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Fasola Primer

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Fasola Primer Fasola Primer Scales The major diatonic scale has seven notes. The eighth degree of the scale is the same tone as the first degree one octave removed. Major Scale (A0) (The proper names of these seven notes in traditional European music are do, re, mi, fa, sol, la, si. This is covered in the appendix along with the subject of the seven shape system.) All steps between notes of the scale are either a half step or whole step. The two half steps in the scale lie below fa. All other steps in the scale are whole steps. It is worth noting that the fa, which marks half steps in the scale, is the only shape that is cut in half. The other shapes are whole shapes (symmetrical). Exercises (A) First mark the position of the half steps, say the syllables, then sing with the syllables. A1. A2. A3. A4. 1 A5. A6. A7. A8. Intervals Half and whole steps are the smallest musical intervals. The half step is also called a minor 2nd and the whole step a major 2nd. Intervals are calculated by counting the lines and spaces (steps) from one note to another. For example: Singing fa, sol, la, fa, sol, we count 1, 2, 3, 4, 5. Therefore the interval from fa to the final sol is a 5th. All the intervals that occur between notes of the scale are show below. Traversing the entire scale brings us back to the same tone. This interval is designated with the special name, Octave (8va). An interval counted in the above manner consists of various numbers of half steps and whole steps. The quality of the interval will depend on its exact size, based on how many half or whole steps occur in the interval. The quality of a 4th, 5th and 8va is normally be perfect. The quality of a 2nd, 3rd, 6th and 7th is either major or minor. (larger or smaller) Any of these intervals can be further diminished or augmented in size. 2 Thirds: A minor third (m3) contains a half and a whole step. A major third (M3) contains two whole steps. Fourths: A perfect fourth (P4) contains two whole steps and one half step. The augmented fourth (A4) contains three whole steps. Fifths: A perfect fifth (P5) contains a minor third and a major third. The diminished fifth (d5) consists of two minor thirds. Sixths: A minor sixth (m6) contains a perfect fifth and a half step. A major sixth (M6) contains a perfect fifth and a whole step. Sevenths: A minor seventh (m7) contains a perfect fifth and a minor third. A major seventh (M7) contains a perfect fifth and a major third. Octave: The octave consists of a perfect fifth and a perfect fourth. Notes that are an octave apart are acoustically the same tone. 3 Exercises (B) The ability to identify, hear and sing intervals is basic to successful sight singing. The shape note system helps singers quickly identify the quality of steps, which are the building blocks of greater intervals. The musical lines contained in shape note songs will move most frequently in step-wise motion, then in thirds, fourths, fifths, etc. in descending order of frequency. The larger intervals, especially the sevenths and octaves occur less frequently in practice. Therefore the student should give priority to mastering the small intervals and progress in natural order through the larger intervals. B1, B2 Exercise: Scale in broken thirds. Say the syllables and sing. B2, B3 Exercise: Scale in broken fourths. Say the syllables and sing. B4, B5 Exercise: Scale in broken chords. Say the syllables and sing. B6 4 Exercises (C) whole steps, half steps and thirds. Say syllables and sing. C1. C2. C3. C4. C5. C6. C7. C8. C9. 5 Exercises (D) with fourths and smaller intervals. Say syllables and sing. D1. D2. D3. D4. D5. 6 Minor In the first section we learned the major diatonic scale. The minor diatonic scale begins and ends on la. Seen in the figure below, the major and minor scales are set within the same pattern of half and whole steps, merely starting at different points. Minor Scale (M0) Major and minor scales are the building blocks of major and minor songs. In shape note song books major and minor keys are often referred to as sharp keys and flat keys. Minor key tunes are prominent in the fasola singing tradition. So, it is important to learn the minor scale and minor key system as thoroughly as possible. Note: All the rudiments in the old shape note books present the minor scale with the half steps lying under the fa, which is theoretically correct. But in practice among singers, there is a tradition of ignoring the normal pattern implied by the shapes and singing minor with the sixth degree of the scale raised (Dorian mode). Many of the minor tunes in this tradition were obviously conceived in Dorian mode and require this adjustment. But most minor songs will work fine with the natural minor scale. Minor Exercises (M) M1, M2 Exercise in thirds in minor key. Say syllables and sing. 7 M3. M4. M5. M6. M7. M8. M9. M10. 8 Rhythm Each line occupies the same amount of time. Each rhythmic value is twice as fast as the previous. Whole note Halve notes (Twice as fast as a whole) Quarter notes (Twice as fast as halves) Eight notes (Twice as fast as quarters) Sixteenth notes (Twice as fast as eighths) The above lines show the most commonly encountered rhythmic values. Each of these above lines occupy the same amount of time. And, each rhythmic value as we descend through these examples will be twice as fast as the previous. For example, a half note is twice as fast a whole note. And, a quarter note is twice as fast as a half note. Etc... 9 Rests are silent notes. They come in the same rhythmic values: whole, half, quarter, etc. Whole rest Half rest Quarter rest Eighth rest Sixteenth rest Meter Rhythm is naturally organized into meter. The basic unit of musical meter is the measure. The contents of a measure are contained inside bar lines. This is indicated by a time signature, placed at the beginning of a song. In fasola singing these time signatures are called modes of time. There are seven modes of time, which are categorized into three groups: common, triple and compound. The leader indicates time to the group with an up and down motion of the hand, which is shown in the examples below with the markings "d" for down, and "u" for up. 10 Modes of Common Time Though not shown in the rudiments of the Sacred Harp, a standard 4 pattern (shown below) is acceptable for 4/4 time in place of the traditional down-up pattern, especially when leading with a slow tempo. Modes of Triple Time Modes of Compound Time 11 Slurs When more than one note is sung on a single syllable the notes are joined by a slur mark, indicating that they are sung in one breath. Ties When notes of the same tone are joined with this mark it is called a tie, indicating that the two (or more) notes are sung as one. This is especially useful for notes sung between measures. Dotted Notes Notes with a dot set beside them add one half their value to their length. Therefore the following pairs of examples are equivalent: Triplets Three notes inserted into the time value for two are called triplets. 12 Rhythmic Exercises (R) R1. R2. R3. R4. R5. R6. R7. R8. 13 Repeats Music between repeat signs, Or from the beginning to a repeat sign is to be repeated. Note: In many old song books repeat signs have four dots rather than two. Da Capo Songs in A B A form often have directions to go back to the beginning at then end of the B section. This is indicated with the letters "D.C." or "D.C. al Fine." The abbreviation "D.C." stands for the Italian "Da Capo" (To the beginning). After returning to the beginning and singing the A section the last time, the ending is marked with the Italian "Fine," indicating that the music has reached its end. Note that if there are repeat for the A section, these repeats are not done after the Da Capo. Fine D.C. (Go back to start. End at Fine) || Fa sol la (A section music) || Fa sol la (B section music) || An example of this format is number 323a - Mullins. Seven Shape Note Systems Later in the 19th century song books were published using seven shapes for the steps of the modern seven-note scale: Do, Re, Mi, Fa, Sol, La, Si, Do. Unlike the four shape books, which used one common system, the competing patents and publications of seven shape books led to various systems being used. The most commonly used seven shape system is the Aikin which has been adopted for use in many hymnals and in recent editions of the Christian Harmony. Harmonia Sacra and New Harp of Columbia use the Funk and Swan shapes, respectively. 14 15.
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