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In preparing the following exercises, our aim has been to present a systematic course of practice for the Singing-Class. We begin with the simple scale, taken in an easy form, and in each successive exercise endeavor to present, in the easiest manner possible, some new idea; thus proceeding, step by step, through all the difficulties ordinarily presented. It is recommended that the pupils study carefully the system of notation which precedes these exercises, there learning the theory, and here carrying out the practice. The teacher can commence here as soon as the pupils have learned to sing the Scale, and have become sufficiently acquainted with the Staff and Clefs. Nos. 1 to 6 can be sung, at first, without beating the time, thus having only the difficulty of reading the notes and giving them their proper sounds. Afterwards, beating time can be introduced, and the same exercises sung in double measure; and as they will have already become familiar with the exercises, their principal difficulty will be that of keeping time. We advise the teacher to keep this in view in all his teaching—to present but one difficulty at a time.
In our remarks, placed in the margin, we shall repeat many things that are contained in the Notation department, but this will serve to impress them more firmly upon the minds of the pupils. In No. 1 we begin with the Scale,
No. 1. which should be practiced until it is familiar to the class. The Scale is the
One, two, three, four, five, six, seven, eight. Eight, seven, six, five, four, three, two, one. foundation of all music, as the alphabet is of language.
In these first exercises, as in all others, endeavor to produce a good quali
Do, Re, Mi, Fa, Sol, La, Si, Do. Do, Si, La, Sol, Fa, Mi, Re, Do, lfe ty of tone, according to the directions in our Vocalizing department.
sweetly the right arm :-Dorn, up. At first,
ring-ing; we sometimes say, Doronward beat, Uproard beat, afterwards Doron, up, and then One, Thoo. In beating time, the motions of the arm should be very firm and exact. This is necessary in
Sing-ing now in strains of
strains of glad-ness, Naught to care of fear and sad - ness.
voi - ces
fragorriyet Ev - 'ry - where sweet mu - sic ring -ing, Na- ture
ev - er
more is sing - ing,
Cheer - fulsing - ing, live - ly mea - sure, Voi - ces ring - ing, joy and pleas - ure.
Let the rays of beau - ty cheer-ing, Drive the gloom of care's ap- pear - ing,
order to establish evenness in the meas. urement of the time. If the pupil neglect this all-important exercise during these beginning lessons, he will afterwards regret it. signifies that there are two beats in å measure, (constituting Double Measure), and that a quarter note is given to each beat. Consequently two quarters will fill a measure, one being sung to the downward and the other to the upward beat. In Double Measure a little stress is given to the first beat, and we say that the first is accented, and the second is unaccented.
In No. 3 we have two different tones in each measure.
In No. 4 we have but a part of the Scale-extending from one to five, and then returning to one.
In No. 5 we begin on five, and after ascending to eight return to five.
In No. 6 we obtain more variety and more melody, by moving in various
directions. Words followed by the · exclamation mark, as Hark! should be spoken a little shorter than others.
In No. 7 we give the Scale with the BASE CLEF, where one is on the second space. This should be practiced by both ladies and gentlemen, until all are familiar with it.
So far, our sounds have been of but one length, and represented by quarter notes, to each of which we gave one beat. In No. 8 we introduce HALF NOTES, which are twice as long as quarters, and to each of which we must give troo beats. Consequently a half note will fill a measure.
Hark! ye, how the bells are swell - ing, All their tongues of
tell - ing.
sing the scale
as - cend - ing, Now we
sing the scale de - scend - ing.
Come with me,
come with me,
Come and sing &
cheer - ful glee.
come with me,
A single succession of sounds is called a Melody. When two or more parts move together, they form Harmony. We have, hitherto, sung but one part. In No. 13 we begin to carry two parts at one time. To do this the class can be divided, the ladies singing the upper, and the gentlemen the lower part; or sometimes, to give variety, half of each on the upper, and half on the lower part. And for still more variety, let either ladies or gentlemen sing it alone, dividing among themselves. It is well for the teacher to obtain all the variety possible in such exercises, in order to keep up interest in the class. The scholar should accustom himself to listening to the other part while singing his own.
lu - jah,
During the performance of a piece of music, it is often necessary to pass over portions of time in silence. This time of silence must be measured as the time of the sounds are measured, and
characters called RESTS, corresponding in length to the different notes, are employed to indicate the time to be so used. In No. 15 we have the Quarter Rest, to which we give one beat, as to the quarter note. In some of the measures it occurs on the first beat, and in others on the second. Here the time must be carefully marked, so that all will sing together and rest together. At first, let all sing No. 15 together. Afterwards divide the class into two parts, one half beating and counting aloud, and the other half singing. Then reverse the order, and let those who counted at first, sing while the others count.
In No. 16, we employ the Half REST also, which must have tro beats. It is well, at first, to count aloud during the rests, and afterwards to beat without counting. In all of these exercises, first sing the syllables, and then the poetry, being careful to enunciate distinctly. This is one of the most important things claiming the attention of the singer, and it can be practiced to advantage in these beginning exercises.
So far we have given two beats to each measure, thus confining our exercises to DOUBLE MEASURE. We now, in No. 17, introduce TRIPLE MEASURE, having three beats, which are described by motions of the hand, as follows = Doron, Left, Up. We sometimes say, Doroniard beat, Hither beat, Thither beat. In Triple Measure we accent the first beat, and the second and third beats are said to be unaccented.
Mid pleasures and pal - a No. 19.
Watch-man, tell No. 20.
In No. 20, we have half and quarter notes differently arranged. In the first three measures the quarter note is sung to the first syllable and the half note to the second syllable of the words Summer, &c. The musical accent here comes, as it generally should do, with the accented part of the W so as to make them sound as if they were written Sum-mer-er, Win-ter-er, &c. Make the third beat firmly with the hand, keeping the tone through it without any emphasis.
. Be 22:33
In No. 21, he careful not to let tha :3
sound be prolonged into the second beat, where the Rest occurs. Singers often get in the habit of neglecting the rests, and continue the sound of the preceding note into their time. Begin at once to avoid this and form the better habit of giving both notes and rests their proper time. Treat the rests respectfully, and treat yourself to plenty of breath at the same time.
In No. 22 we have an exercise in two parts. It is well for all to sing together first the upper part, then the lower, and after becoming somewhat familiar with both, carry them together. Usually the ladies should sing the upper part, and the gentlemen the lower one; but this arrangement can be changed in various ways, to give variety, as the teacher may think best.
In No. 23 we have three notes to one syllable. To the word see, we must give the sounds of one, two and three of the Scale ; to the we give four, five and six, and so on. Produce the sounds evenly and smoothly.