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Open Educational Resources

1904

Melodia : A Comprehensive Course in Sight-


Singing (Solfeggio)
Samuel W. Cole

Leo R. Lewis

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Recommended Citation
Cole, Samuel W. and Lewis, Leo R., "Melodia : A Comprehensive Course in Sight-Singing (Solfeggio)" (1904). Open Educational
Resources. 1.
http://scholarworks.sjsu.edu/oer/1

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MELODIA
A COMPREHENSIVE COURSE IN

SIGHT-SINGING
(SOLFEGGIO)

THE EDUCATIONAL PLAN BY

SAMUEL W. CpLE
DIRECTOR OF MUSIC IN THE PUBLIC SCHOOLS OF
BROOKLINE, MASS., AND INSTRUCTOR IN THE
NEW ENGLAND CONSERVATORY OF MUSIC

THE EXERCISES WRITTEN AND SELECTED BY

LEO R. LEWIS
PROFESSOR OF MUSIC AT TUFTS COLLEGE

OLIVER DITSON COMPANY


THEODORE PRESSER CO., DISTRIBUTORS
BRYN MAWR, PENNSYLVANIA
MADE IN U. S. A.

Copyrlghc ltd), l>04, by Ssmad "V. Col< isd Leo R. Ltwii


Copyright iisigncd to OlWcr Ditson Complnyi 1909

^'^5
INTRODUCTORY
The Value of Sight-Singing many and varied examples of each of the conven-

For two centuries training in sight-sing-


at least
tional rhythm-forms and the most deliberate pro-
;

ing has been recognized in Europe as fundamental gressiveness is maintained in the introduction of
to all technical education in music. Americans new difficulties. In a word, it is a feature of

have seemed to set little store by such training; Melodia that early emphasis is laid upon rhythmi-
cal problems.
for, today, the great majority of our professional
musicians, not only instrumentalists but also vocal-
ists, need unerring instrumental support in " sing-
The Treatment of Large Intervals
ing at sight " a part-song or an anthem which has In the treatment of the larger intervals there is
modulations to any except closely related keys, or also a departure from the conventional procedure.
which abounds in the larger intervals. Obviously, Instead of taking them in the order of small to
inability to read at sight does not preclude good great, the octave is first presented, because experi-
performance, after familiarity has been gained by ence shows that it is the only " skip " definitely
instrumental assistance; but probably no one recognized as such by most beginners. The sev-
would deny that the possibilities of artistic enths, sixths, etc., are then presented both in their
achievement are infinitely greater when one has relation to the octave and as composites of the
acquired the confidence born of genuine ability to steps and half-steps with which the student is

sing at sight — which ability may be defined as the already thoroughly familiar.
power to know the units of rhythm and of relative
pitch ofany rational musical phrase, and to prove General Features of Melodia
that knowledge by singing it correctly at first
A glance at the headings of the successive Series
sight.
will indicate in detail the comprehensiveness of the
plan. The following general points may be noted
Much Material is Necessary
1, The typographical arrangement such that a very
is

Many works on sight-singing have been com- large amount of material is brought within comparatively
piled and written for use in the public schools. narrow limits;

But the authors of Melodia believe that there is 2, The normal compass of average voices (an octave
and from low A) is seldom exceeded
five notes
need of more and better graded material for use in
3, Nearly one-half of the unison exercises are written
conservatories and by private teachers. The pres-
in the bass clef, thus forcing
sopranos and altos to become
ent work is an attempt to meet this need. It rep-
familiar with that clef
resents the results of many years' experience, and
4, The two-part exercises are all written so that they
is based on the belief that, whatever be the method may be inverted, the bass being made the tune, and the
of presenting the elements of the subject, the sur- tune the bass or they may be sung by male voices only or
;

est road to growth is through actual performance by female voices only; thus, each two-part page repre-
sents two pages of practice material
of a great number of carefully graded tasks.
5, Again, the two-part exercises are adapted to use by

teacher with pupil in private vocal lessons;


Confidence Must be Developed
6, Since all indications of phrasing are lacking, oppor-
A second fundamental thought has been that a tunity is offered for constructive work of the highest edu-
high degree of self-confidence must be developed cational value.

before one can " stand up and sing " alone at sight
a somewhat difficult musical phrase, without other Individual Work Essential
assistance than the sounding of the key-note. Ex- It is expected that, even when the book is
perience has shown that rhythmical problems are studied in large classes, much work in individual
quite as often stumbling-blocks to musical students reading will be required by the Instructor; for,
as are to^ial problems. Therefore, in Melodia, the after all, no one has fully mastered sight-singing
first eighty pages, which are written without skips who cannot sing alone, while beating time after
primarily to develop a ready confidence, contain the conventional forms.

As a special and, perhaps, novel ^help in de- — may well be studied in connection with any ear-
veloping the sense of individual independence in lier exercise which modulates to any similarly re-
ensemble, there have been included, in Series I, lated key — to F-sharp minor from E major, for
exercises which may be sung simultaneously. instance. Reference to these exercises is occa-
Cases of this sort are indicated in connection with sionally made in the earlier pages of Series IV
each of the respective exercises. Thus I 233 may but the teacher may best judge whether more
be sung with I 243, I 246 with I 263, etc. Some detailed study of key-relationship is desirable.
teachers believe so fully in this method of devel-
oping independence that they cause exercises in Matters of Notation.
the same key, and with the same number of mea-
There has been no attempt to preserve absolute
sures, to be sung together, without regard to the uniformity as to the details of notation through-
tone-content of the exercises. This practice, ar-
out the book. On the contrary, it has been
tistically unjustifiable, may have, in moderate use,
deemed wise to present a variety of forms and
educational value. usages, in order to accustom the student to the
The Goal of Melodia practices of various authors and editors.

Melodia undertakes to prepare students to meet


A word is necessary as to the insertion of clefs
and the use of bars, which features, on casual
the most difficult tasks in pitch and rhythm set by
view, might appear to be unsystematic and need-
masters of choral composition. If suggestions of
lessly unconventional. As a matter of fact, con-
phrases from some of the masters have occasion-
siderations of brevity have prompted several
ally been incorporated in the original exercises,
departures from the established usage. For the
the reader may be willing to waive a charge of un-
guidance of the singer, however, but a single
justifiable appropriation, in view of the specific
direction is necessary : the prevailing key-signa-
object of the whole work.
ture and time-signature are not cancelled
The Modulatory Studies unless a clef or the regular double-bar [II] is

Pages 76 to 80 contain Modulatory Exercises,


inserted. The double-thin-bar [||] is therefore

some of which may well be studied earlier than


not to be regarded as necessitating a new indica-

their position in the book would indicate. The tion of key or time. The time-signature may
relationship between the objective keys and the
change while the key-signature remains. The reg-

tonic is indicated by Roman numerals, capitals — ular double-bar appears


A^y-signature is changed.
where either a clef or a
The meaning of the
for major keys and small capitals for minor keys.
single-thick-bar [I] or the double-thick-bar [II],
Thus, "To II " means that the exercise illus-
trates modulation to the minor key based on its as in the Modulatory Exercises and in connection

Super-tonic of the prevailing scale — to D minor, with repeat-signs, is, in the respective cases,

if the piece is in C major. Such an exercise obvious.

THE SOURCES OF THE SELECTED EXERCISES


The authorship of the selected exercises and of the excerpts, is indicated by letters following

the respective numbers. An asterisk shows that some modification other than transposition has
been made, but not such as to impair the original character. Below is a key to the indications
of the letters. All exercises not so marked have been written for this book.

Ad T. Anderton [1836- ] Gn
Ab D. F. E. Auber [1782-1871]
Bh J. S. Bach [1685-1750]
Be U van Beethoven [1770-1827]
Bt A. Bertalotti [166S-1730( ?)]
Bh H: Bonicke [1821-1879]
Br J. Brahms [1833-1897]
a G. Carulli [1800-1877]
Cb E. Chabrier [1842-1894]
Ck G. W. Chadwick [1854- 1

Ch L. Cherubini [1760-1842]
Cn P. Cornelius [1824-1874]
Du F. Durante 1:1684-1755]
Fi C. H. Fischer [1800-187S(?)]
Fr C. Franck [1822-1890]
TABLE OF CONTENTS
INTRODUCTORY V
BOOK I
FIRST SERIES I
One-part diatonic exercises in step-wise melody — —
G and F clefs All major keys to B and to D-flat

inclusive— All representations of notes and rests of whole-beat length and multiples thereof
Elementary presentation of the divided beat,

SECOND SERIES 21
Two-part diatonic exercises in step-wise melody —Keys to B and to D-flat inclusive —
Alt representa-
tions of notes as in First Series, with greater variety and length of rests —The divided beat in fuller
presentation.

BOOK II
THIRD SERIES 41
One-part exercises in step-wise melody in all keys —Graded presentation of all chromatic tones, except
flat-2 and flat-5— Development of the minor —
The dotted note involving division of the beat —
Triple and quadruple division of the beat.

FOURTH SERIES 61
Two-part exercises in step-wise melody in all keys —
Chromatic tones, modulatory and ornamental —
Development of incidental and extended modulation —
Syncopation —
Mingling of double and triple
divisions of the beat.

FIFTH SERIES 81
One-part exercises —
Systematic treatment of intervals, beginning with the larger —
Skips to and from
chromatic tones having obvious key-relationship —
The commoner augmented and diminished intervals.

BOOK III
SIXTH SERIES loi
Two-part exercises embodying all intervals treated in Fifth Series— More elaborate development of
rhythmical difficulties, especially of syncopation — Lengthy solfeggi from German, French, and
English sources — Canon and Fugue.
SEVENTH SERIES 131
One-part exercises —
Systematic treatment of skips to, from, and between chromatic tones Intro- —
ductory study of passages whose chromatics "deny" the signature —
Advanced solfeggi from foreign
sources — Specimen difliculties, without text, from the classics.
EIGHTH SERIES 151
Two-part exercises, involving all the difficulties treated in Seventh Series, and fully reviewing the
rhythmical problems earlier treated —Maximum difficulties of mediated modulation —
Special studies
in the development of independence of the parts.

NINTH SERIES
One-part exercises
BOOK IV
.......
— Typical passages from early and recent composers, with text, of d'.fticulty ranging
161

from medium to great — Full exposition of chromatics which "deny" the signature — Arbitrary
changes of tonality.

TENTH SERIES 177


Two-part exercises, with text —
Representative excerpts from early and recent composers, with a few
new exercises, embodying maximum difficulties of pitch and rhythm, as well as the utmost independence
of parts.

ELEVENTH SERIES 191


Two-part exercises, partly without and, partly with text, in the following Church Modes ^olian,

:

Dorian, Jonian, Mixolydian, Phrygian Canonic imitation, strict and free, in other intervals than that
of the octave.
MELODIA BOOK - I

FIRST SERIES
One -part diatonic exercises in step-wise melody G and F clefs —
All major keys to B and —
D-flat inclusive —
All representations of notes and rests of whole-beat leng'th and mnltiples
thereof —Elementary presentation of the divided beat


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AllUnison Bass Exercises are to be sung by all singers, tbe Sopranos and Altos sounding, of cours*,
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Two-part exercises m step-wise melody in all keys — Chromatic tones, modulatory and
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81

FIFTH SERIES

One-part exercises —
Systematic treatment of intervals, beg'inning' with the larg^er
Skips to and from chromatic tones having- obvious key-relationship The commoner augmen- —
ted and diminished intervsds

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MELODIA-BOOK III
SIXTH SERIES

Two-part exercises embodying- all intervals treated in Series V More elaborate devel-

opment of rhythmical difficulties, especially of syncopation Leng-thy solfeg-g-i from Geiman,


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