~~~ """ , """ ,,,,,",.?I~.?I.?I <QI,,, ,",,, ,,", ,,,," ,,,,,",,,,",,,,",,,," ,,,,, ",,,, ,,,,, ~~,, ,,",~ ,,,," ,<QI I The Folk-Song Sight Singing Series ! I EDGAR CROWE, ANN~ O~ ~~ ~~~ ~: :~ ~ GI LLI ES WHI TTAKER I I A COL LE CT IO N of Folk Tunes of many countries. c ar ef ul ly g ra de d f or sc ho ol s a nd c oll eg es, with notes and advice as to use. I n a ll c ase s p hr a~ lI lg a nd e xp re ss io n m ar ks are added. and the or ieu i of th e tun e stated. ! BOOK 1 (1 10 t ll ll tS ) lOOK 6 (90 fllrltS) i oh chord Jnd scale ,.-., L ea ps of > r hr r d Ins oh .nd f .h c ho rd J. C ! C .r and ~ r ~ ! 0 , - F i 1\0[(1 and reJeS: t iC's. Scnllqulvcn not stcpwue. If d' t e E.uy tunes with ~ a s beat. I ~~t:P:I~(::~w::S)'nqU t sue . Mod.I'UIlCI. ~ Le .. <>oy Ule of ba and K and of § L ea p. r- f for; ,11 4,h •• nd Sins in ehe ChrUI11'IIC1. I three chief chords. -.. Furth", uiodul anon wuh keys " ated. ~ ~:: very easy Ie.ps I- C .l and CC~~Ur'd unc, i> I, d, r<slS•• nd I 1 ",n vrry ... y p' '''le •. Fl uc my in qua ver -sc ale p... . g... lOOK 7 (91 tlmts) 1\ few •• • y tunrl II I the Miuor m od e. Mor e d,t flCuh lelp,. P r ac ti ce in pre- BOOK 3 (1 00 IllIIrs ) VIOU' mare... 1 u sed '" more dlffi- ~ Iu . cult w.y.. Modulauon without Le.!'. m-r.: '-1 , : all 4,h. and SI on statement of key. r.y and bh chord. Vonoul muccllaneous d..tflculti .. : fe III<J I Ie p" '. K· m -s e -t o nd -e ., y 4 tl u I 111 nunor. Fond F " al be... ~ scalewise only. II~ r' IIU' II U.I,f II &c. BOOK" (1CX1 rUrlts) BOOK 8 (50 rUrlts) Lops d-1: f-t,: t ,- f: '1-': [,-m. Tw o- pa rr: <>lyfolk tunc. with .,'Y u U(,p~ Ist; ba-se 111min~ d"·UlI1lS. ludivrdua! hnC's of about , the diffICulty of Book. I. II.• nd III. Euy IIwlll :_;.- IIWII E asy c om po un d II m< 1\ W r ' ! ~ I L OXFORD UNIVERSITY PRES S· M US IC DEPARTMENT I EW YORK AND OXFORD ~ ~~~~~~~._..,_, BOOK 9 (50 /mltS) Two-part: n l (\ dc rl t, ly d if fi cu lt folk tunc with dCSClIlU. Indrvrdual Itnt. of .b,)ut th. ditflCw,y of Hook. III .nd I V. ny Ji.1.fOIUC lup wuhm an octave, a nd some o ct av e pr sc uc e. f- s e, se-f. a nd s e- ba in mmoe E•• y c hr or na ri cs S im pl e mod ul ot io n w it h keys SIated II~ .,II" ~II a nd easy E::J ~ ~ an compound time. BOOK 10 (S O tllrltS) Tw o- ru t: f ol k. tunn with des cants. more d,ffaculC'. ISBN 0 19 330253 The Folk Song Sight Si n gin g Se ries Book III Compil ed and Ed ited by IDGAit c:aOWI A NN II L AW TO N, and w . GILLIIS WHITTAItDt Price $3.50 OXFORD UNIVERSITY PRESS
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Leaps of> rhrrd Ins oh .nd f .h cho rdJ. C ! C .r and ~ r ~
!0 ,- F i1\0[(1 and reJeS: t iC's. Scnllqulvcn not stcpwue.
r o - . If d' t e E.uy tunes with ~ a s beat. I~~t:P:I~(::~w::S)'nqUlt sue . Mod.I'UIlCI.
~ Le .. <>oy Ule of ba and K and of
§ Leap. r -f for; ,11 4 ,h • • nd S in s i n ehe ChrUI11 ' I IC1. Ithree chief chords. -.. Furth", uiodul anon wuh keys "ated.
~
~:: very easy Ie.ps I- C .l and C C ~ ~ U r ' dunc, i>I,d, r<s lS •• nd I1 ",n vrry ... y p''''le •.
Fl ucmy i n quaver-scale p.... g... lOOK 7 (91 tlmts)1\ f ew ••• y tunrl III t he Miuor mode.
More d,tflCuh lelp,. Practice in pre-BOOK 3 (1 00 IllIIrs ) VIOU' ma r e . . . 1 u sed '" more dlffi-
~
Iu. cult w.y.. Modulauon without
Le.!'. m-r.: '-1 ,: all 4,h. and S I on s tatemen t of key .
r.y and bh chord. Vonoul muccllaneous d..tflculti .. :fe III<J I Iep" '.K· m-s e- t ond -e ., y 4 tl u
I111 nunor. Fond F " al be...
~ scalewise only. II~ r' IIU' IIU.I,f II&c.
BOOK" ( 1 C X 1 rUrlts) BOOK 8 (50 rUrlts)
Lops d -1 : f -t ,: t ,- f: '1-': [,-m. Two- pa rr: < >l y f ol k t un c. w it h . ,' Yu U(,p~Ist; ba-se 111mi n~ d"·UlI1lS. ludivrdua! h n C 's o f about
, the diffICulty of Book. I. II .• nd III.
Euy IIw lll : _; .- IIWI IE asy c ompoun d IIm< 1\ W r ' !
~
I
LOXFORD UNIVERS ITY PRES S· M US IC DEPARTM ENT I
EW YORK AND OXFORD ~
~~~~~~~._..,_,
BOOK 9 (50 /mltS)
Two-part: n l (\ dc rl t, ly d if fi cu lt folk
tunc with dCSClIlU. Indrvrdual
Itnt. of .b,)ut th. ditflCw,y of
Hook. III .nd I V.ny Ji.1.fOIUC lup wuhm an octave,
and s ome oct ave p rs cuce .
f -se, se-f. a nd s e- ba in mmoe
E•• y chrornarics Simple modulotion
with keys S Ia ted
I I~ . , I I" ~ I I and eas y E : : J~ ~ an compound time.
The edi tors can see no justif icat ion for restr icting early sight-&inging to key C, with a ,radual addition of other keys. Their
reasons are as follows:I) The chief cause of hesitat ion and inaccuracy has nothingto do with key: it is due to uncertainty as to the pitch of thenotes to be sung. A fluent application of the solfa syllablesto the staff does away with this difficulty. Therefore, what isneeded is a grading of this application in a manner suitable forall keys. That iswhat this Series sets out to supply.2) C isnot the easiest key ineither the treble or the bass stave( It is the easiest key for the piano, certainly, but the mentalprocesses of sight-singing, especially in the earliest years, aretota lly different from those Involved in playinl a keyboardinstrument.)3) Although early result s may be quicker if C key is adheredto at first, succeeding staaes are rendered more difficult:ultimately, the most fluent reading issecured by variety of keysfrom the beginning.4) Solonl asthere are no accidenta ls , pitch names are only anencumbrance to the mind and a hindrance to readinl. Thelessthe pianoforte keyboard isthoulht about the better.
KEY SIGNATURES
There is no need for beginners to know the ful l meaning of keysignatures, The following two simple rules are all that isnecessary:I)Where there are sharps at the be,inninl of the line. the lastsharp, that furthest to the right. is t ;d' i sa step above, I , the keynote of the minor, a step below.2) Where there are flats at the be,inning of the line, the laltf iat . that furthest to the right , i sf ; d 15 three steps down, f m r d;I is two steps up, fs I.Pitch names need not bethought of at all .Practice should precede theory; knowledge of unessential detailsshould be left over until progress justifies their introduction.When feis introduced (Section VI) the meaning of the accidentalmust be explained.
PRELIMINARY SOLFA TRAINING
Itisassumed that preliminary solfa training has been sound, andthat all the common chords of both major and minor modes arefamiliar. To attempt to apply solfa names to the staff withoutthorough and systematic modulator practice previously isto courtdisaster. Reading to laa is usually mere guess-work. No certaintycan be obtained without a constant use of the sol fa syllables. Ifa good foundation of solfa has been laid most easy leaps are
prepared for. Reading from solfa notation also is an invaluableand necessary aid to securing fluency in the use of the syllables.Material for this will be found in Books XI and XII. which con-tain solfa notation only: they are intended to be prepa ra to ry andcomplementary to the s ta ff books .
GRADING
No collection of sight-singing examples can possibly meet allneeds, or suit everybody's plan of grading. To secure sufficientvariety. and to maintain interest in class, it is necessary to employvarious forms of reading practice by use of the modulator, writtenexamples and printed tests. Teachers should be ready to invent.and write on the board, additional melodies giving practice inany special difficulties of either time or tune which may arise in alesson.All new time divisions should be prepared by time exercisesalone before being used in time and tune combined. I n Book III
the only new time element is "=':{ used stepwise only.
It must not be assumed that every tune in these books is neces-sarily more difficult than those immediately preceding it. Ex-cepting for the new factor. the first tunes in each section aresometimes easier than those at the end of the previous section.
But the sections are a rranged in order of difficulty, and the tunesgraded within each section.With tune. the primary difficulty is to attain speed in thinkingout the solfa names of the notes, but facility in this is merely ama tter of careful grading and we ll di rected pract ic e. Progre ssionscommonly in use should be systemat ic ally int roduced and pract ic el imited to those unt il they a re mastered.itis sometimes overlooked that an interval which is easy to singmay be difficult to read. It requires systematic practice and eyetraining to name the second note of certain intervals withouthesitation, and the grading of these books has been planned withthis in mind. Eye training is an important factor in sight-singingpractice, and the Notes at the beginning of each Section aredesigned to show the best line of thought in that direction.
SUGGESTED PLANS FOR READING
In the early stages of reading it is suggested that each tune maybe sung in all of the following ways:
I) To solfa without time.2) In monotone (a) to t ime names, (b) to doh.3) Combined time and tune to solfa.4) Combined time and tune to laa, twice if necessary, and thenonce at least with all expression marks observed (and to anaccompaniment where the teacher is sufficiently skilled toimprovise one).
11
The class should alway? beat time or tap each beat silently. It isdesirable to use tapping in the early stages but to proceed tobeating as soon as the class is ready.When the class is sufficiently advanced each test should be sunga t lea st three t imes, a s fo llows:
I) To solfa.2) To laa.
3) With all expression marks observed (and to an ac compani-ment whe re the teacher is sufficien tly sk il led to improv ise one ).After the earliest stages of note to note reading, classes mustlearn to think in phrases. As an aid to this, phrasing is marked inall tunes, and cases of irregular rhythmic structure are noted.Observat ion of these points of cons truc tion not on ly he lps towardsintel ligent reading. bu t a lso inc rease s the inter est o f the lesson.All repeats should be observed: expression marks in bracketsre fe r to the seeond t ime.Tempo and other indications mayor may not be attended to ona first reading, according to the capacity of the singers. but ata later sta ge all indications should be observed in order that sight-singing may be linked up with musical-enjoyment. There is toooften a tendency to divorce sight-singing from music, and oneobject of this collection is to provide material which is at oncemusical and useful, and which will help towards making this partof the singing lesson a delight to the class.To add interest, the nationalities of the tunes are given. Very
slight alterations have been made occasionally in order to bringtunes within the limitations of a particular section; all such casesare indicated by a •The proportion of tunes containing certain leaps, e.g., I,-m and
rn-I, in the major mode, is not the result of an arbitrary choicebut of an analysis of some hundreds of simple folk tunes.This ana lysis has revealed that much sight-singing that has beenbased upon theoretical plans is not in line with the findingsresultant upon the arranging of a large number of folk-tunes inorder of difficulty. Itmay be argued therefore that the basis of thescheme followed in these books is a natural and not an artificialone. The collection thus becomes a compendium of the diffi-cul ties l ikely to be me t wi th in e lementary reading.
No' ,n: : Each of the Secticns I-VIII contains some fresh interval or time elemaat
Sectjon IX provides additional practice in the material ot Book fi, but iu. moredifficult tunes, for purposes of cultivating fluency. It is recommended that it
be practised parallel with the other Sections.
'throughout the work of thjs book eye training should be continued in nam·ing intervals from note to note l~nds. 3rdS. 4ths. 5ths.) with an immediate appli·
Cit ion of the solfa names.
SECTION l.Nos. 1-9.Leaps mot. and s-t•.
SECTION 11.Nos. 10-19.Leaps r-l, and I.-r.
SECTION III.Nos. 20-30.Leaps r-I and I-r,
SECTION IV. Nos. 31-43.Leaps m-l and l-m.
SECTION V. Nos. 44--49.Leaps l.om amd mol•.
SECTION VI. Nos. SG-S9.Chromatic note fe,
SECTION VII. Nos. 6O-6S.No new interval.
New time division tl:l:I used scalewise only.SECTION VIII . Nos. 66-80.
Minor mode: leaps m-se-t and easy 4ths.SECTION IX. Nos. 81-100.
Practice for ftuency in usinl the materia l of Book II in more
difficult ways.Note.-The Editors wish to express their indebtedness to MessrsBela Ranok and Karol Hlawiczka for kind permission to usemany fine Hungarian and Polish tunes from their col lec tions. I tmay be noted that in these , as well as inso~ other mclodic~, .thephrasin, seems unusual, but it has been dictated by the originalwords.
SECTION I. Nos.1-9
Leaps rrI-t. and s-t•.These leaps are easily read, as t. is on the
lineorin the space immediately below doh.
Allegretto Bflti~h
I '~ fffllr- 1 m I~JJ lEnd}, I~.~, I}J Jt'ggitro ...._ _.. cresco dim.
Andante (3 phraa.,. of 4 ban)
2 ~~#lin;J J I J J J I J J E Dl'
Latin
iflIJ II f ' J ; J Ir r IF J] J J J Ir r J IJ.
IV
C 19H. Odcml UDiYe ndy ' - . .. . .. .. ._. . ia U.S.A. 1961 Printed in U.s.A.