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 seale separately, in order to acquire a good emission of the voice, fauitless intona- tion, and purity and unbrokeh 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 5 mi_y fa 5 sol_y la si_y do 9 do si_y la 3 sol fa mi» re 9 do 9 vo ov Seale in Half-notes: Duple Time.” Two half-notes in the measure. Scale in Quarter-notes. Count 4 quarter-notes in the measure. = = = = *) There are two classes of Time, Duple and Triple. In Duple time,the number of beats to the measure is divisible by 2; in Triple time, by 3.Concone — The School of Sight-Singing Take breath during each rest and at the sign(s). Exercise on Major and Minor seconds.Concone — The School of Sight-Singing Make the pupil sing the following threo notes: $==j=F=] After this, strike the third: ,and let him become acquainted with that" Interval. 5, x Exercise on Thirds.Concone — The School of Sight-Singing Make the pupil sing 4==j===4 and become acquainted with the Interval of the Fourth: =] 8 Exercise on fourths. a « Exercise on fifths.1 — The School of Sight-Singing Exercise on Sixths. 5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 71h ascends. Minor 7th descends. (eee od eS BOOGCGR & uO oth hb Exercise on Octaves and Major and Minor Sevenths. Octave. ‘The Maj. 7th ascends. Octave. ‘The Min.71 descends. eve 7th Maj. ave 7th Min. sve 7th Min. 7th Min. 6‘Coneone — 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the pupil attempts the singing of any lesson, he must be sure of the names of the notes, so that his attention be not withdrawn from the proper intonation of the Intervals and the right division of time.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. In the Musical Academies and public Singing-Classes in France, where reading at sight forms the basis of all musical education, a highly commendable preliminary exercise is employed, called “la lecture rhythmique” (rhythmical reading); it consists in naming the notes aloud, and strict ly in time, which is marked by even movements of the hand. Moderato. *This curved line (~~ or —)is called a Tie, When two or more notes on the same line or in the same space are connected by a tie, the second note must not be repeated, the sound of the first one being prolonged for the time-value of all the notes so tied, 7‘Coneone — The School of Sigh Singing ‘The sharps are generally placed in the following order #4 Some composers put the first sharp between the i8t and 2nd line, which makes the suc- cession of sharps appear more regular to the eye gates Moderato. sbut the former mode is preferable. HeConcone — The School of Sight-Singing Moderato. ’ 12.Concone — The School of Sight-Singing Moderato. R34 all ail all all all allConcone — The School of Sight-Singing all all 4l Andante. 1234Concone — The School of Sight-Singing Triple Time. ‘Three quarter-notes in a measure(or any combination of notes forming together tf _ whole note). ento.Concone — The School of Sight-Singing 2Concone — The School of Sight-Singing Two-four Time.(?/4) ‘Two quarter-notes (or their corresponding value) in a measure. Allegretto. . reConcone — The School of Sight-Singing Andantino. , 19.Coneone — The School of Sight-Singing Triple Time.@is) ‘Three eighth-notes (or their corresponding value) in a measure. Andantino. 20,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. i 23 4 123 4 21. 4 él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 ail all all dil qd allConcone — The School of Sight-Singing Dotted Quarter-notes. A dotted quarter-note is equal in time-value to three eighth-notes. Andantino. 23.Concone — The School of Sight-Singing Andantino. 20Concone — The School of Sight-Singing Andante. 21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 fied over a strong beat in a measure from a weak beat in the same (or a preceding) measure, the rhythmic effect produced is termed syncopation. EXAMPLES. Example I. Syncopation. 1 z 402 12 Ex. II. Usual notation. Ex.III. Succession of syncopated notes. —~ 1 2 ie 6th hil he i 2 The same with notes of different value. —~ — Ex. IV. Syncopation in Triple Time. 423428 428 14 28 123423 123 4 28 4 2°38 4 28 1°28 4 2 8 ‘The following numerous Exercises on Syncopation, (in which the syncopated notes must be attacked without hesitation,) will enable the presevering pupil to overcome one of the greatest difficulties in music. 22Coneone — The School of Sight-Singing Do not pass from one Exercise to the following one, until you can execute it with- out hesitation. 26. Moderato. One syncopatgd note.27. Two syncopated notes. 28. several syncopated notes. e 29. 30. Andante. Common Time. 31. Allegretto. The same in Two-four Time. 23Coneone — Th Andante. In Triple Time. 32. Andantino. 24Concone — The School of Sight-Singing Allegretto. 34. Subito. D.C. 25Concone — The School of Sight-Singing Allegretto. poco rallent.- - & tempo. 5 poco rallent. - | @ tempo. ‘rallent. rallent.Concone — The School of Sight-Singing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 p) signifies softly. Pianissimo (by abbreviation pp) signifies: very softly. Crescendo (crese, or =<): swelling, increasing in loudness. Decrescendo, or diminuendo (dim. or): decreasing in loudness. Forte (f): strong, loud. Fortissimo (ff): very loud. Smorzando (smorz.): softening gradually. Morendo: expiring. Sostenuto (sosz.): sustained. Legato, Legatissimo: smooth, very smooth. Staccato, Staccatissimo: detached, very detached. ete ee ‘The smooth or connected style, Legato, is also marked by a Slur for several notes ==: ta ses 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 (radz) \ Retarding the movement. Ritardando (rit. or ritard.) Accelerando (accel.) \ Hastening the movement. Stringendo (string) 28Concone — The School of Sight-Singing Third Series. Allegro giusto.Coneone — The School of Sight-Singing Compound Time. Besides the two main classes of time, there are two subclasses, Compound Duple time and Compound Triple time. In compound duple time the number of beats to each 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 3, instead of a simple note divisible by 2. In compound triple time not only the number of beats in each measure is divisible by 3, but also each beat. By dividing the numerator by 3, the pupil will find immediately how the Time must be counted, Thus 64, 6/8, or 646 time (compound duple times) is counted one, two, because 6 contains twice 3. v4, 12/8, or 12416 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. 30‘Coneone — The § Theme with Variations. Review of the preceding Exercises. 39. Moderato. 3 5 ; 12 VAR. 1. 2. Syncopation. 3. Staccato. ole Moderato. 5. 31Concone — The School of Sight-Singing Theme with Variations. Review of the preceding Exercises. 40. Moderato. ; 7 z 1 2 4 VAR.1. Syncopations 4. Triplets of quarter-notes. oe fa tempo. espress. e |2 lerese. =| = oaConcone — The School of Sight-Singing Andante poco Adagio. DALAYRAC. 1758-1809. a tempo. a tempo. PConcone — The School of Sight-Singing Allegretto grazioso. W. A. MOZART. 1756-1791. dolee. VE VARS MAE; pots cree. === pel tf te |e" CU eet eT eo “crésc. P dim. jis) et [Stes se ae ee eas Allegretto. DALAYRAC. ie. riten. erese. |riten. |x mf. riten. ——— = toto wet riten| uf dim,Concone — The School of Sight-Singing Allegretto grazioso. x 2 due. NAEGELI. dolce. 63. P “lee. ge ee SE ee ee |e ae ~ Solo. ‘poco Yerese. ——— af ef ee |e ee 060 _erese. Andantino. MOZART, dolce. AConcone — The School of Sight-Singing Andantino espressivo. H.WERNER. nf podo crese. = = peg —=—= * mf fioeo crese. S | dolce. 51Concone — The School of Sight-Singing Poco Adagio DALAYRAC, dolce. 66. 52Concone — The School of Sight-Singing Larghetto. EL | SPS PN | SPS | SIO 7 F Canzonetta napoletana. Andantino.Concone — The School of Sight-Singing > > oo? Larghetto From “Preciosa” WEBER. dole. — egctoa aa 69. = — rtten. Andante con moto. ; WEBER. ‘olce.Concone — The School of Sight-Singing —— — 2 = 55Concone — The School of Sight-Singing La Carolina. Canzonetta napoletana. Allegretto. 2 La Romanesca. Fameux Air de Danse de la fin du XVI®™* Siecle. Moderato, 5 : vm dolce. VES lee 5 |e Se ee ro [eeConeone — The School of Sight-Singing > >, 2 PP SLES te Se ite 2 8 hs 2 9 te 8 es Se ? piu bento. Pp riten. I yistenty, * tS |®— pp | 2 ts riten, a 37Concone — The School of Sight-Singing “ From “Oberon” WEBER. Allegro.Concone — The School of Sight-Singing