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 50pressPREFACE 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? 6DPHymn Tune When mastered. sing a Little more quickly, beating 2 in.a bar 3
Solemnly British Hungerian
PP erese, —
» >
Allegro =
De —
British
We6 Chorale
7
‘Adagio. 6 sets of 2 bare German
—— == Hymn Tune
Nobilmente Latin
Read de
ae ttre in
Allegro 6+4+4 Potish
p_
ni
HungarianAllegretto s1iries
Fe
Polish
Moderato
Danish
rating 2 ia abar
Allegretto whra mastered sing
diedes |10 0
Allegro ——____———_Hungarian Moderato Flemish
M
Allegretto Polish
20) ~——_*
Des :
Allegretto Britishce
Andantino semplice French
nf.
= pet
ie reprise pt eS
Andantino s+4+6+6
PaAllegro moderato __ British“andante O+6 +644 _ Gr Moderate Ts yrases of 4 bars - _
(Se erik eirreeae
of,
gerbe
Cok buns
Lento espressivo
Pp
Moderato ttn
ee TaD pe Fires
i= Pelipedr pr a
P __ SO _
a tr tla 3). 4
a
11
|
a
al
15)
E
|8 SECTION Uf Nos. 37-47 9
Minor Mode Flemish
Nos. 37-44 without se, 45-47 with be Russian Allegretto giocoso_six.bar thythin mi
Allegretto 3 her eigthn cress20
Adagio espressivo
British
Pee
2
Allegro 7 s+tsot2 bars Polish
»
—$————
>
42 5 —
Allegretto
British
prs
43
Allegretto
PB22
Allegretto
German
—_ SS ee
SECTION III. Nos. 48-50
‘Compound time
Andante placido 4 nareannered hy 5
p
British
2
Allegretto z+:
™,
German
Andante British
Po eres
OXFORD UNIVERSITY PRESS