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In No. 14 the Slur is introduced. When two or more notes are connected by a slur they are to be sung to one syllable. Observe the words come, come, we shall. No. 14.
Come, come, come with me, In No. 15, exercise in use of slur continued. No. 15.
EXERCISES FOR THE SINGING SCHOOL.
Halle lu jah, ▲ - men.
Heretofore we have sung tunes of but one part. A single succession of sounds is called a Melody. When two or more parts move together, they form Harmony. A tune of only two parts is called a Duct. We will now try an exercise of two parts, and to do this well, we must divide our class. The ladies sing one part, the gentlemen the other part. In order to give variety, the ladies may sing, sometimes, the upper part, and sometimes the lower part. The gentlemen singing alternate parts. Another change may be made by giving half the ladies and half the gentlemen the upper part, and the other half the lower, or vice versa. See exercises 16 & 17. The line just before the clefs connecting the two staves together is called a Brace. A Brace may be used to connect two, three, or four staves together.
shail happy be.
In Nos. 18 and 19, the Base and Treble clefs are used in the Duet. Usually the ladies sing from the Treble clef, and the gentlemen from the Base clef. All, however, should practice reading in both clefs.
Let us go,
let 16 go,
In performing a piece of music it is often both pleasant and necessary, to pass over portions of time in silence. The time of silence must be measured the same as the time of sound. Characters called rests, corresponding in length with the different notes we use, are employed to indicate the time o silence. In No. 20 we use the Quarter Rest and give it one beat, the same as the note. The rest sometimes occurs in the first, and sometimes in the second part of the measure. We must beat the time with great care and steadiness, so that we may both rest and sing together. It is a good plan to divide the class and let half count and beat the time, while the other half sing; than change and let those who marked the time sing, and those who sung do the counting and beating. It is well at first to count aloud during the rests, afterwards beat without counting.
Swiftly o'er the flee ey
Fa Mi Re Do.
EXERCISES FOR THE SINGING SCHOOL. No. 28 introduces two quarter rests in some of the measures. No. 28.
In No. 33, we introduce the Quadruple measure, having four beats. motions of the hand are, down, left, right, up, or Downward beat, Hither beat, Thither beat, Upward beat. There are two accents in this measure, occurring on. the first and third beats. The one occurring on the first beat is called primary, and that on the third beat, secondary. The first being louder than the second. The after the clef, signifies that four Quarter notes fill the measure. class should first count four, eight, or twelve Quadruple measures, and beat the time while counting.
Chil-dren's mer ry ac- cent join us, Come, dear friends, and sing.
No. 35. First derived form of Quadruple measure. Writing first and second parts of the measure
EXERCISES FOR THE SINGING SCHOOL. No. 42 presents a tabular form of the primitive, and the several derived forms quadruple measure.
No. 45 introduces skips of a more difficult character.
Sol, Five, Three, One.
Pleasant spring a gain is here, Trees and fields in bloom appear. No. 48 introduces a sextuple measure, which has six beats described as follows: 6 down, down, left, right, up, up. The signifies six beats, with a quarter note
to each beat. When sextuple measure is quick, we usually give but two beats to the measure.