 6), and the return will be
made by reversing the process. The phrases will end on the
tonic—La—in the center of the left column.
(3=6) (6 - 3)
Diagram 117.
Children's Song Manual. Melody and Rhythm 6, page 89
156
CHAPTER TWENTY-THREE
(a) L i i 11 i i
I
(.b) I i 11 • i
1
(0 1 • 11 J*.
1
(d) n n n 11 i i J JJJJ J | J JJ
I
i IT n 11
l
i i j
i
n i 11
1
i i
fc) 1 .1 1
: 32 12 34 | 3 4 5 I 6 54 32 | 4 3 2 | 32 12 34 | 3 . 2 :|| d+e+db
||: 5 34 5 I 4 3 2 I 5 .4 3 I 2 1 .2 7 . Mf+g+g
The various figures in 3/8 time are precisely those which are already familiar
in 3/4 time. The proportions are identical and the only difference is in the writing,
which usually indicates a composition that moves with a certain vivacity. An
example is the melody of Stradella, in this chapter, which is usually written in 3/8
time, whereas we have reproduced it in 3/4 time without materially changing its
character.
Children's Song Manual:
Melody and Rhythm a, page 88; and b, page 89 (for modulation).
Melodies 372, 373, page 88; 374, 375, page 89; 377, page 91.
Songs: Tiger, Tiger Burning Bright, page 90; and The Year, page 92.
157
MUSIC—THIRD YEAR
CHAPTER TWENTY-FOUR
Vocal Exercises.—Nos. 53, 57 and 58.
Intonation.—Modulation, Minor to Dominant.Minor (continued).
Intonation Exercise 211 Mod. 6 = 2 Ret. 2 = 6
{Key of E> Minor) Mod. 7 = 3
(Use Diagram 116b)
V
(6 - 2) (2=6)
|6712336£6| |22i76£6432432| |6 7 1 2 3 6 6 £ 6l
(6 = 3)
| 6 1 3 4 3 3 ^ ? 6 | I2 2 i 7 i 7 6 £ 6I 1 3 4 3 2 3 2 1 7 6 |
CHAPTER TWENTY-FIVE
Vocal Exercises.—Nos. 59, 60 and 61.
Intonation. I. Modulation, Minor to Dominant Minor (continued).
Continue the study as outlined in Chapters 23 and 24, with the melodies and
songs indicated in the Children's Song Manual.
II. Study of Pentachords and Tetrachords; Fifths and Fourths.
/ r h r5i \
7
Blue
\
r61 r5i —2- Blue -3-filue
Red 4 Blue i 5 4 i 5 2
\ 6 3 / 7 3 7
4 4 i
= 5* =2= -6= =3 - Green 2 6 3 7
\
A 1 5 2 Red c i= •5= =2-
(
3 7 7
/ \ 4 1 4 1
7 7
•ON
Red 2 Red 3 6 3
\ / /" \ \ \
- 1- -5" J5/w "6 ~ Blue Red -2- Blue—* -6- -3
Diagram 118.
Since these Pentachords and Tetrachords are familiar to the children, this
presentation is in the nature of a summing up. There is another object as well,
which is to unfold in a simple way some of the devices used by musicians of the
classical epoch by which correspondences are established between a Pentachord
here and a Tetrachord there. It is in polyphonic music particularly, that these
devices are in constant use. A theme is proposed in the Pentachord of a Mode
and answered in the Tetrachord, or vice versa.
Since the present study aims at developing taste rather than technique, the
Intonation Exercises provide examples of how to use themes in this manner: a
question in the Pentachord, an answer in the Tetrachord (above or below as the
case may be). After the children have had some experience in this field, then
later in the week two themes should be combined polyphonically as on page 161
and they will have the surprise of seeing that themes can be fitted together when
they are well constructed. The children themselves should not be encouraged to
attempt composition for two voices. They are merely expected to answer a theme
melodically in the region indicated.
Answer in Tetrachord
(a) 1 1 i 5 I 6 5 67 i i 1 75 6 6 I 5
{b) 1 1 5 . i 77 1 i 6 5 i 16 i i 7 1 i
(c) 1 1 i . 67 16 1 7 7 56 75 1 6 5 5 t1 5
(d) 1 1 6 1 6 3 13 74 3 3 1* t 6 6
W 1II 3 . 6 m 1 56 54 3 34 1 3 6 6 fi 6
16C)
CHAPTER TWENTY-FIVE
After this exercise has been studied, the children should be encouraged to
improvise similar phrases while looking at the Diagram No. 118.
The teacher should dictate a phrase and ask the children whether it is in the
Pentachord or in the Tetrachord.
When the children hear the distinction clearly, the teacher may add the
further question: Which Pentachord? Which Tetrachord? The diagram should
be kept in full view.
In the authentic range, the question appears in the lower voice and the answer
in the upper one. In the examples which follow, the questions and answers should
be treated purely as melody, (in the same sense as Intonation Exercise 214). They
should be written on the board: the question will be sung by one group and the
answer by another group. The children should not see the themes superposed
(as they are written below). Only after the children have sung each one as a sep-
arate melody, should the themes be superposed as we give them, and each group
will sing its own part polyphonically.
The surprise of realizing that the question and answer can be combined and
sung together will be very great if the teacher will avoid too much explanation
and will simply reveal the ravishing fact.
6 7i 2 I. Authentic Range
2 34 5 6
(Palestrina)
Answer: 6 . 7 . 1 . . 7 i . .
Question: _ 4 2 . 3 . 2~T 2 .
4 3 (Morley)
Answer: 3 34 5 3 6 I$ 6 I 6
Question: 6 6 7 16 3 3 1 I 7 6 I7
Answer: 6 6~7 i 6 I 7 2 i 2 I 2 i
Question: 4 2 6 6 I 5 4 3 2 I 3 .
2 2 3 161
MUSIC—THIRD YEAR
The same process should be followed for the study of the plagal range: a
question in the Pentachord and an answer in the Tetrachord below. Or, again, a
question in the lower Tetrachord and an answer in the Pentachord.
Question in Tetrachord
(d) || 1 . 71 27 I 1 • 5 6 6 | 5 . . . ||
W II 1 • 5 . I 6 77 65 67 | i 77 6 6 | 5 . . . ||
(f) || 2 . 12 17 | <? . 1 6 | 2 . . . ||
Answer in Pentachord
(d) II 5 . jE <p I 5 3 2 4 | 3 . 5 . ||
(e) II 2 . 5 . I 3 T2 T2 34 | 5 T4 3 2 | 1 . . . ||
(/) II 2 . 43 45* I 6 4 3 3 | 2 . . . ||
6 71 2 3
34 5 6
(d)\Question: || 6 . I . . I i . I . i 2 3 . 2 | 3 . I . . II
[Answer: • || X X I 6 . I . . I 6 . I 5 . I 4 . I 3 . I . . ||
II 5 | 1 76 5 5 | 6 1 1 7 I 1 . .
II 3 I 6 76 5 4 I 3 6 6 f \ 6 . .
163
MUSIC—THIRD YEAR
These themes should be proposed while the children have Diagram 118 before
them.
Ear Training
Divide the class in three groups.
The teacher sounds a tone (A or A flat) and, with a Flash Card, calls for the
Fifth above. (Children sing E or E flat.)
The teacher sounds the same tone and calls for the Fourth below. (Children
sing E or E flat.)
results will be obtained by devoting the greater part of the time to Modulation
from the Minor to the Dominant Minor, as described in the preceding chapters.
The application should no longer be made through mere exercises but rather through
the melodies and songs listed below. The chart can be used as a means of pre-
paring the modulation in advance, crossing the bridge at the precise point and
using more or less the same approach to the modulation as is contained in the
melody itself. Henceforth, for all modulations that have already been studied,
the above process is advisable. The teacher will adjust the amount of prepara-
tion to the capacity of the individual class. Usually the children are quick to
seize a modulation, and when they have understood, it is useless to continue to
drill on such a point.
Children's Song Manual:
Melodies: 385, 386, page 98; 389, page 99.
Songs: Sister Awake, page 99; Our Lady of the May, page 100.
Polyphonic Phrases: Nos. 18, 19, 20 and 21, page 102.
165
MUSIC—THIRD YEAR
CHAPTER TWENTY-SIX
Vocal Exercises.—Nds. 59, 60 and 61 (for two voices). Also Nos. 52 and 53
for consonants.
Intonation.—Study of Modulation from Minor to Dominant Minor, applied
through melodies and songs.
Pentachords and Tetrachords in Authentic and Plagal range: study outlined
in Chapter 25, to be continued this week.
See Vocal Exercises Nos. 48, 49, 50, 52, 53, 57, 59, 60 and 61, and Polyphonic
Phrases Nos. 1, 6, 7, 9, 12, 13, 14, 15, 16, 18, 19, 20, 21, 22, 23 and 24.
On what interval does each one begin? (that is: where do the voices sound
together for the first time ?)
On what interval does each one end?
Are there any other perfect consonances in the middle of the phrase ?
How do the voices move toward that consonance?
(b) The only other way to approach a perfect consonance is by oblique mo-
tion, which means that one voice stands still while the other voice moves in such a
way as to produce a Fifth or an Octave. This way is not so good as the former,
and is hedged about by a great many rules which we need not learn at the present
time. Here are some examples of oblique motion.
Fifths Octaves
These are the only ways that we can approach a perfect consonance. An
exception, however, can be made of the Major Third, which is more or less free.
We can approach it by contrary motion, by oblique motion, and even by parallel
167
MUSIC—THIRD YEAR
( a ) || 3 F T 2 . | 1 . . . II
(b) || 1 7 5 3 2~T | 7 6 7 . I 6 . . . II
(c) II 5 4 I 3 . 2 . I 1 . . . II
The answer can be found among the phrases (Vocal Exercises and Polyphonic
Phrases) for two voices. The children should find the answer to each and write
it out under the theme.
168
CHAPTER TWENTY-SIX
Rhythmic Exercise 65
3/8 || 1 1 1. 5 34 56 | 5 65 43 4 54 32 | 3 43 2T | 2 |
I I 5 5 5 74 561 5 76 5 4 75 4 | 3 71 3 | 2 |
| 1 5 5 5 75 56 | 4 73 2 3 72 33 i 2 TT 7 | 1 ||
See Rhythm and Melody on the staff: Children's Song Manual, page 106.
Continue the study of the songs and melodies of Chapter 25.
Children's Song Manual:
Rhythm and Melody, page 106.
Melody 390, page 105.
Song: Jesus Came in Blessing, page 105.
Polyphonic Phrases with text: Who Has Seen the Wind?, page 103; Cock-a-doodle
Doo and Slumber Song, page 104; Blow, Shepherds, Blow, page 105.
169
MUSIC—THIRD YEAR
CHAPTER TWENTY-SEVEN
Vocal Exercises.—Nos. 62 and 63.
Intonation.—Continue the study of Modulation from Minor to Dominant
Minor. Study Overlapping Pentachords and Superposed Pentachords.
There are two ways of combining Pentachords which we have not yet con-
sidered and which are frequently used.
1. Overlapping Pentachords
4 5 6 7i 2 34 5 6 1 2 34 5 5 6 7i 2
1 2 34 5 6 71 2 3 5 6 71 2 2 34 5 6
Diagram J19.
Write the diagram on the board, and sing each Pentachord combined with
its neighbor, thus:
II 1 2 3 4 5 . 4 5 6 7 i . i 7 6 5 4 . 5 4 3 2 1. ||
Then use Intonation Exercise 216, one group singing each question, the other
group, the answer.
Finally use, as questions and answers, the polyphonic phrases on page 171.
Use them melodically, taking as themes the part underlined.
Later superpose the parts and allow the children the joy of discovering that the
two can be sung simultaneously.
Similar phrases can be used taking the upper Pentachord as question and
the lower Pentachord as answer. Keep Diagram 119, Overlapping Pentachords,
before the eyes of the children.
[Question: 43 45 |6 4 3 .4 5 . X 5 | 4 2 6
[Answer: 116 . 17 12 I 3 1 7 .1 | 2 2 6 .
(Answer: 6 . 5 6 54 5 4 3 2 3 . V
[Question: 3
5 6 7 i 2
12 3 4 5
(Question: \\ 5 . 1 i . . 7\ i . 2 . | 7 . . 6 5 1 5 . . 67 I i . 7 . | i . . .||
[Answer: \\ 1 . | 4 . . 3| 4 . 5 , | 3 . . 2 l 1 4 2 I 31 2 . 2 I 1 . . . ||
5 6 7i 2 6 7i 2 3 1 2 34 5
1 2 34 5 2 34 5 6 4 5 6 71
Diagram 120.
Sing each Pentachord with its neighbor as written on the diagram, thus:
II 1 2 3 4 5 . 5 6 7 i 2 . 2 i 7 6 5 . 5 4 3 2 1 . ||
Then study Intonation Exercise 217 in the same manner as No. 216.
171
MUSIC—THIRD YEAR
5 43 2 1
i7 6 5 4
{Question:
[Answer:
[Answer:
(Answer:
[Question: . x ( j h T x ^ 34i(T"X^
172
CHAPTER TWENTY-SEVEN
Blue Gfeen
The perfect Fourths, Red, Blue and Green, (see Diagram 113, Chart, page 6) are
dissonances, but the augmented Fourth or "tritorie" which is purple, is not even a
dissonance: it is strictly forbidden, and can only be used when altered: 7 turned into
•7, or 4 into jL.
I:I
6 - X
I:I 5 - 4
° o
%- 6
These dissonances provide the deepest shadows. And they must be used in
such a way as to lead to sunshine. In music, this is called a resolution into a con-
sonance.
They must give the impression of leading on toward a consonance.
173
MUSIC—THIRD YEAR
Seconds*
5 3| 2 1 . 7 .1 . . | 6 6 ,| 7 6 .
7 . . .1 £ . | 6 6 .1 . 6 .
1 3 12 .1 1 .1 . . | | 6 4 3 731 2
. Ill .11 . I . . | | 16 2 . t | 2
* * *
Fourths**
i TT| 7 .1 . 6 I . 5| 4 3 . II || 4 T 4 | 3 . 1 . 2 | . 1 7 .1 6 .
6 6 . p i 2 3| . 2| 3 . 2 2 I 1 . | . 761 $ 61 . f, | 6 .
:
21 2 3 51 7 6 7 .
i 76 f, 6 . f
The double asterisk indicates the Fourth, the single one, the Second.
The children may find other examples in their books.
In classic polyphony, rigid rules govern the use of the dissonance. These
rules are too complicated for the children to apply at present. It will be sufficient,
for the time being, that they should recognize the intervals and execute them
correctly.
(b) Imperfect Consonances.—There is a third type of interval that is neither
a perfect consonance nor yet a dissonance. It has neither the strength and inde-
pendence of the former, nor yet the harshness of the latter. It is neither saint
nor sinner, but something average that is neither hot nor cold. These intervals
are called imperfect consonances. They are:
Diagram 106,
1. The Minor Third Chart, page 3.)
The Minor Thirds
2. The Sixth (M. and m.) are the blue and
purple ones.
These imperfect consonances are extremely useful because they can be ap-
proached from any direction, and two or more may succeed each other without any
difficulty.
174
CHAPTER TWENTY-SEVEN
Examples
r rr 601
-"Oct.
When each group has marked the intervals described above, then the whole
class should concentrate on the discovery of any dissonance that may be con-
tained in the phrase. The first one to discover the dissonance and to classify it
should be given a star to his name, or some other small sign of merit.
The point of dissonance should be marked in yellow chalk and a line should
be drawn indicating its resolution.
Another game to be organized later on is to mark the intervals that are ap-
proached by contrary motion. Then, those that are approached by oblique motion,
using another color for this. Finally, those intervals that are approached by
parallel motion.
The color scheme which will result will be a summing up of the rules of counter-
point given thus far in these pages.
That the children may consider this adventure as entertaining, it is impor-
tant that the teacher should give relatively little time to this study, turning to
it now and then as to a game, during the weeks to come from this point until the
end of the term.
176
CHAPTER TWENTY-SEVEN
177
MUSIC—THIRD YEAR
CHAPTER TWENTY-EIGHT
Vocal Exercises.—Nos. 62, 63 and 64.
Intonation.—Modulation:
Major to Tonic Minor. Mod. 1=6 Ret. 6 = 1
Minor to Tonic Major. Mod. 6=1 Ret. 1=6
4" = 6-
(5)
6
4}
Also Mod. 5 = 3 Ret. 3 = 5
7 = £ Ret. £ = 7
(1 . 6) (6 - 1)
1234543 3217l 6712321
1235321 24321 6713176
1117165671 21712| | 7 6 # 6 7 1 1 2 3 2 1 7 6 | |l 7 16 5 12 7 l|
(3 = 5)
13212345 43217121 17123217767.123| | 5 4 3 5 4 3 2 2 l |
All the work that we have done hitherto in distinguishing the various Penta-
chords by their color has been like a gymnastic in preparation for this new modu-
lation. It not only provides a complete change of mood, but there is a surprise
for the eye as well as for the ear. The Mode changes and the tonality changes.
Thus, we must think before we sing.
For the children, this will be explanation enough. The teacher, however,
will realize that the success of this modulation will depend, to a great extent, on
the preparation which will have been made during the beginning of the year in
changing from one Pentachord to another, from one Tetrachord to another with-
out changing the tonality. A review of Thirds, Major and Minor, will help to estab-
lish the needed equilibrium. Evidently, to be helpful in this connection, the two
types of Third must be built on the same fundamental tone, as in our ear train-
ing for Thirds.
That the children may not be puzzled, the teacher should begin by using
extremely simple examples. Using Diagram 121, cross from the red Pentachord
to the blue. At first, when crossing the bridge: 1 = 6, the children will sing: "Do
turns into La" and returning by 6=1, they will sing: "La turns into Do." As
soon as this process is well grasped, the phrases of transition should be reduced
to a single syllable: D'la and Udo, pronounced like one syllable, not like two. As
these syllables are rather difficult to pronounce, what will happen, in time, is that
the last part of the syllable only will be heard—that is, at the modulation 1=6,
we shall hear only the sound La, and at the modulation, 6=1, we shall hear only
Do: namely, what the note has turned into. This is desirable, provided the children
never omit to think both notes—the name of the old note and the name of the new one.
As soon as the crossing can safely be made at 1 =6 and 6=1, repeat the same
process, moving up and down the chart designs and crossing at: 5 = 3 and 3 = 5;
then at 7=$ and £ = 7; then at 2 = 7 and 7 = 2; and at 4 = 2 and 2 = 4. The In-
tonation Exercises provide examples of how to move from one column to the other.
The teacher may multiply such examples both in numbers using Diagrams 121a
and b and on the staff, using the Hand Chart.
When these preliminary exercises have been carried out, the next step is to
place before the children an exact transposition from Major to tonic Minor and
from Minor to tonic Major, of little musical motifs, precisely as we have done for
the modulation from Major to relative Minor. The following examples can be used
in two ways: as Major themes or as Minor themes, according to which column is
used first. In either case, the phrases should be written on the board: the question
181
MUSIC—THIRD YEAR
with its transposition to the contrasting Mode and Key. Each should be written
in its respective color (red or blue). At first, both the question and answer should
be written on the board and be sung by the children.
Soon, however, the question alone can be written and the children should
find the exact equivalent in the contrasting Mode and should write it on the board
or in their copy books.
All this work will be extremely entertaining to the children if it be well pre-
sented. When we say "well presented" we mean that the teacher must not impose
ready-made knowledge on the children but must stimulate their own powers of
observation and of analysis. It is a mistake to think that children remember
what they are told. They remember what they discover through their own efforts.
The teacher, naturally, directs this activity into certain channels rather than
others, provides stimulating examples, and proposes fascinating problems.
the two modalities. The following exercise gives an example of more rapid passage
from Major to tonic Minor and vice versa.
The modulating note is one sound (not two) and the change that takes place
must not interfere with the regular movement of the phrase.
If space permit, the phrases can be executed to advantage while moving around
the room, forward for the arsis, backward for the thesis.
Children's Song Manual:
Melody and. Rhythm: Phrases a and b, page 109; Phrases c and d, page 110;
Phrases e, page 111, and Phrases f, page 112.
Melodies Nos. 396 and 397, page 111; 398 and 399, page 112.
The modulations contained in these melodies should be prepared beforehand:
first, in numbers on the diagram; then on the staff in the Key in which the melody-
is written, using for this purpose, either the Hand Chart, or preferably, the prob-
lem itself written on the board. Thus there will be no hesitation when the modu-
lation is to be sung from the Manuals.
184
CHAPTER TWENTY-NINE
CHAPTER TWENTY-NINE
Vocal Exercises.—No. 65.
Intonation.—Modulation: Major to Tonic Minor and Minor to Tonic Major,
(with help-notes).
Intonation Exercise 225
(1-6) (« - 1)
| 1 3 - 5 6 5 4 3 2 1 | I6 7 16 7 6 g 7 6 I
| 1 3 5 6 5 4 3 2 1 | |? 7 6 1 2 1 7 6 g 6 I
| 1 3 5 6 5 4 3 2 1 | | 6 T 1 2 3 2 1 7 6 £ 6 I
| 1 3 5 6 5 4 3 2 1| | « 7 i 2 3 2 1 7 6 £ 7 $ " l
(3-5) (1 - ?)
| 6 7 1 7 6 7 1 2 3 | | 5 6 5 4 3 2 1 2 1 I
| 6 7 1 7 6 7 1 2 3 | | 5 6 5 4 3 2 1 7 2 1 I
| 6 7 1 7 6 7 1 2 3 | | 5 4 3 2 1 2 1 7 1 2 1 I
| 6 7 1 7 6 7 1 2 3 | | 6 4 3 2 4 3 2 1 1 7 1 I
1 6 7 1 7 6 7 1 2 3 1 1 s 4 3 2 3 4 3 5 4 3 2 1 I
1 6 7 1 7 6 7 1 2 3 1 1 s 4 i i l 2 3 4 5 1 2 7 1 j
The help-notes should be sung by the teacher, or by a pupil. Then the exer-
cises should be repeated, the help-notes being merely thought.
185
MUSIC—THIRD YEAR
(Key of G Minor)
(Use Diagram 123)
i* «= 3) (1 - «)
671232176. 67Z. 1345654321. I
I 3456543221. |
(repeat t h e same phrase) 1 * 4 2 1 7 1 2 3 2 1 . I
I 3 4 5 4 3 2 4 3 2 2 1 . I
The object of this exercise is to bring out the likeness between the two Penta-
chords—both red—the upper one naturally, the lower one by means of an acci-
dental":. "
1 2 34 5
6 7 Z2 3
This problem is embodied in Melody No. 397 by Schubert on page 111 of The
Children's Manual.
The problem of modulations where help-notes fill the modulating link will
be found in Melodies Nos. 399, 400, 403, 404, 405 and 406.
The following exercises give additional drill in modulation with help-notes.
They may be executed on the diagram or horizontally.
186
CHAPTER TWENTY-NINE
The help-notes should be sung by the teacher or by a pupil, then they should
be omitted and simply thought. In this case, the children should be given time
to think the help-notes clearly. A pause should be made at each modulation.
When the melodies containing this type of modulation are to be prepared,
the same system should be followed during the period of preparation. Thus will
be avoided any hesitation in the final rendition of the melody.
Composition.—Modulation from Major to tonic Minor and from Minor to
tonic Major.
This work should be introduced by taking a melody that is familiar. The
children will sing the melody. Then an episode will be composed in class, modulat-
ing into the contrasting Mode, after which a return to the original melody will be
made by use of the sign D.C.
Several examples are included in this chapter which will serve as a guide to
the teacher, or which may be used directly as regards the children, that they
may have an idea of the type of composition that is expected. The children should
187
MUSIC—THIRD YEAR
(Who can find a little reminder of the original melody in this modulating
episode?)
188
CHAPTER TWENTY-NINE
Thus, it is the difficulty of finding a neutral link that makes this modulation
so abrupt.
Using Diagram 121b, follow the line of the melodic Minor. Here we find a
region that is absolutely equivalent to the Major:
Major: 1 2 34 5 6 71 5 6 71 2 34 5
Melodic Minor: 6 11 2 3 ^ 6 3 £ £6 7i 2 3
Examples
Major to Minor: (5 = 3)
Ill7234|5567|i.5.|3.3££|66 5 4| 3 . . . | etc.
Minor to Major: (6 = i)
||67712|3432|3.££|6. . . I i 77 i 6 I 5 6 5 4| 3 . 2 . | etc.
See Melody 400. Version (a) gives the modulating formulae. Version (b),
the same melody with accidentals. A comparison of the two will illustrate the
fact that each time that we use the melodic Minor, it is equivalent to a brief modula-
tion to the Major. But it is more convenient to use the melodic Minor and the
sharps rather than change the Key signature for very brief passages.
Children's Song Manual:
Melodies 400, 401, page 113; 402 and 403, page 114; 404, page 115; 405 and
406, page 117.
Songs for two voices: A Lullaby, page 116.
190
CHAPTER THIRTY
CHAPTER THIRTY
Vocal Exercises.—Nos. 65 and 66.
Intonation.—A general review of the new material covered in the Third Year.
This review might be given in written form. In that case the questions should be
so formulated that the children can answer by "yes" or "no" or by writing an
example of the problem desired. No elaborate explanations nor memorized rules
should be expected on the part of the children.
If the review be oral, the following points should be covered:
1. What are the accidentals that we have studied? Write them in number
notation, then write them on the staff.
2. What modulations have we studied?
3. What are the signs by which we recognize a modulation from Major to
relative Minor? From Major to tonic Minor? And how do we know that we have
returned to the original Mode?
(Each point can be illustrated by an example on the board)
4. Write out three formulae for modulating to the Dominant and for return-
ing to the original Key. Show how these modulations would be written on the
staff: (a) In tonalities with sharps at the Key signature; (b) In those with flats.
Show how to return to the original Key.
5. In staff notation, how do we know the position of Do in Keys with sharps?
In Keys with flats?
6. Give the sequence in which the sharps come, and the sequence of the flats.
Is there an easy way to memorize this sequence? Can anyone write the melodic
formula on the board in numbers ? On the staff ?
7. What is the difference between the natural Minor, the harmonic Minor
and the melodic Minor? What part of the melodic Minor resembles the Major?
8. What modulation is indicated by each one of the following formulae?
(a) 1 = 6 6=1 (Others may be given until the modulations are
(6)5 = 1 2=6 recognized at once.)
(c) 1=1 3=5
(d) 3 = 6 3=7
9. When we sing melodies for two voices (or more) how do we know which
voice should sing softly and which should be allowed to dominate ?
191
MUSIC—THIRD YEAR
After composing the episode, return to the original melody by the sign D.C.,
show how to modulate back to the original Mode or Key; and compose an ending.
_ * Mod. Bom.
Theme: | | l . 5 . | 6 7 i 7 6 | 7 . 2 7 T | 7 6 54 3 4 5 | . £ 5 . | |
Mod. Tonic Minor
*
5 I . 4 3 2T| 2 . 1 . ||
16. Here is a Minor theme. Compose a modulating episode at the point
marked with an asterisk:
(a) In the relative Major.
(b) In the tonic Major.
(c) In the Dominant (Minor Mode).
192
CHAPTER THIRTY
proximately so, in order that all their attention may be given to the inter-weaving
of the melodic themes and of the rhythmic designs. The movement is rapid and
gay.
When the time changes from 4/4 to 3/2, the quarter-note in 3/2 is equal to
the eighth-note in 4/4 . Thus, if we want to keep the proper proportion between
the two sections, the melodies should be written as follows:
(a) From 4/4 to 3/2 (see page 124).
3£ : g. in speed but not in grouping)
The teacher need not mention this to the children lest they be confused by
the change of values, but the teacher will give the proper movement to the com-
position when once it has been studied.
Children's Song Manual:
Melody No. 407, page 121.
Song. (Unison): Rowers, page 120.
Songs for two voices: Prayer of Saint Cecilia, page 118; 0 Angel Bands, page
119; Ave Maria, page 122; Hark How the Birds Are Singing, page 123.
194
TABLE OF CONTENTS
TABLE OF CONTENTS
PAGE
PREFACE 3- 6
CHAPTER 4 51-54
Vocal Ex. Nos. 28b, 32 and 33. Study of jt as accidental in minor melodies.
Rhythm: syncopations in 3/4 and 6/8 time. Theory: Model for minor
scale. Build scale of E minor. Repertoire: Melodies 270, 271, 272, 273 and
Song: Prayer of St. Teresa of Avila. (Ch. M.)
CHAPTER 5 55- 60
Vocal Ex. Nos. 33, 34 and 35. Study of accidental Do sharp {X) in numbers and
on the staff. Rhythm: syncopation in 6/8 time. Notes tied within measures;
rests replacing tied notes. Notation: value of rests as corresponding to notes.
Repertoire: Melodies 275, 276, 277 and Song: The Daddy Long Legs and
the Fly. (Ch. M.)
CHAPTER 6 61-64
Vocal Ex. Nos. 33, 34, 35, 36 for breath control and dynamics. Study of I (cont.)
Rhythm: 6/8 time with tied notes and rests. Staff notation: Keys of C Major
and A minor; G Major and E minor; D Major and B minor; F Major and
D minor reviewed on diagrams and handchart. Composition of melodies to
a given text. Theory: Major scale of F. Repertoire: Melodies 278, 279, 280
(for study of *); 282, 283, 284, 285 (for study of 6/8 time) and Songs: Sursum
corda and The Coasts of High Barbary. (Ch. M.)
CHAPTER 7 65- 71
Vocal Ex. Nos. 33, 34, 35, 36, 37, 38a and b. Modulation from Major to Relative
Minor and the converse. (Chart, page 1.) Exact reproduction of Major
themes in minor and the converse. Composition: musical conversations with
modulations. Visualization. Rhythm 6/8 time beginning on down-beat.
Melodies 287, 288, 289, 290 and Songs: The Lamb and Summer is Icumen in.
(Ch. M.)
CHAPTER 8 72-78
Vocal Ex. Nos. 36, 37, 38a and b, 39a and b. Modulation from Major to Relative
Minor and the converse. Composition: modulating by (a) exact reproduc-
tion of theme, (b) moving in contrary direction. Neutral links. Rhythm:
6/8 time. Repertoire: Melody and Rhythm, Melodies 291, 292, 293, 294, 295,
296, 297 and Christmas Carols: A Virgin Most Pure and Shepherds in the
Field. (Ch. M.)
CHAPTER 9 79-82
Vocal Ex. Nos. 36, 37, 38, 39 and 40. Study of Intervals: preparation of Fifths.
(Chart, page 2.) Modulation: Major to Relative Minor and the converse
(cont.). Rhythm: 6/8 time. Theory: Major scale built on E. Repertoire:
Rhythmic Exercises on Fifths, Melody 298 and Songs: Mr. and Mrs. Spikky
Sparrow, The Angel Gabriel (Christmas Carol) and The Orange Tree. (Ch. M.)
196
TABLE OF CONTENTS
PAGE
CHAPTER 10 83- 88
Vocal Ex. Nos. 36, 37, 38, 39, 40 and 41. Study of Fifths and Pentachords. (Chart,
page 2.) The Perfect Fifth and the Diminished Fifth. Various designs of
Pentachords within the perfect fifth. The fifth melodically and harmonically.
Ear training: fifths above and below. Modulation: from Major to Relative
Minor and the converse. Rhythm: 9/8 time. Repertoire: Melodies 299, 300
(also those listed under Chapters 8 and 9) and Song: The Owl and the Pussy
Cat. (Ch. M.)
CHAPTER 11 89- 95
Vocal Ex. Nos. 42a and b, 43a and b. Fifths and Pentachords: their designs. Drill
through eye and through ear. Modulation: Major to Relative Minor and the
converse, in correlation with the study of Pentachords. Composition: various
ways of modulating. Rhythm: 9/8 time. Theory: Major scale built on B.
Repertoire: Melodies 304, 305, 306, 307 and Song: A Carol for Christmas and
New Year.
CHAPTER 12 96-106
Vocal Ex. Nos. 42a and b, 43b and 44a and b. How to study and execute music
in two parts. Study of Intervals: Thirds, Major and Minor. (Chart page 3.)
Design of Major Third; twofold design of Minor Thirds. Preparation of Thirds
melodically and harmonically. Ear Training. Modulation: Major to Rela-
tive Minor and the converse. Composition of a Major episode in a Minor mel-
ody and vice versa. Repertoire: Melody and Rhythm; Melody 309; Songs:
Gifts and The Star (Christmas Carols) and Polyphonic Phrases 1, 2 and 3.
(Ch. M.)
CHAPTER 13 107-110
Vocal Ex. Nos. 45 and 46a and b. Study of Intervals: Thirds (cont.). Modulation
(cont.). Composition: introduction of an episode in the contrasting mode
at a given point. Theory: How to find the relative minor. A Major and F
sharp minor. Rhythm: 9/8 time beginning on the down-beat. Repertoire:
Melodies 311, 312 (for 9/8 time), 314, 315, 318 (for modulation), Polyphonic
Phrase No. 4 and Christmas Carols: The Stem and the Flower, and A Babe
is Born. (Ch. M.)
CHAPTER 14 111-117
Vocal Ex. Nos. 46a and b and 47. Modulation to the Dominant: Major to Major.
(Chart, page 4). How to indicate modulation to the Dominant in numbers
and on the staff. Formula for building up keys with sharps; formula for
building down keys with flats. Composition and improvisation introducing
modulation to the dominant. Repertoire: Melody and Rhythm illustrating
modulation in authentic and plagal range both in numbers and on the staff.
Polyphonic Phrases Nos. 1, 2, 3 and 4. Songs and Carols of the preceding
chapters. (Ch. M.)
197
MUSIC—THIRD YEAR
PAGE
CHAPTER 15 118-125
Vocal Ex. Nos. 47 and 48a and b. Modulation to the Dominant (cont.). Composi-
tion introducing modulation. Precautions for avoiding excessive range.
Themes to develop. Rhythm: 12/8 time. Repertoire: Melody and Rhythm
for modulation, Melodies 320a, 320b, 321a, 321b, 322, 323, 324, 325, 326;
Polyphonic Phrase No. 5 and Song: Spring's Welcome. (Ch. M.)
CHAPTER 16 126-129
Vocal Ex. Nos. 48a and b, 49 and 50. Modulation to the Dominant (cont.). Com-
position: how to introduce a modulation and return to the original tonality.
Repertoire: Melody and Rhythm in numbers and on staff illustrating modula-
tion. Melodies 328, 329, 330, 331, 332, 333, 334 and Song: The Shepherdess.
CHAPTER 17 130-134
Vocal Ex. Nos. 49, 50 and 51a. Study of Intervals: Thirds, Fifths and Pentachords.
(Chart, page 5.) Melodically and harmonically. Ear training in major and
minor triads. Modulation to the Dominant (cont.). Theory: Major scale
built on E flat. The relative minor: Cm. Repertoire: Polyphonic Phrases
for two voices Nos. 6a, 6b and 6c; Melody and Rhythm for three voices;
Melodies 335 and 336 (for modulation). (Ch. M.)
CHAPTER 18 135-139
Vocal Ex. Nos. 49,50,51a and b. Intervals: Fifths and Thirds (cont.). Exercises
in finding the Third (Major or Minor) in response to flash cards. Modulation
to the Dominant (cont.). Rhythm: 12/8 beginning on down-beat. How to
vary the designs. The substitution of rests for notes. Counting measures of
silence. Creating a sense of rhythm that is independent of sound or of mus-
cular movement. Repertoire: Polyphonic Phrases Nos. 7 and 8 for Thirds.
Melodies 337, 339, 341, 342 and 343 and Song: The Parliament of Fowls.
(Ch. M.).
CHAPTER 19 ; 140-141
Vocal Ex. Nos. 51, 52, 53 and 54. Intervals: Fifths and Thirds (cont.). Modula-
tion to the Dominant (cont.). Polyphonic Phrases (cont.). Rhythm: Six-
teenth Notes in 2/4 time. Theory: Major scale built on A flat. Its relative
minor, Fm. Drill with handchart in three sharps and four flats. Repertoire:
Melody and Rhythm for three voices; Polyphonic Phrases for two voices
Nos. 9, 10, 11 and 12. Melodies 344, 346, 347 and Song: Where the Bee Sucks.
198
TABLE OF CONTENTS
PAGE
CHAPTER 20 142-148
Vocal Ex. Nos. 55 and ad libitum from earlier chapters. Intervals: Study of
Fourths and Tetrachords. The Perfect Fourths all alike. Designs of interior
Tetrachords differ. (Chart, page 6.) The augmented fourth or tritone, and
how to avoid it. Ear training and exercises with flash cards for finding the
fourth above and the fourth below. The three designs of Tetrachords: Dorian,
Phrygian and Lydian. Modulation to the Dominant (cont.). The more con-
venient passages from a musical standpoint. Rhythm: Sixteenth Notes in
2/4 time (cont.). Composition: Effect of a large interval is usually a change
of direction melodically. Repertoire: Melody and Rhythm for application of
fourths and for modulation; Melodies 348, 349, 350, 351, 352, 353, 354, 355;
Polyphonic Phrases Nos. 13 and 14; Songs: The Merry Heart, The Church,
The Birds, and Polyphonic Songs: Huckleberry Hunting and Butterfly so
Swift and Bright. (Ch. M.)
CHAPTER 21 149-151
Vocal Ex. Nos. 52 and 53 for consonants; No. 55 for enlargement of range and
No. 56 for polyphony with text. The Melodic Minor: A minor Pentachord with
a Major Tetrachord. Rhythm: Sixteenth Notes in 3/4 time. Repertoire:
Melodies 358, 359, 360, 362, 363 and 364 illustrating Fourths, Tetrachords
and the Melodic Minor. Songs: Down-a-down and Temples. (Ch. M.)
CHAPTER 22 152-154
Vocal Ex. Nos. 42c, 55, 56 and 57. The Melodic Minor (cont.). Rhythm: Dotted
Sixteenth Notes in 3/4 time. Theory: Major scale built on D flat. Its rela-
tive minor, B flat m. With handchart, drill in Keys of D flat and D Major
and the relative minor of each. Repertoire: Melodies 365, 366, 368, 369 and
Songs: Resurrexit, Prayer Before Sleeping and Christ's Sacrifice.
CHAPTER 23 155-157
Vocal Ex. Nos. 54 or 55 and 58. Modulation from Minor to Dominant Minor.
(Chart, page 7.) Rhythm: 3/8 time. Repertoire: Melody and Rhythm a and b
for modulation; Melodies 372, 373, 374, 375, 377 and Songs: Tiger, Tiger
Burning Bright and The Year. (Ch. M.)
CHAPTER 24 158
Vocal Ex. Nos. 53, 57 and 58. Modulation: Minor to Dominant Minor (cont.).
Repertoire: Melodies 380, 381, 382, 384; Polyphonic Phrases Nos. 15, 16 and
17; Songs: Jesus, So Sweet is Love of Thee and O Felix Culpa. (Ch. M.)
199
MUSIC—THIRD YEAR
PAGE
CHAPTER 25 159-165
Vocal Ex. Nos. 59, 60 and 61. Modulation: Minor to Dominant minor (cont.).
Study of Pentachords and Tetrachords, Fifths and Fourths. Pentachord +
Tetrachord; Tetrachord + Pentachord. Themes developed in one region,
answered in the other. Put themes together and sing in two parts. In Authen-
tic and in Plagal Range. Ear Training: and with flash cards, call for Fifth
above and Fourth below, etc. Repertoire: Melodies 385, 386, 389; Polyphonic
Phrases for two voices Nos. 18, 19, 20, 21 and Songs: Sister Awake and Our
Lady of the May. (Ch. M.)
CHAPTER 26 166-169
Vocal Ex. Nos. 59, 60 and 61 for two voices. Nos. 52 and 53 for consonants.
Modulation from Minor to Dominant Minor (cont.). Pentachords and Tetra-
chords (cont.). Intervals and the Movement of voices in Polyphony. The Perfect
Consonances. How to approach them: by contrary motion; by oblique mo-
tion. Avoid two of the same kind in succession. Rhythm: 6/8 time with
dotted Eight Note and Sixteenth Note. Repertoire: Rhythm and Melody,
Melody 390; Song: Jesus Came in Blessing; Songs for two voices: Who Has
Seen the Wind? Cock-a-Doodle-doo; Slumber Song, Blow, Shepherd, Blow.
(Ch. M.)
CHAPTER 27 170-177
Vocal Ex. Nos. 62 and 63. Modulation from Minor to Dominant Minor (cont.).
Overlapping Pentachords. Themes proposed and answered, then combined poly-
phonically. Superposed Pentachords. Themes treated as above. Intervals and
Movement of Voices in Polyphony: Dissonances and how they are used. Im-
perfect consonances. What they are and how they are used. Pupils should
find these intervals but not attempt to compose for two voices. The com-
positions should be confined to Melody. Repertoire: Melodies 392, 393 and
394; Polyphonic Phrases Nos. 25, 26 and 27; Songs: O Thou That Art So Fair
and Full of Grace. (Ch. M.)
CHAPTER 28 178-184
Vocal Ex. Nos. 62, 63 and 64. Modulation: from Major to Tonic Minor and from
Minor to Tonic Major. (Chart, page 8.) Presented in numbers and on the
Staff. Drill with handchart. This modulation embodies change of Mode
and change of Key. Themes transposed exactly from one Mode and Key to the
other. Repertoire: Melody and Rhythm: Phrases a, b, c, d, e and f. Melodies
396, 397, 398 and 399. (Ch. M.)
200
TABLE OF CONTENTS
PAGE
CHAPTER 29 185-190
Vocal Ex. No. 65. Modulation: Major to Tonic Minor and the converse, using
help-notes. Modulation by means of an accidental. Composition introduc-
ing modulation by means of an episode to be composed by the children in the
contrasting mode and key. Examples using familiar melodies. The Neutral
Link, lacking in these cases, can be supplied by using the Melodic Minor
Tetrachord. Repertoire: Melodies 400, 401, 402, 403, 404, 405, 406 and Songs
for Two Voices: A Lullaby. (Ch. M.)
CHAPTER 30 190-194
Vocal Ex. Nos. 65 and 66. General Review and Examination on matter covered
during the year: accidentals, modulations, intervals, designs of Pentachords,
Tetrachords and Thirds, the three forms of the Minor Mode, Staff Notation
and Rhythm. Elementary ideas regarding the movement of voices in poly-
phony. Practical application of various modulations through composition.
Repertoire: Melody 407, Song: The Rowers, and Songs for Two Voices: Prayer
of St. Cecilia, O Angel Bands, Ave Maria, and Hark, How the Birds are Sing-
ing. (Ch. M.)
201
MUSIC-THIRD YEAR
INDEX OF COMPOSERS
ANONYMOUS. Folk Songs and Carols.
Basque. Nos. 262, 312, 314, 315, 322, 329, 330, 354, 403.
Dutch and Flemish. Nos. 253, 254, 257, 260, 302, 332, 336.
Song: Tiger, Tiger, Burning Bright.
English. Nos. 282, 311, 303, 310, 379.
Songs: The Angel Gabriel.
The Coasts of High Barbary.
The Daddy Long Legs and the Fly.
A Carol for Christmas and the New Year.
A New Year's Carol.
A Prayer before Sleeping.
The Merry Heart.
The Owl and the Pussy Cat.
The Star.
Mr. and Mrs. Spikky Sparrow.
Summer is Icumen In.
Virgin Most Pure, A.
French. Nos. 255, 256, 259, 268, 273, 283, 284, 285, 289, 290, 306, 311, 331, 351, 352, 368,
369, 378.
Songs: The Orange Tree.
Shepherds in the Field.
The Year.
German (14th and 15th Century). Nos. 258, 266.
Italian (15th and 16th Century). Nos. 313 and 379.
Songs: The Stem and the Flower.
Jesus, so Sweet is Love of Thee.
Spanish and Catalan. Nos. 343, 365, 366.
BACH, Johann Sebastien (1685-1750). Nos. 252, 261, 270, 271, 272, 279, 286, 288, 291, 292, 293,
294, 295, 298, 299, 304, 309, 320a, 320b, 328, 336, 341, 342, 344, 359, 361, 362, 363,
367, 371, 373, 374, 375, 383, 400.
Songs: The Lamb.
Gifts.
Temples.
Resurrexit.
Christ's Sacrifice.
O Felix Culpa.
(Also: Vocal Exercises and Polyphonic Phrases.)
BANCHIERI, Adriano (1567-1634?). See Polyphonic Phrases.
BARETTI, Gian Antonio (17th Century). No. 337.
202
INDEX OF COMPOSERS
204
INDEX OF SONGS
INDEX OF SONGS
PAGE
206
POLYPHONIC PHRASES AND SONGS
207