Vocal music for the seventh and eighth grade boys
Item Type text; Thesis-Reproduction (electronic)
Authors McGirr, Cencil Elmer, 1910-
Publisher The University of Arizona.
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Link to Item http://hdl.handle.net/10150/318892 fOOAL MUSIC FOR S E W T H AMD -EIGHTH GRADE BOYS
by ... Gee 11 MeGirr .
A Thesis submitted to the faculty of the
Department of Education :
in partial fulfillment of the requirements for the degree of
Master of Arts
in the Graduate College University of Arizona ■
1947 TABLE OF CONTENTS
Ohapterr \ // _ Page I o IH’TRODUGTIOIf © © e o o o o © o o o o 0 0 o, o o o © 6 0 e d o o X The Importance of Music in the •School Music Program © o 0,0«© *«...* 1 The^importanoe of Song Singing : ; in the:Music ProgramQ 0 Q © o o»00^00 ■ S' - , The Boy Problem in School iusics.o o 4 Statement of Problem 0 o 0.0 ...ooo'**, e 6 r Origin of the.Problem© 0*00*0**«*00 7 Limitations of This Study**oe.*00* 7 II o THE SEMERAB PLAN© 0000000 * * o.xo ©««© © © ©.© © 9 The Basic Theory © * *«© © © © © * © © * * *® * o 9 The General Procedure * ^ * e ? * * ^ ' 16 III© THE DETAILED' 2S Lesson One * © © © © © © * © © © ©• © © ©z© © © ©.© © © © © PS Les son Two © © © © © © © © © © © © © © © © © © © © ^ e © © 25P Lesson Three© © © © © © © ©©00©©©©© © © © © © © 34 Lesson, Four © .© © ©. ©. © © © © © © © © © * © ©«© * © © © 3S Les son EX^re © © © © © © © © © © © © © ^ © © eir en® cr © eirent een © © ©
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1 Chapter Page
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Lesson Thirty-Eight*0 <3 0 5 e o c 0 e e d GO O O 121
Lesson Thirty-linei 0 0 d o ©, o e e o o e o 000© i m . , : . .
Lesson Forty e o <3 e d 0 0 0 0 o © o e ©. o © d c> Q d 0 0 126 :■ Lesson Forty-One/ o 0 © p © cr o © e © o @ d
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Lesson Fifty-Six® © © © ©a e o o o © © 0 d Odd 0 164 Lesson Fifty-Seven © © o e o © © d o o o O O G O 166 Lesson Fifty-Eight©© © © © O © © O 169
Lesson Fifty-line»© 0 d o 0 'O 0 0 <3 0 -0 0 0 0 0 0 171 LeSson Sixty © © © © © © ©■ ©. © © © © © © ® © © O 0 OO 174 Lesson Sixty —One © © © © © © © © © © © © © O O d O 176 Lesson Sixty-Two © o d o o o g.o ©. e d © o o O O Q G 181 Lesson Sixty-Three©©o 0 0 0 0 © o d @ o O O © © 182
Lesson Sixty—Four ©<7 0 0 0 O © .© © O O © © O 0 © O 184 Lesson Sixty-Five© ,0 0.0 © 0 0 © CO o o o 0 0 0,0 186 Lesson Sixty-Six o 0 © o © © d e .© e © ti o o OOOO 189 ' Lesson Sixty-Seven © o 00© © ■© © o © © ©.© O © 194
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Lesson Sixty-line ©«, © Gdoooood © 0 0 a ® ® 198 /o d n u n u Lesson Seventy o o'© 0 0 0 © © *- © r o d o © o 0 d Le s s on S ev enty-One © © © 0 © © © © © ,© o o o 204
Les son Seventy-Two © © 0 o © o. o © 0.0 o o © O d O 204
ii Chapter Page IV. CONCLUDING STATEMENTS.. . 206 BIBLIOGRAPHY, o © o © © © © © © © © © ,© © © © © © © © © ©» © © © © © 209 INDEX OF SONGS © © © © © © © © © © © © © © © © © © © © © © © © © © 2 H OUTLINE OF DETAILED PLAN© © © © ©.©©©© © © © © ©. © 215
111 CHAPTER I INTRODUCTION
The Importance of Music in the School Program
The amount and variety of music which* as a re sult of the radio5 modern record playersy and sound, moving picturess has become an integral part of present play living i$ evidence of the importance of music in the cultural development of the nationThe enrichment that music gives to life? its value as a worthy leisure time activity5,. . and the actual influence that it has upon the attitudes and character development of the individual give music an important role in education,, This fact is widely recognized by educators? and is evident in courses of study of state departments of education and city school systems®
HoEo Hendrixi, State Superintendent of Public Instruction^ statesy in the "Foreword" to Course of Study for Elementary Schools of Arizona: .' :
. The importance of music in a complete scheme of■education can not be overestimated= It contributes to both thecmajor aims of education > — . ~2"
social welfare atid. the development of the"individual.
In. the introduction to the section on music:in the Missouri State Department of Education’s Courses of Study for Elementary Schools the place of music in the school curriculum is emphasized:
All elementary schools have a duty in providing/a music background for \ . every child 'in order that his future experience may hot be void in this respect
The public school system of Denvers Colorado, considers the. study of music essential in the building of a wholesome personality0 One of the objectives is stated: - . . v ':
To develop within children the con ception of musicasa.beautiful and fine essential in a well-rounded, nor mal life. •
’’Some Standards for Music in the Regular School Program’’ published by the National Education Association adds further stress to the place of music in education:
1. Course of Study- for Elementary Schools of Arizona. Bulletin Number Two. Music. 1935, p. ii„ 2. Missouri State Courses of Study for Elementary Schools. . p. 102. ■ . 3. Course of Study Monograph #16. Music. Elementary Schools> p. 11 o Music must be given a reason able and fair amount of the time of the school days not only as an art subject both beautiful and use ful s but as a subject broadly edu cational,,4
This course of. study .requires2 in the seventh and eighth gradess a minimum of ninety minutes a week for general music e
The;Importance of Song Singing in the ■ Music Program
Concerning the place of song singing in the teaching of music^ the Arizona State Oourse of Study says: - . . ^
That song singing is the most im portant of the several phases of school music instruction very few music educators will dispute,. Were we- obliged to forego all but one phase of our school music undoubtedly we would insist on retaining song singing e The, reasons for such a choice are at once many and obvious to.one of broad experience and viewpoints ■
Song singing as an end in itself is advocated in
4 e Eugene T Q Lies n The New Leisure Challenges the Schools«
p= 280 c, 5» Course of Study for Elementary Schools of Arizona^ ps10^ the State of Iowa Course of Study:
One of the results of musie in the schools should he to provide the pupils with songs which they will enjoy singing in groups both in and out of school.®
Carleton Washburne states pointedly:
Necessarily and rightly, in public school musics the principal stress is placed on singing 0 <, » The one legiti mate basic aim in the teaching of music is to give children a real love of singing, o '
Bolton expresses himself vigorously concerning the role of singing in educations
Children should be allowed and en couraged to lift up their hearts and voices in joy9 praise9 and thanksgiving. The beginning of musical education should be in allowing the child to - iftake a joyful .noise unto the Lord! &
The Boy Problem in School Music
The importance of song singing in the school music program is well established. It follows logically
6 o Iowa State Course of Studya p. 339. 7 0 Carleton Washburne. A Living Philosophy of Education. p = . v m 80 Frederick Bolton2 Principles of Education. ppc .136-157< that technique9 theoryg, .and dpi 11 must he subordinateds and any attempts to force appreciation must he elim inated* : ■ ' : ■ : . " ■ ■■
Kwalwasaer, co-author of the -Kwalwasser-hykema Music Tests, states this emphatically;
How -futile are many of our teaching efforts in music, concerning themselyes . primarily with perverted objectives of reading and technie, and failing to ■ develop the will to make and hear music which is the only-iegitimate reason for the reading and technical ohjeetives*® ’
The result of over-emphasis on technique, theory and classicism in music education iS more apparent in the reactions of hoys than of girls, it is.not that the girls, enjoy this approach more than the hoys do; rather the girls as a group are not as likely to show open ' indiff erence or hostility» ' ■ , ’ ■ . ;, d
.Kwalwasser devotes an entire chapter to "The Boy Problem” in music, . ;
A casual observer in the average class-room, will notice how indifferent the boys are to music* Boys do not - consid.er lausie .especially vital or pleasurable* ihey appear to be not ' only listless but frequently hostile ; • to music education»: , , 1 f the boy . dislikes what he receives in the .name
9 * Jacob G„ Kwalwasser} problems in Public School Music
Po 87* . of music education offered him by the public schools, he will dislike arything connected with music0 » Our schools have failed to recog nize and utilize the musical gifts that"the boys possess« Our schools have taught neither music nor bcyso They have taught technic, which the boys neither want nor learn0 What * makes music worth the time and energy required to learn it is not commonly found in our public schoolsd 10
That this dissatisfaction of boys with the con ventional school music, program is not a unique phenomenon is pointed out by Norton and Norton:
The average boyg s indifference to school music, and his low performance on music tests, frequently ereateaa "boy problem" in mazy music classes <>11
Statement of Problem
The purpose of this study is to develop a series of vocal music lessons for seventh and eighth grade boys in which drill and theory of music are integrated with material adapted to the interests and aptitudes of the pupils to. the extent that the child8s enjoyment is
10«, Kwalwasser, opo cito j PPo 40-41 a lie John Ko Norton and Margaret Alltucker Norton, Founda tions of Curriculum Building« p0 4860 markedly Increased as tie masters fundamentals of music, these lessons to,be based' on recognized principles of learning/. :
Origin of the Problem
During eight years of experience working with boys in scout and Y„M<,C0A.o campss'and teaching music in schopl as a hobby5 the writer became increasingly aware of the lack of interest which boys showed in the regular schooiVmUsic classeso This attitude contrasted vividly with the lusty participation of these same boys in group singing on camping trips and in the scout lodgeB By using material similar in nature to that of the campfire "sings' considerable success was attained in developing boys? glee: clubss trios, and quartets, in extra-curricular activitiese The problem crystallized when the writer was confronted with a group of twenty-five eighth grade boys who had been expelled from music class for insub ordination* The lessons of this study were developed during the subsequent year of experience with these boys*
' Limitations of This Study
in this series of lessons there is no attempt made to teach "appreciation”s The teaching of theory and technique is limited to the extent that an obvious -8=
need arises# and-the ability and readiness of the group periait their presentation.,
The prohlem of "the changing voieen is.not eon- sidered as such in these lessonss The limited compass of most of the. song material and the singing, of harmony parts by all pupils make it possible for a boy to con
tinue singing during the period in which his voice is changing0 ' ,
For the purpose of enhancing morale and appealing to masculine ego the melody is referred to as the bari
tone, a harmony p.a,rt above the melody is called tenor, and a harmony part below the melody is called bassa In this sense the terms are purely relative and do not im ply further technical connotation,
'Similarly, the term unison connotes group sing ing of a, tone, Including .octaves„
, The song material Included in the lessons is primarily' for the use of the teachere The material as written does hot necessarily represent a suitable key for any specific group of boys. In actual use the key was varied to suit the needs of the group.
Music to be presented to the class' is specif ically indicated. CHAPTER II THE GENERAL PLAN
■The..'Basis Theory
The educational maxim,. From the known to the unknown<, is a fundamental precept of educators and psychologistse
Dewey states this fundamental in' Experience and Education:
It is a cardinal precept of the newer school of education that the beginning of instruction shall be made with the experience learners already have $ that this experience and the capacities that have been developed during its course provide the starting point for all further learning o^-
Norton and Norton advance the same theory clearly and simply:
lost teachers:would agree that their instruction should begin Where their pupils are> and proceed gradually to build enriching skills and a t t i t u d e s ^
IV John Dewey * Experience and Education,, p* 880 SL John Ko Norton and Margaret Alltucker Norton, Founda tions of Curriculum Building* -p0555* Another aspect of the same precept is reflected In Thdrndlke^s Law of Readiness5
Mien an individual is ready to act in a certain ways for him to act in that way is satisfying$ and for him not to act is annoying 6 Conversely $ when an individual is not ready, to. act in a certain way5 for him to act in that way is annoying 0 This statement may be called the Law of Readiness»3
The boy problem in public school music is a direct result of the violation of these principles and laws of learningo In music the term from the known must be interpreted to. mean from where the boy is in his under standing ^ abilityj, appreciation^ and desires e It must mean his present appetite for song material actually within his range of experiencej, songs which he will sing simply because he enjoys singing them*
Violations of these principles can be summarized in four major reason# for the unfavorable attitude of beys toward the school music program^
lo Selection of song material on a basis of the composer and the ’’classical®3 yalues rather than any inherent lint er- est the material may possess for the. boyQ
So Edward Thorndike and Arthur Gates 0 Elementary Princi ples of Educationo p0 89® li
lt is safe to say that the crude forms appeal as a rule the more strong ly to the child* There is not a real boy but strenuously abjures what he considers the niceties of personal bearing and speech in favor of the swaggering air, the crude phrases, and the coarse jests of his boyish heroes® The uncultured strata of society stand; for arrested .development and so -approx imate. the plane of Childhood* It is natural that children should be attract ed more strongly to the representatives of these strata than to the representa tives of culture and learning, with, whom they have no common bond* * * Slowly but surely the child must be led to admire and emulate the higher forms of life, and even before this point, is reached, education can see to it that the Cruder models are at least clean and wholesome rather than base and degrading®4
Spaeth says, concerning the over-emphasis bn the ^classics";
Above all else, I wish, people would have the courage to say what they really think about music, and not be so eternally worried over what, somebody else may think and say® It is my firm conviction that a piece of music can be enjoyed regard less of the composer who wrote it*5
cWilliam Chandler Bagiev * The Educatlve Prooess* poS4l®•
■Sigmund Spaeth, The Art of Enjoying Music. pp. v, viil. Thorndike points out!
The inexperienced person may enjoy the general effects of harmony and rhythm of simpler musics but may fail to get the equally keen5, or even more [satisfying, enjoyment of the more com plex classical, music
Kwalwasser lists thirty song titless picked at random from six different school music .texts *- A few of these titles ares "Dance of th# Autumn .Leaves”5 ."Spin, Maiden, Spin"| "The Woodland Lily"5 "Dream and Snowflake" and "October6 s Bright Blue Weather"«, He comments upon the type of song presented to school music classes §
what stretch of the imagination may the majority of these topics be considered the vital, the forceful, the rugged, the virile, and the power ful things of life? o > Nwiured on this kind of devitalized material, is there any wonder that a boy*s affection for music is alienated?s i t I have not said norc: shall I be guilty of saying that boys dislike music =, Boys do not dislike musice They dislike the emaci- , . ated stuff which they are gettizig in the place of music
IIa The teaching of techniques and theory of music that have no relation to actual singing in the mind of the bcyi
8 . Thorndike and Gates, 0£o cite* p s 159o . 7o Jacob Kwalwassera Problems in Public School Music« p$45 According to Boltons
Simple folk-songs learned by ear should long precede the artificial note-singing of the school?-Easic . should first of all be a language of emotion and not a feat of intel lectual analysis and synthesiso Clas sical music is a product of science, and evolution of intelligence, and not alone" a language of the emotions. .'o o The songs we all love most are not those termed ^classics"; no, they are the simple melodies that anybody can sing.9
Spaeth says directly? The enjoyment of music is primarily an instinct, and no one can be stopped from having that experience, except . perhaps by the insistence on turning Q the whole thing into a horrible task.
Thorndike and Gates criticize this over-stressing of technique? ,
^Appreciation may be reduced by education that dwells on unessentials or by training on those essentials which are beyond one?s power of com-' prehension and execution. This is one of the.greatest faults in instruction of music. » o Much musical.training, because of the unwise choice of peri ods for practice, unwise, selections for execution, and the formal manner of drill, yield more annoyance than appre ciation or skill. By unwise training, appreciation may be killed before it is born. J-O,
8 , Frederick Bolton, Princ iple s of M u g at i on,, p s647e Spaeth, op, clt.i p. .ix. . 10. Thorndike and Gates, pp..cite, p s 159. III®. The goal of the music teacher is entirely alien to the experiences and desires of the boy®
Mursell expresses this from the viewpoint' of the teachers
It often seems discouragings and perhaps even downright" wrong „and op-*". portunistic j, to base- one ts policy in education upon a consideration of the wishes8 and expectations, and at titudes of those we try to educate» : They often seem limited, and dull, and perverse; and we feel that we know so very much bettere Perhaps we do; but the essence:of education is to lead them to revise their notions rather than to impose our own® » _0 Instead of deploring low popular taste, h e •(the teacher) should set hlm- self to use live popular -interest; and in moulding it, he may himself be moulded
Dewey states:
The too frequent assumption is /' that it is enough for the teacher to see: the end« = 0But the prime psycho logical necessity is thajt the child see and feel the end as his own end, the need as his own need, and thus have a motive for making the analysis and . mastering the * rules1," i»-e. methods of . . I procedure®^
IV, The resulting feeling on the part of the boy that
11® James Mur sell«, Music American Schools® p08o 18, John Dewey, in Elementary School Recorde1:51-58 March, 1900„ ■=’3.5=' music is an uninteresting task and. a "sissy" study 5, in stead of pleasurable recreationo
Mursell stresses music for pleasures
We should select musical material with an eye to its recreational pos sibilities $ We should do our best to foster the amateur spirit, and the skills and activities appropriate to amateur musical interest* » * And above all, in the whole spirit and emphasis of our work, we should pro mote music as a pleasure to be sought rather than as a lesson to be learned®
According to Thorndike and Gates:
The greater the interest in the work.the greater the happiness which results.from it 0 0 * Interest depends tremendously o « ® on adjusting the task nicely to the individualo = « Children are exceedingly practical- minded and enjoy not only using what they learn, but learning what they can use®1^
In his book. Music for Fun0 Sigmund Spaeth states his belief that:
There are millions of people who could have fun with music, just as they have fun with eating, drinking, sleeping, and breathing, without the slightest technical knowledge of the
13. Mursell, op. cit®9 pp. 2 7 - 2 8 * 14. Thorndike and Gates, op® nit®, p®180 '■--t 1G “
subjects * * . If music is to be treated as fun^ there is an excuse for lightness of approach, even an occasional bit of clowning,15 *
Vocal music lessons for a group of average boys, then, should present material the boys will sing ;and en- joy, should teach technique only as the obvious need arises, and, above all, should stress music for the pleasure, of the boys® .
Shakespeare summarizes this philosophyg
No profit grows where is no pleasure ta8 em _ In brief, sir, study what you most affect016
The General Procedure , \ ' ' ' - _ ' v The eighth grade boys of School* Arizona, had no music classes in their 1940 schedule* The reasons they.did not like music, and caused too much trouble for the.teacher* This.study is designed for just such a group -boys who have somehow not been reached by the conventional music.program, although the musical ability of the boys themselves is on a par with that of the,average class; boys#who, if allowed to use songs
15. Sigmund Spaeth* Music for Fun, pp. viii, x* 16. William Shakespeare, Taming of the Shrew*.Act ii 80*1 » which they will sing and enjoys can be directed to ward- enjoyment of the melody and harmony of more worth while songSo But mnless these boys begin to s'ingy in voluntary participation^ progress toward a fuller un derstanding of; music is impossibleo
The Arizona State Course of Study presents this fact clearly and concisely s
Before we can have beautiful* artistic singing* we must have . singing e17
This course of study recommends that sixty to seventy-five minutes a week be devoted to song singing in.the seventh and eighth grades*
The necessity for.securing voluntary participa tion makes it imperative that the songs presented in the first few lessons possess an inherent appeal to hoys,. Such factors as the composer^ the classical rat ing ? and the proprieties imposed by adult supervision, are of minor significance, provided that the songs are clean and wholesome* To the inveterate musician this approach may seem crude,* To the educator, the true teacher of music, the approach is logical, educationally sound, and embodies the fundamental precept of good
17® Course of Study for Elementary Schools of Arizona. Bulletin lumber Two* Music* p* 10* "18”
teachings Begin where the learner 'iss and build, from ' there e • . • .
Lesson Is The purpose, of this lesson is to obtain the whole-hearted participation of the boys in group- singing „ The songs "Catalina Magdalena"> Name is Yon Yonson'\. and "The Thousand-Legged Worm" possess humor# nonsense# virility# and opportunities for vo ciferous participation# which assure attainment of this objective®
' Lessons 2-7s The scale is presented merely as another singable melodyo Lyrics# such as "The Pussy Cat" and "The Puppy Dog"# make the scale a thoroughly familiar tune® By presenting the scale as a melody to be sung in stead of a sequence of steps and half-steps to be dis sected and analyzed# practical use can be made of the scale early in this series of lessons®
The songs "WorkinI on the Railroad" and "Someone?s in the Kitchen with Dinaht are added to the repertoire®
. Lessons 8-12: Part singing is introduced by singing rounds# such as "Yonder -Stands the Donkey" and #uffer Billies"5 and by having half the group sing up the ■ scale while the other members of the group sing down® . Lessons 15-17? Part singing is continued by the teach ing of the tenor and bass of nThe Thousand-Legged fformn as additional tunes for the same lyrics =, The - song makes an excellent basis for this procedure be cause both harmony parts are melodic and rhythmic <, When these two easy tunes are learned^ the group divided into three sectionss and the three parts sung at one t|toes the boys will really hWar harmonye Most of them will be genuinely conscious of it for the first time in their lives,, and easily-produced^ simple5, good harmony has an almost irresisSlblee.appeal®
Lessons 18-20: The objective of these lessons is to ree* ognize and understand how tunes are built from the; scaleo Tunes are sung by following a pointer used to in dicate the syllable to be sung# and the duration of the tone. (See Lesson 13,) This procedure eliminates post poning the use of the scale until the tedious and diffi cult process of learning to sight-read has been com^ pleted. It also eliminates the variations in ability to sight-read.
Lessons 21-50 s Part S tag tag is c ontlnued, The harmony parts to "Workin* on the Railroad!1 and "Someone8 s in the Kitchen with Dinah,f? are learned and sung by the group. Smaller groups of various sizes are orgauizeci within the class group, •
The scale is used in learning to sing the , I-XY-Y-I mai)or triads in three and four part harmony»
Lessons 31-35: An effort is made to have each individual sing the scale: hy himself „ The singing of duets and trios hy various members of the dabs becomes a routine pro cedure 0
"Silent Sightn is sung by the whole;group in three part harmonys .....
lessens 36-45.: GOnslderable time is spent improving the various singing: units mthiri the:group. The\boys 1 earn - to sing "Central Will Shine Tonight" in three-part har mony, and compose their own'class song to the same tune.
Lessons 46-55: Once the desire to. sing nnd a genuine pleasure in singing; are established, more pleasure is available to the singer who■has a knowledge of the ■ fundamentals of music. By this, time the scale tones , have become familiar aids in understanding melodies and harmony. The obvious need for learning the time . values of notes and the meaning of the staff has become -21-
apparent to the learner. Part of. each lesson period is spent in learning the time "rallies of one-eighth, one- quarter^ one-half, and whole notes, and the names of the lines and spaces of the great" staff„ The location of middle G on the piano keyboard is presented at this • time. However, the original objective* enjoyment of song-singing is still predominant. The study of theory is for the purpose of enhancing this enjoyment, not for the purpose of mastery of fundamentals,
Lessons 56-65: The sight-reading from staff notation of simple bugle calls, such as "Mess"* "Assembly", and "Taps", offers a practical application of the fundamentals' presented. The long intervals facilitate,execution and form a basis for the later .reading of simple phrases from familiar songs. The.purpose of this study if theory is hot to produce proficient sight-readers; it is to acquaint the pupil with the practical function of the elements of music and the process of sight-read ing. Drill for the purpose of mastery is an unwise : procedure in a music class for boys of this type®
Lessons 66-69: The boys are taught how to locate do in key signatures containing sharps or flatsy There is no attempt made, to memorize the circle of keys, key "22" signatures,-' and so forth®
Lessons 70°°72g These periods are devoted to enjoyment of two or three part group singing of such songs as $tly Old Kentucky Home” "On the Mall8% "Home on the Range"s and the.negro spiritual, "Who Did?"® Secondary objectives are improving the quality of harmony and developing duos and trios within the groupe -23-
\ - ' - .. , ' $HE DlSi.ll ED PLAH' ‘ •
One of the moat effective means of teaeMng a ■ melody, and one of the easiest ways to 1 earn a melody, is hy rote. Therefore, in. this series of lessons the songs and harmony parts are taught “by rote. If a piano is available it is well: to. use it for determining and fre'duently checking pitch, but not for aecompaniment, ' All too often the'aeeompanying instrument leads instead of acoompanyingg and the pupils are lost without it. By singing independently the singers will develop a more re liable ability to carry a tune, a better sense of pitch, and a more conscious perception of harmony, . .
The lessons are planned for class periods of one- half hour. It is readily understood that the size of the class, the response of the group, and the versatility of the teacher will vary the time consumed by/each lesson. There is a definite continuity throughout the seri.es of lessons which facilitates overlapping and adjusting of < the material to the specific situation, v
-v.f. fn many of the lessons the instruction is given, " "Write on the blackboard,"fherever possible, it is better — 24-
to Etave the material print el hoi dly and l egibly on tag board or other heavy paper» These charts may be used repeatedly, saving much time for both the teacher and the class, and improving the presentation,
The conventional procedure of testing voices and separating the group into tenor, baritone, and bass sections is unwise in a music class for boys of this general type for several reasons:
There are few, if any, genuine basses • or tenors among pupils of junior high school age, ;
Gohsistently singing a high or low part does not give the boy% an opportunity to develop the usable range of his voice.
In ordinary arrangements the harmony - ■ - ; • parts, especially the bass, are miinelodic and uninteresting, • ^ ■ v
Probably the most important reason for not separating the class into sections is ; Vi. that it necessitates having two groups sit idle while a third group is learning its part. In such situations it is not J .ar uncommon occurrence that one group -85-
sits idle for an entire period0 The effect on pupil Morale and the attend ing disciplinary problems which arise are obvious to even a casual observere
In this series of lessons the compass of most of the songs is sufficiently limited to allow all of the boys to sing all of the harmony parts0 This leads to a more complete understanding of, and "feeling" for, harmony by the individual boye It also adds much to his enjoyment of amateur participation since one of the major joys of "barber shop” singing is to be able to say, "Now you take the melody and I s11 sing the harmony,"
Lesson One
A feeling,, of ease and lack of self-consciousness is the primary consideration in the first lesson. It should be just a thoroughly free and easy time of sing ing songs that 'appeal to the beys, and maybe telling an appropriate humorous story, culminating in the presenta tion of the scale as a tune to be learned much as any other song,
"Catalina Magdalena" is probably one of the best songs to capture the fancy of a group of boys who have -86-
"been confronted with a half hour music class that is ^ ' ■. 1 . not wanted? which they approach with an attitude of truculent defiance * !,Catalina Hagdaiena?t may possess nothing to recommend it except its innate appealjfco boys? but it does have that„
ls Sing ,rCatalina Magdalenar,0
She had a funny name but she wasn$t to blame? She got it from her pappy just the same same same® Catalina Magdalena Reubensteiner Wallendiner Hogan" Logan Bogan was her name = , . She had two funny looking eyes in her head? One was yellow and the other was rede " Catalina Magdalena etc» \ - Her ears stuck out like the sails on a boat? Her Adam!s, apple wobbled all over her throat s She had two funny looking teeth in her mouth? One pointed east and the other went south • If rain makes flowers sweet and clean? There ought to be a cloudburst for Magdalene6
The next song to be used is sung to the tune of nPolly Wolly Doodle,r? a melody familiar to nearly every one, This song may be introduced by telling the story of the man who while playing charades puzzled the audience by - walking around the room repeating? "Mine hundred ninety- nine - bump. Mine hundred ninety-nine - bump,n He was representing a millipede with a wooden leg.
t. Sing MA Thousand-Ligged Worm”, -27-
C A T A U.VH P i hA P i Q f O A l_B>4 R
* t .:> i-...... J - J - — j - ..-.-.I-. ..• 1 . j— I ' T g g " ■ 1 ■■ — '1 ^ H W . I — I — »■■ ■■■■ ■ I II* ' — " *' *" ■■«■■■■■■■■ I '* WM#, .IW ■■■ II »l — l>—^
She. VvolA cl fum - r\>j name. bair sV\e
|^.>f ]' f |] 'J'J'M'
NNasnx^ -ro bVcxme . SV\e got xt from V\e.c *^vst tVxc
l^.-J ± j :
Same s a m e Sex me.- C.cxt- at- Vxn -cx CAcxg- " r g : f i—i’ ...... -U ’Rea — ben — steixn - e r VJaW — en - " J 2 J I J VVa— g a n b o — ga n 6>o-gan was Wer name -£8- Said a thousand-legged worm as he gave a little squirm^ t?Has anybody seen a leg of mine? . If it ■ cantt. be found Ifli have to'.limp around On the other nine hundred ninety^nine e n CHORUS: nLimp around^ limp around On the other nine hundred ninety-nines If it canH be found I ’ll have to limp around On the other nine hundred ninety-nine«?? This is literally a song of a thousand verses^ because each time the verse is sung the number of re- ' maining legs is reduced by onee. The second verse becomes: Said a thousand-legged worm as he gave a little squirm, "Has anybody .seen a leg' of mine? If it can’t be found I ’ll have to limp around On the other hine hundred ninety-eight 0!? The last lines of the next verse becomes If it can’t be found I ’ll have to limp ’ around : 1 . On the other nine hundred ninety-seven, . Pupils who can’t carry a tune will become engrossed in the mathematics involved, and the song often continues through ten or twelve verses before interest is lostBe sure to stop singing as soon as, or somewhat before, in terest lags. Another nonsense song which seldom fails to elicit A THOUSAHD-Lfe.GGeD VIoRtvx -#----* —je—* — 1----- __#L- —■—m ■# # —J------a —» Sdvci a iVxous-ani \eg-g,«d worm qs He gave a Vir-tic sc^airm, "Ha^ [ / : ■ r:-t.-&-4 t’ r i f ~t...t T " - T .... t - v - i i on-y- boA-y se ,•. \ t - , - - r T - - 1 z ' ^ T T V>a\ie *to Vivrxp cx-round oa olVx^er nine \\un*drcd nine -iy 'tF ^ r— — : T - ] .... ~ t " \ $ -$-rt ,3 p . : j : : * , n \n e. L\»«xy a-ronnA, Uwip a-ro^fA en'tW otVi-tr«in« Wn-oreA vxine->' ■ 1 .. - P ■;■■■^\: :~\:r "i 1 .1 ’t "^7 s. "-]>...-.-y./.y.:. ILj; ^ _...4. ± _ nmc, 1"V W cani* Vje^ovinci 1 1\ ViaMe to Vim^ a-'rovinA Oa yV\< t i » . ~ : t t " : t ' ^ ~ - - i ' . J .j j...:::] Vx -c o nxrxc. Vxuivx- <^rxc:A A m t - t y n in e . —30— a rousing response from a group of seventh or eighth grade boys is Earne is Yon Tons on". A good way to introduce this song is to begin singing it. After the second or third "verse"the boys will just naturally join in. Do not discourage what might seem to be un necessarily loud shouting of "HelloI What -s your name?" In faetj, vociferous participation augurs well for fu ture classes o 3. Sing "My Name is Yon Yonson" M y name is Yon Yonson, I come from .Wisconsin^ I work in the lumber mills there. All the people I meet When I walk down the street, They .say , "HELLO! WHAT«S YOUR NAME?" • AND I SAY - ; My name is Yon Yonson, I come from Wiscohsin, - etc. (repeating as often as desired) The last few minutes of the period are used to introduce the scale. Writing the numbers on the board as shown below helps immensely in developing a feeling of the relation of one tone to those above and below it. 8-8 7 7 6 6 S 5 4 4 3 3 2 1 1 M x N M A & Is VoH VoNSOt'V i j | -j.-j- jt± j-ii j' A ? fAy name is Von Yoixson , X come trow Vlis-con-sin, X i' X\ j j i' i ijiv H r r work \n tV\< Vuw-bec vn\\Vs tkcre. AW tVx€ I i' ■ ■' i \ j j ' i: l-J ••>• j 7 vvicet wktn X wa\k dowin 1 Ve s tre e t, Tlne.’y say y V\«A\a / VJ^aT^ your name? AnA X %ay — CRBPfcAT) 4 e Sing up and down the scale several timesj using the numbers0 Use a pointer.to indicate the tone to be sungVary the key to suit the groupe Lesson Two . Begin the second lesson with a lively period of scale singing5 in which the scale is used as a melody to which many varied "lyrics" may be sung® Vary the key® lo Sing up and down the scale several times s using numbers«, So Repeat,,, using the syllable la for .all tones® So Repeats using the •letters of the alphabet* (Continue straight through the alphabeto) 4o Sing up and down the scale? using the names of objects in the room, as indicated by the pointer, for . each tone® This last procedure will result in a hilarious jumble of words, but if the tones are on pitch the effort is worthwhile, and the beys will be in the mood for more singing® - Following the warm-up there will probably be a ■ request to sing "Catalina Magdalena”, and, if not, suggest it® Let the boys pantomime their ideas, such as putting their hands to their ears* shaking their Adam^s apples/ or indicating a spiked tooth with an index fingero Two or three times through will not become monotonous f o r the majority of the class=. 5e Sing ’’Catalina' Magdalena?,e Continue-with a few verses of ”A Thousand-Legged Worm’’ o Make an attempt to get the pupils to feel the accento Hitting the fist against the palm of the hand on the first beat of each measure is a good method of physical expression of an understanding or feeling of the accent =, Also* it is a definite departure from the clap*olap<=clap of previous music classes and it is more indlcatiye of ”he-man” status a Such items as this may seem trivial or even irrelevant, but the music teacher must remember that the emotions, attitudes, and imagina tion of the class determine the success or failure of the music lessonso 60 Sing ”A Thousand-Legged Worm”, . ... ”Working on the Railroad” is another excellent song for boys = After it has been learned, sing it through three times. The first time, sing fast, and with enthu siasm, as if early in the work-dayj the second time, sing it more restrainedlyi and the third time, sing it slowly and wearily, as if exhausted by the day’s work. — 34— •7. Sing "Workin' on the Railroad™', page 37 0 1 1 ve Pe@n workin’ on th,e railroad. All the livelong day* I’ve been workih1 on the railroads Just to pass the time away, Don't you hear the whistle bio win'? ' . Hise up so early in the' morn, ' , Don't you hear the, captain shoutin', ■ "Dinah, blow ybur .horn!' Desson Three Beginning the lesson with scale singing ean be continued in&eiihibelyv' However, : it.; is well to intro-; ' due© variations of procedure* As an aid to understanding that the scale is repeated, and as a means of letting the boys explore the range of their;,voices, try two ■ octaves of the seale. Vary the starting pitch to enable each boy to sing through his complete, range, Hew, -if any,, of the boys will be able to sing two octaves„ Encourage them to join in the unison singing of that part- of the scale that is within their range. Caution the pupils to sing only as high as they can goby singing easily and without effort. Explain that ;at:temptingVtoy sing beyond , this: limit may seriously injure the voice, u . 1, Sing up and down the seal e, using - . numbers, ' ' ' - 2, : Sing up and down the scale, using la, •' 3, Experiment with the singing of two ' : V . . :octaves, using la, The low notes provide an excellent opportunity to compliment the boy with a voice like a crow, and mention the possibility of his becoming the best bass singer in the class» This is just another example.of the consideratibn necessary to eliminate self-conscious^ mess, and to create both a desire to sing and pride in ability to sing* - Twice through ”Gatalina Magdalena!! and a few. . • ; ' - . - . verses of WA Thousand-Legged Worm” complete the review.. , 4 0 Sing "Catalina Magdalena"a 5® Sing "A Thousand-Legged Worm". A serious attempt to get a good unison rendition of "Workini on the Railroad" from the group as a whole is the major aim of this lesson. Use the song as if three times through it were the complete lyrics, varying the tempo as suggested in Lesson Two. 6 . Practice "Working on the Railroad". The last few minutes of the time are spent intro ducing the following chorus. Explain that the boys have been working on the railroad long enough.to be hungry. Why doesn?t the dinner horn blow? 7® Learn "Dinah, Blow Tour Horn". . Dinahs vronst you blow5, Dinahs won^t you blows Down on the hanks of the Ohio? Dinahy won't you hlowg Dinahs won't you blows Dinahs won't you blow your horn? Lesson Four Spend a few minutes singing the scales using numbers2 the syllable la* and then the syllable ming Q Get the pupils to feel the ng vibration^ Sing up and down the scale, holding, each ming for approximately five seconds, taking a breath, and doing the same on the next toneo Some laughing, caused by several sneezes resulting from over-enthusiastic participation, may help to break down the reserve and bring about the cooperation of some boy who thus far has been afraid to have anyone hear his voice. In all scale practice, vary the key each time the- scale is sung. le Sing up and down the scale once, using numbers. S. Repeat, using the syllable la. 5. Sing up and down the: scale several times, using the syllable ming. 4. Sing up and down the scale, using the syllable ming. and holding each tone for several seconds. -37- VJoRv^m' o k - m e T?f\vuRoPit> (c h o r u s ) 7 - r - 4 — »------f ------r -»--f-4--- -f- f 4 4 a ------J| ■ #1 \(-V " 4- "*•''"j — '#•' ^ J.-* t ” eJ-- r-^2__ "i've been worV-W onthe roiVrooA, AW tYve Vive- iong Aoy, i : : 1 . y r ^ r " ,: 4 - • T -•T - T ' 1 <■i" f w Ive Y)tcn work-in' ontW roW roaA, jusX to pass the time a-way . =#-P - f -f .. ^ : ^ \j: I;: -. -—— akatSifrSbi Don’t you hear the whit tle tiow-xn'? Rise up so ear-\y \n tV\e vnocn, * t T Y 7 4 j r .... d .l-.-f-:;*:::■ ... j "." ^oixH y o u V^eor iW con tain sWwt-vn ^ DVnaVi, b\ow N^our Viorvi/ “DitAfvvi, B l o w Y o u h V\o k w n ______ B\-v\ah. vvovvt 'you t\ow f Bi-naV), v#ov\lf you V>\ow, ^ :: " ~ " t -j - is: Down ontVie bonV -j' ' j ’: ^ : I"T :'? ■ f : . j . ' _ j j . 1 B OVvxaVi, won'-^ you V>Vow, D\-naV\, VJotVt you YAovt your Vorv\? Sing ,!Workin? on the Railroad" two or three timess working for attack and phrasing6 Aeeent may be indicated by having the boys pretend to be swinging sledges and hitting -a spike on the first beat of each measure0 1 : 5« Practice "Workin? on the Railroad o. 6 ® Sing "Dinahs Blow Your Horn"0 How it is time to explain why Dinah does not sound the dinner horn® The reason follows? Yy Learh ’’Someone is in the Kitchen with Dinah’’® Someonees in the kitchen with Dinah* Someone is in the kitchens I know. Someone’s In the kitchen with Dinah, Strumming on the old banjoe CHORUS? ^ ' Fe e-fi“fe e~i e e-i-o, Fee-fi-'f ee-’lee-irOj, Someone’s in the kitchen with Dinah, ■Strummin’•oh the old banjo=' Someone ’s in., the kitchen with Dinah, Lickin’ a hambpne clean®. Someone’s in the kitchen with Dinah, Who never never wants to be seen® -39- S o w b o m b ’s m t h e K\tcv\b h vi\t h O i h k h Soweonfe' 5 in "tV\e V.\tcVxt.n v»\tV\ L v i\a \il kr\6w. Some one's vn tKe. WtcV\e.n DvnoV. Strum-wvin1 on tVxe oVi V>an - iW -i " 4 ; JI 3 CHORUS: _ .v -im _ fe.e-Vi - ■^e.e-\ee- o . 9cjb-- 4ct- \«e- \ - o fc=3i i i jj,-' M J T T 3 JJI.H Someone's xntVve WiYcVien w"\tV\ X) x-v\.aV\ t S i r am - m\rV o n tW oW b a n - jo . Lesson Five. Begin the period by singing the scale in unison^,' changing the key each time the scale is simgo Use all the forms of syllables presented thus far, and add y.o and you.o As a variation of procedure, have the group v - ' stand and hold a tone as long as possible without tak>. ing a breathe Haye each pupil sit down as soon as he can no longer hold the tone® Use the syllable l a * and work for tone, relaxed jaw muscles, and breath control, Determine how long the tones were held 1 and use the in formation for comparison later on. This may be another situation which will release some child from his inhibi tions concerning his voicea . ■ 1 6 Sing up and down the scale, using numbers® : S 0 Repeat, using.: la® 3® Repeat, using names of objects as indicated by a pointer® ' 4® Repeat, using ming® 5® Repeat, using yo® striving for a well-rounded tone® 6 ® Repeat, using the syllable you® 7® Hold a tone as long as possible, using the Syllable la® . Sing the three songs, ,!Workini on the Railroad”, "Dinah, Blow Your Horn", and "Someone?s in the Kitchen with Dinah” as a unit ® Having the. pupils pretend to be -^41” strumming a banjo during the last song„ giving vigorous nstrums” on the first and third beats of each measure5 'iielps to establish rhythm and develop precision of attack„ 8S Sing5 as a unit,. :”Workin? on the , Railroad” p nDinahj, Blow Your Horn” j, and ”'8omeone?s in the Kitchen with Dinah”. By this time the scale has become a familiar melody„ More complicated lyrics, with a humorous ele ment 5, are presented by ”The Pussy Gat”* Writing it on the board5 as shown belowj, facilitates the singinge Read up the left-hand sides and down the right e. 9e Sing ”The Pussy Cat”* what do you think of that? Mew just a pussy willow* How mew never be a cat* She8s mew though she is a pussyy she’ll mew never run away* For mew lives down in our meadow* She’ll mew fur is silver gray * She ' iiew I know a little pussy, her. / ‘"SCAT! There will be a;few vigorous premature SCATS by boys who still do not khpw the scale* However, there should be whole-hearted participation by every boy in the class by this time* Even boys who will never be able to carry a tune will enjoy the hnrnor of the rhyme, and can say SCAT as effectively as anyone in the group* . Lesson Six Begin the lesson with the usual scale singing„ changing the key each time the scale is sung o Add zee to the list of syllables already usei-V lo Sing up and domm the scale, using lap S= Repeat, using iningo 8 . Repeat, using names of objects in- ' . - dicated by the pointer,, 4„ Repeat, using yOo 5o Repeat, using you,, • 6 ,, Sing up and down the scale several times, using the syllable zees 7 o Review "The Pussy Cat'L Follow the scale singing with several repetitions of "Someone8 s in the Kitchen with Dinah"! Have half of the group sing the chorus while the others sing the verse« Alternate parts frequently« The novelty of the procedure encourages participation^ however, this is really the first step toward part singing, in. that it develops the ability to sing something different from that which is being sung across the aisle6 : 80 Sing "Someone’s in the Kitchen with Dinah"1 as explained above,, As another aid in teaching the singer to concentrates upon his own part instead of following the singer next to hi nip present the following round. When the tune is thoroughly learned in unisons divide the group into three groups and sing it as a round. . , - ' " 9. Learn bonder Stands the Donkey 10e. Sing “Yonder Stands the Donkey" as . a round* Yonder stands the donkey ^ Waiting for his hay. If you do not feed him? You will hear him say ^ Kee - i kee ~ os Kee - o -= kee » 1 = kee- ay. Lesson Seven 1. Sing up and down the scalep using y o . . g. Repeat, using you. .5. Repeat9 using the numbers. Have half of the group sing up the scale, using numbers, while the others sing down. Alternate the parts frequently. Call attention to instances in which pupils begin correctly, but are thrown off pitch by a neighbor and follow his lead in an opposite direction. In doing -this, be sure to refer Only to boys who you know will -44- YoHOfcR S t AHOSIHE DotAKBX i y > j j s . . l i JU J-J -J 1 i Xon-dcr sAqxixAs iVi€ dov\-Uc^ ,VJcxi*t-Xng f o r Yus Yiay I f ^ou Ao noV ¥«fcA Vutw 7 Vou vii\\ Vicar Vxtw so.'y, |ytr Jrr:'j ihj J / ^ J ^ ^ , J : ^ -H Kee. - i - kee- o - K&e- o - WeE -i — V 4e Sing up and down the qeale, using numbers, as explained abovee ' - - 5o Review all of the songs learned thus far0 There will be a few of the beys willing to form trios to sing "Yonder Stands the Donkeyno Spend the re mainder of the period listening to different trios* Lesson Eight ■Another rhyme which makes scale singing inter esting is presented here* Have it written on the board as shown belowo The chorus of sounds representing vari ous interpretations, of the bark of a dog must not be allowed to beoome bedlam| but the unrestrained wholes hearted barking of every boy in the Glass is the de**- sired end* : lc Sing "The Puppy Dog"* thirty eents a pound® Bow sell him in the. butcher shop at wow never be a hound 0 They wow never be a poodle® He?11 wow hasn't any tail* He'll : - wow hasn't . any hair and he wow skinny - as a', rail ® He ' • wow X know a little puppye He's AARFl Thus, far most of the effort has been concentrated upon developing voluntary participation in group sing ings An ultimate:aim is to get. each individual to develop to a point where he will sing by himself without feeling unduly self-consciouso Forming trios to sing rounds is an excellent procedure for attaining this end. Double trios, formed by three good singers and three poor sing ers will help the boy who is hesitant about having his voice heard. Spend considerable time listening to trios from the group. However, be sure to stop at the first sign of lagging interest. 2. Have various volunteer or selected trios sing "Yonder Stands the Don key" as a round. Another excellent round is "Puffer Billies". -47- Teach it as a unison songQ Encourage lusty partici pation in the third section? especially by the poorer . singers in the groupe They can imitate a train whistle? even though there is no assurance which way their voices will go while trying to sing the.scale. ■ • ' • . - / ' ■ 5e Learn "Puffer Billies"« 1« Down by the station Early in the morning • ■ .. ' . . , . / ■ Se See the little puffer billies x Standing in a row* So See the engineer man Push a little handle* - S-st? s^s-t? toot I toot I Away they go! Lesson Nine M o Sing up and down the scale? using la* So Sing "The Pussy Gat"* So Sing "The Pupj^r Dog"* " Previous to this lesson the conventional sylla bles to which the scale is sung have not been used* The principal reason is the unpleasant association these syllables have, for many of the boyso However? by this time any aversion to music class should have been overcome* Write the syllables on the board as shown* -48- PuFFER 'bxLUES ± 4 4 ::jz.:.£ X [X 3 * i Oo\mv\ b>/ tVxe s'ta-ixon. eor-\\| mtVve wxorn-inCT, f - y \ - £ ~ j r g - ; See lV\e \W-tVe Tuf-fer B'xV-Wcs ^awAvA^ m a row nr t i | ' J > 3 , n u 1 1 J^a n i J i See tW eA-^\Ae ArXv-er pusVx iV\e Vxt-AVe Vxar^A\e, 7%^- ts f f I f: .f y j j j S-s-'Y, s--5 -i I Toot, toot ! A-\w 4 S Sing the scale-several times? using the conventional syllablese , do do ti ' ti la la sol ' sol fa fa m i .' < mi re re do do Continue the. trend toward having each individual sing by himself by singing rounds =, Begin with the class divided into three sections» Follow this with triose If necessary, use double trios* but try to develop the attitude on the part of the class that each person will be singing alone before long* * 5a Divide the class into three sec tions « Sing "Yonder Stands the. 1 Donkey" as a round„ 6 a Repeat, using "Puffer Billies"o 7 0 Select trios from the group0 Let * each trio suggest which round it wishes to sing; 80 Finish the lesson by singing "Workin$ on the Railroad”> "Dinah, Blow Your Horn", and "Someoness in the Kitchen with Dinah"» -50- Lesson Ten l e Sing up and down the s.cale., using ' . “ § & $ > ze? Us,. etC o . ' ge Repeat^ using objects as indicated by a pointer e 3 0 Repeats using the syllable minga ■ After this short warm-up period of unison scale singingj divide the class according to seating arrange ments Have the odd rows sing up the scales while the even rows- sing down8 Alternate parts, and change pitch frequentlys Use the conventional syllables, written on the board as shown in Lesson Nine.® As an aid to learn ing and to maintaining interest have the pupils slowly rise or be seated while singing s (See Lesson Seven0) 4s Sing the syllables, as explained above o ' . 5„ Call for volunteer trios to sing i' either Wonder. Stands the Donkey" - ' or "Puffer Billies"®. At this point, a snappy unison rendition of "Catalina Magdalena" wid-X be welcomed, especially by some of the poorer singers who may be somewhat unhappy as a result of so many trios® 60 Sing "Catalina Magdalena"0 W* Finish the lesson by singing songs . suggested by the group® •“'51"" Lesson Eleven ■ lo" Sing up and down the scale# /using, re, mi# eto« S e Sing ’’The Puppy Dogn s . ■ So Sing ’’The Pussy Gatn0 - Once again# divide the class according to rqws s of seatse Have the odd rows sing up-the scale# using do o re# mi9 etQ»# while the even rows sing downs Then V:. " hhve only two rows sing at one time| one row singsup the scale while- the other row sings-down0 Vary, the rows# and the starting pitch® : 4o Sing the .scale# as explained \ . . aboyeo As another step toward having individuals sing alone# call for volunteer duos to sing the scale# one person singing up# while the other sings down. A few . of the boys will be willing to do this e 'Genuine praise Of their efforts, will stimulate further cooperation by the groupD AAvoid any semblance of coercion# In.all cases where the scale has been written on the board it has been shown ascending and descendinge In this lesson# and all lessons# where t h e .instructions are# ’’Sing the scale# ” both ascent and descent: ays'is^ tendede In the duets suggested# for example# the first foOQT begins on Ip 3.no. sings 1—0^3—4=5—6^7— 6—5—4— 3,-S-lo The seeond boy begins on 85 and sings 8-7-6-r5- 4-3-2-T‘%l-2^3-4-5-6'—.7—8o IT they ane unable to 1 syn— - . ' ' ■ • - ehronize their tones, unaideds the teacher must beat time 5S Call for volunteers to sing duetsp as explained above, Thus far p. only the chorus of "Workin? oh the .Rail road" has been presentedp and it has. been combined with other choruses o Lear'ning the verses makes this song com plete in itselfo Some pantomiming of the action express ed in the third verse will help hold the interest of the pupils who have difficulty carrying a tune*. 6o Learn the verses of "Working on the Railroad”. Op I was born in Mobile town? I?m workin? on the levee« All day I roll the cotton down> A -workin# on the levee o I used to have a dog named Billy A-workih* on the leveeo He ran aWays but I\m here stilly A-workinl on;the levee. That little bid deg sat up and beg.p A-workin? on. the levee« . Till I done give him a chicken legy A-workin8 on the. levee a 7* Sing the complete songy "Workin8 on the Railroadon 8o Review "A Thousand-Legged Worm"» -53- V/ORVCXM1 OH THE (verse) Q y I was born \r\ tAo-bUe Vown^'m worU-xVoix-tVxe Vevcc . f\W day 1 ro\\ iVe cxyt-Torv down, A work-in on tke Vexi-ce. r "54— Lesson Twelve The singing of roundsj, and the simultaneous sing ing of the scale in ascent and descent* have prepared the way for part singings in that they have helped the pupil to sing his own part5 regardless of what.his neighbor is singing.= Today ss lesson carries the pro cedure into actual singing of a harmony parte Without discussing harmony or the technique of part singing^ teach another tune to which ,!A Thousand-Legged Worm" is sung® Tell the-boys that it is the bass, but. that^ for a while, it will be considered only as another tune for the same lyrics® Then teach the bass Auch the same as the tune was taught in Lesson One® In the chorus, have the entire group sing the first "limp around" which appears in the melody, but" instead of holding the tone. Immediately switch to the bass® Be sure to praise the , hoys who can sing the lower notes with a fair amount of volume® The bass •dffers a real opportunity for the beys who can carry-a tunef but who have refrained from singing to the best of their ability because their voices are rough and unpleasing® tAlthough the bass is written in the same key a s ■ the melody, vary the starting pitch between F and B-flat to enable everyone in the group to sing the bass effect ively, and to obtain a good unison rendition® -55- i 0 Teach the hass to”A Thousand- Legged Worm”« When the bass has been thoroughly learnedj, divide the group into two sections,'and sing ,fA Thou sand-Legged Worm” in two part harmony„ The parts are different, and sufficiently separated in tone so that very little difficulty will be experienced in securing a well-defined rendition of the two parts» Give each group an opportunity to sing the bass„ 2d Divide the class into two sections, and sing ”A Thou sand-Legged Worm” in two part harmony„ Sd Hse any remaining time in singing songs'suggested by the groupe Lesson Thirteen I, Sing up and down the scale several times, using do, re, mi, etCo ' 2d Sing ”The Pussy Gat”, 5 a Review the bass of ”A ThOusand- ‘Legged Worm”o 4 0 Sing ”A Thousand-Legged Worm” in two part harmony» Call for volunteer duos to sing ”A Thousand- Thoosinhd- LfcOGBO VJovlwx C B a s s ) r & ------1 -v.: " i^" — Tr:- — r — -K-r," — TS-Tv-tv-'K"' — i ■■-■-:■■-... i ----- 1 S a i ^ a '\Vious-aixA \eg-geA v o r m asVxe « — t r - - r .. "K"-- T- -_ %— "%/ ""iA" . . . . ~ -»: J- •p-i-^L-:-^-— | T 1 ...... ------A- " '— x - ■-■ -i-:■■ ■-.-x - k : •■r J - 1 1 : i i - ' - l j : i - ; - W m q . To W m p arovxvx^ on t V x ^. crYXxer* n m c Vxun- Aneck n\ne-ty | ^ ... ..-p.— f;-- -; * - "— ft -pc ------\J— ■;--- — 0 3 4 .; rfL d.l: jiS;.:.i :^ ■ r: :#--'d:.±3C*:' ^ter j-rirA:A ** Vtrrxp a- rcxXnA Limp Q-rouiwl * t \ \ n € . \ . \ r * y a - r o ,Vimv>a-rounA o n AV\e at\Vxer nine VxunAreA ninety I T “I .. ihfTTTT- 3=^ T l i r K . y w con'-Y b e 'VoanA lU Vxove no Ximy a-ro and O n ibc i v ...... “*— "f:... :' - -c — --x+ :J— —r ■■ 1 b ^ = t = w- ovV\» € , r nine Vxun- 5® Listen to volunteer duos sing "A Thousand-Legged Worm"® Write the conventional syllables on the board, in a column, as shown below® Be sure that they are writ ten legibly, and are large enough to be easily read from the rear seats® Place the pointer tip upon the de sired syllable® Have the pupils, sing the tone indicated by the pointer® The duration of the tone is determined by. the length of time the pointer is held on the sylla-. ble® Proceed up the scale, moving the pointer from syl lable to syllable, having the group sing the indicated tone's® In the same manner, indicate the tones to be sung as they follow the pointer down the scale. The second time up and down the scale, hold some tones longer than others® The third time up, indicate the syllables in . rapid succession, and do not sing down® It is very easy -58- to get a group to follow the rhythm of the pointer0 In this lesson do not skip syllables| that ls> restrict the Intervals to seconds0 Sing from 1 to from 1 to 5j> and. back to 1, from 8 down to 5, and back to S* etc e, varying, the time and rhythm0 Appropriate phrases are to be found on pages 59 and 60* Do not prolong this exer» else* Seven minutes is a suggested maximum* Do not use songs- until later® Vary the pitch frequently* 6* Use pointer to Indicate syl lables 5 and sing phrases as explained above* RE DO TI LA SOL FA MI RE DO TI 7* Conclude the period by. singing Name is Yon.Yonson" and ^Catalina Magdalena”* Lesson Fourteen 1* Sing the scale5, using la S* Sing the Lscales using yo 3* Sing the scale$ using -59- c - » - 4 - i - . j - —L ------\------4-- m " - i - \ i , , — :— i— r ~ t ‘^ — w: .... vi p p.....:.. ■'" . 1 i r ^ - • ■ T—g W ^ * i 7 " i ■■ ...... K --■ r " > i" '" "f* N \ . U j ; - 1 I—7? 4 m '- j..- 1 I f 1 \ T3"H m" "A “■ h‘ -1 V' r s r y ....1— 1 ^ ^ % 4 i - 3 - ^ ^ —t^—^ ------. —r'4"- ■!■■ y — i ~ ' ■ V ' u l j j:%. - -jn 'I: — -S..^ —- —I 1 ts■ | - ' — v " r — ■ "■ ------p —^ -■ -I'-y-i-pvol : 7 ^ r - i ^ S ..* - - - 1 1 1- ¥, i :— ■ — j j — 3 4 —m— - • - it — ■ - .r1 i , I i . J . ' J— 1 j I J . j - j j — ii - ' N % ' . 2 ' Z " : [ f T C T O T j i ci. _L.i.._. ■■t—v- 1 * ■•"!' 1- "iri I , , H u- 1 j? a . » .1 \ i \ sk- lii *-jr J rj"H • •\' \T t :" 1 "i— —4——_ u rj ^ •* * *j ok h O «> «»—:--- 11 *»—- W ai O—jl " f t x -” T=1 V l ~ t J ~ - A \ ; 1 r r j ' I r jr j ' ^==F=: ,(b 4 « ■L.r * * U ' l cT jr- H. 1 j)-4r „■— ■ —V---+ --i-T—4-' -V—L 1 V. ::tvxi^p ...v:" H'— i il i\ rl- n -1 ' W, -l4— m ■"*""*■ - -£•£■ -4* 4 4 ~ 1 \ '1 I 1 1 ,1 ,1 Yt" tV 4" f""f":p ^ : £ ^ - • ^ ..atai.-* I1 J J —:, 4 e Sing the scale,'using - zee Write the conventional syllables on the board# as shown in Lesson Thirteen* Spend about five minutes singihg phrases as indicated by the pointer* Begin using only int ervals of seconds * Thens by alternately singing from 1 to 8$ and skipping tones to get l-5-5-8s teach the phrase l-3-5^8-r5~S-=ls Appropriate phrases for this lesson are tp be found on page 68* 5« Write the syllables do* re* mi* etc * on the board* and sing phrases as indicated by a pointer* Once again* without discussing the construction of harmony parts* or technique, of part singing* teach another tune to which "A Thousand-Legged Worm??may be sung e Tell the boys that it is the tenor* but that it will be learned only as another tune for the same lyrics * Then teach the tenor* much as the tune was taught in Lesson One® In the chorus have the entire group sing the first "limp around” which appears in the melody* but instead of holding the tone* immediately switch to the tenor. Although the tenor is written in the same key as the melody * vary the vstarting pitch between A and D to enable everyone in the group to sing the tenor effect ively* and to obtain a good unison rendition. — G 2— P h r a s e -s A r c - . f . " i : " A 'Tar;— a - — T 4--- T —1-- . 4—* -- \---1--- V“ + " n —1 t i y v i. ■ - > j j ^-n-v. - . T t,\ * 3 = a '" ^ n 1 *4" "4 -»•■4— j* - r y - H - 4 ■ 4' F"" '."1— "F ~ * “t ? 1 ^ V^-f -d- f A' 3 1' 4 «:~A" i r «■ "i' = vi i f f * 1 * ^ z E J L LL-li, : = = = | ■5-pi— V.J"" & ' ‘ — 1..4— V —-\— — J ^ J , d - 4-|= j(- ^ 1 ^ : V . 7j_ J . j. i 1 ] j = ^ = - J . . J . ~ ■ J — > ■ d — 17C''rr' — -. - ■ -r — — — ,-_-r:-4""‘T r r+ " -"P" j ----- \ ~ ~ 3 --- r— i r- — ;r— ' ►"■nr . i ... j : #1 4" j " ■ J .. J " « 1 --- -- I - l - f - f ' H - j - ' j y . ± I ’i c - i l ”03™ 6 6 Teach the tenor of !,A Thousand™ Legged Worm"« 7 o Singin'unison, first the tenor, then the melody, and finally the bass of "A Thousand-^Legged Worm" * A-wide variety of material is necessary to keep everyone interested in the music class= Therefore, al ways be sure to balance the singing of harmony parts and scale phrases with the singing of more boisterous songs, such as "My Marne is Yon Yonson", and "Catalina Magdalena"* If necessary, eliminate some of the part singing to allow time for this* S« Finish the period singing songs suggested by the boys 0 . Lesson Fifteen Spend a few minutes•singing phrases as indicated by the pointer* Do not use the phrases of songs until nearly all of the group are able to sing most of the?" phrases given. Including those in this lesson* Postpone the use of known melodies until the procedure of sing ing as indicated by the pointer becomes thoroughly famil iar, and until intervals of thirds and fifths are readily sung * This will insure a more complete realization when songs are presented by the pointer method* Additional ft Thousand- Lbggeo VJorwx C're.HOH^ cy% ^ 1 v ■ --C , ■■*. L_(. V -L i - L ^o"i -fc-.y-g—s— P--- (•—*-s ------^ ■J ■" j ~ ..r ~ ’•:rF"i lC|v "V-' ^ : 7__c_ v tzk:. --. *:z TzfU------± = d Qt\-y-V>od-y seeA a\egoS m\n«.? W %r con't be. Voand , I*W i K ' t i" T S- r — F -*- . . * . . ^ ^ l ( y ^ 4-rbrtr-Hrr b = 4 = 4 = = ^ Waxie to Viwxp o-rouA& on *YVie. atV\-e,rfxe nvV\un-Are.d v\»nt 1 jv'ri"" ? ' P # "S -----, *■ T —f m : irrr t. f j f a - dfe±=fcci=±=fc- J Unvo^nA , Urrp O TX^. t v AmC. lATx^pomoMnd Um^o-tx>wi |oa ine.o^Vt-tr nwe VxundreA nmt-ly it::~i. ■>- t o — v- '■• - \- - i- t T " .r ~V : . ^ Z . - - ” =r ~. ■ '• - ^ .. -^L:. . _ _1- . A\ne . If \t cotVt f oan^ \‘V\V\ o.vl to Vxmp a-rou^ci On tWe ~ft------:------1------r— ■■. l...:l ■ :..\ ----- .I-.. ' - t o ^Vn- Vxun- <\rc.(^ nVn-e-t-y vVxnc, . ^ -=65= phrases and rhytltins to which the scale may be sung are to be found on page 66» la Sing phrases as indicated by the pointer« ... , 2 o Review the .tenor of 1!A--ThoUr-- ■ sahd-Legged Worm" in unison0 5o Review the melody of "A Thousand-Legged Worm in unison« 4 S Review the bass of "A Thousand- Legged Worm"' in unison* Divide the class into three sections^ and sing "A Thousand-Legged Worm" in three part harmony* S’ is probably the most suitable key» After singing once through the verse and choruss allow the bc^s to choose which part they prefer to sing5, and rearrange the group into tenor, baritone, and bass sectionso As the song is sung in three parts, many of the boys will really hear harmony for the first time in their lives* Sing through the verse and chorus several times, working for balanced harmony * Be sure^to stop be fore interest lags * 5 q Separate the class into tenor, baritone, and bass sections, and sing "A Thousand-Legged Worm" in three part harmony* The poorer singers of the group will tire of ; the stress upon harmony much sooner than the others * E B ix1 11 J J j l i 23u ^ .....j b ' • p ~ X 6 Learning the chorus of ”Golden Slippersr will be es pecially welcomed by them a Do not be unduly disturbed if their principal source of enjoyment is vociferous participation on the BOhIn0 6„ Teach the chorus of "Golden Slippers”«» . " • Ohg dem golden slippers I Oh^ dem golden slippers! Golden slippers Ifse gwine to wear Because dey look so neat* Oh, dem golden slippers! Oh, dem golden slippersi Golden slippers I*se gwine to wear To walk de golden streets Lesson Sixteen 1 o Sing the scale, using ming e So Sing the scale> using zeea 3«, Sing the scale, using %o, yah. yah-yah j o j o yah yah j o yo yah yah yo yo yah yah yo ' V yo Divide the class into tenor, baritone, and bass sectionso Let the pupils choose the section in which Got-oen Suppc-sts (CHO^US^ ^ Bl a h o #» w • O h d w ^ d -C A sXip-pers ! O h, dcm gokd-c,ix | 4 ^ 1 n n i n ruiyfi# Go\d-en sWp-ptrs I' bc gwmc-Vo vicar,^tcoobr At^ \ooW so neat. r f - j = r •. j j, Otv Aem ^o\A-en ^W^-pers I OVt, Aetv\ gold-en s\ip-pers/ ^ n n iir: ^yj^a-fa Go\A-en sYip-ptts I'se gvimtAo w e a rlo via\k cte gotd-cn %trcei they wish to sing» The boys shoiild. shift from sec tion to section if they desife to and are able to sing the parts* withont-strain. . 4, Divide the class into three sections, and sing 11A Thousand- 1 egged Worm" in three part harmony, 5, Call for yblanteer trios • to sing ■ "A Thousand-Legged Worm", .60 Spend a few minutes singing the scale and phrases as in dicated by the pointer, 7 , Teach the ^verses of "Golden Slippers", - Oh, my golden slippers, am. laid away And I ain81 a-gplnl to wear 3 em till my wedding day. . '; . ■ - And my long-tailed coat that I bohght last lune, ■ ■: I’m goin1 to take it back cause it fits too soon. t . Oh, my old banjo Is hanging on the wall, And it ain8tcbeen tuned since 8way last fall. But the darkies all .say we will have a good- time :■ v. .y . g, 1 v ' ■■ When we ride up in the■ chariot in the morning, / ,. ; S. - Sing ^Q-olden: Slipper . Lesson Seventeen 1. Spend about five minutes sing. ing phrases as Indicated by a .. , pointer, " Golden S lxppers f\;e.Rse) OV\, wx^ go\A-tn s\\p-pers a m \ax A \ong>-ta\\e^ coat tW \ % bougWr \a«©r ^une # X’w- gom' to take vt bock cause \ t ilts t*oo soon - '2, Sing the tenor of ??A $]aomsand» Legged Worm$r in unlsono 5,, Sing the melody of "A Thousand Legged Worm" in unison» 4 S Sing the "bass of "A Thousand- Legged Worm" in unison= During the singing of the bassg have the class divide into sections for part singing e The. boys can con- ,tinue singing while moving to the section which they prefer «,■ ' : ' , 5o Sing "Yonder Stands the Donkey"' as a round<> 60 Sing "Puffer Billies" as a rounds - .. 7. Listen to not more than two trios sing "A Thousand-Legged , Worm"o 8, Sing once through "A Thou- sand-Legged Worm"'in three . part harmony o Continue the addition of songs to the reper toire by presenting "The Old Brass Wagon"e It is another song which will help retain the interest of the poorer singers of the groupi Let the pupils bounce as if the . wagon had hit a bump on the first beat of each measures 90 Teach "The Old Brass Wagon"® -72= Jolting along in the old brass ■wagon. Jolting along in the old brass wagon* Jolting along in the old brass wagon* Heading for 0hioo One wheel off* and another one a=draggini* One wheel off* and another one a-draggin8 * One wheel off* and another one a-draggin8* Heading for Ohio0 Fare thee well* old brass wagon* Fare thee well, old brass wagon* Fare thee well* old brass wagon* Ijr-oh* my-oh, my-oh I Lesson Eighteen 10; Review the singing of phrases as indicated by the pointer® ' For the last five.lessons* the class has been singing phrases as indicated by a pointer® The scale' has been used as a means of portraying sequence of tones* without the necessity of a knowledge of sight- reading o The class is sufficiently familiar with the scale to discover that the tones of the scale are the basic building blocks of all tunes ® The phrases sung thus far have not been identified with any songs in the mind of the pupil® Now, using the pointer* indicate the ~Vw£ O ld V/AGOI4 Jo\i-mg u-\ong xxxirVxe oVd brass wa^-on,^oW-xvx^ aVongvntVve 1&* :i'" J'm ^ C ^ ij 1 ^ JjlJfl j o\A . L Ipross Yiagon, 3 . oh'wga\ong . . ft in * ike.1 eld k 1 brass ft wgw.Aeadiit^W ft* P O-Wvo i . syllables and time for the- first six measures of ’’America” o Ask the pupils to raise their hands as soon as they reeognixe the tune* but not to name it aloud* because doing so would spoil the fun of discovery for the rest of the groups The -first time through the six measures* a few boys will wave their hands vigorously0 Compliment them* and caution them about repeating the name of the song aloude Repeat the measures several times * At least two- thirds of the hands- will be raised^ Then have the .class shout the name of the song at a signal from the-teacher® The fact that familiar tunes .are composed from tones of the scale will be a pleasing discovery to most of the boys® 2; Use the pointer to indicate . ^America”* as explained above® While the enthusiasm is high* spend a few minutes pointing out the first few bars of several of the songs used in these lessons* letting the first boy who recognizes the tune shout out the name of it. Be sure to stop before the enthusiasm wanes® S® Conclude the period singing songs suggested by the group® -75- PtVAfc-RNCA SF- StAxxvx H • CARBY ■ ? :. \ ■ ■ \m\ - :"i -h ■ \. 4". -4. %'' 4"" v' ]' -4""t -ri- -r-| . :m . A. L v - A A: . :: :A.: " ,A:^, :. T : : 4 .. .J l: A;: j coavxlr^ ,*lis tVvee, ^>iee*V I cxa A Viberty , A bee I sxn^j l ? _ . . . I _ U i: l y ) — i— \— i— n — t ------1------— VonA wbere m>| W b«rs d've A , Land of tVxe pW-^rxYns' pride, -> - ■-V - J l M —4 ------4 ------ar- f _ ■ J ------1------1------S from ev-r>y moarx-A q\ rv sxde, Let "free.- dowx r-v n g . -7$~ ■ • Lesson Nineteen 1„ Spend two or three minutes singing scales and phrases . ■ as indicated fey the pointer= E*. Using the pointer, indicate the first few bars of several familiar, songs for class recog nition,, - 3 6 Indicate the syllables for the entire song "AmericaB-,; 4 e Sing "America” in unison» The bass of "A Thousand-Legged Worm" is made up of only the tones 1 and 5, and the runs between them® The harmony to "Someone ?s in the Kitchen with Dinahn contains I¥ chords® Therefore, the bass will be some what more difficult to'sing® However, the part is mel odic and relatively easy® Present it as an alternate tune for "Someone? s in the Kitchen with Dinah"® As be fore, vary the key to obtain the most effective results 5® SoNxeoMe's xhtbe. Kvtc*xbh >/\th Dvvt** (b a ^s ) I ] T T T ’j"^ -;. U - i Some-one1^ in tVxe. Wi-VcWn wrtVxX)i-naV\, Sowe-orxtsintVxe WiVeVxcn I a J i -i.iJ.Ji khovJ. Sowxe-oixes irxtkt Wx^ck-Cix Wx^Vx Vi-mVx,StruvwrninVx-ixaVx.Struvwnxirx o ixl^otio ix l^ o ti\xtfx \xtfx- U p , ! n j I H ' J j It t 'r • T ' T ' j " l jo • Vee-9i-Vo , fee- f X - fee- \e.e - i - o , . :.:ij i : ^ - 7 3 : EJ-. J Someone's itxiVxe Wiicken VslXtVx T)'\-v\oVx,^rlrumwixn oniweo\(j ban-jo, banjo. Lesson Twenty The function of the scale as the alphabet with which tunes are spelled has been recognized by the boys» Also, the scale has been used as a melody to Which various lyrics, such as MThe Pussy Cat,f, have been sung„ As further evidence of the use of the scale as a melody, let the boys listen to nIy Heart Sings"® Fred Waring’s recording is suggested, but any record- ,ing will suffice® Explain that this is merely a demon stration of the use which a modern composer made of the scale, not an appreciation lesson, and whether; they like the sentiment or the lyrics is immaterial,® The compos err: could have done the same thing with "Mew, mew, scat!"', but the love song sells more readilye Listen to the song once through® The second time through, have the boys sing the scale, and "The Pussy Cat" with the phonograph accompaniment6 Some variation of syllabication and repetition of the "Mew" will be necessary®' Quality of rendition is unimportant0 The aim is a better understanding of the practical function of the scale in music® I® Listen to a-recording of " % Heart Sings"® 2® Sing the scale, in accompani ment to the recording® -79— The melody of nThe Texas Cowboy?? is simple and -consists of only four measures® Teach it by using the , --pointer to indicate the syllables and the time® Add syllables to the column printed on the board as they are needed® It is important that the rhythm be readily interpreted from the movement of the po$fiter2 and the .length of time the pointer is held on the syllable being sung® Be consistent with the movement of the pointer® . , 5e Sing the syllables of "The - . Texas Cowboy” as Indicated by pointer s .4, Repeats using the syllable la® 5® Repeats using the words of the song® I ?m going to leave old. Texas nows They ^ve no more' use for the long- ' horned cow® • They ^ve plowed and fenced ny cattle range2 ' • " - : And the people there are all so strange® I'll take my horse. I'll take my rope. And hit the trail upon a. lope ® • . . . , ■ ' I'll bid adieu to the Alamo, And turn ny head toward Mexico® The hard, hard ground shall be "my bed. And the saddle seat shall hold ny head ® And when I wake, at the break of day. Free as a cloud I will go my way® "Th e T e x a s C o w soy 1 L "6-... - 1 ---- c 1 ------v— ■■ - A- - ... ! ■ J ' ... " i t t ± ^ - _. 1'wx go-mg Ao Vcave o\d "Tex-a» now • TVvevj'vt no more n ^ ...... 1 V \ ' 1 . \ V - .. ... _ ■'/Ah I A \ i, ! V y % l -,., ,rz --■■ .. ,'-«i---- — _wjj ...... J\ ...... ^1 ... Cl*Hv...... ^ ". --- ■ Jl] use -Ror -tVxe \on^- VxonvxeA cow . ==SX==' Lesson Twenty-Orie l e Sing the seale; using la« ' 2 » Sing the.scales using zee0 3, Sing the seales using zing» 4» Sing phrases as indicated by the pointer® Most of the boys can now sing the scale readily in either direct idns "and in various'keys 0 How have . them learn to sing 1-3-5‘-8-8--5-^3-^1 as readily as the complete scale® Many of the boys will be able to sing two octaves of this arpeggio® To emphasize the practi cal application of such phrasesj, sing the first few . bars of "The Star Spangled Banner?V ’’The Blue Danube Waltz^jj and nDaisy Bell", and sing a few simple bugle .calls® . 5® Practice singing the 1-3-5-8 phrases indicated by the pointer, as explained above® Teach the tenor of ’’Someone’s in the Kitchen with Dinah” as another tune^ but learn it merely as another melody® To further increase the newness and appeals use the following variation when singing the chorus o Vary the keys as explained previously; ' ' 6 ® Teach the tenor of ’’Someone9s in the Kitchen with Dinah® ” SotAeowe/s \h "t h e KxTcnei^ WXTH OtHAH C're.uov') Someone‘s \n -xVxe WtcV-en wi >Vx Dt-noh,Someone's wAVxe kitdnenl ,., . - < " Z ^ ' ■ ■ - frr'f f . f": Jr y ; : : # " 3 Knova. Some-one's \n tV e kX^cVxen wXtVi O'vvxaVx, S i rum m xn' on iV t o\A\xm i. Ai p- -j-i i' it- fee - i \ - fee- Vee- \ - o , fee-9 \ - fee- \ee- - o , Some one's in iW kxieVen xxlVx N)\ noVx, SirummXn onlVie oVAWv'^o Fee-plmikjj fi-plunks fee-lee- i-o-pltmkji • ' . Fee-plunks fee-lee-l-os plunks plunk s plunks, Fee-plunk^ fl-plunkg fee-lee- " i-o-plunk, Strumiriln1 on the old banjo^ plunk, plunko 7a Review the bass of ”Someone8 s in the Kitchen with Dinah”0 8c Divide the class into three sections, and ,sing "SomeoneIs • in the Kitchen with Dinah" in three part harmony,, 9o Sing "A Thousand-Legged Worm” in three part harmory. Lesson Twenty-Two Introduce the tonic chord with the following diseussiono To date, two songs have been sung in three part harmony, and several rounds have been used in which some harmony was in evidencee Since the scale tones are the basic building blocks of the melodies, it would seem logical to assume that some tones of the scale would- sound pleasing if combinede We could experiment to de termine combinations of tones which seem pleasing to us, but it would take considerable time, and we would proba bly #et tired of the procedure» Instead, we will learn those combinations which have been accepted for centuries and whichp when compared with other possible eombina tionSg will immediately stand out as the best0 Divide the class into three sectionsc lo Sing the scales and phrases9 in unison, as indicated by the pointero , . 2a Sing the triad 1-3-5 in various keys, and using various syllablese 3 0 Write the triad on the board as- shown belowG ' sol mi do ■' -V . 4 0 Sing the triad.1-4-6 in various keys, and using various syllabless 5S Write the triad on the board as , shown belows Repeat the I chord0 sol la sol mi fa mi do do do 6 6 Sing the triad 7-2-5 in various keys, and using various syllablesG 7o Write the triad on the board as showno Repeat the tonic chord„ .. lame the lines and chords as shown e -85- .TEHOR g sol la sol sol sol BARITONE,? mi fa mi re mi BASS o do do do ti do I • IV I » V I 80 Sing each line in mnison® 9q Assign each group a line5, and 'sing the chords in three part harmony „ Give each, group a chance to sing each part0 Tell the boys that the triads have the names I chord,. If chord, and 1 chord, as shown, but that they need not learn the construction of the chords unless they want to. The changes in the lines are the things to learn. 10o Sing the chord changes through three times, alternating parts each time® 11. Conclude the period singing songs suggested by the boys. Lesson Twenty-Three 1. Sing the scale several times, in various keys, using the conventional syllables. 2. Sing 8-T-6-7-8 several times as indicated by pointer. Use conventional syllables * 3® Sing from 1 to 6 and back to 1 several timese 4 0 Sing up and down from 6 to 6 ' several times a. : ' ■ ' Introduce the word "minor"» Make no attempt to learn or sing the other types of minor« It is sufficient to know, that minor means singing from 6 to. 6S or5 in terms of conventional syllables? from la to la. Explain , ' ■ ■ “ ■ • ; . . ;: :■ ■ ' that songs written in a minor key are intended to por tray the emotions of sadness or fear, or to convey a ghostly or wSird atmosphere^ As an example of a song in a minor key, teach the following four line chorusv The boys will get considerable satisfaction from their sepulchral tones while singing the last line0 Do not disGOurage over-dramatization® 5o Teach ^The Graveyardf?o Sixteen coal-black horses Hitched, to a rubber-tired hack, . Twelve people going to. the graveyard. And only Eleven coming back® 6 0 Sing the tenor of the chord changes in unison® 7® Sfng the baritone of the chord changes in unison® 8® Sing the bass of the chord changes in unison® 9® Sing the chord changes in three part harmony® Try it without -87- 'Tvte. G r a v e y a r d ^ix-tEen coa\ b\ack V\ors-es^ VV\Yc \\ e.A T o cx ruV)-\)c.r YxreA ViacVTTweVvc. peo- go-xn^ To -tVtt. J . - jijv ]: i' II J J-i-i; il j'tj- M , f\vN^ ov\Ay \ev-€.v\ com-xvxg V)acA< -88- dividing the groups let eaeh bq^ sing the part he prefers^ 10, Sing nGolden Slippersw0 11 o Sing "Working on the. Railroad” . Lesson Twenty-Pour lo Sing the soales using dos re* ■ ml, eto e: . ■ " : . 2 0 Sing the male, using la0 30 Sing the scale, using yO o 4 a Sing the scale, using yOo yahe. 5S Sing the scale« using zing s 6 o Practice the :tenor of the ohord changes in uni son =, 7o Practice the baritone of the chord changes in unison, 8o Practice the bass,of the chord changes in unison^ 9o Divide the group into three sec- tlonSd Let the pupils choose which section they wish to be in. Sing the chord changes in three part harmory e 100 Call for volunteer trios to sing the chord changes«, Limit the trios to four0 11o Teach the tenor of the chorus of nWorkin? on the Railroad”, employ ing the same technique previously suggestedo h -89- V/ORKXH1 O H 'WE V^AXUROPiO (TfcHOPV) ^ -«L - -j 3. vc \>eox vyork-m* cm \V\e raU-roaA, f\\\ *tV\e Vw«.-\ong ^cxy. Tve V>eeA \MorWW on tW ra'xVroaj, Just to pass tWtime, a-way. Don't you Vxear tW wVx\st\e \>\ow- W ? Ws* up so ear-\y inAVve worn, • -%%r *-- a E I [■ r | j D on't you Vx^xxr iVve. cap-tam sVtourVvn, Dx-naVx, V>Vow y o u r horn f *=*■00” IS® Divide the Glass into two groups and sing ?,Workin? on the Railroad”, Sing the verse in unison, and the chorus in two part harmonye 13o Sing iSTame is. Yon Yonson” Q 14o Sing Catalina Magdalena” 0 Lesson Twenty-Five 1c Sing the scales using y o s So Sing the scalej, using youo So Sing the scale? using minga 4e Spend a few minutes singing phrdseSy as indicated by the pointer«, 5o Use the pointer to indicate the tenor of the chord changeso 6 o Repeaty indicating the baritones Yo Repeats indicating the basso So -Divide the group into three sec- ' tionsy and sing the chord changes : ; in three part harmony0 Give each section an opportunity to sing . ■ each part o ,9o Sing once through "Someone5 s in . the Kitchen with Dinah” in three part harmony o 10o Sing one verse and chorus of .”A Thousand-Legged Worm” in three part harmoi^r 0 ' 11 o Sing ?fWorkin} on the Railroad” in two part harmony* -=■91“ A news e & s Y P and appealing song mast be intro- dueed at regular intervals to keep the interest of those who earniot. sing very welly but have learned to enjoy participation, and get their greatest satisfaction from ,a song which tells a story or presents a humorous situ- ation* "DifoM will help hold the interest of the poorer .singers# and it will b e 'especially welcome after so ■ much harmony o 1 2 , o Teach "Dlfo'L I have a dogs his name is Difos . Got him when he puzz a wupj He can stand upon his lind hegsy If you hold his lunt fregs up0 . I have a horse, his name ts Napoleon, lamed him for his bony part| ,He can win any race he runs in' ' . If he gets enough head-starti. Lesson Twenty “Six ' ■ 1 0 Sing the sealer, using conven tional syllable So -Sing the scale,, using yo, yah* So Sing the scale,'Using mingu - ; 4 0 Sing 1-S“5“8 phrases, as.indic ated by pointero Ask the beys if they have ever really listened -92- X \>av<. f r -r^r-r— pux*L a vuupj V\e covrx stand vxp-on his \mA V\egsy ^ j- -x- -J- jr \ r j ' >•• ii to the tones of the chimes in some, of the larger . olooks ahouh ithe eitys or if they have heard the famous Big- Ben on the radio6' Of course the quarter hour can be determined by counting the phrases, one phrase for each fifteen minutes past the hour® How ever, there is a definite sequence of phrases for each® It is not necessary to memorize them® 5. Sing ’?The Chimes” as indicated by the pointer» Vary the key to . obtain the most effective rendition® , - 6 ® Write the syllables On the board . „ as shown below®; At the half hour ' . two phrases are played; at the - three-quarter hour three phrases . v • ; are played, etc® ; •15 minutes after the hours mi-re-do-sol 50 minutes after the hour: so1-re-mi-do 45 minutes after the hours mi-do-re-sol On the hour? sol-re-mi-do 7® Call for volunteers to sing ’’The ChimesLimit the solos to five® ' • 8® Teach the bass of the chorus of !,Workins bn the Railroad”® 0se the technique previously "v ' • discussed® ' . ■ 9® Sing the bass of ”A Thousand- Legged Worm” in unison® lO® Sing the tenor of "A Thousan- Legged Worm” in unison® 11®- Sing the bass of,’’Someone’s in the Kitchen with Dinah” in unison® -94- Tne CnxrABS ■t .. •■•_i —- j." — — : I a . : ...... r-H '" ■■ T VjoKKltV ON THE KHVLEOPiT> C a A s s ) 1 1 i 3 1 ve been workin' ov\iVve r a \\- r o a 4 , l\\Vvv« \\\l«-\ong Aay, fCqy ^ ± I've V>tcvx worV-xV ov\ iW r j: j-1 -jl ) DonV \|oa Vx^Ar vVe wVis-vVe. bXow-xi\ ? Vvst up so ^ar-Vy m*\W morn. ;j :^ ^ ^I t -1 ‘ll j ^ ^ j ^ u^ 1 ^ w# t)on t y ou bear iVie capVam sWiuX vn t T)u\ob , bW your- b W your born / ™9S " 120 Review the bass of ”Workin9 on the Railroad” in unison.'-, 13o Sing ”Difo”0 Lesson Twenty—Seven Xo Review the tenor of ”A Thou-' sand-Legged Worm”. 8B Review the bass of ”A Thou sand-Legged Worm”. 3. Review the melody- of ”A Thou sand-Legged Worm”e 4. Sing ”A Thousand-Legged Worm”- in three part harmory. 50 Gall for volunteer trios to sing ”A Thousand-Legged Worm”» Limit this to two trios. . 6. Review, the tenor of ”Workin1 on the Railroad 7® Review the bass of ”Workin-? on the Railroad”, f ^ • 5. Review, the melody of ”Workin1 on the Railroad”. 9. vSing ;!tWorkin’ ph -the Railroad” in three part harmony = The verse ' is sung in unison. 3.0. Call for volunteer trios to sing "Working on the Railroad”.; Limit the renditions to two. • ri: . A variety of material must constantly be pre sented* not only to hold the interest of the poorer singers* hut to enhance the enjoyment of the entire -97- grotipo The nonsense song for this lesson is sung to the trio of ’’The Stars and. Stripes ForeverSousa ?s famous marcho Play a recording of the march one e through 0 Let the boys who wish to, mark time while remaining seated* Do not urge them* 11 * Listen to a . recording of ’’The Stars and Stripes Forever”* • • The recording is not in a convenient key for beys.5 voiceSo Let those who are unable to sing in that key whistle the melody * 18* Repeat the trio Of the recorded march* Sing the melody of the triQo using the syllable la* .13« Sing ’’Be Kind to Your Fine Feathered Friends”e _ Be kind to your fine feathered friends3 For a duck may be somebody’s mother* He lives in a swamp near the glen. Where it’s always cool and damp* How you may think that this is the end. Well, it is* . Lesson Twenty-Eight I* Sing ”Be Kind to Your Fine Feathered Friends”* 83, Sing ’’The Chimes”* So Review ’’Golden Slippers”* -98- ?>c Kin d to Voor ^BKTHeRBD ^Rvetms f/v v’*"" r* J‘te "i " ^ " \-m - T ------V".. - • . “ —t—j- •• ' r & ~ $ r . ' A ^ . r .. k in d -to >yoax • fine ^ea-i\\creA frVevxds # f o r a , ..■ Jr- ....T ------1"...... i" !‘ : ,•^:v:rrrl'^Ue: :■'A: y g - ^ i dudfc way \>e sow ixc-boA-ys motVi-cr . Vie. \w cs in a t A —l ------1 ------=------1—:■ . |. -, t h~|- a; ------fSm-...... A ■ a S a r y ’- j d , j .r±.: .:— f i . r i 5 warnp nCAr tV\e g\e.n, VlW re W's a\vgays coo t an A r S ' : ^ ...... v j - j ' - h F - # ... ;:i- _- ■;.— T T v ' Kpr-°TT-l rt ' ' ' I - * ti frj davY\v- How 'jou ya 4 S Teach the tenor of the .ehdrus of ’’Golden Slippers” o . 5<, Sing ’’Golden Slippers”7 In two part harmorgr* ' 60 Review the tenor of "Some one’s in the Kitchen with Dinah” 7o Review the bass of ”Soiaeone5s in the Kitchen with Dinah”* 80 Review the melody of ’’Someone’s in the Kitchen with Dinah” <=, 9 0 Sing ’’Someone’s in the Kitchen with Dinah” in three part h a r m o n y 0 10o Call for volunteer trios to sing ’’Someone is in the Kitchen with Dinah” * Limit the renditions to two* 11o Call for volunteer trios to sing the chord changeso Listen to only two triose IS® Sing ’’The Texas Cowboy”0 15o:iSingv ”The Graveyard”® .. 14* Sing ”Difo”e * : V • ^ ; .Lesson. Twenty-Klne As the Christmas season approaches9 ”Silent Hight” .is heard on radio programsP record players^, .etc„ Since . it is; the'most widely used Christmas carol, the beys . will no ddubt request ite If not, suggest that they learn to sing it in three part harmony 0 Explain that the bass to ’’Silent Night” will not be as much fun to sing . V V v ■ : 1 8 4 2 1 2 / ■ : ■ ; . GouDfcH Suppeas (TEHOH.-) J-BuKfkO \r . - I OKAem goVA-en s\\p-^>ers I OVi, Acwx gold- er\ slip-pers / iff - J ^ - - J Gold-ox sVxp-ptrs Vse g%\ne -to wear Bt-cause de>| look so neat. rrt-H^rjTr" rrrj'tJ Olx.dem gold en slip pers I OV\. dem gold-en slip pers / 1 n m i ^ r . - n r r t w ^ Gold-en slip pers Ise. gwme to wearTo walk de golden street- =101-= as were the iaass parts of the other songs they have learned, but that In a song suoh as this, the beautl= ful harmony more than makes up for the rather monotonous baSSo ' 1» Sing the melody of ’’Silent Night” = One verse is sufficients . Silent nightl Holy night I All is calm, all is bright. Round yon virgin mother and Child I Holy Infant, so tender and mild. Sleep in heavenly peace. Sleep in heavenly peace. Silent night I Holy night s Shepherds; quake at the sight! Glories stream from Heaven afar, ' Heavenly hosts sing-Alleluia, Christ the Saviour is born! Christ the Saviour is born! Silent night! Holy night! Son of God, love is pure light Radiant beams from Thy holy face. With the dawn of redeeming grace, Jesus, iprds at Thy birth, Jesus, Lord, at Thy births S 0 Teach the bass of ’’Silent Night” 0 5 o. Call for volunteers to form a bass section, not necessarily ' permanent, but for the duration of the holidays, so that the class can present ’’Silent Night ” as a special seleotione 4 S Sing ’’Silent Night” in two part harmony e ■ , As further recognition of the season, sing ’’The First Noel”, While this is a Christmas carol, it presents SlLEKX lAvGHT J. WXo a k 9 <» SvVtnt mgVrt! Aa^ni^tt) AW is aAm.a\\ Vsbn^to, Kouni^on vif-gw wiartWani C i J~r^ i| ^ r V f - f -Af jljj{ li- W r so-tt»v!#r BASS ## 1 . 1 j . m # Si W tugW AoX^ nigVA/ AW vs caW.aW is bri^Kt.^ouni 'jonMir^ivx wolW-tr ani CVxiiA, £ ^o\\| M v tt so1tx>lero.nA am opportunity for the boys to really sing out with maximum volume= "The First Noel” will help to counter balance the quiet application required by "Silent Night " a Begin the chorus sof tly, j, and build, tip to a grand climax on the fourth Noel, It is. excellent dy namics musically ^ and exoellent for;class moralea 50 Teach "The First Noel”„ The first Noel the angel did say Was to certain poor shepherds in fields as they lay. | In fields where they lay keeping their sheep On a cold1 winter?s night that was so deep* ' CHORDS s . Noels Noels Noel, Noels Born is the King of Israeli A star drew nigh to the northwests - ' 0*er Bethlehem it took its rests And.there it did both stop and stay Right over the place where Jesus lay0 ' : Lesson Thirty . ' Divide the class into three sections; Keep the same bass Section that was formed during the previous • lessone Insofar as possible, let the pupils choose the .sections they prefer 1 1. Develop balanced harmony by J.U41- ~T h €. tAoev. "X ?i '"C" 1------:— ■ 1—fHi-m—r— rW 4--- f — ------V "1 O ^Lff^i:gz^± X'^i±±=Sz:rL^,: # : =1 Ihc Virsi No- e\ t\\e o n-^e^ <4iA say Vlas to cer-tain poor -% 4 --4 —i"Hp ■■■“ —i- — -“1—hr— tr r ^ - \ ' T j l F"""" A “ | j * ? ir X' i sVep-VerAs ’\v\^e\AswWre tVey Vay jln^xdE^Vxere tVxey \oy Veepm^ iW ir 19)' ^ -"::T.d-^;a!=r ^'±:: ^ . - - ” 11 V- X ^ V—# sixeev , On a coVd vjxn-ter1^ n»^V\-V "VWart was so cAeep . r§-:-^ .-.r-^.:; t • t IPm "T C 4 - T-f~i- j r,T~.~B % ^ i .tk i .. _ * 'm------^ i : i d B w i p w * ? * i ^ r No- Vk- eA. , No-eV No -cA I Born is tW VCxa^ o? \s-ra-t\ • —3.05™ singing chord changes. So not rotate the parts. Change keys several times, Finish in the key in which nSilent Sight" is to he snng, .. The tune is well enough known, and the bass sufficiently different, so that all three sections can learn the tenor. Having two sections sit idle while a third section learns a part is unwise, es- pecially with a class of this type, later in these : lessons, when the group is more thoroughly harmony- conscious, a few songs are usedin which the compass may, necessitate this, hut such occasions should he held to a minimum. 2, Teach the tenor of "Silent Sight",: - 3 , Review the bass, with the hass - section only, 4, Review the melody, with the baritone section only, 5, Review the tenor» with the tenor seition oniy. 6 , Sing "Silent Right" in three part harmony; 7, Sing "The First Roel" in unison. —106— SlLfcNT tXx&tVT CxtHOR') ^.MohR Gru»c.r S'v-\eKX nigVtV j |\U is aAw.aU kbrigWt ^oi\vir-gm wotWcr aM Qhi (& J ^lujvtuijw Vk\y lwW(\% te*^erai)A W\\A.Sleep\nV\ecW-eY\-\^ peoce,S\tt^mVltavenA^ peace- -107- Lesson Thirty-One l e Sing the scale5 and a few phrases^ as indicated by pointero Another excellent example of the use o f .the scale in the composition of a familiar melody is found in Handel? s nJoy to the World Tell the boys that you are going to indicate a well-known Christmas carol„ Ask them to raise their hands as soon as they recognize it, but not to call out the name<> Repeat the first seven bars until most of the boys.have their hands raised* Let them shout the name of. the song in unison at. a signal from the teacher0 , S. Sing the first seven bars of i#oy to the World".as indicated by the pointer» Use conventional syllables * ' " S e Sing the first Verse of "Joy to the World" once or twice* Joy to the world! the Lord is comes Let earth receive her Kingj Let ev?ry heart prepare Him rooms And heaven and nature sings And heav in and nature sing5 And heaving and heaven and nature singo 4 e Sing the chord changes several . times in the key in which "Silent Might" is sunge Do not rotate the parts* 5® Spend some time improving the three -108- "TO T H E VJo R uD w«rrs Joy t o -rWe. vvorVA / TVxe LorA Vvas Gowve - LeT «.arT h r e - ty.y -f -f-14 c nr ^'fcn-f-rr-f cevve Vver Kxng* j L e t ev-ry h e o rT p re - p a re Htwx roow># ftn j *j j : nii- 1 j i i f ■■ heaV'A anA ncx^ture stn^ , ftnA V\ecxv/'^ anA v\a~Turc ‘a\n£l BnA Viea^n, arA Vveavi'n av\A n a ^ t u r e s\n^. *=109=' part rendition of ?? SI lent '' ( Might". • By some means^ provide an audience for whom the boys may sing ,rSilent lightn» If. an assembly program^ or other holiday activity, does, not afford this oppor-= tunitys make arrangements to have the boys sing for some of the other foomse v 6 0 Sing ' ’’The -First Noel” in , ■ unison, - • ?o Gbnclude the period singing : .Christmas songs suggested by , the boySo Lesson Thirty-=Two The three previous lessops have stressed the quiet singing of harmony* In order to revive the en thusiasm of the pupils who prefer the more robust non- , sense songSj, begin the period by reviewing some of them; lo Sing ”Difo«o . ■ : , So Sing Name is Yon Yonsonn„. So Sing "Be Kind to Your Fine . . Feathered Friends ' 4 o.Sing "The Old Brass Wagon", * ' BoSing "Golden Slippers” in uni son <, =.110- 6 o Review the tenor of ,!Golden Slippers” In unisone 7o Sing "Golden Slippers” in two part harmony* 8 o Call for volunteer duos to sing the chorus of "Golden ' Slippers”o Limit the rendl- ’ . tions to threeo ■ • Tell.the boys that during the next lessons everyone will be given an opportunity to sing the scale by himselfo As ■preparation for this* spend some time on scale practicea Use conventional syllables« 9 o Sing the scale,up and down in unison, 10o Let half the group sing the scale at one time, 11, Let each row take a turn sing ing the scale, 1 2 , Cali for volunteers to sing the scale as a solo, 13, Conclude the period by singing "Catalina Magdalena”, . Lesson Thirty=4Three 1, "Sing: the scale* using ming, 2, Sing the scale * using gjp* yah, 3, Sing "The Pussy Cat", =111- 4e Sing the:scale:several times? using do o re, ml^ etc. Prepare the bc^rs for Individual singing of the scale-:by the following discussions We each have dif= erent abilities in yaribus activitieso Some of us are better runners than others@ The ability to handle a basketball seems to come naturally tosomes while others are as awkward at shooting a goal as we-were the first time we thied tq. rbllen skate0 And5, . while learning to skates some of us often went the wrong ways with rather humorous resultse The same may. be true in learning to sing the scale® Certainly a lot of. us will make mis- .. ■ takess and some of the mistakes may be as funny as the antics we went through in learning to roller, skate0 As . a group we are trying, to improve our singing just the ; same as a ball team practices to improve playing abilitye Some plays must be practiced as a unit? with the en tire team participating.^ but basket-shooting ^ for exam ple 9 must be an individual activityo IJb d o u b t we a l l felt a. little nervous the first time, we tried to roller skate p and probably some of us. will be a bit nervous while singing the scale alone for the first time 0 R o w - everp remember that it is not a perfect rendition that is expectedo lhat we want is improvement <-> No matter how 'much we practicep there will be some of us better than others^ just the same as. we vary in ability to play -112- short-stopo So this period we are going to have each •boy do his best to sing the scale0 If only one note is correct today 9 tomorrow let Is try to have two notes on pitChe Some peculiar sounds may result for a while/ but don’t let it worry you. If you want help to get startedig . someone .will sing the first three or four tones -with you P and theh-^y ou will" continue by yours elf, : Gall on several boys ■whpme.. you hnow will not he si . tate to sing alone2 arid, after they;haye sung ? contlriue in the order of seating arrangement. By praising efforts congratulating pupils who sing five or six syllables before getting off pitoh? and making everyone feel that his effort was successful regardless of the musical per fection attainedj, there is small, possibility that any boy will not sing his soloo However^ if there is a boy who refuses, to sing* do not force the issue.. If a unan imous attempt is attained, it is an excellent Indica tion of the success of the music lessons thus far, 5, Have each bey sing the scale 1 as a solo e - ' 6 , Finish the period with a spirited review of songs . suggested by the boys® -113-. Lesson Thirty-Pour As an opening exerelse if or the next few lessons s have each pupil sing the scale <> Use the following plan The group sings from. 1 to 8? and back to 1 5, using the conventional syllables a Pupil A sings 1 with the group. The group discontinues singing« and Pupil A sings from 1 to 80 Pupil B sings 8 in unison with Pupil A,, Pupil;A discontinues singings and Pupil B; sings down from. 8 to 1„ Pupil C joins Pupil B in singing the 1, Pupil B discon tinues singingg and Pupil C continues from 1 to 8 , Pupils C and B sing the 8 togetheto Pupil D sings down the scale by himself? etc. This rotation is continued tintil everyone has sung a scale by himself. As the last boy sings 1 or 8 , depending on whether he has sung up or doTOs the class joins with him^ and sings the scale in unison, laintain pitch by judicious use of the piano, 1, Sing the scale several times in unison, using the conyen™ ; . tional syllables, 2 o Sing scale solos as explained a. . ' ■ o.' above, / ;% ; , / ' \ /. .v . 3, Divide the class into three . sections, Practice harmony by : - singing the chordchanges in various keys. Rotate the parts, 4, Review f!A Thousand-Legged Worm" , ' : in three part harmony, ' 5, Divide the class into two; —114— Sectionso Sing "Golden Slippers” in two part harmony* 6 * Teach ,?The Iceman?s Song"o John Brown? s' body lies a-mouMing . in the grave. Down went McGinty to the bottom of the sea* ! . She?s ny Annie,, and I ?m her Joe* Listen to ny tale of WHOAI • AM ICE TODAY, LADY? • . HO? - ' GIDDAP! (Repeat from beginning as often as desiredo) Lesson Thirty-=Five ! «, Bing / scale solos, as explained in Lesson Thirty-Four„ Sc, Sing the, chord .changes in three part harmony* Rotate the parts* ■ . Hearly everyone. Is .familiar with what is usu ally termed "chording" on the piano* To acquaint the, boys with the term, the teacher can !tohordtf for. a few minutes, employing.variations in time, rhythm^ bass runs, etc 0 o Then divide the class into four sections and teach the following simple accompaniment Write the syllables oh the board as shown beloWa -115- "T h €, Tee tAAtt's Sow s i z±: ioVin Brown's bo-dy Ucs ct~ wxouVA-x.v\g m^V\e g ravf, i - ' i l i X ^ i i ' X)own vsJer>T tAo-Gm -^y -to ~\V\e bort- "tom "tVxe sea . SVve's vny Avx-viie , and Twx Vxer Joe, Listen -Vo my -taVe o*t VJh o k / AtAV Vce t o p ^ y . LADY ? V\oT G VO DAP I ^Repeat from Wginnmtf as often as desired^ • ’ - . . ' ;t. . . . ’ ?. 'f ^1 ■ ■ -■ w ■■■■ ■ ■ ■ ■ ■■■■ ...... V(. X -116- S@i'$®l •. ■ ; %%% %©& , %®l : S^| S®V mi toi W \ f®. % ' : %% T® • Rii w mi % . &® 4© ^ ti" Yi ti iri 4@ 4® BAS# s &@ &i 4®ti \ a s@l ' #1 : s©' So Sing the I .chord several times^ ■ holding each chord three countss in three-quarter timee 4o Sing several measures of the 1 chord as though all notes were quarter notes, in three-quarter time0 . 5o Practice the bass run a few times0 , 6 o Sing: - the V dhord s ever al time s 5, ' hoiding each chord for a full ; measure of three-quarter timed ?o Sing several measures of the ,- If chord as though all notes were quarter notes, in three-quarter time a: ■ So Sing - the chordpattern aq/writteno. , 9o Review the tenor of ,SA. Thousand- i •Begged Wormf!6■ . . ' 10o Review the hass of nA Thousand- Legged Wprm"0 110 Review the melody of nA Thousand- Legged Wormn6 > 12o Sing "A Thousand-Begged'Worm" in , three part harmony0 • f , -117- Lesson Thirty-Six la Sing scale solosv 8 * Sing the chord changes in three part harmonye Rotate the part si 5 0 Divide the .class into four sections$ and review the accompaniment learned in Lesson Thirty-Five0 ■ . • Spend a few minutes studying the construetion of a 1 chordo Bass I and Bass $$ sing the same tone; .therefores the I chord is composed of the syllables do* mio and.solo : ; v 4 0 Sing, the I ehord several times in four-four time^, ' . holding each chord four : counts o : . 5o Siiig several measures of :: StheSl chord hs though all, ' -o..: .. . ; notes were quarter notes, in four-four timeo 6 .8 «, Call for volunteer quartets to,sing the accompaniment learned, in Lesson Thirty-Five c Listen to not more than two„ 9 0 Teach "Down in the Valley Down in the valley 5, valley so lowj, . Late in the evening hear the tr§.ih - ■ . blow0 H e a r the train blow, love, hear the train blows Late in the evening hear the train ' blowo Write me a letters send it by ma.il5, Send it in care of Birmingham:Jaill Birmingham Jaillove, Birmingham Jail, Send it in care of Birmingham Jailo. IQo Review "Someone^s in the Kitchen with Dinah" in three part harmony o ' Lesson Thirty -8even l e Sing scale solos„ Sc Review the accompaniment learned in.Lesson Thirty^Five. S 0 Sing I chords in various keys and in different time patterns„ 4o Spend some time studying the construction of the V chorde Bass II sings solo Tenor sings sol an ectave above. The chord is composed of sol, ti, re', sol. 5. Sing the V chord several times in four-four time,. -119- 'OoviN vn THt i ^ -1 ^ j -d r-i — ^ - -j-- -- 1 -1- \ 1 Dovitx "xn tVxt. voX-Xe.>j, vaV-Ve-x so VovJ, ± 1 Lortc. in tVxe e\)e- n in ^ , V\^ar tVxt traiv\ bAovu. t ( y --j.- j J |. .^•-.j — i ~ - H e a r iVxe “tra in bVow, \dve, Wear irVxeXroixn b\oW, j .1 j : 1 - j T , T Late in tVxe e\)e-nin^, Hear xVxe "traxn bVow -120 holding each chord four : counts® 6 a Sing several measures of l- the V chord as though all />. notes were quarter-notes,, in four-four timeo 7e. Repeat Humber 6 , but let the . Bass II section sing bn counts one and threes and the other sections sing on. counts '.two.,' • three, and fouro 8 e Sing severai meas.ures of the V chord as though all notes. were- quarter notes, in three- fbur time® : 9 o Repeat Humber - 8 , but let the Bass II section sing on the one count, and hold the tone ' for three'countso Let the "other sections sing on counts two and three® Repeat^ varying the key® 10® Alternate from I chords to • : V chords in three-quarter time, holding each chord for one measure® 11® Alternate measures of I chords and V chords in three-quarter 'times as though all notes were quarter notes® .v : ' 12® .Sing "The Ice Man8s Song"® 15^ ,Sing, nBe Kind to Your Fine ' -Feathered, Prlemds ®" . ' ' Lesson Thirty-Eight lo Sing, scale solos „ ' 2 o’ Alternate from I to V chords in .three-quarter , time 8 hold ing each.chord three counts^ 3<, Alternate measures of I chords and T chords in three-quarter time§ as though all notes were . quarter notes.® ' . ■ _ : V. 4 0 Repeat EumberS^ letting the Bass II section sing on the first count and hold the tone for three countso The other sec tions sing on counts two and ■ ’ ■■■ threeo : ’■ 5o Review "Dovm in the Valleyn 0 Explain that chords? such as the I chord and. the t chords are the basis of all musical composition0 Since the melody is made up of tones of the scale9 and since some combinations of scale tones souud.pleas ant to the ear5,. it would seem2;logicM.:.to' assume that combinations.could be found which would sound.pleasing if played as a n . accompaniment to the melody o Let the beys experiment by singing softly while listening to, accompanying chords on the piano, : 6 o Sing the first "six bars - of ’/ ill ’’Do w n in. the Valley.” aV : i ; 7 0 Repeat these six bars softly9 . and9 while they are being sung9 sound the V chord on the piano ® Let the boys express their opin ions as to its appropriat eness ® - •8 » Sound the I chords while the boys are singl^ig the same six barso Again get the opinions of the class as to whether it is an ap propriate • chord o Ther e -is little doubt that they will recognize the proper chord* 9 0 Continue singing the song softly in accompaniment to the I chord and determine where a change of harmony is neededt, As only the I and V chords are needed? the. group can easily determine the change's o 10o Sing one verse of "Down in the Valleyt- with the piano accompaniment,,found on page 123 ® f ■ Write the first verse on the board as shown» Down in the valley g valley so low, I , : r x. . I 1 do ti la sol Late in the evening hear the train blow<, -■ V ': ' - V X, , sol la ti do The harmony repeats for the next two lines« 11o Divide the class into four ' sectionsj> and learn the ac companiment o • 12, Sing "My Name is Yon Yonson", 13 o Sing"Difo", -123- IXcCOtAFRHVWeHT TO DoxaH W IHtVftLLfeY.* i - k 3 - ? •-^•-•i-i- i ■ JT :J- W .■.] « - w 4 - 4 — a — $ — 2 H y .g.. - AAJ j •# StHCr T H B 6 A » S A M 0 <,'TAMfc HXGrl it 6 »H\T“ra H : ... . ^ . ■■■..■- ■■■...-] —— 1 'I* * 'h = q p e r ? , r4 t - v /-» 4 t ------n f c r r — h " ' § i 1 ” 7 ^ .... ■ J — J t - h ‘ J i J i1 W * 7? V • , « » | Z g — i — r . J r . - i r ; [.c l.-.:..— :‘“q l^ 1---- g f e U r - j r ...... L i ------U -124= Lesson Thirty- Nine lo Sing scale soloso ' 2o Sing "The Puppy Dog,?0 So Divide the class into four sectionso Let the beys choose the section they preferoEe^ view the accompaniment to "Down in the Valley". 4* Gall for three or four volun- .- v • teers to Gariy the melody while: the group sings the accompanimento . 5 o: Gall for a .volunteer quintet to sing one verse of "Down in the Valley" o Bo Teach "The Three Crowsnv There were three crows sat on a tree? Oh? B i l l y McGee-? MeGaw0 There were three prows sat on a tree? Oh? B i l l y McGee McGayo' There were three crows sat on a tree? And they were black as crows, could be? And they all flapped their wings;and' cried? - v: ’ B i l l y McGee MpGaWo 7o Review the tenor of "Golden Slippers" 80 Sing "Golden Slippers" in two part harmony o : 9., Sing -"Cataiina Magdalena.”» ■ -125- THeTHR€.B Cuovsic, l( V v K s \ J ..j HiVitre w t r t -tVvree. cjtows or> a-^rc^, O Wi\-\>^ Wc. Gree , rt\c - E s Cja>w. IVxere vaere \V\rec croxus -stit on a \r« e , O Bi\-\^ WXc^ree, WGrtxw -Th^re were tVre* crows s a t on o.'Xree, anA 'tVxe'y MieriXAackascrewscouXA bey 1 hn6 aW.^lappeA tVexr wit^s and cricA,, BU-Xy McGee McGavu- Lesson Forty lo Sing scaless, using the numberso 5, Sing "The Pussy C a t 11,, • 5, Sing !tPuffer Billies*? ; 4 0 Review the,'bass of f?Workinf ' . on: the Railroai’* in unisoho 5o Review the tenor of "Workin? ■ on the Railroad” in unison^ To add zest to the three part renditionj, let some of the boys5 preferably the poorer singers, pan- tomime. tbe action of the third verse, some of them acting as dogs, and others as their masters. Do not be disturbed if the pantomime develops into the ”Speak, Rover, speaki?’ stage, ' _ ■ 6 , Sing ”Workin? on the Rail road” in three part harmozgro Tell the boys that ”6entral Will Shine” is a widely used melody, to which class and school songs are written. Suggest that they be thinking abotit a class song of their own| suggest also that they withhold their judgement of ”Central Will Shine” until the har mony has been learned, and the song sung in three parts, To Teach "Central Will Shine”,' - Central will shine tonight, Central will Shine.o She?11 shine in beauty bright All. down the line« • Won’t, she look neat tonight Dressed up so fine? When the stm goes down and the moon comes mPs> • Central will'shine 0 8 , Sing ^Catalina Magdalenan„ Lesson Forty-One !«, Sing scale solos s using the numberso Si Sing %The Puppy Dog ?!0 Si* Sing "yonder Stands the . Donkeyn ’as a round0 4 0 Call for one volunteer trio to sing bonder Stands the ; Donkey”® i 5o Review "Central Will Shine” in unis on o 6 o - Sing "Central ;:Will Shine”2 using the syllable la instead of the words o •:', ' 7«, Sing "Down in the Valley” in unisono ': ' So Review the accompaniment to "Down in the Valley”® 9o Call for three or four volun teers to sing the melody of "Down in the Valley" while the remainder of the group sings the ac companiment= Let the C e x t b a u VJx l l S h ih b Cen*iroV w i\\ s\\tiw "to-vMght, CeivtraV wiVV »>>mt. S W U sViine iw (Kp.rMt # — jm z ...ei..» J... #, | bemvty b r’xgWt ft\\ Aovua -tVtUne- Vlow't sV\e \ooW vxea\ lonv^Vxi, OrcsscA up-so " ■■ ■ z 1 “N ---- — FTTnV-’ t v — -k* ■ : 4 " ?---- 1" " - t .....\\ J - 2 5 S : J “JTIJigai: ^ ...: II VIWyn sun goes diown aniiWe moon comes up, QtirtmV w»\\ sVimc . -=129™ pupils choose the section in which they prefer,to sing„ Encourage them to try singing in each of the four sections at various times0 ,10 o Call for a volunteer quintet to sing one verse ,of "Down in the Talley"o 11 o Sing once through "Central .Will Shine" in unison^ using the syl lable yo inst ead of the words0 Lesson Forty-Two 1»' Review the melody of "Central . Will 'Shine", using the words 0 2 e-.Repeatp using the syllable la instead of the words® Th# reason for using the syllables instead of the words is that since .the beys are going to write ‘ lyrics of their own to the melody it is .better to., learn- the melody itself j, rather than to learn words which . , • call to mind the melodyo - 3® Teach the bass of "Central . mi l Shine" $, using the syl- * y ' lable la® Let the group sing it in unisono Vary the pitch to obtain an effective rendition® , 4®: Divide the class into two •groupss and sing "Central Will Shine" in two part 'har™ moiy o Use the yliable la® 5 o Sing "The Three Crows"» CENTRAL Vs)\LL SH\>4fc. (Ba s s ') i 7t U. L-Ji: F F 3 Cejr\-irxx.\ >*i'x\\ sVvxAe to-ni^ViV, CeixAraV veXVN shine- SVxe'U skine v»x s I J J l X j JUli' i j U J i l l j ' ^ j t V>e,aari^ bri^\xt MVAcwix iVeAine. VloW-t Vxne? V)Ve*iiVe sxmgpts dowvx andtVe wooix com esCjenim l w ill s Wia c ^ -131 6 o- Sing "Be Kind to Your Fine Feathered Friends,f 0 "Spend a few minutes using the pointer.to in dicate written syilab2.es y as explained in Wesson ThirteeUo Indicate the first phrases of three or four of the more familiar songs = Then point out the tenor and bass of several songs which the boys have learned0 Alternate the following proceduresg let the boys . shout the name of the song immediately upon recognition v»d have the boys raise their hands upon recognition of the songy but let the class shout the name in unison at a signal from the teacher» v - Use the .pointer to indicate. -. • - the first parts 'Of songs, as : ^ explained. \ \ ; . .. :VV-: . ' So. Efeview the I, IV, V chord changes, learned.in Lesson L . Twenty-Two, • ■ ; 9, Sing the chord changes as though all notes were Quarter notes, in three^ quart ezr- time, Change chords . ' at the beginning of each measure, ■ 10, Repeat, in four-four time, ' 11,: Rmrlew the bass th ."Oentrai Will; . .1., - ShiheF- in unison. Use the sylla- : ■ ' ' ; ; ■ . IS, ■ Sing^FDlfo". Lesson Forty-Three le Sing scale solos, using the syllable yOo V So Use the pointer to indicate the melody of ^Central. lrill Shine?? , ■ 5o Sing Central Will Shine!? in unison? using la0 . 4 0 Sing the bass of $fCentral Will Shine” in unison, using la, 5e Divide the class into two groups= Sing "Central Will Shine” in two part harmony, using la0 Give each.group an opportunity to sing each, ,'part 0 60 Sing "Puffer Billies" in unison, 7o Sing ".Puffer Billies" as a round, 80 Call for m'volunteer trio to sing "Puffer Billies", 9, Sing 15A Thousand-Legged Worm" in three part harmony, 10 c, Gall for a volunteer trio to ■ sing "A Thousand-Legged Worm", 11«, Sing "The Iceman Is Song", Lesson Forty-Four ' I, Sing "Central Will Shine" in unison, using the syllable yoo g?. Sing the bass of- "Central Will Shine", using the syllable y o . -135*- 3o. Sing the tenor of i!Some= one? s in the Kitchen 'with' ? Dinah"'- In unisono ' .\- 4 0 Sing the bass of "Someone8 s im the Kitchen with Dinah" in nnisono . 5@. Divide the class into three seetionss and sing "Some one ? s in the Kitchen with Dinah" in three part- harmony = Let the boys choose the sec tions they.prefero 6= Sing "Be Kind to Your Fine Feathered Friends"o 7 0 leach the tenor of"Central Wiil Shine"o DSe the sylla ble lai • ' So Sing "Central Will Shine" in three part harmony, still . msihg the syllable, lap :: Remind the boys to be thinking of what they want to say in their class song, provided that they decide to use the melody of "Central Will Shine"„ 9® Sing "Difo"o 10e Divide the class into four :", sections o. Call for three or four volunteers to carry the • melody9 and sing "Down in the ' : V a l l e y w i t h accompaniment a: ' ^ " C e . k t r a l V) x l l . S w v u e CT6HOR) ^ ; - v ^ T r -^ e I W — t - f - l ^ Cen-'Vra\ wVW sVxxnc tom ^W t, CeniraN wU\ Oi\\v\€. SW V\ sVx'me. m i r - t - F b r iA l a \\ Aowiv "We Vine- Ndon't s iie Voek neot \o«v>Wt TWsieX upso VJVxtvx %un goes down and iVxe fvxoon cones up, CentroA wvU sVx'me. Lesson Forty-Five lo Sing n% lame is Yon Y 6risonn« S0 . Sing ,?Tlae Iceman?s Song". . 3. Sing the I, IV? V chord, changes. 4. Sing the melody of "Central Will Shine"in uni son^ us ing the syllahle la. - 5. Sing the tenor of "Central Will / Shine" in nnlson, using la. 6 . Sing t&e bass of "Central Will Shine# in unison$ using la. 7» Divide the group into three sectionsj, and sing "Central Will Shine" in three paht.v harmony 9 still using the sy llahle la». The continued progress of the group in ability to sing and enjoymeht of group participation will have . developed a feeling,- of -unity within the class. If this spirit could be embodied in a class song? the continued •building of moralevwould be greatly aided. Discuss the advantages of having a class song|. what an excellent opening it would make for any pro gram that might be presented! how proud the boys, would be to have their own class song to sing for visitors during parents® visiting week; the reactions of other classes; etc. \w. The enthusiasm- and guidance of the teacher will be the primary factor in the successful outcome of this —2.36— lessone The teacher must get the boys to respond to leading questions and suggestions^ but he,must always keep the boys feeling that the contributions, are their owno The following plan is suggested* Say to the boys? "Since we are all going to take part in composing our song? doesnIt it seem, wise to first of all decide what, we want to say ^ and. then select the actual words and phrases? Wells then? .if we had a visitor who was not acquainted with us5 what is the first thing we would want to tell him?"' The obvious response iss "Who we are The teacher continues? ’?Let5 s make that the first line of our song -r"'We are. .; * :^v.wfaat?? ;:v " ; Once more the response is unanimous. "We are the eighth grade boys."(Use any appropriate identi fication of the group.) The teacher writes the first line on the board. "W We - are the eighth grade boys. 9 Are we proud of it?" A spontaneous stYesI’v'is heard from the group. "How about sayihg so in the second; line?" Sing the first lines and begin, the . second with "proudly". Someone in the group will finish it with -137- nwe-:' sayn0 . ■ - - _ . . . Have the group sing the first two lines® We are the eighth grade boys5 Proudly we say - The teacher eontinues? MShould we tell people the name of our school?” This seems logicalo nThen the next line becomes^ 5Our school is The beys add the name of the school^ and they have composed the third line® ■ Sing the first threb lines in unison0 VWe are. the* eighth grade boys* Proudly we say^ . Our school is Jefferson .- The teacher continues with .questions^ such as^ MShall we say that we are Americans'? How.;about mention ing our ideals 5 hard-work$ fair play 5 etc o?- What about school spirit? Bhuld finishing with a .8hoorayr be a good idea?" , The following is a result of fifteen minutes of composition by a class of eighth grade boys e The most important factor is that the phrases be accepted by - the boys and considered as their own0 Perfection is not an aim o We are the eighth grade, beys s Proudly we say^ Our school is Sc , In the WoSoAo ’ ■ We work with all our might And .fair' we play); b ' - - : For S o : b ’ : We .will do our best? : Eighth grade boys j, hooray I 80 Write lyrics for a class song« 90 Sing "The Glass Song" in three .part harmony o lesson Forty-Six le Sing "The,Class Song"_ in three partbharmony. SV Sing the chord: changes^; in So Review the construction of' the , , I chord and the V chord„ These should be familiar by now* In order to limit the compass to enable each boy to sing all the toness consider the V chord * ■ as ti-re-solo b"-'- 4 Study the construction of a .: I? chordo Write the chords on the board as shown o 5e Divide -tile elass into three \ seGtionSs and. sing chords as indicated by pointere Since.there are only three chords to be re ferred to, the indication of time and rhythia patterns, is the principal function of the pointere Indicate a variety of time patterns in different coinbinations of changes o For example:, I-IV-l.-I in three-quarter time, as though all notes were, dotted half-notesj I¥—I, holding each chord four counts; etc* Put the stress upon the use of the pointer to indicate time® Gall the attention of the class to the con stant maneuvering of the pointer, not only from chord to .chord to show which chord to sing, but to indicate the length of time the chords. are to be held, the rhythm, and the time pattern® 6® Write a few bars of the ac companiment to "Down in the Valley"on the board,as shown® -m o -; TENORs- sol sol sol sol sol sol BARITONES ml ml ml ml ml ml BASS Is do do : do do do do BASS IIs 'do do do • do tl la sol HaVe the class sing the first ■ ' > few bars as written» Discuss the awkwardness of writing music in that way«, Also point out the limitations s writing syllables requires a lot of room - one complete song would nearly fill the boards writing words to be sung to the music would present a problem| there is not pitch indicated - one does not know whether to begin in a high, lows- or medium key i ands probably most im portant of alls there is ho way to determine the riyrthm nor to tell how long to hold eaoh toneo Sompliment the boys upon the-progress that they have made in singing and learning musiCo Recall how learning the scale made - the. consthuctioh:„of tunes; under standabley and how knowing; the scale made it possible ■ to sing chords and chord accompaniments e ;Suggest that : in order to get still more enjoyment from music they spend some time learning how music": is written0 There " will not be too much drills Just a few minutes each day spent in learning fuhdamentals; that will,make music -141- period more, completely enjoyableo Few, if any, of the beys, will disseiitv. % ' 8> Sing ^Catalina Magdalena”0 . 9 o. Sing "Ipifo”o : ' Lesson Forty-Seven lo.- Sing "The Class Song", in three part harmony e So Sing scale solos, using the syllable zee* So Write exercise A-B, page 142, bn, the board* Tell the boys that five to ten minutes each day will be spent in learning how music is writteno Explain that the complete staff is composed of eleyen lines * However, to make the lines easier,to count and locate, the middle line is Omitted unless there is a note to be placed upon it* Tell them not to be con cerned about the names of the lines and spaces right now* 4 S Sing the scale in unison, using ‘ the conventional syllables* Begin on G below Middle C, and sing up two octaves o Explain that because the scale repeats itself , there must be more than one do on the staff* Then show -142- 5 ncc ■S-4. DO -c r ”o “ ■o' ee-» Ti -\p-— '± bo o — ■ ■ t ± z § = ,J-.» E * CO'S- OO o n * g 1;1 g r §: % 5:zc c 1 % 8 m m S: g m e 3E ZE them this I chord written in three different places ' hut still composed of do, m i t‘ and sol» Point out each line and space and repeat the syllables from do on 0 helow middle G up through sol on 0- above the staff. Gall attention to the large spaces between middle C and. the two staffss, and tell them that the middle line is usu~ . ally moved up or down, closer to the staff in which if is needed* To make it easier to see lines and.spaces ■between staffs, it will be written in the fiddle for some time,' Explain that both the low and high I chords are out of range of most of the class, but, that for the ■ / ' ■ present, chords written too high or too low will be ; sung as though they were written near the middle. The only discussion of time value necessary is the explanation, that the cifcle, white eirele, or empty . • circle, with no stem on it, is.held for four counts or beats. 5„ Examine the chords in exercise B 0 Count and point out the lines and.spaces, and the syllables they - 7 ' represent, to determine the names p of the chords. (I, 7, ¥, I.) ; / ■ 6„ Sing each part of exercise B in. unison. 7. Sing exercise B in three part ;~7 harmony a ; .’7'i I ■■■■.. . '.' 7; 7 '■ ' : 7 /f 7 7 It is advisable for the. teacher to beat time rather vigorously. Incourage the boys to count time •f-3.44” to themselvess 8S Write exercise C~D oh the ' board „ ■; Explain. that do• is mot always,, in the same ■ : place.a The signs^ called sharps or flats, placed at the beginning designate where do is located6 If there are no sharps or flats in the signatures0 do is on, the middle line between the siaf-fis* Tell the boys not to beoperturbed about the sharps and flats, as there will be no memorizing of key - signaturesc 9o Sing exercise i? in three part ■ ' harmony,. as though written ‘ above Middle- Ge' . 10 o Sing "The Three; Crows mo 110 Finish the period singing songs suggested by the boys® . Lesson Forty flight : i Ic: Sing "The Class Song" in , three part harmony* 1 ":,. • : : S :l Sing scale, solos, using • . . conventional syllables o , . ■: So- Write exercise E-G, page . . 14S:, on the board o Review the discussion in Lesson Forty IS eveno ^ _ Again bring out the .point that the boys are learhing the time values of notes, and that they need not be concerned about names of lines and spaces $ nor key signatures0 . 4 o Sing in unison each part of exercise Gy 5= Sing.exercise G in three part harmony* ; 6 o Write exercise H on the board Sing each part.in unison*, ?0 Sing exercise H in three part harmony „ So Teach nThree Green Bottlesn* Three green bottles hanging on the wall. Three green bottles hanging on the wall* If one green bottle should happen for . to fall. There'd be two green bottles hanging on the . ,wall* . > ; Two green bottles hanging on the■wall. Two green bottles hanging on the wall* If one green bottle should happen for to: fail, ' : There-8! be one green bottle hanging .on ythe wall* ; - y.;'::-.yy ' - One green bottle hanging on the wall. One green bottle hanging on the wall. If one green bottle should happen for tb - .fall. There M be no green bottles.; hanging on . the wall. ;y. ‘ No green bottles hanging on the wall. No green bottles hanging on the wall. If one green bottle should happen for to fall, : • There?d be minus one green bottle hang- ' :ing~“On~ the- wallo ':r' " - . (This song may be continued indefinitely.) -146- "Twea Bcrrrue^ j... | j TKr-ea green b o t-’tlee Viang-\ng on -t-hc. w a ll • r = , , t ., . —X — 3 — #»' - ^ 4 J-.-v— i—t y - • "Three g re e n bat- tie s hang-ing on the w o \\. I*f r-P— ^ — ...... A v -f — — i — ,.J....,.J-.\--- , .".TJt. 11, . w* v-y - -1 j j i j n j-.j- m Tw o g rten bdrt-t\es hang-m g on tVxe. waV\ • 9»■ Sing "The Texas Cowboyf!a ^ ‘ , 10e Sing "Be Kind to Your Fine Feathered Friends " Lesson Forty-Hine lo Sing "The Class Song" in ' three, part harmony = S:a Sing seale- soloss using the syllables yOo 5s Sing "Three. Green Bottles" in . unisono • 4 0 Write exercise K - L o n the . - boards ; : y Review the discussion in Lesson Forty-Seven^, and continue it with the explanation of quarter notes in relation to whole notese The quarter note is a filled-* in circle, a solid or black notes"with a stem® " • 5o- Sing each, part of exercise-L in uni sono 60 Sing' exercise L in three part harmony 0 ': / ' . To Sing "Golden Slippers" in two part harmonyo 80 Write exercise M on the board» Sing each part in unison« is Sing exercise M in three part harmony o ': - . ■''' :: ■' -148- p — — ^ - g - | ! - 4- a j r - a - " "TS 94 ■ i - . j : # d & :....3...3JJ: -e- O '.A.------— .id fid T)0 O ! 1 1 1 [Jj.a ^ ,W | 4 i ■ N jSl r v " * r r k m i TTg i 444 H W*i T ,10o Sing; Lesson Fifty 1c, Sing "The Glass Song” in ' ; three part harmony s ■ 20 Call for.a.volunteer trio to sing "The Glass Song",, So Sing scale solos^ using the.syllable yah. 4 0 Sing one verse.of "Three Green Bottles" in unisons 5«, Divide the class into four • sections, and sing "Three Green Bottlesas a rommd, 6.0, Write exercise G, page 142', '• on the hoardo Sing it in three part harmony o' ' 7o Write'; exercise H, page M S , on the hoardo Sing it in . three part harmony „ So Tfeach ??The: Crocodile"i, Appro priate: actions are indicated by the numberss • ; ■ ® . ' V'- / , ' ■ She sailed away on a happy summer day ' i © ■ - . . - 'l, c On the back of a crocodile» ? " - ' ' " ® .■ ' - . ■ W o n see," said she9 "he$ s as tame as ■ tame can be ; I ^11 ride-him --down the Mile I" - The: croc winked his eye as she waved her friends goodby. VHE CHOCOT>XUE # w i T ' She saUeA q-nakxS on aVxap-p^ sam-merdo^ On tW^, back a croc-o-AiVe • '''YoxxscefwdsVxt," V\t'> as \**x os ’tame can be, X*U 1 ■ j - ^ 1, f j i 4-j j li i \-f—I ..-' j j i' j/jl"j^ rxdt Wxwx dswnike Hx\e.w Ih t croc vimkcd Kis c^e as sW wavieA itiem aU gooA - ■i..nj \i f.jp i f -n | b>/, Vjeac-m^ a Vxap-py svnVVe, Burt a t tVxc End o4 tWc ft f M f l j i i j ' n i i ride TV\e \qA\j waE in-^ide, Bad ttxe snvW onVnc croc-o-AUc . -151- Wearlng a pleasant smile0 But at the end of the ride the lady was : Insideg ■ And the smile on the crocodile, © Keep time to the accent and rlythm of the song by. moving one hand!as though it were a boat gently rocking on the waves o Slap the other hand on the back of the hand used as a boat$ and let it nontinueito ride there " •■representing the lady e ■ Stroke the back of the handj, asv ' . though petting the head of the crocodiie. . 0 Place am .open hands palm front s beside' the eyeo Close, the hand and open it to represent a giant - Wlnko Place-; the hands on the corners of the mouth and move them up toward the ears to indicate am exaggerated smile0 - ; Slide the top hand over the front of the bottom hand and back under neath it ? palms together o . ■ Keep the-wrista together and open the hands to represent the mouth of the smiling crocodile^ When the song is finished^ clap,.- the palms of the hands together two or three times to imitate the crocodile smacking its lips» -158- Lesson Fifty-One ' . la Sing .nFIi@ Glass, Song” in . , • ■ - - threeVpait harmony 6 .• 20 .Sing scale solos, using the numbers a ...... So Revi ew "The G-raveyar* - 4 0 Write exercise Q on- the : ■ boarlo : Discuss the time values of: whole notes and . Quarter: notes, and ie-identify each„ Then describe a ; half note as a whole note with a steme It is held two counts, or beats, in exercise Q, -r . 5e Sing each part of .exercise Q . in unlsoua ' ■ ' 6e Sing exercise Q in three part harmony«, 7 a Write exercise R on the boafdo . Sing each -part in u^isono . i': .. .. . ; , Remind the boys that although the notes are written an octave lower than in exercise Qs the do, mis, sol chord relationships are the same, 8C Sing exercise R in three part , harmony, -: • 9, Call for volunteer trios to ;, 1 ' sing exercise R. . ' n- ' ':::'/ 10, Sing nCatalina Magdalena", 11, Sing nfhe Iceman's Songr,s ■ Q w m ^ 4 = 4 4 # = k A Ti e r : 6t" ------:-----— - 1 . A . . ^ A ------ ... ■*•■! --- — 1 U * 4 . ■.. ------S-W --- = * * ; i - i - ' i = w ■ » . Q . . . — D _ * _ a ------7T- ■*«' '*■. ^ ------4---- \ — ^ — l-l: — 1---- !— , 1* 4 .:.- 8 : « D O o • #• ! ^ - £ d I5SL 2 -. -U Lesson fifty-Swo 1 0 Sing nLhe Class Song1! in three part' harmony,.• . 20 Sing scale solos$ using the ' . syllable ; v ■ . . S, Sing "The Oroooclile", 4, Write exereief^ page 153„ on the hoard, ' Review the time value::>and design of whole notess half notesp and quarter notes„ Explain that a dot after any note means to hold the note half again as long as it would he held without the dot, laeh dotted half note in exercise T is held three counts. Introduce the words treble, bass„ and staff. Staff means' one. set of five lines with their enclosed spaces. Treble staff means the top set iof five lines, Bass- staff means the bottom set of five lines, Tell the boys that they cannot easily confuse the'two terms, Bass singers sing low tones9 and therefore the bass staff is the lower or bottom staff, Remind the boyS: Ohc.e mor.e that there is only one line between the two staffs. Since there is only the one line, its correct name can easily be remembered. It is the middle line; its letter name is C;. therefore, it is called Middle 0, The line is usually moved up or down toward the staff where it is used» ""’3-55 ^ 5. Sing each part of exeroise T in unison,, 60 Sing exercise T in three part harmonyo 7c Call for volunteer trios to sing exercise T 0 80 Teach ’’Home oh the Range” o Oh5, give me a home where the buffalo . -. roam? Where the deer and the'antelope play; Where seldom is heard a discouraging wordg ' ^ And the Skies are not cloudy all day0 CHORUSg ' ' Home 5, home on the rangey Where the deer and the antelbpe..play| Where seldom is ..heard a discouraging word3 • And. the skies are not cloudy all day 0 How ofteh at night when the heavens are 'bright , - With the light of the glittering starss Have I stood there amazed andaasked^- as I gazeds If their glory exceeds that of ourse 9 o. Sing ”% lame is Yon Yens onn 0 Lesson Fifty»Three lo Sing "The Class Song” in ,three part harmony0 So Sing scale solos^ using, the syllable mings -156- Hotte o h t h e R ah g e t r ^ r .C: f . — t f 1 v ? f 0V\, ^ve Yv\t a home where. iVc bu^-iaAo roam, Vlhere irW Acer anA aivVA-ope p\a>|, VJhere ^e\-Aow\ 15 heard a dw eour-ajing word, AnA’tW CHftmus bki«5 are not cloudy aU A ay. Aw e, home on ihe m i^e Vlhere ih t Acer and the anietepe pVxvj ,Vlkm «\Aom \shearda Ahaxira^ii^ worA.MlW^khsare not cWudy att day. 5„ Si$^ . "Three G-reen Bottles” ' in -unison, 4, Divide the class into four sections. Sing "Three Green Bottles” as a round, 5g Write exercise W on the hoar4, Eeview the time values previously learned,, Ex plain that thus far all written musie has had. four counts in each measure« Measure means the portion of music en«~. closed; "between two "bars. Bar means a line running down through the staffs„ The | at the "beginning of any musical selection means that there are four quarter notes in each measure, or any comhinatiom of notes that totals four counts, Bach quarter note is held one count, ; ; The number at the beginning of exercise W is / 6, Sing each part o f ' exercise: 1-, : ' .. in unison, 7, Sing exercise W. in three part harmony, ■. ": 8, Call for volunteer trios to V Sing exercise W, _ - • 9 0 .Sing "Home on the Range”0 ' . ‘ ' 10, Sing ”Bifo”, w * f)- H O -^r- = £ = = 4 = — A—H .. _ _ _ — — Z = = = M ------1------4 '—— v j ) - ^ " 4 ...... ■'■•■'■' 1 ! - X i ; tt'StJoi.i i 4 i i - ^ i i i r W = | '.v;4 ,'... 1 ------... - -- [.y.. *--*.. ..— — t r r T r Lesson Fifty-Four lo Sing scale soloss using . numbense So Sing "Home on the Range" '.\ in unisono 3o Sing one verse of the bass ■ of "A-Thousand-Legged Worm" in unisono . - ' . 4 0 Repeats singing the tenor0 5 o Sing "A Thousand-Legged . Worm", in three, part harmony 0 So ■Write exercise Xs page 158s on the board o Sing, it in three part harmonyo / ?o Write exercise Y, page • 15©, . on the boardo . \ - ■'/ Discuss the counts on which the bass and tenor sing; the quarter rest; the fact that the bass singers hold their tone three counts; that the tenor and bari tone sections sing on counts two and three0 Explain that ’Middle C is moved up,, and since, there is only one line between the etafiis, the added line below Middle C the same as the top line of the bass staff .. So Sing each part of exercise Y , in unisono 9o;Sing.exercise Y in three part harmonye ID. Teach "What Did Delaware?" -160 lo Oh? what did Delawarej, hoysy Ohy what did Delaware?. Ohs what did Delaware? boys. Ohs what did Delaware? I ask you now as a personal friend,. ■ What did Delaware? Sc She wore a New Jersey, boys, . She wore a- New Jersey e She wore a New Jersey, boys, , ■ She wore a #ew Jersey« I tell you now as a personal friend. She wore a' New dereey. 5,, Oh, what did fennessee, bc^rs, ' ■ Oh, what did Tennessee? Oh, what did Tennessee,.boys. Oh,what did .Tennessee? I ask you now as a personal friend. What did Tennessee? 4 0 She saw what Arkansas, boys,. She saw what Arkansas= She saw what Arkansas, boys. She saw what Arkansase- ' . ■ I tell you now as a personal friend. She saw what Arkansas o do Oh, what did leeway , boys? • 6 o She weighed a Washington, boy s 0 7e Oh, what did- Idaho, ,bc$ys? , So'; She hoed* a ,Maryland, boys a 9o Oh, how. did Wiseon-sin, boys? 10o She stole a New-brass~key, boys e t A . J..J J ~ g Oh. v m m wV\aA did Oe,Vo-ware, boys , OV\, vuVxal d\A OeA-a-wace? X 'fe " 1 ■ f* " "" t1 ask. you naw as a. par-son-a\ "fngrd,E VxlVvort d\d ‘OaVa-ware? Les'son Fifty-Five lo Sing "The Class' Song" in three part harnioi^- = So Sing seale solos, using the syllable zingo . So Teaoh the tenor of "Home oh the Range "i, 4o Sing "Home on the Range" in two part harmony 0 5» .Draw the great staff on the boardo Label Middle G only o Explain that since the scale repeats over and overy it is logical to assumetthat bthelletterr:namesvtif the lines and spaces would also repeata Each line and .gpaeerdoes have a letter name, and the letters repeat for each octaveo Therefore^ the names in orders going up from Middle are C5 Ds Es F? Gs A? and Co 6 = The teacher points out the line and space names up from Middle Gs and labels the 0 above Middle C» ' 7o_ Repeat, for the octave, below Middle Gy ahd label the bass clef Co : So Call for a volunteer to label all the (??s on the great staff 0 90 Repeat for each of the remaining letter nameso' 10o Sing "Be Kind to Your Fine Feathered Friends"= - 163- * VKo VXE CtX 'RfrfWS’B (•Te.HOW') t f ^ I.... 5 OW, ^ iv e me a Vxowe mu Were ^We buffalo roam, VI Were "tWe r i t w y E E l t b rTffl ^ ^ dtercmAtWe onltVope pV^, VJWere se\ dom vs WecxrA a dvs-cour-agm^ word, (WWWe 1 J ^1 iU l T ’ C ; 'if f 61 3 skxts a r « M r c \ o u ^ aV\ d plo&Y VlVvtn stXAowitsWtard cx Av-s coaro^vh^worxli, Pvd iWe skvesortnA c W u d y a\V d a y Lesson Pi fty-Six la Sing scale solos5 .msisg. ■ numb or s . ?, . ' , go Sing the melody of 51 Home on the Range” .in unison0 3o Sing the tenor of. "Some on the Range" in iinisoho ' ,. 4o Sing "Home on the Range" ; % in two part harmony. • ■ 5o The teacher writes the great staff on the boards with Middle Cj C aboire Middle. 0_9 : r and 0 below Middle G labelledo 6 o Gall for a volunteer to locate all the F-s on the great staffs and write a whole note on each ' one c . 7o Repeat for each of the remaining letter names„ 8o Sse the pointer, to indicate different whole notes written by the boySj, and have the class call omt the. letter nameV Limit this exercise to two or. three minutes o 9. Teach Mmo Did?" Danielj, Daniel? Daniel? Daniel? Daniel in the 11?11? li? li? Daniel? Daniel? Daniel? DanieX? Daniel in the li? li? 11? 11? Daniels Daniels Daniel? Daniel? Daniel in,the 11? 11? li? 11? Daniel in the lionls? Daniel in t h e 'lion?s den. ' Who. did? who did? who ,411? who, did? Who/ did swallow Jo? Jo? Jo? Jo? V J h o did? who did? who did? who did? Who did swallow Jo? Jo? Jo? Jo? V J w o D x o ? S^xwvruAv I ^ T J fJ .l...jto .j!4 -'j') ^a n -\e \ l*OaA-xt\,X)an-vc\ t ^am«A , ^airx- i«A \n iW \i ,\x, \\, W , ■ " ■■" -V- ■■ r -> "f - - ! ..:'4rr*.— -rn- ■ ‘pgr-r *: Fj^'7 ^atx-xeV, X)atx-xe\, X)an-\e\ ,\)a.Tvtel, X)avx-ie\ \n a W \ x,\\, \'x, V\/ (|* j 1 1 .]■• jcr.-.rJ: 'A J - j .j'-j!. j Lon-xeA , X>awxe\, D c x y x - x ^ X , Davx-xe\ , T) y j j i J n ^ -i j - j j i t j . # *Dqi\- xeV m aW \x-ons, X)ox>-\e\ \n iV-e. Vx-ovx's d e n • r ^ - i ^------?L______i h ¥ ------h------'r— — /n — -H--" 1 1 " " A • “ ■ ■ - fc — *— - ^...... 1^ . . i “ :: 4 4 :" ■ \JVtote dxd SiwcxX-Xow ^orx- 10o Sing "What Did Delaware?" Lesson Fifty-Seven l e Sing "The Class Song" in three part harmony«, Con tinue to-give each section a.n opportunity to sing each parte ' So'Sing the arpeggio 1-5^5-8-5-S-l several times in unison, and in different keys. Instead of singing the scale as a solo, sing the arpeggio 1^3-5-8^5-S-l, using conventional sylla^ bleSo Let the group sing up and back once in unison0 Then the group discontinues singing, and pupil A con tinues alone o He sings the-arpeggio up and back to-1; Pupil 33 sings the final 1 with Pupil '&» Pupil A stops' singing, and Ptipil B continues by himselfo This pro cedure is repeated until each boy has sung an. arpeggio •=16 7= solOe The group Joins with the last pupil In singing his final ls and the group sings the arpeggio In unlsona 3® Sing.1-3-5-8-5-3-1 solos as explainedo 4 o Sing ?'Whp Did?n in unison® 5o .Sing one verse of the melody of ’’Home on the Range”-in unison, 6 , Sing one verse of the tenor ‘ of ”Home on the Range” in ' 1 unison, '• ; "' . 7 o Sing ’’Home on the Range” in two part harmony, 8, Call for a volunteer duo to sing "Home on the Range”, 9 q Teach ”% Little Old Sod Shanty ”> I am looking rather seedy now while hold- - ing down?my. olaimj %/: ; And m y victuals are not always served the best, Jhd the miee play shyly Ground me as 1 nestle down to rest, • in my little old sod shanty on my claim, CHORUS: Ohs the hinges are of leather, and the windows have no glass> And the board roof lets the howling bliz zard in, • ' And I hear the hungry klyote as he slinks up through the grass Round the little old sod. shanty on my claim, % clothes: Are plastered o fer with mud, I?m looking like a fright, / And everything is scattered round the room. -168- K W Little. O ld Sod SwtKTr f - 1 P---- P—P-— T^r* - T ' - v t ' ------k-H .'.y A-.^:_.£.L:L r~ P " ::4"iz /— 4 .^ 'T:,T=r r.■■I. •*:,--.i I am Xook.- if\g r ~ ------:— .-#---- p. . #. --- -F- -p.-r j-: * ' - - \' l...V--- V' • V -i *- 1/ I cVaimj AvxA «tw vic-tuate ore not aV v -9* p— p— p p p— p «T • rt J*— r tv • • k — j ------p h- ' m*\ce pW\| sVx'f^ round me as 1 vxes-lle do van to rest, Xn my . — j*-—h > ^ f - - T--f —-V— i ■ -t*— H '» # Vit-tVe oVd sod SiWan-ty on my c\a\m- OV>llhe V\in-ges are of ^ -L_ - f- -p- -fr. . - r # - * y* -r — v— , T • U --L - - L — v— b— - -4-— d— 44-— 4 - ^ V ) \eat Vi- er Bnd t\te vhn- dovas Vvxvc no gWss. ArdtVve,board rod WXs tV\e \P~'* •■p P 'is- T rr^Ji p- p- p p -i* p > - —- 1c----k------h—v^- ^---- —1:---- V----k Vvov^l-\v\g bVxxiard %n And XVvear tVie txu n-gry kx-yote as Vxe 9 * , -K-.. P.,' --::: ■.vt::-.:."__.- i. ^ j?: JL. .-3- J V-cd -i- sVxxxVs up tVxcxx tVe, gm&s ^ouYvdtVic \\tt\e oVd 5 loisVianty on my cVa'xwx. "169 — Still I vfouldii’t give the freedom that ' , I have out in the ifest For the comfort of the eastern rich manrs home. ' " ■ 10. Sing riMy lame is Yon Yonson". ' ' ' : ' , • ■■ . ■' : : ; lesson FiftyrEight . : ,1. Sing 1—5”5— 8”5—3”1 soloss . ■ ■ as explained in lesson : Fifty”Seven. , : ’ Give each pupil a sheet of staff paper. Write the great staff on the hoard, and label the three C !s. Write whole notes in the.proper places to spell the word cafe. In this exercise, begin in the bass staff, and continue upward. This facilitates seeing the great ' " ‘'' " ■' ' ", ' t . staff as a, unit rattier than as two separate staffSv Write the letter names 'below the bass staff under the proper whole notes. See page 170 for examples. Have the boysgspellV cafe on their papers, using the ex ample on the, M p r d as a guide. Be sure that everyone understands how.to "spell"before proceeding with the lesson, fell the boys not to bother drawing the clef signs. Also explain that this is not a test; it is just a game, the object being to see how many of the words they can "spell” in nine minutes. -170- “ S p b l u h g *' E xeR cxse. ------— — © -- H ' - ' J ~ ^ 3 LL y------Q ------<9-- i) .c n . .... ,. .., "" c: _. 7:;:..*:r : ,J^ ..... -- ^ — O — :------— __ < X ______- .. CAPE GAG E AGED ~ r — ------— A ...... ------:------0 ., X7 ..... ' ------75" "O- Q ------m— ^ ------— e — 2 ------...... — ------pr— = ------. — ...... - ' - c r - - -Z l'— P'Tl ...... & T A D P A O E DAO CAO -y ---:— :----- ...... n A ------— ------© ---- ———— ——— ] o ...... o " ' " " o - - - >'X- ...... 1 " ^2) ■■■yr--^ r* ■■ o r—i A ...... DEAD EDGE O A A RAO ------e- (1 ------© --- r ' ' J r „ o - W i ------2 ------\ 1 ) ._CL__ d> E a g c a g e c a d o e e o -171- 26 Write, the following words on the board for the boys to !,spelln5 as explained above. •eafe fade edge cage gage dad baa cab aged cad : fad deed .bead dead bag 3s Teach the tenor of ,!lho Dld?f5 4 9 Sing nlhat Did Delaware?n 50 Slng l W little Old Sod Shantyn. 6 d. SingRCatalina Magdalenan0 _ ' Les son Fifty-Nine I, Sing "The Class Song" in three part harmony. 0 .2® e Sing 1-3-5-S-5-5-1 solos $ using conventional syllables = 3® Revie'w the previous dis- cussioris of time values and reading chords from staff notation® 4® .Write exercise Z on the board® . Have the group sing it in three part harmony ® Tell the boys that they have been sight-reading and singing the aecompaniment to an actual song§ "Three Green Bottles"® 5®. Call for a few volunteers -172- VJh o Ovd ? (.Te.tAOH*) p it ZZZH+=Z=Sz=3==$ m • m j-j. jir ;-Ch :: r i X)on*-xd, V)Qn-io,V, X)onAel ,'Oqtx-ic A , "DatvieA in V \ , It, \t,\%. m s j .j * ; j.i+f' c r r r c T i X)an-xeV, Pan>\«\, Oan-W, X)an-ve\ , D a n - x c V t X>M-xeV, T)an-ieA ,X>an-te\ , Oa^-teV in \i, Vx, X\, Vi # y r i c~fT-;-rc c-: I . - r t # J fN 1 . I X ' « ex. . » • I * • , i I _ Don-xeV in "\Vv«. \Uonls , "Dan- ieV in Vt-on*^ d e n »3 . TTT j.:. VjVxaW did swcxV-\ow don-aVi up % ------L.------^ V b,3 - ----4:-- — •;---Jlr-- ; :- S U ------,, , ■ M - Z .— — --- -— , . . . . ------— * — "• "(4r' —— I' — r l . - ] 'O'' - = = = = # M rr^.rnL• " T’.Cfr ' •'' ---- ••••■• VJ-* ------ l P I F = # = F = * = tfti* -±= : -g. - •-• I 3 — § - ■ tc-V ...... ...... - 7“ ;. F = ^ = F — i - . - ■ ■ - to sing the melody of ’’Three Green Bottles” while the rest of the group sings the accom paniment .5, using conventional syllables0 6 0 Sing- oMe verse of ’’Who Did?” ih unisoBo 7o Sing the tenor of "Who.Did?” in nnison. 80 Sing ’’Who Did?” in two-:;part " ' harmony o ''y ; - : ■ 9= Sing ’’The Iceman’s Song”0 ' Lessbn Si±ty . la Sing l-^S—‘5'^8=,5"3=1 solos $ using conventional syllablesa Write the simplified accompaniment to ’’Down in the Valley” on the boardj, as shown on page 175s g1 Sing the accompaniment to ’’Down in the Valley” in three part harmony> using conventional syllables a So, Call for a few ovolunteers . to sing the melody of ’’Down in the Valley” while the re- . mainder of the group sings the accompanimento Use the pointer to indicate notes of the accom paniment o Have the group sing each syllable of each -175- X)ovslH XVA'Wl MRX-LE.X SXtAPLVFveD ACCOtAPAmtAeMT “— 5 " ~" ' dv. d'HTjrl -' ..::■“. : : . < a ...: — r r (j^-4. "9= *c— Sh— - Mi 1= 8--- •q -i--" -- - /» \ -- r4------ j # = = 5 t-h ..... ^ --= # = > J* y y Ky*. — t = 5 s = ■a.- ----*zZJL. — aHp—------.— f\A 4--&— t— p- ■■ ■ \ \ f ■■ -\--4-*-.... | -\t| ■-- .-A- — -- - — I"-- f— ■•1 ...... —MT- "nr* ’■■■ v .\ "f* " - k . - - 1 - 5u-A..w "Y"' 4 , 4 d r f r :== -T::!:.. 5 T 1---- j ='1'76— chord in unisone That isSi for the I chord they sing do in unison, mi in unison, and sol in unison^ as.in dicated by the pointer, Similarly5 they sing the IV chord as do in unison/ fa in unison, and la in unison0 The V chord is sung as ti in unison, re in unison^, and ho^^ in ■unisdno . : . : : . ; . ^ - . ' l/ v 4 o Sing chord tones5 one sylla ble at a time, as explained, 5o Write exercise AA on the board6 ' Show the class that this exercise is actually the accompaniment to "Down in the Valley,f9 written as they have just finished singing it* 6 , Sing exercise AA in unison* 7oTeach the bass of M#io Did?" 8, Sing "Iho Did?H d n three ' part harmony * ; 9e Sing"Di^o"o ; lesson Sixty-One 1, Sing, "The Class Song" in three part harmony *. g 0 Sing .scale solos, using conventional syllables* So Sing one verse of the tenor of "?ftio Did?" in unison* -177- $ X)an-x€.\, Oon-xVV , "Don-veV .'Oan-xtN ,'Dan-VcA inVi.Xi, \i,\ iy $ «r- —N— < ^ $ri s ; 14 4 Oan-xt\ tX)on-ic.l, Dan-i^\ ,XXxn-xe\, Dcm-teA in *tVxe \\, \i, Vi,Vi. X>an-teV, Oan-ieV , ^>on-%&V,D o n -ic i, X)an-xeV m t W VV, V i, Vi, Vi, X>an-'xtA vn iVxt Vi-ovx '5 , "Oan-i^V in "tW Vi-on's Aen- n : tiX- $ VJVxaV^. cVicV ^voaV- V o w i o n - a V i u p -178- 4, Sing one verse of the bass of nWho lid?n in unison* 5a Sing "Who Did?" in three part harmony* / 6« Write exereise BB on the board. _ Beview the previous diseussions of time values„ Describe the eighth note as a quarter note with a flag on the stem. Show that an eighth note is one-half the value of a quarter note;; therefores two eighth notes would be sung for each count of ^ or g time. 7. Sing each part of BB in. . ' ;; unison. ■. . , _ .: ■ ■/ 8. Sing exercise BB in three part harmony. . i V ■ • 9. Sing exercise GO in unison. 10. Teach "My Old Kentucky Home"„ The sun shihes bright on my old K en- tucky home, :■ f$is summer» the dark!es are gay; ; The corn top’s.ripe, and the meadow*S/ .. in the bl oom, . ;' - " ' While the birds make music all the day. The young folks, play ’round the little cabin door, : All merry,, all happy, all bright; By and by hard times 'comes a™knocking at the door, • . Then my old Kentucky home, good-might. GHOBGS; , " Weep no more, my lady. Oh, weep no more today, ie will sing one song for the old Ken tucky home, ■ ' ' . v . - . , .' kor the Old Kentucky home far away. -179- BB r rr# ’- v ... 1 C-^i # JZ ifcS £ . - £ = £ 1 3 C «**■ ••••— ,• • - p .. tvj-| '"-■T =4^4 ir L ~ P d U - J r 1 E ;i A 7 % - " t = L = = — lou— VA\ O u d V^h t v c k x H o m e S.VoSTtH I 4'.u u j j 'i j u ;■■■■■* t-fr 4 IKt sun sVxwes bngVrt \n tVxe. o \ A Ke!v-Tuck.>y Vxowxe, 'Tre dct ->umtv\er, x\\€ Aark-‘\es are sgay “Tke corn-top's ripe# anAtV\e ^ » V . 1 .. J 1 :J'. ^ r •• J .-1 -I i-- j . 7 ^ w e a A - o w ' s m xVxe b\ooiA. VlVx'At -vVxebirAs vraVe wxa-yc oAHVie 6 a y X oarxg tik s pkxxj 'rounA iW V\tvV« cabw 6oo r, P\ W m trry, aVV bappy -■j. J U J j j : J i i p m prXgb' %^'n bry b ar A tim es comes a-knock-m^at t W Aoor.'Wxen, my Z=E= o \d betx-’tuck.-y borne, good-nigbt Vleep no more, my \a d -y , O >ieep no more to-Aay , VJe wiVVsxn^one song io r tbe y. 1; 1 ; r j- J'Jj 3 o\d Ken tack-y bome, for tbe oiA Ken-tacky borne ta r a-way -181= 11» Sing "What. Did Delaware?" Lesson Sixty-Two . 1 e ' Sing 1-3—5-8f-5-3—1: solos 0 . S., More for the fun of it than for any musical value, see how long the boys can hold a " tone as explained in Lesson Fly Be ' '' ' ; ^ 3» Sing one yerse of Old "V. Kent me ky Home" o • 4o Review the accompaniment to ^ • • , "Three Green .Bottles" learned . , : •’ in Lesson Fifty-Nine o i ' t 5o Gall for a vQlunteef quartet V to sihg. a verse of "Three i-v : Green Bottles"i , /' - Using a demonstration keyboard hung on the wall, show the boys' how to locate Middle G on the piano0 It is the white key just below, to. the left of? the two black keys in the approximate center df the' keyboards Tell the boys to make an effort to remember how to locate this one keys If they remember where to find Middle Cs they can always find any other key they wants Explain that a black key above a white note is a sharp| and that a black key below a white key is a flats For example^ the black key above D is D-shanpi the black key below D is Ih-flat s The same black key can be both a sharp and a flats • - / ' —‘18S-• 6 . . Teaoh..the. location of Middle 0 as explainedo 7o Gall for a volunteer to locate . ■ other GfSo 80 Repeat for the remaining letters» 9, Sing "My Little Old Sod Shantyn0 10. Sing nThe Iceman5s SongnQ Lesson Sixty^Ihree ' lo Sing "The Glass Song" in three part harmonyV £0 Sing scale solos c, using con- . rentional syllabless 5.0 Coi^ the fehgle call^ nMess??j, on the hoarde , Explain that bugle calls are composed of tones IjsSjSp and 8; that the boys have been singing do^mi- . sol-do from staff notation of chords for some times so that sight reading the bugle:calls will be easy; the music is written in the same key as music for a bugler, but that to put the music within the range of the group the actual pitch used'will be lower than that shown in the musico 4 0 Sight read "Mess" in unison, using conventional syllableso Adjust the pitch to suit the ' group. %UGL& CALL5 rAcss-. j y t ~ t . X: C ^ - -y-,*qp -p_fq==:3---K. j . J \ t - > M - ib t t -t- W I V > I * [ # TA^S *• __ s A - ^ ■■ ■.ll—'4- ■pf ■»■ -& a f- - •*’w " f ..“...... :" N w" I'd) | ^ -pr y.p - , * i P | f T -V T.F~ — - 4- i *• ■ • it p . : 1 1 t * - il ASSBtABLV: ~d 2 - ^ >---»—tl~p~ f "> * i* r A-- iq)4-:W'<*1 U y._..r._ i V - f - .k r |= r l hi--- • f"F" 1 1 ■ :.::i: ■v ■: ± i ^ ■ ■;trr.7±".:.„..V ...v"dp- RtVfeVLLfc. -/It*) - _ -f- #■ "i: 't'" W“jr"- * m-1-.. » * " 5 0 Copy ,?Iapsn on the board* Have the group sihg it ih unison* usihg conventional syllables:o _ ■ ^ ^ - 60 Teach the tenor of "My Old : Kentucig; Hpmen* - 7o Sing Old Kentucky' Home"' in two part harmonyQ : : .Sing T?Be -Eind to Jour Fine Feathered Friendst?o Lesson Sixty-Four 1 o S m g 1—3—5"8—'5—3—1 solos* . using conventional syliableSo Write ,?Me.ssn* nTaps??* HAssenibly??* and ??Reveiilen on the boardo Have the group sight read the bugle calls slowly* singing some of the more difficult intervals . several timeSo Memorize nlessne. . ' So Sight.read bugle calls as ex plained aboveo v ’ - 3 o 'Sing "Mess"* using the fallowing • lyrics o ' " •• Soupy* soupy* soupy* Without a single bean3 Bacon* bacon* bacon* Without a streak of lean3 Goffee* coffee* coffee* Weakest ever seen„ rA x O u ) WfeKTUCWX HotAfc S-fftVTfcK &""4 C i T -f- ^ ^ C-'lr G,1,t ^:- ,jU TV* «,un sWtnes bngVn \n tVve oU Ktrx-Tucky VxowtCv ‘T is toe 5uwvw«.r, rV\t 6 ark-its are ga^ , 'XVv^ cora-Xo^s ripe ani iVw xtxea- daw's xirWxe. bXoowx, VJWxVe tV\e toirAs moke rxusxc aWtVtt Aa^TWie vjoang ioXks p\a^ roavxA iVie X h - t U cab- in Aooc., M X we.r-rsj, aXXkapp^ arxci L : , v . 3 | i ■> j' J J . ' . l I b ri^ A .^ ^ A b>y Vxcxrd Aimes comts a-Ktvockxn^ai iVxt. door,'VWev\, vtxx ,;V>v j j f p J . . J iriixJ f j i \o A -y # O we.ep v\o more To- da^ j Vie uiXXX sxn^ one song 4or tV\^ oXd Ken-T\ick-xj Vvovtxe, For iKe olA KervTuck-^ Vxome'far a-vsicxy. -186- 4 0 Sing “Three' Green Bottles” - ^with ac.cjompaniment „ 5 = Sing ”m o Did?” In. three part harmonyo 60 Sing one verse of ”My Old Kentuehg1 ■ Home” in imison. 7 o .Sing one verse of the tenor of Old Kentucky Home” in uni son o 80 Sing ”% Old Kentucky Home” in two part harmony0 90 Sing the following words to the tune of “Yonder Stands the Donkey”0 Sweetly -sings the skeeter Is. of you he /bites<> You can hear him humming ■ As he gently lights. ‘ ■ •• Buzz huzz> buzz buzzs Buzz buzzj, buzz buzz, buzz buzz. 10, Sing “The Crocodile”. Besson Sixty-Five 1. Sing “The Glass Song” in three part harmony. 2 o Sing - scale■solos^ using conventional syllables o" Write I chords on the board in the keys of G$ D A s E y Bj, end F-^sharpy as shown on page 187= Show the Boys that.each sharp sign is written some distance to -187- N p = ----— e ------■' “ " o ~ ‘...... — ... mCJm — *— 8 .---- .. § ... - 1 ■; u = JEEZ v r : * : m I 9 : * * % -jt— jfe- 3Erl* 3E s 3 ZEE -©- _Ql a * ¥ 3dE # = y v * r * * $ 188- the right of the preceding one| in writing key signa tures, one does not place one sharp sign directly under another on.e| the sharp signs are spaced toward the right about'the same as lstters in a word6 Therefore, we can ; identify them by refefehce to their position; that it, the last sharp, which would be the one farthest to the right, the next to the last sharp, etc0 Tell the boys that they need not be concerned about memorizing the. key Signatures» In fact, they do not even need to know the letter names of the lines and spaces in order to sight read music. Once do is located3 it is just a matter of placing the ^ rest ofscale syllables in their proper-order on the staff0 In past lessons, do has al ways been marked» TO lbcate do where there are sharps in the signature, just remember that the last sharp is on tic Gall the line or space on which, the last sharp' is located tic and do is bn the next space or lines So do can be easily located whether the signature contains one sharp, or seven sharpsB Just rememberi the last sharp is . ' , : - : •' . : ' locate do in each of the keys written on the boarde Call the. last sharp tl,. and sing both up and down to locate do? s in both the bass and treble clefs0 . 3 S' Teach how. to- locate do, in signatures ‘containing sharps, as explained above0 -189- 4 0 Sing "Mess", "Taps", "Reveille", and "Assembly" from staff notation, using conventional syllables. 5. Memorize "Taps". 6$ Sing tjae following words to "Taps". lay is done. Gone the sun . From the lake, from the hill, from the sky. .•■.I All: is waLl,:/ ' % '/:. ■' Saf ely f est . ^ ' :: ; , - \ .vGod Isnigh. ; . 7 .v Teaoh "On the'MallIJ.» >. • ' On a peaceful snmmer evening when the sum ■ has ■ s e t ‘ ' A l : . - And; the cares of the day linger yet, -.Doh11 be sad and don't be tired, therefs - a place■to go Where there?s rest, brought by sweet music *s flow; ' : . V. ,; v ' . . - fleath the trees with shadows dark the starry sky above, :- There is calm, there is peace, there is love, There, forgetting work and trouble, all may claim a share . . - Of Joy, Hope, and Courage rare. • -8, Sing "lifQ". lesson Sixty-Six 1. Sing 1-3-5-8-5-0-1 solos, using conventional, syllables. S. Review how to 1o cat e do O h TR6. Mmuu A- WVA\MOHH S f G O L O M A H it- j - ...j. s .1J- -j ~ x j 1 i c > f O n a peace-^aV 5vxw x-m ec e ve -ru n ^ NuV\ev\1:Vx? sxxn V ta s^ c \ $ -e- And tVve cares cf -iVxe. da\j Wn-^er "yeY, Don't toe s a d anddbivlt toe t x r e d , tVverels a p\ace*to N^Wre ttoeres '!■' J J ii 4 ktoroagYvt toy svJect rtxa-svc's ^VauJ^ ‘tAcAlto -tWArce* vixlkbbykws dark tVie %W-r>y sky a-too\je, Tke^e vs ca.W, tW rc is 5 i r - p p eace ,tVetc \s XoMe , "Tkere, -ti >*iorK and iroato\e;aU way rn -O- cXaxnx a share O f d a y , and Cour-a^e rare . •-191- in key, signatures contain ing sharpso 5y Review f’Mess,?? .^Taps’lj, ’’Assemblyf’ 9 and ^Reveille” from staff notation, using conventional syllables0 . 4 e Sing !TYou’re in the Arny How” from staff notation, using .eonyentional syllables o 5o Sing ”Qn: the liall”;.in .unison0 6 0 Sing one verse of "Home on the Range” in unisono . 70 Sing one verse of the tenor of ”Home on the Range” in unisono Bo Sing ”Home on the Range” in two part harmonye 9= Teach ”The Star Spangled Banner”o - 0h2 say can you see By the dawn9 s early light What so proudly we hailed At the twilight ?s last gleaming? Whose broad stripes and bright stars Through the perilous fight, Q ?er the ramparts we watched. Were so gallantly streaming? And the rockets red glare. The bombs bursting in air, Save proof through the night That our flag was still there* Oh, say, does that star spangled banner yet wave. 0 8er the land of. the free and the home, of the brave? 10o Sing ”My Little Old Sod Shanty -192- Youre. w w e Rr h x N o w 1 Noure m A W arm-Nj now, \o u 'r e not VxV\mj tVxe. pVow^oail n A-S-StAVTH - h - ^ f O^.^ay ,can n /o u s « c , by tVie c r \ , 1 J t r i j Yrou6\\j w e VvxXVcA a'X "XVxc •YwX'Vv^nts Xast <^Vcaw-ing? VlkasebrooA i ’ V G r ip e s at\A tort^WX -s^ars.-tVtru-tXxc per-iVoqs ^\^XiX,0‘e r *YVe,m m -parX<» vue .' ^ Ji ^ iff j -rrtrt^tF wcxXcVxeA wereso ^aX-Xant-Xsj sXrecxwuxg^ fXndtW rockets rea ^lare.xViebo^tib W rstAn^ in OVi, ,Aoes *tVxaX ^tor- Spaxx^XccX Ban-ner yei w o m c O k r - v W c o n c 1 1 r ■ \and o4 tVve ^ree, and tVxe (tovne o< tVe Vraxie ? —194=- lies son Sixty-Seven : 1 0 Sing t’The'Glass Song” in three part harmony0 2c Singscalesolos^ using , the conventional syllables0 . Sc Sing: ”Qn the-toll”o ' 4c Beview"Yon(re in the Arny : Now^from. staff not at i on 0 5c Sing. "Yon?re in the Arny Now”s using the following ■ v * . ' ■ wprds;.: ; .t: ' - ' - y o u 5re in. the arny nowj, / Y o u ?re not behind a plowo Y ou’ll never get rich* t Y ou811;; mever:ght -rr ioh s ; Y o u ’re in the aray nowe ■ Write I chords ,on the board in the keys of F, ' B-flats E-flats A-flat? D-flat9 and G-flatj, as shown on page 195 0. Show the boys that, each flat sign is writ ten some distance; to the right of the preceding ones in the same manner in which the sharps were written« There for es they can also be identified by reference to their positiono Once more tell the boys that they are not ex pected to memorize the key signatures = It 1s sufficient to learn to locate doc To do thiss just remember that the last flat is on fa? Gall the line or sphee on which the last flat is located fa, count or sing up or down to do0 and do has been loe-atedj,1 whether, in the key of one flat or seven flats® & -196 -p Locate do in each of the keys .written on the board o Call the last flat fa $, and sing both up and down to locate do9s in both the bass and treble clefsa -6* Teach how to locate do in key signatures eoritaining ■ flats5 as explained, above, : 7 o Sight read 11 America” from staff notation^ using con ventional syllableso (Music is on page 7,5:,) So Sing ”Eome on the Range” in two part harmony 0 90 Sing "Golden Slippers” in two part harmory o 10e Sing ”My Name is Yon Yonson” e Less on Sixty -Sight Is Smg. 1—5—5—0—5—5—1 solos5 using conventional syllables <, ' Sc Review how to locate do in key signatures containing ’ ' sharps or flats* Copy the key signatures on the board as shown • b n page 197o Give each bey a sheet of staff paper, with key- signatures written on it as shown«, Tell them that this is not a test« It is just a few minutesnof review in wzhich. each ‘boy has a chan.ee to practice locating do® Write on the board, ”The last sharp is tt”, and -197- jr- p 'p B:~ -~ r i f c = ± = = f A ■ y c »------ ' -CVr --^p C ’ ■ ( n -A— :---- :--- -- ip- "y “ . “ / V ' u \ w--- - -V ------7 = J » - v. V - - -198- ”The last flat is fano Let the boys spend six dr seven minutes locating one do in eaeh key signature0 Sell them to write a whole note on do for id ent 1 fie at i on 0 Re mind the hoys that" if there are no flats or sharps in the signatufe o do is oh Middle At the end of seven minutes, write a whole note on each do in each of the key signatures on the hoard« - let the hoys correct their own papers0 3e Practice locating dOa as explained ahove. 4o feach the harmony to "On : , . the Mall"• - . 5e. Sing "On the Mall" in two part harmony o • 8 0 Sing "liy Old Kentucky Home" in two part hafmoigr * • 7o Sing "Home on the Range" ; in two part harmony» 8 o Sing "She Icemanis Song"e Lesson Sixty-Nine la Sing "The Glass Song"-1 in three part harmony 0 SI Sing scale soloss using conventional syllables o Be Spend seven or eight min utes singing the first few -199- Otk TH6 MALL A IAAX BKUtkli EF. GOLDtA A 14 is On a 'pEace-'fu\ sum-met eve-nmg vihe.n iWt sun Vvossei ' Y s i 4 1 KnA -\Vx< cares of -\Vie 6a^ Vm-ger yet, “Don’t be saA anA don't be tired , there's apVoceto go V/WeretWre!s VEst, brougVvt by sviset mu sic's f\ow^ lHeaiV\ iV drtt^ vj'AsnaAovis ■ i x l ' 4 > j- ■ .w J - ..... dark "Axe star ry sky a-bove, HTkere is ca\m, tVxcrc. \% peace, tbtre xs \oxie, Tkere, io r- ^et-txr^ workanA troubW a\\ .may •: :;:#3jU ] 1MA. 11 ^ >1 cWxm a sVxare Of Aoy, VNope, and Cour-age ra re . bars of familiar songs from staff notation* using conventional syllables= Let the first boy to recognize ' the tune shout out the name ■of-it. 4„ Sing "On the Mall" in two . part harmony o 50 Sing "Golden Slippers" in two part harmony „ 6 o Sing "Who Did?" in three part harmony <-, 7o Teach "In the Evening by the Moonlight" in unison. In the evening by the moonlight you can hear those darkies singing 0 In the evening by the moonlight You can hear the banjos ringing» How the old folks would enjoy it* They would sit all night and listen. As >we sang in the evening by the moonlighto - . . So Sing "In the Evening by the Moonlight"* Encourage "babber 9o Sing "Difo", Lesson Seventy During the excitement and unrest of the last few days of the school year there is very little reason for attempting' to concentrate upon learning new songs* sight reading* tone blending of chordss or other exer cises'which could be construed to be drill* A complete = w ,., _ v . - m - # r - p - : f P -- f*' k f : ...-: i - f - ^ =: —V—V-J— "Av w ^ ^' ■ " T ^ ---- “ " ' T " - V" ( y » 4 :. J ^ Y ' : ------ j — _ ^ V “T r - ^ ” •"•' - --- - J . . i % ? * . .: -:. " - i' . ^ » ... r . 4 --'#^=F= m = , = 4 = f # = — r ~ ' % ■ -#— •■■ .. ■ , * ' .. ■ o-- - W = | rr/r:-^"— - -r- ■’■ * A--^T— ------~ = T - ■ ^ Z l ~ X j = f j = -202- \ h THL Ev&NlMG THt l^OOVIUGHT A. A 5LAND ^-- kix *iW^ e>i*y\\ng by irV\€ moon-Mgbt you could v 1 j J A ; ^:T-R4-T" hear Ihosc darkies \vi the ev'mng b\ the MoonAvgkv x|ou could r f t -c. r : *'.r ? Wear tVxose ban-^ofl rin g ing Wgmi ike old^olks m j o u \Aeojo^ i t ;Ik ty >n o u \4 A » v r , t A' j f f - H i - f s\1 a ll vxxgkX and Vst-tn, hs We san^ In the ev'ning ^ l\ie niots^-UgWt v* “■SOS"” review of all songs learned during the year is a logical procedure for the last three lessons,, Sing only one or two verses of most of the songs =, . If time is available $ call for volunteer 'duos trios 5 or . other specialty groups 0 Try to develop a -carefreej, uninhibited attitudea and gust singe /■ lo Sing "Catalina Magdalena”e . • i. > So Sing ”A Thousand-Legg ed Worm" in three part harmony ®y ■ . 3o Sing »Fy Marne is Yon Yonson” 0 ’ . 4;® • Sing ?!Workihf on the Rail road !t in three part harmony o ■ ' 5o Sing ^Dinahs Blow IE our Horn"* So Sing ”Someone’'s in the Kitchen with Dinah”. in three part harmony 6 7,e Sing "The Pussy Cat"® . 80 Sing ’’Yonder Stands the " - Donkey11 as a round o ; 9 o Sing "The Puppy Dog”0 , : ■ 10o Sing ""Puffer Billies” as a round I , \ - I!® Sing wSolden Slippers” . i, in two part harmonyo , IB, ;Sing :J?The Old Brass Wagon”® 13 ® Sing,. ”The" Texas. Cowboy ” 0 14 e Sing "The Graveyard”® , 15® :Bng. ”Difo”,o ==>804:-= , ■ Lesson Seventy-^Orie: 1» Sing "The Class Song" in three part harmoigr „ 80 Sing "Be Kind to Your Fine Feathered Friends n 0 So Sing "Silent Bight" in three . part hamor$v - , J 4 0 Sing "The First loel’h 5 o Sing "The Iceman5s Song"« 6 o Sing "Down in the Valley" with simple, aecompaniment e ' 7o S i ^ "The Three Crows", 80 Sing "Three Green Bottles" as a four part rounde 9o Sing "Three Green Bottles" with accompanimento 10o Sing "The.CrocodileVo 11 o Sing "Borne on the' Bange" in two part harmony Q 18 e Sing "mat Did Delaware?" Lesson Seventy-Two I, Sing "Who Did?" in three part harmonyo 80 Sing Little Old Sod Shanty", . Si Sing "ly Old Kentucky Home" in two part harmony o .805- 4 e Sing "Mosquitoes" as a rounde 5= Sing "Mess"* 60 Sing "Taps"o- 7* Sing "On the Mall"; in two' part harmony „ 8.0 Sing ,rYou9re in the Army - - Now"* > 9<, Sing "In the Evening by the Moonlight?!', 10* Sing "The Star' Spangled Banner"* 11o Sing "America"o : 18* Sing "The Glass Song" in . three part harmony 0 % ■ CHAPTER IV ■ CONCLUDING STATEMENTS During tlie school year the group of eighth . \ grade h s hoys who had. been expelled from the regu lar school music program - gawe two assembly programs featuring the chorus and the beys1 quartet= The quar tet was. formed by members of the class* They practiced out side school hours and in free periods during the school day„ This quartet sang for P.TtAc meetings^ church services and religious conventions^ in the min strel show, and at Rotarian luncheons e Near the close of the school year the class presented a fifteen minute program of music'over; the local radio stationa The fol lowing is a copy of the pupil announcerfs scripts . ■ Opening Theme "We Are the Eighth Grade Boys" This is Bill Van Hook announcing for the eighth grade boys Of Schools - The boys$ chorus will now sing "Yon Fair Maiden"'® During the singing Regi nald Seaman will read the poem "Two loves"® The boys? quartet will sing a negro spiritual, "Standing in the Need of Prayer"® • - -207- Idw the boys' chorus pr esents "Old Black . Joe11, $he members of the quartet are Donald McClure, Joaquin Sanehez, Richard Eason, and Kimpton Seaman „ fhe boys' wild sing their arrangement of an old Cape Cod sailor's song. v v- / y Edgar A. Cuest's poem:s "Wreckersn will be read'by lari Abrams „ y , ;.v ' v ’ ^ i She entire chorus and quartet now join in presenting a jubilee of Honsense Melodies. • nA Thousand-1 egg ed Worm11 "I've Been forkin' on the Railroad" •' ■ . ' "Dinah, Blow Your Horn'? "Someone's in the Kitchen - with Dinah" ' ■; . Closing These - .. -"We Are the Eighth. Grade Boys" We wish to thank radio station for the opportunity of presenting this program. This is Bill Yan Hook, speak ing for the eighth grade boys of ___ _ School, and wish ing yon a very pleasant good afternoon. The reader should bear in mind that this series of lessons is essentially remedial in design, and is not necessarily propounded as an ideal program for all seventh or eighth grade hoys,.However, the'following .actual experience would Indicate that the philosophy could profitably he applied to many public school general music classes,, Inclement weather during physical eddcation period 'resulted in the crowding' of some sixty seventh and eighth grade girls into a class room. Upon being asked what they preferred to; do? the response wass 11 Why can't we learn some of the songs the boys are singing?” The girls spent the class period learning !tA Thousand-1 egg ed Worm "and “Someone's in the Kitchen with Dinah” in three part harmony. The ease with which such pleasing harmony could be produced was a revela tion to them. The next day the playground supervisor called the writer's attention.to what was happening on the playground, Instead of playing volley ball, the girls were gathered in groups of three to seven, and were sing ing in three part harmony the songs they had learned the previous day. This picture summarizes very vividly the philos- • ophy that, will help the school music program, to play its rightful role l n : the scheme of education. BIBLIOGRAPHY- 1 Arizoiaa Stat.e Gourse of Study for Elementary SGhools« ^ ' Bmlletin Itoiber Twos- IfuslQo State Departmeiit of Mueatlon, 1955 a 20 Bagley* .William Chandlera ' The Mucative Process e Eaemillan CompaEsr%, Hew Yorkp 19140 3c, Boltons Frederick Eliaer0 ' Principles of Educations : Charles Se3?i’bner ?s SohSo Hew York o, '1910.e 4 a Bemver« Colorado, Coarse of Study Monograph Number . Sixteen0 Music e Elementary Schools 0 Public Schools ^ BemTer^ Golorado>: l9SBQ 5o Dewey? John0 Experience and Educationa Macmillan Company 9 Hew _ York s 19380 6» Deweyj, John* Elementary School Records 1§ 51-452 <> (March? 1900) ■ 7d Iowa State Course of Studys . State of Iowa, Department of Public Instruction,, .. ; . - 1928 o . - ' : . : . . : 8o Ewalwasser, Jacob Go Problems in Public School.Music e , M0 Wit mark and Sons, Hew York. 1932 e 9o Lies, Eugene T a "Some Standards for Music in the Regular School Program" .The Hew Leisure Challenges the Schools o ' ■ National Education Association, Washington,. DoC0 10 0 Missouri State Course of Study for Elementary Schools„ " State of Missouri Department of E d u c a t i o n 1936 0 111TMursell,, James. L0 . Principles of Education^ WoW0' Horton' and Compaq, Inco, Hew Yorks 1934s -210- 12 0 Mursells James L 0 Music in American Schools e Silver Bubdett OompaKgr j, lew York® 1 9 4 3 e 13o lort©u? John:Eo i.nd; NortoHp: Margaret Alltucker s . ' Foundations off Curriculum Building a v • Ginn and-CoMpanjr^ lew Xorko 1936 e. 14= Shakespeare s.. Willi am „ ’ The Taming- of, the Shrew e l5o Spaeth^ Sigmund* . ^ 'McGraw-Hill Book Gompan^ s Inc0^ Hew Yorka 1933= 16 * Spaethj, Sigmund = ■ . Music for Fun* ■ McGraw-Hill Book Gompai^r^ Inc * Mew Yorko 1959« 17o Thorndikes Edward L* and Gates^ Arthur I.* Elementary Principles of Education* • ■ ; The Macmillan Gompanf j, Mew York * 1929 s - 18* Washhurne, Carleton* ■ ' A Living Philosophy of Idueationo The John Day Company, New York* 1940e INDEX OF SONGS Page Cat alina l£agda 1 ena & o © © © © © © © © © © © © © © © o o o 0 0 0 O e e 0 o 87 A Thousand-Legged. Worm© © = © © © © © © © © ©G» O O © 0 © 0 © © © 29 I f y Name i s X on ■ "i" ons on © © © © © © © © © © © © © © Q ©,;© <3- © © © & 0 o 31 Workins on the ..Railroad: © , © © © © © ©'©©©«© © <7 0© & 0 0 ■ 37 Dinah "Biow *1 oar R o m © © © © © © © © © © © © © © o O © © © © 6 0 0 ©. . 37 Someone fa In the Kitohen with Dinah 6 6 C? a © © e © 0 0 59 Ydnder Stands the Donkey © © © © © © © © © ©, © e e e @ e e e ’S q e? 44 PhD Per Rilli e s © © © © © © © ® © © © © © © © © © © © © .© © 0 0 6 6 © © o e .6 48 Workihf? on the Railroad (verse)© ©© © 6. © 0 0 © © SO 0 555 A Thousand-*Legged Worm (Bass) © © «• > © © © © © s e © GOO 56 PhZ* 8l S @ S o o o-. o o © © o © o e © a o o ©. e o <> Q ,© o © ® e o 6 Pil.3f*c5 S 0 S © . © © © 0 6 e - o' © © O' .O © e o 3 6 0 O © 0 <3 O 0 6 © 6 6 O © o a q © o e o *. 60 EL E? 0 S © © © © O @ 6 o © O O O O 0 0 0 0 0 6 © 6 0 6 o o o o © 0 0 0. © 6 6 © 6 0 0 62 A Thousand-Legged Worm (Tenor)© „ « © © o © a * 0 * O © 0 0 64 Phrases © © o„„© © o- © © © © Golden Slippers (chorus) ., © © © © » © « . » » e e * ®.e ® a 0 0 0 68 Golden Slippers (verse) ©„©©©,©© ©.©©©© 70 The Old Brass Wagon® »•« © © © © © » © © « © = « =© 6 .-e e o @ © 73 America © @ © © © © ©? © © ©. © © © © © ©-© © © © © © © © © & ©* # © « 4 6 0 <7 0 7 5 Someone$ s in the Kitchen with "Dinah (Bass) 0 0 0 77 The Texas OowLoy © © © © © © © © © © © © © © © © © © © * © © 0 0 0 0 O 0 0 80 Someone? s.in: the Kitchen with Dinah (Tenor ) O 0 82 The Orcx'srey^ro. ©©©©©©©©©©©©©©©©©©©©o® © 0 6 6 © © ©r'0 6 0. 87 Workin f on the Railroad (Tenor)© © © © © @ O 0 © © © O o e 89 D 3, f O © o o o ©• © e The Chimes © ^ © © © c © © © © © © o © © o © ©« Working on the Railroad » (Bass) © © ©> e » s er © 0 6 0 © © d d 95 Be Kind to Your Pine Feathered Friends e © © © 9 6 0 98 Golden Slippers (Tenor) <* * 0 © © © © © © © © Silent ^DJi^ht © © © © © © o © © © © @ @ © @ @ 0 © © © © ©> © e o & 0 a 0 102 Silent Uight (Bass ) © & & & © © The First- Ro el © © .©, © @ © © Silent .Might (Tenor) © © © © «?. 1 to the forld © © © © © ^ ^ © © © © ^ ® © ©© ^ 00 The X o Oman ^ s Song © © & & & © © • »♦» ©= © Down in the IFallo^y* © <* a & © © 0 0 G e- The Three Crows © © © © © ©•©otyo©'©©^©©©-©©©© © ©.© © © eo q? o 125 Central Will Shine©©©©©©©©©©©©©©©s©© a. e© o 128 Central,Will Shine (Bass).,«a»* B® «« s o © S @ CP ^ p e e 130 Central Will Shine (Tenor) , .. « > « ,. <3 © © o © e o 0 0 0 134 ”a,212w 0 55>,@ e o o e e e o q ® o o c o e o e e ^ - e 1 e o o e o © e o o © cr @ 6 Q e © 1^:2 T ] M ? 0 @ 1 2 L © 8 @ © © © © © e © © o © e o e>~© EiX©X* C !L-S O S © e ® © o o © e hf © © © © © © © © © © © o © o a © ©. © ©; o e © o © o 3-48 T 3%G Croc 0(3 % 3.0 © © © © o©,©©© © ^ @ © © © © © © © © © © © © © © © © © © ©. 3.50 EiX0 X* 0 3- S O ’O & a 0 4 & q 0 © © <7 o o © o © © © <7 © a © © © © o o o o o o © © © © 0 3.S^ U O I H 0 0X1 t h.0 K.9»Xi^ 0 © © EX0X*C X S 00 Q^r0Q00<30O00000 0 0 0 0 0-0 0 0 0 0 0 0 0 00 9 0 0 0 0 0 3-58 W3i&t Dxa 13 03-C1W9LX10 ? © © 163 ■ Wh o 33jL(3^P o © d o © d © e o o © 0 © © o 000 <3000000 0 0 o a 0 Who Did? 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