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    The FoIk Song IX

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    alessandro
    The folk song sight-singing series BOOK IX ANNE. Lawton. Constant variety of treatment helps to maintain interest. ''''tl) k.lp wu hm an octave. PrJ(ucc a in muter Simple mooubUQo my compound time''

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    The FoIk Song IX

    Uploaded by

    alessandro
    244 views14 pages
    The folk song sight-singing series BOOK IX ANNE. Lawton. Constant variety of treatment helps to maintain interest. ''''tl) k.lp wu hm an octave. PrJ(ucc a in muter Simple mooubUQo my compound time''

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    The folk song sight-singing series BOOK IX ANNE. Lawton. Constant variety of treatment helps to maintain interest. ''''tl) k.lp wu hm an octave. PrJ(ucc a in muter Simple mooubUQo my compound time''

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    244 views14 pages

    The FoIk Song IX

    Uploaded by

    alessandro
    The folk song sight-singing series BOOK IX ANNE. Lawton. Constant variety of treatment helps to maintain interest. ''''tl) k.lp wu hm an octave. PrJ(ucc a in muter Simple mooubUQo my compound time''

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    WEP EP NCCE i a ; OXFORD UNIVERSITY PRESS - MUSIC DEPARTMENT NEW YORK AND OXFORD ISBN 0 19 330250 4 The Folk Song Sight Singing Series Book IX Compiled and Edited by mcan caows ANNIE LAWTON, and W, GILLIES WHITTAKER pri OXFORD oxrorp uni > 5 50press PREFACE TO BOOK IX tn ight singing connant varie of treatment helps to maiaaia interest, and to Secure this the folowing pouuble ways of wing these Wto-part examples are suggested 1) ‘Each part to tll. 2 Law pars fo Ste 3) In two pars to soll, with expression marks. 4) Each part to laa. ore 3) The melody in unison (passing from stve to stave where secenary), to las, with expression marks @) The descant in unison (passing from ave to nave where secestary), to as, with expression mark. 7) tn two parts to le 3) Im two pare {0 las, with expression marks, tice through. 1) The melody in unison to sola 3) Bach part ft” 5) Invtwo pare to soit 3 The'melody im uninon to Ina $) Each part la, 8) Invewo parts (o la 9) In two pars with expression masks, twice through. 1) Each part to volta, 2) In two parts to solfs, 3) Each part to la 4) In two parts to la, The melody in unis, 8) In two parts to las, with expression marks, ice through, 1) The melody in unison to so 2) The melody in unison to solfa, with expression marks. 3) The descant in unison to solfa. 2) The descant in unison to solfa, with expression marks. 3) In two parts to solfe, 6) In two parts to laa. 7) In two parts to lag, with expression marks, twice through, 8) Bach part ro ol 2) Bach part to laa. 3) In two pares to laa. 4) The melody in unison. 5) Ta two part to las, with expression marks, twice through. , with expression marks, twice through. 1) In two parts to solfs 2) In two parte to las. 3) The melody in unison to laa 4) Ta two parts to lag, with expression marks, twice through. Sometimes the melody only may be sung through, each part the section which belongs (os stave. whe deseant muy be treated similarly. There are many other ways of practising. thede example, the teacher should not reat content with thet fiven above "When the parts are read separately, the other portion of the class sunt follow and be invited to spot" mistakes. Sometimes both divisions of the class should learn both lines. ‘Neither section of the class should be kept permanently to fist or second line ; one should take the upper in oue example and the lower in the next, as the exaroples are writen for equal voices, The las should point out all iittions, augmentations, diminutions, ate. ‘A free contrapuntal style bas generally been adopted in order that the singers may cultivate independence. Except where the {weatment is canonical, the melody should always be slightly more ‘prominent than the descant; there are various degrees off, various Segrees of p, ete. The clase should always beat time, of, in auch ‘cases as slow 6/8, tp each beat silently. Te has not been thought necessary to refrain from including a few famine tunes, because the: descasta wil provide tmatetal for sight-reading. Note. —The Editors wish to express their indebtedness to Messrs Bela Bartok and Karol Hlawiczka for kind permission to use many fine Hungarian and Polish tunes from their collections. It may bbe noted that in these, as well as in other melodies, the phrasing. seems ussunual, but it has been dictated by the original words, INDEX Suction I. Noe. 1-36. “Major mode. Suction IL, Now. 37-47. ‘Minor mode. ae Szcnion III. Nos. 48-50. ‘Compound time. FOLK-SONG SIGHT SINGING SERIES’ BOOK IX SECTION I. Nos.1- 36 Major Mode Adagio s+z+n+2 yy Bet SS =" a Allegretto hie cis: - sh pe (ORTORD UNIVERSITY PRESS, MUSIC DEPARTMENT: WALTON STREET. OXFORD OX? 6DP

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