: é 5 The Folk Song ‘ " Sight Singing Series : : Book I : Compiled and Edited by ecan crowe ANNIE LAWTON, and W. GILLIES WHITTAKER 2 OY Price $3.50 OXFORD UNIVERSITY PRESS OXFORD UNIVERSITY PRESS MUSIC DFPARTMENT, NEW YORK AND OXFORD : i wenowawsro ‘PREFACE TO BOOK I keys The editors can see no justification for restricting early sight-singing to key C, with a gradual addition of other keys. Their feasons are as fellows: * 1) The chief cause of hesitation and inaccuracy has nothing to do with key: itis due to uncertainty as to the pitch of the notes to be sung. A fluent application of the solfa syllables to the staff does away with this difficulty. Therefore, what is needed 13 « grading of this pplication in a manner suitable for all keys. That is what this Series sets out to supply. 3) Cis not the catiest Key in either the treble or the bass stave. (Ie is the easiest key for the piano, certainly, but the mental procestes of sight-tinging, especially in the earliest years, are toully different from tose involved in playing Keyboard instrument.) 3) Although early results may be quicker if Key C is adhered to first, succeeding ‘sages are rendered more difficult; ultimately, the ‘most fluent reading is secured by variety of keys from the beginning. 14) Solongas there are no accidentals (which do not come uatila much later stage), pitch names are only an encumbrance to the mind and a hindrance to reading. All that matters at frst is 10 know the position of doh, and to be ready with the most commonly used leaps: for instance: to remember that if discon a lined m sand str! will be line, line line, and 1d! will be space, space, space; that if d is in a'space d'm sand +t! will be space, space, space, and f 1 d! will be line, line, line, The less the pianoforte keyboerd is thought about the better. ey SIGNATURES “There is no need for beginners to know the full meaning of key signa- tures. ‘The following two simple rules are all that is necessary 1) Where there are sharps at the beginning of the line, the last sharp, that furthest to the right, is Gd! is a step above. 2) Where there are flats at the beginning of the line, the last flat, that furthest to the right, is {5 dis three steps down, f md Pitch names need not be thought of at all. But, in order to meet the needs both of teachers who use key signatures from the beginning and those who do not, in the first 50 tunes the key signature is given, and the position of dis also indicated by @ . FromNo.51 the @ is omitted. Practice should precede theory, knowledge of unessential details should be left over until progress justifies their introduction PRELIMINARY SOLFA. TRAINING Tes assumed that preliminary solfa training has been sound, and that the three cardinal chords of the major hey ere thoroughly familiar. To attempt to apply solfa names to the staff without thorough and systematic modulator practice previously isto court disaster. Reading 10 ita is urually mere guess-work, No certainty can be obiained without contiant use of thé solfa syllables. If a good foundation of solfe has been laid: most easy leaps are prepared for. Reading from solfa not tion also is'an invaluable and necessary aid to securing fluency in the Use of the syllables, Material for this will be found in Books X1 and X11, which contain solfa notation only: they are intended to be preparatory and complementary to the staff books. GRADING. 'No collection of sight-singing examples can possibly meet all needs,‘or suit everybody's plan of grading To secure sufficient variety, and {o muintain anterest in classr i ix necessary 10 employ various forms of feading practice by use of the modlator, written examples and. printed texts. “Teachers shouldbe ready to savent, and write on the ‘board, additional melodies giving practice in any special difficultictof ether tie fortune which may arise ina lesson, Tt must not be assumed that every Tune in these books is necessarily more ditt than those immediately preceding st Excepting for the new factor, the frst tunes in each Section Are sometimes easier than those atthe end of the previous Section, But the Sections are arranged in order of dificuly and the tancs graded within fen Section sth tune, the primary difficuly isto attain speed in thinking out the solfa names of the notes, But facility in this i merely a matter of careful irading and well-durected practice. Progressions commonly in use should Eesyrematicalyntoduced and practice miedo those ot they age "The plan of grading in this book is one which can be adapted to meet various needs according to the ideas of the teacher concerned, ‘The tunes are arranged in three Sections. Section t's limited to the use of the dob chord with its various leaps, and scale passages, ‘Section 2 adds the use of the soh chord; and Section 3 the fah chord; bur in the case of the soh and fah chords leaps are limited tothurds only, sothat throughout the book the only leapt frente than a third are those of the doh chord Etch Secuon i subdivided into thnce pat, A, B and C. ‘Ais limited to tunes containing only (7 7" ®. B introduces rests, but none shorter than # witole pute € introduces (_f’ but always stepwise in itself and ia quittance ‘Within chese limitations bE. is not difficult, and the increased Serta ir come eae in all of the following ways ‘ses 'y besung, 3 aera te Sh taco set oh er se en 1 Bi ing mut sr no 3 Bi ping mate sr no mp where the teacher is sufficiently skilled to improvise one). Se eee eee ee em to think in phrases. As an aid to this, phrasing is marked in all tunes, land eases of irregular chythmic structure are noted Observation of these points of construction not only helps towards more intelligent reading. bur also increases the interest of the lesson. All repeats should be obscrved: ression marks in brackets refer to the second time. fempo and other indications may or may not be attended to on a first Tording, gcoueding 10, Te capaci, ofthe, singers, Dot tg later stage ‘ll indications should be observed in_order that hight-tinging may be linked ‘up with musical enjoyment. ‘There is to0 often a tendency 10 divorce sight-singing from music, and one object of this collection is to provide material which is at once musical and useful, and. whic will help towards making this part of the singing lesson a delight to the ‘To add interest, the nationalities of the tunes are given. Very alterations have been mage ocessionally in order torbring tunes ihe limstations of = particular section, alls "The proportion of tunes conteining cera . iainoc the result ofan arbitrary chose But of am analyéss of many Run dreds of simple folk-cunes, tvs analy bat reveaed thar mach sgh-singing that has been based upon theoretical plans is 0 in Line with the findings resultant upon The arranging of a large number of folk-tunes im order of auiculy. Te nay be argued, therefore, thatthe bats of the scheme followed in these books iss natural and nei an artificial one. The collection thus becomes S°compendiun of the difficulties ikely to be met with in clementary reading INDEX BECTION 1. Nos. 1-39 1A. Nos. 133, Doh chord with al its leaps, and scale passages. TN 3, Doh chord ch ups, and scale passage TB. Nos. 34-42. As 1A, plus rests, but with nose shorter than a hote pulse. 1G. Now. 43—s9. As 1B, plus (Lf? stepwise in itself and in auiuance. SECTION 2. nos, 60—f0 “The soh chord is added but with leap of « third only ta torts riot . 2A. Not. 6o—68, Time values: °°" 2. 2B. Nos, 69—~72. As 2A, plus rests, but none shorter than @ whoie pulie 2C. Nos. 930. As 2B, plus (_f stepwise in itself and in auimtance. et SECTION 3. nos. #1—110 “The foh chord in added but with leaps of « third only; fj Kal; dll, ° e 3A. Nos. 8199, Time values: 7 [7 2. 3B. Nor. 100104, As 3A plus rests, but none shorter chan aPwhale pulse. 3G. Nos. 105—110. As 3B, plus (_f stepwise sn ivelf and io aquitance. HySECTION I. Nos.1-59 ! Section La. Nos.1-33. Duh chord ‘with all its teaps) and scale passages Allegretto dim, p_ Brith 1 een = fees fait =| t~ ——— Moderato 5 pete Allegretto Hungarian + Sea of P >= © 1955. oxford Uneray Pes Renewed im USA. 1961Allegretto Dutch Allegretto French 1 jas SS Latin Allegretto Flemish Andante 3 Russian 1S : é ie P rit: Prom thie point onwards ties will be found in certain tunes Allegretto’ Danishi i i \M. £ i a 3 S 3 > 7? F i 4 | ERE “at ai i 5 i Zs 3 os 5 liars a8 i gfe gl al 2 3 : 5 5 Eis Ee 2 = 2 a g ams ¢ y ¢ 4 : 2° é (ine é z 2 : ae i tf ia * i's ei £ ~ HR Jc a) A Hh page {h B i lal z < = eu =a 3 = 2 2 57 6 Eastern Europe Allegro Hungarian — a (Liturgical) Tepaat Wore softly Stree . SF ” cree SECTION Ic. Nos.43-59 {As Section Is, plus pp scalewise in iteelf and in quittance. Allegretto British of "P dim. PP Moderato ~—__ creseGerman = Allegretto British ast 49 z = ? Allegro, % P cresc. dim, P Allegro _ 8 BS erred Sere 4a. Allegro German se z » eres Of Allegro (44442) German eS Rusvian Moderato (545) 7 pi aa Bi ~— > German® Messe aA pp ere t Allegretto British 58 Oa seditrr hy FH =] tim P Allegretto (443, 4451 Russian 9 f errr ers Sj P Ca “ So eres ‘dim. Ptay tt, eit, (no rests or pp). Le. et, h chord ps of a 3rd only, fu ard in the 20 SECTION Ui. Nos.60-80 yut with leas 8. Leaps ot 6 The sh chord is adseay Sections Nos.60- 10 SECTION Us. Nos.69-72 As Section Ila, plus rests (none less than whole pulse) French Allegretto (a+3+4) French Moderato. getyert 64 dim.2 8 German Waltz time German” Allegro . SECTION Lo.Nos.73-80 Allegretto As above, plus pp stepwite in itself and in quittence, German” Lively British 8 tha oe er a 7 B i — of P f———— ta ererc ‘Moderato15 4 Allegretto. Brition SECTION ML Nes.81-110 3 of a 3rd only, i. 3Fd in the fah che Section ? Allegretto ___ Allegretto iygreups uf 2 bers French” , Megretto i7yreupe uta bare) rr Allegro seers ot = == eevee af Allegretto Latin SAPD 2 ch of 4 bare, followed by 4.4.4.4.3) LatinSECTION IIlx. Nos.100-104 7 Andante AsIILA, plus rests (none less than whole pulse) Allegro Norwegian (erase. poco a poco " t Moderato tor St ‘Erese. poco a poco Moderaty (4+3+4+3, 102% Allegro (4434442) Norwegian, Moderato Britian? P ‘evese. Moderato British Allegro German a8 SECTION IIIc. Nos.10$-110 As above, plus pp stepwise in itself and in quittance. Andante German 105 EB + ees P + == rt Se pee aa By oe Russian Allegro —— a= 106 5 Ete Fay] i mf eres. 9 fam P Allegretto British Allegretto __ German 09 GMS ESE pips P erese. tf dim. P Allegretto _Freneti? ‘OXFORD UNIVERSITY PRESS