fyxmll Hwwmtg |f itag BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF Henry W. Sage 1891 //, z.s.ro?*-, MUm.1v /.&jxu$ Cornell University Library MT 870.P19 Panseron's a b c of musics primer of vq 3 1924 021 781 624 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021781624 PANSERON'S ABC OF MUSIC A PRIMER OF VOCALIZATION CONTAINING THE ELEMENTS OF MUSIC AND SOLFEGGI REVISED AND EXTENDED BY N. CLIFFORD PAGE BOSTON OLIVER DITSON COMPANY NEW YORK CHICAGO PHILADELPHIA CHAS H. DITSON & CO. LYON & HEALY J. E. DITSON & CO. 3) Copyright, MCMVIIT, by OLIVER D1TSON COMPANY Stanhope iptcss H. CILSOH COMPANY BOSTON. U.S.A. PREFACE. Auguste Mathieu Panseron was born in Paris, April 26, 1796. He entered the Conservatoire at an early age, winning the Grand prix de Rome ( 18 13 ). While in Italy, beside pursuing his theoretical work, he made an exhaustive study of the art of singing and the style of the old Italian masters. After travelling in Austria and Germany he returned to Paris and became a teacher. In 1 826 he was made professor of Solf ege at the Con- servatoire; in 1 83 1 professor of Vocalization, and in 1836 pro- fessor of Singing. This long experience made his text-books and his works on singing especially valuable. Able, learned and pains- taking as a musician, he was kind and amiable as a man. Pan- seron died in Paris, July 29, 1859. The A B C of Music was first published in this country in 1846, edited by Signor Felice Dorigo, a professor of Italian bel canto, and at that time a resident of Philadelphia. In this form the work has had a wide circulation. While elementary in character, it presupposed, however, some knowledge of music, and could hardly be followed without the aid of a teacher ; in fact it was in- tended primarily for the use of teachers. In the preparation of this revised edition, the editor has sought to make the book comprehensible to beginners, even to those who are obliged to study without the help of a teacher. This in no way lessens the value of the work to the teacher. The revised and amplified work goes into a more detailed explanation of the various problems as they occur, thereby making many points clearer to the student, and the book more helpful to the teacher. iv PREFACE. All of the original exercises, with trifling exceptions, have been re- tained, and many new exercises and scales added. The ABCof Music has indeed been practically rewritten to meet modern ideas and terminology. The book is a Primer of Vocalization, not a complete course in singing. It gives the beginner all that is necessary in regard to elementary matters in music — the ABC; it explains much not contained in the ordinary vocal methods ; and it supplies the abso- lutely necessary knowledge which should be mastered at the start, and which, if slighted, hampers the student's progress ever after. For those who have mastered the ABC and wish to take the next step, we heartily recommend as a simple, sensible and com- pact book, Twelve Lessons in the Fundamentals of Voice Production by Arthur L. Manchester ( Music Student's Library). For a progressive series of vocalises the Preparatory Course to the Art of Vocalization by Eduardo Marzo, may well follow. This course may be had for Soprano, Mezzo-Soprano, Alto, Tenor, Baritone or Bass voices. In his revision of an eminent man's work the editor has aimed to meet the needs of the beginner in music today, and to meet them as Panseron would were he writing now. BOSTON, May is(, 1908 CONTENTS. SECTION ONE. The Elements of Music and Preliminary Vocalization. Pagii Names of Notes and Characters, the Staff i Leger Lines, Treble and Bass Clefs, " Middle C " 2 Italian Syllables, " Fixed Do " System, Whole, Half, Quarter, etc., Notes . . 3 Table showing comparative values of the notes 4 Diagram of full Piano Key-board and its relation to notes on the staff .... 5 " Middle C " in Women's and Men's Vqices 6 Exercise on the Formation of the Scale 7 Measures, Bars, Time, Common Time 8 Breathing 9 Exercises in Reading and Naming Notes ( Treble Clef ) 11 Intervals, Step and Half-step 19 Triad, Degrees, Tonic, Dominant, etc. ... 20 Piano Key-board and Scale, One Octave 21 Exercises on Intervals 22 Accidentals, Steps in Diatonic Scale 24 Chromatic Scale, Rests 27 Vocalising, Elementary Tone Production 28 The Dot 36 Two-four Time, definition of Time, Movement, etc 37 Triple Time 40 Equal Division of Quarter Notes and Beats 41 Compound Time, Time Signatures 42 Movements in Beating Time, Triple Division of Quarter Notes, etc 44 Exercises in Alia Breve Time 47 Syncopation 48 Diatonic and Chromatic Half-steps 52 Intervals, Major, Minor, etc 54 Inversion of Intervals and Table 55 Qualities or Character of Different Intervals 58 Perfect Intervals, etc 59 The Minor Mode or Scale 60 The Tonic Triad 65 v vi CONTENTS Key-signatures and Tonic Triads ( Major and Minor ) 66 Scales in Major and Relative Minor Keys 67 Enharmonic Notes and Scales 7 1 The Chromatic Scale 9 1 Scale Variations Ascending . 9 2 Scale Variations Descending 93 Use of Repeat Signs, Da Capo, Dal Segno, and Fine 97 Musical Terms and Abbreviations . . ' 98 SECTION TWO. Classification of Voices and Vocalization. Soprano, Mezzo-Soprano, etc 101 Tone Production and Vocalization 102 Abridged Method of Vocalization 103 Change of Voice, Exercises for Tone Production 104 Transposition 105 Melodic and Harmonic Minor Scales ... 116 Cadence 117 Exercises for Two Voices . 119 SECTION THREE. The Bass Clef. Explanation of and practical use of Bass Clef, Exercises especially for Men's Voices 125 THE A B C OF MUSIC. A PRIMER OF VOCALIZATION. SECTION ONE. THE ELEMENTS OF MUSIC AND PRELIMINARY VOCALIZATION. Musical sound is simply the result of the vibrations or oscilla- tions of elastic and sonorous bodies, when these vibrations occur with sufficient rapidity to be appreciated by the ear. The air, which is itself the most elastic of substances, receives the vibrations of sonorous bodies and conveys them to the ear. It is this regular motion of the air which determines what is pro- perly called musical sound. The pitch of a sound is always in the inverse ratio of the vibrations. Thus, the fewer the vibrations of a sonorous body in a given time, the graver or lower is the sound ; and the greater the number of vibrations, the sharper or higher is the sound. The lowest sound which the ear can distinguish makes about thirty-two vibrations in a second. The highest note appreciable by the ear makes sixteen'thousand vibrations in a second. Musical sounds and the notes that represent them are named after the first seven letters of the alphabet, A, B, C, D, E, F, G. From the standpoint of time value they are represented by the characters o,<^,4,^. These characters are placed upon the staff according to the pitch of the sound or note. The Staff consists of five horizontal, parallel lines, with the four intervening spaces. For notes too high or too low to be l 2 THE A B C OF MUSIC. placed on the staff proper, Leger lines are added as may be needed. THE STAFF. Leger lines above Spaces above Lines Spaces and below and below 2 * 2 l i * , 4 a „ 3 a _!_J 1 ._ \— 1- Characters called Clefs are always placed on the staff at the beginning to locate the position of one particular note, from which the positions of the other notes are determined. The clefs com- monly used in modern times are the Treble or "G" clef ffi, placed on the second line of the staff to locate "G" in the Treble, |^==E ; and the Bass or "F" clef, §g, placed on the fourth line to locate " F " in the Bass, iH; F Notes are written in the two clefs on two staves as follows : " Middle C " Clef note _J ^ X CDEFGABCDEF r9~ "I t= ^-» * **- W- x *¥ GABCDEFGABC _ «*- -^- Clef note " Middle C " 00 The notes between F in g| and G in ffi may, however, be written in either clef by the addition of leger lines. " Middle C " is so called because of its position between F in §| and G in 5£. Note also that it is on the first leger line below Treble staff or the first line above Bass staff. It is therefore the connecting link be- THE A B C OF MUSIC. 3 tween the two staves. It is also called Middle C from its loca- tion on the Piano Key-board. Notes are designated by Italian syllables for use in singing, Do, (Ut) re, mi, fa, sol, la, si, do; Do corresponding to C. These syllables were first given to notes by Guido of Arezzo, a Benedictine monk, about A. D. 1032. In French and Italian music these are the only names given to the notes, the French, however, clinging to the original UT as applied by Guido, the Italians substituting Do. SCALE OF C MAJOR. Pronounced (Doh) (Ray) (Mee) (Fah) (Soh) (Lah) (See) (Tee) (Doh) Syllables Do Re Mi Fa Sol La Si or Ti Do I -ex- position on Staff -O «- — ; Names of Notes CDEFGA B C This constitutes the " Fixed Do " system. In the Tonic-Sol- Fa system the syllables are spelled according to their sound in the English language, (as given above Italian syllables in illustra- tion) and are always abbreviated by use of the initial letter. To prevent confusion between " Soh and See," the latter syllable was changed to "Tee." In puplic school singing Tee has practically superseded the syllable Si (See). As this work is largely elemen- tary and its use being possible concurrently with public school in- struction, it was thought advisable to use Ti (Tee) throughout. As shown previously the note heads or characters have differ- ent forms according to their duration or time value. The Whole note a is the longest in common use ; the whole note may be di- vided into two Half notes J J, or four Quarter notes J J j J, etc, ; a hook / being added for the Eighth note and for each smaller sub-division down to the Sixty-fourth note j?. The names, forms, and comparative time values of notes are shown in the following diagram. THE A B C OF MUSIC. THE A B C OF MUSIC. In instrumental music, and in vocal music where a sylla- ble covers more than one note, eighth notes and smaller sub- divisions are connected by bal- kens, £J, y, etc., instead of being on separate hooks ^, J\ J* J*. The exercises that fol- low are all intended to be sung, • except where specially indi- cated, as lessons in reading or naming notes. The Italian syllables are always to be used in singing unless otherwise specified. In all the exercises the notes must be learned by their proper names as well, A, B, C, etc. Students who are sufficiently familiar with the -tonal relationship of various notes of the scale to sing the scale properly may use a pitch- pipe or tuning-fork to sound the note C (Do ). But for the great majority of students studying alone, the piano or organ must be used to sound the notes of the scale until their tonal relationship to each other is thoroughly compre- hended by eye, mind and ear. The accompanying diagram locates Middle C on the Piano or Organ. 6 THE A B C OF MUSIC. The white keys on the key-board represent the tones in the Key of C, extending over seven octaves. The octave consists of eight tones inclusive of the doubling of one tone. The Scale of C is written as follows, beginning on Middle C. ONE OCTAVE. i w -&—&- -rS>- C DEFGA BC The scale is written by degrees on the staff, that is, from a line to a space, to a line, etc. The Scale of C is played by moving from one white key to the next. Given Middle £7. on the staff and Middle C on the key-board, the veriest beginner will be enabled to make progress in reading music from the staff and committing to memory the succession of tones in the scale, with- out the aid of a teacher. Where obtainable, instruction is always preferable, however. The voices of women and children correspond exactly with this staff and key-board relationship. The mature male voice however sounds an octave lower than written when reading from the Treble staff. For instance, Middle C in the Treble Clef :{S = should and does sound C an octave lower, written written in the Bass Clef ESl=z= when sung by a man's voice. It would be possible to sound the first note actually in unison with the ife , but none save the highest tenor voices could written note carry the scale many notes higher. While hardly possible that this mistake could be made, this peculiarity of the man's voice as applied to reading from the Treble Clef EEE== is Dest fully explained. There are many exercises in the latter part. of the book designed for men's voices only and written in the Bass Clef, which will be more fully explained in the proper place. THE A B C OF MUSIC. 7 EXERCISE ON THE FORMATION OF THE SCALE. In this exercise the various tones of the scale are introduced by degrees, until the scale is complete. The beginner should study each section carefully before proceeding, associating the syllable name of each note with its position on the staff, then learn the proper (letter) name. (The whole note is used here without re- gard to any time value ). Repeat each section before proceeding. SCALE OF C BY DEGREES. "MIDDLE C" (Key Note). ist Degree. 2d Degree. 3D Degree. (Doh) (Doh) (Ray) (Doh) (Doh) (Ray) (Mee) 3^ w -eh -&- » ^- -0- =" & » & Do Do Re Do Do Re Mi Re Do C CDC CDEDC 4TH Degree. (Doh) (Ray) (Mee) (Fah) (Mee) (Ray) (Doh) i ■ ^I Z5> » ~ S> -or — Do Re Mi Fa Mi Re Do C D E F E D C 5TH Degree. (Doh) (Ray) (Mee) (Fah) (Soh) (Fah) (Mee) (Ray) (Doh) g IE tr — ^ » ^ - - » z> ^r- Do Re Mi Fa Sol Fa Mi Re Do CDEFGFEDC 6th Degree. (Doh) (Ray) (Mee) (Fah) (Soh) (Lah) (Soh) (Fah) (Mee) (Ray) (Doh) I I ) ., * » <*■ -& -&- i Do Re Mi Fa Sol La Sol Fa Mi Re Do CDEFGAGFED C 7TH Degree. (Doh) (Ray) (Mee) (Fah) (Soh) (Lah) (Tee) (Lah) (Soh) (Fah) (Mee) (Ray) (Doh) IE .& -0 a <* — '-» q . ^ —^ „ _ „ ^ ^ Do Re Mi Fa Sol La Ti La Sol Fa Mi Re Do C DEFGABAGFEDC THE A B C OF MUSIC. THE SCALE COMPLETE. I Octave (Doh)(Ray)(Mee)(Fah)(Soh)(Lah)(Tee)(Doh)(Tee)(Lah)(Sol)(Fah)(Mee)(Ray)(Doh) f l' „ .'» ■."'"*- - *T^=fl Z>0 A ^/» /k .W La Ti Do Ti La Sol Fa Mi Re Do CDEFGA BC B AGFEDC MEASURES, BARS, TIME. Successions of notes are divided into Measures by lines drawn upright across the staff. These lines are called Bars. The Double Bar indicates the end of a movement or of the piece itself. Measure. Bar. Double Bar. I IE 1 The term Bar has been erroneously used in place of Measure. The number and value of notes allotted to a Measure determine the Rhythm or Time. The earlier exercises in this book are written in what is termed Common Time, made up of four quarter notes or beats, and indicated by the Time Signature C or simply J. The student should beat time (counting mentally) in all the singing I Measure I Measure | -~. , , . exercises. T „ , ,»-,,, etc. One beat for a quar- I 1 > ■*) o> 4>| *> ^> 5> *t> | ^ ter note, two for a half, four for a whole note. The slow swing of a clock pendulum may be taken as the time value of a quarter note in the early exercises. In singing, the syllables directly under the notes are to be used ; the pronunciation is given above the notes in a few exercises. It is of the greatest importance to memorize the proper names of the notes as well, A, B, C, etc. Sing- the notes by syllable, speak of them by letter names. Breath is to be taken at the commas ' placed over the staff. Students who have had no previous experience in reading music can hardly be expected to keep time until they can readily sing THE A B C OF MUSIC. 9 the notes. Therefore learn the sounds of the various notes and their positions on the staff, then begin to beat and sing in strict time. Never leave an exercise before it is mastered. SCALE of c. WHOLE NOTES (Four Beats). 1. Moderate C (Doh) H (Ray) (Mee) (Fah) (Soh) (Lah) (Tee) (Doh) etc. f=t= Do C re D 1 mi E t fa F sol G la A ti B do C II 4)- f3 — s> a S> 1 ej H do c ti B la A sol G F »2« E re D C BREATHING. Take full, deep breath by natural expansion of the lungs downward into the abdominal cavity ; avoiding any conscious lift- ing of the shoulder blades. Breathing in singing should be as in ordinary conversation, perfectly natural. Under the excitement attendant upon the first efforts, the beginner might take breath at such irregular intervals that proper tone production would be quite impossible. Therefore the sign » has been used as a reminder. Do not gasp for breath, inhale naturally through the nose, sing through the mouth ; avoiding the disagreeable nasal tone. i WHOLE NOTES AND HALF NOTES (Two Beats). 1 •> » ^ -t5>- Do i re D E F ^m sol G la A U B do C 3 I -s>- Do ti la sol > mi re do C B A G F E D C 10 THE A B C OF MUSIC. i 3. HALF NOTES AND QUARTER NOTES (One Beat). Si Do re D mi E F sol G la A ti B g 1 IE do ti la sol > mi * re do. C B A G F E D C The names of the notes being fixed, the series of seven letters A, B, C, D, E, F, G, or the series of syllables do, re, mi, fa, sol, la, ti is always continued ; the addition of the first letter or sylla- ble completes the octave (eight notes). Octave. Octave. Octave. Octave. Octave, I &?JL w =^ . etc. -&F- It is very useful for the student to repeat by heart, and rapidly the names of the notes of all these octaves. ASCENDING. DO RE MI FA SOL LA TI DO RE MI FA SOL LA TI DO RE MI FA SOL LA TI DO RE MI FA SOL LA TI DO RE MI FA SOL LA TI DO RE MI FA SOL DA TI DO RE MI FA SOL LA TI DO RE MI FA SOL LA TI DESCENDING. DO TI LA SOL FA MI RE DO RE DO TI LA SOL FA MI RE MI RE DO TI LA SOL FA MI FA MI RE DO TI LA SOL FA SOL FA MI RE DO TI LA SOL LA SOL FA MI RE DO TI LA TI LA SOL FA MI RE DO TI Likewise the proper or letter names. ASCENDING. DESCENDING. c D E F G A B C C B A G F E D C D E F G A B C D D C B A G F E D E F G A B C D E E D C B A G F E F G A B C D E F F E D C B A G F G A B C D E F G G F E D C B A G A B C D E F G A A G F E D C B A B C D E F G A B B A G F E D C B THE A B C OF MUSIC. 11 EXERCISES IN READING AND NAMING NOTES. Study these exercises very carefully, observing the position of the note on the staff as well as its syllable and letter names. After a short time the pupil should be able to call either name of a note readily from the staff, with names of the notes concealed. Where a piano or organ is available, the notes may be played, so that the ear can become accustomed to the sound of the note, as its name is impressed on the mind and its position on the staff is shown to the eye. As most of the reading exercises extend beyond the compass of the voice, no attempt should be made to sing them. The sing- ing exercises are numbered in order as they occur. It is not ne- cessary to beat time in the reading exercises, the whole note as used having no definite time value. Take time to consider, do not guess. NOTES ON THE LINES. I 1 IE -s>- I sol G mi E sol G B D fa F ti B sol G mi E sol G -&- -iS>- -&- sol mt do la do mi sol ti re fa la G E C A C E G B D F A st- i i do la fa re ti sol mi s>- do -s>- la s- do mi sol C A F D B G E c A C E G NOTES IN THE SPACES. i fa F la A do C mi E do C la A fa F 12 THE A B C OF MUSIC. i -O- sr ~a~ -ar -zr 1 ST - ~*7 sol ti re fa la do mi sol ti sol mi do la fa re It sol G B DFACEGBGECAFDB G i RECAPITULATION. Sol la ti do re mi fa sol la ti do re mi fa sol la ti do A BCDEFGABCDEF GAB'C ~SZ 1 la sol fa mi re do A G F E D C •^ sr z^. — ti la sol fa mi re do ti la sol B AGFEDCBAG i MISCELLANEOUS. Sol mi do mi sol ti G E C E G B re fa re ti sol mi do mi sol sol D FDB GEC EGG W- fa re fa la do mi F D F A C E sol mi do la fa re fa la sol do re G E CAFDFAGCD w mi fa sol la ti do E F G A B C re mi fa sol la ti do ti la sol fa DEFGABCBAGF $ § -s 1 mi re do ti la sol > mt re do E D C B A G F E D C I i THE A B C OF MUSIC. 13 -&- , s- — -&- -& is- Do mi sol ti re fa la do la fa re ti sol mi do CEGBDFACAFDB GEC -B- i Re fa la do mi sol ti sol mi do /a /"<* (Si rr D F A c E G B G E c A F D 7 t ~ &* n jt-f O I S — g — ig — g — S>- S- Sol ti sol mi sol re sot do sol fa sol la sol mi sol G B G E GD GCGFGAGEG i m zsz -G> — S>- IEZ -6>- ti sol do sol re sol la sol fa sol sol do fa la do la re B GC GD GA GFGGCFACAD u " - g a ~ IF: -q —a ej — es a — g & - __ s la mi la ti la sol la do la fa la mi la re la sol la AEABAG ACAFAEADAGA i %_ ^ *" o " o — o & s> -is is- i ti la sol la sol ti sol do sol re sol mi sol fa sol sol sol B AGA GB G CGDGEGFGGG IF: fa sol mi sol re sol do sol ti sol la sol sol fa sol mi sol F GE GDGCGBGAGGFGEG i -s> — - — ts- tr — » ^ ^ ^ e^-r - *>- re sol do sol ti sol do sol re sol mi sol fa sol sol do sol DGCG BGCGDGEGFGG CG 14 THE A B C OF MUSIC. I w re sol do sol re sol ti D G C G D G B sol mi sol sol sol sol sol mi sol fa GE GGGGGEGF i IE sol G ti sol re sol do sol fa sol ,do sol re sol ti sol re sol BG DGCGFGCGDGBGDG The interval * of a second is to be found in each measure and between each two measures. QUARTER AND HALF NOTES. m ^=* !& ^=^F A Do C re do D C re mi re mi D E D E » . , » fa mi fa F E F 1 sol fa G F V / . J m m 1" r- ft\ - * i i r %7 4 1 1 1 1 sol G la A sol G /a A ft B i a \ 1 ti B do C ti B do c » J '1 1 1 > p « J 1 If * * o ! Vm; i i - m t «_ c ft B do C ft B la A ft B /a A sol la G A ^M sol fa sol G F G I w -•- -&- fa mi ft mi re mi ?-< mi fa — • *— jo/ /« — • — sol E F G F E F G A G F F^- +- 1 — » r-t— » # — i— 1 t— 4 S 1 "* — • 1 ft— — • c* L: b^ sol /a •i la sol /a t 1 do — 1 "— ti la n G A B A G 9 A B C B A 1 j< ' 1 s. 1 1 ^ 1 (r \ • * . J • V- J • %J sol la ti la sol /« jo/ /« sol fa G A B -1 A G F G A G F f) » » y iii /T 1 1 if n 1 ! J ! VMJ • • J < J «J « » 4- mi _/a jo/ /« mi re mi fa *»» « n E F G F E 9 1 E F E D y s 1 (( *» 1 1 V- 1 1 \J -•'- • • - E F G D » J | / I? ^ -1 S J * ^i) . J j 3 -t- m< fa sol la E F G A E fa F jo/ G la A B F i p jo/ la ft' ao sol /« sol /a ti o/o G A B C G F G A B F 16 THE A B C OF MUSIC. i J J i-^FZ—5rj~E^== I mi fa sol la mi re mi fa sol EFGA E DEFG W^ do re mi fa C D E F do 1 D The interval of a fifth exists between the lowest and highest notes in each con- secutive double measure. QUARTER AND HALF NOTES. N. C. P. ^P * -B»- * T=l- Do C re D «*i y« sol E F G C » re D E F sol G 1 la A re D » J | n | > 1 J r> p \ d J i V ) m • • *- r • *~~ i m> ./a J"/ /o <»' «»' ./& jo/ /« ft' 1 ■ I / J ! i II ft \ 1 1 J a » m i * « II \^ ) 1 ! m • • J II *- -si- • » -J- - -Si- do C re mi fa sol la sol do D E F G A G C la sol mi A G E 9. The interval of a seventh exists between the lowest and highest notes in each consecutive double measure. QUARTER NOTES. T * V | ~v /' i 1 | f( V ' * I \s J' 1 ! J a S -4- Do C • re D mi E F 9 so G I la r A ti B -m- • do re C D mi fa E F sol G J i J \ . * f* _ ! 1 | • f( \ • • 1 «• 1 1 _L_ -1 1 — 4 — • # 1 ' /a A ft' B C re D C ft B /a A jo/ G fa F E do C i *' B la A jo/ G F mi E -(9- 0/0 D 10. The interval of an octave exists between the lowest and highest notes in each group of four measures. QUARTER AND HALF NOTES. N. C. P. i x m ^ Do C re D mi E F jo/ G la A ft' B do C -Sl- ab I 3 §* &E afo /»' la sol fa mi re sol do do sol mi do CBAGFEDGCCGE C 18 11. WHOLE AND HALF NOTES. THE A B C OF MUSIC. RECAPITULATION. i Do do re E do mi E -&- do C fa F m do sol G do C la do B do do do C I SE c B C /a A a- Thirrt. S- Fourth. -Si- Fifth. Sixth. Seventh. Octave. 22 THE A B C OF MUSIC. EXERCISES ON INTERVALS. 14. The student is to call off the alphabetic ( proper ) names of the notes, and sing them to their syllable names. HALF NOTES. SECONDS. Moderate 9 « l m X -&- Dd C D etc. i 3^ > jc/ §ee^ ^ .»/ /a & do do do la i -10- 3^3^ la sol sol fa 15* i / do i ± «2 A> fa sol ^ ""»- « 16. I fa -s>- do s- do -(2- m Do mi 9 do fe^SS ti 1 it /a do la 1 #- X -5 .rtf/ # j^/ fa la fa mi sol mi re fa re do m i do * If the student finds difficulty in singing this and following exercises introducing intervals by skips ( directly) , a review of Exercises Nos. 5 to io, where the intervals are introduced by degrees, will be of great assistance. THE A B C OF MUSIC. 23 17. FOURTHS. i =t -rJ- ^P X m Do fa re sol mi la fa ti sol do la * 9 » » 3=t =t 4- sol do ti fa mi la sol re do mi sol do do *The interval of a fourth between /a ( F ) and /*' ( B ) or vice versa, ti-/a t is difficult; the student or teacher must exercise great care in the intonation. FIFTHS. 18. » » 9 7^ 1 / t > r 3 tr V ' 1 — ' 1 ** 1 Vv J | aJ 1 «_. -e9- S 1 ZJtf j»/ « /a mi $ fa do sol re do » 9 3 z£i T- -&- 19 is mi la re sol do fa ti mi la re sol mi SIXTHS. t » 1 -&- do i F = p^ff * 3fc =E * 20. Do la re ti mi do fa re mi do re ti do do do. SEVENTHS. 9 1 » BE E i J2- * 4= X 21 I Z? G 5 72 — F 4 — & ~~E 3 D 2 -&- C 1 — H 26 THE A B C OF MUSIC. Note particularly the leaning tendency of the 4th degree, how it presses down to the 3rd degree. Now play the Scale of F down- wards, beginning on the upper F, and progressing by degrees to the lower octave. Half-step a Step Step Half •step Step Step Step f a & „ 1 / ej ■ ft ■* """ a a 1 V ) a) 1 K- F E 8 7 D 6 C 5 B 4 A G 3 2 F 1 How does this succession of descending Steps and Half-steps compare with that of the Key of C? It seems all right down to the 5th, 4th, and 3rd degrees. There the Steps and Half-steps are reversed. How does it sound? Does the 4th degree show such a desire to descend or press down to the 3rd degree ? No, it d(5es not, something is wrong. We must bring the two notes closer together. We accomplish this by the use of a character called a Flat (b) placed before the 4th degree to lower it a Half- step. This gives the 4th degree a downward push, so to speak, and makes its descent to the 3rd 'degree necessary, which is natural and agreeable to the ear. In playing or singing the Scale of F properly, therefore, we must omit the 5 th white key in descending and play the next black key instead. Thus is the Flat (i?) made necessary. To preserve the same succession of Steps and Half-steps in the Key of B\> we are obliged again to lower the 4th degree ( E to El?), giving us two flats. In £fr we add a flat for A, and so on. The necessary flats are given after the clef, making the key-signature just as in the case of sharps. The flat (t>) always lowers the note before which it is placed a Half-step, whether the half-step below comes on a white or a black key on the piano. A double-sharp (x) is used to raise any note before which it is placed, two Half-steps (or a Step). A double-flat (W>) is used to lower any note before which it is placed, two Half-steps (or a Step). The Natural sign (t}) restores any sharped or flatted note to its original state. THE A B C OF MUSIC. 27 Sharps and Flats were necessitated by the desire to play or sing the Steps and Half-steps in their proper place in any key. They always take the name of the note from which they were derived, as C# or Db, Dfl or Eb, F# or Gb, G# or Ab, AjJ or Bb. A glance at the diagram on page 2 1 will show that these coupled notes are played on the same black key, but theoretically they are different notes. While Accidentals, {Sharps, Flats, and Naturals) were invented in the first place to perfect the different scales, they were later introduced freely in any scale to give variety in Melody and Har- mony. This use of Accidentals is termed Chromatic. CHROMATIC SCALE (Ascending). To locate the sharp and flat notes on piano, see black keys on diagram, p. 21. i i W , >_ » Hfa. " *- » ""—* £ C C# D D# E F F# G G# A A# B CHROMATIC SCALE (Descending). 5 4 3 2 1 E0 §2_ E (?=§& js— (725,- C B B> A Ab G Gb F E Eb D Db C Observe that the notes correspondingly numbered give the same sound, but the pupil should learn to recognize them as entirely different notes. RESTS. The exercises so far have progressed steadily, without recog- nized periods of silence between notes. Periods of silence are quite necessary, however, to give variety in melody or accompani- ment, and also for breathing in singing. These periods of silence are indicated by signs or characters called Rests. There are as many varieties of rests as there are notes ; and they are corre- spondingly named according to their time value or duration. The 28 THE A B C OF MUSIC. Whole Rest is a solid block placed under the line, \_ ** ] meaning a full measure of silence. The Half Rest is a solid block placed over the line, F 3 meaning silence for the equivalent of a half note. The Quarter Rest has had several forms, both in manu- script and printed music. The following forms are most com- monly used f, S, I ; meaning silence for the equivalent of a quarter note. The Eighth Rest is distinguished from the first type of Quarter Rest by the hook being placed on the left side of stem i, meaning silence for the equivalent of an Eighth note. A hook is added for the Sixteenth Rest, and each successive smaller rest as in the case of the note hooks. Whole Note Half Note ! Quarter Note Eighth Note CJ S3 rj m m • • • m m m ■ r i i 1 etc. v» Whole Rest Half Rest Quarter Rest Eighth Rest Sixteenth Note Thirty-second Note Sixty-fourth Note flzzbli — B— B etc. Sixteenth Rest Thirty-second Rest Sixty-fourth Rest Rests may be introduced in any part of a measure. Be careful to allow proper value.for the rests as for the notes in beating time, thus making each measure complete. VOCALISING. While the syllable names of the notes, do, re, mi, etc., were in- dispensable during the process of learning the scale and the posi- tions of the notes on the staff, pure vowel sounds are best adapted THE A B C OF MUSIC. 29 to develop the singing voice. We advise the use of the Italian syllable Ah, containing the broad vowel sound a as in father, ar- dent, etc. Under the instruction of a teacher, various other vowel sounds may be used with good effect for certain purposes. Before trying to use the vowel sound Ah in actual singing, the student should assure himself that he has the sound properly placed in the mouth. Stand before a looking-glass and pronounce the word father, gradually dwelling more and more on the first syllable, until it can be sustained without losing its initial character ; the consonant "f" parts the lips, leaving the broad vowel a (ah) sounding. Be careful to bring the tone forward to the front of the mouth, avoiding any tendency toward a gjittural or harsh sound from the back of the throat. Do not try to obtain a " big " tone, be content with a small tone that is properly placed or focussed. With a little careful practise the ah can be emitted with the mouth open, without the aid of the consonant "f." The tongue should lie quietly, without being " humped " in the middle, the tip just touching the base of the lower teeth. The jaw should hang loosely, perfectly relaxed ; any rigidity will result in a hard tone. The remaining exercises in this book are intended to be sung to vowel sounds, in other words, vocalised. When the stu- dent is sure he has the proper vowel sound ah under control, he may proceed with the exercises ; remembering that tone rightly produced will develop the voice for singing or speaking, whereas, wrongly emitted tone is not only unpleasant to hear but will result in actual injury to the vocal organs. Never forget that all muscu- lar strain is wrong, and that the right way to sing is the easiest way. In the succeeding exercises either the phrase mark or slur -» will be found over or under the notes. Phrase marks in music correspond with marks of punctuation. They divide the music into periods, phrases or sentences. The line *- ^ is also used as a slur to show that the notes it covers are to be smoothly connected with one another or sung to one word or syllable. A 30 THE A B C OF MUSIC. phrase mark could cover groups of slurred ( legato ) and attacked ( staccato ) notes, as in the following example. Phrase. i w B: ± Ah Slur, ah ah ah — It will be noticed in No. 22, that the slur marks correspond with the breathing marks » above the notes. 22. PREPARATORY TO VOCALISING. 1 ? 1 ! J I « 1 * * e* Ah ah- -6>— ahl ah- ah- i i PP (= "2=1- S^ =F •— *- ah- ah- ah- Remember that quality of tone is of first importance ; quantity always follows under proper training. The sign p stands for piano (Italian for soft or subdued) ; do not overlook it. 23. Mode rate. i .>"i j 1 j -SH -g z» Ah- ah- ah- s^~ gHg-T^ ^ £ -<=- — — si — — ^- ah ah- -&-h& ah- ah- ^£ 1 ah- ah- w ah- THE A B C OF MUSIC. 31 i? 24. Moderately slow. « * ^s 3* ^ -g>— H»- -&—-& «— u z5- Ah- ah- ah- ah- i^ ■(H- -g>~ » g*~ ^ TTT -"-si — I- ah- ah- ah- ah- ^ S I s) & -&— V» ^=^ ah- ah- ah- ah- -&r -61- -- ah- I EXERCISES OR VOCALISES INTRODUCING ACCIDENTALS AND RESTS. 25. Connect the notes under the slur. Moderate -^ ?„- r— -P- P i I J J L^± FF^ * ^ * Trf •" *-^- Ah- ah- i I J — J=p=^ — r — r — ^ *=+=$ W -* — •- ah- i ah- l=±=t ?=>— r ^ P -* — #- ah- ah- ah • *- -' *~ ah- 1 t==X=£ T* g^ J J J \ J -i ±^±b •—+ ah- ah- N. B. The short slur or tie — under the last two notes binds them into one. 32 THE A B C OF MUSIC. 26. Moderato. -P- ^mm T=^ -#-1—1* F=P -• — *- * — •- ah » . — Ah- I IE -4 • F= t =t ah- ah- :t=t ££ i=b^=— -t "*-^: ah- ah- I m 1 • a * f — *- - f — r r * §£ * # f=±=t= *t ah- ah- ah- i ^^ 3t=t "• #- ah- ah- ah- h i * « — ^ I ' ^ — »=J r | | _iz ah- ah- g .9 -— I P • *~ ah- ah- ah- 27. I Q I - Mod erately slow -P - Ah- ±T3t ah ^m ah- £E ah ■ #= ah- m THE A B C OF MUSIC. -x 1 -- 33 g J ■ ' ' ^ ah- ah- ah- 1 I ' i J i ' J J ah- ah- 28. ^ Moderately slow. P 4 i ^^ -H^ Ah- ah- ah- g t=^ ^ P^*^ - ah ah- =± £ J •— f— a J -L-f-=3-^-^- — •— ^h^ 1 — J — — • — —s Ah- ah- i ij=j=)^ f^^ fcfcg ah- ah- ah- 3^ 3=1 =^^ m =5= ah- ah ah - i ^ ^ ah- ah- ah- nr^n n jtm^ 1 w ah- e» — ' I- ah- ah- ~& -&- i 30. Moderately slow. 9 wmm - a \ *— r — * Ah ah ■ ah ^ 1 ^1 " f" 1 ™ ~~ ^' *_ i . i H _ ; 4- H H=- 1— 1 - — 1 3? y-» * — j— ~1 * * ^i — • *~ Si F • — i -b» — ; s : — • — v> V " L ^ H— U , ' ah- ah- ah- -*-*— sJ d — J- ah- -&■ l=±*= ah- THE A B C OF MUSIC. 35 Sil^Sfel m=3=i ah- ah- ah- ah- ah- -&s> ft- 3=$ ah- ah- m i=± m P • — *- -,1 — •- ah ah- mm& w £ « *- ah- ah- ♦Remember that the Flat ( b ) lowers the note before which it is placed, a half -step. i 31. p Moderate m -W=ji -zi- -*—•- Ah- ah- ^ IE • + - 3 n ah- =#^=E^ • ih ah- * =i=P= ah- ah- g S S J 1— I EEESE • — *- ah- -•- ah- 36 ll THE A B C OF MUSIC. X e W -• 4 - -& ah- ah- J T^^ i w =r=±± -s*- •- ah- ah- 32. Modera tely slow -P " || ^1 1 <*- -f= 3^ P 4- * — 4- Ah- ah- ah- fe fc^ =i=* »- ' J #* ah- ah- ah- 1=1= ^S P^^ -*— •- #^= ■« — *- ah- ^^^ ah- ^ ■&- S^E T5*- ah- ah- ah- ah- $mm i £=£ * ah- ah- THE DOT. A dot found after a note or rest increases the duration or time value one-half ; two dots increase the duration three-quarters. Single Dot. j. = J j J I J. - : ; ; I , N . = i ,* ^ ---. = x x x I x • = i i i ■ I n . = q q q etc. THJE A B C OF MUSIC. 37 Double Dot. J- = J J J /I J- =/ J* / ^..= ^j^ ---•• = x x s i [ »•• = -i -i. *i 3 | i.. = q q q a Rests however are not generally dotted, being only periods of silence, -"■ X is preferable to -™- . , or £ 7 t0 X • • Count three to each dotted half note below. 33. Grazioso p ^_ --^» ^ -<» " -v » n ^ ^7 ES fr*^ M. ^--^-=~L 1- — 1 - Moderate. * ( See Page 39.) 9 It X ^^ P* •Z2- Ah- Ah- * 1 ~" ' * ^' -7? — i — 1 w — d — T — - l~f — f — 1 — 1 — i — 1 — 1 — -fH~- J- : -H^ :t =F-f — i — ^-^-^-^— t-p= £BE ^ S IE cf — ^ 3^ i 1 ^ m £ S * Other kinds of time will be introduced progressively. In the following exercise (No. 35 ) one measure (two beats ) is counted before beginning to sing. Each dotted quarter note is held un- til after the second or up beat of the measure, the eighth note be- ing only half a beat. Heretofore we have always taken and left the notes on the beat, and great care must be taken to bring this eighth note in just where it belongs. A good way to work these broken rhythms or movements out correctly is to count | 1 and 2 and I 1 and 2 and | perfectly evenly, with possibly a slight accent on each count 1. After a time omit the and, but keep its place mentally while beating and counting 1 — 2 — | 1 — 2 — I . In this next exercise the eighth note will come in place of the second and. In singing the student can only beat time, so obviously the places where and comes must be felt intuitively. The curved line over THE A B C OF MUSIC. 39 the notes is now used as a phrase mark, dividing the music into phrases or short sentences of four measures each. The natural breathing points are marked by » over the notes at end of each phrase. If the student has difficulty in singing the entire phrase on one breath, supplementary breath may be taken at the asterisk *. Begin, and sustain the tone on Ah. 35. Moderatd. 1 and 2 and 1 and 2 and etc. I I St :-£ Tt^=»- -*-!-# Ah- Ah- -ah- im =p=* *fc tr-# i #= ^=^c m 3^* ^ 36. Moderate - W 4— SF* ^ §3 V- ' ' * y * Ah- Ah- ah- m E^E ^ e ¥ t=±*=¥ \ $t-^ -fK-S(- a 4=3= 40 THE A B C OF MUSIC. TRIPLE TIME. Simple Triple Time consists of a measure of three units, the most common unit being the quarter note. Three-four Time is rep- resented by the Time Signature \ ; we can also have | or § time. Before attempting to sing the following exercise, practise beating and counting this f time, dividing the measures i 2 3 | 1 2 3 | etc., and accenting the first beat in each measure. When the rhythm or swing of the movement is so established that the stu- dent can beat the time regularly without counting, begin to sing the exercise. Not before. TRIPLE TIME. 37. Moderato. 12 3 S~ m 3 =t =t= p Sf-r- Ah- -etc. i £i w § m +—& * v * IE g 1 i W- x i^§ Note that in the next exercise we have two short phrases of two measures each that seem to be complete in themselves, then comes a long phrase that demands four measures before we feel we can stop for breath. In speaking we are able to express some thoughts in a few words ; then again we must use many words be- fore we can come to a stopping point. We do not, of course, stop beating time, but the end of a phrase seems to mark the place for taking breath as a comma, semi-colon, colon or period does. . * Be careful to differentiate between lh. and l^ in these two measures. THE A B C OF MUSIC. 41 38. Moderate. iM^ t # — ■ — g- , * Ah- ^ -etc. i *=R=i M i=ji^=y )g jS- ±± -*—*■ t=t ¥ m^ F=r=q * =t fe • — *- i i^£? 8^ P^ 1^1 1 # * By the use of the dot we are able to prolong the original value of a note over several beats or fractions of beats, -but we have not sung more than one note to a beat thus far. The quarter note may be divided into various smaller groups of notes that are all sung or played in the single beat of a quarter note. We can have 1 and 2 and two eighth notes to each quarter, - /£Z | j _J — [_=z^z^ and 2 and or four sixteenth notes, 8' ¥? are known as Compound times, each beat being com- pounded of three eighth notes. TIME SIGNATURES. Times of Two Beats. Simple. Compound. Alia Breve. ( Double ) $m m i&= fefe ^^^ 3^E± THE A B C OF MUSIC. 43 When a line is drawn through the time signature ^ it indicates that the movement is doubled in rapidity, each half-note coming on one beat ; two beats to the measure as in | time. Times of Three Beats. Simple. Compound. Simple. Compound. N. B. The eighth note and sometimes the half note is used as the unit, but the upper figure in time signature always gives the number of counts or beats. Times of Four Beats. Simple. Compound. Each example above begins with a full-measure rest, which is always indicated by the solid block under the line ( like a whole rest), no matter what the time or make up of measure may be. The generally accepted movements used in beating simple time are as indicated in the following diagram. 44 THE A B C OF MUSIC. MOVEMENTS IN BEATING TIME. Double Time Triple Time Common Time |, $1 and | (Compound ) §, |, | and | ( Compound ) 4, B and ^ ( Compound ) '8' Two beats 8 Three beats Four beats The strong beat indicates the accentuation. I cannot too earnestly recommend to the student and teacher the greatest exactitude in beating time. It is requisite that every beat should be precise and decided, without any wavering or irreg- ularity in the motion of the hand. Equal care should be taken to preserve the same interval throughout between the beats, so that the time of the piece may not vary. Attention to this rule enables the pupil to regulate his singing by the movement of the hand ( as of a metronome ), and not the reverse, — to regulate the movement of the hand by the singing. The student need not concern himself with more complicated movements in beating time. , In order to place the eighth notes properly in | time, we sug- gested counting One and Two and etc. In |, |, or ^ time where we have a dotted quarter, with three eighth notes to place, we may count One-^r-^, Two^, etc., according as the beats are One, Two ; One, Two, Three ; One, Two, Three, Four. i One-er-y,Tvia-er - y One-er - y, Tvto-er-y ^ THE A B C OF MUSIC. 45 Whether we are dividing One and Two and ; or One-er-y, Two- er-y, we must divide evenly and smoothly. 39. Allegretto moderate. One-er-y, Tvio-er-y,One-er-y,Tvio-er-v N. C. P. i S£ m Tt=*Z -l=i=l=± IP ah- ■+-*- ah- g '-■?^=Ff=$ S IE S #*■ -^jr ah- ah- I =i=t=i=t q=^= -*— ■- -*— •- ah — ah- ah- Exercises in other Compound times will follow later on. 40. Two Beats to a Measure. Always vocalize on ah unless otherwise indicated. A ndante. 158: S P^^^^^^^^^S ^ ^ — ± — — i- 1 •- 3t» 1=? e I zp^ — g fe? ^ ^ 46 THE A B C OF MUSIC. m *=* 3Z3t±=l -•— 3t±f •t*- m JH^ J J J^R *-*- •- *=*^ i p -A 1 3- **=* atizt ^ I 5=*^ i 41. Moderately slow. P " 5 3 g . -^ ~ -< ° • * i ^s -JS*~ -g - * ^-^^ #*= -I — ^ ?3z£b - 1 1 J. JB= ij= fr^^ i ^=s= -» (S- 1t— *- i jTT i l 4^ n THE A B C OF MUSIC. 47 Practise No. 4 1 also in Alia Breve time ( two beats ) a half note to each beat. In the next two exercises the syllable Lah, is used to develop tongue action in the stroke on each note. After the attack the ah sound is to be sustained as before. 42. Moderately slow. {Alia breve.)) ' 1 1 1 / i 4 | , 1 -J fr v ' -5 -J 1 , " v. ) A —' ** - i 43. Moderately slow. ( ^4//a breve?) 9 i p =>- Lah lah etc. « — =»■ ^ it i -3*- ij I ill I j 1 —THJg'ITrTF^ ^E^Ezi^d-^-^^-^^-^-^ i ^^ -e-^f ** 48 THE A B C OF MUSIC. SYNCOPATION. When the notes are not attacked on the beats or natural accents of a measure, they are called syncopated. To clearly illustrate this, let us take the following example with properly placed accents. gb w =t The notes all come on the beats, but by anticipating the en- trance of the second note and sustaining this relationship, syn- copation results. i E_ : =£ irr± * The first note comes on the beat and is necessarily short to per- mit of the second note coming in ahead of the beat ; but once the second note is attacked the time value of notes succeeding is as before, but against the beat of the measure. In beating time we have suggested that the first beat of each measure be accented. Now in Common time (f) there is a slight secondary accent in each measure on the third beat. Under certain circumstances this equal division of the measure must be considered. To illus- trate, let us take this passage in half notes. IN * a i Note the regularity with which the notes are attacked on the primary (istbeat) and secondary ( 3rd beat ) accents of the measure. The primary accent is unmistakable and the secondary will soon establish its claim to recognition in a passage like the above. Now suppose we anticipate the entrance of the second note, but afterwards continue the succession of half notes. THE A B C OF MUSIC. 49 I BE This results in another form of syncopation ; notes attacked on the beat, but not on the primary and secondary accents of the measure. Syncopation is most effective when the accompaniment is in regular time and the voice part or melody is written in synco- pation against it. Syncopated passaged could not be continued for extended periods without the natural beats or accents of the measure being in evidence, otherwise it would soon become diffi- cult to keep the regular beat in mind, and the syncopation would be accepted as the regular accent. The pupil studying without a teacher or some assistance, may find great difficulty in mastering syncopation. One thing is certain, a thorough comprehension of normal accent and rhythm, and infallibility in singing and playing in regular time must be established before the student can take up syncopation. Syncopation may occur in any variety of move- ment, it must simply be against the beat or the natural accents ( primary and secondary ) of each measure. 12341 234 n 1 2 1 2 fe- w 4 1 £ i m * etc. or 1234 1 234 123 1 23123 123 m E * a= :fic w fi \ p :t=It tr — ^-=> — K1S In the last example (| time), the natural accent is on the first beat, yet the melody in half notes ( or their equivalent, two quar- ters tied ) comes every other measure on the second beat. Syn- copation can be introduced for a succession of two notes or for complete phrases in melody or accompaniment. 50 THE A B C OF MUSIC. SYNCOPATION. Note against beat. 44. Beat time rigidly, mark each note decidedly ; as accented (=•) in first measure. Very moderately. N - C. P. 12341 23 4 1,2 3 4 :£T£= e =fc=tt All- ah- i 2 3 4 I I N I -N m 5SBE 3^ i ah- 5 , ah- ah- 3 4 tq=fc: eB 4^*- ft ah- ah- i 45. Very moderately. 1 2 3.1,2 N C. P. 1 1 2 3 3 = m£ ±=£ =iP "^-^Mtt Ah- ah- ah- ah- A C- ^W tN N- ^ ah- ah- ah- 46. Notes on tetfj, but against the primary and secondary accents of measure. Beat time. 12341 234 1 234 1 234 ge ^3^ ! I l * -4 =* #— L * -•— 4=*- Lah lah lab. lah lah lah * For attacking notes in quick succession Lah is preferable as it causes a stroke of the tongue. THE A B C OF MUSIC. 51 i i-r — r -1=2- *£=* t^S -•-'-# -•- -&- ah etc. I £ hEZ=S IE ^ "2=*- i q r — h — i "i i r — i- H=P"' =* ■ *' ^ — a' 1 1 1 s 1 1 1 N-3=^-44=p — rhn^ — ri tm J — =u_ ^—^-^- 1 — ^ btl=_jt±H==jd m 1 1 1 p -4 — & iH-» £m Lah lah lah lah lah lah- w * ah ah- ah ah ah- -- -&■ s- — - lah lah. MIXED SYNCOPATION. 47. Notes against primary accent and a 12 3 1 2 3 n — i Iso against beats. 12 3 l 2 3 -"Z-— ^. -#-& m—t-m — * — 1 1 i— | — i P> — rm—d r N^ — * — N * J E= — ' — »— J— : L tr i 1 — M — ». ^ / — Ah ah 12 3 1 ah ah- ■ah- 2 3 1 2 3 2 3 in 4-4- 1 1 ^=p= I m ] < g - S^S -U '-tB» ah- ah ah- ah ah- Another form of syncopation is where the notes are attacked only on the secondary accent. They are not against the beat, and are more commonly known as suspensions. 52 THE A B C OF MUSIC. i 48. Moderate 1234 1234 » =i_ 1 =r » fr i nr vr^^S'^-^-^. Ah ah ah ah l ^ i ej \ei m £ W I ^s=t £ By taking the tempo of the above just twice as fast ( two beats to the measure ) like \ time and strongly accenting the note on the up beat (which is weak ) this form of syncopation is more clearly illustrated. DIATONIC AND CHROMATIC HALF-STEPS. The pupil has learned that there are two Half-steps found in the natural or diatonic scale. In the Key of C they were found be- tween E and F, B and C. The change of pitch between these two notes was brought about by their being on different degrees of the staff as well, and they are therefore called Diatonic Half -steps. The letter names of the notes are not the same, diatonic meaning through the scale by degrees. Now there is another name for the Half -step when the change in pitch has been brought about by the THE A B C OF MUSIC. 53 use of a Chromatic sign, both note-heads being on the same degree of the staff. This is Chromatic progression, and the resulting Half- steps are therefore called Chromatic Half-steps ( the letter name of the notes being the same ). Either sharps, flats or, even natu- rals may be applied to the second note. The accidentals in them- selves do not make the difference in name entirely. For instance : A ^jjE =zg== or ^ — g=K3= are Diatonic Half-steps as well as B} == ^j ==i — \t^—^ = : There was actual progression by degree between Fjt— G and G — AK Whereas : f ^iPllife^EgE are Chromatic Half-steps because the progression was only Chro- matic. This, & $==&=is=tEE is a Diatonic Half-step, and this, E=g= is a Chromatic Half-step. In these examples the very same succession of tones is notated and classified differently. Name the kind of Half-step in each measure below. 5 iIeeS; W=£=&±£& i zfe i ? 1^3 ^ * In the Chromatic Scale example and in the above it was shown that the same sound could be represented on the staff in two differ- ent ways. On the same principle the sound existing when two tones are struck simultaneously can be expressed in different ways and classified accordingly, p fc — |_$J= is a. fifth by degrees, and a sixth, though they are the same in actual sound 54 THE A B C OF MUSIC. on the piano key-board. This reckoning of the difference between notes by degree results in a more or less complicated system of INTERVALS. A knowledge of intervals is useful to a vocalist and absolutely necessary to a student of Harmony. It is a simple matter to get the numerical name of an Interval. The first note is counted one no matter on what degree of the staff it comes, and we simply count degrees up to, and inclusive of the second note. Thus $ -j . J are Intervals of a Third, or briefly Thirds. Now count the steps in each of these two thirds. From C to E is two whole steps, from G to E is but one step and a half. Natu- rally we must qualify these numerical designations. The number of degrees gives the numerical designation as third, fourth, etc., and the content of steps and half-steps the qualifying name. By degrees intervals would be named as follows : Primes. Seconds. Thirds. Fourths. i g_2z_ IE ' a Fifths. Sixths. Sevenths. Octaves. The qualifying designations for intervals are Diminished, Minor, Major, Augmented and Perfect. There is no single interval, how- ever, to which all these qualifying designations are applied. For instance, we only have Minor, Major and Augmented Seconds ; Diminished, Minor and Major Thirds, etc. Note that the inter- vals are given in order of their size, beginning with the smallest under each numerical designation. The student has already had THE A B C OF MUSIC. 55 practise in singing various intervals (Exercises 14 to 21) and is doubtless able to recognize them numerically at least. In trying to learn the qualifying designation, remember that this is deter- •mined by the size of the interval, and the count by steps and half- steps is infallible. A Major Third is always composed of two steps; 3jE z^ and the intervals can all be proved mathematically by memorizing and applying the formula for each type of interval. A brief explanation of the terms Major, Minor, etc., will follow later. INVERSIONS OF INTERVALS. Any interval can be inverted ; that is, the lower note can be transposed an octave higher, naturally reversing the relationship Third. _ Sixth. of the two notes ; for instance IffiE becomes etc. In the following table every variety of interval is shown, together with its inversion. The small black notes are not to be sung or played. Play or sing only the whole notes and accustom the ear to the sound between the two notes. TABLE OF INTERVALS AND INVERSIONS. The full steps- are indicated by numbers above the notes ; the half-steps by numbers below the notes and slurs ^. The octave is composed of five steps and two half-steps, etc. Unison, or Prime. Original Position. Inverted Position. i Octave. 12 3 4 6 IE 56 THE A B C OF MUSIC. Minor Second. Original. Inverted. I Seconds. Major Second. 1 Augmented. 1 IE ^ Major Seventh. 12 3 4 5 W t* t> '—- br -t—* 2 - Minor Seventh. 1 2 3 4 Original. I -er-^T 1 2 Thirds. Diminished Third. Minor Third. 1 *r Diminished Seventh. 12 3 Major Third. 1 2 w K 3^ 1 2 Augmented Sixth. 12 3 4 Inverted. t^TT - '^ Major Sixth. 12 3 4 h*-*-A BE Minor Sixth. 12 3 --— f— -=»^ 12 1 Fourths. Diminished Fourth. Perfect Fourth. Augmented Fourth. Original. Inverted. 2 1 tug: 1 2 l± Py- Augmented Fifth. 12 3 \J 1 o Perfect Fifth. 12 3 -O- -22_ -i—'—Z$? 1 1 2 Diminished Fifth. 1 2 -0- 4 K-;-^-^ Original. Inverted. i 12 X T 2 Fifths. Diminished Fifth. Perfect Fifth. Augmented Fifth. 12 123 12 3 9 V 1 1 2 Augmented Fourth, 1 2 Hfr — big-fr»- ~ a L^ — Perfect Fourth. 1 2 -s> *- -#— £*- , i >-ff g- -»- * 1 2 Diminished Fourth, #_<=- P i? ^ THE A B C OF MUSIC. 57 Original. Inverted. i Minor Sixth. 12 3 Sixths Major Sixth. 12 3 4 Augmented Sixth. 12 3 4 d2s: m 1 2 Major Third. 1 2 Minor Third. 1 Z^=$ r^t-+zr ^ 1 2 Diminished Third. Original. Inverted. I Diminished Seventh. 1 2 3 Sevenths. Minor Seventh. 12 3 4 Major Seventh. 12 3 4 5 IzS f^ 12 3 Augmented Second. P. *»= =#^ 1 2 Major Second 1 Minor Second. Original. Inverted. While in the preceding Table of Intervals and Inversions, the note C was always used as one of the two notes, this was only done to give a standard of measurement ; there are numberless du- plicates of the examples given. In the Key »/Cwe can have sev- eral Major Thirds. g s lip jA 5^i or Major Sixths iffi-+*% ^SN l etc. 58 THE A B C OF MUSIC. QUALITIES OR CHARACTER OF DIFFERENT INTERVALS. Major Intervals are so called because they are large and broad in character ; Minor intervals are so called because they are in comparison with Major intervals, small and narrow. In each class there are agreeable sounding, and disagreeable sounding intervals. To show the difference in sound between Major and Minor we will experiment with the' agreeable sounding Thirds and Sixths. Take the Major Third ; l &— ~z strike the two notes simul- taneously on the piano, or sing them in quick succession many times. Then lower the upper tone a half-step and play or sing as before. RS — =r & ^ == Note the difference in sound. The first was Major, the full third tending to make it bright and cheerful ; the second was Minor, the small third making it dull and mournful. Now take the inversion of this Major Third, a Minor Sixth -A) J ~ P H The student may be unable to tell by its sound that it is Minor ; but after sounding it a few times, raise the up- per note to C# and note the change to the Major or cheerful sound. The original is unmistakably dull now in comparison. This is the distinction between all Major and Minor intervals, but the Seconds and Sevenths are all disagreeable in sound, and the corresponding difference between broadness and narrowness is not so easily distinguished. Augmented and Diminished intervals are alike unrestful; in the former the upper note ( raised ) seems too high, too anxious to get away. In the Diminished the lower note ( raised ) is pressing upward. One is too large, the other too small. CHANGE OF QUALITY THROUGH INVERSION. It is plain that a third 1 (8) — — becomes a sixth \ when inverted ; but this is not all. Its qualifying name is changed THE A B C OF MUSIC. 59 as well. The Major Third becomes a Minor Sixth. Just as the C was a. full third below the E, it becomes a narrow sixth when placed above the E. On the same principal Augmented intervals become Diminished. Reversing the application Minor Intervals become Major, and Diminished become Augmented. Major, Minor, Augmented and Diminished intervals are therefore called Imperfect. Primes, Fourths, Fifths and Octaves are generally Perfect because while the numerical designation changes, the qualifying designa- tion remains. A Perfect Fourth EfSi==EE=EEE inverted becomes a Perfect Fifth ti!sEisE==E=EE an d so with Octaves and Primes. The exceptions are a certain Fourth {Augmented) and a cer- tain Fifth ( Diminished ) that are found in every Key. In C we Augmented. Diminished. find them as follows : jj ^EEE EZZZ^Z^ j^g EEEEj now compare the ¥ steps and half-steps with a Perfect Fourth or Fifth and note Perfect Perfect ' F# : F 5 I that there is a half-step extra in the EBB ^_ ' « I => H Augmented Fourth and a half-step less in the Diminished Fifth as against the Perfect intervals. This extra half-step ac- counts for the difficulty found in singing. vm—„ — g== If the stu- dent will now return to Exercise Seventeen, he will probably note a slight difficulty in singing measure 4. The second note is unexpectedly high in comparison with the previous measures. The Diminished Fifth, though peculiar, is not so difficult to sing. Generally speaking, all Augmented and Diminished Intervals are unpleasant. The Augmented axe a half-step larger than the Major, and the Diminished a half-step smaller than the Minor. Perfect Fourths and Fifths have no particular character as to sound, they are white or neutral, ready to be combined with either Major or Minor intervals to form chords : Major and Minor intervals 60 THE A B C OF MUSIC. are as a rule easy to sing, the exception being the Major seventh which is only a half-step less than the octave. The student may find it difficult to comprehend all the intervals, and need not feel discouraged if he fails at the first attempt. Be contented at first with learning to distinguish Major and Minor Thirds and Sixths ; later return to these pages and learn .the names of various inter- vals of sound that you have become unconsciously familiar with. The student already knows the sounds of many intervals, but has not learned to distinguish them by name. A Major Third has its individual characteristics no matter where placed, ffi ~~j ^|E ^ the pitch does not alter the quality. When we learn the intervals properly we can sing the most difficult music at sight. We re- peat, it is not necessary to learn them all at once, try to distin- guish a few, and realise that you have been singing intervals from the first exercise in the book. We have learned to walk without knowing that it was called walking. In the matter of Inversions, a good way to know instantly the numerical designation of the in- version of any given interval is to subtract the original interval from nine. The inversion of a second is a seventh, of a third a sixth, etc. THE MINOR MODE OR SCALE. The exercises thus far have been based on the Major Mode or Scale. There is another important Mode or Scale, the Minor. It is called Minor principally because its third degree is Minor. Each Major Key has a Relative Minor Key. The first degree ( key-note ) of this Minor Key is found at an interval of a Minor third below that of the Major Key. Therefore the Relative Minor of the Key of C Major is the Key of A Minor. SCALE OF A MINOR. ( Steps as found naturally in the Key of C ) Step Half-step Step Step Half-step Step Step Ej£ _ — — „ „^—-* — — H Degrees. 12 3 4 THE A B C OF MUSIC. 61 Compare this scale, degree by degree, and step by step with the SCALE OF C MAJOR. Step Step Half-Step Step Step Step Haltetep IE ^ ^ Degrees. 1 2 There are many discrepancies. In the minor scale we have only a half-step between the 2nd and 3rd degrees, in the major scale we have a step. This makes the interval of a third from 1st to 3rd degree only a step and a half in the first case, and two steps in the second case. Minor. Major. 1 .12 m = m s r TT^~ * 1 Other discrepancies of like nature will be discovered. We will now show the intervals of the Minor Mode properly qualified. KEY OF A MINOR. Prime Second Third Fourth Fifth Sixth Seventh Octave. ( Major ) ( Minor) (Perfect) (Perfect) (Minor) (Minor) (Perfect) I 1 -ee- s a ^ It will be seen that for the most part we have minor intervals ( compare the steps in the 6th and 7th intervals as well ) where we had major intervals in the Key of C Major. i Prime Second Third Fourth Fifth Sixth Seventh Octave (Major) (Major) (Perfect) (Perfect) (Major) (Major) (Perfect) ^S« S 62 THE A B C OF MUSIC. In giving the Harmonic names of the notes in the Scale of C Major we spoke of the Leading Note. This note must be present in the Minor Scale as well. Let us look again at the Scale of A Minor, as first given. Step Half-step Step Step Half-Step Step Step I i w 123 45678 There is a whole step between the 7th and 8th degrees. We therefore must create the Leading Note by adding a. sharp before the 7th degree " g." n Step Half-step Step Step Half-step Step and a half Half-Step 1 2 3 4 6 6 7 8 Now begin on the Key-note " A " and hum the scale up to the octave. No difficulty is encountered until we try to sound this new Leading Note. Now count the Half-steps between the 6th and 7th degress f — gjt We find there are three half-steps between these adjacent notes. It is therefore larger than a Major second. Such intervals are termed Augmented or enlarged. The Major Second is the largest second that can occur naturally in the Diatonic Scale. The inner sense of hearing associates a certain interval of sound with the second as read by the eye. The ear does not object to the actual sound produced in playing or sing- ing this Augmented Second when it is expressed as a Minor Third, ~$-~ ~| — T ij l — DU t as an Augmented Second very difficult to intone. The Major Second may be likened to the syllable " de " pronounced aee, the Minor Third to the syllable " dey ;'" now we put the acute accent ( French ) over 6 in de and we pronounce it dey. The sharp gives a second the sound of a third ; the accent gives a syllable of two letters the same effect as one of three. In either case the sound is unexpected, though familiar to our ears. The same relationship exists between Augmented Fifths and Minor Sixths, or Augmented Sixths and Minor Sevenths. THE A B C OF MUSIC, 63 To do away with this difficult interval we raise the 6th degree a half-step, thereby reducing the interval of a second to its normal sound, one step. We have no difficulty in singing the Minor scale in this form. Step Half-step Step Step Step Step Half-step I IE 123 456 78 All this was done on account of the Leading Note to bring it a lialf-step below the key-note ( octave*) in ascending. In descending the Leading Note loses its special importance, and to restore the character as much as possible to the Minor or mournful scale, we restore the 7th and 6th degrees to their original state ( as Minor 7th and 6th respectively, in relation to their keynote ). We therefore play and sing Minor scales up and down as follows : SCALE OF A MINOR. (Ascending.) s>- -). Now in the Minor Scale the accidentals necessary to create the Leading Note (7th degree) and the raised 6th degree (to avoid the Augmented second) are added before each note as needed. A Minor Key does not have an independent Key-signature, it is used under the Key-signature of its relative Major. Thus : C Major. $ G Major. I F Major. i w A Minor. I E Minor. ft P Minor. m The student after studying the Table of Key-Signatures should be able to tell at a glance what the Key is, but as a guide remem- ber that the Sharp is always added on the degree below the Key- note. Thus the K being on "f," "g" is the Key-note. Where there is more than one sharp the Key-note is a degree above the D Major or B Minor. A Major or Fjf Minor. last sharp [i ffi' - ^ ^=§$[2= = etc. To find the Key-note in flat keys, count down to the fourth degree below the single Flat, or last flat where more than one are given : Thus one flat (b) means the Key of F and two flats the Key of Bfr. m THE A B C OF MUSIC. 65 F Major. Bl? Major. Eb Major. (D Minor.) (G Minor.) (C Minor.) i ff— ffi It may be easier to remember that the Key-note is to be found on the degree where the next to last flat was added in the Key- Signature. As the one signature represents both a Major and Minor key, the student may be unable to tell which key is indicated. There are two ways to tell, either through the progressions in the mel- ody which give a decided Major or Minor effect, or the principal chord in the accompaniment where an accompaniment is used. This principal chord is of course founded on the Key-note and consists of three notes ; the Key-note itself, with its third and fifth above. This is called the Tonic Triad. In C Major it is Bpr, with a Major third ; in A Minor it is Pgj-^— with a Minor third, The third in the Tonic Triad proves conclusively whether the key is Major or Minor. The student will see a difference in these two chords, jirst because one chord is lower and the pitch differ- ence is immediately noted. Yet the Major and Minor effect may not be so apparent. To develop the faculty of differentiating be- tween these modes, practise the following. Play the C Major chord ^)^ = repeatedly, then the C Minor chord [^jL^ g— Note the difference in sound ; then begin with the A Minor chord 3j== and afterwards play the A Major chord \ -4f— ^— The student will soon be able to play the C Major chord and its affiliated A Minor chord n£-j -^==11 and not only note the difference in pitch between the chords, but feel the difference in quality. The following table shows the Key-signature of every Major Key and its Relative Minor Key and gives the Tonic Triad of each. 66 THE A B C OF MUSIC. TABLE OF KEY SIGNATURES AND TONIC TRIADS. The sharps or flats in the signature are to be applied to the notes in the chords. SHARP KEYS. C Major. G Major. D Major. , A Major. i I I D Major. -e- i fcfe IE F=r -§»- A Minor. E Minor. B Minor. F# Minor. I 1 IE m ik W- W- w § E Major. B Major, FJ Major. C# Minor. i * GS Minor. i * Di? Minor. gi A# Minor. pte Spap F Major. 1 FLAT KEYS. Bb Major. Eb Majo it I Aft Major. 1 &=£= H 15 3E IE -«>- w w D Minor. G Minor. C Minor. F Minor. I ijH i ?es= s p 1 te Db Major. Gb Major. fe S Cb Major. » 3 P !£?5E Bt> Minor. Eb Minor. Ab Minor. i ^ ii§ THE A B C OF MUSIC. 67 Like the old rhyme for remembering the number of days in each month " Thirty days hath September" etc., the following rhymes for sharp and flat keys respectively will be found most useful. No sharps or flats belong to C; One sharp the Key of G must show, D has two sharps, and A has three. In E are four, and five in B, The F sharp Scale must show its six, For C sharp you must seven prefix. The Key of F one flat must take, Two flats the Key of B flat make. Eflat has three, and A flat four, And in D flat add still one more. By six the G flat Scale is known, And C flat makes all seven its own. f In several of the scales following, where the original scale pas- sage would probably be too high for the average voice, other notes are given, the scale proper being continued in small notes. While it is necessary to know the scale in all the Keys ( Major and Minor ) sooner or later, the student will find a perfe^^fciowledge of the various keys up to and inclusive oifour sharpsvr four flats sufficient for ordinary needs at first. SCALES IN MAJOR AND RELATIVE MINOR KEYS. 49. C MAJOR. N. C. P. fel i=P= i w& m tr — ^— * Ah etc. A MINOR. fe PsS =f=£ * m wm Ah- ■+ 2. -etc. 68 THE A B C OF MUSIC. 50. G MAJOR. I sj -J J f i rTE 1 =P — •- f= = i=^ : Ah- •etc. E MINOR. ffi jj j.M^ T ft'r r Ju j Ah- 51. D MAJOR. -etc. #b-i-h JiJ J f r TFtt i -* — •- Ah- -etc. B MINOR. ^ -j. JTTTIF^^B ^ b Ah- 52. A MAJOR. -etc. i iiiiii s i^ ^f^H c Ah etc. A Ah- MINOR. I I ,19 V J J n p n | j j j_ z±jt^jf =S etc. Ah- 53. E MAJOR. i $&. m -m—fi-4-m- 1 i=F E^ Ofczt *ZTJt Ah- I life » a ^i^^^^ a: T=i= g -*— •- * ' v - Ah- -etc. 54. B MAJOR. THE A B C OF MUSIC. 69 I U a p 1 T< g ^ -#— * ztzfc V— • G#. MINOR. ■etc. -•- v I « 9 * 1 W ' j: j^ ' J^ T*^ *^ Ji ' j r ^ Ah- 55. F# MAJOR. i tita =F=i c iH p -# — •- -4 — •- -#— •- Dt=t *=t= Ah- D# MINOR. I ste ,» .* « SeS i w i =xp; RFFf *— *-i All- ele. The Keys of Cjf Major — ^4# Minor (seven sharps) are rarely used, and need not be given here. F MAJOR. * -I* — •- X ^m IE -4 — * -P m- Ah— D MINOR. I IE i^ fc=& p^ =F=F Ah 57. Bl> MAJOR. i i»r^. £* EE -4—*- f=fTT ^n ^ Ah— G MINOR. -etc. ^ =fi zrt;p=i *=^^g=± p_. I EE E -*— «- Ah- -etc. • The diatonic notes being already sharp, double sharps ( X ) are necessary here. 70 THE A B C OF MUSIC. 58. Eb MAJOR. ^ 1 *d: -• — * EE^EH 3t=t Ah- -etc. C MINOR. 1 SH 53 ^ £=t ■F=t -■ — fc •— *- Ah- 59. At MAJOR. I ^ -Ul- — i- ms^L r— ; — r i ' rrr j Ah- F MINOR. fe & ^cgi= m -PZZi= iab Ah— 60. Dt MAJOR. 1 S P^ d=t - MAJOR. -•— * =F=^ 1 E^3 Ah- Et MINOR. i ^»H-H-FJg^ ^B §* Ah- -etc. The Keys of 0> Major — At? Minor (seven flats) are rarely used, and need not be given here. THE A B C OF MUSIC 71 ENHARMONIC NOTES AND SCALES. When the same sound in pitch is expressed in two different ways on the staff, the notes are said to be enharmonically the same. i p ■¥ ■hz ^ etc. Either way of notation may be chosen according to the key or for convenience in reading. The keys of C% Major (seven sharps) and DV Major ( five flats ) with their Relative Minors are enhar- monically the same, and it is easier to write and read the notes in Dfr. The keys of Cb Major (seven flats) and B Major (five sharps) with their Relative Minors are enharmonically the same, and it is easier to write and read the notes in B Major. There- fore C\ Major and CV Major are rarely used. ENHARMONIC SCALES. dO MAJOR. ± hlUl 2 1 wm m ^ ^^7 B MAJOR. tf NttE S * 1 -.jr-*-' The lower scale in B Major is unquestionably easier to read. In returning to the consideration of the Minor Mode, give careful at- tention to the next exercise, where the same identical melody is written first in Major, then in Minor. 62 a. C MAJOR. N. C. P. $ :t=3 S t=r- Ah- i 62 b. A MINOR. ah- f£ Ah^ ^=gj^S' I ah- ah- 72 THE A B C OF MUSIC. Note the effect of the Major progression c to j- T~r *=>=% ^ i *=m F 2 ^ * ' *- e^^sj 66. Beat: Allegretto. Beat same as ? time. If the regular phrases are too long, take breath at * as well. fe^M ?I333 . I" l I f^Hf t^-^- 8 *- ah- Ah- n is M l i n i=* I l^^3^- -I h — * * m ~. — •- ^p^^ ^fH^'tf^ 5 ?^ m ?^x=ai^ BEE g 67. Moderato. 2^ <*-=-#— i* f=*=* e^g ^s 51 a- Li "• 3 j.- i i j * ^ £»: ^-^^•^^^-^--t Pf -v-ii SiH THE A B C OF MUSIC, &LE M fcfcBfe r rw^u n 75 #= * — Sl *i5 * S^ 3^ 5 •-r *- — ¥ JES^E ^ *o£ ■#-=- l ^ PPfiH p -#-=- The next exercise presents three divisions of the quarter note. The first being found in measure three, two eighth notes coming in evenly on "One and two and"; in the next measure (four) we have a dotted eighth and a sixteenth note, the eighth note being held over and the sixteenth coming just after "and." In measure seven we find a group of three eighth notes, called a triplet, be- cause it is introduced in a simple time, in this case \. If we wish to divide the quarter beat into three parts ( a triplet) we must use One-er-y, Two-er-j/ as in | time. Where we wish to have three notes to a quarter beat throughout we write it with a dotted quar- ter in | time, but this triplet with 3 over it is executed in the same manner. Note the difference between the even eighths in 76 THE A B C OF MUSIC. measure three and the triplet eighths in measure seven. Be sure that the quarter and eighth in measure eleven are smoother and less jerky than the dotted eighth and sixteenth in measure ten. 68. Allegretto. P One and Two and One and •) ^ -^ 1 ^33? S ^S r p ^ j fs One-er -y, Two -er y 9-U J ' i J I I N is a ^ g I^SP S^SgE^ SS *t tfa_J irT^ = I IE i qTtLf i cJJ J ^» St s »t± tf^=r i paif S3 a ^^rur^ -•-I"; ^*g3 R>iin #=p= *=f= c*-;*^ 1 ^ -p>^ S± H*=S= THE A B C OF MUSIC. 77 I 69. E MINOR. # An dante. pi^ P *=:• i Ah- n#-^ - -» -- — 1 -- -^, fe^^^BfeBj I r I J J u -J g /. dim. ■■ts=£ i P-+^ 3 1=q=P_ < ' I . * Remember that every " f " in the exercise is to be sharped. 70. F MAJOR. » Moderate i ft* S piBEEe^^B its ^> Ah etc. I 4=P S =*=* IE =tt[ *zz£ "^M^l H^- ^ ^ E ^ : ^ *— ^- «*= £ S^3 ^e* S • • J -t-Z5^ OLZQ ^^B^ =p=5 ¥ -s>- * Remember that every " b " in the exercise is to be flatted. 78 THE A B C OF MUSIC. 71. Moderate i m=t ^ Ah- E fa^ m I j I |^^ ±=t a »- l« *=tfc=+ i S=l=t ^=F=^= =*=t ■g — a>- ztttf •*— ' — s*~ -#-*- ^ ~3 ! h*-+-3=* * * -si- SiiE i* i 72. Allegretto. s E I4 * ' °^ Ah -I— ™i^^« -* — — j- m 3=* F fe^ g5 S ^ * Points for supplementary breathing if needed. *— I* 9=^ * ^ THE A B C OF MUSIC. 79 i fc= ^ P fa P-X*uq s p » m ^ iin' ♦ *> £=?=¥ "/ 'F '" I * , nij-i f^p^ ep * *i-» i J r4 M i ^ * j jifa ^i i r j n =?-=*4^ 73. Moderate Ptf ^ h n Ah- etc. ^^xgTTir^^ ^ i m i+TV ' r jH ^55 j j^ I j i J J J J ^^ ^= E?^m -*-#- ftr; I ' l -TO i pi/ i r r rr i rffes 80 THE A B C OF MUSIC. M m =*=5= U'U I i* i jj j u i i (g i" rr * i j =*^ Note the change to D minor at the 8th measure of the preceding. 74. Allegro. I ^^ IS * I * Ah- etc. ^ ^ i^3i ^=Z3b im sc-fcz 5fe33 4F^ ^P •' i ' I /=- * 9 ^_zj- ;-i j. =^ j- "-i ;- ? * *• fl rTiTV l H J J J I J.IJ i^q i T-*-t-t ^ m 4 H — # 75. Moderate. N. C. P. ifc j j J : w-&- Ah -»h*H -etc. THE A B C OF MUSIC. 81 ~f^i~f~w~m — w~ -J — hrl — 1 — i — >■= : -> — <— i . ~ y=-^^- J J ^-^s^^^p^E^ N P.i I.UUU-J -J | p^ — j— •--■ — a * w — =. S^S p r ci tiM^^y ^ - Hk ^ l 76. Con.spirito. -J f-rir N. C. P. NJ » ■iCJUf l J g i s Ah- -etc. 3=i #lotj?i i j «i^ij f -jttyQ ^ rf/r-; r.fN £^^=^yg < f/PT3 i ^j- 1| ij i . j| j_j'' | J ^ ^Sg! iP -* — » i ■b-r^ =g= -^H- j ^ I W^- fl 82 THE A B C OF MUSIC. 77. i Allegretto. hd *' w& E I F BE £ 3E=£ Ah- « ftfr^& i=S S M ■^ — * S5E^3 * * ^=^ #fr==*SFgM e£ ^=f= W- 1K" fee ±=t ^z =#*= * — F- ^ i « #* -• — f- +t ^E^E P P -tf fct £ & ^fl (2- i 78. And ante W 3= j »i-*- -« — a -&- Ah- T^-» -*— » :?u£ & ^^ i ^ EzzSt -• — . — ^p^- TH-* •*: ■r g P ffis tH-»- feE3 ^^ =P5= *— *- -*-*- S ip^ THE A B C OF MUSIC. — -. 1^ 83 =^P SP^^^^ V ••-=- I ^ be W ;g _._ w- -*—• -th.-tt: ^ # ^ -'— *— I — -i- ^=t=£=* 4-4-M = izat ■^-^r ^^^ p ^^^ ^^1i^5 s -*—F • — ^- i b — ^ SE3 m a ^3- "3- — * T g 0E £r* ^^^^^^j^^^fc^g 79. Two measure phrases and breathing, two syllables to each phrase. March time, con spirito. N. C. P. ge^=^ S X ^m -»-=- Lah- lah- lah- lah- i -«U-*-#- ^= -i »-? ^ g±j^ lah- lah- 84 THE A B C OF MUSIC. g P^g f^wij. mm • 1— n^- -* — e: *rT lah- lah- lah- lah- t^S- n tf n^n J * eH-3j J^lj ^ pi lah- lah- I &> J JJ |g # lah- lah- lah- S g rr — *"~g r i ^} I rg E£ & s lah- lah- lah- ■ A r j-a-j--— ,,, rVi „|j JT^j ^ lah- lah- lah- £=F -*~rr- I s *=at II * *-i lah- lah- lah- Where simple triple movement is desired, it is expressed gener- ally in | time, but | time has been often used, and in the following beat three to a measure, the eighth note taking the place of the quarter as unit. THE A B C OF MUSIC. 85 80. Moderate Legato. il b PS Zji±3t. ^ Ah- Ah- ah- -etc. I «3; j — m — *- «=?c IE 3tz» 3fe -• — — • — *) * 3^fe -*— #- ^zzt i §fc^^JZt^=3JJ=^ = fcj 2= at ^ 1^=^ ^^ ^ m - ^ # ss -* — 3- i 3= 81. Two beats to a measure, three notes to a beat. A Ilegretto non troppoi ffi: i£ m=^ e£ ■& -* * 4r Ah- i * t^ 7 ^ it ah- ah- ah- ah- 86 r^S A B C OF MUSIC. --i » •- r~ ^ =i=?c P=3 p ah- i ah- -+ -• *- ■*=3t I ^ p^ r-^f ah- ^^ ^F ^E -• ^ V ah- ah- i *=== m 9'" r lcj ah *=t h— i— =^B^^ ah- — ■»■ 1 — I i^ ?ffF4 ^ tbtztzj ^ fc&£ 2=^ i©3 •-¥- 1=* •--*- i ^aggg ^ ^^a £ &= IS iE^ ?E3Z=F ^ I -•— # 83. One Moderate two three. ^ ^m^m mm ^mms l :t±=t & fe 2 #=*=n=r ^2 SE^^E^ti P lUS^ t 3 3! S z ^ ^SeS g §E It3t ^=f 3^E -i- t=± -*— =*- •— *r "— *-i-^- ■J- 1 — I — « h 1- m =j ^m m^ % w jtEF^ 1 -• • ^ - 88 THE A B C OF MUSIC. fr^JT^ffnJB^agsgj im,^n\ .: ^nj iju-fE^ji n* \r - i^g 84 Quietly. Like a cradle song. ( Two beats.) — -^ fa N. C. P. m *^ -H ^ ' ^ -* — jr ^^^^ Ah- ts S^^S^E? ^ £s* *f»^ #^^^^^^^^^ feE lah- lah- lah- lah- ^S &^^^^ ^=P1\T^ m ^^^ ah- * $ *^4*^H d=^ <* Tl-5-* #"*- F f^^TW^ gg -|— ¥- i ♦t *" THE A B C OF MUSIC. 89 In the two melodious studies ( vocalises ) following, it is advis- able to take breath according to commas, but a supplementary- breath may be taken at asterisk *. 85. Maelzel's Metronome. ( 87 = J ). Andante, molto legato. Sf g^g =g Hr— *- -N— =1- 4=J=^£ ■* — •- -9- — 1 1 1 ii Psi^P ^— * — • — * §^ *^Sr *-*- i ^ ^=^^±^ =*-* t£ m S3 — #N— =1- * t-wi '■W=m- ±jt ■+r*± i «= fe=J *s 3S ire^i r^s ^ w^^& i ■c — p — r ^ — E — pWi s=^ FF^fTF^^ 233 izt 13 • ! •-# •- L *-» ^ ©S :& ' -m- ' -6>- -m- -m =3t 90 THE A B C OF MUSIC. 86. Metronome (92 = J). Andantino, sempre legato. I if ?=* i ' — few - » j -i - ffi =p=e i j=t ■** p* *#i3t -A-=l- -• J-* 83=^33* &-LUU - fe =^ i-^ ^g ?• • =P=P= «P4 j=r i =p=? ==p= f 1 =pr ^^ #^j ^eS§ tat f^TT-T v * g * s *=p: ^ TBH m ^ y^r? ^ ;:3= W— X- i i 1 -Bl- -^ X- t The grace notes ( small ) found in this exercise have no perceptible time value of their own, but are merged rapidly and smoothly into the principal note before which they are placed. THE A B C OF MUSIC. 91 THE CHROMATIC SCALE. Through singing the Diatonic Scale in all the various Major and Minor Keys, we have used all the tones or sounds recognized in any single octave. Chromatic Scales are made up of Half-steps in direct succession. Melodies are said to be Chromatic when they introduce Sharps and Flats liberally for artistic or emotional effect. The full Chromatic Scale is rarely used except in florid or deco- rative passages and runs ; it is rather difficult to sing properly, but the student should endeavor to learn it as soon as possible. Observe that in the following exercise, Sharps are used for the accidental notes ascending, and Flats for the corresponding notes descending. The natural or Diatonic notes of the Key of C are found in their proper places as before. The Chromatic notes have down stems. The Chromatic Scale. 87. n. c. p. X E -:fe Ah- *= +-nr i ah- ah- IE z tf=A* r ah- ah- ah- Note that in the descending scale we use f$ as in ascending ; this is done to distinguish the half-way point, seventh step either ascending or descending, thereby serving as a guide in singing or playing the Chromatic Scale. The student should practise writing Chromatic Scales begin- ning on each half-step as follows, up to C natural. T>\> etc. _ a D etc. i tfe -«*- * IP ¥ * i 92 THE A B C OF MUSIC. SCALE VARIATIONS ASCENDING. Sing Lah throughout as indicated in the first measure of each variation. Continue scales downward ( see opposite page ) if pre- ferred. 88. Alia breve time. Two beats. Half note to a beat. $ Moderate i i -O- " Lah lah etc. ist Var. I -t- TTtttttt 1 Wmm zsM-s 1 (Si- Lab, lah etc. 2d Var. #i^l744Hai l jJJNJJi' J -*-& i Lah lah lah etc. 3 d Var. -P- £f=Ft 'T?' -rwP- t==F=t I EffiiE^Sffit^ fpf *-*-*- Lah etc. 4th Var. m WH w*m r rr i r ' r ■ a 4 ^ —r p Lah etc. 5th Var. ( In syncopes.) iP^i ' J-^J 3 * * - -CW 2~ ~W~TT m » P-r-f- Lah etc. 6th Var. B ^05 ffi=t 3 ts ^f f P3^ F^gi &± **±* t/ j_* ° *-V- ^ * * ^ Lah- 7th Var. •A- etc. f^Jjjjj JJJjj l J^ l ^J l ^ 1 !Jl %rPJ Lah lah — etc. THE A B C OF MUSIC. SCALE VARIATIONS DESCENDING. 93 Instead of stopping at the end of each staff on the opposite page ; the scales may be continued downwards on the corresponding staff of this page. 89. i i |r — g= Lah ist Var. EflJ=3CTJi V, g (g_- a,— ,g-:g=g -r-r-n Lah lah 2d Var. $trrtf ntf J 14jmlum=3 a • 4 ' e) J -* Lah lah lah 3d Var. Lr rp r I r r?r I J^tex-i J J jjJ J J I J J J Si t- ^1 v *- — »• ■ ^ * • Lah 4th Var. g ta I i^F 5 e r 1 r ^jpfi ^ 1 *^ ? wm t=tt=*=F Lah 5th Var. ( In syncopes.) Lah 94 THE A B C OF MUSTC. 8th Var. ( In syncopes.) i? Igjgpa ^jjj g^^ i Lah 9th Var. ( In syncopes.) Finish last staff here before crossing to next page. Lah- Lah gjli S£ ttt s Tf * *h*- *-•-*-■-* -+4-P- rtpt THEME IN C MAJOR AND VARIATIONS 90. THEME. ^> Moderato. 95 <* H i f Eii Lah lah 1st Variation *-H« f«- £ ■f P 4 - TS* Z5l- P 4: 1 — *-! — r -I- £ Lah lah 2d Var. 1 1 y-i-^Mr3Hnrq -•—-—♦ 3d Var. 1^^^ * „ 1 1 L+4 1==t ^* 3tt =*f 4th Var (In syncopes.) «=£ ^cp=p: Jt=?=P= i :t^=3t i=t Lah lah lah etc. Ths*- -#- •«- THE A B C OF MUSIC. 95 8th Var. (In syncopes.) P^Tff^&m^^ m Lah 9th Var. ( In syncopes.) ^^P^ ^ gjg^j^gjja Lah 10th Var. i sr Lah m m 1 5th Var. (In syncopes.) te§s »-M- ^ #i=3= 13 ^^-rn -^-i - ■- 1=2- 1=t=t 8th Var. $£^mm -#-• -*-•- £S *=j£ 1— f- -•— J — I — i — I- -#-» A= 3*g Se J — pZQZS3L_j_ I H I ' \ Z\-^-4-*-^-4-A — l-j-*-F-rH ■ — — 1-* — r ^B 91. THEME. Andante. THE A B C OF MUSIC. THEME IN A MINOR AND VARIATIONS. ge (=— £2- |g &. z<— g* I fe sU J | » [ t=t Lah lah etc. ist Var. i -/- ?pcp: =B= P^^rf -•-* ?=p: s> d S * J=t *-+ Lah lah lah 2d Var. (In syncopes.) i -Jtt-\. P (3 p. *=P=* tt=3 m ?' J J S m o m d & d «=t ttt *-.s* Lah lah lah 3d Var. -A SK Ffc ■> 3gB is> — ra zfciist Ah 5th Var. (In syncopes.) -#- je=se£C=s s& flf^g 1 ixri j| ^fn* ^FF-* *-g-# Lah lah 6 6th Var, i n 1 Yd d d d I B j^rtartpH ^ ? Tra la la la la la Tra la la la Tra la la la la la Tra la la la -41-p-J— ij--*-— *-*--* «"' ''-i J-j-jJ-J- j — ^4 Tra la la la la la Tra la la Tra la la la la la Tra la la la la la la. THE A B C OF MUSIC. 97 7th Var. 4> *=H^=t ^ p^^^^fe g^T^T-^f e^ Ah ah ^ -*-J-J= 4=m fe ^S^^ S^g #t 8th Var. i tsa^ ^^#^M^fc ^4 fTTfY^^ ?r» r • te =x- Ah- ILLUSTRATING USE OF REPEAT SIGNS, DAL SEGNO AND FINE. 92. (Seep, ioo.)- Andante. % ^ ; ^» ^ -^ » 9 ^FlNE. Si ffl^ i * — «- p • - gfflE «— := t=F t * — \f == 5 r ~\\ i i !— 3 — In — ti* — F^ F — V— ^* — }-l± = +=^ I [ AA — J Z>.C. or Z>..£ #: P P^SE9 98 THE A B C OF MUSIC. MUSICAL TERMS AND ABBREVIATIONS. EXPRESSION, DYNAMICS. Piano ( pe-ah'-no ). Soft. The word is usually abbreviated p. Mezzo-piano (me't-tso pe-ah'no). Moderately soft ; not so soft as piano; ab- breviated nip. Mezzo means medium. Pianissimo ( pe-ah'-nis'-se-mo ). Very soft ; abbreviated pp. Forte ( for'-tay ). Loud; abbreviated/. Mezzo-forte means moderately or me- dium loud ; abbreviated mf. Fortissimo ( F6r-tis'-se-m6 ) signifies very loud ; abbreviated ff- Forzando or sforzando ( fdr-tsahn'-do sfor-tsahn'-do ). With force ; emphasiz- ing a note or chord ; abbreviated _/# or sfz. Crescendo ( kray-shen'-do ). Gradually increasing in sound, from soft to loud ; abbreviated cresc. Diminuendo ( de-me-noo-en'-do ). Gradually diminishing in sound, from loud to soft ; abbreviated dim. Decrescendo — abbreviated decresc. — has the same meaning. Crescendo is represented by this mark i ; and diminuendo by this mark : — . When used together lliu - - they are known as a swell. DEGREES OF MOVEMENT OR TEMPO. The general degree of speed in a movement is termed the Tempo or Time. This is indicated by words placed at the beginning. ( Most of these are Italian words or phrases ; however many French and German words are used in modern compositions.) The following are the fundamental degrees of speed, given in order from slow to quick : Grave ( grah'-vay ) a very slow movement ; the slowest Adagio ( ad-dah'-jee-o ) a degree faster, but with grace and expression. Largo ( lar'-go ) slow ; in a broad or large style. Larghetto ( lar-get'-to ) a degree faster than largo. Andante ( an-dan'-te )' moderately slow ; quiet and peaceful. Andantino ( an-dan-'tee'-no ) strictly, slower than andante, but generally used to indicate a tempo less slow. Moderato ( mod-er-ah'-to ) at a moderate speed. Allegretto ( al-Iay-grey'-to ) not so fast as allegro, but quicker than moderato. Allegro ( al-lay'-gro ) a quick, lively movement. Vivace ( vee-vah'-chay ) spirited ; with life. Presto ( press'-to ) very quick. Prestissimo ( press-tiss '-see-mo ) the quickest movement. Terms which qualify the foregoing words. Assai ( as-sah'-ee) very, extremely. THE A B C OF MUSIC. 99 Molto ( mole'-to ) much Piu ( pee'-oo ) more. Meno ( may'-no ) less. Poco ( po'-ko ) little. Con (kon) with. Non troppo ( non trop'-po ) not too much. STYLE AND INTERPRETATION. Affettuoso ( af-fet-too-o'-zo ) affectionately, with soft expression. Agitato ( ah'-gee-tah'-to ) agitated. Amoroso ( am-or-o'-zo ) lovingly ; with tenderness. Cantabile ( can-tah'-bee-lay ) in a singing style. Con brio ( kon bree'-o ) with brilliancy. Con gusto (kon goos'-to) with taste. Furioso ( f oo-ree-o'-zo ) furiously; with great force and spirit. Pastorale ( pas-to-rah'-lay ) in a simple, pastoral style. Sostenuto ( sos-tee-noo'-to ) well sustained ; full value to all notes. Scherzando ( skert-tzan'-do ) light and playful in character. Vigoroso (vig-or-o'-zo) vigorously; with force. These words are placed after those which denote the speed, thus : Allegro con brio, quick and with brilliancy. Allegro agitato, quick and agitated. Andante affettuoso, slowly and in an affectionate, tender style. Andante cantabile, slowly and with a singing quality of tone. TEMPORARY CHANGES OF SPEED. Accelerando ( at-tshel-er-rahn'-do ). Gradually increasing the speed; abbre- viated accel. Ritardando (ree-tahr-jdahn'-do ). Gradually diminishing the speed ; abbrevia- ted rit. Rallentando ( rahl-len-tahn'-do ) abbreviated rail. — means diminish the sound as well as speed. A tempo ( ah'-tem-poh ). Resume the regular time of a movement after a change of speed, either fast or slow. Tempo primo ( tem'-po pree'-mo ) is used to mark a return to the first theme or movement after a secondary movement. VARIETY IN EXECUTION. The notes may be executed in various styles. Legato, means that the notes are to be smoothly connected, one with the other ; it is often indicated by a slur ^- ■ -^ . Staccato, means that the notes are to be detached. The ordinary staccato is often expressed by dots ( . . ) over the notes. The extreme staccato where 100 THE A B C OF MUSIC. the notes are more decisively attacked and actually shortened in the de- taching process, is indicated by dashes (it) over the notes. There are num- berless combinations of legato and staccato. REPEAT SIGNS, ETC. To economise in space various devices are used ; the simple repeat is indica- ted by a double bar and dots placed at the beginning of a period ||: and at its end:|| indicating that the measures between are to be repeated. Da capo, (dah kah'-po) abbreviated D.C. means return to the very beginning of the piece. Da capo al segno, (dah kah'-po ahl sen'-yo) or Dal segno, abbreviated D.S., means return to the sign or character & wherever found. Fine ( fee'-nay ) indicates the end of a piece. Notes will often be found after it where there is to be a return (D.C. or D.S .) to an earlier phrase, in which case we would not stop the first time we reached Fine, but only after having repeated the earlier phrase. But Fine is the eventual ending. 8.... (Octava, over the notes indicates that the notes under the dotted line are to be sung or played an octave higher. It is placed under the notes when the lower or under octave is desired. The ending of the lines shows return to the ordinary register, but the word loco (lo'-ko ) is sometimes used to con- tradict the 8 The Hold indicated by the sign t\ placed over a note, means that the note is to be prolonged at the discretion of the performer. It is sometimes placed over a double bar to mark the end of a composition. THE METRONOME. The letters M. M. stand for Maelzel's Metronome, a little instrument for mea- suring time; the note and figures denote the speed to be used. We move the sliding weight upon the pendulum until the top of it reaches the desired number, say 6o ; then each stroke of the pendulum will indicate the value of the note which is printed with the number. M. M. J = 6o : the weight is placed at 6o, each stroke of the pendulum will in- dicate the value of a quarter note. If the time signature is C or f there will be four strokes to each measure ; if the time is ^ there will be three strokes to each measure. The note and figures are frequently used without the let- ters M. M. THE A B C OF MUSIC. 101 SECTION TWO. CLASSIFICATION OF VOICES AND VOCALIZATION. There are two kinds or natures of voices, — the male and the female. The male voice is divided into three species ; — the Tenor, the Baritone, and the Bass. There is also a male Alto voice, which is only a high Tenor, and corresponds with the Contralto or low fe- male voice. The female voice is divided also into three species ; — the So- prano, the Mezzo Soprano and the Alto ( or Contralto ). COMPASS OF VOICES. , MEZZO SOPRANO. T^sn IS f ■ »j & — 1— fcxtendtid.-i— i-f? r- 3*=*-^^= ■ — =•# TP-g- 8 7zr&' fez— — ^^g jg m ^.^^ ■*- , * BARITONE. a g *^ ^*^ 3 5: _ - ^«^ I -grig- -79- C ~ " b>*- , -gr^ As appears by the foregoing tables, the Bass is the lowest and the Soprano the highest voice ; and the others are intermediate. No two voices are precisely alike. As the leaves of trees or the features of men, they all differ in some respect, in compass, power, etc. Every voice should have a distinct character, by which it may be classified or named. Thus the Bass voice has more body and weight than the Baritone ; and the Tenor is lighter or finer than the Baritone — and so on. The Tenor voice is located, as to actual 102 THE A B C OF MUSIC. pitch of the sounds, as shown in the Bass clef below ; but the notes are always written an octave higher in the treble clef, and in this diagram they correspond exactly with the notes allotted to the Mezzo Soprano Voice. A liberal compass is allotted to each voice below. DIAGRAM OF THE COMPASS OF THE HUMAN VOICE. I r CO NTRAITO.- FEMALE VOICE. -MEZZO SOPRANO.- w -&-&>- -g-g- W^' £»-«>- MALE VOICE. frs-a- -&~az. TS^ 2 -HIGH TENOR.- -TRUE TENOR.- Lower and higher notes have been found in exceptional Bass and Soprano voices respectively ; but the above covers the practical range or compass of each individual voice and of the Human Voice in general. TONE PRODUCTION AND VOCALIZATION. Up to this period the student has been learning to read music ; to sing the various scales and intervals correctly in various kinds of time and rhythm ; to keep time, etc.; in short, to become grounded in the elements of music generally. A few brief directions were given in regard to the singing tone and breathing, but this was only to provide a means for developing musical understanding. Now that we know how to read music from the staff and sing the notes correctly as to pitch and time, we can begin to really cultivate the voice itself. It is not to be inferred from this that the student has made no progress in singing. The vowel sound ah is the best possible developer of good tone when properly used, and there is no reason why the student should not have learned to place the singing tone properly. THE A B C OF MUSIC. 103 A careful, intelligent reading of the following matter and faith- ful application of the principles involved, will soon put the student on the high-road to success as a singer, but it was necessary to learn the A B C of Music first. ABRIDGED METHOD OF VOCALIZATION. As previously stated, to vocalize is to sing upon a single vowel a ( ah ), etc. In vocalization the notes should be articulated in a uniform manner, without grimaces, and without moving the tongue or chin during the emission of the sound. The sounds should be attacked with clear precision, and without dragging the voice from one sound to the other. We recommend, above all, a perfect uniformity of vowel sound throughout the scale. In order to excel in the art of singing, one must know how to breathe, that is to say, to have a long respiration, which can be controlled at will. The act of breathing, and, consequently, the action of singing, can be practised better when standing. If the pupil sings under the direction of a teacher, he should face him so that the latter may observe every movement, and may correct his faults, even in the most minute details, which may become chronic, if neglected from the start. Pupils are particularly recommended to hold themselves erect, and to keep the shoulders back (but not raised), so- that the ex- panded chest may place the lungs in the most favorable position. The mouth should be opened without affectation, and the lips should be slightly smiling. Exaggerated expressions in gesture or effect, should always be avoided. The tongue should fall natu- rally in the mouth, and touch the teeth lightly. To produce beautiful sounds, and sustain them pure, uniform and accurately, as long as the breath permits, is the art of a skill- ful singer. When the student can sing uniform tones, he should try to shade them. This is done by increasing from soft to loud, and a decreasing from loud to soft, on the same note, and is what 104 THE A B C OF MUSIC. we call drawing out tones : this study should be made with great care. When we wish a sound to be modified in this way, we indicate it by this mark. — =c >— CHANGE OF VOICE. When the change of voice comes, its quality is completely al- tered. With boys the voice usually loses an octave. During this critical time, great precaution should be taken that the exercise of singing shall not weaken the vocal organs, whose development would thus be checked. This change works in different ways, sometimes the voice keeps a small number of notes ; often it is lost entirely, or its changes are as strange as they are unexpected, and a round voice becomes shrill, and vice versa. In such cases, the teacher should not weary the pupil, but should observe the working of nature, until the voice has taken a settled character. The teacher can test the powers of his pupil at times, but with prudence, and without con- straining him to regular practice. EXERCISES FOR TONE-PRODUCTION. Begin each note softly, increase and diminish the sound as indi- cated by — ==: z=-, but never let the tone waver in pitch or the sound of the ah change its distinctive quality. This latter precau- tion must be critically observed always. The tone must be kept bright and clear in quality ; muddy, inarticulate or throaty sounds must be avoided, as they indicate a faulty position of the tongue and vocal organs. The tongue especially should not be permitted to curl up, but be held to the teeth. Over-anxiety very often results in a stiffening or rigidity of the jaw muscles, which produces a hard tone. Al- low the jaw to hang naturally. Unless the student is sure of the tone, practise at first softly without the swell. Then practise with the swell and finally attack each note with more volume, but never explosively. THE A B C OF MUSIC. 105 1. A breath for each note. Largo. l/Kif' 1 '"' ' 1 1 1 r-w 1 W* ^ ^=^ '-^— E i p i It may be advisable to add here that all these exercises can be transposed into higher or lower keys than these given, to develop high or low voices respectively. Do not accomplish this, however, by simply beginning the exercise on a lower or higher tone than given and reading the notes throughout as written. We must not read C and sing B\>, a step lower ; we wish to associate only one pitch sound with C as the eye reads it. It is preferable to really transpose or change the position of the note by the eye, reading No, I for instance in Bb, a step lower yn ■ =-= — - -=-&— etc. *f ^ <=- If the student is unable to transpose thus at sight, he must write out the exer- cises in the keys desired. In this manner every note as read by the eye will have its own particular sound and the sense of absolute pitch be established. Largo. m £EEE m i £r 1 ®m 3. Largo. a -&- 4 I 106 THE A B C OF MUSIC. Largo. MBl -g>- — is- a I •g- fcziE e i EXERCISE IN SECONDS. 5. Two notes to a breath. i 5fc*E P^ ci • — I— g- fc*Jl ^ <&— X ■*=^-£ <»• -g^r-X- I F* ^ s=:2z:*: S ■g— -g>— >5T EXERCISE IN THIRDS. Study this exercise in two ways : first, note by note, Lah, Lah, etc., and second, slurring them as indicated. More attention should be given to the slurred notes. 6. Lah lah lah lah etc. I *■ B=t=t W *—• S 'Jr-*— •— + -4r-*~ Ah- I ^==4 q=d=^ ±^^ H^-J * ^-^g =*=*=* atrt jt=tE?Et3z fo =J -*— - '- -*—•—* % — ^— •— f- THE A B C OF MUSIC. 107 i s=p= -• p »- -m — P — •■ 9 )»-*-*- S f"- 8 -* -r-^^-^-4 £ Begin all these exercises slowly, and gradually arrive at speed. EXERCISES IN FOURTHS. Practise these exercises very smoothly, repeating each as may be necessary. 7. 8. f fcTflrJjfe# ^p ^f3^ifa p i 9. 10. i ^Eg -^ I I I I 33 a ^4 J J J J- ^ i— i—!~m- I 1J I I iH '«j — ( — — I 4 I — 1 — h • • & 11. i m ^=^ ^^^^^^^^pn Where the same exercises are given in different keys and with different numberings, they may be sung progressively with only breathing time between them. See Nos. 12 to 19, etc. EXERCISES IN FIFTHS. 12. Transpose to lower keys if desired. I B: t±3ti *— #- j -*— -fc zjz 14. m ^ 5 ^ fe^-. i=«t *=t=i *=*- 108 THE A B C OF MUSIC. Transpose to higher keys if desired. EXERCISES IN SIXTHS. 20. 1$ i ft&^^ ^m i *^ * 21. teEE=q=qF fe ^^ JTJfjTT F ^ ^g j , ' * ' eJ u (For breath.) Also read in D Major (ft and 2J£.) 22. fe ^Hf^^ ^ ^^^^PE i i Also read in E Major (ft and 4JJ). THE A B C OF MUSIC. 109 23. fe ^T%^ft=^fe g^S ^^S=[ Ef£4E Also read in F+t Major ( 6tt.) 24. i^iP^ii^H a£ EXERCISE IN SEVENTHS. 25. Take great care with the seventh degree of the scale. W^3 %rnfffifilf j & tfl&& mi i 27 Also read in D major ( $ and 2 J ). g^a ^-^H^tg ^^g^gS 3tf ^^ it* ■fi'-s- Also read in E major ( \ and 4 # ). 28. fe^ a-ssttssss sig^gs^sig EXERCISES IN OCTAVE SCALES. 29. May be sung in lower and higher keys. » Sing the notes as found in the scale of C, regardless of beginning on D, E, etc. The entire exer- cise is in C. 110 THE A B C OF MUSIC. Ih . y . S «zi pfpgg^ ^ (E£g ^^ B&-~ *"* SS g*3rQ*JfrftM I According to the pupil's breathing power, the teacher will deter- mine how many measures of No. 30 he can sing without taking breath. The pupil will learn to take the best and easiest respira- tion, and according to his powers will sing as many measures as he can, beginning, however, with one. When he has succeeded in singing this exercise with a single breath, he will have obtained excellent results. 30. 3?$r& iTrT^^fegg ggil 31. #^ g^^^T7tFS^ ^ 32. E: ^=3S *3=£ is^ THE A B C OF MUSIC. Ill !^^? ^ %^^fg^j 33.(*) (Scale introducing the ninth.) #qff^gf|p^gap |E^^g| 34. e =t=t=t Scales in Thirds. I I — ^T ■ I I -^ —— l- l- l— I- 1 3=S=i=* *— *- 35. ft r ; r-i-i—1- =» & HI p§E *=d-*^ ±3tJz±rat 3tt i Read also in D Major, ( \ and 2 # ) 36. ft ffi ^ 3t=J=t S 1 w ?±± Read also in E Major, (\ and 4 ft). 37. ^UU^^E^ =i=i -=*-. 38. By Degrees. ik # i^i^ s «t ****** ^OTP ; I Read also in D Major, ( \ and 2 # ). * The student should eventually sing this exercise without a supplemental breathing, and even twice in succession if possible. t This means repeat the previous measure. 112 THE A B C OF MUSIC. 40. m fc m j=j^=^=^=^ S3 1 Read also in E major, ( § and 4ft). 41. fes ^=3t 3^ Read also in G Major, (If and 1 ft). 43. Read also in A Major, ( \ and 3 ft ). Have the pupil study these exercises while standing. 46. 333f33S333 g^^jmm Practise these exercises finally, with rapidity. THE A B C OF MUSIC. 113 48. #1 ant \ tt^&mm 3^= ±* 3f *— *- 49. 50. ^^^^ § ^-r^-r^i t - f 4f^r7 r TT~rt 114 THE A B C OF MUSIC. % 52. 53. Allegro. BE 3§S -* — r r3^= - r— * -*— •- -#— •- -* — * ^^=^ ^F^^^Tf -#— •- i a= j-^^^ =3^ 3=*= ^^^Eg = fe^^^B=N=r=^g -«- 1 i i IE *=t *— a -T "'ii -• * S t& IE ^ ^m m I #| -3 8= -3- ^=^3Si TU-U-U ^ i Also in D Major. THE A B C OF MUSIC. 115 56. ie gfeg^ig ^B^^g^ 57. Also in E Major. gl^= ^3=fe ^=j^^ a^ Sfe a izt2=* ottizt!=t:ti 751- 58. Also in F# Major. ^g^^m^g^mg ± ~*--~£ 3E- 59. _ 60. ffirfg S ^h *=t Jg§Sp£fefl 61. Transpose each exercise to higher and lower keys. Allegro -ft Also in D Major. i^^^a^p P^S5=E#±=» 116 THE A B C OF MUSIC. 62. Very smoothly ^ag ^£ life w ±EH=5P + * 64. ^m i jTrr?— ^ g MINOR SCALES. It will be remembered that in the construction of the Me- lodic Minor Scale, it was found necessary to raise the 7th degree on account of its being the Leading Note. In addition we raised the 6th degree to avoid the Augmented Second between the 6th and 7th degrees. Now in the Harmonic Minor Scale we consider the Harmonic ( in this case Minor ) effect of greater importance and allow the 6th degree to remain as it comes through the Key -signature. This compels us to sing a Minor Second ( half-step ) between the 5th and 6th degrees, and the difficult Augmented Second ( a step and a half ) between the 6th and 7th degrees. In order to remind the student of these peculiarites we have connected the Minor Second with a slur under the notes, and the Augmented Second with a line over the notes. It will be noticed also that the intervals are the same Ascending or Descending. 65. THE A B C OF MUSIC. HARMONIC MINOR SCALES. 117 i ffl TTTBS feiS -*—•- -&-> i m ^^B =8* ^ -* — *- 3E* ^a I IE fe 3 g fEd*: ^ £S 3E 1 3 -*— * Practise the above in lower and higher keys as well. The Melodic Minor Scales following we are already familiar with, the raised 6th degree as well as the 7th making them com- paratively easy to sing after the Harmonic Minor Scales. Note the raised 6th and 7th degrees ascending and the restoration ac- cording to Key-signatures, descending. MELODIC MINOR SCALES. 66. w= p^n xa^ F=^^S fe=T^ g BE3p=£B II Practise in lower and higher keys as well. Cadence as used in No. 67 means a close or finish in melody or harmony, dividing it into sections or periods, or bringing it to final termination. In the following examples the Key-note is reached 118 THE A B C OF MUSIC. through the harmony of the dominant note and more especially through the Leading Xote ( a ) or the Second Degre ( b ). Such cadences are most natural and satisfactory to the ear and are termed Perfect. These cadences are not intended to be prac- tised in succession, but are given as examples for individual study to develop the sense of harmonic or melodic finish to phrase and period. FORMULAS OF PERFECT CADENCES IN G. 67. I V-* tf - -«s ■-£■ ^m - a g 1 — St- Pi (a) *-*i -Jt±2t ?zj— ff± W W£ ^=S= E^E s == r — £= f ::&*- -*=Mz g feiig^a^ ^^B w $ fe g g -r r f n»= f= IF J-j - ^-fe ^ 5=i jLj j j j TO ^E Sll i^^^t^^^J^Bl- ^EF^EgE^ ^^^— ^ H » j— r-— t *t afczt 3ES- 1 THE A B C OF MUSIC. 119 ^m m ¥ *=?■ gg^^ '-^r^MM y^g g %^ gp^^ p^ E#fe ^ gjrf g^i^g^ [ ^^^p^^^^^ p- EXERCISES FOR TWO VOICES. Many young singers find difficulty in sustaining a second part against the principal melody. It cannot be said that they are lacking in ear ; since, on the contrary, they are endowed with such sensitive hearing that they hear the melodious part better and can- not cling to the secondary part. To develop the ability to sing the secondary part ( sometimes referred to as the alto ) the suc- ceeding exercises are devoted. The first are not difficult, the notes of the second part being a third or a sixth lower than the 120 THE A S C OF MUSIC. melody, but the rhythm is identical. Most of the exercises can be transposed to lower or higher keys. 68. Moderate ist Voice. m N. C. P. 1 T mm - a s>- ~s*— \— «» 2D Voice. I i PipPS -si &■ 69. N. C. P. fe^ -O arcr-y iS US * — #- i i ^^ ^=p -* — * 70. 71. In sixths. m^ n f » fL ? =»=* 1 £==t -f=^-* =*=•: / lH ig ^*-^-' '-J -^ ' atz* •«v- 72. |N^ £ -(=- I i fe^S P 1 THE A B C OF MUSIC. 121 73. Very legato. &$A-^^+jj^>=ms£m ^^-JIS^iEEg^ l $ m -4 — •- • ^ ^^^$ -&-* 75. m -*-•-&- ^^^^m 583333 i *^f i=f=3= jjJiiUJS^ ^f 3 ^ • 4 •- 76. 122 THE A B C OF MUSIC. 77. js+ £L±}_a ^m^^^m ^3_LU^S E*= 78. i «—=*— (*- P^=zz^ P=^=S= ^S 1 -,1— u# I P* ^^ig — - = I * — * -j. * • " * 79. In Sixths. Allegretto. N. C. P. P=F»~"=*c H« • ^- =P •■ is 2 Be£=3e *— n — *- i -l«— #- 3 II 5=I=* 3^FT 1 SE -*— * -&-■ THE A B C OF MUSIC. 123 80. In Thirds and Sixths. Moderate. N. C. P. BZgZTZf^^ MIM^LaxJ«^j _-i^ I E ^-lM-4 ^S §^=S=g TOB-h*! 81. Two notes to one. N. C. P. feg^^g . I w 4=4 i ^-J~T~^ • d F 82. Varied. i i & N. C. P. &^qt P^ J s • * s k n .Hf-Tr ^^^- s gT4 ^ j J' J I JJ J J J i=?=J=£rr±* -* * 83. Independent, crossing voices and breathing. Moderate). - _^i j ] » N. C. P. I fSE**? fir rJ l JTjj-ufl J JJ^U-^^f-j^^g ^ 12 3 4 • S tfU f f | 3i^J^^ P^ | 124 THE A B C OF MUSIC. 84. Moderate S *t fcfe ee==£ :^^=^ *~^Sr t=t= 2Wf 0= U S' — * w I ^zf^^U^fe^F^^ ^ P =H= "=? 5 jo: P* ii H^ *n e -g— p-X BE P Singing with other voices in duos, trios or quartets will prove of very great benefit and add much to musicianship. The student should neglect no opportunity for such part singing. Chorus sing- ing, helpful as it is to trained voices, is, however, a source of dan- ger to the weak or untrained. In the mass of tone the student cannot hear his own voice, is under constant temptation to force it, and so unconsciously acquires a faulty tone production. In reading also he is easily carried along by his neighbors and is apt there- fore to lean on others instead of acquiring an independent sureness. When the student can sing properly alone, then by all means join a good chorus, but not before. At all times pay careful at- tention to the tone production. THE A B C OF MUSIC. 125 SECTION THREE. THE BASS CLEF. The Bass Clef ^i is used for music to be sung by Baritone or Bass Voices, for the left-hand part as a rule in Piano music and for all low notes generally. It is most necessary for Baritone and Bass singers to be able to read it, as practically all music for these two voices is written in the Bass clef. In all Hymn books, and in much Mixed Quartet or Choral music the Tenor notes are printed above the Bass notes on the same staff, so it is really necessary for a Tenor singer to read from the Bass clef as well as from the Treble. Women and children ordinarily singing from the Treble clef are advised to study these exercises if only for the sake of learning to read the Bass Clef for later use in Piano playing,, to say nothing of the additional vocal practise to be gained. In the early part of this book the position of Middle C was ex- plained on the Piano Key-board. It is only necessary to say here that the sound of Middle C is written on the first leger line above -- " Middle C " for Women's !ZZ ZH and Children's Voices sing- ~^7 ~^~ ing from the Bass Clef. \ \ &-J2- 1 -S>- — ir^" 5 ^' 1 Z^.'O-' 51 ' " Middle C " for Men's Voices. do re mi fa sol la ti do re mi fa sol la ti do re mi fa sol la In the following exercise the various notes of the Scale of C are introduced by degrees. Study each double bar section care- fully, associate the syllable name of each note with its position on the staff ; then learn the letter name. The whole note is used for reading, with no regard to time value. SCALE OF C BY DEGREES. 1ST Degree. 2D Degree. 3» Degree J- i ■ 11 Z7 ■ ^ p II £< II Do Do re do Do re *»/ re do C C D C C D E D C 4TH Degree. 5TH Degree. II 11 T-" II ,- 1 1 S XJ II Z5 & II Do re mi fa mi re do Do re ««« _/a sol /? mi r II Do re mi fa sol la sol /« wz« re do C V> E F G A G F E D C 7TH Degree. rj- c- — 21 — - <£< Do re ;;// fa sol la ti la sol fa MZ re do C D E F G A B A G F E D C THE A B C OF MUSIC. 127 Octave n C\' & o ,-, || Z3- a II s> II Do C re D mi E F .ftf/ G la A B C ti B /a A «/ fa G F mi E re D do C )• 'I CJ ^ II II Do C ti B la A sol G fa F sol G A B do C EXTENT OF THE BASS CLEF. Notes below the staff used principally in Piano or Instrumental Music. Carl Formes and other exceptional Bassos have sung a resonant low C below the staff, ^_.-£=^ m r = 1 ^ =~^== — ^ z > ° zz zz zz zz "~,z^'zg~ g ' zz ^ z^ & Z>-a- sol la ti do re mi fa sol la ti do re do ti la sol fa mi re do ti la sol GABCDEFGA B CDC B AG FEDCBAG 128 THE A B C OF MUSIC. ti re fa la do la fa re ti B D F A C A F D B do mi sol ti sol mi do C E G B G E C — & & — _ -i ■y Jt g ~*-J. 1 li ■ J ^ a II & ff « » H sol fo/ tffc. /a la etc. G G etc. A A etc. * AS « fp ~*-J. /T> ^ ,-j » -/ Sol re do sol mi ti fa do re J?/ do mi la do mi sol « _/a G D C G E B F C D G C E A C E G D F -«- =9^ » 1 CJ 1 s> 1 — & <">" s> ' a -& ' 1 re sol ti re do do sol mi do la re sol do la re sol do DGBDCC GECAD GCADG D Four beats to a measure, take breath after each measure. Moderate p 1 sr> -&- ■&- <3 c\- &. _•? J -D \ II V 1 ; n X" II II Do re mi fa sol la C D E F G A ti do do ti la sol fa mi re do B C C B A G F E D C •) * 1 f3 1 s- « *•/* ~* n S t / f 1 J Do C s- re D -f=- E F jo/ G A B C ^= ^ do ti /a sol > mi re i& C B A G F E D C 1 Ss Do re mi fa sol la ti do C DEFGABC ti la sol fa mi re do B A G F E D C THE A B C OF MUSIC. 129 4. The interval o f a second is to be found in each measure. » N. C. P. 1 C\' ' 1 t'l * J a m * ~ » f -^ » ; • • &) | | 4- — i 1 — L 1 Do re <& re mi re mi /« mi .A sol > C D C D E D E F E F G F » « - ' f •#- r » -«>- » j£ ^ — * (S — 1- — — i r— — | — — I •=^ 1 1 sol /a sol /« ti la ti a*o ti G A G A B A B C B C mi r« C D E D C D E F E D e£ /»«' /Si sol > mi /« sol /a sol /« E F G F E F G A G F sol la ti & sol la rf do a /a G A B A G A B c B A 130 THE A B C OF MUSIC. a -• F • *? F» ? * t * 1. III ^r 1 ' 1 1 1 1 ' sol G la A ti B la A sol G fa F jo/ G la A G F E^ E F sol G F mi E D E fa F E re D C D mi E D C 6. The interval of a fourth exists between the lowest and highest notes in each consecutive double measure. 9 W- mi E do C fa F sol G OT2 E la A F mi re E D 1 mi E F G do C I re D _ — » T'T' » • -^ I « 1 1 Do C re D mi E _/a sol & ft sol <&> C D E F G C The interval of a sixth exists between the lowest and highest notes in each double measure. aSE5 ^ consecutive Z>0 « mi fa sol la do re C DEFGACD mi E fa F G A ti B <&> *«*' re C E D *»j _/a jo/ la E F G A mi /b sol & ti r* E F G A B D g^^^a LAZL-^ ^^E^ F^^ f^ ti re B D ^ do re »»' fa sol /a sol do /a sol mi afe c D E F G A G c A G E c I 132 THE A B C OF MUSIC. 9. The interval of a seventh exists between the lowest and highest notes in each consecutive double measure. X SfB X X Do C re D mi E £ fa sol F G 1 -0- la A ti B ao C re D E fa sol F G 2* la /»' ao re flTo ti /a sol > mi re rfo A B C D C B A G F E D C t=£ 6' /a sol /a mi re do B A G F E V) C 10. The interval of an octave exists between the lowest and highest notes in each group of four measures. C\' ' i • • — ^f f^— J # 7 l • r i ~r \ i a &> 1 ' f" Do C • D E fa sol I F G r— 1 — i— H— -J iB » -d — "»-| ^ — =2-, >-z? a -z&—\ — -d— •— kJ ' f3 Do do re do mi do fa do sol do la do ti do do do C CDC E C FCGCA CBCCC -&- „ -(S>-» „ -jff- --» -&- -fi-9 -s>- -s>- e£ fefeg -i2_ ao ri ao la do sol do fa do mi do re do do do do C BCACGCFCECDCCCC 12. THE A B C OF MUSIC. MELODIC STUDY. 133 UiXS± ms Dq re mi sol fa re C D E G F D do C do ti do la It la sol C B C A B A G i » <^f— - — i 1 — — F — -r 0- -J m *— -0 73 -J' 1 — f ' >-* * f — • » I 2 n — ' — — 1 U 1 la sol fa sol mi sol re A G F G E G D do C re mi sol fa re mi D E G F D E £ do ii do mi sol ti do C B C E G B C 13. MELODIC STUDY. ^E <■ — hi •' £ T Do ti C B C G m /a /a A F Sol G *«» fa sol mi E F G E f f P T /a F n?. a» D C » * f |* f 1 r? ~^' r 1 1 ^ 1 1 1 jo/ /a ti GAB j»/ aV /a G C A * B DC C B la sol A G =£ 1 <£> tf do sol la fa sol C B C G A F G do mi sol do mi re do C, E G C E D C The exercises henceforth are to be vocalized on the syllables Ah or Lah as indicated. Note that while the following exercise is in the Key of C Major, in the i6th measure it has modulated to the Key of G, and in the 17th and 19th measures the "f " has been raised a half-step 134 THE A B C OF MUSIC. 14. Vocalize each successive two measures on Ah. Andante. P - ; ^ ?,- -. 1. s^ -&> — F 2 -f 2 — &- Ah- Ah- -CV- S= ^ *-— -^ »-SP- f -c-P— i — ■0- if -G> — fg 1 -z)- zJ — — t= 29 X- — 5>— ffl> ~\ m*k ?=k t?= -*=• ^E^E^ -— ~~s ' <— -^ i " — ""'--. 1 _C)-= — 1- -1 — -73 "= -=>'— — « — a r* 2 — — «■ -5)— — L| L i ' -4- > -„' " — ?-s>- „ -&- 1 ^ .. f ' f? ■ I /• r 3 r II -^ i | 1 — n i *? II 1 1 — -1 II TABLE OF KEY SIGNATURES IN BASS CLEF. The first note is the Major Key-note, the second note is the Relative Minor Key-note. Sharp Keys. C Major. G Major. D Major. a ^^H g^^^ l^^i gLg A Major. ■9 A Minor. E Major. E Minor. B Minor. Fjf Minor. B Major. Ff Major. CJ Major. ^fcsg^^gj& j tgsa ^j^^ CJ Minor. GJf Minor. DJ Minor. AJ Minor. THE A B C OF MUSIC. Flat Keys. 135 F Major. tip Major. EP Major. Ab Major. m^=m t± m 1 id2: m D Minor. G Minor. C Minor. F Minor. Di> Major. GPMajor. Cfr Major. E§as 1 fcfcdE §T£g ~zg- I *w -m %r- B0 Minor. E9 Minor. A|y Minor. EXERCISES ON THE SCALE OF A MINOR. 15a. E§31: m¥=f^m ^^s-^_ p^^ -^—gzzS: -z) — e> Ah 15b. SeE3E^^^ -lit V f f Ah i i ^ 16. Moderate. Pi E§33 m -*—r*- :#P= ^ -*- fe^=F^a =p Ah- ^"-^F* — i f •- ^ =#f »_ H" I =P=3- 136 THE A B C OF MUSIC. *= -P- -»- =t=F 3E 1=^ a^t ,Ji| — J — « — »h^ — 1 — r— $Mr — «-H -J y- r ; i J r i~r — ! — ^ J — — 1 ^E £ SCALES IN THE MOST USED MAJOR AND MINOR KEYS. 17. C MAJOR. m -•-» ■p — •- 1 §32 S -* — •- S -* — #-. ah- A MINOR. j3&£&3^ is i i i -*—+- • *• ah- 18. G MAJOR. m s=p: ±=t i 3t=» -*— #- ah- E MINOR. MjL£i£bt f=« ^E #=•= p^f = F^^ ^E ah- 19. D MAJOR. Mm -0 — ?- •— *- ♦^^ •- -^ — •- 4=^ . ah— B MINOR. -* f- ^mm^h t^F =P=^= 1 ah- THE A B C OF MUSIC. 137 20. A MAJOR. Hfi tBE&E± z i=F 1 ^ S^c Ah- F« MINOR. MjI^^U ^ ^^^ ^ffl^gNI ^P=3 ^ 21. E MAJOR. PB _,. .,*. t' 4L ... pe =i=?c ^E p— •- *=•= iia Ah- CJ MINOR. aft =S : =F : P : fc=£ft=* -t— •- I -• — ft- S E=t -• — #-. P3=* Ah- 22. F MAJOR. ! J J J J i * ~ I I m FF=F 1 £E*E^3E Ah- D MINOR. -• P- jHN^fe * =P=Fi= 1 ^E £3 -#-=— n Ah- 23. Bb MAJOR. -»— r«- » ££xri= -* — » S •=3t -»-r- Ah- G MINOR. :t; pi =ny^ » -p— *- r^ Ah^ *— »H * The scale proper is shown in the continuation by the small notes. The large notes are within compass of average voices. 138 THE A B C OF MUSIC. 24. Eb MAJOR. «_*■ * *' *■ £ r£j^ *=» :: iife EEEt Ah— C MINOR. M^ V-b» §s& c±f is Ah- 25. A'? MAJOR. i^i^S ,_p_ Eq=jc=i; fe =P=#= =^E Ah- F MINOR. !§§E^Sl^S ai. S* ^ , W: ki J. j f,i=± i cda S T\ ' M r ~ -t EXERCISE ON THE SCALE OF G MAJOR. 26. The 7th degree to be sharped. Moderate. ^, -^ is £ =t =t -S> f=- ^ T -g* — h» Ah- etc. iii^^ Sgg fi e 27. (Alia breve, two beats to a measure.) Andante. ^frM^f^ -e- P I ^ P i""* 5 ^ Ah- ,-(H- =*=F^ s^i >—^ THE A B C OF MUSIC. 139 -l=- £ » -»->,». =9*£ -©--(2. IB -O (=■ 28. Andante. ^ -•-. - -«■- » !§fe £ Ah- -ah- -" 1 — ~~ ' /^ -&- -f 2 - -"-• a -- • • - i - ' --r- -- * -^T • a — <9 1 h=2 — - — | 1 f f-=- '- -F — ; "-=-*- -^ — * s. ^\ 1 1 * :' ' v i 1 :,,_+ ^ ■-» a & -9— h» . »-»- rS>H*- I - i 2 - -.' fc£±s: £=t±t EXERCISE ON THE SCALE OF F MAJOR 29. m^rrf t-f- -fg- -p- ^ » i -g Z5<- 30. Andante. -*— •- 'tEEEEE -#^«- S S S 140 THE A B C OF MUSIC " -m- m ~\. 1 - -v » -* •> -r:, , 1 i f - — f—f—r- f—r—r- -f c , 7^^" _=dLfe_r ! 1 *- -I 1 1 — -1 f- — p — . p — ? =^_ ^e j ^n rr ^ ^^^F IS t}^— •— p- e>- » =F^ -p — •- ?3>±^ i=F= rr-*ti— *-= $ ~p — •- •— ^ ^ —Sr P=i~- §s *=F»— *- -fi—B- m =i»=#= ?—0—t- =#*= J— H* 9 I" ^=P= *t -* •- *=F ^Sl ?=P 5=P s>— X- 33. Modera tor strictly legato. P-m- ^SS S E^i *£ *=n: -^ — •- S Hfe3EE|SEff zp=iz 3= * m- #=* 142 THE A B C OF MUSIC. *=i= m ^ ^ m p=t ri H 1-1 3+ 1 -P— •- =#* g^^E^g i 5zr : ^=5zzGtz5 =t==t 34. P s^-F=r=gEr^f=f^E ^ IS ^ -*-*- <2-! ©-1-- , m ^zg^ mm^^m^ rf -f-f- K -t-m- i^es^^^ & ^ ^^^ ferM^ ? *^f gg= («—•- ^ rf ^^=? 1 '(=- I*— •- THE A B C OF MUSIC. 143 #- — m — P- -m^g^ ^=z ab=zat 3«^Effefe? =E=& i m =p=t es; r • r EXERCISE ON THE SCALE OF ~B\> MAJOR. 35. Allegretto. ^, • -IM -^m -• — =P=F=i==p: =F I3E F~=F=F Ah- E^&=f * •- I 36. Co» spirito. -•-=-#- =££= =*=?=Fi ; -*-+-*- *=3=tt *=F#- i^S =» -*-=-•- ■! — SF— i — =i — V ^ -,-r _^_. .,- r r~r^ E& *— •- » 3, •^ !■-=—•- » -#- Eg ^=F=S =fc=B: =t± ^^j =»= a^- g^^g^E^ -»=r=M? ES * — * - i 144 THE A B C OF MUSIC. 37. Andante. P-, • P- Pi=SE=t -^ — •- -• — p~ EEE =^f ^R 11 f-'."^ . * r » " ' ^~- ~- ' -q: # i -t — f — » 1=-=- — i — F — P — - > « . -a— F— *- -«-= — -^-#— P — ' — 1 — ^=F=F- - 1 — 1 — 1— -r — * — • — " — — 1 1 m^f =p=f ?=p=p f=F=* t t~~' p= t=t ^P" 1 -• — *- 2* =t=t m a -•- -» #z_»_ 1 13 ^£ 38. Moderate J^S =F=t m He * — •- -* •- m -• — P- =P=F • 4 gs * -Z5H *=x=$ 5* I l ^- 3fc=frfc ] ' I I J^: gjE^fe^a^ s=p= ^FFP* *z=t iir 3: 3tzt ^ -|g— x- ^frff?^ 39. THE A B C OF MUSIC. EXERCISE ON THE SCALE OF Eb MAJOR. 145 -&- -&- -e>- -P- -—)■&- ts>- --P- ISe^gE Ah- -etc. §^=£=P= =TtF=* -=>- 40. Moderate. ,. r . : -.' <— =r- » -d-Hj-4^- 1 ^ — f F— ^ — 1 ^ — R^ I — n P-i r- "^ VtTS ' ' -Th 1 — t-: ; p_i_ ^PM Ah- '2£ E±z=E±=^ =^ e£ m m P==3= ^f^r^- ?=^- j44— 4-^ F ^t^-^y -3-3- i* 1 ^* 1 P-4 ah- ■^ * ah- ah- ah ah P- m - ^z^=F=^:^=t ?EV=i=P= s *=£:■_ ga JJT' j ^ feEgj w- -•-=- 354 ^ P^B=^ri 3r-^- ; f 2 ^*-*- THE CHROMATIC SCALE. 41. / iM=fc=^fr=J=* e§!e^^^^ Ah- ah- 146 THE A B C OF MUSIC. l-± kf J- h—&^t=^w^^ I £fc E Ah- ah- ah- In the preceding example the Diatonic notes of the Scale are stemmed up, the Chromatic notes down. We write "f "Jf ascend- ing and descending thereby marking the 7th note ( half-way either ascending or descending ) which serves as a guide in reading. VARIATIONS. 42. Theme. ModeratO. ( Alia Breve : Two beats in a measure.) ^2 f2_ <= |H- I t=t Lah lah etc. 1 st Var. ^a ^=f=? ^^^^^ ^i'-TTr— -^ Lah lah lah etc. ' & F P f ig •■ i §m EE 2d Var. ( In syncopes ) F^p=f=^= >-p S> • — ~F (2 F 1- I 1 -• 19 • 1 1 Lah lah lah ■f — t*. E§S 1 SE C=--t -02- 3d Var. I F 1 m~ -f — p — 1 n — hs>- # — *- Ah- ah- ah- E§5£ EE THE A B C OF MUSIC. 4th Var. ( In syncopes.) 147 P=P=*= -s>— — £ P-or&3-ri-?' P=P=p: r~~ — C «J Ah ah 5th Var. Eig^s =p^» i=iTJ eSE± -0—f- *-*- -F 1 1 1 — F-h Ah- F 0- •-7C 9M s * — •- m ft -i — I — I- ^B -F— •- ±=t= 6th Var. ( In syncopes.) *-<=> #_ a afa^feg ^gEE&jSESEa ¥=¥& ^i^^ei -•-Fq=» _*_, F=F=r=F=¥: aE^ gjg=p-= £aB3 7th Var. EBi=fcta=£^^££}#P^^ tt 43. Metronome ( 92 ^ J ) Andantino, sempre legato. p — •— — r~ ^ *"-f-r tT 1/ tf— r — =i » m -2^4_+- ^ ^ J &, -j 1 : ^F= - 5f= W«= _j — ' — — i — • -j£= «F-# -tt-r- K — 1= t ( see page 90) 148 THE A B C OF MUSIC. mrnr^ ^ -*-,- -W- -»- * ^^ess^ fc=£ H*-r» ^ 25k=F -t-m-r* -I*-.-,*- £^ -#-•* Gg=P ^ ES =t § ^^> T^-*~ » -#- 5=* ^e S IS^ V r ^ aaei feja^ :v=:i gsfe^ g * I A GRADED COURSE OF STUDY FOR SINGERS The ART of VOCALIZATION ONE HUNDRED VOCALISES FOR EACH VOICE Compiled and Edited by EDUARDO MARZO Soprano, Mezzo-Soprano, Tenor, Baritone, Contralto, Bass Three books to each voice Each, 75 cents A progressive and systematic arrangement of the best vocalises by the best masters, covering the entire range of vocal training. It is not intended to be used until after pupils have had training in fundamental principles, such as breathing, tone production, tone placing, attack, etc. These studies are for style, phrasing, finish, and execution. This Course is not intended to supply the place of a teacher, but to place in the teacher's and the pupil's hands the material necessary for the study of artistic vocalization. A FIRST YEAR OF STUDY FOR SINGERS PREPARATORY COURSE TO The ART of VOCALIZATION By EDUARDO MARZO Soprano, Mezzo-Soprano, Contralto, Tenor, Baritone, Bass Six books Each . 75 cents The great favor which has been accorded to Mr. Marzo's "Art of Vocalization" has resulted in a demand for a first year course of study. The compiler has met this by an admirable selection from the works of the standard writers of elementary vocalises, which he has edited with thoroughness and under- standing of the technical needs of students of singing. Note. — These works wul be sent with return privilege to those with no accounts upon receipt of price, which will be cheerfully returned, less postage, if not satisfactory OLIVER DITSON COMPANY, Boston CHAS. H. DITSON & CO., New York LYON & HEALY, Chicago J. E. DITSON & CO., Philadelphia Order of your home dealer or any of the above houses THE MUSIC STUDENTS LIBRARY A series of educational books designed to meet the wants of the student and general reader. Bound in cloth ALCHIN, C. A. Ear Training for Teacher and Pupil 1.00 Teaches the pupil to think in tones, and so to sing, name, write, and play what he hears. BROWN, JEAN PARKMAN Intervals, Chords, and Ear Training i.oo Exercises and examples in rudimentary harmony and ear training for use in conjunction with piano study. BULLARD, FREDERIC FIELD (Editor) Burrowes' Piano Primer .50 A new and enlarged edition of a well-known work. CUTTER, BENJAMIN Harmonic Analysis 1.23 Teaches one to analyze the harmonic structure of both classic and modern music. CUTTER, BENJAMIN How to study Kreutzer .75 What every violin teacher discusses and illustrates in the lesson room put into book form. 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