MELODIA A COURSE IN SIGHT-SINGING SOLFEGGIO BY SAMUEL W. COLE AND LEO R. LEWISMELODIA A Course in Sight-Singing In 200 pages, and over 1,500 one- and two-part melodious exercises, the authors lead the student from the simplest of scales to the most complex music a choir is likely to encounter “Many works on sight-singing have been compiled and written for use in the public schools. But the authors of MELODIA believe that there is need of more and better graded MELODIA material... The present work is an attempt to meet this need. It represents the results of came many years’ experience, and is based on the SIGHT-SINGING belief that, whatever the method of presenting scu090 the elements of the subject, the surest road to : growth is through actual performance of a SAMUEL W. COLE great number of carefully graded tasks. LEO R. LEWIS “The first eighty pages, which are written without skips primarily to develop a ready con- fidence, contain many and varied examples of each of the conventional rhythm forms; and the most deliberate progressiveness is maintained in the introduction of new difficulties.” —The Authors ‘The normal range of average voices is carefully observed. The two-part exercises are all written so that they may be inverted, the bass part being sung by treble voices, and the treble part by the men; or they may be sung by male voices only or by female voices only. Thus, each two-part page represents two pages of actual practice material. Now that this magnificent class in the public domain, Masterworks Press is able to bring it to you in an economical, reproducible format. Purchase the entire course, or just a section or two. With our reproducible masters, you can make all the copies you want, year after year, without ever paying us another cent. MELODIA — FIRST SERIES consists of 424 melodies of gradually increasing complexity that guide your choir through the sight-reading process, starting with simple scales, and progressing to complex, diatonic, stepwise melodies. SUBSEQUENT SERIES develop reading skills further, methodically introducing chromatics, intervals, rhythms and even modes and modulations. Our publications fit on standard 8Y2 x 11 inch paper and come in two sizes. The larger size is used throughout this booklet. The smaller size is shown on the back cover. Whether you use MELODIA as your primary method, or as a supplement to other methods, you'll find plenty of material suitable for any level of sight-reading development.MELODIA CONTENTS & PRICES ay a LARGE MALES ies} “Description SN ce eertaaea areolar 424 unison diatonic exercises in stepwise melody. Treble and Bass clefs. All major keys to B and D> inclusive. All representations of notes and fi ie 1. | rests of whole-beat length and multiples thereof. Elementary presenta- [MOTE | S15 JMOI-S | $10 tion of the divided beat. 119 two-part diatonic exercises in stepwise melody. Keys to B and D> 2 | inclusive. All representations of notes as in First Series, with greater |M02-L| $15 |Mo2-S | $10 variety and length of rests. The divided beat in fuller presentation, 255 unison exercises in stepwise melody in all keys. Graded presentation of all chromatic tones, except 2> and 5. Development of the minor. The dotted note involving division of the beat. Triple and quadruple division of the beat. 85 extended two-part exercises in stepwise melody in all keys. Chromatic tones, modulatory and ornamental. Development of 4 | incidental and extended modulation. Syncopation. Mingling of double and triple divisions of the beat. Mo3-L| $15 [Mo3-s | $10 Mo4-L| sis |Mos-s | $10 263 unison exercises. Systematic treatment of intervals, beginning 5 _| with the larger. Skips to and from chromatic tones having obvious key | Mos.1.| $15 |Mos-s | $10 relationship. The commoner augmented and diminished intervals, 90 extended two-part exercises embodying all intervals treated in the Fifth Series, More elaborate development of rhythmic difficulties, 6 | especially syncopation. Lengthy solfeggi from German, French, and English sources. Canon and Fugue. Mo6-L | $20 |Mo6-s } $15 137 unison exercises. Systematic treatment of skips to, from, and between chromatic tones. Introductory study of passages whose 's “deny” the signature. Advanced solfeggi from foreign ulties, without text, from the classics, Mo7-L| sis |Mo7-s | $10 21 extended two-part exercises, involving all the difficulties treated in the Seventh Series, and fully reviewing the rhythmic problems earlier : 4 8 | treated, Maximum difficulties of mediated modulation. Special studies |MO8-l-] $8 )MO8-S| $5 in the development of independence of the parts. 67 extended unison exercises. Typical passages from early and recent composers, with text, of difficulty ranging from medium to great. Full 9 | exposition of chromatics which “deny” the signature. Arbitrary changes |MO9-L | $12 |Mo9-S | $8 of tonality. 31 extended two-part exercises with text. Representative excerpts from major composers, with a few new exercises, embodying 10 | maximum difficulties of pitch and rhythm, as well as the utmost MI0-L independence of parts. 10 |mio-s | $7 16 extended two-part exercises, partly with and parily without text, in the following Church Modes: Aeolian, Dorian, lonian, 11° | Mixolydian, and Phrygian. Canonic imitation, strict and free, in other intervals than that of the octave. MIL-L| $8 [Mu-S| $5 ALL ‘THE COMPLETE SET (ALL ELEVEN SERIES) MOO-L |$135 |Mo0-S | $90 * For sample of small size, see back cover.MELODIA FIRST SERIES 424 unison diatonic melodies in step-wise motion Treble and bass clefs All major keys to B and Dh, inclusive Elementary presentation of the divided beat First page of First SeriesLast page of First Seriesa MELODIA SECOND SERIES + 119 two-part diatonic exercises in step-wise melody + All note values found in Series 1, with greater variety and length of rests + All major keys to B and D}, inclusive + Fuller presentation of the divided beat First page of Second SeriesLast page of Second Seriesan MELODIA THIRD SERIES 255 unison melodies in step-wise motion in all keys Graded presentation of all chromatic tones, except b2 and bS Development of the minor mode Dotted notes involving division of the beat Triple and quadruple division of the beat 2 First page of Third SeriesLast page of Third SeriesMELODIA “ FOURTH SERIES 85 extended two-part exercises in step-wise melody Chromatic tones, both modulatory and ornamental Development of incidental and extended modulation Syncopation Mingling of double and triple divisions of the beat 2 First page of Fourth SeriesLast page of Fourth Seriesat MELODIA FIFTH SERIES + 263 unison melodies + Systematic treatment of intervals, beginning with the larger + Skips to and from chromatic tones having obvious key relationship + The commoner augmented and diminished intervals First page of Fifth Series100 261ci* Last page of Fifth Series101 MELODIA SIXTH SERIES * 90 extended two-part exercises including all intervals treated in Fifth Series + More elaborate rhythmical difficulties, especially of syncopation + Lengthy melodies from German, French, and English sources + Canon and Fugue 1Bn* First page of Sixth Series18” 90 Fugue for two vores Last page of Sixth SeriesIa MELODIA SEVENTH SERIES + 137 unison melodies + Systematic treatment of skips to, from, and between chromatic tones + Introductory study of passages whose chromatics “deny” the key signature 1 2 First page of Seventh Series135Bh* Last page of Seventh Series1s MELODIA EIGHTH SERIES *+ 21 extended two-part exercises, involving all the difficulties treated in Series 7, and fully reviewing the rhythmical problems treated earlier. + Maximum difficulties of mediated modulation * Special studies in the development of independence of parts First page of Eighth SeriesLast page of Eighth SeriesMELODIA “ NINTH SERIES + 67 extended unison melodies, medium to difficult, with words + Full exposition of chromatics which “deny” the key signature * Arbitrary changes of tonality 1 Hn — ‘Thy name 2Hn through - out the world. Springs up at ug iprings up Gods com-mand. Af-fright-ed fled fells spi - rits black in throngs Down they sink in the deep - byss To end - less night == sund-er, Til ite First page of Ninth Series arn ptte ft ef. ation down, ee ee ‘A-men, A-men, A-men. ‘Since Im my - self, Sirs, ~\ i ; ” Hae) yy Sparememy lit Ue life ———— To grow more Ot Vand not an - oth - er ow ‘Togrow more wise, Togrow more wise,Togrow more wise! ‘Wise. Spare me my fit tle life. 6Mz to thy supper Host of mine, Host would I torn: And * by Thou bad'st me my ban-quet?’ wilt thou too, and wilt thou too, in thy turn, Come to178 Fe mmuste,lau = da =e munte bene - di-cimus fe, ado-ra-muste,glo- ri. fica.mus tetau - damus te,benedicimus te, a - = = - do-ra - mus.gio~ 66We tomaketreaties set Wotan Truthful runes ri- gid ontheshaft of his spear: this servedhim to sway the world. One bold and binding witness of bonds wasshiverd to 3 2 Last page of Ninth Series ashtreé’s with - er-ing = - # ‘ash des - troyed For. arms with its stemto 5pm ev-erthe spring mustgo dry. Now round the keenedgedstoneI Knot thestring: Sing, O sister! thouweaveit now, Weenst thou why this was? 67 Wg a “Westward surg-es slip. eastwardspeedsthe ship. The wind sowildblows homeward now; my a Irish child, where wait-est thou? © Say must our sails be weight - ed? Fitled by thysighs un- bat-ed? Waft us, wind strongand wild! ‘Woe, ab © Irish maid! my winsome, mar- vellous maid! woe formy child! —Ww MELODIA TENTH SERIES + 31 extended two-part exercises with text Maximum difficulties of pitch and rhythm Utmost independence of parts 1H For sportive play, for sportive play, for sportive play. for sportive play. Forsportive play. for eportive play wenow pre- for sportive play we now pre- First page of Tenth Series ‘Thouheedestbut thy fan - = + = eyheedest but thy fan ~ 2. ey but thy fan but thy fan- cy: = ey, but thy fan -cy. A= men,190 ne-ver learniéto stray, Their so - ber wish - es ne - verlearnid to stray from the — madding crowdsig - no - far, far from the madding crowd es, Theirso- ber Wishes ne-verlearndto Last page of Tenth Series strayy ‘Press on, press on, ye never learnd to sons of —light,presson, presson,Un - tir - ing in your no - ble sons of light, Un - tir - ing in your mo - ble fight; Sti tread —~ ing each newfoeman down, each for. man down, fight, Still tread - ing eachnew foe - man,eachfoe-man down,And - er, a bright-er crown! a And battling for "a— bright — batt - ling for a brighter crown, a bright ~ er crownl191 MELODIA ELEVENTH SERIES * 16 extehded two-part exercises, with and without text, in the following modes: Aeolian, Dorian, Ionian, Mixolydian, and Phrygian + Canonic imitation, strict and free, in intervals other than the octave 1 Mixolydian —Bt First page of Eleventh Series 2 Aeolian — Bt = _ted) 16 Mixolydian Ls am pro noose i Last page of Eleventh Series a di-e se - cundumscriptu - ras. Et ascen-dit| in coe-lum, __ as-cen - dit in coelum, terti-a di - e secundum ecripturas. a de-xte-ram Pa det ad End of MelodiaMELODIA CONTENTS & PRICES a ETARGE = Price! 424 unison diatonic exercises in stepwise melody. Treble and Bass clefs lll major keys to B and D> inclusive. All representations of notes and rests of whole-beat length and multiples thereof. Elementary presenta- tion of the divided beat. sis $10 119 two-part diatonic exercises in stepwise melody. Keys to B and Di inclusive. All representations of notes as in First Series, with greater variety and length of rests. The divided beat in fuller presentation. MO2-L sis Mo2-S $10 255 unison exercises in stepwise melody in all keys. Graded presentation of all chromatic tones, except * and 5. Development of the minor. The dotted note involving division of the beat. Triple and quadruple division of the beat. $15 $10 '85 extended two-part exercises in stepwise melody in all keys. Chromatic tones, modulatory and ornamental. Development of incidental and extended modulation. Syncopation. Mingling of double and triple divisions of the beat. MO4-L $15 /Mo4-s $10 263 unison exercises, Systematic treatment of intervals, beginning with the larger. Skips to and from chromatic tones having obvious key relationship. The commoner augmented and diminished intervals. MOS-L sis Mos-S $10 90 extended two-part exercises embodying all intervals treated in the Fifth Series. More elaborate development of rhythmic difficulties, especially syncopation. Lengthy solfeggi from German, French, and English sources. Canon and Fugue. MO6-L $20 MO6-S Sis 137 unison 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, from the classics, MO7-L sis $10 21 extended two-part exercises, involving all the difficulties treated in the Seventh Series, and fully reviewing the rhythmic problems earlier treated. Maximum difficulties of mediated modulation. Special studies in the development of independence of the part, MO8-L $8 Mo8-S $5 67 extended unison exercises. Typical passages from early and recent composers, with text, of difficulty ranging from medium to great. Full exposition of chromatics which “deny” the signature. Arbitrary changes of tonality. MO9-L Mo9-S 88 31 extended two-part exercises with text, Representative excerpts from major composers, with a few new exercises, embodying other intervals than that of the octave. 10 | maximum difficulties of pitch and rhythm, as well as the utmost MIO-L | $10 |M10-S | $7 independence of parts. 16 extended two-part exercises, partly with and partly without text, in the following Church Modes: Acolian, Dorian, Ionian, 11 | Mixolydian, and Phrygian, Canonic imitation, strict and free, in MIL-L] $8 [MILs] $5 THE COMPLETE SET (ALL ELEVEN SERIES) * For sample of small size, see back cover.