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Digitized by the Internet Archive

in 2012 with funding from
Brigham Young University- Idaho

http://archive.org/details/introsightsingingOOnewton

INTRODUCTORY

SIGHT- SINGING MELODIES

BY

E. W. NEWTON

GINN & COMPANY

BOSTON • NEW YORK ■ CHICAGO • LONDON

Copyright, 1907
By GINN & COMPANY

ALL RIGHTS RESERVED

511.2

W\)t gtftengum gtegjj

GINN & COMPANY • PRO-
PRIETORS • BOSTON • U.S.A.

INTRODUCTION

This book provides easy melodies for the beginning of sight singing. It is designed
to accompany the New Educational Music Course, and in order that its purpose may
be more readily understood, a brief, comprehensive view of the Course is necessary.

The Aim of the New Educational Music Course

The aim of this Course is to develop in the pupil an intelligent appreciation and enjoy-
ment of good music, a musical and expressive voice, the ability to read music at sight,
and the power of musical interpretation.

To inspire love of good music. To appreciate the power and beauty of music, the
pupil must become familiar with well-written music of various kinds in selections that
shall be interesting from his own point of view as well as admirable from that of the
critical musician. By familiar association with such music and wisely directed study of
it the pupil's taste is cultivated and a love of good music is fostered. With this in view
the Course provides a great variety of selections culled from the best available sources.

To develop a musical voice. The proper treatment of the child voice is of great im-
portance, and has received the utmost attention in these books. No elaborate scheme of
voice culture is desirable or practicable in the elementary schools ; but, beginning with
the cultivation of the head-tone quality of the child voice through the descending scale,
the few simple vital principles which induce breath control, proper tone direction, voice
quality, and enunciation are presented in specific voice drills and underlie the material
of the entire Course.

In each grade all selections are so placed in pitch and range as to conserve and foster
the pupil's voice at that stage of his development. The aim is to establish early and thor-
oughly a correct use of the voice, in order that the vocal poise shall not be lost when
the attention is given to the intellectual demands of sight singing.

To teach sight singing. Sight singing is the process of determining by an act of
reasoning the meaning of signs in musical notation, and singing accordingly. When
rightly taught, it furnishes the very essence of intellectual training and deserves to rank
with any other disciplinary study.

In sight singing, deductions are made conjointly in time and tune. Various intervals
in melodic order, the beat, accent, tones of different duration, measure, rhythm, inter-
mediate tones, and the minor mode — in a word, all musical effects — should be experi-
enced before they are represented.

IV

An abundance of attractive sight-singing material is given for reading. New problems
are presented one at a time, always carefully graded in difficulty, and thus logical mental
progress is assured.

It must be borne in mind that valuable as sight singing is as a disciplinary study, it
is, nevertheless, only a means to the use of music as a cultural study, and to that awak-
ening of the aesthetic faculties which is manifested in musical interpretation.

To induce musical interpretation. Musical interpretation is the discovery and expres-
sion of the significance and beauty of musical ideas, and it therefore demands the use of
material in which there are beauty and meaning to be expressed. This indispensable
condition has been abundantly satisfied in the character of the music selected for this
Course. Furthermore, aids to interpretation are provided not only in the marks of
expression — dynamic and tempo signs, phrase and breath marks — but also in the great
care with which the relation of words and music has been considered.

The character of the poem is always a key to the spirit of the music, and a thought-
ful study of the verse as to accent, rhyme, phrasing, and the development of climax will
reveal the rhythmical form and melodic structure of the music. The poems have been
selected with quite as much care as the music, to make sure of intrinsic worth, interest,
and beauty from the pupil's standpoint as well as from the literary point of view. In all
cases a right and beautiful interpretation of the spirit and content of the words helps to
the understanding and expression of the music.

The Material of the Course

A distinguishing feature. A distinguishing feature of the material throughout the
Course is that each number illustrates some well-known characteristic of music, racial
or individual, and contains that vital quality called musical content, which appeals to the
inexperienced learner as well as to the trained musician.

Basis of choice. Aside from the elements in notation of music, which are noted as
they occur in the Course, there has been in the choice of material a constant recogni-
tion of the ideal development of the pupil. This includes the physical development
resulting from deep breathing, the intellectual development involved in a systematic
study of the subject, and the subtle development of character which comes from famil-
iarity with good music.

The Plan of the Course

In planning the New Educational Music Course the editors have kept constantly in
mind the fourfold object of the Course and the results which may reasonably be expected
in the average public-school environment.

Arrangement of the material, an outline for study. The books are adapted for study,
page after page, as arranged in the successive readers. Where teachers find it advisable
or desirable to vary the order of presentation, to give special attention to one problem
rather than another, or to carry on several lines of study simultaneously, the grouping

V

of the material makes such adjustment an easy matter. In this case the index serves
as a guide.

Suggestive headings. As a further help to the grade teacher, chapter headings and
marginal notes make clear the special rhythmic and melodic problems in process of
development. The marginal notes accompany only the melodies which contain the first
representation of the problem named, except in Part I of the First Reader, where
marginal notes are duplicated in each of the nine common keys.

The glossary, a helpful guide. Each reader of the Course contains a glossary, repre-
senting and defining all musical signs and terms appearing in that reader. It is an
authority upon which teacher and pupil may depend. At the same time it summarizes
for the teacher the technical work which study of the reader develops. The glossaries
of the successive books contain such analysis as may logically be presented in connection
with the books.

Introductory Sight-Singing Melodies

Introductory Sight-Singing Melodies provides study for the second grade.
It is equally divided among the nine common keys, — C, G, F, D, B-flat, A, E-flat,
E, and A-flat. Each key begins with the simplest melodies and progresses with the

same degree of difficulty. Of the eight familiar rhythmic types (when J = the beat unit)

*< s J mrnSm J Jm mS J J*J JJJ J J only the first rhythmic type,

one sound to the beat, represented by the quarter note, is presented in Parts I, II, and
III. The first rhythmic type, one sound to the beat, represented by the eighth note,
is presented in Part IV.

Melodic intervals (aside from stepwise progressions), as used by the masters of song,
fall naturally into three groups — very frequent intervals, frequent intervals, and
infrequent intervals. The first two groups only are here illustrated — very frequent
intervals, 1-3, 3-5, 5-8, 1-8, 5-3, 7-2, 2-5, 5-2, 5-7, 3-8 ; and frequent intervals,
i-5, 3-6, 5-7, 2-4, 4-7, 5-4, 4-6, 6-8, 1-4, 5-5.

The melodies presented are pure, simple, complete, and attractive. Not only were
they selected with the view of illustrating the simple problems of time and tune, but
they were also required to pass the strictest tests as to their own inherent value as
music. They have been approved by the best melodic experts, who were purposely kept
in ignorance of the educational nature of their use. That the child may easily grasp
its meaning, each melody is phrased. Many of the selections are musical settings of
carefully selected verse.

CONTENTS

PART I

Melodies for the Beginning of Sight Singing; Two-Quarter Measure; Rhythmic Type,
One Sound to the Beat, represented by the Quarter Note ; Nine Common Keys

Chapter Pages

I. Melodies in Stepwise Progression illustrating the Melodic Tendencies of the Inactive

and Active Scale Tones 1-5

II. Melodies illustrating Very Frequent Intervals 5-9

PART II

Four-Quarter Measure, Nine Common Keys

I. Melodies illustrating Very Frequent Intervals — Co?itinued 10-14

II. Melodies illustrating Frequent Intervals 14-18

PART III

Three-Quarter Measure ; Nine Common Keys ; Review

I. Melodies illustrating Frequent Intervals — Contitiued 19-27

II. Review of Four-Quarter Measure ; Nine Common Keys 28-32

III. Melodic Scale Progression; Nine Common Keys 32-33

IV. Review of Two-Quarter, Four-Quarter, and Three-Quarter Measures; Nine Common

Keys ; Melodies arranged in Pairs 34-40

PART IV

Three-Eighth Measure ; Rhythmic Type, One Sound to the Beat, represented
by the Eighth Note; Nine Common Keys; Melodies illustrating Frequent
Intervals — Continued 40-42

PART I

MELODIES FOR THE BEGINNING OF SIGHT SINGING; TWO-QUARTER
MEASURE; RHYTHMIC TYPE, ONE SOUND TO THE BEAT, REPRE-
SENTED BY THE QUARTER NOTE; NINE COMMON KEYS

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PART II

FOUR-QUARTER MEASURE. NINE COMMON KEYS

Chapter I — Melodies Illustrating Very Frequent

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Simple Si-mon met a pie-man go-ing to the fair; Said

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First and
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Chapter II — Melodies Illustrating Frequent Intervals

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PART III

THREE-QUARTER MEASURE; NINE COMMON KEYS; REVIEW

Chapter I — Melodies Illustrating Frequent
Intervals : — Continued

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145

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Green was the clo-ver and sweet the hay Where we played the long summer day.
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The world awakes the spring to greet, and merry

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All the grape-vines are in blos-som, Sweet is the fragrance that fills the air.

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Ring, hap - py bells, Loud - er and loud - er, — O
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Oh, what fun 'neath sum- mer sun, Home on the hay to be rid - ing

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A fair lit -tie girl sat un-der a tree, Sew-ingas long as her eyes could see.

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Al - ways cheerfully, nev - er tear-ful -ly,Work and stud - y and rest and play.

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But-ter-fly, but-ter- fly ,haste your flight, Darkness is coming, 'twill soon be night.
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Ho, heigh - O I Ho, heigh - O ! See, like birds o'er the ice we go !

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Look o - ver head 1 Look o - ver head ! Ma- pies are changing their green to red.

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On I keep on ! Let noth-ing discourage you. On ! keep on ! The bravest will win.
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Now the woods are all brown. Heigh O ! Hear the nuts pat -ter down. Heigh O !

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O Lit-tle Bo - peep has lost her sheep,And can't tell where to find them.

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High we're swing -ing,Light-ly wing - ing, Free as birds in the air.
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Hammer a - way ! Hammer a-way ! Loud the an - vil rings.
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Bright lit - tie dreams from Shad-ow- land Come thro' the moonlight, hand in hand.

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Who comes here with footstep light, Thro' the sunshine and rain ?

It is Spring in garments bright, See her beau-ti-ful train

28
Chapter II — Review of Four-Quarter Measure ; Nine

Common Keys

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O fair land, O far land, A -cross the miles of storm -y sea!
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PART IV

THREE-EIGHTH MEASURE; RHYTHMIC TYPE, ONE SOUND TO THE BEAT,
REPRESENTED BY THE EIGHTH NOTE ; NINE COMMON KEYS ; MELO-
DIES ILLUSTRATING FREQUENT INTERVALS, CONTINUED

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