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(
2 Ctrapter One / i\{eftxlies

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When. a melody rnodulates, the new tonic is an irrstrument, tl're beginner rnay be tempted to con-
called Do, and the other notes of the scalc are l.e- cetrtrate on producilrg the correct pitcl'r, hoping that I
named accordingly Tlrc purpose of this system is to other nrrrsical valtres will be acquired in due course.
emphasize the relationship between the degrees of Btrt nrelodies do not exist witl'rout rh1,1ftn-,. thev also I
the scale, and to develop a feelirrg for tonality even
when the tonal center shifts.
have rrlrances of dynamics and tempo, and climaxes.
These clualities are an integral part of the music. It is
I
Other Methods
possible to improve one's rnusiciansl-rip while leam-
ing the technique of siglrt singir"rg by thinking about
I
Numbers (7, 2, 3, etc.) may be used instead of
syllables (Do, Re, Mi, etc.). 't'lre application is tlre
nrusical valrres r.vith tlre first nreloc'lv in the book. As
arr aid to intelliger-rt and sensitive performatrce rrr,e
I
same as in the movable Do systern except that there
is no numeral change for chromatic tones.
have included dprarrrics, expression, aud articulation
markirrgs throughout the book. The eye should be +ti
ii. I
One syllable, such as Ia, may be used for all
pitches. Thus tire sir-iger does irot llave to Lranslate
trained to observe them; the mind to implement them. ! it I
'
the pi tch .,urr', u.i'ir-, to syll ables or numbers.
A rnusician is expected to know the systenr irr Prepare to Sing I
common use lvherever he may be; therefore, the shr_
dent sl'rould master more than one of these techniques. L-lcarly, thc-re is n'rrrch to do, and it is srrggested tlrat the I
shrdent 'lrrake haste plorvly." The first melodies should
be str"rclied carefully in order to develop good musical
I
herbits.'fhe shrdent should sing a melody several times,
if necessary, ulrtil ease and fluency are achieved.
I
.
Before you start to sing, rve suggest that you:
I
l-r-rokat the melocly quickly (scan it): where
rnarkings have been placed over the phr:ases of .
iht trigh and lon,points?
I-ook for dynamic marks and articulation.
are
I
every melody These indications ciefine the phrase . Sing an arpeggio that fits the range of the melody.
o Sing one or rnore of the follovring rvarm-ups
I
structure and serve as a guide to breathing.
the key ancl tempo of tl-re exercise.
in
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;, i It is lrelpful to beat time as you sing, using stan_
Musical Values -
dard conducting patterns. I
In practicir-rg the singing of melodies, as fur practicirrg Here are sonle suggcstecl rvarm-ups: I
Warm.ups I
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d
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\.::_-:::--- --- I
 % SECTION I
fittELoDIEs
clmpters
To be *sed with Section'I of'atl ot]rct
' gtaspett ot n *;;r, the di-
l6n6g' Llewever'
t.-be
the basic aspects of
enotrgh ternpos' d1'rrarnics'
ernphasize
The first merodies

:T:lliJffl;::i;.:hr,.:*'lilffi
'.:,",:H.:il:l"iJ:.j]il[:j{{tulir.::#:';
.,:;;;;t l.'''oio' min.r trr.dcs'
an'J
crrccs' in 5lc'
lltJ* itr 47; conrpouu uretcr
ni'*tto""rrcl I
r.*el.dies are basctJ )".|i'ln"tt nritror t'uode
.fhc phrases are trstrtrlly synrnretrica'
t"llt':']t
r --r:*^I'r ^'r steDwis€ motion' The larg'est o"r the ''::l'*:'tt-
tonic triad'
s\\\ '%t, N
N rhe first eisht merodl"',l'"'1":"h:1lf:1:i:::"#ffi;' *;i"
'vitt'
tiie rr-rot

tave' Note values

include'"1^''":':;;;il;;"
is i. o*e pl*'ase'
Each;fi;;;;ight melotlies
Anclsnte

Allegretlo

Andante cuiabile

i..-

3
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7. Afldailtino
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a
8. All.egrctto I
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N Zz, slN T
N % N Each of the next four melodies is built in tlvo plrrases. scan
the melody for the peak of each plrrase.
I
9. Con noto {
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a
f I
Allegro I
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Allegro J
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Alkgro oleciso
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l--<

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lilL
trL il * * The pattern of two short phrases and one longer one is found in the next three melodies.

hL 13. AlIegrctto

F: 14. Allegro
py
E.
h-
hq-
15. Atrdattte

sN % N rhe follorving .i^e nrelodies irlt-rocluce skips in triB tonic triad.

1,6. Allegqg .

!:
ItL
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E:
E: 19. Atlegretto

t:
T(
tr:
u,. !
 Allegto tnocletnto

aitrgro con hrio

nf N Vh N

five melodies'
includecl in the next
\N\ *r: -N 'l'he rhythm J '\ i'
25. Allegto nrcdetato
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t.il
a- Section I
Jr
ll't 27.

!r-
Ir
ft- 28. Andante
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f-
Ir- 29. Andante

f'.
fi.
f'-' N %
Ir
N".N-

30. Atlegro

l'-
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t-'
J 31. Viaace

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l\- 1 32. Andante cantabile
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 ChapterOne / Meldb
B

N\N The same melody is written rvith three different

cle(s'
N % j'
33a. Modetato

f \
\
Modera to
nf -.-'

N '% sr.N Tl.re next ten melodies are rvritte. using the alto clef.

34. Andante

Largo

#.

Allegto cott spirito

 IW
Section I 9

38. Ivtodiri

39. Largo
l-----

40. Yioace

41. Larglrctto

43. Andante
tl-l-=\

NiZzN
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ChaPter One / Melodics

10

44.

Atlegro con sPirito

l

N vlz N Three C-minor scales'

Natural

Harmonic

--1r--o

les are'compired mny'be found in

SupplementaryExercises' p' 301ff'
Melodies iri whict"r the niaior and minor moc
N%s
 111

Secfion I
11

S % N Tfre next seven melodies are built on minor scales.

47. Anilante

48. Allegro

49. Anilantino

.:'

L
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i

5L. Allegro rnoderato

i-

.i:
52. Andahte
t-.-

t_

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[,-

t_

L N%N\N
t'-

L
tr-

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 I
12 a

N V, N\N Skips in tlre tonic minor triad are founcl in the fiext four melodies'
i
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54. Attdante

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56. Allegretto
I
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57. Modetato I

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N VZ, N\N

58. Allegretto
,-T-:

N % N Tlie same melody is notated ir-r three different meters.

59a
D

I Section I
, 13
a
T
T
T Larglrctto

T
r
t '% \N
NZ sxN

T rhe next eightrnelodies are in time. obsen

$ e the dif{erences between two versions
melody, given i4 different modes. of the same
T
60. Andalltitto
:
I ,iltf
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T 61,. Andantino

I mP

T
62. Auegr*o
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63. Allegretto

f
64. Ailegro.

L-*
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 ChapterOne / tddi6,
65. Allegro

66. Con nnima

P .--,
O/. Con uirna

N*%N
\\\\ % N Re.sts are includerl in sorne melodies from
tlris point on.
68. Allcgro utodcrnto

69. Audnrte cnrttttltile

70. Allegro

.t --
 1
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Section I 15
.t
-t

72. Allegro

N '/4 g\N The next four melodies begin with the 5th o[ the tonic triad.

73. Allegro

74. Lnrgtre:g____\

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75. Afld0nte

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t.