The Odeon: A Collection of Secular Melodies, Arranged and Harmonized for Four Voices Designed for Adult Singing Schools, and for Social Music PartiesWilkins, Carter, & Company, 1848 - 304 pàgines |
Frases i termes més freqüents
ad lib Allegretto Alto Andante Andantino Appoggiatura ascending bb bb bb Dib bb beam birds breath bright called cheer chimes CHROMATIC SCALE Clef common chord Contralto cres dear dy sweet EXAMPLE exercises female voices flat flowers G scale hail Hark hear heart human voice interval key of F lent tide lier light lone love ly measure mel low horn Mezzo Soprano Minor scale Moderato morn moun tain musical sounds ne'er neath night note of modulation octave practised pupils REGISTER rion rise ritard semitones Seventh Sextuple sharp shore signature singer smile smorz soft solmization song spring staccato sung sur'd swelling sy morn syllable teacher Tenor thee thou transposed TRANSPOSITION Treble tree Unison waves white o'er whole tones wild
Passatges populars
Pàgina 304 - My native country! thee, Land of the noble free, Thy name I love; I love thy rocks and rills, Thy woods and templed hills; My heart with rapture thrills, .Like that above.
Pàgina 233 - Thou carnest so mild ; And mountain, and meadow, And rivulet, smiled : The voice of thy music Was heard in the grove ; The balm of thy breezes Invited to rove.
Pàgina xxiv - A tone is FULL, when it is delivered in a free and unconstrained use of the appropriate organs of sound. A tone is FAINT, when it is produced by a careless or negligent use of the organs. (3 and 4) A tone is FIRM and CERTAIN, which, being correctly given, is held steadily, without change : and which seems to be perfectly under the control of the performer. Hence, the following are faults, viz : — (1) Striking below the proper sound and sliding up to it, as from five to eight, &c.
Pàgina xxiv - To CORRECT FAULTS. Whenever the teacher discovers a fault, let him first imitate it himself, and afterwards give the true style of performance ; then let him require the pupil to imitate both the bad and the good example. It is not sufficient for the teacher to say that a certain fault exists, he must actually point it out, or exhibit it by his own performance, and this over and over again, until the pupil obtains a clear perception of it, and knows both how to produce it, and how 'to avoid it.
Pàgina xxiv - QUALITY OF TONE. The most essential qualities of a good tone, are purity, fullness, firmness and certainty. (1) A tone is PURE, or clear, when no extraneous sound mixes with it; IMPURE, when something like a hissing, screaming, or huskiness is heard. Impurity is often produced by an improper position of the mouth. (2) A tone is FULL, when it is delivered in a free and unconstrained use of the appropriate organs of sound. A tone is FAINT, when it is produced by a careless or negligent use of the organs....
Pàgina xx - PERFECT fourth : one including three tones, a SHARP fourth. Questions as before. FIFTHS. An interval, including two tones and two semitones, is called a FLAT fifth : one including three tones and a semitone, a PERFECT fifth. Illustrations and questions. SIXTHS. An interval of three tones and two semitones, is called a MINOR sixth : one of four tones and a semitone, a MAJOR sixth. Questions, &c.
Pàgina xv - What dons the sharp fourth become in the new key ? Ans. Seven. What is the signature to the key of D?
Pàgina xiii - Between any two sounds, a tone distant from each other, as from 1 to 2, &c. another sound may be sung. Thus all the whole tones may be divided, and a scale be formed of semitones only, called the CHROMATIC SCALE.
Pàgina xxiv - Let it be done quickly, and without any change in the position of the mouth. (3) Never breathe between the different syllables of the same word. (4) When several notes come together, to one syllable, do not breathe between them, except in long running passages, or divisions where it cannot be avoided. (5) Words which are intimately connected in sense, as the article and its noun, or the preposition and its noun, should not be separated by taking breath. (6) The practice of breathing at a particular...
Pàgina xvii - If long notes are not to be found on which the change can be made, we must quickly regard the second or third note, before the note of modulation, as belonging to the coming key.