As a

and, perhaps, novel

special

Such an exercise may well be studied in

major.
connection wuh ai:y earlier exercise which modu-

help in devel-

oping the sense of individual independence in ensemble, there have been included, in Series I, exer-

lates to

from

Thus I 233 may be sung

the respective exercises.
with I 243, I 246 with I 263, etc.
Some teachers
bjlicve so fully in this method of developing inde-

Series

may be sung

This practice,

unjustifiable,

artistically

have, in moderate use, educational value.

MELODIA undertakes

meet

to prepare students to

the most difficult tasks in pitch and rhythm set by

masters of choral composition.
If suggestions of
from
some
of
the
have occasionally
masters
phrases

capitals for

numerals,

and small capitals for minor keys.

keys

"

"To

means

ii

tion to the

the prevailing key-signature and time-signature

are not cancelled unless a clef or the regular
double-bar [||] is inserted.
The double-thin-bar

prevailing scale

to

minor,

its

is

new

therefore not to be regarded as necessitating

indication of key or time.
The time-signa-

while the key-signature remains.

double-bar
regular
appears where either a clef
or a &ry-s:gnature is changed.
The meaning of the

is

ture

major

The

may change

single-thick-bar [|] or the double-thick-bar [||], as in

super-tonic of the

the Modulatory Exercises and in connection with

the piece

if

[||]

Thus,
modula-

that the exercise illustrates

minor key based on

necessary as to the insertion of clefs

is

Pages 76 to 80 contain Modulatory Exercises,

of which may well be studied earlier than their
The relationposition in the book would indicate.
the tonic

word

of brevity have prompted several departure,

om
For the guidance of the
the established usage.
singer, however, but a single direction is necessary :

some

the objective keys and

desirable.

might appear to be unsystematic and needlessly

As a matter of fact, considerations

MODULATORY STUDIES

Roman

is

unconventional.

the whole work.

ship between
indicated by

detailed study of key-relationship

and the use of bars, which features, on casual view,

been incorporated in the original exercises, the

reader may be willing to waive a charge of unjustifiable appropriation, in view of the specific object of

TlIE

occasionally made in the earlier pages of

but the teacher may best judge whether

order to accustom the student to the practices c.

various authors and editors.

GOAL OF MELODIA

"'HE

There has been no attempt to preserve absolute

uniformity as to the details of notation throughout
On the contrary, it has been deemed
the book.
wise to present a variety of forms and usages in

together, without regard to the tone-content of the

may

is

IV

MATTERS OF NOTATION.

pendence that they cause exercises in the same key,

and with the same number of measures, to be sung
exercises.

major, for instance.

exercises

more

to F-sharp mino'
Reference to th?se

any similarly related key

Cases of
simultaneously.
this sort are indicated in connection with each of

cises which

in

is

repeat-signs,

is,

in the respective cases, obvious.

THE SOURCES OF THE SELECTED EXERCISES

The

authorship of the selected exercises and of the excerpts, is indicated by letters following the
numbers.
An asterisk shows that some modification other than transposition has been

respective

made, but not such as to impair the original character.

Below
All exercises not so marked have been written for this book.

Ad

Gn

is

a key to the indications of the letters.

Ab

T. Anderton [1836]
D. F. E. Auber [1782-1871]

//</

Bh

J.S.Bach

Hr

H.

Be
Bt

L.

Us

J.

Hn
Hg

}.

Haydn

J.

Higgs

[1833-1897]

Kb

J. P.

[1800-1877]

La

H.

Ls

O. Lasso

Lm

H. Lemoine [1786-1854]
L. Leo
[1694-1756]

7>

C. 1.6we

Wg
Wb

[1685-1750]

van Beethoven

A. Bertalotti

Bn H. Bonicke
Br J. Brahms

G. Carulli

Cb

E. Chabrier

Ck
Ch

G.

[1665-1 730(?)]

[1821-1879]

[1842-1894]

W. Chadwick

L. Cherubini

Cn

P. Cornelius

J)u

F. Durante

C.

fr

C. Franck

[1854-

[1760-1842]
[1824-1874]

[1684-1755]

H. Fischer

Fi

[1770-1827]

[1800-1875](?)

[1822-1890]

I.o

Lw
Mn
Mi
Mz

C.F.Gounod
G.F.Handel
L. Hasler

A. Hasse

F.

[1818-1893]

JVa

[1685-1759]

Pa
fy

[1564-1612]

[1699-1783]
[1732-1809]

[1829-1902]

Kimberger
I. angle

[1721-1783]

[1741-1807]

[1532-1594]

[1796-1869]

Mendelssohn [1809-1S47]
}. Minard
[1845(?)]
W. A. Mozart [1756-1791]
F.

Rd
Rs

J. Nares
[1715-1783]
A. Panseron [1796-1859]
C. H. H. Parry [1848-

Rodolphe [1730-1812]
G.Rossini [1792-1868]
J. J.

Sk

J.

F. Schneider

Sm

R. Schumann [1810-1856]
J. A. Steffani
[1726-1800(?>]

St

N. Schelble

[1789-1837]
[1786-1853]

W. Tschirch [1818-1892]
Vd G. Verdi [1813-1901]
R.

Wagner

[1813-1883]

Wn

B.

Webbe [1740-1816]
Widmann [1820-

Wll

F.

Wullner

S.

[1832-19021