©Ditz: Concone The School of Sight-Singing First Series of Solfeggi. Before singing the following Exercises in time, it is necessary to study each note of the svale separately, in order to acquire a good emission of the voice, faultless intona- tion, and purity and unbroken continuity of vocal tone. Duple* (or Common) time marked by a €. In quicker movements(/gtime, with 2 beats to the measure) this sign is crossed: ¢. ‘The commas) are breathing-marks Seale in Whole notes. One whole note in the measure. do 5 re y mi, fa 4 sol» lay si_3 do 9 do si_) a sol_y fa y mi_3 re dos 7 7 4l $l Seale in Half-notes: Duple Time. ‘Two half-notes in the measure. Scale in Quarter-notes. Count 4 quarter-notes in the measure.Coneone — The School of Sight-Singing Take breath during each rest and at the sign (>). Exercise on Major and Minor seconds. G:Psrect. >Concone — The Sehool of Sight-Singing Make the pupil sing the following three notes: After this, strike the third: and let him become acquainted with that" Interval. Exercise on Thirds.Concone — The School of SightSinging Make the pupil sing ===] and become acquainted with the Interval of the Fourth: 4 Exercise on fourths. Fifth TBs Exercise on fifth‘Concone — The School of Sight-Singing Ss re. 5 = Exercise on Sixths.Concone — The School of Sight-Singing The Major Seventh (composed of 5 tones and one semitone) ascends, and leads to the Octave; the Minor Seventh (4 tones and 2 semitones) descends. Major 7! ascends. Minor 7th descends, = sh = £ Ss E je SS Pekka ow Takase. on ye Exercise on Octaves and Major and Minor Sevenths. The Maj.7# ascends Octave. Octave. The Min.7 descends. gre 7th Maj. sve . 7th Min. eve 7th Maj. ave 7th Min,Concone — The School of Sight-Singing Before the pupil attempts the singing of any lesson, he must be sure of the names of the notes, so that his attention be not withdrawn from the proper intonation of the Intervals and the right division of time. Note. Inthe Musical Academies and publio Singing-Classes in France, where reading at sight forms the basis of all musical education, a highly commendable preliminary exereise is employed, called “la lecture rhythmique” (rhythmioal roading); it consists in naming the notes aloud, and strict ly in time, which is marked by even movements of the hand. Moderato.‘The sharps are generally placed in the following order title Some composers put the first sharp between the 18t and 2nd line, which makes the suc- cession of sharps appear more regular to the eye Saiaennus the former mode is preferable. Moderato. il.Concone — The School of Sight-Singing Moderato, > > Moderato. 13.Concone — The School of SightSinging Moderato. Bt dil all dil qd dll ail) dllConcone — The School of Sight-Singing Andante. 1 234 Pterlsaaealee, leveslttee|.. 2. ldellConcone — The Schoo! of Sight-Singing Triple Time. ‘Three quarter-notes in a measure(or any combination of notes forming together He ata whole note). ento. a 16.Concone — The School of SightSinging Lento. 5 ; 123 123 17. tConcone — The Schoo! of Sight-Singing, Two-four Time.(/4) ‘Two quarter-notes (or their corresponding value) in a measure. Allegretto.Concone — The School of Sight-Singing, Andantino. 12Concone — The School of Sight-Singing Triple Time.@s) ‘Three eighth-notes (or their corresponding value) in a measure. Andantino.Concone — The School of Sight-Singing Second Series of Lessons. In the first Series the accompaniment helps the pupil; in the second Series he is expected to be certain of his intonation. It is advisable to let him try each lesson without accompaniment. Moderato cantabile. 1234 123 4 21.Concone — The School of Sight-Singing Dotted Half-notes. The dot after a note increases its time-value by one-half. A dotted half-note is thus equal to a half-note plus a quarter-note, or to three quar ter-notes. Moderato. ; > all all all all all ail all allConeone — The School of Sight-Singing Dotted Quarter-notes. A dotted quarter-noto is equal in time-value to three eighth-notes. Andantino.Coneone — The School of Sight-Singing Andantino.‘Coneone — The School of Sight-Singing Andante. 4 - is 2‘Concone — The School of Sight-Singing Syncopation. ‘The pupil has already been told that, when two notes on the same degree are unit- ed by a Tie —, the second must not be repeated; the first note is simply prolonged by the time-value of the second. When a note is thus tied over a strong beat in a measure from a weak beat in the same (or a preceding) measure, the rhythmic effect produced is termed syxcopation. EXAMPLES. Example I. Syneopation. 1 z 1 2 12 Ex. II. Usual notation. Ex.III. Succession of syncopated notes. gas 42 42 42 4 2 42 The same with notes of different value. —~ Ex. IV. Syncopation in Triple Time. 1234283 428 1428 423123 123 4 28 4 2°38 4238 4 23 #4 2 8 The following numerous Exercises on Syncopation, (in which the syncopated notesConcone — The School of Si Do not pass from one Exercise to the following one, until you can execute it with- out hesitation. 26. Moderato. One syncopatga note.27. Two syncopated notes. 28. several syncopated notes. - 29. 30. Andante. Common Time. 31. Allegretto, The same in Two-four Time.Concone — The School of Sight-Si Andante. In Triple Time. 128 123 F 32. Andantino.Coneone — The Schoo! of Sight-Singing Allegretto. 34. Subito. D.C.Concone — The School of Sight Allegretto. poco rallent, ~~ @ tempo. poco rallent, - — - | a tempo. rallent.Concone — The School of Sight-Singing Andante. 36.Concone — The School of Sight-Singing Expression- marks. The modifications of tone required in the performance of musical compositions are in- dicated by the following Italian words (or their abbreviations). Piano (by abbreviation y) signifies: softly. Pianissimo (by abbreviation pp) signifies: very softly. Crescendo (crese., or ———): swelling, increasing in louduess. Decrescendo, or diminuendo (dim., or==—): decreasing in loudness. Forte (f): strong, loud. Fortissimo (ff): very loud. Smorzando (smorz): softening gradually. Morendo: expiring. Sostenuto (sost.): sustained. Legato, Legatissimo: smooth, very smooth. Staccato, Staccatissimo: detached, very detached. See = ‘The smooth or connected style, Legato, is also marked by a Slur for several notes or whole measures. Staccato is marked by dots placed over the notes. Sometimes the rapidity of the movement must be modified; the different indi- cations are: Rallentando (vali) }: Retarding the movement. Ritardando (rit. or ritard.) Accelerando (aceel.) \ Hastening the movement. Stringendo (string) het. CDi: 28Concone — The School of Sight-Singing Third Series. Allegro giusto. 37Concone — The School of Sight-Singing Compound Time. Besides the two main classes of time, there are two subclasses, Compound Duple time and Compound Priple time. In compound duple time the number of beats to cach measure is still divisible by 2, but each beat contains, instead of an ordinary note di- visible by 2, a dotted. note (or its equivalent in other notes or rests) divisible by 3} hence the term compound, each simple beat being represented by a dotted or compound note divisible by 8, instead of a simple note divisible by 2. In compound triple time not only the number of beats in each measure is divisible by 8, but also each beat. By dividing the numerator by 8, the pupil will find immediately how the Time must be counted. Thus 64, 8/8, or 46 time (compound duple times) is counted one, two, because 6 contains twice 3. rs, 12s, or 26 time (also compound duple times) is counted one, two, three, four. °%4,%@, or %46 time (compound triple times) is counted one, two, three. Allegro giusto.Concone — The School of Sight-Singing Theme with Variations. Review of the preceding Exercises. 39 * Moderato, ‘ 3 5 2. Syncopation. 3. Staccato. Moderato. 5, 1234 1 234Concone — The School of Sight-Singing Theme with Variatiéns. Review of the preceding Exercises. 40. Moderato. 3 4. Triplets of quarter-notes. oe > Moderato. 5. 8. Triplets of eight-notos. Zz 2 YSConcone — The School of Si Common_ Time. Allegro giusto. Al.Coneone — The School of Sight-Singing Compound Duple Time. (Here four dotted quarter-notes are equal to twelve eighth-notes) Andante.Concone — The School of Sight-SingingConcone — The School of Sight-Singing Two dotted quarter-notes are equal to six eighth-notes. Andante espressivo. ct ——_— ssi 1 2 1° 2 2‘Concone — The Schoo! of Sight-Singing Simple Triple Time. ‘Three quarter-notes in a measure. Andante. 128 45,Coneone — The School of Si Compound Triple Time. ‘Three dotted quarter-notes are equal to nine eighth-notes, Lento. a gingConcone — The Schoo! of Sight-Singing Special Exercise on Augmented Seconds and Minor Thirds. Andante, 1234 1284 47.Concone — The School of t-Singing ‘This Lesson shows the difference between Legato and Staccato. Moderato. Staceato,‘Coneone — The School of Sight-Singing Triplets. Andantino.Concone — The School of Sight-Singing Triplets and Double Triplets. When Double Triplets are marked by a 6, they are divided into three times two, in- stead of twice three. Adagio. 3 Andante cantabile. WEBER. 1786-1826. dolce.Concone — The School of Sight-Singing 3 dim. Andante religioso. HAYDN. 1732-1809. 52.Concone — The School of Sight-Singing Andante. LULLI. 1638-4687. 3 Andante espressivo. B. KLEIN. 1794-1832. paint oe Ee p—| = cres.Concone — The School of Sight-Singing Allegretto giocoso. WEBER. + a 5B. Andantino. WINTER. 1754-1825. poco crese.Concone — The School of Sight-Singing Allegro. . Popular German song. BP 57. p leggicro. Resignation. Andante con moto. P a fm a tempo. = — = wae rit, |p detec. Pp detec. oO eS Of | ae, om | ABNConcone— The School of Sight-Singing => ma tengo. —= — eresel it espress. e = eresc. ay FL rit. 2 a 7 FR. SCHUBERT. 1797-1828. =Concone — The School of Sight-Singing Andante poco Adagio. DALAYRAC, 1753-1809. P capressico. 60. ps a tempo. a tempo. riten. * pritenConeone — The School of Sight-Singing Allegretto grazioso. W.A. MOZART. 1756-1791. dolce. By |e ey oe Pato crest. Allegretto. DALAYRAC. erese. |riten. | om pif ‘rien. ——~Concone — The School of Sight-Singing Allegretto grazioso. s 2 due. NAEGELI. dolce. 63. pete eee v jo |e ‘ine. * poco Verese, <== nf died poco crese. el et — = DE. Andantino. MOZART. olee. 64: pe” wy | Bey 7 z +Coneone — The School of Sight-Singing Andantino espressivo. H. WERNER. mf’ podo cresc. w; slr mf poco crese. —=Concone — The School of Sight-Singing Poco Adagio dolce. dotee,| ——— | ——’ DALAYRAG,Concone — The School of Sight-Singing Larghetto 7 : Canzonetta napoletana. Andantino.‘Concone — The School of Sight-Singing fos ie $e} Larghetto From “Preciosa” WEBER. dolce. - legats. ——= dolce = Andante con moto. . WEBER. ‘olce.Concone — The Schoo! of Sight-Singing riten. — V9 |T vie r riten.Concone — The Schoo! of Sight-Singing La Carolina. Canzonetta napoletana. Allegretto. 2 2 71. La Romanesca. | Fameux Air de Danse de la fin du XVI'™* Siecle. Moderato, . ; m dolce.Concone — The School of Sight-Singing = > , PP Peer eee eee bee lee eS ee ee ia pore pid lente. PP eS |B yp — ptt lento.Concone — The School of Sight-Singing From “Oberon” WEBER. Allegro.Concone — The School of Sight-Singing riten. If, ent: 39