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MELODIAA COURSE IN

SIGHT-SINGINGSOLFEGGIO

BY

SAMUEL W. COLEAND

LEO R. LEWIS

BOOIC 1 .75 BOOK Ul J5BOOK II .75 BOOK IV .75

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INTRODUCTORYThe Value oi- Sight-Singing

For at least two centuries training in sight-sing-

ing has been recognized in Europe as fundamental

to all technical education in music. Americanshave seemed to set little store by such training

;

for, today, the great majoritjf of our professionalmusicians, not only instrumentalists but also vocal-

ists, need unerring instrumental support in " sing-

ing at sight " a part-song or an anthem which hasmodulations to any except closely related keys, or

which abounds in the larger intervals. Obviously,inability to read at sight does not preclude goodperformance, after familiarity has been gained byinstrumental assistance ; but probably no one

would deny that the possibilities of artisticachievement are infinitely greater when one hasacquired the confidence born of genuine ability to.sing at sight which ability may be defined as thepower to know the units of rhythm and of relativel^itch of any rational musical phrase, and to provethat knowledge by singing it correctly at firstsight.

Much Material is NecessaryMany works on sight-singing have been com-

l)iled and written for use in the public schools.But the authors of Melodia believe that there isneed of more and better graded material for use inconservatories and by private teachers. The^res-cnt work is an attempt to meet this need. It repnresents the results of many years' exjjerience, andis based on the belief that, whatever be the methodof presenting the elements of the subject, the sur-est road to growth is through actual performanceof a great number of carefully graded tasks. /

Confidence Must be Developed

A second fundamental thought has been that ahigh degree of self-confidence must be developedbefore one can " stand up and sing " alone at sighta somewhat difficult musical phrase, without otherassistance than the sounding of the key-note. Ex-perience has shown that rhythmical problems arequite as often stumbling-blocks to musical studentsns are tonal problems. Therefore, in Melodia, thefirst eighty pages, which are written without skipsprimarily to develop a ready confidence, contain

many and varied examples of each of the eonven-tional rhythm-forms ; and the most deliberate prc-gressiveness is maintained in the introduction ofnew difficulties. In a word, it is a feature ofMelodia that early emphasis is laid upon rhythmi-cal^grgblems.

The Treatment of Large IntervalsIn the treatment of the larger intervals there is

(

alls a departure from the conventional procedure,j

Instead of taking them in the order of small to;great, the octave is first presented, because experi-ence shows that it is the only " skip " definitelyrecognized as such by most beginners. The sev-enths, sixths, etc., are then presented both in theirrelation to the octave and as composites of thesteps and half-steps with which the student isalready thoroughly familiar.

General Features of Melodia

A glance at the headings of the successive Serieswill indicate in detail the comprehensiveness of theplan. The following general points may be noted

:

1, The typographical arrangement is such that a verylarge amount of material is brought within comparativelynarrow limits;

2, The normal compass of average voices (an octave %and five notes from low A) is seldom exceeded;

3, Nearly one-half of the unison exercises are writtenin the bass clef, thus forcing sopranos and altos to becomefamiliar with that clef

;

4, The two-part exercises are all written so that theymay be inverted, the bass being made the tune, and thetime the bass ; or they may be sung by male voices only orby female voices only; thus, each two-part page repre-sents two pages of practice material

;

5, Again, the two-part exercises are adapted to use byteacher with pupil in private vocal lessons

;

6, Since all indications of phrasing are lacking, oppor-

'

tunity is oflfered for constructive work of the highest edu-cational value.

Individual Work EssentialIt is expected that, even when the book is

studied in large classes, much work in individualreading will be required by the Instructor; for.after all, no one has fully mastered sight-singingwho cannot sing alone, while beating time afterthe conventional forms.

As a special^and, perhaps, novelhelp in de-veloping the sense of individual independence inensemble, there have been included, in Series I,exercises which may be sung simultaneously.Cases of this sort are indicated in connection witheach of the respective exercises. Thus I 233 maybe sung with I 243, I 246 with I 263, etc. Someteachers believe so fully in this method of devel-oping independence that they cause exercises inthe same key, and with the same number of mea-sures, to be sung together, without regard to thetone-content of the exercises. This practice, ar-tistically unjustifiable, may have, in moderate use,educational value.

-The Goal of MelodiaMelodia undertakes to prepare students to meet

the most difficult tasks in pitch and rhythm set bymasters of choral composition. If suggestions of

phrases from some of the masters have occasion-ally been incorporated in the original exercises,the reader may be willing to waive a charge of un-justifiable appropriation, in view of the specificobject of the whole work.

The Modulatory StudiesPages 76 to 80 contain Modulatory Exercises,

some of which may well be studied earlier thantheir position in the book would indicate. Therelationship between the objective keys and thetonic is indicated by Roman numerals,capitalsfor major keys and small capitals for minor keys.Thus, "To II " means that the exercise illus-trates modulation to the minor key based on its.super-tonic of the prevailing scaleto D minor,if the piece is in C major. Such an exercise

may well be studied in connection with any ear-lier exercise which modulates to any similarly re-lated keyto F-sharp minor from E major, forinstance. Reference to these exercises is occa-sionally made in the earlier pages of Series IV;but the teacher may best judge whether moredetailed study of key-relationship is desirable.

Matters of Notation.

There has been no attempt to preserve absoluteuniformity as to the details of notation through-out the book. On the contrary, it has beendeemed wise to present a variety of forms andusages, in order to accustom the student to thepractices of various authors and editors.A word is necessary as to the insertion of clefs

and the use of bars, which features, on casualview, might appear to be unsystematic and need-lessly unconventional. As a matter of fact, con-siderations of brevity have prompted severaldepartures from the established usage. For theguidance of the singer, however, but a singledirection is necessary : the prevailing key-signa-ture and time-signature are not cancelledunless a clef or the regular double-bar [II] isinserted. The double-thin-bar [||] is thereforenot to be regarded as necessitating a new indica-tion of key or time. The time-signature maychange while the key-signature remains. The reg-ular double-bar appears where either a clef or akey-signatUTc is changed. The meaning of thesingle-thick-bar [I] or the double-thick-bar [II],

as in the Modulatory Exercises and in connectionwith repeat-signs, is, in the respective cases,

obvious.

THE SOURCES OF THE SELECTED EXERCISESThe authorship of the selected exercises and of the excerpts, is indicated by letters following

the respective numbers. An asterisk shows that some modification other than transposition hasbeen made, but not such as to impair the original character. Below is a key to the indicationsof the letters. All exercises not so marked have been written for this book.

Ad T.Ah D.Bh J-Be L.Bt A.Bn H.Br J.CI G.Cb E.Ck G.Ch L.Cn P.Du F.Fi C.Fr C.

Andertou [1836- ]F. E. Auber [1782-1871]S. Bach [1685-1750]van Beethoven [1770-1827]BertaloUi [1665-1730( ?)]Bonicke [1821-1879]Brahms [1833-1897]CaruIH [1800-1877]Chabrier [1842-1894]W. Chadwick [1854- ]Cherubini [1760-1842]Cornelius [1824-1874]Durante [1684-1755]H. Fischer [1800-1875(?)]Franck [1822-1890]

Gn C. F. Gounod [1818-1893]Hd G. F. Handel [1685-1759]Hr H. L. Hasler [1564-1612]Hs J. A Hasse [1699-1783]Hn J. Haydn [1732-1809]Hg J. Higgs [1829-1902]Kb J. P. Kimberger [1721-1783]La H. F. L.angle [1741-1807]U O. Lasso [1532-1594]Lm H. Lemoine [1786-1854]Lo L. Leo [1694-1756]Lw C Lowe [1796-1869]Mn F. Mendelssohn [1809-1847]Mi J. Minard [1845 (?)- ]Ms W. A. Mozart [1756-1791]

Na J. Nares [1715-1783]Pa A. Panseron [1796-1859]Py C. H. H. Parry [1848- JRd J. J. Rodolphe [1730-1812]Jis G. Rossini [1792-1868]Sb J. N. Schelble [1789-1837]Sn F. Schneider [1786-1853]Sm R. Schumann [181M8S6]St J. A. Steffaai [1726-1800( ?)]Ts W. Tschirch [1818-1892]Vd G. Verdi [1813-1901]Wg R. Wagner [1813-1883]Wb S. Webbe [1740-1816]Wn B. Widmann [1820- ]Wll F. VVullner [1832-1902]

TABLE OF CONTENTS

I

INTRODUCTORY V

BOOK IFIRST SERIES

One-part diatonic exercises in step-wise melody G and Fclefs All major keys to B and to D-flatinclusive All representations of notes and rests of whole-beat length and multiples thereofElementary presentation of the divided beat.

SECOND SERIES 21Two-part diatonic exercises in step-wise melody Keys to B and to D-flat inclusive All representa-tions of notes as in First Series, with greater variety and length of rests The divided beat in fullerpresentation.

BOOK IITHIRD SERIES 41

One-part exercises in step-wise melody in all keys Graded presentation of all chromatic tones, exceptflat-2 and flat-S Development of the minor The dotted note involving division of the beatTriple and quadruple division of the beat.

FOURTH SERIES. 61

Two-part exercises in step-wise melody in all keys Chromatic tones, modulatory and ornamentalDevelopment of incidental and extended modulation Syncopation Mingling of double and tripledivisions of the beat.

FIFTH SERIES 81One-part exercises Systematic treatment of intervals, beginning with the larger Skips to and from ^chromatic tones having obvious key-relationship The commoner augmented and diminisned intervals.

BOOK IIISIXTH SERIES loi

Two-part exercises embodying all intervals treated in Fifth Series More elaborate development ofrhythmical difficulties, especially of syncopation Lengthy solf^gi from German, French, andEnglish sources Canon and Fugue.

SEVENTH SERIES ' . 131One-part exercises Systematic treatment of skips to, from, and between chromatic tones Intro-ductory study of passages whose- chromatics "deny" the signature Advanced solfeggi from foreignsources Specimen difficulties, without text, from the classics.

EIGHTH SERIES 151Two-part exercises, involving all the difficulties treated in Seventh Series, and fully reviewing therhythmical problems earlier treated Maximum difficulties of mediated modulation Special studiesin the development of independence of the parts,

BOOK IVNINTH SERIES i6i

One-part exercises Typical passages from early and recent composers, with text, of difficulty rangingfrom medium to great Full exposition of chromatics which "deny" the signature Arbitrarychanges of tonality.

TENTH SERIES I77Two-part exercises, with text Representative excerpts from early and recent composers, with a fewnew exercises, embodying maximum difficulties of pitch and rhythm, as well as the utmost independence

MELODIA - BOOK 1FIRST SERIES

One-part diatonic exercises in step-wise melody G and F clefs All major keys, to B and-flat inclusive All representations of notes and rests of whole-beat length and mnltiples

hereof Elementary presentation of the divided beat

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41

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FOURTH SERIES

Two-paul exercises la step-wise melody iti all keys Chromatic tones, modulatory and

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FIFTH SERIES

One-part exercises Systematic treatment of intervals, beginnings with the larger

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