Melodia - A Course in Sight-Singing Solfeggio - Samuel W. Cole and Leo R. Lewis (Complete, Books I–IV)

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MELODIAA COMPREHENSIVE COURSE IN

SIGHT-SINGING(SOLFEGGIO)

THE EDUCATIONAL PLAN BY

SAMUEL W^COLEDIRECTOR OF MUSIC IN THE PUBLIC SCHOOLS OF

BROOKLINE, MASS., AND INSTRUCTOR IN THENEW ENGLAND CONSERVATORY OF MUSIC

THE EXERCISES -WRITTEN AND SELECTED BY

LEO R. LEWISPROFESSOR OF MUSIC AT TUFTS COLLEGE

BOSTONCLiVER DITSON COMPANY

PRl NTED IN U.S.A.NEW YORK CHICAGO

CHAS. H. DITSON & Co.-LYON & HFALV

Copyright 190], 1904, by Samuel W. Cole and Leo R. I ewlsCo|y right assigned to Oliver Ditson Company, 1909

INTRODUCTORYTHE VALUE OF SIGHT-SINGING

For at least two centuries training in sight-singing

has been recognized in Europe as fundamental to

all technical education in music. Americans have

seemed to set little store by such training ; for, to-

day, the great majority of our professional musicians,not only instrumentalists but also vocalists, need

unerring instrumental support in"

singing at sight"

a part-song or an anthem which has modulations to

any except closely related keys, or which aboundsin the larger intervals. Obviously, inability to read

at sight does not preclude good performance, after

familiarity has been gained by instrumental assis-

tance; but probably no one would deny that the

possibilities of artistic achievement are infinitely

greater when one has acquired the confidence bornof genuine ability to sing at sight which abilitymay be defined as the power to know the units of

rhythm and of relative pitch of any rational musical

phrase, and to prove that knowledge by singing it

correctly at first sight.

MUCH MATERIAL is NECESSARY

Many works on sight-singing have been compiledand written for use in the public schools. But theauthors of MELODIA believe that there is need ofmore and better graded material for use in conser-vatories and by private teachers. The present workis an attempt to meet this need. It represents the

results of many years' experience, and is based onthe belief that, whatever be the method of present-ing the elements of the subject, the surest road to

growth is through actual performance of a greatnumber of carefully graded tasks.

CONFIDENCE MUST BE DEVELOPEDA second fundamental thought has been that a

high degree of self-confidence must be developedbefore one can " stand up and sing

"

alone at sighta somewhat difficult musical phrase, without other

assistance than the sounding of the key-note. Ex-

perience has shown that rhythmical problems are

quite as often stumbling-blocks to musical students

as are tonal problems. Therefore, in MELODIA, the

first eighty pages, which are written without skips

primarily to develop a ready confidence, contain

many and varied examples of each of the conventional rhythm-forms ; and the most deliberate pro-

gressiveness is maintained in the introduction of

new difficulties. In a word, it is a feature of

MELODIA that early emphasis is laid upon rhythmicalproblems.

THE TREATMENT OF LARGE INTERVALS

In the treatment of the larger intervals there is

also a departure from the conventional procedure.Instead of taking them in the order of small to great,the octave is first presented, because experienceshows that it is the only

"

skip"

definitely recog-

nized as such by most beginners. The sevenths,sixths, etc., are then presented both in their relation

to the octave and as composites of the steps and

half-steps with which the student is already thor-

oughly familiar.

GENERAL FEATURES OF MELODIA

A glance at the headings of the successive Serieswill indicate in detail the comprehensiveness of the

plan. The following general points may be noted ;

1, The typographical s 'rangement is such that a very largeamount of material is brought within comparatively narrow

limits;

2, The normal compass of average voices (an octava andfive notes from low A) is seldom exceeded ;

3, Nearly one-half of the unison exercises are written in the

bass clef, thus forcing sopranos and altos to become familiarwith that clef;

4, The two-part exercises are all written so that they maybe inverted, the bass being made the tune, and the tune thebass; or they may be sung by male voices only or by femalttvoices only ; thus, each two-part page represents two pagesof practice material ;

5, Again, the two-part exercises are adapted to use byteacher with pupil in private vocal lessons ;

6, Since all indications of phrasing are lacking, opportunityis offered for constructive work of the highest educi'ionalvalue.

INDIVIDUAL WORK ESSENTIALIt is expected that, even when ths book is studied

in large classes, much work in individual readingwill be required by the Instructor ; for, after all, noone has fully mastered sight-singing who cannot

sing alone, while beating time after the conventionalforms.

As a special and, perhaps, novel help in devel-

oping the sense of individual independence in en-

semble, there have been included, in Series I, exer-cises which may be sung simultaneously. Cases ofthis sort are indicated in connection with each of

the respective exercises. Thus I 233 may be sungwith I 243, I 246 with I 263, etc. Some teachersbjlicve so fully in this method of developing inde-

pendence that they cause exercises in the same key,and with the same number of measures, to be sungtogether, without regard to the tone-content of the

exercises. This practice, artistically unjustifiable,may have, in moderate use, educational value.

"'HE GOAL OF MELODIA

MELODIA undertakes to prepare students to meetthe most difficult tasks in pitch and rhythm set bymasters of choral composition. If suggestions of

phrases from some of the masters have occasionallybeen incorporated in the original exercises, thereader may be willing to waive a charge of unjusti-fiable appropriation, in view of the specific object ofthe whole work.

TlIE MODULATORY STUDIES

Pages 76 to 80 contain Modulatory Exercises,some of which may well be studied earlier than their

position in the book would indicate. The relation-ship between the objective keys and the tonic isindicated by Roman numerals, capitals for majorkeys and small capitals for minor keys. Thus,"To ii " means that the exercise illustrates modula-tion to the minor key based on its super-tonic of the

prevailing scale to D minor, if the piece is in C

major. Such an exercise may well be studied inconnection wuh ai:y earlier exercise which modu-lates to any similarly related key to F-sharp mino'from E major, for instance. Reference to th?seexercises is occasionally made in the earlier pages ofSeries IV

;but the teacher may best judge whether

more detailed study of key-relationship is desirable.

MATTERS OF NOTATION.

There has been no attempt to preserve absolute

uniformity as to the details of notation throughoutthe book. On the contrary, it has been deemedwise to present a variety of forms and usages inorder to accustom the student to the practices c.

various authors and editors.A word is necessary as to the insertion of clefs

and the use of bars, which features, on casual view,might appear to be unsystematic and needlesslyunconventional. As a matter of fact, considerationsof brevity have prompted several departure, c omthe established usage. For the guidance of the

singer, however, but a single direction is necessary :the prevailing key-signature and time-signatureare not cancelled unless a clef or the regulardouble-bar [||] is inserted. The double-thin-bar[||] is therefore not to be regarded as necessitatinga new indication of key or time. The time-signa-ture may change while the key-signature remains.The regular double-bar appears where either a clefor a &ry-s:gnature is changed. The meaning of thesingle-thick-bar [|] or the double-thick-bar [||], as inthe Modulatory Exercises and in connection with

repeat-signs, is, in the respective cases, obvious.

THE SOURCES OF THE SELECTED EXERCISESThe 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 beenmade, 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- ]Ab D. F. E. Auber [1782-1871]Bh J.S.Bach [1685-1750]Be L. van Beethoven [1770-1827]Bt A. Bertalotti [1665-1 730(?)]Bn H. Bonicke [1821-1879]Br J. Brahms [1833-1897]a G. Carulli [1800-1877]Cb E. Chabrier [1842-1894]Ck G. W. Chadwick [1854- ]Ch L. Cherubini [1760-1842]Cn P. Cornelius [1824-1874]J)u F. Durante [1684-1755]Fi C. H. Fischer [1800-1875](?)fr C. Franck [1822-1890]

Gn C.F.Gounod [1818-1893]//]7> W. Tschirch [1818-1892]Vd G. Verdi [1813-1901]Wg R. Wagner [1813-1883]Wb S. Webbe [1740-1816]Wn B. Widmann [1820- ]Wll F. Wullner [1832-19021

TABLE OF CONTENTS

INTRODUCTORY ... ..*"". . ..VBOOK I

FIRST SERIES...... I

One-part diatonic exercises in step--.\ise melody G and F clefs All ,r>ijor keys to B and to D fat inclusiveAll representations of notes and rests of whole-beat length and multiples thereof Elementary presentation

of the divided beat.

SECOND SERIESTwo-part diatonic exercises in step-wise melody Keys to B and to D-flat inclusive - All representations ofnotes as in Fir't Series, with greater variety and length of rests The divided beat in fuller presentation.

BOOK IITHIRD SERIES 41

One-part exercises in step-wise melody in all keys Graded presentation of all chromatic tones, except flat-2and flat-s Development of the minor The dotted note involving division of the beat Triple and quad-ruple division of the beat.

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

FIFTH SERIES | iOne-part exercises Systematic treatment of intervals, beginning with the larger Skips to and from chro-matic tones having obvious key-relationship The commoner augmented and diminished intervals.

BOOK IIISIXTH SERIES 101

Two-part exercises embodying all intervals treated in Fifth Series More elaborate development of rhythmicaldifficulties, especially of syncopation Lengthy solfeggi from German, French, and English sources Canonand Fugue.

SEVENTH SERIES 131One-part exercises Systematic treatment of skips to, from, and between chromatic tones Introductorystudy of passages whose chromatics "deny" the signature Advanced solfeggi from foreign sources - Speci-men difficulties, without text, from the classics.

EIGHTH SERIES 151Two-part exercises, involving all the difficulties treated in Seventh Series, and fully reviewing the rhythmicalproblems earlier treated Maximum difficulties of mediated modulation Special studies in the de' elopmentof independence of the parts.

BOOK IVNINTH SERIES 161

One-part exercises Typical passages from early and recent composers, with tex , of difficulty rargingfrommedium to great Full exposition of chromatics which "deny" the signature A.'bitrary changes o

"

tonality.

TENTH SERIES . ' 177Two-part exer ises, with text Representative excerpts from early and recent composers, with ; few newexercises, embodying maximum difficulties of pitch and rhvthm, as well as the utmost independenc of parts.

ELEVENTH SF.R1ET"

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Two-part exercises, partly without and partly with text, in the following Church Mod'-:: jEolian, Dorian,Ionian, Mixolydian, Phrygian Canonic imitation, strict and free, in other intervals than that of the octave.

MELODIA - BOOK IFIRST 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 length and multiplesthereof Elementary presentation of the divided beat

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MELODIA - BOOK IITHIRD SERIES

One-part exercises in step-wise melody in afl keys Graded presentation of all chromatic tones,

except l2 and !>5 Development of the minor The dotted note involving- division of the

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r ^tt.r t^^^** rrrLT

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5-57-67645-300

101

MELODIA-BOOK IIISIXTH SERIES

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

opment of rhythmical difficulties, especially of syncopation Lengthy selfeg-gi from Geiman,

French, and Ei.glish sources Canon and Fug-ue

lEn*

m^ m

2Bn

m3 Pn

4Bn'

m

m ** vi

fdt

m iS5-67-B784B-800

1026 Bn*

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I..0f

/f g--F1-

*yf#

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eg

* *

F^

9*g

14 Wn

15 Ts

104

I

g.17 Wn

it- Q jL p ^

23 Wn

105

ir^~

106

27 Wn

*f ^ ml=i1

i iiPP

PP

J"28 Wn

^29 Wn*

f'

ptz2

30 Wn*

.

ITJr *rt

107

Jh-

108.36

m

m

38t\y

42 Lo*>, \>. 4 o

109

SE SE

fefem?

o e

35:sea*

r?

11044

.* JL

wm=*

f *>-.

^45Na

F- _ P

46 Fd*

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^

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^S ^gf

r :f-

5-57-6'7645-200

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m

mWb

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,48 Du

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5-57-67645-200

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I*-

55 %m

i '/. >>i/

ffi

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,59 Wn\fL li r

117

mi

,62Bt

^t*

FT^F as m ^

^^fff^m - ff

53F3

sft ,88

-03-

m m m

65 Pa

3gg^

m

Y\: pj i" ^

119

mf?

***

m

fz* +=M *

'

*

I J IIf* 0- -Z-.

69 Sb -Wll

70 Sb _WU

e

^

,8* ^ ^

^ ew U

121

n-JH-

12272 Pa*

f

ii mHi

af &W* * m

m *w

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^ ^d^ea^^ J- ir P

P ^6-57-6764B-200

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f\73Fa

76

m 1=^&o *

i77

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Hereafter the modern method of cancellation of double -flats and double- sharps - -by a

single character, omitting the i]will be used.

1

^*\ptF

I79

m

i m^ Q'

? f5-57-67C45-200

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it

g 1p

5-57-67(545-200

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& ~^ ,n .

128

f-m4*3

fe^Ej;pip

Pr r PT

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5-57-67645-200

87 Mi Canon for two voices129

. i__ L

m

88 Mi Canon for two voices

rft\flh\rt

89 Mi Canonfor two voices

m

130 90 fugue for two voices

^

m

mipp mtmg

?

F^*P* :>*

-:-

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B-B7-7645-200

131

SEVENTH SERIES

One-part exercises Systematic treatment of skips to, from, and between chromatic

tones Introductory study of passages whose chromatics"

deny'the signature Advanced

solfeggi from foreign sources Specimen difficulties, without text, fromthe classics

g3

^ *=d

fr j^riHjJw^iTErrir^rtj 3P 3f

8

9.

^*^J_ U**

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42

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136

50 A--f-. f

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g^ffigfflF^fffppE m

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57137

s 0-^

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T-

60

^TC*rriirt^rrir-^l'r^ r Trr=^

61

J-/ r-

^. . '.k ry'r*^f if'Fn ri|rir / i

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isSar^^125

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149

A 128 Bh

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151

EIGHTH SERIES

Two-part exercises, involving- all the difficulties treated in Periet VII, and fully reviewing- ;he

rhythmical problems earlier treated Maximum difficulties of mediated modulation Specialstudies in the development of independence of the parts

m^

3=T ^

S?

P^ ^

5-57-fi7fi4R-IOO

1ft?

=3=1%* J*y

1'

=35^

rf^=*i&3E P

to =i7 ^ESS

154

f.-5'7-fi7645-200

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Ti^

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M5-67-67645-200

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158

m ***^

i f

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i'>t, r!rf r~r~ i i-

rf> r fr^rff* ^ ^N0:

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139

20

ilt*? ^

160

1 ^-1m' **

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21 Ch*a.^M

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=5 r^i S ' *

S K^ r^ > JT^!^

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161

MELODIA - BOOK IVNINTH SERIES

One-part exercises Typical passages from early and recent composers, with text, of difficulty

ranging1 from medium to great Fwll exposition of chromatics which -deiiy^'Uie signature Arbi-

trary changvs of tonality

IHn

throiyh - out the world. Springs up at

yM

1627Gn

Let me but sit co-zyanddry Un- der the trees with my daugh ter,

And while raft and boat travel by I drink to the folk on the wa - ter!

8CkFFi

g! ha ha! hLet Israel perish never, Let Judahs gods prevail! Ha! ha ha! ha ha!

I

ha! In shackles live forever, Nor cease your plaintive wail. Ha! ha ha!ha ha! ha ha! ha ha!

9Fr

When our hearts are op-j-rest_ in the midst of our pleasure, And despair

iwithout meas - ure Has fill'd us with dread; Say, where, Say, where

J. I J' /Tf J. I J^shas gladness fled?

10Mn:ip3

ay, where. Say, where has 'gladness fled?

Take all the prophets of Baal, and let not one of them escapeyouJSring- them down to Kshon's

brook, and there let them be slain. Not a trespass g-o un-smit-ten;Nothing-

^ j- Jv r I J-*- *

longer shall be hidden. Not a trespass.Nota tres . pass go un - smitten.go un

smitten, Not a tres-pass,uot a tres - pass go un - smit.12 Gn

ten.

This rare cup so ten-der-ly rherishd,This rare cup so ten-der-ly cherish/d, Aye at his

163

E-vil our arms as- sailing, Gainstthe powrsof E- vil ourarms as - sail-ing. Strongest

earthly might must be un-a-vail -ing Strongest earthly might must be un-a-vail - ing!

14Hn

-f-\

And the An-gels struck their ini-mor-tal harps, and ilie wonders, the wonders

]5Hn

Ei p it^ nr

of the fifth day sung-. Aii d God said : Let the earth bring- forth the living- creature afterhis

r r

kind, cattle, and creeping- thing1, and beast of the earth after his kind.

* innn2feE

16*20 Rs k

fl - ter fons a - mo - ris , me sen - ti - re vim do - lo - ris fac~ 21 Hd

rrrrit'T**-* or

,il ==

ut te - cum la ge - am. He trusted in

7=p

165

God, deliver me, God, deliver me, de - liv- er me from death^ death e -

25 Frp I t.\ I cr(9-=-

tor - nal iu Thy day of Judg ment. I gath-er in each soul im-

mv'n's flamimor-tal. Death's dark angel. I. Widely opens Heav'ns flaming portal. Seethe throne on

^r1

tt N f 3=tr r " i r r

high! >nd which of you,. _ frail sons ter - restrial, Put which of you Can view undis-

J I f f y f fmayd God enthrond in light ce - les-tial, -All His mig-ht dis - playd?

?Nte^

16629 Gn f

. \>.r

Lo! his Empire is un - dy- ing. Pope and Po-et join the ring. LaureUd

chiefs his tri - umph sing, Dancing round his pe - des tal -

30 Hn

Now swarms the vil-lage o'er the mead, Therus-tic youth, Hie rud-c"y

M mmaid: The breathing-harvest spreadsaroundJVhose fragrance scents the air;From dale to dole making- the

ibreeze. Resounds the voice of happy labor, Of jo - cund mirth and so - cial

31Vd. _

PIFle - i - son, chri ste e - le i

mson, chri

32 Fr

ste e - le - i - son, _ e -le-i - sen, e -le -i - sen.

P I

tlewealthof the earth Is our de - sire, is our de - sire, is our de sire.

,33Hn

And onward as he bravely toils, In deep-er er - ror plunges still, In

tt

36 Fr167

& ^And as of yore, And as of yore See us kneeling, trembling, a - doring,

JL_ A i37Gn

trembling, a - doring. Bow down once more And I, the

38 Fr

%;nrrrrfrail - est of the frail,Have most need of your for- giveness! The gods our offrings

$? *=&-*+ sat

spurning. Scorn each bit-ter cry; To souls all dark withdoubts dis-maying, To

^' f . f' ^fr ^(* ' * ^ * . t>*

souls all dark with doubts dis - maying, O blessed Truth, light re -veal. Hess-

f. f. . Pi r r i

ed Truth! The skipper he blew a whiff from hispipe, the skipper he blew a

S3 [i'ff rr^4^whiff from his pipe, the skipper he blew a whiff from his pipe And a scorn- ft'l laugh laughed

he, And a scornful laugh laughed he, And a scoin-ful laugh laughed he40 Mn

Is not his word like a fire? And like a ham -mer that break -eth the

rock? A ham-merthatbreaketh the rock, that break eth the rock in-to pieces?Likea

J- ^^fire, like a fire, and like a ham - mer that break - eth, that hreat-eth the

rock. His word is like a fire and like a ham - mer,A ham - mer that

168

Irn rLord wUlwhet His sword, will whet His sword-.andHe hath bent his bow, and

imade it read-y, and made it read-y. read-y, Is notHis word like a

r r i *r F F

'

P F i r r

'

r IT^ ffire? and like a hammerthat breaketh the rock, and like a hammer that breaketh the

j

rock? Is notHis word like a fire,andlike a ham - mer, a ham - mer that

breaketh the rock?That breaketh the rock, that breaketh the rock;andlike a

fire like a ham -mer that breaketh the rock; is not His word like a

^ 3hammer that break eth the rock, is notHis word like a hammerthat breaketh

J J

_the rock in -to pie-ces?

41 Vd \*t

Is notHis word like a ham-mer that

(5>

breaketh the rock? Grace onwhomthou wiltbe- stowing' Save me Lord withmercy

^

flowing, with mercy flowinglSave me, Lord.save me, Lord, save

42 Gn

.me, _ lord!

*-

9 '

What weatthis here, what wealth out-bidding gt)ld, Of peace and love^and innocence untold!

PWhat wealth is here,

43 Ckof peaceand love.whatwealth out - bidding gold!

Tis a Jewishwomar taken in thevale.And she is passing

ti

fair!

I ZJCShe is fair? Tiswell! Let her approacMFairJewishwomen may my mer - cy gain!

169

Day of an-

ger, Day of an -ger.

i >

fe

Day of trouble, Time shall

k*.-i" L-^ -i^" ta

nfrTrper- ish, per -ish like a bubble.Day of an-ger,Dayof trouble.TimeshaU

~ ' * ^d^ t^ L* * -^^^^ ^ ^ 45VdW Iff 9

perish like a bubble, So spake- David and the Sibyl . When thou shalt

come in the midst of fire to judge the whole world, in the midst of

46 Ck

fire to judge the whole world . A - las! A -

tlas! Thou might'sthave saved our lives! A las! our children, our

tetschildren and our wives! But now no hope! All hope is gonetBut

lii_k -h

^^==ES?=i*= mnow no hope! allhopeis gone.The blaz - ing sky no pitying raindrop sheds!

4* Bh*fffl r 'FC' ?iSE

How swiftly the flames of a wrath, all-compel -ling-Rise forth from a heart where Gods

love hath no dwelling-, And man's dearest treas

r Pg r F r i r- uretoru-in is huil'd.To

'

fix the af-fec -tion on wealth in pro-fu - sion Is

^E M r rbut a de-lu- sion! Take heed, sin-ful world, Is but a de-lu-sion, Is

Sg Pk ibut a de-lu-sion, Is but a de - lu -sion! Take heed, sin-ful world! Take

rTrr r i frw (ip^!2_ H-O &heed, sinful world.take heed, sinful world!

17048Bh*

ES

Tis he, 'tis he, 'tis he who all a - lone, 'tis he who all a

lone, a - lone, who

all a - lone,

ff rifff Tfif. -.itralone hath trod-den the winepress,all alone hath troddenthe winepress,a - lone,yea, all a -

line,

all a - all ._ ._ a - lone, to save

f ffri r .us, erring' mor - tals, by cost-ly sac-ri - fice, to save us, erring

mortals, bycost-ly sac- ri - fice. Ye Prin ces, ye Prin

T in fFir T *- ces,uow be-stir ye crown him Lord of all! Ye princes now bestir ye.crownhim

Lord of all, crown him Lord of all! Ye Princes, now be -

stir ye, andcrownhhnLordof all, and crown himLord of all! Ye Prin -

m m

- cs, now bestir ve, crown him Lord, O crown him

stir ye, crown him Lord, C crownhimLord of_ all!5-57-67645-200

49 Bh*171

be - hold. In vis

hold now he. at Godls right hand.with lightuings.smites the foe howhe,at Gods right handwith lightnings smitestin

foe! In vis ion I be - hold, in vis - ion I be-

with lightnings smites thehili,how he, at God's right hand.

foi-. to free his faith ful peo

-f-

pie from wast - ing care and woe. from wast- ing care and woe,

^.

r\ QI

E ^to free his faithful peo - pie from wast ing care and woe. I

stand here by the way. and lift my yearn - ing- eyes.

Lord in heav'n a - bove re-ceive my50 Be

sac -

fice! In - car-nate fiend,

what willst thou now"]

5&i h h h .

17! 52 Rs

!73

foes, in rage, must van- ish. Ye who have His message heard, Yc

5.6 Bh*

who haveHis message heard, E\ - Ty worldly longing- ban - ish

Thro' waves that rage.antiwinds that blus - ter, -ver the wat-Yy waste I rov ;What

respite? That I cannot tell thee, Scarce do I counthow seasonsmove.I can-not name,

nam .Shouldst thou de-mand it. The man - y seas Ive wander 'd o'er: The shore a -

"HF"

17458Wg -(9-

Out from the depth of darkness g-azing- upward.Sore have I long'd a love likehersto

-)!fjL

175

mThe sin-ful hopes within me throng-ing, Be- fore thy blessed feet I lay; 111

mus te, lau - da muste, ben-e - di-ci-muste, ado-ra-muste,g-lo-

ri - fi-ca-mus te.lau - damus te.benedi *wo for my child! O Irish maid! my winsome, mar- vellous m?id!

5-67-745-200

177

TENTH SERIES

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

for sportive play we now pre

for sportive playwe now pre-

2Hd

pare. Thou heedestbutthy fan-

Thouhpedeatbut thy fan

cy,heedest but thy fan

jJy J tcy.but thy fan

A o rid $cy, but thy fan - cy. men, a

f

cy, but thy fan - cy. men,

men, a - iren.a -

5-B7-67645-200

lhg> , I =

7Hd179

3

3Age un-to age telleth forth all the wonders of thy glo

Age un-to age telleth forth all thewonders of thy glo

B > s B^ry, and re - joic

- eth in thy might .

_ Age un-to age tell-eth forth all thewonders of thy glo

4

might, and re - joic eth in thy n.ight, in thy might.

ry.and re -joic

,-

re-joic - eth, re

-joic - eth in thy might,

r i r y rthy"eth in might, and re -

UJr-1

ISO

i_

guage,there is nei - ther speech nor Ian

h h h h ji^

ther sj-eechnor Ian - g-uage. there is nei - th< speech nor

language.there is nei- ther speech nor Ian

9Hd

- guage their voice can

cannot be heard . The dove

3=E3P rr_

not cannot be heard. Pin

ters, his plaint soft

long- -

ut - ters; he's cal --

ling, hes

plaint gen - tly ut - ters; he's cal - ling his lovtJ one, The

r^

i>Tr-cal - ling his lovd one, The dove, as he flut - ters his

dove as he flut - ters, his

plaint

J * J'

plaint soft- ly ut ters, he's cal ling, he's

5-B7-fi7fii5-200

181

cal - ling- his lov'd one, he'scal ling

10 Hd

his lovd one. Love now u - nit

- eth,Love now u - nit -

py pair. Love now u

- eth a hap py pair, Lovenowu - nit - -eth,Love

eth, Love eth, u -nit- eth, Love now u -

now u - nit - eth,Love now u - nit - eth, u- nit - eth,

3*-nit -

* fLovenow u - nit - eth

eth a hap - - py pair.

-t

fa- nit - eth a hap - py pair.6-57-67645-200

182

Chri-ste e - le -

Ky - ri - e e - le i- son. e - le -

Iff*- i . son, Ky ri e e le i

-

son,- e- le

i - son,e - le -i- son.Christee - le

-i - son.e - le - - - i- son.

12 Be*

fflo -

us:

In

mIn jrlo - ri-a Dei pa - tris, a - - - men. a

A , M 13 Bh

m- ri-a Dei, a - - men.

^men a men Ky ri-e e - le

- i - son,Ky - ri-e e le i- son, e

fW*>i s:>n.Kv ri - e e - le i - son, - le - i - son.

-

i- son.e - le son .

5-5?

183, 14 Bh*

Ky-ri - e elei - son,ele- i -

Ky.ri - e e- lei - son,e - le-i-son, *. le

- i - son, Ky - - n-

f\

184

[#=*=

JS5

-nus De* - i, Fi -li-us Pa - tris, Domine De-us,ag-nus De-i. ag-nus Dei. Domine

B5a - gnus De - i. Fi- li-us Pa - tris, Domine De-us,agiius De-i, agnusDei, Dominr

De-us, a - gnus De - Fi- li - us Pa tris.

f p %De-us,

18 Bhgnus De-i, Fi - li-us Pa

- tris.

r N h hij ^j'* 1 * ? j -**

Et exPatr. -x Patre na - - turn, ct ex Patre, ex Patre na - turn ante

^Plvff r[- s-ftEt ex Patre, ex Patre, na turn et ex Patre, ex Patre, na

- mnia Sae - - cula, an-te omnia saecula .

twwt- turn, ante o - -minia sae - cu - la.

^^To battle haste, to battle haste.OlastelThe

To battle. to battle, O haste! .The foe lurk - ethnigh.

Smite him to earth, yea , smite him to earth!

Smite him, smite him, smite him,. yea, smite him to

*F#ir2 ;^E nTo battle haste, to battle haste,f Tf

O haste! The foe.thefoe, lurk-eth,In

earth! To battle haste, to battle haste, hastf ! The5-57-67646-200

186 20FrnjLJtr- f _ ' rr

IS?

Vision of heav'n, O stay!-

friif.r frShed en - tranc - ing radiance

f TVision of heav'n,O stay! Shed en - tranc - ing radiance

*

as of end -less day. Like a dove Like a dove

fe

as of endless day! hov'rest thou,

33EEa 2Ah! Dream of de - light, en - kiridlingthe soul,

hov'rest thou, Dream of de-

light, en - kind-

ling the

soul, O.why canst thou not ling er? Thou hov'rest a- bove

|-fr-

188

Hear thv childr.-n, Lord,heartheirpe - ti - tion!

We hope.O Lord.in thee, we hope, we hope. Lord we hope. O

With richest bonn - ty hast thou blessed thy faith - fu1 people!

Lord in thee. With bounty bast thou blessed thy faith - ful .people! Wex

IH3

Hear thy children, O heed their pe-ti tion! We hope,

dhtejmhope, O Lord in thee, we hope, we hrpe, O Loic*.

i*,25in we

3iwe hope.O Lord, in thee!

I -)-MI *~*

Sail a - way, sail a - way.

Vf^hope- m thee! Nowto the east, now to the

^

have nocareof the morrow. wind, blow

^ ^west, All is one to themen of the sea. Stormbeat, and wind, blow!

26

Stormbeat,andwind,blow! We de-fv ye! Swift ad -van - cing-,

ban-ners streaming-, sa - bres gleaming-, coursers prancing', comes the foe!

ban - nersstreaming-, sa - bres gleaming, coursers prancing-, comes . the foe!

5-B7-fi7fi4B-200

18927

^

Ho! ve chieftains, ye I scorn! Ho! ye chieftains, yeI scorn!

INaynay.thfydarenot,nay.theydarenotheedthe call'.Nay.nay.theydarenotheedthe

^^fide not in dread, cowards all'. Here be

- hold me ready! Hide not,-

W^r

call! Hid" not in dr^ad. Our cha npunr

Their so - ber wish - es ne - ver learn'd to stray

I? J

191

ELEVENTH SERIES

Two-part exercises, partly without and partly with text, in the following- Church Modes: Aeolian,

Dorian, Ionian, Mixolydian, Phrygian Canonic imitation, strict and free, in other intervals than

that of the octave

1 Mixolydian Bt

Il/r A o -**

192

ijjpjL

193

i)

3

194

Iff

La 195

r P ft/ ]

196

*J

10 Afixolydian Ls197

II

Q,1. [. 4

198 12 Afixolytttan Ls

y|T k

14 Ionian Hn199

ru-ci-fi-xus e-ti-am pro no Pi la

Cru - ci - fi - xus e-ti-am pro no - bis bubPonti-o Pi-la-

2:opas-sus et se-pultus est . Ft re-sur- re

- xit ter-ti-a di - e secundum

i5to pas-sus et sepul-tus est . Ft re-sur -re

- xit ter-ti-a di - e

P *A Irib ** r +

^scri ptu - ras.Etascen -dit et ascen-dit in coe

=gH=lum se-

m

I

se-cunaumscriptu - ras. Et ascen-dit, et ascen-dit in coe - lum,

15 Phrygian La

2det ad de - xteram FP

-0 . (= r o

- tris

ftdit ad de - xte-ram Pa tris Audi-tu -i me-

n Q i \>

200 16 Mixolydian LsJLr

MT870C65

Cole, Samuel WinkleyMelodia

PLEASE DO NOT REMOVECARDS OR SLIPS FROM THIS POCKET

UNIVERSITY OF TORONTO LIBRARY

Documents

Melodia - A Course in Sight-Singing Solfeggio - Samuel W. Cole and Leo R. Lewis (Complete, Books I–IV)