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SINGING IN

o in

•Si

s i?

1=1 IEMENTARY SCHOOLS

. WAT KINS,

MT
930
W385
1885

Presented to the

UNIVERSITY OF TORONTO
LIBRARY

by the

ONTARIO LEGISLATIVE
LIBRARY

SINGING

ELEMENTARY SCHOOLS:

A COURSE OF LECTURES DELIVERED TO THE

TEACHERS TINDER THE LEICESTER

SCHOOL BOARD,

A. WATKINS,

Instructor of Teachers and Superintendent of Music under the stud Board.

J. CURWEN & SONS, 8, WARWICK LANE, E.G.
Price One Shilling.

LONDON:

J. CtKWEN & SONS, MUSIC PRINTERS,

PLAISTOW, E.

PUBLISHEKS' PEEFACE.

These lectures were delivered to teachers who had already
gone through a course of lessons on the Tonic Sol-fa Method,
and who required guidance in applying the knowledge they
possessed in the practical work of the class-room. They are
published in the hope that their usefulness may be extended to
other teachers to whom such lectures are not easily accessible.

The lectures were intended not to supersede, but to accompany
such books as Mr. Curwen's " Standard Course," Mr. J. S.
Curwen's " Companion for Teachers," &c. It is hardly necessary
to add that the exercises and suggestions were largely illustrated
on the Black-board, Modulator, &c.

The circular of the Education Department, printed at page 53,
embodies the latest revision of the singing instructions.
Teachers familiar with the former circular will notice that the
Standards are re-classified, as follows : —

1st Division
2nd „
3rd „
4th

Old Classification. New Classification.

Infants above 5, and below Standard I.
Standard I.
Standards II. and III.
Standard IV. and upwards.

Infants.

Standards I. & II.
Standards III. & IV.
St. V. & upwards.

The Song Test in Division III is now made compulsory in two
parts, and the regulations are full of slight alterations of various
kinds.

January, 1885.

N D EX

Accents

PAGE

.... 39 Modulator tests

PAGE
... 22

Apparatus

.... 3

.... a5

.... 41

.... 5
5

, Transition

Ba How to teach

, Use of the ....

... 4
... 2
2

Musical Drill
Music, No ear for

Beating time

Charts and Books
Children's Voices

Pronunciation

.. 51
... 39
46

Pulses

Code Requirements (O.N.)
(Sol-fa)

.... 53
.... 58
39

Quarter-pulse tones

Recreation, Healthv

1
... 15
89

Discipline

.... 2

Registers of the Voice
Rests

Drill, Musical
Ear, Remarks on training the ....

Scale, Standard

.. 31
.. 48
.. 51
.. 33

School Songs
, Preparation of
Se, How to teach

time-tests, How to teach 12
Ear-tests, How to teach 9,11
, exercises 10, 11
Education Department Circular, 246 53
Expression 52

Fe and ta 53

Singing, Position for
Six-pulse measure

.. 17
39

Ta and fe
Teachers

.. 23
.. 3

Flattening, Causes of
Four-pulse measure

"Growlers "

Half -pulses
Hand-signs

.... 19
.... 39

.... 12

.... 41
4

... 4
.... 31

Time, Accents of
beating
exercises

.. 39
.. 41
44, 46
.. 41
.. 41
.. 39
.45, 47

•, half -pulses
, How to beat
measures

names

Instruments, Musical, in teaching
Key-signatures, Meaning of

, pulses
, Pulse-and-a-half
, rests
tests (ear), How to teach
to be devoted
Tones of the scale, How to teach . . .
, their mental effects
Tonic chord, How to teach
Transition exercises
, How to teach
Tune, Teaching of
Tuning exercises
Two-puls-1 measure

.. 39
.. 46
.. 39
.. 12
.. 5
.. 9
.. 8
.. 9
.. 30
.. 25
.. 20
.. 51
.. 39

.. 50
.. 15
.. 15
. 18

Key-tone, Pitching the
Leicester School Board Scheme ....

31,36
.... 62

.... 4
.... 43
.... 7
.... 43
.... 32

M. 60, Meaning of
Mental Effects
Metronome
Minor Mode

Voices, Classifying the
, Registers of
, Remarks on training the
Voice-traininar exercise

Exercises

..33-35
....6,20
, 36, 37

. Kev 31

Siity'tny in Elementary Schools.

SINGING IN ELEMENTARY SCHOOLS.

THAT the power of song on children is great is a fact patent to all
who have had any connection with little ones. What pleases a
child more than a singing lesson ? What refreshes the weary
brain more than music ? Let us particularise some of the effects
of Music and Singing in schools.

In the first place it provides the mind with Healthy Recreation,
and especially is this the case in the Infant School, where the
young minds are not capable of sustained mental exertion. The
influence of music on the Tone of a school is very great. The
refining influence of music and singing cannot be wondered at
when we bear in mind that our songs contain so much sentiment,
and inculcate lessons of religion, morality, truthfulness, honesty, &c.
How often has a teacher, on taking charge of a school containing
rough and insubordinate pupils, resorted to the charms of song,
and softened the turbulent spirit of many a rude boy by teaching
some of the pathetic pieces by Mrs. Hemans, &c.

Closely allied to its effect on tone, and directly dependent
upon it, is its power of affecting Discipline. Nor can we expect
otherwise when we consider that the beauty of music depends on
the precision of its execution. The value of singing in strength-
ening the lungs has often been discussed, and it has been observed
that lung diseases are less prevalent in musical than in non-
musical families. In infant schools action songs are of the utmost
importance, because they develop muscular movements, and train
the children to habits of obedience — the execution of the action
movements being short, sharp, and decisive. They also assist the
children to give graphic conceptions of different industries.

2 SINGING IN ELEMENTARY SCHOOLS.

In senior schools, especially those provided with a musical
instrument, the pleasure derived from " Musical Drill " is very
great, so great indeed, that on those days when musical drill is
taken, the attendance of the children is always very high. Those
who are anxious to introduce this interesting exercise into their
schools, should procure " Musical Drill " published by Gill & Sons,
in which book they will find all necessary information.

The above and other reasons which may be stated should
convince us that teachers as moral and religious trainers, as
builders up of conduct and character, cannot afford to neglect the
power of song. But in order that music and singing may have
their full effect, several things must be taken into consideration —
cheerful teaching, proper apparatus, and suitable time given
to the subject.

When conducting classes in music for head and assistant
teachers under the London School Board, I have often been
confronted with the following remark, " I shall never be able to
teach singing; I have no ear for music, neither have I any voice."
The reply to this has never been sympathetic ; but, on the contrary,
these teachers have been reminded that few individuals have such
natural defects, and that the incompetency is probably the result
of neglect in exercising and developing those faculties with
Avhich they are endowed.

Why cannot these teachers sing ? Probably because they
have never tried. Many teachers who are fond of using their
vocal organs in tones not agreeable to their pupils will not give
them the benefit of their musical abilities. Now what constitutes
an ear for music ? The power to distinguish one sound from
another. Thns a person who can distinguish a child by its voice,
a donkey by its bray, and a pig by its grunt, has the essentials
of a musical ear, and the perfecting of the same must be the
result of cultivation. The voice is so much dependent on the ear,
that the inability to sing is generally the result of an untrained
ear. Any one who can read and recite with proper expression
and modulation of the voice can sing if the ear be sufficiently
trained.

Some of you will say this is all very well in theory, but
how will it turn out practically ? I will answer this by quoting
one case out of a few in which this theory has been practically
applied by myself.

SINGING IN ELEMENTARY SCHOOLS. 3

A young lady joined one of the London classes, and on
admission said that she knew the theory of music well, having
been through a training college course, but could not sing a bit,
for she had no ear for music. This latter remark will be quite
believed when I say that she could not tell whether I was singing
up or down the scale, and thafc she would herself when
trying to sing up the scale, utter all the names, but sing them
to one sound. Here, then, was a promising pupil for a singing
class. She was instructed to sit by one or two members who were
musical, to listen carefully, and not to sing until she felt that she
could join with the rest. So persevering was she that at the end
of a quarter's instruction, she was able not only to sing at sight a
moderately difficult psalm tune, but could tell the names of three
or four tones of the scale when sung stepwise and to the syllable
" laa." Afterwards by steady diligence she became able to teach
her class in school, and to sing fairly well, but always had a
tendency to flatten, which was chiefly caused by a want of self
confidence. This shows what can be done by steady application
and dogged perseverance, and I would urge those who feel in the
same state, to follow this example.

A few general remarks on the teaching of music and singing
may now be made, the details being reserved for a future lecture.

Before we can have music taught, there must be teachers who
can teach it, apparatus for them to work with, and time in which
to perform their labour. On these three points, then, let me say a
few words.

TEACHERS.

First as to the teachers. It is a recognised fact that the
training colleges neglect to train students in the art of teaching
music to children, consequently the school boards have to begin to
train their teachers in this neglected branch. This is a hardship to
the school boards and to the students. Very few teachers can now
say that they are unable to learn this or that notation of music,
for classes are being conducted almost everywhere. But in very
few of these classes are the members taught how to teach music
to children, and for this reason the following hints are given.

APPARATUS.

Next as to the apparatus required. For the purpose of
teaching music, very little is required in the shape of apparatus,
if the teacher will only make good use of the voice.

4 SINGING IN ELEMENTARY SCHOOLS.

Musical instruments, instead of being a help, are really a
hindrance to the teaching of music and singing, especially the
pianoforte and harmonium. They train the ears out of tune, and
cause the children to be dependent on something for support.
The modulator is one of the greatest helps, and difficult passages
should be taught from it, but at the same "time it must not be so
used that the children become almost entirely dependent on this
pictorial help for singing intervals. The modulator should be
hung in such a position that it is always before the eyes of the
children, for as much may be learnt unconsciously from the
modulator as from a map which is constantly before our eyes.
Again, if the modulator be not always at hand, much time may
be lost in fixing it, &c. In large rooms the modulator on cloth
with rollers, size 60 by 25 inches should be procured, whilst a
smaller one might be substituted in class-rooms.

To prevent dependence on pictorial help from the modulator,
exercises should be frequently given with the manual signs. The
value of these cannot be over estimated. Young teachers are apt
to imagine that the signs for the various tones are arbitrary ones,
but this idea must be at once expelled, for they are strongly
suggestive of the mental effects of the tones. In books on the
Tonic Sol-fa Method the mental effect of each tone of the scale is
given, also the manual signs. Now let us see the connection.
Doli is said to be a firm and bold tone, and what can be more
suggestive of firmness than the clenched fist held out ? "What more
indicative of the peaceful Me than the hand stretched out, palm
downwards, as if in the act of pacifying some noisy child or class ?
What sign can more faithfully represent the sad effect of Lali than
the hand held drooping, the fingers as if lifeless, and imitating the
drooping branches of the weeping willow ?

The advantages of using the manual signs are briefly these : —
(a) To promote self confidence in singing intervals. (&) To enable
the teacher to command his class — to see as to the posture of the
children when singing — to detect defects, such as improper
opening of the mouth, breathiness, coarseness of tone, and many
other points which cannot be well done when the teacher is
looking and pointing on the modulator, (c) To create an interest
in the work, and especially is this the case with infants, (d) To
afford another means of communication to the mind.

SINGING IN ELEMENTARY SCHOOLS. 5

The Charts published by J. Curwen & Sons are of great use, and
they are now sold in convenient parts for the several divisions of
the Code syllabus.

The stimulus given to school music by the Code of 1882 has
produced numerous books of musical exercises for children, but
none seem to be so well suited to the wants of teachers as the
several parts of " Code Music Drill," by J. Curwen & Sons, each
part being published at 2d.

TIME TO BE DEVOTED.

The time which should be devoted to music is an important
consideration for teachers in these busy times. It is the opinion
of most persons who have paid great attention to school music,
that a number of short lessons are far preferable to one or two
long lessons weekly. The adoption of a daily lesson of about ten
minutes, say from 10.35 to 10.45, and a weekly lesson of from
20 minutes to half an hour, especially for the collective singing
of songs, &c., is strongly advised. The short daily lesson will
not only form a means of recreation in the midst of hard work,
but will keep the voice in regular exercise and training. A
suggested distribution of time to the several branches of
the subject will be found in detail on page 63.

In concluding these general remarks I would advise teachers
to keep the following rules before them : — (a) Do not sing with the
children. This is sometimes done through enthusiasm, but the
practice should be avoided, because the teacher should listen
carefully while the scholars sing. (6) Insist on soft singing.
The great work of teachers is to teach children to sing softly, and
then the loud passages will cause little trouble.

All our teaching of music would be useless if we had not
attentive and appreciative ears to profit by it, so to the training
of this organ we will next turn our attention.

REMARKS ON TRAINING THE EAR.
The training of the ear cannot be begun too early in a child's
life, and a great amount of attention should be paid to it in the
infant school. A German Swiss writer says : — " The first
instruction in song in the school must follow the manner of the
home. The simple child's song will be transplanted into the school,
and thus make the starting-point of education. The training then
takes place without the help of notes or printed music, only from

6 SINGING IN ELEMENTARY SCHOOLS.

These two or three first years are therefore of the greatest
importance in singing. The voices are in quality and compass
much the same, the harmonies are left out, and the youthful
throats are then so soft and pliable that a good foundation can be
laid for the succeeding grades. It is at this stage that the talent
for music must be awakened. The children must learn to listen,,
just as in the first study of physics they must be taught to watch.
No child, even if wanting in musical capacity, should be excluded
from this step, because it is the teacher's duty to train the ear, and,
if possible, the voice, by means of suitable ear and voice
exercises.

By correct management very good results may be produced in
a couple of years in discrimination of tones, imitation, and
pronunciation. To teachers the course recommended is wearisome,,
for they have to sing everything to the pupils, but it is of value,,
because by this method the children become most directly and
joyfully absorbed in song. Little children are excellent mimics,,
and everything will be learnt by imitation. The teacher will teach
the school song from the modulator by pattern, splitting the tune
up into phrases, and patterning these phrases in time and tune
from the modulator. Thus the children will learn the tune,
and the ear will be trained. Exercises in imitation should be
freely given to infants and to older children, for afterwards,
the difficulty of distinguishing the tones of the scale will be
greatly diminished, and the child's ear will be so trained that in
after life he will be able to carry away the tunes heard at a concert
or party. This is undeniably a pleasure.

It would be well if teachers in infant and girls' schools would
occasionally ask a gentleman to give a modulator exercise, to get
the children accustomed to taking the " doli " from the male
voice. In giving musical phrases for imitation great care must be
taken, so that those selected are musical phrases, such as will strike
the ear as natural and pleasant, and will have a lasting impression
on the hearer ; let each phrase have a melodious completeness in
itself — e. g.,

|s f m||l t d'||r n d ||d t,d ||n f n||r f n ||r t,d ||s t, d ||
Is t d1 || s 1 t d1 |l s n r d || d n r d || f n r d 1! s d1 1 d1 1|

SIEGING IN ELEMENTARY SCHOOLS. 7

|d' 1 t d1 1| s f r d || s t r' d1 1| d r s n || n f s d || n f r d |[

|1 s t d'||s f t|d ||r f n d !|n f 1 s || s r f n || d1 s f n |[
|r l,t|d ||r s f n || s r s d || &c.

In giving these and similar exercises the teacher should be careful
to sing them in a suitable key, and above all to continually vary
the pitch of the key-tone. After a couple of these shorter
exercises have been imitated, the two may be given as one exercise
thus :— r n d d t| d. The teacher will do well to call upon a
single child or a few children to imitate an easy phrase by way of
a change, but in doing so a very easy phrase must be given, and a
quick child called upon to sing it. Should the child fail to do it
corectly, encouragement must be given, and no attempt at ridicule
or sarcasm made. By adopting this practice the teacher Avill find
out whether the teaching be thorough or not. When the children
are able to imitate such phrases, they should be carried on to the
exercise of distinguishing certain tones of the scale by their relation
to the given key-tone. This of course will be done by teaching the
mental effect of each tone.

The teaching of the relation of sounds to one another by
mental effect and not by interval is the true aim of the Tonic Sol-
faist, who endeavours to teach sound, and is indifferent as to the
notation used. Just as one boy distinguishes another not
by his clothes, but by a certain characteristic of the boy, so one
tone of the scale can be distinguished from another by its-
characteristic effect on the ear and mind.

If the scale be sung slowly and carefully three tones out of the
eight will leave a strong impression on the mind, viz., doli, me,
and soli, and because of this effect they are called tones of first
impression. Of these three the doli will be characterised by
firmness and resolution, and on account of this the manual sign
given to it is the clenched fist held out, which is surely
suggestive of the effect.

The soli will have a bright and cheerful mental effect, and the
sign allotted to it is the hand spread out with the thumb pointing
upwards.

The last of these three tones, me, will be recognised as a soft,
peaceful tone, and the manual sign to represent it is the hand held
flat, with the palm downwards, as if in the act of pacification.

8 SINGING IN ELEMENTARY SCHOOLS.

The mental effect of each of the other tones of the scale, and
the manual signs for them are: —

Ray, rousing and hopeful, used largely in prayerful pieces.
The manual sign for it is the hand simply opened from the
clenched fist for doll and held slanting, palm downwards, and
fingers pointing upwards.

Te is a piercing tone, with a strong tendency to pass upwards
to doli. The manual sign given to it is the index or first finger
pointing upwards, the rest of the fingers being clenched, with the
back of the hand towards the pupil.

Fah, a desolate and inspiring tone, most effective when properly
introduced, and a tone which must be carefully taught, for it is
more likely to be sung wrongly than any other. The manual sign
is the index finger pointing downwards to show that it leans
strongly on " me."

Lali, a sad, weeping tone, used in mournful music. The manual
sign is the hand held drooping and as if helpless, the fingers
hanging in imitation of the branches of the weeping willow tree.
These mental effects are only true " when the tones of the scale
are sung slowly, when the ear is filled with the key, and when the
effect is not modified by harmony." Observe the expression
when the ear is filled with the key, for upon this point depends
success in the ear exercises treated of afterwards.

It must be noticed that the mental effect of a tone is affected
by its pitch — the higher the pitch the greater the mental effect.
This is strongly marked in the note te. When this tone is sung
at a high pitch by a treble or tenor voice, the effect is much more
piercing than when sung at a low pitch by an alto or bass voice.
The effect of a high te seems to tell us that the singer is striving
to reach a certain goal (dolt], while that of the lower te suggests a
passing to the doli as a matter of course, it being a convenient
resting place.

I have frequently heard young children fail to drop from the
high doli to me (d1 Pi), but when reminded that they are required to
sing that calm, peaceful tone of which they have heard, the manual
sign being made at the same time before them, they have sung
it correctly. The children should always sing their modulator
exercises by a knowledge of mental effect, and not by intervals.

SINGING IN ELEMENTARY SCHOOLS. 9

The children having been taught to sing the tones of the
tonic chord (d n S d1) in any order and in different keys, they
should be able with practice to distinguish these tones on hearing
them sung, having first sung the tonic. The teacher will sing the
tones of the chord of dok (d n S d1) and the children will then do
the same from the manual signs. One tone of the chord is to
be sung by the teacher to " laa ;" for instance, soli, and the
children will imitate. They are then asked which tone was sung —
doli, me, or soli. The teacher must be prepared for disappointment
in the answers for a little time, but some sharp ears will shortly
begin to recognise the sound, and if the dull children are
encouraged by kind words to listen, like Polly or Tommy, they
will soon be able to name them. Several exercises should be
given on the same tone but in different keys, e.g., soli in key D,
then in G, then in E, C, F, &c. The children will thus be taught
to distinguish the tones by their relation to the key-tone, and
not from absolute pitch by ear. The order in which the tones
should be presented to the children are first doll, then soli,
afterwards me, and lastly doW. With careful teaching it will be
found that children in Standard I will not only be able to imitate
a simple phrase, as required by the Code, but also to name any
tone of the doll chord on hearing it sung as described above,
thus laying a good foundation for the next standard's work. The
teacher must bear*in mind that these tones should be thoroughly
mastered before any advance is made in ear tests, because these
are the tones of the scale which strike the ear most forcibly, and
are sometimes called the pillars of the scale. There are many
ways in which the method of giving ear tests might be varied so
as to afford a change. For instance, the teacher might say,
I will sing three sounds to laa, one of these will be " me," tell me
which it is, the first, second, or third.

Exercises— d d n || d s n || d d1 n || d n n ||

This can be done with soli and doli. The Code requires "imitation
of a simple phrase of not more than four notes," and examples of
what might be expected have been given on pages 6 and 7.

With Standard II the teacher can pursue the course suggested
before with the other tones of the scale. I have generally found
that the children can be taught most easily to distinguish the

10 SINGING IN ELEMENTARY SCHOOLS.

tones if introduced in the following order : — first te, then ray, after-
wards fah, and lastly lah, the mental effect of each tone being
clearly shown.

Numerous exercises in telling the names of any tone of the
scale when heard in relation to its key-tone having been given*
the next step to satisfy the requirements of Division III in the
Code syllabus will be an easy one. Children's ears are very apt to
catch and retain musical phrases, especially if they have had plenty
of exercise in imitation. The teacher will let the children sing
the doli chord from the manual signs, and he will then sing
twice over to laa an easy phrase, for example —

|d r n || 1 t d1 || n r d |i s f n ||

The children will then imitate it, and be afterwards required to
tell the names of the notes. In doing these exercises two points
must be attended to, viz. — (a] The r'elation of the first tone of
the phrase to the key-tone (doli}. (6) The bearing of the succeeding
notes to each other and the key-tone. The teacher should point
out any particular tone in the phrase which should assist in naming
the notes ; e.g., in the phrase 1 t d1, the strong and almost irre-
sistible tendency of the last note but one to rise to the next tone
above should be commented on. Teachers must not think that
all their children will readily distinguish these sounds. Many
a child will sit motionless and appear as dense as possible, but
these musfc be encouraged to listen attentively, for everything
will depend upon that. The face of a child will brighten up when
the cloud of mystery is for the first time torn asunder.

Such exercises as the folio wing are required to be named by the
children in Division III.

|d r n || n r d || s f n H 1 t d' || d1 1 1 || f n r-|| r n f || f s 1 1|
|s 1 t Us 1 s || n f n ||d r d || d t,d ||

I would strongly recommend the practice of writing the phrases
on slips of paper or on slates, for this will cause more indepen-
dence in answering, &c. Daily exercises in various keys should be
given, and the ear ynll thus become so trained that the next step
to the highest requirement of the Code will be easily taken,

SINGING IN ELEMENTARY SCHOOLS.

The ear tests in Division IY (Standards V to VII) need not
be stepwise, therefore to simplify matters only very easy ones
should be attempted at first, for example, those beginning on one
of the pillars of the scale (d n s), and moving by easy intervals.
It might be well if two or three of the four tones given be
stepwise, e.g. —

|d 1, t, d i| d s f n || s n f n [I n r t, d 1| s n r d || s 1 s d1 1|

It would also be a help to the children if the teacher sustain the
sound of the ;first tone for an appreciable length of time, so that
the children may " feel "as it were, the tone. The phrase
should be sung over twice, the second time quicker, to show
clearly the connection of the elements of the phrase. The teacher
must endeavour to sing these phrases very distinctly, each note
being clearly denned, for which purpose a treble or tenor voice is
preferable to an alto or bass voice, for the higher the pitch of a
tone the greater the mental effect. Such phrases as the following
might be expected at the Government examination : —

|s d1 1 d1 || d1 1 t d' || s f r d H s 1 s d' || n f 1 s || d1 n r d ||

|n r s d 1| s n r d || d1 s 1 s || s r n d l|d' 1 t s || s 1 f n ||

|s f t d1 || d1 1 s d1 || n f t, d || s f s n || d n 1 s || n r n d |j

Is t s d1 || r t,s,d || f n 1 s J|s r t,d || s f r n || d1 1 r'd'l!

|s t r'd1 | d s t,d ||

When most of the children are able to name the notes of such
exercises as the above, a few easy ones on the Minor Mode may be
given for practice, and to test the grasp that the children have of
this mode. Fe and to, might also be introduced, but this is not
required by the Code. A few easy exercises are here given.

In 1 se 1 || d1 1 se 1 || 1 se 1 n || 1 t se 1 1| n s fe s ||

Is fe 1 s ||d' ta 1 t d' || d1 1 ta 1 || d s, ta, 1, ||

12 SINGING IN ELEMENTARY SCHOOLS.

There are some children in most schools who always sing an
octave below the rest, called " growlers," and teachers generally
say that they cannot be cured of this. Of course they cannot unless
a little time and patience is bestowed on them. It is well known
that a teacher cannot spare a great amount of time for such
children, nor indeed are they required to do so. One head teacher
told me that it was impossible to cure these " growlers ; " he
said he had done everything ; he had even gone close to them and
shouted in their ears to try and make them get in tune. It need
hardly be said, that this is not the way to cure the defect, but to
increase it. A growler should be told not to sing, but listen very
carefully to the others, for which purpose he should be placed
between two good singers. He should understand that when he
feels able to join with the rest that he should do so, and should on
no account be laughed at on account of his inability to sing.
After a few weeks careful listening he will probably join the rest.

Not only should the ear be exercised by tune tests but also by
time tests. This will be found very simple if the children are
taught to beat their own time. It is not advisable to commence
these exercises with the children below Standard III, but in this
standard very simple ones may be given with advantage when fair
progress has been made with the ear exercises in tune.

The exercises should contain one-pulse and two-pulse tones in
two-pulse or four-pulse measure, and should be sung by the teacher
on one tone to "laa," the children beating or counting the time.
Suppose the following exercise— 1 1 :1 |1 :- |1 :- || be given, it
would be dealt with thus : — The teacher sings each tone to '' laa " in
time twice over, the children beat one, two; one, two; &c. The
children having heard it twice, sing it themselves to " laa " in
imitation of the teacher. The teacher then questions individuals
as to how many beats the first tone occupied ; receiving the answer
" one." The teacher then writes a one-pulse lah on the black-board.
The other tones are treated similarly, so that the following will then
appear on the black-board 1 1 1 — 1 — .

The teacher will then point out that it is not properly written
i n time, and will proceed to divide it into measures, as follows : — The
children are asked how many pulses or beats were made in each
measure (answer given, two), and on which accent it com-

SINGING IN ELEMENTARY SCHOOLS. 13

meiiced (strong). The teacher then puts in the proper time
notation thus — 11 :1 |1 :- |1 :- ||. When this is done the
children should sing it in time from the black-board, and should
then be asked if that is like what the teacher sung before.

This is an exercise in which much of the work is done by the
pupil; in fact, the teacher should leave as much as possible to be
done by the children. Young teachers are apt to lecture too much,
instead of drawing the information from the children, forgetting
that the educational value of the exercises depends upon the
''deductive principle" involved, and that a great amount of
pleasure and interest depends upon the overcoming of a difficulty.

When simple exercises can be done well in two-pulse or four-
pulse measure, some in three pulse measure should be intro-
duced similarly. The following exercises might be suggestive of
others : —

||1 :-|l :l |1 :-|| ||

1 :1 II :1 II :-

Although the Code requires nothing of Standard III in the form
of ear exercises in time yet if a little labour be devoted to it,
much time will be saved in teaching Division IV, where the
children may " be asked to name the time of an easy passage sung
twice to them by the examiner." In. this highest division, half
pulses should be introduced in such exercises as : —

given as mentioned above. As these tests are rather long, the
children should write them down as before suggested when
dealing with Ear Tests in Tune.

14 SINGING IN ELEMENTARY SCHOOLS.

After the children in Division IY have become accustomed to
name the time of these tests, it will be a most valuable exercise to
require them to say in what pulse-measure the phrase is sung.
Of course in this case the children will not be told what to count,
as they were before. This can be easily done if the children have
been properly taught the recurrence and nature of the accents ; for
instance, let us take this as an exercise |1 :1 : 1 . 1 1 1 : — : — ||
The teacher sings it through twice to laa, strongly accenting the
the first pulse of each measure. The children write it down as
before 1 1 1.1 1 -- . The teacher then tells them to put a

mark over the notes strongly accented, thus — 111.11 --
The children will then be questioned as to the position in a measure
that the strong accents occupy, and the answer that they occupy
the first pulse or beat having been obtained, the pupils will be
directed to put the strong accent marks thus —

it i 1.1 ii — ii

Further questions will deduce that it is three-pulse measure, and
then the proper form should be written, e.g. —

The teacher will then go through the exercise on the black-board,
on which each step of the process should be shown, thus —

1st Step 1 1 1.11 —

2nd „

111.11
3rd „ |1 1 1.1 [1 II

4th „ || 1 :1 :1.1 |1 :- :- ||

This will form an interesting exercise, especially for children in
Standards Y, YI, and YII.

SINGING IN ELEMENTARY SCHOOLS. 15

EEMAEKS ON TKAINING THE YOICE.

Dr. Hullah has remarked that the study of the voice is a
very difficult subject, and that there were only about twelve men
in the country who know anything about it. This is of course an
exaggeration, and teachers with but a very limited knowledge of
the subject will be able to do much in the way of improving the
tone of the singing in our schools.

It may be well to make a few general remarks on the voice
before suggestions as to the practical training of it are given.
Should any teacher require greater details on this interesting
subject, they would do well to study that excellent manual
" Mechanism of the Human Voice," by Herr Emil Behnke, and
published by John Curwen & Sons.

Any one who listens to the singing of a boy whose voice has
been well trained — e.g., a cathedral chorister — will at once notice
how greatly it differs from that of an ordinary school-boy. Why
is this ? It is not merely because the cathedral boy is singing
daily. We must seek the reason in another direction. The
chorister has been taught to use the voice in a proper manner, and
the school-boy has not. Many of you are aware that there
are different registers of the voice, or modes of producing tone, and
that these different modes of production depend upon the way in
which the vocal cords vibrate.

Let us listen to a boy talking with his school-fellows in the
playground or in the street, and we observe that his hard, coarse
voice is widely different from that which he uses when pleading
with his mother, therefore we come to the conclusion that the
boy has two registers : — 1. The soft, sweet voice, resembling a-
girl's voice, called the thin register, because the tone is produced
by the vibration of only the thin edges of the vocal cords.
2. The hard, coarse voice used in romping and in ordinary
conversation, called the thick register, because in this case the vocal
cords vibrate in their whole thickness.

Here, them, lies the difference between the trained -and
untrained voice of a boy, and it is to the proper use of these
registers we must turn our attention. As before remarked it is
the boy's voice that requires the greatest attention, yet the
exercises given here will be of service to girls also. Boys are
more rough in their manners than girls ; a great number of those
who attend our elementary schools are not subject to any refining

16 SINGING IN ELEMENTARY SCHOOLS.

influence at home, they play in the noisy streets, and they
naturally sing in the rough coarse talking voice, therefore we must
spend our time in teaching them how and when to use their thin
register. Suppose we have a class of rough boys, with entirely
untrained voices, and they sing the scale of key E or F. They
will sing up to C or D (3rd space and 4th line of treble staff) in a
bawling tone, when suddenly they will shrink into a thin, feeble,
squeaking tone- To prevent this is the teacher's work. He
must train their voices in such a way that they will largely use
their thin register. How will this be done ? As a practical
teacher and an earnest sympathiser with teachers, I know
that no great amount of time can be devoted to it, so that only
very simple exercises will be suggested.

In order to develop the thin register and form the habit of its
use, the teacher should (a) Insist on soft singing; (6) Practise the
upper part of the voice.

Teachers are very apt to pitch the tunes lower than they are
written, because they say the children cannot sing the high tones,
or if they do so produce them harshly. This is a great mistake,
and actually encourages rough singing.

The teacher should stand in front of his class, listen and
observe carefully, and check any coarse singing. Mr. Curwen
says, " If the boys sing softly they are bound to sing right ; power
will come with practice, and for practising the voice the simpler
the exercises the better," and the scale exercises given below have
been used with great success in many schools. It must be borne
in mind that to sing doivn the scale is a much better exercise than
to sing up, because if the voice commences on a high tone it must
be produced in the thin register, and once in this register the
children will easily carry it down.

I have asked many teachers at what pitch the change of
register should take place, and rarely received an answer.- Now
this is an all important point, therefore let it be noted once and for
ever. In singing up the scale the change should not be made
higher than A in the second space of the treble staff, but in
descending the thin register might with advantage be carried as
low as G or F below the A referred to. above.

It may not be out of place here to mention that the voice of
a child is either spoilt or improved to the greatest extent in the
infant school, when the vocal organs are young, flexible, and

SINGING IN ELEMENTARY SCHOOLS. 17

delicate. The infant school teacher therefore should take great
care to prevent the tender vocal organs of these little children
being injured by : —

(a) Loud and coarse singing.

(I) Straining after notes beyond their limited range.

The music taught to infants should lie between C below and
D on the 4th line of the treble staff. The voices should be trained
by imitation, the teacher carefully patterning everything, and
paying attention to position, mode of breathing, quality of vowels,
articulation of consonants, suitable expression of words, and
insisting on soft singing.

The following position for singing has been found to be the
best : —

The singer stands with the heel of the right foot against
the hollow of the left, the body being supported by the left leg,
fche right being slightly bent, or in military language, in the
attitude known as " Stand at ease." The head should be erect
but not thrown back. The shoulders must be well back but not
up. The mouth must bo freely opened and the hands hanging
comfortably by the sides. For convenience the singing lesson is
often given with the children sitting in their desks; when this is
done the arms must on no account be folded either in front or
behind, they should hang in a comfortable position down by the
side, but slightly inclined to the front in preference to the back.
The shape of the mouth should not be oval thus— 0, nor should the
mouth and teeth be open very wide, for then the tone produced
would be rough. On the other hand, if the teeth be kept close
together a shrill disagreeable tone is produced.

To produce good results, daily exercises must be 'given, but
they should not occupy more than three to five minutes.

The teacher must on no account sing with the pupils ; every
effort will be required to see that the children imitate carefully
the pattern given, which of course cannot be done if the teacher be
engaged in singing. The syllable " ah " will be found useful in
these voice exercises, for the proper pronunciation of the syllable
necessitates the mouth being well opened. In Standard I the
children should have exercises in singing the scale of keys D and
E|j very softly to " ah," a-nd sustaining each sound for nearly a
second. This exercise should first be carefully performed by the

18 SINGING IN ELEMENTARY SCHOOLS.

teacher, and the «hildren told to imitate it, whilst the teacher gives
the manual sign for each note. By this means he can show
how long the sound is to be sustained.

Similar exercises should be given to

Standards II and III in keys E[?, E, and F
IY to YII „ F and G

The teacher should carefully mark the change of register ; and
exercises should be given until the boys have gained such control
of their voices that they can change from one register to the other
without detection except by the most experienced ears. The
children who sing alto should not be allowed to sing these
high tones, for they require exercise in their lower tones. Too
many of our boy altos sing in a coarse harsh voice, and
produce a very unpleasant effect. This is caused especially by
insufficient attention having been paid to the selection of alto
voices, and to the imperfect opening of the mouth. Altos
should especially aim at producing round, full, and sonorous
tones.

Instead of the scale practice, or as an alternative, the exercises
suggested in the scheme on page 64 will be found useful. The
following exercise given in " Standard Course " (Curwen) on
page 45 is well adapted to cultivate flexibility of the voice and
management of the breath.

Keys C, D, Cl, De, E. M 70, 60, and 50.

t£ . .. .t

d .PI

Skaa

s .t :r' .t |s ,t :r' .t

s .n

id .n

:s .n

f ,1 :d' .1
f :-

If .1

Iu .1

laa

This exercise is directed by Mr. Curwen to be used thus : —

" The lower part is to be sung always to the words ' skaa-laa '
on one breath. When taken at the rate of M. 50 the pupil will
economise his breath for 20 seconds. Those who sing the upper
part may take breath at places marked f. They must deliver the
first measure very softly (pp], the second measure softly (p), the third
measure with a medium force of voice (m), the fourth measure with
full force of voice (f). As soon as the exercise is thus sung, the

SINGING IN ELEMENTARY SCHOOLS. 19

singers must change parts for the sake of rest and variety, and this
is reckoned one performance of the exercise. Let the exercise be
performed thus : first time in key C, the upper voices ' slurring '
each measure to the forward Italian "laa,"at the rate of M. 60.
Second time, the same in key D. The teacher will pass from key
to key as directed, p. 33 " Standard Course." Third time, in key CJ,
the upper voices singing to the staccato ' koo,' at M. 50. Fourth
time, the same in key D$. Fifth time, in key D, the upper voices
laaing as above, at M. 50. Laaing is used here as a rest be-
fore the last effort. Sixth time, in key E, the upper voices sol-
faaing, at M. 70. Sol-faaing is used here to make sure of
correctness of tune in the highest tones."

Teachers in giving voice exercises should not forget that the
production of the low tones needs a great deal of care, for sometimes
a choir sings very sweetly on the high tones, but the low tones are
thin, harsh, and coarse.

It will be found when these exercises are first given that a
great deal of flattening will take place, and therefore the loss of
pitch must be noted each time. It may be of use if the chief causes
of flattening be enumerated here.

1. Physical weakness. In this case the person should sing

softly and listen.

2. Forcing of Thick register, cured by cultivation of the

Thin.

3. Breathing of tones.

4. Defects of ear, to be cured by long and attentive listening

and by the study of mental effects.

5. Careless and lax delivery of piano, or violent and coarse

delivery of forte passages, which can be easily avoided.

6. Habitually singing with tempered instruments, which put

the ear out of tune.

7. Sympathy with bad singers near, and inattention to leader.

8. Bad posture in singing.

9. Neglect of breathing places, and consequent exhaustion.

10. Most and commonest of all, ivant of interest and its conse-

quent drawling delivery.

Organists frequently try to prevent flattening by putting on
more organ, but Dr. Hopkins, of the Temple Church, London, says,
more voice training and less organ is the cure.

20 SINGING IN ELEMENTARY SCHOOLS.

TEACHING- OF TUNE.

The teaching of tune, as that which delights the ear,
forms- one of the most interesting branches of musical training,
It should of course be begun in infant schools, where the children
will be taught easy phrases from the modulator, the teacher always
patterning every phrase before the children attempt it. With
these little ones no time notation should be introduced, but the
teacher's energies should be devoted to the teaching of sounds from
the modulator and manual signs, the latter being largely used for
reasons mentioned before. Because of the influence for good or
evil that the infant school training in music has, responsible and
capable teachers only should teach it in this department of a school,
and the lessons should be frequent, but of short duration. The
children need no books, for the school song will be learnt from the
modulator, the teacher patterning phrase by phrase. Some very
carefully graded melodies for infants will be found in the " Second
Linnet " (Curwen). The children above 5 years of age and below
Standard I are required to sing from the modulator the tones of
the " Doh chord " in any order, using the Tonic Sol-fa syllables.

As the modulator plays so important a part in the teaching
of tune, a few remarks on modulator exercises will now be given.
Teachers are very apt to run in grooves, and in nothing is this
more likely to be the case than in modulator exercises. This is
often painfully illustrated in the Govermeiit Examination, when
an Inspector, strange to the children, gives the test. It happens
not unfrequently that the children follow their well-worn path,
instead of singing the test before them. As the music grant is
often imperilled by this, it is a point well worthy of attention.

There are a number of ways in which teachers can prevent
this fault, the most practical being the following : —

Careful preparation and forethought should be devoted to
the modulator exercises to be given, especially by young and
inexperienced teachers. A collection should be drawn up in some
leisure time, each exercise being constructed on a different
plan, e.g. : —

1. dddsnndnsnsd

2. dssdnsdnndsd1

3. dnsd'smsd'sdnd

4. d s n d1 s n d1 d1 n s d1 d

SINGING IN ELEMENTARY SCHOOLS. 21

5. d'sndnsdnsd'sd

6. d S| d n d S| n d s n d d

7. dndsdsidnssid

8. d S| d S| d n S| d Si s n d

9. d'nnddssnd'ssd

10. d1 s n d s s s d1 n n d d1

The children having sung the doJi, exercises similar to the-
following, commencing on other tones of the chord, may be given :-

11. snsdsd'dnnssd

12. n s d d s n d1 s n d1 &c.

Other ways of obtaining variety are : —

1. By asking friends to write down a few exercises. Teachers

could help one another much in this way.

2. By taking some different tune or part of a tune as an exercise-

each day. Any interval that might occur in it which is
too difficult for the class should be simplified.

The children should be required to sing their modulator
exercises smoothly and firmly ; if they hesitate a mistake is almost
sure to follow. Any difficult interval should be taught stepwise or
by one or two steps, e.g., s-r when first given may be introduced
thus— s fnrsfrsr; and m-1 thus— n f s 1 n 1, and so on.
Great care should be taken to avoid drawling singing. Teachers
should guard against using the same part of the modulator, and
should begin sometimes with doh* and sometimes with doll*
When giving tai or fei as a test to Division III, I have often
been reminded by the teacher that these tones have always been
taken an octave higher, viz., ta and fe« But why should this be ?'
Surely this at once stamps the teaching as running in a groove.

Again, there is not, as a rule, any variation in the time of the
notes given as a modulator test. The sounds are often drawled
out, and then modulator practices become monotonous and far
from interesting.

The teacher can vary the length of the notes by the length of
time that he keeps his pointer on the modulator, thus two-pulse,,
one-pulse, and half -pulse tones can easily be used.

22 SINGING IN ELEMENTARY SCHOOLS.

These general remarks having been made, a few tests are
given as specimens of what might be expected from the several
divisions.

Division I (Infants), Doh chord. A number of exercises are
given above on page 20.

Division II (Standards I and II), Doh chord and other tones of the
scale stepwise. Some inspectors give two modulator tests to this
division, the one being entirely stepwise, and the other on the tones
of the doli chord, but the following is perhaps the better inter-
pretation of the requirement.

KEY C, D, or Eb.

1. dsndrns fnrns 1 sns 1 td1

KEY C, D, Eb, or E.

2. d'snsdnfnsdtidrdnfrisd

KEY C, D, E, and Eb.

3. dnsfnrnfnsd'td'sfndsd1

KEY C, D, E, and Eb.

4. d'snnfns sdnd't 1 sd'snrd

KEY Eb, E, F, G, Ab.

5. drnfnslsfnddtidnfsd

KEY A, Bb, B.

6. d t| 1| S| f| ri| S| d HI S| d HI s, n r d t| d

KEY C, D, Eb, and E.

7. d r n f s 1 t d1 s n1 d1 r1 d1 s 1 s d

The doli having been sung by children, the following might be
given.

8. s s 1 sfnds sd'td'sfnd'nrd

9. nfndsnds, ridtidrmfmrd

Division III (Standards III and IY), an exercise including " fe " and
"ta" used thus— s fe S and d1 ta 1 t d1.

SINGING IN ELEMENTARY SCHOOLS. 23

Fe ought not to present any difficulty, but ta will not be
so easily managed by the children. It should be clearly
shown that fe bears the same relation to soli as te does to doh, thus
S fe S is only d t| d. If any mistake be made it will be that
the/e is not sung quite sharp enough, in fact occasionally the
children sing a tone betweeen/e and j ah and very near in pitch to
the latter. If the note fall be used almost directly after the fe,
thus, s f 6 S f n, there is a great tendency to sing fall wrongly.

Ta, which by Tonic Sol-faists is pronounced as if spelt taw,
bears the same relation to doll as fall does to soli therefore d1 ta 1
is the same as s f Pi. The children should learn it by assimilating
it to s f Pi, and then it will be easily taken.

The intervals s — r, r — S, r — 1, r — 1|, n — 1, should be well
mastered, and plenty of exercises given on them in various keys.
Chord exercises will be found useful tests, e.g. : —

1. d n s f 1 d1 s t r1 d1

2. d1 r1 t s d1 1 f s n r d

Exercises similar to the following might be expected at the
Examination : —

1. dnsnrfnds Isfesfnrs f

r n d t| d f r d ta, 1, t, d

2. d1 s n d1 s d r f 1 s fe s f n s d1 ta 1 t d1

3. drndsitirfnlsfesf nrsd

tai 1| t| d n d

4. d t, d f r s d ta, 1, t, d 1 s fe s f n r 1 s d

o. d'nfs drnfn sfesfnr fls
d1 ta 1 t d' s d1

The doh having been sung, the following might be given : —
6. n d s r f t, d n 1 s fe s f n f 1 d1 ta
1 t d1 s n s d

24 SINGING IN ELEMENTARY SCHOOLS.

7. s d r f n s f r t| d f n d taj 1| t| d s

fe s f 1 s t| d

8. s d1 n f s d1 ta 1 t d! s 1 f r s fe s f r t, d

9. dnrfnsfe sfnl fsnfrnd

taj 1| t| d r d

Frequently two modulator tests are given, one introducing f e
and the other ta.

In this division the children may be asked to sing at sight a
note-test written or printed. This will generally be written on the
black-board, and it is well to notice that it must contain no-
difficulties in time, this remark reminding us that the test may be
written in time if the Inspector be so minded.

Teachers of the Tonic Sol-fa method will have noticed that the-
children sing readily from the modulator exercises which they
cannot perform when written on the black-board. The cause of
this is very clear. The modulator is pictorial, being in a perpen-
dicular notation, whilst the written test is in a horizontal.,
and here is a real difficulty to be overcome. The manual
signs should really act as an intermediate step, and thus
lessen the difficulty. That those who drew up the Government
requirements were practical men and not mere theorists is obvious
from the wise provision that the modulator exercise of Division II
should form the written test for Division III. The tests given
above as modulator exercises for Division II can therefore be used
as written note-tests, either without time notation or with, thus : —

Ud :s |n :d |r :n |s :f In :— |r :— j

U n : s 1 1 : s In :s 1 1 :t Id1 : —
fl I I

If the exercises are not written in time, the children will sing each
note when it is pointed to .

SINGING IN ELEMENTARY SCHOOLS. 25

Division IY. — The requirements of this division demand a
knowledge of transition and of the minor mode, therefore a few
words will be devoted to these two points. What is meant by
Transition? It is the passing over from one key to another, e.g., a
piece of music starts in a certain key (i.e., with a certain sound for
its governing tone doh}, but afterwards a new doh higher or lower
than the former one is adopted, and the old key-tono is partially
thrown aside for a time, until the music, according to rule, returns
to the original key. The beginner will ask why is this transition
made ? In answer to this we must remember that a composer
adapts his music to the words. He begins his composition in
keeping with the words, which we will suppose to be sad and
solemn. Then he comes to a passage containing a ray of cheerful
hope and bright sunshine, he must therefore change the character
of his music to give expression to this change of sentiment, and
one way to do this is by making a transition, or taking a new key-
tone. Again, if the composer has to pass from a cheerful sentiment
to a sad one, he can express this by means of Transition. It is
•evident, then, that we can conveniently divide transitions into two
classes.

(a) Those made to express a change of sentiment from sad to
gay, called a sharp transition.

(&) Those made to express the change from gay to sad, called

aflat transition.

The Code requires that the children shall be able to Sol-fa slow!}- a
simple passage containing a transition of one remove, indicated by
bridge-notes. Atransitionof one remove is a change of key in which
only one change is made in the pitch tones used. Now let us see
i£ this point can be made clear. The modulator given on p. 26
contains all that is necessary for teaching this step, and the central
column corresponds to the central column of the printed modulator
used in- schools, and represents the notes of the key in which the
music commences, hereafter called the principal key.

Suppose the composer wishes to brighten up his music he
takes the bright soli of the principal key and calls it doh, as
shown on the modulator by looking at the right hand column.
It will be seen by comparing the central and right hand
columns that the flat j 'all of the principal key is blotted out of the
new key, its place being supplied by a sharp, piercing te, hence the
effect required. Again, it will be observed that this is the only
change made in the pitch tones used, for

26 SINGING IN ELEMENTARY SCHOOLS.

Piercing te of principal key becomes calm me of the new key
Sorrowful lali „ „ „ rousing ray „

Bright soli „ „ „ firm doll „

Desolate fah „ „ is changed for piercing te

Calm me „ „ becomes sorrowful lah „

Bousing ray „ „ „ bright soli „

Firm doh „ „ „ desolatc/a/a.

As only one change is made in the pitch
tones used it is called a transition of one
remove, and, because the desolate tone fall is S d1 f

changed for the sharp piercing te, the transi- ±

tion is called a remove into the first sharp n

key. Let it be remembered then, that when
" Soh " of one key becomes the " DoTi "of W 1

another the music is said to go into the first
sharp key, and that in removing into a sharp I S d

key you always go to the right on the modu- •£

lator. Because " te" is the only new tone (J f

used in making a first sharp remove, it is A. -i

called the sharp distinguishing tone. ' '

The transition into the first sharp key,

on account of its very common use, is not 1| S|

difficult, but the following hints may be of
some service. It has just been said that in S| d TI

making a first sharp remove the only new tone
introduced is te. This therefore is the tone
that will give difficulty, if any arise. The teacher should commence
the modulator exercise on the central column (principal key), and
take care to use such notes of the scale as will fix the key-tone
on the mind, e.g., the doh chord, the fah, and the te should bo
firmly sung.

In making the transition the teacher will do so perhaps on
the soh of the principal key, gliding the pointer horizontally to the
doh in the next right hand column, the children having been shown
that the notes in the same horizontal line on the modulator are the
same pitch, and that they are called by different names because of
their obedience to a new governing key-tone.

The teacher will show exactly what is meant, by singing an
exercise before requiring the children to do so. When the
new key-tone has been properly sung by the children the

SINGING IN ELEMENTARY SCHOOLS. 27

teacher should carefully introduce the sharp distinguishing tone te.
A short exercise having been given in the new key, a return must be
made into the principal key. The sharp distinguishing tone
will be thrown aside, the flat/a7i taking its place, and the singing
of this note will tell us of the return into the old key. The teacher
should insist on this fall being correctly sung, for children have a
great tendency to sing fe instead, but if they are reminded
that it is the flat/a/i, the tone which leans so closely to me, it should
be easily mastered.

The teacher will commence in the principal key, then
make a departing or principal transition into the first sharp, and,
having used the new tone " te," will make a return transition to the
principal key. The departing transition is, as a rule, the more
difficult, because the tonic of the starting key has taken such a,
hold on the ear, that it now seems glad to return to its old love.

The full remarks made on the first sharp remove will enable us
to deal more briefly with the flat remove.

In the first flat remove the desolate f ah of the principal key
becomes the doh of the subordinate key, and on referring to the
modulator it will be seen that the only change in pitch tones is
that the sharp te is changed for a flat fall, and the effect before
mentioned is obtained. Pah, then, is the new or flat distinguishing
tone, and will be the difficult tone to sing. In returning from the
.first flat key to the principal key, the fall of the subordinate
key is changed for the te of the principal key.

The teacher should make these removes clear by freely using
the black-board. He should write the scale on the black-board in
bold letters, to represent the principal key and correspond to the
central column of the modulator, observing carefully the smaller
steps between n f and t d1. This having been done the soli should
be taken as doh, and this note should be written on the right hand
of the soli. Then the children should be required to form this new
scale. Each note of the new scale will be opposite one of the
notes of the old scale, with the exception of te, which must be care-
fully noted. The black-board sketch for each remove would be
something like the following : —

SINGING IN ELEMENTARY SCHOOLS.

First Flat
Key.

Central column
of Modulator.
doh'

Central column
of Modulator.

dak1

First Sharp
Key.
f

f ~~ I

_ te
ta

lah

soh

fall

fah
me

ti
1,

TYlfi

ray

•M

doh

Flat distinguishing tone f . Sharp distinguishing tone t-

The effect of these transitions depends largely upon the way
in which the new tones are introduced. Teachers will do well to
carefully observe the following points when giving exercises : —

1. The transition should be a natural melodic one.

2. The exercises in the principal key should be such as to

thoroughly fix the tonic on the ear, e.g., by prominent use
of the doh chord, fall, and te.

3. In the new key the distinguishing tone should be intro-

duced as soon as possible after making the transition.

4. That, the return transition having been made, the tone which

by the departing transition had been blotted out (fall in
the first sharp remove and te in the first flat remove, be
quickly introduced.

For attention to these points see the example given by the
Education Department on page 60. It will be seen from the Code
requirement that the children in Division IV have to sing the note
test with transition, not from the modulator, but the test will be
written or printed, and this increases the difficulty. The teacher
should not hasten to leave the modulator exercises in order to get to
v/ritten tests. The children should be thoroughly exercised on
transition from the modulator until the tests can be well done,
for in the horizontal notation, the transition cannot be so

SINGING IN ELEMENTARY SCHOOLS.

pictorially represented as in the perpendicular notation on the
modulator.

Suppose that it be required to give as an exercise the following

test—

dnsfnrdsdtidnrddsfn

1 t d'

the teacher points todnsfmrdsof the principal key,
and then wishes to make a first sharp remove (i.e., soli becomes
doli), and makes the transition on soJi, gliding the pointer across
from the soli to the doli, and then points to the notes of the new
key, d t| d n r d. He then returns to the principal key by gliding
the pointer from doli of the first sharp key to soli in the central
column, and finishes up with the phrase s f PI S 1 t d1.

This having been sung from the modulator the teacher then
should write on the board the exercise thus : —

Principal Key.

s
f s

First Sharp Key. Principal Key. Eeturn Transition.

s — d d

\ /

Read from left to right.

First Sharp Key.

— -d

\ f "

ead from right to left.

Then this should be written in the ordinary notation, and
explained by saying that the little (s) on the left of the new doli
stands for soli, and tells us that the soli of the key in which
the children have been singing becomes the doli of the new key,
and that the (d) on the left hand side of the soli in the return
transition is simply a reminder that the doli of the subordinate key
becomes the soh of the principal key again, and that these two are-
of the same pitch. If the modulator be referred to freely the
children will with a little attention grasp the notation.

30 SINGING IN ELEMENTARY SCHOOLS.

In making & transition it will be found to simplify matters
if the children be taught to sing the two names, the old name
slightly and the new name firmly, thus, s'doh, d'soh.

Now these little notes placed above and to the left of the
others are placed as guides, and are called bridge-notes on account
of their aiding singers to pass over from one key to another, just as
a bridge enables a person to pass from one side of a stream to the
other. If the children should hesitate when singing a written note
test, the teacher should at once explain the transition on the
modulator,

A few suggestive exercises are here given. The doji must be
first sung by the children.

1. dsndfrssdrt|dfnrddsfrt|d

2. d d n s r t| r f n s sd i\ r 1| t| d ds 1 f n r d

3. d1 s f n 1 s f r t| d r rsi 1| t| d f n r d s( sir n f t|

4. drnflsns*dt,rdl|rddsfrdlst|d

5. i n d f r 1, t, a r *s, lj t,r a t,a *• 1 • f ti r a

6. n d r n 1 s f r rs, t| d r t| d ds f 1 s f r t, d

7. d1 1 s 1 f n d1 r1 1 t s *d ti 1, r t, d S, s,r ri f I, d

8. S| n d f r t| S| s sd d ti n r d ds r f n r d

9. n r d r s 1 f r n ml, t| d f r n d S| s,r f r n ti d

10. s r f n 1 s sd s, t, 1, r d ds f 1 s t d1

11. n d s r f d n I, r d dSi f| ri| f, 1, d df n 1, r d t| d

12. d s n r ti d 1 s sr n f n r s d df n r s d

13. s d1 1 1 r s n s f f d f m f r s *d' t r1 d1 s PI s d1

14. d1 1 f s n d r f 1 s *r f r t| r 's 1 t d1 r1 1 t d1

15. n d f r s n 1 f t s d1 1 in f r n d r t| d df n r s 1 t

d1 t d1

SINGING IN ELEMENTARY SCHOOLS. 31

There is one other point with reference to the notation of a
transition which some inquisitive child will wish to know. When
singing the music of a song containing a transition, something like
the following may be found : —

KEY C.
Hs :s .1 is ,f :n .r In :s Is :— I

G.t. f.C.

Jl'd :t| .d |r ,t| :d |ds :f .n |r :s Id : —

The children will be anxious to know what key C means, why over
the departing transition G.t. is placed, and over the returning place
is found f.C. First let us explain the meaning of key C. The
teacher will tell the children that musicians adopt a certain fixed
scale as a standard scale, a scale from which they form others, also
that each of the tones of this scale has an alphabetical* as well as
a syllabic name (see the scale here given),
and that the tuning-fork generally used

sounds C1. If the piece of music be written -ji p|

in key C it means that the sound C is taken

as the doli or key-tone, therefore the tuning t • - L

fork which sounds C1 gives us the high dohin

Key C, and if the piece be written in Key A J ^

it means that the A of the fixed scale is doli,

and this doli will be obtained by sounding the g Q-

t uning fork which gives us C1 and thensinging

down the scale to lali, which, by referring to « -p

the table will be seen to be A, and this sound

must be called Doli. As a few hints will be PI —

given in pitching key-tones later on, this point

will be left at present. The G over the r — - D

transition means that the music has departed

into key G, or G has become the doli, and, ft . Q

by again referring to the table given, it will
be se^n that, as the music started in key C, the

* In learning the alphabetical names of the notes of this scale, it would
be well to adopt some device, e.g., C, B A G, FED, where the combinations
form words eusilj- remembered.

32 SINGING IN ELEMENTARY SCHOOLS.

soli is G, therefore the soli of the principal key becomes the doJi of
the new key, which is a first sharp remove. But what is the meaning
of " t " to the right of the G. It has before been said that in
making a first sharp transition the new or distinguishing tone is
te, so this " t " is placed there as a guide to tell us that the new
tone is te, and that it must be expected to be a difficult one. In
making a first flat transition the fall is the distinguishing tone,
therefore we have in a first flat remove the "f " for fall on the left
of the letter naming the key. Why is " t " placed on the right and
the "f " on the left of the key name ? Simply because in making a
sharp transition on the modulator we pass to a column on the
right, whilst passing into a flat key we proceed to the left.

THE MINOK MODE.

In all the exercises of which we have hitherto spoken the doJi
has been looked upon as the foundation of the scale ; this is one
mode of writing. In ancient music and even in the modern music
of some countries, e.g., Persia, India, China, the Highlands of
Scotland, and Wales, other tones of the scale are used as founda-
tions, but the only one of these others in use in England is the lali. .
We have then two modes, the DoJi mode, most commonly used, and
the Lali mode. In the former the doll acts as the governing tone,
round which the others cluster, in the latter the lali occupies this
position. These two modes are not generally called the Doli and
Lali modes, but as these terms are self explanatory, it would be
well to use them for some time. The Doli mode is called the
Major Mode, and the Lali mode the Minor Mode, and we will now
see why these names are adopted.

Any tone with its third and fifth when sounded together form
what is called the chord of that tone, thus d PI S form the chord
of Doli, and 1( d n form the chord of Lali. It will be seen
from the modulator that the interval of the third between doll and
me consists of two large steps, and is a greater interval than the
third between Lali and Doli, which consists of one large and one
small step — hence the term major mode is given to the Doli mode
and Minor Mode given to the Lali mode, these two words meaning
greater and less respectively.

The minor or lali mode, which if sung slowly is characterized
by pathos and solemnity, is used to present a contrast to the
bright doli mode. The mode now used is not the old minor,

SINGING IN ELEMENTARY SCHOOLS. 33

but is an altered form of it, and is known as the Modern Minor.
The reason for the altered form is this.

Harmony requires that the note immediately ] ] ]

below the made tone shall be separated «p «~

from it by a small step. Now if the upper « _- -"

part of the scale of lali be examined it will be r^

seen that this condition is not fulfilled, there- f _ _ f ^

fore the soli is raised half a step and called se

which then forms a leading tone to lali, and
bears the same relation to it as te\ does to doll.
This change causes an unnatural step from fah to se and
necessitates the raising oifali similarly to soli. We then have
1 of minor mode corresponding to d1 of the Major mode

SC JJ J> 3) t ,J ,,

ba „ „ „ 1

n „ „ „ s

Having made these remarks on the Minor Mode we will see
how this mode may be taught to children who are able to sing
moderately difficult exercies in the Major Mode.

The teacher will begin a modulator exercise in the Major
Mode, and will carefully introduce the tones of the Lali chord —
lah, doli, me — in different orders, and thus get the ear ac-
customed to the difference between a Major and Minor chord.

A number of exercises similar to those appended will be
found useful : —

1. dnfrnld'lnrdtiljd ndl|nl|dlinlfrnd

2. d r f n 1 n d 1| n r d t, 1| t| d 1, n 1| d t| 1|

3. d1 s d1 n d1 1 n 1 d1 1 1 n 1 d1 1 n1 r1 d1 t 1

4. d m d 1|H 1| d n 1 n d l|d t| l|Pi d

ID the above examples exercise is largely given on the minor chord,
but the Code requires the tone se to be introduced in the easiest
possible way, namely from the lah thus— 1 se 1, this phrase being
an imitation of the Kelative Major d t| d, and the similarity to
which the children must thoroughly grasp. If this be done very
little difficulty will«be found in teaching all that is required.

34 STNGING IN ELEMENTARY SCHOOLS.

Exercises similar to the following may be expected at the
examination. The doh should be first sounded, and the children
told to get their lali from it.

1. 1 n 1 se 1 n d 1 se 1 n 1 d1 1 1

2. n n 1 s 1 d1 1 1 se 1 n d1 1 se 1

3. 1 d1 n1 d1 1 se 1 t d1 1 se 1 n 1 d1 1 1 se 1

4. n d 1, n 1 d1 1 1 se 1 t d1 1 se 1 n 1 d1 1 1 se 1

5. d1 1 n1 n1 d1 1 se 1 d1 1 n d1 1 1 se 1

6. l|d n 1 se 1 n r d n l|d tin 1|

7. n n r d ti 1| n 1| set 1| n d 1, sei 1| d t| 1| n

8. 1 n1 d1 1 se 1 n1 r1 1 1 se 1 n d1 1 1 se 1 r1 d1 1 1

Teachers should notice that in the Minor Mode the doh loses its
characteristic firmness and becomes a melancholy tone, and lah,
while it does not lose its sadness, gains force and importance. In
this mode the doh will give a great deal of trouble to the teacher,
especially when approached from the me or lah below, thus
n 1 d1 t 1 or n d1 t 1 se 1. There will be a great tendency to
sing doh half a step too high, and especially is this likely in such
a passage as :n |ba :se |1 :t |d' : — 1|

Inspectors will probably make much use of this interval to
test the thoroughness of the teaching, therefore the children should
note its effect, and have frequent exercises introducing it.

The children should then proceed to similar written note tests
to prepare them for the Code requirements. The modulator should
always be at hand so that constant reference may be made to it
when difficulties arise.

As soon as the pupils can correctly sing exercises in the minor
mode, it would be well to give tests on the modulator, in which
the change from one mode to the other takes place, and afterwards
return to the former mode, e.g. —
d s n d f r t| d 1| d n d 1| sej 1| d PI r s s, d.

SINGING IN ELEMENTARY SCHOOLS. 35

This step is important as a preparation to the practical
application of a modulation or change of mode in the school song.

Although the Code does not require the use of the altered
sixth (ba) of the minor mode, if time permit the children should
certainly be taught to sing it in simple exercises. This (ba) is
commonly pronounced with the same vowel sound as lah, but
in common with many other practical teachers of music, I have
found that if it be sounded as though spelt lay the difficulty of
teaching it is decreased. The reason of this is as follows. The
ba is a tone that blots out the fall, so the children when singing
n ba naturally want to sing mefah and this tendency is increased
if the name given to the new tone has its vowel sound the same as
that of the obliterated tone. In other words, the similarity in the
sound of the word increases the difficulty of making a difference in
the pitch of the tones. It must be shown that ba bears the same
relation to me as lah does to soli and that n ba se 1 may be taught
as an imitation of s 1 t d1.

A few exercises such as the following, although slightly beyond
the Code requirements, will be useful in increasing the confidence
of the pupils when singing easier tests.

1. 1| d n r d t| 1| se, 1, f\ se\ l\ r\\ sef 1| d t, se, 1,

2. n1 d1 1 se 1 d1 1 se 1 n d1 1 n la se I t d1 se I

3. d 1| n 1 n ba se 1 se 1 n r d t| sei 1| ra se\ \\

4. n ba n ba se 1 t d1 1 n t se n d1 n se 1

The notes in italics must be carefully sung.

t| S6| 1| in !No. 1 corresponds to r t| d

n ba se 1 ,,2 „ „ s 1 t d1 of relative major

n se 1 ,,3 „ „ s t d1 „

n t se n „ 4 „ „ s r1 1 s „ „

In preparation for the Goverment Examination teachers would
do well to observe the following points : —

1. Do not always take the exercise on the same part of the
modulator, e.g., sometimes use 1 se 1 and at others use 1| SC| \\.

SINGING IN ELEMENTARY SCHOOLS.

2. Vary as much as possible the way in which the 1 se 1 is
introduced.

3. That neither ball nor fall is introduced in the minor mode
test.

4. That the exercise is given not from the modulator but as a
written or printed test.

PITCHING KEYS.

The children in Standard III should be
taught to pitch the key-tone in any of the '

plain keys with the aid of the tuning-fork. ^ \

This should be taught from the black-board t B

by using the standard scale of pitch thus : —

The children should be told that the j ^

tuning-fork gives C1, and that if you require
the key-tone C, the C must be called doll, thus p

the doli in key C is got immediately from the
tuning-fork. Then other key-tones should
be found, e.g., let it be required to find the
key-tone in key G. The teacher would refer pi E

to the standard scale and show that G cor-
responds to soli of the scale. The tuning- p D
fork is then sounded and the teacher sings
down the scale either to the words dolrf, te, j p
lali, soli, or better, to the letters C, B, A, G.
When G is sounded that sound is to be called
doli in key G. The children should then as a class be required
to go through the exercises with this and other keys.

In singing the exercises or school songs it is a good practice
to let the class pitch their own key-tone, having sung the C1.
When the pitching of key-tones is thorougly understood, individual
children should be asked to do it. This is a pleasing exercise
to the children, provided that it is not introduced until each one
called upon thoroughly understands how to do it, for failure
in front of a class often has an evil effect, especially on a sen-
sitive child.

SINGING IN ELEMENTARY SCHOOLS. 37

Children in standards IY to YII should

be able to pitch any key-tone. In ordinary i| Q|

music the sharp keys are seldom met with, but
the flat keys such as— Bb, Eb, and Ab, are t
frequently used, and these will be referred to. \

The teacher must explain what is meant by a 1 — A

" sharp " and a " flat " and make use of some Afe

such illustration as that here given in explain- g — x Gr
ing how to find the key-tones in these keys.

A fact not often known, but nevertheless £ ]?

true, must be stated here. A sharp bears no -^

scale relation to the tone below it, although it „

takes its name from that tone, e.g., D£ has no \

scale relation to D but to the next note above, * ~~
E, therefore D$ must be looked upon as a little
step below E, and the key-tone of D$ should d — C

be pitched by first obtaining E from the
standard scale, then looking upon D$ as the " te " to the doh of
key E. A flat bears no scale relation to the tone above, although
it takes it name from it, thus Bb bears no relation to B, but to
A, the tone below. Therefore in pitching the doh in key Bb, the A
must be first obtained, then this sound will be a little step below
Bb^.e., if A be called te and the doh above it be sounded we have the
•doh in key Bb. The figure given in illustration will explain how
each of the key-notes should be obtained.

It would be well if the children obtain their key-notes in the
iseveral keys by these somewhat round-about ways, but for the use
of teachers and advanced pupils the following methods are recom-
mended. To pitch plain keys take C1 from tuning-fork, sing doh,
drop to the note of the scale which corresponds in pitch to the key-
tone required; thus if key F be wanted the teacher will mentally
sing d1 f and fall becomes doh in key F. In key E the teacher
would sing d1 r\—me becoming the doh in key E.

To pitch flat keys, Bb, Eb, A?. Since Bb corresponds to ta of
the standard scale and is a large step below C1, if the sound C1 be
called ray, and the next tone below (doh} be sounded we have the
-doh in key Bb, thus —

C1 - -r

B k d in Key B!Z.

33 SINGING IN ELEMENTARY SCHOOLS.

Or C1 may be called soli and then sing s f — f d.

To pitch key Eb there is a short way, viz : — Call C1 laJi, and
by singing 1 t d1 we get the doh* in key Efr.

Ebx ' d1

D 1

C -1

An easy way of pitching key Ab is explained by the follow-
ing :—

C1 m
B

Ab: ---- d

The C1 is called n, then n r d is sung, and the doh thus
obtained is the doh of key Afr. The teacher can devise easy
methods for pitching other keys.

Young and inexperienced teachers having pitched the key-
tone of a tune are often at a loss, when teaching it from the modu-
lator, to know which doh they are to point to, doh or doh1. The
following rule will therefore be given. Any key-tone taken between
C below the treble staff and C1 in the 3rd space of the same staff is
represented on the modulator by the unmarked or middle doh (d).
Thus in key B, although the key-tone is only half a tone below the
d1 of key C, yet on pointing to the modulator the middle doh (d)
must be taken.

TIME.

Many teachers, who have not had the time notation of the
Tonic Sol-fa system explained to them,think that it is very difficult,
and that so many dots and dashes are meaningless and perplexing,
but in reality this is far from true. It must be shown by example
to the children that in speaking, accents occur at regular intervals,
and that a different degree of stress or accent is laid upon different
syllables of words, some are strong, some weak, e.g. —

SINGING IN ELEMENTARY SCHOOLS. 39

iveak strong weak strong weak strong weak strong u'eak

Tell me not in mourn - ful num - bers
A way a way the track is white

strong iveak weak strong weak weaJt
Take her up ten - der - ly
Lift her with care

sirong weak medium weak strong weak medium ii'eak
See the light is fad - ing
From the west - ern sky

These two facts having been noticed it will be easy to see the
origin of the time notation. We say the accents occur at regular
intervals, therefore let them be represented by equal lengths of
space thus I | | | | I &c. But these different accents, strong
and weak, have the same sign for them, and this would be a weak
point in the notation, so the strong accent is marked by a bar or
upright line ( | ), a weak accent by (:), that is, the line weakened
by the middle part being taken away ; and the medium accent by
an upright line not quite so long as that used for a strong accent.
A continuation of a sound is marked by a dash, thus (— ).

The advantages of this notation are : —

1. Equal lengths of time are denoted by equal lengths of space ;
thus the eye assists the mind. Contrast this with the
following illustration in the staff notation: —

bets.bets. 4beats' 4beats'

2. That the different lengths of time are shown, not by different

shaped notes, but by dashes, which indicate prolonga-
tions.

3. The kind of accent to be used in each pulse or beat of the

measure is pointed out to the eye, whilst in the staff

notation only the strong accent is marked by the bar

across the staff.
4. There are no signs to denote rests; where nothing is to

be sung, there is nothing put.

The children must be shown that as the accents in speaking
are naturally grouped in twos or threes, so of course in music the

40 SINGING IN ELEMENTARY SCHOOLS.

pulses must follow their example ; and by the use of the sentences
given above it will be seen that sometimes the accents run — strong,
weak, strong, weak, &c. — that is, one strong accent out of every two
accents, so the music set to these words must be written in two-
pulse measure. Again, three-pulse measure should be explained
similarly, and the children taught that a measure in music is the
interval of time between one strong accent and the next. All kinds
of measures are derived from the two-pulse and three-pulse
measures referred to. When two-pulse measure moves quickly a
medium accent takes the place of every alternate strong accent,
and so we count four pulses from one strong accent to the next,
i.e., wehavefour-pulse measure. Six-pulse measure is formedinthe
same way from three-pulse measure. The accents in these kinds
of measures run thus : —

Four-pulse ( I strong : weak | medium : weak II

Six-pulse ( I strong : weak : weak | medium : weak : weak 1 1

It must also be observed that in speaking a person does not
always commence on the strong accent ; neither does music.

As a rule, in three-, four-, and six-pulse measures the music
commences on the first or last pulse of the measure, but when the
words require a start on any other pulse it must of course be made.

Examples of both are here given.

Two-pulse measure.
j I Tell : me I not : in I mourn: ful I num. : bers II

\ : A I way : a I way : the I track : is I white [I

Three-pulse measure,
j I Take : her : up [ten : der : ly I lift : her : with I care II

: Oh

say :will: the I sun : shine: in |splen:dour; to I day

Four-pulse measure,
i I See : the | light : is I fad : ing | ' :

i :When| East : erii ] hills : are I glow : ing |

SINGING IN ELEMENTARY SCHOOLS. 41

Six-pulse measure,
j jThis: is : the |song: of : the I bee : : | :

j ; In jdays:that: are [ sun; ny : he's I get : ting : his hon : ey II

When pulses are divided into halves the division is repre-
sented by a dot placed in the middle of the pulse, thus —

J| . : . || e.g. || s .f :r .n |d :- ||

The children should be taught how to beat time in two-,
three-, four-, and six-pulse measure, but as beginners they should
not be allowed to beat their own time when singing ; they must be
taught to sing in time, but not allowed to beat time. The reason
is this : 110 one can well do two things at once, and, in singing
and beating time together, the children are constantly found
beating time to their singing, instead of singing to an inde-
pendent, steady beat.

There are some, however, to whom the swing of the-
hand or the motion of the foot easily becomes instinctive. The
beating goes on without need of thought or attention, like the
swing of apendulum. Such persons, and such only, can use leating
in time as a criterion of singing in time. Yet there are exercises in
which the children should beat time, and therefore a few directions
will be given for doing so.

Inexperienced conductors are very fond of flourishing the baton
in the air, and by so doing are not only useless in guiding their
choirs, but make themselves appear ludicrous in the eyes of
observers. In beating time each beat should be clearly marked
without any twists or graceful curves in the air. A careful
observation of the way in which the best conductors beat time
would be of great service to those who are in the habit of thus
exerting themselves. Besides appearing ridiculous, it is injurious
to the b«dy to be put into such violent and prolonged exertion, and
if only for the sake of lengthening one's days, the practice should
be discarded.

In beating-two pulse measure the pointer should simply move
up and down. If the children should be going to sing a piece
in two-pulse measure beginning on the first pulse the teacher
should beat at least a measure before the singing commences, and
great care should be taken that the beats then made should be the

SINGING IN ELEMENTARY SCHOOLS.

exact time in which the music is to be sung. This is sometimes
not the case, then of course, until the children feel the time, there
is confusion. If the piece should be commenced 011 the second
pulse of two-pulse measure, it will not be sufficient simply to beat
or count one beat. This would be all right for starting the singing,
but how could the singers know what is the rate of movement of
the piece ? The teacher should at least beat | one : two | one : .
It has often been observed that if the children slacken in time, the
teacher adapts his time to theirs ; this on no account should be
done, for it is systematically teaching the children to sing out of
time, and when once a piece is learnt in wrong time, it will be a
much greater difficulty to correct than an error in tune. The
method of beating three-pulse and four-pulse measure is as
follows :—
UP:

PIC-HT

There are several ways of beating six-pulse measure, but if a
piece of music be written in this kind of measure and taken quickly
two beats only are given to the measure, the first three pulses of
each measure being taken to the down beat, and the second three
to the up beat. If the piece be taken slowly, some prefer to treat
each measure as two measures of three-pulse measure, and beat
accordingly. Another method adopted is shown by the figure
below. .

UP:

SINGING IN ELEMENTARY SCHOOLS. 43

Whatever method of beating these kinds of measures iz
adopted, it must be borne in mind that the beats should be sharp
and clearly defined. Beginners are often puzzled as to the
meaning of M. 60 or M. 80 placed at the beginning of a piece of
music. The M. stands for the word Metronome, an instrument
used for beating time, or as books have it " for regulating the rate
of movement in a piece of music." What does the 60 mean ? Simply
this, that the pulses or beats are to be taken at the rate of 60 in
a minute.

The time exercises demanded by the Code are very simple
indeed, yet they must not be neglected, for, as a rule, this test is
the least satisfactorily performed.

The chief errors observed are —

(1) That the consonant I of the syllable laa in each case is not

clearly marked and sounded.

(2) That, as a result of No. 1, there is very little difference be-

tween the repetition of laa and the continuation of laa.
The children sometimes sing the following exercise
as shown here : —

{ 1 :1 1 :- 1 :- 1 :1 1 :- II

•( laa - aa laa - aa laa - aa laa - aa laa - aa ||

Instead of

| laa laa | laa - aa | laa - aa | laa laa | laa - aa ||

It should be clearly explained that if a note be continued, the
vowel sound aa of the syllable laa must also be prolonged, and that
no consonant is sounded unless a new note be introduced. This is
the golden rule for these exercises, and must be well looked after.
The laa's should also be sung very smoothly, and not in the jerky
or sing-song way they are sometimes heard.

Before commencing a time exercise the following questions
should always be asked of the class or individuals : —

(a) What pulse-measure is it ?

(&) On which beat or pulse of the measure does it commence ?

The time test will, as a rule, be written on the black-board, or
printed 011 slips of paper, but no objection can be raised if the
Inspector should tell the children to open their song books, and
give them a suitable time test from one of the tunes. Suppose
" Code Music Drill" be used in the school and Standard I has to

SINGING IN ELEMENTARY SCHOOLS.

take the time test, lie might ask the children to open their books
(Part I) at page 11, " Morn is awaking," and give the first line to
the end of the 14th pulse, thus —

t, :d

laa : laa

r :— r :— f :— n :r m

laa :-aa laa :-aa laa :-aa laa : laa laa

The children should sing it to laa on a monotone as shown above.
This is the test that intelligent Tonic Sol-faists would give, because
it is the practical application of time to ordinary tunes. The
following time exercises might be expected in Division II
(Standards I and II) :—

1 :1 II :- 11 :1 II

II1 ^

1 : —

1 :-

|1 :-
II :1
U :-

:- II

1 :- U :-

|1
|1

:- U :-

- II

11 :-

U :

U :-

:- U

U :- II

- II :- jl

SINGING IN ELEMENTARY SCHOOLS. 45

DIVISION III (STANDARDS III AND IY).
The new points introduced are : —

(1) Three-pulse measure.

(2) Half-pulse tones.

(3) Whole pulse rests on non-accented pulses of measures.
These points should be carefully considered, but only a few

remarks need be made on them. Three-pulse measure should
be taught by using a sentence in which the words or syllables
bear the proper accents for this kind of measure.

The notation for half pulses must be shown, but no difficulty
should be found in teaching this. More trouble will be given in
teaching the children to hold their tongues on the rests, than in
teaching them to sing what they are required to do. A silent
pulse is shown by the absence of any note or continuation after
the accent mark thus —

d :- I- : ||

laa - aa - aa (rest) ||

A system of time-names for pulses and divisions of pulses is in
common use, and although no reference is made to them in the
Education Department's requirements, they will be briefly spoken
of here, for they have been found of great service in teaching
elementary time to children.

The time-name for a pulse is taa, and when a note is continued
the vowel sound to taa is continued the required length of time
thus —

1 :- 11 :- II

taa - aa taa taa

taa - aa taa - aa

In such simple exercises as the above nothing is gained by using
these names instead of laa, but with half-pulse tones the use of
time-names is advantageous.

When a pulse is divided into halves the time-name taatai is
given, and if the children know that taatai is to be said or sung
to one beat, they cannot give the wrong time to each half -pulse.
The time-name for a silent pulse is saa, the hissing sound being
suggestive of silence.

The following exercise with the time-names printed below
the notes will be sufficiently explanatory of the method of using
taatai and saa.

d .d :d .r |n :f

taatai taatai taa taa

n :— jd
taa - aa *u

SINGING IN ELEMENTARY SCHOOLS.

A few suggestive exercises are given below :—
(1) Those without rests —

(2) With silent pulses or whole pulse rests —

1 :-

1.1:1.111

II :-
11.1:1

1 :—

These exercises should not be draw led out, but sung smartly, with
he consonants well sounded. The habit of prolonging the
tones before the rests, so as to occupy a third or half of the
succeeding beat, must be nipped in the bud, for this is a common
error. The children should have frequent exercises in reading the
time of the tunes in their music books.

DIVISION IY (STANDARDS V— VII).
In this division two new steps are made —
(a) The use of six-pulse measure —
(6) The use of pulse-and-a-half tones.

There should be no difficulty in teaching these steps if a
proper foundation has been laid. The pulse-and-a-half tone is
very easy to teach, and its notation is in strict consistency with the
plans mentioned before. The following exercise is given as an
example : —

1
laa

:- .1

aa - laa

laa

SINGING IN ELEMENTARY SCHOOLS. 47

The pulse-and-half tone is the dotted crotchet of the staff notation,
and the ordinary way of counting the time is | 1, 2 and | 1, 2 and
| 1, 2 || . The time-name for the pnlse-and-a-half tone is easily
deduced as follows : — a pulse tone is call taa, and a pulse divided
into halves is called taatai, but iii this case the first half of the
divided pulse is a continued sound, therefore the consonant is not
sounded, so we have

1 :- ,1 II :- .1 II :-

taa - aatai [taa - aatai | taa aa

These pulse-and-a-half tones should occur on the strong accent in
two-pulse or three-pulse measure, and on the strong or medium
accent in four-pulse or six-pulse measure. When once the children
get into the " swing " of this time, they will not often make a mis-
take, but a common fault is that the exercises are sung in a jerky
manner, and it should be remembered that smoothness is essential.
The following exercises may show what is required of this
Division : —

:1 | : 11.1:1 |1 :-.l|l :-,! |1 : If

Time exercises from song books, and reading in time, as described
011 page 44 , will be found useful.

The Code requires no greater difficulties in time than pulse-
and-a-half tones, but teachers would do well, if they have the time
and inclination, to teach divisions of pulses into quarters, and
especially the use of the three-quarter-pulse tone, because this
is so often met with in school songs, &c.

The notation for quarter-pulse tones is as follows : —
j| ,.,:,., || Example-J|l,l.l,l:l |1,1. 1,1:1 ||

and in singing this to laa each Z must be clearly sounded, which is
not a very easy task, unless the beats are very slow ones. The
time-name (tafatefe) will be seen from the following example : —

(11,1.1,1:1 :1 .1

( I ta-fa-te-fe taa taa - tai

1 :—

taa - aa

48 SINGING IN ELEMENTARY SCHOOLS.

It is not often that we meet with quarter-pulse tones as above, in
elementary vocal music, but the modification, three-quarter-pulse
followed by a quarter-pulse tone is extremely common. The
notation and time-name are here given.

1 .,1:1 4 U :- II

taa - ef e taa - ef e taa - aa
The taa*ef e is derived thus : — tafatefe is the time-name for four
quarter-pulse tones, each syllable standing for a quarter-pulse tone*
but from what has been already said a half -pulse tone followed by
two quarter-pulse tones would be written thus —
1 .1 ,1 :1 ||

taa tefe taa
and the time name —taa tefe

I *i

If now we imagine the half-pulse tone continued so as to be a
three-quarter-pulse tone then the consonant t of tefe will not be
sounded, but the vowel sound used without it, thus we get taa-efe.

It may be mentioned that the common fault in singing this
kind of time is that the quarter-pulse tone is made too long, and
the bright effect required is lost. Good singers and instrumen-
talists often make the quarter-pulse tone as short as they can — it
is sounded distinctly, but at the same time the note is, as it were,
only just touched.

SCHOOL SONGS.

The Code requires that a school song be sung in good time,
tune, expression, and in a pleasing quality of tone. In Division I
and II the song is to be in unison, in Division III in two parts,
whilst in Division IV the singing must be in two or more parts.
Teachers of small schools would do well to note regulation 10 of
Circular 246 of the Education Department found in this book 01?
page 54. The children should be prepared to sing three songs
in Division I, and five in each of the other divisions, whether
the higher or lower grant be claimed.

It should be observed that the song must be sung in good
time, tune, sweetly, and with good expression, so that teachers must
pay attention to these points for the following reasons : —

1. If the songs are not thus sung, their refining influence is

lost.

2. Because the grant may be endangered by inattention to this

matter.

SINGING IN ELEMENTARY- SCHOOLS. 49

A few words as to the selection of songs may be of some
service. In order that children may sing a song with expression, the
words must be such that they can understand and appreciate, the
music must be within the range of the children's voices and well
within their ability ; but, alas ! how often are these rules violated.

Frequently children in infant schools are taught to sing the
melody of Morley's madrigal, "Now is the month of maying"
and of Sullivan's " 0 hush thee, my babie," and the boys and girls in
senior schools sing the treble and alto, the other parts being absent, of
such pieces as Barnby's " Sweet and Low" &c.

Surely the use of such pieces makes us believe that the oft-
repeated remark, that the old school song is dead, is true. Why are
these ridiculous selections made, the words of which the children do
not understand, and the music they can neither enjoy nor perform
properly ? Sometimes this is done because Inspectors have said
" Why don't you sing good music ? " and sometimes they are pieces
which the teachers themselves either learnt at college, or at some
choral society, and as they appreciated them, so ought the poor
little children. It has unfortunately been my lot to hear boys
sing pieces in four parts, the tenor and bass being sung by
unbroken voices, and consequently both parts occasionally soaring
above the treble. The effect of this will never be forgotten, and need
not be described.

Now such singing as this must be condemned absolutely, for it
is wrong both musically and educationally. It should be
objected to, musically, because it is doing violence to a composition to
omit essential parts like the tenor and bass of a modern part-
song, or the coequal parts of a madrigal, or to invert the harmony
by giving the tenor and bass parts to unbroken voices. High- class
music may indeed be sung by the senior scholars, but then the
teachers should supply the tenor and bass parts, or a special arrange-
ment for equal voices should be adopted, so that whatever harmony
there is may be presented in its entirety.

It is objectionable, educationally, for this classical music to take
the place of the old school song, which was designed for healthy and
pleasant moral teaching. It will be a distinct moral loss and a very
poor artistic gain if the old-fashioned school songs are done away
with. School music must be progressive. It must begin in the
infants' room with songs a little above the lullaby, and end in the
senior rooms with pieces from which it is but a step to the master-
pieces of the art.

50 SINGING IN ELEMENTARY SCHOOLS.

In the infant school action songs are the most suitable, and
may be sung with advantage in Standard I. Teachers do not often
pay half enough attention to the cultivation of soft singing ; in fact,
it is very rarely heard in boys' schools. Not only should the voices
be trained to sing softly, but the pieces selected should require this
training to be practically applied.

Circular 246 says that the singing in Division III must be in
two parts, and it is perhaps wise not to take two parts below
Standard III. Before we can have part- singing the voices must
be classified, and this is the secret of good part-singing; great
care must be taken in this step, and the time devoted to it should
not be looked upon as wasted. The method often adopted in
mixed schools of letting the girls sing treble and the boys sing
alto is wrong in principle, and productive of poor results.

To produce the best results each voice must be individually
examined, but as teachers cannot well find time to do this, six or eight
children might be tested in a private room or class-room, and not
in front of the class, for then they would not sing in their ordinary
voice. The teacher should listen carefully so as to detect the quality
of each voice.

Mr. Curwen in " Standard Course " on page 108, fully describes
the method of examining the voice, but for ordinary purposes
the following will be sufficient : —

The teacher gives the note Gr, i.e., the soh of key C, and the
pupil laas down the scale (in long tones, taking breath before each)
S f n, &c. First the quality, and then the volume of the voice
should be carefully noted. When this has been done the pupil starting
again on Gr, laas up the scale s 1 t d1, &c., while the teacher again
studies and records the present condition of his pupil's voice. The
teacher must not let the compass of the voice be his deciding point,
but rather the lest region of the voice. The voices having been classi-
fied a few tuning exercises should be given to get the children accus-
tomed to sing one part while hearing another, and one or two
simple and well-tried ones are here given. All the children should sing
doh in key F, those classed as alto being told to hold on this note
while the trebles sing me. These tones should be held on
simultaneously while the teacher counts four. The alto part then
takes me and the treble soh, as shown in exercise No. 1 below.
These exercises should be given from the manual signs, if the
teacher be able to make them with both hands at the same time.
Tuning Exercises : —

SINGING IN ELEMENTARY SCHOOLS.

No. 1.

KEYS D

ii:

:- Id

I""

n :-
d :-

s :-
n :-

|s:-
|PI :n

d1 :-
d :-

|s :s
|n:-

d:-|-:-|

No. 2.

KEYS C,

E,F,

:- |n

d':-
s :-

Is
Is

n :-
n :d

!••:-
|d:n

d1 :-
s :-

(•:-

|s :n

d1:- |- :- I
d:- |- :- 1

No. 3. This is taken from " Standard Course," and requires the
class to be divided into three parts.

KEYS F and G

d :-

n : —

:n
:d

s :—

n : —

After similar exercises to these have been used, the children
may proceed to sing easy exercises in two parts.

The great points to be noticed in the preparation of the school
songs are : —

1. Selection of suitable music and words.

2. Correctness of time and tune.

3. Quality of tone — no shouting being allowed.

4. Blending of voices— no individual being heard above all the

rest.
o. Blending of parts.

76: Scl^Tconsonants. } P«iation of Words.

8. Proper expression.

9. Posture of singer.

It is very rarely that one hears a school song sung without bearing
evidence that very little attention has been paid to the pronunciation
of the words. The vowels are badly sounded, or the final and
initial consonants dropped out, and especially is this the case when
the words end in t, g, d, k, 1, p, and m. The following among many
others have been heard : —

Evenin is fallin to sleep-in the wes
instead of —

Evening is falling to sleep in the west,
and

" Sweetest hope " so sung by a choral society, that it could not
be distinguished from " sweet as soap."

52 SINGING IN ELEMENTARY SCHOOLS.

The pronunciation of words ending in r and s, e.g., hear, here,
there, appear, fear, grass, &c., is generally very unsatisfactory.
The vowel sound of these words is that which should be prom-
inently sounded, the r and s being just heard when the word has
received its proper duration of time, e.g. —

n :- I- :-
hea - - - - r
gra- - - - - ss

Teachers should bear in mind that the quality of a vowel
depends upon the proper opening of the mouth, and the articulation
of consonants upon the partial or entire closing of the lips.

Then, again, how seldom do we hear the song sung with good
expression and feeling. The reason of this is not far to seek.

Mr. Sims Beeves has said that he never sings a song in public,
without having first carefully studied every sentiment expressed by
the words. Are children, then, able to give proper expression to
words without doing so ? How much more expressive and how
much more enjoyable would the school songs be, if the teacher went
carefully through each verse explaining its meaning, the kind of
sentiment, &c. The children should repeat the verses, and faults in
the pronunciation of words should be commented on by the teacher
when necessary. It will be found much easier to detect and cor-
rect these in speaking, than in singing. The children would
then enter into the spirit of the words, and show their appreciation
of them by singing with due expression.

SINGING IN ELEMENTARY SCHOOLS. 53

APPENDIX.

(CIRCULAR 246).

Instructions as to Examination in Singing- for Grants under
Articles 106 (d) and 109 (d).

EDUCATION DEPARTMENT,
29«& November, 1884.

1. The music-tests are not to be applied to individual children.

2. If during the examination the Inspector should notice that
one or two voices are unduly leading the bulk of the children, such
voices may be silenced for a time.

3. Teachers may be allowed to start, but not to join in, the
singing, except when adding a bass or independent part to the
song-tests. It will be found advisable (especially in girls' schools)
to allow the teacher to sing the ear-tests to the children.

4. The Staff-notation tests will be found equally applicable to
the systems of ll fixed " or " movable " Do ; a set of Tonic Sol-fa
tests (Part II.) closely corresponding to those in the Staff-notation
(Part I.) is appended. In schools where both the Staff and Tonic
Sol-fa systems are taught, different divisions may be presented in
either notation.

5. As Inspectors may find that the application of every test to
each of the divisions will occupy more time than can be allotted to
this one subject, it may suffice for the purpose of recommending
the higher grant of one shilling if two tests are applied to each
division ; the tests being varied in different divisions, e.g., note
and time, time and ear, ear and song, &c.

6. For either the lower or higher grant three songs must be pre-
pared in the first division, and five in each of the other divisions.
There is no objection to a repetition of some of the same songs in
different divisions.

7. A school which has applied for the higher grant, but has
failed to secure it, may be recommended for the lower grant of
sixpence without further examination, if the Inspector is of opinion
that the time and attention devoted to music would have secured
the lower grant.

34 SINGING- IN ELEMENTARY SCHOOLS.

8. In cases where the different divisions show varying degrees
of merit, the Inspector will use his discretion in adjudging the
grant according to his view of the whole case.

9. For purposes of examination, the standards may be grouped
into divisions thus : —

1st Division = Infants.

2nd „ = Standards I. and II.

3rd „ = Standards III. and IY.

4th „ = Standards Y. and upwards.
This, of course, only applies to large schools ; in small schools
Inspectors may permit any grouping which they think justified
by the circumstances. If desirable, small schools may be examined
in two divisions only, provided that a certain number of children
in each of the two divisions are able to pass some of the tests
applicable to Divisions II. and III. respectively.

10. In schools not having more than one certificated teacher the
songs may be sung in one part only, instead of two parts ; and no
higher tests should be required of Standard Y. and upwards than
those of Division III.

11. In large schools where the standards are taught and
examined separately, a higher proficiency may be demanded in
Standards II. and IY. , than in the lower standards in the same
division.

PAET I.

SCHOOLS USING THE STAFF NOTATION.
DIVISION I.

Note Test. — 1. To sing, as pointed out by the Examiner, the notes
of the key-chord of 0 in any easy order, using the Sol-fa syllables
(Do, Me, Sol, Do). (See line 2 of the first musical example.)

Song Test. — 2. To sing sweetly an easy school-song or action-
song previously prepared.

The compass of this song should not exceed the limit of an
octave, say from C to C, or D to D, in the treble stave, and the
words should be such as children can understand.

DIVISION II.

Note Tests. — 1. To sing slowly, as pointed out by the Examiner,
and using the Sol-fa syllables, the ascending and decending notes

SINGING IN ELEMENTARY SCHOOLS.

of the scale of C (Do), the notes of the key-chord of C (Do, Mi,
Sol, Do], in any order, and also small groups of consecutive notes
of the scale of C as written by the Examiner.

Example :

Time Tesf. — 2. To sing on one sound, to the syllable " laa," an
exercise in | or | time, which shall include minims and crotchets.
Example :

Tesi. — 3. To repeat (i.e., imitate, not name) a simple phrase
of not more than four notes, using the syllable " laa," after hearing
the Examiner sing (or play) it twice through.
Example :

-&-

Song Test. — 4. To sing in unison, in good time and tune, and
sweetly, a school song (set to words) previously prepared.

DIVISION III.

Note Test. — 1. To sing slowly as pointed out by the Examiner,
using the Sol-fa syllables, a series of notes in the key of C, con-
taining an F sharp contradicted by an F natural, and a B flat
contradicted by a B natural. The F sharp, should be approached
by the note Gr and return to G as in the example, and the B) should
be approached by C, and be followed by A, as in the example.

56 SINGING IN ELEMENTARY SCHOOLS.

Example :

Time Test. — 2. To sing on one sound to the syllable laa an exer-
cise in | or 4 time, containing semibreves, minims, crotchets, and
quavers, with dotted minims, and rests on non-accented portions
of the bar.
Example :

. — 3. To repeat and afterwards name any three conse-
cutive notes of the scale of C which the Examiner may twice sing
to the syllable laa (or play), each time first giving the chord or the
scale of C.

Example :

(Children.)

H-^ ^> —+&-

~ (By Examiner.) Sol, Fa, Mi.

This test should only be applied to the more advanced children
of this division.

SINGING IN ELEMENTARY SCHOOLS.

Song Test. — 4. To sing in two parts, in good time and tune, and
with due expression, a school-song or round (set to words) pre-
viously prepared.

DIVISION IY.

Note Test.—l. To sing slowly, using the Sol-fa syllables, from
the Examiner's pointing, any simple diatonic passage in the keys
of G (one sharp), D (two sharps), F (one flat) or B flat (two flats) ;
and also a similar simple passage containing a modulation into the
key of the fifth above (by raising the fourth degree), or the key of
the fifth below (by flattening the seventh degree).
Example :

Also, to sing in the same way as above described, a short passage
in the key of A minor, introducing the sharpened seventh ap-
proached from and leading to the note A, but without introducing
the sixth (major or minor) of the scale.
Example :

Time Test. — 2. (a) To sing on one sound, one or more series of
notes and rests in \ I H and | times, which shall include dotted
minims and dotted crotchets ; also a simple phrase in g time.
Example :

58 SINGING IN ELEMENTARY SCHOOLS.

Ear Test. — 3. To repeat and afterwards name the notes of a
simple diatonic phrase consisting of not more than four notes of
the scale of C, which the Examiner may tivice sing to laa (or play),
each time giving the chord or the scale of C.
Example :

(Examiner) : Laa, laa, laa, laa. (Children) : Sol, Me, Ee, Do.

This test should only be applied to the more advanced children
of this division. Should special aptitude be shown, they may
be asked to name the time of an easy phrase sung twice to them
by the Examiner.

Song Test. — 4 To sing in good time, tune, expression, and in
a pleasing quality of tone, a school-song in two or more parts or
round (set to words) previously prepared.

PART II.

FOE, SCHOOLS USING THE TONIC SOL-PA METHOD AND NOTATION.
DIVISION I.

1. To sing from the Examiner's pointing on the modulator, the
tones of a Doh chord in any easy order, using the Sol-fa syllables.

2. To sing sweetlyaii easy school-song or action-song, previously
prepared.

The compass of the music should if possible lie between C and
D1 and the words should be such as children can understand.

DIVISION II.

Note Test. — 1. To Sol-fa slowly from the Examiner's pointing on
the modulator, in any keys — the key-tone and chord being given
— the tones of the Doh chord in any order, and the other tones of
the scale in stepwise succession.

SINGING IN ELEMENTARY SCHOOLS. 5l>

Example :

dnsd'snsdnrdnslsfnsltd1.
Time Test. — 2. To sing on one tone to the syllable " laa " an
exercise including one-pulse and two-pulse tones, in two-pulse or
four-pulse measure.

Example :

Ear Test. — 3. To imitate a simple phrase of not more than four
notes, using the syllable "Zaa," after hearing the Examiner singp
(or play) it twice through.

Example :

d n r d ||d' s 1 s ||s d1 t d1 |l
Song Test. — 4. To sing in unison, in good time and tune, and
sweetly, a school- song (set to words) previously prepared.

DIVISION III.

Note Test f Modulator J. — (a.J To Sol-fa from the Examiner's
pointing on the modulator, or from dictation, in any key, simple
passages in the major diatonic scale, including fe and ta in step-
wise progression, used thus, s fe S — d1 ta 1.

Example :

dns 1 snfrs fnsd't 1 sfesfnsd'tal s ltd'snd

Note Test.— (Written or printed.) (b.) To Sol-fa at sight a written
or printed exercise, including the notes of the Doh chord in any
order and any other notes of the major diatonic scale in stepwise
succession. The exercise not to contain any difficulties of time.

Example :
Id :d |n :r |d :n |s f |n :s |1 :s |1 :t |d' :— ||

Time Test. — 2. To sing on one sound to the syllable " laa " an
Exercise in three-pulse or four-pulse measure, containing one-pulse-
notes, half-pulse notes, and whole pulse rests on the non-accented
pulses of the measure.
Examples :

60 SINGING IN ELEMENTARY SCHOOLS.

||1 :- :l

1 :l :l

1 :1.1:1

1 :- :- ,

M1 =

1 : :1

1 :- :- |

Ear Test. — 3. To imitate " laa," and afterwards name any three
consecutive tones of the scale, which the Examiner may twice
sing to laa (or play), each time first giving the Doh chord,
or the scale.

Example : — Examiner sings d m S d1 s n d. Then to " laa " he
sings s f n. The children then repeat to laa, and afterwards
give the Sol-fa names.

This test should only be applied to the more advanced children
of this division.

Song Test. — 4. To sing in two parts, in good time and tune, and
with due expression, a school song or round (set to words) pre-
viously prepared.

DIVISION IV.

Note Test. (Written or printed.} — 1. To Sol-fa slowly, any simple
diatonic passage in the major key ; also a similar simple passage
containing a transition of one remove indicated by bridge-notes.
Example :

d n s f n r d s *d t, d n r d ds f n s 1 t d1 1|

d s n f r dnsdldlsfnrfnplltdlsridnrlst|d||

Also to Sol-fa a short passage in the minor key or mode, intro-
ducing se used thus— I se I, but without introducing fall or lali.
Example :
1 t d1 t 1 se 1 t d1 1 r1 d1 t 1 d1 t 1 se !i

Time Test. — 2. To sing on one tone, one or more series of notes
in two-pulse, three-pulse, four-pulse, or six-pulse measure, includ-
ing pulse-and-a-half notes.

Example :

l :- I : 1 :1 U :-.ll :1 .1|1 .—

8TNGING IN ELEMENTARY SCHOOLS. 61

Ear Test. — 3. To imitate and afterwards name the notes of a
simple diatonic phrase consisting of not more than four tones, which
the Examiner may sing or play twice, each time first giving the
Doh chord.

Example :

s n r d ||d n 1 s ||d' 1 t s ||s 1 s d1 II
This test should only be applied to the more advanced children
of this division. Should special aptitude be shown they may be
asked to name the time of an easy passage sung twice to them by
the Examiner.

Song Test. — 4. To sing, in good time, tune, expression, and in a
pleasing quality of tone, a school song in two or more parts or
round (set to words) previously prepared.

N.B. — It is hoped that, at some future time, the relation between
the Tonic Sol-fa and the Staff Notations will be taught to Scholars
in Standard V. and upwards.

P. CUMIN,

Secretary.

SINGING IN ELEMENTARY SCHOOLS.

LEICESTEE SCHOOL BOAED.

VOCAL MUSIC.

Vocal music must be taught in accordance with the following
Scheme : —

IN INFANT SCHOOLS.
DIVISION I. — (Children above 5 years of age and below Standard I.)

A. APPARATUS REQUIRED —

a. Modulator.

6. " Second Linnet."

B. TIME REQUIRED —

Daily lesson or lessons.

TUNE.

a. To sing from the Teacher's pointing and pattern on the
Modulator the Sol-fa notes of exercises 1 to 20 in the " Second
Linnet."

5. To sing from the Teacher's pointing on the Modulator the
tones of the DoTi chord in any order, using the Sol-fa syllables.

c. To sing similar exercises from the Manual signs.

d. To sing sweetly three easy School-songs or Action-songs.
Great care must be taken to prevent the tender vocal organs

being injured by : —

1. Loud and coarse singing.

2. Straining after notes beyond their limited range.

3. Slow and sustained singing.

The music should not go higher than the doW in key D, nor
lower than the doh in the same key.

Action-songs are especially suited for Infant Schools.

IN BOYS', GIRLS', AND MIXED SCHOOLS.
APPARATUS REQUIRED IN EACH SCHOOL. — •
a. Modulator.
6. School Charts.
c. Class Books.

SINGING IN ELEMENTARY SCHOOLS. 63

TIME.

a. Weekly lesson of half-an-hour.

b. Ten minutes daily.

Distribution of Time.

a. Weekly lesson — Voice training 4 min.

Modulator Exercises 6 „

Ear Exercises 5 „

Time Exercises 5 „

Singing of Exercises from Charts or Books ... 10 „

1. Daily lesson — Yoice training 3 „

Modulator 3 „

Ear Tests and Singing alternately 4 „

DIVISION II. — STANDARDS I. AND II.
STANDARD I.

TUNE.

a. To Sol-fa slowly from the Teacher's pointing on the modu-
lator in different keys — the key-tone in each case having been
given — the tones of the Doh chord in any order, and the other
tones of the scale in stepwise succession.

fc. To sing similar exercises from the manual signs.

c. To sing similar exercises of 2 or 3 tones from dictation. By
dictation is meant that the teacher, having given the key-tone,
shall name some notes, and require the children to sing the sounds
represented by those notes.

a. Ear Tests. — 1. To imitate a simple phrase of not more than
four notes, using the syllable laa, after hearing it sung twice.

2. To tell the tone Doh, me, or soTi, on hearing it sung three
times to the syllable laa, the key-tone having been first sung by
them.

TIME.

a. To sing in correct time exercises 1 to 10 of the " School
Charts," on one tone to the syllable laa.

b. To sing in correct time on one tone laa an exercise written
on the black-board, including one-pulse and two-pulse tones, in
two-pulse or four-pulse measure.

TIME AND TUNE.

a. To sing in time and tune any one of the Exercises 1 to 10 of
the " School Charts," the time having been first learnt.

64 SINGING IN ELEMENTARY SCHOOLS.

b. To sing as above a similar exercise from the black-board.

c. To sing sweetly in unison, or in two parts, in good time and
tune, five of the School-songs selected by the Board.

VOICE TRAINING.

a. The Teacher must insist on soft singing, with mouths well
opened.

&. A short daily exercise should be given in singing the chord
of the tonic (d PI S d1) in keys C and D, very softly to syllable ah,
sustaining each sound about a second.

c. Children who sing out of tune must listen attentively ; they
will in a short time be able to join the rest.

STANDARD II.

TUNE.

a. To sing the chord of Soh in connection with that of Doh as
directed in the exercises of the "School Charts."

&. To sing simple modulator exercises, introducing all the tones
of the major diatonic scale.

c. To sing from dictation a simple phrase or passage.

d. To sing similar exercises from the manual sings.

e. Ear Tests. — To tell any tone of the scale, on hearing it sung
twice to laa, the chord of the tonic having been sung.

TIME.

a. To sing on one tone laa in correct time, an exercise in 2, 3,
or 4 pulse measure, containing only full pulse tones and their
continuations, half-pulse tones, and whole-pulse rests on the
non-accented pulses of the measure.

b. To read a similar exercise in time. By reading in time is
meant that the Sol-fa names of the notes shall be said, giving to
each its proper duration of time.

TIME AND TUNE.

a. To sing any of the exercises 1 to 20 of the " School Charts "
in time and tune.

6. To sing a similar exercise from the black-board, the time
having been first learnt.

c. To sing in unison, or in parts if preferred, in good time and
tune, and with due expression, five of the School-songs selected
by the Board.

SINGING IN ELEMENTARY SCHOOLS. 65

VOICE TRAINING.

a. Exercises as in Standard I in the keys C, D, and E flat.
6. Soft singing and clear pronunciation of words must be
insisted upon.

DIVISION III. — STANDARD III. AND IV.
STANDARD III.

TUNE.

a. To sing the chord of Fall in connection with those of Doh and
i3oh, as directed in the exercises of the " School Charts."

6. To sing from the Teacher's pointing on the modulator an
-exercise, including all the tones of the major diatonic scale,
together with fe and ta in stepwise progression, thus : — s fe S —
d' ta 1.

c. To sing similar exercises from dictation and the manual signs.

d. To pitch the key-tone in keys C, D, E, F, G, A, B, with the
aid of the tuning-fork.

e. Ear Tests. — To imitate to laa, and afterwards give the names
of three tones of the scale in stepwise succession, which the Teacher
may first sing twice, the chord of the key-tone having been sung.

TIME.

a. To sing on one tone laa, an exercise in 2, 3, or 4 pulse
measure, containing one-pulse notes, half-pulse notes, and whole-
pulse rests on the non-accented pulses of the measure.

6. To read in time, as in Standard II, a similar exercise.

TIME AND TUNE.

a. To sing in correct time and tune any of the exercises 1 to 26
of the " School Charts," or a similar one from the black-board,
time being taken first, then tune.

b. Introduce two-part singing, and teach the easy two-part
exercises of the " School Charts." As an introduction to two-part
singing, divide the class into two parts, let both parts sing doli,
then direct one part to sing me, the other part holding on the doll.
Do this in other keys, and with other tones of the scale.

c. To sing in two parts, in good time and tune, and with due
expression, five of the School-songs selected by the Board.

66 SINGING IN ELEMENTARY SCHOOLS.

YOICE TRAINING.

a. Exercises as in Standard I in keys D, E flat, and E.

I, Teach the scale exercises in these keys to syllable ah, the
Teacher noticing carefully any faults in the production of tones,
such as coarseness, breathiness, &c.

STANDARD IV.

TUNE.

a To sing modulator exercises containing transitions into 1st
sharp and 1st flat keys, according to " Better Method," and
" Improper Method." The meaning of the term Transition to be
explained, the object of a composer in making a transition, and
the effect of a sharp and flat transition to be well known.

5. To sing exercises from Dictation or Manual signs.

c. To sing an easy modulator exercise to syllable laa, instead of
Sol-fa names. As this will be difficult, very easy exercises must
be given at first.

d. To pitch the key-tone in any key with the aid of the tuning-
fork.

e. Ear Exercises. — To tell the Sol-fa names of any three tones
in stepwise succession, on hearing them sung twice to laa, after
having sung the chord of the Tonic. This will be found compara-
tively easy, but the early exercises should commence on one of the
pillars of the scale (doh, me, soh), bringing in the two strong lean-
ing tones, fah and te, e.g., s f n and 1 t d1 in many different keys.

TIME.

a. To sing on one tone laa, an exercise containing pulse-and-a-
half notes and quarter-pulse notes.

6. To name the time of an easy passage sung twice by the
Teacher.

TIME AND TUNE.-

a. The time of an exercise having been learnt, it should be sung
correctly in time and tune to Sol-fa names, and afterwards to laa
or words.

&. To sing the air of an easy tune at sight to Sol-fa names three
times, then to words.

c. To sing in good time, tune, expression, and in a pleasing
quality of tone, five of the School-songs selected by the Board, in
two or more parts.

SINGING IN ELEMENTARY SCHOOLS. 67

VOICE TRAINING.

a. The same as in Standard I, in keys D, E, and F.

b. The scale exercises on these keys as in Standard III.

c. The children shonld be taught the different registers of the
voice and when to use them. Let the Boys change their register
about G. Scale exercises should be most frequently practised
descending, so that the thin register may be pushed downwards,
thus preventing coarseness in the low tones. Girls' voices will not
need so much training.

DIVISION IV. — STANDARDS V,, VI., AND VII.

TUNE.

a Introduce Minor Mode, explain the meaning of the term, why
so called, and show the necessity of altered tones in this Mode.
A number of exercises involving the chord of Lah in various keys
must be given, so that the minor may not be confused with the
major chord.

6. To sing modulator exercises in Major and Minor Modes.

c. To sing exercises from Dictation and Manual signs.

d. To sing modulator exercises to laa, or certain words instead
of Sol-fa names. The teacher should repeat some such words as
" Let us sing a merry song," and then point to certain notes on
the modulator, the children singing the sounds to the words, This
is teaching singing at sight to words, and is a valuable exercise.

e. Ear Exercises. — To tell the Sol-fa names of a simple diatonic
phrase consisting of not more than four tones, on hearing it sung
twice, the chord of the tonic having been first sung.

TIME AND TUNE.

a. To sing any exercise from the " School Charts," or similar
ones from the black-board, the time having been first learnt.

6. An easy tune, not seen before, should be sung in two parts.
The time to be first taken, then the Sol-fa notes three times, and
afterwards the words.

c. To sing in good time, tune, expression, and in a pleasing
quality of tone, five of the School-songs selected by the Board, in
two or more parts.

VOICE TRAINING.

a. Exercises as before in keys D, E, F, G.

&. Scales as before in these keys.

c Special attention must be paid to the production of the high
tones, no screaming or shouting being allowed.

WORKS BY MR. CURWEN.

THE TEACHER'S MANUAL

OF THE TONTO -SOL-FA METHOD.

Price FIVE SHILLINGS.

"This is a remarkable book, and very interesting to all musicians and lovers of
music . . . We regard this "Teacher's Manual" as the best defence of the system
of the Tonic Sol-faiste; and we would recommend our readers to devote a little time
to its inspection and perusal : there are very few who may not find something to
interest-them. To musicians, it is well to know what power exists in those whom they
regard as little better than musical pariahs, and to take a hint in time. In high places
it has been the custom for music to ignore general acquirements: among the 'humbler
classes' the Tonic Sol-faists are making music educate their pupils in the highest sense-
of the word."— The Orchestra.

THE STANDARD COURSE

OF LESSONS & EXERCISES ON THE TONIC SOL-FA METHOU

Price THREE SHILLINGS $ SIXPENCE.

" Mr. Curwen launches out into seven subjects, on which he consults every reputable
writer, and produces a closely-printed volume, touching Tune. Time, Voice-training,
Harmony, Musical Form, Pronunciation, and Expression. The book is more than one
upon surging and Sol-fa ; it is a treatise on Chords, Melody, Harmony, Composition,
Canon, Fugue, &c. TJpon all these subjects Mr. Curwen has written with judgment ;
and in this portion of his work, useful knowledge is to be found in a pertinent and
condensed form." — Athenasum.

HOW TO OBSERVE HARMONY.

Price TWO SHILLINGS.

This work contains the system on which the students have learnt who have beea
00 successful in obtaining prizes and certificates in Mr. Hullah's examination in the
Theory of Music at the Society of Arts. Anyone who plays the chants and hymn-tunes-
used for illustration in regular order will soon notice that the easiest and commonest
things in harmony are shown first, and afterwards those which are more difficult, and
that each illustration introduces some new thing. The examples are all in old and new-
notations.

THE STAFF NOTATION:

A PEACTICAL INTRODUCTION,

ON THE PRINCIPLES OF THE TONIC SOL-FA METHOD.

Price SIXPENCE.

" We have here remarkably clear and simple rules to enable pupils to transf e»
their musical knowledge to the stave in general use."— Monthly Musical Record.

London: J. CTJEWEN & SONS, 8, Warwick Lane, B.C.

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Full text of "Singing in elementary schools : a course of lectures delivered to the teachers under the Leicester School Board"

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