§ 49. A melody or tune may proceed not only by the regularly successive steps or degrees of the scale, (di grado,) but also by skips, (di salto.) § 50. The easiest and most natural skips are those which occur between the tones one, three, five and eight. NOTE 1.-The pupils should be exercised on these tones, or in skipping from one to another until they become so familiar with them as to name them when they hear them, or to produce them when they are named or called for by the teacher. NOTE 2.—It is not intended here to lead the pupils to the investigation of intervals, but rather to prepare for that work by enabling them to pass di salto from any given tone of the scale to any other with some degree of ease and certainty. Elementary Exercises, 31 to 36. § 51. The following changes may be produced with the tones one, three, five and eight. NOTE.-In the following table figures are used to indicate the names of tones. NOTE. The order in which the remaining tones of the scale are introduced is not supposed to be important. The following is in accordance with the example of some of the best German teachers. § 52. Seven. The tone seven naturally leads to eight; or after seven the ear desires or expects eight; eight, therefore, will serve as a guide to seven. Think of eight, and it will be easy to sing seven. NOTE.-The pupil may be made to appreciate this by singing the ascending scale, and stopping with seven. Elementary Exercises, 44 to 45. § 53. Four. Four naturally leads to three, or after four the ear desires or expects three; three, therefore will serve as a guide to four. Think of three, and it will be easy to sing four. NOTE 1.-The pupil may be made to appreciate this by singing the descending scale, and stopping with four. NOTE 2.-The natural progression of seven to eight, and of four to three, will also be made clear by dividing the class, and causing them to sing together, with many repetitions, as follows: CHAPTER VIII. MELODICS. EXTENSION OF THE SCALE AND CLASSIFICATION OF VOICES. § 56. When tones higher than eight are sung, eight is to be regarded not only in its relation to the tones below it, but, also, as one of an upper scale. Elementary Exercises 56 to 61. § 57. When tones lower than one are sung, one is to be regarded, as, also, eight of a lower scale. Elementary Exercises 62 and 63. TENOR. NOTE 1.-Several tones may be added, either above or below, by cultivation. NOTE 2.-The true pitch or relation of male and female voices should be clearly illustrated and explained in this connection. When this is understood, there can be no objections to the Bass and Tenor singing the lessons in the G clef, or to the Treble and Alto singing from the F clef, although the former may sing as heretofore, an octave lower, and the latter an octave higher, than the actual pitch represented. § 59. The human voice is naturally divided into four classes: 1. Low male voices, BASE. 2. High male voices, TENOR. 3. Low female voices, ALTO. 4. High female voices, TREBLE. NOTE.-Besides the above, there are other distinctions, as BARYTONE, between the Bass and Tenor, and MEZZO SOPRANO, between the Alto and Treble. The Treble is often called SOPRANO. § 60. The F clef is used for Base, the G clef is used for Tenor, Alto, and Treble, but when used for Tenor it denotes G an octave lower than when used for Treble or Alto. NOTE. This different use of the G clef for Tenor, and for Alto or Treble, should be clearly illustrated and explained. Examples illustrating the two uses of the G clef: TREBLE. 1. TENOR. sixteen feet long. EXPLANATION. § 61. To distinguish between the different tones denoted by the same letter, capital and small letters, together with marks above or below them, 1, C.-This is the lowest sound produced by an Organ, and it can be obare used. Thus, in the above example, the lowest three notes are designated tained from no other instrument. It requires a pipe thirty-two by capital letters; and the tones represented by them are called capital, or feet long. great G, or great A, and great B. The notes in the next octave beginning 2, C.-This is the lowest C on the Piano-forte. It requires an organ-pipe with c, (with the exception of the upper one, which is considered as one of the octave above,) are designated by small letters, and the tones are called small c, small d, small e, &c. The notes in the next octave, (with the exception of the upper one,) are designated by once-marked small letters, and the tones are called once-marked small c, once-marked small d, &c. The notes belonging to the next octave, are designated by twice-marked small letters. NOTE.-The G clef, when used for Treble or Alto, or for instruments, signifies g, but when used for male voices it signifies g. § 62. The great scale of sounds, including the whole compass of tones appreciable by the human ear, consists of about nine octaves, about onethird of which, from G to g, are within the range of the human voice. 3, C.-This is called the great C. It is the lowest sound on the Violoncello, and it requires an organ-pipe eight feet long. 4, c.-Called small c. Written on the second space, Bass clef, and requires an organ-pipe of four feet. 5, c.-. -Middle e. Added line above, F clef, and added line below, G (Treble) clef. It requires a pipe of two feet. 6, c. This is the c represented on the third space, G (Treble) clef. It requires an organ-pipe one foot long. = 7, c.-Second added line above, Treble clef. Produced by an organ-pipe one-half of a foot long. § 63. The system of noting or designating the tones of the great scale, is 9, c.-Highest c on the Piano-forte. Produced by an organ-pipe of onethe same as that mentioned at § 61, or as follows: eighth of a foot long. NOTE. A true knowledge of intervals can only be communicated through the ear. Names, definitions, or illustrations, may be given while the pupil obtains no correct idea of the thing itself, which can only be acquired by a careful listening to tones and comparison of them. The ear alone can appreciate or measure intervals. The subject is one which cannot be understood until the ear has been considerably trained; this is the reason why it has not been presented earlier in this course. After intervals have been taught, the following definitions will be easily understood. § 64. The difference of pitch between any two tones, is called AN INterThus, the difference of pitch between one and two is an interval. VAL. § 65. In the regular succession of the tones of the scale, there are two kinds of intervals, larger and smaller. § 66. The larger scale-intervals are called STEPS; and the smaller scaleintervals are called HALF-Steps. § 67. The intervals of the scale occur in the following order :-between one and two, a step; between two and three, a step; between three and four, a half-step; between four and five, a step; between five and six, a step; between six and seven, a step; and between seven and eight, a halfstep. NOTE. The terms tone and half-tone are in common use to designate these intervals; but as the application of the same word both to sounds and intervals is inconvenient, the discontinuance of the term tone and half-tone is recommended, especially in teaching. As the word ladder (scale) is used for designating the series of tones called the scale, it is quite natural to carry out the figure, and borrow from the ladder the word step by which to designate scale-intervals: -6 Step. Step. Half-step. 3 Step. -2 Step. CHAPTER X. : RHYTHMICS. SEXTUPLE AND MIXED MEASURES. § 68. A measure having six parts, is called SEXtuple Measure; as, one, two, three, four, five, six; or, downward beat, downward beat, hither beat, thither beat, upward beat, upward beat. § 69. A measure having six parts, is also often described by two specific counts or beats; it is then called COMPOUND Measure. § 70. Measures may also have nine or twelve parts, or more or less. But it is not supposed to be necessary to give explanations or illustrations of these, since, if the pupil is well grounded in the kinds already mentioned, he need not apprehend difficulty in any other form which may be found. Elementary Exercises, 65 to 67. |