OXFORDFOREWORD ‘hiis isa book for beginners, Its aim is (a) o provide plenty of ey material, Suigbly graded, since confidence and auency in sight-singing ean only be feveloped by success, and (b) to teach by practice the smell amount of basic knowledge necessary for reading music, The ability to sing, stepwise, up and dowm the tonic-solefe scale is almost 8 Pre-reqhisite. Where it is not present it should be acquired right at the Sart the earliest exereises being sung fist from a simple modulator and then from a large stave on the blackbossd. The singers should always point a the notes as they sing them, and sing frst to the tonie-solfa syllables and afterwards fo vocalised sounds and even to words if the teacher (or class) cares to provide them. Ultimately indeed, singers should be able to read words and ‘music simultaneously, but it must be emphasised that this is an elementary book,, Gnd one which it is hoped the class will be able to manage right to the end. So often as sight-singing books get harder, the class ceascs to be able to Lead” the exercises and either the book is abandoned or else the class laboriously “learns” the exercises, which is a waste of tim: After the carliest exey the material is largely. the simple hymn tune “(in Ofdinary Time values) or folk tune, Plenty of further material can there- fore be found in the hymn-book and song-book, but it must be chosea carefully, The Folk Song Sight Singing Series (O.U.P.) has been freely- Grawn upon, but with a different principle of grading ftom that followed there, Here stepwise practice and the open key come first. The scheme of this book had its origins in Eyes Right by Cyril Winn, to whom grateful ecknowledgement is made, ‘The number of exercises atiempted in any lesson must be goveined by the ability of the class. ‘Sight-singing should obviously occupy no mors thay part of a singing lesson-and when thet time has been spent it is unvise to continue in the hope of “getting on", However much or little hue been achieved in thet time, the class should abvays be left with a feeling of con. fidence, To this end it is often a sound principle to include some earlie easier exercises as revision, ‘To help in finding dok it is as well to point out very frequently that the last sharp in the key signature is te end the last Tat fah, but it is not cnough merely to remind the class of this principle—it must coustantly be practised if recognition is to be instantaneous, BMA.SING AT SIGHT by WILLIAM APPLEBY earn: When there are no SHARPS (@) or FLATS (4) DOH is either BS o = Learn: When the bottom figure ofthe time signature is 4 (as sce Bs (CROTCHET) is one beat long, Team: When tive notes go UP, you go UP,and when the notes yo DOWN, you go DOWN. Sing: fe 1 az Learn: When d (erotchet) is oue beat long, d (MINTM) is two ne nfo oslet@ @tis far /é, : See = a aetieag| ze Learn: Woan d (erotchet) = 1, (croichet rest) = 1 beat rest Sings ne RS SSS SS eS (© Oxford Uaivesiey Pees 1960 Pine in Great eal ‘OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, ORORD Ona one Photocopying tis copycat materiel LEGAL18 e Learn: When the notes stay stil, sow stey sil, Sing! waz 20 ae ‘When there is one sharp (§) dob is = or = ‘ ui —= Gs fear Pee Sdaxfy ff Es Sing SisLearn: When there is one flat () do’ is either aS or eS Sines _ 31& 40 Learn: ADOT after @ note makes it half es long again. Thus if (minima = 2, thend-(dotted minim) = 3. Si Sing x Sight46 aT a8 49 50 LeanPoeusp yaas yas fis Bos URLS 1Pt3 wewp usu SS Tees Popo a i i PSusP aa a8 ar 46 a v uswey RUPP Yop ‘edieys oft axe asm vanigy swio9-7 TPIS TP TF usurp usup SES eS er acer es oy) sig unr FP GAREEIWES) © {= CoO) F uoRN aioe on (== por aud Te OgLearn: When J (minim) = Sing: =< German 7 Sing Sightw Taare When tere ae St oh is ee BES oe GRRE ao Learn: Hoe ‘FINE _ D.C. al Fine eran agent the noe “Sing Sing: 9 Learn: os ative sigaate ste one a oa ‘Sing: 82 Sig a Sightn Beene French (shortened) FINE Yaar Whe here ae3 ns oh is BMP od tan GEESE Sing: ‘D.C. al Fine French 84 Tuss: Haslemere 8s Sing 1 SietePiae Contionss ear: hen tee Ro eS PS wens GEE ihe: Sine: Shag a SightTie: St. Peser (Reinagle) 100: Sing Sightu Learn: Halve a crotchet ) and you geta QUAVER (J), Quavers exe oftea joined together like this J2 Sing Slowly At the same speed = SSS 12 1 3 Ta C826 162.6 ie At the same speed 2 = o ie4e1928162612 At the same speed 1 ae81 2812812 Tune: Monktand 108: Sings Sigh15 Tice: Dessamn (Aiite) 106: Plymouth Collection (U.S.A.) 1855 “FINE D.C. al Fine Learn: Tee dot and the jerk J, J rite Hold tho tied notes st = L2el 261 2a 39 109 German 1K Sing ightTune: Neanctor Pasar SEES Sagi esis Tune: Rodenell Tans: Sarason. (from Handel) Sing 2 ScbeLoarn: A. sbarp in front of a note raises it half «tone like this: and like this and this and this he 4 ies ee Ses i os tes os feos oS tes os fs A NATURAL @ when itis in front of a lat nove does the same thing. es tes : a Tune: Melcombe (Webb) 118: Tie: Liantaix (R. Williams) = eI = FINE D. Gual Fine Tame: York ne: Tune: Capetown —_ 421 ‘Tune: Winchester New ine: Winchester Ne 122% 123, Sig Siant18 Lear: FE oftea follows MEE = Tune: Merton (Monk) 126: ‘Toone: Sayarneh = =————™ Tins: St. Magnus (F. Clarke) ae Sing Sige9 Tears: Al the tanes to this point have centred on dob. Most of them have ended on it and many have begun on it. The next group centre on LAH, ofen beginniag and ending on i Tunce Centred on dob are called MAJOR tunes; those centzed on Ith ere called MINOR tunes. ‘We sive the mines names from their csatral note: a tune centred oa C as doh is in C mtjon, but centred on C as lah is C minor. Some tunes, beginning aad ending in the minor, MODULATE (or change) to the major in the middle. = : Sing: Tune: So:ithwell 129. Seon 180: : St. Mary. 131. a : Tune: Old togth 132: Lear: Very offen in minor tunes we come across the note SE (pronounced “see” of “zee"), Ie is bbalfa tons higher than SOH and is therefore shea by a sharp or natural. eg. 4 9 = wee = be eee (UE Sine: Twwe: Prince Rupest (Holst) Dane: Brfyniad Sing Sight20 Tune: Walsall 138: Basque 136% FINE ‘D.C. al Fine Fearn: Scme tunes begin and end in the major, but modulate to the minor in the middle: ‘This ‘usually involves the note DE, half a tone bigher than doh. tole r a der Duich FINE <= feces SSS SSS D.C. al Fine Ture: St. Austin 138: = = Tose: Bristol FSLearn: TE made half a tone jower becomes ‘TA ‘A Vingia most pure Sing: Tune: Manheim user fea pea lien ies FINE D.C. al Fine J all the tunes wp to this point, a crotchet bas been worth one beat; and che lower figuse of te tne signature has been 4. Jn the next fifteen tines, aims and quavers wil eso be used as units, and their orth one beet ‘When e minim is worth one beat,the lower figure wll bs 2, and when a quaver is worth one best, te lower figure will be 8. You will also meet the quever rest (1) SEMIQUAVERS #9 ah a} and theis rests #, the figure 9 and the PAUSE Also I f mf mp ppp Gee louder Faz" | ertsofier FE | get slower rall, LOU AsOer «| dex | Sing SightSings Site1S8N O-19-55) iW)