€mmll Uttivmitg Jilrt^g THE GIFT OF 7583 Cornell University Library MT 935.D18 manual 3 1924 021 789 247 Cornell University Library 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/cu31924021789247 HOLLIS DANN MUSIC COURSE MANUAL FOR TEACHERS MUSICAL DICTATION — STUDY OF TONE AND RHYTHM BOOK ONE HOLLIS DANN, Mus. D. PROFESSOR OF MUSIC, AND HEAD OF DEPARTMENT OF MUSIC AT CORNELL UNIVERSITY AMERICAN BOOK COMPANY NEW YORK CINCINNATI CHICAGO HOLLIS DANN Entered at Stationers^ Hall, London Musical Dictation Manual for Teachers, B^k One PREFACE This Manual is for the use of teachers. While primarily intended for use in public schools, the course is equally useful for class or individual work of the private teacher of vocal or instrumental music. The seven years' course is planned especially for the grades, al- though the work is entirely practical for normal and high school classes. In the grades, tone and rhythm is only one feature of the work in music. Special classes in normal, high or private schools may complete the course in one year if properly qualified to begin the subject. The activity prescribed in the following pages will give the pupil a " tonal vocabtdary " without which he is helpless in the attempt to read. The aural recognition of the scale tones combined in simple phrases, together with the development of the sense of rhythm, must precede all attempts to read the tone language. Primary reading is chiefly the recognition of S5anbols. These symbols, whether they be those of music or of the mother tongue, represent a part of the vocab- ulary which the reader already has and can use orally. The attempt to teach a child to read music before he can recognize the simplest oral expression, is on a par with the attempt to read English before he can think or speak the language. As soon as the pupil gains a reasonable facility in oral expression through rote singing, he has a basis for the acquirement of a definite working knowledge of tone and rhythm. It is vitally important that the rote singing shall also establish the habit of using the light, flutelike head tone which is at once the charm PREFACE and the safeguard of children's singing. The most important qualifi- cation in teaching singing to children is the ability to get and maintain this musical tone quality. A series of Music Writing Books to be used by the pupil, accompany the Manual, beginning with the third year. Part I of the Manual contains the material for the first three grades. Part II contains the material for the fourth, fifth, sixth and seventh grades. HOLLIS Dann Cornell University, Ithaca, New York, February i, jgi2 MUSICAL DICTATION INTRODUCTION The study of tone and rhythm, also called musical dictation, in- cludes ear training and eye training. The subject matter of music, both tonal and rhythmic, is learned most readily and effectively through dictation. Therefore, this subject is of first importance. Language study properly begins with oral expression. Children gain wonderful facility in oral expression of the mother tongue solely by imitation. With favorable opportunity, a child of six years has learned to use the speaking voice freely and easily and possesses a large vocabulary which he employs with intelligent discrimination. Because of the mastery of oral expression, gained entirely by imita- tion, children learn to read in a marvelously short time, often reading several books during the first school year. The problem in primary reading is to learn to recognize the symbols representing words already known. A large majority of the children who enter school at five or six years of age, have used the tone language very little, if at all. Inasmuch as the subject matter of music is learned through the ear, imitative oral training is vitally essential in the study of music. The first step, therefore, is to acquire facility in oral expression by means of rote singing. Through the singing of rote songs, the pupil learns: I. The use of the singing voice, selecting from the unnumbered, varying tones used in speech, a certain few definite and sustained tones known as the scale. INTROD UCTION 2. The exclusive use of these sustained tones combined with varying meters and rhythms, forming melodies. 3. The application of words to the melodies. 4. The practical use of this new material in songs, resulting in free oral, expression of words and music. All these things are possible through the singing of songs by imita- tion, just as it is entirely practical and not unusual for a child of, six years to learn to speak the mother tongue, or a foreign language, cor- rectly, even fluently, with no training aside from that which is received from constantly imitating those who speak the language correctly. With children in the first grade, not less than two months should be devoted entirely to rote singing and to the elimination of monotones. The Latin syllables should be introduced as an additional stanza to scale songs and carefully taught to each pupil. Supplementing this purely imitative training, the preparation for music reading involves the gaining of* a definite conception of the scale tones, enabling the learner to think in the tone /anguage. It is here that the work in dictation begins. FIRST YEAR — NOVEMBER The pitch of the exercises in this Manual is adapted to classes of children in the primary grades. Every teacher should be provided with a chromatic pitch pipe which should be used whenever an exercise or song is to be sung. The compass and pitch of the material through- out this Manual have been very carefully considered. The teacher or supervisor who coilsiders the compass too wide or the pitch too high, is urged to give the matter careful study and investiga- tion before lowering the pitch. With young pupils the compass and pitch of the material is one of the most important factors in maintain- ing acceptable tone quality. Intolerable tonal conditions are sure to prevail where children are allowed to sing constantly with the lower voice. Irreparable injury is inflicted upon children's voices in many systems of schools, by supervisors and teachers who ignorantly cul- tivate the pernicious and almost incurable tone quality so common in the public schools. Yet it is entirely possible and practicable for any good teacher of reading who is not tone deaf, to learn to teach singing successfully and to preserve the naturally beautiful quality of children's voices. Since the methods of training adult voices are not applicable to children's voices, the ordinary vocal teacher is not a safe guide in this matter. Only the successful and expert teacher of children is qualified to train teachers in this, the most important and most difficult side of public school music teaching. Teachers are urged to make every effort to learn how to acquire and preserve the beautiful, fiutelike tone peculiar to children. The approxi- 3 MUSICAL DICTATION mate compass during the first year, should be from E flat, first line, to -|g n If the teacher can- i fe F sharp, fifth line of the treble clef not sing the higher tones, she should learn to do so. Every contralto can learn to produce a light, thin tone in the upper register, and should never use any other quality when singing for children. For normal and high school classes which include basses and tenors and voices that are changing and unsettled, a lower pitch will be found preferable, and the keys should be changed accordingly. Constant care should be exercised to secure a proper position of the body and an easy, natural and flexible use of the lower jaw, tongue and lips. The scale has been introduced as an additional stanza of a scale song. When the class can sing the scale easily and rapidly, the following exercises should be thoroughly learned. They should be presented in much the same manner as a rote song is ^aught. The mastery of these scale exercises will result in the automatic use of the syllable names. The importance of this step can hardly be overestimated. The sequential character of the exercises will soon be evident to the singers, who will quickly learn to complete the series without assistance. The tempo, while moderate at first, should be gradually quickened until the exercises can be sung rapidly and freely. Eventually the series should be sung by the pupils individually. Scale Studies ^ 1 Do S^^^ :^=: -±=3L. S^S^^^g ^ •^?EE^ ^^S^ l^^^ W- =p=^ m FIRST YEAR b1,#^ DECEMBER Oral Dictation Providing the preceding work has been properly done, the class will readily recognize groups of tones sung to a neutral syllable or played upon the piano. Each group should be sung as one phrase, in a moderately rapid tempo, always with light head tones. Every teacher, whether soprano or contralto, tenor or bass, should acquire an easy and free use of the upper tones when singing for chil- dren, always avoiding loud, harsh, or strident tones. Example is infinitely more effective than precept in this matter. No class of children will produce beautiful tones while under the influence of bad tone production on the part of the teacher. This is equally true of the speaking voice. Hence it is important that the teacher should cultivate a mellow, musical, pleasant speaking voice, avoiding the shrill, high-pitched, rasping voice so often heard in the school room. The quality of the speaking voice vitally affects the singing voice, and vice versa. The teacher should not sing with the class. Oral tonal dictation is conducted in the following manner: After sounding the key tone, the teacher sings a group of tones to a neutral syllable, thus: i ~e=^ i Loo loo loo loo loo loo loo The class responds with the syllables: 6 DECEMBER i W 32Z 2z: i Do ti ia sol la ti do ox so Individual recitation should be a regular feature of the daily work in dictation, just as it is in the reading class. Individual recognition of the material given below will enable the class: 1. To discriminate between an ascending and a descending group of scale tones. 2. To recognize do re do and do ti do. Each pupil should master these two points. This is very important. The exercises may be taken first in the order here given. Later, they should be given without reference to this order, the more difficult ones daily. Material for Oral Tonal Dictation Do * s <^ ^ — P-T Z -g' — g?- ^ ;-3 1^- I^ %. ISST zsz ^ i I22Z O gj— CS I s>- ~^1Z g ' CJ - 11 1 2 13 14 Do zei MUSICAL DICTATION i 15 Do ^ '=' - 16 17 32=ilia; ISC 18 Do 19 Si -iS> s> 20 ^ 21 22 jf= ^~'^~ gs-^_,^^gs: -rS^I — c? £?— g? i g; g? V-ef— o <^ <' ■ ' €:i f^ a ~ 23 Z"^ c g^ 24 -.S <=^ (S — I-'©- -'^^ — & — 7- J a '^ ^ I JANUARY Meter and Rhythm Through the singing of songs, the class has become unconsciously familiar with different kinds of measure and with simple rhythms. It is now time to learn to recognize two and three part measure. Experienced teachers have found that some physical manifestation of the beat is essential if the best results are to be obtained. It is best that the movement be uniform. To secure uniformity, each pupil places the right hand on the desk, with the third, fourth and fifth fingers curved under as for penmanship, indicating the beat by an easy, vertical movement of the index finger, the end of the finger touching the desk at each beat. Accented beats are indicated by a greater pressure of the finger upon the desk. Pupils should not be allowed to beat with the entire hand or arm. Time will be saved and progress accelerated if the teacher makes sure that each pupil marks the meter correctly, and that daily practice is given until the habit of beating is formed. The proper idea of accent is one of impulse rather than force; of a motor rather than of a hammer. Beating and counting by twos and threes, is one way to begin mark- ing the meter. While the class is marking the tempo, the teacher sings a few measures of a simple melody, and the pupils try to discover the meter. The accent should be rather strongly marked. The class may beat while singing a stanza of a rote song, trying^ meanwhile, to dis- cover the meter. Oral Tonal Dictation The teacher sings the exercise with loo or coo and the class responds by singing with the syllables. The words " Up or down? " printed lO MUSICAL DICTATION over the exercises, are to remind the teacher to ask this question. Many children are unable at first to discriminate between ascending and descending groups. The word " again " spoken by the teacher, directs the pupil to repeat the exercise. This is the simplest way of singing the interval repre- sented by the first and last tones. Hence, by singing all such groups of tones twice, the singing of larger intervals is begun. Material for Oral Tonal Dictation 1 Do Up, or down ? Up, or down ? 3 How many tones ? 4 Again ■^ ^~ ~<=> — g? '^ c-^ I rj - i E^^E^^^=i^ i - Q g^ - W- zs2zir2i i 10 11 /TS -g> 7=r~^-^ "^—S-—^- ^^^-■g— ^^ .-^ - 7-^r~&-S^ w "g:?" 12 i 13 1^ Do 14 le? ci Z2-~|Z^2Z IS2I 15 16 17 E^ ^Ig ZI ^' ^- ^ ~ g7~ r~g='~ :^2z ESl 18 I22Z 19 ::s?z IJ2I -■S'— e?- JANUARY II Slowly 2Q. Do m « 21i3» >-? g; 'j:^ - , ~S' ri^ f^ c2 r? c*^ rsz # iszzr^zisz: i 22 23 24 IS2=^= Z22Z ~g?~ g 25 26 ISZ 125= g )" .^ ^- -rssiL - g^ ig- zzsz. ^27 28 Slowly Z^2Z -s>-^- ~gr~ := 23 is;- -1 ^ ( ^ - FEBRUARY Music Reading To place a melody before a pupil and expect him to sing it at sight before he has a clear notion of the scale tones, is no less unreasonable than to expect him to read a sentence in the mother tongue without knowing the words employed. The aim of the preceding steps has been to gain a definite knowledge of the scale tones. Eye training may now begin. The vital matter in elementary reading is the power to get the thought from the representation. The reader must actually hear the tones and sense the rhythm by silent singing before he is permitted to sing aloud. Individual recita- tion is quite as essential to success in learning to read music as it is in learning to read any other language. Sight singing under the direction of a skillful teacher, is quite as educative, quite as beneficial from the standpoint of mental discipline, as is any other subject in the primary curriculum. Sight singing de- mands mathematical accuracy of thought and instantaneous trans- formation of thought into oral expression. The reading at sight of words and music demands the simultaneous interpretation of two languages. It is obviously wise, with young children at least, to confine the sight reading to one language at a time until power is gained to get the thought from both representations simultaneously. That words are necessary in order to sustain interest in music, is a fallacious theory. Real and lasting interest in music can best be FEBRUARY 13 aroused and sustained by gaining the power to think tone and sense rhythm and meter. The power to " get the thought " in a musical phrase from the representation and to give it oral expression, together with the ability to write what is heard, are sources of genuine interest and enthusiasm. The teacher who cannot or does not interest pupils in these vital elements, fails in a most important particular. Words are not music, neither have they any mysterious power to assist in the reading of music. Music with words is not always inspired; neither is music without words necessarily dry or uninteresting. Teachers who attempt to teach beginners to read the two languages together, only develop " guessers " and " followers." By introducing words too soon, the pupil is deprived of the opportunity to think the tones, for it is the syllable name that assists the beginner in his tone thinking, and the beginner cannot think words and syllables at the same time. Written Tonal Dictation The teacher should be provided with a good staff liner. All char- acters and symbols should be named by the teacher as she draws them. No further drill upon symbols is necessary or desirable. After the staff and clef have been drawn, the teacher sings the major scale from C descending, using a neutral syllable. The class responds, singing the syllable names. The teacher places the notes upon the blackboard, then sings the scale while pointing to the notes. i w ^ — =3 — ^^ Do ti la sol fa mi re do The class then sings as the teacher points. After drawing the staff and clef again, the teacher sounds F (fifth line) on the pitch pipe, and sings the scale descending, to the syllable loo. The class responds, singing the syllables. As the flat is placed on 14 MUSICAL DICTATION the third line, the teacher says, " This is a flat; when the flat is on the third line of the staff, do is on the fifth line. The scale is now written this way:" ^:^='^=^='^'^^^-^^-^ Do it la sol fa mi re do Again the teacher sings and points to the notes, and again the class sings as the teacher points. In the same manner, other groups of tones are sung and written, for example: r- ^- s ir:> ^ ^ s 7^ „ jz — i-^ — « — n / b '-' - £3 ■=> dj ■= "^ II v.\ II \) ... . II Do ti la ti do Do ti la sol la ti do The next step is to have the pupil write. The teacher draws the staff and places the do thus: vm - The teacher sings do ti do and asks, " Who will write? " Each pupil should learn to write the simple scale groups which he recognizes and sings. The notes should be made quickly with a free arm motion, and the chalk held nearly flat against the board, thus avoiding the dis- agreeable, squeaking noise so common with blackboard writing. No key should be used exclusively. Various keys should be em- ployed, the teacher always placing the do. Material tor Written Tonal Dictation The teacher sings with the syllable loo, the pupil responds, singing the syllable names and then writes the exercise on the blackboard. „1 Do S5 g- (S — fzi f ^ \ —'^ — '^- FEBRUARY IS 5 (S—^ -g?— 'g- ^^ — ,e=gS-_^- 231 7 Z'iJ St—f-j—iS- ~g=^ IE 10 '? =' '^ g=' \—7Z>- s. r? — i^ _ IE =£2Z - C3 f _jr- i 11 12 ~g?" I P -^ p- ZS2Z Material por Oral Tonal Dictation The teacher sings with a neutral syllable. The pupil responds, singing the syllable names. i 1 Do 3SZ w. =^=^— ^-^^^-^^^=^=^=^ .2 „ 3 /'r\ > . ■— ' !^ / h s^ (V ?^ 'V -P ^ ^-^ — 1^?- _c-=^ ' — o ^^ L> K ^S_ i i^ ~f^=^ p •g^ — 1 "=? ^ g ^ — '^ — 7Z !— -^ '^ — rz! ..^ —gJ' i 7 2?^ - c j ^ s?- ■^ g7-75=Z2Z -S' ''^S)- W- 9 _ 10 |==^=S2: -s' '^-" e- 1 ^-'^— g?- - gj g^- CJ — — ^■ -'g ;:; c ^ iS )- i6 MUSICAL DICTATION m 11 Is*; Do 12 ' >(r~r 2 g? a o e^ a ^ I — ^^ — & g? g^ ■:jI=!z i 13 14 ri= -g?" f^ r^ ~(C;~ -1^ — ^ IS2I: I22I Mi ISPZ ~a?~ 10 6i7/ ~ g? g Z 20 MUSICAL DICTATION' n i Do 12 13 Sol zzsz. -& ^2- -(S' — j~^ — ^ — 1 ~'^' — gy — '^' — ^ ^~ i i*i?. 15 -& '" ■ > - — &>- -SI ^ <= <3Z _C2 ^ \-&- 16 -^ S'- i 17 J// -t^ r :^ IS2I ^ P 18 H 5d?/ 19 -& — g ? — g?- ^ -g' — =■ — ^- i 20 5o/ -^ — ^ — g? -^ c^ Material for Written Tonal Dictation The teacher should draw the staff, place the clef, key signature, and the note representing do. After the writing is completed, the groups should be sung, the pupil first having opportunity to " get the thought " before he sings aloud. ,1 2 3 — af — 7n z^ ^i; cp— \^ S. ^ & ^— 1=^ 7^ _^ = ^ 1 1 & i ^^r:^ w- lYz i 5="^=^ iSzzsz: -g^-s'- ° C J -&—ry—S>- MARCH 21 10 n m w czi c:i ^^ -;^ ■.S' ^ s>- 12 13 i -t: ^ ^ g7- 1221 P^ 14 15 F#i— = -s' — =:i=^^ — & — 1 ^*-^ -i^— — iS'— — "^ — — ^ — c — SI— -SI— 2^ 1 16 i g ; — ^ — s> — g^ c^ - -^ ^ :^ =^= APRIL Oral Tonal Dictation The teacher should sing with a neutral syllable and the pupil respond, singing the syllable names. Individual recitation should be carried on as practiced in the reading class. I Bo 2 3 i i2=:^ 32=|~=2= i=Z3 ^h; w a- -'g— p - nszzzrzzszL -g? £17- m i 1, . no M " g? — g^~ -gi-j I — g:?- IS2Z i 10 n 12 <=- i VjDo -■g g7- P I22Z -•^ — g? — PB — g' — '^" ^18 m 19 20 |=:z22; —=22== i 'f^?-— , ^ isz APRIL 23 Oral Metric Dictation ( Combined with Oral Tonal Dictation ) The phrases should be sung by the teacher to a neutral syllable and with a strong accent, the pupils listening and beating. The pupils still marking the tempo, respond by singing with the syllables and trying to discern the meter. Individual and class recitation should be alternately employed. I Do 2 m U-^—f^ ^^ 32 gi- IS fS r^ P eI m i 4 Do ■S=F=^=^ 122: iEz2: :EEE -&-f-^si- =p=:^ ' ^T f^ r~^ ^ :^2= -(=2-f^ P§= i5=^ r? 1'=-^— rs : iEza: t=t 2?^ d=* ZE fSff P -^-7^ - ^w ^^v-i^Fa- :s2: -i::J- , r I r ? ^ 10 -0<7 s i St :^: S 2^ -Si-f=- ■f^ r^ f^ m ^^l yM^- Material tor Written Tonal Dictation To be written on the blackboard by the pupil after he has recognized and sung the tones. \Do 2 3 i :Z5:^3 g7— ■g— ^^— g'-3 gZ=| O r.^_s,_g) ., ^^!SZ -p~ * =Z2=S= i 5 -^« -gy "T'y ~g7~ M MUSICAL DICTATION 6 Do r^ — S' — — ?=?- 7 .e— • (^ —&- f-5 9 — -1^^ —S'— A 10 11 =^ZZ22Z MAY * Material for Oral Tonal Dictation The teacher sings to the syllable loo. The pupils respond, singing the syllable names. 1 -P^' 2 3 4 =zs=l^gs^-s^ cj =gs=lz=s - ^ ^^ _,g_ i <:? gj ' ,, . - rr> \ f=> ■ rrs 1 ^ — ■S' ^ ^ P -.^ 1^ '-\ -Trr ^ ,? 5^/ 10 ^5Z I23Z -iS^ — I — ^- g r^ — ^^ re^ 11 12 13 -^— g=s=-^-=g= z^ 14.^D^ 15 # 16 17 i tf -«^ — — (S- 18 ^^ 19 e # 20 Quickly 25 26 MUSICAL DICTATION Material for Written Tonal Dictation To be written on the blackboard by the pupil after he has recognized and sung the tones. \ Do 2 3 . i I- -^—^=r- W i i Do It. iTz ~c" g 7 Sol -e=' ^- ^ 9 Z)^ 10 -^g — ^ — & - m =S=32= 11 :!?—=?- 12 13 i g£ Oral Metric Dictation The teacher should sing the following songs with a marked, swinging rhythm, taking care to avoid indicating the accent. The class will beat and listen carefully, trying to discern the meter. During the month, each of the excerpts, and other familiar songs in two and three part measure, should be employed in this way. AMERICA 1 ^^^^^1 :± I E^ 4=F=t My coun-try, 'tis of thee, Sweet land of lib - er - ty, Of thee I sing. HOW can I LEAVE THEE ,2 ^P qs=^ -* — -^- M- -V — **- How can I leave thee 1 How can I from thee part ! Thou on - ly MAY 27 i * »*- I I— I y ^ — i—^ hi b» — [jg — I — * »i— hast my heart, Sis - ter, be - lieve. Thou hast this soul of mine i Fg-F-lf— /- ^ 3S± i±*z^ So close - ly bound to thine, No oth-er can I love, Save thee a- lone. STAR-SPANGLED BANNER 3, ± r3=I^^ 1= ^ =fc=:Li :i=jt Oh 1 say, can you see by the dawn's ear - ly light. What so iEEi^ m * 1= proud ly we hailed at the twi-light's last gleam ing? ^ YANKEE DOODLE ^t=^ 2z m^- 1. Father and I went down to camp, A long with Cap - 'n 2. And there I saw a cop - per gun Large as a log of fc 5=^5^ =1 H* — #- 42=t= ^^^ 1= --#-=!- Good- in', And there we saw the men and boys. As thick as has-ty pud -din'. ma -pie; They tied it to a lit - tie cart, A load for fa-ther's cat - tie. i i?= fe^^ 1= ^ Yan - kee Doo - die, keep it up, Yan kee Doo - die dan dy, ^ ^ ^ I Mind the mu - sic and the step, And with the girls be han - dy. 28 MUSICAL DICTATION m DIXIE 5 m #^^ ^ — r— j^ -z^^^^E -* — zaJ: ■wish I was in de land ob cot - ton, Old times dar am i d^ I ^ s^^ W^ :q«: zit=^ ^ — ^ — ■• ^ not for - got - ten,Look a - way, look a - way, look a - way, Dix - ie land. JOHN BROWN HAD A LITTLE INDIAN 6 W -^ John Brown had lit tie In dian, John Brown g=^ :«=*: ^ :S=a: :fe£ =fei=^ had a lit tie In - dian, John Brown had a lit tie In - dian. i fefe^EE^ ^ ^E^^^ ^ One lit tie In - dian boy. One Ten lit - tie, two lit tie, lit - tie, nine lit tie, ^pigi^ii^^g^^Fg^ EiE=fc three lit tie In dians. Four lit eight lit tie In dians. Seven lit tie, five lit tie, tie, six lit tie. i feEE=^=lE * six lit tie In dians, Seven lit five lit tie In dians, Four lit tie, eight lit tie, tie, three lit - tie. m tf: ^ i nine lit tie In dians, Ten lit tie two lit tie In dians, One lit tie In dian boys. In dian boy. JUNE Oral Tonal Dictation The pupil sings, using the syllable names, after recognizing the tones sung by the teacher to a neutral syllable. m :t>i 1=3 ,^Z -^ izz-ssz -B ^ rs2Z IS2Z r^i'^-^ f^ 1 /[ b h /^ rn*^ " c VM^ J ^~^ a - ^ c - Ffc -(Si f^- i 10 SE _g2 >•? ~?C :^_ -.S' r^ iS^ -^ .^ <^^- -Si — S> — iS- -<&— P-J— <&- i^ ^ /TN 12 r^ # I?2= 13 ill 14 i gg fe:^=:^ -g=^ — ^ — I — '^ — ^- 29 30 MUSICAL DICTATION 15 feS ez^^ 7^ I I r^ =1:=^ 16 i 4S= S ii^; Written Tonal Dictation The teacher should draw the staff, place the clef, key signature, and the note representing do. After the pupils have completed the writing, the groups should be sung, the pupil first having opportunity to " get the thought " before he sings aloud. 1 J, 2 3 4 i ^i -^ £=>" w r? gj r2 g?— '^-^g 7zz r~g='' "g'~l~g?~ i I^ SI ■= s>- W "g^j" -' =' <^ ^ «^ -s^ i l;A ^ IE 10 11 m 2ZZ - Q -^ i 12 13 «E 22r ~g?~ 14 15 g is: 16 -iS> 1 — SI IS -^'^ o <^ - W zsz. 'y^ ■^21 -tg "g^ ~=^ SECOND YEAR INTRODUCTION The teacher should not forget that this tone and rhythm study is only one side of the work in primary music. The development which comes from the singing of songs is vitally important. Without this, the training in music is one-sided and mechanical. Only through the proper singing of suitable songs will a love and appreciation of the beau- tiful in music be awakened and cultivated. It is also by means of song that the rhythmic and tonal sense is quickened and developed. It is all-important that correct habits of tone production be acquired during the first year in school, and that the head tone which is so de- lightful in children's singing, shall be preserved and not allowed to deteriorate. To attain this vitally important result, the teacher must maintain the same standard in all the singing. The tone quality should be just as good for the singing of the dictation and sight reading material as for the rote songs. The teacher must have the ability to discriminate between good and bad tone production, and the skill to eliminate bad tonal conditions. Any successful teacher who is not tone deaf, has the capacity to learn to do this, but it requires special training under an expert, and cannot be gained from reading only. All who teach singing to children should know, and never for one moment forget: 1. That before maturity, children should sing with the light, flute- like, head voice, common to all normal children. 2. That the thick, heavy, lower voice should be used sparingly or be avoided altogether. 31 32 MUSICAL DICTATION 3. That music teaching in the public schools where a harsh, strident, throaty, unmusical and unpleasant tone is tolerated, does more harm than good and is a positive menace to the voices of children. 4. That it is the solemn duty of every teacher who attempts to teach singing to children, to prepare herself to give safe and intelligent in- struction. 5. That in the matter of tone production, example is stronger than precept, and, therefore, the quality of tone used by the teacher, both in the singing class and throughout the day, is an important factor in producing good or bad results. 6. That owing to its technical character, vocal music in the schools requires skillful supervision, without which it is extremely unwise to make any attempt to teach the subject. SEPTEMBER The following material in oral and written tonal dictation is in the nature of a review, and is intended to overcome the inertia resulting from the long vacation. The teacher sings with the syllable loo. The pupil responds, sing- ing the Latin syllables. (Never allow the pupil to answer by speaking the syllable names. It is the tone, not the name, that is most im- portant.) Material for Oral Tonal Dictation ^\ 2 3 4 -/ w ^ - ^^^i 1 .— ^ ^■^ ^^ J^T! n^^:; 1 f^j — ^ o 'i^ 1 <=> '^■^ '^'' a \ \il 1 1 '-'I 1 6 7 li ,\) 1 ^> ^M — 1 I /\ h ^- ,--, 1 -^ /-; '-' '—■ ^3 ^ 1 -D ,'— , 1 l&V /-=--, ^ r^ ^-> I'--' f-" e; 1 cs ,^ £5 1 \-.\} 1 ' '--' CJ I 9 10 U ,0 ^. f^ I I I /\ n , — ■ r^ • — ^, 1 . — . r-D Ifh'^ a r^ o \cs fij a> '■' o \ \i) ■ ■ I 12 y , t» -_, 1 I X k ^, ^^ r^ <^ • — ^ /-5 ((\^ X.) 1 '-'1 14 V " . ,'Zl '^ '^ 1 1 ^ n --n ,--5 — , <-* 1 Ksj I ' — c^ -^ ^ I 16 \j .\) ^^ ^5 1 — . rz> \ /* b k <^ ,^ --, \ ^ 1^ ^-^ 1 -Ay^ — ^^-"^-^7-^- \ ^ a <^ 1 33 34 MUSICAL DICTATION 17 18 19 ^^"— ^ ^_i_g2 — s, — ^ _ :L^:2_|-g2 — ^ ^ .g:;- I2S ^ 20 21 ~?^~ 22 23 ^ . 1^ ,^ ^5 1 ,^J ^ /^ /-3 yrj ^^3 /<; ^-^ ,<3 1 ^ rtw 1 <^ -D ' f np 17 1 c^ C^ „ 1 UEz^ ez> o ' 24 # :i 25 26 1221 ~?:7~ i ,27 28 ^|:^ =^;=s=..:^ z^ = ! z=^z:iB -IS — s>-=^= A more intimate knowledge of the scale should now be acquired. The pupil should gain the power to sing the scale, or any part of the scale, with a frequent change in the pitch of do. In giving Series A, on the following page, the teacher sounds do (E flat, fourth space), and directs the pupils to sing do ti la sol fa, and to hold the last tone. While they sustain the fa, she directs them to call the tone do and to sing do re mi fa sol. The syllable is now changed to do (E flat) and the class directed to sing do ti la ti do. The last tone should be the same pitch as the first. While the class holds the last tone, the teacher sounds E flat again to test the pitch. (The representation is for the teacher only.) SEPTEMBER 35 Series A: Teacher. — " Sing do, ti, la, sol, fa. Sing, do, re, mi, fa, sol. Sing do, ti, la, ti, do." Call this tone Do. Call this tone Do. ^^^E 'm=?^. =22; i ■^^=^^&-^ ~gy i s ZS3Z l?=22Z:^ ZS2I p l± Pupils must be led to think the scale from the new pitch before they sing. They will soon realize that the solution depends entirely on the power to think the scale from the new starting place, and that the most important point is the relation of the tones to each other. In the same manner as above, the teacher will direct and the class will sing as follows: Series B: (By direction as in Series A.) do n la ^ mi sol U (TV ^ 1/ . ■ yf =-' s^ /■ h fn r ^ r^ r^ 1 K^\) V- ) ' — r:^ ' — 1 Zi t^ ^^ i do /TV do /a do i sol do /T\ PJ -rzr—^ — g?- •g^~=7~ -'^— ^-?^- '&- ISSHJSI w- Uz Series C: (By direction, as in Series A and B.) sol i mt i la /T\ la ^'=^ -3:3l1 ~g7~ W ^ tnt /r\ sol /7\ # 22=^2= ~g?~ gj 'S'- ~g=^~ I Series D: (By direction, as in Series A, B and C.) ■^: ^ liizz ZC2L sol i do t> -^i^ ^_^_ S /TV ll feS^22= |± -•g— gy- /TV 13 36 MUSICAL DICTATION This, and all other problems in ear training, should be presented orally first,- as before directed. This oral work should be followed by singing from the representation, the teacher directing with a pointer, using the scale written on the chart or blackboard with the different signatures, thus: i a t ~e?~ w i «= iszzz: ■s^g? - 122: iE '=^ CJ i « i m -&—7S- ~g^~ -?;?- -'S'— = ?- P -^— g?- i^ 5^=^=S= -^ =7- -gS) gj- -g' g?- -^ f^- -tS^CT- i fe&= ^^ s; -^r--S>- "T ?" i The material given orally in Series A, B, C and D, may be sung from these different representations of the scale, the teacher using a pointer and changing from one key to another, the class sustaining the tone and changing the syllable as before. Blackboard Writing There will be found some pupils in the class who do not write well on the blackboard. The time usually given to written tonal dictation will this month be devoted to the improvement of the blackboard writ- ing. The teacher should insist: SEPTEMBER 17 1. That the chalk be held lightly between the thumb on the one side, and the first, second and third fingers on the other, and almost flat against the blackboard. (This will eliminate the disagreeable, squeak- ing noise.) 2. That the notes, clef, signatures, bars, etc., be made with a rapid, free arm movement. 3. That the hand does not rest against the blackboard. Much valuable time can be saved during the present and subsequent years by giving sufficient attention to the mechanical side of blackboard writing, to insure rapid, easy and legible work. The teacher should stimulate and encourage the pupil's ambition to write his name, and all written lessons, neatly and legibly. It is highly important that the teacher's work on the blackboard shall be worthy of imitation. It will surely be imitated whether good or bad. Hur- ried, scribbled, illegible blackboard writing by either teacher or pupil, is most unfortunate and ill-advised. After drawing a staff the entire length of the blackboard, send as many pupils to the board as can work comfortably, and direct the pupils at the desks to work with pen or pencil, and paper. Practice drawing the clef, beginning with a down stroke, thus: (i) ( , another down stroke (2) / j ^ calling attention to the end- ing on the second line, stating that the clef was originally a letter g placed on the second line to locate the pitch g, and that the printers and engravers have gradually changed it to its present form in the effort to make it more ornamental. A few minutes' rapid practice by the entire class will result in marked improvement. Practice making the sharp, clearly stating the fact that the first one is always FJi on the top line [(y and that the others are placed 38 MUSICAL DICTATION by counting down four, and up five, each sharp a Httle to the right of the preceding one, thus: ^^^ In like manner, practice making the flat. The first one is always B flat ^p= on the third line, and the others are located by count- ing up four and down five, thus: ^ B>^ Practice placing the meter signature, each figure filling two spaces, ^TO § n^i^H^ i^fl Notes, rests, bars, etc., should be written rapidly and neatly, as a writing lesson. All of this work co-ordinates with the writing and drawing. Improvement in neatness and legibility of the music writing and in the freedom and facility of movement, will be equally helpful to the written lessons in arithmetic and language. OCTOBER Larger Intervals ( Skips ) It is assumed that the pupil can now hear the scale tones without audibly singing the scale. When he sees the representation, he hears (thinks) the tones. Or, if the teacher sounds do and asks him to sing the scale or a scale exercise silently, the thought is as definite as though he repeated to himself a line of a familiar poem. Therefore, the pupil can " read music," can " get the thought from the representation," just as definitely (and surely) as he can read a sentence in the mother tongue, but with the same limitations. He cannot and is not asked to read sentences containing new words, the sound and meaning of which he does not know. Likewise, he should not be asked to read melodies containing new intervals or rhythms, the sound and swing of which are unknown to him. In each language, the sight reading is limited to the vocabulary. As in Primary Reading, a mastery of the sounds of the vowels and con- • sonants gives the power to pronounce new words, so in music, a mastery of the scale carries with it the power to recognize and sing new intervals. Rhythmic problems are to be deferred until the solution of the tonal problems is advanced. The main problem now is the mastery of larger intervals (skips). The pupil should be led to think of these as the scale with one or more tones omitted. For example, S=^^=^= h is simply M ~^~'^"" =s= i with ti and la omitted. If a pupil fails to sing do sol correctly, he should correct the mistake by thinking the intervening tones. 39 40 MUSICAL DICTATION- The eye will now be used to aid the pupil; first, to learn to think the intervening tones; second, to acquire the habit of thinking of the skips as a part of the scale with one or more tones omitted. The material for interval study should be used as follows: 1. Place several of the exercises on the blackboard. While the teacher points to the notes, half of the class sing all the tones, and half sing only from the large notes, singing the others silently. (Each division should do both ways alternately.) 2. The class sing the tones represented by the large notes, firmly, and sing the tones represented by the smaller notes, softly. 3. Sing the tones represented by the large notes and think the tones represented by the small notes. 4. Two pupils (instead of the entire class) sing as directed above. 5. Individual singing by the pupil as the teacher (or a pupil) points. The teacher will gradually quicken the movement of the pointer as the pupil is able to think the intervening tones more rapidly and surely. Material for Interval Study To be copied on the blackboard. 1 Slowly and steadily . ^^ 2 ;fc5= m -7=rY?zr-?^ f - j m ~ ~ — e;.^-C.;L- C.^_^.^^ a /Tv 4 /s> 5 ^b . g^ ^ . <^ '^ .- ^. gy gy- ^^g ' '^ r^^zufz:^ z:E:_^^^^^-r2z: ^^^-i-^^T- g r^ r-J r j ^ — ; — — w. -iS .S> — ^ — iS- i 7 _ /7\ 8 ^'- - ^-^-^— -— - ^ ^^^g^g:: *-g?- f^ g'" ~g^~ OCTOBER 41 ( Point to each note ) k is2=nsz ~g> — z?~ -£3 e:? e:r- i -iS s>- = ^ ^ -g? ^^ ZI^Sz zssz 10 11 i j^ g » O iS»-a- -;^ gi-ig-ig'- l -^-i S; gJ ^ -J- C? g? c ? I # 'SSHS-a „ jG )- 12 i i^s 13 =;=ffi=2^32=S= z^Lz^dsz: isn^d^ issr^LiJSz g^ g-^ "gy- 1^ 14 -^-g-j ?^~r 223sz:sz CJ cs—^ '^2Z. ^ - eueu rij-i- m. ^cjrj w '-gp-gj-es'-ej - IE 19 ^^^^ ^ -^ /7\ 20 / b h 1^-^ gy 1 ' CJ rj 1 ■ If VCIJ * C3 ■?v i-' g-i 1 * SJ 1 V^ J " ' — I ■ 21 -*—^ i •*- 22 g^ I — j^> — s?~ -iS> — iS — S'- - ei — IS — o — -g- i 23 =•< g^i 24 , t^ =7— 'S' '^^jj^ptf— 'g^'g-gs-gy - o <=> CJ 42 MUSICAL DICTATION 25 26 CJ C^- ^ C J f > c .j_^_|z:^ o ^ Ci-' c^_ -*— ISI ^ i P ;^ - 27 ^ -l-S-r^-^-^S ' ^^C ^ i 28 ^^^^E^^^E^=si « ^ J c? '-' "g ? — S' — 8 ~ ::^= ~g'~ -^~'~5~='' « g^ c? Material for Oral Tonal Dictation The teacher sings with the syllable loo. The pupil responds, singing the syllable names. 1 2 i **#= W- :^^^;;;;^:; ~g?~ r^ — ^ p i y= Z2Z IE :z2z f ^r-^:;^ ^^^^ -r^ g;, ^;=' — s^ ^ IS2I i^n=sz: i 11 O g^ iS '=- -S) & ^ -& g ^- 10 12 -iS>- I2SI 1223 OCTOBER Al i 13 It 14 =s2r "S'" r22i 15 16 Wl I "f^^^ Written Tonal Dictation The pupil should now place the clef and the key signature, and the note representing do. The staff, clef and key signatures should be placed at the top of the blackboard and remain throughout the year in full view of the school, thus: C is Z»^ G is Do V)\s Do A is Do E is Do ^^^^1^^^=^ i^ F is Do Bl? is Do Eb is Do Ab is Do i fc&= T- Wz m. W If there is no available blackboard space, place the above on heavy manilla paper and hang on the wall. The teacher should avoid speaking of " the scales." The pupils know but one scale (not nine), which may begin on any line or space of the staff. " The scale from D," or " the scale from B flat," is the cor- rect expression to use. Exercises for Written Dictation To be used as follows: A staff is drawn on all available blackboard space, with various keys indicated, thus: G Bb AC E|? D ^ ^=i ^^ ^i#= i -etc. :c ) m 44 MUSICAL DICTATION A pupil occupies each space at the board and places the key signa- ture indicated. After the teacher sings the exercise with a neutral syllable, each writes. After writing, a pupil is asked to sing the exercise he has written. Drilling on signatures, or letters on the staff, apart from their prac- tical application, is unwise. Provided the teacher constantly names all terms and signs as she uses them, the pupil will learn the letters and signatures and all other signs used in musical notation, as he learns words, by using them in their proper connection. Furthermore, the pupil has a motive and interest in learning that for which he finds practical use. Written Tonal Dictation The material given below should be used as follows: 1. A pupil recognizes and sings the group of tones sung by the teacher to a neutral syllable. 2. The pupil places the key signature and writes the exercise on the blackboard. 3. After several groups have been written, a pupil sings them, always after opportunity is given to " get the thought " silently. Material for Written Tonal Dictation 12 3 i w :g5=2:s=^^^ <=2— ~e=' — s? '=- '^-z iBrr ~ g ?- isz: ~^ '^ g^~ i '?=> — g? — '^ — g^~ p i 22Z OCTOBER 45 i W. - r ^ < = ■- ~^=r- "?■: >" i tt isz: - c; - ;;:; S>- Metric Dictation Each figure of the measure signature (measure sign) has a meaning entirely independent of the other. The upper figure shows the number of beats in the measure. The lower figure indicates the kind of note that has one beat. The material is to be used as follows: 1. Place one or more of the melodies upon the blackboard, without bars or measure signaiture. 2. Sing the melody to a neutral syllable while the pupils beat and try to discover the kind of measure. 3. A pupil indicates the accent by placing a dash under the accented note. While doing this the pupil may count each measure audibly, and indicate with the chalk, how many beats each note and rest is to receive. The bars are then drawn and the measure signature placed, the pupil again counting. 4. Use the melody for sight reading. 46 MUSICAL DICTATTON Material for Metric Dictation 2 i 1=1^= i 3 ^Ei P -g:^ o - -(:= s^- 2=^—^^ ^-^- o 2=)- i I — ^ — J - i fes=d: ^: -f= — ,^- - <^ r J ME^ ^^F ts=-^-. p^; ^^ B=E=^^ ^==3= Sg^t 1^31 B^^=^ ^ ^— ^- ^ =^:^^: =^= -'^ gJ- IS2: ^ f? _g -^ ^ Hit t— r-^- (Ts r ^ c> ~- 5T^^lyga=^^T=^=Ft^=pf :2C NOVEMBER It is of the greatest importance that children sing " in tune." Con- stant " flatting " the pitch results in the habit of wrong thinking of the scale tones. If the class does not stay to the pitch, the first and most important duty of the supervisor and teacher is to discover and remove the cause of the difficulty. " Keeping the pitch " is entirely practicable in school singing, provided certain essential conditions are maintained : 1. The use of the light, flutelike " head " tone common to all normal children. 2. Constant use of a chromatic pitch pipe. 3. Prompt correction of false intonation (singing "out of tune"), and, therefore, avoidance of the habit of thinking the wrong pitch. Oral Dictation The use of the following series is intended to make clear to the class and to the teacher whether or not the singing is in tune. It will be noticed that the last tone is just an octave above or below the first. Series No. I. (4) ,. (1) ^ n ^ <2) . (3) ^=r~r~^ (5) ^ ^^^ ^^' „,li a (1) /TV n I- «Ld?^ ^ ^ rfv ^5> ^ ntt tt i? T. The teacher sounds E on the pitch pipe and says : (i) " Sing do re mi and hold the last tone until you are directed to sing again." While the pupils hold the tone, she says: (2) " Call- this tone do. 47 48 MUSICAL DICTATION (3) Sing do re mi. (4) Call this tone do. (5) Sing do re mi. (6) Call this tone do." While this last tone (E) is held, the teacher sounds E on the pitch pipe. If the pupils are below the pitch it is clearly evident to all that do re mi has been falsely sung. Series No. 2. To be given in the same manner as No. i. IE -tf Mi ^- Do f7S Mi n m -g=J gJ ST- E^15 'ZSSZ i Do r7\ Mi Do » IB ~<^ f^~ lYz Series No. 3 Mi Do Mi Do i 1^ - c? C J c j gy w # ~f=r- a m Mi IS?! I ^ ■ P ' = ' g j- Interval Studies See directions on page 40. Go slowly at first, and remember that the all-important object is to cause the pupil to think (sing silently) the intervening tones indicated by the small notes. Although the thinking of these intervening tones is of vital importance and is the key to all true progress, it is not at all diflScult, provided the teacher conducts the exercise properly. NOVEMBER ^g Take a slow, steady tempo at first. Later, the pupil will be able to sing the intervals more rapidly. Finally, the teacher will take a quicker tempo and point to the large notes only. Certain tones of the scale are closely related and strongly influenced by adjacent tones. For example, ti do are almost " welded together," their relation is so close. Ti very strongly leads to do. Likewise, fa has a strong tendency leading to mi. The pupil should be led to think of the two related tones as one idea. Interval Studies To be copied on the blackboard. Sing aloud the tones represented by the large notes. Sing silently (think) the tones represented by the small notes. 1 f7S 2 /T\ / . L» -^ • 1 ^ l^rW* f-j ai— 1— '—i^—.^—^—^ .,- l =^ y^ a ~s-^—^ • ^ 1 .^ 4 J . }/ -^ # '-' C-J \ ^^ M 1 \ • ^ 1 sPD , 1^ ' <^ 1 '=^ t ^ CJ 1 ' c:: '^ 1 ' r^ , — 1 «_- • i=-^^ =-,=^^-"-si-s^= ■ ^ a ^=^^±^ ^' • .^. ^^^^^^^^g=^=g^^^ # S ' '^ s-^- - . .-g^ ^=^ ^^-~- ^^=^^^ '^-c^. — ^ ^^ '^^-t-TTjO- 10 11^ 12 221 i gj , i 13 14 I ^ -^^A-^-^. ^===^=^=^^=^ -^ ^ ISr so MUSICAL DICTATION Sequential Scale Studies The following series of tone groups are sequential and should be com- pleted by the pupil after the teacher has called for one or two groups, as indicated. Each pupil should learn to sing both series rapidly and freely with the syllable names, singing each group as one thought, pausing to breathe between groups. Ti do are closely associated in each group. Teacher: " Sing do ti do. Sing do ti la ti do. Sing do ti la sol ti do J' Series A: Teacher : "Sing, do ti do. Sing, do ti la ti do. 1 2 Sing, do ti la sol ti do.'" i '-=' S=^S21 7S n fS^ m - CS C J - ^ r^-^ s=:|=s^S: - o r - J Ur s g i_ =^=2= <=-«■■ :s: # --g e j --- - ^zsz: i^ J) r^ -^ -_ I Series B: Teacher : "Sing, do ti do, do re ti do, do re mi ti do." 12 3 4 a bi m. fTi - z^i v j '' . g^ ^gy— is^-isi — ^ ^ g;^ is>^J-iS — <= ^ (■> ! — e> — '-.s- -!=^'S>- SE ISC ->S—<=Z^ ZZZl C^ e^? - '-^ ^'^^^ m IS2Z C ^^ ° I P - IB NOVEMBER SI Material for Oral Tonal Dictation The teacher sings with a neutral syllable. The pupil responds, singing the syllable names. i tt I* -^ .-^ ZS21 t i rs "zz: -iS — „ — lS>- m -^ ,^ '^ /^ # -gj f^ f^- ** »=i=^==s=S ~?^ 7~ ^ IS2I « ft "^^~ ^•^ ?y tt 10 S=22= •^^■^ P^ 122; 11 12 » i IS2I IJSI Written Tonal Dictation See directions for Written Tonal Dictation for October, page 43 . Pupils at the blackboard will place the clef and key signature as indicated by the letter placed above each space. Material for Written Dictation 2 3 4 =fe — ,g_^- ,g-l. -iS- .s- 321 P iS — ?:p — )S—\si — ^ — IS — \—(S> "T"^ S2 MUSICAL DICTATION i *fe -^ '^— — I — ^^ i^ rZ/ ^ , SSi IE zsn w i :fet= 10 i zzrzli^zzzszz 15? ~?^5- ^ '^ ^ -^-^ =1^ .g= P I"- ^i S-J5- -f=2 ^ P4=F=E^ g t=t Z(?- ^^ — <=" "g? ^-^=^ IS S>- E^^^I^^E^=^ 6o MUSICAL DICTATION t 10 w I22Z ~T^ r 11 m 12 1251 i "'T^' Perhaps the best way to determine the pupil's knowledge of the scale tones is the syllabizing of familiar tunes, without the representation. It is assumed that the pupils know the tune America. Allow all to try to sing the syllables. Do not be satisfied with the results until each singing pupil can syllabize the tune. Some of the pupils will have to learn the syllables to the tune by repeated singing. This is also valu- able scale study at this stage. a^^ ^ X z± Do do re ti etc. *jfe^ «= ^ n ^^g Written Tonal Dictation The teacher draws the staff on the blackboard (a staff liner is almost indispensable), and after sounding the do, sings with a neutral syllable, |(i|)' -g^^-^^^-''-' g g ^^ . A pupil responds by singing the syllables- and writing the group of notes on the blackboard. After several groups have been written, another pupil is called upon to sing the entire series. The exercise may be varied in different ways: 1. By several pupils writing at one time in different keys. 2. By the entire class singing the different groups of tones. JANUARY 6i 3. By the pupil or the class singing while closing the eyes or looking away from the board. The last is a most excellent method, compel- ling the pupil to " think the tones " before singing. i Material for Written Tonal Dictation 2 34 ^ 1—^2- nzsiz r—r^ — '^ ^ _ —fT S -& ^ &- -ZSL i ^. n sz; ^ -r '^ '^—^'■5 — ,^ ^ ^ ^^ ^ w - £i , Si- tl 10 m^ i^ -o— s>- iS — *— iS — iS- 11 12 ^ g;? — ^ '•^■ ^ ~^g^ "C?~ 13 14 i ■e» 1^ (S- ^ ^^ ~ ^ -ST e?^ 15 16 i IE P 17 18 * _.g ^ ~;^:s- -/s — iS- Written Metric Dictation Before the lesson begins, one or two of the following melodies should be placed upon the blackboard, without bars or measure signature. The teacher will sing with a neutral syllable and with strong accent, 62 MUSICAL DICTA TION the pupils listening and beating. A pupil places a dash under the ac- cented note, afterward placing the bars and the upper figure of the measure signature. To do this, the pupil must discover the number of beats in each measure and the beat with which the exercise begins. He must also know the measure value of each note and rest employed. The pupil should form the habit of counting each measure as he locates the accent and places the bars. For the present the counting may be audible. When the representation is complete, a pupil or the entire class may sing, after having sung the melody silently. Material for Written Metric Dictation 3=^ -f== ^ i i ^=2^=fc?;3=^ W ISt P25 i ^ is: isr :s= i^ (After No. 2 is completed and sung, the teacher will explain how jip e=* — c • > then substitute s> • ior a ei ) ,3 g ^ X * i n%fH^,-4^^^ V c j c a IZ2I ~^:5~ m. fg^^^ a . ■P2 r^ r - i - - Ci C^ l-iS- ?2= 122: ^-gl- JANUARY 63 „tt Sol ^ -^ ?=*f^^^ i 153 Sol r-' =^:i - ^ — -_32z g^ r J- ^fe=,^F^^ - ?=< — *- £? . isSz i FEBRUARY Interval Studies The pupil's success in the singing of intervals depends upon his ability to think (sing silently) the scale tones. To gain this power has been the main object of the tonal dictation. The teacher should make sure that the pupils are interested in gaining this power. Without interest and enthusiasm, the greatest impetus to progress is lacking. The following material should be used as follows: After placing several groups of notes on the blackboard, the teacher directs the pupils to sing aloud as she points to the large notes, and to sing silently as she points to the small notes. If the pupil or class fails, allow one pupil only to sing the tones repre- sented by the small notes. Gradually quicken the tempo (speed) until intervals can be sung without pointing to the small notes. Interval Studies 2 g -f^' • -^ . _, 1 rT^^~'''^~' est — g^ * '" ' ' ♦-^•JT 1 . ■^r'-^-^ - g- . _- — - TOT • r^ ' ' rj -&-&-& g? '^ ^ ^^-f—s—i ^ , &- , _ -f-fV 1 1 4— -^— r— h— F^-*^ ... -*-H^^-+^— 1 After 5a is completed, represent 5b by erasing every other bar in 5a, and lead the pupils to see the necessity for the change in the measure signature. 5b i 4=^ » ^^- X ■X=^:^^ i 6a t^^^- 1= lat-^ After 6a is completed, represent 6b by erasing every other bar and changing the measure signature. 6b p# w^^ ^^=^ X. =1= n^ t==x MARCH Oral Tonal Dictation If the class is inclined to fall from the pitch, begin the oral dictation each day with one of the series (A, B, C or D) given on page 50 of the Manual. See that every pupil sings all vowel sounds with the teeth apart. Singing e, for example, with the teeth closed, is evidence of very bad conditions and produces equally bad results. Relaxation of the jaw and tongue so that the mouth opens freely and easily is absolutely essential to safe singing. While the lips should always be rounded on and 00, they should never be puckered or made hard or rigid, but always kept soft and mobile. Any disfiguring of the face while singing is a sure sign of wrong conditions. The principle of relaxa- tion should be constantly applied to keep the muscles of the jaw, tongue and face, free and unrestrained. If a mistake is made in the intervals in using the material given below, the teacher should ask the pupil to think the omitted tones; if this does not correct the mistake, let him sing aloud the tones of the interval and the intervening tones. Material por Oral Tonal Dictation 1 2 3 CJ 'g- ~5 g^ i ^^ ^^ ^ g=^=:^=g- ^^-^ ^ 7 ±1 r^ -- r ^ e— 1 -& g y r _ ^ & ~ '^ w 70 MARCH 71 i 10 -fS SI- n 11 ^-- w c^ o rj rj ~ -r^ 221 ii fer 13 ~g? — l ~z:7 i^z; I2SZ 14 15 i t> t, gy (T:?- « IS 221 S^ e-^ z:?~ -^ -^ — g ^^3S -,e := — 1^ i 16 17 " g^ g -^ iE -(S^- i 18 19 ft. g g> g^ ~g^ P "t::^ i 20 21 _ _ 22 — -S- isz: -r ^ ^ r^ ?!? - gT^ lO' _ gIT- ^^ (^ ^ (- -^ 22Z '■^ g-* i 23 24 - o ^ ^ -r^ rg^ 1221 ^E i 25 26 "g-^^ P ~g:?~ i 27 1?-^- ^, ,-, (^> rj '-^ rj -r:i-y:;~r:?-<^ rj & "^ ^ "^ "^ m. '^^=^^^^^^=^^ -iSi— ^)— ^ ^-^ < c tir — ^■ 28 g I Slt-^±^=22z^3:^|=^ ig ?~'^~c>^ _^ gy~ -(=>/^ < :: : ^s,-^:k_^-_^^;;,_^ N0S..27 and 28 should be sung daily until the pupil can sing them freely and rapidly from memory. 72 Music AL DICTATION Written Tonal Dictation The problem of writing music is a mechanical one. It is simply a question of how to make the clefs, sharps, flats and notes, and knowing where to place the notes representing the tones. If the pupil fails, it is essential that the teacher shall clearly understand why he fails. Before attempting to write, the pupil has recognized and sung the tones to be represented. In order to write correctly, the pupil must be able: 1. To draw the' clef (if necessary, copying from the clefs and signa- tures, always in sight in the room). 2. To place the key signature (copied if necessary). 3. To locate the do (from the copy if necessary). 4. To place the notes of the exercise. Each pupil must learn to think the omitted tones as he represents skips. The teacher should patiently assist the slow pupil, remembering that this is the quickest and most effective method of teaching sight reading. The pupil must first know the tones when he hears them. The next step is to learn to recognize them when he sees the representation. In order to be of practical use, the recognition must be instantaneous. Hence the necessity of long and varied practice in writing and singing. i Material for Written Tonal Dictation _ 2 3 ■IS) ^ — (©- I'i ^^-^- i I* 1221 ^^ESM ZS3Z. =2Z=S=22Z li*: - rj '^ r j ^ I22I -rj f^ e^ '■^ <^^ -'S—y^-IS- MARCH 73 10 11 -i=> c> '=^ ^ r^ — j^— o ^ l^. 122:: „12 13 ~g^ — g"" IS2ZZI2ZI :s2=_^= ~C -' o 14 15 16 i "tfz^=?= -S'—r^r-S- ^S-l-.S'-i^ ~?^~ p 17 18 i -nSS ;.-, &- 'g7- -?^; — ■S'- Material for Written Metric Dictation One of the following melodies should be placed on the blackboard, without bars or measure signature, before the class is called. The teacher sings the melody, using a neutral syllable, while the pupils beat and endeavor to discover the meter. A pupil is called upon to place a dash under the accented part of the measure and then to place the bars and the measure signature, counting the measure as he writes, and explaining the meaning of the figures as he places them. The melody may then be used for sight reading. -fS ^-F'S- 3: # ^v-p — r-h^ - -0- i .t^ ^ M= ^ ^ ^=pd=* -& 0~ -^-^- 74 MUSICAL DICTATION i^ ^ = g~Tc? ^5^^-^>-J^^ ( Each pupil should syllabize No. 5 ) Fine "F=?^=F^ J — T * * * — y~ # i Z>a Ca^<» fe^^^^^^^E^=f g ^^^ j Explain " Da Capo " ( from the beginning ), " Fine " (the end ). APRIL Oral Tonal Dictation The teacher sings with a neutral syllable. The pupils respond, sing- ing the syllable names. Material for Oral Tonal Dictation 1 l ¥=^ ~-^ — s o o =^=^2Z ^^ 'g' ^ r^ e=> '^ g - f^ I T^r- m "^^■s- .-^ g> P i l=^^li ^isfc m -r-y r^ w IE ZS2IIS2. Ig?" -SI — — ^ i 10 11 r^ f^ ~ZP~ i 12 13 14 1^ r-^ "g=^ (^ ^ 22— «— 22Z " g^ '^ gg -^ g?" I22Z 15 16 ^ ,^ < = ^ ^-^ — ^ g> ;^ <-^ — , \>\i f-^ «-' I O ^-j C-' 3 4 — 1 ^ r^ o r^ ^ 1 hy ^-^ C^ rO* o =^ 1 5 6 7 /bh'^<^-:= \ -^ t"^ '^ \ ^ 1 fy^"? =^ 1 1 — — (TVC^I VvJ 1 1' ^ C^ f-^ \ 8 9 10 p-0~|7 ^-t, . -&~-^-= f?K ^ \) ^^ f^ fij .^ f/'\^'— ' f^ r^ '^ '^ W) ' ^^ '=5 ,-j ^ V, ) (^^ c-> 1 11 12 13 t Y*~^ "-' e '-'' ^ ^ -^_^__^ Jv M^^_^ ^^111 Lii:2 '^ g^ 14 1^ - o- 1 15 16 4)^^ ^^- — ^^^ 1 ^^- -^-^^ — r— ^- ^— .s^HH APRIL 77 Introduction to the Eighth Note and Eighth Rest Represent quarter and eighth notes and rests on the blackboard thus: Quarter Notes Quarter Rests Eighth Notes Eighth Rests Lead the pupil to discover: 1. The value of two eighth notes is equal to the value of one quarter note, and vice versa. 2. An eighth rest looks like a figure 7. 3. A quarter rest has two forms ; it either looks like the figure 7 reversed, or is made as follows : X Place the following measures on the board. Call attention to the fact that the eighth note has one beat. Sound the pitch of do (always using chromatic pitch pipe or piano and never guessing at the pitch). Direct the class to beat and sing with loo, and repeat each measure until the teacher points to another. Do this for a few moments daily until the pupil can go from one measure to another without a mistake. Rhythm Studies V A dot placed after a note increases its measure value one half. i I it -?«==i* PES ^—^ '-W=^=(t^ ^- ea^ :^=t^: Loo, loo, loo, etc. =F=* W i±ElES^ :^ m ^ isi I m 3=^= _f=2_-_f:2 — fi21-^- 78 MUSICAL DICTATION Things for the pupil to find out for himself from these measures: 1. We now have three ways of representing rhythms. 2. Nos. 3 and 4 sound just like i and 2. 3. Nos. 5 and 6 sound just like i, 2, 3 and 4. 4. When an eighth note has a beat, the speed may be just as slow as though a half note had one beat, and vice versa. Metric Dictation 1. Place on the blackboard, one or more of the following melodies, preferably before the class is called. 2. Sing with a neutral syllable while the pupils beat and try to dis- cern the meter and the accent. (The teacher should always sing with a light " head " tone.) 3. Direct a pupil to indicate the accent and place the bars and meas- ure signature. For the present, allow the pupil to count aloud and point to the notes and rests as he places the dash, and to count again as the bars are drawn. As he makes the upper figure of the measure signature he says, " There are ( ) beats in a measure," while making the lower figure he says, " A ( ) note has one beat." 4. Use the melodies for individual or class reading. 1^ Material for Written Metric Dictation 1 Sol j=^ '^—s>- gfp^ =^= -22- -r ' g * e J 1211 i e ^ =s= m ^^ s ainrr Tn i Jl NifTT^^ u * i ; ^ ^ i |g ^^^ ^=^- APRIL 79 i m &- ^M^Pe ^^^^—3^ \^^^^^^^-^- -g^ s'- m p^ -■• — —s- i^zztzat EiEE^^ 3tlM= Three blind mice 1 Three blind mice ! See them run ! See them run I i EfflU 122: 3^ :=^=z^= - s* — ■g - -f2 C2- - '^^ =± 80 M^y 8i fc^ -?^ JTP- is :l2=s= 10 11 12 =^=22: - gj r- . ^ g, : 13 F^^^ 14 15 bl2l f-5 l:zz ZS2ZZII2Z ~g7~ 16 ^i 17 ^ ''-' ^ .''^ '^ i ;^ IE 22:^r3z ^ '^ •^^^ ~g=?~ P "f^:^ 18 -ffe 32=^=^=221 •t::^" ■"^7" The Italian Hymn printed below should be syllabized in the same manner as the tune America was sung in January. To be sung with the syllable names by each pupil. i Sla^ ^ *=d= S ^ W =t i 5=F= S P =i=?c e^E i ^ !t=^ I ^^^ ^ — ^^ =j==^ ^ -^ f — ^— ^- Written Tonal Dictation Use the material as follows : 1. A number of pupils draw the clef and place the key signature. 2. The teacher sings to syllable loo. * 3. The pupils respond, singing the syllables, then write. 4. The several groups are sung by one or all of the pupils. 82 MUSICAL DICTATION m. Material for Written Dictation 2 3 l^ -g? ^ — <^ ^ SZL 32=SZ=22=l=r22Z i i e^ cj '^ — - 10 11 i -^>— 1 i^ l ^^u »!-*- =t3t > *■ I ' 1/ 'k"- ^ 6 . 5^/ *% ^2: -^ , !^ =e=^= -f^- i^ 7 'ffifi 1 1 /" "OfS 1 1 1 ^\ 1 \( \ "o SJ C-l ,, 1 1 f^ L£d_ -si^ ^rj -si-J CJ = 1 When I was down be- side the sea, A wood- en spoon they gave to y* '-' ^ o r^ T^ I SI — '&- =^= * =t <^ r ^ * me, To dig the sand - y shore. To dig the sand - y shore. i 3^ -^ » 52= p-T^ s * * * It In the bel - fry swing ing, Sil ver bells are ring ing. i i i^ 4: T Far and near, Sweet and clear. Ring, bells, ring. . . JUNE During June, instead of doing advanced work, the time given to tone and rhythm study will be devoted to individual tests, of which a record will be kept for the use of the supervisor and for use in making the teacher's yearly music report. If possible, use the same book used in December. Make a list of names of the pupils in the class. After each name, leave room for three columns, thus: Names Oral Tonal Dictation Written Tonal Dictation Written Metric Dictation John Doe Richard Roe During the month, make a record of each pupil's standing, based upon three tests: 1. Recognizing and singing of five exercises in Oral Tonal Dictation selected from material for March, April or May. 2. Recognizing and writing of four exercises in Written Tonal Dicta- tion selected from March, April or May. 3. Completing three exercises in Metric Dictation selected from material for March, April or May. 8s THIRD YEAR SEPTEMBER Progress in tone thinking depends very materially upon the mastery of the scale. The singing of the scale with the syllables must become automatic. Without this mastery, the progress of the music student is hindered just as the student of arithmetic is handicapped who only half knows the multiplication table, which, to be of practical value, must be automatic. The numbers must come without mental effort. Such a knowledge of the scale is invaluable to the music student, and is indis- pensable if excellent progress is to be made. In order that the pupils may acquire this practical mastery of the scale, a thorough review of the scale exercises of the first and second years, follows. Nearly aU the series are sequential; after the teacher has called for one or two groups, the pupils should complete the series without further directions. Every pupil should strive to learn to sing these tone groups correctly with a quick tempo, with good tone and without falling from the pitch. The pupil should be led to think of each group as a whole and not as individual tones. This review will not be satisfactory until every singing pupil has sung the different series alone as freely and rapidly as possible. The teacher should make but few motions in leading this singing, and those only on the accented tones. It is a serious mistake to make a motion of the hand for each tone. No class can sing freely and rapidly with such leading. 86 SEPTEMBER 87 Material for Oral ToisrAL Dictation Teacher: " Sing do ti do. Sing do ti la ti do. Sing do ti la sol la ti do," etc. Series A: 1 2_ 3 4 _ i—t — ' ' — ' ■ ' ' ' ' ■ — ■ ^-f-m-E=f^ m Teacher: " Sing do re do. Sing do re mi re do. Sing do re mi fa mi re do," etc. 10 11 ^^ '-faa g gljI^Jijr.b ^ '^ ^ I TT^^ Ega I j^u^^u ^ 13 i^ 3=J=i=^^=^ I 1 I I m^^^^^^ 1^-*- Series B : 1^^^^^ :?E=^t=F= ^ i^ — ^— ta: ^fc ^^i^^^^^^^ 88 MUSICAL DICTATION Teacher: " Sing do re mi fa mi. Call the tone do," etc. See Second Year, page 47. Series C: Test with pitch pipe Series E: ^^g^i^ i^^i^ ■0 \ »r* s^ Series F : ( To be directed, same as Series C ) Test with pitch pipe l ^CSLf l f ^,^'i^ Yt^^^ f»^ i^gi i£ Rhythm Studies All problems in the study of tone and rhythm are first presented orally. To ask a pupil to recognize symbols before he knows what the symbols represent, is poor 'teaching. During the first and second years, the pupil's sense of rhythm has been continually stimulated and developed by singing rote songs, perceiving the rhythm of melodies, and complet- ing the representation of their measure and rhythm. Before proceeding to introduce new problems, a review of the rhythms SEPTEMBER 89 employed during the first two years, is desirable. The scale will be used to represent the different rhythms. The teacher will represent the scale on the blackboard, thus: la 5i= «=^ I X ^ r^i WSi Loo, loo, etc. 1. The teacher sounds the do on the pitch pipe, directs the class to beat, and sing to the syllable loo. Uniformity is desirable in the beating. The hand should rest lightly on the desk in the same position taken. for penmanship, with the wrist level and the third, fourth, and fifth fingers curved under. The beating should be done entirely with the index finger. The finger is pressed down for the strong beat, held down until just before the next beat, and raised slightly between the beats. Each beat is a downward motion of the finger, with a pressure on the accented beat stronger than on the unaccented beats. 2. The teacher, or a pupil, changes the half notes to quarter notes, the whole note to a half note, the lower figure of the measure signature to 4, and again directs the class to sing. The exercise now appears thus: lb fei * =t= :t= -•=!«= E^ 3. The teacher asks for still another representation. Some one changes the notes and the signature, and it is again sung. The melody now appears thus: Ic m No questions should be asked previous to the singing. 90 MUSICAL DICTATION One of the surest means of destroying interest, cultivating inatten- tion and wasting time, is the habit of asking questions preceding the singing. The pupil answers all questions by his singing. The proper time to ask questions concerning the material, is when mistakes are made. Suppose, in singing No. i, a pupil gives two beats to each half note. In all probability some other pupil will correct the mistake. If not, the teacher asks, " What kind of a note has one beat? " Pupil: " A half note has one beat." Teacher: " With what beat should the first tone be sung?" Pupil: "With the first beat." Teacher: "The second tone? " Pupil: " With the second beat." Suppose the melody is sung without the proper accent, thereby losing the necessary rhythmic swing, the teacher should lead the pupil to feel this rhythmic motion and then to see the measure as a musician sees it. The sight of the measure should cause the pupil to feel the swing of the rhythm, just as looking at the notes should cause him to think the tones. If the pupil fails to get the rhythmic swing of the melody, it is because his sense of rhythm is weak and undeveloped. This rhythmic sense needs to be strengthened by exercise. No amount of questioning will avail. Dancing is one of the most effective means to this end. Sing- ing songs of a strongly rhythmic nature, marching, etc., are all helpful. A physical manifestation such as beating with the hand, helps to stim- ulate and develop the sense of rhythm. The teacher should remember that the non-rhythmic child is as help- less in music as the monotone, and quite as much in need of individual attention. Material tor the Study of Rhythm Only two measures of each of the following rhythms should be placed on the blackboard. The pupil will see that every measure has the same SEPTEMBER 91 rhythm and that the singing is to continue until the accent falls on the upper do. >1 SESE^ l^^ll ■ ^g^ ^S J ^SBJ^K^Tt ^^g^ ^ i ^-m—m-- ^^^ .p_^_ ZJ -i — r *=Tt #aEfe^ etc. ^^ etc. ^ etc. ^ PS -5^— =^ etc. ^ # i^ w etc. ilji etc. ^ ] ^''- ^fe£=^^-=gj -S— «— »- -tSh- ^ etc. ^ ^ 5=E etc. etc. The first tone of No. 8 is sung with the first, second and third beats. In No. II, the accent would never fall on the upper do; let the pupils discover this fact for themselves, after singing a while. OCTOBER Introduction of Fi A new tone is to be introduced. This, and all other new tones, will be learned by comparison with scale tones already known. No diffi- culty should be found in mastering the new tone. It will be seen that the new combination of tones sounds exactly the same as certain scale tones already known. The teacher sings the following to the syllable loo. The pupils respond, singing the syllable names. The effect of sol fa sol in No. 3, should be made prominent by repeti- tion. I ^ '^ ^ ^ "^■^~ The teacher asks the children to F-jg^ ^-?:?— fa ^ ^ T l listen carefully, and then sings: ^^ Loo loo loo Most of the pupils will promptly sing: ^ '^ -& '^ n Do ti do The teacher reminds them that the first tone (and therefore the third tone) is sol. Again she sings No. 4 to the syllable loo, and calls for volunteers to sing. Usually one or more pupils who have previously learned the new tone either by hearing it at home or at school, will answer, singing: ^-^^-^^ ^ Sol fi sol 92 OCTOBER g3 The teacher will ask the pupil to sing solji sol again, and ask the class what other group of tones sounds just like this one. They will answer, singing do ti do or fa mi fa. (Never allow the answer to be spoken. The tone, not the syllable name, is most important.) 4 Daily comparison should be made of the two groups, do ti do and solfi sol, sung on the same pitch thus: t> '■' " '"— 1 ^» ''■' t^ ^=fl ¥ Do ti do Sol fi sol This practice is all that is necessary to make the new tone as familiar as the seven tones of the scale. (Do not represent the tone or say anything about the sharp.) Material for Oral Tonal Dictation The teacher will sing using the syllable loo. The pupils respond, singing the syllable names. In groups 22 to 30, the pupils will be surprised at the peculiar effect of la. The teacher should encourage the natural tendency to dwell upon la as the final tone of these groups. Material for Oral Tonal Dictation 1 2 3 Like do, ti, do i -SI — I — ^>- * W -Sh- 4 Like do, ti, do, re, do 5 Like do, re, do, ti, do Q 0^^ ^^\=. ^. :^ | ^=z^;^- ^^^^ |i==;^=^ ^ iT^ :s2z ^ ^'-"^^,.^^ "° " ° '^ ^-^l-jr- i 94 MUSICAL DICTATION 10 11 i^ IS2=|Z22: ~z:7~ isz: S22= 12 13 ^»/ 14 i i^Ezsz^s: i 22=f=fce:gi:22: S S^^g^^^^ -r^^^— rz! ,^ g^ P IS 16 ^ i^ zrsz: g^ h , -^ < = ^ : l y^^^ '^^^ -.^ — ^ ao - g> '=='~ cj ,^ rj I~g7 i 1,7 /«■ /« 7 1 18 -g^ k,^ 2SZ =S2= C^ =^=g2Z 19 /z /« 20 i :#^=^^ I^IE 21 22 23 i i 32ZS2Z 32=??Z32Z SB^ iS-^'^^ ^ , ^ '" :j:zz\zz2l g 24 26 -«> — !^ — &- 22Z r22Z •g:?- ^'~l t^ 1^ 323 26 /TN 27 28 g^ g> 29 m 30 iH - 1 !U 1 y u L, c^ 1 . ^ 1 /f \C 17 1 S' 1 V. ) " ■ I \J i ^ -^~^~^— ^^ ^^ ----- ^-- - ^_^ — ^^ j Directions for the remainder of Lesson III are given in the Writing Book. After No. 9 has been completed, let it be used for reading. An upright dash below a syllable name, thus, (do,), signifies the lower do. A similar mark above the syllable name, thus, {dd), signifies the upper do. OCTOBER LESSON IV i 99 (Music Writing Book) The teacher will sing each exercise distinctly three times. The pupils will think the tones, sing aloud, then write. I 2 fefc ~g=^ ~rj ^ I g^ g^ 'g^ W- i ^ ^7--^=--^^g =^ ^^-.^ ^^^^^g ^-^^— ^-^-H -i Beforp singing No. 7 with a neutral syllable, the teacher will indicate the tempo (speed) while the class beats. The teacher will sing the exercise three times, with marked accent, after which the pupils will place a dash under each accented note, place the bars and the measure signature. When it is completed, have the pupils sing the melody. NOVEMBER INTRODUCTION OF TwO SOUNDS TO OnE BeAT The teacher places the following on the blackboard, i i23I w m, ^^ etc. and sounds do on the pitch pipe. The class beats and sings until the accent falls on the upper do. She then asks : " When do you sing the first tone?" Pupils: " With the first beat." Teacher: " The second tone?" Pupils: " With the second beat." Teacher: " Beat and listen, and then tell me when I sing the first and second tones." The teacher then beats and sings: pfeS!g=£z=E^i= Teacher: " When did I sing the first tone? " Pupils: " With the first beat." Teacher: "The second tone?" Pupils: "After the first beat." The teacher will repeat this several times, asking the pupils to watch carefully. The teacher then beats and sings, i ta :^lM ±: ^ etc. continuing until the accent falls on the upper do, the pupils beating and listening. Some of the pupils will double the tempo (beat twice as fast), thus thinking only one sound to the beat. The teacher should make sure that every pupil is able to beat correctly while she is singing, before she asks the pupils to beat and sing. NOVEMBER lOI The attention of the pupil should be called to the fact that the beat is with the first tone and that he sings the second tone after the beat. The pupil should be taught to think of the beat as an impulse repre- sented by the motion of the hand or of the conductor's baton. The idea is similar to the heart beat, the speed of the pulse corresponding to the tempo of the music. There are no half-beats of the heart. Neither does the conductor nor the pupil beat half-beats. A tone has one, two or more beats, never half beats. If there is any difficulty here it will be caused by the teacher confusing the idea of the beat with the measure value of notes and rests. Material for Metric Dictation Two Sounds to a Beat The class will beat and sing the following with the syllable loo, continuing until the accent falls on the upper do. The teacher should watch the beating carefully, and make sure that each pupil is thinking two sounds to one beat. etc. 5#=^ etc. i ferf-ty^r^ ^l -^.^^ -•—d - -I 1 etc. fe f X-U J^ ^ '- 1 i fl Lj' sH^ r f * etc. Material for Oral Tonal Dictation I02 MUSICAL DICTATION' g P -IS — — — IS- * IS2^=^ r-f- 9 1 -f^ - -"^ X k uL' /^ fa, i ~g?~ 1 lE^^li =11=2= sol fi sol, la si la, ti li ti, do ti do. The pupils will notice that there is no new tone between mi and ja, or between ti and do. The teacher should frequently call attention to this fact. It will be useful in future lessons. After a few days, the pupils will combine the foregoing into the follow- ing sequential exercise with very little assistance. It is always best for the pupil to do everything he can for himself. Thereby he gains strength. Sequential Exercise. Series G: fe^ t ^ .^ ^ g =K ^^ ^^^^^ I ^E^^ -^F^ i :i^ -4^- This exercise should be sung daily until learned. Before the end of the first term, each singing pupil should sing it alone as rapidly and freely as possible. Care should be taken with ti li ti. There is usually a tendency to sing la instead of li. I04 MUSICAL DICTATION LESSON V (Writing Book) Full directions for the pupil will be found in the Writing Book. After completing No. 5, use it for reading at a subsequent lesson, first dictating mi la mi a few times to assist the pupils in the third measure after the repeat. LESSON VI (Writing Book) The teacher will sing each of the following, clearly and distinctly, three times, using the syllable loo. The pupils should think the tones but make no audible sound, either before or during the writing. i * W i w ■" ^^ ^^ ~^^^ ^ ~g?~ i IS2=^i:S2Z W- -SI Si- Directions for Nos. 9 and 10 are in the Writing Book. LESSON VII (Writing Book) The sharp helps the staff to indicate the new tones, ri and ji. The teacher will sing with the syllable loo. The pupils should listen carefully, then write: 2 3 ^_^^^^^^^g _'-^-|;Eg;fe 2SI 2^===^=^ ^ zzz. NOVEMBER los fefe zsz^z^ 22:: -jsz. -&->i-r:j—&- li i^z: I2ZZ =22=^^^ i22r 'g? g-^~ 321 ~^^ ~g> g^~ w LESSON VIII (Writing Book) Sing with syllable loo. Pupils do not sing audibly. 1_ _ 2_ _ 3^IIZ22r 2sr ^=^=^^ 12s: 4 5 6 6 — 1 r 'T^ "^ c? r^ r^ '^■ \ "^ /^ '^ c^ — r^ r.^ rj \ LzS^T- .o' r^ 1 t_ ; <=^ tS>- % 7 9 I2Z ^^^ DECEMBER Six-Part • Measure The teacher will sing the following excerpt with a strong accent on the first, and only a slight accent on the fourth beat of the measure, having asked the class to try to discover the number of beats in a meas- ure. Many will think there are three beats in a measure. Lead the class to perceive that there are six beats, a strong accent with the first, and a slight accent with the fourth beat. Remind them of the similarity which they found between two two-part, and one four- part measure, and point out the same likeness here between two three- part and one six-part measure. i rJ ^J^-t ^= jL^^jLjLj-^ E^3^ i :l==? :Sz '^^=3t While the teacher sings the melody again, the class beats and counts six to the measure. The teacher will use the following excerpt in the same way, singing with a slow, swinging rhythm: ^ t^s^-nf^^ ^tm^^^^ =t pa: Undoubtedly the class knows several rote songs in six-part measure. While some of the pupils sing the song, the others may beat and count the six-part measure. Place the following melody on the blackboard and have the pupils sing it with the syllables. i ^^^^- =p=«= =g — » — w~ ^- 1^=^ m^ i 1 06 DECEMBER 107 The teacher, or a pupil, will erase the first, third, fifth and seventh bars, change the upper figure in the measure signature to 6, and indi- cate the accents, thus: w ^ ^ ^ ^ fi=^fc m.. p^s^ -^^=W- m k-V^k- One group of pupils sings and beats. Another group of pupils counts and beats six to the measure. Place the following rhythms on the blackboard, one at a time, and direct that the pupils continue to beat and sing until the accent falls on the upper do. iteg ^^^^ -#g -*— ji- -•— »^- g |fc lES etc. fef-^^ eE J — ft -j -* — * — ^ — -*-»^ etc. etc. ^^ etc. * ws,. ? 1 1 1^ 1 1 : r 1 1 ->» 1 1 etc. U^-^ nM^^ m -• ^8 g =S 4:^-l J^:E p etc. Material for Oral Tonal Dictation Both the teacher and the pupil should think and sing these tones as groups, not as individual tones. Therefore, the teacher should sing them freely and not slowly, striving to lead the pupil to grasp the group as one thought. The teacher (or a pupil) sings with a neutral syllable. The pupils respond, singing the syllable names. ,1 — _ — 2 i rzsr ~g:J~ Eli ir r ^ 32,": 32: 1^ IS2I W- io8 MUSICAL DICTATION i IS2Z -7Z>- w -j:2l ssz. ;#^===^ g^ g; g^ * -S5— |— g? g?- ^ 21 I* r^ g?~ I22Z=22r -j^ <= > p^?- 22 rz2z DECEMBER 109 i ^?- ^ 24 - ■g ' z^ Three and Four Sounds to One Beat The teacher sounds do, and asks the pupils to beat and listen. The teacher beats and sings the following, keeping the six counts in the measure perfectly even. t^^^ -*T»-*- ^^ SE3^3£^E3^" p assj^ ^ etc. The teacher then asks the pupils to beat and count by sixes, as she sings again. The teacher then asks : " When did I sing the first tone? " Pupils: "With the first beat." Teacher: "The second and third tones?" Pupils: " After the first beat." The pupils should then sing and beat. The teacher should watch carefully and see that each pupil beats only two to the measure. Again the pupils beat and listen while the teacher beats and sings the following. The eight tones should be perfectly even, with no break between the groups. pffe="^^^rr^ -^^*-^- t=^ etc. By calling attention to her beating and singing, and to their own, the teacher will lead the pupils to see that there are four sounds to each beat, that the first tone is sung with the beat and the other three after the beat. The class should then beat and sing, continuing until the accent falls on the upper do. One or two minutes daily practice on the following should result in the ability to feel and sing two, three, and four sounds to the beat. no MUSICAL DICTATION The most important feature of this practice is that the pupil shall feel the rhythm as he looks at the representation, before beginning to sing. The teacher places two measures of one of the following on the board, , sounds do, indicates the tempo while the class begins beating, and then directs the class to sing. ;' The thtee eighth notes here sung to one beat have the same measure value as two eighths when the figure 3 is used with them. The group thus used is called a triplet. etc. etc. Loo loo loo, etc. Loo loo loo, loo loo loo, etc. -4 —1 ' I i l ^ '■^-^ p~w -- etc. Loo loo loo loo, etc. Each of the three rhythms is more clearly understood when compared with the others. The use of loo makes the singing a valuable vocal drill. LESSON IX — DECEMBER (Writing Book) Sing each group as one thought, distinctly, and with marked rhythm, as indicated by the dash. Always use a neutral syllable in giving dicta- tion. In this lesson, allow the pupils to sing the syllable names before writing. 1 2 3 i^^^^l^^^Ef^ '¥ ZZ21 '^^^ I^Z ~gj~ :g2~?sz m :^^ i -^-^^—&- -gy -r^-s>- -T-^-S'-^^ f g^'^- ^l^^ ^'S-^-^- ;^ rc^ DECEMBER III isz; IE LESSON X (Writing Book) The teacher sings; the pupils write. 1 2 t m =^"-:2zz^ -f:^ c^-^-^fLy — ^ ^-^7- ZZ2ZZZZL Z^2L O gi- ^ '^-1— T^^ ^-^-^-^^^^^ ^l^^^^^g^ Shg=^ s=^^ ^^g^ p ^--r^r-^rS- ■::^?. ^-^s :^2\ k^^ -^ rr. g> -^-^- |- ^-'^-^-^-g^- J] e -S- "^ S'- IJ2: I22Z LESSON XI (Writing Book) All the exercises in this lesson are sequential and are known by the pupils. The teacher will sing each rapidly with a neutral syllable, twice. The pupils will then write, 1 ^^^^^m^^=^ =?2= isi: z^z i ^==\- ht=s^ m w ■ g' — g=<- ■- FEBRUARY 119 M P= ZZZl M Do ^ -^-^ - f^ fO ~K r %h %i i^ -^ iS^ ^ ^ ^ \ rn The teacher will also dictate as follows, without using the manual signs: " Sing the firm and strong tone. Sing the bright and grand tone," etc., always encouraging the pupils to think of the character of each tone as they sing. When the pupils are thoroughly familiar with the tones do and sol and can sing them readily from the description or from the manual signs, the exercises should be placed on the blackboard, the pupils singing and following the pointer. Study of Mi As soon as the pupils can sing do and 50/ readily, both from the manual signs and from the blackboard, the teacher should present the next tone, mi. Mi is the quiet, sweet, peaceful member of the tone family. The teacher will sing the following melodies, asking the pupils to notice the effect produced by the tone mi. 1 « Quietly te ^ * ^13: '-f±=^:^tf^ #te;Ni^ -S'-i- ~T S-' -&- 3fc a^^ I I20 MUSICAL DICTATION m 1231 Do She will sing the three tones, do, mi and sol, giving each its peculiar atmosphere and dwelling especially upon the mi. Then extending the right arm to the front and right, she sings, [- J)^ , . "^ r i^a^king the sign for mi, which is made with the open hand with the palm down- wards, thus: As before, the pupils will imitate the teacher in making the sign, until they are familiar with it. The following groups of scale tones will be indicated by the teacher by means of the manual signs, the pupils responding by singing the syllables. The firmness of the do, the brilliancy of the sol, and the calm, peaceful character of the mi should be constantly kept in mind. The teacher should practice making the manual signs before a mirror, until she can change from one to another quickly, easily and accurately. " Sol 2 i w i Do ^Sol w v^^ \)i Do f-^ r:^ ~!^^ izz: i^. Do J L C^ m M 10 rssn izsr -"e?~ rszi s>- FEBRUARY jzi Whenever the pupils are able to sing these tone groups readily from the manual signs, they should be placed on the blackboard and sung again, the pupils following the pointer in the hand of the teacher or one of the pupils. Attention should be called to the following facts: 1. When do is on a space, mi and sol are also on spaces and the other do is on a line. 2. When do is on a line, mi and sol are also on lines and the other do is on a space. Introduction of Two-part Singing For many reasons it is best to defer two-part singing until the pupil has formed safe vocal habits and is able to read and sing one-part music with comparative facility. No normal child should be allowed, much less required, to sing the lower part exclusively, although all should learn to sing a second part. The practice suggested below should consume but a moment daily, after its first presentation, and should be entirely oral. The object sought is to give the pupil the power to sing one tone and listen to another tone at the same time. This is a new problem which should not be underestimated or neglected. The entire singing experience of the pupil has been along the line of matching tones. Now he is asked to refrain from matching tones. No difficulty whatever will be found, provided the teacher is able to follow directions and is willing to go slowly and allow sufficient time for the ear of the pupil to become, accustomed to the new effects. After separating the class into two divisions, equal in numbers and singing ability, the teacher sounds do, and says: " Sing do mi sol. Sing sol fa mi. Division A sing and hold sol; division B sing sol fa mi and hold mi." 122 MUSICAL DICTATION 1 2 " Sing do mi sol Sing sol fa mi. %-k Sing and hold sol." '-t- 'ji^i. ::?2= " Sing sol fa mi." ^^ The singing shoiild not be loud. Both divisions will at first find, some difficulty in sustaining the tone. After singing No. 3 several times, change parts, division A singing sol fa mi and division B holding sol. This is sufficient for the first time. On succeeding days, take up one of the following each day, in the same manner. Oral directions are to be given to each division before the singing begins, as in No. 3. 4 Slowly g?^ -^^■=w^^ I 'T:r 1^=^ S :?2= ^ A.^.H4^^^H-H^^m BE 1 — \ — r 10 ^^ 11 ^ i 4: ? 3i isz ^00 Introduction of Te The teacher sounds do and sings the following, using the syllable 5^ :^2z Most of the class promptly sing: /g^ bV H - ^- eI w/ yiz »?j The teacher agrees that the tones sound like sol fa mi but reminds the class that the first tone is do and the last is la. The teacher sings again If no one knows the new tone, she sings FEBRUARY 123 the syllables, and the pupils imitate. The teacher asks what tones sound like these, and the pupils sing sol ja mi. Frequent comparison of p ff b^ '^ ■^ -=z:2= [ and \i ^ ^^ ^^= ^ 3 sol fa mi do te la is all that is necessary to master the new tone. Whenever the pupil can sing the new combination first, before having heard the sol fa mi, then the teacher will know the new tone is mastered; not before. Material for Oral Tonal Dictation Study of Te i Like sol fa mi Like sol la sol fa mi fe < -- ^ b . Like sol fa mi fa mi ^ b ^= =22=5^= -bo ^ — I -B- 'ZS21 Do te la Do do te Like mi fa mi ^Si- Like sol la sol fa sol la Do te la te Like sol la sol fa mi la 321 =^=5i =55 IE r22Z La te la Do re do te do Do re do te la i Like sol la ti la sol fa mi Like mi fa mi re do ~g?~ issr -^ — te --^e. w 1221 Do re do te la La te la sol fa Material for Oral Tonal Dictation Review t ~7Zr- E^^E^lE^ :^=^=iF=gs= P i IS 32: I22Z -i 124 MUSICAL DICTATION "gy ^_^fe ^ ^ ^ ^"^ zgz ^^,^^,^ ^^-H-^ i^^g^g^ -'g W'S^ 10 11 12 ^^^=^^z:e^ < -- ^ g. o Ug _ — cj^ ^^^-.=^^_ CI E' Dl Bi CI A. G r EG CI Dl Cl LESSON XIV (Writing Book) Directions are in the Writing Book. Use No. 2 for reading. MARCH The Minor Scale So far nothing has been said about the minor scale, although the pupils have become familiar with the effect of the minor through oral and written dictation. Exactly the same tones are used in the minor, as in the major scale. For the present it is sufficient for the pupil to recognize and sing two scales, the major {do) scale, and the minor Qa) scale. Material for Oral Tonal Dictation The teacher should always sing the oral dictation material with a neutral syllable, and the pupils respond, singing the syllable names. _nl— 2 3 i ^^^—iS ^ J C? |-.g^ ^=i==^=^ 4 5 6 i -iS— 1-1^ ^ (S— 1-1^ Si- I22Z i 7 -iSi-l-i^— iS- ^^^=^=s=^=^^ r^- \ —^-7 ^^^^= ^=^=i=^-^^-^'^=^^ =^ W IQ. 11 12 # ^- .^-^^ i ^ F^g=^^;^^g^ :3sib^_ 13, 14 15 yi >-.^ ^ t^ ^=^ .^^^^ ^^^^J ^^^^ ^ ^^ ^-^ J i Material for the Study of Do, Mi and Sol 12 3 tit /T\ rtN /r\ /TS /^ /T\ - ^" <- ^ ~f-' f-^ try ~ — — I2S 126 MUSTCAL DICTATION (i) Teacher: " Sing the firm, strong tone. Sing the bright, grand tone." (Raising the hand to indicate the upper sol^ " Sing the calm, steady tone," etc. The pupils sing the tones described, using the syllable names and holding each tone until directed to sing the next. (2) Teacher: " Sing the firm, strong tone. Sing the bright, grand tone." (Making the manual sign for upper sol.) " Sing the calm, peaceful tone," etc. Material for the Stt7dy of Ti Ti has a strong tendency leading to do. These two tones are there- fore almost tied together. The following series are all sequential. The pupil will complete the series after the teacher sings two or three groups. Series A: 12 3 4 i W- ~-^^ -S» — 7--, — 15> ' g? i 1^ 'f^ ~g^ M m ISZZ 321 Series B : 1 2 ft i «* fLJ | ~?^~ IS2Z -~r^ 1^=32: = > ^ I MARCH 127 i % 2:^=S= 22Z zssacss-L IS3Z ^ '^'~ Series C: i lsl=^ pE^^ -g ? ' ^ _j 7 ~g?~ 122.1 « 13 ? SZ i Study of T/ The mental effect of ti will now be evident. The teacher asks the pupils to notice while she sings, and see whether or not the melody is complete. She suggests that they may add any tones which appear to be necessary. The teacher then sings the follow- ing with the syllable names: 1 Do ^ I^E£ ^ 1= i Many in the class will be impelled to sing ^Tfr After this is repeated, the teacher does the same with the following: 2 wt ^ 1 f€i=^ t-t- g l^. ^ * s i£=^ Several questions are now in order, such as the following: " Where does ti seem to lead? " Do and ti are very much alike, are they not? " Why not? " Ti is firm, solid and restful, is it not? " What sort of a tone is ti? " etc. 128 MUSICAL DICTATION The teacher will have led the pupils to see that ti is a restless, piercing tone, strongly leading to do. The teacher will then sing do ti do; as ti is sung she will make the following sign for ti, thus: following this immediately with the sign for do. Material for Practice with Manual Signs or Oral Direction m. ~g=^ IE -s?:^ ;^^:^- The teacher who plays the piano and has even an elementary knowl- edge of harmony and a little skill in modulation, can materially in- tensify the effects caused by changes in scale relation. When A, for example, is do in the chord of A major, the effect is satisfactory and reposeful. Let the player retain the A and strike the chord of the dominant seventh in B flat major. Instantly the sound of ti produces a restless, unsatisfying feeling coupled with a strong desire to go at once to the do (B flat). The supervisor will graphically illustrate these tone colorings, to the great advantage of all concerned. Without a clear notion of the characteristic qualities of each scale tone, the pupil will be seriously handicapped in the further study of music. LESSON XV (Writing Book) The pupils should sing the scales after they are written. The teacher should give the pitch of do only. The pupils should find the pitch for themselves in Nos. 2, 4 and 6. MA Rcrr 1 3g LESSON XVI (Writing Book) Speak of the major scale from F, the minor scale from D, etc. The pupils should sing the entire lesson after it is completed. LESSON XVII (Writing Book) The teacher will sing each group with a neutral syllable not more than three times. In this lesson, allow the pupils to respond, singing the syllable names. ~g?~ xr 3 F#Vr c^ -&- 4-" -^ l-&ll :S= = 1 -If^-^ S>- C^ -- tj ~^- <^ -&- Z2SZ -^-1 ^ Sol g rj Mi '^ ^ ° ^^ ^r~^l^:^ =^^==^;^ =^"=l^ i v=^- LESSON XVIII (Writing Book) The pupil will place the notes indicated by the syllables and measure signature. Da Capo (da ka'-po) means " from the beginning." Fine (fee'-nS) ' means "the end." In the singing, see that the repeat is made before going back to the beginning. Have the class sing in three diyisions, one division singing No. I, another singing No. 2, and the third, No. 3. APRIL Study of Re Each series is sequential; the pupil should complete the series after two or three groups have been sung or called for by the teacher. En- courage the pupils to roll the r in singing re. Series A: O '^ O \€y rj '^ O Vc^ - '^ Cf -)-iS^ ~g?~ %-=^=s^ ~g?~ ~Z7~ gtf=g=^ Series B : ^ rs—^-^J^^. cj . <: ^ ^ o , , I , , Q g^-^- y — c > ' ^ i y g?—^' '^-gy^g?' g? e^ ' g> c - g g? g> ' c^ — ^■ Series C: i :a r-^^^ ^a- =;^=^=^ tr — 2=^ T=r— tJ i o'^\ ^ zsr ~g7~ 122; ^E i 1221 - ^ ^ (The study of /a and /a will be introduced at the beginning of the fourth year.) Material for Oral Tonal Dictation The two-part exercises should be given by direction, or with manual signs. (Seepage 121.) APRIL 133 i 32==^:: ZSZL -!=> — lis: — =?- W-- 32z:;fe IS2Z isz; i^z: i - , g- ^=f 14 ^ g2^^ g= 4- '15 -eJ c^ ^ :S g! fe -IS .&- (Give Nos. 12, 13, and 14 by oral direction only.) LESSON XIX (Writing Book) Show on the blackboard the short lines as used in No. 2. Speak of them as "line below, second line below," etc. Have the pupils sing both scales after they are written. The pupils now know two scales, major and minor; not eighteen. 134 MUSICAL DICTATION LESSON XX (Writing Book) The teacher will sing or play Nos. i and 2 with a marked accent. The pupils beat and Usten, then write. After No. 3 is completed, use it for sight reading, beating six to the measure. i ^ s ^ # ~?y -X ^ 3SZ ZZlt g ^ ^ i 5& p -g?'^ LESSON XXI (Writing Book) The teacher will sing the first four groups distinctly. The pupils should beat and sing No. 5 after completing it. 1 2 I --¥ iE :32Z IZ2Z - rj c:> * €:> '^ i ?u Z><7 M 10 ~^^ — ^ — ^^ g^ i2z: 32Z i«=:s2z 11 12 J3Z)-t o ' ^ o 22: g? c^ ' ' fV g? g y 8 Do ±^ I a g-^ —^ - -^ — g^ =^5=^ 10 11 — g^* o ^E^ 'V s?~ =22=^===^ LESSON XXIII (Writing Book) After listening to the teacher, allow the class to sing the syllables before writing Nos. i, 2 and 3. Before singing No. 4, name and call attention to the new symbols. MAY 137 mf stands for mezzo forte (met-zo f or-ta) and means moderately loud, eras " " crescendo (cre-shen'-do) and signifies a gradual increase in power, sf " " sforzando (sfor-tsan'-do) and means with sudden force, p " " piano (pe-a'-no) and means soft. pp " " pianissimo (pe'-an-is'-se-mo) and means very soft. 1 2 i 22Z 32Z P^P-= isz: I52Z LESSON XXIV (Writing Book) Before the pupils write this lesson, review the following: 1. r|jl is always the first in the signature; the remaining sharps are placed alternately down four degrees or up five degrees. 2. After the first flat, each one is alternately up four or down five degrees. No. 8 should be sung, after it is completed. LESSON XXV (Writing Book) Cultivate the habit of silent singing. Before the pupils sing No. 7 with the syllable names, they should beat and sing it through silently. The pupil should hear the tones and feel the rhythm before beginning to sing audibly. Notice that the song begins after the beat. 138 MUSICAL DICTATION LESSON XXVI (Writing Book) Any interval from one tone to another which leaves out one or more scale tones is called a skip. Do to mi is a skip; re is " skipped." In Nos. 2, 3, 4, and 5, the pupil makes his own melody. The first note and the last measure are already written. No skips are allowed. If the teacher chooses, the pupils may submit their compositions to her before writing them in the book. JUNE June will be devoted to reports of individual recitations, to giving needed assistance to the slower pupils, and to the last Written Lesson (No. XXVII). The written lessons during the year give constant opportunity for the teacher to know the strength and weakness of each pupil. It is assumed that individual singing is practiced in the music class just as it is in the reading class. Therefore, the January and June work does not differ materially from that of other months, excepting that in January and June a record is made of each pupil's oral and written recitations, and that no new problems are presented. The material for the individual tests in Oral Tonal Dictation may be selected from the material given in February, March, April or May. Names Oral Tonal Dictation (5 exercises) Written Lessons Remarks Mary Smith Sang 10 exs. O.K. 95 John Bright Sang 5 exs. O.K. 90 John Stout Feb. Exs. I, 2, 3 60 Improving fast Robert Burns 40 theory work •Has had adenoids removed. Voice better. Can match tones 139 140 MUSICAL DICTATION LESSON XXVII (Writing Book) The pupils will be intensely interested in making melodies. Insist that they think (hear) the melody before writing. If there is time, it is well to have the melodies written first on the practice page and submitted to the teacher, before they are written on the lesson page. Children who desire to do so, may be allowed to write additional melodies on the practice pages. Number One may be written in several ways; for example: i^^^i^^ ite -^-LS>- te m ^=^ j^t ^ "■*-~"*^ ^^ pS^5i^^ i^ ^g^pa=5 In so short a melody it is not best to repeat the same tone. The following, for example, is monotonous: i ifc ^^ -* — w- i The following are some of the forms No. 3 may take : « wm^^^^^tmm tt IJ gi^ ^ -* — ar- tf jgte le^ ^hw=^ ^ s^^ s w ^^^i p^^ m^ ^ s JUNE 141 Jg^^ w ■f^^=F=P^'^ g^^ «;3t s 4: ^-v- *-ph-^& ^S 5^ :S: ^ I ^- - etc. It is not to be expected that the first attempts at original composition in the tone language will be in perfect form. They will compare favor- ably, however, with the first compositions in English. The purpose is to lead the pupil to think and to express his thoughts, even though the thoughts are crude and the expression faulty. BOOK ONE INDEX Page Blackboard writing 36 Changing the pitch of Do . . . .35, 47, 88 Chromatic pitch pipe 3 Chromatic tones Introduction of Fi 92 Introduction of Di, Ri, Si, and Li. .102 Sequential study of 103 Introduction oi Te 122 Clef :..37 Compass of the child voice 3 Dictation Metric-Oral 9, 26, loi, 109 Written . ., . 18, 45, 55, 61, 62, 67, 73, 78,83 Tonal-Oral 6, 10, 15, 22, 25, 29,33,42, Si> 59' 65. 7°> 75. 80, 93, 101,107,123,125,133,137 Written 13, 20, 23, 26, 30, 43, 44, 51,61, 72, 76, 81 Eighth Note 77 Flat. ■ 14 Individual recitation ; . . 7 Intervals ( skips ) 39 Studies 40, 48, 64 Introduction — First Year i Second Year 31 Latin Syllables 2, 96 Page Manual Signs 117, 120, 128, 132 Marking the tempo 9 Measure — Four part 67 Six part 1 06 Three part 19 Two Part 18 Music Reading 12 Mental Effects of scale tones Do-Mi-Sol 115 Ti 126 Re 130 Quarter note 53 Rests Quarter 54, 77 Whole 54 Half 54 Eighth 77 Review, semi-annual . . .57, 85, 113, 139 Rhythm 9 Sense of, how developed 17, 90 Studies . 54, 67, 77, 82, 88, 90, loi, 107 Rote Songs Use and importance of i, 31 Scale — Major 4 Sequential study of 4, 50, 58, 87 Minor, Introduction of Normal. . . 125 Sharp 37 Singing in tune 47 143 144 INDEX Page Signature Key 38,43 Meter 38 Staff 14 Liner 13 Staff degrees 124 Syllable Names 4, 13, 86 Syllabizing 60, 66, 74, 79, 84 Symbols, how learned i3> 97 Pags Tone 3'^>3i Three and Four Tones to one Beat. . 109 Two Part Singing (preparation for) 121, 133. 137 Two Tones to one Beat Introduction of 100 Writing Book. . . .95, 104, no, 124, 128, 133. 138 HOLLIS DANN MUSIC COURSE MANUAL FOR TEACHERS MUSICAL DICTATION— STUDY OF TONE AND RHYTHM BOOK TWO HOLLIS DANN, Mus. D. PROFESSOR OF MUSIC, AND HEAD OF DEPARTMENT OF MUSIC AT CORNELL UNIVERSITY AMERICAN BOOK COMPANY NEW YORK CINCINNATI CHICAGO Copyright, 1913, BY HOLLIS DANN Copyright, 1Q13, in Great Britain Musical Dictation Manual for Teachers, Book Two MUSICAL DICTATION BOOK TWO INTRODUCTION This book is a Manual for teachers and is intended primarily for use in the public schools. The course begins with the first and ends with the seventh grade. When used in schools where first grade music consists of Rote Singing only, the course outlined in the Manual would begin with the second and end with the eighth grade. The Manual is in two parts : Book One contains the material for the first three years in the study of tone and rhythm. Book Two contains the material for the fourth, fifth, sixth and seventh years in the study of tone and rhythm. Book Two also contains sup- plementary material for Advanced Dictation. Music Writing Books Beginning with the third year, each pupil should be provided with a Music Writing Book in which to write the lessons outhned in the Manual. Third year pupils use Music Writing Book No. I. Fourth year pupils use Music Writing Book No. II. Fifth year pupils use Music Writing Book No. III. Sixth and Seventh year pupils use the Music Writing Tablet. The following general suggestions are offered concerning the use of the Manual: 1. Look over the material for the entire month and begin all features of the work early in the month. 2. Keep all activities progressing throughout the month. 3. Have a plan for each lesson; work rapidly, and avoid wasting time by useless questions. INTR OD UC TION Absolute Pitch Many children will acquire the ability to recognize any given pitch if given a fair opportunity. The capacity for acquiring this power should be fostered and developed rather than stunted and neglected. To develop this invaluable feature of a musical education, certain condi- tions are necessary: 1. The pupil should continually hear the correct pitch. Therefore, it is essential that the piano, the pitch pipe, the violin, etc., shall agree in pitch, both in the home and in the school. 2. All music which the pupil sings should be sung at the pitch in which it is written, or, if sung in a different key, the pupil should know the change. Parents and teachers who are able to approximate these conditions may cultivate the sense of absolute pitch in children with surprising results by testing a given pitch daily: B=g^ or ffi^=^ for example. The Pure Scale Ability to think and to sing the pure scale as played by an artist on the violin, for example, is the best possible scale training and is invalu- able to the pupil who is to make a serious study of music. This, how- ever, can be acquired only with the constant assistance of expert teachers, and is obviously beyond the possibility of attainment in the public schools. Singing in Tune Singing out of tune is evidence of wrong physical and mental condi- tions. Good tone production and correct intonation are evidences of normal conditions. It is entirely feasible and practicable for classes in the public schools to sing true to the pitch. Nothing less should be accepted by the supervisor or the teacher. INTRODUCTION Because of the low standard which prevails, faulty intonation is accepted in many communities as a necessary evil in school singing. The fault is not with the children. Their false intonation is evidence of wrong physical and mental conditions, and is the inevitable result of careless, inefficient teaching, and poor or inadequate supervision. The ability to create and maintain normal vocal conditions is the first and most important qualification of the supervisor of music. These conditions include: I. Proper position of body and head, and flexibility of the lower jaw, tongue, and facial muscles. 2'. Deep breathing, secured by correct position and by use of simple breathing exercises. 3. The use of the "thin, head" voice, and the avoidance of the lower "thick" quality. With these habits formed, the singing voice is used quite as easily as the speaking voice. Correct intonation demands correct thinking as well as normal physi- cal habits. Certain other conditions are, therefore, essential: 1. Every teacher must use a chromatic pitch pipe, thereby detecting and correcting any tendency to "flat" or "sharp" the pitch. Con- stant singing out of tune — "flatting the pitch," for example — causes the singer to think the wrong pitch; he then sings out of tune because he thinks out of tune. 2. If a piano is used, it should be kept in tune, else the ear is con- stantly misguided by false and unmusical tones. A good piano is most desirable in the schoolroom. Incidentally, the piano may be used in place of the pitch pipe for taking and testing the pitch. 3. The songs and exercises used by children in the lower grades must be in the proper compass and favorable to good tone production. The use of unsuitable material encourages and develops bad vocal condi- tions and consequently results in faulty intonation. Children who sing properly sing in tune, freely and easily, with light, clear, mellow, flutelike tone which increases in breadth and volume as the children develop physically. INTROD UCTION The Use of Syllable Names The syllable names are indispensable to the pupil in gaining a mastery of the tonal problems in music. By their use the pupil is aided in iden- tifying and differentiating each tone. The primary object of all instruction in sight singing is to teach the pupil to hear the tones and sense the rhythm of a melody as he looks at the music. The pupil has many problems demanding instant solution in reading a melody. Accent, rhythm, tones, all require recognition, quickly followed by expression. The recognition and interpretation of musical symbols demand quick and accurate thought followed, by action, which must be equally accurate and rapid. All the power of concentration which the pupil possesses must be employed in reading music. The reading of words and music demands the recognition and inter- pretation of two entirely different sets of s3mibols simultaneously. This is beyond the power of the majority of children during the first two or three years in school, and their attempt to interpret two languages at once makes concentration on the tone language impossible, deprives them of the help of the syllable names, discourages the slower pupils, and places upon young children a task which most adult beginners are unable to accomplish. It is better to follow a vital pedagogical prin- ciple and attack one difficulty at a time. The interpretation of one language at a time is obviously enough for little children. The Abuse of Syllable Names While the Latin syllables are vitally essential in mastering the tonal problems, they are only a means to this end. Their constant use in the upper grades to the exclusion of words, is a serious error. When the pupil has formed the habit of hearing the tones and feeling the rhythm as he looks at the symbols, and has had sufficient practice in combining tone and rhythm, he is ready to begin reading without the syllable names. INTRO D UCTION Time is wasted and progress retarded, however, if this is attempted too soon. If individual singing is constantly practiced, as it should be, the teacher will know when the class is ready to begin the reading of words and music together. The Music Readers, both the regular text book and the supplementary material, should furnish a large amount of music especially adapted for this practice. An abundance of suitable material, not too difl&cult, is a necessity. Before the pupil reaches the High School, he should be able to read at sight, words and music, with facility. Correlation of Reading ajstd Singing Oral reading and singing are very closely related. Poor results in either, seriously interfere with progress in the other; excellence in one, greatly accelerates improvement in the other. The right sort of sing- ing makes speech more musical and more flexible; gives the voice a wider compass and greater sustaining and carrying power; develops the rhythmic and melodic sense; stimulates emotional expression; and, in many other ways, increases the pupil's capacity for oral expression in speech. The course in Reading in the public schools should give to children not only the ability to read and understand, but should equip them to speak the English language clearly, distinctly and naturally. Mum- bling, inarticulate, nasal speech, accompanied by distorted misuse of vowels and consonants, makes the teaching of singing tenfold more difficult. A thorough, systematic course in Phonetics is absolutely essential if American children are to speak the EngHsh language accept- ably. Indistinct and inaccurate pronunciation and enunciation are alike fatal to acceptable reading and speaking, and to good singing. To teach the correct use of the English language in speech is primarily the function of the course in Reading. INTRODUCTION To teach the correct use of 'the singing voice, and the reading and interpretation of the tone language, is the function of the course in Music. In the upper grades the pupil must read and interpret both languages simultaneously. Good oral reading is the greatest possible help to school singing; therefore, the music supervisor and teacher should assist in every possible way in bringing about the correlation of Music and Oral Read- ing from the first grade through the High School. FOURTH YEAR SEPTEMBER Tone Production The study of vowels and consonants, breathing, position, etc., as applied to children's singing, is vitaUy essential for every teacher who attempts to teach children to sing. This most important side of school music teaching is not included in this Manual, for obvious reasons. A few suggestions only, are offered concerning the use of neutral syllables which shall hereafter be used a part of the time, in the place of the Latin syllables, do, re, mi, etc. Great care should be taken in the choice and use of vowels. The oo sound is an excellent means of forming the "head" tone habit. How- ever, the habitual use of oo is apt to develop a "hooty" tone. The vowel a as in on is favorable to good tone. This sound is between a as in all and a as in father. The teeth must be apart, and the muscles of the tongue, lips and face, flexible and soft, in the singing of all vowels. The mouth must be opened easily and naturally. An unnatural or distorted expression of the face while singing is conclusive evidence of bad tonal conditions. A stiff, forced condition of the open mouth may be quite as bad as the closed teeth. One of the worst and most common errors is the neglect to open the back part of the throat and mouth. The lips and teeth may be wide open while the tongue and soft palate completely close the throat. No direct appeal should ever be made to the child to "open the throat." Such instructions cause an ijnnatural effort and develop wrong conditions. The singer should feel the sensation of gently lifting the tones. Sometimes the act of yawning will hel^ to give this sensa- tion of lifting the tone, 7 MUSICAL DICTATION ' The teacher should be very sensitive to tone quality, never forgetting that the only tone quality which is acceptable in children's singing is mellow and pleasant. Under the skillful teacher, this tone is also res- onant and beautiful, never harsh and unmelodious. Review of Sequential Studies The following scale studies are to be sung by the class and by each pupil individually, in the order given. The pupils should be encouraged to sing the entire series without assistance, after the teacher gives the directions for the first group. The teacher will soon find it unnecessary even to suggest the order in which the studies are to be sung. It is important that these studies be sung rapidly, and with freedom and facility; otherwise, the automatic use of the syllables will not be gained. (For' further directions, see Dictation Manual, Book One, page 86.) The pupils should take breath after each group as indicated by the breath marks. Teacher: Sing do re do. Sing do re mi re do. Sing do re mi fa mi re do, etc. Series A: ^ u r i£:arf-rrrrr7- | -^fe pgi^^ 9 — s =P=?E g^^^ ^ ^r^ ^ -f—»- s^ -*— *- t--^-"- I a^ ■S ' ^^ iSzitt^ ^^'^^ ^ PE^ :;i=3ti: -■*— ^- ^ *=it POURTH YEAR— SEPTEMBER '^S^-S-J- ^^ ^^^ ^^^^^ i4» tC^ (;«. -^ j^ ■ ^ ^ .^ -f^ /»^ 1*- v.^ 1^ i-'-^ J. fl,c -<- t i, -^Si^ ^ ffi ^ 3=* ^^ "'7 -t t***7J I Series E: "^^^"^^^ jTL X,. i d=33S 4* r^Q-j-J-L-L^ .(- 7t^ ^ x^A /V '*•-*-■. Yf^ f ' Wv- L. vw- -L lir l^^^p: -^r=^ -tf'*- jU Si^ b- -C ft-, -^ A.« i S^l^ - 1 , ! J ^ 10 MUSICAL DICTATION Review of the Mental Effects of Do, Mi, Sol, Ti and Re Every expert in sight singing has a keen appreciation of the relational effects of the scale tones. He senses the harmonic effects of the melody ; he feels the modulation and knows in what key and mode he is singing. This harmonic sense is essential to good sight reading and may be acquired by the study of Harmony; it may also be acquired by the proper study of the scale tones, without the study of Harmony. If the teacher will play the chords indicated and listen carefully, three radically different impressions wiU be received from hearing the upper tone C, although the three physical elements of the tone — pitch, volume, and quality — remain unchanged. ^444-fe i# g^^^" gg H ^fff^ m w^f=f=m ^ «=figi I After hearing No. i, the thought rests on the same tone (do). The C in No. 2, no longer sounds like do but like ti, and there is an irresistible impulse to sing the next scale tone above. The listener feels after hear- ing No. 3, that the next tone must be mi. Appreciation of these rela- tional (mental) effects of the scale tones is vitally essential. The teacher is strongly urged to study the scale tones until the in- dividual characteristics of each tone are known and felt. The manual «igns should not be presented until the mental effect of the tone is clearly felt. The signs are only one means of recalling the relational effect of the scale tones, and they should not be used at all unless pre- ceded by a graphic description and clear appreciation of the effect of the scale tone represented. (See Dictation Manual, Book One, pages 115-132.) FOURTH YEAR— SEPTEMBER II Material for Review of Bo, Mi, Sol, Ti and Re To be given by direction; e.g.. Sing the firm and strong tone. Sing the bright tone, etc., or by means of the manual signs. 1^0 2 3 i fes= ~g?~ iEi ^=^=^^ E=^E^=^ e ;i w 122: g 4 Do c^ ^ s^ ^ "g:^ :Z2Z P -iS- I22I * 7 iJi? "S?~ 122: ISZ 321 g? <:> .^ 'S-^ ^ r^ -z:3-_5S>^ i 10 Do 11 12 ^ 'g?~ P ~g:?~ 35^ Material tor Rhythmic Review The following should be copied on the blackboard before the time for the music lesson : la \ Apt • |#ryi -\ P 1 h§>8 \f — V — b— ^F-+-t=^t' — &H-> ^V !z^ k 1 i f^ - 1 w B « p -■A — =1- S^ P The teacher, or pupil, indicates the ten^o, points to a measure, and directs that the class beat and sing the measure, repeating until another measure is indicated. This practice should be continued from day to 12 MUSICAL DICTATION day until the pupils can sing any and all of these measures correctly. The pointer should be moved quickly, indicating the new measure sUghtly before the completion of the previous measure. The exercise may be varied as follows : 1. Have one pupil sing the entire sixteen measures. 2. Change the beat-note, thus: lb — ^f5 9 9 9 (TS-. 9 9 9 9 '^-9 "-i ^i— "S <9> 9 • ^ — |_^4_p p p — \\ \\ ' — [- p-l-^- — ^ '^ 1-^ " t — p 1 r-p- 1 1 i ^ ^ ^ ^ ll -ti—f^- — ■— — F— -^— — F— -r- — ■ — 1 — ^ — ~ ~ — F~ — F— l-l L^l^ i ^ L| 1 1 1 L-l 1 ! 1 1 3. Have three pupils, or three sections of the class, sing from each representation simultaneously. 4. Erase every other bar, change the 3 to 6 in the measure signature, and use the exercise again as six-part measure, (i, %, and I)- 5. Instead of singing, speak the rhythms to a neutral syllable. (The rhythms may then be represented without the staff, thus : % Z Z t | T ' || pf p^ la^ la,l{Z^ la. 6. Visualization. The teacher proposes a musical game, as follows: The leader describes one measure ; the pupil will try to prove that he sees and under stands^ it by beating and singing, with the syllable loo, four measures like the one described. FOURTH YEAR— SEPTEMBER 13 After naming the key (C major), the kind of measure (4), and sound- ing the key tone (C), the leader says: I see two quarter notes on the third space. A pupil beats and sings No. i with the syllable loo, thus: Loo, loo, loo, etc. Leader: I see a half note. A pupil beats and sings No. 2, etc. & P* '?2Z I Only one or two minutes should be spent with the "game" after the first time it is played. Series A: 1 234 5 67 8 i l^i^^fe^ 2=a=3= ^ P^ EfEEEl Series B : 1 2 W^^^^SS^!^^ fC^=^pEjE: S^S Later in the month use the same material in a different way. Place the measure on the board and require the pupUs to beat and sing four measures, as before. Oral Review or Three and Four Tones to One Beat The teacher sounds the key tone and directs the pupils to beat and sing the scale descending, singing each scale tone as many times as there are tones to one beat. 14 MUSICAL DICTATION Teacher: One tone to each beat. Pupils: i^ P^E Teacher: Two tones to each beat. Pupils : Teacher: Three tones to each beat. Pupils : i fc a ^ an-r^rr j ^^^i^^i^^ S^ w^± ^^H Teacher: Four tones to each beat. Pupils : Teacher : In each measure there are four tones to the first beat, and one tone to the second beat. Pupils : ^-LJJL^^ p P -etc 1 Teacher: One tone to the first beat, and three tones to the second beat. Pupils: ^^ ^ Avoid, for the present, combining two and three, or three and four tones to a beat in the same measure. All other combinations may be made with great advantage to the pupils. FOURTH YEAR— SEPTEMBER IS Oral Tonal Dictation Study of Fa Lead the pupils to associate ja with mi, to think of the two tones as linked together. The following studies are sequential. The pupils should continue unaided after the teacher has called for two or three groups, thus: Sing mi, fa, mi. Sing mi, fa, sol, fa, mi. Sing mi, fa, sol, la, fa, mi. v-r ■ 1 1 / ^ ,0 ^, <-r) '-• f( yf r^ t^ CJ ^1 <~-L CJ CJi ■^ c^ \- B I22Z _t^_:s: iS=3^: i ^ g^ g? f-j ^' c — g y^b ~_<^ '^ i2s=:s: "z:?" i I p 55==22=e= ^ c? i ;^=t l# 10 s^sz S^3SZ 3i: <^ CA. i ^ ^a ^ rJ g? -g= <- Szst *^3^ Many singers think the intervals from do to re, mi to fa, and re to fa., too narrow. Re and fa are consequently sung below the pitch. Lead the pupil to think these intervals wider. Fa has a strong tendency toward mi. This is already evident to the thoughtful pupil. Fa has other distinctive qualities. Sing, or play from the original, the following excerpts. Notice the desolate character of fa in this excerpt from The Messiah. i6 MUSICAL DICTATION Slow fa t fa 4-# ^ fe4=# :i3: i A man of sor rows and ac- quaint ed with grief. i^^ ^^ 1:6=5=^ P iM=5r He was de spis - ed, re ject ed. Notice the effect of fa in this excerpt from The Elijah, where the phrase is graphically used to inspire a feeling of awe. i -fe ^E ^ fa fa fa :?2= 1= 4: I Be hold I God, the Lord, pass - eth by. In the same chorus, Mendelssohn repeatedly uses the following phrase, picturing the mystery of the coming of the Lord in the " still small voice." fa fa m g =^ I On ward came the Lord. Notice the constant repetition of /a in depicting the desolation of Elijah. Elijah ^ fa 3^ fa t ^ fa fa ^ W les ^ Night fall eth round me, O Lord 1 fa fa ^ fi' /"■ Be thou not ^- S^ 3 far from me. Hide not thy face, O Lord, from me. FOURTH YEAR— SEPTEMBER 17 As ja is sung in the next phrase, the teacher makes the manual sign, thus: The teacher will now have the class sing the following, using the manual signs to indi- cate the tones: tf a Slowly fa W^ It -^ — — r "^■s- zLaz ~?r r I Minor Scale from D Continue, one at each lesson, until nine different representations of the two scales have been shown, as follows: Major Scale from G Major Scale from D Vttj' " 1 / A "\, ^ ^ri .—. 1 ~f ) ^" ^ ^ o ^ 1- m^ S '^ ^ ^ — 1 «.- y. -^ ri (p\. W ^" '^ g? /v ^ Minor Scale from £ j~. Major Scale from A Minor Scale from B Major Scale from E ^ Minor Scale from Fit Minor Scale from CJt T-j Major Scale from F j^ Major Scale from B7 S w zsz: zLaz ■&-p^ La Minor Scale from D Minor Scale from G Z><7, Major Scale from E7 j~. Major Scale from A7 m ^■^ ^ '-^ -^ ,. Minor Scale from C Major Scale from C S '^^^ ■ > lLa_ Minor Scale from F i Do Minor Scale from A FOURTH YEAR— OCTOBER 27 The pupil now knows two scales (not eighteen), the major and the minor. He has learned that the same tones form both scales. The difference (to him) is that the major scale begins and ends with do, while the minor begins and ends with la. He has also learned that with each key signature, two scales may be represented, the major {id) scale and the minor {la) scale. Sequential Scale Stxidies (Minor Mode) The following sequential studies should be used as were the corre- sponding studies in the major scale. Pupils will soon learn to sing Series A, B, C and D in order, without assistance or directions. EE S 3^ -•—^ -•— «- ^^ 28 MUSICAL DICTATION Series C: Series D : Sequential Study of Si-La The first two or three groups are to be sung by direction, after which the pupil should continue, without assistance. Link 5* and la together as one thought: g K)) ''' 1 ^^ ZSI c^ '^ ^ ry--jsz. -frs- -7-^ ^= fe i i£ ^ rC izs: i -??-r^ s^^ rJJ ^ -&-^ ^ ^ ^ \ ^ a ^ ^ 1 ^7 ^ ^) .-^ 1^^ I ^ '^-^^ i P 221 -■g ^ -S* i--,— T ^Ig ^ I22Z Ei^^l NOVEMBER Introduction of Le, Se, Me and Rl The pupil knows la te la. He also knows that these tones sound Hke mi fa mi. (See Dictation Manual, Book One, page 123.) The teacher caUs attention to the fact that the tone just below ti is named te, and that the tone just below la is named le. (The final sound is changed to a.) The pupils will find the names of the next two new tones. Teacher : I will name the scale tone and you may name the new tone just below. Teacher: Ti. Pupils : Te. Teacher : La. Pupils : Le. Teacher : Sol. Pupils: Se. Teacher: Mi. Pupils: Me. Teacher: Re. Most of the pupils will answer re. The teacher points out that all these new tones end with the sound of a, but as re already ends with this sound, another must be used for flat two. The name of flat two is rd. The teacher will again name the scale tones, and the pupils the new tones, as above. The pupils should now name the tones in groups of two, thus: Ti te; la le; sol se; mi me; re rd; pausing an instant after each group. The teacher sings the following groups, using the syllable names; the pupils respond, also singing the syllables. After each group, the teacher asks: What tones sound like these? The pupils respond by singing mi fa mi (or ti do ti, etc ,) . 29 30 MUSICAL DICTATION t Wz --m^ W ~g?~ lt?SZ izs: -(S- i Do rd do, re me re, mi fa mi, fa se fa. s 22Z Wz ll222Z zszz w sol le sol, la te ti do ti. do There will be a decided tendency to sing all the intervals in these groups too narrow. This fault may be overcome by asking the pupils to think the upper tone higher. Continue this activity from day to day, until the entire series can be sung freely and in tune, and until it is clear to the class that there is no tone between mi and /a, or between ti and do. The teacher's ear should be very sensitive to the correct singing of these half steps. Even if the class ends the series on the correct pitch, the half steps may have been sung flat of the pitch. The following sequential study should be learned and sung by each pupil, in connection with major series A, B, C, D and E. Sing slowly at first. {Fi instead of se may be used in the descending chromatic scale.) Series F: i^ (Major) =5Si ^ ^^-LLJ-^- t=s:izL 3tl2^ 8S^ ll?J3i: 1?^ ^? ~gy E15 ;i=at EE The introduction of these tones is entirely oral. No representation should be shown. Series F should be sung daily until it is thoroughly learned. Each singing pupil should sing Series A, B, C, D, E and F, individually before the close of the term. Each series should be sung rapidly as one recitation, without assistance from the teacher. FOURTH YEAR— NOVEMBER 31 The Study of La In the major scale, the tendency of la is to progress downward; it is, therefore, one of the active tones of the major scale. The character- istic effects of la are best illustrated in the minor scale when la ceases to be active and becomes the "home tone." La is pecuKarly expressive in the minor mode, where its emotional character is evident even to the casual listener, when the tones are sus- tained. Before attempting to individualize this scale tone for a class of pupils, the teacher should thoroughly sense its relational effect. If the presentation is sufficiently clear and effective, the pupils will dis- cover and describe the sad, mournful character of la, without sugges- tion from the teacher other than the singing of the characteristic ex- cerpts. The manual sign should not be presented until the character of la is strongly felt by the pupil. If a piano is available, the accom- paniment will be found most helpful. The teacher first sings the melo- dies with the syllable names, asking the class to listen especially to la. ^ Slowly ^m. Old Welsh Choral ^S ^ ^= ^^?^ # From " Daughter of Jairus," Stainer i fe^j^^ -^ ^ -F= =t -iS'-^ Sweet,ten-derflo-wer,Born for an hour,Now by Death's cold hand strick-en Slowly n\ From " Judas Maccabaeus," Handel P m ^ ^ l¥^. Your he ro is no more, Your fa ther is, no more. 32 MUSICAL DICTATION The teacher should find no difficulty in leading the pupils to give their impressions of the effect of la. The teacher now sings the following, slowly, with the syllable names, giving emphasis to la. ^r\ ^r< /fs 2i ^ isz: Za ii do ti la do la With the last tone, the manual sign for la is given, thus: The last exercise should now be given by oral de- scription of the tones, and again with the manual signs. The depressing effect of la is intensified by the relaxed, drooping attitude of the arm and hand when giving the manual sign. The study of la should be followed, in subsequent lessons, by the singing of the la triad, the class singing by direction in three divisions: All i fn m. =^z =t ^ % 1 ^ . La The assignment of parts should be changed frequently, so that each division may sing aU parts. Material for Oral Tonal Dictation The teacher (or a pupil) plays, or sings with a neutral syllable. The pupils respond, singing the syllable names. ^ Do 2 3 m z^mzsz. c^ — g^ :22Z ~S7~ - ^ r^ y^ 12II21 i2z: -c^e- <=> g^. FOURTH YEAR— NOVEMBER 33 i w^^^^ ~S?" =22=22=8:^:2^= =sz isz: i 10 fc= n 12 s ~g? c^ iSl ~'r^ — Z3Z =22= 13 14 -^E^^^L =22= -/s-^h^^es- 15 b - 16 — fi-' , , — ~ ^^b=^ 122: Z2= i ~7^^ Studies in Rhythm The tonal material in the following rhythmic studies consists solely of the descending and ascending scale, without repeated notes, thus: i =22= t S "i-^J" 122= Each exercise is to be continued until the accent falls on the upper do. Each measure has the same rhythm. A neutral syllable should be used instead of the syllable names. The teacher places two measures of an exercise on the board, sounds 'the key tone, and indicates the tempo. No further directions should be necessary. No time should be wasted asking questions; if the pupil sings the exercise correctly, he thereby answers all pertinent questions. Ques- tions are in order when mistakes are made. fc ^ ^^^ ^ -d — -*- i Id2= ^ r- 34 MUSICAL DICTATION i • 9 J - ^^^ I* * 4-^=S=^ i^ ^ I ^ ^ -etc.- ^^E^ «zzt g^— »^^^- i ^ !«=*: S -etc, r^tj . - ^— *- -etc.- i i^?^ ^^^^ J W^ E -»-P EE iE^ •I •- lis -etc.- g^ S 1 p:?^ -etc The pupil should feel the rhythm before beginning to sing. Indi- vidual singing is essential before completion of these studies. Material for Metric Dictation For directions see page 23. In singing or playing the melodies, particular stress must be placed on the accent, so that the "swing" of the rhythm may be clearly felt. The teacher plays, or sings with a neutral syllable. The pupils respond, singing the syllable names and writing the melody on the blackboard, or in the writing book. FOURTH YEAR— NOVEMBER 35 The melodies are very simple and commonplace, allowing the pupils to concentrate on the combination of tone and rhythm. i 5l,a 5^-3= ^ mY^. fegzt 4^1^ 3 4 _ J/L^B-a-^- -•— -_ U U-— 1 — r^^ ^ ^y^ M ^ -a-^^-i-* ^b^iEH=F=^^:^^-^-iH^^^ ^fe^^^^J-^-^ 1 p-r4-^'^- '5y S S^P¥ ^ ^t,* 5=?£3^ ^ a^-fi 2^3 I«ZSIIM i=t hJS-^- » -•-- » -*-»^- eE?i; 10 ^ stli S^ i44r-'-H-s^- 9±^3i5^i -^-*- 11 12 zg o ^ ^ ;5^t,§= =P2^ b:; i I I £S pi^ g 14' I ¥S§^ 6-b5— hsH-^-s-i ^^i « *^f- — ^—m •-J — 16 '&- :iE^ ^-g d-^-SS- •{yV _ _ ~ <^~<^~ ~^ " — -9- rJ ^—V< ^ ■ I s^ ^6 28 r^E F?^ ^^ S^ i?a -*-*- ^ EM 29 30 i l^& l^= =1 -^-^' iEM r^ y :?== i 33 ^^ ^t#=i: P S-)if-(»- - ^^-y- During the third week of this month's work, the entire class will write Nos. 5, 6, 13, 14, 19, and 23 on page 7 of the writing book. Further work on these melodies should be confined to those who fail to pass this test. LESSON VIII (Writing Book) See directions in the writing book. LESSON IX (Writing Book) Play, or sing with a neutral syllable. 12 3 r\ U r^ yr r_j r^ g^ r^ '^. r^ — f(\\ fU c^ r^ CJ V> ) '-^ ■-' »j ^-,s-^ FOURTH YEAR— NOVEMBER 37 i 22r ^^7- ^ CJ W- -<^-rT ■^■ 10 =^5^^^ ^- IS2Z I <^ C J^ LESSON X (Writing Book) Play, or sing with a neutral syllable, Nos. 5, 6, 13, 14, 19 and 23 of Metric Dictation for November (pages 35 and 36). LESSON XI (Writing Book) See directions in the writing book. DECEMBER Tonal Dictation Review of Mental Effects If the study of the scale tones has been properly conducted, the pupils now fully realize — 1. That the active tones of the niajor scale are te, which has a tendency to progress either upward or downward, fa and la, which have a tendency to progress downward, and ti, which has a strong tendency to progress upward. 2. That the inactive tones of the major scale are do, mi and sol, and that la becomes an inactive tone in the minor scale. The pupils should sing the tone groups from a description of the tones given by the teacher, or from the manual signs. nl 2 ^-^ 1 Y ^=^~ c^ f^ -^r^ \ cJ (V '^ ■ tz: ■ cs \ '^ — ' 1 /"^ ^~, 3 0# --«^ ^? 4 L^tflL „--, . . — . 1 — fj 3 'b^'^ fV H< HJ --f- „ ,^ (S> '^ CJ v^^ ^ — .^ r^ /-= ^ ■=? ri-,'- \s> '^ tLJ ■^ O 1^-1 — r^ f^ 0^ "^^l^ 6 _L '^ II ^ fZJ — r^ '-^ — .r^ ■— ' C^ 1 ''^1 f^ 1 ft \ '^ , ,-,■—, 1 r^ (^ r^ r^ \\ \^ } K. ..£9 Oral Tonal Dictation Study of Chromatic Tones The intermediate tones, di, ri, fi, si, li, te, le, se, me, and rd are called chromatic tones. Di, ri,fi, si and li are easily learned, provided each is linked in thought with the scale tone just above; like ti do. 38 FOURTH YEAR— DECEMBER 39 The mastery of te, le, se, me and r'd is not difficult, provided the habit has been formed of thinking each tone joined to the next scale tone be- low; like /a mi. If the pupil knows the interval from each scale tone to every other, the chromatic tones present no new problems. The pupil, properly taught, will sing S=g^j if he knows ^^^^i, because he habitually thinks S^^^^i^i; likewise, if he knows m^^0 he will sing ^S^^=l as surely, for his habit is to think ^ -g-^- The object of the following studies is to fix this habit of thought. Most pupils sing from do to re, from re to fa, and from mi to fa too narrow. The studies are sequential. The pupils should complete the series after the teacher has called for two or three groups. The pitch should be tested after each series. Series A: 1 Study of Ti U2Z ^ ,^ g? -- gv '^ -p^-rz ! —!:? 22i:s=^= IE ^ 0^ y / ^-^ c-- rD 1^ rj -D -^ ((\ '-^ c^ <--> , \s) O J / TZi . r-3 C-/ .—. r^ ft \ CJ fu \- i_ — =: — 'C^ =:^ 1 — 7^ —Si— —^ g :^2ZI22Z IS2I -^ — S7- -=?- Series B : ,1 Study of Fi i^i - g^ ^^^ ^ ^=^ Z^2Z. :|^gE | =1 ^=^ :^ 40 MUSICAL DICTATION ^2 V 1 / b O •». — , r^ r^ ^ rz> c , U^, ^o If s* *'—' '-' vf--' JT '--' c^ t|c^ ys7 • /. / h <^ ,— h^i r^ r.^ ,^-, y — f ^^ t^ , — . h^ r ^^ (( \P '^ r^ — , flc? , f^ CJ ,^ Hi=> , '-^ r^ ^ vf-> '-f \^ > ■-- C7 -1 _^-- a f_^ '\ __-. K, T 1 . 1 II / h (^ ^ h^, r^ "^ " h^^ '^ 11 it \f ' — ■ CJ ^ w ' — o . — H' — , 1 1 \~ 7 ■— (^ ^ — , ' —^ ^^ C^ ^. T II t^ ■^ C^ ^ '^ •&- Series C ,1 Study of Fa 1 — 1 ^t= 1 ^ (^ ^, ,— ''-> -^ 1 <:-^ f^ c^ 1 <=-' /^ CS '-^ ■^ f!^ \l\V^' \s\) 1 \ .2 y 1 I' b ^ — , /; k ui^ C-' '^c c^ f^ ■-< c:-^ e-> ,--, '^ (o; =^ ^l' 1/ — (^ J ' — t- ■" / 1 I-" b -~ X b h'^ '^ ^ <:^ C^ , — ■<- (Oi (&v^ C7 r^ <^ r^ ^ _ ^-- — s' \\) -^ ^^ c^ . , K. K 1 ^1-2 b -^ bK*^ c^ '-^ r^ r^ ^-. '^ r^ 11 r'i? f-^ CJ ^ ^^ c^ ^ --^= II \.\> >— ' i-J ^ — ■■ 1^ '--' C^ '-^ o . - Series D : .1 Study of Te =1?=^=5; ^ "1^^ ^ 5^"^:^=?-^3^3z S E!^ 5^ -bi^^ l_t 22i:!^Src2i i^^niS^zS^sszns: 22i:3ZZ 3z: 321 I^ P i 5^ It 2z:3z: P ~S7~ 122: IS2I Els: It I ESI -s^ "^^ ~?:=^ FOURTH YEAR— DECEMBER 41 Material for Metric Dictation See page 23. The pupils should be encouraged to think and sing melodies of their own making, following the general plan suggested by the melodies which are here given. m ^ ^EEzs^ M=i=3=^ 2^ ^^ "g^ -& — (^ ^ r|= f2 -_ ^ WSl w -^=^ r-' &■ ^ :^=?:z: 321 :222 k¥S^ i :t4= ^^ * 22= 1^T=4: CJ CJ i Jr :^=^^dM?2^2z2S^sE3=22: P^ i i£i 10 a $8= -(=i—(^- 3 7:^~g^ ^ ^zt22Z=^=h22; p^§=E=F=f 321 It 12 ^a ^ t> — ra^-^J—fiJ t^ ^iSzz^zzsz ^g -S'H-z:?"^' :a: 321: i ,(y i 14 5#= (Z ro :?2L g <^ cJ pa ±Eziip=2 i 15 16 ^ #: ■^ g- 3i iJS 221 -f=^S>- i^ t=t^ '^ f-^ 17 ^^^^^ -&- g 18 ^Sa^ 2Z * =22: 3:^3^: ^^2^ 42 MUSICAL DICTATION 19 20 * 3 ^ 21 li ^ s# :^ ^ ^ 3 isS .C2- 5^ pa C ^ Q i ^ i=^ %_ ^ t=t ;# ^ f^ r ^ - i - ^ ^ ^)^^ ( - ^ r^ = ^^E5^ -^-""-^ For the test at the middle of the month, give Nos. i, 2, 9, 10, 13, 14. The entire class will write these oh page 1 2 of the writing book (Lesson XIV). Special attention should be given to those who fail, as in October and November. LESSON XII (Writestg Book) See directions in the writing book. LESSON XIII (Weiting Book) Play, or sing with a neutral syllable. Pupils write. r-^ 7^'^ ?s- c^ ] n^ ,-:^ ^ ~!=r- ZC^EL -«■ fS- S#^ ^^ m. ~^^ m 222^322==^ -gy^ ^ :j=z2r i - ^ ^- ^ Q g ^ C^ C^ 'Zr i =S==2 -r:^ FOURTH YEAR— DECEMBER 43 LESSON XIV (Writing Book) Play, or sing with a neutral syllable, Nos. i, 2, 9, 10, 13 and 14 of Metric Dictation for December, on page 41. Teachers who prefer the writing book to the blackboard may have the entire twenty-four exercises on pages 41 and 42 written in the writ- ing book instead of on the blackboard. The practice pages afford plenty of space for the extra lessons. The writing book gives every pupil practice in recognizing and writing each exercise, thus affording many times the amount of written work otherwise possible. The MmoR Scale (Normal Form) The form of the minor scale with which the pupils are already familiar is called normal to distinguish it from other forms of the minor scale. The teacher will sound the key tone E, and the pupils will sing the normal minor. i IE ^ ^ ^ ^ s^ i '?^^ In order that the ascending minor scale might have a more distinctive ending, modern theorists introduced a chromatic alteration, using si p-^J-j— — J2T1 instead of sol. The ascending scale ends with \m =^ H like ti do of the major scale. From ja to si is three half-steps, a new distance between scale tones, m *"^"^^ fa- si Use of the following material should make the pupils familiar with this new scale interval. Material tor Practice To be sung from the blackboard. Lead the pupils to link si la together, as one thought. Most pupils are inclined to sing/a below the pitch when it follows si in the descending 44 MUSICAL DICTATION scale ; therefore, especial attention should be given to ja in descending. At the question mark the pitch should be tested. 1 2 ? 3 ? 4 Zgl^~g?T ^^ ^^ ■ ^ ^-^ fe'^ F^^^-^^:^ zz :te fc^^S^:^^ i :|^g[ :?"^i7^ fez 2 fe^3E^^^ ~e?~ 122= =2SS -iS- :fe=^2=zsr:fc =^=ff- ■-j^ — g- No. 8 is the Harmonic form of the minor scale. This should be sung daily until it is thoroughly learned. Triads Arrange the class in three divisions as was done in October. The teacher assigns the parts and directs the class to sing the seven triads in the order of the scale tones, ascending. They may now be sung as one exercise, thus: i Slowly I , I- l^ m .&i :& -i^-f pr T^r-T ^^ d I I i -Sl-r- i=Ei W -&-^ -^-^h The singing of the triads should be repeated daily until the pupils have no difficulty in sustaining a tone in tune while listening to the other tones of the triad. Careful attention should be given to tone quality. Only flexible, mellow tone will blend and produce a result which is harmonious and pleasant. . JANUARY The work for January consists of individual singing, of which a record is kept; two written tests (Writing Lessons XV and XVI), the results of which are also recorded; and special work with the slower pupils who need assistance. Each teacher should have a blank book not less than seven and a half by nine inches, presumably provided by the Supervisor of Music or the Principal. This book, labeled, "Music, (Central) School, Room (6)," may be used not only for the records of the semiannual review, but also for the supervisor's notes, made during his visits to the room throughout the year. It is assumed that individual singing is regularly practiced in the recitation in music as it is in reading. In January and June, however, the results of the individual singing and writing are recorded, and form the basis of the pupil's term mark in music. Those pupils who are fully up to grade may be excused from music a part of the time during the month, in order that the slower pupils may receive extra help from the teacher. The pupils who are strongest in music often delight in "playing teacher" with the slower ones, a feature which, when properly managed, is of great benefit both to the "teacher" and the slower pupils. LESSON XV (Writing Book) Play, or sing with a neutral syllable, Nos. 21, 22, 27, 28, 31 and 32 of Metric Dictation for November, on page 36. 45 46 MUSICAL DICTATION LESSON XVI (Writestg Book) Play, or sing with a neutral syllable, Nos. ii, 12, 21, 22, 23 ana 24 of the Metric Dictation for December on pages 41 and 42. The class roll should be copied into the blank book, and columns ruled and designated as foUows: Names Sequential Studies, Major Series A, B, C, D, E, and F Two Written Lessons Remarks May Smith O.K. 98 Knows everything John Bright O.K. 90 John Stout Series A, B, C, D 6S Robert Burns Series A, B, and C SO Voice improving FEBRUARY Seqxjential Studies of Chromatic Tones See directions on page 38. Series E: Mi Ri ;fcs li^E^^ :siz^iiksi=s=h22: ■h-^&-^^ -7=r i tg:^ lE^^li lEznr^ -s Ss- P ' 1 ^^ ■ ' SIC^Z IS21IEI = ^gg? IS2I ise: i =fc& ^B g,-^E -g=^-g=r- -g'— g?- 1221 Series F: La Si - c^\cj g-k ^^l r^ m i r^ ,<5 1 ro 1 / h k .^ — f ■ — ^ 1 '^^ f^-/ \ r-j 1 (c W>\) '2^^^— 1 rz> rz> \ >^ 1 \~- 7 '^ ,-, '^ ■ /n 1 ,-r5 ^ 1 t- 4 5 6 T In — / , l7 r'J \>\) ^ '-^ f^ '^ f-^ /r> "^ ^D <=> ^ <-"■ ^-, r^ , ^,^ . , Ky C^ ^ FOURTH YEAR— FEBRUARY SI 7 (1 h 8 y 1 " 1 '^ - ^> r^ \ >; ,k) i_ -^ r -.P 17 C3 „ ,^ \ ^. 1^ ,-5 "SJ 1 VV ; ■ — ^^ --, '^ "^ ,r5 1 9 10 V D ^j I ^j 1 /I b h -^ 1 ^ <^ ^ 1 fr-Kl' 17 . — ' , /-n ^-5 ,^ . 1 ^, ' — ^-o ^-, \ Ka) f^ rn '' r^ ^ \ >!=? c^ '-' CJ ■?* 13 14 l># — , J ^ ,-c. ^ I Jr^ ^ '^ '^-' r ' — ^5 — r-K <-' ,<^ r^ — — , '— ' ^:i ^, lU; f^ ^^ ,--5 (^ r^ c? C3 ■ ^ ^5 1=^ 15 16 d^ Uft — , ^^ — ^ 1 y"TT ^ a ^j '^'' ,^ ' — C!^ '^ f-7' — ^-^ ^-^ ^— J '^ \ n 18 y ^-i 1 '^ 1 1 / ^-D ,<5 ^O /-^ ,-^ ■^ 1 ft 1 V- ^ ^ iS 1 iS o— 1 Metric Dictation An increasing proportion of the time given to tone and rhythm study is now devoted to metric dictation, which includes both oral and written practice with the tonal and rhythmic elements. The writing should be done in the writing books instead of on the blackboard. Pupils who fail in this written work should be given indi- vidual help. Those who write the melodies correctly, demonstrate their mastery of both the tonal and rhythmic problems involved and may be allowed to do work in other subjects while the teacher works with those who need help. In order to assist the pupil effectively, the teacher must know the cause of failure. The pupil may have failed to recognize the tones, and therefore needs oral dictation. He may have failed to understand the rhythm, and needs practice with simpler rhythms. He may lack facility S2 MUStCAL DICTATtOl^ in the use of notes, rests and signatures ; if so, practice in the useiof these symbols is necessary. He may be confused in trying to recognize tones and rhythms simultaneously, and is, therefore, in need of practice with the very simplest metric phrases such as were given in October and November. The following phrases are to be played, or sung with a neutral syllable, the pupils writing in the writing books. Some of the melodies are parts of familiar songs. Encourage the pupils to syllabize familiar tunes from memory. Ilrf^ LESSON XVII (Writing Book) 2 i- J a^- i ls=^^=^ ;^=^ ^ *Z3t ztzat w ft; ^ ^ rd — • * — * ^EH S :-Jl-J^J^^ i ■=1--^— =1- LESSON XVIII (Writing Book) i ^E P i^i ^^ Bz ^ :?!=^ i«- > -1 EF8=£^ S t2=t*= ^ ^ d ^ a=f= S ^ES FOURTH YEAR— FEBRUARY S3 LESSON XIX (Writing Book) m^ l»=3r±^=ZZit fe?^ Whz =t=]^ -^ w- m ^^i^^i^fe^ g a= SSif N h 4 ^ pp^^^^sa ^ itzj^: LESSON XX (Writing Book) Play, or sing with a neutral syllable. The pupils respond by singing the syllable names and then writing. i ^ —^'^ W :35===S2=^P— >-s- -s* .s- isr -Si iS>- i '^ .^7- - ?:; "PTT" -tS' iSi- ISZ i^ -.s .s- 321 Z2Z 10 11 12 i - ^ o - isz; -!&-———/&- 13 14 15 16 f^ ^ fS I -Si-— -— iS- ^ _ r^ 122= P i22r MARCH Oral Tonal Dictation Familiarity with triads will tend to make the following material easily- understood. While singing or playing these tonal groups, the teacher should keep in mind the triads, frequently calling attention to the fact that the group is simply the tones of a familiar triad. 1 2 n>i. i _ ym^ ^ ' " ' / I'll . ^-( r^ \ r^ ^^ ^ ^ I f(^ " •^ ^ ^} 3 4 5 L/rtitiT ^, ■ — I . ' — ^r> % /it 1 -^ -^ 1 ""^ ^'^ 1 ff"» " ^o ^ 1^ \ fLj ^ ^-^ '=-' — f^ \ ■rj c^ ^^ \ V. ) . 1 , P-' .'--'. \ ■r^ \ 6 nttlt 7 y%*' rn \ rr> ^-. 1 A fl 1 /-3 '-^ ^. ,- i vT) o o ^,,-51 ^-3 '-^^ '--'<:> \ VJ/ 1^1 8 Oit ft 9 yju-tf . ■ ■ ''O — i r-n ro f^ \ fm *i rO ^^ ^n \ <:i ,^ /-5 1 I.U; ^^ ^ ^— 1 ^J r^J ^^ 1 J 10 11 L/Buff ■ I /[ It - 12 IE I^ .- ^ ^ I 13 IS2I I^ ZZ2^Z^ZZZL i 14 15 IE 16 I^ZZI^ "^^ ^? — c^ 54 FOURTn YEAR— MARCH 55 LESSON XXI (Writing Book) See directions in the writing book. After the lesson is written, have the pupils sing from their writing books. Metric Dictation The aim is to fix the attention of the pupil upon the measure and the rhythm. Consequently, the problems of signatures, intervals, etc., are largely eliminated. The pupil needs and should have much practice in recognizing and writing simple four-measure melodies. This, to- gether with practice in thinking, singing and writing original melodies, will enable him to see what he hears and hear what he sees. The first flat in the key signature is on the third line. To place the remaining flats, count up four and down five. The flat next to the last is on the staff degree representing do. When the first measure is not full, the first and last together form one full measure. Each phrase is just four measures long. The teacher should play the melody or sing with a neutral syllable. The accent and rhythmic "swing" should be strong and unmistakable. The following phrases are to be played, or sung with a neutral syllable, the pupils writing in the writing book. i LESSON XXII (Writing Book) 2 g -^^4«MN' ^?^^i« r ^ ^^if' nr r rtr-i m "m 1^ 3=F 22" w SMC rfc i S SE I e li ?==^ ^ s 56 MUSICAL DICTATION LESSON XXIII (Writing Book) l£ i ^wr- n T^ jC-jA-^- ^i feg:t>=^ -«-J?- ^-^-S- r^^ ^;^ li ^^^ ?2:^ S E?Ei ^E^± ^ ^ii S ^P=^ :^= - *^y- :=?:: eEHzt LESSON XXIV (Writing Book) 2 ^4— «L :^= IE S: S: ?2::5 lE?^ -1^— *- S s !S IS ^ r^ -^==i? ^*=F?2: s m. ^ W Original Melodies (Oral) Directions : I. Each melody shall be four measures long. 2. . Each melody shall begin with do, mi or sol. 3. The last measure shall have but one tone, do (upper or lower). 4. The tone just before the last do shall be one of the tones of the triad of sol (sol, ti or re). FOURTH YEAR— MARCH 57 5. There may be skips of one or two scale tones, as in the triMs. 6. The melodies shall be in either three or four-part measure. It is essential that the melodies shall be sung or played with a strong rhythmic " swing." The accent on the first beat in four-part measure should be much stronger than the accent on the third beat, in order that the difference between two and four-part measure may be clearly felt. The teacher should name the key and place the staff, the signatures and the last measure on the blackboard, thus: m * g 5:=*-=^- i ^ l^ z-^-^- This will materially help the pupil to visualize his melody. At another lesson, illustrate the incomplete first and last measures, thus: i ± I ^ ^ i I i% lEii: l^gebr: The pupils should be encouraged to write the melodies after they are sung. Whenever an original melody is approved by the teacher, the pupil may be allowed to place it in the writing book on page 31 or 32. If encouraged to do so, many children will write melodies outside the music period and submit them to the teacher, completing the pages of original melodies by the end of the school year. Seqtjential Studies See directions on pages 38 and 39. If necessary, review the study of /a, page 15. The usual tendency to sing /a mi too narrow, may be overcome by encouraging the pupil to think the /a higher. 58 MUSICAL DICTATION i b ^ o ,J"<^- '^ar^ - :^ ^ ^^=^ srg^:^ 321 IYl ~r^~ g 1=^ ==fr-^ — 7S w zcsn Series I: 1 Re Me i 7:^'9&—r=s ~V cj e5~^ c^ I g ?— g? '^ ^'^— j^— h^^~' ° '^^~ ^'^ :|(:tl22I?S^25 P #^ >v ''^ d^ '^ g^-fe-^ I ^-' g. ^^^:ig :^ 122=32 g =s^ :§^ 321 22Z 22: 32Z i^z: 3ZI i n it=^ I^ZI 3y- -^ =?- Series J: Rd Q_ ._ _ _ ^^,^ J }n — , „ h„ -_, r^ k„ b'- 1 / rj ./1-; ,^ r^ '-' "■-!: (O- c^ ■=> i^'-:' r^ ['''V /TL^ 1 tl \ "■— ~- — 1 LA ) 1 g -r:>-^^ r ^ -^- E^ 22=:sz: 32 ■ b . C 3 ^. P?: r— : u, ,. — ^ ^ 3z: iE i 32rZ22Z 3?- :;3Si :22Z -c^—^- I APRIL Metric Dictation (Two tones to the beat) Do is represented by the next staff degree above the last sharp. The first sharp is on the fifth line. To place the remaining sharps, count down four, then up five, etc. The teacher will play, or sing with a neutral syllable; the pupils beat and listen, then write in the writing book. In order that the at- tention of the pupils may be centered upon the rhythm, these scale exercises are exceedingly simple; the sequences are obvious, and the melodies are aU in one kind of measure. Much practice with simple material is necessary to give the pupil facility in recognizing and writing rhythmic phrases. The following lessons are to be written by each pupil in the writing book. Each phrase is played or sung while the pupils beat and listen. The teacher should lead the pupils to visualize the melody before writing it, and to recognize the different rhythms and the number of beats in a measure. LESSON XXV fa ES S (Writing Book) H ?2= ^ ^ S « W ^^^S 3 S9 6o MUSICAL DTCTATION LESSON XXVI (Writing Book) fc H* * E^^i H* •- ^■ * ^ ^ (*- lAi is :- »— !^ iEe^3=£^ tt ^^^i^lpi^^^i^ s ^ « i* a S^B r^i -s+* P ^E^t^S^SS LESSON XXVII (Writing Book) 2 i r^^^F^Eg^ 33=n^S :£i ^^^-^E^m^^p^^g ^l^^i paggiil^Sj 35 at*- -*-»!- LESSON XXVIII (Writing Book) Full directions are in the writing book. The pupil enjoys singing from his own copy of the music. FOURTH YEAR— APRIL 6i Original Melodies The most valuable result to be gained from these first efforts with original melodies is the training of the pupil to think tone and rhythm. The ability to think the tones and feel the rhythms is of vital impor- tance; the quality of the melody is a secondary consideration. The suggestions made for February and March should be followed, and the work continued along the same lines. Oral Tonal Dictation The following shall be played, or sung with a neutral syllable. The pupils respond, singing the syllables names. * m fgs: Pi fta m: s ^ ^ ^ gESSg i ^^-F-^-F- ^^^^^M ^=fi m ^^- &*: PE^ id—^ 10 11 12 13 ^^ ^ i^^^ ^=2^ 14 15 16 i ^ % ^^=^ n^^^ i=^2= -if^t 62 MUSICAL DICTATION 17 fe^F^R^F^^f^ 18 S 'g ' m 19 Do Ii3 =1=1= i^^^ :t>-A— '^^ * y *- -^ ^ g:.! j^ 20 ^ #3=.^..^^'^=P ^ ^^s=^^ -^ — -^ - ^ I ^^ MAY Metric Dictation The melodies are to be used as follows: I. For oral metric dictation. The teacher plays, or sings with a neutral syllable, one phrase at a time; the pupils respond, beating, and singing the syllable names. The teacher places the staff, clef, signatures and bars on the black- board, thus: ii Pi Eiifg — ^ Do This will help the pupils to visualize the melody. 2. For metric dictation. The melody is given out as in No. i, the pupils writing in the writing book. 3. For the study of note values. a. The pupils write the melody in three-four measure, using the copy already written for reference. b. The melody is written in three-eight measure. 4. Each pupil sings the melody from his own copy, a portion of the class singing from each representation. Pupils who find difficulty with any one of the three representations should be given extra lessons in note values. Very old German Melody la lb Ic r\ 1 A-ii 1 )=S- s>- 5-11 1 \ -tfh*^? — ^L^ ^-^ — r^ '^ -^^ !• c^ r^- 1 Mi) A r^ f*-^ <^ cJ !^. 1 «J Id le If n 1 J , 1 "I Yi~ '1 y- J c? s-t' — ^ f^ --, -d -^ • • 1 C^ " \^J t^ u-> CJ '--' •! t- ~- es^ci' - -^ 63 64 MUSICAL DICTATION 2a i 3 German Song 2b ^ W==^ ^= g^ -^ gj • g 3^ iE It LESSON XXIX (Writing Book) The teacher will play or sing the foregoing melodies, four measures at a time. Before beginning, the teacher states that the first melody has six phrases and that a double bar is placed only at the end of the last phrase. After the lesson is written in the writing book, the teacher places the melodies on the blackboard. Each pupil corrects his own copy. Lesson XXIX must be correct before Lessons XXX and XXXI are written. LESSON XXX (Writing Book) See directions in the writing book. LESSON XXXI (Writing Book) Directions are given in the writing book. LESSON XXXII (Writing Book) Six original four-measure melodies are to be written and copied into the writing book any time during the month, as the teacher directs. The pupils should be allowed to choose the key and the kind of measure. FOURTH YEAR— MAY 65 Oral Tonal Dictation The ability to remember a long phrase may be acquired by practice. The singing of sequential exercises helps to develop facility in singing long phrases. The more musical children should now be able to syllabize familiar tunes. Many of the following melodies are parts of famihar tunes. The pupils should be given the privilege of completing the tune. Material por Oral Tonal Dictation To be simg or played rapidly, as one phrase. Pupils respond by sing- ing the syllable names. 1 5? ^^^S^E^i^^^^^^ m^mi^^s m 3 r#t ?i=^ :^±*: -0 W f — ^ I* =^==^ w ^ r-t^~^ - • • I ^ i tf i^ B -»i — *■ mzLAl^ i « a r=r=rT ^ ^ ^ ^s -^ — «^ — # i ^ i: ifc=te ^3 ^ ^ # - L|.« IP- ^S 66 MUSICAL DICTATION ^^^j^^^ r»-FH== w -p— *- 10 ^^^ « ^^^^ fff??g^ ^ !fegjS 12 13 s 14 «^ p PE^ ^^^^^^^i 16 :^s=^ I' g= ??^-^-f! : ^=k:^ ■t^L^ 17 18 i tr=t lii^ S: W -*—-»- :*di^ 19 ^^ # £^eg 33^3^ ^ 20 Ws ^=F " r r I r — ^ i pas -> ^- Original Melodies (Oral) Pupils who have done the oral dictation for the first three years, think in four-measure phrase^. This development of the sense of rhythm now becomes an invaluable help in making four-measure melodies. FOURTH YEAR— MAY Sj The pupils must mentally sing and visualize the melody before sing- ing aloud. The problem of visualization is simplified by limiting the melodies to one key for the present, and by placing the staff, signature, bars, etc., on the blackboard, as suggested on page 63 where full direc- tions are giv6n. Both teacher and pupil will find numerous examples of four-measure melodies in the music reader. Melodies approved by the teacher may be copied as a part of Lesson XXXII in the writing book, at any time during the month. JUNE Directions for conducting the June test are the same as for January. See page 45. The importance of this semiannual test can hardly be overestimated. The material for the June test consists of: 1. Singing of sequential chromatic studies. a. Two selected from series B, E, F and G. b. Any two from series D, H, I and J. 2. Singing of four exercises selected 'from the music reader. 3. Two written lessons — (Lessons XXXIII and XXXIV, writing book). Name Sequential Studies (Chromatic) Two Written Lessons Four Exercises, Music Reader FOURTH YEAR— JUNE 69 LESSON XXXIII (Writing Book) The teacher will name the key, the beat note, indicate the tempo (speed), and play, or sing with a neutral syllable. 1 2 '^^^^W^^s^^^^:^^!^^^ ^ ^rffl^ f%pFi^^f *^^:bJ p F f^W^^' ^^ f^^^^^^'ai^^^TJ I LESSON XXXIV . (Writing Book) Play, or sing with a neutral syllable. 1 2 i 321 :2z:^ ^ g? r-^ r^ '^^ Tsr- ~?? 1^. C ^ c ^ - o \ <^ fa •zsz. -fT T Ih ^^ ~^ ^ ie- •7? " ■- 'i^ -is>- '^ £^ a> i gi '^ O r^\r^ I "gn <^ ^— Z5= -'^- g; V - 1 _ o - ~g?~ FIFTH YEAR SEPTEMBER Sequential Scale Studies (Minor Mode) The results usually obtained in the minor mode are less satisfactory than in the major. This is due to a lack of familiarity with the minor scale rather than to any inherent difficulty in the minor mode. A second scale, like a second language, is more easily mastered than the first. The following sequential studies in the minor mode correspond to the major studies already learned. The major series A, B, C, D, E, and F, which were studied in the fourth year, are now to be reviewed. The minor mode will be easily mastered if the major studies have been thoroughly learned. There is no new material; simply a new atmos- phere. After one or two groups have been sung by the teacher, the pupil should complete the series without further direction. By the end of the first half year each singing pupil should sing in- dividually aU of the studies in the order given, without direction, freely and with a rapid tempo. Sequential Studies (Minor Mode) Series A: La m -^=w-- ^^ rr=r ri g£^^^=F=g£! #— 1«- ^_h^b_b m li=>^ '■w=ir- =p==^ p^^^ ^^giBg^^^^^ ^»=m-- 70 i^rg FIFTH YEAR—SEPTEMBER ;i ^^^^^^^m^^^^ Series B : J . = 84 :itrj= '-=*=i±^^ iE^^Ed^^EFd^^E^S g=qEiE?=£^ S^g a^-^— ar-*- 1=1= ^^g t=t Series C : J . = 84 -^=^ ti si la^ ^ISl^g^i^a 2= m3b -"^-^-^ ;^^iS ^^=t^F=^ ^'S' Series D : ^^^m^^^^^ Series E: si ft si 9 S S^J^t^^ iigggi^ g^ ^■=^H». t=^ i^^^^g^g^^^^^ Series F: ^ ^ ^ B5 ^;^au^ f#; ^f#^fr F ^a :tE:^£ S nij a?^^ ^35 I -i^-^ atzifcjt 72 MUSICAL DICTATION Inversion of Triads The tone on which the triad is built (from which it grows), is the root. The third tone above the root, is the third. The fifth tone above the root, is the fifth. -#-g-a— y When the third is the lowest tone, thus: - /Ik— ^ |^, — H it is the dp triad, first inversion. When the fifth is the lowest tone, thus: C^ Root it is the do triad, second inversion. The teacher will illustrate these three forms of the triad on the black- board, making clear that in the first inversion the third is the lowest tone, and that in the second inversion the fifth is the lowest tone. The teacher sounds the key tone and directs as follows: Sing the tones of the do triad. PupUs sing: S= Teacher: Sing the tones of the do triad, first inversion. PupUs sing: M-g= Teacher: Sing the tones of the do triad, second inversion. Pupils sing: Next time the tones of the 50/ and /a triads should be sung in like manner, thus: aJt V , (^ ji* - - rj \ / V, r^ <^> ? r^ r^ \ \(\^ '- — f( s ^ -- I" \^) ^ '^ ^ "^ V ) ^ '=-' a 1 kJ .^^ ^ ^ «^ -«-" Sol Ti Re Fa La Do Teacher: Sing the tones of the 50^ triad; first inversion; second in- version; /a triad; first inversion; second inversion. The class may again sing in three divisions, A, B, and C, and should find no difiiculty in singing the three different forms of the triad, as follows : FIFTH YEAR—SEPTEMBER 71 Do Triad m Slowly I St Inversion 2nd Inversion iffij ^ -f— r Do Mi Sol Sbl Triad ^ V ^ ^: W- Sol Ti Re i Fa Triad ^ \- ^ !& i^ T^- Fa La Do Whenever the class is able to sing these triads correctly by direction, they should then sing from the representation. The pupils should notice that the do, sol, and fa triads sound alike. Metric Dictation The staff, clef, key and measure signatures, and bars, should be placed on the blackboard thus : i ± i^ W^- The pupils are asked to visualize, beat and sing twice, mentally, a measure which the teacher describes. Teacher: I see a measure containing a quarter and two eighth notes on the third line. The pupils then beat, and sing aloud: m ^m Sol sol sol sol sol sol 74 MUSICAL DICTATION Teacher: When is the first tone sung? Pupils : With the first beat. Teacher: The second tone? Pupils : With the second beat. Teacher: The third tone? Pupils: After the second beat. Teacher: I see the same measure with a tie connecting the first two notes. i=^ ^^=i^ i This measure is sung silently, then aloud as before. Teacher: When do you sing the first tone? Pupils: With the first and second beats. Teacher: The second tone? Pupils: After the second beat. The following measures are then described and sung in the same way : ^ dts §-=t-4 |V-|»> n ^^s i H-H i 1 1- t-0-»-m—0- w !-*-W- -■•'— ^- -^--m-rn- ^-0-m-»- -m—m-»-0-0-\--*- After each rhythm is sung, someone represents it on the blackboard. A pupil, or the class, then beats and sings the entire eight measures. Later in the month, the following should be described, visualized, sung and written, in the same way. iii I I I I i -( E^tEi -SI — — - ^ ^ ¥— S • Si- ^ i \> 1 q- ^Fift I I "^ V I I * V I I sj Li ^^^^^^^^^^mf^mf^M^^m Di ^^^^^^^S^^^pa Inversion of Triads Before singing the triads of la, re, and mi, the tones should be sung in succession in the different positions, as follows: Teacher: Sing the tones of the la triad. 78 MUSICAL DICTATION Pupils sing: 3p XT rsr- La Teacher: The first inversion. Pupils sing: i 5= I22Z I Do Teacher: The second inversion. Pupils sing: i i^ Mi After repeating several times, the tones of the re and mi triads should be sung in like manner, as follows: Re Triad i I22I Re Fa La Mi Triad i I r -g?- ~g^ The three divisions of the class should now sing the triads, as follows: t La Triad 1st Inversion i 2nd Inversion i 63= p • ['■s . P i ?ir- r La r' Z»(7 i2e Triad ^ 4^^ ist Inversion yl^- 2nd Inversion • 1 1 C? : Bom 1 I ^ i?^ i^a Zff FIFTH YEAR— OCTOBER 79 i ii Mi Triad 1st Inversion | 2nd Inversion { «?i l^£ P -(!/« 5(7/ Ti Each division should be given opportunity to sing all parts. Note. The triad of mi is unsatisfactory and is not much used. All will notice the unnatural and awkward use of the syllable names in the inversions of this triad. The teacher should constantly use the terms: Triad, Chord, Interval, Root, The Third, The Fifth, First Inversion, Second Inversion, etc. These terms wUl then become a useful part of the pupil's vocabulary. The la, re and mi triads sound alike. After one of the triads has been sung, the teacher asks: What other triad sounds like this? The pupils respond by singing one of the other two triads. After a similar question, the third triad is sung. Original Melodies Thinking, visualizing and singing original four-measure melodies was begun in the fourth year. The value of this activity to the pupU lies in his acquiring the ability to think tones and rhythms — i.e., to sing mentally. It matters comparatively little whether the melodies are good or bad, or whether he has produced ten or a hundred, if only he has become conscious of melody in his mind and can give expression to his thought. The primary object of melody invention in the public schools, there- fore, is to establish the habit of thinking music. Technical skill is not required or expected either of the teacher or pupH. A few general suggestions are offered for the guidance of the teacher. Any series of single tones is a melody. A melody which follows the line of the major scale (without skips) is called diatonic. If skips are included they must be used chord-wise; that is, they must follow the line of some good chord. 8o MUSICAL DICTATION Careful adherence to the following limitations and directions is essential : 1. Each melody shall be four measures long; any major key. 2. The first tone, do^ mi or sol; the last tone do, on an accented beat. 3. The tone just before the last do must be one of the tones of the triad of sol {sol, ti or re). 4. Repeated tones are allowed; narrow melodies which use only three or four tones, or return often to the same tone, are to be avoided. 5. Melodies must follow the line of the major scale (diatonic), or follow the line of a good chord. (The triad of mi is not a "good chord.") 6. Skips should be used sparingly. 7. Ti should progress to do, fa to mi, and la to sol, unless the melody is progressing scale-wise in the opposite direction. The staff, with signature, bars, final measure, etc., represented on the blackboard, will help the pupil to visualize his melody. mm^m^^ Opportunity to think and sing original melodies should be given the pupil throughout the year. When an especially good melody is sung, the teacher will allow the pupU to write it on one of the last two pages of the writing book which are reserved for original melodies. The teacher should have the pupils understand that an original melody is in order whenever oral tonal dictation is given. Encourage the pupils to sing original melodies for the class, as problems in oral tonal dictation. This is an excellent plan and does much to develop mental singing and melody invention. The teacher will be surprised and de- lighted with the pupils' efforts in this direction, once the plan is fairly tried. The June examination in music allows a maximum of twenty per cent for an acceptable page of original melodies, which have been approved by the teacher and copied into the book during the year. (Page 31 or 32 of writing book.) FIFTH YEAR— OCTOBER 8l A large number of four-measure melodies will be found throughout the Manual, and in the supplement. The teacher will find these helpful as models. The best way to become intelligent concerning melody is to study (sing or play) good melodies. Metric Dictation (Oral and Written) The following material should be used in two ways: 1. As oral dictation. The teacher plays, or sings with a neutral syllable while the pupils beat and listen and attempt to visualize the phrase. In this and similar lessons, encourage the pupils to invent and sing four-measure melodies as material for oral dictation. The leader sings to a neutral syllable, the class responds, singing the syllable names. The staff, key and rneasure signatures, bars, etc., should"be placed on the blackboard to assist the visualization. 2. As written metric dictation. The teacher plays, or sings with a neutral syllable, while the pupils beat and listen, as in the oral dictation. Instead of singing, the pupils write in the writing books. ^^ LESSON III (Writing Book) 2 Z2I ^ ^ s 2I p?!* ^ i^S ^ '^ <■) m ffi^^ ^^ ^^ ^^fe i * s? mi. -ph-LS'- 82 MUSICAL DICTATION LESSON IV (Writing Book) g 1^ ^^^ ^ l^ ■* • * i # -* • W ' ' P ^i ite^^^ ^ ^ i^ yg i Si^ g S 5^ 1^ f^ ^-^ LESSON V (Writing Book) See directions in the writing book. LESSON VI (Writing Book) . The teacher names the key, the beat-note, indicates the tempo (not the accent or the number of beats in the measure), and plays, or sings with a neutral syllable. .1 -- 2 i 5s sj^^ * m- i^s n rJ '=' - E1E3E T^ i ite ^ ^7^^-{=-^^-^^d : r " -' -^ ^^ s 1^ -f=-=— ^ :^ iE^ t=i= P W^- t ^SE T^ ;^ ^ :^=: -(:2 1- ^!E^ Steps and Half Steps The pupils know that there is no tone between mi and /a or between ti and do. FIFTH YEAR— OCTOBER 83 The distance from mi to /a and from ti to do is a half -step. Lead the class to see that the distance between all the other tones of the scale is two half-steps. The pianoforte keyboard is useful in illustrating the steps and half- steps. The material should be used as follows: The teacher sings No. i-a, and asks: What is the distance between do and ii 7 Pupils: A half -step. The teacher then sings No. i-b, and asks: What is the distance be- tween do and re ? Pupils: A step (or two half -steps). In the same manner complete the scale. la lb 2b i 4b ^-t;: ^ ^,^ ' ?^ I ^ o I & f^ -i)P=ZT a <^ c> g - ■Sf 5? i 5b 6a 6b i *s :22r Ife At another lesson, place the exercises on the board as they are sung, . representing the chromatic tones with colored chalk, preferably blue or red. (These tones we^e originally represented in colors, hence the name "chromatic") ■ Intervals The difference in pitch between any two tones is called an interval. Each line and space of the staff is a staff degree. The teacher wiU place the sta£f on the blackboard, showing the staff degrees, thus: Staff Degrees Bpnoe aboTe i _Third space _ _S Sol la ti do tral syllable, after asking the pupils to respond by singing the syllables. FIFTH YEAR— NOVEMBER 87 If the pupils sing w-g^g ^^ H the teacher says, I was thinking ^fe^ %) Do re tni/a , ^ Sol Do re mi fa . ^ Sol la it do Soon the pupils will see that the two parts of the scale are alike. The two parts should now be shown and compared, thus : Step Step Step Step A series of four scale tones including two steps and a. half -step, is called a tetrachord. The major scale is composed of two tetrachords which are alike. The teacher gives the pitch and says: Sing the lower tetrachord. Sing the upper tetrachord. Sing the upper tetrachord descending, etc. Familiarity with tetrachords will be. of practical use later. Sequential Studies See directions, page 76 ^^S: Fa :fe s^ae li! ~j^~*"?!^" W^. ijL :p±^ i*iSi S Te i I^H^fev 5§= ^te il?p^icir.l?^i|:^teS:ipb^;iq=jl?^iq=|l2j W- iz* t^-l— ^ - T-bM—- f V I ' - m - \^^ r—^ Le ^ifgF-^g^gjgS^^^^ ^^gS^H W Me ^ i^b^ | teg5^ ^ j^^"^& ^^i^^^^i Rd ?sa p=i;^ liSEE^^ jmfesg -^ fcii PJ.fe^^=3=3P; *? t«a 88 MUSICAL DICTATION Major and Minor Triads The teacher asks the pupils to sing the la triad from D as on page 78, then the do triad from D. Teacher: Do these two triads sound alike? Pupils: No. Teacher: How are they different? Pupils: One sounds like the major scale and one like the minor scale. The teacher agrees and says that the do, fa and sol triads are major triads, the re, mi and la triads are minor triads. The teacher then sounds C and says: Sing each of the three major triads from this pitch. The pupils sing the triads and inversions as represented on page 73, each from the pitch C. Teacher: Sing the minor triads. The pupUs sing the minor triads and inversions in the same way. When the three major and the three minor triads are clearly under- stood, the teacher asks if there is another triad. The triad of ti is sung by the class, in three divisions, as before. The teacher will call atten- tion to the unstable, restless character of all three tones in this triad. , The pupils will appreciate this when they sing the triad. AU will have a strong impulse to sing the next scale tone above or below. The teacher should explain what the pupils already feel : 1 . That the triad of ti is weak because all three tones are restless and unsettled, causing the triad to be restless and unsettled. 2. That the triad is weak becaiise it is so narrow. It has two half- steps, and only one whole step, while the others have two whole steps and only one half-step. The skillful teacher will allow the pupils themselves to discover this difference. The teacher then tells the class that this is called the Diminished triad. Study of Rhythms (Four tones to the beat) Different rhythms involving four tones to the beat are now to be studied. FIFTH YEAR— NOVEMBER 89 The two measures should be placed on the blackboard. It is essential to real progress in the study of rhythm that the pupils sense the rhythm before beginning to sing. This is as necessary as hearing (thinking) the tones before singing. At least two measures of each exercise should be sung silently, with the pupils beating, before any attempt is made to sing audibly. This should become a habit with both teacher and pupils; its importance cannot be over-estimated. Each scale exercise should be continued until the accent falls on the upper do. Nos. I to 7-b, and Nos. i i-a and i i-b involve four sounds to the beat. The pupil will find no difficulty with these rhythms if the feeling for four sounds to the beat has been developed during the fourth year, as suggested, and the pupil is able to think and sing four sounds to the beat smoothly and evenly. Numbers 8-a to 9-b each involve two tones to the beat and are in the nature of a review. Nos. 9-a to lo-b are new rhythms involving two tones to the beat and should be thoroughly practiced. The rhythms r roj^f^^i and ^^ l~*"^g ~n should be alternated and con- trasted. i fe^ F^ ^ 9° MUSICAL DICTATION 8b , ^,^^ Sc I' , >■) 1 1 ■ r r > ^ ' ^ L/ . ta» r 1 1* • ^ t- i — 1 -A^i 1 1 r r — r 1 1 h_etc._ y^^^-l U ;^ -.etc.q VJ^ 4- V-L* "4 '^ 1 ga m^ 9b i ;^ t ;t^ tc-2|g2± P :etc~ 10a 10b S 2| I I " 4: =*^*- :etc.: ^2= m?i -etcd Metric Dictation LESSON VII (Writing Book) See directions in the writing book. LESSON VIII (Writing Book) All of the material for written dictation may be used first for oral dictation. Original melodies sung by the pupils should always form a part of the material for oral dictation. (See page 79.) The teacher will name the key (D major) and the beat note, indicate the tempo (not the accent), sound the key, tone, and play, or sing with a neutral syllable. FIFTH YEAR— NOVEMBER 91 The pupils will beat and listen, try to visualize the melody, and re- spond by singing (aloud) with the syllable names. The class will then write in the writing books. IS5 ^ SSe^ef ^ w^^ ^5 1^31^ m p=t " p»~g PSEpi ^EE5 i :n= ^^^ 1^ ^«l= ^==^ T^^-*- i :^ gS^J^^H *#= ^#1 11^ 5=^£ LESSON IX (Writing Book) See Lesson VIII for directions. 1 2 i & ± gg^ s? ±=^: i^ ^^ ^i'^-^-v ::?:i=a!: -1^— l- g-- feg^ ^ -*=3=^ — 5-b#^ ±=3t ie?3; ±^Z±3t -ef- ^^^^^ Pl^^ LESSON X (Writing Book) See directions in the writing book. A curved line joining notes caUing for different pitches is called a slur. DECEMBER Oral Tonal Dictation (Metric) Each phrase should be played, or sung with a neutral syllable. Ac- curacy of pitch is absolutely necessary. If a piano is used it should be kept in tune. The use, for school purposes, of a piano that is badly out of tune is most unwise. Each phrase should be given out as one thought, with a firm accent and a decided rhythmic swing. m '^. ?=^ g Es ISP^ES Jife*: ¥ i s ^£ m IE f-^ =2i ^it -M 10 11 SJ=^^ Ft: ^:i=^ 12 13 14 15 16 ^ X^- PS ^ T=>\ W t=tt (=2- 92 iilPlH Yt.AK— DECEMBER 93 17 18 ^^ 'W=^ F=t E3i 19 20 p^s^^l^^^g^^ Botlding the Scale The pupils sing in review the two tetrachords of the major scale. The teacher represents the major scale from C and from G on the board, indicating the tetrachords, thus: Lead the pupils to discover: ■ 1. That the upper tetrachord of the scale from C becomes the lower tetrachord of the scale from G. 2. Why the sharp is placed on the fifth line. 3. That there is no F in the scale from G. The staff degrees (first space and fifth line) which represented F, now represent F sharp. The teacher now suggests that the upper tetrachord of the scale from G be taken as the first part of the scale from D. The pupils see that the scale is already half completed. i p Do --^ I re E G D E F# Questions and answers as given on page 85 make it clear that C is not in the major scale from D, but that Cjif is. The scale now appears thus: 1^~ 94 MUSICAL DrCTATION Next time begin with A, using the upper tetrachord of the scale from D for the lower tetrachord of the scale from A, and complete as before. In like manner the pupils begin with E and complete the scale. Written Metric Dictation The teacher names the key and the beat note, indicates the tempo and plays one phrase, or sings with a neutral syllable. The pupils beat and listen, then write in the writing books. Each section should be given out not more than three times. The pupils should hear (think) the tones and feel the rhythm, but in no case hum or sing aloud. During the writing no noise of any kind should be tolerated and no questions allowed. If the class cannot write the melodies successfully, the material may be used first for oral dictation and some of the phrases placed on the blackboard after they are recognized and sung. Each melody . is in eight sections. By i-a the class should under- stand that No. I consists of more than one part; the signatures are not repeated nor a double bar used between the several parts. LESSON XI (Writing Book) —Q — MZ lb ^=X Ic i=t IS ^ I^Z :at«t -^-1^ Id le If -? ^-^ \ \ \ \ 1 f—f- g I*— J^ J 1 \ \ 1 i -C Y-^ — J—^-J--^- -'-^ ^ -1 P-f *~^^ J J J •- ^ f-^ — i fcer m ih ^ rs5i i FIFTH YEAR— DECEMBER 95 LESSON XII (Writing Book), J. Goss la lb Ic -^g^P 4 *■ * * d ~m. ^ \ — ^ * p— p ^-^ — 4- * 4 J_ Id le If Ig Ih -* ^5iL4 — --T— p- -^-4-^- -*^-?-*- J- - J-v-J^ - -1 ^ * 1 r * ^ W LESSON XIII (Writing Book) See directions in the writing book. JANUARY In January and June the results of the individual singing and writing are recorded and form the basis of the pupil's term mark in Music, Those pupils who are up to grade may be excused from music a part of the time, in order that the slower pupils may receive extra help from the teacher. The pupils who are strongest in music often delight in "playing teacher" with the slower ones, a feature which, when properly managed, is of great benefit both to the "teacher" and the slower pupils. LESSON XIV (Writing Book) See directions in the writing book. LESSON XV (Writing Book) The teacher will name the key, the beat-note, indicate the tempo (not the accent or number of beats in the measure), then play, or sing with a neutral syllable. 1 2 ±3 12:53; Bi; ^^B^^ a^s e^EtSi^?^ e£ w=^ ^ m M^ ^s ^±iE^^S3^K*z 4M^^ hr. mmm^m ^ 96 FIFTH YEAR— JANUARY 97 The class roll should be copied into the blank book, and columns ruled and designated as follows: Name Written Lessons Four Sequential XIV and XV Exercises Chromatic Studies Music One from page 77 Reader One from page 87 Page and No, FEBRUARY Building the Scale The teacher places the following on the blackboard and asks who will build the major scale from F descending. i Do ti la so'l fa mi re do FED CBAGF A pupil volunteers and proceeds : From do to ti is a half -step ; from F to E is a half-step; therefore, E belongs to the scale from F. From ti to la is a step ; from E to D is a step ; therefore, D belongs to the scale from F . From la to sol is a step ; from D to C is a step ; therefore, C belongs to the scale from F. From sol to fa is a step; from C to B is a half -step; therefore, B does not belong to the scale from F. (If necessary, the teacher leads the pupil to see that the simplest way to represent the tone a half-step below B is to use a fiat. A flat is a character which helps the staff degree to represent a tone a half-step lower.) The next pupil builds the scale from B flat, proceeding as before. i ¥ 3.^ 32=15 Do ti la sol fa mi re do. Bt> A G F Et? D C Bt? The major scale from F is now placed on the board and the teacher asks a pupil to indicate the half -steps and tetrachords, thus : i :2z:e^= tZ^2Z 98 FIFTH YEAR— FEBRUARY 99 • The teacher or a pupil adds the lower tetrachord of the scale from B flat. The two scales now appear thus: i s>- One section of the class now sings the scale from F descending, with the syllable names. As they sing the B flat, the other section begins and completes the scale from B flat, thus: i Do-: Do ^—l^ ' ^S^ 5=^^ ■"b-? The pupils should now see: 1. That the lower tetrachord of the scale from C becomes the upper tetrachord of the scale from F; the lower tetrachord of the scale from F becomes the upper tetrachord of the scale from B flat, etc. 2. That the new tone "in flats" is always /a. 3. That the new tone becomes do in the next scale. At a subsequent lesson take the lower tetrachord of the scale from B flat (an octave higher) , and proceed as before, with the scale from E flat and A flat, thus : ^ -^ g? \ ) r^ '^ be? t> ^ :«^i2^5-b3: The Sharp, Flat, and Natxjral Without the help of other, symbols, the staff and notes can represent only the tones A, B, C, D, E, F and G. To represent the tone between G and A, for example, the use of a sharp or a flat is required. (See the keyboard of the piano.) lOO MUSICAL DICTATION The sharp enables a staff degree to represent a tone a haK-step higher ^=^1^; the flat enables a staff degree to represent a tone a half -step lower (Note — Skillful questioning by the teacher will enable the pupils to discover for themselves the limitations of the staff, the effect of the sharp and flat, and like facts. Pupils will perceive that the G is not "raised" to produce G sharp, and that A is not "lowered" to produce A flat, but that a new tone is represented. There are many reasons why it is much better to lead the pupil to discover such facts for himself rather than tell him. The latter method, although easier for the teacher and more generally practiced, hardly deserves to be called teaching. Interest, memory, attention — all are stimulated by leading the pupil to think and decide for himself.) The teacher draws a staff and clef on the blackboard, sounds the key tone, sings or plays 50/ le sol, and asks who will write. Sol le sol, la si la, sol si la and la le sol are correctly written, thus: i p ±221 IS2I '^^ 22Z | o _9 _ e^ '^ rzr- Some of the pupils will use a sharp when a flat is required and vice versa, thus: (Incorrectly written) 6 7 8 ^ ^^El^J 11^ -^ WS BS'- c^ l7;=7 \^ -^■cs—Osz ^ When correctly represented, the chromatic tone and the scale tone which follows, usually appear like ti do, or fa mi. (Compare i, 2, 3 and 4 with 5, 6, 7 and 8.) LESSON XVI (Writing Book) See directions in the writing book. After the lesson is written the intervals should be sung, the lower tone first, then the tone represented directly above. FIFTH YEAR— FEBRUARY lOI LESSON XVII (Writing Book) See directions in the writing book. This lesson is a review. Make clear: 1. That two scales, the major {do) and the minor (/a), may be repre- sented with each key signature. 2. That the tones of the normal minor scale and the major scale are identical. Metric Dictation One or two days before Lesson XVIII is written, the game of visuahz- ing as described on pages 12 and 13 should be practiced with the material for Lesson XVIII. LESSON XVIII (Writing Book) The teacher will name the key, the beat-note, indicate the tempo (not the accent), and play, or sing to a neutral syllable. ig ^ ^=X t^s^n?^ t^^ ■(=- i^ ^F=[ i^ Si— (=2- ^PZ^IE f=-l» W2 J L -^-Td- S III t^^ (=> r > ^ w Sh- w=^ LESSON XIX (Writing Book) For directions see Lesson XVIII. I02 MUSICAL DICTATION i ^ ^2-^- =PE=;r=«: -g?~ ::*=£: ^ rat— r i r£ -S^-j :|f^ ^ •H*= i§ ' 2p- r - -*-»^- m m^ -^-e^ g 6 ft P^^ *=tf: r^3at I MARCH Oral Tonal Dictation The following material introduces to the pupil the Melodic form of the minor scale. The teacher, by constant comparison of the upper tetra- • chord of the major scale {sol la ti do) with mi ji si la, will lead the pupils to see that the two groups are alike. The pupils will also learn the new group by this constant comparison. The teacher will sound the key tone (D) and proceed as follows : Sing the lower tetrachord of the major scale ascending. The upper tetrachord. The teacher now sings No. 3, with the syllable names, {mifi si la), and asks: What other tones sound like these? A pupil sings : m I— — 22— — S- 22= Sol la ti do The two groups should be constantly compared until the new group is thoroughly learned. Always require the answer to be sung (speak- ing the syllable names does not give the proper answer). No. 12 is sequential, consisting of the descending Harmonic minor scale with si la between the scale tones. Material tor Oral Tonal Dictation 2 sol 3 mi fl si li i B22= IE ""ST- -Te- ^ sol ^ mi Ji si la ^ la XT 23- 103 I04 MUSICAL DICTATION * 8 la sol fa f^ El^Ei? -tS" l—(Si- P2=^i I22Z IS2Z rs2r 10 11 mm iSi-^ i^- ' d - g j. W ' ^ • '»-*-- — *^ 22 Sequential (Harmonic Minor Scale). f) — - j/.g — »-; jia — • itm a^ — m — 1*-^ « — 1 u^ — » 1 -€ )^4r 1 *t— 1 *'l^ 'fe— 1 **£ 1 [-v^ — *r — 1 H — — 1^ — -1 1 1^ \ 1 la fa re do ti w --¥l la 13 14 i ^ ■^ r^ . . ^-^ ^ 15 16 ZSP— f^ _^ a ^ ■f^ 17 18 19 20 t^^^^^_ ~^rj' XT 27- 21 * =^ ^ ^^^^^ ^=S j =^=^ - g ' ;=;- -.e- NoTE. — No. 21 is the Melodic minor scale. Do not name this scale until it is thoroughly learned. The descending Melodic is the same as the Normal. ' The four scales should be sung successively from a given pitch, in logical order; i.e., Major, Normal Minor, Harmonic Minor, Melodic Minor, without direction or suggestion from the teacher. FIFTH YEAR— MARCH lOS Teacher: Sing the four scales ascending and descending from this pitch. (Sounds the key tone.) The pupils sing the four scales in succession. (See page 115.) Syncopation Sometimes the rhythm is so changed that the accent falls on a part of^the measure not usually accented. Such a change in rhythm is called syncopation. The syncopated rhythm is an entirely new and disturbing experience for the pupU. The accent has always been with the beat; now the accent is between the beats. Necessarily the pupil's sense of rhythm receives a rude shock; pupils with the strongest sense of rhythm are the most disturbed. And yet this rhythm is not unknown to most children. So called "rag time" is simply an exaggerated and cheapened form of syncopation. The pupils will enjoy beating and singing some familiar "rag time" melody. This will bring syncopation consciously within the child's experience and help him to master this new rhythmic problem. While singing the following exercises it is of the greatest importance that the pupils shall beat vigorously. Each exercise should be con- tinued until the accent falls upon the upper do as shown in No. i-a. Singing a tone after the beat and also with the next beat, is the new problem. Material for the Sttjcy of Syncopation la To be placed on. the blackboard i ©; ^-F— r^f=r li^^E l^=t^ ;^ « 0- - ^ s- s m — « — v^m. — -» ^- ^^^^=^ ■^—0—ii- ^^^ ^^=^= io6 MUSICAL DICTATION m lb Add tie in No. i, thus: ic Add another tie in No. i, thus: -m- a;g± 4=k=t^= 1/ u t^ — t^ t ** -i»>- ^5 !4 =^ f u V4U U U Id Erase last tie in No. I, thus: le Substitute J for J^^i^ thus : L-a -r f ^ ^ g^=v=v=P=£ ^ :=u^^^ l ^l ^ i ?^=^^^^ ^ I ^>«^+^^v: -Ei^ i i LESSON XX (Writing Book) See directions in the writing book. LESSON XXI (Writing Book) The teacher will play, or sing with a neutral syllable. If the pupils find difficulty in keeping the key tone in mind, the teacher may ask the class to sing the do before the next group is given out. g 'g?~ :^ W-- -%^ ~g?~ i 10 -g?" ^K-^^ ^\^ ^ 'Y 11 12 13 14 15 a^_^_tez::^^=z=^^=rg^ :§^ 19 20 i 16 17 iE f^ o o -»^ 18 2^#2 E^ 32=122: ::1^ -iS- II FIFTH YEAR— MARCH 107 LESSON XXII (Writing Book) See directions in the writing book. LESSON XXIII (Writing Book) The teacher names the key and the beat-note, indicates the tempo, sounds the do, and plays, or sings with a neutral syllable. The pupils beat, listen and visualize, then write. i p^iltepi^^iiP ?2= s p^F Hi ^s- - ; c^ I ^ - S — ^e*- i 2i P^j}, ^=^ -_j4^^ — • — ^-J-- LESSON XXV (Wrttestg Book) See directions in the writing book. LESSON XXVI (Writing Book) See directions in the writing book. io8 FIFTH YEAR— APRIL 109 LESSON XXVII (Writing Book). Play, or sing with a neutral syllable. \ La m. -^S> — Si- r^^^ W- -zp-c^ C<'Z -7=> C^ r.jr- 1221 -^ — 257- i s t=g=» ■S'— tt;r3 &- r#.^=^ ~g?~ P ~r^~ ^ ^ ^- g f n^^ g=g=tt^ p 221 r-^ 'g- i i s 5=^#^=^ -^ s> ^ P MAY The Use op the Sharp, the Flat, and the Natural The sharp, flat and natural, when used to represent chromatic tones, are called accidentals. The teacher should now generalize concferning the use of accidentals, as foUows: Teacher : I will give the pitch of a tone ; you may give the pitch of the tone a half-step higher, represented on the same staff degree. Teacher: G (representing G on the blackboard). Pupil: G sharp (teacher represents G sharp). Teacher: G flat. PupU: G natural. Teacher: G sharp. Pupfl: G double sharp, etc. Teacher : Now you may name the tone a half -step lower, represented on the same staff degree. Teacher : G. Pupils : G flat. Teacher: G sharp. Pupils : G. Teacher: G flat. Pupils: G double flat, etc. If a pupil suggests placing a sharp before G flat, for example, the teacher will show how confusing the sharp and flat would be if used to- gether. A sharp and a flat are never used together; the use of the natural is much simpler and plainer. LESSON XXVIII (Writing Book) Before writing this lesson, the pupils should again build the major scale from E flat (blackboard), naming the tones forming the scale FIFTH YEAR— MAY III (E flat F, G, A flat, B flat, C, D). Intelligent use of accidentals re- quires that the pupils shall know the pitch of the scale tones. Each tone group should be played, or sung with a neutral syllable. ^ ■e-lt r ^ O =.^5_^_,::2= =^]3^ -^^ ~z:7~ F ' o — gp— is>— J^^^ ^^=^t^=^ 10 H 12 :2z:g5 EE^ ■i.-ir^--? ^ ~?? ~ -.^^ ■ - ~ = ^^ =^ 2 Normal Minor - a ^ II r^ ' ■ ^ IZ2I 3 Harmonic Minor ^^ |g gp-^ g^ g> - ^^ ^ ^ '= ^^— ^ Melodic Minor !i^ g:z^=^j g=^ ^-^ .. ^ ., — B ~e?~ -iSt 1 1 ^-^:^ After the key tone is sounded the pupils should sing the four scales in this order, without assistance or suggestion from the teacher. "3 114 MUSTC4L DICTATION The class roll should be copied into the music note book and columns designated as follows : Names Original Written Singing of Singing of Melodies Lessons Five Exs. Four Scales Writing Book XXXII and Music Reader from E Pages 31, 32 XXXIII, (Maximum Allowance of 20%) (30%) (25%) (25%) The grades of each pupil should be recorded and taken as the. semi- annual mark in Music. The advantages of these individual tests and records, both to the pupils and to the teacher, can only be known and appreciated after a fair trial. iLESSON XXXII (Writing Book) See directions in the writing book. LESSON XXXIII (Writing Book) . The teacher will name the k^y and the beat note, indicate the tempo, and play, or sing with a neutral syllable. i ^ i ^#I=F=^ H*-^ =#lt E^ «— ^s=i — ^ »l i^^33; # ■7::^'^ St "2?~TJ -z^=^±^ No. 5 is not to be played or simg. See directions in the writing book. 6 M -m. i=t =E s SIXTH YEAR SEPTEMBER Review of Scales The major scale and the three forms of the minor scale, from E flat, to be sung as follows: Major ^IIe qw=q5 ^ -0^=^^- ^^ S =^=k: Bo Minor (Normal Form) ii l^a qv=^ -=.. — ^ — 0-fF=i^ L^^^ =?E=P -^^=>= m i^=fc ^i^=^ La Minor (Harmonic Form) w OE9z ^S^i^S" La Minor (Melodic Form) j ^^S^ fe^gE^E^^^^^^Pg La Review of Triads Class in three divisions (See page 72). D major {Do) triad i I m Ep D minor (La) triad fe i ^ « ^ ^ 11.5 ii6 MUSICAL DICTATION Review of Chromatic Tones (Major Mode) Linking the chroiiiatic tone with the scale tone next above or below, like ti-do or fa-mi. The studies are sequential; the pupil should complete the exercise after the teacher has placed i-a and i-b on the blackboard. la lb i ^E£^mF& -^tt * >, [TA S#= ^=^ WAr J , l^}-^^ ^^,^. ijt*: i ^-^ p WTi ^=HH=f i#^ ^^ \ mM^^ v^^ m 2b S: w-< m ^'4^J-i^n^^::J^rJ^_ ZgLV.^- t=^ i ry^^ ISE i g »- b r i« » #-^'*- is iJ^A— _U^ itzizj^ t=fe?=t l=t*: »i -P f ^ 3b Mf^f¥ :i»: 1^ ^Si S=2p=: i — WW-^; F^i=t /a sol fa ^f^- X-W^ ^^ ^^ ^n j-bj -jfei //tf i fegJEJEEE^^^JE :l?»t 4b -G> — I — a»- ^ 3g: //i? ^^W — ^ — \^^ ^ rJ /" i^3j^ ^0/ SIXTH YEAR— SEPTEMBER 117 i ¥ wh — r^^"^ =-*=T=^ ■• — r — !»■ J=F la do 5b fe=f^=F« , '^ftf^?^^^rt"H?=rTTr:^jMd /a sol /« mi fc^ ^ S ¥^^ ¥^^-^ 32Z //(7 6a 6b re mi fa sol i rg? I I f * ^ 1* I I *'? ^ ^ P /a i — p-^ -r. P^-^ ^ ^ Ifc^— •■— 1 ~^'^^~m~ J J »^ ^r-f V- s -*l-^ — t- — r-^t— ^ 1 \^) * . • • S W J VCL 1 1 U «-j * • • - 1 1 5g 5h h^i'u^. r ^ p ^ -^^j^- — r- — ^-^-1 — j^ r^ \4.>r- — «-« k^^^^t — ^-*--^-^-^— — -— — H — ^^^ D3 ^ 6b # : ^ — r ^= 5^^^ ^ NOVEMBER The Accent in Compound Measure There are two three-part measures in each compound duple measure, consequently, there are two accents in the measure. When the two simple measures are joined, the second loses a part of its accent, just as the word bell has a secondary accent when it becomes a part of the com- pound word door-bell. The stronger (primary) accent falls on the first part. For the same reason, a primary and two secondary accents are found in compound triple measure. In compound quadruple measure, the primary and secondary accents fall on the first and fourth beats respectively as in simple quadruple measure, whUe the second and fourth beats have a weaker accent. It is clear then that the main accents in compound measure remain the same as in the corresponding simple measure. This multipUcity of accents, together with the rapid succession of pulsations, giv^s the ani- mated, exhilarating effect peculiar to compound measure. Much intelligent practice is required to fully sense the rhythm in compound measure. Appreciation of the three degrees of accent, for example, requires a well developed sense of rhythm. The idea of accent should be presented to the pupil as an impelling . force from within, not a blow from without. Accent is an impulse, not a blow; a motor, not a hammer. A certain element of delicacy and grace is essential in the develop- ment of the feeling for rhythm, and the body must respond to and vi- brate with the rhythm. Hence, in stimulating and developing the rhythmic sense, bodily movements, such as dancing, are more effective than counting or beating. Rhythmic exercises should be practiced regularly until the pupils feel the swing of the three pulsations to the beat in the compound measure, 124 SIXTH YEAR— NOVEMBER 125 and are able to keep the count even and the tempo steady, when changing from one kind of measure to any other. After the first presentation only the measure signatures are needed on the blackboard for practice, thus : t-* «J ^ I Compound measures (six, nine and twelve-part), have three counts (one three-part measure) to each beat, and the beat note is a dotted note (J. or J.)- Three even tones to the beat, therefore, are characteristic of com- pound measure, while two and four even tones to the beat aje distinctive of simple (two, three and four-part) measure. Oral Tonal Dictation ~ Sequential Studies or Chromatic Tones (Minor Mode) La si fi ^^^^i^^^is^eii^p^ La leE -m i S&£=J^=^2l^ [#^!«^ ^m 'i^s^^ ^^ ^^^^^m^m smm 126 MUSICAL DICTATION Material for Written Dictation Study of S^=:g±= g:Eg E;| and ^^|^^ Sing or play the entire melody while the pupils beat and listen. Then give out the melody in sections of two or four measures. la lb OriusEPPE Verdi Gascon Carol if^:^ fa=e= -»-H*- t^^^^^l^ -» • P .^^p t^&t=S^1:^ :r=iU=t:b^rt feg i^igg q^cq^ utjc .^_^_ -»—^ :^U=t^ =m ^^^i^a k German Folk Song :«^ j!^ ^ ^ ft— ^> Jtat^ifzjc* =^t±^ k=3tDt -t>^l^^ German Folk Song ^^(Zlfs — ^^ jf, — ^s4_^ — ^M^4-^ jv_j»^^- [-^ -^ p^ — ^ ^F«=J=d=d-:^?=M=d-:-^^!^^-:^-£-r=:^-P=:^:J=^ m^^ms^S^ • — (•- ^ P=i: ■^^ ;i -*-»K-»- F=5^ ^^gE,^^^^ Johannes Brahms ^£^^^£ -# P-- :t :?« — » — ^ 'i=^-w=w^ ^P-^ ;E^ ^=^EEP >— U— V : SIXTH YEAR— NOVEMBER 127 fcssE German Folk Song :W^ ^^ :?!=]^ '^ ^. s ^ 7 German Folk Song ^ fc£ ^=^ el) iT^ -■• — ^ — -T» ^ # i=3t ^ r-« Edvard Grieg gg pg %g.fflJ^ fag^4 ^g^gig^ Melody Writing Pupils are now ready to write melodies as they invent them, provided they have practiced thinking, visualizing and singing original melodies as outlined in the fifth year. The melody should always be sung men- tally before it is written. (See directions, page 79.) Written Lesson Six original four-measure melodies: No. I. In G major, three-four measure. No. 2. In G major, three-two measure. No. 3. In D major, three-eight measure. No. 4. In D major, six-eight measure. No. 5. In B flat major, two-four measure. No. 6. In B flat major, two-two measure. These melodies may be Written any time during the month, as the teacher directs. DECEMBER The Triplet The pupil has learned that three even tones to the beat are peculiar to compound measure. Sometimes the composer desires to use this rhythm in a simple measure. This is done by using a section of a com- pound measure (one three-part measure). The figure three indicates that the group of three notes or rests has the measure value of two such notes or rests. The group is called a triplet. The use of the triplet enables the composer to write in compound measure without changing the measure signature, just as tlje sharp, flat and natural make it possible to write in a different key without changing the key signature. The a of each of the following numbers should be placed upon the blackboard and sung by the class. The teacher will then call for vol- unteers to represent the exercise in another kind of measure. The two representations shoiild then be simg together. la ± ^m TdW H*-!^ ^ s a & t=p ^ w=^ m -d-*-* rn m i 2a TV l\ ^ ^=^ S d (i 2b ife^ 128 SIXTH YEAR— DECEMBER 129 i ^ •* — » :g= ^^'^ — ^ ^^ ^ p ^^ ' ^ - m S W t ^ 3b ^ i-s 1 ^ — I— ^ 1 l » ^: ^E^ >r ^ nF ' * * >> ^ [/ — ^ 1^ ^ ; . f-H-.hi E^Ea ga^ -• • ^ < 4b a r3^^^=J=^^^ ^^ ^^ i H ^^ ■I* !*- ^fe^ ;iE^ :f^ s 5b ^'^=P^^ P Material for Written Dictation i y P'rench Song ste s 1 hi — :i— t^H 1 ^ ^—^ » "^-V *tF ^^^ ff ^ g^i ^^^^ 5*=^ # ^^^ -^— #— « — *■ ^sa French Song S az:-i«: Russian I30 MUSICAL DICTATION i "^^^ ^ &— ^ ^ I g^ =fe? s>-^^ -s>—^&- '7^^ t ^j o Lg z=2^ d7^^ ,^_ :^ gziszziZsi =i^ :5^ P Nos. 5 and 6 are problems in transposition and are not to be played or sung. 5 No. 4 transposed into EP major (To 1 k be written with No. 4 as a guide) J. tJ J\ y\\^ pv" 1/ , It --, -P (^ h<^ -^-^ «^ 2 s^ — \& <=i—%<^ ^— L^ ?^ C^ K^d ^ 1 i :^ g> r-j >^ '==' "^^ \^' lol^g- ^^ fe^ l4>— s^-g|s>- g" No. 4 transposed into D major (To 'be written with No. 4 as a guide) g P 1 ^ r "l^ g zn ^^^^-^- j^ c-' g r-? - i p^ I22ZI1Z22I "TC r- Written Lesson Review scale building, page 85. Write the major scale descending, from C, G, D, A, E and B, with- out signature. Indicate the half-steps and tetrachords with the slur, and place the letter name under each note, thus: CBAGFEDC i G Fft E D C B A G ~X2Z =#^ =#= ~e=^ =#^ - 132 MUSICAL DICTATION Practice Stafp The blank staff with wide heavy lines and wide spaces is most useful. This staff may be placed on the blackboard, or, better still, painted on board or heavy paper. Referring to the illustration shown on page 131 the teacher will notice: 1. That the tones of the scale may be represented by the lines and spaces of the middle section. 2. That the chromatic tones di, ri, fi, si and H, may be represented by the lines and spaces to the right. 3. That the chromatic tones te, le, se, me and r'd may be represented by the lines and spaces to the left. This staff may be profitably used in many ways: for practice in all clefs and keys in both major and minor modes ; for one-part singing with one pointer; for two or three-part singing with two or three pointers; for all sorts of interval practice including chromatics, and for practice in modulatioii and rapid changes of key and mode. The possibilities of the practice staff are only limited by the capacity and skill of the teacher and pupil. In using the practice staff the teacher names the key, A major, for example, sounds the key tone, and points while the class or pupil sings: Teacher points to the second space, middle section. (Class sings do?) Teacher points to the second space, right hand section. (Class sings di.) Teacher points to the third line, middle section. (Class sings re.) Teacher points to the third line, left hand section. (Class sings r'a.) Any of the material for oral dictation given in the manual may be used with the practice staff. Clear and rapid thinking and considerable practice are required to use the pointer skillfully. Many pupils become expert in the use of the pointer if given opportunity. The leader must have a clear notion of the series of tones which are to be sung, move the pointer quickly and hold it on the line or space until ready to indicate the next tone. JANUARY The Duplet The use of two even tones to the beat in compound measure is quite as useful, although not so common, as the use of three even tones to the beat (triplet) in simple measure. The duplet is indicated by the figure 2 when used in a compound measure just as the triplet is indicated by the figure 3 when used in a simple measure. The duplet aUows the composer to represent two even tones to the beat without changing the measure signature. The 2 indicates that the group of two notes or rests has the measure value of three such notes or rests. Directions for using the following material will be foimd in paragraph four, page 128. la m =*=i= =^E ^*=H*=^ 4 mm r r. .^TT^ ^^^ 2a ft 2b i fc -0- — ^- 133 134 MUSICAL DICTATION i « f^ -I* — » g^g^ --m ^- B^ 3b ^E^^ ^3 =? -* ^- P 4a * 3siE2 I ies 4b ^^^ I I ]^?=3=3?=J Written Lesson A pupil will copy the following melody on the blackboard : — French Carol #'t>rj ^flfeEE ^ ■m f^ -SI (S-^^ ^ 3^ g? •■ i ^^ ^hf:^ f=^ -:sL 3a 3I3 Like la do mi do la 4^ 1 A / 1 ' / ^ n 1 -^ f^^ '^ 1? \" ej 1 \)c^ \)CJ V- ) fU iV 1 4b 5b i ■^9^- ^ ,. ^I7 g: g^^'V g-^ - ej '^ r^ cj i«^ _^ 3Z: ^=221 6b 7a 7b m. g gJ c ^- ~g-^ >^~ '^ ^~ isszzizs: g-^ i -g?" 8a '1 8b 9a 9b ^ . 1 ^ c^ i^' b — f^ '^ > h ^, u ,, — 1 ^-' 1 r \'' ^ i^ 1^ ,^ )7c-J i£3 1 '-' _— " v^ ) (^ ■-^ — .j.^ C^ '^^[_^, 1 10 11 12 i &S=2^^S= ZSJ=ZS=^-^^^^&^^ i^z^E^^i 13a 18b 14_ i g,.^ bg : 1=32= <— ;zi 221 I^Z1?22= 1221 i -j^ g.^ ."^ '^ =^ ^ i.^,,-.^ — '^^ ■ ^ \> k - ^^— Q l7g ^" ~g?~ Z?o MARCH Written Lesson Write the chromatic scale ascending and descending from D and from E flat, and place the letter names under the notes, thus : Chromatic Scale i E^ ■i^ ->s- "^^■^ "?::?" D D# E E|} Fjf G G| A A# B B# C# D F^fe Z22r 222= "g:?" -iS' — fe D# C# C B Bfr A aI^ G Fjf F E Eb D ^ - ^ [^ ^^ -g— ^g' ^^^^- ^tf^- :^= ^^ ^ — ftg^ Eb F# Ab Bb B C C# D Eb i "^^':y e^ g-^ be?" =§&i P •"^^ -^^-S^ (^ \)7^ Eb D Db c cb Bb Bbb Ab g Gb f Fb Eb Material for Written Dictation (Three-eight and Six-eight Measure) Every compound duple measure which the pupil writes- must consist of two simple three-part measures. If this is made clear to the pupil much .unnecessary trouble with later lessons will be avoided. The teacher names the key and measure signatures, and plays or sings the three-eight measure exercise. The pupils write. They are then directed to write the same in compound duple measure. Before giving out Nos. 5, 6 and 7 the teacher names the kind of measure (compound duple). 141 142 MUSICAL DICTATION lb CT^^^ \\\^^ ^ I * ^-m-m- J J J r I ! I T I I I ! I I I I h *^ * -■* * \ S m d 2a to r c -~i * r :j»=it r^ "8 I ^ ife?^:^ W ^ 2b ^^6=r- rr 'k i -^ -^ — *■- tt Pi S =|Sa_a- leE^^ - ^ - 1 -I ■=;— n- -| S 1 1 3b ^ p gg=i:^:^^^u ^^g^ ■^1— =1- 1 1 « l^^^^g^ h. h h ^ =*=5=^ -^^n- l-!5— 51- I^=btg=t£ 4b Sfe ^ ^ — Ji n- m y ^8 I E ~0 * p w m m m- :^=qii==?i= -*-+ -^ JIn=^s i^ SIXTH YEAR— MARCH 143 i « w mn^nj^ E^ -•-: ■•- i fei * i^^ 5^^ -*"»!- Written Lesson Write the major scale descending, without signature, from F, B flat, E flat, A flat, D flat and G flat. Indicate the half-steps and the tetrachords with the slur and place the letter name under each note, thus: F Bt> i 'g^_c> i ==2=S :|i IE I22r 1221 IZSI :2=^55 F EDC Bl?AG F Bl? A G F Et» D C Bb Eb Ab ^m \ ^^i^dte ^^I^-bc-^:^. Ab G F Eb Db C Bb Ab :^^=&i Eb D C Bb Ab G F Eb Db Db C Bb Ab Gb F Eb Db Gb F Eb Db cb Bb Ab Gb APRIL Material tor Written Dictation The teacher names the key and the kind of measure before playing or singing the melody. The pupils should beat and listen carefully, trying to visualize the melody before writing. The whole melody should be played or sung once or twice, then given out in sections of two or four measures, depending upon the length and difficulty. Review Syncopation, page 105. m Rossini S£ r=m i w-w- -*=F= « Wm. Sterndale Bennett te^ ^3g f%=^ ^ fi^ ^ * w ^ « Mendelssohn ^ ^ i^ 'm ^fep ■Mr^ Mendelssohn tf » F^JS^ s^ S3b^t#^ ■S—m—m-^-m- m #■ I* i^s e: I =t= 144 SIXTH YEAR— APRIL 145 Ss fil *^=at: Old Tune ^3^^ ORiGrNTAL Melodies See directions, page 79. Write six original four-measure melodies as follows: No. I. In G major, four-four measure. No. 2. In A major, four-two measure. No. 3. In F major, three-eight measure. No. 4. In E flat major, six-eight measure. No. 5. In E flat major, six-eight measure. No. 6. In A flat major, three-four measure. (To be written any time during the month as the teacher directs.) Written Lesson Write five scales from D, ascending and descending, using whole notes. Indicate the half-steps and tetrachords with the slur and place the letter name under each note, thus: Major zsz: ^E S^ZZ^ "S?- D E F# G A B C# D Normal Minor -"S=S= e= —^ HJ - s=^; -^ — "^j:^ D E F G Harmonic Minor Bb G D i 5=^ :#^ g=tf^ ~i'-s- -^ -=^^23= -JP- D EF G A Bt7C#D 146 MUSICAL DICTATION . Melodic Minor :^ ^-#^^=g=P^&^ ^ S _22; "s:^ -S3 S^- -■s" — =3- DEFG ABC#DDCBbAG FE D Chromatic Scale (No tetrachords) i t- ZZZl is=#22==^z=ie '^^^ff^ :;^=|s^^^^^^^=^ 3^^^^^=3Z=i^ ::2:^=Bs= MAY Material for Written Dictation The teacher will name the key and the measure signature, and sing or play the entire melody while the pupils beat and listen. The melody should then be given in sections of two or four measures, depending upon the length and difficulty. The pupils write. (Music Tablet.) Nursery Rhyme Anton Rubinstein i r^f -:&: ^^^^^^ 3t=^ * J-* ♦— *^- it*-*^il^ i^ ^^^^ ^^- :^z Schubert ^m Hp^ :r^ - *-~r g ^a^ ^5 i Ea S^^Bz^E^:&^j:JSTJ EjiEEg Beethoven pa^ S^ ^^ 147 [^8 MUSICAL DICTATION Beethoven ^g: w& ^ * k i m ^^S3^ * ! r~>- ^ ^ £=k=^ig ^ ^ i J. IJ 8. Rewrite No. 7 in Compound Duple Measure 8 i ffi: ez& 9. Rewrite No. 7 in the key of F sharp minor 9 m ^10 ^^ ^ # =#^ ^— ^s:*- i 12 fa li^ W- *^*=^^it=f: £e^ ^ 14 ^- ^EiE :#»t ^ i 15 iE ?ff ^ I C? . Written Lessons ' The teacher will place on the blackboard melodies Nos. i and 2 of the May material for Written Dictation, page 147. The pupils will write melody No. i in three-four measure and trans- pose No. 2 into G major, two-four measure. SIXTH YEAR— JUNE 151 OiaGiNAL Melodies See directions, page 79. The pupils will write six original four-measure melodies, as follows: No. I. In C major, two-four measure, using /j once. No. 2. In G major, three-four measure, using the triplet once or twice. N0.3. In F major, six-eight measure. No. 4. In E flat major, two-four measure, using sjTicopation. No. 5. In E major, three-eight measure, using two tones to the beat (occasionally) . No. 6. In A flat major, four-two measure. SEVENTH YEAR SEPTEMBER Review or Scales The five scales should be sung by the pupil in logical order as printed below, without assistance or direction from the teacher. Major Minor ( Normal Form ) ^^i^^^^^^^l Minor ( Harmonic Form ) Minor ( Melodic Form ) ^^^^^^^^^^y^^p Chromatic i =^TJiga^^^^PFF=r^^ ^ =p^ -^1 y i.t=^ :*l?»t "^^^ i Review of Major Chords The key tone is called the tonic. The fifth tone of the scale is called the dominant. The fourth tone of the scale is called the subdominant.* Before naming this tone the teacher should make clear the meaning and use of the prefix sub. Two or three minutes spent with a list of words such as sub-way, sub-cellar, sub-marine, sub-normal, sub-soU, sub-editor, sub-bass, etc., will accentuate the meaning of the prefix so that the pupils will never forget the name of the tone just under the dominant. Re is called the supertonic; mi, the mediant; la, the superdominant; ii, the leading tone. 152 SEVENTH YEAR— SEPTEMBER 153 When singing the triads, the first and second divisions hold the root. Form the class into four divisions. (See page 139.) The teacher sounds the key tone (tonic) and directs as follows: (i) Sing the tonic chord; (2) Sing the subdominant chord; (3) Sing the dominant chord; (4) Sing the. dominant seventh chord followed by the root and third of the tonic chord. w « fei I ^ » E^ ^z Do I* I ^ Fa r ss=t r^ Sol Sol Do The terms tonic, dominant and subdominant will become a part of the pupil's vocabulary,, if frequently used by the teacher. The Tootc Choed and its Inversions g t-t- l^± y^w=^f^ -^- r^r i ^^ ^- ^ S=B w- i The Dominant Seventh Chord and its Resolution ^ t I P t-^=^ 4^— jpi r m d^- Rhythm Studies (Two Measure Rhythms) The teacher will place the two measures on the blackboard. The pupils will teat and sing the two measures silently, and then sing aloud with a neutral syllable, continuing until the accent falls on the IS4 MUSICAL DICTATION upper do. (The completion of the exercise is not always necessary or desirable.) Unless the pupil senses the rhythm as he looks at the notes and sings mentally, he is not reading the music. Individual recitation will enable the teacher to know whether or not the pupil gets the cor- rect thought from the representation. The activity may be varied by monotoning or "clapping" the exercises instead of singing them. ^ta ^^ ife E£gte^!!££pgj^^!!^ t^ H^^ — ^^^^-pptr "I ^^ ffr P??F ^:^[^^aig^:^^iaggii| i te ^§^!g ^ :etc. m *Jt^^ :etc.: 13 14 ^^^g^i^^ _* ^ w =p==^ 15 16_ 17 ^■^i-^^^t-j^^ ^^ g ^gj^g^^i^^iil M 19 20 ?=f: •-=r=g f^J=jB ^^ ^4 1 ^ S^-i»-^^s- letc; letc. d-*^ letc: 21 22 23 g^|Sg g^^^^^^=^^^^p^ !!^E^ ^^^^^^^^-f| OCTOBER Clefs The staff originally consisted of eleven lines and was called the Great Staff. The clef determines the pitch of the staff degrees. There are three clefs; the G clef, the F clef and the C clef. The clefs appear on the great staff, thus: (a) i i The great staff is divided into so-called " voice staves " of five lines each. The G clef (originally the letter G placed on the second line of the treble staff), makes the second line represent the pitch G. This staff uses the five upper lines of the great staff, thus: (6) Treble Staff w ^ The F clef (originally the letter F placed on the fourth Une of the bass staff), makes the fourth line represent the pitch F. The bass staff uses the five lower lines of the great staff, thus: fe= i -c — w Bass Staff 155 156 MUSICAL DICTATION The G and F clefs are the only clefs now used for vocal music. The C clef was formerly used in vocal music. It is now used for certain orchestral instruments, the Violin, Violoncello, Alto and Tenor Trombone, etc. Any five lines of the great staff which include the middle line (C), may be used with the C clef. When the middle five lines are used, the staff' is called the alto staff. The middle C line is the third line of the alto staff. i {d) Alto Staff IS 1=1 % This staff is now used for the Viola, Alto Trombone, etc. It was formerly used for the alto part in choral music, also. When the third, fourth, fifth, sixth and seventh lines of the great staff are used, the staff is called the tenor staff. The middle C line of the great staff becomes the fourth line of the tenor staff. Tenor Staff n The tenor staff is used for the Viola, Violoncello, Bassoon, etc. The tenor part in choral music was formerly written on the tenor staff. The pupil will see from these illustrations: 1. That every line of the great staff represents a certain pitch which never changes. 2. That clefs never move nor change the pitch of any staff degree. 3. That the treble staff (with its added lines) is used to represent the pitch of the highest tones in music, and that the bass staff is used to represent the lowest tones. 4. That any five lines of the great staff which include the middle line representing C, may be used with the C clef. When comparatively SEVENTH YEAR— OCTOBER 157 high tones are to be represented the upper lines are used as in the alto staff (rf). When lower tones are to be represented the lower Unes are used as in the tenor staff (e). 5. That there is no such thing as the soprano clef, alto clef, tenor clef, etc. The C clef is used with the alto staff, tenor staff, mezzo soprano staff, etc. Whoever uses orchestral scores must read from the alto, tenor, soprano, and mezzo soprano staves. A clear understanding of the C clef is therefore essential to the conductor. The Bass Staff Girls, as well as boys, should practice reading from the bass staff. Much valuable time is saved if the boy acquires facility in reading from the bass staff before the voice changes. There is no objection to the pupU with unchanged voice (soprano or alto) reading from the bass staff, provided he realizes that the representation is an octave below the pitch which he is singing. A clear understanding of the difference in the pitch between the tones represented on the treble staff and those represented on the bass staff, should result from the first use of the bass staff. The teacher will place the great staff and the G and F clefs on the blackboard, and represent the major scale from C, thus: 5- == — '=' — ^ — ^ — ^ i*^ ^^ ^ ^, rj ) — r> • — i) ■' a ,^ S ^^ 1 __ — _ — & i-i — — Beginning with the third space C (treble staff), the pupils will follow the pointer and sing the scale descending, continuing on the bass staff until they can sing no further. The boy whose voice has changed must begin at middle C (singing upper do), thus agreeing in pitch with the unchanged voice. He will continue singing to the second space C, bass staff, or below. Middle C is one of the upper tones of the man's voice. 158 MUSICAL DICTATION If a piano is available play the four octaves, allowing the pupils to sing the tones within their compass. Tell them that basses sing as low (the lowest tone of the four octaves), and that sopranos # sing the highest tone m and even higher. Continue the practice with the great staff until the pupils realize the relative pitch of the tones represented. All the pupils may then sing from the bass staff, understanding that they are singing an octave above the representation. Written Dictation (Bass Staff) The pupils should clearly understand that the added line below the treble staff and the added line above the bass staff represent the same pitch (middle C). If a piano is available the exercise should be played at the pitch repre- sented. If sung by a soprano or contralto, pupils should be reminded frequently that the singing ip an octave above the representation. 1-^. '^ , — 1 2^ -iS^ /_s. =-' /^ , I /^ ^^j 1 pj. r-- C3 ,j-j 1 r^ r^ 1 \ly '--' rz> 1 t^ 1 ^^ I ■ 3 4 /_^. '-■> ^-. ^^ 1 ^j 1 PJ. 1=3 1 /O 1 \ly 1 'O I — — ^ I 5 ^ ^ -^ 6 /-V. 1^ * , /<5 ^-' — ' r-j . r^ 1 pj. . *"^ ts- "^ 1 '^ 1 '^- ^ -^ ® CmS' <^ '^ ^fTl "^ 1 ■=" ,^ , 1 PJ. - ^^ ^ 1 \1> 1 c^ fn ^ 1 ■ — .--^ 1 9 10 — . li 'K\' '^ '^ V— y^j 1 pj. ,-T) ^J *r r-i lit — f'j 1 Vl^ ,-i 1^ 3+—' /-TJ — /r5 1 ♦ '-^ '^ (^ 1 SEVENTH YEAR— OCTOBER 159 11 12 :^=|^ =#^ m. - ^ Q 32Z 13 §s ^EE^ 14 PI ^ H« ^- =!==^ ^ ^eg^iE^^=^|l3=3^g g=giU^ r M 16 17 ;es=^ p^^ SE^^ St 18 St:^ ^ ^2= -■^ Hearing Two Parts A trained and musically educated listener is able to hear several melo- dies at once. The following exercises should be used first for oral dictation. The teacher forms the class into two divisions, and plays distinctly and slowly. The pupils Usten, then sing the two parts. Each division should be given opportunity to sing both parts. The material should then be written. The teacher plays, the pupils write (Music Tablet). 4 ^^^^mm -Z2L l^te r^ 10 it r SJZCSt T 22: 11 te E2: P^ ^ps; S -Z2Z fr 12 \ I i6o MUSICAL DICTATION 13 14 IS 16 ^ st^ E^^ ^ ^ rr rr"= >7rr -* I * r p^-g- f^rr 17 18 19 20 21 22 ~f^ NOVEMBER Melodies A phrase usually consists of four measures. (Pupils who have followed the material given in this course have long since formed the habit of thinking " phrase- wise.") The four-measure melody usually closes with the key tone, on an accented beat, immediately following one of the tones of the triad of sol. This ending is a perfect cadence. (The original melodies throughout the fifth and sixth years, and also most of the material for oral and written dictation, end with the.perfect cadence. Pupils are already familiar with this ending; it is now named.) ' A melody may follow the major scale (step- wise). A melody may follow the skips of any good chord. (The chord of mi is not a " good chord.") After a wide skip (greater than a third), or series of skips (along a good chord), the melody should turn and progress in the opposite direction. Ti should progress to do; fa to mi and la to sol, unless the melody is progressing scale-wise in the opposite direction. An eight-measure melody consists of two four-measure phrases and is c£illed a period. The first phrase in the eight-measure melody is called the antecedent; the second, the consequent. The second phrase ends with a perfect cadence. There are many forms in which the first phrase may end. Any ending which is not a perfect cadence, may be called a half cadence, or imperfect cadence. Regularly, the half cadence ends on one of the tones of the triad of sol and on an accented beat, but the first phrase may end on almost any tone of the scale and on any beat of the measure. The content of the i6i l62 MUSICAL DICTATION second phrase (consequent) is very often a repetition of most of the first phrase (antecedent). This is called imitation. The imitation of a group of tones on other scale steps above or below the original tones, is called a sequence. This is an interesting method of melody invention. The best way to learn about melodies is to see and hear good melodies. Place one of the examples on the blackboard and lead the pupils to recognize and name its several features, thus: 1 . Sing the first phrase. 2. Sing the second phrase. 3. Point out the full cadence. 4. Which part of the melody progresses along the scale line, i.e., without skips? 5. Which part of the melody progresses with a series of skips along a chord Une, i.e., with the tones of some chord? 6. Which way do the restless tones ti, fa, la and re progress? 7. Is the second phrase like the first? 8. Is there repetition or imitation in the melody? 9. Is the imitation tonal or is it rhythmic, qr both? 10. Does the melody contain a sequence? If so, is it a scale sequence or a chord sequence? 1 1 . What is there in the melody that makes the different parts sound like parts of the same melody, i.e., what is there that makes for unity? 12. What is in the melody that gives it variety? H. R. Bishop ^m ± i=E^S=§3 ^m ^=R: m :i=P= -m-»~^. ^zat*r Mozart « P^^ H=i= ^ ^=^ -bc- SCHUBERT i m H«^=^ -^^■ ^ ^m SBVENTff YEAR— NOVEMBER 163 i W- ^^ -■i=i=^=iL^Mt=x =^ =3: :*=^ itac Lady John Scott »=F( ^^ :*=?^ '"4;j i MS F=^5c:^ ^?c;^ J:^^^ #i-^ # ^' £? - Nicholas Alexeievich Titov m %k *— » — : »— * — ^S^^^=^ IE w^^z? ^ # I * < l t?=^=^ -m—\^ — t^- 1 ^ I K Beethoven ^a^^ ^: =1=^ =r=tt^ :«t=at: * — ,!■- :t=:^t ^ -•■ — ^ s^^ -« — •- ■* • ^ ' Mendelssohn ^m- m I^S -^ ^- r\ 1. ^ ^^ , ~^^, i . \) t k. 1 1 1 —f h 1- ^ — . ' ^ ^ « 1 1 ■ 1 1* r ' ' 1 (( ■^Ut) -Z) K 1 r- h- ^a--=^^— ^ -hi — — f— - p- — -^=^ -j — •' — j- V -f^rr ^iyi_Ji 1 ^i^ — — u~ ~~^ "^^ -t„ — ll<-J ^ IN — ^1 — ^ J5^ ^ :i=itt ^ ^^ =5^ — i^ i/ 'K [/ >^ Knowledge and appreciation of the phrase is absolutely essential to intelligent singing; consequently, the habit of singing "phrase-wise" is of the utmost importance. The pupils should find the phrase in the melody, whether or not it is set to words, and form the habit of taking breath between phrases. A good reader of music, like a good reader of English, reads a phrase at a time. The habit of looking ahead is vital to good music reading. 1 66 MUSICAL DICTATION Studying the structure of melodies, finding and observing the phrase, and learning to read and sing "phrase-wise," will take the place of melody invention and melody writing during the present year. Material for Oral and Written Dictation To be used as follows: I. The teacher places exercise a on the blackboard; the pupils sing with the sjdlable names. The teacher then asks: What other group of tones sounds like this group? The pupils respond, singing exercise 6, which the teacher or a pupil then places on the blackboard. Attention should be called to several facts: 1. The chromatic tonej^ in a, becomes the scale tone ti in 6. 2. The chromatic tone te in a, becomes the scale tone /a in h. 3. The a exercises represented in C major are really in G major and F major; therefore the tone groups sound more natural when sung in the h form. fi ..lb i fc ti ~g?~ ^=1 IE g > j g- fi ?b g i ^ , s.- Z#^Z=IM W- =s=^^s 3a 3b g IS5I IE -TZ)' -4^ ~frr i 4b i =#^ =#^^-=zP^ ^^ J ^- 6a i 5b %-" ^ SEVENTH YEAR— NOVEMBER 167 ea ii 6b i p -5;; — ^>- te 7b i /« ^w- ?5=^^ -g::^" ^« 8b I /« ^Si- lE IffiZ w :j:zi -^ ^-^ 9a 9b i22r ■^ b ^ &=^ IE isz: i t^22: — ^^^ ^^, ' ^-_CJ w_ Written Dictation (Two Parts) See directions page 159. 1 2 , , 3 , 4 , h :g=t^^ as "^ 4: -S — !-& ^gE ^^g^l ^^^ l l p -sr 7 I 8 ® I J i^ S 11 =^ "M s ^ ■ 2r? gi rr DECEMBER Modulation The transition from one key into another is called modulation. Place No. i of the following series on the blackboard; the class will sing in four divisions. The two lower divisions should sing the root of the triad in the first measure. See page 139. mt /TV 2 p^^ do ,,- S/T\ i S^ n ^ ftstS^S e^ ^^^m. t^^ f-f^f^W f^ T i I I i ^ d — ^-^ ^^&=^ i^ H^= w ^^ ?= -r- ^im^v^ J F^gpSf ^..^^^^p ^^ T^r 168 SEVENTH YEAR— DECEMBER 169 rfiiS^^^i^^^i T-f-r T^^ f^rrr After the singing, question the class as follows: 1. In what key is the first measure? (C major.) 2. In what key is the second measure? (F major.) 3. What tone helps most to make the change of key? (Te.) 4. Te becomes what tone of the new scale? (i^a.) 5. What other tones sound like the tones in the second measure? Answer: i Sol re fa 6. If the signature at the beginning were one flat, how would you sing the exercise? Pupils sing: i p 5#= -r- SE I Sol 7. What chord is in the second measure? Answer: Chord of the seventh of sol (or dominant seventh chord). Lead the pupils to see : 1. That the tonic {do) in the first key, is the dominant {sot) in the next key. 2. That the tones in the scale from F are the same as those in the scale from C, excepting the B flat. 170 MUSICAL DICTATION 3. That when we include te (B flat) in the key of C, we are really singing in the key of F. 4. That we get into the new key through the dominant seventh chord of the new key. 5. That the seventh chord of do in the second measure, is really the dominant seventh chord of the next key (F). Do not attempt to teach aU this in one or two lessons. After the pupUs have seen Nos. i and 2 represented, they will sing the exercises (which are all alike excepting in pitch), without the repre- sentation. Therefore, it will not be found necessary to place all the exercises on the blackboard. The answers to most of the questions suggested will come to the pupils without difl&culty, if their attention is called to the facts with which they are already familiar. There is no new theory or new material involved.* In No. 7, the representation in the third measure changes in the upper part from E flat to D sharp, and in the lower part from C flat to B. E flat and D sharp have the same pitch, and C flat and B have the same pitch. A change of representation without a change of pitch is called an enharmonic change. No. 7 should be shown on the blackboard. The teacher will notice that No. i is in C major, and that No. 12 is in C major. If the entire series, i to 12 inclusive, can be sung con- tinuously, as one exercise, true to the pitch, the ability of the class to sing in tune will have been clearly demonstrated. Written , Lesson The class will write the major scale descending from C, G, D, A, E, B and Y'i^ on the bass staff, using whole notes, placing the letter (pitch) name under each note, and indicating the half steps with the slur. Blackboard practice in making the F clef and placing the key signa- tures on the bass staff should precede the lesson. The first sharp is FJi, the same as on the treble staff. The remaining sharps appear in the signature in the same order as on the treble staff; i.e., down a fourth and up a fifth. SEVENTH YEAR— DECEMBER 171 ^;— -=- ~SrL i ~ir r ISI CBAGFEDC GF#EDCBAG ^tt ig _^ ^ ft r= S^^2I I^ D eft B A G.F# E D A G# F# E D C# B A ga .^=2- ..S^ :S^22: tf ^ »=^^^^ ^= y o — g?- E D# C# B A G# F# E B A# G# F# E D# C# B ^^M isi n n D# c# r^A# Gi ?#" Written Dictation The teacher will play the exercise if a piano is available. If sung by a soprano or contralto, the pupils should clearly understand that the singing is an octave above the representation. c^ c ^ m. r:> f?- 321 1221 ^-j /^ 1221 ^ ^s- E^E 32Z ^^ -^ 7 „ - "^ bW- fe^=^ f — b fe^^ # Written Lesson i J C Major W- -^ s'- -gy ^ ^ -i* *: w E^E^ 2 D Major i i ^—^11 a p= =ir: =#F IE 3 E Major i =#^=fe iAGFEbDCBb Bgi r"~ ^g^-'^^iPa E ^g^- ^iztt: D C Bb Ab G F El? Ab G F Eb Db C Bb Ab Eb ^^■- Db C Bb Ab Gb F Eb Db Gb F Eb Db cb Bb Ab Gb FEBRUARY Written Lesson The teacher (or a pupil) will place on the blackboard the scale and exercise marked " Blackboard Copy." 1. Write the scale and exercise in B major without key signature. 2. Write the scale and exercise in A flat major without key signature. 3. Write' the scale and exercise in A major without key signature. Blackboard Copy * bI? Majo i ^ '-^—m =sd KT J ^ J I J - o - cj '^ '^ \n=r- Written Lesson i \ B Major gggg *^ttE:^ w^'^^^^^^^m w. tt^^ 7-s-isHt 2 AP Major W- :^ife^ H?g7~ g 3 A Major ^ 4; ^^i=^ I T IV v w^ -r^ t Material for Written Dictation Albert G. Methfessel >3 1^ ^ :d*t ^^ 178 SEVENTH YEAR— FEBRUARY i;9 -^t_J_ — ^^^ — - — J5^___^5,^^ _^^ — ^ _ ^T-* — '-^^ i^ r *■ jZin___>^__j — ^^ fe=^r-c l ^.JJ^ ^ ^=^^ •!"-F? #^ 5^ ^ F. W. Berner #ife i^ f=^f4^^J Bggg l^=q=fs: -^~*- :*3E g lt:5=fe: i=?iHS.- P 3tz|! r • ^ * -»-^- ipi-"-* w- ^ ^.^^:.^: ^ ^ ^^^^^ gpa-r-p- ^ ^^ ~i*'^ i * £ '• F=f= F^^^^^^f^^ 10 i s^^; hs=^F^= P=^^:S =P i 11 12 13 irrf^ i£ ^ 14 ^^^^;^=^ iSi-^ - ^ r-^ r ^- f^^=^=T=f^ MARCH Written Lesson The following melody should be copied on the blackboard. The pupils wUl write the melody on the treble staff. "The Happy Farmer" ft 1 Schumann "f~l 1 ="1 P m 1 *l JCifeJ-i-l-^ l!!LJ [^_ -^— '— -' is? 1— ft J Sol [4 -Vfc^^ 1.M l?L| — jg-. '■'<^J_| — K le ^-^^^ __K_ =te ffipEtziB The melody should appear on the treble staff, thus: / Sol s ^Jj^l.Lj-^ a ^«#^ te gjM^^^ a^^a j^ *-^ j,jg^j^' . H J>- This is the entire melody of Schumann's " Happy Farmer," written for the piano. After the pupils have written the melody and sung it, lead them to see that the material for this twenty measure melody is all contained in seven measures. The other thirteen measures are rep- etitions. Material for Written Dictation Frederic Chopin ^^ *3 ^ ^^^ I So SEVENTH YEAR— MARCH i8i Mozart ^ ^^^S PE4 »^— »|- -■^■# ■• — *— *- Mozart ^ ^^^^f rrffj ^a ^y^^ifi ^^g jig ^li si g ;52 ^^ =^=» Carl Reinecke S ^ i lA g ICD^I fe^Si^E^a ^ ^» f=h'-=p= ^Eg ^g^ ^£gE I'^-tgJLk^. Ss3 ^^ H-d-1 ^-r^^- ^^^^^^^^^^^^^^^^ 4=*=«t*: Written Lesson Have the following melody copied on the blackboard. Mendelssohn J ^ I i S > ^ fi: 1^ *!=at 3 ^^^^ -» * - ^ * ip^^ i s^^ ^^ ^^ IE ¥ — *- After the pupils sing the melody, they will write it on the bass staff, from the blackboard copy, thus: a^ =^ »- E^EEE -V — t^ ^ ^^^ :p--=ft :?B=P= 1^=4^ g= ti=ic i l82 MUSICAL DICTATION No difficulty will be found with this lesson if the pupil thinks (hears) the scale tones as he writes. If a piano is available, the melody should be played both at the pitch it is written on the bass staff, and as it appears an octave higher on the treble staff. Written Dictation (Two Parts) The teacher plays the exercise slowly and distinctly. The parts should not be played separately. The pupils listen, then write. ffl^ ^. 2:^ E*^ i -7=i--'S- :^ 2z: =^ r Ei -A, i^ WSl f^ =i?=?E ?^ I I zJz lO ^E^ 11 12 W- ±:z3t s^¥ ^^ r=r TT 13 14 i A J — lJ 16 ^ I 6!^ i&fcE f^ :?2: rf r APRIL Material for Written Dictation The entire exercise should be played while the pupils beat and listen. TJie melody should then be played in sections as the pupUs write. (Music Tablet.) The Bass part of a Chorale 1 Robert Schumann gj ^^ -r ^ a m -f^ IS' -^^(=- iSi S'- i^i tt= The Bass part of " America " Henry Carey (?) '^m * :?^i m. IS =£ fS^H«H«=F=^ ^ ^ m \Jt ^^t The Bass part from an Anthem S Mozart s ^ i^e^^ M ^' r ^• ~" n"'^~~ r=^^N^=^'^^^ — \ —^^ The Bass part to tune " Beatitude" 4 Si^ -^ — F- ^-4- gip John B. Dykes ' g— r ' I ^ 1 gJ — ^ i^^fc g T»-H=- ^g^ 183 1 84 MUSICAL DICTATION 5 A Bass part from " The Creation " Franz Josef Haydn 'M: ii ?zz:=iei Z-f-f: g W -m — P- ^ ^ -P=^ -»H-*- t=t«=:22=* Written Lesson The teacher names the key and plays each chord, holding the keys down and sustaining the tones as the pupils write. Care should be taken to have each tone "sing" distinctly. 1 -^ a ^ W W ^ ^^^3 ^^^ MAY Material for Written Dictation Sir John Stainer i m mz ■-i^ ^^ * s^ Sir John Stainer * ^=^ w — w f^^^ ^^^ -F — •• Russian Folksong J2_^ . F t-^^ I r • ^^ B Bm3^^ f. -» s li^*^=^ ^^^a r^-nr^ :i^=^ ^^ I*=Z3t ^1^ Anton Rubinstein ^^^5^ t 74 c? — ^- ^=^ — S^ ^-#- Mendelssohn i^§^^ ^^ ratoit 18s k± JUNE (General Review) Written Lessons LESSON I Write the following scales, descending, on the bass staff, without key signature, using whole notes. Indicate the half steps with the slur, and place the letter name under each note. 1. Major scale from C. 2. Minor scale (normal form) from C. 3. Minor scale (harmonic form) from C. 4. Chromatic scale from C. The scales should appear as follows: ^ ~g7~ ■?_ eL> -' ^^r^ z^rCsz ~r:^ ^^ B A G F E D C Bt? Ab G r Eb D c !g=22 :^i=zi g j ' ^g ^bcT- i C B Ab G F Eb D C C B Bl7 A Ab G Gb F E Eb D Db C LESSON II Hearing and -Writing Two Parts 2 J U Mu ^^^ ^^^ il H AJJAh nwT^f'^ f I I im=^ 4b i n -^ — r ^ -i- I — — n- g^ J d\ g *— l- ^i *- g' EEa ? ^ z^ 1S6 SEVENTH YEAR— JUNE 187 LESSON III Place the following melody on the blackboard: gSp^ n m^m. * t3=a ^ -si- After singing the melody, the pupils will write it on the bass staff, thus: (»y.^ J— ^- — -f^^-— ^rf--* r> r -'^—f- -r^-f-r^ ^~|- -^4^1-^ -1 — ^-L— u— fu ^1 rp"<^ j-^i- Transpose the blackboard copy into AI' major; write without key sig- nature, thus: ^ ^ FS =^ :^ i2et ^^^ S ^^^ LESSON IV Place the following melody on the blackboard: Robert Schumann i i£ " T — -e.ir g p 4 ^ I U g t=t; it=i±^=^ After singing the melody the pupils will write it without key sig- nature, thus: i ^=feF^g. ^ 5^3 f^-£>Uf F^^- ^.- S piE eSi: They will then write the melody in A major without signature, thus: ^ =# ^ ^^^^i ^±EtE£^^^^E^S^ :K The teacher sings or plays the following; the pupils write. i Rossini =1^ =W=5^^^ :*i*i 3tat i^-»^1*- ^^ :5^ V-»- ^ SUPPLEMENTARY MATERIAL FOR ADVANCED MUSICAL DICTATION (Melodic) For Use in High Schools, Colleges and Music Schools The student who has written the following material from dictation will have mastered musical notation and the ordinary tonal and rhythmic problems of music. He wiU also have become "saturated" with good melodies, a large proportion of which will remain in his memory. Tak- ing down a melody from hearing is perhaps the most effective means of retaining the melody in the memory. The hearing and writing of more than two parts demands a knowledge of the structure and progression of chords, and obviously is a feature of Harmonic, rather than Melodic Ear Training. Consequently, only one and two-part material is included in these lessons. For the benefit of teachers who have not had experience in giving dictation the following suggestions are offered. 1. Clear and decided rhythm is essential; accuracy in the propor- tionate- duration of tones and rests is absolutely necessary. 2. Primary accents should be somewhat exaggerated and secondary accents made less prominent than is usual. 3. No audible singing should be allowed during the writing. 4. The instructor will name the key and the beat note, indicate the tempo (not the kind of measure, or the accent), and then play the entire melody while the pupils listen and visualize. A section of the melody (usually two or four measures), is then given out and repeated two or three times as the pupils write. It should not be necessary to sound the key tone before playing the melody. The material may also be used for oral dictation. SUPPLEMENTARY MATERIAL 189 For the convenience of the instructor the material is arranged in the form of lessons. The lessons will prove to be too long for some classes where the recitation period is short, or when the time is not wholly de- voted to written dictation. In such cases, the lesson will provide ma- terial for two recitations. LESSON I i ^ Sfe \ ws Mozart feJ-J I J J^ l rOIJ'jJ »| J . tt^S ^^t^feEi Beethoven 4 Brahms i M ^^s » » P^E :*at ^^P^^^ John Hatton ^;ai ^^ /^g£=^^g^g= ^P ^ John Hatton ^^ ^E^- ^ p5^s ^# ^ ^Bpzc£i iiigEii LESSON II i 32= w- I2ZI -iS- :^ -^-^ 3z: "C?- IQO MUSICAL DICTATION Pp^^gj g^ Johannes Brahms sd q — r,» -_W-^-=p=T ^ Folk Song a ah«=F-HV* liS^E^ a ^j-J4J ^vzL-z^j=k 1^2=^ Fi^ ±SI Folk Song S^^i s^-i--g:;^^' ^ I 7 -s^ iE P Folk Song ^Ife^ girjga^ ff^icfr r i ^ rO i .g^ s^ LESSON III 2 3 i d22z: El^ 225;^=^:: 1^21 - C? it ^^ g5 E=^ 32; 221 :£2=#;^=S2: e^ Jf.^ ,^^r- 1^ Albert Methfessel p=^:jp;^=|^ =:s=g ^^-b ^^ g)^j j | J^- ^^U I ^' • S'^ i J K4- s^s Old Air 5#=^ :1=^ ^ i^^^t^^^^ :i=at ^^^^gjja^g^^:^^ -^-J \ Schubert SUPPLEMENTARY MATERIAL 191 8 " Pirates of Penzance " Sir Arthur Sullivan Mozart ^ '&^. \^^ S-S-=??=^ I ^ =F=*= ^ ^P^SeB i .#-^ LESSON IV 2 isz: ~?: r" P rsszzlzzssz zjz: ~g?~ i :i* =|=^:=t;z^^ 'T'^ -te 5 "Faust" i ** Charles Gounod S £^ ^^ pfi -^ f rn « ^» • I * Bfl TTTTTT^ g t:=t isfe ^ift y J. I TP^^ rrrtrr ^Tjjj^ g^i^jBi i atzab Wm. Sterndale Bennett i5tt:irte=^ ^l^ ^SE^bggyE =E ^ fe "Old Oaken Bdcket" 5=^ =^^=i 1^=^ ^^ -ip^* - E ^ *- # fl: -*— »^- Andante from Sonata No. 6 Mozart ^^^S^^^^^^^^ i^E^Et*^^*z-'t»zEEEFifz:MZi: s t=:^ SEEi^ pi^^B 192 MUSICAL DICTATION LESSON V i -f^ te 22r ~g7~ "gj" Z2.-SS=22: -#==c^- Old English i i e ?^^^ ^E^^^^^^i^^tpE^ ■ s s There was a jol ly mil - ler once lived Carl Reinecke m^^^^^^mm s ^ — #- -^»=^2 S- on the riv er Dee ■P- - f T '■W^-ft — ^- lE :^=^=U= -t^ — t^ :^=i*="^==P=6^ :Mc English Folk Dance ^ ^e=bt«S ^s ^ 1^ iES:^^ ^fct ^y^ ' Aida " Giuseppe Verdi F^t* il^^^^^^i^^?^ LESSON VI The Duplet and The Triplet SUPPLEMENTARY MATERIAL 193 Write No. i in two-four measure, thus: i '^:;9PF^i^^^ 4¥P^- lEME^ SE w^ '^ 3^ 'm ~^^- French i Si^^^ •■-Hi * • P ^^ ± lEs: ^^^ t — k— U = =t=^ Write No. 3 in^wo-four measure, thus: 4 ^-^ ._ 2:5 w :t — 1 1 *— ^ ^^i ^ ^ ^E :t=^ Old French Carol i^^^^^ -* — ^ i^^ -* 1»^- i *i Vincent d'Indy Pfe =^ S^^? --• -^- PE i tf p^ ^^^S *-y- 3t=t LESSON VII i ^^=^ Beethoven ^•^i i; ^i?z -^^ 1=^=^ ^ t I :r-=^ ^ ^ ^ ^L. u - £.-=^^=^ =r 2. After correcting No. i, rewrite it with a quarter note having one beat. 3. Write No. i in E fiat major. 4. Write No. i in E major without key signature. 194 MUSICAL DICTATION LESSON VIII French Song Schubert ^m ^=^^=^=^ 4 ^ 4^ ^^ ^ ■3f '- —w- ^ k^tti^zt 3 " lolanthe " ~m tr Sir Arthur Sullivan m ^ ^s^ ^ I think I heard him say, That on a rain y day, To ■^^=^ ^ -u — fe ?^^ a IS while the time a way. On her he'd call ! Russian Folk Song ^m 3= fc -^-l\f.-^=^ ^ ^1 N h. IE £;;rbz:±j Dervish Song (Egypt) g ^^i^ pi^^ -.s — «- :tsf i «=i^ ^-* d. ^ -p — 1» i t*--f LESSON IX " Pirates of Penzance " Sir Arthur Sullivan a^ ^g^^ ^ tast S :i=-f ^3 SUPPLEMENTARY MATERIAL 19s 2. After correcting No. i, rewrite in four-four measure. 3. Rewrite No. 2 (four-four measure) in C major. LESSON X 2 -tS V—Sr 5=2= m I 22Z ~g^^ »2z: French iJ^^^Jg^ ^gj^mg-^ g ^^S^ 1=1^ ifcqsz ^^-E^^^^SS^^fe ^^ =1 — ■ g " lolanthe " Sir Arthur Sullivan i ^?r^is sfe 53 1=1= P^^^f ^-=^3 i fa ^3^ :& *=gr=i^ ♦^?-*— **— W— ^1 — k LESSON XI [4 =2i=E' ^^ i 32Z 321 g? rs:^ i s "-^ .^ - --^^ iE -e*-. 196 MUSICAL DICTATION i 32Z IS2Z ~^- Bass Parts 5 Mozart -7^ — r r-"^ r J - — ^— ^— r— r— r — r^F^i 4 )4 1 — -*^— i" \ * — '^ ^ — 1 \ — ^ — ^— ^ 6 " Twelfth Mass " ^i^ -.« ■ p i«- gE=^ Mozart s :| > i 7 " Requiem ' Brahms -s — f=- rs^ -(=2- ^ ?4i ^J ^ — pi- -!S>-^^- EE^ 8 " The Creation " Haydn S :i=2 — I* ^ ^ =?23 :1 ^^ ^ X =t The Heav - ens are tell - ing the glo ry of God, The won - der, the m -^-^- 1^ -^. ig &^^ T^^^Ef^ ^ LESSON XVII Handel B:i^J-iAhJ^^::»g feg:fe^g^^B ^^ ^ Beethoven i ^^is m. 22 =^=t P Efc?2^=z^=Ss£^ ^=j=± Mozart- i ^ ; ri»---r : ^^^=^ p^=^p^^^^5^i^&^=^k=^ i -i=-^-i» ^^ y= r ^ ^ "i 1 5' " Messe Solennelle ' A=^ ^ /S jS- ^ Charles Gounod ^ :2= ?=i ZS2Z SUPPLEMENTARY MATERIAL 20 1 LESSON XVIII \ " Watch on the Rhine " Carl Wilhelm ^=0==^- P^?^ E^ H ^ 1 ) -. ' 1 — I ^ — I — ^ — I 1 — I 2 " Samson and Delilah " Camille Saint-Saens -? ^Ii^4— 5-*- -P — •^•-fp-- — * — r^*^*^n^ -f-^- -^ -* r F r^~^1 -g^5^4^?-p-^ U4 ?-4 — t^ — U— K-^-- r-?-? *-- n ^ S^=F= f=r=^M^3 ■<=> — ^- H^H« -^-»^- ^=tt ^^^^^m =p^=F # :t=t* Carl Maria von Weber Sl^^^ .f2 ,»_ I - r^ » E£ a:z3z t=E ^^^ =^ ^?* LESSON XIX Felix Mendelssohn i ^fe^^^^^^^^^ ^^ a^^^^^ ^ PSE 1^^ Iv^^i^ Ts^vzjv 115=^!=:^ atz*— *: _•! •« Sf Anton Rubinstein 202 MUSICAL DICTATION 3 " Patience '' Sir Arthur Sullivan ^^F^ T -m p. 4^ ^ i.«=.f ^ :^=5^=^ t*zzfc Beethoven a ;f!5q!3? ^a -=1 =1- ^^:^"^^"^r=g 1 " Polly Oliver " =#«t ■^l-s' -i«-=^ I't LESSON XX i English Folk Song B SE ^^ tlES -^— H -* i S^s; SB 13 g^gfc^ rpirt Ztllt i ^ ^ t=^= P ^ i ^ p?i 31=: a^ =^=i= Carl Maria von Weber ^3S ^KL-S?- Sir Arthur Sullivan 3 " Pirates of Penzance " fil ^ E ^UT^ :s^E 4. Write No. 3 on the bass staff. i LESSON XXI \ " Midsummer Night's Dream " Felix Mendelssohn-Bartholdy ^ g^^i ^ SUPPLEMENTARY MATERIAL 203 liA J=^^3=i d. *■ -Id *■ Folk Song ^ ^5^ E^^? -X+gi- i 3 " Daughter of Jairus ' M Sir John Stainer •m^ dJ. nj aF"^ U. " Der Frieschutz " Carl Maria von Weber ^ ife?E?E:fEES -l«f-*- "l* • F m ift ^s a= ^-^s^f^^^^ ^^ t^^afcri j LESSON XXII Beethoven ^^g^^^^S ^ ?gjg^ i 2 "The Skylark" p ^gB^^^g gJ-^ J - , r:p iga Joseph Barney ^ I^=!=l^ 3 "Faust" Charles Gounod ^^^^ ^.j^.[j^;^ ?m^JT7.T jj?3p a Anton Rubinstein- fe a^ — J*-*^ SXJXIB ^ i" — •- 1*- I 204 MUSICAL DICTATION 5 " Messe Solennelle " Charles Gounod m f > • F ■ ^ -^'-ft '^- — *-= — 0~ 'W=^ -1 ^ ^^ ^^ Sir John Stainer g S=il ^^ * r=^^ ^ -»!—*- ^ g S^ ^^ l^^L ^ m r I ^ LESSON XXIII 1 " Bohemian Girl " Michael Wm. Balfe I njt " Bohemian Girl " Michael Wm. Balfe 2 -T-- " II Trovatore " Giuseppe Verdi ^^ -^ ^l Eil^N^jl J^N^^^J^ i^ t^- a £=g=g^fe ^ frir^z^J^z^J.^^^ ^=1^ li^ IB^ (Tenor) ^4N4 = F ^^ t*=et S ^E^ ^ # ^^^ SUPPLEMENTARY MATERIAL 205 LESSON XXIV , 2 ^ ^ <=> ^ -j^i- —^^— d^^ ^^r^ '^^^L '^ '^SZ -^rzr 4 "The Elijah" Mendelssohn Sal • — *- I:t2!4z ■#--*-.C2. T^ .^^ m^ =t*=t£: ^"^^"^ ^ — (S- ^ =t=E 5 "The EUjah" Mendelssohn -^-^m- =?C=^ i2t -tg b^- 6 "Stabat Mater" Rossini ^* ^ ^P S^T^ia^=tS t2=n: ^ s -v-*^ S -^- p=p ■^ — ^-^ I p— f g =g2= ^ LESSON XXV Two Part Dictation i :^j=^ AUGUSTE Mathieu Panseron i -g=<- -11)—^- ■* — ^- ^ p= ?=^ r-r r Giuseppe Concone LUIGI BORDESE fe ^j- ,^i ^^^ ^ ri=ife?a ^^ lEli pt 'P^PfTf^ rr- T f CiRO PiNSUTI i fe y=:=ri=^ i^#E^ i m ^"T^^nn-^^^^^f^i^^ 2o6 MUSICAL DICTATWl^r « « « LESSON XXVI LuiGi Caracciolo ia ^T-J— J- tm =^= ^ 41 m^ ^- ^ ^ ^ K 1 .-^ #^ ^ I I > — ^^sz. -■0—^ ^w=^- ^. 5— a-!*- MOZART tt « S. ^ ^ -A- 'f^ f =f fe^ :i=i ^r? f= — c-n'^r 3 " Don Giovanni " I* Mozart gt; ^ =E^g ^ ^ E* i «= :*=a .^^• ^=^fg^ ^ • *i* »^- ^^ LESSON XXVII 1 " Cavalleria Rusticana " PlETRO Mascagni M 1= # ^ -g-^J- :t=it ^g^^^^^^^^^ ^^^ -J5-»- 2 "Patience" I I i^ Sir Arthur Sullivan ^=^ ^ SUPPLEMENTARY MATERIAL 20;r ^ iiat2^ -^-f- ^ :#^4=^ ^ Swedish Folk Song ^ Sqv^^ S^ ^^W^. '-••=-*-J— L-j — —U ^^teE^ * '•» — * =*^3^ =y= -*- *^i ^ '^ 1 Sonata No. 3 LESSON XXVIII Beethoven A. SoDERMANN ^^^^ £fe to=^ l*^-^^^ t«t=L|^ -•— ^*^- Charlejs Gounod 3 ^ 3 " The Redemption ' ■I* »- 4 I * • !* • ^ ^^■^TF iiS: P 1 —^8-^ ^ S. 1^ O -""^-^fi-d-f- ^^- t^ SEEk =^ ^ — I - r ■ ^ fcirit*: i ^i^rT^ ■f-^l*- =^=(E: ^^ — g- 4 " Hear my Prayer " Felix Mendelssohn ^m -F—F-i-. ^ ^ # LESSON XXIX From Mendelssohn's " Forty-second Psalm " hir^ : — ^^ — :j-^^ — '^i'—\ — ^J— i 1-\ ^^^^^7"^ '^ ir^-^^-^-^-^^^g^^i As the hart pants aft-er the wa-ter-brooks,So panteth my soul for Thee, O God. 208 MUSICAL DICTATION E B >!i 1 J J ^ . I =izfa-n-r "^rrj^^g^Eg ig is^ SE^a =*^ ^d^^ii^ • I - • ! F^-TTp-n-r-r r r '"" rr ^r r ^^r r r T -^^4-^^ ' ^ \ \ \ ^ ^1 1 \ \ V i^^ -p=^ =»=F ^^ ^ p ^^^ lpi 5^=^ '^~- 32=:z2: 1 ■ gJ I g^ I g^ I f^ LESSON XXX Correct rhythmic interpretation often demands a decided difference in the primary accent, thus forming a rhythm of two or more measures. " Hunting the Hare '' Old Melody ~k^—r r. ^ P r «r J" < - "^ s-l^-i^- ^ f » f -^ \ -#« — jr^J^- ^ u * ^ ^ r— '^ / J ^- -*^--t-^-^i 2 "The Elijah" Felix Mendelssohn 1^ =^ ^^^Ej^ -s- «- i Johannes Brahms ^ *iE P 8-VH u u k- >» — ti» — y^ T* — b»^- i :i=^ f^: t li: C-iS^zz^^^^z^ ^^ SUPPLEMENTARY MATERIAL 209 4 " Dixie '' DaN; D. Emmett ^^ ^^E^ S=« i IE ^— :i-*-* I wish I was in de land ob cot - ton, Old folks dar am =Bzz^ :^«=5 ^^=qs i^l not for -got- ten, Look a -way, look a -way, look a - way, Dix-ie land. « LESSON XXXI 2 ^ Z22r ^ Z232Z: ^i^ =^ -^S'-K^Z!- l^- Robert Schumann =S=F?2: # itZttBt -■• ^ i 5 " Tannhauser " las p5=g35=. Ifcit Richard Wagner ^^s 12^ ^t^t s= i^ ^^ Pp^^ # Frederic F. Chopin gg| ^ ^=d= pE£iE4^ ^ — (•- ^ ^^^^^^^^^3=1 P^^ LESSON XXXII ite *:iz*: 22 1^ i^=^ ^ "^^I^-H- g^ g y 2IO MUSICAL DICTATION Handel *te i te» ?=F ^^ i fe^o ^s =p :^ ^■s- 2:t^^t=* 4. Rewrite No. 3 in six-four measure. This is the original form as Grieg wrote it. 4 a ^i Edvard Grieg mj- i ^.-if-r-rriq ^ii -i^JJi^'-H LESSON XXXIII Old Melody e 3e^ #-^- ,,^^-^ =^=p # ^ 2t e *-•- f^t=t «-Sr^ Si 2 "Ave Verum" Mozart ^^ ^^=^^^ %t- # '^=^=ra =i^^4: t i c J i 3 "Lucia" Gaetano Donizetti 'm-- bE^^ ^^ P S¥=^*=W^=7^^^ Beethoven tt :^^ & ^^^^^^^? rF^(»- i^^ A. Tellier =^|g fe ^1? =P:3:S= ?^!Sh= -!*—•- g^T^ ^ ^i^^ B =tit: 4^r^ 6 "The Messiah" Handel ifc :?2= ^SE SUPPLEMENTARY MATERIAL 211 7 "The Golden Legend" Sir Arthur Sullivan i tf i* ^5^4 ^^ I *^-#— „h-«- LESSON XXXIV 1 2 ■^ — ^ u 3 {d\' '^ ^^'tr^ '^ '=-' #--, 't/n^ (^ '^ -fci5 '^ ^ -p^- *L^= £i_;_ (O- iffcs tf 1 ^ C2_^_ 4 5 6 .£2. -iS' ■ — 1 1 ff'^ !^ 1 J — , f^ ("^ f-"^ 1 ('J 1 Jt'^ 1 1 '' il- r^ i"^ 1 1 Y- a^^^^E^^^^? -•^gp-^gg ^.^ ^ LESSON XXXV 1 " II Trovatore " Giuseppe Verdi ^^^gi^^S ^^^;^=^ :Sq ^^ :6t^iaa^ifJ^?z?^ LuDwiG Fischer is^m Bfc*: EipiE ^=t==^= -^ ^- |4E 212 MUSICAL DICTATION -^—x- ^^^^^ -^=^ -to— ^ ?^£^ -^ Beethoven mm^. ~-^^ fSSE k¥. i ^-- =52= W- 12^ Handel -^L-»- =^ gl:4^g = ^^=^=^=^ ES -I ^^^fi^i^- LESSON XXXVI 1 " Samson and Delilah " Camille Saint-Saens ^ ^ -4^1 ^-— • fe--^-^ ?*=i=g^ ^ M^^5^ g< — ^ ^1^ :^z ^ ter i^=i5==P= » — •^— t^— t ^^^ IS t=s: z^^=fL=3L |*3S^EE*E= ^ ■* *— t^— fci- i ^ _i«_^- i» — ha— !- ^ L. r r — •- --■ d- ^■^=* ^E£ 2 " Tannhauser " Richard Wagner ^^-^=^= -^ ^^H- j O -f-'H -*' e ^ i i;^ ^^^^gr^^ s SUPPLEMENTARY MATERIAL 213 3 "Don Giovanni " £3. Mozart LESSON XXXVII From Gounod's "Faust' f^TT T ^Tr^ ^^^ ^E^ Z, ^^*-i Z^ t:ff ^t-nrrf- ^rr I !^ L =b£i ^ Eli4; ~-m P- d . *- £=£ H^^H«- -^^-r-^ 3 ^^Sip ^fcfe: ^ !t i I 5^-#= i^^E >-^ ^ ^^=f^ ii^; *-^^ — w- -■* — ^^- -^ — ^, LESSON XXXVIII From Gounod's " Faust " i 1 Slowly t t^gS ^ - 1 d ' *— » H ^ » :=2: -^^ — s^ 214 MUSICAL DICTATION i= »H^-^- ^b- -^-^0- ^^W^T-'S- w }2=f= »>——•- SEE^ E^S -=1-51- =^=^=^ -=t-!1- -rr :t!.^^ ^^^g^ I 32? #^^*^ -»-^- I^q?=:?s: =^=St LESSON XXXIX From " Die Meistersinger," Richard Wagner Ts>- ^- *- 2 "Prize Song" (Tenor) To be played an octave below. ^ c^^ r| g=^g=zj^ g^ E^ -y-r- -1^-^ m^ i ^ 'tziik:: ^ ! .^- '"" ^ :?e=^ -^ ^- g; t^i=3t: ^^^ ^ :1t^ -^ d sSf -^— ^- £?^E^^^ -!*^^»- fe^Jl!l iJhJ ^ ^^ ^=^^=t2 = ^^^-^ t^±t ^=— *- *=r=i- -(»*-=1--etc. I SUPPLEMENTARY MATERIAL 215 LESSON XL From " The Messiah," George Frederick Handel ^^^^^r^' S=i^^E tt ^^fT+^-^fe^-ffl P i^zwit -^=^ ^A m. :ti=t t«=^ a -«■ — *- ^•g^^f^^fe:^=r -^-=-«- Ps iiP£ :it :^ JS — ^ ^ :r==? t" — t^- ;^g^^ ^^i^ i =fct3 ^j g^-f. nrT^c^£nJ r- r i ^'g^ j t=F^ I LESSON XLI Excerpts from Neapolitan Folk Songs #tj Ji^'L^gc l ^ -j^ rr^ r P * - i^nc^ #^ g^^^=^^ ^ ^^4fe ^;^i^ i ^ ^ 1^ 2l6 MUSICAL DICTATION ^^$^m f^E^ JlJ 1 -m^ ^*S*EE» ^m^^m -^-j — j^ zt=^ -^1— ^ ^^^^^^^^^^ ett :?=at LESSON XLII From " Hiawatha's Wedding Feast," Samuel Coleridge-Taylor k ■0—\- w r ^ =^-=^ =fc:ti= H » H :t=t: m3E -i^ L-Jg- ^ =?fe-» S F^ * ^ E15^ -^-=-»- F^ *z:;iz ~r-^ =^4: ^ ili^ieiii S=a 1 ^ — hi 1 * » — ■• — m ^ w ' — » — ■• # — • H — *-•■ — • — ■•- l^^ f= w- Jtr^^- — tiT J f=t rfi s ~*~^ ' ^ =p^ =1^=^= :fcfc ^ :*-i!3t ^=^-=t -n- S \ rJ - ^af 2 Larghetto, D major Symphony Beethoven LESSON XLIV (The Double Dot) J.. •^^ J. .i^ ^^ u. " Gallia " Charles Gounod B5^=2^^^-^^^=£t±= ^^^ 'm^ p * -^-=-« — *■- i^t=t Je 2 ru - 3a - lem ! Je ru - sa - lem ! turn thee td the Lord thy God. /(•^•2;1 1 — ^ — 1 b« = ~\ 1^ — rf — 1 ■1- 1 _(^fl4_^ \ — 1 P 1 s^-n ^ 1 «— ^^ 4- 1 3 "Men of Harlech" Weilsh Air p^gtf to ^ ^F p:+ j z^ i 1.?= .^.! — .^ 1 ^ M. — .— W- -^W'* E£E*ZES:E^Ez^ g iSE -J±±^ Robert Schumann -plT--^- -=::i- 2l8 MUSICAL DICTATION LESSON XLV m-\> ^.r^ :^^ ^ '-m -^•y ES^S 4 "Stabat Mater" Antonin Dvorak g *§ ^-»- i2t :£*z:^ i^ — ■ t=^ i^=F Ife?=t£ -* y • ^ fTH^r^:^-£4 :^fce: =S=^^? a: SE^t ;Eg E^ETS^ 5 " Tannhauser " Wagner P±it '*T=-i*- EEFt m ^ ^ ^ :« -•FTh*- gT»~ ^^ b^Si; t=^ , 6 "Twelfth Mass' Mozart ^i -f=2 1*- ^ =Ff- ?2Z :tt S I LESSON XLVI 1 " Stabat Mater " Rossini ^^S^^^^^^^^^ 2 Adagio from Trio, Op. 97 j i - ■*- ^feES^ r^; E^^^ Si " Tannhauser " Wagner j^^^ i I I I *:3 Wl!-^—»- SUPPLEMENTARY MATERIAL 219 * %^ --P^ ^=^ ^^^' Mozart te^ g^ ^ pg B^r^i &= fe^^^F^ LESSON XLVII From Beethoven's Sonatas i 1 Andante, Sonata Pathetique X ^^^^^ 1^ Pe^^^^E^eS =t =#^ ^-^-jK- g'-i^ i 2 Adagio from Sonata in C Minor &# r'^=^==^ :|s=^ ^ • * P^z^ :^=#it - CJ . :*=t i E# &=te=* ^ S ^^^ ^+»i— ^ ^i -^^r-^- PE^ J?=3t i pss^^ ^-Hs*— »^ i 3 Sonata for Piano and Violin S#= -^^^^^^^^^M W^ -{S ^ i ::^i i^ -s' »i- ^^^^ : g^- — ^ 220 MUSICAL DICTATION LESSON XLVIII (Unusual Rhythms) 1 " Corain' Thro' the Rye " ■5^=^ :F^ Mtsa: ^^=^ ^ ^^^^^^^^^ 2 Hungarian Folk Song -^#4 sri ^"^-h — 1 ^ H-^J^*T -»^^»-r. — — 1 l^r -wrf-'-r^- rml 1 TCC^^'^ j 1 1 ^i-*-*-n:nii'vri^' ^ld^g^=r%f-q "-^^■^■J** ' *^ L^^.L^L M-l ^^1 L M ^' ^_J ^i ^^ ^g # ij«=^ s^e^ LESSON XLIX Themes from the Music Dramas of Richard Wagner 1 " The Sword " Das Rheingold 2 " The Forge " Das Rheingold 3 " The Grail " Parsifal 4 " Benediction " Parsifal p E^gff Sg j|B ^^££g^£ fgpiia 5 " Ride of the Valkyries " ^3 Die Walkure S2 i " Siegfried " ^^ 9s>-. Die Walkure P^^ ?CMt m^^ F^i mm pE& t=^\=^^ x=^ 7 " Call of the Son of the Woods " i i^=bd= EES=£^ ^ ^^i@ Siegfried -(»— ^- £^ I SUPPLEMENTARY MATERIAL 221 LESSON L 1 Adagio from Trio, Op. 97 Beethoven m 1= ^3 JJ^^J=3- * li- %-=^ ^ ^ ^ ■ ^ *- izzzat -ji— i?— JS - f— ^=¥- 2 Adagio from Septet Beethoven i 1^ ^ J I J. 1 J ^g=f=f :S=^ ^ SS tfcS f — -^-i-^-q^^ ■^^ 3 Andante — C Minor Symphony Beethoven ^ s 4 Minuet L. Boccherini -^ — I- 5=i^ 4; -,»=^ j^z±^^=4^ :^=^*^z E | ^^^s g^^s^r=-fe ^^^^ w=t tS: H*-^^ BOOK TWO INDEX * Pagb Absolute Pitch 2 Accidentals 99, 108, no Antecedent 161 Cadence 161 Chords Common 23 Dominant Seventh, Resolution of . ^53 Major 152 Seventh, The 138 Sub-dominant 152 Tonic 152 Inversions of 153 Writing of 184 Chromatic Tones Introduction of Zif, Se, Me, zxARa 29 Sequential Study of ... .9, 28, 39, 47, 58,71,76,87, 116, 125 Study of 38, 13s Writing of 106, 130 Clef CClef iSS F Clef ISS GClef 15s Consequent 161 Correlation of Reading and Singing ... 5 Dotted Beat Note Introduction of 19 Writing of. . . .81,91, 95, 96, loi, 107, 112, 114, 122, 126 Page Duplet 133 Enharmonic Change 170, 173 Imitation 162 Intervals Definition of 83 Illustration of 2d, 3d, etc 84 Major and Minor 140 Leading tone 152 Measure 119 'Compound 124 Duple 120 Triple 120 Quadruple 120 Compound Duple 120 Compound Triple 120 Compound Quadruple 120 Mediant 152 Melodies. . .122, 126, 129, 144, 147, 149, 162, 165, 178, 180, 183, 185, 189 Definition of 161 Melody Invention . . 48, 56, 61, 63, 66, 79, 90, 127, 14s, 151 Mental Effects 10, 15, 31, 38 Modulation 168, 173 Music Writing Books i Period 161 Phrase 161 223 224 INDEX Page Irregular . ^ 164 Practice Staff 131 Directions for using 132 Pure Scale 2 Rhythms One Measure 11, 33,88, 121, 137 Two Measure 153 Scales Chromatic 152 Writing of 141, 146, 186 Major Building of 85, 93, 98 Review of 152 Sequential Study of 8 With Relative Minor ....'. 25 Minor Harmonic Form Description of 43 Sequential Study of 28, 104 (See Normal Form) Melodic Form Description of 1 03 (See Normal Form) Normal Form 43, 104, 113, 115, 152 Sequential Study of 27, 70 With Relative Major 2^ Writing of 145 Writing on Bass Staff 186 Sequence 162 Singing in Tune 2 ■ Pagb Staff Alto 156 Bass 153, 157 Great. 155 Tenor 156 Treble 155 Writing on . . .158, 171, 177, i§o, 183, 186, 195, 198, 200, 205, 208, 210, 211, 213,215 to 220 inclusive. Staff Degrees 83 Steps and Half Steps 82 Superdominant 152 Supertonic 152 Syllable Names Abuse of 4 Use of 4 S)nicopati6n 105 Study of 106, 121, 144 Tetrachords 86 Tone Production 7 Transposition 135, 175, 178, 187 Triads Definition of . . 23 Introduction of 2 r Inversion of 72, 77, 115 Major, Minor, Diminished. . . .88, 115 Mental Effect of La Triad 32 Sequential Study of 44, 72 Triplet 14, 128, 133 Writing of 96 {»at^)^ f'j'"