the foik song ii

8/6/2019 The FoIk Song II

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< ., O" \ ~~ ~&" l&- "" I .. :: :: ?, ,) .c 7" l .7 I .. C? " J. .. c. :7 't ,, -? )~ .. :: 7) t. .c 7' )_ "" ) _ _~, &7 )~: >" ~ . 7,~...c""l...:..?"t1..=:7 t..:7~....: :7l~~L~ " ~~ The Folk-Song Sight Singing Series ;;J Compiled and edi ted by ~':I~. EDGAR CROWE, ANNIE LAWTON, andW. CILLIES WHITTAKER ( ~ A COLLI-eTION of Folk TUIl~s of many countries. carefullv gr_Jed (or ,chools J!ld IcoiL CI. wit]: notes Jnd .JvICC as to usc. In .11 (al("\ phrJ'lilg Jlld cxprC,Slon mar ks ~ are added, rod the or r cu: of the (UIlC stltcd. ~~ BOOK 1 (IIO l,m(5) BOOK 6 (90 t J l n e s ) ~(j' Doh chor d and scalc ",.~ _ ,.. ~ ~L ra p s I .A .1 t lu r d In s oh an d ( lh c bor ds U ~ ll ld . .. I ., -J r~ r~' r . . J IIC{C\ and rrH" ncs. SCflllgulvC'r, no! H(p\" I~e : I I ':_;,"~(lT""IKIIlI:kl(lndlrigultrlt}(e. E.~~y t unc s """lln,~.u be at ~ . M"J,1 {u"n ~.8001( 2 (100 limn) Los I J ~y u~e of bl and H' and of Lc a p s r -f, (-r . J !l "th~ and 5ths m the chr"llrltlu thr ec chief r hor ds ~ Funh," mndul.m on ' '' ' li n l c .t y s ~!.3trd r : . . . . ; . III very ClY lcaps. ~ ,II. and Compouud tnnc , iand t ron, and ~. ...... ,. '.1'.", ~ Invny ('J.~y pl\~lgr~ ~ ~1~;~'~.:~,'~':,'c~C,:~'{'~~CJ',~~~'rg,~,'odc BOOK 7 (91 limes) ~ More d.thr ult lra ps Pr acrice in prC'- ~

BOOK 3 (100 !IOlt'S) \ IOU~ nU(Cfu used I) more ddfl- j~

j[ h _ . s In cult \o , l S Modulancn w rthour (\L("J~'~ ru-t: ~-tl III 4 rhs --flrt modc rrt. Iv dtfhlit (,',lkROUK 5 (93 l '4nefi ! tunrs With dCS,..i:d\ 1!I'~',V1JullA ~~ ,~ Ir :~ ~~ (0 ~< ':~ r" ~:~ :~ ,"


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1

PREFACE TO BOOK U ca:~lIection of sight-~inging exampl~ can possibly m~t. allneeds, or su it ever ybody s plan of g radl~g: To secure suff lcJelltvar ie ty, and to mainta in interest in c lass, I t ISnecessa ry to em. ,loyvarious forms of reading pract ice by use of the modulator , wnt tennamp les and p rinted tests. Teachers should.~ ready ~o i~ven t,and writ e on the board , addit iona l melodies glvmg pract ice Inanyspecial difficult ies of either t ime or tune which may ari .sein a les~n.All new time div ision s should be prepared by time exerCISesalone before being used in time and tune combined. In Book IIthe only new time element is r'~ (see heading to Sec tion I ).It must not be assumed that every tune in these books is neces-sarily more difficult than those immt;diately Precc:Wng it. EJtce~tingfor the new factor, the fint tunes in each section are sometimeseasier than those at the end of the prev ious Section . 'lut theSec tions a re a rranged in order of dif fi culty, and the tunes graded

within each Section.With tune, the p rimary difficu lty is to attain speed in thinkingout the solEa names of the notes, but facility in this is merely amatter of careful grading and well directed pract ice. Progressionscommonly in use should De systematically introduced and practicel imit ed to those unt il t hey are mas te red.It i s sometimes overlooked tha t an inte rval which i s easy to singmay be dif fi cult to read. I t requi res 5ys tema~ic .prac ti ce an~ eyetraining to name the second note of certain intervals wlt~uthesitancn, and the grad ing of th ese books has been planned W : lththis in mind . Eye training is an importan t f actor m sight-smgmgpractice, and the Notes at the beginning of each section areaesigned to show the best lin e of thought in that direction.

0\'5The edito rs can see no ju stification for restr icting early sigh t-singing to key C, with a gradual addition of other keys. 'Theirreasons a re as fol lows :1) The chief cause of hesitation and inaccuracy has nothing todo with key: it b due to uncertainty as to the pitch of the notesto be sung. A fluent application of the soHa syllables to thestaff does away with th is d ifficu lty. Therefo re, what is neededis a grading of this application in a manner suitable for all keys.That is what this Series sets out to supply.2) C is not the easiest key in either the treble or the bass stave.(It is the easiest key for the piano, certainly, but the mentalprocesses of Sigh t-singing, especially in the ear liest yean, aretotally different from those involved in playing a keyboardinstmmcnt.)3) Although early results may be quicker if key C is adheredto at first, succeeding stages are rendered more difficult;ultimately, the most fluent reading is secured by variety ofkeys from the beginning.4) So long as there are no accidentals pitch names are only anencumbrance to the mind and a hindrance to reading. All thatmat te rs a t f ir st is to know the position of doh. and to be readywith the most commonly used leaps; for instance: to rememberthat if d is on a line, d m sand s t r' will be li ne , l ine, line ,and f I' will be space, space, space; that if d is in a space dm sand s t r' will be space, space, space, and f Id' will beline, line, line. The minor is dealt with similarly. The less thepiano for te keyboard is thought abou t the hetter. It:GCfilTD PL'NS FOil JlEADINCIn the early stages of read ing it is suggested that each tune maybe SL Ing in all o f the following ways:1) To sol fa without t ime.2 , In monotone (a) to time names (b) t o doh.3) Combined t ime and tune to solfa.0 4) Combined t ime and tune to l a a , twice if necessary , and thenonce at least with all expression marks observed, (and to an accom-paniment where the teacher is sufficiently skilled to imp.rovise one_.!The c lass should a lways bea t t ime or t ap each bea t S il ently. It ISdesirable to use tapping in the early stages but to proceed tobeating as soon as the class is ready.When the class is sufficiently advanced each test should be sungat least three times, as fo llows:1) To sol fa .2) To laa.3) Wi th a ll expression marks observed, (and to an accompani -ment where the teacher i s suff ic iently ski ll ed to improvi se one).After the earliest stages of no te to note reading. c lasses mus tlearn to think in phr ases. As an aid to this, phr asing is marked inall tunes, and cases of irregular rhythmic structure are noted.Observation of the points of construct ion not only helps towardsmore intel ligent reading, but also increases the interest or the lesson.All repeats should be observed: expression marks inbrackets referto the second time.Tempo and other ind ications mayo r may not be attended to ona fint reading, according to the capacity of the singers, but ata l at ft s tage a ll indicat ions should be observed in order that sight-I inSing may be l inked up with musica l eojoymeot . Tben is too

][EY SICNAnIBESThere is no need for beginnen to know the full meaning of keysignatures. Th e fol lowing two s imple rules a re a ll tha t is necessary:1) Where there are sharps at the beginning of th e l ine, the lastsha rp , tha t furthest to the right, is t; (/ is a step above, I, thekeynote of the minor, a step below.2) Where there are flats at the beginning of th e line, th e lastflat, that furthest to the right, is f; d is three steps down, f m.r d,Is two steps up, f s I.Pitch names need not be thought of at all. When se is intro-duced (Section VIII ) a simp le explanation is all that is necessary.P ract ice sbould precede theory ; knowledge of unessent ia l detai ls

should be left over until progress ju stif ies their introduction.PRELIMINARY IOLFA Tl\AININCIt i s assumed tha t pre liminary sol fa t ra in ing has been sound, andthat the three cardinal chords of the major key, and later, thoseof th e minor, are thoroughly familiar. To attempt to apply solEanames to the staff withOut thorough and systematic modulatorpract ice previously i s to court disaster. Reading to l aa i s usual lymere guess-work. No certain ty can be obtained withou t a constantuse of the solEa syl lables . If a good foundation of sola has beenlaid most easy l eaps a re prepared for . Reading from solEa notationa lso i s an inva luable and necessary aid to securing fluency in theuse of the syllables. Material for this will be found in Books Xland XII , which con tain soI fa no tation only: they are intended tobe preparatcwy an d compJemeDtary to th e staff boob .


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often a teacIency to d ivorce J ight IinpnK from music, an d oneobject of this ooUection is to provide ma te rial which is a t oneemusical an d useful, and whicn w in help towards mWnK thispart of th~ singing lesson ~ de~i~t to the c1us ..To add m~est, the nahonalat le s of the tunes a re given. Veryslaght al. ter:ations I_la~e~ made occ:asionally in order to brinetunes Wthin the llDutations of a particular If'!Ction; aU such cueIIare indicated by a Tbe froportion of tunes oontaining certa in leaps, e .g., "-f an dotben, 11 not the re sul t o f an a rb it ra ry cho ice, bu t o fan analysis of

some hundreds of s implf folk tunes.This analysis has revealed that much Sight-singing that has beenbased upon theore tica l plans is not in line with the findingsresulta nt upon the arranging of a large number of folk-tunes inorder of difficulty. It may be a rgued the re fore tha t the basis of thescheme fol lowed in the books is a natural and not an artificialone. The collection thus becomes a compendium of the difficultieslikely to be met with in elementary reawng.

SECTION I. No .. 1 - '

I

IINDEX

SECTION I . Nos. 1-S.rtf No new leap.SECTION II. Nos. 9-20.Leaps ray-fah and fab-ray.SECIlON Ill. Nos. 21-33., . C Leaps doh-Ish, fah-doh.SI:C110N IV. Nos. 3t-42.Leaps soh-ray', ray'-soh.

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SECIlON V. Nos. 43-58.Leaps ray-soh, soh-ray.SECIlON VI. Nos. 59--64.Leaps fah-doh'. doh'-fah.SECIlON VII. Nos. 65-.115.Fluency in quaver scale passages, and c . r in very easy leaps.SECnON VIII. Nos. 86-100.Easy tunes in the Minor mode, grouped as follows :_Tunes contaming neither soh nor se.Tunes containing soh,Tunes containing se (stepwise only, 1 se I).Tunes containing both soh ami se .The new leaps are lah,me, mela"; me -lah, lab-me, 5

Note. - The Editors wish to express their indebtedness t o M e ss rsBela Ba rtok and Karo l Hlawiczka for k ind pe rmission to use manyf ine Hungarian and Poli sh tunes from the ir col le ct ions. It may benoted that in these, as well a s in some other melodies, the phras-ing seems unusua l, but i t ha s been dictated by the origina l Words . Copy"cht, 1933, by the Oxford Univenity Preu, London. Printed in U.S.A.


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2 3AlI. ntto .....

II .i1 rP lfGO J ifr ;W liir lrl1rl{ l l b . 1l' ~==-All..... ."ISI

.. ",Uy7Jf?I@r-lmIWrlfm1Allelretto PaUli

13 . " c : j J J 0 1 J l m t J < J J J I 0 1 J J : t i Q j 0 1 J J l l t l Imp(P) c r e s c o - 1m. pPoco Aaduate ""lSI

14 .h tjr rIFt tr lr ]j;J il\ I f lr lr tn ' IWINo. 15may be sung as a C1non 'i)2 at the unison. lbc SeaxxlA1";~ begins at x. In this case the repeat must be omined.)

'5 4 J t t : ; J ) ii I ~ I " IWJIJ JJJ1 1 i 3 } o " : ' iA11ep-o (Note sequential treatment inthe first 6 bars.) HU ......." .ilC1r J l r rH;];; J JnI.~r J J J I J :Pi IG J J I ~ ~;l I

. . . . . . . . . . . . . . . . ., " 'JPJI4 }lJIJJiJ & E lftrrlliip . j4'PJlifiJ I;JJW JihrrlrrJll;W.: I

AI ................. (6 phra.es ol4 bars) IIIIISI7 4ViAJIJ Jig a ~ JtoJJIJ ltd} BbIF r 1 0 1 J]) Shr I~ r I ; J I J J Jc tllm.4& ; IJ ; 1 1 r; i ] ( J I Y J IJ ; I; r F f t l

SECTION II. No.. ,- ..Lea.. of die , .. .. r-I uad I-rTbese, heine always consecutive Ii.s or consecuti~ spaces, are usilyrecognised aad named.

Moderato IIIMA"9 fit. i@!jJJJJI@ I i ; M J i J@ ItPJ~

Aadaate (6 phrases of 2 bars. Ends on soh.) . u s s . . . .'7 'hiP 0 1 0 1JIU ijJJJDln;p 0 1 0 1J]"" =- PquWJJifJ t rnrrfft tnqrfIt J I:=:-. TIt. I'JIII

Aadaate (~ ~ inban 5,6,7.) ....... '_ tuW IJJJIJ 'fr ij iJ lm;IJJJu!


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4 5A.claate (Note the sequence) UK.

~5 _ZitlJ; I@I; 1000arlr-JrrlrrJ]3AI,,",t_ . , f I I I I19 - 1 . trir r lf jJ l i 5 t i J l r t I F f J I W T J1 J 3 & O F I~ 7 cnK. mfModerato (3 sets of 2 bars answered by 4. Note the twosequences, the first of 2 bars, inexact : the second of Ibar) 'ElMAM

!IO !il3iJ J JIJj) If) ~41r2? if~ 1 '"4 - . . . CnK. ~~~-r-fj-- fI f f t I : e r r F J J Ir J) J@rrJTji!1"If f(P)

SECTION III. Nos. 21-33Leap. or the 4th, d-r aad rd& 1 1 1 0 i~In reading the leap d- f the name of the second oote is readily found becauseit lies between the already familiar m and s. The interval is the smallest upwardleap from doh which is l ine- space or space . line. The interval f-d iseasily named,as are al l leaps to the tonic, because the position of the keynote on the staff is es-tablished in the mind at the beginning of the tunc.

NOTE. As an addit ional aid to quick reading, eye training should be givenin naming intervals from note to note (2nds, 3rds, 4ths. 5ths) with an immedia teapplication of the solfa names.Maestol lo ~3 phrases of 4 bars) FIEMeH

21 tit I J : J l r M e r i t " 1 & q I J J l i J i j . I J G I J J ig 5 T I . I~ m f d im. cresco m J "Presto (3+3+ 4 +3~ POlISH

22 4 * f 1 1 ) ? f J J I f" r r Z IV &1 r a " ) ' I~y r 7 J r I J k c r J I]] 101; J I r l } i JpAlI~Note the sequence) UlflSH

m :J ' t d i ' I f M ' I P ? J e g ! J J I J , r J I J ; f f l ; IAadaate (3 sets of 4 bars) 5EIHAM

24 &~'tFij r J r i c ! ? ijp r J r i c ? ? f i r c p tf~ Ip Ipp cresco, g o J J 13J D U ' ~ r r r J 1 ~ 1~ J J J f ? , . .

Grazioso fU Me I IW I fhg;JldrtmMMu1ff l f i iJIJ3' ~ O J O J O J I;J J i J J O J InWIJLJf t~dt i ID: :=. IP c r e s c . f

AIl~ro NUMGAIIAM~8 ~~JJJltt4YtRY9rfd~m f c resc . P

AlieSro DIDIIerato (2 sets of 4 bars answered by one of 6) f l lMCN, ., r lpr lJ) @JlJJp J IG rlD 10 0m fPre. to (Begins on raY)(2+2+3~~ HU_AIIAII

30~ IJJjJIJ-IJJjJIJ-IP~@jIilJJGJp~""___"" c r e t e . fModerato (3+3+4+ 4) ' IENOI,. ~rlmjJ)tJlJ~ iJnPJ~"11(7) c r e s c , dim. 7


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6AI",""O (The first 8 bars ~rc used in ~ I. 5letsof 4 bars. Note the slight altenttOft when the f U ' S t 4 barsare rqxated. and the differences in the last 2 sets of 4) IUKII

32 l i h ' l J 1 irrrlrri!ffr r): j ; 1 i r r r'lrltil~ 7 C~.~-~J-W.rrr ln n ;ifO J I !r lfrrJ It~ r rr JI JJJJJ r tilr rr J(r rr JI JJ J J T J . I~ dim. ]I

7Moderato (6 phrases of 2 bars) RIM..

3 6 ~r(ih~ & r r F I ? - . ~J ~ J~l' c r l s c .V E N ~ Jj3J~ JIM ffirrrll Idim. PAUesretto lelliero 'Ims ..

st *iMl~loJJJI~IOif i lr. loJJm I

SECTION IV. No.. 34-4.Leape 01 . r' .... 1'-.' ..1btey e should read these as the out side notes of the so h chord, hne - hnemissing a line, or space- space missing a space . .IMAM

~~ol4 ban. Note the sequential treatment of thirds)34 ' N t i 1 2 J o j In a i r W igJJ Ir r I iil' "",' ~ f f U ~fjr r rlr r r Ir { E F t ~ r r r ]Cf'UC. ,m .,.., r r lr J m a O ) o J Ir r air E 7 r : J IIIIHAMM.....ato55 'it!J J J IJ R illJjm.~~ Jir A1 crtlc., t . r P J J i T J 1n J JJ IJ r f i E Jilj i i g . I

dila.

Moderato FliNCH

fO ' i l , .W r r I J J J I J W f l h r l J J r l r P D il.~ JJ;IoJJ J IJ J. jJ -nU oJJJ J IJ JDJ Idim. 1'1'


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8.... .,. (The f irst half of this tunc was used in BIr..I. Note1M KqtJCl1CeS in 1M srcond half) F.EIIe' ' j!u J JJ lm I!4P lr~ iJ JJ IJ 9 Ig

f ! 2 J J t r r P b J 1 0 1 & ! t r P ? ) I~9

IlIMAII

.s r i j i J J I J P k J lm f P J J I J J ; b - r J - l DI. . . . .oderato __ff , t & ! r p W r l r r r la?lpJIJDl ' iJJIJDIAlleero .....f5 , t i l l J f F l D t I S h e N i~rom I't#@I E F F ) 1 } f f t J D t I g r r o =g

I Allesretto CTUC. 6E1M. . . 7 4 i 1 l 1 ' d ' j bP l!JiJJ It iP J I~E U I~ _ _4- f % r r r IUjr1 I r 2 Pr J I d - -- - -~ q~ G~ l'

...... te(The first two pbrues are of 5 bars,produced by an 'echo' ba r at t he e n d of each) II.NAII(I 4 W 1 U i : J r li ! J lr -a r rf iQ rl iJ Jlr-F I r fjl' I'l' l' 1P' ~ ' f ff r C f l N t f E J J 1 t . t f r W ;U i l r r B ; JIcmc. ,." ilhn.

Allepo (8 b ar s a ns w er ed by 6) cmc. PellISie '~b1JJIE r l J J 8 D - ' y J ; ~ i 9 t ' ! H d ! J - 1~~ f

c.....ito (4 ban answered by 6) 1111l1liSO ' ~ " l t Y A l l J fjJ p !J 1@9~4 d 1 h J f f 1 I 3 isJ I J J J I J JHJ H it I:> :> ClWIIC . ~

SLAY.AJI .. ro(3+ 3+ 4+ 4. Note aequence) ~time J12ndtime51 'e iTi tr lc F)- ! I@ C lrr rr lr r rrMf ltll.I~) (~ " 1 1 l'

SECTION V. N .., -SlLeap. 01 tile 4tia r - . . . . . . . . . .Being a familiar note of the tonic chord the soh should be read ~lly; theray will be real ised as one note above doh.


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JO M.e.t ... (4 bars answered ~ ....5m _ ' I fFjJ 1 { i i J J J I J JJWJW~t!rl

"" cruc. dlm"lfPrato POUII

53 ',~nlrfIP I m e l e R ImtlrrJrtFtH]I

IIAJlelro SWEIlIi

57 ,n t H @ J J I J H !J1m ~ J J J J I JJ J 1III f -_ ~ p ----

IIifillPreeto (3+ 2+ 3+ 2+ 2 + 4. Note the sequences)M ' ~ ! i I J J J I J '@ j } e I J J J ;& l i J Q l J J J J I J)11tJ3n iB r E f ~ F R Ji r r l r J J J I J J J T i J 3~f.. p

POliS.Pre.to (When known, sing in time. Note the sequences)

55 tJIiii~~~tf, ~ J g ~rrrIR@JJOF J t ~ rJ6tflfh#lJ Ic r e s c o f '-~ J J J J l g ; J 1 : 9 4 l J , Lr r l :n~ .

J'hI;;J;lww;;IJuJ)ll;J;19 -~ === : : : : : : ' p~6Lri? - l f J J J I J J r J I H D l i J - .

rt fModeraeD (3 phraaes of 4 bars) MIIAII: :5 ' ' * 1 2 K rr J I r r r r i? ~ ie * r rJ jt. r r c r Ira iJ]? J J J I J J J J I~ I" aut. ""

SECTION VI. No. 591fLeap. t, IUl d'IThese should b e read as the outside notes of the fah chord; line-line missinKa line, or space space missing a space.Allelro II.MAII

S9 ,IPI:,JJClrUlrm !!li:JIJJJI!f!r'lR,peat ]I

Allqro (Nare the sequence) IE......60 ~~fJqJ ; I r u fi r m iWrtf' dim.


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Aadaate (Begins on ray) HI.....'"PIl 1 b J I J J J J f ~ t t ilFfArrlJ]j&U Ic t AlI_CBogms .. Iah) .--- --......... )!.

6] ,qD m A I r - . 1 2 J . I J M e r I a . . ~ J If 'J A ir rid . e i l . I :{ '= ;IJ ;IA ~ G ad

12Allesnuo U.NAM

61 ~tlJ A iLi:OPIJ4 r J I J . Q ; z j tgp cresc.

l P tG rrlJ milO J J I J m i lAII.nt ... (Note partial sequence after double b a ! J U.....

6g .,t:J I; J J J IJ 4 i J 11; J C J D ' : l i J l r r r r c i l"i'(JIr _. - r cresc . --f R S n'jlrr rrcrH7J9!P J @ IIModerato (First section 4+2) POLIS.

70~i: t 5 J j 1 r r 1 r r T C r 1 E r I ? ' J : 1~ p~ i i r i t l E i f ? I . l C t i r l 5 T f 1 {J l J Ip w ~ p ,Lei..... ly .IMAM71~N I jlJ; Jti; fi'?iIH ;6)JIHB:l I~ f & !ii : f i r F F I r r r i f ? jIjjif]; J I r r i 'P I

CNK. tliIn."

Allesretto .. millif ,. J ~ ) J ; iN 1 0 1 J 1 ; J i > f & J k Q U IJ J IJJOl ! ) . t,. ...B jJJI;g ) lem rlr JI lf iiUD li ff ljJH

c r e s c o ,; y l'SECTIONVII.No.'sls

Inaddition to cultivating fluency in qt12VU scale passages this Section al-10 introduces U in vuy easy leaps. 1bere are no new intervals .Moderato POLIS.

is ~lfJWLPDlm_leJ 18#I


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M 15AlMlaate (Ends on soh) UI..... IM I

77 t - t . t : . l 3 JP iJIJ ; Jy 1;3Aft? ( f'rr P c rim I t 8 Q JJU 3 ) 1 & C - m J U J )

Moderato (Last phrase is 3 bars. NotE sequences) f.11ICII

7. $ i I ' ! . E J o P l l r ' p :O poJ ~ I r ' p " i l i t$~lg1~lr mrlJ 41JIJ.ljtIJJJJIJJ I .. :.I~ ~ ~A1Iep'o 1111111

75 .-1 i N JJ o S IF])r ib J P f r a Ecrue. ""

_ r e E f J f J l F T j ) @ JJn J 17,l'A11epo(3 phrases of 4 bars) f.11ICII" $hth; IJ nr r In Ji31 J ; S e W I",CIJ Fi,..$ ' (7C !I;n r ft;J mn r r ? i Y Il' crae. D.C.

AlleJro ~ " l 1 l i79 . ' $ 1 3 J IJjm ji} J l m a , i ~ ~ ] l EE~JiPJJJIJiJJ e t ? IJJilJtU!J. Idim. ~

AlIrsretto 'I......80 ~i1EfiilP n 1 J if) T r w - rr JJ J; I$ G 7 J ) jIb # J1-r n ~ ~ J W ID Ic r e s c o f'Allrsretto UIJIIII81 ~ 1 : i I J J J J IW I F f E J J J ! D : I A J r p c i j )

r r ( r P J mf ~far;13 J J i D J]in J I& i f ? r i - F I J - J J j ) . I;;;-_=- I 1 , m . II


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A__ (6 bar tUM. No~ se~) I USSWIL82 $ t l : EitrrIJ.JJ J J J I J 3 3 J J J D J J J J J I # J t r i k JII!! dim. p--== ===- -repeat pp throu,hoat

And_te (4 + 4 + 4 + 3) IUSSWf

' 3 ~I'J J3pJjlJ It ~ ill~r I t - = = t 1 * - ' 1 5 F 1 J t t F l t . H w J f J H J I t=Icr esco ~Andante (6 sets of 2 bars) 'II"'"

B 4 ~-tj);' J J - - - J 1#t' t W . a t F f J 1 F i E r r r Jp :==-- crete~~fI(r1l$~ @~dim. P PP rit.Allegretto (Begins on fah) 'EiMA"

85 ~1F~IDJ IUU J - ; U~ ~ ~ I I i(?tf*ttlEm t F k r r r I f 7 r Ip cresc. f dim P D.C.

17Presto POUSI

88 ~ V t rP n l i& f P l 2 4 lm r lf f l l& j J J l @16

~-J, Andante (Note the sequences) UKH8g ~ttttPPJ l J D : J IJSSlrr I F q]1q

p c resc . ~~~ ~ dim.r~I.f@i4[PIJjj I J jJlJ J I ; D I J I

mf ~ -------Nos. 90 -92 contain soh.

Moderato (2 bars answered by 3. Note the sequalces) I.ITIIIIgo ~3JJ D ig E f J I J ; n r G F l g r r rfl~ : 1mf(PP)

SECTION VIII. Nos.86-100Minor Mode-It is assumed that the class is familiar, through modulator practice, with theminor tonic chord I. d m I. with the scale I. t . d r m f sIs f m r d t. I. and withse stepwise. I se I. The new leaps are the 5ths l.vrn, m-l.and the 4ths In I,I-m,of the tonic chord. Nos. 86 -89 contain neither se nor soh.Moderato ~ISJI86 ~~tcrht~~j~~JrlnJ I~ P ~ ~ : : . . . . -= : : : : : : = = = - - -

2 $ _ q " j t Y (.Modulation to relative major in the middle)9 . . p-,_J114~ @~J.W J r J 1 /39 1 J J n ;0$

HEIIEW

-=I

Allegretto 1.IlISil

a, 4 M , r a W M p j J J J J f W ! J B n T l f 'm r um (P)It is assumed that the lah minor, not the doh minor is taught . This question isfully discussed in Class Singing' by W. G.Whittaker, (Oxford University Press).

Nos. 93-98 contain se. In minor tunes the most commonly inflected noteis that below the tonic, soh raised to se.Con spirito linSI

9 3 ~ . j f J J J J l r P r r f E i j l J If ~ f


12/12

18....... COlI " P - - - - {3 phUKS of 8 bars) IAIM

94 -te(JIf!'dJJJ[JiJIJ JI,.IJHIJ I!~r Ir r Ir r r IJ J Ir r Ir r I r r rtJ j I~ c r e s c o ~# J' e=J I r I J J J I ~ # J IJ J I r I J J J]?j. dim. PI'

Al}esro 'I'"95 lIJlOJJ J ii1JJJJ} r f i r r J J 1 J J r r 1 r r J J t ] I, P c f : . dim. II

M~~m .~

g6 ~t@prdDArti t J f r r r r JJiW IPMocleraco (2+ 2 + 2 + 3) unlSll

9 7 ~ g ' l : k j J rjf' r t f r r. aD r r r J]~:."!I dim.)(crue.- J . Jl Allelretm r - ! t . - t . . . - - - r 1 2:--ad-. - fllMCllgliiirwtJ J IWJJIJ OJ itl) J1IJJ~~; ; : : = : . ? I m . II eresc,& -IF rrr l.r1 fJip tP IJ :JIJdJJIJ JIJ I~ ~ - e : : , . --P

Nos. 99 & : 100 contam both Knd sohAadaatiao FIlID99 "I:i!llrrfi'.' r1rrrlJnJillJdMod~to (2+2+3 twice. In barslO & : 11 the nme is in. J . ~ the relatiw major. B~.an d then mums to the minor ) ....100 , f 1 1 1 J J I; j III J J I; t J ItJ J J I F 1: l - C"$C.' l t c ? IEff!lr} Ii!?JIJJ l{ErrlJ J n I

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