MUSIC LIB. MT 930 B193s BALDWIN STUDIES IN WRITTEN WORK IN MUSIC THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES Written Work in Music Ele mentary ScV RALPH STUDIES IN WRITTEN WORK IN MUSIC FOR ELEMENTARY SCHOOLS BY RALPH L. BALDWIN SUPERVISOR OF MUSIC AT THE PUBLIC HIGH, THE BROWN, SECOND NORTH, WEST MIDDLE, AND ARSENAL SCHOOLS, HARTFORD, CONN. COPYRIGHT, 1906 BY RALPH L. BALDWIN Stanbopc press M. OILOH COMPANY BOSTON US*. Music Library. =150 Studies in Written Work in Music THE AIM It is the purpose of the following studies in written work in music, to assist the pupil to acquire, First, a thorough mastery of the fundamental principles of tune, time and notation. Second, the ability to think in tone. Third, a knowledge of form in melody and rhythm and of the smaller forms of music composition. Fourth, the ability to appreciate emotional moods and to express them in music. Fifth, a knowledge of musical history and" biography, and the ability to analyze a musical work as to its emotional mood, form and national characteristics. Thus written work will aid in acquiring facility and accuracy in sight reading, better interpretation of songs, keener and more intelli- gent appreciation of music that is heard. It will aid in awakening and stimulating ambition for the expression of emotion in music, creative work, and in the devolpment of the emotional and esthetic nature, thereby promoting pleasure, culture and character. THE ARRANGEMENT The subject matter of the following studies is arranged under these general headings : I. Application of Principles. II. Ear Training. III. Form in Melody and Rhythm. IV. Original Work. V. Music Analysis and Biography. 1S85434 2 STUDIES IN WRITTEN WORK IN MUSIC Under the first heading, questions are given which relate to the principles taught in each grade for application in written form, either as work in language or in musical symbols. These questions may be used for drill or test purposes. Studies under " Ear Training" are designed to assist in teaching the pupil to think in tone and to establish a close mental relationship be- tween the sound and its symbol. Under "Form in Melody and Rhythm," it is the purpose to lead from the study of the simplest form of melody in two and four measure phrases, with correct use of scale and chromatic tones, and the simpler rhythms, to the writing of simple melodies in song form and the older dance forms which are the foundations of all the greater forms in music. Attention is given to the appreciation of national characteristics in melody. Under "Original Work" is introduced the study of primitive emotions and the expression of these moods in music. As a means to this result, the musical setting of poetic lines and stanzas is suggested. Under "Analysis and Biography " pupils are expected to give, in written form, simple analyses of musical works with which they are familiar, describing the emotional characteristics, the form and the general character of the composition. Brief biographies of the most famous composers should be written. GENERAL SUGGESTIONS Time for written work will be found during the period of individual singing or, in general, whenever the work of the teacher is such that it does not require the attention of the entire class. The form of questions should be such that the marking of answers may be a class exercise. Pupils may be instructed to correct their own work, thereby avoiding, in large measure, the need of the correction of individual papers by the teacher. All the work included in the following studies can be done by the pupils without the attention of the teacher, excepting that under " Ear Training." These exercises will require simultaneous work of the teacher and the class. Care should be taken that all written work be accurate, neat and in good form. Teachers will find it convenient to correlate written work in music with other subjects. Much of the work is correlated with language, spelling and writing. STUDIES IN WRITTEN WORK IN MUSIC 3 Technical terms and uncommon words should be introduced into the spelling lesson. Grade V, In Time, No. 2, work can be correlated with arithmetic under addition and subtraction of fractions. Grades V-IX, under " Original Writing " study of rhythmic setting of poetic lines and stanzas can be correlated with poetic rhythm and the scanning of verse. Grades VI-IX, under "Original Writing," the study of emotional mood and the setting of poetic lines and stanzas can be correlated with language. Grades VIII-IX, under " Form in Melody," the study of national characteristics in melody can be correlated with geography and history. The study of history and biography in music can be correlated with language and history. Grade IX. Stories of operas and oratorios can be correlated with language, GRADE I I. APPLICATION OF PRINCIPLES 1. Copy a four-measure exercise with quarter, half, dotted half or whole notes. (Use prepared paper with wide staff ruling at first. Later, pupils may prepare the staff.) 2. Scale writing, indicating "Do " with check mark. II. EAR TRAINING i. Write simple scale progressions from dictation. GRADE II I. APPLICATION OF PRINCIPLES. 1. Copy individual exercises. 2. Scale writing. 3. Write exercises from written number dictation. For example: " Do " on first line : 1353154,323-16 5)1 [| To be written thus : ' 4. Drill in writing pitch names of lines and spaces : a. Use pitch names for indicating where "Do" is found for such work as No. 3. 4 STUDIES IN WRITTEN WORK IN MUSIC b. Write letters on the staff lines and spaces. c. Write letters under notes of a copied exercise. 5. Work in Language. Describe the first and second time motions. II. EAR TRAINING 1. Write simple scale progressions from dictation. 2. Write time motions in simple combinations from dictation. GRADE III I. APPLICATION OF PRINCIPLES 1. Copy individual exercises. 2. Write exercises from written number dictation. For example : Do " on F. 3. 4 | 5 8 | 76 54 j 3 - | 2. 3 | 4 7 | 2 - | i -II To be written thus : 3. Drill in writing pitch names of lines and spaces: a. Write letters on staff lines and spaces. b. Write letters under notes of copied exercises. 4. Application of "Finding ' Do ' from Signature." b, ift = G = 2d line. i|? = F = ist space. 3$ = A = 2d space. a. 2% = D. 2b = B. etc. ' G - ij) - etc. 3(7 =- E = ist line. etc. d. il = E =4 #= 3 b 2 s = A = 3 # = 4 etc. 5. Work in Language: Describe each of the first three time motions. II. EAR TRAINING 1. Write simple scale progressions from dictation. 2. Write time motions in simple combinations from dictation. GRADE IV I. APPLICATION OF PRINCIPLES I. In General. a. Copy and transpose individual exercises. That is, rewrite in some key other than the original. b. Write songs from memory. In Tune: 1. Review I. No. 4, Grade III. 2. Principle. " Names of Keys." a. 2# = D. b. B = 5# S t> = Dl? Bt? = 2 |? etc. etc. e. 2\> = Bi? = 3 1 3#= A = 2 s etc. d. Dictate the key and tonic chord. Thus : Key of E. B{? I To be written thus : jft u . g> 1 p- ( Position of sharps and flats need not be regarded at this time.) 3. Work in Language. a. Write rules for naming the keys. b. What letters have the word " sharp" added in naming the keys? c. To what letters is the word " flat " added ? In Time. i. Write exercises from written number dictation, using the first three time motions. If time allows, and if it is desired, the beat values of the time motions and the time signature may be explained, and written drill in time can then be given thus : complete the follow- ing: |J. / J 6 STUDIES IN WRITTEN WORK IN MUSIC Or write four measures with | for the time signature and use the three motions. Work in Language. Describe each of the first three time motions. II. EAR TRAINING 1. Write simple scale and chromatic progressions from dictation. 2. Write time motions in simple combinations from dictation. 3. Memorize and write a short exercise from dictation. III. FORM IN MELODY AND RHYTHM i . Complete the following melody : LT II (If beat values of the time motions and the time signatures have been taught, the time dictation may be omitted if desired.) Other examples may be taken from exercises or songs with which pupils are unfamiliar. 2. Study of Chromatic tones represented with sharps. a. Proper resolution. Complete the following exercise : 1 r b. Proper introduction of chromatic tones. Complete the following exercise, using a quarter note and sharp to represent a chromatic tone in each case. r r r r V. MUSIC ANALYSIS AND BIOGRAPHY i. Write names and composers of known songs. STUDIES IN WRITTEN WORK IN MUSIC j GRADE V I. APPLICATION OF PRINCIPLES In General. 1. Copy and transpose individual exercises. 2. Write songs from memory. In Tune. 1. Key Names. a. Review Grade IV in Tune No. 2. b. Work in Language. Rule for naming keys with sharps and flats. What letters have the word "sharp " added ? What letters have the word " flat " added ? 2. Chromatics. Work in Language. a. Define chromatic tones. b. Write the rule for naming chromatic tones when represented with sharps. When represented with flats. c. What does a sharp before a note represent ? Aflat? d. How many notes does a chromatic character affect ? In Time. 1. Work in Language. Describe each of the first three time motions. 2. The Arithmetic of music. a. Problems in addition. Add and give answers in one note : b. Rewrite the time motions with various units. Thus: Note equals 2nd Time 3rd Note Note Note one beat. Motion. Motion. 2 beats. 3 beats. 4 beats. rn * '. N J J. J J j.j * ft , N . / J 1 = ^ etc. etc. J J , . (This may also be given as language work. ) (2 8 STUDIES IN WRITTEN WORK IN MUSIC 3. Common Time. a. Work in language. What are the various kinds of measure called ? b. Work in language. Explain the meaning of given time signatures. c. Write time signature for given measures. d. Write measures for given time signatures. II. EAR TRAINING 1. Write scale and chromatic progressions from dictation. 2. Write measures of time from dictation. 3. Write short exercises from dictation. III. FORM IN MELODY AND RHYTHM i. To develop sense of proper melody and rhythm. a. Complete the following : g ^i II II e Other examples may be taken from songs or exercises with which pupils are unfamiliar. 2. Resolution and introduction of chromatic tones in incomplete melodies. a. Review Grade IV, III No. 2, a and b, using sharps to rep- resent chromatic tones. b. Resolution of chromatic tones using flats for the representa- tion. Complete the following melody : i Introduction of chromatic tones represented with flats. STUDIES IN WRITTEN WORK IN MUSIC Complete the following melody: 1 IV. ORIGINAL WRITING a. Write original two or four-measure phrases. Melody should begin on 1,3 or 5, and end on i, 3 or 5, preferably i. b. Rhythmic expression in notes of single lines of verse that begin with an accented syllable. For example : Gent - ly rocks my light ca - noe. I I I I ill ! \4\44\4 4 2 4 2 or 4 2 or 4 3 or 4 J. N nr* nn n ' J * ! I J f"H 4' 4 4 4 4 rf * V. MUSIC ANALYSIS AND BIOGRAPHY 1. Define terms of tempo and expression. 2. Name known songs and composers. 3. Simple description of nature and form of known songs. GRADE VI I. APPLICATION OF PRINCIPLES In Tune. 1. Names of keys. Thus : Two sharps equals what key ? i sharp equals what signature ? 2. Position of sharps and flats in signature. Write signatures for given keys. 3. Chromatic Tones. Work in Language. a. Define chromatic tones. b. There are how many tones ? How many names ? c Upon what does the name depend ? I0 STUDIES IN WRITTEN WORK IN MUSIC d. How are chromatic tones named when represented with sharps ? e. How are chromatic tones named when represented with flats ? 4. Use of chromatic characters in writing. Work in language. a. When is a sharp used to represent chromatic tones ? b. When is a double sharp used to represent chromatic tones ? c. When is a flat used to represent chromatic tones ? d. When is a double flat used to represent chromatic tones ? e. When is a cancel used to represent a chromatic tone a half-step above a scale tone ? f. When is it used to represent a chromatic tone a half step below a scale tone ? Work in Notation. a. Place before each of the following notes the character to rep- resent the chromatic tone a half-step above it : =* ' 1 1 1 m i n 1 b. Similarly, a half-step below. * c. In the key of E, write the chromatic scale ascending and de- scending. d. In the key of D flat, write the chromatic scale ascending and descending. 5. Use of characters to cancel the effect of chromatic characters. a. How many notes are affected by a chromatic character ? b. What character is used to cancel a sharp or flat ? c. What character is used to cancel a double sharp ? d. What character is used to cancel a double flat ? e. If a cancel is used to represent a chromatic tone, how is the scale tone restored ? In Time. 1 . Describe each of the seven time motions. 2. Rewrite the time motions with various units. 3. a. Why is the figure 3 used with a triplet ? b. What one note takes the place of the following ? STUDIES IN WRITTEN WORK IN MUSIC II 4. Review common time. a. What are the various kinds of measure called ? b. Explain given time signatures. c. Give time signatures for given measures. d. Write measures for given time signatures. e. Measure each of the following : 3 IN 8 *' 1 rs ^ IS f i K |! P =1 j. J J J J J j J j J. J J J J 5. Compound time. a. Why is compound time used ? b. What is found on each beat ? c. What are the various kinds of measure ? d. Explain given compound time signatures ? e. Give time signatures for various compound measures. f. Write measures for various compound time signatures. g. How may common and compound time signatures be distin- guished ? II. EAR TRAINING 1. Write scale and chromatic progressions from dictation. 2. Write measures of time from dictation. 3. Write four-measure phrases from dictation. III. FORM IN MELODY AND RHYTHM i. To develop sense of proper melody and rhythm. a. Complete the following melodies : 12 STUDIES IN WRITTEN WORK IN MUSIC /T h^ -; m mt x*- sp Other examples may be taken from songs or exercises with which pupils are unfamiliar. IV. ORIGINAL WORK i. Rhythmic expression in notes, of single lines of verse beginning on an unaccented syllable. For example : The wind blows wild and free. 2 J i J I i J I i I J II A 4 4 4 \ 4 * \ 4 \ * 3 4 J J J II J_ J 2 rs r-s I, n 'rr j K| j 4 4 ILJ* I/ 'Ca/i/' 6 8 f 1 !\ J / J. J The waves are . danc - ing fast and bright. 6 8 f J / j / J / j 3 4 / / / /. ; J. 3 4 * /. J 5 J j /. ^ J. 4 4 J J. / J 1 4 J. / J STUDIES IN WRITTEN WORK IN MUSIC I3 2. The study of rhythmic and melodic expression of primitive emo- tional moods, such as joy, sadness, spring, autumn, winter, skating, boat- ing, swinging, hunting, night, morning, repose, war, patriotism. Rhythmic and melodic setting of lines of verse. For example : " The world is peacefully sleeping." " The sun is bright, the day is fair, The hunters' bugles stir the air." " With waving of banners and beating of drums, With sounding of trumpet the general comes." " Our flag is floating in the breeze, Our hearts are full of cheer." A wind came up out of the sea, And said, " O mists, make room for me ! " It hailed the ships, and cried, " Sail on, Ye mariners, the night is gone." V. MUSIC ANALYSIS AND BIOGRAPHY 1. Define musical terms. 2. Simple analysis of known songs as to mood and form. 3. Biographical knowledge of the composers of known songs. GRADE VII i. APPLICATION OF PRINCIPLES Thoro review of Grade VI, I. II. EAR TRAINING i. Write short phrases from dictation. III. FORM IN MELODY AND RHYTHM. a. The study of song, aria or rondo form, introducing the study of the related major keys of the dominant and subdominant. Imitative writing. For example, song form : ist Theme. m :zL FINK. STUDIES IN WRITTEN WORK IN MUSIC 2d Theme. 5 --C-^-i T ^ T~ =^=^= =3MI Hence, simple song of aria form consists of a theme, a second theme in the key of the dominant, the first theme repeated. NOTE : Many of the common hymn tunes are in song form, for example, Dykes' " Holy, Holy, Holy," and " Ein Feste Burg." b. The study of the old dance forms, the waltz, minuet, polka and gavotte. Imitative writing. The waltz : a moderately slow dance in 3 measure, consisting of an introduction and four or five numbers or movements, the movements in closely related keys or introduced by short modulatory passages. Each movement is usually in simple song form. A waltz movement or number : FINE. x ft ' 4fcl7 (2-S-- * f=f- <& HI h. 1 ^~ =d= N j P hJ- ;l^~ig For example of waltz form see " The Beautiful Blue Danube " and "Wine, Woman and Song" Johannes Strauss, "Estudiantina " by P. Lacome and waltzes by Walteuful. The minuet, a slow stately dance in 3 measure, consisting of a first section in song form, a second section called " Trio " usually in the subdominant key and the first section repeated. A minuet : STUDIES IN WRITTEN WORK IN MUSIC 15 FINE. Omit zd time. n- :SEE* D.C. Trio. U2=t Minuet. D.C. m+ The polka, a lively dance in 2 measure, the form similar to that of the minuet. A polka: Trio. Polka. D.C. The gavotte, a stately dance in * measure, beginning on the third beat, in form similar to that of the minuet. STUDIES IN WRITTEN WORK IN MUSIC A gavotte : ^^** D.C. For example of gavotte, see Handel's Gavotte in B flat, Gavotte from Mignon, Ambroise Thomas. IV. ORIGINAL WRITING i. Work of Grade VI, IV No. 2, reviewed and extended. Rhythmic and melodic setting of poetic lines of verse such as the following : " My good blade carves the casques of men, My tough lance thrusteth sure : My strength is as the strength of ten, Because my heart is pure." " The birds will soon come back again And build their nests in the trees." ' Faintly as tolls the evening chime Our voices keep tune and our oars keep time," " A wet sheet and a flowing sea, A wind that follows fast And fills the white and rustling sail And bends before the mast." V. MUSIC ANALYSIS AND BIOGRAPHY 1. Define terms of tempo and expression. 2. Analysis of known songs as to mood and form. 3. Biographical knowledge of a few composers of known songs, for example, Handel, Haydn, Beethoven, Schubert and Mendelssohn. STUDIES IN WRITTEN WORK IN MUSIC 17 GRADE VIII I. APPLICATION OF PRINCIPLES 1. Review I, Grade VI. 2. New Principles. a. Write key signatures on the bass staff. b. Write on staff the compass of eighth Grade voices : soprano, alto, alto-tenor and bass. c. Write the alto-tenor part of a song in three ways, low on the treble staff, high on the bass staff and with a tenor clef. d. Write major scales without signature. e. Write signatures for minor keys and name minor keys from signatures, thus : C minor = $ 4$ = Cjf minor. C Write harmonic and melodic minor scales with signature. II. EAR TRAINING i. Write short phrases, major or minor, from dictation. III. FORM IN MELODY AND RHYTHM 1. Extended study of song form and old dance forms, see III, No. i and 2, Grade VII. Imitative writing. 2. The study of national characteristics in melody. Imitative writing. IV. ORIGINAL WRITING 1. Write original melodies in song form or in old dance forms. 2. Musical setting of poetic lines or stanzas. Extended study of emotional mood. V. MUSIC ANALYSIS AND BIOGRAPHY 1. Define terms of tempo and expression. 2. Questions covering the text book study of musical forms. 3. Questions covering the text book study of biography. 4. Analysis of mood, form and national characteristics of known works. 18 STUDIES IN WRITTEN WORK IN MUSIC GRADE IX I. APPLICATION OF PRINCIPLES 1. Review I complete, Grade VIII. 2. New principles. a. Write general and specific intervals. b. Write names of written intervals. II. EAR TRAINING 1. Write phrases, major and minor, from dictation. 2. Write intervals from the sound dictation. III. FORM IN MELODY AND RHYTHM 1. Extended study of the song and dance forms, See III, Nos. i and 2, Grade VII. The March and Polonaise may be added. In the study of the song form the relative minor key should be used for the second theme. If the first theme is in a minor key, the second theme may be in the related major or the dominant minor. Imitative writing. 2. Extended study of national characteristics in melody. Imitative writing. IV. ORIGINAL WRITING i. Write original melodies in song or old dance forms. ?. Musical setting of poetic lines or stanzas. The study of the strophe song and art song may be included. V. MUSIC ANALYSIS AND BIOGRAPHY 1. Work of V, Nos. 2 and 3, Grade VIII reviewed and extended. 2. Write stories of the more famous operas and oratorios. 3. Describe the instruments of the symphonic orchestra. 4. Analysis as to mood, form and national characteristics of known works. STUDIES IN WRITTEN WORK IN MUSIC r o REVIEW OF FUNDAMENTAL PRINCIPLES Questions for oral or written review of the essential principles of tune and time. TUNE PRINCIPLES I. PITCH NAMES 1. On the treble staff, where is D, F, E, B, A, etc.? 2. On the bass staff, where is C, E, F, B, G, etc.? II. NAMES OF KEYS 1. In naming keys with sharps in the signature, the word "sharp " is added to what letters ? 2. In naming keys with flats in the signature, the word "flat" is added to what letters ? 3. Name the keys for two sharps, six sharps, one flat, four flats, six flats, etc. 4. What are the signatures for the keys of G, A, B, E flat, D flat, etc.? III. POSITION OF SHARPS AND FLATS IN THE SIGNATURE 1. Name ( or write ) the position of each of the seven sharps. 2. Name ( or write) the position of each of the seven flats. IV. CHROMATIC TONES AND CHARACTERS 1. What are chromatic tones ? 2. How many are there ? 3. Upon what does the syllable name of chromatic tones depend ? 4. a. Give the rules for the names when sharps are used to repre- sent them. b. When flats are used. 5. a. What characters are used to represent a chromatic tone a half- step above a scale tone ? b. A half-step below a scale tone ? 6. Under what condition is each character used ? 7 . How many notes are affected by a chromatic character ? 8. How is the effect of each chromatic character cancelled ? 20 STUDIES IN WRITTEN WORK IN MUSIC TIME PRINCIPLES I. THE MOTIONS 1. Describe each of the seven time motions. 2. a. How are the motions represented when the quarter note has one beat ? b. When an eighth note has one beat ? II. ARITHMETIC i. Problems in addition. Add, giving answers in one note, in each case : quarter and eighth ; four sixteenths ; two dotted quarters ; dotted eighth and sixteenth ; etc. III. COMMON TIME 1. What are the various kinds of measure called ? 2. Explain given time signatures. IV. COMPOUND TIME 1. What is found on each beat in compound time ? 2. What are the various kinds of measure called? 3. Explain given time signatures. 4. How can the second and sixth time motions be introduced in compound time ? UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. Form L9-Series 4939 '%" 001 059 559