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THE
TEACHER'S HANDBOOK
OF THE
TONIC SOL-FA SYSTEM.
A GUIDE TO THE TEACHING OF SINGING IN SCHOOLS
BY THE TONIC SOL-FA SYSTEM.
BY
ALEXANDER T. CRINGAN,
Graduate and Licentiate of the Tonic SoLFa College, London, England.
Superintendent of Music in Toronto Public Schools,
TORONTO :
CANADA PUBLISHING COMPANY,
(limited).
•
V V"' •-■■ ^ '■' ■
'■ A < ..
Entered, according to Act of Parliament, in the Office of the Minister of Agricul-
ture, in the year 1889, by The Canada Publishing Company (Limited).
■■■. ,'V'.f
PREFACE.
THE importance of the study ct Music is n(>w
freely recognized, and in numerous Towns a yd
Cities it is placed, as a regular subject, upon the
curriculum. Progressive teachers throughout the
Dominion are now fully alive to the beneficial effects
of the study of Music as a refining, moral influence
in the schoolroom and the home. Many teachers,
are earnestly investigating the various " systems '* ot
teaching music, and the majority of those have
decided in favor of the Tonic Sol-fa System as being
based on true philosophical principles of teaching,
such as are now employed in teaching all other
subjects. This system is not, as many suppose, a
new system, having been before the public for
upwards of forty years. In England, it has had to
contend with most fierce and prejudiced opposition,
which it has gradually overcome by its intrinsic merit,
until now it is approved by the leading Musicians
and Educators, and is used in ninety per cent of the
schools which succeed in passing the Government
Examination in Music. In Canada, it has met with
the same opposition and suspicion, but as its merits
4
as a system have become known, this has gradually
been disarmed, until now it has been adopted by
the Educational authorities of the leading Cities and
Towns of the Dominion.
Improved teaching can only be looked for through
an improved knowledge of the subject, and increased
skill in the methods of teaching by the regular
teachers. The object of this work is to aid the
teacher in presenting the subject in a manner which
will make the study a source of pleasure and profit
to teacher and pupil alike. The author offers his
experience in the hope that it may lighten the
labours of his co-workers in a great and good cause.
The plan of this work deals in detail with each
branch of the subject, and explains, by means of
Specimen Lessons and appropriate suggestions, tlie
simplest and most practical methods of application.
A number of exercises are given in each department,
which, although insufficient in themselves, will enable
the teacher to prepare others as may be deemed
necessary.
ALEX. T. CRINGAN.
(
INDEX.
PAGE
Accents 17, 35
Act'on Songs Co
Beating time 40, 42
Breathing 20,133
Beginning to teach 10
Calisthenics 62
Chromatics 155
Chordal treatment 16, 178
Colors 34, 96, 98
Continuations 45
Division of Lesson 13
Ear Exercises, 52, loi, 119, 124, 130, 162
Expression 108
Expression Marks 186
Eye-Training 32
Finger Signs 7
Interesting Devices 103
Instrumental aid 56
Manual Signs 6, 15
Marks 65
Measure 17, 37
Metronome 40
Minor Mode 149
Modulator 67, 112, 139, 148
Modulator Drill, 25, 79, 90, 112, 121, 128
Morning and Evening 106
Patterning 13
Pitching Keys 138
Postition, Best for singing 11
Principles of the System 14
Pulses 17, 4O
PAOF.
Registers, The 23
Rests, silences 45, iiS
Rote Songs, 60
Running in grooves 27
School Songs 57, 106, 131
Singing softly 11
" with pupils 12
" at sight, ...31, 80, 97, 1X4, 123, 129
" from books 122
Specimen Lessons : —
On Doh, Me, Soh 68
" Time 74, 77, 85
" Octaves 87
• Te and Ray 88
" Ear Exercises 102
" Teaching Songs 107
" Transition 140
" StaflF Notation 167
Staff Notation, Explanation of. x66
Syllabus for Graded Schools ...63, 134
Syncopation 161
Time, Hints on, 31, 80, 97, 114, 123, 158
" Chart 8
Time-Names 46
" Signatures 172
Transition 137, 183
Unexpected in teaching 82
Vocalising 28
Voice, The 20
" Training 109, 125, 132
Writing on black-board 36
' '^' ^; ■^.^ '
MANUAL SIGNS OF TONES IN KEY.
As seen from the left of the teacher^ rot as seen from the front. Teachprr
should particularly notice this.
SOH.
The Grand or bright tone.
TE.
The Piercing or sensitive tone*
FAH. .
The Desolate or awe-inspiring tone.
LAH.
TheSi»o T
■weeping tonr
ME.
The Stbadv or calm tone.
DOH.
The Strong ox firm tone.
RAY.
The Rousing or hopeful tonek
Note.— "Th^ie proximate verbal ce^cripfions of mantal effect are only trw ^
the tones , of the scale when sung slowly - wbeD the ear is filled with the key, ati*
when the e&'«t is hot modified by harmony.'"
FINGER-SIGNS FOR TIME.
As seen from the Teacher' h point of view, the back of the
hand being shown to the pupils.
TAA-
TAATAI.
tafatefe.
TAAtefe.
TAA-efe.
tafaTAl.
8AA.
TAAS/iZ. 8 A ATM.
•AA.
-AATAI
Note. — "These Signs are generally given with the left hand to distinguish them from the
Hand-signs, whif h a^a gi\en with the right. The back of the hand is toward the pupils,
so that the thumb uiay not be seen, for we never divide the pulse into five equal parts.
Some Teachers find a difficult}^ in dividing and joining their finders quickly enough.
To them it will be of great assistance to use the fingers of the right hand inside the
bald-up left hand, for the purpose of placing and keeping the left-hand fingers as they
would wish. Teachers reserve their right-hand for beating time j sometimes tapping the
pulses on the top of the left-hand ^whicb is held still), and sometimes beating time in the
regular way close by. The wooa-cuts are from the Teacher's point of view, not from
the side seen by the pupils."
8
THE TEACHER S HANDBOOK.
TONIC SOLFA TIME CHAKT,
BY JOHN CURWEN.
WHOLES. HALVES.
QUARTERS.
THIRDS
:1
:1
,1 1
,1
:1 .1 .1
TAA
tafatefe
taataitee.
•
:1
.1
,1
:1 - .)
•AA
TAAtefe
taa-aitee
:
:1
,1
:l .1 .-
8AA
TAA-fe
taatai-ee
:1 .1
:1
A .1
: .1 .)
TAATAI
tafaTAI
saataitee
:- .1
,1 .1
,1
:1 .- .
-AATAI
safatefe
taa-alAef
: .1
:1
,1 .1
f
:l . .
SAATAl
tafatestf
tasLsai-ee
:l .
:1
•
,1
:1 . .1
TAAS.4I
TAAsefe
taasaitee
EIGHTHS.
SIXT
HS (Threk Accents)
: L 1 ,1 1
.1
I
,1
1
:1
1
.1 1 <1 1
tanafanatenefei
le
tafatefetifl
NINTHS.
,i 1 1 J 1 1 J i 1
taralatereletirili
SIXTHS (Two AOOBNTS).
3 .S
:1 1 1 .1 1 1
taralaterele
[NoTK. — "Ai" is pronounced as in maid, fail, etc. "Aa" is
pronounced as in father, " a " as in mad, " e " as in led, and " i "
, as in ltd. These time-names are copied from M. Paris's " Langue
des durtes." The minute divisions are seldom used except in
Instrumental Music] .
HOW TO TEACH
THE
TONIC SOL-FA SYSTEM OF MUSIC.
PART FI RST.
CHAPTER I.
THE STEPS OF THE SYSTEM.
Since the introduction of the Tontc Sol-fa system,
many teachers have adopted the notation^ but have
not taken sufficient pains to inform themselves of the
grading of the various steps, or the methods of pre-
sentation which are peculiar to the system. As a
natural consequence, their teaching has been of an
irregular and haphazard description, which has too
often, though unintentionally, been the means of
bringing discredit on the system. " The easy before
the difficult," " the simple before the compound." and
" one thing at a time," are maxims with which every
teacher is familiar, but their application to the teach-
ing of music is still far from having become general.
The Tonic Sol-fa system is based on the true prin-
ciples of teaching, and the methods by which they
are applied cannot fail to commend themselves to all
practical teachers. In order to secure the best possi-
ble results, a careful adherence to the steps of the
method is absolutely necessary. - * "
lO THE teacher's HANDBOOK.
The system is divided into six steps. The two
principal subjects, Time and Tune, are taught sepa-
rately throughout. The arrangement of the primary
steps is as follows : —
FIRST STEP.
Tune. — The DOH chord (d n s) with all octaves.
Time. — Whole pulse tones, half pulse tones and prolonged
tones, in two, three or four-pulse measure.
SECOND STEP.
Tune. — The SOH chord (s t r') with all octaves.
Time — Quarter pulse tones, pulse-and-half tones and silent
pulses, 'in any measure.
THIRD STEP.
Tune.— The FAH chord (f 1 d') with all octaves.
Time. — Combinations of half and quarter pulse tones, and
silent half-pulses.
CHAPTER II.
OENEBAL HINTS.
BlEUINNINQ TO TEACH.
Many excellent teachers have been
deterred from attempting to teach
music by the erroneous impression that only those
who are naturally gifted with a good voice or a musi-
cal temperament arc qualified to teach music. Such,
however, is fortunately far from being the case. On
the contrary, teachers who are not so gifted, have a
much better appreciation of the difficulties to be over-
come by their pupils in learning to sing, and can
GENERAL HINTS. II
more readily lend assistance when necessary, than
the more gifted teachers, who find no serious obstacles
in their personal studies of music. Let the teacher,
once master the first step and give the first lesson,
and difficulties which formerly seemed insurmountable
will gradually vanish, to be succeeded by wonder
that a subject so full of pleasure and interest to
teacher and pupils should have been so long neg-
lected. " We learn to do by doing." Let the teacher
keep this fact in mind and act upon it. Whenever
a step has been mastered, let it be taught to a class,
and confidence in teaching will soon follow. No one
refrains from teaching drawing, saying, " I am not an
artist," or from teaching reading, because he cannot
claim to be an elocutionist, neither should any be
deterred from teaching singing because he is not a
musician.
QUALITY OF TONE.
All exercises should be sung with a
soft ^ pure tone of voice, and the ten-
dency to anything approaching loud or harsh singing
should be nipped in the bud. A soft pattern should
be given by the teacher, and pupils encouraged to
imitate it. Every music lesson should be commenced
with exercises, in developing a good tone of voice
This will be found to exert a beneficial influence
throughout the entire lesson. See chapter on voice
training.
BEST POSITION FOR SINGING.
This is undoubtedly standing erect, with the head
SiNO Softly.
12 THE teacher's HANDBOOK.
well kept up, but not thrown back, and the arms
hanging easily by the sides. This is not always
conveniently attainable, owing to the
construction of school desks, or nar-
Sit Easily.
rowness of the aisles. The next best position ia
sitting erect with the hands hanging easily by the
sides, or folded loosely and resting on the desks.
The weight of the body must not be thrown on the
hands while in the latter position. " Arms folded,"
[Avoid " Hands I ^^ " ^^^^^^ behind," should be avoided,
Behin d." as both tend to obstruct freedom of
action of the organs of respiration, which is absolutely
indispensable during singing.
SINGING WITH PUPILS.
There is always a strong tendency to sing with
pupils whenever the slightest difficulty occurs, but
this ought not to be indulged. Pupils may be " pulled
through " in this manner, but the exercise will fail to
be of the slightest educational value.
No sensible teacher would, for a
Do NOT SiNQ WITH
Pupils.
moment, attempt to teach a child to read by simply
repeating the lesson with him. In teaching singing,
the same laws should be observed as in teaching
reading. The teacher should listen, until help is
required, then sing while the pupil becomes the
listener.
LEARNING BY IMITATION.
This is one of the most important features of
the Tonic Sol-fa system. Theory and notation are
GENERAL HINTS. I3
kept in the back-ground as much as possible, while
the thing, music, is studied from a pattern given
by the teacher. Pupils will readily
imitate whether the pattern be good
Avoid Bad Pattern.
or bad. Teachers should be careful to avoid defec-
tive patterning, and should practise in private until
sufficient control of voice has been obtained, to
secure correctness in intonation and quality of tone
in patterning exercises and phrases.
DIVISION OF LESSON.
It is impossible to lay down any definite rule
regarding length or frequency of lessons. In this
matter circumstances must decide what is most
advisable. The plan of devoting all the available
time to a single weekly lesson is not calculated
to produce the best results. The lessons are too
long to permit of the interest being kept awake,
and the length of interval between lessons entails
a strain on the minds of the pupils to remember
what has been taught. Where it is possible, a short
lesson should be given daily, but when this cannot
be done an effort should be made to have the
music lesson at least every alternate day. From
twenty to thirty minutes daily is the average time
that can be spared for music in the public schools.
In order to make the most of the time, the lesson
should be planned in advance and a specific time
H
THE TEACHER S HANDBOOK,
allotted to each subject. The following- time-table
has been put to a practical test and found to work
satisfactorily : —
Voice-training,
Modulator drill -
Sight- singing, -
Time, - - - -
Ear-training, -
Practice of pieces,
3
minutes
5
3
/ -
4
8
3°
minutes
CHAPTER III.
THE rmTDAMEirTAL PBINCIPLES OF THE TONIC SOL-FA
SYSTEM.
Music is broadly divided into two branches, viz. :
Tunf' and Time. Each subject is taught separately,
in accordance with the true principle of teaching " one
thing at a time."
TUNE.
The Key Tone.
All tones are studied in their relation
to a governing tone or key-tone called
the Tonic, irrespective of their position in the scale
of abs mte pitch. Each tone of the scale has a dis-
tinct character or mental effect by which it can be
recognized in any key. The appreciation of mental
effect is the most powerful aid to a
clear conception of the tones of the
Mental Effect.
scale, without which it is impossible to sing in tune.
FUNDAMENTAL PRINCIPLES. 1 5
When a true conception of the mental effect of tones
has been formed, the singer is enabled to sing with a
degree of definiteness and accuracy, not easily ob-
tained by any method of what is commonly termed
" singing by interval."
MENTAL EFFECTS. (MAJOR MODE.)
TE —Sharp. Piercing.
LAH — Sad. Weeping.
SOH— Grand. Bright. Bold.
FAH— Gloomy. Desolate. Grave.
ME — Gentle. Calm. Peaceful.
RAY— Rousing. Hopeful.
DOH— Firm. Restful.
These approximate descriptions of mental effect
are only true of the tones of the scale when sung
slowly ; when the ear is filled with the key ; and when
the effect is not modified by harmony. •
MANUAL SIGNS.
A set of manual signs have been devised which
enables the teacher to face the class while giving an
indication of the tones desired to be sung. By com-
paring the diagram of manual signs (page 6), it will
be seen that each sign gives a suggestive picture of
the mental effect of the tone which it represents.
They have been found invaluable as a means of
concentrating attention in teaching time ; and so
strong is their mnemonic power, that pupils will often
/
1 6 THE teacher's HANDBOOK.
sing, by their aid, difficult intervals, when other
means have failed. It must be observed, however,
that they are simply a means to an end, and the
error of usin^ them to the exclusion of the modulator
and blackboard must be avoided.
The major scale is treated as being the same in all
keys, and has but one representation for one thing,
viz. : the initial letters of each note.
The following example is written in
One Scale.
the key of C, but should it be desired in the key of
E, all that is necessary is to substitute E for C and
change the pitch of the key-tone ; the notation will
remain unchanged : —
Key C.
Key E.
d :m If :m.r|d :t
d :m If :m.r|d :ti |d :— 11
The tone:: are introduced chordally, not diatonically.
This is the method which best ac-
cords with the harmony of nature.
CHOKaAL Treatment,
Tones are niore easily sung when arranged chordally,
i. ^., in groups composed of a tone with its third and
fifth, (d m s) (f i d') (s t r') and by this means pupils
are trained to smg wide intervals from the outset.
The practice of singing intervals stepwise only is
productive of uncertainty in reading at sight, and is
narrowing in its effect. The principle of tuning
instruments by chord has been followed by musicians
for centuries, and recognized as the only true means
FUNDAMENTAL PRINCIPLES.
n
of securing perfection in tuning; but John Curwen,
the founder of the Tonic Sol-fa system, was the first
to make a practical application of the principle to the
teaching of vocal music.
The tonic chord (d m s), the most common chord
in music, is composed of the strongest tones of the
scale, consequently is the first in order of introduction.
TIME.
Time is taught apart from Tune^ the exercises in
time only being sung on a monotone.
The successful teaching of time depends largely on
the recognition of three great facts, viz. :
The existence of pulses in music.
The regularity of pulses.
The accent of pulses and consequent grouping
into measures.
If pupils be requested to clap hands
while a lively tune is being sung,
Existence of
Pulses.
it will be observed that their beats will be almost
exactly alike, and will seem to fit into some element
of the tune. This element is termed the pu/se of the
tune.
In any one tune, these pulses will be
found to be regular in recurrence and
Rnuurity of
Pulses.
duration, although in some tunes they move faster
than in others.
aooent and
Measure.
As in poetry, the accents are of vari-
ous degrees of strength, so also in
music. The regular recurrence of the strong pulse
divides the music into measures. When every
l8 THE teacher's HANDBOOK.
alternate pulse is strong, there will be two pulses in
each measure, and when the strong pulse is followed
by two weak pulses, there will be three pulses in
each measure.
Example
TWO-PULSE MEASURE.
1st Measure.
2nd Measure. 3rd Measure.
4th Measure.
' ! 1
' : ^r : ^
1 :
1
Strong. Weak.
Strong. Weak. Strong. Weak.
THREE-PULSE MEASURE.
Strong.
Weak.
Ist Measure.
2nd Measure.
3rd Measure
.
1 : :
1 : : 1
• •
• •
1
Strong. Weak. Weak. Strong. Weak. Weak. Strong. Weak. Weak.
Unit of Time.
The pulse is the natural unit of time,
and by it the length of all tones is
calculated. Thus tones are said to be one pulse,
three pulses or half-a-pulse in length.
The advantages of the Tonic Sol-fa notation of
time cannot be overrated. A refer-
ence to the above diagram will show
Pictorial Notation
OF Time.
that it gives prominence to the three principal facts
referred to : each pulse being separately indicated,
represented of equal length, and the various degrees
of accent marked by specific signs. The following
will serve still further to illustrate the unique charac-
ter of this pictorial notation of time : —
Whole-pulse tones, . . Id :d Id :d 11
Two-pulse tones, ..Id : — Id : —
li
FUNDAMENTAL PRINCIPLES.
Half-pulse tones, Id .d :d .d Id .d
Quarter-pulse tones, .|d,d.d,d'.d,d'd>d| d
«9
Pulse-and-half tones, I d
:- .d Id
d .d
II
-.d
The notes which occupy a full space are one pulse
in length ; the dash ( — ) prolongs a tone into the
following pulse ; the dot placed in the centre of a
pulse divides it into halves, and the comma divides
the halves into quarters. The dash followed by a
dot lengthens the tone by one half pulse. In the
more intricate divisions of the pulse the pictorial
character of the notation is preserved throughout.
TIME NAMES.
In order to convey a correct impression of the
rhythmic divisions of the pulse, various "time names"
are employed. These are exceedingly useful in intro-
ducing any new division of the pulse, as they establish,
in the mind, an association of syllable and rhythm^
in the same manner as Sol-fa names establish an
association of syllable and interval. For full explana-
tion of time names see page 48.
FINGER-SIGNS FOR TIME.
Some teachers use finger-signs for teaching time,
but we do not recommend them except as an alterna-
tive means of illustration with very young pupils.
For the convenience of those who may wish to use
them, a diagram is provided on page 7.
ao THE tlacher's handbook.
CHAPTER IV.
THE VOICE.
"Man has sought out many inventions," and has
exercised wonderful ingenuity in the devising and
constructing of many beautiful and apparently perfect
musical instruments, but far above the works of man
stands a beautiful and perfect instrument of wondrous
mechanism, supplied to every individual by the Divine
Maker, who planned it — the human voice. Among
the many instruments made by man, there is not one
which receives so little care and cultivation, or has
experienced so much neglect as the human voice.
Many attempts have been ,made to compare the
voice to a mechanical instrument, but when pushed
to a legitimate conclusion every one has completely
broken down. For the purposes of illustration, no ons
will serve our purpose better than the reed organ. In
it we have the three essentials of
vocal tone ; viz., bellows, vibrator.
Three Essentials
of the voioe.
}'.*■--:.
and resonator. In the organ, the wind is supplied to
the vibrators by the bellows, and according to the
pressure of wind from the bellows will the tone be
soft or loud, and any irregularity of pressure will
result in unsteadiness of tone. In the organ the vibra-
tor is composed of steel reeds of various lengths,
which, being set in motion by the wind from the bel-
lows, emit a steady musical tone. The resonator is
THE VOICE.
21
composed of sounding boards and hollow boxes, and
likewise of the case of the instrument as a whole.
In the human voice, the bellows are
represented by the lungs. These are
The BEU.OWS.
enclosed in the chest, which they fit exactly, and of
which they occupy by far the largest portion, leaving
but a small place for the heart. They are two in
number, and are much wider at the bottom than at
the top.
Underneath the lungs is the midriff or diaphragm,
a muscular, movable partition by which the lungs are
separated from the abdomen. It is
The Diaphraqm
J
arched upwards like an inverted basin,
and when its muscular fibres contract, it flattens and
descends, thus increasing the capacity of the chest at
the expense of that of the abdomen.
Respiration consists of two acts, viz., inspiration
and expiration. Inspiration may be produced in three
different ways : —
(i) By pushing the chest forward and flattening the
midriff, so as to compel the lungs to descend^ and to
increase in volume, in order to fill the empty space
created by this movement
(2) By extending the ribs sideways.
(3) By drawing up the upper parts of the chest, viz.,
the collar-bones and shoulder blades.
We will term these (i) Midriff breathing ; (2) Rib
breathing ; (3) Collar-bone breathing.
Collar-bone breathing is to be con-
demned, and should never be used.
collar-bohe
Breathihq Ihjurious
It utilizes only the thin upper parts of the lungs,
22 THK teacher's HANDBOOK.
which cannot contain as much air as the broad under
parts ; and, as all the parts surrounding the upper
region of the lungs are hard and unyielding, much
fatigue is occasioned by their use. Midriff and rib-
Midriff and Rib- I breathing combined forms at once
Breathing de8irable.| the most natural and easy method of
Dreathing, and should be diligently practised by all.
The Vibrator is formed by two chords or bands
called the vocal ligaments. These are enclosed in the
larynx, or voice box, commonly called Adam's Apple.*
To give anything like a full description of these liga-
ments would necessitate much more space than is
available, consequently we will merely analyze the
results of their action. Sound " middle C " of the
II piano and sing downivards^ when a
\ change will be experienced m the
larynx and a difference in quality of tone will be at
once apparent, when A is sounded. This is caused by
a change in the method in which the ligaments are
made to vibrate. Continuing downwards no other
alterations will be experienced. Starting from C and
singing upwards other, changes will be felt between
E and F, and between B and C ; still another change
takes place between A' and B', but the register above
is not found in adult male voices. The term register
has been given to each series of notes produced by
one mechanism, and the voice has been classified as
follows : —
* For full information, see " The Mechanism of the Human
Voice," by Behnke. (Curwen & Sons, London, Eng.)
I'HE VOICE. 23
TABLE OF THE AVERAGE COMPASS OF THE REGISTERS,
C
B
A
G'
-F'
E'
-D'
C
■}
SMALL.
A
— G
F
— E
D
C
B,
—A,
G,
— F.
E|
— D,
C,
—B,
A,
■G,
F,
UPPER THIN.
■ LOWER THIN.
UPPER THICK.
LOWER THICK.
The names thick^ thitiy and small are given on
account of the manner in which the vocal ligaments
vibrate. In the thick registers, they vibrate through-
out their whole thickness^ but in the thin register, only
the thin inner edges of the vocal ligai.:ents are in
vibration, and in the small register, only a small
portion of the ligaments are in vibration.
The forcing of any of these registers upwards past
the above limits is highly injurious, but they can be
extended downwards without injury, and ought to
be cultivated downwards until they blend with the
register immediately underneath.
The Resonator is formed by the upper part of the
throat and the mouth. To illustrate the functions
of the resonator, take an ordinary violin string, stretch
over an ordinary deal box, and set i*- in vibration.
24 THE teacher's HANDBOOK.
A musical sound will certainly be produced, but poor
in comparison with that which will be heard with the
same string stretched over a violin. There is no
difference in the vibrator — the string — but there is
a great difference in the resonator. In the same way,
let a person sing with the teeth nearly close together,
the lips drawn over the teeth, the tongue arched
upwards, and the breath kept back in the mouth, and
we get a tone as poor in quality as any combination
of salt box and fiddle string can make. But let the
mouth be well opened and the voice directed well
forward in the mouth, and we get a tone equally pure
with that of the finest violin.
To produce a steady tone, and gain proper control
of the breath, breathing exercises must be practised
until a fair command of the lungs is obtained.
To produce correctly, tones of any pitch, we must
study the action of the vibrator, until the registers of
the voice are equalized and blended with each other.
Purity of tone depends largely on the shape of the
resonator, the quality changing with the slightest
motion of the mouth or throat.
In order to cultivate pure quality of tone, voice
exercises should be practised at the beginning of
every music lesson. By this means the attention is
confined exclusively to the formation of corre^"^
habits in singing, which are thus kept before the mind
throughout the entire lesson.
\
MODULATOR DRILL. 2$
CHAPTER V.
MODULATOR BRILL.
In the Tonic Sol-fa notation the modulator takes the
place occupied by the staff in the common notation.
Like the staff it gives a pictorial representation of
intervals, but with more accurateness than is possible
with the staff. The exact intervals between the tones
of the scale are clearly shown in the first three steps,
and in the following steps the true relation of keys,
the most important element in the teaching of sing-
ing, is clearly set forth. Modulator drill should form
the basis of all teaching to read music, and should
occupy a prominent place in every lesson.
The teacher should have some
definite object in view while con-
Have an Aim.
ducting modulator drill. Some teachers simply let
the pointer wander up and down as fancy may
dictate. This is, unquestionably, wrong. The object
of the drill should be :
1st. To familiarize the pupils with the mental effect
of the tones, irrespective of the interval by which
they are approached.
2nd. To enable the pupils to gain a clear mental
conception of each tone, and to sing them in any
desired combination.
3rd. To give confidence and certainty in points
where a weakness- has been found to exist. The
26 THE teacher's HANDBOOK.
methods of accomplishing this object are explained
under modulator drill in the graded lessons given
below.
Always sing the key-tone as a pattern to your class,
and do not commence drill until it has been imitated
in correct tune by all.
If pupils experience a difficulty in singing any
tone, do not tell them that they are ainging too
high or too low, but appeal to their sense of. mental
effect by questioning — Was that bright enough for
soh ? Did you sing that firmly enough for doh ?
Point definitely to the note you intend should be
sung, and move the pointer rapidly to the note
which follows.
Do not allow pupils to sing any tone until you have
indicated it. A neglect of this rule will cause con-
fusion and induce carelessness and inattention. Pupils
will anticipate, but they must be trained to sing the
intervals indicated by the teacher, not those which
they expect. If a pupil should persist in this, either
through carelessness, or eagerness, it will be advisable
to request him to stop singing for a little. When one
voice sings a wrong tone in advance of the others,
they are almost certain to follow, unless accustomed
to singing with certainty.
In order to make modulator drill
effective, repetition must be avoided.
Avoid Repetition.
Inexperienced teachers frequently fall into the error
of pointing to the tones in a loose, careless manner,
whereby they unconsciously repeat phrases, and teach
MODUF.ATOR DRILL.
27
their pupils to anticipate the tones which follow.
Such careless habit should be rigidly guarded against
as it only leads to running in grooves, and instead of
strengthening pupils in reading music,
has a decidedly weakening effect. We
Running in
Grooves.
lave repeatedly seen classes singing apparently diffi-
cult exercises from the modulator, while their own
teacher pointed, but when led by a stranger they
failed completely to sing even the simplest intervals.
On such occasions the teacher usually expresses
surprise, and asserts that, " they always sing that
easily for me," and cei-tainly they do, but only when
approached in the one manner to which they are
accustomed. We have seen an instance of a class
which would invariably sing the first half-dozen tones
d PI s PI r d, even though iiaming other tones pointed
by the examiner. This was certainly running in
grooves with a vengeance. Still, the teacher of the
class in question had been trying conscientiously to
teach her pupils, and was perfectly satisfied with the
results, as they seldom made mistakes while following
her pointing. Of course she was unaware that she had
been giving only a few tones, continuously repeated,
and that her pupils had practically learnt nothing
from all the modulator exercises they had sung. In
order to avoid the error the teacher SiiOuld memorise
sections of tunes by various writers,
containing a sufficient variety of style,
How TO Secure
Variety.
and introduce them into the exercises given on the
modulator. In the same manner difficult phrases in
28 THE teacher's HANDBOOK.
any song* under study may be worked into the
exercise with advantage.
It will also be found of mutual advantage to
exchange with another teacher. By this means, both
classes are tested by a strange teacher, and any
weakness which may exist is quickly discovered.
It has been said that " the modulator is to the
Tonic Sol-fa system as the sun is to the solar system,"
but this is only true when the modulator is properly
used,
VOCALISING.
This is the term applied to singing on one voweL
The vowel most commonly used is the broad ah^ as it
secures the most open quality of tone, and aids
correct opening of the mouth while singing. This
is sometimes termed laa-ing. Whenever pupils can
sing the syllables with any degree of certainty, they
should be taught to vocalise from the modulator and
hand-signs. This induces concentration, a definite
conception of tones, and is an excellent means of
mental training. It forms the connecting link be-
tween sol-fa-ing and singing to words. Pupils must
not be expected to vocalise difficult intervals at first,
but should be drilled in singing easy exercises from
the modulator, at a slow rate of speed, in order that
they may have time to think each tone. When this
power of thinking the tones has been developed the
syllables may be dispensed with, except in cases of
exceptional difficulty.
SIGHT-SINGING.
29
CHAPTER VI.
sioHT-snronro.
Thorough systematic drill in sight-singing should
"OnE Thing at a I ^^^^ ^^ important part of every lesson.
Time." | During the earlier lessons it will be
found advisable to write the notes on the blackboard
without any regard to rhythm, in order that undivided
attention may be given to the difficulties of tune.
As in modulator drill, repetition or running in
grooves must be carefully avoided. In order to
secure variety, extracts from songs which are un-
familiar may be taken and interspersed with phrases
of the teacher's own composition
As a rule, the exercises should be short and to
the point Long exercises containing
difficult intervals are dry and unin-
Short Exercises
ARE Preferable.
teresting, and are productive of little else than list-
lessness and restlessness. On the contrary, when
short exercises, containing each a single difficulty, are
used, the interest can be sustained for a much longer
period. At the successful termination of each exercise
there is a feeling that something has been accom-
plished, some difficulty overcome, and fresh difficulties
are attacked with vigor and certainty.
Individualizing should be encouraged from the
earliest lessons. At first nervousness
and timidity will prevent pupils from
Cultivate
Individual Sinoinq.
volunteering to sing in presence of their classmates,
30 THE teacher's HANDBOOK.
but a little discreet persuasion will soon convince
them that individual singing is no more difficult than
individual reading. Until a sufficient degree of con-
fidence has been developed, it will be necessary to
have the exercise sung by the entire class before being
sung by individual pupils. When this stage has been
reached, individual sight-singing may be attempted.
While one pupil is reading the exercise, the others
will be watching closely and eagerly listening for
mistakes. This will be found an excellent means of
cultivating habits of observance and attention in
sight-singing.
Whenever an exercise has been satisfactorily sung
on any one key, change the key, giving the sound of
the new doh firmly, and repeat the
exercise. Pupils should be trained to
Change Key
Frequently.
sing in any key from the outset. Exercises which
strain the compass of the young voices must not be
attempted. .
In primary classes it will be necessary to use the
syllables almost exclusively at first, but the power to
vocalise, i. e.y sing on one vowel-sound, should be de-
veloped simultaneously. Pupils may sol-fa an exer-
cise easily, but unless they can afterwards vocalise, or
sing it to words, the exercise will not be productive
of the best practical results. Exercises containing
exceptional difficulties should not be introduced unless
there is a certainty that the pupils have sufficient
ability to overcome them successfully. No fixed rule
can be given for grading the difficulty of exercises in
sight-singing for all classes, but the following will be
■:-i-\--
TIME. 31
found useful as a test. If pupils cannot vocalise an
exercise after having sol-faed it three times, it may
be safely assumed that it is too difficult. The inter-
vals with which the difficulty has been experienced,
should then be carefully studied from the modulator
before being again introduced into the sight-singing
exercises.
The use of colors in writing the exercises will be
found helpful in many ways. They serve to recall the
mental effects of the tones by comparison and contrast,
and also concentrate the attention on the difficulties
to be overcome.
CHAPTER VII.
TIME.
In children the feeling of rhythm is instinctive and
usually active. When a lively air is heard it will be
noticed that children invariably in-
cline to mark time in some way or
Instinctive
Feeunq of Rhythm.
other ; it may be by stamping with the feet, nodding
the head, clapping hands, or, if at liberty to do so, by
marching in time with the music. Notwithstanding
this fact, the number of classes in which " singing out
of time " predominates, is largely in excess of those
in which singing in strict time is the rule.
Several theories have been offered in explanation,
all of which are more or less correct. One is, that
32. THE TEACHERS HANDBOOK.
pupils are not all of the same temperament, and those
who are of a lively temperament will naturally incline
to sing faster than those of a dull, sluggish disposition.
This is certainly true, but when pupils are trained to
take the rate of movement from the teacher's baton,
all such individualities ought to be subordinate to the
will of the teacher. This should be , insisted upon
from the most elementary lesson.
We are of opinion that the true cause of failure in
teaching rhythm will be found in the unconscious
habit, which many teachers have formed, of teaching
mathematics of time, while the thing itself has been
left untouched. In examination papers in music,
we have frequently met with such
questions as the following : " How
many eighth-notes are contained in a dotted whole-
note ? " and have found pupils who could answer such
questions correctly, but who could not tell the differ-
ence between the rhythm in " Old Hundredth " and
"God Save the Queen," except on paper. Such
examples of neglect of the precept which demands
that " the thing before the sign " should be taught,
are unfortunately by no m.eans rare. In teaching
time, it will be found advisable to develop the rhythm
by listening to ear exercises, and tapping the pulses
(see page 17), until a clear conception of the rhythm
El has been formed. When this has
YE- RAiNiN . been satisfactorily accomplished, the
Mathematics mis-
taken FOR Rhythm.
pupils will be enabled to give undivided attention to
the training of the eye in reading the notation of
time.
TIME. 33
In order to test the instinctive feeling of rhythm,
let the teacher mark the pulses, by tapping lightly,
while singing one or two measures containing intri-
cate divisions of the pulse. If this be sung on one
tone, it will be found that a majority of the pupils
will imitate correctly whatever phrase has been sung.
This experiment proves that there is little difficulty
in singing certain intricacies of rhythm, but recognis-
ing them in musical notation, and knowing when to
sing them is a very different matter. In the ordinary
or staff notation of music this is a matter of consider-
able difficulty, and though it has been simplified to a
great extent in the Tonic Sol-fa notation, careful
attention to eye-training is absolutely indispensable.
The most common cause of difficulty is to be found
in irregular beating of pulses in the
elementary lessons. Teachers should
Regularity of
Beatinq Pulses.
be careful to point to the accent marks only when con-
ducting exercises in rhythm, and never on any
account to the notes, dots or commas contained within
the pulse. The following will serve to illustrate the
proper and improper methods of pointing. The *
denotes the position of the pointer at each successive
tap : —
impwr id :r .r I m :- .r I d :ti .ti i d :-
Method. |» ♦»'• *|* •♦•
Proper I d :r .r | PI :- .r I d :ti .ti | d :—
Method. ' ' "
Should the above improper method of pointing to
pulses be followed, it will be impossible to secure
1
I
j^ THE teacher's HANDBOOK
correctness in singing in time. In writing on the
blackboard it will be found advantageous to use
colored crayons for the pulse signa-
tures. By this means they are made
Colored Crayons
Advantaqcous.
to stand out distinctly from the notes, (which are
written with white), and the eye is unconsciously
directed to the sign for each pulse as it is felt or heard.
In teaching rhythm all exercises should be sung on
a monotone. This does not necessarily imply that
only one note should be used, Many teachers make
the mistake of using only one note, as follows : —
Id :d.d|d :- Id.dtd.dld :-
or.
II :1 .111 :- 11.1 :1 .1 11 :- 11
The first example is certainly preferable to the
second, but both fail in one important respect, viz.,
eye-training. We have followed the
above method for years, but have
Use more than One
Note in Writing.
been compelled to abandon its use for the more
rational one of presenting the notation as nearly as
possible as it is likely to be met with in singing real
tunes. Examples of tunes consisting of a monotone
are exceedingly rare. If pupils are trained to sing
any new division of rhythm from a notation of one
note only, they experience a difficulty in recognizing
the same division in an unfamiliar melody. In order
to overcome this difficulty, we have adopted the
plan of changing the notes with every pulse, which
presents the notation in its true form and trains the
TIME. 35
pupils to recognize it more readily when singing at
sight. In pursuance of this plan the above exercise
would be written —
1'
d :n.n|8 :— Is.siw.nld
and would be taught first by using the time-names,
then naming the syllables, on one tone^ and finally
singing the syllables in tune.
THE NOTATION OF TIME.
In a previous chapter reference was made to the
educational advantage of the Tonic Sol-fa notation
of time, in presenting a picture of the relative length
of each tone, and clearly indicating each variation
of accent.
. MusiCj like poetry, is characterised by a regularity
of rhythm and accent To this fact we owe much of
the pleasure which we derive from music ; it may be
in the mere jingle of a minstrel ballad
or the elevating strains of a grand
Reovlamtyof
Rhythm.
oratorio. The influence of rhythm in music is all-
powerful ; but without it music would sound insipid
and dull. Let the following familiar tune be sung
with the strong accent on each note marked with
a A and notice the effect
Kby F St. Petbr.
A AAA A A A
Bd'tlssfnnrdfnr
: nfnlssfmdPirdtid
^'' It will be apparent that the tune is altered almost
beyond recognition by this simple change of accent.
3«
THE TEACHERS HANDBOOK.
By simply putting the accent on the second note ai^d
every alternate note following, the tune will be re-
stored to its original form. '
In the Tonic Sol-fa notation, j*ro-
vision is made for three gradations of
AOOENTI.
accent, viz., strongs medium^ and weak. The Jk.gns
employed to represent these are
Strong I A relatively long upright line.
Medium | A relatively short upri>;nt line.
Weak : A colon.
I .1
MEASURE.
The strong accents recur at regular intervals and
divide the music into measures, A measure is the
space from one strong accent to the next strong accent.
In writing, the signs for the various pulses are
placed at equal distances apart, and thus present to
the eye a picture of the equal length of the pulses as
recognized by the ear. Too much care cannot be
observed in this particular, as an exercise in which
the pulses are represented as of un-
equal length is misleading, and is
Pulse Siqns Should
BE Equivalent.
invariably sung in a halting and jerky manner.
The most common cause of this error is the habit of
writing the notes and the pulse signs simultaneously.
In order to avoid this, the signs for
the strong pulses should first be writ-
How TO Write.
ten, then the measures divided into pulses, and finally
iimk; 37
the notes inserted in their respective i)laces, moder-
ately close to the pulse sign which ptece-fes them.
Example: — *
(")
1
/
1
II
w
1
1
1
1
II
w
: 1
•
• •
• •
w
1"
:r.r n
:r.r d
:t|.t| d :—
1
The above process may, on first sight, be considered
rather slow, but on trial it will be found to take less
time and secure better results than the haphazard
method previously mentioned. ■ ^ ■ .
Measures are broadly divided into
two forms, viz., (/up/e and in'p/e.
Forms of Measure.
In iiu/>/e measure every alternate pulse is accented.
In triple measure every third pulse is accented.
Two-pulse measure is the simplest duple form.
TWO-PULSE MEASURE. : • > '
II
Strong. Weak. Strong. Weak. Strong. Weak. Strong. Weak.
Three-pulse measure is the simplest triple form.
" ' THREE-PULSE MEASURE. 'i' ' ! ^U;i
f .v:,.: I = = M • ll
Strong. Weak. Weak. Strong. Weak. Weak. Strong. Weak Weak.
Occasionally the second pulse in three pulse-meas-
ure is sung with a medium accent, but it is always
written as above. ,
38 THE teacher's* HANDBOOK.
FOUR-PULSE MEASURE.
jl : I : I : f : ||
Strong. Weak. Medium. Weak. Strong, \yeak. Medlama. Weak.
This is the most common of all forms of measure,
and on this account is often termed " common time."
The difference between tho medium and strong
accents is very slight, and by many performers both
are made of equal importance.
SIX-PULSB MEASURE.
Strong. Weak. Weak. Medium. Weak. Weak.
This is sometimes termed double-triple measure,
and it is important to note that it is composed of two
sets of three pulses, not thrse sets of two pulses.
NINE-PULSE MEASURE.
H : : I : : I : : j|
This is composed of three sets of three pulses each.
It is not v«^ry commonly used, except in extended
compositi' -1^
TWELVE-PULSE MEASURE.
II : : I : : I : : I : : II
This is composed of four' sets of threes, and like
the previous form is not commonly used. Neither is
likely to be found in compositions for school classes.
The double line at the end of the examples must
not be mistaken for a pulse sign. It is used solely to
denote the end of a complete piece of music, or
section of such.
- ' .
TIME.
39
The bracket { denotes the end of a printed h*ne or
score, and may include one or more parts. When
several parts are included within the ( they are
intended to be sung simultaneously by voices divided
into a corresponding number of parts. In writing,
(unless where a silent pulse follows) a line should
never end with a pulse sign, as
||d :m.d |b :m ir :d.r |m :d |
B :f m |r :m.f|m :r |d :— 11
but should have the pulse sign placed at the begin-
ning of the succeeding line. The reason for this is
that a pulse mark denotes the degree of accent to be
given to the note which it immediately precedes,
hence the pulse sign should not be in one line while
the note is in another.
When a piece of music commences
on the strong accent, as shown in
Secondary
Measures.
above examples, it is said to be in Primary measure^
and when it commences on any other than the strong
pulse it is said to be in Secondary measure.
EXAMPLES OF SECONDARY MEASURES.
r
Two-pulse
Three-pulse
Four-pulse |
Six-pulse (
II
: I
B
40
THE TEACHERS HANDBOOK.
The criterion of a pulse is held to be that place in
a piece of music where we instinctively beat time.
If a piece of music be performed
alternately slowly and quickly, it will
Rapid Movement
OF Pulses.
36 found that in the latter case the stronger accents
only will impress themselves sufficiently to be recog-
nised as pulses, and the former pulses will be consid-
ered simply as sub-divisions of the new pulses. The
most frequent use of this method is to be found in
connection with six-pulse measure. When sung
rapidly this will appear to be two-
pulse measure, with pulses divided
Beatinq Twke in a
Measure.
into thirds. In beating time the beats will fall only
on the strong and medium accents, thus : —
II
When it is intended that a piece of music should
be sung in this way, directions as to beating time are
given. " Beating twice in a measure," "beating twice,"
or more frequently only the word " twice " is used to
denote the method of marking the pulses.
In quick nine-pulse measure the pulses are beat
" thrice in a measure," and are expressed as above,
the word " thrice " being substituted for " twice."
In order to denote the rate of speed
at which pulses are intended to move
Metronome Rate.
in a given tune, Metronome marks are placed at the
beginning, or at any point where a change in the rate
of movement is desired. Metronome is the name
/ ■
TIME. 41
applied to an instrument which marks the pulses at
various desired rates of movement. Metronome 60,
abbreviated M. 60, denotes that sixty beats of the
Metronome are to be given in one minute.
Practically the M. may be taken to mean minute,
thus M. 60, M. 70, M. 84, denotes that the number of
pulses indicated are to occupy one minute.
M. 60 TWICE. '
• • I • • •
il
This indicates that the pulses are beat twice in each
measure, moving at the rate of sixty pulses in the
minute.
The more elaborate metronomes are supplied with
a clock-work arrangement, and pendulum with sliding
weight, which regulates the rate of movement accord-
ing to a given scale. By means of a series of tooth-
and-pinion wheels the pulses are ticked audibly, and
some have a bell attachment which strikes the accen-
ted pulses also. Such instruments are rather expen-
sive for general use, and a cheaper form of instrument
is necessary. What is known as the "tape-and-
weight" m'='^ronome will be found to answer all ordin-
ary purposes. This is easily made by attaching a
weight to the end of an ordinary tape
measure. This may be held in the'
How TO MAKE A
Metronome.
land, or suspended from any convenient peg, and
when in motion each co^nplete vibration will correspond
to a pulse.
The following table gives the number of inches of
the tape required for the different rates of movement.
42
THE teacher's HANDBOOK.
The number of inches here given is not absolutely
correct, but is near enough for ordinary purposes : —
M. 50 Tape 56 inches.
«(
((
(C
47
38
31
27
24
21
17
13^
M. 56
M. 60 "
M. 66 "
M. 72
M. 76
M. 80 "
M. 88 »♦
M. 96 "
M. 120 "
In order to gain some idea of the respective rates
of movement, it is advisable to memorize one distinct
rate, and adopt it as a standard by which to compare
all others. M. 60 will be found most serviceable for
this purpose. When this rate has once been fixed in
the mind, it will be an easy matter to think of M. 1 20
as being twice as rapid, M. 90 one half quicker, and
the intermediate rates in proportion.
BEATING TIME.
Various methods of beating time are employed as :
1. Tapping the blackboard while pointing to the pulse-
signs of the tune being sung.
2. Tapping the pulses audibly without pointing to the
pulse-signs.
3. Stamping with the feet
4. Simply marking the pulses by a clearly defined
movement of the pointer or baton.
TIME. 43
The first two methods are necessary in conducting
elementary exercises, in which the pupils' attention is
concentrated on the notation, but should be dispensed
with as soon as possible.
The third method is unquestionably bad, and has
not one single redeeming feature to recommend it.
When indulged in, it induces loud and harsh singing
with consequent forcing of voices. Teachers should
discourage its use on the part of their pupils, and
should avoid setting a bad example.
Note. — This is easier said than done.
The fourth method is the best of all. Pupils should
be thoroughly trained to watch the beat, and no
exercise or song should be considered well taught
until it has been sung in accordance with the silent
movements of the teacher's baton ; in this respect the
teacher must be an autocrat, by whose will every
pupil must submit to be governed.
The ordinary forms of beating time are as follows :
TWO-PULSE MEASURE. THREE-PULSE MEASURE.
• Weak. Weak.
UP. ^^'
DOWN «
Strong. Strong. Weak.
44 I'HE tkacher's handbook.
. FOUR-PULSE MEASURE.
Weak. LBPtT^vM RIGHT Medium.
DOWM
Strong.
SIX-PULSE MEASURE.
Down, left, left, right, right, up.
Sometimes this is beat as for two three-pulse meas-
ures. When quicky beat as for two-pulse measure,
NINE-PULSE MEASURE.
Commonly treated as three-pulse measure.
In beating time, the baton should move quickly,
and definitely to a "point of rest" at the extremity
of each beat The tendency ta in-
dulge in cutting ornamental figures
Mark Time
Definitely.
should be carefully avoided. This style of conducting
is unfortunately too common. It may seem to be
pretty enough when viewed by an audience of specta-
tors, but the teacher must remember that Jie conducts,
not for the audiencey but for the singers. No style of
marking time can rivet the attention of the singers so
well as the plain geometrical movement of the baton
indicated above. In order to define the rate bf move-
ment, it is advisable to beat a silent measure before
TIME.
45
the singers commence. As a rule this should begin
on the first pulse of the measure, and should the piece
begin on a secondary measure the voices will enter
when due.
LENGTH OF TONES.
All duration values are calculated from the pulse
as a unit. A note placed between any two pulse-
signs is one pulse in length, unless followed by some
qualifying sign.
Example : —
Id :s |m :d Ir :ti Id :d
Each note in the above is one pulse in length.
When a tone is continued or prolonged, a continuation
mark ( — ) is written in the pulse or pulses through
which it is intended to be continued.
Example :-
d :- Is
n
In the above, d and s are each two pulses, and m
is four pulses in length. In writing
the notation, the continuation mark
Continuation
Marks.
should be placed equidistant from the dots of the
colon, or opposite the centre of the upright bars, but ,
must not touch either. See above example.
The Tonic Sol-fa notation gives a common-sense
representation of silence or rests.
Where there is nothing to be sung,
Rests.
nothing is represented, consequently no signs what-
' /,
46 THE teacher's handbook
ever are used to denote silences. . The number of
pulses or fraction of pulses which is left empty denotes
the duration of the silence or rest
Example : —
d :m Is : I :n id :—
In the above the third and fourth pulses being
empty, denotes a two-pulse silence.
Pulses are divided into fractions by
signs placed between the pulse sig^ns.
Division of
Pulses.
A dot placed in the middle of a pulse, on* a level with
the lower dot of the colon, divides the pulse into
halves.
Example : —
d :d.r |pi :r.d|r :d.ti |d :—
The Yi shows the notes which are half a pulse in
length. Notes are frequently continued for one half
pulse only ; such continuation is represented by a
short continuation mark.
Example :-
—
d : - .r
n :- .r d :-
.t, d
*
•
% •
II
Pulses are divided into quarters by placing a
comma in the middle of each half-pulse.
Example :-
■X
i
1"^
:r,ni,s 1
:s,f .n,r d
V XX XX
•
t:
1
^
<i
\.
TIME. 47
Combinations of halves and quarters are represent-
ed as follows : —
HALF AND TWO QUARTERS.
:r .m,f|8 :b .f,m|
:r .m,r|d :—
r
TWO QUARTERS AND HALF.
d :r,m.f |s :s,f.n
X H 'A -A -A 7z
1/ u u
r :r,m.r |d
%%yz
In representing the division of the pulse into three-
quarters and quarter, a slight deviation has been made
from the consistency of the notation, as explained
above. Formerly the three-quarter-pulse tone was
treated as a half-pulse tone continued for an additional
quarter pulse, and represented as such by a short
continuation mark extending to the comma, thus : —
Id .-,r:m
The majority of teachers however, have now de-
cided that the three-quarter-pulse tone should be
considered as a thing in itself, and not a half-pulse tone
continued. In addition, the above form of notation
was found to be inconvenient to the printer. The
continuation mark has now been discarded, and the
dot placed almost close to the comma.
Example : —
d
:r
.,r n
:r
.,n
%
X
X
X
f
.,r d
X
•
t.
4S
THE teacher's HANDBOOK.
The division of the pulse into thirds is lepresented
by inverted commas.
Example :-
:rtr<r|m :r<r<r|d :ti .ti |d :—
Vi lA I
3 73 73
II
Any part of a pulse may be silent. The space left
empty will denote the part of the pulse which is
silent.
Example : —
Id : .r |m : .r,m|f . ,s:m, . ,r|d :— I
\ Vz >i I X XX I
A complete time-chart for reference is given on
page 8.
TIME-NAMES.
The above written analysis of time-values cannot
convey any correct impression of their effect when
sung. This can only be learnt through hearing. Every
teacher who has experienced the difficulties of teach-
ing Rhythm^ must realise the advantages of a system
of " Time-names," which at once gives a clear con-
ception of the mental effect of various rhythmic forms,
and fixes their conception on the ears and minds of
the pupils. The time-names of the Tonic Sol-fa
system have been adopted from M. Paris's " Langue
des durees," which had previously been successfully
used in France in connection with the " Galin-Paris-
Cheve" system. This system is in many respects
identical with the Tonic Sol-fa system and is based
TIME. 49
on the same fundamental principles. The Time-names
have been adopted by the promoters of other systems,
6ut have been so improved (?) as to be almost un-
recognisable. The beautiful simplicity of the arrange-
ment of the vowels has been discarded, and a separate
vowel introduced on every accent. The mere effort
of memorizing such a complex arrangement of names
induces confusion and neglect of the thing. When
the founder of the Tonic Sol -fa system, — Rev. John
Curwen, — first adopted the French time-names he
was induced to improve (?) on them by changing the
consonants, and in several instances the vowels also ;
but his experience, and that of the large body of
teachers of the system, resulted in a return being
made to the simple names, as proved and tested by
the French for years. In announcing his decision he
says, "If names become complex they draw a large
amount of attention to themselves, which should be
given to the things they represent. In carrying the
time-names through a course of lessons, I found that
my modifications, simple as they seemed, had intro-
duced a practical complexity which became more
troublesome than useful, and that increasingly so as
we went further on. Therefore it was after long
discussions and experiments that we decided to use
the French time-names just as they came to us after
years of well-tested use." The Time-names have now
been in use for sixty years, and, in their original form,
are more generally used than ever.
" The system is founded on the principle that time
is measured to the ear and mind, not by appreciated
50 THE teacher's HANDBOOK.
durations only, but by those louder and abrupt deliv-
eries of tone which we call accents — both by the
stronger accents of a measure and by the more deli-
cate accents of a pulse." The time-name for W\g first
stroke of a pulse is Taa^ and, should no qualifying sign
be added within the pulse, •'o additional syllable is
necessary. Consonants indicate the percussion of
tones, vowels indicate their duration. The following
are the time-names for the common divisions of
rhythm : —
WHOLE-PULSE TONES.
d
Taa
:r
Taa
n
Taa
HALVES.
:d
Taa
Taa - Tai
Taa -
.d r
Tai Taa .
QUARTERS.
Tai
:d
Taa .
.d
Tai
V '■
HALVES AND QUARTERS.
THIRDS.
|d,r .m,f :s ,f .m,r Id .t, :d 11
|Ta fa te fe Ta fa te fe Taa Tai Taa ||
W .r ,n :f .n,r |m ,f .s :d M
|Taa te fe Taa te fe ta fa Tai Taa ||
THREE-QUARTER AND QUARTER.
[I .,r im .,f Is .,f :m
Taa . fe Taa - fe Taa - fe Taa
li t;
l'-.
Id ,r ,n rr ,m ,f |m ,f ,s :d ||
|Taa tai tee Taa tai tee Taa tai tee Taa ||
TIME. ' . %i
The Time-names for silences are formed by sub-
stituting s for the initial consonant, thus —
d (n . :d .
Taa • Saa ' Taa Sat Taa Sai
I
.d :r . ,m |f ,n . ,r :d
'aa Tai Taa se fe Ta fa se fe Taa Sai
The time- names for continued tones arc formed by
simply omitting the initial consonant, thus : —
d :- |r
AA -aa Taa
d :- ,r .n ,f |s
"^AA -a fe te fe Taa
-aa
.d
Tai
-aa
.f ,n
te fe
•aa
-ai tt-e
d :— ^r <m |f
aa -aa tai tee Taa
Note. — '* Ai " is pronounced as in mat'd, fail, etc. : " aa ' as in
father; "a" as in mad; " e " as in l«d, and " ee " as in tr£<r.
For time-names of more intricate divisions of the
pulse, see Time-Chart on page 8.
In practice, the time-names are sung on a monotone.
It must be borne in mind that they are simply a
means to an end, and not, as has sometimes been
claimed, the " Ne plus ultra " in teaching time. We
have frequently met with classes which could sing the
most complicated rhythms while using the time-names
or laa on one tone, but stumbled wofully when at-
tempting to sing in tune simple exercises, containing
no greater difficulties of rhythm than half-pulses. Such
results are invariably caused by a false interpretation
of the principle of teaching " one thing at a time."
The elements of Time and Tune should invariably be
5a THE TEACHER'S HANDBOOK.
taught separately until each has been mastered, but
should then be immediately combined. When a
certain division of rhythm has been mastered, and
can be readily sung at sight on one tone, it should
be combined with various tune-forms and practised
thoroughly. Until this has been accomplished, it is
unwise to introduce any new or more difficult form ot
rhythm.
CHAPTER VIII.
EAB CTTLTIYATIOir.
In the foregoing chapters we have confined the
attention almost entirely to the reading of music ;
but now an equally important subject remains to be
discussed, viz., the thinking of music.
The importance of this factor of musical education
cannot be over-estimated. We have frequently met
with instances of persons who could read music, but
who could not tell the names of tones by ear, but
have never known anyone who could name tones by
ear without being able to sing them readily at sight.
Many teachers have the impression that the faculty
of recognizing tones by ear is difficult of acquirement,
and can only be acquired by the gifted few. The
unv»arying experience of practical teachers is that an\'
l)upil who can recognize the difference between a
high tone and a Ic iV one, can be trained to distinguish
minute intervals of tune and time, provided the
course of training be systematic and thorough.
EAR cri/nvArioN. 53
The Tonic Sol-fa system of ear-training is based
on the doctrine of " mental effects " of tones in key»
not on the effects of tones in absolute pitch. One of
the ablest of American musical critics, in an article
on the subject, says : — " The current impression of
the average American writer on this subject, that the
main feature of the Tonic Sol-fa system is the simple
notation, leaves entirely out of the
question two other elements, which
A CRITIC'S Opinion
OF Sol-fa Methods.
are, if possible, even more important. The first of
these elements is the method of instruction, or of
cultivating the ear, invented, systemized and perfected
by the Tonic Sol-fa teachers. They have the only
system of training the ear to a cognition of musical
impressions, according to their real nature, possessed
by any body of elementary teachers."
Exercises in "ear-telling" should form a part of
every music-lesson. These exercises cultivate quick-
ness in the sense of hearing, and in perception of
tone relation ; and, in addition, cultivate the powers
of observation and analysis. Pupils who have been
trained on this principle can usually see more in a
musical composition than those whose
powers of reading only, have been
Cultivate Intelu-
qe:«t Observation.
cultivated. The latter are usually found lacking in
the analytic faculty in observing. Just as in viewing
a laritiscape, a cultivated eye will see beauties which to
the ordinary observer are invisible, so also in reading
music. Pupils should be trained, rot to be mere
singing machines, but to be observant listeners and
intelligent performers. ^ ' .
54 I'HE TEACHERS HANDBOOK.
These exercises are also valuable
from the fact that they give certainty
Ear Exercises
Assist the Voice.
to the voice in reading music. Many teachers make
the fatal mistake of teaching singing by the same
methods as they teach playing on an instrument. In
playing, the reading of the notes is simply a matter
of location^ i. e.y reading the positions of the notes
upon the staff and locating them upon the keyboard
of the instrument. This may be accomplished me-
chanically by persons utterly devoid of musical feel-
ings ; but the reading of music in singing is a very
different matter. No person can produce a vocal
tone without first having formed a definite conception
of the tone to be produced. In training the mind to
form this conception, ear exercises are of the utmost
importance.
They are also helpful in testing individual pupils
in musical examinations. Written examinations in
music are frequently valueless as an indication of
musical ability, while individual examinations of a
practical nature are as frequently misleading. In the
state of nervousness consequent on
the consciousness of being under
Useful as an
Examination Test.
examination, pupils cannot be expected to do justice
to themselves or their teacher, as they frequently lose
control of the voice altogether. The ear exercises
supply a practical test which is a happy medium
between written and oral examinations, combining
the advantages of both, while being freed from their
disadvantages. ■
While the advantage of these exercises cannot be
, I
I
EAR CULTIVATION. 55
gainsaid, it is a matter of regret that, of all subjects
in the musical curriculum, this receives the least
attention. The reason is not far to seek. The ma-
jority of teachers consider the subject too difficult,
and are afraid of making mistakes while conducting
the exercises. Teachers of ordinary musical ability
can easily overcome this difficulty by attending to
the preparation of the lesson. This may be done by
memorizing a few phrases, suited to the grade to be
taught, and using them as ear-tests. Three or four
such tests will be sufficient for a first attempt. When
these have been used successfully, confidence will
result, and exercises containing greater difficulties
may gradually be introduced.
Unfortunately, however, there are
many otherwise excellent teachers
All Teachers Can
Learn to
Teach MU8I0.
who have been denied the advantages of an early
musical education, and consequently cannot, with any
degree of confidence, use their voices in teaching to
sing. Many will unhesitatingly condemn such teach-
ers for attempting to teach music, saying they ought
not to be allowed to do so ; but to this I most em-
phatically take exception. In this enlightened age
they are few persons who will deny the utility of
music-teaching in the school-room, or its advantages
as a means of educational recreation. Granted that
it possesses the advantages which have been claimed
in its behalf, are teachers to be deprived of the enjoy-
ment of sweet sounds, solely on account of an inability
which is no fault of theirs ? Most certainly not I
have had the privilege of being associated in the
56 THE teacher's handbook.
work of teaching with many such teachers, and have
yet to learn of one who could teach other subjects
satisfactorily and has failed with music, after a.
conscientious endeavor to attain the necessary pre-
liminary qualifications. Such teachers may never
acquire sufficient confidence to enable them to sing
in presence of their pupils, but they undoubtedly can
cultivate the power of detecting errors in singing, by
studying under a competent teacher. For the benefit
of such teachers the following methods have been
devised. •
Cultivate the habit of vocalising in your pupils.
This will enable them to think the tones indepen-
dent of their names. Encourage pupils to do this
individually.
If pupils display special aptitude in this direction
let them sing an ear-test while the others write the
names of the tones. Example. — A girl satisfies the
teacher that she is competent to vocalise a phrase of
four tones. She writes them on her
slate, and takes a position in front of
Pupils Assist
THE Teaoher.
class. Pupils are directed to write on their slates the
numerals I, 2, 3, 4, and to listen for the fourth tone.
The girl will then vocalise the four tones, say d S n d'.
Pupils will then write the name of the fourth tone
under number 4. This will be repeated while they
listen for the third, second, and first tones, respectively,
when the correct names will be announced. If this
exercise be carefully conducted, pupils will be eager
to assist and will probably display more interest than
when the exercise is sung by a teacher.
^ SCHOOL SONGS. 57
A musical instrument may also be used with
advantage. If a piano or organ is available, so much
the better; but if not, there are other less costly
instruments which will serve the pur-
pose equally well. There is a
Instrumental Aid
IN Ear-Trainino.
suitable little instrument called the " Metalophone,"
which can be procured at a moderate cost. It is
composed of a sounding box made of wood, on which
strips of metal of various lengths are loosely nailed.
These, when struck with a small hammer, produce
distinct musical sounds which can be distinguished
readily by ear. In purchasing, it will be necessary to
select one which is strictly in tune, as the inferior
sorts are apt to be wofully deficient in this respect.
Detailed hints for conducting ear-exercises will be
found in subsequent chapters.
CHARTER IX.
SCHOOL soiros.
In the preceding chapters we have simply described
the methods of conducting exercises in the various
elements of music, but their successful combination
into a complete whole demands a special treatment
of its own. In teaching music there is a constant
danger of sacrificing everything to
technique^ to make singing automatons
Dangers of Studying
Exercises only.
of our pupils, rather than to lead them to see and
58 THE TEACHKK's HANDBOOK.
feel the beauties of song, and so give intelligent ex-
pression to the sentiments of the poet and composer.
In order to gain this desired end, exercises, in Tune,
Time, Ear-training and Vocal Gymnastics, must cer-
tainly be studied, but simply as a means to an end.
As a means of developing the powers of observation
and concentration, of cultivating readiness in reading,
and agility in executing, so that the mind may be
relieved of all thought of merely mechanical details,
and be at liberty to think of the more aesthetic
qualities of music. If our choice were limited to
exercises without songs, or songs without exercises
we should certainly choose the latter ; but fortunately
the Tonic Sol-fa system provides an excellent means
of securing both. A properly selected song, well
taught, provides an excellent means of training at
once the voice, the ear and the mind.
In order that a song may possess those educational
advantages it must be adapted to the abilities of the
Dupils, must contain no difficulties of Tune or Time
which have not been previously mas-
tered by a series of carefully graded
Selection of Songs.
gymnastics. It must also contain no tones outside
the limits of the range of the pupils' voices, and above
all the sentiment of the verse must be such as the
pupils can easily comprehend. No true teacher would
for a moment, think of giving an exercise in reading
from the Fourth Book to the pupils of the Primary
class, still the equally un-educational method of
teaching (?) fourth-step songs to junior pupils is being
pursued every day.
SCHOOL SONGS. 59
If songs are adapted to the abilities of the pupils,
their study is certain to be a delightful source of
pleasure and interest ; they will be found humming
them around the school yard, or singing them in the
home for the entertainment of their parents, where,
probably, their influence will create more true happi-
ness than the most brilliant warbling of the prima
donna. The use of songs in the school-room fulfils
the double purpose of providing instruction and re-
creation in the most pleasing form. Most teachers
can testify to the benefits derived from singing some
well-known school song when pupils have become
tired and restless from close application to more
severe studies. Such benefits will be impossible of
attainment, however, should the singing of the song
entail the study of any serious technical difficulties.
Let the songs selected be such as have been described
above, and let them be preceded by a carefully
graded series of exercises, and the singing lessons
will be remembered as being among the brightest in
school-life. An excellent authority on teaching has
observed that " Our pupils remember us, not from the
amount of technical knowledge with which we may
have been able to cram their minds, but from the
pleasure which we have combined with the acquire-
ment of that knowledge." If we desire to make
school-life thoroughly enjoyable, alike for pupils and
teachers, let us have it freely interspersed with suitable
songs which will teach only the true, the noble and
the good. . ,
It must not, however, be supposed that only pupils
6o THE teacher's HANDBOOK.
who have learned to read music are to be allowed to
sing. Such a course would be altogether contrary to
nature. Children learn to sing at their nriother's knee
by the simplest of all methods, viz, imitation^ and
this should be continued throughout the earlier period
of school-life. Our aim, as teachers, should be to
continue the imitative process begun in infancy, so
that the children may never know the time when
they could not sing. This can best be accomplished
through the free use of Rote Songs, consisting of
simple words of easy comprehension, enlivened by a
bright ** taking " melody. In teach-
ing a song by rote, the teacher must
Rote Songs.
3e careful to avoid loud or harsh singing, using only
a pure, sweet tone of voice. The time should first be
, taught without the words, the teacher alone singing
the first phrase while the pupils listen. When one
phrase has been correctly imitated, the next will be
taught by the same method until the whole tune has
been learnt. The words should be studied separately
from the teacher's pattern. In teaching the words, it
is advisable to recite them on a monotone^ but with
exactly the same rhythm and accent as will be used
when singing in tune. When this has been accom-
plished the words and music should be combined,
and the ideas contained in the words developed by
appropriate questioning. A number of suitable Rote
songs will be found in the Appendix.
Rote songs are frequently sung in
combination with appropriate actions,
ACTION Songs.
and are then known as Action Songs. By many
SCHOOL 80N0& 6l
teachers, Action Songs have been unhesitatingly con-
demned, and by others they have been equally unhesi-
tatingly endorsed. It cannot be denied that when
singing is accompanied by appropriate actions., or
gestures, the general effect is enhanced and rendered
exceedingly pleasing. The actions, likewise, usually
consist of calisthenics, designed with the view of pro-
moting aesthetic pliysical culture, and development ol
what has been fitly tOktncd the '' poetry of motion." As
such, they are certainiy productive of beneficial results,
and are worthy of encouragement within reasonable
limits. The great danger attending their use lies in
the tendency to subordinate the mttsical to the gc^iercu
effect. This leads to the formation of careless habits
in singing, and consequent misuse of the voice. In
trained operatic artists, we have the highest type of
singers of Action Songs. Even they, though trained
to the scientific use of the voice, tell us that the strain
on the physical and nervous system is much greater
on the operatic stage than on the concert platform,
where gestures are not generally used. If this be the
case with adults, specially trained for this particular
work, and possessing the knowledge requisite to
govern the various faculties which it calls into action,
how great must be the danger atten-
dant on the singing of Action Songs
Danger of
action sonqs.
by little children, whose physical organs are as yet
weak and undeveloped. In Action Songs the gestures
should be quiet and natural, and the singing soft and
sweet The teacher who cannot secure attention to
these essentials, should not attempt the teaching of
62 THE teacher's HANDBOOK.
Action Songs. Their use can be entrusted with safety
only to the teacher who can realise the extreme
delicacy of the vocal organs, and the care necessary
to their successful preservation and development.
If the object be the study of calisthenics, that only
should engage the attention of the pupils. I have
:icen a class of children with backc bent and hands
outstretched in the endeavour to touch their toes, and
while in this position actually attempting to sing. Of
course freedom of breathing under the circumstances
was an impossibility. I do not for a. moment object
to calisthenic3 -n the school-room, being aware of the
beneficial results following their intelligent use ; but
when calisthenics are being practised as such, I am
of che opinion that the music necessary to the defini-
tion of a rhythmical accompaniment should not be
supplied by the performers themselves. In order
to supply the necessary accompaniment, a musical
instrument may be used. If a piano
or organ should not be available, the
Calisthenios and
81NOINQ.
mouth organ, metalophone, or even the tap of a toy
drum, w:ll be found serviceable. Flailing these, one
half of the class may sing the accompaniment while
the other silently practise the exercises. By this
means" they can study the actions of the others and
learn sufficient for their performance when the others
have finished.
\
. '(.■■ f^ - 1-.
SYLLABUS FOR GRAD£D SCHOOLS. 63
CHAPTER X.
SYLLABirs OF UlrsiG FOB QEADED SCHOOI&
Reference has already been made to the division
of the system into " Steps," and the necessity of
adhering to tlie plan of teaching contained therein.
In order to adapt the system to the ordinary divisions
of Public and High Schools, a more minute sub-
division is necessary. Some writers favour the plan
of teaching music in three divisions only, viz., Primary,
Intermediate, and Advanced, and combining several
classes of various grades under each division. Under
exceptional circumstances this may be a convenient
arrangement, but it has numerous disadvantages.
Pupils who have already mastered the elements of
the " step " are compelled to practice with others who
have not, which ic liable to induce lack of interest in
the one class, and mere dependence and rote-singing
in the other. There is also the additional disadvan-
tage of loss of time in combining several classes in
one room, and the increai^cd difficulty of securing and
maintaining discipline in large classes. Better results
can be secured wlien the exercises are adapted to the
ability of each class, and superintended by the regular
64 THE TEACHER'S HANDBOOK.
teacher. This will necessitate the division of the
subject into at least eight separate grades, in accord-,
ance with the classification usually adopted in grading
the ordinary subjects of the school curriculum. While
the classification is practically the same in a'' Cana-
dian Public Schools, there exists a lack of uniformity
in the terminology employed to designate the various
classes. In order to prevent the confusion inseparable
from an adoption of the terminology of any particular
locality, we will simply provide a syllabus for ist
Division, 2nd Division, etc. This can be adapted to
any system of grading which may be desired. The
subject has been divided into six branches, each of
which should receive special attention.
Many teachers devote the time of the music lesson
almost exclusively to sight-singing and the practice
of songs, to the exclusion of ear exercises and time
drill. In order to avoid this error, a monthly review
should be held and marks given in each subject
according to the degree of proficiency attained. This
plan has been found to produce excellent results
wherever tried. The pupils like to know exactly how
they stand in all subjects, and when poor marks are
given in any, an improvement is always noticeable at
next review.
The following will be found useful as a guide in
preparing for reviews. The subject of voice-training
is placed last, and pupils must be cautioned against
using harsh or impure tone, as the marks for this are
given according to the quality of the tone shown
in the previous subjects
If
/
SYLLABUS lOR GRADED SCHOOLS. 65
MAXIMUM.
Modulate exercises ... . - g
Time " .... g
Sight-singing ** 8
Ear ««.... 8
Prepared song 8
Voice-training lo
Total - • • - SO .
DIVISION I.
Modulator. — To sing from teacher's pointing, in any key,
exercises on the OOH and BOH chords, including the upper and
lower octaves of the tones d, m, 8, t, r. - '^ •♦ « "•»♦ • '— '*"
Time. — To sing from pointing on blackboard, on one tone,
3xercises containing full-pulse, half-pulse, and contmued tones.
To write on slates, from teacher's dictation, examples of two,
three, and four-pulse measure.
Sight-Singing. — To sing from blackboard, phrases of four, six,
or eight tones composed of the tones, d, m, •, t, r, in any easy
position. ■. .^- ' vr ^
Ear Exercises. — To tell, by ear, the name of any one of above
tones, sung to LAA or numbers.
To imitate in correct tune and time, simple phrases of from three
to six tones, containing divided pulses.
Prepared Song. — To be sung to words, with neatness of articula-
tion, and soft, pure tone, an action-song learnt by rote. ••»'>*•>►'*
To sing to words, a simple song composed of the tones d, m, s, t, r,
learnt by note.
Voice-Training. — To sing all exercises and songs with softness
and purity of tone, the mouth being opened neatly and naturally,
and the tone produced well forward in the mouth.
Note. — The work prescribed for this grade has been made
exceedingly simple, in order that every child may be enabled to
accomplish it. Teachers will guard against attempting anything
more difficult, as it is important that, at this early stage, the
musical faculty, however dull, should be awakened and developed.
\ Pupils who sing out of tune must listen attentively for some time,
and will soon )x enabled to sing with the others.
■• : ■ I
66 THE teacher's handbook
. V DIVISION II.
Modulator. — To sing from teacher's pointing easy exercises
containing all the tones of the major diatonic scale.
Time. — To sing on one tone to time-names, Uia, or sol-fa syllables,
exercises containing full-pulse, half-pulse, pulse-and-half, and con-
tinued tones, and full-pulse silences, written in two, three, or four-
pulse measure.
Sight-Singing. — To sing from blackboard easy phrases, con«
taining any tones of the major scale.
Ear Exercises. — To tell by ear the name of any one tone of a
phrase sung to laa, or numbers, the teacher previously sol-faing the
tones of the DOH chord.
Prepared Song. — To contain the tones of second step of the
Tonic Sol-fa system, viz. : d, m, 8, t, r, learnt by note, and may
include divided pulses.
Attention to be given to accent, enunciation, phrasing, quality of
tone, and expression.
Voice-Training. — Same as for Division i.
DIVISION III.
Modulator. — To sing from teacher's pointing, in any key,
exercises of moderate difficulty containing leaps to all tones of the
major scale, with special reference to fah and lah.
Time. — To sing on one tone to time-names, or laa, sol-fa syl-
lables, exercises containing divisions of time prescribed for Division
II. with the addition of quarter-pulse tones and silent half-pulses.
Sight-Singing. — (a) To sing from blackboard, exercises of mod-
erate difficulty containing any tones of the major scale. (6) To
sing from hooks, any exercises containing the tones of the second
step, but no divided pulses.
Ear Exercises. — (a) To tell by ear the name of any one tone of
a phrase sung to laa or numbers, the key being frequently changed.
[b) To sing from teacher's dictation, simple phrases of three or four
tones, i e., the teacher says d m r, pupils think the phras'^, then sing
in. tune to syllables d m r. (c) To tell by ear, and sing to time-
names, a short phrase containing any divisions of time mentioned
above.
SYLLABUS FOR GRADED SCHOOLS. 67
Prepared Song. — To sing from books any simple school song
learnt by note. Attention to be given to accent, enunciation,
phrasing, quality of tone, and expression.
Voice-Training. — Same as for Division I. and II., with addition
of short tuning exercises in two parts.
DIVISION IV.
Modulator. — To sing from teacher's pointing in any suitable
key, exercises containing difficult leaps to any tones of the major
scale.
To sing from teacher's pointing with two pointers, simple exer>
cises in two parts.
Time. — To sing on one tone to time-names, laa or sol-fa syllables,
and afterwards to sing, in correct tune, simple exercises containing
any divisions of time specified for Divisions I, II, III.
Sight-Singing. — To sing from blackboard, in correct time and
tune, easy exercises containing any tones of the scale, with con-
tinued tones, but no divided pulses.
Ear Exercises. — (a) To tell by ear the sol-fa names of any three
tones in stepwise order, sung to laa, or any other syllable, (b) To
sing from teacher's dictation phrases of three or four syllables con-
taining intervals of moderate difficulty, (c) To tell by ear, and sing
to time-names, a short phrase containing any divisions of time
mentioned above.
Prepared Song. — To sing from books, in two parts, any easy
school song containing the tones of the third step, and easy
divisions of the pulse. Attention to be given to accent, enuncia-
tion, phrasing, quality of tone and expression.
Voice-Training. — To practice exercises in corrett breathing and
tone production, with fair command of voice and attention to piano
^luA forte. ' • ,:r
Note. — Where the word sing is used above, singing to sol-fa
syllables only is implied.
The syllabus for Divisions V. to VIII. will be found in Part II.
68 Tii£ teacher's handbook.
CHAPTER XI.
HOTES OK DIVISIOF I.
FIRST LESSON IN TUNE.
FIRST STEP jhe following is a condensed sketch of
MODULATOR. ^ ^^^^ j^^^^^ .^^ ^^^^ ^^ actually given to
a class of pupils in the Primary Grade :
in>
DOH'
Introduction of Subject, (a)
Teacher. — We are now about to have our first
lesson in music, but before we begin, I want you
to tell me just what you think music is. Is it
• something you can see ? or taste ? or hear ?
Class. — Something we can hear.
• Teacher,— Yes ; music is something we can hear
What do we call anything which we can hear ?
SOH C/aw.— Sound.
Teacher.— ^ovi I will drop this pointer on the
desk, and you will tell me what you hear. (Drops
it.) Was that a sound ?
ME Class.— Yes.
Teacher. — ^Was it music ?
• Class.— ^o.
Teacher.— TYieti, clearly, all sounds are not music.
' DOH Now listen while I sing a little piece, and tell me
• what kind of sound you hear. (Sings short, familiar
air.) What kind of sound was that ? ,
« /'«J5. — Nice sound, sweet sound, etc.
' T«<wrA*r.~What kind of sound did yon hear when
§. I dropped the pointer ?
Class. — Rough sound, noisy sound.
• ■ Teacher. —Yts ; all sweet, pleasant sounds are
called music, and rough, harsh sounds are called
Hi noise- (ft) ■ . ' • *
NOTKh ON III VISION I. 6f
iNTRODL'CTiCN OF DOH.
Teacher. — Now that we have found out that music is sweet sounds,
we will try and make some of those sweet sou nds. You will listen
while I sing one sound, ^nd then you will sing it after me. (Sings
ah, softly at moderately low pitch. Pupils imitate, and repeat.)
Teacher. — You will now listen while I sing two tones, and tell me
whether they are the same in sound. (Sings same a/t twice.) Did
you notice any difference between those two tcnes ?
Class. — No, they are the same.
Teacher. — Now try once more.
Introduction of SOH. (<)
(Sings to syllable ah, two tones doh and sob, i.e., the first ah given,
and another a fifth higher.) Did you notice any difference between
those two ?
Class. — Yes ; one was higher than the other.
Teacher. — Quite right. I will now give you the names of those
tones. The low one we call doh, the high one mIl Now sing after
me (sings d ■ and pupils imitate several times). I will now write
them on the blackboard | Writes ^^ I and you will sing them
as I point. (Points to notes in any order while pupils sing asi
directed.)
Introduction of ME.
Now you will listen while I sing to ah and tell me which of those
tones I sing last, (Sings d « d to ah, then s d s, pupils nan.ing
last tone sung.) You seem to know those two very well. Try once
more. (Sings d i m to ah.) (d) Now tell me which tone I sang last.
Class. — Doh, aoh, new tone, various answers.
Teacher. — You do not seem to be quite sure this time ; try again.
(Repeats until pupils have all discovered that the last is a new tone.)
Teacher. — Can you tell me whether the new tone is above or below
doh 1 above or below loh 1
Class. — Between the two.
Teacher. — Quite correct. I will now write it for you and you will
sing from my pointing.
Writes m
i
tate and attempt to sing each tone as pointed.
Gives tone doh ; class imi-
7© THE teacher's handbook.
Mental Effect of Tones.
Teacher, — You seem to find it rather hard to sing them in any
oruer, but I think when we learn something more about them you
will find it much easier to sing them. Can you tell me if there are
any little boys in this room so much alike that you can't tell one
from another ?
Class. — No, they are all dififerent.
Teacher. — Just so. When you look at a boy, you see at a glance
what sort of a look he has on his face ; some boys have a nice, bright
look, others a quiet, calm look, and others a firm, determined kind
of look. It is just the same with those tones we have been singing,
each has a character dififerent from the others. You will now sing
as I point, and think more particularly of doh while you sing, and
tryito tell me what kind of tone it is. (Points while class sing, giv-
ing prominence to doh.) Now can you tell me what kind of tone
doh is ? (Class will not answer correctly at once, but as a rule their
answers will give some idea of the real character of the tone.)
Teacher. — I will now ask you to compare this tone with something
you have already seen. Most of you have seen a mountain, a strong,
firm, solid mountain. You have also seen a fountain, with its bright,
sparkling, dashing waters. Now sing those tones once more and
tell me which of the two doh is like. (Class sing from pointing as
before.)
Teacher. — Raise hands, all who think doh is like a fountain. (No
hands are raised.) Now all who think doh is like a mountain.
(Nearly all hands are raised.)
Teacher. — I think you are all right ; will you tell me why doh is
like a mountain ?
Class. —Because it is strong and firm.
Teacher. — Yes ! doh is the firm tone. I will write its character
beside it so that you will think of it when you sing.
Writes m
» 1
{e) The teacher will now proceed to develop the mental effect
of me and soh by the same process, comparing me to mother singing
baby to sleep, and little brother singing loudly and waking baby.
Me is calm and gentle. Soh is bright and bold and may be com-
pared with a bugle in contrast with a drum.
NOTES ON DIVISION I. It
t
Practice.
The character of each tone being written on the blackboard
II calm \
m gentle l practice in singing slowly from teacher's pointing
ijirm )
must now be given slowly, in order that pupils may feel the mental
effect of the tones as they sing. -
(a) This is intended to awaken interest.
(b) By this definition of music, pupils commit themselves, and
later on when they sing loudly or coarsely, as children will, if not
checked, their teacher will appeal to their former definition of music,
and enquire whether they are now making sweet sounds.
(c) Soh, be. ng next in importance to doh, is next in order of
introduction.
(d) Sing the new tone very softly in order that the dullest pupil
may recognize its introduction.
(e) The earnest teacher will have no difficulty in inventing sug-
gestive illustrations of the points to be developed, but in no case
may the pupils be told the character of th^ tones.
Note. — In the above lesson the correct answers by pupils are
given, but teachers must not expect such answers at first. The
teacher must take what answers the pupils may give and lead them,
as only a teacher can, into the desired channel.
FIRST LESSON IN TIME.
The following is a condensed sketch of a first lesson
in time, as given to a class of pupils in the second
school-year. It will be useful, where the teaching of
music is being introduced for the first time, to classes
of this or senior grades ; but where music is taught as
a regular subject, during the first session of primary-
classes, the alternative lesson given below will be
found more suited to the pupils* requirements.
Before proceeding to give the following lesson, the
teacher must be prepared to sing some well-known
tune with divided pulses and well marked accent '
72 THE TKACHKRS HANDBOOK.
Teacher. — In our previous lesson we learned to sing in tune the
tones f^oh, me, soh, but in music there is some-
thing to be studied besides tune. Listen while
I sing Lind notice whether there is anything
I INTROOUOTION.
wrong with this tune, as it is sung. (Sings National Anthem with
time and accent altered). Did that tune sound all right ?
Class. — No. It was all out of time.
Teachnr. — Quite right. I will sing it once more while you listen.
(Sings in strict time.) Did it sound any better last time ?
Class. — Yes. You sang in time.
Teacher. — I may now tell you that the " something besides Tune"
which I referred to is Time.
I will now sing a tune which you all know, and while I do so you
will clap hands gently. (Sings, '• Home, Sweet Home," while
pupils beat time as directed.) Can you tell me what it was that
made you keep time together so nicely ?
Class. — It was the singing.
Teacher. -—Yes. There is something in every
tune which will enable us to keep time. This
we call ih&pulseoi the tune. I will sing another
Pulses.
tune and you will beat time as before, that is, you will find out the
pulses of the tune. (Sings several tunes of varying character in
order to develop the fact that pulses exist in all tunes.)
Teacher. — When I sang the first tune, did you
notice whether you clapped hands for every
tone that was sung ?
Regularity of
Pulses.
Class. — Yes, we did. (This answer, though incorrect, is almost
invariably given.)
Teacher. — I will sing it once more, beating time for every tone.
(Sings as indicated, pupils notice the incongruous and unnatural
method of beating.) Is that how you beat time ?
Class. — No. We beat time more smoothly.
iTeacktr. — Your beating seemed more natural. Can you tell me
whether the beats were regular or irregular ? ,
Class. — They were regular.
Teacher. — You will now find] out the pulses in several ;anes, and
notice whether they occur as regularly as before. (Sings examples
of quick and slow tunes while pupils beat time.) Were the pulses
regular in all of these tunes ?
/
NOTES 0!sr DIVISION K
73
Class. — Yes, but some tunes were slower than others.
Teacher. — This is a very important fact. I will illustrate it for
you. You must all have noticed how a clock ticks and also how a
watch ticks. Do both tick regularly ?
Class. — Yes ; but the watch ticks the faster.
Teacher.— li is exactly so with the pulses in music. la some
tunes they move slowly, in others quickly, but in all they move
regularly.
There is still something to learn about pulses.
We have found that they are all equal in length.
Now we will see whether they are equal in
ACCENT OF Pulses.
strength. (Sings an example of tune in duple time.) Did you notice
any difference in the strength of the pulses?
Class. — Every alternate pulse was strong.
Teacher.— Yes. The order of the pulses was strong, weak, strong,
weak. You will now sing to the syllable laa after I have given you
a pattern. (Sings laa, laa, laa, laa, repeatedly, after which
pupils imitate.) All exercises in time only must be sung on one tone
in order that it may be free from difficulties of
tune. When pupils can sing readily with alter-
nate strong and weak accents proceed to the
Notation.
notation of time.
Teacher. — I will now give you the signs for the pulses. ,
The pulse which has the strong accent is represented by an up-
right bar ( I ) and the weak accent by the colon ( ; )
Writes
II
The double bar simply indicates the close of the exercise.
You will now sing as I point to the accent marks. (Class sing
as directed, care being observed in sustaining the weak pulses for
full length of time.)
Teacher. — You notice how nicely the strong
pulses seem to measure off the music into equal
divisions. The space from one strong accent
Measure.
to the next strong accent we call a measure. Count the pulses and
tell me how many we have in each measure.
. Class. — We have two pulses in each measure.
Teacher. — This we call two-pulse measure.
74
THE lEACHER'S HANDBOOK.
In order to develop the accent, the above will now be contrasted
with three-pulse measure in which the accents occur as strong
weak, weak. T-
Written
Praotioe.
Now write four two-pulse measures, with one
note in each pulse.
m :r Id :ti Id :d
:r
, Each note is sung loudly or softly according to the accent-
mark which immediately precedes it.
Teacher. — We have a series of time-names
which you will find helpful in keeping correct
time. When we have one note in each pulse
Time-Names.
we call it taa. (Writes taa under each note, gives pattern, and
pupils imitate.)
Teacher. —lAsien while I sing and tell me whether you notice any
change. (Sings in one tone, prolonging the first tone in second and
last measures.)
Class. — You made some tones too long.
Teacher. — In which measure did I do so ?
Class. — In the second and fourth measures.
Two-Pulse Tones.
Teacher.— I will give you the time-names for the prolonged tones
and you will imitate. (Sings taa taa taa-aa taa taa taa-aa, and
class imitate.)
Teacher. — The sign for a continued tone is the dash ( — ). (Rubs
out fourth and.last notes and substitutes the dash.)
Pupils -will now be drilled in singing from teacher's pointing,
using time-names and laa.
ALTERNATIVE FIRST LESSON IN TIME.
(for infant classes only.) ,^
Teacher. — I am now going to sing a song which you all know, and
vfhile I sing you will clap hands softly.
(Sings bright kindergarten song in duple measure while pupils
beat time.)
NOTES ON DIVISION 1. 75
Teacher. — You will now sing the sonR yourselves and clap hands
as you did before.
(Pupils sing as desired, while the teacher draws an upright line
as the accented notes are sung.)
I i I I f
Teacher. — While you were singing I drew some lines on the
board, and now I will tell you what we will do with them, we will
make bouses with them. Just count them, please, and tell me how
many houses we have.
(Class count as teacher points, one, two, three, four.)
Teacher. — Yes ; we have four houses with a big double wall at
the end. Can you tell me how many rooms we have in each house ?
Class. — One room in each house.
Teacher. — I am sure none of you little folks would care to live in
a house with only one room. Can any one tell me how we can
make these into two-roomed houses ?
Class. — Build a wall in the middle.
Teacher. — Yes ; that would do nicely. (Writes a short thick line
in each house.)
: I ' I I I ' I < II
Now we have two rooms in each house. I think that in every
house we should have a play-room for little boys and girls, don't
you think so too ?
Class. — (Smiling,) yes !
Teacher. — We all know that when little folks are playing, they do
not like to be kept too quiet, but enjoy making a noise and having
a nice time, so we will have one of these rooms for a play -room,
a noisy room. Suppose we decide on the one after the big, high
wall for our noisy room. (Points to the first pulse in each measure,
while pupils say noisy room.)
Teacher. — I want some one to point out all the noisy rooms.
Who will do it ?
(Ail are eager to point, teacher selects several who do it correctly
vV: inturn.) " . ; . ;
f ,
ft thf: ikaohbr's handbook.
Teacher. — Now listen tvhile I sing, making all the :ooiU^ .Dw
noisy rooms. Does that sound nicely ?
C/<I55. — No.
Teacher. — Listen again and tell me whether you thiuk this souhci:*
better. (Sings with alternate strong and weak accents).
Class. — That sounds better ; we like it better.
Teacher. — What difference did I make ?
Class. — You made noisy rooms and quiet ones.
Teacher. — We will take the rooms behind the little wall for our
quiet ones. Please name them as I count.
(Pupils name as requested.)
Teacher. — Who will point out all the quiet rooms ?
(Pupils point out all the quiet or noisy rooms as desired.)
Teacher. — There is just one thing about our houses that I don't
like. When we point from a noisy to a quiet room, we have to skip
over the little wall. How can we improve that ?
C/ass.— Make a door through it.
Teacher.— Yes, that will do nicely.
Erase part of each short line, leaving the xcquired sign for the
weak accent, thus : —
Teacher. — Now, sing while I point to each of the rooms. (Sings
pattern on one tone which pupils imitate).
We will now place one little boy in each of the rooms.
Writes,
Id :n Is :8 Is :n Id :d 11
When we have a boy in the noisy room, what sort of boy will
he be? . . .. ,
Class. — A noisy boy.
Teacher. — Show me all the noisy boys. All the quiet boys ? '
(Pupils point as desired.)
Teacher. — When we have just one boy in a room we call him taa.
(Sings TAA taa taa taa).
(Pupils imitate.) . > •
Teacher. — Now sing the syllables on one tone.
Time-Names.
Continued Tones.
NOTES ON DIVISION I. 77
(Class sing as desired.) Listen while I sing it
and tell me whether I make any change. (Sings
on one tone, continuing the first 1 in second
measure, and first d in fourth measure.)
Class. — You missed some of the boys. You made some longer
than others.
Teacher. — Quite right. This loh (indicates it) went right into the
next room and doh did the same. We will put away the two which
I did not sing. (Erases second ■ and last d). When we want a
little boy to get through from a noisy room to a quiet room we
will lay down a little carpet for him to walk on. (Writes continua-
tion mark in empty pulses.)
Listen while I sing this and tell me what I sing in the rooms with
the carpet. (Sings to time-names.)
Class. — You sang aa.
Teacher. — Quite right. You will now sing it as I did. (Class
sing as desired.)
The exercise will now be sol-faed on one tone, then in tune from
teacher's pattern.
By the above method, the pupils are led from point
to point, as in an interesting story, and unconsciously
learn the first elements of time, without being bur-
dened with their nomenclature. The lesson is given
in detail, all the above ans>yers having actually been
given by pupils of the infant class. The play-names
used may be retained for some time, until the pupils
can read from notes, then, as a reward for diligence,
they may be told the real names, pulse, measure, etc.
The first introduction of a subject only occurs at
intervals, and daily drill must succeed every such
introduction. As the time available for teaching
music is necessarily short, it will be our endeavor to
assist the teacher to make the best possible use of it,
by giving examples of methods of drilling in all the
various topics.
.A-
/
78 THE teacher's handbook.
MODULATOR DRILL. '
Use a first step modulator, which is composed of
the tones d m s only. If a printed step modulator
has not already been procured, an excellent substitute
can be made by writing the names of the tones in
colors on the blackboard. If blackboard space is
scarce, a movable modulator can be made of black
Bristol-board, with letters cut from colored surface
paper, and pasted on. The colors recommended are,
doh — red ; me — blue ; and soh — bright yellow.
In first step exercises doh is always sung without
difficulty, soh and me require special drill. The
following illustrates the method : — . .
Drill on SOH.
Teacher sounds doh about pitch of D. (Pupils imitate softly.)
Question on the mental effect of soh. Give hand-sign for loh.
Teacher sings dmd; smd; mmd; dmm; mdm. After sing-
ing each group of three tones, give hand-sign for soh. indicating
that pupils will sing soh. In this exercise they confine their atten-
tion to the tone being studied, and become familiar with its
mental effect. Now point phrases in which loh predominates.
Example: —
dsmssdsdsnsdsnds.
Question on mental effect of me as above.
Sing dam; mds; smd; dmi; dds; sid;
Pupils sing me from hand-sign after each group
Drill On Me.
of three. %
Now point phrases in which me predominates.
Example : —
dmmdBmsdmmsmndBmd.
Change key frequently, and vary the order in which the tones are
approached. When mistakes are made, do not tell pupils to sing
higher or lower, but question on mental effect, as, " Was that bright
enough for soh 1 " " Did you sing that gently enough for me 1 " If
NOTES ON DIVISION 1. 79
this fails, the tone may be sung by the teacher, but not unless
absolutely necessary.
NoTB. — See " Modulator, Drill " page 25.
SIGHT-SINGING.
ExAMrLBS OF Method.
Teacher writes on board dmdtmdid. Sings doh, key D.
Pupils imitate.
Teacher. — Now sing from my pointing.
Class sing d m correctly, but sing second d like soh.
Teacher erases first and second doh's and rewrites with bright red
crayon. Can you tell me what color this first doh is written with ?
Class (eagerly) — Red.
Teacher.— \nd is the second doh of the same color ?
Class. — Yes.
Teacher. — If the color of both doh's is the same, do you not think
that the sound of both should be the same ?
Class. — Yes ; they should have the same sound.
Teacher. — Now try again, and be careful to give the second doh
the same sound as the first.
Class sing correctly until second ■ is reached.
Teacher writes both soh's with bright yellow crayon and reasons
as before. Also dfaws attention to bright character of soh.
When the exercise has been correctly sung by the entire class,
the boys and girls may be asked to sing separately, next by one
row at a time, and finally by individual pupils.
When the exercise has been correctly sol-faed, it should be sung
to laa.
Key Exercises. — Keys C to G.
dssmsdmmd
m d s m d
B 8 n B d
d n d 8 m
d d m d B
In teaching sight-singing, Tune and Time may
occasionally be combined in such a manner that only
one topic will demand attention.
d
B
B
d
d
n
B
m
B
B
d
d
n
d
B
m
8o
THE ftACHER S HANDBOOK.
Example : —
Teacher |^ >jv\
writes
8 :m Id
II
Class sing to time-names, then to syllables in tune,
making 8 only one pulse in length. This is a common
mistake with young pupils. Teacher shows that 8
should be continued through the fourth pulse, and
sung sok oh. It may be useful to write oh under the
continuation-mark. When th»'j has been sung cor-
rectly the tune should be changed, the time-form is
retained.
Exam
PLE :-
—
a. d
:m
8 :-r B
:n
d
1
b. d
:s
n :— m
:8
d
■
•
1
1
r. m
:d
8 :— 8
:d
m
d, s
:m
s : in
:d
n
; —
Note.—
See •• Sight-Singing," page 79.
TIME.
The object
of time-exercises
at
this
stage
should
be—
1st. To develop an appreciation of the regularit)-
of pulses and accent '. in music.
2nd. To enable pupils to distinguish between tones
of one, two or more pulses in length.
3rd. To train the eye to read the notation of above
divisions of rhythm.
NOTES ON DIVISION L . 8l
EXAMPLES OF MH . ")D.
Pupils clap hands softly while singing taa^ taa^ taa
on one tone, taken at any rate indicated by teacher's
pointer.* When a change is made to a faster or slower
rate of speed, the singing must cease while the teacher
counts a few pulses at the rate required.
Vary the exercise by changing the measure fre-
quently. Pupils count ONr, two^ one, two ; or ONE,
twOy three, ONE, two, three, with emphasis on ONE.
When this has been sufficiently well sung, pupils may
be requested to sing two-pulse measure or three-pulse
measure, the teacher simply indicating the rate of
movement without giving any special sign for the
strong accent.
Short exercises containing few difficulties will be
found the most useful in training the eye and ear in
teaching time.
Write the following exercise on the blackboard :
Ex. I. Key D.
d :m Is :b Ib :in Id :—
Question on Measure, Accent, Length of Tones and
Time-names.
Direct pupils to sing to Time-names on one tone,
to sol-fa on one tone and to sol-fa in tune. When
this has been sung successfully, intimate that a change
will be made, and request pupils to watch closely
while this is being done. Alter the exercise into
Ex. 2. Key D.
Id :m Is ;— Ib :m Id :—
83 . THE teacher's HANDBOOK.
Question on alteration. Direct pupils to sing to
Time-names and sol-fr,, as r.bovc. Whenever the
exercise has been correctly su:;;, it should be altered
and taught as above. The Time-names may be grad-
ually discontinued, as the pupils prain confidence in
sol-faing at sight. The orcicr in which the tones are
first given, should be preserved throughout (repeated
tones excepted), in orcicr thfit no difficulties of tune
may interfere with th? sliidy of time.
The " unexpected " will be the chief source ^f
difficulty in this form of exercise. It has been said
that "the ear remembers and expects'* This truism
will serve to explain one-half <^^ the difficulties to be
met with in teaching mu^ic. Lot the above exercise
be altered into
|d :m |b :— In :— |d :— ii
and note the result. It will, almost invariably, be
noticed that the m in third measure will receive one
pulse only, and displacement of accent will conse-
quently ensue. The explanation of this is to be found
in a comparison of the first two with the last two
I measures. Every tune, however sim-
THE Umexpeoted. ? pjg^ divides naturally into at least two
sections, which should be combined according to a
definite rhythmic or melodic form. In the^frj/ section
of the above exercise, we have an example of the
rhythm taa^ taajaa^ aa^ which is followed by a change
of rhythm in the second section. In singing this, the
ear remembers the rhythm of the first section and ex-
pects the same in the second section, hence the surprise
NOTES ON DIVISION I.
83
TnlaTorr^ ""'r "" "'^" ^-' - ^^ -t with
S used t oT f."'""" "' ^''^ ^^^^ ^^-"^d be
tree y used in order that pupils may form the habff
"l^ •'^ (8 :8 Is :m M
^- Id :—
</. jd :pi
<?• Id :n
I'
In :~
Is :n
Is :s jm .__
s
m
s :s
/ Id
^. Id
s :—
:i»i
f-
in
~ I M :s
Is ;m
s :m
d
Ex.2. KbvD. Secondary two-pulse meas^vrc.
I" :- |s :m jd
a. :d
^. :d
<:i :d
d :d
/ :d
^- :d
m
JR
in
s
f-
IS
PI
s
h
S
s
'- Is
:w li
I'
I"
f-
n
f-
:n
:pi
! — Im
- II
- II
• II
- II
If
- II
Ml
' W
I' II
\' 1:.:
84 THE teacher's handbook.
Ex. 3. Key C. Primary three-pulse measure.
d<
a. Id :d :d In
d :— :d I n
^.
c.
n :m Is :8 :s I
:8ld'
/
d :d :d I m
d :d :d In
d :— :— |m
d :— :d I n
d :d :— |m
:n 8 :
— :— -|8 :8 ;8 Id'
— :m |b :— :8 Id'
m :Pil8 :— :— jd'
m :— 18 :8 :--|d'
— :ni|8 :8 :— Id'
II
II
II
The last example may be written in secondary three-pulse raea-
Kure by beginning on the last pulse of the measure and deducting
one pulse from the last note, thus :
a. :d Id :d :d In :n :m|8 :b :8 Id' :— jj
Where pupils experience a diflficulty in singing continued tones,
they may b© allowed to intensif/ the vowel sound in each contiAua-
tion. In this manner a doh which is three pulses in length will be
sung as doli-«h-oh, and m* as
SPECIMEN LESSONS.
Before introducing the subjects contained in the
following lessons, pupils should have had sufficient
drill in the primary lessons in tune and time to enable
them to read at sight exercises consisting of the three
tones d n 8 arranged in any order, and also any com-
binations of one and two-pulse tones in two-pulse
measure.
NOTES ON DIVISION I. S$
Assuming that satisfactory progress has been made
we will now introduce the
SECOND LESSON ON TIME.
Write on blackboard four two-pulse measures.
I = M M M II
Teacher. — Please sing as I point. Be careful to sing the accents
distinctly. (Pupils sing to laa as requested.)
Teacher. — What name do we give to the space between one strong
pulse and the next strong pulse ?
Class. — A measure.
Teacher. — How many measures have we on the board ?
C/as«.— Four.
Teacher.— Hovr many pulses are contained in each measure?
Class.— Two.
Teacher.— ^i\\ some one please point out tiie first measure, the
third, etc. ? (Volunteers point out each measnre as reqaiced.)
Teacher. — Name the pulses in this measure.
Class. — Strong, weak, strong, weak, etc.
Teacher.— Now listen and tell me if I sing the poises exactly as
we have them here. (Sings to laa with accent on first poise of
every group of three, laa, laa, laa, laa, laa, laa.) How did the
pulses sound as I sang ?
Class. — Strong, weak, weak.
Teacher. — ^You will now sing thern. in exactly the same manner.
(Pupils sing from pattern, teacher tapping time lightly.)
Teacher. — I will now write from your dictation the signs for the
pulses as we have just sung them. What is the sign for the strong
pulse ?
CUus. — A bar.
Teacher. — For the weak poise ?
Class. — A colon.
Teacher.— knA what have we next ?
Class, —A weak pulse : a colon.
Writes as directed,
, : : j : : I : : I :: j|
86 . THE teacher's handbook.
Ttacher.—How count and tell me how many pulses we have in
each measure.
Class. — Three.
Teacher.--This we will call three-pulse measure. Listen while
I sing, and tell me whether I sing two or three-pulse measure.
(Alternates two and three-pulse measure until pupils are familiar
with the accents in each and can detect them readily.)
Four-pulse measure will be taught by same method, the accents
being strong, weak, medium, weak. The sign for the medium
accent is a short bar, thus •
: I :
Divided Pulses.
Write as formerly four two-pulse measures.
d :d Id :- Id :d jd
Teachtr. — Sing this exercise to time-names. Sing it to laa. (Pupils
sing as requested). Now listen and tell me whether I sing it
correctly. (Sings it to laa, putting two tones in second pulse.)
Did I make any mistake ?
Class. — Yes.
Teacher. — Will some one point out the pulse in which mistake
was made ? How many tones did I sing in second pulse ?
Class. — Two.
Teacher. — Listen once more and tell me whether those two tones
are equal in length.
Class. — They are equal.
Teacher. — I will now let you hear the time-name for a pulse
divided into two equal parts, and you will sing it after me. (Sings
TAA Ta»*tai, TAA Taa-tai, and pupils imitate). Now that you can
sing it I will show you the sign for a pulse divided into halves.
(Writes two notes in second pulse with a period between and time-
name underneath, thus :
:d.d|
TM-tai|.)
Practise singing to time- names and laa on oue tone, and alter
frequently, placing half-pulse and continued tones in any order.
A--'\ ,'
NOTES ON DIVISION 1.
87
ExEROiiEs IN Time.
Ear Exercises in Time.
I will new sing a phrase and you will listen
and tell me how often you hear t&a-tai. This
is done at first on one tone to laa and then a
short tune containing divided pnlscs may be sung, if the pupils show
sufficient aptitude in detecting taa-tai when sung on one tone.
LESSON ON OCTAVES.
Teacher. — In our previous lessons we have studied three tones,
but there are still several others to study. Lis-
ten while I sing, and tell me whether you hear
anything that sounds like a new tone. Sings to
OOTAVE OF OOH.
laa d m I d, in the key of D or C.
Class. — There was no new tone.
Teacher. — Listen once more (sings d m ■ d', the last d being an
octave higher than the first.)
Class. — The last one was a new tone.
Teacher.— Qmie right. Now sing these four
tones after me. (Gives pattern and class imitate.)
Was the new tone higher or lower than loh ?
introouoeo by
Ear Exercises.
Class. — It was higher.
Teacher. — Sing the phrase again and tell me whether it sounds
like any of the other tones ?
Class. — It sounds like doh.
Teacher. — It really is doh, but being sung so much higher it
sounds like a new tone. I will now explain how we happen to have
one doh so much higher than the other. In the scale of music we
have but seven primary tones, just the same number, you will see,
as we have days in a week. We begin the week with Sunday, and
end it with Saturday. When we reach the last day of the week,
what day do we have next ?
Class. — We have Sunday again.
Teacher. — We do exactly the same thing with the tones
of the scale. (Draws diagram on blackboard). Here
we have the tones already learned with dots in the place
of those not yet introduced. Can you tell me where to
put the new doh ?
Class. — It should be above number seven.
Teacher.— Yes\ it is the eighth tone? (Adds d 8). The interval
m
7
6
5
4
3
2
X
88
THE TEACHKU S HANDBOOK.
from any tone to its eighth is called an octave, and in order to
distinguish the upper doh we write the figure one above it, then we
see that it has to be sung one octave above doh. (Writes d'.)
Pupils will now be drilled in singing from
teacher's pointing on the modulator, exercises
containing the upper doh in combination with
Drill
the other tones. There will be no difficulty in teaching the mental
effect of the new tone, it being firm and strong as doh, but rather
brighter owing to difference in pitch.
The octaves of foh and me will next be intro-
duced, care being taken to change the key in
order to have the tones within the range of the
Chanoe the Key.
pupils' voices.
INTRODUCTION OF SECOND STEP.
Teacher. — How many tones have we now learnt in music ?
Class. — Three ; doh, me and soh.
Teacher. — And how many tones have we in the scale ?
Class. — Seven.
Teacher. — Now that you have studied the three named, and can
sing them readily, we will study some of the others, and then we
will be able to have even prettier tunes than we have been singing
recently.
Listen while I sing four tones, and tell me
whether you hear any new ones. While I sing,
I will point to each of my four fingers, and if
Eai Exermies.
you should hear a new tone you will be able to tell me on which
number it is sung. (Sings to laa, after giving key -tone, i m i d;
s m I m ; questioning whether new tone has been heard after singing
each phrase. The next phrase will have the first three tones same
as before, but the fourth will be ray, which is a fourth below soh.)
Did you hear any new tone ?
Class. — Yes ; the fourth one.
Teacher.— Quite right. I will repeat the phrase, and you will
sing it after me. (Class imitate as desired.)
Can you tell me where to put the new tone,
whether above doh or me 1
Introduction op
Ray.
NOTES ON DIVISION I. 89
Class. — Between doh and me. m'
Teacher. — That is its right place. The name of the new
tone is ray, and I will now write it on our modulator. It is d'
spelt r-a>y, but as we only use the initial in our notation, we
will write r only. (Writes r between d and m on modulator.) g
You will now practise this new tone from my pointing.
(Points to the tones in the following order, smsdsrrir m
m r d r.) You seem to have some^ difficulty with the new
tone, but I think you will find it as easy as the others when .
you have studied its character. Listen
while I sing, and tell me what kind of
a tone you think ray is. (Sings ■ m ■ r r
Mental iffeot op
Ray.
r
■ r m d r, emphasizing r.) Can anyone describe its character ?
Class. — Loud ; noisy.
Teacher. — Yes, I did sing it rather louder than any of the others,
but any tone can be sung loudly equally well. Let me try and
help you with a little illustration, One day last summer, while
passing a nice lawn, I saw two boys.* One was running around
playing with his ball, but the other was lying asleep. The boy who
was playing did not seem to care about playing alone, so he went
up to the other and tried to rouse him up, but the other boy was
too lazy, and just rubbed his eyes a little and said, " Just leave me
alone, will you, I want to sleep." Here we have two boys, one
dull and lazy, the other lively and rousing. Which of the two do
you think ray is most like ?
Class. — The rousing boy.
Teacher. — Yes, ray is a rousing tone, and if you think of it as
such you will find little difficulty in singing it when required.
(Writes the word rousing opposite r, and drills on the modulator,
giving prominence to the new tone.) The next tone to be introduced
is te, which is immediately below doh. Adopt same method as in
introducing ray, being careful to approach it from soh. The mental
effect of te is sharp and piercing, and may be illustrated by a steam
whistle, a pen, or a scream.
The tones s t r will now be practised in the same manner as d m ■,
to which they are closely allied, the intervals being exactly similar.
(See Chordal Treatment, page 16.)
THE teacher's HANDBOOK.
MODULATOR DRILL.
The intervals d' Pi and B| ri are the most difficult
in the first step, consequently should receive special
attention. In a modulator voluntary intended to
teach these intervals the mental effect of m should
be clearly established, and the tone itself repeatedly
sung, in order that it may be clearly fixed on the ear
and mind before being approached from d' or B|
The effect may be intensified by a pause being made
on PI wherever it occurs in the exercise.
Examples of Exercises: —
Key D.
dmdsnmsnsd'PiPid'PiBd
Kby g.
dmdsidmmsimBPiBdBimmd
It will be advisable to frequently contrast the effect
of m with 8, as b is the tone most frequently sung in
I place of PI. Care must be observed
i to keep the exercises within the com-
pass of the young voices. The extreme upper note
which may be taken is E', but until pupils have
acquired the habit of using the upper thin register
(see page 23) the limit may be placed at E'fe or D'.
The lowest which can be taken easily by an average
class will be about C. From this it will be seen that
the most suitable keys in which to practise exercises
containing upper d' are C, D and Elj, and for B| keys
E, F and G. The key should be changed frequently
and B| and d' should not be included in the same key.
NOTES ON DIVISION I. ft
Difficult Phrases.
The more difficult intervals should be
noted, and one or more introduced
into each lesson and practised thoroughly. The
following are among the most difficult phrases to be
found in the first step : — d' s d ; d' n B ; d i*i d' ;
m d' d ; 8| m s ; 8| m d ; m si d ; Bi s d.
The introduction of the SOH chord
will permit of much greater melodic
The Seoono Step.
variety than is possible when the tones of the DOH
chord alone are available. When the tones are
judiciously combined, many beautiful and pleasing
melodies can be formed, which will serve to create
a renewed interest in the study of the music lesson.
Necessarily, new difficulties will also be introduced,
but these need not cause any feeling of apprehension,
provided the First Step has been thoroughly taught.
At each lesson, one of the new tones at least should
receive special treatment, in order to establish its
mental effect irrespective of the interval by which it
may be approached. The following will illustrate
the method of "driving home" or "rubbing in," as it
is sometimes termed : — Teacher questions regarding
the mental effect of ray, sings s r*i 8 r,
gives manual sign for ray and directs
"Rubbinqin"Ray.
pupils to sing ray only whenever the manual sign is
given. The teacher will then sing the following, or
similar phrases, giving the sign for pupils to sing ray
after each phrase : — s mdr; rsrn; dnrs;
sd'sm; d'td's; nrdtt; rnds;
a t t B ; r d t| d. By this method pupils will
92 THE teacher's HANDBOOK.
t
become familiar with ray approached from any of
the tones already studied.
The next process will be to imitate phrases similar
to the above, singing ray from the manual sign after
each phrase, thus : — Teacher sings r n d S, pupils
imitate ; teacher gives sign for ray, pupils sing ray.
When this has been sufficiently practised, pupils will
be prepared to sing exercises of moderate difficulty
from the modulator. At first it is advisable to return
to the new tone frequently, pausing slightly or repeat-
ing the tone to allow its effect to be clearly felt .
Example: — v , . '■'
KeysC, D.
dm d s Ir — m d Ir — 8 m Id — r — In s r r
drrtilrrsn Ir— — — |m d r — lsnr —
|sd'td'|Brr — |dmr — Ir ndtildrtidlrrd-
The same method applies to the teaching of te,
the manual signs, etc., being first given, then modula-
tor exercises w' -i te predominating. It will be
noticed that the Longing of to will unconsciously lead
to the anticipation of the doh above. This leading
tendency is found in other tones of the scale, but is
most strongly felt in te. From this
peculiar characteristic te has been
Leamno Tone.
termed the " leading tone " of the scale. The ear can-
not be satisfied with a tune or phrase which ends on
te. In order to satisfy the ear, and secure a feeling
of completeness at the close of a phrase, te should
NOTES ON DIVISION L ^• : ' ■■-/-^^
invariably be followed by the doh immediately above.
This leading tendency must not, however, be too
freely indulged in throughout the exercises, as the
thing to be taught is not ^ow to sing t d', but how
to prevent its being sung when another interval is
required. The best means of accomplishing this will
be found in dwelling on the SOH chord. This makes
the singing of s t r' as simple as d ni s, the intervals
being exactly similar.
Example : —
Key C.
dm d sis s r r Istr' t Itr' s —
t t s t Id' t d' r' It r' r» d' |t— d'
d' 8 m s Is r ti r |t| d r ti Id n r
rst s|srtir|dmrt||d
The following are a few of the more difficult phrases
to be found in the second step, for subsequent practice :
V B n r, m s t, t m, t| m, m t, s t|, d' r,
n r d', r t, t r, d t d'.
* SIGHT-SINGING.
First Step.
In teaching Sight-Singing the same
difficulties have to be met as in Mod-
ulator Drill. At each lesson, one or more of the
difficult intervals of the step should be introduced
and practised thoroughly. The following exercises
must be preceded by the exercises on d m S and the
, lesson on Octaves : —
/
94 THE teacher's HANDBOOK; - ' ?'
Kkys C, D, e|?. Range d to d'.
dsnsd'd'snac[8!*>d
nmdsrndi'nsdd^smd
dmdsmd^dris/nssd
sd'swd'sindsd'sm
d' s m w d' A s s d' 8 PS s d'
; ^ PI d 8 s*i d' lO d s d' m 3 8 d'
Ke'«s EI? , E, V, Ct. Kange s, to 8. . >^ ^
% > ^ dMd8|ds|dm 8m 8 8|d
4 (*i d S| S| d S| d m r 8| m m d
d m s 8| d S| d 8 PI m Si m d
; d 8| d m 8| S| d m si P! s 8i d
The * denotes the points of difficulty.
Exercises containing several varieties of tune
now be combined under one rhythmic form.
Ex. I. Keys C, D, Ej?. Range d to d'.
rt Id :n Is :— Id' :s in :—
1." *•
may
^. jrn :s Id
c. Ib :n Id
PI :s
e. Id :d>
— |Pi :d Is' :—
- Id' :8 Id' :—
d' :m Is :— ||
PI :d' Id !— II
■"■v. • '>
V
.?;■•> ■
' - NOTES ON DIVISION I.
Ex.2. Keys Eb, E, F, G. Range ■, to i.
^- :d Is, :s,.s,id :m Is is.sld 11
^- :si jd :d.d|m :d Is :m.n|d 11 ,
^^ :w|d :d.m|s :n |s ;s.m|d
95
^ :d|in :s,n|d :s, Id :m.s|d I
B :m.s|d II
'• :m!8 :m.d|s
:n
,y '
f SECOND STEP. ^ ^" *^^^ ^^^P *^^ same methods will
L J t>e adopted as in the previous step
the exercises being preceded by modulator drill on
the new tones te and ray.
KbysC, D. Range t, TO r«.
dnssstr'td'smrd
smrsrmdrtidsrd
dsmsrsdt, dsrt, d
"drrt, rs-srt, rd
Keys E|?, E, F, G. Range a, to ».
dt|dsidrt|dsrnsd
" d s s, d t, r d s t, d r n
Keys G, A, B|7. Range m, to m.
d 8, n, s, d t, d s, t, r s, t, d
8i d t, d r t| S| d m, m, s, S| d
drndsiPirdsirnrtid
96
THE TEACHER S HANDBOOK.
Keys E7 to G. Range i, to 1.
a. :d |m :r.r |d :s |d :t|.ti|d
* <^. :m Id :ti.d|r :ti Id tsi.sild
II
il
c. :d Is :m.r !d :r Isi :d.ti Id
d. :s In :d.r Im :d Ir :n.r Id
rroiiEs REPRESENTED I Amotig thosc who havc investigated
j BY C0L 0H8. the matter, there can be no doubt
regarding the advantage to be derived from the use
of colors in teaching sight- singing. The object of a
color-scale should be to convey, through the eye to
the mind, a distinct impression of the effect of the
tones represented. We have discussed the appropri-
ateness of certain colors, with a large number of artists
and teachers, and, as a result, have decided to adopt
the following scale : — . . ,
t— Purple. ' •■ • i
J , V 1 — Indigo.
■. ■'-' '' s— Yellow. ■ .. U^:.;^'-.-'^^'^--:
; f — Greea
>l:
n — Blue. > ;
r — Orange. ' v
d—Red.
It will be noticed that the prismatic colors have
been selected, with a slight modification of their
natural order. Some writers have advocated the
retaining of the natural order, but we cannot reconcile
the calm, gentle effect of me with the brightness of yel-
low ; or the bright, bold effect of soh with the peaceful
-1. -» I.
NOTES ON DIVISION L ^f
effect of blue. In practice it is not advisable to write
all the tones by means of colors, but only those which
occasion a difficulty in singing.
■
Example : — '
V d m d s d> m B d.
Suppose the above exercise written
with ordinary white crayon on the
I Comparison of
I Colors.
blackboard, and pupils have made the mistake of
singing s instead of m. Let each m be written with
blue crayon, and pupils led to notice the oneness of
color and the oneness of sound. When the second
m is reached the color will recall the impression of
the first, and almost invariably will lead to its being
Contrast of I correctly sung. The same result may
Colors. be obtained by contrasting s with M.
Let s be written with yellow, and n with blue. Con-
trast the colors, and show pupils that thev have
actually been singing the same sound for the blue
note as for the yellow. They will thus be put on
their guard, and will not be liable to sing the same
sound for two notes differing so widely in appearance.
The same methods will apply to all other tones,
" '^■' ■■■■'---='■■•-■"--■ -:'■■■■ -^ TIME. ■ ■- " .■•:,■■'■-..-•-■■■-:■■■
When pupils have been well drilled in exercises
containing whole-pulse tones and continued tones,
and have received the first lesson in divided pulses,
exercises containing divided pulses should be freely
introduced. These will at first be taught on one tone
only, but should be combined with melody as soon
'--:.-- - ■'- . ;- '.V, „'-..■■' :^'-'-^ A
(
9S THE teacher's HANDBOOK.
. as practicable. The simplest form of melody is that
• in which the same note appears in each half of the
divided pulse, as : — . -v .
d .d II jm .m
In blackboard exercises it will be found advantageous
to us^; colored crayons for writing the
pulse-signs. One uniform color should
Color in Pulses.
be used for all pulse-signs — strong, weak and medium.
" ' This directs the eye to the signs which represent the
pulsations or beats which are felt in singing, and
materially assists in overcoming the common tendency
to give a full beat to each tone. The half-pulse sign
( , ) may be colored, but must be of a different color
from the pulse-signs. The hints given on page 82
• will apply equally to the following exercises. See
also "Time," pages 17 and 31.
Ex. I. Keys D TO A. .1 ;.;;.•
a. Id :r.r|m :r.r|d :t|.ti|d :—
b. Id :r.r|m :r |d.d:t|.ti|d :
c. Id :r |m.m:r |d.d:t| |d :
^ Id :r.r|m.n:r Id :t|.ti|d :
tf. |d.d:r |n.n:r |d,d:ti Id
II
'-: II
/ |d.d:r.r|m.m:r.r|d :t|.ti|d :— 11
g. |d,d:r.r|m.m:r.r|d :t|.ti|d :— I
1
.>r
* . NOTES ON DIVISION I.
Tx. 2. Same Keys as above.
a. Id :d.d:r,r[m :n :r.r Id :ti
A Id :d.d:r |m :m.m:r Id :t|.ti
^. Id :d :r.r|m.m:n :r.r Id :t|
d. Id :d :r.r|n.n:m :r.r |d :t|.ti
^
e. Id :— :r.r|m :— :r.r Id :
ti.tild
t, Id
t,.t, I d
t, Id
ti.ti I d :— :—
Ex. 3. Same Keys as above. (With change of tones).
a. Id :d.r|m :— |m :m.r|d :-
A Id :d.r|m :n.r|d :d.ti Id :—
c.
\\
d.r :in
d. Id :r Im.r :d
«?. Id'.tiid .r in
r.d:ti Id
|m.r :d.t| |d
»5 t ,, -. '. - ■, 1 *■■-
w . ■-
|r.d:ti
II:
11:
IL
1:
J Any of the above exercises may be converted into
secondary form, by commencing on the weak pulse
and deducting one pulse from the last note in order
to equalise the form, thus : —
:d Id :r.r|m :r.r|d :ti.ti|d
Ordinary six-pulse measure may
Six-Pulse Measure. 1 ,. u*. u ..u i.u j
I be taught by the same method as
three-pulse measure. At this stage quick six-pulse
lOO
THE TEACHER S HANDBOOK.
measure (see page 40) may be introduced with advan-
tage. Its lively rhythm will tend to brighten the
exercises and songs, and will add much to the pleasure
of the music-lesson. The Time-names for thirds of a
pulse will be rather confusing for the pupils of this
grade, and should be deferred till later. The most
suitable plan will be to teach the exercises as in
ordinary six-pulse measure, and then gradually in-
crease the speed and beat twice in measure Pupils
will readily perceive that the beats occur on the strong
and medium accents only.
Ex. 4. Same Keys as above.
d :ti :d Ir :d :r |m :r :m
d :ti :d |r :— :— |r :d :r In
d :ti :d.d|r :d :r.r|n :in :r.r|d
. ;■ i .. "1 ■»-' ■ .■ "I,
=-|l
Dictation.
d.d:ti :d |r.r:d :r |m.n:r :n |d
Id :d :t|.d|r :r :d.rlm :n :m.r |d :— :— 11
In addition to the above, exercises
in writing from dictation should fre-
quently be given. These will assist in training the
eye to read the notation of time. The primary
exercises should consist of writing measures only,
thus : — Teacher will direct pupils to write two two-
pulse measures, explaining the relative length of the
bar and colon. (See page 36.) Three and four-pulse
measure may then be dictated. The next process
NOTES ON DIVISION I.
lOI
will consist of writing notes of various lengths, thus : —
Teacher directs pupils to write two four-pulse meai>-
ures, then dictates slowly :- -First pulse doh ; second
pulse, ray ; third, me ; fourth, ray, with Taa-tai, etc.
When all have finished, the slates may be examined,
and the more common mistakes pointed out and
corrected by judicious questioning. When pupils
succeed in writing an exercise fairly well, they should
be rewarded by being allowed to sing from their own
written copy. This is usually considered a reward
worthy of their best efforts.
EAR EXERCISES.
In conducting ear exercises, the teacher should
carefully avoid taking answers from the few sharp
jupils only, but should endeavour to make the exer-
cises so simple and interesting that
all will be able to take part The
Imitation IXEROfSES.
simplest exercises for training young pupils to listen
well are those in which the teacher sol-fas a short
phrase to which the pupils listen, and afterwards
imitate. These should consist only of the tones
which have been studied. ; ■ i ' i i'
Examples : —
d m d s
s m d Si
m d s m
d 8i n d
First Step. •
smsdllnBdm
II "'
Ih
d
d'
d
Bi n
m s
II
II
II
B d' s
B m
d
d'
B d II B d s m
II
II
t •
102 THE teacher's HANDBOOK.
,, f. ..•,,);•.«' Second Step.
I d m d r H r s r m II d r ti d
:mtlB r t, ||r s t, d IJ d t, r d
1 8 t B d> II d> t d' s II d' s m r II
I d< t B d> II m d< B t II d< m r d il
Variety of rhythm may be introduced with advan-
tage as it helps to make the exercises more interesting
and lively. , , !
Examples: — •..-■■■■ :> '::■,' .:•:. ....<■■ >'r j.-.^
;;5 |d :d.d|m :— II |d :n.d|B :— || ^ ^^
; ; |s :d' |t.d':B || |m :s |r.m:d
./ (. 4-
jn.r:d |r :— || |s.m:d |s :— ||
:bi |d :Pi.r|d ||
:si Ir :d.r|m 11 ;^ic^^
In all the above the key must be adapted to the
compass of the voices. The next method is that in
which the attention is concentrated on one particular
tone surrounded by several others.
EXAMPLE OF METHOD.
Teacher. — Can you tell me what kind of tone doh is ?
Class, — Strong and firm.
NOTES ON DIVISION I. lOj
Teacher. — I am going to sing several tones, and I want vou to
listen very carefully, and tell me which one sounds like doh.
(Writes on blackboard 1,2, 3, 4, gives the key-
tone, then sings s m b d to laa while pointing
to the numerals.) Raise hands all who can tell
FiNDiNQ Doh.
me on which number I sang doh. Tommy will come up and point
it out. (Pupil points number two.)
Teacher. — I will sing it again, and you will listen and find out
whether that one is firm enough for doh. (Repeats with soft
emphasis on me and strong on doh.) Now, what do you think
of number two ? -
Class. — It was not firm enough for doh.
Teacher. —Quite right ; but where was doh ? Those who think it
was on number one, raise hands, on three, on four. I see you
all now think it was on four, that is correct. You will now try and
find doh again, and will write what you think is the correct number
on your slates. (Sings m d s m to laa, while pupils listen and
write.) Those who have number one will raise hands; number
two ; three ; four. Number two is correct. ^
The act of writing the answers compels each pupil
to think for himself, and is a sure means of ascertain-
ing whether they are equal to the
exercises. With very young pupils
Writing in Ear
Exercises.
it is advisable to use some well-known objects in
place of the numerals. Four little boys may be
brought to the front, or an equal number of birds may
be drawn on the blackboard, to which the teacher
may point while singing the exercises.
The remaining tones of the step will
3e treated by the same method as described for doh.
After the above have been given it will be an easy
matter to concentrate the attention on one particular
number, and find out to which tone it is sung.
Example. — Write on board i, 2, 3, *4. Direct pupils
Interesting
Devices.
104 THE TEACHER'S HANDBOOK.
to think of four only, and tell to which tone it is sung.
Sing d S d m, intensifying the mental effect of the
fourth tone, and question as above. A number of
exercises may be given consecutively and the answers
written, and examined at the close. Young pupils will
be interested by having a bird drawn in place of num-
ber four, and will readily tell which tone the bird sings.
In all cases corrections should be made by question-
ing on the mental effect, but the answer should never
be told by the teacher until the pupils have found it
for themselves.
Wb^chisd?
B m s d II m d s n 11 s m d s I d s m m 11
Which is s ?
dmds||dsdn||dmsd|lsmmd||
Which is PI ?
dsdm||dndsl|dsmd||mssd||
Which is S| ?
d m d s,|| d s,d m II m d S|d jj s,d m d II r
Which is d'?"-
d m s d' |[ s n d' d II d' s m d jj s d' m s ||
It is unnecessary to multiply examples here, as
any teacher should be able to prepare them without
assistance. '
■\ '
NOTES ON DJVISION I. j^^g
Which tone is sun<r on number four ?
First Step.
jd s m djjdsd njjn s sdljd s n d'll
J n s 8 d j; d n d 8 11 m s d s, Ij s, d n d j
}s dm 8, jjs d8 njjp, 8d'ptljd s 8 d 11
Second Step.
I d 8 n r II M r 8 d II 8 t s d' || d' t d' 8 ||
I " s r n 11 d t, d s II 8 r t, d Ij n d r t, II
|r 8 t, d|jPis,rd||mrd t, j| d s, t, r
I s t d' r' II d' t ri 8 11 8 d' r' t II 8 r' 8 n ||
The manual-signs may be used to advantage in the
above. EXAMPLE.-Teacher intimates that those who
know which tone is sung on a particular number (any
number may b e taken equally with four) will make
MANUDL-Siims iH I ''5 manual-sign and cover it until the
Fad rvrDniere I t ^ , -r -,
EAR EXERCISES. J Command - Hands out," is given All
will then raise hands instant/y without looking at the
others. The teacher will then perceive at a glance
how many have the correct answer. Much depends
on the simultaneous indication of the manual-signs, ^
^ as if done slpwly copying will certainly be the result
See Ear Cultivation, page 52. - -■..,\.
io6
THE TEACHER S HANDBOOK.
TEACHING SCHOOL SONGS.
Rote songs have been described in a former chapter
(page 60). The songs to be taught " by note " at this
stage should consist only of the tones and rhythms
already studied. The same methods will be employed
for teaching the tune as for sight-singing, described
above. When the tune has been thoroughly learnt
and vocalised, the words should be studied separately,
and the thoughts which they contain should form the
subject of a " talk " between teacher and pupils. It
may, perhaps, be advisable to practice the words and
music until they are sung mechanically correct before
taking up the subject of expression.
Example
KeyG.
{fboxnim anb iBvcninQ.
\
d :-
:d
I. When
the
2. When
the
r :—
:r
In
the
And
the
m :—
:m
That's
the
Let
a
s :—
:m
Songs
For
of
the
ear
even
east
light
S
time
grate
s :
wel
night
:d
ly
ing
• *T
with
fades
:— :n
to
ful
come
of
r :ri :r
morn
shades
from
r :d
be
hymn
'I
to
qui
is,
are
r :d :r
gold - - en
the
:r
a
be
ti :d :r
the
et
A. T. C.
d :— :si
break - - ing
steal - - ing
m
ray,
west,
PI :
wak
peal
day.
rest.
:/■'
Ul|
- ing
- ing
1...
NOTES ON DIVISION I. . I07
We will suppose that the tune and words of the
above song have been sung fairly well, without any-
special reference having been made to expression.
The pupils will now be prepared for a " talk " on the
subject in which they will be led to discover whatever
beauties the song may contain.
EXAMPLE,,
Teacher. — You have sung this song very nicely, but I wonder
whether you have been thinking of its meaning. Can you tell me
what you have been singing about ? '
Class. — About " Morning and Evening."
Teacher. — Quite right. In what part of the song do we sing of
morning ?
Class. — In the first verse.
Teacher. — And in what part, of evening ? '
Class. — In the second verse.
Teacher. — Let us take the first two lines and think of them only
for a little. Can you tell me why morn is spoken of as breaking
in the east ?
Class. — It means that the sun rises in the east.
Teacher. — With what kind of ray does the morning break ?
Class. — With golden ray. "
Teacher. — If any of you are in the habit of rising in the early
morning, you will be able to tell me what a sunrise looks like.
Class. — It is bright. It is beautiful. It is very pretty.
Teacher. — ^You are all correct. It is one of the grandest sights
that anyone can witness. How do you think we should sing of
this grand picture ? (No answer.) Do you think we should sing
as if we felt sorry that the sun had risen so grand and bright ?
Class. — (Smiling). No ; we should be happy and bright.
Teacher. — Then we must sing that brightly and lively, and when
you do so I want you to think of the bright sunrise and imagine
that you see it with your eyes. I will watch your faces, and if
you really think of w^R you are singing, I am sure that they will
look bright and happy too. (Class sings first two lines with expres«
sive brightness.)
" Io8 THE 'IKACHEU'S HANDPOOK.
Teacher. — That certainly did sound much better, and you looked
much happier also. We will now study the remainder of the verse.
At what time are we to be awaking songs of welcome ?
Class. — In the early morning. * „, , V
Teacher. — Yes, that's the time. And what sort of songs are songs
of welcome ? Do you think we should welcome the day with a
careless, lazy kind of song, or a bright, hearty song ?
Class. — With a bright, hearty song.
Teacher. — You will now sing the whole verse, and you must sing
as if you were leally giving a hearty welcome to something which
you are pleased to have.
This will be followed by a similar " talk " on the
'second verse, in which the characteristics of evening,
the twilight fading in the west, and the hymn of
gratitude and prayer for quiet repose are contrasted
with the brightness and light-heartedness of the
morning.
The above method may he considered tedious and
unnecessary. Some teachers may consider it quite
sufficient to U// the pupils to sing the first verse
lively, or loudly, and the second
softly. This would certainly result
MECHANirU
EXPRESSIUN.
in the song being sung with a certain degree of
expression, but it could only be of a mechanical,
unintelligent description, productive of no educa-
tional advantage. Its importance cannot be too
strongly urged upon the teacher. If pupils are
trained to think intelligently of what they sing at
this early stage, the practice of " singing with the
heart and not with the lips only" will become a
confirmed habit, and in a short tjftie they will learn
to investigate for themselves and discover new
beauties in all they undertake. This will surely
»".('
NOTES ON DIVISION I.
109
recompense the thoughtful teacher for the care
bestowed upon the subject during the few minutes
occupied in teaching the lesson. Dr. Arnold once
said to his pupils, " You come here,
not to read, but to learn how to read.'*
"LCARNINQ How."
This principle of 'beaming how" should unfailingly
be applied in teaching how to sing with the undei-
standing.
VOICE-TRAiNING.
During this stage no elaborate exercises for voice-
training are necessary ; in fact, one simple chordal
exercise is sufficient for all practical purposes. All
exercises should be sung with a soft, pure quality of
tone. Attention should be given principally to the
formation of correct methods in singing, and the
eradication of whatever faulty habits may have already
been formed. The tone should be delivered with
precision and thrown well forward in the mouth.
For this purpose, syllables composed of the consonant
k and the various vowels will be found most useful.
The mouth should be opened widely. The vowel ah
is the most useful for this purpose. Ai and ee should
at first be avoided on account of the tendency to sing
them with the mouth almost closed.
Example :—
d :m Is :m Id :— I— :
Exercises in
" Attack."
Resonance.
Koo koo koo koo koo . .
Ko ko ko ko ko . .
Kaa kaa kaa kaa kaa..
Scah
Oh
Oo
, Oo oh ah oh 00 . .
• •••*•
IIO THE teacher's HANDBOOK.
The preceding may be commenced in the key of C
and gradually raised to A, provided proper care is
taken to prevent forcing of voice. If the exercise is
softly sung no danger need be feared, as the registers
will take care of themselves naturally. In the last
form of the exercise the forward delivery of tone
which naturally accompanies the vowel oo must be
retained in singing oh and ah^ the shape of the mouth
being gradually altered for each vowel.
CHAPTER XII.
NOTES ON DIVISION n.
LESSON ON THIRD STEP.
Prepare blackboard by writing diagram of second
step modulator, leaving space between m and s, ^\
and s and t Drill class in singing from modu- j.,
lator. Give ear exercises in which pupils antici- ^,
pate a new tone. Which tone is sung on No. ^
.4, Teacher singing \.olaa^^v\ d slid m d r ||
d S d m !|d m d f *|| The three first exercises ■ ,
will prepare for the fourth, in which the new „*
tone will be discovered at once. ^^ .^^ , ,
T^ocA^r.— Which tone did you hear on No. 4 ? . V v ,
C/a5£. — A new tone.
Teacher. — I will sing the same phrase again, and you will sing
it after me. (Repeats ph ase, class imitate.) At what place in
the scale shall we place the new tone ?
C/a55. — Between m and s.
Teacher — Quite correct. The name of the new tone is fab.
(Writes it in position.) Now sing from my pointing. (Points
NOTES ON DIVISION II. Ill
dsdmdddfff m.) You seem to have a little difficulty in singing
fah, but you will find it much easier when you have studied its
mental effect. Listen while I sing, and tell me what you think of
the character of fah. (Sings several phrases in which fah is made
prominent.)
Class. — It has a dull sound ; it is solemn ; it is gloomy. (Such
answers may not be given at first, but a repetition of the exercises
will elicit them readil_> . The writer has received as many as sixteen
difterent answers to this question, all tending to show that pupils
had grasped the idea of the mental effect of the new tone.)
Teacher. — There seems to be a difference of opinion regarding
the character of fah. Let me try to help you. Just suppose that
you are at play in the yard, when a boy comes up to one of you
and tells you that there is a policeman in the schoolroom wishing
to speak to you. How do you think you would feel about it ?
Class. — We would feel rather serious.
Teacher. — But suppose this same boy should run up to you and
tell you that ♦• Teacher says you are to have a half-holiday," how
would you feel about it ?
Class. — We would feel happy.
Teacher. — Now that you see the difference between these two
situations, perhaps you will be able to tell me which one fah most
resembles.
Class. — The serious one.
Teacher. — Yes, fah is really a very serious, gloomy tone. Now
practise singing from the modulator, and think of the effect of fah
each time you sing it. - i-
As soon as possible after fah has been taught, lah
should be introduced, as fah is more easily sung
when in connection with lah and doh. The same '
method as above will be used, being careful to approach
lah from fah, thus : || d f f s || d f f 1 || The men-
tal efifeet of lah is sad and plaintive.
Great care must be taken to impress the difference
in the mental effect of the tones fah and lah, as they
resemble each other to a certain extent.
113
THE TEACHER S HANDBOOK.
" Pupils should not be kept too long on this lesson,
as the mental effect of the new tones is so depressing
that they will quickly become dull and even unable
to respond readily to your questioning. The intro-
duction of some bright song, previously learnt, will
serve to counteract the depression.
MODULATOR DRILL.
The introduction of lah and lah com-
pletes the scale and permits of an almost
endless variety of melodic combinations.
As in the previous steps, the new tones
should receive special attention until
their mental effect has been firmly estab-
lished. Owing to the marked leading
tendency of fah towards me there is
always a danger of flattening in pitch
when practising the new tones. This
must be guarded against from the outset,
as the habit once formed is exceedingly
difHcult to rectify. The effect of fah
and lah can be more clearly impressed
when contrasted with the brighter tones
of the scale, as :— d PI d *S || d m d *f ||
sd'tM'||sd'tn!d'td'*s||ditd'*l||
In Division II. simple exercises only are
given, the more difficult intervals being
reserved for Division III. The method
described on page 90 should be employed
in modulator drill at this stage.
THIRD STEP
MODULATOR.
ml
r' ■
DOH'
TE
LAH
SOH
FAH
ME
RAY
DOH
t,
S|
f.
m,
i .
NOTES ON DIVISION II. I13
SIGHT-SINGING.
%• vr
Dunng- this stage the teacher may unconsciously
introduce unnecessarily difficult intervals, unless the
lessons have been previously prepared. The simplest
form of approach to the tones f or 1 is from the tones
of the Fah chord, thus ;— d nsdfld'l fm rrd.
The following rule will serve as a g^ide in composing
exercises for sight-singing. Approach f and 1 by
chordal leap, or by step, from the tones immediately
above or below, all other tones may be approached
by leap.
Exercises. Keys C to E^. Compass t, to d*. ' •. ■
d
m
d
s
PI
f
1 d'
1 f n
f
r
d
d
B
n
f
r
n
f s
1 8 d'
1
t
d'
m
d
f
r
s
m
f f
8 1 8
1
s
d
s
d
r
t,
d
m
f r
8 1 f
1
t
d'
d
n
f
s
s
1
1 8
d' 1 1
8
f
m
d*
t
1
s
d<
t
d' 1
1 f r
1
1
8
Exercises in which the tones move by step followed
by a sudden leap occasion a slight difficulty. They
are useful in checking the tendency to anticipate, and
in cultivating close attention.
Exercise i. Key C. '' " ■>
d r m
f 8 d< t 1 8
m r
d
t,
d
Exercise 2.
Key F.
^>, ;'•;
m d r
8 f m r ti d
r t,
d
r
d
Exercise 3.
Key G.
d t, 1,
ti d r m 8 f
m r
d
1.
d
'\
114 THE teacher's HANDBOOK.
Exercise 4. Key G.
m d f m r d 1| S| 1| ti r d t| d
Exercise 5. Key A. •
d ti d S| f| n, f, si ti r ti d S| m,
Exercise 6. Key "&).
d S| m, d| f| S| li ti d f r d S| d
The methods of employing rhythmic exercises,
and colors, described in the previous chapter, apply
equally to this step.
;, -ri ,-;/-.•/' " ■>/■ TIME.
Lesson on Half-Pulse Continuations.
Prepare blackboard with two four-pulse measures.
d :r |m :m.r|d :d.ti|d :—
Review.
Teacher. — You have already learned how to
sing whole-pulse tones, half-pulse tones, and
prolonged tones, and to-day we will study some
new combinations in rhythm. In this exercise, can you tell me
how many tones we have which are only one pulse long ?
Class. — Four.
r^acAcr.— How many are two pulses long ?
Class. — One. ..>■.•
Teacher. — And how many pulses are divided into halves ?
Class. — Two. ,: p i^' 'j, . ' .- ■ ■;■■ • i ' <• - ^r . i. j ■■>
Teacher. — Now tell me the time-names for each pulse as I point
to it.
Class.— TsMf Taa, Taa, Taa-tai, Taa. Taa-tai,
Taa-aa.
Teacher. — You will now sing the time-names
Introduction of
AA Tai.
as I point. (Class sings as desired.) Now sing to laa while I beat
time. (Class sings as desired.) You can sing that correctly, and
will now be able to tell whether I sing it without any mistake.
(Sings it correctly to laa while pupils listen.) Did I make any
mistake ?
Class. — No.
y
NOTES ON DIVISION II. ,. w IIC , .
Teacher.— Listen once more. (Sings as before, prolonging third
tone half-way through fourth pulse.) Did you notice any mistake ?
Class. — Yes. ^
Teacher. — In which pulse was the mistake made ?
Class. — In the fourth pulse.
Teacher. — Did I sing both of the tones in the fourth pulse ? .
Class. — No ; you omitted the first one.
Teacher. — I did omit the first one ; but, can you tell me whether -
I sang anything in its place ?
Class. — You continued the third tone into the fourth pulse.
Teacher. — Quite right. The time-name for this rhythm is taa-aa-
tai. Please sing it after me. (Gives pattern, tsa-aa-tai, and class
sing it repeatedly, in order to catch the effect of the new rhythm. )•
You can now sing that nicely and I think will be able to tell me
how to wn.te its notation. We will rub out the first note in the
fourth pulse. What sign do we use to express a continued tone ?
Class. — A dash.
Teacher, — Yes ; we usually have a long dash for the continuation
through a full pulse, but as this tone has only to be continued
through half a pulse we will use a short dash. (Writes I {[ ;— ,d L )
You will now see how we get the tim<i-names for tnis rhythm.
What is the time-name for the third pulse note ?
Class. — Taa.
Teacher. — For the continuation ? 1 ' ' - v .' '
Class. — Aa, .■ V * : ,.>^ ■ ,■■ .•:!': '
Teacher. — And for the last half of a pulse ? . ".' ; . • • « ' \
Class. — Tai.
(Writes from' pupils' dictation M ;- ,d I *' -' j
'* ' Taa-ka-Tail) ^ '' *
Teacher. — We will now practise singing this new rhythm in tune.
Please sing it to the time-names ; now to the
syllables on one tone. (In the latter, pupils
will probably fail. Some will sing ray at fourth
SiNoiNQ IN Tune.
beat instead of continuing me. This may be overcome by slightly
accenting the continuation at fourth pulse, or by using colored
crayons as follows : — ^Teacher writes the m and the dash in blue,
and the r in orange.) What is the color of m ? Of the dash ?
Class. — Blue.
Il6 THE teacher's HANDBOOK.
Teacher. — If both are of the same color, does it not indicate that
they should have the same sound ?
Class, — Yes ; they should be the same. ^ *
Teacher. — Is r of the same color as the others ? ^ . v
Class. — No ; it is orange. ' ' v > : •
Teacher. — Then if the color is changed we should certainly
change the sound. Does the color change at the beginning of the
pulse or at the middle ?
Class. — At the middle. ' " "
Teacher. — Then you must be careful not to sing ray at the begin-
ning of the pulse, but to prolong me half-way through, and then
sing ray. -'■■^\i\' • .;■, ; ; .'. ; ■, .. : .•C.^arv 'n^.•:.|«. f j7
When the exercise has been correctly sung it should
be followed by ear exercises in which the teacher
sings phrases of several measures in length while the
pupils listen for the new rhythm, and tell the number
of times it occurs in each phrase.
In practice it will be found neces-
sary to employ various means of
Praotioe.
securing correctness in singing the new rhythm. The
color method will be found the most useful for training
the eye. This may be supplemented by the empha-
sizing of the prolongation of the vowel sound, thus : —
Im :— .r Id :— .mis :-~.f In :— 11^
JMe e JDoh oh jSoh oh I ||
It should also be pointed out that the ear naturally
expects the last half of the pulse to lead and connect
with the pulse which follows.
Ex. I. Keys D to A.
a. Id :d.r |n :— .r Id :d .t| |d :— 11
b. Id :~.r In :— .r Id :d .ti |d :—
^■' ,'-■'
117
NOTES 0.\ hIVfSION II.
/I* •-•' I" :".rjd :d.t, Id
''jd :-.r In j-.r |d :-t, |d
' jd .-.r I PI :in.r Id :-.t, |d
A fresh difficulty will be experienced when -aa L
IS immediately followed by Taa-Ta,.
Ex- 3. Sams Kkvs AS ABOVE :'.!'■
" \^ =-•' 1" ,---f |B.f :n.r |d
* jd :-.r |n.f :a .f .„ ^ |^
II
^ |d.r:P..f Is :_^|„ .„^ ,^
''• I d .r -.m
'• I d J :i«i
f :— .8 If :n.t |d
— :— .f Is .f :n.r |d
II
II
II
thlt^'^f '' exceptionally difficult when'it occurs in
three-pulse measure. The most common error is to
rut: ' '"'" -nfnuation followed by half!
Ex. 3. Keys C or D.
'^|d :r :n jf j-.g-i u .__
|w :-.f:B 11 :-
- jd :-.r:m |f :_ .__ jg .. j
^•|d :~ ;~jr ^jnj js :-.i
^ |d :-.r:in |f :-.g:i jt ._.t
d'
d'
|d.
t id>
t Id
I
11
W
Il8 ' '^ THE teacher's HANDBOOK. ' ( ' '
The preceding may be converted into secondary
measure by commencing on the weak accent, and
deducting one pulse from the length of the last note.
SILENT PULSES. (RESTS.) ^•^- '* "
In teaching a first lesson on si/ent pulses, the same
methods as described in the foregoing specimen
lessons may be adopted, viz.: — The new rhythm
introduced in ear exercises by the teacher, detected
and imitated by the pupils, and developed by appro-
priate interrogation. Theoretically, it seems an ano-
maly to use a time-name to express a silence, but,
practically, it will be found exceedingly valuable.
The sensation of pulses in music is so powerful that
unless something is provided to be sung on the stroke
of the silent pulse, untrained pupils will invariably
sing the succeeding tone. The act of whispering the
time-name involves a certain degree of restraint which
compels the singer to observe the silence when
singing in tune. The pupils should at first sing all
the time-names, then the teacher may sing those for
the silent pulses, and finally the pupils will sing all
but the silent pulses, merely thinking t\\Q time-names
as they occur in the exercise.
Ex. 4. Keys C to A. i
a. Id ::r In : If :m.r Id
\: '^r^
II
^. |d.r :n | :f ,m|r : jd :-
c. Id : |r .m :f .nlr : jd :~
II
NOTIiS ON DIVISION II.
119
d. Id :r
:n
f :m .r I d ;—
^ Id :- .r |m :f .m|r :
Ex. 5. Keys C or D. ^ i-i
a. Id : :r jm : :f is :1
^ Id :r : |m :f : |s :1
II
^ Id : :r |m :f :s |1 :t
^. Id :r :
:m :f Is :1
e. Id :r :m
:f :s II :
t |d<
t ld<
t Id
t Id
•
=, II
EAR EXERCISES.
\i
These will be conducted by exactly the same
methods as prescribed for Division I. Care must
be observed in impressing the mental efifects of f, 1
and m, as, owing to their seeming resemblance, one is
frequently mistaken for the other. This difficulty
may readily be overcome by frequent comparison of
the tones, as :— d S d *m || d S d *f || d S d *1 ||
d> s dinild' s d'^'mlld' s d> f II
Exercises in finding fah : — • ' *'
.i\ }
I
2
3
4
5
I
2
3
4
5
d
t,
d
f
m
8
d
f
r
d
m
d
1
f
8
8
1
8
f
m
d
f
r
s
d
d
t,
d
m
f
s
m
1
8
f
d
f
r
m
d
(r
I20
S 1
THE TEACHERS HANDBOOlC.
Exercises in finding lah
■ '■i-
.^;.
'.(;'',
i?
I
s
d
2
d'
m s 1
d f
3 4 5
t d' 1
r 1 e
1 f B
r f 1
I
d
d'
B
d'
2
3
4
5
B
m
1
S
1
s
f
m
d-
t
1
s
B
1
t
d'
Exercises on all tones of the scale. Which is last ?
I 2
d B
d t
m d
s 1
3 4
5
d n
r
d' s
1
f r
B
f B
m
•
I
2
3
4
5
B
n
f
r
d
d
B
1
t
d'
d<
n
1
1
t
B
1
S
m
f
The above will be followed by exercises in naming
any one tone sung to a/t or o/i. The teacher will
soi-/a the chord d' B n d, then sing to a/i or o/i any
one tone. Pupils will then give the sol-fa name of
the tone. , . ,
; . PREPARED SONG. ^IH -"i
This will be taught in the manner described for
Div. I. Seepages 57 and 106. . , , , ,
u ■
■ X ■
f''..
'■
i^
i
, -'■'.»
■■," ■'
f ;
[■'
■ > ''
,'/■
^ '
■■^A'
., i:.
c
>..''
::.|.
, ', ■ :(i
NOTES ON DIVISION HL
"■ ■'■■ i 121
CHAPTER Xill.
NOTES ON DIVISION lU.
MODULATOR DRILL.
In this Division pupils are expected to sing any tones
of the scale, irrespective of the interval by which they
may be approached. The simpler intervals having
been taught in the preceding division, the more diffi-
cult intervals will now demand attention. The inter-
vals which usually occasion the most trouble are
sixths, as d 1, 1| f, t r, and fourths, as f d, Pi t|, n 1.
When two such intervals are given in succession, as
S| d f, r S d', the difficulty is considerably increased.
The following are a few of the more difficult intervals
included in this step : — m 1, 1 n, d f, d 1, 1 r', 1| r,
r' 1, m t„ ti m, t, f, f t, r t, t r, 1 d, f 1,, 1, f.
In every lesson one or more of the above should be
specially taught, but should be intermingled with
simpler intervals in order that the pupils may not be
discouraged by too many difficulties. The method
described on page 78 for teaching soh should be freely
employed in teaching fah and lall.
Examples of exercises for Modulator Drill and
Sight-Singing:
Key C. " ■:>^l.^'' \ "/v. ■:;•■?■..?■ • ;.■■/,
dnsd'tllsflfmnllmrrlfrdtid
s d' t 1 d' 1 1 d' r' r' 1 r' m' 1 1 8 1 f 1 f r 1 t d'
dsffnrfmdfslflttftd'fmfrd
dfnlffslfd'fmdfrfmrfdfrt, d
122 THE teacher's HANDBOOK.
' Key E.
d s 1 m f r 8 d. f m r 1 t Ts d' t 1 f r d t| d
Key a.
d S| n, Si li fi B| d r f m d 1| tj Si d fi m, 1, S| d ti d
Key F.
dt|dsil. dfnlfsmfrtidsmlfsrd
SIGHT-SINGING FROM BOOKS.
When music books are introduced into the school-
room for the first time, teachers are frequently sur-
prised at the difficulty which pupils experience in
singing exercises less difficult than many which they
have previously sung from the blackboard. The
explanation is simple. In blackboard exercises the
teacher usually points to each pulse as it is sung,
consequently every eye is concentrated on a particular
point, and "losing the place" is an impossibility;
but when books are used pupils have to find each
pulse for themselves, hence the confusion which usu-
ally results. At this stage special
gymnastics in " eye training " should
Eye Training.
be given, both from blackboard and books, and the
practice of pointing to the pulse signs should be
discontinued. ;/ •
EXAMPLE OF METHOD.
Write on the blackboard an exercise containing
continued tones and divided pulses, as : —
I :m Is :n.d
r :d.ti|d :— I
n :r.r |d :— 11
Teacher.— I will now tap the pulses of this tune, and you will
watch each pulse as I tap. Should I stop before reaching the end
;— I n :d.r
r ■
Vi •
-'H
NOTES ON DIVISION III. • I23
you will show me on which pulse I stop. (Taps audibly without
pointing to the pulses, ending on the seventh pulse.) Tell me on
which pulse I finished. . - , .
Class. — On the second pulse of the second measure.
Teacher. — Will someone point to the last pulse that was tapped ?
(Pupil points to d in the pulse previous to the correct one.) No
doubt you think that is the correct pulse, but you have been
watching v -*es, not pulses. Try once more and watch the pulses
only, no matter how many notes they may contain.
if This will invariably lead to correct answers being
given. The same method should be followed with
simple exercises in printed books, or the teacher may
II i sing the exercise to /aa while pupils potni to each pulse.
When the teacher stops singing, each pupil should be
ji able to point to the exact pulse on which the pause
^' is made. Exercises containing full-pulse tones only
should be used at first, and gradually increased in
JI difficulty until the books can be used with the same
^s freedom as the blackboard.
,■ <■- ■■ -.
' -. ■• ' * TIME.
The division of the pulse into quarters may be
taught by the methods described on page 86 for half-
pulses. No difficulty need be experienced when
singing on one tone ; but when singing in tune is
attempted, there will be a decided inclination to
slacken the tempo whenever quarter-pulses make their
appearance. This may be overcome by sol-faing on
one tone previous to singing in tune, and also by
directing pupils to aim at singing in strict time the
first note of the pulse which follows the divided pulse.
If this habit is once formed the divided pulses will
soon be found to take care of themselves.
11
M
124 * THE teacher's HANDBOOK.
*■,■ ■■':
Exercises in quarter pulses :
|d :r .r |m :r^.r,r|d :t, .t, |d :— N
W :r,r.r,r|m :r .r Id :ti,t,.ti^,|d t; |
C.
e.
■fv, ' * ■,•,:■/,'■■{
EAR EXERCISES.
, ■>
:r,r,r,r|m :r |d,d.d,d:t, .ti |d :— ||
M :r |m,m.m,m:r .r Id :t,ti.t„ti|d it:, ||
ift :r ,r |m,m.PT,n:r |d,d.d,d:ti .ti |d ' :— 11
With change of tone : —
|i :r .r |m :f |s :s,f.m,r|d ;— ||
.|l :d,r.m,f|s :— Is :s,f.n,rld :- ||
:d,r.m,f|s :s,f:n,r|d :t, .t, |d :— II
Id :d,r.m,f|s ^ j8*t^€ |s,f;n,r:d .t| |d :— [I
|d :— !d,r.m,f:8,f.m,r|d :t, |j| :- ii
The first class of ear exercises prescribed for Div.
III. are similar to those prescribed for Div. II.
The second class comprise the simplest form of
exercises containing more than one tone. In prepar-
ing for those exercises it must be made clear to the
NOTES ON DIVISION HI.
I2i
pupils that only three tones in stepwise order will be
given. They may also be required to name three
such tones, beginning with any tone indicated by the
teacher, thus : — Name three tones ascending in step-
wise order from d ; descending from s ; ascending
from 1, etc. The teacher may now sing several such
phrases to laa^ pupils 'being required to tell only
whether the phrase ascends or descends. This should
be followed by similar phrases in which they are
required simply to name the first tone. When they
have learned to distinguish between ascending and
descending phrases, and to concentrate their attention
on the first tone, there should not be much difficulty
experienced in naming any of the phrases required.
Previous to singing each phrase, the teacher must
sol-fa the DOH chord, in order to clearly define the
key. When incorrect answers are given, the attention
should be directed to the mental effect of the first
tone, and pupils questioned regarding its resemblance
to the corresponding tone of the correct answer.
When this has been discovered by the majority of the
pupils the exercise should be sol-faed by aU. It will
be noticed that exercises which begin with d, n or s
will be more easily named than those which begin
with the other tones of the scale. ,, = ^ >.
d r m
m r d
d t, 1,
s f m
s 1 t
d> t 1
d' r' ml
m f s
f n r
r n f
r d t,
f s 1
1 s f
1 t d'
t 1 s
t. d r
B| 1| ti
li t, d
r' d't
t| li Si
126
THE TEACHER S HANDBOOK.
Exercises in which the tones move by step, but not.
continuously in one direction, may now hn given.
d
s
r
f
t,
f
m
s
d
d r d
d d r
d d t,
m r m
s
sis
s s 1
m r r
m f m
r
r r d
r d r
t 1 t
t t d'
f
s f f
1 t 1
d' t d'
1 s 1
«»':
Singing from dictation may now be proceeded with
and will be found an excellent auxiliary to ear
training and sight-singing. The teacher may indicate
by the manual signs which tones are
to be sung to laUy or may simply
SiNCINQ FROM
Dictation.
name them, thus : — Teacher sings d S n d and tells
class to sing Pi r d, or any of above phrases which
may be desired. In all exercises the pupils who
display feast natural ability to tell tones by ear should
receive special attention and should be encouraged
to persevere until they compare favorably with the
others. See pages 52 and 10 1.
PREPARED SONGS. -^
These will necessarily contain greater difficulties of
tune and time, and be of a superior character gener-
ally than those prescribed for Div. II, but should be
taught by the same methods. See page 106.
VOICE TRAINING.
Tuning exercises in two parts should now be intro-
duced. It is advisable to teach the lower part
thoroughly before touching the upper part, as young
f>
NOTES ON DIVISION III.
127
pupils are invariably inclined to sing the latter,
to which the ear is unconsciously attracted more
strongly than to the former. The pupils should be
divided into two sections, according to the quality of
the voice. A trained ear will easily
distinguish the soprano from the con-
CLAS8IFYINQ V010E8.
tralto by the quality of the speaking voice, but the
ordinary teacher should not attempt to classify voices
without first testing each voice in singing from the
modulator. This may be done by singing up and
down in the key of C. If the best tones are found
in the upper-thick register, the voice may be presumed
to be contralto ; but if in the lower and upper-thin
registers, soprano will be the most suitable part for
that particular voice. See page 23. Each part
should be practised separately, beginning with the
softest possible tone and endeavoring
to have all voices in a part blended
Beqin Softly.
as one. Pupils who will persist in singing loudly
should be prohibited from singing for a time. The
most suitable vowel for elementary tuning of voices
is 00. When the voices in each part have been fairly
well blended, the two parts may be combined, and the
vowels ah^ oh^ ai and ee introduced individually in the
order given. '
Examples of Tuning Exercises : — ^ ^
KeyG.
PI :f
d :1,
81
:r
:t,
n :—
d :-
128
THE TEACHER :, HANDBOOK.
KeyG.
i d :r
m
:f
m
:r
d :-
d :t,
d
:1.
B|
•
d :-
> y
i >- CHAPTER XIV. ^
> i fV . KOTES ON DIVISION IV.
!; ■ V" MODULATOR DRILL. * ;' '
The first modulator drill for this Division is exactly
the same as prescribed for Division III.
' In order to conduct two-part exercises successfully
it is necessary that the teacher should have a know-
ledge of the elementary principles of harmony, in order
that ungrammatical harmonic progressions may be
avoided, and those only introduced which are calculat-
ed to produce a pleasing harmonic effect. The most
pleasing *intervals are t/ttrds, as : — d m ||r f || 1| d ||
f 1 II S tlL When thirds oxAy are used they become
too sweet and insipid, and a new combination is
necessary. This is supplied by sixths, which are
simply inverted thirds, as : — d 1 1| r 1 1| m d' || 1| f || t| S ||.
A strong binding effect is produced by the employ-
ment oi fifths, as :— d S |j r 1 1| f d' II, or their inversions
termed fourths, as :— S| d ||1 r' ||d f ||. These, how-
ever, must be employed with extreme
caution, and on no account should
Avoid CoNSEOUTiVE
Fifths.
* Intervals are calculated from the lower to the higher tone, both
being included.
NOTES ON DIVISION IV.
139
two fifths, as
in suc-
i . '■
cession. The effect of such " consecutive fifths '* is
harsh and unpleasant. As a rule, four or five thirds
or sixths in succession will be suflficient, and a fourth
or fifth should be added to give variety to the
harmony. The following will serve to illustrate : —
Key Et7. ^
d PI s ni
r f m f
s 1 f f
n f s 1 )
d d t, d
t, t, d -
t| d r t|
■ '-■/■ ■'' - '
d r m f j
t t d' -
d' t 1 s
f 1 s
It d'-
f f n -
m f f n
r f f n
r f m -^
I
Before attempting to conduct two part exercises
the teacher should carefully prepare a definite plan
by writing a number of exercises similar to the above
until familiar with the more common harmonic pro-
gressions. A few short and simple exercises only
should be used in the class until pupils have developed
ajnoderate degree of steadiness* in maintaining their
own against another part.
-'...■: *■:.., w. vi •.-■-■-;.;:.■■:■■«"- TIME.
In this Division no new divisions of rhythm are
introduced, but those' already taught should be thon
oughly reviewed until they can be easily sung at sight.
SIGHT-SINGING.
The exercises prescribed for this Division are
intended to enable pupils to sing at sight any ordinary
. ;^ "ii;
■' /. ' ' ''■■.■■■
130 . THE teacher's HANDBOOK. ' •
hymn tune or song of moderate difficulty. When
tune and time are combined for the first time, one is
certain to receive more attention than the other.
Before singing each exercise, the attention should be
directed to the difference in length of the notes.
Each exercise should be vocalised, after sol-faing not
more than three times. ' '
Exercise i. Key G.
d :m |r :s If :— |m :f Is :1 |f :r la :— |n :— l
f :r Is :— Is :m |1 :— Ir :s Id :f |m :r |d :— 1|
Exercise 2. Key D. '
m :d If :r Is :— |m :— 11 :r |m :f If :— |m :— i
s :d' If : -11 :di |s :— |n :d |r :s |t| :r |d :— 11
Exercise 3. Key A.
d :ti Id isilm,:— |f| :— Ir, :si 11, :t| 11, :— |si :— I
d :m||f|:-|r :d |si:— 11, :d |m:r If :t, |d :--||
Exercise 4. Key E. ''''";--■';: '7^';'.,. '•■;.:, J
d :m |r :t||d:f |m :— 11 :r |s :d|t :r |si :— )
Id :— |r :— jti :si |d :m|f :» |1 :m|f :s jd :— 11
EAR EXERCISES.
Exercises containing stepwise progressions should
still receive attention. Dictation exercises containing
intervals of greater difficulty will prepare for more
NOTES ON DIVISION IV.
X3I
advanced ear exercises. In conducting the following
exercises the teacher will sing the tones of th 3 DOH
chord, then name the tones to be sol-faed by th( class :
m r
d
s
r m
f
1
';'Vi
f
s
d> s
t
1
1 f B d
f m r s
d< s 1 f
1 d' f m
alts
d> t d> 8
B m B r
B n d B|
d' t [ m
n f f d
B 1 f d
d S| t| d
In the following the teacher will sing on one tone
to iaa while beating time, while the pupils listen, then
sing the time-names on one tone :
d II ld.d :d Id.d
d
d
:d .d Id
:- A Id
d :-.d
|d,d.d4:d
|d.d
d
d.d
:- .d Id .d
d.d:d
d.d|| Id
d II Id
d
d
d.d
II
:d,d.d,dld
:d4*d,d|d :d .d
PREPARED SONG.
The study of two-part songs is usually a more
difficult matter than is generally supposed. The
upper part is usually more " catching " than the lower,
and even when the parts have been thoroughly mas-
tered when sung separately, it frequently happens
that the alto voices are unconsciously singing with
the soprano. This may be overcome by frequent
rt$2 THE TEACHERS HANDBOOK.
practice of tuning exercises and modulator drill in
two parts. As a rule it is advisable to teach the
lower part before the upper, until sufficient skill has
been developed to permit of both parts being sung
simultaneously. * .
• -V VOICE TRAINING.
If a reasonable amount of attention has been paid
to voice training, pupils should enter this Division
with a fair command of voice, an increased compass,
and a tone, which if not large in volume, should at
• least be pure and soft in its quality. A strict outlook
should be kept for voices which are apt to be strained
particularly among boys, who usually incline to force
the lower-thin register upwards in
preference to using the upper-thin.
Train Downwards.
The upper registers can best be cultivated by singing
downwards. Exercises for this purpose should begin
above D' which will compel the use of the upper thin
The sweetness of this register should be noticed, and
pupils directed to carry it down as far as possible
withou* changivg.
Th: owel oo is the most congenial to this register
and should precede all others.
Voice £xbrcises for Upper Registers.
Ex. 1. Keys A, At?, G. F %
js :f |in:r|s:f tw:r|«:f |w :rtwif |fi ^-^|
Ex. 2. Keys F, E, e!?, D. .%
jd'it II :b |d':t |1 :s |d':t |1 :b Jl :t ld':H|
Ex.3. KSYS C, B, Bl7, A. 1^
tn':f |«':r'|n':f |n':r'|ni:f |n'n-'|d'it (d' :-tj|
NO IKS ON J )I VISION IV.
153
For Whole Compass of Voice.
Ex. 4. Keys C. D, E.
m :d |8 :n|f :1 |d>:l
Ex. 5. Kbys C, D.
d jn :r .f I n .s
«
s :t Ir' :t |d':-|-
:f .1 Is .t :1 .d>
.r'
:d
«»
t
m'.d' :'r.t IdM :t .s II .f :s .m If .r :d
Cymnastics in
Breathinq.
II
The above should first be sung to koo with neatly
detached tones (siaccata)y then smoothly (/egato) to oa,
auy aiy ee and oh, breath being taken at the points,
marked *.
Breathing exercises should be given
frequently in connection with the
above. It is inadvisable to multiply exercises. A
few simple gymnastics conducted by a careful, obser-
vant teacher, should be sufficient for all practical
purposes;
Exercise ist. — Pupils stand erect, take breath by
expanding the lower part of the chest while the teacher
counts four slowly ; retain the breath by keeping the
chest expanded for a similar length of time, then let
the breath go suddenly. Repeat three or four times.
Exercise 2nd. — Inhale by expanding the chest
suddenly ; retain the breath for four seconds as above,,
then sing the vowel 00 while the teacher counts four.
The attention must be concentrated on securing a
smooth, steady tone. The period during which the
breath is inhaled, or the tone sustained, may gradually
be increased to eight seconds ; but it is not advisable
to retain the breath be\'ond four seconds..
134
THE TEACHtR^S HANDBOOK.
(,;' .'
'P
PART SECOND.
i}\ ■ j. ,( : if. -.■ ■ • '
,; .-, CHAPTER XV. . ,;
gylLABOS JOB SEHIOB BIVISIOKS.
■ X' ' y
In Part First the three primary steps of the Tonic
Sol-fa method only are treated. The subject-matter
of the remaining steps is as follows :— ,\.^; .,^,^...J
r ,, FOURTH STEP. .^^^n^ s
Tune.— The standard scale of pitch. Transition to the
" ^.,(S first sharp and first flat keys. Simple chromatic
/ > ! tones. Musical expression.
Time.— Quarter-pulse silences. Pulses divided into thirds.
:^ ' Beating of time. '• -; . S : .-. .
:/■'•'"'" ■■^■■... • ■ FIFTH STEP. ' - ' .'^'■^' r- ■"-■-'- ''"'^^^
Tune.— The minor mode. Transitional modulation. . ., ^
Time.— Pulses divided into sixfAs, eighths and ninths. -,^; ^.■^,
SIXTH STEP. ;-^''.^>i-j^':;^-;''-'' '"■■'■'■ '-.
Tune.— Transitions of two or more removes. Transitional
modulation. Exceptional chromatic progressions.
Time.— Rare divisions of rhythm.
In pursuance of the plan adopted on page 63, the
following syllabus is recommended for use in the
senior divisions :
. ' . . ,,, ,, , ,.^ ., ■ ■ ■ ■- y ^ ' ' : ■
SYLLABUS FOR SE^fIOR DIVISIONS. ■ 1 35
DIVISION V.
Modulator. — (a) To sol-fa from Examiner's pointing on the
fourth-step modulator, exercises containing transition of one remove
in the perfect method. (6) To sing as above, exercises containing
the tones fe and ta in stepwise progression used thus: — s fe 8, d' ta 1.
, Sight-Singing,— To sol-fa at sight a written or printed exercise
including all tones of the Major scale, wiih fe and ta as above, but
not necessarily containing any divisions of the pulse less than half-
pulses. - . , ,. > -,; ." .-,■ . ,;■,,,........•
Time. — To sing on one tone to time-names and laa, exercises
containing combinations of quarters and half- pulse tone*.
Ear Exercises. — To imitate and afterwards name the tones of
a simple diatonic phrase of five tones the Examiner may twice sing
to laa, the tones of the DOH chord being first given in each case.
Prepared Song. — To sing in two parts, with due expression and
fair quality of tone, a school song set to words.
f
^ ■ ' , ■ , ' '■'
'division VI.
Modulator. — (a) To sol-fa from Examiner's pointing, exercises
containing transition of one remove and modulation to the relative
minor, including the tone se used thus, 1 se 1. (b) To vocalize, from
the Examiner's pointing, simple exercises including all tones of the
major diatonic scale. ;\ ,ri; .' . : >r! i
Sight-Singing. — To sol-fa at sight a written or printed test
inclu< g any tones of the major scale and easy transitions of one
remove, indicated by bridge-notes. •: ^
Time. — (a) To sing on one tone to laa or time-names, exercises
including various combinations of thirds, (b) To sing as above,
exercises in quick six-pulse measure.
Ear Exercises. — To imitate and afterwards name the tones of
a simple phrase of five tones, including fe or ta.
Prepared Song. — Same as for Division V.
■»1 ^
136 THE TKACHKk's HANDBOOK
DIVISION VII.
Modulator. — (a) To sol fa from Examiner's pointing exercises
coxrtaining transitions of two removes, (b) To vocalize as above,
exercises containing easy transitions of one remove in the perfect
and imperfiect methods. -v ,;
SfGHT-SiNGiNG.— (a) To sol-fa at sight a written or printed test
of moderate difficulty, including transitions of one remove indicated
by bridge-notes, (b) To sol-fa as above a test including modula-
tion to the r^ative minor writh the tone se used thus, 1 se 1.
Time. — To sing on one tone to laa or time-names, exercises con-
t^biiing any divisions of rhythm previously specified with the
addition of quarter-pulse silences.
Ear Exercises. — To write in correct time and tune a phrase of
four measures,^ including whole pulse tones and continuations, but
no divided pulses, the Examiner singing the DOH chord and indi- '
eating the rate of movement by beating one complete measure
prior to singing the test.
Prepared Song. — To include transition 0/ one remove, and
divided pulses, sung to words with a fair command of voice, expres-
sion and clear articulation.
DIVISION VIII.
Modulator.— (a) To sol-fa from Examiner's pointing exercises
containing trat^sitions of two and three removes, and phrases in
the minor mode, including the tones ba and se. {b) To sol-fa as
above, exercises containing any chromatic tones in stepwise pro-
gression, thus : — m re m, 8 la s, r ma r.
Sight-Singing. — (a) To sol-fa at sight an easy test including
transition of one remove indicated by bridge-notes, and modula-
tions to the relative minor, including the tones ba and se in stepwise
progression, (b) To vocalise at sight an easy test including tran-^r
sition of one remove.
Time. — To sing on one tone to laa or time-names exercises of
moderate difficulty, including any divisions of rhythm previously
specified, with the addition of simple syncopations.
••., ■■•";'■; ^ • ;■ (,-"',■' ■■'■■, .;',•-■. \ ■
;;_■'•■ — ~ ■ ■ . .,^ '-V'. TRANSITION. ' \ ^l}t ,' ^ ' — ■■ I37
Ear Exercises.— To write in correct time and tune a phrase of
four measures containing half-pulses and the tones fe and ta, the
examiner first indicating the rate of movement* and giving the tones
of the DOH chord.
In order that each topic may be more clearly
understood, a separate chapter is devoted to the
discussion of each individually. The methods of
teaching any one topic are identical in all classes./ .
CHAPTER XVI.
TRANSITION.
In order to clearly understand transition, C'— d'
it is necessary that the standard scale of R_t
pitch should first be studied. The Tonic t? #
Sol-fa notation makes no attempt at express- ^ 1
ing absolute pitch other than intimating \> t
the key in which a piece of music is written. G — S
This is done by means of the first seven ^ ^
letters of the alphabet. The scale of C has ^ ~^ '
been adopted by musicians as the standard E— •*»
by which the pitch of all. other scales is ^ t
governed. By referring to the annexed D~r
diagram it will be noticed that the intervals
of this scale correspond exactly with those ^^^
of the third step modulator. Musicians have not yet
138 r THE teacher's HANDBOOK.
agreed upon any definite standard, but the majority
favour 256 vibrations as the standard for Middle C.
In teaching, it is advisable to use
an ordinary modulator (third step)
PiTCHINQ THE KEY.
suspended by a cord of sufficient length to permit
of its being raised or lowered to ^ny desired position.
The seven letters being written on the blackboard on
a line with the corresponding notes of the modulator
will illustrate the scale of absolute pitch, while the
movable modulator will illustrate the scale of relative
pitch, with its movable doh. The lesson may be
illustrated by referring to the standard of weights
and measures, by which all others are measured. In
pitching the key the modulator should be moved
until d is opposite the letter which represents the
required key. Then take the sound of C from the
tuning-fork or other instrument, and sing downwards
to the letter required, and sing doh on exactly the
same pitch. The keys most commonly used may be
readily pitched by singing the note which is on the
same pitch as C, and then downwards to d, thus : —
To pitch G : move the modulator until d is opposite
G. Fah will now be opposite C ; sound C, call
it fah, and sing f m r d. The d will then indicate
the key of G.
We have hitherto changed key frequently in sing-
ing different exercises, but have not as yet changed
key within any one exercise or tune. When this takes
place it is called Transition. It serves to add increased
interest to a musical composition by introducing
V-
TRANSITION
' 139
FOURTH STEP
MODULA OR.
d' .;;„.;;#-. '..
t ml 1
re' se
1 - t^ S
se '»' *^' ba
s DOH' f
ba TE m
f ta ^
m LAH . r
la ,,.•., ■.;.,-..
r - SOH " d
d > FAH:
t, IVIE 1,
°^* '• se,
1, RAY s,
se, " ** ba.
s, DOH ,,, fi
ba, ||[ m,
I ta, .■:::V:..^::.. .
n, ^ -^r-^v,:/ r,
'- se,
r, • -.ii d,
ba. '•' *2
d, f,
t:, rn, L
variety and freshness. Tran-
sition in some form is used
in about ninety per cent, of
the tunes in common use.
The commonest of all tran- ;
sitions is that in which soh
of the old key becomes
doh of the new key. Soh
being technically termed
the Dominant of the scale,
a transition, in which soh
becomes the key-tone, is
called a ** Dominant Tran-
sition." When in transition
fah of the old key becomes
doh of the new key, this
is called a " Sub-dominant
Transition,"asfahis known
as the Sub-dominant of the
scale. In comparing the
tones of the old and new
keys in either of the above
transitions, it will be ob-
served that only one note
is altered, viz., in one fah
is sharpened to make te,
while in the other te is .
flattened to make fah. No
transition can be made
without the displacement
140 ' THE teacher's HANDBOOK.
of at least one tone. When only one tone is thus
displaced, we have the form of transition which is
most easily sung, the difficulty increasing in proportion
to the number of tones which are of necessity dis-
placed. Before introducing the subject of transition,
it is necessary that the. construction of the scale be
clearly understood in order that a proper conception
may be formed of the real nature of a " change of key."
FIRST LESSON ON TRANSITION.
Write on blackboard an ordinary third step
"^ modulator with short horizontal lines opposite
each note. Direct attention to the lines as
indicating the intervals between the tones of the
» — scale. Introduce the subject by ear exercises
f _ in which the expectant, leading effect of tc is
m— contrasted with the firm, restful effect of doh.
Teacher. — (Gives key-tone, then sings to laa d r d t,.) Can
you tell me the names of those four tones ?
d — Class. — d r d t|.
t' — Teacher. — Quite right. Can jrou describe the effect just
produced by ending on te ? Listen once more and try.
(Repeats the phrase.)
Class.— It is restless. It is unfinished. It expects doh to finish it.
Teacher. — Now let us compare it with an ending on doh. (Sings
d r d t^ — d, pausing on t| to intensify its expectant effect.) How
did that sound ?
Class. — It seemed mcHre finished. It was restful.
Teacher. — Listen again and tell me what tones you hear. (Sings
8 I I fe — 8, which is simply the previous phrase repeated a fifth
higher.) v v
C/a«.— It is d» r' d« td'. 8 1 8 f 8.
Teacher. — A. number seem to think it was the same phrase
repeated an octave higher, I will sing it as such. (Sings d' r* d' t d').
Is that the same as before ?
Class. — No ; it is too high.
TRANSITION.
I •
141
Teacher. — If the phrase is not an octave higher than the first, we
must try to find out what it is. (Repeats 8 1 ■ fe ■.) *
Class. — It is like the first phrase. It is s 1 s f s.
, Teacher. — You do not seem to be able to agree about it yet, still
you are both partly correct. Let us take one tone at a time and
perhaps we will succeed better. (Sings one tone at a time,
eliciting correct answers until fe is reached.) Some say the fourth
tone is fah. I will sing fah this time. (Sings • 1 t f s.) Is that
the same as before ?
Class. — No ; it is too gloomy. It is too low.
Teacher. — What is the interval between soh and fah 7
• • Class. — ^A foil tone.
' Teacher. — -And what between d and t, ?
. Class. — A semitone.
Teacher.— V/e find that this fourth tone is below loh, though not
quite so low as fah, and you have told me it sounds like te. Let
us change foh into doh and sing. (Writes K opposite to the right
and points while class sing d r d.) You can readily recognise that
as being the same as I sang before, but where shall we place t| ?
Class. — A semitone below «.
Teacher. — Quite correct. Now sing both phrases from my
pointing. (Points d r d t, d "d r d t| d while pupils sing.) Yon
will now observe that both phrases are alike, but the latter is in a
new key. We will now build the remainder of the new
scale. (This is done from pupils' dictation.) You will
notice that all the tones are not on the same lines. How
many tones are altered ?
Class. — Fah is the only one.
Teacher. — Yes. We find in this change of key only
one tone which requires to be displaced, all the others
remaining on precisely the same pitch as the tones of the
old key. Te being the new tone introduced by the tran-
sition is termed the distinguishing tone. In making the
transition we crossed over on soh, bnt we might have
done so on any other tone but fah. The tone on which
we cross from «iny one key to another
is termed the bridge-tone. We will
now pfiactise changing key on various
d'-f
t
m
1 — r
s — d
a — 1|
T •
d-f,
t,— «l|
l.-r,
Briooe-Tones.
142 THE TEACHERS HANDBOOK.
bridge-tones, and I would ask you to make sure that you sing the
bridge-tone and the tone opposite, without altering the sound.
(Practise as indicated.) ' '
I will now show you how transition is indi-
cated by the notation. We use a small note
for the bridge-note, thus : sd, but you must not
Notation of
Transition.
measure its importance by its size, as it is really the most important
note in the transition.
Key C. ■:■■'•■■■.■':■ ■-' '"• '■■'•■■
Writes: dmrdt|d>dmrdt|d
In singing this you must be as careful of the bridge-tone as when
singing from the modulator. (This is practised, a pause being
made on the bridge-tone to catch the correct sound of the new key.)
, When the key is changed for a few pulses only, it is not consid-
ered necessary to alter the tones or use a bridge-note, but simply
to substitute a new tone for fah on the same pitch as te of the new
key. This new tone is called fe. (Writes fe
between 8 and f on the modulator and practises.)
The method of denoting transition by bridge-
The Imperfect
Method.
notes is termed the perfect method, and that which substitutes fe
for fah the imperfect method.
Exercises in translating from the perfect to the
imperfect method, and vice versa^ should now be
frequently employed The teacher points to the
modulator and sings d ti d, S|. Pupils imitate in the
imperfect method by singing s fe S r. ♦ *
S -r^ Transition to the first flat key may be
— t taught by the same process as above. In
*, * , this, fah becomes doh, and te of the
original key is displaced by fah of the new
key. In the imperfect method the new
d — f tone is named ta (pronounced taw). It
t — ni should also be noticed that when a transition
li — y is made to a sharp key, i.e. where the dis-
J tinguishing tone is formed by sharpening
n-1
r — 8
■%>^-. '
TRANSITION. j^x
the corresponding tone of the original key, as f
becoming fe, the mental effect of the tune is bright-
ened and intensified. This may be accounted for
by the fact that soh, the tone of brightness, becomes
the foundation tone of the new key, and so adds
color to all the others; When the transition is made
by flattening te of the original key, the opposite
effect is produced, and the tune becomes depressed
and gloomy through the influence of fah, which
becomes the foundation tone of the new key.
Exercises for modulator and black-board practice :
Stepwise progression, s fe S.
Imperfect Method.
Keys C to E.
dndrssfesmfrdtid
ndfrsfeslsd'mrrd
drfmsfesnsfesfrd
slinflsfesmrftird
d m r f m 8 fe s d m f r t| d .
.s m 1 s fe s 1 f r s d r t, d
Stepwise progression, 1 ta 1, d' ta 1.
' d s m f 1 d' ta 1 s f 1 s t d' ■ ^
d' t d' 1 m f 1 s 1 ta 1 s t d' ,
d f ir s d' ta 1 s t d' m f r d
m r s f 1 s 1 ta 1 d' t 1 s d'
d' t 1 s d' ta 1 s d' s t 1 t d'
^Jwrfmsfltalsd'td'
144
THK TKACHER S HANDHOoK.
Fe and ta approached by leap : —
; Keys E to G .
m d m r s 1 f e B m f r 8 1 f r d
8 m d r f e s 1 f r s f e 8 m f f m
dtidsmlfesmfesfmrsd
d Si r t| d m r fe 8 d f r d 1| t| d
d r ti d 8 1 fc 8 m d fe 8 1 r r d
r«ir8fe8rdt|fe8dm8frd
Keys C to E.
dfnrsd'talstaldsffm
nrfm8tal8d'fnr8ft|d
d' t d< 8 1 ta ta 1 8 f ta 1 8 d' t d<
d f m r 8 d' ta 1 8 d' m f ta 1 t d'
PERFECT METHOD.
In denoting transition by the perfect method, the
name of the new key, with its distin^juishing tone, is
always written immediately above the bridge-note.
'\ ♦ Transition TO First Sharp Key. ' "^
KeyC.
G.t.
f.C.
dmrd8l8»dmrddt|ddsmfrdtid
KeyD.
A.t.
f.D.
dt|dmrr8irdt|dl|8|dd8lfmfrd
KeyG. • D.t. f.G, / /
d Si 1| ti d m r '8 d t| d m r 8 "r m f m r 8 d
KeyBI?. r F.t. - f.Bt>. ' V
d S| m, si 1| f| 8| m.l, 8| d r ti 1| S| «.ri S( f| n, 1, t| d
KEYAb. Eb.t. f. Ab.
dt|d8|dmrr8mfrt|dsimmfrdt|d
KeyF. C.t. f.F.
m d 8 n r f m ir' d' t d' 1 t d' d's n 1 f n r d
; TRANSITION. 145
Transxtion to First FLAxiUy.
Key a. f.D. A.t.
dnrdfrmmtd'lfrrs 'dtid S| 1| ti d
KbyC. f.F. C.t.
8 m 1 B f f m <d m B f n f m rg m f b t t d'
Key F. f.Bt? F.t.
d ti d s 1 f B im f n r b f n mi b f r b t| d
KeyG. f.C. G.t.
n s r f ti r d '1 b d' m f f m 'Bi d ti r f ti d
During the earlier lessons in transition it is necesary
.to make a slight pause at the bridge-tone until the
eftect of the tones of the new key can be anticipated.
The simplicity of the Tonic Sol-fa notation of transi-
tion is somewhat misleading. It may be imagined
that when the names of the tones in the new key
are so clearly indicated there can be no difficulty
EKSEorDiFncuLTYl experienced in singing them correctly,
IK Tbamsition. bi/t in practice this is fotrnd to be far
from the case. However simple the notation may
be, the fact still remains that it is with the thing
. itself that the difficulty lies, and this cannot be
. overcome without the exercise of. a definite mental
'exertion. Whenever the key is changed the mental
. effect of every tone of the scale is also changed^and
.during the first few pulses of the transition it is
somewhat uncertain, as. each scale is struggling. for
supremacy, the old being, already established In the
mind, and the new endeavoring to displace it • and
become supreme. The following will serve, to iilus-
I
- M
146 THE teacher's HANDBOOK.
trate what takes place in the simplest of all transitions,
viz., from Tonic to Dominant — or to the first sharp
key :— .
Firm d'
becomes
Gloomy f
Piercing t
' w
Calm n.
Plaintive 1
<(
Rousing r-
Bright s
i(
Firm d-
Gloomy f is
supplanted by Piercing t|-
Calm m
becomes
Plaintive 1,.
Rousing r
M
Bright S|-
ii care is necessary in singing transitions of one
remove only, greater care is required when more
remote transitions are being dealt with. When two
tones of the original key are displaced, the transition
is termed a transition of two removes ; when three
tones are displaced, three removes, and so on, the
number of removes being indicated
by the number of tones which are
Removes.
displaced. The difficulty of singing the transition
increases in proportion to the number of removes by
which the transition is made. A common error is to
suppose that a transition of one remove necessarily
implies that the transition is made from C to G. On
the contrary, transitions are calculated from any key,
thus,- -from D to A would be one sharp remove,
from D to E two sharp removes, and from D to B
three sharp r amoves, and vice versa^ as from B to D
would be three yf^/ removes. When the distinguish-
ing tone is formed by sharpening — i.e. raising — the
-(,.;
TRANSITION. I47
corresponding tone of the original key, the transition
is said to be to a sharp key, and when by flattening
— i.e lowering — it is said to be to a flat key. In the
Extended Modulator the sharp keys are placed to the
right, and the flat keys to the left. For convenience
of reference the key signatures of the staff notation
with the scale of absolute pitch are added.
In teaching it is not advisable to display the com-
plete modulator until each individual transition has
been studied. A much clearer idea of the facts of a
new transition can be conveyed by building up, from
pupils' dictation, the new scale side by side with the
old. By this method pupils are enabled to investigate
for themselves, and the distinguishing tones of the
new key with the corresponding number of altered
tones are readily discovered. When this has been
done the connection between the modulator and the
notation may be demonstrated by the teacher pointing
short phrases on the modulator, and requiring the
pupils to write them on the blackboard, using bridge-
notes at the proper places. The following will serve
for this purpose : —
i
f ,
m
,.:A
-^ll
ti
d
•
1>:
1
'■'»
•d
ti
d
4
■m •
:'.t
f
d's
m
• -•
w-
'%■■■
's,
d
d
■
t
1
■r
w
The process may be reversed with advantage, the
teacher writing the exercises on .he board and requir-
ing the pupils to point them on the modulator.
iS
THE EXTENDED MODULATOR.
BoH^b A!?.Eb Bt? F
G D A E B
i-.-
^m F
G Q D
A
1
■i?
^ .M
• <?»•««
m' 1
Be
r' '-8 d'
ba t
Fl
El
El
1
'<ae
t' «B
'd' f
,r' s
d' f
I?
t
se
ba
t rm
.J»a
t ml
Di
r'
DI
B
d' f
c:' f
'■■".,•'.■ .^.«e
1>
■ '-;■ ..' ■■
'«•
ba
i.t ^ri
1 '
't m
\ T *^B
C
DOH'
CI
rf
■e
•• ba
B
TE
B
m
1 ^
B d
1 '
86
.B d f
ba 't| ^m
^A
ta
•le
LAH
A
kT
>
86
B .d
ba t|
f
B A
f
•I?
la
«e
j(
ba *t|
'nn *1|
ba t|
"Tl 1, '^
861
G
SOH
fe
ba
G
d
t,
"Tl 1|
Be,
>r .B|
m 1|
r Bi d
ibai t|
F
E
FAH
ME
F
E
ll
*M|
r 'Bi
.ba,
d f,
r B|
ba,
d f,
I?
T>
ma
ve
RAY
D
'B|
' ba,
d ifi
ti mi
d f ,
Be,
1?
de
t
ba,
ti pii
I, "
iti W|
.1, '' "•
i<«ei >tet
C
Jb
DX)H
C
B,
•fl
f1|
.1 "
•Bei
Bi di
TH»' MINOR MODE. T ^ 149
Exercise f6r>TTToduktor and blackboaxad practice :
• ' Two Sharp RtnovBS^
Kby C. D.t.m. d.f.C.
d; m-r d f^N r'd'tfd^m'firf as 4is f>i f r d
Kkv G. A.t.m. f.d.O.
dA ti d s ' 1 f B' "f PTTf f r- di r t,. *r m fi r d U^M
ds s^ 1,1 rrtrr Bv^'S^l^tld'^ f n r 'n,ri f, IrSitjd.^.
Key F. G.t.m. d.£.F.
dl mf r sfld;f mir,4itj. din rr s. ^t 1 s. r f ti.d.>
- Two FLat Removbs. .' ; • ./ ::'^-
KtYC. d.f.Bt>- C.t.iii.,
Bin l.rrf m Lit, d.B*;ni, f, i^ r^ »rr n f r. d t| d;
KkyA.. d.f.G:; , i Ait-m.; "^ ^
ditpdiSi Ijifi d.dr n fi r tr r, S| "if^ n| rrsf tr rr d<
Key El? d.f.Dl?. EtJ.t.m..
d n f 1 r t, d^'^n r f n d r t| % Ud n r s d
• : ■ i ■
CHAPTER. XV 1 1:
•"'■ .■ i^ ■•»y
ft
In the forgoing chapters Mve- have used oirLy one
mode of treatmg the tones of the scate, viz., that in
which dohris recognized as the fundslmental or ke>r
tone, btit now othbr modes fail t<!> be studied and j
explained. Thb ear- ?s never satisfied with • a tune
in which it cannot find some prominent ton© upon:
which to re.t as on a centre of gravity. DOH is the
150 THE teacher's HANDBOOK.
tone most commonly used in this respect, but it is
possible to treat any other tone in a similar manner,
and some of the Ancient Modes have
actually done so with a very pleasing
Anoient Modes.
effect However, with the exception of the Lah
Mode all others have fallen into disuse, this being
considered best adapted to modern ideas of harmony.
Modes are termed Major or Minor according to the
nature of the chord upon which they are built ; thus
the DOH chord being Major, />. having a Major third
from the root, with a Minor third above, is termed
a Major chord, while the Lah chord having a Minor
third from the root with a Major chord above, is
termed a Minor chord. Practically,
then, we have now only two modes
Foundation Chords.
in general use, viz. : — '^ ' ' • .,
The Major, or Doh Mode, and x
The Minor, or Lah Mode.
In teaching the Minor mode, the first matter of
importance is to impress the effect of the Lah chord
by practising the tones 1 d i^ only. If this is dwelt
upon sufficiently it will soon be felt that the mental
effect of the tones is strongly in-
fluenced by the effect of lah. The
Alteration of
Mental Effeot.
sad effect of lah will be intensified, and a restful
feeling will also be experienced when ending on lah ;
doh will lose its strong, reposeful effect, and will be
almost as sad as lah ; no will gain in breadth and
grandeur without losing its former plaintiveness. The
Minor mode is never so easily sung as the Major,
V
, THE MINOR MODE. I5I
even by the best singers ; still, practice will soon estab-
lish the new mental effects, and the Minor mode will
become comparatively easy.
Introductory Phrases in thb Minor Mode.
li d m 1 1, m d 1| 1 m d 1|
li d 1| m 1| d m d 1| 1| d 1| m d 1|
Indl 1, mndml, Idmdml,
When the effect of the Minor mode has been
established by the use of the above exercise, the
construction of the Minor scale may be studied. The
Ancient or Historical form, so called because of its
employment in old national melodies,
consists of the tones of the scale
The Angient
Minor.
arranged in precisely the same order as in the Major.
Many fine specimens of this form still exist one of
the best known being the old Scottish air, "John
Anderson, my Jo." Modem harmony, however, re-
quires that the Tonic of any mode should be supplied
with a leading note, ?>., a note placed a semitone
below the Tonic to which it leads, as J This is
t|.
formed by displacing s and substituting se> which is
written a semitone below 1. This is termed the
Harmonic Minor, because of its adapt-
ability to the requirements of har-
The Harmonic
Minor.
mony. In singing, it will be felt that there is an
awkward gap between f and 86, being a semitone
greater than any other interval of the scale. In order
to obviate this difficulty another new tone, named ba»
15^: THE teacher's HANDBOOK. ,
(pronounced bay\ is introduced between f- and s/
This is termed the Melodic Minor on
account of the more pleasing melody
Titt Mftoote
Minor.
formed by the introduction of ba.
r Minor.
Harmonic Minor.
Melodic Minor.
i
. .1 -
1
■ ' ' , ' \
86. ' ' ' '
se^
f
ba
m
. »
n
w ■
■ r^
r ■
*.• "
*.■.
■ C: . .
%
t,
' t, '
■ r- ^ ii ir
Musical theorists have drawn some fine technical
distinctions between the manner in which the various
modes are to be sung ascending and descending, but
their opinions differ so widely that they would only
tend to confuse the inexperienced teacher. The
point to be kept in view is not how to sing the whole
scale stepwise, but how to sing the tones in rtw;' order.*
It wiH be observed that the difference between the
various, modes lies between the sixth and seventh
tones only; They may be briefly described as follows :
Sevenths I ^ Essential to the Modem Minor.
( Sok. Seldont used.
Sixths I!*, Occasional.
( Fah Essential.
THE MINOR MODE.
»53
In teaching, it is advisable to build up the Ancient
Minor side by side with the Major on the board,
showing the fundamental point of difference to be in
the interval of a third from the Root, then show the
necessity for a leading tone (se) and finally for the
sharp sixth (ba).
In the Melodic Minor the intervals
^ between the four upper tones correspond
g exactly with the Major, the third being
1 — ba the only interval in which there is any
^ essential difference.
In all exercises in the Minor mode, the
tones 1 and d should be frequently intro-
duced, and the Minor chord 1| d n should
be given as the key chord before commenc-
ing. As doh is the key-tone of the Major,
so lah is the key-tone of the Minor. To
prevent confusion in octave marks and the
relation of tones in absolute pitch,
the name of the Major key is retained
8 — n
f-r
m
r-t,
d-1,
Minor
Key-Signature.
and the pitch of lah indicated in addition, thus, —
Key C, Lah is A ; Key G, Lah is E. ..
Major mode exercises :
For Modulator and Blackboard Practicb.
Kby F. Lah is D.
li d ti d 1| d m r m d t| r d t| 1|
- m d 1 1 f r m d 1, d ti m d ti 1|
: d. m 1, d t| r d m 1, t| d r m n 1,
lidmllmfmlfmrtimli
V
154 . THE
■ ■ < , » ■
teacher's handbook.
.•
Key D. Lah is B.
1 n d r ti
m 1, t d m 1
1
d'
t
1
n d 1 PI f.
1 r t d' 1 f
r
m
m
1
d m 1 m 1
t 1 d' 1 t m
r
d
t,
1
1 f n r 1
t m 1 d' m 1
d'
r'
t
1
With Essential Seventh (se) in stepwise progression.
Key C. Lah is A.
1 d' t 1 n 1 se 1 t d' r' t 1 se 1
d'tld'lselnrnfnlsel
m 1 se 1 d' t r' t 1 t n d' 1 se 1
d n 1 t 1 se 1 1 d' 1 f r 1 se 1
m 1 se 1
m 1, sei 1|
Key E. Lah is CJ.
1, d m d 1| sei 1| d m 1 t
mdfmlselnfrti
d ti li d t, li sei 1, d n 1, d li sei 1
lmldnlselfrmdliseili
With se approached by leap. ,' i;^
Key G. Lah is E.
d 1| sei li d t| sei 1| ti d m r d t| 1|
li d li PI 1 se 1 PI »^ se 1 d r ti li
li d ti sei 1| d n r d sei 1; r m sei 1|
m f m 1 se 1 f m se 1 PI d ti sei li
Key a. Lah is Fjf.
d ti li d ti 1| sei 1| d r ti sei 1 sei 1|
PI d r ti d 1| ti sei l fi ^\ T\ m, sei 1|
)i d li n d ti li sei 1| p1| sei 1| d t 1|
li Pi| li d t| n li sei li d ti sei li d 1|
CHROMATIC TONES. I55
With ba and 86 in stepwise progression.
Key D. Lah is B.
1 86 1 m ba se I t d' m 1 86 1 t 1
m 1 86 1 d' t 1 86 ba 86 1 t m 86 1
m m ba 86 1 t di 1 86 86 ba 86 1 ml
1 86 ba m ba 86 1 t d' 1 m d' t 86 1
Fah is frequently required in the Minor mode.
Like the other tones it is influenced by the effect of
the Minor and becomes more solemn than in the
Major. It should be frequently contrasted with ba
in order to establish its mental effect. , -.
Exercises with fah and ba contrasted :
Key D. Lah is B. ' '
1 n d 1| f — r*i 1 m ba 86 86 t 1
1 d' t 1 86 bam Id' 1 f m r m 1,
d' 1 t m ba 86 1 t d' m f r d t, 1|
CHAPTER XVIII.
CHEOMiiTIC TONES.
- The scale, composed of the unaltered tones d r m f
8 1 1 d' is termed the Diatonic scale. The term Chro-
matic is broadly applied to all tones which lie between
the tones of the diatonic scale. Chromatics are
named from the notes immediately above or below
in the diatonic scale for which they are substituted,
thus, — f f6 ; 8 86 ; r ra ; d d6. Sharp chromatics
are indicated by the vowel e, as d6 16 fe 86 l6 ; and
156 THE teacher's HANDBOOK.
flat chromatics by the vowel a (pronounced aw\ as
ra na la ta. All chromatics suggest a change of
key, and as a rule have their model in the distinguish-
ing tones of the key suggested. By comparing ther'
tones in the various columns of the Extended Modu-»
lator it will thus be seen that fe is t of the first sharp
remove ; ta is f of first flat remove ;
re is Be of the first sharp remove;
Model of
GlWOMATIOS.
ma- is f of the second flat remove, etc.; the sharp
chromatics being related to te of some s/tarp remove;
and the flat chromatics to fah of some^at removei
A knowledge of these facts will aid materially in •
teaching chromatics. The time at the disposal of the
ordinary school teacher will not admit of a thorough?
investigation of this somewhat complicated subject,'
and, unless in cases where the teacher has Lad special .
advantages in musical training, it is not advisable to
attempt to teach difficult chromatic intervals.^ The-
simplest form of approaching and quitting chromatics
is by stepwise progression, as s fe S, m re in, r Pia
r, 1 ta 1. Se being an essential of the Diatonic
Minor scale is not considered as being chromatic.
All chromatics follow the leading tendency. of the
tones upon which they are modelled^
thus sharp chromatics have an up-
Uainno Tenknov
of chromatio8.
ward inclination like te, and flat chromatics a down-
ward inclination like fah.
In teaching,, the chromatics should be compared
with feh.or te> as the case may be, and their resem-
blance noted. One chromatic only should be studied
at a time, and its effect established by frequent
CHROMATIC ICJNES.
157
repetition. The following method may be applied in
teaching all chromatic tones :
THE TEACHER SINGS
r f d'
f
m
f
f
'^ > PI
'8 I
d'
THE PUPILS RESPOND :
n
«d
n
s
8
n
d
n
d
m
r
m
8 1 f r
1
f
8
PI
r
d
ta :-|l
By the above means the attention is concentrated
* on tal, and pupils become familiar with its effect as
aapproadhed from any tone of the scale. This should
"be followed by the pupils singing the above or similar
r^exercises, ta 1 being introduced at the close of each.
The sharp chromatics are most easily sung when
approached . from the tone above, as m re l*i,(t le t,
r<de T ; and the flat chromatics from the tone below,
as 1 ta 1, 8 la 8» r ma r.
Exercises in Chromatic tones : —
Key D.
d
n 8 ' n r f m r
ma
r
^ li
t, d
8
f m d r ma r 8
f
m
d r
ra d
m
1 se'l m re m d
r
de
r 8
t| d
d'
t vd' tal t di 1
8e
1
f r
m d
d
m 1 8e 1 t let
d<
8
fef
r d
d
r f m 8 I518 f
m
1
la .8
f m
m
re m f r de r s
1
se
1 le
ted'
158 THE teacher's HANDBOOK.
."» (
CHAPTER XIX.
TIME. ' '
If the methods of teaching Time, described in Part
I., have been carefully studied, there should not be
any serious difficulty encountered in teaching the
more intricate divisions of rhythm prescribed for
senior divisions.
The division of the pulse into three-
quarters and quarter may be intro-
Taa fe.
duced by the method described on page 86. The
notation of this rhythm is | ., : ,, || the comma
remaining as in the last quarter of ta fa te fe^ and
the dot being moved almost close to it (See page
47.) In singing it is frequently confused with taa tat.
This may be avoided by comparing one with the
other, and showing how fe leads up to the pulse which
follows, as: —
|d.r :m.f |n.r :d Id .,r:m .,f|n .,r:d 11
ITaataiTaatai Taatai Taa |Taa fe Taa fe Taa fe Taa. 1)
Exercises for Taafe\ — - v }
a. Id :r .,r|m :r „r| d :t|.ti|d :— M
b. Id .,d*.r |m.n :r Id.d :ti .,ti|d :-
c. Id :r.r |m .,m:r.,r|d :t|.ti |d
d. Id :r Mr|m :r Mr|d.4 'tLti |d
e. |d .,d* |n .m :r .,r|d :ti .,tild
II
II
II
II
TIME. I eg
It may be pointed out that the effect of this rhythm
is bright and bold, and is frequently employed in
martial music.
The division of the pulse into thirds
has a smooth, pleasing effect, which
Taa Tai Tee.
contrasts pleasantly with the sharp piquant effect of
the previous rhythm. In teaching, it may be illus-
trated by short phrases, with the accent on the third
syllable, as : —
i i * t i \ i ( •
Merri-ly o - ver the| lakelet we glide.
II
Exercises for 7>?^ /d!/ /^^.
a.
d :r,r,r|i»! i :r,r^r|d :t|,tut||d
^.
I d4«d :r | m,m,m :r Id AA :tutut, | d
|d :r,r> |n,n,n:r Id :tuti,ti|d
a.
I d Ad :r «r,r | m :r Id ,d4 :tuti<t | d
II
With Taa-ai tee.
a.
I d 4 4 :m,-,in | s r«s :d' |d'4'4i :s r«s | m,-,m :d 11
d-,d:" |B,-«s:d' |d'r,d':s |n,-,n:d
d<- <d :Pi,r»i,n | b^s :d' Id'r 4' :s<8<b | m^-^m :d 11
d.
d<- <d :m,-,n | s <-<s :d' Id',- 4' :& ^-^s | m,-,n :d 11
l6o THE TEACHERS HANDBOOK.
^ With -aa tat Ue.
U :- ,r ,m I r :-,m,f Is :- ,1 ,t I d' :- ||
Id :-.r,n|r :-,f^S\» -.Int |d' :—
c.
d :r |-,m,f:B 11 :s |-Ait:d
I d :- ,tud I r i-Ajc I m :- ,f ,s 1 1 ,- «t :d'
Quarter-pulse Rests are seldom used in vocal music,
but they are valuable as a means of cultivating exact-
ness in singing intricate divisions of rhythm. They
may occur at any part of a pulse.
Example: — ^
On 1st quarter, sa fa te fe : —
Id : ,r.n,f|s : .f,m,r|d : 4.t,d|r.ti :d 11
On 2nd quarter, ta sa te fe : —
Id :r, .m,f|s :f, .n,r|d :d, .Mlr.t, :d ||
On 3rd quarter, ta fa j^ fe : —
Id :r,m. ,f |s :fA ,r|d :d,ti. ,dlr.t, :d It
On 4th quarter, ta fa te se : —
d .:r,m,f, |s :f,m.r, Id :d,t|.d, tr .t, :d 11
In studying the more advanced rhythms, the com-
mon divisions of the pulse should not be neglected
^•,>
TIME.
idl
but should be frequently reviewed and combined
with the others in suitable exercises. The Elementary
Rhythms, contained in Book II., and Intermediate
Rhythms, in Book III. of the "Canadian Music
Course," afford an excellent series of exercises for
this purpose. ' '
Syncopation is the term applied to rhythm in
which the regularity of the accent is interrupted or
disturbed, as : —
d :-.r |-.m :-.d ||
Taa -aa tai -aa tai -aa tai. M
The time-name for syncopations is formed in the
same manner as for ordinary continuations, viz., by
dropping the consonant and retaining the vowel of
the time-name that would be used for a note struck
on the same part of the pulse, thus : —
d :d .r [r .m :m .r Ir .d :d .ti | d :—
|Taa Taa tai Taa tai Taa taiJTaa tai Taa tai Taa aa
Becomes : —
d :- .r I - .m :- .r I— .d :d .ti | d :—
Taa aa tai aa tai aa tai I aa tai Taa tai Taa aa
a. Id
^. Id
c. id
d. Id
EXERCISES IN SYNCOPATION.
:- .r i-.m :f Is :~ .m |-.r :d
:- .t| |-.d :- .r Id :r .ti |d :—
:- .n I -.8 :d' Id' :- s |-.m ;d
:- jr |-.p» :- j: Id :- .n |-.r :d
U
II
l62
THE TEACHER S HANDBOOK.
(^ < !-' j,«' t
CHAPTER XX.
EAB EXEKCI8E8 FOB SENIOR DIVISIONS.
In introducing Ear Exercises at the commencement
of a new session, the work of the previous session
should be carefully reviewed, in order
that the teacher may be enabled to
Reviewinq
Ear Exercises.
gain a correct estimate of the individual ability of the
various pupils. This can easily be accomplished by
means of written exercises. Let each pupil Lo sup-
plied with slips of paper on which to write the names
of the tones of at least three exercises, similar to
those used in the previous division. If each pupil's
name or number be signed to the slips when returned
the teacher will be enabled to form a correct estimate
of the degree of difficulty which may be safely intro-
duced into the succeeding exercises. The difference
between tones approached by leap and those ap-
Droached by step should be carefully studied and
contrasted. Phrases of three tones
in stepwise succession, followed by a
Leaps in
Ear Exercises.
leap, should be given for this purpose. The pupils
should be told to give most attention to the last tone.
sltr' fmrs mfsd'lsfr
n r d f
8 1 B m
m f m 1
f
n r B
r
n f 1
f
m f 1
d
r df
n
f
B d'
B
f
m d
r
PI
r 8
B
1
s d'
B
d't 1 f
d't d'f
n r n d
An interesting exercise may be given by the teacher
intimating that the tones of the scale will be sung
EAR KXEKCIS£S FOR SENIOR DIVISIONS.
163
upwards or downwards, but that one will be omitted.
The pupils will listen with interest for the point where
the leap is made. ' *. ?
Example: — * '
d r n f 1 t d', or d' t 1 B m r d
If any exercise should be found too difficult, it
should be analyzed tone by tone. The name of the
first tone being discovered, the teacher will add the
second, then the third and fourth.
Pupils will thus feel that they have
mastered the exercise, instead of feeling discouraged
by having the answer told by the teacher.
EXERCISES OF FIVE TONES.
Analysis of
OiFFiouLT Exercises.
d
r
m
r B
m
f
B
1 r
f
m
r
B n
1
t
d'
B m
f
B
1
f n
r
n
d
r m
B
1
t
d'l
1
t
d>
1 f
B
m
r
f m
d
t,
li
d B|
n
f
r
r d
r
m
f
r d
The tones fe and ta should be introduced frequently
after the lessons on transition have been given, each
being treated separately. Exercises in elling on
which number fe or ta is sung are best adapted for
the first lessons. The key must be clearly defined
by first sol-faing the tones of the Don chord.
Which is fe ?
I
d
2
n
3
s
4
fe
5
8
I
f
2
m
3
r
4
fe
5
B
8
fe
B
f
m
s
d>
1
B
fc
d
m
fe
B
d
f
B
1
fe
B
i64
THE TEACHER S HANDBOOK.
Which is ta ?
;
-, ■
•
I 2 3
d m s
4
ta
I
I
d'
2
t
3
d'
4
ta
f
s 1 ta
1
B
B
ta
1
B
d<
f n d'
ta
1
m
f
ta
1
B
d< ta 1
t
d'
d'
t
1
ta
1
The brightening efifect of transition to the first
s/tarp key may be contrasted with
the depressing effect of transition to
Mental Efffot of
FuT AND Sharp Keys
Contrasted.
the first y?tf/ key by exercises, in which pupils h'sten
and tell which is used. In this also the key must be
clearly defined as above.
Whether is a transition to a sharp or fiat key
suggested?
PI r d
sis
f PI r
PI B fe B
m d' ta 1
d PI f e B
d> t 1 ta 1 B f
d,
d
d
B
t d< B 1 ta 1
PI r B B fe B
f PI B fe fe B
t d* ta 1 t d'
Exercises in writing in correct time and tune should
be preceded by exercises in telling how many tones
are one pulse, two pulses, or a half-
pulse in length. Short exercises only
Tune and Time
comrineo.
should be used at first, and each should be sung once
to /aa, to enable pupils to catch the accent of the
measure. The form of composition known as the
Single Chant furnishes a convenient variety of exer-
cises for this purpose. As they are to be found in
EAR EXERCISES FOR SENIOR DIVISION'S. 165
every Church Tune-book, a few examples only are
necessary. The « reciting tone " usually occupies a
complete measure without any definite duration sign
but for our purpose it should be written as a two-
pulse note. The double bar is usually placed at the
end of each section, but it is unnecessary to do so in
writing ear exercises.
Key G.
|d :-|t, :1, |8, :-||f :-jm :r Id :t, Id :-(|
Ke- G. I I » II
p:-|8 :f |n:-j|r :-(f :" |r :r |d :-Jj
|8 :-jl :1 |b :-||8 :-|I «ijn ;, jd :- ||
Key F. ' ' U
|d :-Jr :n Jf :- j|f :_|„ .^^^ .4, .^ ._
Key C. ■ '•
|d :-|n :8 |d' :- ||d' :-|s :m |r :r Id :-||
Kev G. '• ' W
|n:-|r :d jf :- ||f .- jm :r |1, :t, |d :-||
In giving the above, a pause should be made at the
end of the first section.
The tones of the Lah chord should be sung as
a preface to all exercises in the Minor mode.
1 n d' t 1
d' t 1 se 1
n d' 1 t se
p' 1 t sen|
1 d' 1 se 1
1 se 1 f m
n 1 se t 1
1*1 1 tsel
w f nsel
1 d' 1 t m
d t, n d ijll, f nseil]
1 66
THE TEACHERS HANDBOOK.
CHAPTER XXI.
THE STAFF KOTATIOIT. ' /
The objection most frequently urged against the
Tonic Sol-fa system by its opponents is that "it pre-
vents pupils from learning the Staff Notation." This
objection can be met with an unqualified denial and
proved beyond dispute. In England, where the Tonic
Sol-fa system has had a fair trial for the past twenty-
five years, "it has made more readers of the Staff
Notation than all other systems combined.** The
truth of this statement, made several years ago, has
never once been challenged. In the examination for
the Elementary Certificate of the Tonic Sol-fa College,
the Staff Notation is not required, but in the Inter-
mediate examination there is an optional requirement
that candidates sing at sight from the Staff Notation.
Of those who pass this examination, statistics show
that about eighty per cent, pass in both notations. The
difficulty of teaching the Staff Notation to young
children is admitted by the majority of teachers, and
all of the so-called improved systems of teaching
employ some kind of introductory notation — in some
cases numerals, in others, patent character notes,
which serve as a medium of instruction until the Staff
is introduced. The multiplicity of those systems
only tends to prove that there are inherent difficulties
connected with the Staff which necessitate a simpler
system of notation for elementary instruction. The
THE STAFF NOTATION. . 167
simplicity of the Tonic Sol-fa Notation has already
b,*2n alluded to. While sufficient in itself for all
practical purposes of vocal music, and furnishing an
almost illimitable repertoire of choral music, it pro-
vides the most successful means of introduction to
the Staff Notation. The stage at which the transi-
tion from Sol-fa to the Staff should be made, depends
largely on the degree of ability attained in the use
of the former. For general school purposes we would
recommend that the transition be made not earlier
than Division V., and better results would be secured
by delaying until that has been fully mastered. The
two notations should then be studied concurrently,
the more difficult steps being first studied by the
Tonic Sol-fa system, in one Division, and translated
to the Staff in the next If the thing has been
thoroughly learnt by the Sol-fa system, the signs only
require to be learnt when the Staff is reached. This
can best be accomplished by written exercises in
translating from one notation to the other. In the
Tonic Sol-fa method of teaching the Staff Notation,
the arrangement of topics is identical with those
already described (see pages 9 and 134). Tune and
Time are studied separately, and the same educa-
tional principles which characterize the methods of
the Tonic Sol-fa system are employed in teaching
the Staff:
FIRST LESSON IN THE STAFF NOTATION. '
Teacher. — What is this ? (Points to doh on first step modulator.)
Clan. — That is doh.
i68 - THE teacher's handbook.
Teacher.— U that is doh what do you call this ? (Sings doh.)
C/a£5.— That is doh.
Teacher. — I do not think that both answers can be strictly correct.
Is doh something that we can hear or simply something that we can
see?
Class. — Tt is something we can hear.
Teacher. — Then your second answer must be correct, and your
first is wrong. This (pointing to doh) is simply the sign for doh.
Any other signs might have been taken for doh and the other tones,
but we have taken those which have been found most useful.
Suppose we take this desk as the sign for doh ; this chair, for me ;
and this map for M>h. Can you sing from a notation of desks,
Chairs and maps ?
C/a45.— We'll try.
Teacher. — (Points a first step exercise from the articles indicated
while pupils sing, and enjoy it.) You sang that very nicely ; but as
a notation of such articles would be rather awkward to use, we will
try something simpler. I will draw lines opposite d m and s, and
you will sing from my pointing as before. (Draws lines as indi-
cated ; class singing as directed.) This group of five lines and four
spaces is called a staflf, and the notation in which
they are used is known as the Staff Notation.
^ 2ZZ We will now move the modulator a little higher.
d (Places d m b opposite the three lower spaces.
Pupils sing from pointing as before.) In this exercise we have d
in a space, where are m and ■ ?
Class. — They are also in spaces.
Teacher* — Let us place d on a line. Where are m and • now
placed ?
Class. — They are also on lines.
Teacher. — From this we get our first rule for
reading from the Staff, viz.: That doh me and
soh are similarly placed.
DOH, Me, Soh,
Similarly Placed.
Exercises in singing the tones d M B from the staff
with doh in any position will now be given. It is
a mistake to suppose that any one key is simpler
than another. The rules given apply irrespective
of key.
' THE STAFF NOTATION. 169
Teacher. — (Place the modulator as before with doh opposite the
lower line.) Here we have d, m and ■ on lines, but where is the
octave of d placed ? , •'
C/a55.— It is ina space. • .
Teacher.— Quite right. Notes may be placed either on lines or
spaces. In this case we would have lah and t a'bove soh, conse-
quently d' must be in a space. From this we
get the second rule, viz.: That Octaves are
dissimilarly placed. If a note be on a line
OOTAVE8 ARE DiS-
8IMIURLY PUOEO.
where mnst its octave be ?
Class. — In a space.
Teacher. — And if a note bo in a space where must its octave be ?
Class. — On a line.
The octaves of b and m will now be taught in a
similar manner, the above rules being referred to for
explanation. Modulator voluntaries similar to those :
used in first step lessons should now be given, the
position of d being frequently changed, and pupils
required to remember its location throughout each
exercise. It is necessary that they become familiar
from the outset with the notes in any key. No
mention should be made of key signatures, sharps or
flatSy until the third step is reached, as this would
only tend to confuse.
Singing from notation will next be introduced.
A staff of five lines being drawn on the black-board, .f
with a square note to indicate the position of d, exer-
cises similar to the following will be sol-faed from *
the teacher's pointing :
.y
. ., , .
--• — •—
— •—
,
„ ^^L_
—0—
/ -i— ,-
— -—
-• — —
— #~
— •—
■ '<
-
-•-*-
« «
_*;_
ff
~#—
«
«
Z~9.-.
17©
THE TEACHERS HANDBOOK,
— — — __
:--* * *■ * —
_JB IT
/< //T - i • • —
— ■ — • —
■ . ... . ,. ,_.
_^ ^
— ■ — #--— — « #—
•
■ ■ ».'■■ <-
-,__i -^_#
When it becomes necessary to have more than five
lines, short lines named Ledger lines are added, as : —
— • ' — — — — m ZM
P » — * r M •'- M
The exercises in sight-singing should be followed
by exercises in writing translations from the Tonic
Sol-fa to the Staff Notation. By using the first step
exercises in the " Canadian Music Course," Books I.
and III., which are adapted to this purpose, much time
may be economised, as it will only be necessary to
indicate the numbers of the exercises to be translated.
Tim.
THE STAFK NOTATION. 17 I
Time is indicated in the Staff Nota-
tion by the shape of the various notes.
The notes in common use are as follows : —
Breve. Whole note. 1/2 note. 1/4 note. 1/8 note. x/i6 note. 1/33 note.
li^li « f f f ^ . f
The Breve is now seldom used. ' ; , , r
It rfiust be ob-served that there is no connection
between the terms note and pulse. A
whole note is never equal to a whole
Terms
Note AND Pui IE.
pulse, m fact it never indicates less than two pulses,
and frequently is equal to as many as eight pulses.
The relative values of the whole, half, and quarter-
notes should first be explained. Simple exercises
should then be translated from pupils' dictation, and
written on the blackboard.
Example: —
Write: M .^ M ;- Id id Id :~
Teacher. — In this exercise we will take the half.note to represent
the pulse. As there is only one tone indicated, one line will be
sufficient. How many pulses have we in the measure ?
Class. — We have two.
Teacher. — Which sign denotes the Strong pulse ? ..v ->
Class. — The upright bar. ' '
Teacher.— We use the same sign for the strong pulse in the Staff
Notation, but no sign is given for the medium or weak pulses.
I
Teacher.— "Which note will we take to represent the first d ?
Class. — The half-note.
T^flcA^r.— (Writes half-note in first measure.) And which for
the second d?
lya THE teacher's handbook
Class. — Another half-note.
Teacher. — As the next d is two pulses in length we must use a
different note. Which shall it be ?
Class. — The whole note.
Teacher. — What reason can you give for taking the whole note ?
Class. — If one pulse is represented by a half-note, a two-pulse
tone must have a note that is equal to two half- notes.
Proceeding by this method to build up the remain-
der of the exercise, it will now appear as, —
\r r\"—\ r r
-«'-
The value of the notes is not affected by the stems
being .turned up or down. When the notes stand
above the middle line, the stems are turned down,
and when below, they are turned up. When placed
on the middle line they may be turned in either direc-
tion. The time-names should also be applied to the
Staff in teaching time. The following shows the
time-names when the pulse is represented by a half-
pulse, quarter-note, and eighth-note respectively :
Half-note Quarter-note Eighth -note
to a pulse, to a pulse. to a pulse.
One-pulse note, TAA. r P P
Two-pulse note, ri4i4 i4i4. ^ P f
Two half. pulse notes, Taa tat. • ^ f f 5 5
A dot placed immediately after a note increases its
length by one-half of its own value^ thus : —
"• ^"r r-f[ r-rt t-n
Time signatures are used to denote
the number of pulses in a measure.
Time Sionatures.
THE STAFF NOTATION.
«73
The upper figure gives the number, and the lower
the quality of the notes in the measure.
Two half notes
in a measure.
Two quarter
A^ noies.
Three quarter
notes.
I Three half
notes.
Three eighth
notes.
iFour quarter
1 notes.
Six eighth
notes.
The sign Q is frequently used to represent four-
pulse measure, being unfortunately substituted for
J and also for §• The sign Jl is also used to repre-
*sent two-pulse measure. The time signatures indi-
cated by either ^ or JB are usually termed Common
Time.
The following exercises are to be sung on one tone
to the time-names, then to Icuii — - •
-M-
QUARTER-NOTE TO A PULSE.
FouR-PuLSB Measure.
--4—
#^^f^
J X
-m — #
taa taa taa taa taa taa taa-aa taa taa taa-aa taa-aa taa-aa
4 4-
M^^^^k^
-A±Eiii
taa-aa taa-aa taa taa taa-aa taa taa taa taa taa-aa-aa-aa.
^
4-4-
^^^^^
^—^
bk
i
kk^~U
I
-t5»-
^M
Thrbe-Pulsb Measurk.
^E^
i
174
THE TEACHER S HANDBOOK.
HALF-NOTE TO A PULSE.
I
P
■i9-
■i9-^
(5>-
r — r
:i?:
■i9-
P^¥"
-i9-
n?-
m^
— ^-i.
HALF-PULSES.
if^=PFf^ g^^E^^^
«>■
taa taa taa tai taa taa taa tai taa tai taa taa-aa-aa-aa.
-I-
m
^^^M
W4
-M
«-l5?^
1— -| '
-i9
^
^ kr±jrnfjvi
N ^
— I-
-l-«
-# - 4- -
i.^4^::^^i#if^^^
TUNE AND TIME COMBINED.
B^ pS^Sag g
H
■>-
4-
3E&3
^^i^S
s
cz
^^^
— iC
:i!:
i^
-4-
-5t
i
t*-
--f5>
a
■f9-
-^
-JSL
M — '5' —
-J I *
f'
THE STAFF NOTATION.
-l-r
175
1
l-^L.
-iSf
-i9-
-tf»-
i
-t5>-^
ssga
C3M
^
^H
^
?f=1^
:fnc
^
WITH HALF-PULSES.
B^ ^T^f^^ ijiipjia
B
E2=l:
li^
3^
:T
£E^
-«5>
-3 a-
^-^:
>-^-,ni=l-^S
Ml
*■
L ^ » '
L-j i 1_« 5, «— «-l
SECOND STEP.
Before introducing the tones of the Second Step,
the tones of the DOH chord should be thoroughly
practised in every available position on the staff.
Ray will be easily recognized as
occupying the next position above
Positions
OF Te and Ray.
doh, and te the next below. Exercises adapted to
this step (see page 92-93) should be sung from point-
ing on the blank staff of five lines, in various keys.
The object of exercises at this stage is not to aid
to a conception of the tones, this has already been
done, but to teach their correct location in any key.
176
THE TEACHER S HANDBOOK.
The necessity of changing the key frequently will
be obvious. The position of the key-tone must also
be kept before the mind throughout each exercise.
EXERCISES IN TUNE.
^ te J 3 z g3^^ ^
-m—0
i
:p=t-
:^#-
--t^
^ ^^m
3^^
^.
E^^^^^fe
^
s
I
£
L 4—^
W-
^zj- -j ^p--"^
3±
:iJ:
E
i5»-
ii
T
m
T
^
■a>-
-Of-
-32
-<s»-
The sight-singing exercises on page 95, or the
second-step exercises in the "Canadian Music Course,"
may be translated into th'^; Staff and practised in
addition to the above.
The new points to be explained in
this step are quarter-pulses, half-pulse
Time.
THE STAFF NOTATION.
»77
continuations, and silent pulses. In the Sol-fa Nota-
tion rests are indicated by empty spaces, but in the
Staff Notation signs of various shapes
are employed for this purpose, each
Ruts.
note having a rest of equal value. A dot placed
immediately after a note increases its length by one-
half. The following table shows the notes with rests
of corresponding value : —
or
_
h-r-
— ■ —
— m
^-^-
-A
-^
— 9 —
-f±-
— ■ — *
rftglM
-Zf-
upj
4-^
H-
r
—
Y
.. t .*.
[^
1 Slurs.
WJien two or more eighth-notes,
or notes of lesser value are intended
to be sung to one syllable, the stems are joined
together by a sign called a slur, thus : —
^Efe j^^E^g
-fS*-
As in Tune, the position of the key-tone has to be
kept in mind, it is equally important that in Time the
Time-Signatures be remembered throughout. The
following shows the notation of the new rhythms
under various conditions : —
1/2 note
to a pulse.
rr
1/4 note
to a pulse.
1/8 note
to a pulse.
TAA-aa tai.
Tafatefe,
The close resemblance betweeen the signs for rests
must be noticed. The whole-note rest is placed under
178
THE TEACHER S HANDBOOK.
the line, while the half-note rest is placed above the
line ; the quarter-note rest is turned to the rights and
the eighth-note rest to the left,
exercisf:s in time.
2
t5>-
:- i ^— r-
5^S
-«»-
taa taa taa-tai taa taa ta - fa - te - fe taa-aa
•— I 1
m^^^^^^m^m^
^^m
^-^^^^
-«5»— ■
ii
-^-
^
-«•-
-«>-
^
^i
LI
f=rfc=fc
p^m^m^
:{?iir-:
r-
^f^ff^ ^m^ f^fff
■<«?■
THIRD STEP.
In this step fah and lah are added and the scale
IS now complete. Fah occupies the next position
below soh, and lah the next above. In practice, we
have found the most satisfactory method of treating
the complete scale to be that of
teaching by Chord. It has already
Teaohinq by
Chord.
been shown that a Chord consists of a note with its
l/iird and ^///, which is simply two thirds in succes-
sion. It will be noted that the lines or spaces of the
Staff are arranged in thirds respectively, consequently
the notes of a chord must be similarly placed on lines
THE STAFF NOTATION. I 79
or Spaces, and the octaves of either must be dissimi-
larly placed, thus : — If d Pi S be on the lines, B| l*l| d|
must be in spaces. These facts should be clearly
understood by the pupils before drilling on the com-
plete scale. The names of the notes of each chord
should now be thoroughly memorized, reading upwards
as follows : — d 1*1 B, n 8 t» 8 t r', t r' f . All of the
above must be similarly placed with doh» whether
it be on lines or spaces. The chords which are dis-
similarly placed with doh should now be memorized,
thus :— r f 1, fid', Id' Pi', d' Pi' 8'. This may be
done by reading from the modulator at first, but
latterly the modulator should be kept out of sight,
and pupils trained to name the tones of any chord
without any aid whatever, thus : —
Tbachbr. Class.
Read the tones of the Doh chord upwards. d n s
«• " Fah " " fid'
4 u Ray " »* r f 1
•• •* SoH "downwards. r' t 8
« " Lah " " w d' 1
Exercises in which all notes are on lines, or all on
spaces should now be sung from pointing on a blank
staff, until the relative positions of the notes in any
key are thoroughly taught. These should be followed
by sight-singing from the blackboard. "".^.^ exercises
on page 113 may be translated for thi ^, jrpose.
i8o
THE TKACHER S HANDBOOK.
mi
CLEFS.
The Staff Notation represents the absolute pitch of
notes, by means of signs called clefs. The clefs in
general use are three in number, viz. —
G CLEF 2k F CLEF ^ C CLEF -Wl-
The Great Staff is composed of eleven lines, natned
as follows : —
•r —
- e
Owing to the difficulty in reading from such a karge
staff, it has been found necessary to divide it into two
parts, with middle C as a ledger line between. The
following represents the staff as usually written for
vocal hiusic, with the clefs in their proper places.
Notice that the fourth line passes through the %,entre
of the F clef, and that the G clef turns on the s^ond
line of the upper section of the staff.
i
@=
ji_A.
:ez:^
rxi_o — ,
THE STAFF NOTATION.
l8l
The G and F clefs are always written in the above
positions, but the C clef is placed in various positions,
to adapt the staff to the compass of different voices
and instruments. When placed on the first of a
group of five lines it is called the Soprano clef; second
line, Mezzo-Soprano clef; third line, Alto clef; and
fourth line, Tenor clef.
In the following exercises notice the position of
the key-tone in the respective clefs : —
^^^ ^PP^^^
-^~
^^^^^^^
f f r-g
3C
i
i
^
i
=f
I
BUS
-i=^
p{^Tirrf^
'Mzuns
^
m
KEY SIGNATURES.
The staff is always understood 8
to be in the key of C, unless
marked otherwise. Pupils who \
have studied transition from the
Modulator will understand that, y
when we wish to write a tune
in the key of G, it becomes ^
necessary to sharpen fah of the t|
old key, in order to have te of the ■.
new key just a little step below '
doh' Likewise when we change B|
c
B
d'
t
C f
B m
A
1
A r
G
F
E
s
f
G d
E 1,
D
r
D 8|
C
d
C f.
l82
THE TEACHER S HANDBOOK.
from the key of C to F we flatten te, to have fah of the i
new key just a little step above me. (See diagram at
side). When a tune has to be written in the key of
G, the sharp is placed on the F line, and every note
on that line must be sung or played a semitone higher -
than in the key of C. This will not cause any diffi-
culty to the Sol-fa pupil, who will simply think of the
note as te.
In the key of F, a flat is placed on the B line, and
all notes on that line are sung or played a semitone
lower than in the key of C. Pupils will easily recog-
nise that the note on which the flat is placed is fah. .
By studying the transitions on the Modulator it
will readily be seen how the sharps or flats are suc-
cessively added to form the signatures for the more
remote keys. The following table gives the order
of the sharp keys on the right, and the flat keys on
the left of C, which require no signature : —
TABLE OF KEY SIGNATURES.
Read from centre, either left or right
At> Et> B> F C G D A E B
if:
Rules for finding Doh. — The last sharp to the
right is te ; the last flat to the right is fah — or the
second last flat is always doh. ■ •
THE STAFF NOTATION.
183
FOURTH STEP.
In the Staff Notation the key signature is seldom
altered when a transition to a new key is made. In
this respect it is certainly ambiguous and confusing
to the learner, and even the best singers have to pause
and study the music before definitely comprehending
the nature of the transition. This can only be
accomplished by a careful study of the various key
signatures, and the manner in which they are affected
by the various accidentals.
When fah is sharpened it becomes fe, and wjien
te is sharpened it becomes ta. A sharp or flat placed
immediately before a note is termed an accidental.
An accidental affects all notes on the line or space
on which it is placed, within the measure^ unless
contradict«?d by a sign called a natural (jf).
If a note ha.s been raised a semitone, a natural will
lower it to its original pitch ; if it has been lowered
a semitone, a natural will raise it to its original pitch.
EXERCISES IN TRANSITION.
Impbrpbct Mbthod.
^^^rr^-^^BS^j^j
t=t-
^^^m
SE?
^
^ ^^^B
1^ — ^
■:si:szi.
^hj^^=f^=^^^^^
1 84
THE TEACHERS HANDBOOK.
Bettbr Method.
"1,
«(lf
iipi
^^^^^s^
-«5>-
».t,
4.
PM
3:^tJEjz|:jLJ4^
^•t
•.d
^^m^m
^tj
ES^
P
FIFTH STEP.
Exercises in the Minor Mode.
SoH sharp is Se, and Fah sharp is Ba.
f
^
X
Si
^^^^^^:^S
:Sl:
^^^lE Jl J ^ ^^ ^ j j^^^
fe fe^^J^^^^^^g^N^
-Oh
^^m^m^^
19-
THE STAFF NOTATION.
>8S
l%^jjj.F-4"?-j;^ ^a^5MNI
|>Trnrfi¥^m ;;gp^^ifefe^
As indicated in the Preface, the exercises are not
intended to be sufficient in themselves for all practical
purposes, but simply to serve as examples to be
imitated by the teacher in preparing the daily music
lesson. Space will not permit of a full discussion of
the many technicalities of Theory and Notation.
Teachers who wish to gain a more complete know-
ledge of Musical Theory, are recommended to study
the undermentioned text books, any of which can be
obtained direct from Messrs. Curwen, Warwick Lane,
London, E.G., or ordered through local booksellers :
" The Staff Notation," price 8d.; " The Staff Notation
Primer," price 6d.; " Musical Theory," Books I. and II.,
price 4d. eacii. The latter are specially useful. A
complete course of exercises and songs for the school-
room are contained in " The Canadian Music Course,"
published in three books, specially adapted to the
requirements of Canadian Public and High Schools.
i86 THE teacher's handbook.
MARKS OF EXPRESSION.
NAMB. SIGN.
Mezzo (tnetso), medium m.
Piano (peeahno), soft p.
Forte (jfortay), loud ./.
Fortissimo, very loud ff.
Pianissimo, very soft pp.
Crescendo (creshendo), getting louder cres.
Diminuendo (deemeenooendo), getting softer dim.-.
Decrescendo same as Diminuendo decres.z
Slur, a sign denoting that two or more notes are to be ^^^- Sol-fa.
sung to one syllable . . .* f r ^ ^
Pressure Tone, rapid cres. on single tone <:
Sforzando {sfortzanndo), rapid dim. on single tone
begun loud >-, or sf.
Rapid Swell, like pressure tone A
Da Capo, repeat from the beginning D.C.
Dal Segno, repeat from the sign D S. :g:
TEMPO OR SPEED.
I. — SLOW.
ITALIAN TERM. LITERAL MEANING.
Largo (lahrgo) Broad, large.
Grave (grahv) Heavy, grave.
Adagio (adahgio) Slowly.
Lento (lehnto) Sluggish, tarH y.
Larghetto (largetto) Less slow th i Largo.
II. — MEDIUM.
Andante (andantay) Moderate.
Andantino (andanteeno) Less slow than Andante.
Moderato (modderahto) Moderate, sober.
Allegretto {allegretto) Diminutive of Allegro.
III. — QUICK.
Allegro (alleggro) Cheerful, brisk.
Vivace (veevahchay) Sprightly, lively.
Vivacissimo Superlative of vivace.
Presto (pressto) Quick, nimbly.
Prestissimo Superlative of presto.
IV.— CHANGES WITHIN A PHRASE.
Accelerando Getting faster.
R.iardando ) ' r^ **• „ i
Rallentando } Gettmg slower.
APPENDIX.
ROTE SONGS.
KeyF.
Mc meet again togetber.
:si
I. We
l2. A
:8|
We
And
d :m |r :d
meet a -gain to -
ring of hap - py
d :m |r :d
gladly greet each ,
thus we stand u-| ni - ted,
t| :r |— :m
gether, With
children, Each
f :f |n :r
faces bright and
holds anoth-er's
A. T.
n :— I
sweet,
hand,
C.
-I
ti :r I— :m |r :s |fe :1
oth-er,
Our I teachers dear we
A I mer-ry lit - tie
s :-|-
greet,
band,
[:b 11 :s If :n
I We're I ready for our
V All ' things are fair a-
:s 11 :i
r :n |f :s
1 :s If ;m
work and play, We're ready for our singing, l
round us now, While| working or whilej singing, J
PI :r | —
singing.
I
s If :n
Our fiiands are clean now,
Out I eyes are bright with
:si Id :m |r :d
Then I as we meet to- gether,
^ Then I as we meet to- gether,
r im If :s
seethem, pray. And
hap-pi - ness. Our
it| :r I— :m
1 :s If
:r
We
We
/ *
:b,
That
I That
d :m |r :d
we'll be kind and
we'll be kind and
t| :r |— :pi
patient,
patient,
That
That
hear our voi-ces
voi-ces glad are
f :f |m ;r
cheerful-ly will
cheerful-ly will
r :f It, :r
we'll be good to
we'll be good to-
r :d I —
ringing,
ringing,
m :
say,
say,
d :-
day.
day.
i88
KeyG.
*B| ..Bi
I. Oh a
>2. When
THE teacher's HANDBOOK.
Ube Donest t^oa^♦
:d .d I d :ti .d
queer lit- tie chap is the
win - ter draws near, Master
A. T. C.
r .r :t|.(ti)|d :r
honest olu toad, A i
Toad goes to bed, And )
\
n.m :d .d |f .f VP\S^
funny old fellow is
sleeps just as sound as a
d :d .d Ir
:r .r
un - der the stone by the
J May blos-soms fol - - low
:- I-
:bi .Si
he, Liv-ing
top, But when
m :r .ni |f .f :n .r )
side of the road, Neath the
soft April showers, He comes
d :ti .1| |si :ti ,r
shade of the old wil-low
out with a skip, jump and
tree,
hop.
:- I- :t, .d
He is
He
:r .r
:d .r
dressed all in brown from his
chan - ges his dress on - ly
n
toe
once
:m .m in
:m .m j
to his crown, Save his 1
I con - fess, — Ev' - ry )
\t ,t I m :d .d
vest that is silv
spring ; and his old
takes
trou
:d.d
'ry
worn-out
:r .r
white,
coat . .
a long nap in the
sers and waist - coat, he
n
heat
rolls
d :ti .li |8| :ti .r
walks in the cool dew-y
stuffs the whole thing down his
— — :si
of the day,
in a ball,
:- I-
He
With
:r .m If :n .r
And
And
:bi
night "Raup,
throat "Krruk.
ROTE SONGS.
THE HONEST TOAD.— continued.
d :si .S| |d :ti .d
yaup," says the frog, From his
krruk," says the frog, From his
he says nev
he says nev
:d .d Ir
1. :li .t, Id
toad
toad
tries
tries
seen,
seen,
:r .r
er
er
a
a
to
to
be good,
be good,
:ti .li Is
:r .r
like the
like the
:ti .r
home
home
8|
word ; ,
word ; .
m
chil -
chil -
in the bog,
in the bog,
:- I-
189
:ti .S| Id :d t
I
But the
But the )
:si
He
He
:r .m If :n .r
dren who should Be
dren who should Be
but
but
nev-er be
nev-er be
d :-
heard,
heard.
tTbe Summer IRatn.
Key E^
n .m :m .m |r .n :f
1. Patter, patter,! comes the rain,
2. See it coming | down the hill.
r .r :r .r
Tapping at my
In a lit-tle
1 .t :d' .8 |m .f :s
On the roof and I on the ground,
Leaping.laughingj bright and gay,
8 .f :m .8
Patter, patter.
Much I love the
d'.ta:8 .f
To the fields of
Mak-Ing bright each
1 .1 :1
on the street,
gen-tle rain,
n .f :8
waving grain,
tree and flow'r,
1 .t :d' .f
Patter, patter,
Pleasant words it
1 .8 :f .1
Making mus-ic
Tapping at my
1 .t :d' .f
Welcome is the
In the wood and
A. T. C.
n.l :8
window pane,
sparkling rill,
m .r :d
all a - round,
seems to say.
t .t :t
low and sweet,
win-dow pane,
m .r :d
summer rain,
garden bower.
190
THE teacher's HANDBOOK.
Bi :ni :n Si :m :m
1. Under the ap - pie -
2. On her brown a - prdn
3. Gravely she sits with
4. "Z>asA,"fullof joy in
5. Sunshine and soft sum~mer
tree
and
a
the
^n^cr tbe Hpplc XTrcc*
Key G. Beating twice.
n :r :r
spreading and thick,
bright drooping head,
se - ri - - ous look,
bright sum-mer day,
bree-zes a - stir,
A. T. C.
S| :r :r |S| :r :n
Hap-py
Showers
Mak-ing
Zeal-ous •
While she
with on -
of
pink
lieve
be ■
^y
cha •
IS
bu .
ly a
and white
she's a
ses the
sy are
m :s :s |m :s :s
On tbe soft grass in the
Tied to a branch that seems
Sun - dry brown splash-es on
Barks at the squir-rels or
Cheeks ro - sy glow - ing and
8 :m :d Is :in :d
r :d :d Id :— :—
Our lit - tie Fan-
Dan-ces and flut •
Show that our Fan
All the while Fan
Bring they to Fan - ny while
ny
ters
ny
•ny
IS
her
is
is
Ean and a stick,
los-soms are shed,
real pas - try cook,
ro - bins a - way,
bu - sy with her,
d :ti :d |r :—
sha - dow that lies,
made just for that,
fore - head and eyes,
snaps at the flies,
bright sparkling eyes,
r :m :r Id :—
mak-ing
lit - tie
mak-ing
mak-ing
mak-ing
mud pies,
straw hat.
mud pies,
mud pies,
mud pies.
ym a Xittlc 3Busi? J5ec.
KeyF.
Si .d :d .m | m .r :r d ti :d .n j m .r
I.I'm alit-tle bu-sy bee,
2. I'm a lit-tle bu-sy bee,
S|.d :d .n |r»i .r :r
Here I go, There I go,
All the day I'm bright and gay.
A. T. C.
Roaming in the clo-ver,
In the mea-dows roaming,
8 .r :r .n |r .d
All the mea-dows o - ver.
Where the flowers are blooming.
KeyF.
d :n.r l d :t.d
SECOND STEP SONGS.
r :si Id :— I
191
1. Lit-tle chil - dren
2. Do not vex or
in their play,
teaze a child,
n :s
r :—
good should be,
play-mate sad,
d :t|.d |r :d.m
s :r m :n
Ve - ry
But be
care - ful,
lov - ing,
Then their sports we
Love will make each
r :t| Id :—
love to see.
heart feel glad.
A. T. C.
d :t|.d |r :d.r
Al - ways kind and
Do not make a j
s :r
m
too, each day,
kind and mild,
"dp in tbe nDorntng Earls.
Key G. C. M. S. Twice.
( :(si)
I. Up
2.
3-
m :r :d
:d :ti
A. T. C.
up in the morn - - ing
Wake with a glad " Good
All through the day He will
- Is,
- ly.
- ing
you.
n
r t
:8|
And
To
.From
f:(si)
And a
. So
/:Si
Who
,And
m
:r :d Id :t| :d
ear . ly to bed at
sis - ters and bro - - thers
sin and the temp • - ter's
" :r :d |r :d :t|
That is the way to be
thank - ful heart to
dear child re - mem - ber God
d :-
ear - .
morn -
keep
•
* • •
night,
dear,
snare,
d :— :— |bi :—
heal
Je
sees
thy,
sus,
you,
i
Si :d :pi
:d :ti
Hap-py good chil - dren and
all night has been so
is pre - sent ev' - - ry
d :~ :- I- :~
bright.
near.
where.
192
THE TICACHER S HANDBOOK.
XTbts May anD tbat Mai?*
Key A. C. M. S.
d :r .m
1 . This way and
2. Bus - i - ly
3. When work is
r :d .r
March-ing and
we are as
we has-ten
:si .(S|)
that way,
work - ing, We
end ed, And
m :d ,(d)
sing - ing With
hap - py As
home- ward To
d :t| .d
Left foot and
rest when we
play - time is
r :m .r
fa - ces so
birds on the
pa - rents once
right,
smg,
o'er,
bright.
wing.
more.
A.T.C
:- .(r) \
And
Then }
Key D. C. M. S.
8 .m :s .m
1. Tell me, little
2. Pretty child, I
3. What I gather! is so sweet, My
Ube JSuci? JSce.
m .r :r .(r)
bus-y bee,
fly a - way,
s .m :s .d'
Are you go - ing
But I ga-ther
d'.m :s .(s)
mar-kei-ing,
all the day From
pretty playthingsl I bring home,My
r .r :d .r
Wheie are you
I'm a „ jol-ly
time it is my
s .r :r .m
Pretty playthings
all the flow'rs and
child they're combs of
A. T. C.
m .8 :- .(8) ]
flying ?
rover,
money,
r .d :—
buying ?
clover.
honey.
The J
KeyG.
d :d
flow (Boo^ "Wigbt
8 :m
r.d :r.m I r :d
1
1. Now good night, now
2. Lightly here day
3. One will watch us
t :— I— :
night,
may,
keep,
8.r :r.m |r :r
One and all good night to
Singwe now good night, good
Now to all good nighti good
all good night,
af - ter day,
while we sleep.
Adapted.
d.d:d.d|s :d '
:r
8 :i*i
Teachers dear and
All our hearts are
Soon will dawn the
d :-
Now to all a kind good
Learning what of good we
For He nlways watch doth
r.d:r.mlr :d
schoolmates too,
free and light,
morn-ing light,
you.
night.
night.