FROM THE LIBRARY OF
REV. LOUIS FITZGERALD BENSON. D. D.
BEQUEATHED BY HIM TO
THE LIBRARY OF
PRINCETON THEOLOGICAL SEMINARY
"i^S^S.
>:t*-
3
JORDAN'S
:new method
OP
SIGHT-SING-ING
A SIMPLE AND PRACTICAL SYSTEM OF READING
AND SINGING MUSIC AT SIGHT.
WITH
EXERCISES AND ILLUSTRATIONS,
EDITED BY
NEW YORK AND CHICAGO:
PUBLISHED BY BIGLOW & MAIN
May be ordered through any Bookseller or Music Dealer.
COPYRIGHT, 1883, BY BIGLOW & MAIN.
PREFACE
Though fully aware of the numerous works already
published on the subject of Sight-singing, at the solicita-
tion of many persons who have rapidly become good sight-
singers by the use of the principles and ideas embodied
in this method, it has been decided to place it in the hands
of the public, trusting it will continue to be instrumental
in furthering practical musical knowledge.
The plan of study is new, and will not be found
outside of this work. It is claimed for it that the char-
acters and signs used in writing music are explained in
such a manner that the pupil, instead of becoming con-
fused, as is so frequently the case, is taught that Sight-
singing is not an acquirement attainable by only a few,
but that any one with a fair musical capacity may learn
to look at notes and comprehend what they represent.
Who does not know of innumerable persons, who, to
use a common phrase, are full of music ; yet, if asked
to read music, would not be more non-plussed if they
were asked to read Greek.
4 PREFACE.
This state of affairs is the result of methods need-
lessly Intricate, both in the principles and the manner
of presenting them. While some persons overcome the
difficulties thus presented in reading music, the larger
number are left as much in the dark as ever.
Teachers of Voice Culture are aware that many persons
are desirous of becoming singers, but who overlook the
very important branch of learning to sing music at sight,
and seem satisfied with laboriously learning the melodies
of a few selections with the help of a teacher. Such
pupils may attain success, so far as the cultivation of
the voice is concerned, yet, if they are called upon to
sing a composition which is new to them, or, to sustain
a part in concerted music, they feel forced to decline,
knowing that such an attempt would not prove creditable
to them.
In this work, no use of the syllables Do, Re, Mi, etc.,
is made in teaching the pupil the scale, because wide
experience in instructing has proven that it is much more
effective to have the pupil use the single syllable "La,"
or A (ah), in producing each and every tone of the scale.
By this means, the pupil does not get One (or the key-
note) of the scale associated with the syllable Do ; Two
with Re ; TJiree with Mi, etc., as is the case with that
method which changes the position of Do every time the
signature is changed, commonly known as the Movable
Do Method.
PREFACE, 5
Another manner is to use the syllables Do, Re, Mi, etc.,
but always read them in one position, usually called the
Method of the Fixed Do. This method, like that of the
Movable Do, presents needless difficulties to the pupil,
and, therefore, is not used in this book.
In short, it is the aim of the Author and the Editor
of this little work to make clear in its pages the prin-
ciples by which any person of ordinary musical capacity
may become able to read and sing music at sight.
Julian JoRDAif.
Geo. T. Bullijs^g
EXPLANATORY.
The distinctive features of this metliod, besides the
claim made for it that the characters and signs used in
writing music are explained in a manner unusually com-
prehensive, are the separating of the two mental j)rocesses
necessarily employed by the person singing at sight.
These processes are, 1st. Reading or comprehending
the scale number of each tone in a composition. 2nd. The
production of the tone read.
TO READ THE NOTES.
The plan of study to teach the pupil to read notes is
to write the scale number of each tone in an exercise or
composition.
After this is thorougJily practiced, the pupil will have
no trouble to comprehend the scale number of the tones.
This is reading the pitch of the notes, and the importance
of thorough practice in this branch cannot be too strongly
urged.
The rules determining the position of One (or the key-
note) of the scale are so clearly given, that the student
will have no difficulty in this respect.
TO SING THE NOTES READ.
Tlie pupil should be taught to practice the tones of the
scale in such a manner that the different characteristics
of the tones of the scale are made known to him. After
« EXPLANATORY.
mastering the scale according to the plan taught, he will
have no difficulty in producing the tones read.
The usual custom of using the syllables Do, Re, Mi, etc.,
is dropped, not because it is impossible to teach a person
by that method, but because experience has shown that
while a few learn, many fail. The cause of this is the
keeping of the pupil in one key until he has become
familiar with it, and then suddenly announcing that ''Do"
is now to be changed from where it has been, to another
line or space ; and not only is it to be changed once, but
is continually changing, until the difficulty causes the
discouragement of the pupil.
The method of the fixed '' Do" is also avoided ; since,
for practice of exercises for producing the correct tones
designated by the notes, the syllable "La" or the vowel
"A" (ah) is certainly as effective, and has the advantage
of being more simple.
The fact has been proven that the syllables Do, Re, Mi,
Fa, Sol, La, Si, Do are invaluable to the teacher of the
art of cultwaiion of the voice in singing, but that their
use is needless to the teacher of the science of sight-
singing.
By using the syllable "La" for every tone, a pupil,
or a class of pupils, can be taught to produce the tones
of the Diatonic Scale in a very brief time. The teacher
points to the tones which are to be produced. The
pupil can produce the tones tlius designated (using the
sylLable "La" for each tone) simply from a memory
of the different characteristics of the tones of the scale.
After the pupil is able to produce the tones with "La"
or "A" (ah), he can easily apioly Do, Re, Mi, etc.
JORDAN'S
New Method of Sight-Singing.
;;0^-
PART FIRST,
THE ABILITY TO READ MUSIC.
THE SCALE.
I. — Every note we see in a composition is some number
of the scale in which the comix)sition is written.
II. — A musical scale ascending, is a succession of tones,
each being higher in pitch than the one preceding. There
are three kinds of scales. The first of these is the Major
or Diatonic Scale, and is the one commonly used in music.
The other scales will be treated in their order ; but the
Major Scale should first be thorouglily mastered.
III. — Tones are represented by characters called notes.
(ILLUSTRATIOX 1.)
I I > ^ fe 1 ■ I ! ^ .^ ^
ly. — The notes have two distinct values^ namely :
A time value, and a tone or jpitch value. As they
10 NEW METHOD OF SIGHT-SINGING.
stand above, they have a time value alone, and it is only
when we place them on the degrees of the staff that they
liave a pitch value.
Y. — Herein, then, is found the use of the Staff, which
is composed of live lines and four spaces. These lines
and spaces together, with the added lines above and
below, present degrees on which to place the notes.
THE STAFF.
{ILL. fi.)
First added line above — _ _ _ e,^^* ^„,o= ^k«w«
E■^f+u i:„« First space above.
Fo .' na" : : : : - - - ^o-th space.
Third line : : ; Ji';„l='f "•
lrS';f„rf z : : - - ft^^^r-
c ] !)! J .• u . Pit'St space below.
First added line below — ^
Yl. — Each degree, /. e., line or space of tlie staff, has
a letter name, and it is advisable for the pupil to learn it,
although it is not absolutely necessary, in order to learn
to si7ig by note. If the pupil ever learns to play an
instrument, it will then be necessary for him to learn the
letter names of the degrees of the staff. As they are very
easily learned, it will more than repay the slight trouble
it costs.
_d_
{ILL. 3.) _h_^
r^^.
d-
THE ABILITY TO EEAD MUSIC.
11
VII. — As there are but seven tones in a Diatonic Scale,
strictly speaking (the eighth being a repetition of the first,
an octave higlier), we use but seven letters of the Alphabet
in naming the tones of the scale.
THE DIATOISriC SCALE.
YIII. — Eight tones in the following order constitute a
Diatonic (or Natural) Scale, for it is natural to sound tones
ascending in such order :
{ILL. 4.)
1
2
3
4
5
6
7
8
1 1 1
,
1
zq
'
;
(^
1
1
^
rJ
p^
^
rJ
1
-^-
^
1
W.* W. H. W. W. W. H.
Note, — Observe the distance between the tones of the scale.
IX. — The notes may be extended both below and above
the first scale, and when so written, we say they are in the
lower or higher octave, or scale.
{ILL. 5.)
8
6 7 13
3 4
6 7 1
3 4
ii
:^:
q=:^
:^-^-
--■^-^i
-^-^-
^^^m.
Tszmi
.4-
1-^
W. H. W.
W. H. W. W. W. H. W. W. H. W. W. W. H.
X. — The scale may begin in any degree of the staflf,
but, the order of the intervals must be preserved, as in
Dlustration 4.
* The Whole Tones are designated by letter W, the Half Tones bj
letter H.
12 NEW METHOD OF SIGHT-SINGING.
{ILL. 6.) W. W. H. W. W. K. W.
a. New scale, ) \~/
faulty. f pm-g
1221
122:
:s2:
1
6
&. The same, \
corrected. \
221
1221
W- W. H. W. W. W. H.
XL — In Illustration 6, in order to make the seventh tone
a whole tone from the sixth, it is necessary to raise the
seventh a half tone (or semi-tone). As it stands in Illus-
tration 6, a, it is only half a tone higher than the sixth,
and it should be a whole tone. Thus it is necessary, in
writing music, to use the following characters — fi, b:, Cf.
(The first is called a sharp^ the second a flat, and the
third a natural.)
XII. — The character used to change the distances
between tones, instead of being placed as in Illustra-
tion 6, h, should be placed at the beginning, thus :
{ILL. 7.)
-.^i
•^^-
-1^
and is called the signature.
XIIL— Therefore, whichever line or space of the staff
the scale commences on, the tones must be preserved in
the same relation to one another. In order to keep them
so, it is sometimes necessary to use many sharps or flats.
* For explanation of the sign called "Clef" see page 26.
THE ABILITY TO EEAD MUSIC.
13
(Jii. 8.)
1 2
-^-
:^z
:^=g:
-^=m--
W. W. H. W. W. ' W. H.
4z^-
:^:
:^=^:
:?2:
7 8
m
$-1
" W. "" W. H.
13 3
W.
W.
W.
'&-
'■^
-JC^l
i—^:
4 5
6
H.
7 8
W. W.
H.
r-
LOWER SCALE (OR OCTAVE)
J.13345671
W. ' w. w.
8 UPPER SCALE
H.
iSii
■:\-=X-
-^=^
W. W. H. W.
=1^=^=^
:?2=:^
n r' 7 8
3 4^5^ .^..^
:[==t
t=t
I
U
W. W. H. W. W. H. W. W. AV. H.
6
8
=/^^
E^
12^:
:^z=^:
■^-
?^:
i
W. W. H. ' W. W. W. H.
123456 78
=z=z==i=z=^=;i=q=z=:ji=:=|
tf
5=^^-
-^
:^:
2:^:
^^^
^ W. W. H.
12 3 4
W. W. W. H.
5 6 7 8
-^-
^:
2^:
W. W. H. W. ^ W. W. H.
LOWER SCALE (OR OCTAVE). 8 UPPER SCALE. ft 7 ^
123456712345^_.^.
-■^7^-^-
W. W. W. H. W.
W. H. W. W. W. H.
W. W. H.
Note. — Observe that in each of the above scales the halftones occur between
the intervals 3 and 4, and 7 and S.
14 NEW METHOD OF SIGHT-SINGING.
XIY.— As already remarked, One (or the key-note),
of the scale, may be on any line or space of the staff, and
this changing the position of the key-note is called
Tkansposition.
Why is the scale which begins on C called the Natural
Scale % The key -board of a piano or organ is arranged in
such a manner that, by beginning a scale on the key
named C, we can .play the order of the intervals of the
Diatonic Scale (the scale which sounds most familiar to
the ear) without using any of the black keys called
sharps and flats.
The truth is, that the scale beginning on C is not more
natural to sing than a scale beginning on any degree
of the staff. Take for example the tone called F, as
the first tone of a scale, and you will sing the scale as
perfectly as you would with C as a starting tone. The
same is true of any tone in the octave, taken as the
first tone of the scale.
It is natural to keep the tones of the scale in the same
position relatively, through all the scales. Therefore, the
scale of four sharps, beginning on E, is as natural as the
scale beginning on C.
In the following example all the tones are natural, that
is to say, in playing the scale on a piano or organ, the
white keys alone would be used :
THE ABILITY TO BEAD MUSIC. 15
(Jii. 9.)
8 8 ,.678
5 6 7 1 3 3 4 5 6 7 1 2 3 * _ ..^ .<2. :^:
!' -^- "^" "'^'" , . UPPER SCALE (OR OCTAVE).
-^-'^- ^ MIDDLE SCALE (OR OCTAVE). ^^^^^ ou^^^r. ^.v^rv v^^x^vr.;.
LOWER SCALE (OR OCTAVE).
GQ:, ACT, BtJ, Ctt, DCf, etc.
XV. — Observe that there are no characters used as a
signature, in Illustration 9, to designate that the keys of
the piano or organ used in the execution of the exercise
represent naturals.
XVI. — When there are no sharps or flats as a sig-
nature, no black keys, or keys commonly called flats
and sharps, are used.
Remarks. — In playing the above scale, or any scale,
the pupil should begin with One of the scale, as the
first scale note heard will be taken as the tonic or
key-note.
If the pupil should begin with the first note in Illustra-
tion 7, which is G natural, and begin to play, the scale
would not sound correct, i. e., natural, unless the F in the
scale was sharped. But if One is taken as the starting
note, he would then be playing in the key that sounds
natural^ without using the black keys commonly called
sharps and flats.
XVII. — Remember that a scale beginning on any
degree of the staff is as natural to sing^ as though it
began on the first line below, or C. The reason is obvious.
16
?<^EW METHOD OF SIGHT-SINGING.
when we remember that the tones are exactly the same
distance apart in all Diatonic * Scales.
Xyill. — There is another use for the characters S, k, tt.
That is, they may be introduced in any part of the com-
position, at the pleasure of the composer, and when so
introduced they are called
ACCIDENTALS
{ILL. 10.)
:i*ra=p:
?=-:
SE£
iz#*:
fer:
-f^-^
d F^^^=g=g=g^E^
^zz:4=ti=±
=^^
:t^
^t
-Mi^=\-z]-z:t=\:
:^-Mz^:
■r=r-
1 — r— h— h
Remarks.— In Example d, of LI. 10, the notes in the
first measure are natural, as the sharps in the signature do
not affect any notes, excepting those on the same degree.
The same with the notes in the second measure.
* By the t3rm Diatonic is meant the common Major Scale, and not
the Minor.
t For explanation of the sign called the " Tie," see page 31.
THE ABILITY TO EEAD MUSIC.
17
But in the third measure the Cs are sharped, because
one of the sharps which stands in the signature is on the
C space, and consequently every C in the composition is
C sharp, unless a natural (Cf) is introduced as an accidental,
offsetting the effect of the sharp in the signature. The
same is true of all notes on the upper line, where the
other sharp is placed, which is the F line. Every note on
that line, or the octave note from it, is F sharp, unless the
effect of the sharp in the signature is offset by tlie intro-
duction of the natural (5) as an accidental, as illustrated in
the first instance.
Note. — When the natural (tt) is used as an accidental, it sometimes
lowers and sometimes raises a tone. When the signature is sharps, the
natural (tt) lowers the tone, when the signature is flats it raises the tone.
XIX. — The natural (ft) is used to contradict or cancel
the power of a flat (I?) or a sharp (#).
^^^^m\
XX. — It is very important that the pupil should become
able to read, or name, the scale number of each tone of the
composition before attempting to sing it.
For practice, let the pupil number the notes in the fol-
lowing exercises, with the pencil, using 111. 12 as a model.
Note. — When the signature is natural, the first tone of the scale {or
key-note) is on the first added line below. See 111. 12.
18
NEW METHOD OF SIGHT-SINGING.
{ILL. 13.)
a
:-=\-^-
xr--^--^-
^-^--
--■^-^-^-
3^^^:
-^-
13345678 1358531
gE^E^i-fe_^E^^i^J
^-^:
6 8 6
41 1258531
For practice, let the pupil number the notes in the fol-
lowing exercises, with the pencil, taking the x>receding
illustration as a model :
^i-ss-^i^egfeHi^
--^■'
g
=|:
5E3^3;
12^:
:?2:
:=t:
^-i^'
:^=_^=^^
:^-^-
:^
^^
Proceed in the same manner with the following
UPPER SCALE.
;^EFE^=^E^-3z-2
t=.-^^-^
■^^^.
- 'f ■ 3 5 ^ ^^1^^^432,3
5 8
d L. sc.
u. sc.
J=^
i^r^T=F=3-=ES=r-r-"g=g^:s;g
t=T
t=t:
:=^z^^=^
:l=T
-^-^
^^ T' '^' "T 3 5 2 Q 5 8 7 6 5 4 3 2 .
8^1 ^ ^
THE ABILITY TO EEAD MUSIC. 19
'f^-&-^ _ l=-l h , ===]___
:^zit^^=^=^=;:^=^=4:=q=zT-=^izq:
■^^^--
fe^^^^^EgEpEgjgE^Eg^^
^■"
:^-^ ■ i 1 — \ — ^-^-^-
Proceed with the following, using those already given
as a guide.
i
1=q:
1==1=^=P=^=^=^=;:^=^— =^.==^
^=^:
^-■^. cJ ^—^ r- ^—^—^—^7-:^:
j g^ — h^ — R- — \ 1 1 — 1 1 ^. — ^ — ^-
i==^zz:^izitiz=^iz=ti:=tizizt=i=:^==l====]z=:^z=^:
-t;
5=i=d=5i=^=&=:e=^=:z^=S=:?2=J
g— <^— ■^— i 1 \=.—\=.^-=.^.
:^=[=:=tzz=t^=±z=rtz=i=±=ztz=t
XXI. — The note that is No. 1 of a scale ascending, is
No. 8 of a scale descending. When tones above or below
are written, they should be designated according to the
octave they are in. Practice similar to the foregoing
should be very thorough and complete.
XXII. — No attempt to sing a note should be made
without a tliought as to which tone of the scale we wish
to produce.
20 NEW METHOD OF SIGHT-SINGING.
Note.— ^dar in mind the fact that the notes which we see are
nunibers of the scale, or octave, and also rememher that a scale may legin
on any of the lines or spaces of the staff.
XXIII. — If we know which line or space the key-note,
or 1 of the scale, is on, we ought readily to name the
seven remaining notes.
The pupil needs, then, knowledge of a way to deter-
mine the position of the first scale-note, or key-note.
This is easily found in the position of the characters as
they are placed in the signature.
XXIV. — When the signature is designated by one or
more sharps, the degree on which the sharp (S) farthest
on the right is placed, is the position of No. 7 of the
scale. Consequently, the key-note (8 or 1) is one place
above. See 111. 13.
(JZi. 13.)
8 Key-note, upper position.
t_7_f2
a
m
i
Key-note, lower position.
8 Key-note, upper position.
^7=^:
'^-
Key-note, lower position.
~^.
TT
XXV. — When the signature is designated by flats,
the degree on which the flat (» farthest on the right is
THE ABILITY TO KEAD MUSIC.
21
placed, is the position of No. 4 of the scale. Con-
sequently, the key-note is three degrees lower. See
HI. 14.
(Jil. 14.)
a
P^i
8
mi
-jc^i
Key-note, upper position.
Key-note, middle position. ^. 1
4===:=i= I =:=
8 -^-
Key-note, lower position.
:^~
S^E
■?^-
■S
i
te^==i-
«* E^
-^:
1 L. SC.
i
fc^;
^^
etc.
XXVI. — The same rules, respectively, apply in all
the different signatures.
XXVII. — When there are neither flats nor sharps in
the signature, the key-note is on the added line below.
See 111. 12.
22
NEW METHOD OF SIGHT-SINGING.
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THE ABILITY TO BEAD MUSIC.
23
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]^EW METHOD OF SIGHT-SINGING.
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THE ABILITY TO READ MUSIC.
25
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26 tntew method of sight-singing.
BARS AISTD MEASURES.
XXYIII. — The staff is divided by short, perpendicular
lines, which are called bars, and which divide the staff
into portions called measures.
{ILL. 16.)
I
A Large Bar, thus, I denotes the end of a phrase, or
line of poetry.
A Double Bar, thus, § denotes the end.
Dots placed in the spaces, before or after a bar, thus,
iBj indicate Repetition.
CLEFS.
XXIX. — The notes of a scale have an alphabetical
name (see page 27) principally for the convenience of
instrumentalists. Herein is found the use of the sign
called Clef. There are several of these signs. We
have use for but two, namely : the Gf, or Soprano Clef,
^, and the F, or Bass Clef, ^*.
Remarks. — There is a clef used, by some writers, called
the Tenor, or C Clef, which fixes C on the third space. It
will be seen that C is in that position in the G Clef.
Therefore, the Tenor Clef does not change the position
of the letters, but is used simply to assist the Tenor in
distinguishing his part from the Soprano.
THE ABILITY TO READ 3IUSIC. 27
The Soprano Clef, so far as vocal music is concerned,
is, strictly speaking, designed for the writing of music to
be sung by female voices, although it is used for either
female or male voices. It is understood that when it is
used for male voices, the tones are to be sung an octave
lower than where written.
XXX. — Beginners, perhaps, cannot fully understand
the use of two clefs. Let us examine :
{ILT.. 17.)
il^
3=:1=q:
IT G F E
^ c B T T ^ ^
A G F E o
m^^^mm
=]:
E(giz=:z=:zz: =zzz:i=^E!!i=g=i:a^=Ji:J
G F E D C B A G F E D~
Remarks. — We find that by singing the note pitched
on the second line of the G Clef, and the descending
tones which follow, some voices sing down to the first
or second added line below, and are unable to pro-
duce any tones lower, while another class of voices is
able to continue the scale downward many -lines and
spaces.
Therefore, we see that to represent the low tones, pos-
sessed by low male voices, it would be necessary to write
28 liEW METHOD OF SIGHT-SINGING.
many added lines below the staff. Thus the difficulty
of reading would be increased. By making a staff dis-
tinct from the Soprano staff, we can place the note which
is near the middle of the compass of the Bass voice, near
the middle of the Bass staff, and it will thus be easier to
read the music (written for such a voice) than it would be
if written on the Soprano staff.
{ILZ. 18.)
G Clef. Which determines where G, a tone of a cer-
tain number of vibrations, is placed, which is
on the second line of the staff.
A Brace is used for connecting the staffs.
F Clef.
Which determines where F is placed, which
is on the fourth line of the staff.
TABLE SHOWING THE COMPASS OF VOICES.
TREBLE.
(ILL. 19.)
A1.TU. ! j
f)
1 1 _ ^
V
-^ f^^-^
t)
-T,^^-^^—
i^2
f^: -^-^-^-^
^ ^ -1 — 1
^^^— ^-^^ \- 1
BASS.
TENOR.
^OTE.— Observe that the note on the added line between the two staffs is
the same in both staffs, namely: C.
THE ABILITY TO EEAD MUSIC. 29
ON BEATING^ TIME.
An almost universal difficulty encountered by pupils
is the ability to keep perfect time, which, in reality, is
not difficult to acquire.
The cause of the trouble is, first, the failure of the
pupil to consider the note as having a time value, as well
as a pitch value, and second, the neglect of the practice
of beating the different kinds of measures, ^, 5' "^5
J\. ^ r* JA. I f> -^ -^ -fa^
S' 2^ S> S^ ^^^ ^^— • ^^ ^^ ^^^y important that
the pupiL should first become able to beat time. Al-
though one may have the natural qualities necessary for
a proficient timist, yet, in no way can they be developed
so well as by accustoming one's self to beating time w^ien
singing. (See instructions, page 33.)
When the ability to beat time regularly and accurately
is attained, it will be easy to keep the movement of the
music without any visible beating (the slightest movement
of the finger will be sufficient). Finally, no beating will
be necessary, as the beats, or pulsations, will be imagined,
or felt mentally.
No attempt to read music should be made without first
observing the time-value of the measure, i. e., ascertaining
to
(two counts or beats in each measure), J
(three counts or beats in each measure), etc. Also, whether
the movement is quick, moderate, or slow. This is desig-
nated by the movement words (see page 35).
After being sure of the kind of measure and the degree
of movement, the pupil should count two or more measures
60 NEW METHOD OF SIGHT-SINGING.
mentally, keeping the counts regular and in accordance
with the measure and the movement, as indicated by the
numbers and movement words.
TIME VALUE OF NOTES AND RESTS.
XXXI. — Always look at a note as having a time-value,
because that, strictly speaking, is the office of the note.
The position of the note on the staff indicates its pitch.
The following are the notes and rests, and their values :
(Zil. 20.)
Whole note. Half note. Quarter note. Eighth note. Sixteenth note. Thirty-second note.
- - r 1 q ^
Whole rest. Half rest. Quarter rest. Eighth rest. Sixteenth rest. Thirty-second rest.
4 I [ I I I 11 I I I ll I 11 I
4 I I I h I III ill II
4 I 1 I ' I I ' ' ll ' I I I ' I I ' I I I '
4-1 1 I 1 1 lU 'U 'k 'll U kiLJ '- '
k ' \^
5 ^ r ^ I* ... - r 9 f\9f9^r^\f^^
4 1 ■ iL/-|-"'Krrirj-:ici,^
<5 (^
SI I i I I ' I i i i I ! ! I 1 1 1 1 i 1
r. r-irn-TTi, 'iaiii-qqqqq^
THE ABILITY TO EEAD MUSIC. 31
Note. — Observe that the character which indicates the whole note rest
is placed above the line. That which indicates the half note rest is below
the line. The dash of the quarter note rest is turned to the right. The dash
of the eighth note rest is turned to the left.
The word Bis. written over a measure means that that
measure is to be repeated.
(Jii. 21.)
fcl
BIS. ^N /^BIS.^ ^BIS.'
-.^-—(=2'.
tut
:^^A^a3E^:
E^=2zi=^
'-^-=^
•I — r
i^i:
-M-mi
q==|:
1^-^-
The Pause (^) denotes that the note over which it
is written is to be prolonged. A Tie {^ — ^) connects
two notes on the same degree, which are performed as
one note.
XXXII.-The figures J, J, J, J, g, g, j,
S' ^5 ^^ ^^^•' placed at the commencement of a
composition, relate to the time or movement of the
music. For example, ^ means two quarter notes,
or notes and rests equivalent in time-value, in each
measure ; Jj three quarter notes in each measure,
etc. ; 5i two eighth notes in each measure, etc. The
lower number indicates what Jcind of note has a beat,
I. e., if the numbers are 5:, ^^ lower number indicates
that the beats are quarter note beats ; if g? eighth note
beats ; if ^, the same ; if ^, the beats are half note
32
NEW METHOD OF SIGHT-SIXGIXG.
beats. In ^ time a whole note has two beats, whereas
it usually has four.
In '-^c^- time there are twelve? beats,
or counts, each beat being an eighth note beat. Some-
times it is advisable to calculate with several counts in
one beat ; for instance, § time can be beaten with two
beats to each measure by calculating three eighth notes
to each beat. Again, ^^z ^^^^ ^^^ ^^ beaten with four
beats to each measure, by calculating three eighth notes
to a beat.
XXXIII. — The notes may be increased in number in
each measure, so long as we do not go beyond the time-
limit designated by the figures. For instance, if the lime
is designated ^, we can write as follows :
(Ji/.. 2'i.)
etc.
Four quarters, or two halves, or dotted half and quarter.
E3;
1==]==1-
-M-=M.
z^rzi:
■-■^--
etc.
^
Note. — This sign g is frequently used instead of ^, to designate
Common Time.
XXXIV. — The first measure of a composition may be
lacking in time-value ; thus.
{ILL. H3.)
THE ABILITY TO READ MUSIC. 33
and is called an introductory measure. (The last measure
of the strain contains the time-value, which is lacking in
the first.)
Remarks. — A strain in music is eight measures ;
seven besides the introductory and last measure.
Sometimes tJiree notes are performed in the time of two.
Such a group is called a Triplet, and has the figure 3
placed over or under it.
ilLT.. 24.) TRIPLETS.
2:zz2:
-»-»-0-
■.*-*=^-
HOW TO PRACTICE BEATING TIME.
XXXY. — In order to give each note its proportionate
time-value, certain motions of the hand may be made,
calied Beating Time.
The whole note usually occupies the time and attention
of the pupil four beats. Four strokes of the hand, four
ticks of the clock, or any instrument that can beat four
regular even beats, may be used to designate the time of
the whole note ; two to designate the time of the half note,
and one, of the quarter note, etc.
34 NEW METHOD OF SIGHT-SINGING.
XXXVI. — Beats nmst be perfectly even and regular.
If a person is unable to beat regularly, sucli a one may
consider that he is delicient in this important part of
music, and should practice beating until much improve-
ment is made. An excellent way of acquiring the abil-
ity to beat regularly is to fix the attention of the ear
and mind on some mechanical instrument — metronome,
clock, or any machine that will give forth a click at regu-
lar intervals. The pupil must accustom himself to beat
time with the hand, to correspond with the beats heard or
seen Then, after some progress has been made, try to
imagine the pulsations mentally, and so get a good idea
of the regular even beat.
Double Measure (upper number, 2) has two beats;
down and up, accent on the first. (For explanation of
accent see Paragraph XXXVII.)
Triple Measure (upper number, 3) has three beats;
down, left, up, accent on the first.
Quadruple Measure (upper number, 4) has four beats ;
down, left, right, up, accent on the first and third.
Sextuple Measure (upper number, 6) has six beats;
three down and three up, accent on the first down and the
first up.
ACCENT.
XXXVII. — Another important point in connection
with the above is to notice that in beating time, the
pupil can imagine certain beats to be louder, or stronger,
than others. This is called accent, and with other signs,
determines the movement of music. When a note com-
THE ABILITY TO EEAD MUSIC.
35
merices on an unaccented, and is continued to an accented
part of a measure, it is said to be syncopated.
(Jii. 25.)
g^_^^J=^=^-=^=:|=i:
The words allegro^ allegretto^ andante, andantlno,
largo, larghetto, etc., affect the movement, and not the
accent of music. Thus, ^ allegro means two quick
beats in each measure ; ^ allegretto means two beats
in each measure, but slower than ^ allegro ; ^ andante
means two beats in each measure, slower than when
allegro, or allegretto ; ^ andantino is slower still, etc.
(See table giving definitions of musical terms on page 63).
EXERCISES IN COUNTING AND BEATING TIME.
TO BE COUNTED AUDIBLY, ACCOMPANIED BY BEATINQ WITH THE HAND.
Beats. 1st, 3nd, 3d, and 4th. 1st & 2nd, 3d & 4tb. 1st, 2nd, 3d, 4tb.
SliHil^
^=iJ=i
=^
Counts. * a ^ ^ *
1 3
A
3 4
last half
Beats. 1st, 2nd & 3d, 4th. 1st & 2nd, 3d, 4tb. 1st, 2nd, 3d, 4th, of 4th.
qz=i=izqz=q
---^=7-
gk
:i=
liJ— z=z:J
Counts.
13 3
1 3
A
4 13
A
3 4
and
* Accent mark.
36
NEW METHOD OF SIGHT-SINGING.
last half last half last half
Beats. 1st & 2nd, of 2nd, 3d, 4th. 1st & 2nd, of 2nd, 3d, 4th, of 4th.
iill
:=i:
Counts.
1 3
and
1 2
A
and 3 4
and
Beats. 1st,
2nd,
3d,
4th.
1st, 2nd, 3d it 4th.
g=ill
^~ls ^ |s-=^i;z=)^-:qv
::g~^-:^ZL^-^z
etc.
COUKTS.
1 and 2 and 3 and 4 and 12 3 4
Beats. 1st, 2nd, & 3d. 1st, 2nd, 3d. 1st, 2nd & 3d. 1st, 2nd, 3d.
=1— =1— =F=I==:i— =1-3
Counts.
12 3
1 2
A
1 2 3
A
I last half I
Beats. 1st & 2nd, | of 2nd, 1 3d. 1st, last half, 2nd, last half, 3d, last half.
^ 1 2
Counts. }^
3
Beats.
1st, 2nd.
L4z=z-
1st & 2nd. 1st & 2nd, last half of 1st.
--=^-
~^'-r-
w^^
Counts.
1 2
A
1 2
A
and
Beats. 1st, 1st last half, 2nd, 2nd last half.
Counts.
and
and
THE ABILITY TO READ MUSIC.
37
Beats. 1st, 2nd & 3d. 1st, 2iid, 3d. 1st, 2nd & 3d. 1st & 2nd, 3d.
*-" 12^
Counts. ^ "^ "
2 3
1 2 3
A .
1 2
A
Beats. 1st.
2nd.
2nd.
i
q^=S==s=:q*i=^=q^
Counts.
g=i=^5j^^i=^
1st & 2nd. 1st,
1 2 3 4 5 6 123456 123 4 5 6
Beats, 1st,
:::^=ici
2nd. 1st,
2nd. 1st,
2nd.
:i=:i=^
:S=}v=qs=qs=i:
ziziz^^^zzyj-^-^
Counts.
12 3 456 123456 1 2 345
6
Beats. 1st
Counts.
123 456 789 123456 789
Beats. 1st,
2nd, 3d.
Counts.
123 456789
123 4 5 6
A
7 8 9
Beats. 1st,
2nd,
3d.
1st & 2nd,
3d.
3e;^ee3==e3=3=3:
COU^'TS. l^^
45 6
7 8 9 123456 789
38
NEAV METHOD OF SIGIIT-SIXGING.
Beats. 1st & 2ncl, 3cl. 1st, 2nd & 3cl. 1st, 2Dd & 3d.
i
12:^:
■.=\--
:=1==^
==^= H— ==1=
zziziza- zzzzz ^:tf_^ ^zm
Counts. 123456 789 123 456789 123 456789
Beats. 1st, 2ud, 3d, 4tli. 1st, 2nd, 3d, 4th.
Counts ^ ^ ^ ^^^ 789 10 11 12 123 456 789 10 11 12
Beats. 1st, 2nd, 3d,
4th.
1st. 2nd, 3d, 4th.
m
^^gn
Counts 1^3 456 7 ,8 9 10 11 12 1 2 3 4 5 6 7 8 9 10 11 12
Beats. 1st, 2nd, 3d, 4th.
1st,
2nd, 3d, 4th.
Counts.
123 456 789 10 1112 1 2 3 456 789 10 1112
Beats. 1st, 2nd, 3d, 4th. 1st, 2nd, 3d, 4th.
r,
IZ] 1 1 1 1 1 1 ; 1 F^=i=^
iSSsara
mmjm
'-'^S-^-^-^-mf-
gn
r-^T-^o 123456789 10 11 12 123 456 789 10 11 12
Beats. 1st,
2nd,
3d,
4th.
etc.
Counts,
12 3 4 5 6
8 9 10 11 \\
THE ABILITY TO EEAD MUSIC.
EXERCISES FOR THE PUPIL TO MARK.
(C0NTI2sUED.)
It is important that the pupil should become accus-
tomed to read notes written on the Bass staff. ^
The rules given for determining the position of the
key-note in the G (or Treble) staff, also apply in the F
(or Bass) staff.
Remark. — Notes written on the staff of the F clef
represent tones of tlie lower scales.
^OTE— For explanation of Ba^s Staff, see III. 17, h, page 27.
1 No Flats or Sharps. Key of C Natural.
4^
^^^^^^^
:^:
:t=:
■^:
:t==]:
=1^=:^=:^:
2 7
u. sc.
3 7 8
LOWER SCALE.
2 Signature, One Flat. Key, F Natural.
^-r
^1^
:?2=r^:
^=^1
2 8 4
UPPER SCALE.
8 7 'e 5 4 3
Jill
3 Signature, Two Flats. Key, B[j.
ta=i^iB;
=lSii
'=^-
7
L. SC.
^-i^^S^E^i
This applies especially to male voices.
40
NEW METHOD OF SIGHT-SINGING.
4 Signature, Three Flats. Koj% Ejj;.
8.
-^- 7 C
lEz{2-t:z=?3^z=t==Etz3t=-t£=tzi:
u. sc.
^m^m
5 Signature, Four Flats. Key, A [7.
SiiiiliM^Jiilif^iri^i
2
u. sc.
:ii^=;|ij=gEyiii^^^ji:
HI
L. SC.
G Signature, Five Flats. Key, D^j.
f^=ig=3i^E^liiiii^l=^
-2^- 3
u. sc.
SI^^^E
g=p&:^;^£|ig£E^^^r^=^=^
7 Signature, Six Flats. Key, Gi;.
^fgiiiiigigaiipg^iiig^
^gg^^^E^ii'^^^l^^
THE ABILITY TO EEAD MUSIC.
41
8 Signature, One Sharp. Key, G.
^=l^=lii
:^:=^:
8 3
u. sc.
.(S:=p:
fe^ES^il&=3^^3^2i3=3i
^ — 3— *3.— S— ^^ — ^=
7 6
LOWER SCALE.
O Signature, Two Sharps. Key, D.
1
1 1 l_i Cy. — 1-,^ C-i.
r—:=\--
i^zrt=:
:^:=^:
±z:
:^--^:
■8 3
u. sc.
^Sf=^=g
;lgEil;
1^::^=^
:^==^:
:^=z^zz
=z-^z_:z^z=^
^
10 Signature, Three Sharps. Key, A,
1
g r ^ — r
2^z.-z^:
:^zz:^
i
-f^2_-^:
:^
^==1=
:^:
is:^
1 1 Signature, Four Sharps. Key, E.
1
m.
m±E^
:^:
:^=^:
:^:
-p2_
:^:
:^:
8 3
u. sc.
ge^^^^^^g^i
^HZ^-^-.
x=--=t
42 ]^EW METHOD OF SIGHT-SINGING.
12 Signature, Five Sharps. Key. B.
-I
fe=I^Slgfe|
t=\--
^-^-
m—t
:^-^.
^ — r-
'^^^^^^^^^^^
13 Signature, Six Sharps. Key, F J.
:m:i3^S=^:
?2:
^=t:
tz-^--
■m-^:
^
?2:
:^:
~r^^~^i*
S
1^
'^^3=^=
-^-
ti^:
^
1=q:
2^=::^
■^-:^—'~^-^-
PART SECOND.
THE ABILITY TO SING THE TONES READ.
The melody and harmonj of music, or, in other words,
the musical idea of the composer, is represented by notes
which have two distinct values ; namely, time and pitch.
Time is represented by the different kinds of notes : whole,
half, quarter, eighth, sixteenth, and dotted notes ; and
rests, dotted rests, etc.
Pitch, by the notes being placed on different lines and
spaces of the staff. Reading music at sight consists in
reproducing the composer's idea from the notes thus
written.
K the pupil has been thorough in his practice of the
foregoing exercises, and can readily comprehend the scale
numbers of the notes, the following instructions as to
HOW TO PEACTicE, in Order to sing the pitch of tones as
fast as we read them, will be found very valuable :
k Every tone we hear is caused by a greater or lesser
number of vibrations. A greater number of vibrations
causes a tone of high pitch ; a lesser number, causes a
tone of low pitch.
Those who have a sensitive ear for music, can repro-
duce, with their voice, a tone that they hear. Some
persons are very quick in this respect, and others are
not so quick. But all can cultivate the sense of hearing,
44 NEW METHOD OF SIGHT-SINGING.
and those who at first are unable to notice any difference
in the pitch of different tones, can, by the right manner
of practising, become able to designate and reproduce the
tones tliey hear.
Tliose whom nature has furnished with the requisite
capabilities, liave an advantage over the less gifted.
Success to those so favored will be comparatively easy.
A very important part to be considered is the training
of the ear to distinguish readily betw^een tones of different
pitch, and to be able to reproduce the tone. A person
who is unable to reproduce a tone made by a piano,
organ, or any musical instrument, should certainly seek
the advice and assistance of a patient teacher, as such a
learner could not make any progress alone.
XXXyill. — If the meaning of the word scale, as used
musicall}^, is understood, produce with the voice a low
tone, taking the pitch from the piano, or other musical
instrument, and use the syllable La. Produce a smooth
tone, and proceed to siiig the scale ascending — 1, 2, 3, 4,
5, 6, 7, 8, and descending — 8, 7, 6, 5, 4, 3, 2, 1. Repeat
this exercise, always trying to do it better each time.
Then sing the lowest note of the scale, immediately
followed by the highest. This is called singing the octave
note, or eighth note, of the scale.
Practice this until it becomes familiar. Then begin
with the lowest note and sing to the seventh of the scale.
Try to fix in mind the note you are studying, which, in
this case, would be the seventh of the scale. Sing the
low note, and immediately afterward, sing the seventh.
Practice it until it becomes familiar.
THE ABILITY TO SIXG THE TOXES EEAD.
45
XXXIX. — Proceed in this matmer with each tone of
the scale, and practice until all the tones become familiar.
XL. — When the tones of the first octave are mastered,
proceed to study the tones of the upper octave, and
become able to sing from the lowest tone of the first
octave to the first, second, third, fourth, fifth, sixth,
seventh, and eighth tones of the second octave.
(JXr. 26.)
m
:=g:
:^
isi^zzid
-^^
:?2:
:^:
:^:
icz:
XLI. — Also become able to sing from tones in the
middle scale to tones in the lower scale.
567 (l) 234567 \8/ 2345
©
Lower Scale. Middt-e Scale.
Upper Scale.
(ILL.
:^^=f-
$
^^::
22:
^==i
^-^
Eemarks. — Each tone of the scale has a character
peculiar to itself. For instance, the first tone of the scale,
or key-note, is easily felt and recognized by beginners,
as is also the eighth note of the scale, which is the same
46 NEW METHOD OF SIGHT-SINGING.
note repeated an octave higher, and is also the key-note
in a higher position on the staff.
The seventh tone has a peculiar character when sounded
alternately witli the key-note, which renders it easily recog-
nized and produced. This is so of each interval or note
of the scale.
SUG^G-ESTIOlSrS.
The pupil should practice the tones of the scale, accord-
ing to instructions on page 44, until they can be produced
with the syllable "La" as quickly as the mind conceives
the scale number of the note to be sung. An excellent
plan for practice is to write the Numbers of the Scale :
Then take a pitch convenient for the voice. After hav-
ing sung the scale ascending and descending suflSciently
to fix the pitch perfectly, proceed to point with a pencil
to the different numbers. It will be found possible to
produce the tones thus indicated ; using the syllable
"La'' for every tone produced.
Some of the intervals will be found very easy to learn.
For instance, from 1 to 8 is easy ; from 8 to 2 is more diffi-
cult. In the latter instance, the cause of the pupil's
difficulty is an insufficient acquaintance with the character
of the second tone of the scale. Therefore, this interval
should be studied until mastered.
In studying any interval not understood, always begin
with the key-note, or One^ and sing up to the tone to be
THE ABILITY TO SIIS^G THE TOXES EEAD.
47
studied. After having reached the tone, sing it alternately
with the key-note. In this way, every tone in the scale
can be mastered in a short time.
XLII. — The most common variation from the arrange-
ment of tones as they are found in the Diatonic Scale, is
to flat the seventh, called a minor seventh. See 111. 34.
This interval is very easUy learned.
Another variation is to sharp the fourth (see TIL 33),
called an augmented fourth. This interval is also easily
learned.
Other changes come properly under the head of Major,
Minor, and Augmented Intervals (see page 58).
Note. — The pupil sJiould keep in mind tlie character and position
of the octave of the key-note. This will help him to determine the charajcters
and positions of the scale numbers.
EXERCISES FOR PRACTICE
USING SYLLABLE '*LA" FOR EACH NOTE.
■zA=z
1=--
2^;
2=^
1^:2=1:
La, La, La, etc.
ill
?2:
■x±
2
— 1 -j-
1 1
-^ ^-
=^ ^
— 1
c a
i4±i=J
^.-^
^-t=
y-^
-&-
Note. — When there are no flats or sharps as the signature, the compo-
sition 18 in the Key of C B, i. e., One is on the first added line below.
48
NEW METHOD OF SIGHT-SINGING.
3
-^-^ :^=?2z 1^=: -^=^
iH
^-*w^
t=t:
^- -^
4 Key of D.
-tZ2^:
:^=^
?2:
La, La, La, etc.
-Mz=
;=fe^=P2rr
:z==i=::g.
=s^=t:^
i^
Note. — If the pupil is practising witliout an instrument, let him take,
as the beginning of a new scale, the second tone in the scale used in
Exercise 1.
:?2i:^:^
}=t
-&-
22=^
^-=^-
•2^-^:
6
3a"fSE?
■m.-=x
T^
P-^
T^'-
-^--
::4:
--^
7 Key of E.
:iiz8zli4:
:4=^
.^=:=^z=Pz=:
:t=:
Note. — Tnke the second tone in scale used in Exercises 4, 5, 6, as first
tone of scale of E.
^
:i=?2:
J ruin-, 3
THE ABLLITY TO SIXG THE TOXES EEAD.
49
__^ ^— , ■
-
1 ' 1
>^._^_r'_ 1 1 .
'~z\ — ^^
— ^ '
1 — 1
L^. r^ tJ 1
1 ^ cJ
^ ^
9
i::z?z4:
■4— 5 \z
W=f^
=^^=^
mmm.
1~
-^■
1=1^=^
<!^ q
lO Key of F.
gin^^i^g^
[iE£i^
11 Key of G.
-A: S 1— ^-
T*- — «9' F"
iszz:
W=MZ^
'^===^^^qM^~^^9Zi^-^^
* When two notes are connected by the character called a Tie, they are
to be sung as one tone.
60
NEW METHOD OF SIGHT-SINGING.
12 Key of A.
^^-
:4z=^zz=b^z=:^:
■2^
:^
=E3z7-tc^zz:*:
1=1:
i^
:]=q=F=l
2^:
:«t±^
5=:^:q=:^=
-I — -1
Hiziz:
:s^
-2^—^'
13 The same written on the Bass staff an octave lower.
:^2=zp:
:^zz=::^izi
F=I=F^=F^=^
g=^fe^
E^
:^=P:
:?2;
?2=p:
^
:^:
m
14 Key of B.
-M.
'^Ti -5^ 1 hi 1
■=Bz-M
re-=M:
-^---^--
15 Key of Cj^, in reality, so far as reading music is concerned, is
the same as No. 14 (B Natural).
16 KeyofDj?.
te=^
^^
■:t
:=|:
:!=
:p=^:
1=^==1:
■•'-^-c^
1 7 The same written on the Bass staff an octave lower.
>z^=izB--^-
fee^:4=2^
tzzip:
^^^:
tt=t:
:t=:
§
18 Key of E^.
^=::^=
THE ABILITY TO SING THE TONES READ.
61
L7=^=i=i:
^3=^;
--:=\=-
■■c^
19 The same written on the Bass staff 8va. lower.
:^:
1=4
:^=:
I
-^■=^-
-1=.-=M-.
t=tzt
:=?=:
122:
20 Key of F [7, so far as reading music is concerned, is the same
as Key of E Natural.
21 KeyofGb.
U
^Mf^?S^^=
'-W-^-B-
^:
-i'-±=e.-w=.-ir::ic:±=i=M
^x=x
J— 1—1— Tv:
L*-^ititl3??zatz9=S;;z:
23 Key of A(,.
f|^
j=-=J*:-»
ig?!^-t^:
-taiiita
V-"
t=^
i
23 Key of B I?.
«j
=T:
•it=i=ii^:
i^S^3-i
t=r
^E3
^s==^.
v^=rT^-
■X=^=3t.
■ft=w-
t2=tt
I
62 NEW METHOD OF SIGHT-SINGING.
24 The same written on the Bass staff 8va. lower.
XLIII. — If the practice of exercises like the foregoing
is thorough, it will not be difficult for the pupil to sing
new music at sight in any key or scale, for when the tones
of the scale of one key are mastered, the tones of all
similar scales in all keys are mastered, as all diatonic
scales are relatively alike, regardless of which line or
space the first tone of the scale is placed upon.
It is advisable for the pupil to become very proficient
in the ability to read and sing the exercises thus far
explained, before attempting difficult passages.
Note. — For practice, tJie pupil need not he confined t<> the Exercises
given in this work, but may use any musical composition at hand.
LEAEN TO READ MUSIC READILY.
XLiy.— By the mere mathematical process of learning
to comprehend the scale-number of the notes and their
relaticm as intervals to each other, any one may learn to
read music. But it is quite another thing to sing the
intei-vals read, since it requires a good memory of the
tones of the scale and their pitch relations.
Remark.— The foregoing exercises in scale and interval
practice are in the Major (or Diatonic) Scale. There is
THE ABILITY TO SIXG THE NOTES EEAD. 5Q
another arrangement of tones which is called the Minor
Scale, and is frequently used.
Note. — It is necessary to thoroughly understand the Major Scale, before
beginning the study of the Minor JScale.
THE MUSTOR SCALE.
XLV. — Every Major Scale, or Key, has its relative
Minor Scale, or Key. The sixth tone of every Major
Scale is the first tone of its relative Minor Scale.
It is necessary for the vocalist to become familiar with
the Minor Scale, so that he may be able to tell, by the
progression of the tones met in - a composition, when the
Major Mode has for a time given place to the Minor.
The following is the order of the intervals in the Minor
Scale, or Mode.
Melodic
Minor Scale-
ascending.
Compare with the Major (or Diatonic) Scale on page 11,
and note the difference.
(ILL. 29.)
H. W. &H. H. W. W. H. W.
Harmonic i 7 "^ vl^-
Minor Scale —
descending.
(Z£X.
28.)
w.
H.
W.
W.
W. W. H.
-^-
— 1
-^
— ^^ —
-& —
rj
A
\^) 1
J
1
2
3
4
5
6 7
8
i
XLYI. — A Major Scale and its relative Minor have the
same signature. How can we decide, then, by the sigiia-
54
NEW METHOD OF SIGHT-SINGING.
ture, whether the key is Major or Minor ? If the Bass
note is No. 6 of the Major Scale, as indicated by the
signature, the harmony is in the relative Minor Key.
Signature— Natural.
Key of A Minor, be-
cause Bass note is A,
which is the sixth tone
in the Scale of C. When
the sixth tone of the
Major Scale is written
as a Bass note, the mu-
sic is in the relative
Minor Key, and takes
the latter name accord-
ingly. A Minor is the
relative Minor Key of
C Major.
Sig. — One Sharp.
Key of E Minor, be-
cause E is the sixth
tone in the scale of
one sharp, G, and E
being written as a Bass
note, the key takes the
name of E Minor. E
Minor is the relative
Minor Key of G Major.
Sig.— Two Sharps.
Key of B Minor.
Explanation the
same. B Minor is
the relative Minor
Key of D Major.
Sig.— Three Sharps.
Key of F$ Minor, be-
cause FJ is the sixth
tone in the scale of
three sharps, A, con-
sequently, F sharp
being written as the
Bass note. The key
is called FJI Minor,
F| Minor is the rela-
tive Minor Key of A
Major, etc.
Note. — The above applies to the first Bass note in a measure, or in
an accented part of measure, and not to the introductory measure. The
rule for determinijig whether the harmony of a composition is in the Major
or Minor Key is the same in every Key.
Remarks. — The fact that the Minor Mode is used less
frequently in music than the Major Mode, accounts for its
strangeness to the pupil. This difficulty will easily be
overcome by practice.
The pupil sliould accustom himself to distinguish
between the character of Major and Minor chords as he
hears them played on the piano or organ.
THE ABILITY TO SIXG THE NOTES EEAD.
55
By the preceding Illustration we can tell readily (by
the position of the Bass-note) whether the chord is Major
or Minor.
When the pupil has become proficient in the abilit}^ to
produce the intervals of the Minor Scale, let him proceed
to the practice of the Chromatic Scale.
THE CHROMATIC SCALE.
It requires much practice to produce this scale and
keep every tone in perfect tune. The ability to do this is
acquired only by much application and study.
XLYII — Explanation of the Cheomatic Scale. —
The formation of the Diatonic Scale, as explained on
page 11, is as follows : Between the intervals 1 and 2,
2 and 3, 4 and 5, 5 and 6, 6 and 7 is. a whole tone
in pitch. Between the intervals 3 and 4, and 7 and 8
is a half tone in pitch. There is between the intervals
1 and 2 a tone called a semi-tone (half tone), which is
not used in the Diatonic Scale. There are also semi-
tones between the intervals 2 and 3, 4 and 5, 5 and 6,
6 and 7.
When use is made of all these tones, the scale is called
Chromatic, and is as follows :
{IT.L. 31.)
C CiiD D^EFF^GGifA A:fBC
1 rji 2 t:2 3 4
56 NEW METHOD OF SIGHT -SINGING.
As remarked at the beginning of this subject, it is the
most difficult to execute of the three scales, and requires
most careful study, and should not be attempted until the
first exercises are joractised and well understood.
The Chromatic Scale is most frequently used in Operatic
Music, and its mastery is a mark of great cultivation.
XLYIII. — The Chromatic Scale consists of thirteen
tones, each a semi-tone from that which precedes it.
MODULATION.
XLIX. — The key is frequently changed during the
progress of a composition. This change is called Modu-
lation, and is produced in various ways ; one of which
is to change the fourth of a given key by raising it a
half tone.
{ILL. 32.)
IMt^EM^'E^^I^^E-^-^-^
=1:=i:
— r-
Starting in the Key of G Major, in the second measure
of 111. 32, the C (which is the fourth tone of the scale) is
raised by the accidental (tt), or half tone. The four then
becomes a leading tone or seven (as seven is a leading
tone in every k(;y), and leads to eight. Eight being the
tonic, we are then in the Key of D Major.
Another way is to flat the seventh, the seventh then
becomes a fourth.
THE ABILITY TO SING THE T0:N^ES READ. 57
{ILL. 33.)
Starting in the Key of C Major, in the fourth measure
the seven is flatted. It then becomes four of the Key
of F Major.
Other modulations are frequent ; but, if the pupil has
mastered the tones of the Diatonic Scale, it will be possible
to determine the key-note, or tonic, at any part of the
composition, from a knowledge of its character.
L. — As remarked on page 45, every tone of a scale has
a character peculiar to itself, and it should be the pupil's
aim to become acquainted with these distinctive character-
istics possessed by the tones.
LI. — The tonic, or first tone of a scale and its octave
(the eighth^ are the easiest to comprehend, because their
character is the strongest; hence, the name tonic. The
fifth, the characteristic of which the pupil can learn by
sounding the tone alternately with the tonic, is also easily
mastered. The third, fourth, sixth, and seventh can be
learned by a similar process. Minor, Augmented, and
Diminished Intervals, as on page 58, should also be
practiced in the same manner.
Note. — The pupil may knoio by the introduction of the characters, 5,
t2, t, as explained on page 10, that the key is changing or modulating.
58
NEW METHOD OF SIGHT-SINGING.
inSTTEI^VALS
MAJOR, MINOR, AUGMENTED, AND DIMINISHED.
{ILT.. 34.)
Primes. Seconds.
Perfect. Augmented. ' Major. Minor. Augmented.
-^-
-^-
z)z::=i:
::t-
-P^
I
Major.
Thirds.
Minor. Diminished.
Perfect.
Fourths.
Augmented. Diminished.
i
Hii^:
:4
-€^
W--
=«:
^
=Ct*:
Fifths.
Perfect. Augmented. Diminished.
Major.
Sixths.
Minor. Augmented.
^ii
a?
:22:
d?*z
tr
Major.
Sevenths.
Minor.
Diminished.
-S>-
-<^-
i^
Octaves.
Perfect. Diminished.
1221
Minor and Augmented intervals, occurring in a com-
position, may be mastered by either of two methods :
1st. The same as is employed in the study of the tones
and intervals of the Diatonic Scale. Namely, by pro-
ducing, alternately with the Tonic, the tone which is being
studied. The Tonic, or Key-note, can be followed through
a modulation, from a knowledge of its strong character.
2nd. By the practice in singing of Minor and Aug-
THE ABILITY TO SINQ THE TONES BEAD.
59
mented intervals, taking the tone preceeding the one to be
sung as a point from which to calculate.
Each Augmented or Minor interval has its peculiar
character.
LII. — Particular attention should he given to the study
of distances between tones, that the pupil may know when
the interval is Major (natural), Minor, Augmented, or
Diminished.
TABLE SHOWING THE HUM3ER OF SEMI-TOITES mCLUDED IN EACH
INTERVAIi.
UAJOR.
MINOR.
NAME OP INTEEVAIi.
NO. OP SE]inT0NE3
INCLUDED.
NAME OP INTEUVAIi.
NO. OP SE1IIT0NE3
INCLUDED.
Second.
Third.
Fourth.
Fifth.
Sixth.
Seventh.
Eighth.
3
5
6
8
10
12
13
Second.
Third.
Sixth.
Seventh.
2
4
9
11
AUGMENTED.
DIMINISHED.
NAME OP INTERVAL.
NO. OF SEMITONES
INCLUDED.
NAME OP INTERVAL.
NO. OP SEMITONES
INCLUDED.
First.
Second.
Fourth.
Fifth.
Sixth.
2
4
7
9
11
Third.
Fourth.
Fifth.
Seventh.
Octave.
3 1
5
7
10
12
60 NEW METHOD OF SIGIIT-SIXGING.
OTHER SIGNS USED IN WRITING MUSIC.
LIII. — A loud tone is distinguislied thus—/, or ff,
A soft tone thus — p^ or pp.
A tone that is to be commenced soft, and gradually
increased, is distinguislied thus : -=: ; this sign is called
the crescendo.
A tone that is to be commenced loud, and gradually
decreased, is designated thus : ==- ; this sign is called
the diminuendo,
LIV. — A union of the crescendo and diminuendo is
called a swell (-==-).
LY . — A very short tone, produced with force and
immediately diminished, is called an explosive tone,
farzando, or sometimes sforzando {fz., sf., or >).
LYI. — Staccato (» » 0 marTcs denote that a passage is to
be performed in a short, distinct manner.
(ILL. 35.)
Written :
Performed :
IW^^=^=^^=^^
V
LVII- — Lef/ato means smooth and connected, the oppo-
site of staccato.
REVIEW.
There are several paragraphs in the preceding pages
which it would be profitable for the pupil to dwell upon.
One of the most important of these is on page 17, Para-
graph XX, which sets forth the necessity of acquiring the
habit of reading the intervals before singing them.
The pupil need not be confined, for practice, to the few
exercises given for marking in this work, but may use any
musical composition or singing-book. This marking-prac-
tice should be continued until the pupil has fixed the
habit of 'mentally detennining the scale number of each
note in a composition, before attempting to sing the tones
which these numbers represent.
The pupil must always look at a note as having a time-
value, and should give thorough practice to the exercises
for developing the ability to beat time correctly, acccording
to the instructions given on pages 33 and 34.
In order that the pupil may become acquainted with
the peculiar character of each interval of the Diatonic
Scale, a careful study of these tones is essential. See
page 11.
After the tones of the Diatonic Scale have been mas-
tered, the pupil must proceed to the study of Minor,
Augmented, and Diminished Intervals. See page 58.
From Paragraphs X to XVIII the object is to show
the use of sharps and flats when written as a signature.
After the pupil has found the position of the key-note, he
need take no further notice of the sharps and flats in any
signature. Of course, when the sharps, flats, and naturals
occur as accidentals they must be observed.
62 REVIEW.
Very little is written in this book directly on the sub-
ject of transposition, since the object has been to make
plain, by a new method, what pupils have hitherto found
diificult to understand. From the instructions given on
page 20 it will be easy to determine the position of the
key-note, be the signature what it may.
No Exercises for Practice in the Minor Mode, or in
Modulation, are given, as it has been thought unneces
sary. A mastery of the subject of Minor, Augmented, and
Diminished Intervals, together with a knowledge of the
difference between the Minor and Major Scale, will en-
able the pupil to overcome any difficulties which present
themselves.
The pupil must persevere, and not get discouraged if
he should not find it easy to immediately get all the tones
in a composition. So long as he learns in the early stages
of his study to comprehend and produce some of the notes
and the tones which they represent, he need feel greatly
encouraged, for diligent practice will soon bring to him
the others.
With application and intelligence the pupil, by means
of the instructions contained in this method, will soon
become able to sustain a part in vocal concerted music,
or to read any vocal music at sight without depending
upon an instrument, or another voice, as a guide.
As this work is intended for use as an instruction
book, and not as a singing-book, no musical composi-
tions are given herein.
The foregoing remarks contain the essence of the theory
of reading and singhig at sight. For practical instructions
and illustnitions, the pupil is referred back to the subject-
matter of this book.
PRINCIPAL TERMS
\^OC^L MUSIC.
Accelerando, with gradually increasing rapidity of movement.
Accent, a stress, or forcible expression placed upon a note to show its place
and relative importance in the bar.
Accompaniment, a part added to a principal, by way of increasing the effect
of the composition.
Acoustics, from the Greek, denoting the science of sound.
Adagio, very slow and expressive, admitting of much grace and embellishment.
Adagio Assai, or Molto, extremely slow and expressive.
Affettuoso, with pathos and tenderness.
Agitato un Poco, with slight agitation.
Air Varie, an air with variations.
AiiLA Marcia, in the military or march style.
Allegretto, with quickness, but not so quick as Allegro.
Allegro, quick, lively. A terra implying a rapid and vivacious movement,
but which is frequently modified by the addition of other words.
Allegro Agitato, quick, with anxiety and agitation.
Allegro Assai, very quick.
Allegro con Brio, quick, with brilliancy.
Allegro con Spirito, quick, with spirit.
Allegro ma non Troppo, quick, but not to excess.
Al Segno, signifies that the performer must return to a similar character in
the course of the movement, and sing from that place to the word fine.
Alt, a term applied to those notes which lie between F on the fifth line in the
treble stave, and G on the fourth ledger line above.
A Mezza Voce, in a moderate or subdued tone.
Amoroso, a word from which the performer learns that the movement to
which it is prefixed should be performed in a soft and tender style.
Andante a slow and distinct movement.
Andante Cantabile, slow and in a singing style.
Andante con Moto, slow and with emotion.
Andante non Troppo, slow, but not in excess.
Andantino, a little slower than a7?<Za//^e.
Animato, with animation ; in a spirited manner.
64 PRINCIPAL TERMS USED IN VOCAL MUSIC.
Anthem, a composition in the sacred style, tlie words of wliich are generally
i-elocted from tlie Psalms.
Antipiione, responses made by one part of the choir to another, or by the con-
gregation to the priest, in the Roman Catholic divine service.
A PiACERE, at the discretion of the performer.
A Poco A Poco, by little and little ; proceeding by degrees.
A Poco piu Lento, a little slower.
A Poco PIU Mosso, a little quicker.
Appassionato, with intensity and depth of feeling.
Appoggiatura, a note of embellishment or grace, generally written in a
small character.
Aria, an air or song.
Aria Buffa, a comic air.
Aria di Bravura, an air requiring great volubility of execution.
Arietta, a short air or melody.
Arioso, in the style of an air ; vocal, melodious.
Arrangement, that extension, or selection and disposal of the movements
and parts of a composition which fit and accommodate it to the powers of
some voice or voices for which it was not originally designed.
Articulato, to be enounced with distinct articulation.
AssAi, very ; as presto assai, very quick.
A.SS0LUT0, alone.
A Tempo, in time. Used to denote that the performer must return to the
original degree of movement.
Augmented, an epithet applied to such intervals as are more than major or
perfect.
A Vista, at sight ; a prima vista, at sight.
Bar, lines drawn across the stave to divide the music into small portions of
equal duration ; each of these small portions is also called a har.
Barcarolle, an air in the Venetian style ; a gondolied or boat song.
Baritone, a male voice, intermediate, in respect to pitch, between the bass
and the tenor voices.
Bass, or Base, the lowest part in music.
Beating Time, marking the divisions of the bar by means of the hand or foot.
Ben Marcato, well marked. Indicating that the passage must be executed
in a clear, strongly accented manner.
Bis. twice. Indicating that a passage, distinguished by a curve drawn over
or under it, must be performed twice.
Bravura, a composition demanding great power and facility of execution.
Braces, curved or straight lines, indicating that the notes which they connect
are to be ])layed or sung together.
Breve, a note double the length of the semi-breve.
Biull.xntp:, in a sparkling, showy style.
Brio, with .^i)irit and brilliancy.
PRINCIPAL TERMS USED IIS^ VOCAL MUSIC. 65
Cadexce, a close in melody or harmony. A passage introduced as the con-
cluding embellishment of a song or piece of music.
Cadenza, a cadence, or close, at the termination of a song or other piece of
music, introducing some ornamental and brilliant embellishment.
Calando, gradually diminishing in tone and quickness, becoming softer and
slower by degrees.
Calmato, with calmness and tranquillity.
Canone, a canon, or catch for several voices or instruments.
Cantabile, in a melodious, graceful, and singin^r style.
Caxtante, a part which is intended for the voice.
Cantata, a species of composition for one voice, consisting of several move-
ments, with an intermixture of air and recitatives.
Cantatrice, a female singer.
Canto, the highest vocal part in choral music.
Canto Primo, the first treble.
Capo, the head or heginning.
Carol, old ballads sung at Cliristmas by itinerant minstrels.
Catch, a humorous composition for three or four voices, so contrived that the
singers catch up each other's sentences.
Cavatina, an air of one movement or part only, sometimes preceded by a re-
citative.
Changing Notes, passing notes on the accented parts of a bar.
Chant, a simple melody, generally harmonized in four parts, to which the
daily psalms are sung in cathedrals.
Chceur, the choir, or chorus.
Choir, the portion of a church or cathedral set apart for the singers in divine
worship ; also the singers themselves, taken collectively.
Choral, a psalm tune.
Chord, a combination of several sounds forming harmony.
Clefs, characters serving to determine the names and acuteness or gravity of
every note in the stave to which they are prefixed.
Coloratura, every variety of musical ornament.
Common Chord, a chord consisting of a bass note together with its third and
fifth, to which the octave is often added.
Compound Times, those measures which contain two or three principal ac-
cents as, f , Jj--, f , &c.
Compound Common Time, a time containing six quarter or six eighth notes in
a measure.
Compound Triple Time, a time with nine quarter or eighth notes in a measure.
Con, with.
Con Anima, with spirit and feeling.
Con Brio, with brilliancy and animation.
Con Dolcezza. with sweetness.
Con Espressione, with expression.
Con Moto, with somewhat of an agitated expression.
C6 PKINCIPAL TERMS USED IN VOCAL MUSIC.
Con Semplicita, with simplicity.
Con TjENEKEZza, with tenderness.
CORALE, the plain chant.
Crescendo, a word intimating a gradual increase of loudness.
Crescendo Poco-a-Poco, to increase the sound little by little.
Crescendo poi Diminuendo, increasing and then diminishing the sound.
Da Capo, or D. C, from the beginning. Written at the end of a movement it
indicates that the singer must return to and finish with the first strain.
Da Capo al Fine, placed at the end of a movement it signifies that the per-
former must return to the first part, and conclude where the word fine is
placed.
Decrescendo, diminishing the intensity or force of the sound.
Descending, passing from any note to one less acute.
Diatonic Scale, the seven gradations of tone, arranged in conformity with
some particular key.
Diminished, somewhat less than perfect, as applied to intervals, chords, &c.
Diminuendo or Dim. This term implies that the quantity or intensity of tone
must be gradually diminished.
Dirge, a funeral song.
Discord, a dissonant combination of sounds.
Dissonant, an inharmonious combination of sounds.
Dolente, grieving, mournful.
Dolor E, con Dolore, with grief.
Dominant, a name given by theorists to the fifth note of the scale.
Dot, a character which, when I'laccd after a note or rest, increases its duration
by the half of its original value.
Double Bar, two thick strokes drawn through the stave.
Double Dot, two dots placed after a note increase its duration three-fourths
of its original length.
Duet, a composition for two voices.
Duo, a composition for two voices or instruments.
Dynamics, the various degrees of sound.
Emphasis, a stress or marked accent on'any note.
EtiUAL Voices. Compositions for equal voices are those in which either all
male or all female voices are employed.
False, Those intonations of the voice which do not truly express the intended
intervals, as well as all ill adjusted combinations ; and those strings, pipes,
and other sonorous bodies which cannot be accurately tuned, are denomi-
nated false.
Fine, the end. This expression is generally used to indicate the termination
of a musical composition.
Fioriture, embellishments in singing ; divisions of rapid notes.
FiouiTO, embellishments.
PEINCIPAL TEEMS USED IX VOCAL MUSIC. 67
Flat, a character that, placed before a note, lowers or flattens it in pitch by
half a tone.
Flowed, ornamented, figured, embellished.
Forte, loud. Fortissimo, very loud.
Full Score, a complete score of all the parts of a complete composition,
whether vocal or instrumental, or both combined.
Gai, gayly, joyously.
Giojoso, joyously, with buoyant hilarity.
Glee, a composition for three or more voices, generally in a cheerful style.
Graces, ornamental notes, indicated by the composer, or added spontaneously
by the performer. Those usually used are the appoggiatura, the turn, and
the shake.
Grande, gneat ; as, con gi^ande espressione, with much ex-pression.
Grandioso, in a noble and elevated style.
Grave, a very slow and solemn movement ; also a deep, low pitch in the scale
of sounds.
Grazioso, in a graceful and flowing style.
Group, an assemblage of several short notes tied together.
Harmony, the art of combining notes so as to form chords, and of causing the
chords thus formed to succeed each other according to certain laws.
Harmonized. A melody is said to be harmonized when additional parts are
subjoined, so as to give it body, or a fullness of effect.
Hymn, religious, lyric poem.
I:mperfect, less than perfect, or minor, in speakinor of intervals, chords, &c.
In Alt. This term is applied to notes which are situated above F on the top
line of the treble stave.
Inflection, a modification or change in the tone or pitch of the voice.
Interlude, an intermediate strain or movement.
Interval, the diflerence of pitch, or distance, between two notes.
Intonation, in singing, implies the emission of the voice so as to produce
any required note in proper tune.
Key, a series of notes, each of which has a fixed and distinct relation to one
particular note, which, on that account, is termed the key-note.
Key-note, a note to which a series of other subordinate notes bears a distinct
relation.
La, a syllable used in solfaing to the note A.
Larghetto, a time slow and measured in movement, but lees so than largo.
Larghissimo, extremely slow.
Largo, a very slow and solemn degree of movement.
Larynx. The larynx is composed of five annular cartilages, placed one above
another, and united by elastic ligaments, or fibres, by which it is so dilated
and contracted as to be capable of producing aU the various tones of the voice.
68 PRINCIPAL TERMS USED IN VOCAL MUSIC.
Le^xjding Note, tLe seventli note of tho scale of any key, when at the distance
of a semitone below the key-note.
Ledgek, or Legeii Lines, extra lines added above or below to those of the stave.
Legato, a word impl\'iug a close, gliding manner of jx^rformance.
Leggieremente, with lightness, gayety.
Lentando, with increased slowness.
Lento, in slow time.
Lied, a song.
Lines, those members of a stave on and between which the notes are placed.
They were designed by Guido At their first introduction the spaces be-
tween them were not used.
L'IsTESSO Tempo, in the same time as the previous movement.
LusiNGANDO, soothingly, winningly.
Madrigals elaborate compositions for voices in five or six parts, in the
ancient style of imitation and fugue.
Major Mode, one of the two modern modes ; that in which the third from
the key-note is major.
Marcato, in a marked and emphatic style.
Marziale, in a martial style.
Mass, a Catholic musical service, comprising several movements.
Measure, that division of time by which the air and motion of music are reg-
ulated.
Melody, a series of single sounds, so arranged as to produce a varied and
agreeable effect on the ear.
Melodics, forms of study relating to the general nature of melody.
Mess A di Voce, a swelling and diminishing of the voice on a long-holding note.
Metronome, an instrument which indicates tho exact time of a musical piece,
by means of a pendulum, which may be shortened or lengthened at pleasure.
Mezzo, half; as, mezzo voce, in a subdued tone; 7nezzo piano, rather soft;
mezzo forte, rathijr loud.
Mezzo Soprano, a female voice of lower pitch than the soprano or treble.
Minor, less, in respect of intervals.
Minor Mode, that of the only two modes recognized in modern music in which
the third degree of the scale from the tonic forms the interval of a minor
third.
Mode, a certain arrangement of tones and semitones.
M( )DrLATiON, a change of key.
MoLTO, very, extremely; as, vioito allegro, very quick; rnolto adagio, ex-
tremely slow.
Mordente, a grace formed by two or more notes preceding the princii)al note.
Mokkndo, gradually diminishing the sound till it dies away, and at the same
time slackening the time.
Moto, con, with agitation. This word is sometimes added to the Italian word
denoting the speed of the movement ; as, andante con moto.
PRINCIPAL TERMS USED IX VOCAL MUSIC . 69
Music, tlie science of sounds, which is further divided into four parts : Nota-
tion, the art of representing musical sounds and their modifications by notes,
signs, &c. Melody, or the succession of sounds, in varied and agreeable in-
tervals. Harmony, the art of combining sounds so as to form chords, and of
causing the chords to succeed each other according to certain laws ; and,
Rhythm, the disposition of melody or harmony in respect of time or measure.
MuTATTOX, change ; as a musical term it refers to the transition of voice at
an early age.
Nasal Tone. In singing, this term implies that the tone of the voice is dete-
rioated by passing through the nostrils.
Natural, the character which restores a note, that has been sharpened or
flattened, to its original state.
NoN Troppo Allegro, not too quick.
Notation, the art of representing musical sounds and their various modifica-
tions by notes, signs, terms, &c.
Octave, an interval of eight notes.
Offertory, a part of the Catholic morning service.
Opera, a musical drama, comprising recitatives, airs, choruses, &c.
Operetta, a short or little opera.
Oratorio, a musical drama, founded on a scriptural story, performed without
the aid of scenery and action.
Parlando, in a speaking or declamatory manner.
Passage, any phrase, or short portion of an air, or other composition. Every
member of a strain or movement is a passage.
Passing-notes, notes added to the harmony, and serving to connect those
which are essential.
Pastorale, a soft, rural movement.
Pause, a musical character, consisting of a dot surmounted by a curve, which
serves to protract the duration of a note or rest beyond its natural length.
Pesante, with importance, impressively.
Phrase, an incomplete musical idea, generally occupying two measures, or at
most three.
PiACERE, pleasure ; as, a piacere, at the performer's pleasure with respect to
time.
Pianissimo, or pp, extremely soft.
Piano, soft. This word expresses a very slight degree of intensity ; the oppo-
site of forte.
Pitch, the acuteness or gravity of any particular sound, or the tuning of any
instrument.
Piu, an adverb of augmentation.
Pro Forte, louder.
Piu Lento, slower.
Piu Mosso, with increased action.
70 PRINCIPAL TERMS USED IN VOCAL MUSIC.
Placido, calm and quiet.
Plantivo, expressively, plaintively.
Poco, a little.
Poco Animato, a little more animated.
Poco Adagio, a little slovr,
Poco Piano, somewhat soft.
Portamento, the manner of sustaining and conducting the voice ; a gliding
from one note to another.
Prima Donna, the principal female singer in the Italian serious opera.
Primo, first ; as, primo tempo, return to the original time.
Quartet, a composition for four voices or instruments.
Quasi, in the manner or style of ; as, quasi fantasia, in the style of a fantasia.
Quasi Andante, in the andante style.
Quintet, a composition for five voices or instruments.
Rallentando, a gradual decrease both of the speed of the movement, and
the quantity of tone.
Recitative, a species of musical recitation. It was first introduced in the
year 1660, at Rome.
Refrain, an old term for the burden of a song.
Register, the compass of a voice or instrument ; also an organ stop of any
species.
Rests, the characters which indicate silence in music.
Rhythm, the theory of musical cadence, as applied to melody.
Rhythmics, rhythmical forms and delineations.
Rinforzando {rf. abb.), with additional tone and emphasis.
RisoLUTO, in a bold, decided style,
RiTARDANDO. a gradual diminution or slackening of the time, with a corres-
ponding decrease in point of tone.
Scherzo, in a light, gay, cheerful manner.
SciOLTO, with boldness and freedom.
Score, a complete and orderly assemblage, in one view, of the parts of a vocal
or instrumental composition.
Secular Music, all music not designed for religious purposes.
Segno, a sign ; as, al segno, return to the sign ; dal segno, repeat from the sign.
Semitone, a half tone.
Semplice, with simplicity, artlessly.
Sempre, always ; sempre staccato, always staccato or detached ; sempre forte,
always loud.
Sensible, the leading note or major seventh of the scale.
Senza, without ; as, scnza organo, without the organ.
Sestet, a vocal or instrumental composition in six parts.
Seventh, an interval formed of seven sounds.
PEINCIPAL TERMS USED IN VOCAL MUSIC. 71
Sextuple, name formerly given to what is now called compound common time.
Sforzando, signifies that a particular note should be played with force and
emphasis.
Shake, an embellishment consisting of the alternate reiteration of two notes
comprehending an interval not greater than one whole tone, nor less than
a semitone.
Sharp, a character, the power of which is to raise the note before which it is
placed half a tone.
Signature, the signature, or name jriven to the aggregate of sharps or flats
necessary to each key, and placed at the beginning of each stave.
Sixth, an interval comprising six degrees.
Slentando, a gradual decrease in the speed of the movement.
SiiUR, a curved line drawn over two or more notes to indicate that they must
be smoothly connected.
Slide, two notes gradually rising or falling toward the principal note.
SMOrxZANDO, diminishing the sound ; dying away by degrees.
SOLFA, SoLFAiNG, the practice of solfeggi by means of the syllables Do, Re,
Mi, Fa, Sol, La, Si, corresponding to the notes C, D, E, F, G, A, B.
Solfeggi, exercises for the voice.
Solo, alone ; a composition, or even a passage for a single voice or instrument,
with or without accompaniments.
Song, a short lyric poem set to music. The ancients had the art of singing
before they had that of writing ; and their laws, as well as their histories,
were sung long before they were inscribed.
Soprano, the highest species of female voice.
SospiRANDO, with apprehension, despondingly.
Sostenuto, or SOST., sustained, continued in respect of tone.
SOTTO Voce, in a soft or subdued manner, in an undertone.
Spaces, the intervals between the lines of the stave.
Staccato. The notes to be sung distinct, short, and as if detached from one
another by rests.
Staff, or Stave, lines on which notes are written.
Stent ATO, in a loud, bawling manner.
Strain, a portion of a movement divided off by a double bar.
Strepito, con, Strepitoso, in an impetuous, boisterous style.
Stringendo, increasing the degree of movement.
Superfluous Intervals, augmented intervals.
Sustai>;ed, notes are said to be sustained when their sound is continued
through their whole power or length.
Syncopation, forming one continued sound, by connecting an unaccented
note with the following accented one, either in the same or in different bars.
Tanto, not so much, not too much.
Tempo, the degree of movement.
Tempo Primo, indicates a return to tlie original time.
12 PRINCIPAL TERMS USED IN VOCAL MUSIC.
Tempo Marcia, in the time of a march.
Tempo Valse, in the time of a waltz.
Texoh. the highest male voice.
Terzetto, a short trio or piece for three voices or instruments.
Third, an interval of three degrees.
Ties, curved lines drawn over notes.
Tied Notes, connected notes, or those having a tie above them.
Tone. This word is received in various senses. First, to signify a certain
degree of distance or interval between two sounds, as in the major tone and
the minor tone. Secondly, it implies a property of sound, by which it comes
under the relation of grave and acute.
Transient Modulation, passing modulation ; such as quits a key almost as
soon as it is entered upon.
Transition, in harmony, changing the genus or mode in a sensible but reg-
ular manner.
Transposed, removed into another key.
Transposition, changing a composition into another key from that in which
it is written.
Triad, a chord of three notes, a common chord.
Trill, a shake.
Trio, a piece for three voices or instruments.
Triplet, a group of three notes arising from the division of a note into three
equal parts of the next inferior duration, which are to be performed in the
time of two such notes.
Tune, a succession of measured sounds.
Tltin, an embellishment, consisting of the note on which the turn is made,
the note above it, and the semitone below it.
TuTTA, all ; as, con tutta forza, with all possible force.
Unison, a consonance or concord of sounds.
Un Poco Ritenuto, gradually slower.
Veloce, or con Yelocita, in rapid time.
ViGOROSO, strongly, vigorously.
Vivace, quick and lively.
Vocalize, to practice singing on the vowels, chiefly the Italian A.
VocALizzi. exercises for the voice to be sung on the vowels.
Voce, to voice.
VoLTi SuBiTO, turn over the page quickly.
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