The tonic sol-fa music reader : a course of instruction and practice in the tonic sol-fa method of teaching singing, with a choice collection of music suitable for day schools and singing schools

1890·11.6 MB·English

by  Seward, Theodore F. (Theodore Frelinghuysen), 1835-1902

PRICE, 6O CENTS EACH
Complete
Deader
Revised and
Improved.
By THEODORE F. SEWARD and B. C. UNSELD,
APPROVED BV JOHN
&
THE BlGLOW MAIN
Co,, PUBLISHERS,
AST NINTH STREET, ^ No. 215 WABASH AVENUE,
NEW YORK. CHICAGO.
AY BE ORDERED THROUGH ANY BOOKSELLER OR MUSIC DEALER.

*,G,TUBMBULL,
BOOK SELLER,
HAMILTON.

FACULTY Cf ;,1USIC
T
1 LIBRARY
THE
READER
TONIC SOL-FA MUSIC
REVISED AND IMPROVED.
A COURSE OF INSTRUCTION AND PRACTICE IN THE
TONIC SOL-FA METHOD OF TEACHING SINGING,
WITH A
CHOICE COLLECTION OF Music SUITABLE FOR DAY SCHOOLS AND
SINGING SCHOOLS.
--
BY THEODORE F. SEWARD AND B. C. UNSELD.
APPROVED BY JOHN CURWEN.
The & Main
Biglow Co., -Publishers,
136 FMKTH AVENUE, NEW YORK. LAKESIDE BUILDING, CHICAGO
TOK SALE BY BOOKSELLERS AND MUSIC DEALERS GENERALLY.
Copyright,l88b,by Kigiow& Main.
Copyright, 1890,byBiglow&.Main.
MT
2 7 1997 o))
^
&* ~*^REFACE TO THE FIRST EDITION.
tfs/^
__^^___ IL-FASYSTEM is presented by the authorsofthis bookto the American public, in the firm beliefthattheintro-
duction o: tne system willmarkanew erain the musicalhistory of this country. The TONIC SOL-FA SYSTEM presents twowidely
different characteristics, eitherone ofwhich oughtto commendittoall whoare interestedin music. Togetherthey constitutean
absolute demand forrecognition. These characteristicsare:
FIRST. Itremoves three-fourthsofthe difficultiesofmusicfrom thepathofthebeginnei-; and,
SECOND. P leadstofar -reater intelligenceandappreciationintheadvancedstagesofstudyandpractice.
Ascnolarly American musicianhas recently written concerning TONIC SOL-FA: "It isnotonly a method of making music
easy, but formaking it more truly and profoundly understood."
The TONIC SOL-FA SYSTEMisoften called, by those who use it, "the natural method." The steps of progression are so easy
and naturalthat both teachersand pupils find apleasurein the study thatthey neverrealized before. Itisso simple as to bring
aboutanew departure in the teaching ofmusic, inthe following respect 77io.se?c/ioknowalittleaboutmusic canteachtttatlittlewith-
outbeing compelledto master the wholesciencebeforehand, as is necessaryicilhthestuffnotation. In this waya new class of teachers is
developed wherever the TONIC SOL-FA SYSTEM isintroduced, viz.: personsofeducation and culture who love music, but who have
heretofore been deterred byits technical difficultiesfrom devoting themselves toit. Ithas been acommon experiencein England
forsuch persons to begin teaching thefirst stepsby the SOL-FA method, and. becominginterested, they have gone on studyingand
teaching till they wereled to devote themselves exclusively to music, and became among its most intelligent exponents and suc-
cessful workers.
Try the system fairly. Donot omitthe best pointsand fancy you know allaboutSOL-FA. The various devices and expedi-
ents presented in the system are not mattersoftheory, butthe outgrowth ofyearsofactual trial and experience by many of the
bestteachers ofGreatBritain.
Itisimportanttostatethatthe"TONICSOL-FAMusicREADER,"ispublishedwiththefullsympathyandapprovalofMr.CURWEN,
the founderof thesystem. The first steps were submitted to him forexamination and were returned approved, with but few and
unimportant changes. Since the recent death ofMr, CURWEN. his son, Mr. J. SPENCER CURWEN, who takes his place in directing
the movementin England, has examinedand approved the MS.
THEO. F. SEWARD,
Orange, N. J. e B. C. UNSELD.
PREFACE TO THE NEW EDITION.
When the Headerwas first issued, in 1880, theTONIC SOL-FAsystemwasalmost unknown in America. Itisnowanacknowl-
edged factor in our national education. Mr. Louis A. Russel, in the preface to his "Method of Solfeggio," says, "In America
there has been no new thought or method in sight-singing for the last 20 yearswhich cannot uo traced more orless directly to
Mr. Curwen's influence."
Theadvocatesofthe StaffMethod cannotdismiss TONICSOL-FAwith aword, astheywere ableto doten yearsago. Buttheir
present attitude is, perhaps, asfaras their influence extends, even more injurious to the interests of musical education. They
freelyacknowledge the merits ofthe system, but claim that itsadvantages can be secured byadirect application to the staff. This
isafatal fallacy. The blessing ofTONIC SOL-FAto the world isin itsnotation. The deviceswhich grovoutof the notation can no
more be educationallyapplied tothe staffthan the methodsofmodern arithmeticcan beapplied tothe.Romansystem ofnumerals.
The transforming powerofTONICSOL-FAis in its naturaland philosophical method of representing the beautiful realities of the
toneworld.
The educational partofthis book themethod proper isdrawnfromMr.CURWEN'Svariouspublishedworks, butmainlyfrom
"The Standard Course." The authors claimnooriginality except in the mannerofpresentation. It hasbeen prepared with great
care, taking in every valuable, point ofthesystem, but rearranging and condensing forthespecial adaptation of the method tothe
musical needs ofthis country. The "Standard Course," whichisMr. CURWEN'S most complete settingforth ofthesystem,includes
full instructions in vocaltraining, harmony, musicalform, etc, etc. The "Tonic Sol-faMusic Reader" presents only the facts of
time and tune,fortheuseofelementaryclasses. Part I, embracingthe first fourStepsofthemethod, contains the instructionsand
exercises neededtoprepare pupils fortheJuniorand Elementary Certificates. Part II, embracingthe Fifth and Sixth Steps and
an introduction tothe Staffnotation, furnishesthe materialnecessaryforthe preparationfortheIntermediateCertificate. Thetwo
parts are alsobound togetherinacomplete edition.
THEO. F. SEWARD,
New York, Jan., 1890. *> B. C. UNSELD.
The Certificates of the Tonic Sol-fa College,
Steps ofthe Method. American Tonic Sol-fa College.
rteuarlelsAyoafgsrtyehsaettemmea,tdfvhraoondmtaibsgeteghieonfanritrhnaegntgToeomenenindc.tSoofOl-tnfheaeocmfoeutthrhesoemdoosfitsinutsshtearftuuclittfieoain-s iMnus1i8Tc8H9E(uPnoAdsMteErRoftIfhCiecAeNlaadwTdsOrNeoIsfsC,thSeNOLeS-twFaAtYeoAorSfkS,ONCeNI.AwTYIY.oO)rNkw.AaNsDIitCnuOcctLosrLpEionGrEaaftfioeldp-
in aseries ofgraded steps. The close ofeach step isintendedas iation with the Tonic Sol-fa College of London, and its certi-
apointat which the work should be revised, and thestandingof ficatesare recognized as equivalenttoitsown. Informationas to
each pupil ascertained before proceeding to the next. Any- organization, postal courses, examinations, etc., maybe obtained
thing which is left dimly understood orimperfectlypracticed in by writingto theabove address.
odnisecostuerpa,geismeonntlyhaandleegdacoyveorftsoo tmhuechnexcto.nfuHsioown, mweaankyneslesssaonnds questBieolnoswianreTthheeorryequoifrtehmeenStescoofndthGerfaidrsettawroecheertriefiocamtietst.*edTbhee-
will be required to teach each step it is difficult to say, without causeof lack of space, butmaybe obtained from the Collegeat
knowingthekindofclass. Theteachershouldbeguardedagainst 2 centspercopy, plus postage.
hurryratherthan delay. Manner ofTeaching-.
The Certificates. Itishardlynecessaryto saythatthe ways of presenting the
The Tonic Sol-fa movementhasbeen distinguished from all various subjects in this book are not to be followed mechani-
otherefforts to promotemusic among the people byitsSystem of cally. They are illustrations ofthemanner in which the topics
Certificates, issued by theTonic Sol-fa Collegeof London. It is may be treated, but every teacher will have his own way of
acomplete system ofexamination uponan extensive scale. The carrying outthedetails. See Manualfor Teachers of the School
special object of these certificates is to save the pupil from Series (price, 12 cents, bymail)forotherwaysofteachingthevari-
one-sidedness, and tosecure an equalityofprogressintune,time, ous topics. One of theleading characteristics of this system is
amtemhoormye., etTc.h,eaysiwneslulreasanto"parlolm-ortouendprnievsast"eosftutdryainainndg adinsdcispelrivnee ttohatdosobylitdtloeintgim"eisnetehdesgtroabnedomcoctutpeieodfwtihethTotnheiocryS.ol-fa"iWste. leTahren
asastimulus to the pupil. Forthetruepupiltheyfindout(what newdevices of thesystem the Modulator, Manual Signs, Time-
he wants to know) his weak places, show him in what direction names, and eventhe doctrine of Mental Effects are allexpedients
self-teaching isspeciallydemanded, and give him the confidenceof forleadingthe studenttopracticemore, tothinkmore,toremember
knowingthat he has really and satisfactorily reached a certain better; inotherwords, to increase hismusical intelligence.
stage. The ambition toobtainthem promotessuchanamountof *ReprintedbykindpermissionoftheAmericanTonic Sol-fa Associa-
]ioine-%vork thatit fully four-foldsthe workofthe teacher. tionandCollegeofMusic, ownersofCopyrights.
ReqEuxiamrienmeersn.tsTfhoorsethwehoFihrosltdGthreaSdeecoonrdGPrraedpearorataohriyghCeerrcteirftiicfiactaet.e, pr7i.maWrryitfeorimn,thr(eb)e-Ipnulsseecmoendaasruyrefoarnm.exercise oftwo measures: (a) In
with Theory,andwhohavebeenappointedtoexamineby the College of
iiusic. Requirements for the Second Grade or Elementary
atun1nd.essMnelc-mhfooarsfeyrn.ombyBmreliomtno.gryo,nswehpialreaptoeisnltiipnsgoiftpoanpetrhethmeodnualmaetsoro,fotnhereoefttunheess,e wiEtxhaTmhienoerrys,.anTdhowsheowhhaovehobledeCnetrhatepipfToihciianrttdee.dGrtoadeex,amoirnaehbiyghtehrecCeortlilfeigceateo,f
Music.
an2y. oTfimteh.e rhTayatthamisonNcoes,.a1n,d3,t4,he5,n7,la9aoorn1o1n(eseteonpep.in10p7e-r8f)ecwthliycchortrheecEtxtiamme-, Befere examination, Candidates mustsatisfytheExaminer that they hold the
inermay select. [Twoattempts allowed a different test tobegiven for FirstGradeCertificate.
thesecondtrial.] ; 1. Memory. Bringon separate slips ofpaper the names ofsix tunes,
3. Modulator. Sol-faorlaafromtheExaminer'spointingon the modu- andsol-fafrommemory, while pointingiton the modulator,one ofthese
lator,avoluntary, movingattherateofM.60,consistingofatleasttwenty- tuneschosenbylot.
ftoarfopa4uu.nerlsisTtigeuoth.nniteoesn.t,onnioeSsnro,cltl-ahufledalimioninrgntlolhareeaampacostodsemti.omghoatnn,yfnruoiofjmotrhtehsceatltoeon,neiascndosfonlt-ohfeatnosonctaealste,isobhnou,rttaenprehitrthahaseenr atels32l..towMwTeoihddmi;uecl.haatmdoTiraat.ytaetrcaeo(iann)tatStatiiefnnsigtrastttnooyslibaogeafhtgtotiahtvenhedenquEtfaxhoraretmnteihrlne-aeparsu'eliscsnoepnpdodeiirvntfitrseiiicanotlgn.ls]yo.nc[tohrTerwemocotadtuttlieammteop,rt,sa
tphh5erA.antsEsoeanwseresfraTobe.afsnmtt.yehetawTDnohodeohtrFek,icemrhyods-orottrheod.GnoesrfuahtndahgveeitnMfoogullsbalieaocweinaonrlggipTQvluheaeneys,oetdriteoylin.lns,tahpneuytsooblr-ydfeatrh,neaalmEsexosatmho-ef battsrriuv4aant.onnglssnTuitieuotntinititIoeaohdn.nraey.ron,faoPt,ririosantnitnccgehslhheiurttdmietitohimennenosg,tovklnreieeonaymirp-ntostmdueoientann,eoceohcaronb(dnbmyyit)oramdeoSiceefont,aliit-nonhnfnsgeao.roltoefaroannapelysgsaitadooviufveainvntsoihyCloe;untns*ostcnooaaelflr-seytf,,aiombfceuotontlhnceetensa,essiicttntahhihlaeneenngr;
iner: afullpulse.
1. Namethetonesofthescaleandtheirmentaleffects. Candidatesmaylaainsteadofsol-faing thetest.
2. Name the tones ofthe Doh chord; ofthe Soh chord; of the Fab 5. EarTest. Tell the notes ofaphraseofthree tones institonthmelo-
ch3o.rdN.ame thelittlestepsofthescale. . dtoiclapar,ogorrespsliaoyn.ituTphoenEaxnaimnisnterrumweinltl.gi[veTwtoheatkteeymp-ttosnaellaonwdeds;inagdtifhfeerteenstt
4. Whatisthetimenameofanundividedpulse? testtol.-egivenforthesecondtrial.]
5. "Whatisthetimenameofapulsedividedintohalves? intoquarters? The CollegewillsupplytotheexaminerthetentstobeusedinNos.?,Uand5
pr6i.maWrryitfeormi,n t(wbo)-Ipnulsseecomnedaasruyrfeoramn. exerciseoftwomeasures: (a) In ofNEOxTaKm.ineTr'hseferee.gistRreagtiisotnrafteieonforfeethsistaCmeprtmiafiycabteepiusrc15hacseendtsf,rwohmitchheEisxaemxcilnuesri.ve
4,
MENTAL EFFECTS AND MANUAL SIGNS OF TONES IN KEY.
NOTE. Thediagramsshowtherighthandasseenbypupilssittinginfrontoftheteachertowardshisleft hand. Theteacher makes
kissigns infrontofhisribs, chest,faceandhead, risingalittleas thetonesgoup, andfallingasthetonesgodown.
FIKST STEP. SECOND STEP. THIRD STEP.
SOH.
The GBAND or bright tone.
The PIERCINGorsensitivetone. LAN,
The SAD or weeping tone.
The STEADY or calm tone.
DOH. RAY. FAH.
The STRONG or firm tone. TheROUSINGorhopefultone. The DESOLATE or awe-inspiring tone.
Mental Effects. Someteachersare,at first,inclinedto teachingby mental effecthasbecome soimportantin the Tonio
ignore thisdoctrine ol theSol-famethod, butit isasubjectemi- Sol-famethod thut the teacher cannot taketoomuch pains to
nently worthy of the profoundest study. Mental effects are masterit. Heshould remember that these effects exist, whether ha
difficult to perceive because they are mental Let not the recognizes themornot,and itiscertainly wiserto utilize than to
teacherbe discouraged if he doesnot at once grasp the whole ignorethem. The pamphlet "Studies in Mental Effects" fur*
matter. The perception of menial effect is cumulative, the more nishesalargevariety of examples.
the subjectisstudied the plainerit becomes. The practice of
NOTE. Tliese proximate verbal descriptions of mental effect are only true of the tones of the scale when sung slowly when ft*
a isjUiedwiththekey, andwhentheeffectisnotmodifiedbyharmony.
5
FINGER-SIGNS FOR TIME,
AS SEEN FROM THE PUPIL'S (NOT THE TEACHER'S) POINT OP VIEW.
TAA. TAATAI. tafatefe. TAAtefe.
-AA,
-AATAI.
TAA-efe. tafaTAI.
BAA. TAA&iZ SAATAI.
The Modulator, (see page 6). AstheSunisthecentre ting the intervalsofthe scaleand related keys, tobe used afew
of the Solar system so the Modulatoristhe centre of the Sol-fa times and then laid aside. Its great value is in the means it
spylascteemo.f tTheheStMuoffduilnattoher icnotmhmeoTnonnioctaStoilo-nf.a noIttatsitoanndtsakbeeshitnhde aofbfsoerrdvsefdorthdartilltihnegstyhlelacbllaesssoarnetshpeetlloendeswiotfhthtehescEanlge.lisIhtswiolulnbdej
Mevienrdy'snoetyeewaelwasyeessienesthitetbhoeorke.. IFtriosmouhrab"iptiucatolriuaslesoyfmbito,lthoef oTfheleottpeerns isnosutnedadofofstohheisItparlieafne,rrasedhatsohseorleatsofobreeinbgeemnotrheeuvsoac;giel..
tttoohnneeesrreielnlaatatiiosoninsnsg.o"lfe 'kIkeenyy.sthatenofdioransttestthaenepostfhoeuitrr.tshhaoAnwsdcooutmshpeltrehtesetreepflsaamititilsoinahsroiwtosyf 1Ts.ehvee.e,reaalxscrthehaaensogsneesv,oefvnitz".ht:eo"f1.ftohTreh"semeau";soe(rsio)fsicstahlaeenseayenldldeabdalleismo"psorefo"vte(hsmei)emntiwtniocfreo.,r
with the Modulatoris of the utmost importance, foritisimpos- 2. Theletter"s"hasthemostunpleasantsoundinthelanguage,
sibleto understand the notation properly until itisprinted on and itshould notoccurmorethan once. 3. The change gives
the mind; in fart, until the letters of atune becomenotmerely an additional consonant, and is useful for practice in articula-
astraight line, but "pointers" which at oncecarry the mind to tion. 4. In the Sol-fanotationadifferentinitialletterifneeded
the Modulator. It isto theSol-fa singerwhatthekey-board of for eithersohorse.
the piano istothe player. Itisnotsimply a diagram illustra-
NOTATION OF TIME.
ameTdhieumloancgcehneta,vaynbdarthiendcioclaotnes(:a) astwreonagkaacccceenntt.; theshort,thinbar( | ) THE MODULATOR.
Time isrepresented by the space between the accent mnrks. The
spacefrom oneaccent marktothenextrepresentsaPULSE. {Beat,orPart
ofthe measure.) The spacebetween the strong accent marks (longbars) 1
represents ameasure.
TWO-PULSE THUEE-PUL8E FOUR-PULSE 8TX-PUL8E
MEASURE. MEASURE. MEASURE. MEASURE.
(l ' ' it (\ I II rl
'
II I II I II
TheTonicSol-faMethod makesuse of asystemof Time-namestoaid
inthestudyof time. ThePulseistheunitof measurement,andatone
one pulse longis named TAA.
d :d Id :d
Thecontinuation of a tonethrough more thanonepulseisindicated
byadash, andthe time-name is obtainedbydroppingthe consonant.
d :d |d : id :- : n
|
TAA TAA TAA -AA | TAA - AA - AA - AA II
tonesA piuslnsaemdeidviTdAeAdTAIi,ntaondhaislivnedsicahtaeldf-ipnutlhsee)> I"-, u, ,-(,* U,
notationbyadotinthemiddle. ) I TAATAI TAATAI
Atonecontinued intothefirsthalf of the
next pulse apnlse-aud-a-halftone isnamed :- .d
and indicated thus: -AA TAI
Apulse divided into quartersisnamedta-} j
fatefe, and isrepresented by a comma in the > d,d,d,d!d .Q
middleofeachhalf-pulse. ) ta-fa-te-fe it
ersiAsnpaumlseeddTiAvAitdefeed.intoahalfandtwoquart- HTdAA-,tde-,fed:TdAA -.ted-,fed
Apnlse divided intothree quarters and a j ,j
quarteris named TAA-efe, and is indicated by ** **
a dotand comma. -efe TAA -efe
reprTehseinrtdesdofbyapcuolmsemaarsetnuarmneeddTtAoATtAhIeTErEig,hta,nd )j IIdtaa-4dtai-<tdee:tdaa-,tdai-4tdee
tiSshAenAalSemioteltneedrntchSSeesAfofA(irrRs;eTtsatohsrah)laf,flaftroehfpunusaalsmpeaeudslfisulbleelynapcsuneuldbsisset8isnAtiauIlmteineoncdneg] I SAA .d
the second half. Quarter pulse silences are TAA SAI SAA TAI
named .saon thefirsthalfand.seonthesecond. l
iSniltehnecepsualrseeidnidviisciaotnesd,bi.ye.thveacaabnstenscpeacoef.notes |tda,-fda-.tde-,se:*a-,fda.-tde,-fde