Brigham Young University

Harold B. Lee Library

Gift of

John Taylor
/'
 Digitized by the Internet Archive
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SCHOOL OF CHOIR SINGING
A one-year course in singing

for older and newer choirs

By

F. MELIUS CHRISTIANSEN, Mus. D.

Founder, St. Olaf Choir
Northfield, Minn.

T"Q JUTCM OMNIA VINCtT \J~Z

m
KM/

AUGSBURG PUBLISHING HOUSE

Minneapolis, Minn.
 Copyright 1916
AUGSBURG PUBLISHING HOUSE
Minneapolis, Minn.

1956 Printing

HAROLD B. LEE L»RARY

BRIGHAM YOUNG UNIVfiRfilTV
PROVO, UTAH
 PUBLISHERS' PREFACE

TN THIS volume Dr. F. Melius Christiansen has pre-

sented in as non-technical a manner as possible those

essential aspects of music that may be called fundamental.

The method offered should be beneficial to both older

and newer choirs. It is planned as a one-year course in

singing.

Augsburg Publishing House

 CONTENTS
Part I.

THEORY.
Chapter I.

The Staff, Leger Lines. The Musical Alphabet. Treble Notes. Diatonic
Scale 7

Chapter II.
Value of Notes and Rests. Dots. The Tie and Slur 8

Chapter III.
Meter. Double, Triple, Simple and Compound Time. Accents. Time-
beating. The Upbeat 10

Chapter IV.
The Chromatic Scale. The Piano Keyboard. Enharmonic Notes. Chro-
matic and Diatonic Half-tones 13

Chapter V.
Rhythmics 15

Chapter VI.
Review 18

Chapter VII.
The Bass Notes. The Octaves 20

Chapter VIII.
The Major Scale 21

Chapter IX.
The Melodic Minor Scale 22

Chapter X.
The Harmonic Minor Scale 24

Chapter XI.
The Relative Major and Minor Keys. The Major and Minor Circles of
Keys 36

Chapter XII.
The Signatures 27
 CONTENTS
Chapter XIII.
The Major and Minor Scales with Signatures 28

Chapter XIV.
Review , . . * 33

Chapter XV.
Perfect andMajor Intervals. Perfect Intervals and Their Change to
Augmented and Diminished Intervals 34

Chapter XVI.
Major Intervals and Their Change to Augmented, Minor, and Diminished
Intervals. Simplification. Intervals Greater Than the Octave and
Inversion 36

Chapter XVII.
Triads in Major; Their Names and Roman Numerals. Triads in Minor.
Principal and Secondary Chords, Consonant and Dissonant Chords.
Chords of the Seventh and Ninth. Suspension and Ritardation. ... 37

Chapter XVIII.
Inversions of Chords and Analysis. Thorough-bass Figures. Modula-
tion. Passing-notes. The Full Theoretical Course of Studies.... 39

Chapter XIX.
The Cadences 44

Chapter XX.
Transposition 47

Chapter XXI.
Review 49

Chapter XXII.
Musical Form. Phrasing . . . . 50

Chapter XXIII.
Power of Tone and Rapidity of Movement 54

Chapter XXIV.
Voices. Mixed, Male and Female Choruses. C Cleffs * 56

Chapter XXV.
Review 58

(5.)
 .

CONTENTS

Part II.

THE VOICE
I. Introduction 59

II. Tone-production 59

III. Pronunciation 60

IV. Breath-control 60

V. The Reading of Music 61

VI. The blending of Voices 62

VII. Choice of Music , „ . . 63

VIII. The Choir Rehearsal 63

IX. Interpretation 64

Part III.

EXERCISES.
Introduction . . . . . 65

I. The Major Scale 66

II. The Tonic Chord 66

III. The Scale and Tonic Chord 67

IV. The Tonic and Subdominant Chords 67

V. Scale, Tonic, Subdominant and Dominant Triads 67

VI. Exercises in All Major Keys 68

VII. Exercises in All Minor Keys 73

VIII. Chromatics 78

IX. Exercises in Modulations 80

X. Exercises for Agility 84

XI. Exercises for Intonation 87

(6)
 PART I

CHAPTER I.

Names of Treble Notes.

A tone varies in length, pitch, power and quality. The notation repre-
senting these properties is done on the Staff, consisting of five lines and four
spaces. When tones represent higher or lower sounds than can be written on
the staff, small lines are used which are called added or Leger lines.

-7— -&- A
H
— ±-
o
1

The signs representing sounds are called Notes. The different parts of

a note are head, neck and chin ( J) ).

The Musical Alphabet.

The musical alphabet seven letters of the regular alpha-

includes the first

bet (A, B, C, D, E, F, G). This series of letters is repeated in different

Octaves. An octave is the distance from a note to the next note of the same
name above or below. Following are the names of the notes of the Treble or
G clef.

( Note—There are two clefs in general use. G \W), which shows

clef

where the note G is written, and F, or bass clef,/ pi Which shows where the

m
note F is written.)
a b

i egbdf face
£
gd
"**??
The notes should be memorized in the order given above. When the
 .

8 SCHOOL OF CHOIR SINGING

notes are written in regular order as the following, either up or down, it is

called a Diatonic progression, or Diatonic scale.

MM
HHPi c d e f S
a b c d e f g a b
Two-lined octave
c d e
Three-lined
One-lined octave octave
Small octave
The c belonging to the one-lined octave is called Middle C.

CHAPTER II.

Value: of Notes and Rests.

A Rest is a sign indicating silence. The notes and rests are divided into
like values of time. A Beat a standard measurement of length of notes and
is

rests and may be long or short, according to the rate of speed of the pulsa-
tions. Anyone walking down the street when a military band passes by, play-
march in time with the music.
ing, will feel a desire to This suggests the
meaning of the word pulsations as used abov*

Notes.
& Whole note= Four beats
J Half note = Two beats
# Quarter note = One beat

^ Eighth note = Two notes to one beat

4> Sixteenth note = Four notes to one beat

$ Thirty-second note = Eight notes to one beat

^ Sixty-fourth note = Sixteen notes to one beat

Rests.

-_ Whole = Four beats

rest
mm. Half rest = Two beats
i or ^ Quarter rest= One beat
1 Eighth rest— Two rests one neat
to
•1 Sixteenth = Four
rest rests to one beat

^ Thirty-second rest = Eight rests to one beat

§j
Sixty-fourth rest = Sixteen to one beat
rests
 SCHOOL OF CHOIR SINGING 9

Dots.

A dot placed after a note or rest lengthens the value of the note or rest
one-half. When two dots are placed after a note or rest, the second dot will
lengthen the note one-half the value of the first dot, as the following table will
show:

. Value *^J
J. Value J_J
1. Value l^~
1 • Value 1 s A etc.

o •• Value
&^L*
J.. Value

J-
w< •
Value

Value
JM
--T:*
1 •• Value 1 ^ ^ etc.

77z*> TzV.

A further lengthening of notes of the same pitch may be made by means

of the tie ( ^ , ), as follows:

& J . = Seven beats

J^ ^& = Five beats
<5?^^ w& = Ten beats
J J = One and one-half beats, etc.

The rests are never tied in this way, but as many rests as are necessary
tor a given duration of silence are written out.

The word Pitch means a certain heighth or depth of a tone.

When two notes of different pitch are sung progressively on the same
syllable they are connected by the tie ; but the name applied to it is now Slur-
 :

10 SCHOOL OF CHOIR SINGING

CHAPTER III.

Meter.
The perpendicular lines across the staff at regular intervals are called Bar-
lines. The spaces between these barlines are called Measures.

Double
Barline Barline bar
M e a sure M e asur e

Immediately after the clef, at the beginning of a piece of music, is given

a certain fraction indicating the Meter. The upper number gives the number
of beats in the measure and the lower number the value of notes or rests to
be given to one beat

= 2 beats to the measure, value of one beat

2/4 s d
3/4 = 3 beats to the measure, value of one beat s J
4/4 or C = 4 beats to the measure, value of one beat s J
6/4 = beats to the measure, value of one beat
6 s J
9/4 = 9 beats to the measure, value of one beat s m
12/4 = 12 beats to the measure, value of one beat s J
3/8 = 3 beats to the measure, value of one beat s
J)
6/8 = beats to the measure, value of one beat
6

9/8 = beats to the measure, value of one beat

9 s h

12/8 = 12 beats to the measure, value of one beat

2/2 or $ = 2 beats to the measure, value of one beat
3/2 = beats to the measure, value of one beat
3

4/2 = 4 beats to the measure, value of one beat

6/2 = beats to the measure, value of one beat
6

All of these meters may be divided into two general classes, double time
and triple time. Double time requires an even number of beats in the meas-
ure (2, 4, 6, 12). Triple time requires an odd number of beats in the measure
(3, 9); 4/4, 2/4, 3/4, 3/8, 3/2 are also said to be in Simple time, and 6/8, 9/8,
12/8, 6/4 said to be in Compound time because 6/8 is a double 3/8 ; 9/8 is a
triple, 3/8 ; and 12/8 is a quadruple 3/8 ; 6/4 a double 3/4 ; 9/4 a triple ; 6/2
a double 3/2, etc. If the number of beats in the measure be less than 6, the
meter or time is simple ; if 6 or more, the time is compound.
 SCHOOL OF CHOIR SINGING 11

Accents.

The beats within the measure in all the different meters are not equally
strong. The first beat after the barline is always the strongest.
2/2, 2/4:, = accents — w
jji = Alia breve.)
(
jji,

4/4 (g), 4/8, 4/2 = accents —w—w

3/4, 3/8, 3/2 = accents — ^ w

6/8, 6/4, 6/2 = accents — ^ ^ — w w

9/8, 9/4 = accents — w w — w w — w ^

12/8, 12/4 = accents _ww_^^_^ w _ w ^

Time-beating.

The first beat in the measure is always a down stroke.

For two beats to the measure,

2/4, 2/2 , $

For three beats to the measure,

3/4, 3/8, 3/2

For four beats to the measure,

4/2,4/4 (B),4/8

2 1
 :

12 SCHOOL OF CHOIR SINGING

For six beats to the measure,

6/8 and 6/4

3 2 14
For nine beats to the measure,

9/8 and 9/4

3 2 1 4 5 6

For twelve beats to the measure, 6

12/8 and 12/4

In very slow movements 2/2 or 2/4

time will have to be subdivided thus:

1 2

4/2 or 4/4 time, thus

3 12 5 6
 SCHOOL OF CHOIR SINGING 13

3/2 or 3/4 time, thus

In very fast movements 6/8 or 6/4 receives only two beats to the measure,
as in 2/4 time 9/8 three beats, as in 3/4, and 12/8 four beats, as in 4/4 time.
;

The measure which sometimes is found at the beginning of

fraction of a
a song or piece of music is called an Upbeat because the conductor beats up

when this fraction is only one beat. When this fraction of a measure is more
than one beat, he begins his beating upon the count of the measure given,
according to above figures.

CHAPTER IV.

The Chromatic Scale.

A sharp (J) before a note raises that note Yi tone.

A flat (b) before a note lowers that note ^2 tone.
A double sharp (X) before a note raises that note a whole tone.
A double flat (bb) before a note lowers that note a whole tone.
A cancel before a note restores the note to its former position.
(fcj) It is

sometimes called a natural, because it is used to bring the note back from
d sharped or a flatted note to its natural scale note.
When a double sharped or double flatted note is to be made natural, one
single cancel is sufficient to take away the effect of the X or bb but when
;

only half of the double sharp is to be taken away, it is necessary first to cancel
the note and then to sharp it {\\ }). Likewise, when only half of the double
flat is to be taken away, the note should first be canceled and then flatted (t| b)-
When a note is sharped or flatted, that note becomes a different note with
a different sound and a different name % before f is called
: f sharp, b before
b is called b flat, X
before g is called g double sharp, etc.
 : :

14 SCHOOL OF CHOIR SINGING

'

^
jj |

1
1 ;i
[

c D E f G A I) C D E f G A I) C D E f G A T> C D

The white keys on the Pianoforte represent the Diatonic scale. The
black keys, together with the white keys, when taken progressively, represent
the Chromatic scale. The diatonic scale consists of whole and half steps or
tones. Half steps between e and f, and also between b and c. The chromatic
scale consists of only half steps. Each octave is divided into twelve half
tones, as follows

i
The
j jjjjjJ^
tt
J

choir singer should

tf
J ^ J rrr
know
b
r
j|Jj ^ J

the keys of the pianoforte in order that

S
he may be able to use it as a help in learning his part.

Enharmonic Notes.

Notes which sound the same, but have different names, are called enhar-
monic. Remembering that there are half-tones between e and f and between
b and c, it can be seen that when e is sharped it becomes the same sound as f,
or when f is flatted it becomes the same sound as e, etc.

Following table gives the enharmonic notes

c — bS — dbb-
cjf- db.
d — ebb — cX.
dj - eb.
e — — dX. fb
f— cj — gbb-
n - gb-
g - abb - fX.
g# - ab-
a— gX— bbb-
a# - bb.
b — aX — cb.
 : :

SCHOOL OF CHOIR SINGING 15

Chromatic Half-Tones and Diatonic Half-Tones.

A chromatic half-tone is a half-tone which is changed by means of a

sharp or a flat without changing the position of the note. Chromatic half-
tones are

ii ct
$ -et^r

Diatonic half-tones are those which change the position of the note on
the staff:

I pe
etc. -

i *
The diatonic half-tone is much easier to sing than the chromatic half-tone
because the notes of the former belong to a diatonic scale.

CHAPTER V.

Rhythmics.

The arrangement of the value of notes within one or two measures is

called Rhythm. Not only the regular strong and weak beat in the different
meters should be felt, but also the smaller subdivisions of these beats. Beat
time with the foot on the floor for the regular beats and let the hand at the
same time give the rhythm on the desk in the practice of following exercises

i.$! J n i j n\i n i j *i

s. |i n j \n j f]J I J ill

8.$i j rp\n j j n:\siA3

4. |>i J Jffl\S~711 J Hfi\ J3JI

 J

16 SCHOOL OF CHOIR SINGING

5.l)i run ijt]j \mn \sni

e. 4* J. JMJ. J»|j. -h I

7. |i nn in j imrsu
8 .|t ^"^ I
J^ J ^l>J -h I

11

12 .|i J- jtjij. JT3U. muj j

is. |i *js.M?.n77j ivjTjn uui

14. |! 7-hJ T-hU J^J 7.M / I J 11

is. ii rmm \n j i j ij j
 SCHOOL OF CHOIR SINGING 17

V 3 3 3 3 3

17. |* JB3X3 jniJDBJi -Diura-n JSlUwl

is. 41 J. Am IJ33 Al ^IJUJTDJl Unll

i9.$t J. j ijij n I J. J IJ1J j *

20.^1 JID*J33*J33*J]3i /. I /. I J i^

2i.|t anwn^Mi •/. I * u *_

A
'
^^^ ^^ B is, I

22.4* JlJBJDnJllJOTJnJEJJU**

When three notes are given in the time of two of the same kind it is

called a Triplet. See No. 2, 5, 16, 18 and 22.

When 5, 6, 7, etc., are written above or below a series of notes, these

are to be performed in the time of four notes of their kind. See 22.

Bis means twice. '/. means to repeat preceding measure.

Syncopation is a rhythm in which a note begins on the light part of a

measure or beat and ends on the heavy part. See 8, 9, 10, 11, 17 and 18.
 :

18 SCHOOL OF CHOIR SINGING

CHAPTER VI.

Review.

Questions on Chapter I.

1. What are the properties of a tone?

2. Describe the staff and leger lines.

3. What are the different parts of a note?

4. Name the letters of the musical alphabet.
5. What is an octave?
6. For what is the G clef used?
7. Name following notes

I i
?m i

8. What is diatonic progression or diatonic scale?

9. Where is middle C located?
10. To what octaves do the different notes given in question seven
belong?

Questions on Chapter II.

11. What is a beat?

12. How are notes and rests divided with regard to duration?
13. Describe the different notes and rests.

14. What is the value of a dot when it is placed after a rest?

15. How do two dots lengthen a note?
16. What is the difference between a tie and a slur?
17. What is meant by the word pitch?
 -

SCHOOL OF CHOIR SINGING 19

Questions on Chapter III.

18. Define following terms: Barline, measure, meter.

19. What do the upper and lower numbers stand for in the meter
marks ?
20. Name the different meters used in music.
21. What is meant by double and by triple time ?

22. What is simple and compound time?

23. Are all beats in the measure equally strong?
24. What are the accents in the different meters ?

20. Describe the figures used in beating time in the different meters.
2G. How does the conductor beat time in very slow and very fast move-
ments ?
27. What is an upbeat?

Questions on Chapter IV.

28. Define the meaning of following signs:

J, \,, X, bb> 4, W, fc? b
29. What is a chromatic scale?
30. Give names of notes on the pianoforte.
31. What are enharmonic notes ? Name some.
32. Describe the difference between a chromatic and a diatonic half-tone.
33. Why are diatonic half-tones easier to sing than chromatic half-tones ?

Questions on Chapter V.

34. Define the word rhythm.

35. How can the feeling of rhythm be developed?
36. What is syncopation?
37. What is a triplet?
38. When figures like 6, 7, 9, etc., are used with a series of notes, wha*
does it indicate?
39 When bis means twice, what does */. mean?
20 SCHOOL OF CHOIR SINGING

CHAPTER VII.

The Bass Notes.

Tones which lie very low would in treble clef notation require too many
leger lines and make it difficult to read. For this reason such low tones are
lifted higher up into the staff by means of the Bass Clef. This is alsc called
the F clef because it locates the note F, which is in the small octave, on the
fourth line.

m is the same sound as

3 ?
gbdfa a c e g bf
mcdefga m§ d c

The following illustration shows the relation of bass notes and treble
notes and also the names of the different octaves.

Three-
Two-lined
One-lined lined
Contra octave
Small octave octave „ d
octave Great octave a b
e f g a b c d e f g a, b c d e f I

m
b c
d e
T'abcdef gabcdef g a

It will be seen that middle C forms the central meeting point between
the bass and treble notes.
 SCHOOL OF CHOIR SINGING 21

CHAPTER VIII.

The Major Scale.

was seen by the chromatic scale that the octave contained twelve half-
It

tones. Each one of these tones may be taken as a fundamental or Keynote

for a major or minor scale. There are then twelve major and twelve minor
Keys; but since three of these may be written in two ways (enharmonically),
it is possible to write fifteen major and fifteen minor keys. The difference in
major and minor consists in the construction of their scales. The construc-
tion of the major scale is: 1 1 y2 1 1 1 V2 — — — — — — .
.

s=?
^ fVa
Va

Every majorscale, no matter upon what note it begins, must be so con-

structed. Since the scale contains whole and half steps and since these must
be retained in their proper places, as given above, it will be seen that when
startingupon any note other than C, the scale will have to be regulated by
means of sharps or flats.
The student should now write out all major scales (15) using sharps or
flats wherever he finds it necessary to raise a note or lower a note in order
to make it conform to the structure of the scale 1 1 2 1 1 :
— —y
1 — V-2. The scales should be written out in the following order, using these
notes as starting notes C, G, D, A, E, B, F#, CJ, F, Bfc,, Efc>, A|>, Dfc>, G[>, C[>.
:

It maybe well, for the sake of practice, to write them out in bass notes. The
table given below should be used only for reference.

Sm C major

i i Va i i i 1/2
£
G major

1 11/2
3
^
11 1 1/2

m ^
'

D major A major
m f
w^
1 \ 1/2 1 1 1 1/2 111/211 1 1/2
32 SCHOOL OF CHOIR SINGING

)•
E major
ptrll
1 11/2 1
m £+. jim f:

i 1/2
B major

+—^t
m 1 1/2 I
p=«r=*
1 11/2

g
W
F# major

F major
1 11/2 1
iiJ »
1
r
1
i
i

r*r »ii^r
1/2
Cjf

Bb major
major

'

ll/2
|

r
tf
r
1
it

ll
rTTT|i
r
u
tt

11
^^
tfr

1/2

I
jf lP.
tff

1
1
fc
P
11/2111 1/2
fc
111/211 ^ 1 1/2

Eb major Ab major •

53
§
I7
^*l
i KM *
11/2 1 111/2 ^ 1
* ^?
11/2 1 111/2
•
):
t)b major

E r
P 111/2
f l
- b* ,

e tack
!

1
,

1
I

1
^ 1/2
Gb major

1 1 1/2 1 '
1 1 1/2

CJ> major
Gb , i L-

j ij b
f |
^ 'r-M&^i
111/211 1 1/2

CHAPTER IX.

The Melodic Minor Scale.

Major has only one kind of scale while minor has two kinds; one used
for melody called melodic and one used for harmony called harmonic. The
melodic minor scale descends differently from the way it ascends and must
therefore be written out both ascending and descending. The melodic minor
scales should now be written out according to construction given below. The
minor keys are: a, e, b, fj, cjf, g}, d#, a|, d, g, c, f, bfc>, e(j, afc>.

a minor

m
1 1/2
W1
#r fir

1/2
r
1
^ r \

1/2 1
I
• I/O
1/2 1
«
 SCHOOL OF CHOIR SINGING 23

It is best to write the notes and construction of the scale before adjusting
each step by means of sharps and flats. After the work has been done by
the student, he may compare it with the table given below.

e minor
9E^3 ij I f jg >r
E 1 V2 1 1 1 1 1/2 1 11/2 11 1/2 1

g
b minor

fit
J
1

minor
g 1/2
r
' 1
r
1
1 1 1 1
"r
1/2
r
1
1 | g
1 1/2 1
r
1
^
£
'
1/2 1

3 j,j.j jii^r"rT'n r «
J J ^J
t
ff
11/2
„
1
l/o ,.
1
,.
1
*
1
,.
1
l/r,
1/2
*
1 11/2 i/o
111/2 f/o * TT
1
t

c# minor
ttr *p V-to
'* B
1
te e
' 1/2 1
I
1
n
r
#
r
1 1/2 1 1 1/2 1 11/2^p 1

gtf minor

i 1 1 1 J 4t J &m i[ p
ic
r r Mr
*
S ite t
#*=*
11/2 1 1 J 11/2 1 1/2 111/2 1

djf minor
fa fa t "r jgg jg
i 5 »f I fe r e iif ii

* 11/211111/21 11/2111/21 p i t

aH minor

i ,|
u
1 1/2
i i
J
1
«
r
1
»
r
1
t t
1 1/2
*r
1
'^»r tTii1 1/2 1 ' 1
W*
1/2 1
 *

24 SCHOOL OF CHOIR SIN'GING

d minor

3 ?11/2111 *H^£ £
1 1/2 1 11/211 1/2 1

g minor
§ J B * fr=R «"—
11/2 £11
J f
1 1/2 1 1 1 1 1/2 1 1/2 1

^
i

1 £=£
1 '
1/2 1 1 1 1 1/2 1 1 1/2 1 1 1/2
£ 1

3
f minor

11/2
?=£* *
1 1111/21 t
zif-r r
S 1
r,
1/2
Jn>J
1 11/21
° J

g a
bt> minor

1
J \>?

1/2
p 1
'

r
1111/21
L i

11/21
^ 1
£ 1/2 1
fc

7
eb minor

j § u ^ ^f^t
i11/2 1111/21 1 1
|J bJ
1/21
i
>^
1
^
1/2 1

al>

a j g
minor

1
iJ
1/2
m=£.
r 'r
1
b
r r
1 1/2
T r "r-^
111 1 1/2
« t
1/2 1

CHAPTER X.

The Harmonic Minor Scale:.

The harmonic minor scale is the same descending as ascending and need
only be written one way. The construction is 1 —/— — — —
l
2 1 1 l
/>
1/2 — /2.
All scales should be written out without aid from table given below. The
fundamental notes or keynotes are the same as in the preceding chapter.
 SCHOOL OF CHOIR SINGING 25

a minor

1 1/2 1
s
'
1 1/2
^fc
life 1/2
i
e minor

1
;^^E
111/2
1/2
§m life 1/2

3
b minor

1
^ 1/2 1 1 1/2 life 1/2
fll

phf^~J
"
minor

1 1/2 1
J
1
I|J

1/2
f
S
life 1/2

ct minor u_ #^. g# minor

ftffzfe
*) :
gg r #r
jl

Kii^TvC
11/2 1 1 1/2 life 1/2 1 1/2 1 1 'lfe life 1/2

dH minor aft minor

g faiVUfir trrT^ {U O g
f1 1/2 1 1 lfe life 1/2
tH^^f 1 lfe 1 1 1/2 life 1/2

d minor g minor
i Hi £
nc
1 1/2 1 1 1/2 life 1/2 1 lfe 1 1 '
1/2 life lfe

c minor ^ f minor

3 £ j b ' *
1 1/2 1 1 1/2 life lfe 11/2 1 1
T
1/2. life 1/2

bb minor L eb minor

^
,

') J J i \
j a a g g
2JE

1 lfe 1 1 1/2 life 1/2

a11/2 1 1 1/2
r
ll/2 1/2

ab minor

* 1/2 1 '
1 lfe life' lfe
26 SCHOOL OF CHOIR SINGING
CHAPTER XL
The Relative Major and Minor Keys.
The note of each scale has been taken as a fundamental note for a
fifth
new scale as, for instance, in major:
D major
C major _ ! I

A major
G major
In proceeding this way through all the keys we find that they meet and
form a circle which represents the Major System of Music.
C
F ^"~ ^G

Enharmonic Keys
Likewise the Minor System of Keys will form a perfect circle by taking
the fifth note o-f each scale as a keynote for the next key.
a

Enharmonic Keys
 SCHOOL OF CHOIR SINGING 27

Those keys of the minor system which have most notes in common with
major keys are called Relative Keys. A minor has most notes in common with
C major; these keys are therefore said to be related or relative keys, etc.

Major Keys c G D A E B Fit C# F B\> Et> Ab Db Gb C\>

Relative minor keys a b d c f bb

e fit eft 6* dlt alt S ef> al>

The student should he able to write the major and minor circles of keys
and also be able to give the relative keys. The relative minor is situated a
minor third (V/2 or three y2 steps) below the major.

CHAPTER XII.

The Signature.

A composer who writes a piece of music in, for instance, the key of E
major, will never write a sharp for every F, a sharp for every C, a sharp
for every G and a sharp for every D
throughout the piece. He will write
these sharps immediately after the clef at the beginning. These sharps will
then affect all F's, C's, G's and D's in the piece and together form the
Signature of the piece. The sharps and flats in the signature always come in
a certain order.

The order of the sharps is: FJ, GJ, E#, BJ.

mm
Ctf, Dfl, Atf,

The order of the flats is : Bfc, Eb, A|>, D[>, Gfc>, Cfc,, Ffc,.

$
There can be no more sharps and flats because there are only seven let-

ters in the musical alphabet.

The signatures of the major and its relative minor key are the same.
28 SCHOOL OF CHOIR SINGING
The signatures for the different major and minor keys are the following

C G D A E

m^mm mm K* it
Ctt

att d
Bb

p-
^

The major keys are written with capital letters, the minor keys with
The student should be able to repeat the sharps and flats in the
small letters.
order of the signature and be able to write out the signature for each major
and minor key.

CHAPTER XIII.

The: Major and Minor Scales with Signatures.

The student should now write all major and the two kinds of
scales
minor scales, giving the signature of each. The major need no acci-
scales will
dentals. The minor scales will, besides the signature, also need accidentals.
An Accidental is a sharp, double sharp, flat, double flat or cancel written
before notes out in a scale or piece of music besides the regular signature.
The melodic minor scale raises the sixth and seventh notes ascending.
These notes are restored to their natural position (or same as relative major)
going down.
The harmonic minor scale raises only the seventh note. It is the same
going down as going up.
If a note is sharped or flatted by the signature, and these same notes
sharped or flatted out in the piece, these latter have been sharped or flatted
to remind the singer or player of the flat or sharp in the signature. An acci-
dental will affect all notes of the same denomination only as far as the next
barline unless such a note should be tied over into the next measure.
 SCHOOL OF CHOIR SINGING
Following scales should be used only as a key

Major Scales.
C major G'major

5 p mm ?
mm
D major A major

i uI f
£
E major B major
yB
F# major
m mm m
C# major
3

pi p pH w p
m
F major Bb major

it
Eb major Ab major
m £

ak i
f ipfeg P ££
Db major Gb major

P* P rrUW
$ l lf i
P
Cb major

f&Bf P
 ! 1

30 SCHOOL OF CHOIR SINGING

Melodic Minor Scales.

a minor

fa
e
i
minor
1
1
1
#p
a
ft p |
^
b minor
jMr
FF# r jg i
^
f» minor
f? g e^=a
* e i
^
Jy r ttr lip
| | | . =

c» minor

f t^-*r-r~-y -v 5
g# minor

Pi ^ itei
p
dU minor

pig #
y^
!|||

i-*f r r

all

| a
minor

J
r r
Km xp g \
\
$m jAg
3
 SCHOOL OF CHOIR SINGING 31

Melodic Minor Scales — Continued.

d minor

f
% fc
ip ll r r I I
f
g minor
. ,> flf g i;r=fe

P P
c minor

iB i i pi gp i
i
f minor

im J , p \r 'i
f=*
P P
bb minor
=£zdz:'
££=p
je
V f V h

f
eb-minor

pg j J J J
r 1 >r r
b
r j r

ab minor

y g l?
r
_L

j ii J j^
r P
32 SCHOOL OF CHOIR SINGING

Harmonic Minor Scales.

a minor e minor

m
b minor
f Hit
ffl minor
i
j jj
r 1
1 r

f
Wl*
r^i^JJJrr *4
ctf

mS
minor

mm
minor

Ofr-^U
f
dlt minor a* mi
J minor

^nVj ,
ujJ rT rn^^ s§
d minor g minor
4
JJr*rrlft*-H
P P
c minor f minor

a1 j JJJ> r rl^VTJ^
minor et> minor

p^ jjjjjJuJJ ^'W' ii
j j J J
r r
N
r

ab minor

e£
 SCHOOL OF CHOIR SINGING 33

CHAPTER XIV.

Review.

Questions on Chapter VII.

40. What is a bass clef?

41. Write a note in treble clef and one in the bass representing the same
sound.
42. Name following bass notes :

3 j j i r r ,
iff
f
43. Name the different octaves.
44. In what octaves do the notes in question 43 belong?

Questions on Chapter VIII.

45. How many half-tones in the octave?

46. What is a keynote?
47. What is a major scale ?
48. What is a major key?
49. What are enharmonic keys ?
50. How many major keys can be played on the pianoforte?
51. How many keys can be written ?
52. Give the construction of the major scale?
53. What are sharps and flats used for in writing out the different
scales?
54. Write following major scales, using sharps or flats wherever neces-
sary : A, FJ, Bb, Gb.

Questions on Chapter IX.

55. Name the two kinds of minor scales.

56. Give the construction of the melodic minor scales.
57.Write following minor scales in the melodic form, using acci-
dentals wherever necessary e, eft, : c, bb-
 :

34 SCHOOL OF CHOIR SINGING

Questions on Chapter X.

Give the construction of the harmonic minor scale.

58.
Write following minor scales in the harmonic form, using
59. acci-
dentals wherever necessary b, g#, f e|?. : ,

Questions on Chapter XL
60. What is meant by the major system?

61. Write the circle of major keys.

62. Write the circle of minor keys.
63. Why are C major and A minor said to be related?
64. Name all major keys and their relative minor keys.

Questions on Chapter XII.

65. What is a signature?

66. Write all sharps in the order of the signature.
67. Write all flats in the order of the signature.
68. Give the signatures for following keys: B major, A major, FJ
major, b minor, fJ minor, Efc> major, D\) major, g minor, f minor.

Questions on Chapter XIII.

69. What is an accidental?

70. Write following scales, using signatures and accidentals, the acci-
dentals only when necessary: A major, G|? major, e melodic minor, f

melodic minor, b harmonic minor and b(? harmonic minor.

CHAPTER XV.

Perfect and Major Intervals.

An interval is the distance between two sounds or notes. In measuring

distances between tones observe following rules
Consider the lowest note of the two to be the keynote of its own major
scale ; if the other note belongs to that scale, the interval is either Major or
Perfect, according to the number of steps between the two.
 4

SCHOOL OF CHOIR SINGING 35

Numbers 1 —4— — 5 8 are Perfect intervals.

Numbers 2 — — — 3 6 7 are Major intervals.
Count the lowest note as one.

Perf. first or prime Perf. 4 t_n Perf. 5 th Perf. 8th or octave

i J j u ? p^p
Major 2<? Major 3 Major 6*) 1 Major 7 th

i 2
f i f ?
The student should now write out all Perfect and Major intervals, tak
ing the keynotes in Major keys as the lowest note.

Perfect Intervals.

The perfect intervals 1 —4— — 5 8 are augmented when they are

increased by a half-tone. They are diminished when the intervals are a half-
tone smaller than the proper scale notes.

Perf. prime Aug. prime Perf. 4th Aug. 4th Aug. 4^ Dim. 4^

I j j uj m *-*++> y J
u3
Dim. 4th p erf> 5 th Aug. 5 th Aug. 5th Dim. 5*h Dim. 5 th

i fJ
J I

J
ij I

j n i
y g I

J H B
Perf. octave Aug. oct. Aug. oct. Dim. oct. Dim.oct.

|jr i

j
"
w p^p
Perfect prime can not become diminished because there are no smaller
intervals possible.

The intervals 'become augmented in two ways ; raise the higher note or
lower the lower note. They also become diminished in two ways : raise the
lower note or lower the higher note.
36 SCHOOL OF CHOIR SINGING

CHAPTER XVI.

Major Intervals.

The Major intervals 2 3 6 — — —

7 become Augmented, Minor and
Diminished through chromatic alterations from the proper major scale note:
Half tone larger makes the interval augmented. Half tone smaller makes the
interval minor. A whole tone smaller makes the intervals diminished.
Major 2^ Aug. 2^ Aug. 2 d Minor 2^ Minor 2<? Dim. 2d Dim. 2d Dim. 2d

I J J 'in U J- UiJ p J UuJ sP^jp

Major 3^ Aug.3d Aug.3d Minor 3d Minor 3d Dim.3d Dim.3 d Dim. 3d

J J 'i# J U u^ J 'j|i
J '

> ji
jj p
Major 6th Aug. 6th Aug. 6th Minor 6th Minor 6th Dim.6th Dim. 6th Dim. 6th

I m £

Major 7th Aug. 7th Aug. 7th Minor 7th Minor 7th Dim. 7th Dim. 7th Dim. 7th

I J Jl ^J
ff i
J I

'
i
lt tJ|
U ,
l

'i
. bJ l

P
,

'
i U-f^fT^
l

P
The major become augmented in two ways, minor in two ways,
intervals
but diminished in three ways as will be seen by the above table.
The student should remember to deduce all varieties of intervals from
the interval where the higher note is a proper scale note. The work should
now consist in the writing of all these varieties of intervals, taking notes other
than as the lower note.

Simplification of Intervals.

Any difficult interval may be simplified either by raising both notes or

lowering both notes. This not change the distance between the two
will
notes ; but it will always have to be done without changing the position of the
notes on the staff.
 :

SCHOOL OF CHOIR SINGING 37

Simplified or Simpl. or

I P g 1 1

1
&
Intervals Greater Than the Octave.

When an interval is greater than an octave the number must be given

correctly, but the kind of interval is found by taking the higher note down
into the octave of the lower note.

Minor 10 t_h Minor Major 13 th Major Aug. 18 th Aug.

=1 I
^^3 3 P
Inversion of Intervals.

An interval may be inverted by lowering the higher note an octave (or

two octaves if necessary), so that in the interval thus formed it becomes the
lower note.
Inverted Inverted

i f
In such inversions major intervals become minor, minor become major,
augmented become diminished, diminished become augmented; but the perfect
intervals remain perfect. As to number, 3ds become 6ths, 4ths become 5ths,
etc., as shown below

12 3 4 5 6 7 8 in the inversion
becomes 876 5 4321
CHAPTER XVII.

Triads.

A triad or chord consists of a root note with a third and There fifth.

are four kinds of triads: (1) Major major third

triad consisting of a root,
and perfect fifth. (2) Minor triad consisting of a root, minor third and a
perfect fifth. (3) Diminished triad consisting of a root, minor third and
diminished fifth. (4) Augmented triad consisting of a root, major third and
augmented fifth.
38 SCHOOL OF CHOIR SINGING

Major triad Major triad Minor triad Diminished triad Aug. triad

m 3F
5
7<S

Triads in Major, Their

£

Names and Roman Numerals.

m
The Roman numerals show the number of the scale-note upon which the

triad is built. Large Roman numerals are written for major triads, small
Roman numerals for minor triads. A zero after a small numeral indicates
diminished, and a cross after a large numeral indicates augmented triad.

Triads in C major

C/3
C
r
CO
O* p
3 tx
Cb 3
P o
3 r-5

These seven triads on the seven notes of the C major

have been built

scale. We find that there are three major triads, three minor triads and one
diminished triad in major. These are the same in all major keys. Their
names are also the same in all keys.

Triads in Minor.

The harmonic minor scale is used for harmonies.

Triads in a minor

i ¥ m 3
~tr
Ql a
I Iio III* IV V VI Vlio

-3 CO C/3 C/3 r 1

o o H.
CT*
a>
P
3 B B o.
f >-i P o o 3
o 3 3 p arc
3 3 3 p <-*•

P 3 o
O 3 <-»-
3
cr>

I, IV and V are the Principal Chords, The other chords are called Sec-
ondary.
 SCHOOL OF CHOIR SINGING 39

The same names are used for .both major and minor. In minor
we find
two minor, two major, and two diminished triads, and one
augmented. The
triads in all major and minor keys should now be
written. The signatures
should be used in this work.
The major and minor triads are the only
Consonant Chords. All others
are Dissonant Chords. A
consonant or independent chord is complete in
itself, while a dissonant chord is dependent upon a resolution
into some other
chord. Other dissonant chords besides the augmented and diminished
triads,
are the following:

C V7 v9
The Chord of the 7th is a triad with a third added. The Chord
of the
pth made by adding a seventh and ninth to a triad.
is

If a note from a preceding chord is held

over into the following chord
it is called a Suspension
when the note resolves one tone downward and
Ritardation when the note resolves one-half tone
upward.

Suspension

sfeif

The first c (example 1) in the upper voice is called the preparation, the
second c the suspension and the note b the
resolution of the suspension.' In
example 2 the -first b is the preparation of the
ritardation, the second b the
ritardation itself and c in the upper voice is the resolution.
Other dissonant chords may occur when some
note is chromatically
altered. A
chromatically raised note finds its resolution one-half
tone up and
the chromatically lowered note its
resolution one-half tone down.

CHAPTER XVIII.

Inversions of Chords and Analysis.

The root of a chord is not always found in the lowest

voice (Bass). When
pie root of a chord is found in one
of the upper voices the chord is said to
be inverted. When the third of the chord is in the bass, the chord is in the
 :

40 SCHOOL OF CHOIR SINGING

first inversion, when the fifth is in the bass, the second inversion, when the
seventh is in the bass the third inversion.

Inversions of a triad :

Fundamental position. First inversion. Second inversion

s
TT
^ «
TT

Inversions of a chord of the seventh

Fundamental position. First inversion. Second inversion. Third inversion

m -«>-

7
yf»
x*
3^: ^
2

P
v7 V7 v7

The Arabic figures above a given bass is called Thorough-bass figures.

These figures are gotten by counting the steps from the given bass up to the
most important notes of the chord to be written above that bass note. The
Roman numerals below the bass show upon what note of the scale the root
is without regard to the voice in which it is found.

The student should now be any simple

able to analyze the harmonies in

piece written for four voices. When a song occasionally leaves the original

key, this key is usually a near related one and the Roman numerals must be

given in this new key. Such changes of key are called Modulations.

In four-voiced harmony one of the notes of the triad is doubled, the root
most frequently, the third most seldom; the fifth is sometimes omitted.
 •

SCHOOL OF CHOIR SINGING 41

N?1

^Fff m ^7
- i#- <;
fc&
J. B. DYKES,

1
r
1861.

m<> i
BCD
s w
Eb
i
I

=
I IV I

*=*
ii 7 V- 7 I I I
?
IVV, IBbvnoI

£^
|T3p
ZM jh
TV
3
^ P
Eh I I IV. I V n7 cV 1 VIEW n7 I V7 I

#— J=g
i
S
!

I I§ i
Ab I I V I V7 I V I m 7 EbV7 I V7 I V

m
pA W
iE*
6 w
=£=4 g - \& g
1 ^1, i
p f f
I I IV
p
I V n7 cV 1
^F
EH
VI n7 I.V7 I

At A the b(j in the upper voice is a suspension. A|? is the harmony note
belonging to this chord.
At B the inner voices merely move from one chord note to another.
At C the 2l\) is suspended.
At D the tenor takes a Passing-note between two harmony notes.
42 SCHOOL OF CHOIR SINGING
GERMAN, 1628
N?2
u
gs it=±=4
i fcl 1*5 i p i P ^jjs^P
5 6

KS
m P if
f . v tv 7 v i c v7 : f v7 iAbmlV in I

mm rr
a
BTj*
3 e %
fis

^g P
At A
6

IlV7
7

the melodic minor scale

M
V-7 I
i
r
VIloI
is
fviio
used which
an exception to the gen-
tr
1 V
is
VIVnv
?
r^*
fe
V.,
rI

eral rule. The note d must be considered an accented passing note.

At B there is a suspension in the tenor part.
When the student has made a careful analysis of the chords in the pre-
ceding two hymns, he should attempt to write the Roman and Arabic numerals
to the following three hymns :

L. BOURGEOIS, 1551

E
m
at

t *=* m m
ET
mE m f
A
m i

tm
s S=5
r*
r\

mm p mf 1^
A
Er
 SCHOOL OF CHOIR SINGING 43

J. CLAUDIUS' "PSALMODIA NOVA," 1630

N?4

i fe zp f v* I *=p
r

m £k
fL -p.
*-1^ g-h
^>i
'

i
3
f

f£# [4aH «
fHi 333 F*=h =f:
J J J J
r-r

g=^= -f9— J4r

rfP— JJ.
>):
^
,1,,
i> V L
1
Ljj^J
H*- 1
P &•

No 5 KINGO'S GRADUAL, 1699

fe Jit 3
IP
rt!
£* 3
r r r

**
I- P¥ *f i? f
p
g#^f r
iPP
r
 : :

44 SCHOOL OF CHOIR SINGING

The student has now gained an insight into the harmonic make-up of a
tune ; but the ability to arrange melodies and to analyze all kinds of har-
monies can only be gotten through a longer period of study. A full theoretical
course of studies consists of: 1. Harmony:
and their the study of chords
connection. Simple Counterpoint: the art of writing different melodies
2.

together. 3. Double Counterpoint the writing of two parts in such manner

:

that they are also correct in the inversion. Triple and Quadruple Counter-
point are three and four voices, respectively, which are correct when inverted.
4. Canon and Fugue Canon is the writing of rounds and Fugue is the writ-
:

ing of pieces in the polyphonic or imitational style. 5. Musical form: the

study of all forms used in music. 6. Instrumentation and Orchestration
the study of instruments, their range, tone color, and capabilities, and the
writing for Orchestra, Military Band, etc. 7. Instrumental and Vocal Com-
position.

CHAPTER XIX.

The Cadences.

A cadence is an ending of the whole or part of a piece of music. In

hymns there is a cadence of one kind or another at the end of every line of
the poetry. There are six different kinds of cadences

1. The Perfect Authentic is V followed by I, both chords with root in

bass and the upper voice ending on root note.

2. Imperfect Authentic is the same as perfect authentic only that the

upper voice may end on some other tonic chord note, or one or both of the
chords may be in some inversion.

3. Perfect Plagal is IV followed by I, upper voice ending on root note

and both chords in fundamental position.
4. Imperfect Plagal is the same as Perfect, except that the upper voice
may end on some other tonic chord note, and one or both of the chords may
be in some inversion.

5. Deceptive Cadence is V followed by any other chord but I.

6. Half Cadence is I followed by V at the middle of a musical sentence.

 —

SCHOOL OF CHOIR SINGING 45

Perf. Authentic Cadences in G major

i * GL-
G 1 <v
5>
TT
A>_
£*
V7 I v7 V-

Imp. Authentic in F major.

AJL ax
*:
* H fc
S ax -o AA 3T S AA
4
§:
6
c 3 5

3* ax V AX ax
3X av H av
AX
V I V V7 I V I

Perf. Plagal in f minor.

* **
i * XE
S:
XE

3 tzz:
-o-
fe*
A>
IV I

Imperfect Plagal in D major.

Iff A> *F
f A>
IF
XV «=§: s AV
V>
E S A>^

^^ IV I
ii .

IV
«*

I
A>-

IV
AX

IV
-O-

Deceptive Cadences in c minor.

E£=§j xs:

i ** lx
AX
vX

S jo:

VI
AX

VII« 70
AX :!**

g V
etc.
46 SCHOOL OF CHOIR SINGING
">
Half Cadences in B^ major.

m ±
«
XE S # 351
§
3HI s

m ji.

-e-
.£i_
-t>
etc.

Half Cadence. Perf. Auth. Cadence.

t=fi
4- fl Ifl
f
f=g au 2E1
pr
19- <P-S>- I©- rP-
1 2E ZL ZZZ2 P
I V V, I Fine

Imp. Plagal Cadence.

s I
g±

I D.C.al Fine

= Repeat preceding part.

:||

1
= Repeat following part.
1 :

:|| = Repeat both preceding and following parts.

:

Fine = The end.

B.C. Fine = From beginning to end.
at

D. S. Fine = From sign 5£ to the word Fine.

al ( )

In singing D. C. or D. S. sing through to the word Fine (sometimes

marked 'Tf) without repetitions.
The student should find cadences in hymns given in preceding lesson.
 SCHOOL OF CHOIR SINGING 47

CHAPTER XX.

Transposition.

The writing of a piece of music into another key is called Transposition.

A major key may be transposed to another major key; a minor key may be
transposed into another minor key. A major key can never be transposed
to a minor key or vice versa. The signature of the new key must be written
and all of the notes in the piece written higher or lower as the case may be.

Here are given some examples

D major

JHE
± w —w—m W=*=* m
g^P
Transposed to Eb major

4—i 4-
i
^=3 m i=i
s
Transposed to B major
I
2

-n\i i u ^ iff
 »

48 SCHOOL OF CHOIR SINGING

g minor

PH i * * tK
» r

gj| >jj^ s

Transposed to a minor

P >
i i ^m m r
*)•<>,
i
i j j ^

^
Transposed to f minor

#
JEJ
r? r*=*
•/Am; ; a
. ^m
—
P s
The work should now consist in writing hymns contained in Chapter
XVIII in keys designated by the teacher.
 SCHOOL OF CHOIR SINGING 49

CHAPTER XXL
Review.

Questions on Chapters XIV XV

, and XVI.

71. What is an interval? Give rule for measuring distances between

notes.
72. Name following intervals.

i fEfsi i § £
73. How
?
are difficult intervals simplified?
P
74. What are the dissonant and consonant intervals?
75. Explain inversion of intervals.

Questions on Chapter XVII.

76. What is a triad?

77. Name and define the four different triads.
78. Name the chords on the different degrees of the scale.
79. What are the principal and secondary triads?
80. What are the consonant and dissonant chords ?
81. Define a chord of the seventh and a chord of the ninth.
82. Define suspension and ritardation.

Questions on Chapter XVIII.

83. What is meant by inversion of a chord?

84. For what are Roman and Arabic numerals used ?

85. What is a Modulation?
86. What is a passing-note?
87. How is a chord analyzed?
88. Name the different subjects of study in the theory of music together
with a definition of each.

Questions on Chapters XIX and XX.

89. What is a cadence?
90. Define the several cadences.
91. Write the repeat-marks.
92. Define following: D. C. al Fine, D. S. al Fine.
93. What is transposition?
50 SCHOOL OF CHOIR SINGING

CHAPTER XXII.

Musical Form,

The outline of a musical composition is its form. The smallest musical

form is a period, consisting of eight measures. There are two kinds, the
Regular period and the Period-phrase. In the regular period the second half
begins like the first, while in the period-phrase the second half begins with
new material. The first half is called the first section and the second half
the second section of the period. Each section again is divided into fore-
phrase and after-phrase.

The Regular period

ist Section
N?l

& Fore -phrase

*
w
After-phrase

i=s^
2d Section
Fore -phrase After- phrase

I J J 1
w m
The Period-phrase

I s.t Section
N9 2 Fore - phrase After- phrase

See £
i
t m
2d Section
Fore- phrase After- phrase

mp t mm
 : : :

SCHOOL OF CHOIR SINGING 51

When there is an enlargement of the different parts of a period so that

the whole period is sixteen measures long
it is called a Sixteen measure period.

Sixteen measure regular period

l s> Section
N?3 Fore -phrase After- phrase

53E

2<?
*=atm

Section
t -mzjs.
m
t
Fore-phrase

wzm m After-phrase

P
t ZSL

Sixteen measure period-phrase

ist Section
N?4 Fore-phrase After-phrase
fe* ¥ Z t
l¥ ±L wiMzm zz
+=*-

2d Section
Fore-phrase After-phrase
fe*
$ £ i 1
f
When a period is not balanced in its phrases or sections and when it has
not 8 or 16 measures, it is an Irregular period.
An irregular period-construction
Coda
N?5 ist Sec. 2<J Sec. of ist Period

* 3=
:£
f ^s^ M wr~m
f-HHff
The second period of this song is regular in form

,V J
r |
|.'J. i
U| |
l
Mj | j jJ rffr
lrr
i

Coda = tail or end.

There are many irregular forms especially in the older hymns.
 —

52 SCHOOL OF CHOIR SINGING

Period with Refrain or Chorus.

m
N?6

,ii, ujjij > Jijjjji.1 in

J J J J 3=3^ 3
I I .I I 1

Refrain
r\
j j
f^E j i j j j

Refrain is a Coda or end where the same words are used after each
stanza.

This last hymn is a Chorale. A Chorale is a hymn-tune with equal or

almost equal notes throughout. A melody may have two periods, each of
them complete. All of these forms belong to the general class of song-forms,
but the most common and perfect song-form is the one where the Motive
(the germ of the whole composition) or first theme is repeated at the end.

* * 3 22
m o

Middle part (B)

—w-— t

Mil
-\
Jy tt \ FjEEEjP
I I I I I I I
1

P P m P'
g>
j j j- 1
j
J ^ nt> i
\

i i
r i =
Repetition of first idea (A)

^~<r^ £
$ *—&

This construction may be designated : A — B — A.

 SCHOOL OF CHOIR SINGING 53

PHRASING.

From this study of song construction it may be seen that music as well
as word language must be punctuated, for it is divided into phrases. It is

very important that this division be properly observed. A piece of music must
be properly phrased. In singing, this means that the singer must never take
breath in the middle of a musical phrase. Where the phrasing of words and
music does not correspond —as it always should, the correct phrasing of the
words is the more important.

Other forms, used mostly for instrumental music are : The Dance-form,
consisting of two song-forms.

The Rondo-form, consisting of a theme and episode repeated. The

theme is a song-form and the episode irregular, modulatory and contrasted
in character to the theme.

The Sonata-form is the longest of all musical forms. It often has an

introduction before it gives out the principal theme. After the principal
theme comes a passage or episode, then second theme in the dominant key,
then a conclusion and repetition of the whole matter. This is the first part
of the form. The second part is a free modulatory fantasia about as long
as the first part. Then comes the third part consisting of a repetition of the
first part with the addition of a long Coda.

A
Sonata is otherwise a piece of music consisting of four Movements. The
firstmovement is the regular sonata-form, the second movement a song-form,
the third movement a dance-form, the fourth movement again a sonata-form
or rondo-form. The sonata is written for piano, organ or violin and piano,
etc. When it is written for orchestra it is called a Symphony, and Quartet
when written for four instruments, etc.

The Fugue is a composition written in the strictest polyphonic style, in

which a subject, being introduced by one voice, is repeated and imitated by
the other parts in succession, according to certain laws.
54 SCHOOL OF CHOIR SINGING

CHAPTER XXIII.

Power of Tone and Rapidity oe Movement.

The power of tone will vary in a song according to the sentiment created
by the words. A song of the same power throughout is impossible in true
art, as the very breath and life of it consists in contrasts. Singers are of
many kinds. Some of them have much emotion and others have little, but the
ideal singer has much emotion, perfectly controlled by the mind. To help the
singer in the Expression of words and music the composer uses certain signs
to indicate different degrees of force. These are:

/, forte = loud.
ff, fortissimo
=
very loud.
fff> fortcfortissimo =
as loud as possible.
mf, mczzoforte = medium loud.
mp, mezzo piano = medium soft.

p, piano = soft.

pp, pianissimo = very soft.

ppp, piano pianissimo = as soft as possible.

fp, fortepiano = loud, instantly becoming soft.

sf, fz, or sfz = sforzando. This means the note so marked is to be

strongly emphasized. Signs meaning the same are > or

Cres. ~=^L , = increase of power.
crescendo
decresc. >=~decrescendo = decrease of power.
,

Dim., diminuendo = decrease power and time.

Rail.,rallentando, ritardanda = growing gradually slower
rit., in pace.

The last terms have reference only to speed of time or movement. When
the original speed of movement is to take place after a dim., rail, or rit., the
composer writes a tempo or tempo primo. Some very common terms at the
beginning of a song to indicate the rate of speed or the movement of time
are the following:

Accel., accelerando = gradual increase of time.

Adagio = slowly.
 SCHOOL OF CHOIR SINGING 55

Allegro = quick or lively.

Allegretto= slower than allegro.

Andante = moderately slow.
Poco apoco = by degrees.
Assai = very.
Calando = slower and softer.
Cantabile = a singing
in style.

Dolce = softly.
Fermata or *\ = a hold.
Grave = slow, heavy.
Largo = slow, broad.
Larghctto = not as slow as largo.
Lento = slow.
Marcato = well marked.
Moderato = moderately.
Molto = much.
Morcndo = dying away.
Moto = motion, movement.
Presto = fast.

Sempre = always.
Smorzando = gradually softer.
Staccato = separated.
Vivace, Vivo = lively.

Besides these Italian terms, the composer often indicates a more accurate
movement by means of the Metronome. This is a clock-work mechanism with
a hand moving back and forth, fast or slow, according to the position of a
weight. The indication on the music is as follows M.M. J
: = 86. Meaning,
Melzer's Metronome, one beat to a quarter note when the weight is set at 86,
which means 86 beats to the minute.
 :

56 SCHOOL OF CHOIR SINGING

CHAPTER XXIV.
Voices.

Soprano, Alto, Tenor and Bass comprise the Mixed Quartet and when
these voices are doubled several times it constitutes a Mixed Choir or Chorus
Choir. A large number of mixed voices is a Chorus. The compass or range
of mixed chorus voices is here given

Soprano

i 32* mm
Alto

m
S -iJJJJ JJ T
rr^m
Bass
Tenor

The compass of each voice as given above will not cover all cases, but
this indicates the approximate range of these voices. It is not only the range
which decides a voice; it is and tone color of the voice. Thin,
also the size
light ladies' voices are invariably sopranodark, heavy ladies' voices, alto a
; ;

thin, light male voice is a tenor and a dark, heavy male voice characterizes
bass.
A ladies' chorus is made up of
and Second Sopranos and First and
First
Second Altos, or Soprano, Mezzo-Soprano, Alto and Contralto.

Soprano

m
Mezzo-Soprano

2
f
£H
Contralto
Alto
 SCHOOL OF CHOIR SINGING 57

The male chorus and Second Tenor and First and Sec-
consists of First
ond Bass. When the tenor voices are written in treble notes they sound an
octave lower; for this reason the player of male chorus music should play the
right hand an octave lower than written.

l s_t Tenor
24 Tenor

tzm
£ w =?

i i
g-g
&m
ist Bass
24 Bass

Some writers will use a C clef for tenor voices in which

case the notes are given on the staff exactly in the same pitch as in treble
clef, the only difference is that the C clef, representing the middle C below the
staff (an octave lower), gives the sound where it is written.

In former times other C clefs were also used, all of them representing the
middle C.

The Soprano clef was

^m
The Alto clef was and the

was
Tenor clef
I¥
Solo voices are : Lyric Soprano, Dramatic Soprano, Soprano, Mezzo-
Contralto (Alto), Contralto, Lyric Tenor, Dramatic Tenor, Tenor, Baritone,
Bass, Basso Cantante, Basso Profundo.
58 SCHOOL OF CHOIR SINGING

CHAPTER XXV.
Review.

Questions on Chapter XXII.

94. What is Musical form?

95. What is the difference between a regular period and a period-
phrase ?

96. What are the different parts of a period?

97. How is a sixteen measure period formed?
98. What is an irregular period construction ?

99. Define following terms : Coda, Refrain, Chorale, Motive.

100. What is the most perfect song-form?
101. What is phrasing?
102. Why is a knowledge of musical form necessary for the sake of
good phrasing?
103. What is Dance-form, Rondo- form and Sonata-form?
104. What is meant by different movements of a Sonata?
105. What is a Symphony and a Quartet?
106. What is a Fugue?

Questions on Chapter XXIII.

107. When no signs are given tor power of tone in a song, what should
determine this power?
108. Define the word expression.
109. Name and define the different abbreviations indicating force ot
tone.
110. Name a few of the terms used at the beginning of a piece of
music to designate the speed of the movement.
111. Explain the use of the Metronome.

Questions on Chapter XXIV.

112. Name the different kinds of Choruses.

113. What Characterizes the Soprano, Tenor, Alto and Bass voices?
114. Explain the C clefs.
115. Name the different solo-voices.
 PART II.

I. INTRODUCTION.
The solo singer who is trained individualistically and who has not had
training in ensemble singing will not make a good choir singer. A choir
singer must learn to adapt himself to others, must be able to give up a good
deal of his personality for the sake of the whole. This takes a special train-
ing and may be accomplished only through practice in ensemble singing. The
art of the choir singer more difficult than that of the soloist as the choir
is

singer must not only have a good voice, but must also be able to use it with
intelligence and good taste together with other voices in bringing out a com-
mon thought and a common feeling. There are soloists who also have this
training, and who make excellent choir singers, but the more individualistic
they are, the greater difficulty they will have in learning ensemble singing.
On the other hand every earnest choir singer will feel the need of voice
training. A choir singer should, when possible, take private lessons in voice
culture from an experienced teacher, learn breath control, tone production,
pronunciation, phrasing and interpretation. Whatever a singer can get of
these things at the choir rehearsals will be at best very meager. A few hints
along these lines will here be given, but let it be remembered that a good voice
can be developed only through a long period of individual training.

II. TONE-PRODUCTION.
To produce a good tone the principle of getting as free a passage as
possible must hold good. The throat should be loose, not rigid. The best
sound upon which to practice is "ah" because this fixes the tongue flat in the
mouth and gives the tone a free passage. When a violin string is stretched
over a solid piece of wood and made to vibrate it sounds weak, but when
this string is stretched over a hollow box (like a violin) the one is re-enforced.
This principle holds good also in singing: the tone must be re-enforced
through sympathetic vibration of the air in certain cavities in the chest, the
throat, the mouth and in the head. The teeth and the hard palate form the
sounding board against which the tone is emitted. To test whether the tone
is properly produced the mouth should feel full of tone. The singer "feels
after tone" in his work.
(59^
 :

60 SCHOOL OF CHOIR SINGING

III. PRONUNCIATION.
Words consist of vowels and consonants. The tones are produced only
on the vowels, the consonants being only momentary accessories which are
used in beginning or ending a tone by the action of the lips, teeth and tongue.
At first the student should vocalize on ah, a, o and e as these vowels will
force him to open his mouth well. Later also the vowel u (oo) should be
used. The exercises in this book should be practiced with all of these vowels.
In singing e and a the teeth should be held as far apart as possible.
The letter r must, in singing, be trilled with the end of the tongue against
the hard palate. The consonants must be pronounced very quickly and dis-
tinctly Not n-long for long and not longa. If you wish to acquire clear
:

utterance, do some reading aloud, alone and exaggerated. This will be an

excellent drill for tongue, teeth and lips ; but the student must always be on
his guard that such exaggeration is not overdone in his singing.
When two light consonants come next each other, be careful to sound
both: At two. Beautifu/ light, etc.

Do not join or run the words together: "Their meat in due season" is

often rendered carelessly as : Their meat tin deuce eason.

In diphthongs keep the tone only on the first vowel sound and add the
other quickly at the end
"Boy" should be sung baw — e, not bawa — e. "Light" should be sung
lah — it, not lah-a-e-t, etc.

"The" should be pronounced "thee" before vowels and "thu" before con-
sonants.
The mouth should be open before attacking words beginning with a
vowel.
The pronunciation of the word at a given pitch should be as direct as
possible, never sliding from below up to the note.

IV. BREATH-CONTROL.
The old Italian masters used to say that "the virtuoso in breathing is

nearest to the virtuoso in singing." In the playing of the violin a good tone
can not be produced without a great development in bowing. The singing
breath is much deeper than the speaking breath and it should be the object
of every singer to develop a large lung capacity by daily exercise in deep
breathing. The lungs should be allowed to expand most freely in the lower
part of the chest, the diaphragm being strongly contracted.
 SCHOOL OF CHOIR SINGING 61

Breath control consists in saving the breath and producing tone with as
little of it as possible passing through the vocal chords. A fault with many
amateur singers is that they force the breath and allow it to go to waste
without bringing the air into sounding vibration. Such escape of wind pro-
duces the so-called breathy or leaky voice in which there is an unpleasant
windy sound along with the tone. The tone will thus also' lose in fulness of
body and quality.
To develop large lung capacity and control of breath is the principal
work of This work can to some degree be done at the choir
the singer.
rehearsals. The room should be well ventilated and breathing exercises under-
taken. The exercises in this book and the singing of long-phrased hymns and
chorals should make good material for breath control. The anthems or choir
songs to be rehearsed should be studied with reference to the phrasing of the
words and the music, and breathing marks (') should be marked for each
part.

V. THE READING OF MUSIC.

"Hitting" the different tones forms the greatest difficulty. The singer
should learn to feel the quality of each note in the diatonic scale and thus
become familiar with the sound of them. Every note in a piece of music
stands in a certain relation to the keynote. In the scale of C major, the
note C is the only note which gives the feeling of a satisfactory ending. G
in the same key is and dominates the key and feels heroic
the middle note
and strong. E in the middle between C and G sounds complaining and weak.
D, the second note of the scale sounds calm and peaceful with a leaning toward
the fundamental note. F, the fourth note is solemn in character and seeks its
resolution in the note E. A, the sixth note sounds as though it came from
far off and leans toward the fifth note. B, the seventh note gives a hard and
piercing effect and wants to go up to the eighth note C.
When any note other than C is taken as a keynote, the other notes
belonging to that particular key are characterized according to their place in
the scale in the same way as the notes of the C scale.
Any one having a normal musical ear is gifted by nature to sing the
major scale and triads in tune. It is therefore well to take advantage of this
in tone-hitting. Each interval in a song is either a step or a skip. If it is a
step we make use of the scale, if it is a skip we make use of a chord. The
intervals c-e, c-g, and c-c (the last c an octave higher), are very easy to sing
since the second note in each case is a chord note. The intervals c-f and c-a
are more difficult, but when the second note is considered as belonging to the
62 SCHOOL OF CHOIR SINGING
subdominant triad, it The interval c-b is seldom
should be a great deal easier.
used in practical composition. The author has made use of these principles
in working out the exercises given in Part III of this book.

VI. THE BLENDING OF VOICES.

In ensemble singing, as for example in a choir, no individual voice should
stick out from the rest of the voices in the choir. The best choir singer is

the one who can produce the strongest tone without being heard above the
rest.

The timbre or tone-color of the voice and purity of intonation are two
important elements of blending quality. The form of the cavity of the mouth
gives each note its special tone-color. When a tone is placed too much for-
ward the tone is and more difficult to blend than the darker tones fur-
light
ther back. There are on the whole only the dark and the light voice which
every singer should be able to use. If the whole choir uses a dark tone-
color and a single individual the light, this light-colored tone will not blend.
It is therefore important that all use the same color of voice.
The sound waves of a unison note should coincide. A string divided in
the middle will give the octave of the whole string. This octave makes two
air waves, while the whole string makes one so that when an absolutely pure
octave is sung by two voices the sound waves will come together at every
other vibration. The pure fifth is 2/3 the length of a string and gives three
vibrations to every two of the whole string. The major third is 4/5 the
length of the whole string and gives five vibrations to every four of the whole
string. Purity of intonation will depend on the sound waves coinciding at
regular intervals in the vibrations, these intervals depending upon the distance
between the notes in the chord. This is important, not only in the attack at
the beginning of the tone, but throughout the whole tone and at the ending
of the tone. The common fault of sliding up to the tones should be avoided,
and the choir singer should feel for that harmonious bell-like quality pro-
duced when the tones come into absolutely pure intonation. He must con-
stantly measure his own power of tone with that of the other singers, filling
in his own voice in proportion to the volume of the whole.
In "meca di voce" (crescendo and decrescendo), the singer must be care-
ful not to vary the pitch with increase or decrease of tone-power.
One of the most difficult things to deal with is the tremolo voice. A voice
of this kind will never blend, but constant practice in keeping the tone steady
in a soft or medium voice will, in time, do away with the fault.
 —
SCHOOL OF CHOIR SINGING 63

The power of tone in each part (Soprano, Alto, Tenor and Bass), should
be even in all songs or parts of songs where one melody in the Soprano is

harmonized. A melody or melodic figure should be rendered a little promi-

nent in whatever part it occurs. The outer parts (Soprano and Bass), may
have a greater number of singers since these parts are, as a rule, of more
importance than the inner parts (Alto and Tenor). The Tenor, singing mostly
in the higher register, is more apt to stick out and will perhaps need the least
number of singers. In a choir of 23 singers the following division of the
parts is recommended: 8 Sopranos, 5 Altos, -I Tenors and 6 Basses.

VII. CHOICE OF MUSIC.

There can be no stringent music to be used.

rules for the choice of the
This will depend on the and general standard of the choir, and
size, ability,

also the standard of appreciation of the listeners. To sing the larger works
Oratorios of Handel, Bach, Haydn, Mendelssohn, etc., with less than 50 or
75 singers would be folly. The choir of less than 50 should confine itself
to the smaller forms and for the greater part to the lyric style. The cheap
anthems that are "made" for quick sale should be avoided. They usually con-
tain little more than the principal chords of the key system with an over-
balance of rhythmics and a commonplace melody. If the choir wishes to
raise the standard of choir singing it will be better to sing songs that lie

somewhat above the taste of the general public than to "entertain" them with
songs of a low grade.

VIII. THE CHOIR REHEARSAL.

The success of a choir is dependent upon the way
which the rehearsals in
are conducted. The and give
singers should lay aside every other interest
themselves wholly to the work at hand, and the director should have work to
do for the choir every minute of the time. One hour of steady work should
be enough, or if the rehearsal is for a longer period, the singers should be
allowed a ten-minute recess. Young choirs should spend their rest period in
the study of theory. Any choir should take fifteen minutes of voice culture
exercises at the opening of the rehearsal. Material for such work is found
in the third part of this book.
Instead of rendering a new anthem at every service of the year, the
average church choir would do better to repeat good anthems and thereby
improve their services, for a few songs well rendered are more worth while
than many poorly sung. The singers should know the songs so well that
 64 SCHOOL OF CHOIR SINGING
they could keep their eyes on the conductor most of the time. In concerts the
choir-members ought always to have the numbers memorized.
More or less rote singing will have to be done with a beginner choir,
but it should always be the object to learn note-reading as soon as possible.
It will save time in the long run. The piano or organ should be used as little
as possible during the rehearsal, as that will tend to make the singers depend-
ent upon the accompaniment. Songs written a capella (without accompani-
ment) should never be rendered with an instrumental doubling of the voice
parts, except in case of absolute necessity. This necessity may be felt when,
on account of circumstances, it has been impossible for the choir to learn the
parts, or when some new voices have not had sufficient time for blending.
The positon of the singers is usually the following:

BASS TENOR
SOPRANO ALTO
CONDUCTOR

IX. INTERPRETATION.
The words of a song are to be correctly expressed in music; the words
should therefore be carefully studied. It is impossible for a composer to indi-
cate every shade of feeling in the music by means of the usual signs. The
singer must therefore often add more expression-marks to those given by
the composer. The breathing-places should be marked.
As a general rule all ascending passages should increase, and descending
passages decrease in power of tone. Variety of strength is a sign of emo-
tional interpretation. Even strength throughout a composition is uninter-
esting.
Long notes well sustained (Legato) tend to emphasize melody which is

the essence of all music. Short notes (Staccato) tend to emphasize the
rhythm.
Choirs will often sing too loud and screaming; their p. or pp. is seldom
good. The fortes should sound full and rich but never too loud and the
pianissimo should receive careful treatment as it is the most difficult.

The good legato like an

choir with the voices well in control, with a
organ, able to sing uniform crescendos, steady pianissimo, and to conform
to the feeling rendered common through the conductor gives real enjoyment
to the listener.
 PART III.

INTRODUCTION.

The exercises given in Part III are not so

much for "tone-placing," as this can only success-

fully be pursued with a private teacher, but they

are primarily for note-reading and tone-hitting.

The breathing marks (') are given and must be

strictly adhered to, for they are calculated to

develop breath control and lung capacity. As sing-

ing is different from the playing of a musical

instrument, the keys have been given in the order

most convenient for the singer. C# or C\) major

in the eyes of a singercome so near to C major
that we have put these keys immediately after C
major. The syllable "Ah" or "lah" is the regular
one to be used with a change to the other vowels
whenever the teacher finds it advisable.

<65)
 J *

66 SCHOOL OF CHOIR SINGING

EXERCISES IN MAJOR
I. The Scale
"

iJ^rr JJ j J j j j.
ffiijj j i i

he
^-&
* *
i
pm i
1 1 J *
w
w
/U i*
'

*"V
'

f*f| I f» *N
vA/
t) -e-
1

o ^_^ o r»
«3 -©-

^ij^ rlj ljl

'

^p^ jlj
^^u'ljp
as
^ J^^'pgpgp^JJ^Ij ^
II. The Tonic Chord
a
pum i
I
3-

ps p i
i
ffir -'
j '
J
r i ^ r
i
j i J
'
r

J r J '
i J
i '
H i
 .

SCHOOL OF CHOIR SINGING 67

III. The Scale and Tonic Chord

a y * — -x-
E iJJi JJJNJjJ
^
. i i , . . i

l l
jTj I
JJJJliJJgp

p rr
rJiJjJ
r
i JjjjiJ^ijijJT]Zii^ ^
p rJ
J JU J rr' JJ ^'J^jJ^i JJ rJ'i^^
IV. The Tonic and SuMominant Chords

pjjji r jjji^i4f4i-^

iC
P ^^
* z m r
J i
J
JiU J r
:

i p

rjJi^JurJurJ^^ p

p rr^ i
r^ i JJ ^rT JJ i
J
ir' J .^l

t4-J #w i
•-« ^
^jp i
m
^u^i^
V. Scale, Tonic, Subdominant and Dominant Triads
a
&*jjjj i
J J
rn' J
MJN J
ri''J
J
^ z±

I eippp lWWm =
p ppp^pSBSpg i
PI
 '

68 SCHOOL OF CHOIR SINGING

P r
J
ir'rV'rj^Jj i
J
JJii JJ irHii^ i

E ^^Jj4i i| iJi^fr lJ J^^^

i ff ff r

VI. EXERCISES IN ALL MAJOR KEYS

Key of C# Major

St
ynuJjrif-'i^jjiJ^uiJiJj^iJj rr iP

IU-£
^^ ^mJr u 'u uJ f
Sfe^ inr i "r d 3
pi
fto f W J J U,F*m m
Key of a Major

ffeii JJJUJ I JJ

P it i , i

-&—\+rm 3=
i
^ i
w
%^s m Sig
ta
Bag i P

I§B j J
te=g
'4
z*=3

I
J [' 22
pp ^m
|AVj.'uJ i
r['7rr
J i
J
r'.l J
J
l J '^ JJ
J
L'
 SCHOOL OF CHOIR SINGING 69

Key of G Major

m WrW m
*4
# wm
^i^ i

c^r'kcr^
a e

i - 9 ** i

P j
j' i
-nn i
j .h
a if J'i j.

p mm *
Key

'Ty
of G|> Major

ttpJj-i TO)
^giH^^
.iJ

g& ii ?
*rta

wro
£ ^1JajUj.1J c ij

Key of D Major

83E
a
3nm ±

mm pp
¥*£
±±

ps
i <

p Jjj i
r
[f
i ^jjiJj GJ^m- i
r

i ij
ir rr
i ^ ii .i'J^ i
rrrr Wl^M
^
70 SCHOOL OF CHOIR SINGING

Key of D[> Major

u& a
P«=te S
Key of A
^
Major

y^^^ii^r^ j rVT^r 3X

pi j.^jflOliVfoVr'N i

pi ^ini^M^m^m
j

Key of Aj> Major

i^UjJjj i jjJ i J
f
jnjET)
^^ m_m
m S~
m' * ~ vg
**M i J]3T3 JPro|J
d'iSdd]
|

|j j JTOj .

,j
ffi
i

jifrtjjJBBUflflg fe
Key of F Major
 SCHOOL OF CHOIR SINGING ;i

fe J °^j jj 'ij^
] mf^p 22

^
fe pjMl^jy iipTO «b*

Key of F# Major

V tj.iJ
>
i i

j
< i J-J:i'iJ.j ,
ij
j,
i i J KJMJJfr

ftVTOJ.% i iJl
*-*yTriNn^
gj«*
c
as
ste
g^B
J0UJJJJJjGjJ^gjJJJJJJ3JPlj[J^I'

Key of B^ Major
a
jjflWjJli;' liju ijjjumi
s ffi *
p iu ; j
3-^=t
^j.« I
3 h- j.^j

s • a
wjjjr jijjjjj^jjw
P 4^jjjjj. iPHiip %nrj-
72 SCHOOL OF CHOIR SINGING
Key of B Major

mi?j i
i*,j i j/jigj3]]iJ i
^j i jjo
y^ii
+^-m-+
1 SP &3 Pi
S
B%;j,j jJ7 r '^ J
6 ».).
i i i
,
ii
j
'jj j..D]
i i
n'Jg] F
Key of Ej? Major

fejj <? j Jw>J^ jj 7 >J^i gg I jj

Jvj^y Ji yjj | j
p lah, lah, lah, lah, etc

Eg »j\l hJyl i

^ & W M
i
i 22 S y j d j s^ wmm

Bg5 gia
y • 5 mfmf f
G^hQfr^I lP
Key of E Major

jjjij ujjir '

HI^^a 3 ^?-

#=j jij jjjjj^r i.urr

i
H X
 SCHOOL OF CHOIR SINGING 73

pHi j i jj
i
«

1
J
i f^n-^rn
i i^^
t*f*
ri
jfl"r'cc?'
j
?i ^s
VII. EXERCISES IN ALL MINOR KEYS
Key of a minor

I
a

^m fBt m *
J iJ J J Ujj
i
m
*jj.<> s i
^j^j m m 19^-

l ^^ j^u i h^j
l

.i
, r i ,i i j i
'

i
BPE
k^ r ^J' Wr'
:
|
|

i
J
j

Key of a[> minor

l

g^
a
H g j8t=S " *
-• •-
PPi
J31|JTl JTl i
-ij
U i-^H^
i

g l > 8 ' i
74 SCHOOL OF CHOIR SINGING

& jp g i i
^^ \m [y^^
fefc

'n>XJf C£T'
s
^ j[j
J u - W^^
ssl
Key of a$ minor

ysjjjjji^jfljjjj^
^s
liii 1

»=JH#f fflg aSi a

Key of
F^
e|> minor
i *6 :

to'ijj^jmrn ijj^jM i
J
T ii
J]

=5= **»
-ffifrffl] sg '/JWW^ffl
1
 SCHOOL OF CHOIR SINGING 75

^s ^UP ^
te
jr^TO ' *«?* ««

Key of b minor

p^lgr^tj
_i

t*
,

^m
^ JjjP|J,j b
'ViiJ [T i
tr^frlrir'

I 3=ff
4J Ji '
JM i te ^^£3 i
*
EK pi i

gJJJJJi^
J J i- I .G5Jj. ^^VB l

r
I I

Key of b[> minor

a
3* £fete
IPs§
??^ f

^g
i ^^
iES ^^'^•^^^
p
Key of f $ minor

j H ^Jp
'; gi
,
;»i i
i
i
ii n i

iffl

feg^^^a
i

Ife^gP i j
76 SCHOOL OF CHOIR SINGING

P p in JIP m m lp
**
ii i

,
i i -03^ g
tf
^Jjm J^J
jj ^ rr^i^N*
^LLLT
i l l 1

A^^mia vm^-
Key
^^mm
of f minor

a^^ B f^ fflap sjp

Key of c minor

Key of c# minor
 SCHOOL OF CHOIR SINGING 77

Key of g minor

i -O-^ IE

lpj§i jijji

!iJjjJ i
J^ J
r

Key of gfj;
minor

*« J i
ft? j J iJ J j C » M
osirr' rx
1

'

j ,
JJ JJ Plj J J iWrj JJ jJ ^-
pi ^gi r 'f^j]3a x*«*
ffl
Jg

a Key of d minor

I
^ it jWj]J-H r:jjgy.* +gjlgij: i

Ha
Key of d# minor ^
ay
IK*
^I
^ J'
JJJ JJ
I
^ JI
JJJJ I
lJ JJ J I
i
JJJJ JJ X^
I
78 SCHOOL OF CHOIR SINGING

VIII. CHROMATICS.
2
^4j_JJ J ^Jli^^l^jl|j^^})J|J^|jJJJ ^JJJjl l

,3

i !iJJJ^ U M U H« I« S
« « IJ JJ
J JKJJi^
JI J ^Ui
4JJ J|
j|
l' ' «M
J Ji« I^JJJJ
jf

p '^ jj* j ^jiJ ^jiJJ j H jxlli j|

4 sps^^ji
pj jjjJJjjjel j Jj j J Jfl Jj^ ti
I

^|| , gg*fg?g

ff 'TOTO-'
jgj^ g^^-ijMii'
J« i

I H«W*#

|,^i''iJCT^ i
ir' JJJhJp i
.
ro H

9
Mr-ff mxgm
I
^ ^jjjj)^jjjjjij^j ^gl iff J^jra
M _, 13 Two beats

m
a 11

us
imwyj^w^n -ItJJuJjJ*
 '

SCHOOL OF CHOIR SINGING n

13
mz.

14
m Bsd3
j^JSff^ s^s*
fl«f«H « J<^
l

'
pj

15

^ Us ifcz:TO«

16
&
h^ ^Ji ^gg5
j^J
JllJlll,/]
i

* « iJtJUJi
a: I'* a
^UiJjj'ir
a 17 Two~H e alT 18

Ji
l4jjjiiJj»Ji 'JiiJiiJjjy^ i .i^J-P[ J ^i'J^
19

20
m
33f Two beats

jjJ i
itJjjj iM^y j ^>Jy^jij*JJ^ j^Jr'H
i
 1
80 SCHOOL OF CHOIR SINGING
23 Two beats

I S ?0P\>pF*
^4Tt£j P]J^iJ7].F3i.B3

s '
aE=:iz

i i
jT3fflliiJj]j
'
i-

24
17 ^H JTHI JT7j J~[T\) JH7] W^F^ p
IX. EXERCISES IN MODULATIONS

pa ^^J J.j^lJ^JljJ^'hi^g^l l
. . .

I 5* •
bju j j ;
^j
Ji!j
q^ u. fle i

2^^
^ s
5
ft , „,
^
, . ,

^JJ I J.Jj J .^I-'

l | Jj l
rrr l
i
i AJJU
P ,J-
?
6

^V-p j i

^ r^ V rm^j i i i

I P*
Iff
mm vp* J- 1 ::r* tH J*J.
i

p l
>V^JU ^JilJ^jJiJ'^ J
 SCHOOL OF CHOIR SINGING 81

t^i'JiJj j' i Wi jipfi H

^^ iJ-JlJ,iJ|.U ..i
1
|
j,jj1p-Jg.;jh
JTj
5 Two beats

p fjeixi. ; i^m^ ii -
* i

jj jj j ^
|fcfjg%^ ^ ''
&-&

"
^^m
l|
*S atS

53l
ft
l l
l

J
JJJ jJiJ
l l

i l

J) l

J |
ii
J l | l

IJUW^l^Ji'i^i
H J U'''J yga kjj' kjj;
_Ui
£
82 SCHOOL OF CHOIR SINGING
All in unison.
g Two slow beats

I p
&
S
/> i>/>
#fe
& 3? H-r
jEiir itJ"U*.#*
i

gy i

IftY rflr^ 1 J- J te " r J

4. 7I7 S3 £:± J=*

^**" $m IT ! ;

LM1.I

s Si
^^ yf=y ^^

iWi m #-*#
?
^ 5S
1 ^** i ^P1
1 i^|5P*
« ^4-4 ^FF^ 7 j 7 S^ 5 » 7
F
 SCHOOL OF CHOIR SINGING 83

msi
Jhi-ttH—f-

P
s
T
^ji
7X7
f P 1
7M
m ii i

i
-»*-»-

W
I g a £$g
FT

tiH IIF *:r P

ai ^^ /,
w L_* ^ Zlj.
f£=sF
:
^^F

P un poco cresc.
h
i- " r W^+ J a J. J
* h
d

#* IP w pp
m 7*7 / r

£F
 —

84 SCHOOL OF CHOIR SINGING

piu p piu ritard.

X. EXERCISES FOR AGILITY

Moderato
\ (each note distinct)

-9^, —— I'T'l 1 rm n"H

pj ^J*jjiji^FFPrt
—L • —
/I,,
<ftr
hi
''
tf
* W J
^! L .- 1J
*R» * * «lj«**jfa
l?
-

^^J
 1

SCHOOL OF CHOIR SINGING 85

^a j^mj ^JBiJPJBJgi^ g Q yr- i

^JWMjpflajJjJlflljB
86 SCHOOL OF CHOIR SINGING

m ™!_ *= J3%^iJjnMjyj]j]jjl
j JJ '
'armr^

dost rise vie - to - rious, dost rise

9 .From J.HAYDN

vic-to-ri-ous. In state

p j
fl fl-^ jj.
j' i

^ gtfre^fcccr Tr-1 ly dress.

Ir-
10
6
,,J
T
shall be
mm ex -alt
JjjlJjJ jJ^J
From HANDEL

#-• **

| JijTOJnjJB i ^ ^ [a jj c
ir rii i

1 From HANDEL
ii i
^ szzS

For un-to us a child is born

un-to us.
 "

SCHOOL OF CHOIR SINGING 8?

From HANDEL

a
'"tj.ffJg juj fljJWiJiifflX +9+Z
Keioice
;e -
i

, 13 j rom
'
m HAJNDEL

greatly
Why do the nations rage-^.

I JCTJ%J]^ ^
XL EXERCISES FOR INTONATION
fl'LSOPRAR and ALTO
l.SOPRANO s.v, ah S.V, All S.V. All
V/SlilH'Ie Vi> xr^-r- -Att

oo- a i ^<^ © —«-oo T50

Pf £f
Sing-leV. All S.V, All S V, All All

oot=^
— OOV i I J3X5I
f
2 TENOftanFT
^ jg 1

R\rs--AH-
Q(
S.V. All

OO ±
S.V.

^u<>rw
All S.V.

S.V.
All

oo
All
S.V. All I S -V^_ All^ I

i
All
77y 0<
?E i |^^ V-f
§ t>o,
||

^ ^ZTY? and SOPRANO

O.
=P^
All

I
13= H=r:^
SX X£
ii
f—^_it r USI ^
f f-^-j.f r £
te ]

TEN(W and BASS '

m
I
,

1
y XSl i
>
:
" - i
g ii

r^^r -sfdB fpr j.

^ _o_
3X
M4g-if
 I

88 SCHOOL OF CHOIR SINGING

SOPRANO and ALTO

i
r IP
-A

r
r r
xt A
P All

IE

r
I

¥ 6.
, J-nrr >
TENOR St
rfik
i—
)

and 'BASS
H Jfo^J lU-H^J
fe^ ^ 11 JinJ
j. 41
IS ^^
33:
f
j
xs:
F
f
SOPRANO and ALTO r
^=
i Pp^fpf ^r

M Xi j2l — oj.g ^o^

i i
i 1 *< L
3X £
y-^,
<»
».^I
PtP= -o- -O 19

r^r fSf
_j Jr^J.
MJ-—»J--^H^--"--^^
17 io \rj JroTJi
-=--e--^- -g- r-»- -g- frg- .HO --g ^J TioTJ I I
"
fl " "
'T«fTJ
SOPRANO and ALTO
9.
W^yA
TTg— '*<> :izz

to:
T.a?u^ B.
S^ -
i <>
3X
iz

F g^
gTr~p
1 i 3Z g
7 -—-
-=- U _ i
-3T- ^a- -<V- -«-
4e g
m
 — H
—

SCHOOL OF CHOIR SINGING 8<>

ALTO and TENOR

'rfrH ,c —°^: —
— — -&
"^L. <>
*fi~f
JO.
—p —o^ "~^p

$=\
b-sL

l»^ ~^^p
—+—

p SX 1
I
1
C5\ f 3 3
i^f^ fe
Sustain carefully
in the pitch.

XT-
S^
One, two, three,four ; five lah.

fe
m
One, two, three, four five
f
lah,
3ElE=

s t t t
^^
£
 * —

90 SCHOOL OF CHOIR SINGING

I-o
Lah
J
Lah
—
i
-J-

One ;
« o-

two,three,foi!ir, five. lah.

^
§ 6 1: <> Js . 14-4-4 t=
1i • #
(
Lah r
Lah.

—<5" feP£
i
One,two,three,foilir, five. lah

r^-f-f & \
^
mF=±
Lah

=m XE ^ XE

I r
XE
f ?r tr
u u-
sP
-±
J.
Tr~ i

rrr~ rg XE
=*
isiite
f
^ r
g
14.
B " y^^fF^
=

S ii
TT
_ J;

tP^
ii XlL
i? n
5 ^^
* " r
^ f
=4 s
j. U.
;l
XE
fe XE
XE
 3 1
niif

Date Due
All library items are subject
to recall 3 weeks from
the original date stamped.

NOV 5 2002

JAN 31 2Qt
4

APR 1 2 2or

APR 1 2 2012

Brigham Young University