An exploratory course in vocational music

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AN EXPLORATORY COURSE IN VOCATIONAL MUSIC

A Project Presented to the Faculty of the School of Education The University of Southern California

In Partial Fulfillment of the Requirements for the Degree Master of Science in Education

by Wilfred P. Jackson August 1950

UMI Number: EP46370

All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.

Dissertation Publishing

UMI EP46370 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code

ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346

iti. >$j

j /y

Pr^'.

T h is project report, w ritte n under the direction o f the candidate's adviser an d ap p ro ved by h im , has been presented to and accepted by the F a c u lty of the School o f E d u catio n in p a r t ia l fu lf illm e n t of the requirements f o r the degree

o f M a s t e r of

Science in Education.

Date

......

A d v is e r

Dean

TABLE OF CONTENTS CHAPTER

PAGE PART I.

PERFORMER

HOW TO PLAN A CAREER IN MUSICAL PERFORMANCE 1.

COMMUNITY SONGS:

HOW TO SING TOUR FAVORITE . . . 2

MELODIES................... A.

SELECTION: How to choose suitable

B.

REHEARSAL: How to practice melodic singing.

C.

PITCH:

D.

RHYTHM:

E.

POSTURE:

F.

BREATH:

How to

songs . . • 2 •3

sing in tune...................4

How to sing gracefully.............. . 7 How to get a good singing position • 8 How to get proper respiration

while s i n g i n g ................................. 8 2.

GENERAL CHORUS:

HOW TO SING IN H A R M O N Y ............ 12

A.

SEATING:

How to select your pace

•• • • • .12

B.

REHEARSAL: How to practice choralselections 13

C.

SIGHT-SINGING: How

to sing from a music

s c o r e ............................. ...........15 D.

INTERPRETATION:

How to add colour and ex­

pression to m u s i c . .......... 3.

SOLO VOCALIST: A.

PLANNING:

B.

REHEARSAL: ance

20

HOW TO RENDER A S E L E C T I O N ......... 24 How to prepare for solo performance 24 How to practice for solo perform­ ..............

25

iii

CHAPTER C.

PAGE PERFORMANCE:

How to render a selection

before an audience • . • • .................. . 2 8 PART II.

INSTRUMENTAL PERFORMANCE

HOW TO EXECUTE ON SEVERAL KINDS OF INSTRUMENTS A.

WOQD-WIND INSTRUMENT: HOW TO PERFORM’ON THE Bb C L A R I N E T ...................... A.

INSTRUMENTAL ACQUISITION:

34

How to get an

instrument for practice purposes .

5.

B.

CLARINET CARE:

C.

TONE:

D.

PERFORMANCE:

.......... 34

How to handle a clarinet . . .

35

How to produce beautiful music.......... 36 How to play a simple melody. . . 3 #

BRASS INSTRUMENT:

HOW TO PERFORM ON THE

Bb T R U M P E T .......................................... 42 A.

TRUMPET CARE:

B.

TONE:

How to protect your trumpet . . 42

How to produce pleasing music on the

trumpet.................. . * . . . . . . . . . 4 3 C.

PERFORMANCE:

How to play a melody on the

trumpet.......... 6.

PERCUSSION: A.

44

HOW TO PLAY THE SNARE DRUM............ 48

DRUM CARE;

How to get the best service

from the snare drum. B.

DRUM TECHNIQUE:

...................4&

How to play the snare drum

. 49

iv

CHAPTER 7.

PAGE

'STRING INSTRUMENTS: VIOLIN . . . . . A.

HOW TO PERFORM ON THE

...................................

CARE OF THE VIOLIN:

53

How to get the best

use of the v i o l i n .............................. 53 B.

C.

PREPARATION:

How to get the instrument and

your body in the correct playing position

• •

54

PERFORMANCE:

• •

55

How to play a simple melody

PART III.

CONDUCTOR

HOW TO MAKE CONDUCTING PAY YOUR SALARY S.

MUSICAL SCORE: ~HOW TO INTERPRET A MUSICAL COMPOSITION THROUGH INDIVIDUAL PERFORMANCE . . . . A.

NOTATION:

59

How to master the fundamentals

of m u s i c i a n s h i p ................................ 59 B.

REHEARSAL:

How to interpret a musical com­

position wl th expression and emotion . . . . . 9.

CONDUCTOR: A.

HOW TO DIRECT A MUSIC ENSEMBLE . . . .

TIME-BEATING:

REHEARSAL:

65

How to use the hands and arms

in le ading a musi cal g r o u p .............. B.

61

65

How to smoothen your time-beating

t e c h n i q u e ............................... PART IV.

COMPOSER

HOW TO WRITE A MELODY

66

V

CHAPTER 10.

11.

PAGE

COMPOSITION: A.

MELODY:

B.

SONG:

HOW TO COMPOSE MUSIC . . . . . . . .

72

How to organize musical ideas . . . .

72

How to combine phrases into a song. • • 74

ORCHESTRATION:

HOW TO ARRANGE MUSIC FOR

INSTRUMENTAL PERFORMANCES A.

PREPARATION:

................ 73

How to get the necessary skills

for o r c h e s t r a t i o n ....................' . . . . B.

TRANSPOSITION:

73

How to write in the proper

keys for various ins t r u m e n t s ...................79 PART V.

INSTRUCTION

HOW TO MAKE TEACHING YOUR VOCATION 12.

PUBLIC SCHOOLS:-

HOW TO TEACH MUSIC IN THE

PUBLIC SCHOOL S Y S T E M ...................... A.

PREPARATION:

How to make a lesson plan. . . .

B.

COOPERATION:

How to get full class partici­

pation 13.

PRIVATE SCHOOL

B.

HOW TO TEACH MUSIC IN YOUR

.................................... 39

PREPARATION: teaching

34

............................. 35

PRIVATE INSTRUCTION:

A.

34

How to qualify for private

...................................... 39

INSTRUCTIONS:

How to teach private

s t u d e n t s .................

90

CHAPTER

PAGE PART VI.

14.

RELATED FIELDS

HOW TO EARN

A LIVING BY OTHER MUSICAL OCCUPATIONS

REPAIRMAN;

HOW TO MEND A CLARINET OR

S A X A P H O N E ............................................ 95 A.

PADDING:

H c m to stop the keys from leaking

a i r ....................... ..................... 95 B.

SPRINGS:

How to fix a worn or weak

clarinet s p r i n g ....................... 15.

MANAGER: A.

96

HOW TO SELL MUSICAL T A L E N T .............. 100

PREPARATION:

How to

gain thebasic tools

for m a n a g e m e n t ................................ 100 B.

SPEECH:

How to win your a u d i e n c e ............ 101

C.

ADVERTISEMENT:

How

to increase your talent

sale s ........................................... 102

LIST OF EXHIBITS EXHIBIT

PAGE

A.

PRACTICE SONG FOR USE IN

REHEARSAL TECHNIQUES . . .

B.

EVALUATION DEVICE TO AID

IN VOCAL INSTRUCTION . . . 11

C.

PRACTICE SONG FOR USE IN

REHEARSAL TECHNIQUES . . . 17

D.

TWO STAGES IN RHYTHM.

E.

A DEVICE FOR FINDING YOUR PROPER VOICE PLACEMENT. . 27

F.

EVALUATION DEVICE TO AID

G.

MEASURING DEVICE FOR TRUMPET PERFORMANCE. .......... 47

H.

DEVICE FOR MEASURING VIOLIN PERFORMANCE . . . . . .

57

I.

A DEVICE TO AID IN GETTING MUSICAL EXPRESSION . . .

62

J.

A DEVICE FOR OBTAINING SCORE AND PROFILE OF PER­ FORMING SKILLS

.

5

.......................... ,. 23

IN CLARINET INSTRUCTION. . 41

. . . . . .

64

.K.

DEVICE FOR USE IN CONDUCTING T E C H N I Q U E S ............ 67

L.

DEVICE FOR MEASURING CONDUCTING SKILLS.............. 70







VI11

PREFACE TO STUDEHTS The primary purpose in writing this book is to develop in you the skills necessary for earning a living in music* Secondly, the author wishes to help you secure some of the many profits derived from the multi-million-dollar music industry. The opportunities for employment in music are numerous• The variety of skills needed in the music industry makes it possible to find suitable jobs for all who are interested. Within this year many individuals will get large salaries for rendering their services.

A large percentage of these

people will gain fame as movie stars, recording artists, song writers, conductors and teachers.

You too, can fit eas­

ily into this glamorous profession and reap some of the finan­ cial rewards. This book is divided into five parts.

These parts in­

clude the skills needed by the musical performer, conductor, composer, instructor and other occupations related to music. For ease in performance, each chapter gives you clarified directions on how to learn the skills involved.

After years

of experience and observation the author is convinced that any individual with normal intelligence can be successful in music.

If you can»t distinguish Beethovan’s «9th" from

Tschaikowsky’s ,,5thH , if all you know about music is how to

turn the radio dial to a musical program, this is the ideal course for you.

However, if you have had some training,

you will be able to perform sooner.

The method that will

guarantee you success is in this book.

Take advantage of

this grand opportunity for paving the way to earning your livelihood in music.

1

PART I.

PERFORMER

HOW TO PLAN A CAREER IN MUSICAL PERFORMANCE The benefits you will receive as a music performer will more than repay the efforts involved in learning the necessary skills.

The chapters that follow will give you a chance for

discovery.

You may find that you have a "million-dollar"

voice that needs only cultivation.

Here is your chance for

the acquisition of musical skills that will enable you to have leadership in one of the vocal ensembles.

Recognition

as a solo instrumentalist or vocalist is within your reach. The choir will offer you membership if you master the skills in the chapters that follow.

Your instructors will form a

better opinion of you when they see and hear you perform. When grades are being distributed they will give you the "benefit of doubt” if you are a "border line" student.

Here

is a golden opportunity for the demonstration of your talents. Take advantage of this chance.

This may be your last oppor­

tunity while you are in school, to prove to Mom and Dad that you can be successful. three chapters.

Follow the directions in the next

CHAPTER 1.

COMMUNITY SONGS

HOW TO SING YOUR FAVORITE MELODIES The advantages of melodic singing are numerous.

This

sounds like magic, no doubt, but you can change a shrieking or harsh utterance into a refined voice that your friends will love to hear. ability.

You may find that you have natural vocal

If so, your instructor will give you special en­

couragement.

Don’t- forget that your classmates will like or

dislike you according to the way you express yourself in speech and song.

The directions below will show you how

easy singing can be.

Follow these suggestions and see for

yourself how fast your voice will improve. A.

SELECTION

How to choose suitable songs When you learn how to select songs you will have greater ease in singing.

You can avoid uninteresting songs and melo­

dies that place an undue strain on the vocal chords.

Follow

the suggestions below in selecting your songs. • 1.

How to select songs of proper length.

that are short. less time.

Choose songs

They are easy to learn and can be taught in

Reserve the lengthy and more difficult songs for

a later date. Do not attempt a song that takes more than four minutes to render. 2.

How to choose the best range.

within the area of middle c to f



Select songs that are

This range is most

3 adaptable for unison singing because it suits the needs of changing voices.

Be sure to avoid songs with close inter­

vals within the range.

Large intervals are easier for the

beginner to sing. 3.

- How to select songs of interest.

Plan your song

selections to fill the need of some social function.

The

Christmas party, for example, is a social activity.

Select

a song that would lend to the Christmas atmosphere.

"Silent

Night" would be one

example of such a song. B.

REHEARSAL

How to practice melodic singing Contrary to popular belief a "bad start" does not in­ sure a good ending.

Getting a beautiful tone is the result

of careful planning and study.

Therefore, you should begin

with a firm foundation which will be explained in the follow­ ing directions. 1.

How to, conduct rehearsals.

Plan your rehearsal per­

iod to include the following points: a.

Copy the music and the words on the blackboard.

this lesson, copy the practice song (See Exhibit A . ) you can select your favorite songs. songs remember it is

Later

When you choose your

a good policy to supply each individual

with a copy of the music in addition to writing it on the blackboard.

If you can copy music, write, or play the piano,

now is the chance to volunteer your services.

Your instructor

For

will happily give you the opportunity to perform* b.

Listen attentively while the pianist plays the

selection several times.

Follow the words

and music on the

blackboard to the best of your ability. c.

Listen while your instructor sings the song.

Note

carefully the manner in which he phrases while singing. d.

Under the direction of your instructor, sing the

song from beginning to the end.

Repeat the song and strive

to improve over the first performance. e.

Listen carefully while the instructor

sings one

phrase several times. f.

Imitate your instructor after each phrase and con­

tinue until you have sung all of the phrases. g. 2.

Sing the song all the way through. How to limit your rehearsal time for each song.

Practicing on one selection too long is detrimental to other students* morale.

It is wise, therefore, to have several

songs in progress at all times and proceed to the next number even though you have not finished the first selection.

Go

immediately into another song when it is evident that the tune in question has become boring. C.

PITCH

How to sing in tune When you are able to hold a pitch, other classmates will look to you for leadership in singing.

You can be among the

THE SONG OP THE ISLANDS Sidney Rov/e

5 Hawaiian Melody

Slowly; with dignity

1.

Hi he

2.

Life will pass you

gen-tly Be-neath

3.

Ha-i-na

ma - i

r.

an

em-’rald

i -

neck-lace

a

TJp-on

a - na

4 — gi.

the o-cean the wav-ing ka— pu - a -

\ y |t~ \. t r e a st/our love-ly isles lie repose-ful where troubled palm; na.

Me-lo-dious 0 shin-ing

song, soft, ca-ress-Ing,will bring isles, home of beau-ty, Of all the

--- — jH>-----^ -------------- dr— ^ ----- 1---p — -y— v — 9 — * — i— — _£e£___ hearts \-:ay come and find their rest.

tt.i-j' ■H

1r

peace that comes like sooth-lng balm. fir-ma-ment the bright - est

star*

EXHIBIT A PRACTICE SONG FOR USE IN REHEARSAL TECHNIQUES

Farnsworth, Charles H . : chard & Co., Boston, 1S35.

Singing Youth.

(pp. 8-9)

C. C. Bir­

■■

6 first students to sing in tune by following these directions. 1.

How to choose the ideal rehearsal room for singing

on pitch.

Check on your surroundings to make sure that they

are suitable.

Poor ventilation, overheating, cold drafts,

and pianos with faulty tuning can handicap you in singing on pitch.

Select a comfortable room with adequate ventilation

and lighting facilities. 2.

How to sing on pitch by the use of physical and

mental control.

Refrain from ^ny extreme emotional outburst

before or during your singing periods.

Shyness, fearfulness,

nervousness, physical fatigue, and lack of concentration are only a few of the factors that impede singing on pitch. Think of some pleasant incident that has happened to you re­ cently.

This will assist you in getting in the proper frame

of mind for singing. 3.

How to sing on pitch by imitation.

structor or classmate to sing a pitch. closely as possible.

Ask your in­

Imitate the sound as

If you are too low, raise your tone

until you reach the pitch indicated and hold it as long as possible.

If your tone is too high, lower it until you are

on pitch.

Your greatest aid, however, will be in concentra­

tion on the pitch to be sung. ing to sing on pitch. on pitch.

Listen and think before attempt­

Sit beside a classmate who can sing

This will help you immensely.

D.

RHYTHM

How to sing gracefully Even rhythmic responses add to your gracefullness.

For

years models have taken advantage of rhythm in developing their personalities.

You can add to your charm by perfect­

ing the rhythmic patterns to follow. 1.

How to get the proper bodily responses to rhythms.

For the beginner, the following rules should prove helpful for singing in time: a.

Establish the musical pulse by tapping lightly on

the floor with your foot, accentuating the strong beat of each measure. Example

b.

i t m i U'J-ulri 'jl Sway the body to the left on

the first two beats

and sway to the right on the last two beats. beats to each measure. movements are smooth and c.

Clap your hands

There are

four

Repeat this process until your bodily graceful. accentuating the strong beats.

Use

the same procedure as when tapping your foot. 2.

How to sing in the proper rhythm.

Now that you have

learned to respond bodily to rhythms, sing the song and apply one form of the bodily response. awkward.

At first this will seem

You will find later that it is almost impossible

to sing out of meter when your physical attributes are in rhythm. E.

POSTURE

How to get a good singing position If you want to gain prestige with your classmates you will have to watch your "carriage.”

Curved spines, stooped

shoulders, and other body malformations are not conducive to good singing.

The following suggestions will explain how

you can acquire good posture. 1.

How to sit properly.

Place both feet on the floor

letting the body weight rest on the balls of the feet. your hips well back in the chair.

Place

Above all, assume a re­

laxed position at all times. 2.

How to stand while singing.

ahead of the other one.

Place one foot a little

Keep your body erect, but without

stiffness.

Let the weight of your body rest on the balls of

your feet.

Let your arms hang loosely to the sides.

Never

clasp your hands behind you. F.

BREATH.

How to get proper respiration while singing The majority of people breathe incorrectly. only a small amount of their lung capacity.

They use

These shallow

breathers, in time, develop various respiratory diseases because of this practice.' You can avoid, to a degree, some illness by developing good breathing habits.

Proper breath

9 control is your partial guarantee of success in singing* 1.

How to inhale.

BExpand your abdomen and ribs while

breathing througjh the nose or mouth.

Place your hand on

your stomach to make sure that it is your abdomen that ex­ pands not primarily the chest as in most cases. 2.

How to exhale.

Contract your abdomen and ribs when

expelling the air from your lungs. cles.

Tighten the abdomen mus­

There should be no noticeable movements of the chest

in inhaling and exhaling. *

=!' *

SOURCES Materials which may assist you in singing melodies 1.

Dykema, Peter W . , et al:

Twice 55 Plus Community Songs.

C. C. Birchard & Co., Boston, 19472.

Farnsworth H. Charles, et al:

Singing Youth.

C. C.

Birchard & Co., Boston, 1935• , ASSIGNMENTS Helpful activities that will aid you in the effective use of singing techniques 1.

Rendition:

Select two songs that you have learned,

using the method in this chapter, and sing them before the class.

10 2.

Criticism;

When participating in the general assem­

bly program, observe the manner in which your classmates sing.

On-one side of a sheet of paper write the things you

observe.

Opposite this column write what you would do to

improve the situation; EVALUATION A useful device that will assist you in finding your weak points in singing 1,

Rating chart:

Your instructor will rate you accord­

ing to your performance by means of the rating chart (See Exhibit B . ) 2.

Directions;

Add your rating scores and place the

total at the bottom of the page.

Practice your weak points

as indicated by the rating scores in each item.

11 VOCAL RATING CHART1 4 5 b Sharps or flats, us­ ually at ex­ tremes of ranse 4 5 b 1 2 3 Flat, thin, Fair color, b. Tone in middle quality colorless, inconsistent range, tone breaks occas­ ionally 4 5 b 1 2 3 Mostly good c. Rhythm Errotic, in simple uneven passages 4 5 b 1 2 3 Fairly smooth d. Breath Gasps for control breath, un­ breathing, even breathes in proper places a. Pitch

1 2 3 Sharps or flats often

1 2 3 e. Range Breaks on high notes, growls on low notes 1 2 3 f. Posture Slouches in chair

4 5 b Fair quality on high and. low notes

7 r 9 Always on pitch

Score

7 8 9 Rich even tone, smooth tone line 7 8 9 Always accurate 7 8 9 Breathing barely noticeable, breathes in right places 7 8 9 Beautiful high and low notes

4 5 6 7 8 9 Sits correct­ Feet on the ly occasion­ floor, body slightly ally forward, con­ sistent TOTAL EXHIBIT B

EVALUATION DEVICE TO AID IN VOCAL INSTRUCTION

C u r r i c u l u m Laboratory: Evaluation Syllabus. Crawford, Los Angeles, 1949. (Mim.) P. 56.

C. C.

12 CHAPTER 2.

GENERAL CHORUS

HOW TO SING IN HARMONY There are many rewards that you can obtain when you learn to sing in harmony. the music.

Harmony adds beauty and color to

When you master the techniques of part-singing,

you can make a better impression on your "special" friends. Your instructor will give you the opportunity for the organ­ ization of your own vocal ensemble.

With your quartet or

trio, you will have the chance for performance in many of the social functions.

Other students and the instructors will

give you recognition when they see you lead your own group. Frequently, recognition from your instructor means better grades.

If you want to be at the top of your class, follow

the directions listed below. A.

SEATING

How to select your place according to your vocal range Singing the part best suited for your voice will facil­ itate better sounding music.

Proper placement of your voice

will give you ease in singing the harmonic lines.

The follow­

ing suggestions will show you how to select your proper place. 1.

How to place vour voice.

Your instructor will listen

to you sing your lowest and highest notes.

On the basis of

your range the instructor will classify your voice.

13 2.

How to select your seat.

Your instructor will divide

the class into sections according to the parts to be sung. After the instructor has designated the sections, select your seat in the proper section.

Practically any seat will be

correct if the seat is in the section that corresponds to your voice. B.

REHEARSAL

How to practice choral selections Correct rehearsal techniques will give you improved music.

The ability to read music will offer you an oppor­

tunity for an increased repertoire.

Si^i-reading also gives

you a reduction in the amount of time spent in learning new songs.

The suggestions to follow will give you the ”know-

how” in the acquisition of more musical skills.

In singing

harmony, it is best to begin with two-part songs before pro­ ceeding to three and four voices.

The directions below will

point the way for successful choral singing. 1.

How to practice two-part songs.You can get ease

and effectiveness in your rehearsal techniques by observing the following suggestions: a.

Select a two-part song that iswithin

the vocal

range of the boys and girls. b.

Rehearse each part separately.

Apply the same

method used in practicing unison songs as explained in Chap­ ter I, letter B.

Copy the song on the blackboard.

Listen

14 while the instructor plays it several times.

Try singing

the part all the way through before working it out in phrases. After you have rehearsed, hum your part while the second group is practicing their parts. c.

Combine the two parts.

Practice with the combined

parts until you have reached the acceptable degree of per­ fection set by your instructor. 2.

How to practice songs of three or more voices.

Select a song within the vocal range of the designated parts to be sung.

Follow the same technique used in unison and

two-part singing. 3.

How to blend.

The ability to make a vocal group

sound as one unit will facilitate a better quality of music. Blending involves the following processes: a.

Obtain assistance in good vocal production by gett­

ing a clear conception of a beautiful tone.

Listen to some

of the recordings of the great choral and solo vocalists. Listen to your instructor perform for expert guidance.

Re­

produce the tones you have heard to the best of your ability. b.

Alter your tone quality to fit the situation.

Often

the tone quality for certain passages can be made by imita­ tion.

Such moods as sorrow, joy, anger, etc. are easy to

sing when you have expert guidance.

Listen to your instruct­

or and imitate the different moods in the song you are now learning.

15 c.

Vocalize all vowel sounds clearly and smoothly.

Raspy sounds do not blend well.

Determine the vowel sound

and reproduce them with similar intensity. d.

Do not sing over your section.

Good blending re­

sults from similarity in vocal production.

Therefore, you

should never sing over the persons near you except in solo performance. e.

Practice blending by singing and listening to your

section- and the other parts.

Point out the offenders in

your section who are singing noticeably too high or too low. Strive to make your voice similar to the person’s voice next to you. f.

Sing on pitch.

Off-pitch singing spoils the blend.

C.

SIGHT-SINGING

How to sing from a music score Sight-singing offers you reduction in time when learn­ ing new selections.

Besides, you gain recognition from

your classmates when you can sing a song without your in-: structor’s assistance.

You stand a better chance in the

organization of your choral ensemble if you are able to read music.

The directions below will give you skill in sight-

singing. 1.

How to find vour part in the clef.

Copy the treble

and bass staff on the blackboard allowing adequate space be­ tween the staff to write notes.

Copy "Silent Night” (See

16 Exhibit C . ) on the bass and treble clefs you have drawn. After the song has been copied select your vocal part by following these directions: a.

Sopranos, select your part by choosing the upper

vocal notations. b.

Altos, select your parts by choosing the notations

immediately below the sopranos. c.

Basses, select your part from the lowest notes in

the vocal arrangement. d.

Tenors, select your part by choosing the vocal not­

ations immediately below the altos or directly above the basses. e.

Name the clef in which you are singing.

The sop­

rano and also parts are written in the treble clef



The tenor and the bass parts are written in the bass clef •

2.

How to sing the parts through the use of numbers.

Numbers can facilitate ease in reading if you follow these directions: a.

Establish tonal and numerical relationships by sing­

ing the scale according to letters and according to numbers. The letters are

c, d, e, f, g, a, b, and c.

ing numbers are

1, 2, 3, 4, 5, 6, 7, and 1.

b.

Tenors

and basses, locate the note

The correspond­

c on the second

17

SILENT NIGH 1

Franz Gruber

"^ V.*1 T* Si-lent night I Ho-ly night 2 All Is calm, all is bright ,

3 j

i .1

Round yon vir-gin motiv-er and Child! Ho-ly In-fant so

y f b T fc'-y \ ^ l i- £ J j ;en-der and mild,

f; i X-

Sleep in heav-en-ly

oeace,

b

f

frr~i 33C

■f



Sleep

ft

i-1in u.

heav

-

- $ m m en

-

ly

peace.

j:" jT -jVf^ I EXHIBIT C

PRACTICE SONG FOR USE IN REHEARSAL TECHNIQUES

Lorenz" Ellen Jane: Get-Together Songs. lishing Co., Chicago, 1935.

Lorenz Pub­

18 space in your clef. sequential order:

Letters in musical notation follow this c, d, e, f, g, a, b, and c.

Count up the

staff and give each letter its corresponding number in numer­ ical order.

For example, the note c would be 1, d would be If the note goes below c on the i

a.

J

f r

*

second space, count backwards giving each note its corresponding number

After you have mastered this

technique write the correct number over the notes to be sung. Do this for your vocal part. c.

Sopranos and altos, follow the same rules as applied

to the tenors and basses with the exception that you are in the treble clef.

Basses should begin with c on the first

added line below the staff. d.

Practice singing the selection according to numbers.

Make an attempt to sing the selection by numbers without your instructor*s assistance insofar as giving the pitch of each note is concerned.

After several attempts, rehearse each

section before the final performance. e.

Select another song and apply the same techniques.

For simplification choose a song in the key of c. 3.

How to sing with proper note duration.

mine the time signature of the song.

First deter­

In the case of "Silent

Night" the time signature is indicated in this manner: Music is written in measures,



Within each measure

19 is a designated number of beats*

The top part of the time

signature 6/S tells how many beats are in each bar.

The

bottom of the time signature 6/S designates what kind of a note will get one beat.

Simply stated, in

6/S time there

are six beats to each measure and every eighth note one beat.

gets

To find the relationship of time values in not­

ation consult the rhythm chart.

(See Exhibit D . )

Wherever there is a dot beside a note increase that note to one-half of its original value.

For example, if you

have an eighth note in 6/S time, its value would be one beat plus a half.

A half note is equal to two beats in 6/S time;

therefore, a dotted half note

would

beequal to two beats

plus one since one is half of its original value. On the basis of the information above, select any four measures in the song "Silent Night" and sing the correct value of each note.

Be prepared to explain each note dura­

tion. 4.

How to rest at the proper time.

is a corresponding rest.

For each note there

When a rest sign is given, this is

an indication that the performer should pause until the rest period is over.

For a clarification of the rest si ©is see

Section 2, Exhibit D.

Select a song with rest pauses and

learn it according to the method used in sigjht singing. dicate the rest pauses and their relative durations.

In­

Sing

20

the selection and observe the rest notations. 5.

How to sing sharps and flats.

When a sharp

appears after a note, sing the pitch a half tone higher. a flat 6 step.

If

appears after a note, lower the tone one-half

You: should restore the note to its original tone

when a natural s i g n ^ of double sharps flat b J>

appears after a note.

In the case

raise the tone a whole step.

A double

signifies that the tone should be lowered a whole

step. D.

INTERPRETATION

How to add colour and expression to music The average chorus can sing the parts, but it is the first rate chorus that can get expression and deep emotional content from various selections.

Your choir can be the best

unit in your locale if you follow these directions. 1.

How to sing in the best tempo.

For a group such as

this, you should take the tempo markings slightly faster than it is marked.

Rhythm should also be established in the text

of the song by the correct vocalization of the vowels and consonants. 2.

How to phrase correctly.

Your instructor will design

nate the proper breathing places in the selection.

Breathe

only at these various places; otherwise the phrase will be broken.

Strive to get uniformity in tone color, balance, and

intensity of vocal production# 3.

How to obtain the proper dynamics.

Usually the com­

poser has already marked the music for dynamic interpretation In a few instances dynamics are left to the discretion of the instructor.

In most cases the instructor will base his inter

pretation on your ability to perform.

Follow your instruct­

or*^ demands for dynamic interpretation. *

#

*

SOURCES Where to get further assistance 1.

Christy, Van A.:

Glee Club and Chorus.

G. Schirmer, Inc

New York, 1940. 0.

Dykema, Peter W . , et al:

Twice 55 Plus Community Songs.

C. C. Birchard & Co., Boston, 1947* 3.

Lorenz, Ellen Jane:

M e n »s Get-Together Songs.

Lorenz

Publishing Co., Chicago, 1942. 4«

Lorenz, Ellen Jane:

Women*s Get-Together Songs.

Lorenz

Publishing Co., Chicago, 1942. ACTIVITY ASSIGNMENTS Helpful activities that will enable you to improve your choral singing 1*

MALE QUARTET: members.

Organize into groups consisting of four

In each group, let there be at least one bass

and a maximum of three tenors, or two basses and two tenors.

Select a suitable song from the book "Men’s

Get Together Songs,"

Rehearse the selection and present

it to the class, GIRL TRIO: bers.

Organize in groups consisting of three mem­

Make provisions for at least one soprano to each

group.

Select a suitable song from the book "Girl’s

Get Together Songs."

Rehearse the selection and present

it to the class. MIXED CHORUS;

Get in your proper section.

Under the

direction of your instructor, sing two songs that you have learned. EVALUATION A sample device for measuring your progress True-False:

You will be graded by your instructor on

your ability to perform on the true-false test that follows below: Directions:

Place an X in the proper space for true or

false. T a.

F

( )( )

You should select your seat according to the vocal part you sing. rft-

b.

( )( )

A person with the range E to E sing tenor.

J should

23

RHYTHM CHART Humber of beats per note

o

Whole

cJ

Half

J

J Quarter

J

1/2

J

J

3

J

J

J 3

j

,

J

Eighth

rm rm rm rm

ia

Sixteenth

nannsan

va

Thirty-second Section 1. Note Values Number of beats per rest

4

aWhole

1__ ,_______ i/2_______

2_______

-

=?=?=f=?= / / / / / F 7 y -

Half

Quarter

________ 1/4_____________ Sixteenth Section 2.,

Eighth

1/8

Thirty-second Rest Values

EXHIBIT D TWO STAGES IN RHYTHM DEVELOPMENT

■!

CHAPTER 3.

SOLO VOCALIST

HOW TO RENDER A SELECTION There are many rewards to be gained from giving a solo performance.

This is one of the quickest ways to get recog­

nition from your classmates and instructor.

You may convince

your parents of your skills and they will readily give you assistance in furthering your interests.

There are many or­

ganizations that will pay you a small fee for your services if you are efficient.

Begin now to develop skills that will

enable you to perform for social functions in your community. The directions below will show you how to present a solo performance. A.

PLANNING

How to prepare for solo performance You will have a successful performance if you plan the details of the rendition in advance.

Beautiful music can be

acquired if you arrange your program wisely.

The items be­

low will help you in obtaining your goals,. 1.

How to select the proper social function for your

performance. are a member.' 2.

Select some social organization of which you It may be a school or community organization.

How to make the initial contact.

Contact the presi­

dent of the social organization and tell him or her that you would like to render a selection at one of their functions.

25 Sell the president the idea that your rendition will enter­ tain the members of the organization without taxing their pocketbooks.

After the president accepts the idea, get the

time, place, and nature of the meeting at which you will perform. 3. function.

How to select the appropriate song for the social Get a song to fit the occasion.

If, for example,

you are to perform for a church social a popular ballad would be inappropriate.

A song with a sacred•content would

be better suited for that occasion.

If you can*t think of

any songs to fit the occasion, ask your friends, instructors or relatives for the appropriate songs to fit your needs. B.

REHEARSAL

How to practice for solo performance Once you have clearly outlined the things for which you are striving, you can have ease in performance by using the correct rehearsal techniques.

The time saved from good

rehearsal techniques can be devoted to other things that interest you. 1.

Follow the suggestions gpLven below closely. How to find vour voice type.

quality of your voice.

First, determine the

You have already obtained a general

knowledge of your voice quality, but for solo performance there is still a more refined distinction.

Your instructor

will test your voice according to the plan shown in Exhibit E.

26 2. type.

How to select an arrangement to suit your voice Publishers have large lists of arrangements to suit

all vocal types*

If you are a lyric soprano, write to the

publishers and tell them that you want the arrangement or adaptation to suit a lyric soprano*

Many times the publishers

will furnish you with a complete list of arrangements for vocal solos, together with the various keys for each arrange­ ment.

You will find a list of these publishers in the "Sources”

section of this chapter. 3.

How to practice selections for solo performance.

Use the same technique described in letter B, Chapter 1. Practice each selection a short time every day until you have them memorized. A.

How to keep vour voice in good condition.

Don’t

"gamble” on your voice being in good condition all of the time.

Keep your voice trim by exercising it every day.

Here

r

is one example of such an exercise

Practice this exercise using "hung” as the beginning tone followed by "ah.” 5.

How to rehearse with vour accompanist.

pianists can sight-read adequately.

Very few

Therefore, you should

give the pianist plenty of time to practice the selection before a public performance.

After you are fairly familiar

with the selection, you may begin rehearsing with the pianist.

27 VOCAL PLACEMENT CHART1

Range

Voice type Soprano I . . . . . . . . . .

to f”

Soprano II

to fit

Alto 1

• ...............

to d*

........... ..

Alto II • • • • • • • • • • • Tenor I . . . . .

to a

...........

to S

Tenor I I ................. .. Bass I

to f*

. . . . . . . . . . .

Bass I I . . .

to d*

...............

to (J

EXHIBIT E A DEVICE FOR FINDING YOUR PROPER VOICE PLACEMENT

1

,

Dykema, Peter W . , and Gehrkens, Karl W.:

Music.

C. C. Birchard & Co., Boston, 1941.

High School

P. 120.

2a It is best to go over the complete repertoire at least two days before the performance. G.

PERFORMANCE

How to render a selection before an audience Careful planning of performance techniques will insure a minimum of stage fright.

You can win public acclaim if

you adhere to the suggestions below. 1.

How to

dress for the performance.

to the nature of the function. for a square-dance social.

Do not dress in formal attire

If the social function is an in­

formal one make your dress informal. panist dress 2.

in

How to

Insist that your accom­

keeping with the occasion. enter for vour performance.The vocalist

always precedes the accompanist. sufficient.

Dress according

Leading by a few steps is

Take your place near the piano.

your audience with a discreet bow.

Acknowledge

A simple nod to your

pianist is all that is necessary to begin the selection. 3.

How to

exit after vour performance.

Thesinger pre­

cedes the pianist in leaving the stage or platform. 4.

How to handle encores.

cores is to be prepared.

The best way to handle en­

Practice at least two other select­

ions in addition to the songs you will render.

In the event

that you are not prepared or perhaps the time element w o n Tt allow another performance, acknowledge your audiencefs ap­ plause.

If the applause continues, make a brief statement

29 telling your audience how much you and your accomplice have enjoyed performing for them. w o n ft be able to continue.

Express your regrets that you Offer to perform for them at a

later date. Professional artists have program sheets, agents, etc. to cope with the above situation.

However, for your pur­

poses, the afore-mentioned plan will suffice. *’1 -

-t*

^

r

SOURCES Where to look for useful materials 1.

Glenn, Mabelle, and Spouse, Alfred: School and Studio.

Art Songs for

Oliver Ditson Co., Philadelphia,

1930. 2.

Mason, Martin:

Singable Songs for Studio and Recitals.

Oliver Ditson Co., Philadelphia, 1936. 3.

McCarthy, Osbourne, et al: Peoples.

Music of Many Lands and

Silver Burdett & Co., New York, 1932.

(The

solo materials for all voices, given in this book are enough to fill your class needs.) ACTIVITY ASSIGNMENTS Work to do that will help you develop vocal skills 1.

PERFORMANCE:

Select two songs suitable for one of the

following occasions: a.

Birthday party.

b.

Christmas party.

c.

Club social.

Rehearse the selections .and present them in class. RECITAL:

Prepare one selection suitable for an assembly

program.

Sing the selection in class.

Your instructor

will select from the class the best three performances . to be presented on the assembly program. RECORDING:

Make a record of your best selection suit­

able for one of the afore-mentioned occasions. EVALUATION . Useful devices for measuring your progress Best answer:

Place the number of the correct response

in the parenthesis. a.

( )

In finding your voice type, it is best to; (1) Use your own judgement. vice of your classmates. diagnosed.

(4)

(2)

Take the ad­

(3) Have your voice

Rehearse various parts until

you find one suitable to your voice. b.

( )

In selecting suitable songs for social functions it is best to:

(1)

Select the song you know.

(2) Select difficult songs.

(3) Choose songs

that represent the mood of the occasion.

(4)

Obtain song selections from your music dealer. c.

()

In selecting a song arrangement most suitable to your voice, you should begin by: ing to the publisher. that you like.

(1 ) Writ­

(2) Selecting a song

(3) Determining your voice type

(4) Obtaining the copyright date. d.

()

You should keep your voice in good condition by (1)

Eating the proper food.

cal exercises.

(2) Taking physi­

(3) Learning more about music.

(4) Exercising your voice every day. e.

()

In dressing for a performance you should: Wear formal attire.

(1)

(2) Wear informal attire.

(3) Dress to suit the occasion.

(4) Wear dark

uniforms. True-False:

Place X in the correct space for true or

false. T a.

F

()( )

You should follow your accompanist when appearing for a recital.

b.

(){ )

After leaving the stage, you should not acknowledge encores.

c.

()( )

It is best

to rehearse with your accompan­

ist only once before the final performance. d.

()( )

You should memorize your selections for public performance.

32 e.

( ){ )

In planning your performance, you should select only songs that suit the social function, for which you are performing.

(

)

Total.

33

PART II.

INSTRUMENTAL PERFORMANCE

HOW TO EXECUTE ON SEVERAL KINDS OF INSTRUMENTS By far, the majority of musicians earn their liveli­ hood performing on various instruments.

Many unsuccessful

vocalists have found fame and recognition playing an in­ strument.

Instruments are built to give you a greater range

in which to express your ideas.

Complete mastery of in­

strumental techniques can be gained in less time than is required in the perfection of vocal techniques.

The skills

necessary for success in instrumental execution are within this section.

Follow them carefully.

You too, can earn

your livelihood and enjoy the prestige gained from instru­ mental performance.

34 CHAPTER 4»

WOOD-WIND INSTRUMENT

HOW TO PERFORM ON THE Bb CLARINET There are several advantages you may gain through per­ formance on the clarinet*

Competition for enrollment in

the school band is so great that only the best prepared students can be sure of gaining membership.

Your band in­

structor will give you first preference for a position in the beginners band if you can perform on the clarinet*

If

you master the basic techniques of clarinet playing, your parents may buy you an instrument*

The method presented

in this chapter will enable you to have mastery of the basic skills used in wood-wind performance*

Begin now to pave

your way for a successful future in music.

Follow the time

saving suggestions below* A.

INSTRUMENTAL ACQUISITION

How to get an instrument for practice purposes There are several plans by which you may secure an in­ strument*

You will get faster service if you follow one of

the plans below. 1*

How to get instruments from vour Bandmaster.

your instructor to intervene in your behalf.

Ask*

Usually the

music instructors cooperate in assisting each other.

Devise

a plan whereby one-half of the period can be spent in this class.

The remaining time can be spent in the band room.

35 In this way the instruments can be used under the direct supervision of your instructor and the Bandmaster. 2.

How to secure instruments from the student body.

Ask the students who own instruments to bring them to class. Those who have, instruments can assist in instructing the other class members.

If there are not enough instruments

for the class, ask the instructor to provide the mouth­ pieces. 3.

How to get instruments through social organizations.

If there are no school instruments, begin a campaign for a school band.

Get the support of influential organizations

such as the Parent-Teacher Association, Better Business Association, etc.

Get the approval of your school principal

before seeking aid from social organizations. B.

CLARINET CARE

How to handle a clarinet You can get greater efficiency from your clarinet if you treat it properly.

A few moments of conscientious care

will save you a repair bill.

Follow the advice given below

for the best results. 1.

How to assemble a Boehm-system clarinet.

Place the

clarinet case on a substantial base to prevent the parts from falling.

Open the case letting the clarinet parts remain on

the bottom of the case.

Join the clarinet parts.

with the bell and work up to the mouthpiece.

Begin

Do not press

on the keys when joining the clarinet.

Rest the bell on

your stomach while you insert the other parts.

Grease the

joints with special cork greaseif the parts are too

tight.

Adjust the clarinet so the keys will synchronize. 2.

How to separate the clarinet.

After your perform­

ance, remove the reed and run a swab through the clarinet. Dry the reed and place it in a reed holder. joints.

Separate the

Use light pressure and rotate the clarinet parts

to make the joints release. place them in part firmly.

After releasing the parts,

the proper section of the case.

Secure each

It is a good policy to oil the clarinet with

olive or linseed oil.

This should be done at least three

times a year. 3.

How to select a reed.

Choose a reed that has even

grain when

placed over a light.

color.

not get a green reed.

Do

The best reeds have a ripened If the reed is too thin,

cut the tip of the reed with a reed cutter.

If the reed is

too stiff, thin it by filing with sandpaper or a fine file. Begin filing on the body of the reed and proceed to the tip. C.

TONE

How to produce beautiful music Ease in playing is the result of careful planning and practice.

You can have greater ease in performance and a

beautiful tone if you follow the directions below.

37

1.

How to breathe in clarinet performance.

with the chest held high

both feet on the floor.

and exhale using the abdominal muscles. open throat.

Sit erect Inhale

Breathe with an

There must be no constriction.

Instrumental

breathing is similar to the breathing of the vocalist. 2.

How to produce a beautiful tone.

Develop a good

embouchure by using the following plan: a. rest.

Place your right thumb under the clarinet thumb Place your left thumb over the open hole in the back

of the clarinet. b.

Smile.

This tightens the muscles around the mouth.

c.

Insert about 1/2 inch of the mouthpiece, with the

reed on, in the mouth.

Tighten the muscles of the mouth to

prevent air from escaping. d.

Allow a clearance of 1/2 inch on the reed tip.

Do

not place the tongue on the reed when producing a tone. e.

Cover the first three holes on the upper part of

the clarinet with the left thumb hole and play the note c. f.

Practice holding the tone until the muscles of the

mouth become adjusted to the pressure. g.

Listen to the tone and adjust the muscles to get

the tone on the proper pitch. 3.

How to use vour tongue in producing and controll~

ing a tone.

In playing staccato, place the tip of the

3S tongue against the tip of the reed articulating the tone by using the syllable ‘*too” or "tu.”

In playing legato, attach

the note as in staccato and continue a steady stream of air through the mouthpiece. playing.

Make no interruptions as in staccato

Hold the jaw firm while playing. D..

PERFORMANCE

How to play a simple melody Here is your chance to gain recognition. instructor how easy it is to play the clarinet.

Show your Follow the

advice below and you will have little difficulty in playing the clarinet. 1. below.

How to plav a melodv.

Follow the plan demonstrated

This method involves five steps.

You should:

a.

Copy the melody on the blacboard.

b.

Write the names of the notes tinder the melody.

c.

Place the clarinet fingering under each note.

d.

Locate the fingering on the clarinet.

Your instruct­

or will assist you in securing the correct fingering. e.

Practice the selection.

Your instructor will assist

you by playing the selection several times and aiding you with the fingering. 2.

How to develop a better tone.

In order to get the

best tone, you must first build a concept of a beautiful clarinet tone.

You can develop such a concept by listening

39 to recordings of symphony players.

If a professional clar­

inetist is in the city invite him to your class.

Ask him

to perform for you. ^

^

^

SOURCES Where to look for further information 1.

Kent, H. R.:

Let Us Have Music for Clarinet.

Carl

Fisher, Inc., Cooper Square, New York, 1941* 2.

Klose, H.:

Klose Methods Book I .

Carl Fisher, Inc.,

Cooper Square, New York, 1941* 3.

Reineche, Carl E.:

Foundation to Clarinet Plaving.

Carl Fisher, Inc., Cooper Square, New York, 1926. ACTIVITY ASSIGNMENTS Work to do that will enable you to master the skills taught 1.

GROUP PERFORMANCE;

Play two songs that you have re­

hearsed in class. 2.

TRIO RECITAL:

Arrange yourselves in groups consisting

of three each.

Select a number that has three parts.

Rehearse the parts together and perform before the class. 3*

RECORDING:

Record your best selection.

• cording to your instructor.

Submit the re-

EVALUATION Useful device for measuring your progress Profile chart:

Your instructor will mark your perform­

ance as compared with all the members of the class* (See Exhibit F * ) Directions:

After the instructor has marked your per­

formance, draw your profile by connecting the marks with straight lines*

41 PERFORMANCE PROFILE1

1.

.

2

Lower quartile •

Lip position

Middle quartile •

Upper quartile •

Breath control

.

3.

Fingering



.



4.

Posture



.



5.

Care of clarinet





Musicianship





.

7.

Intonation







a.

Tonguing technique





.

9.

Timing

.

Tone production



6

10

.

.



.

. .

.

EXHIBIT F EVALUATION DEVICE TO AID IN CLARINET INSTRUCTION

C u r r i c u l u m Laboratory: Crawford, Los Angeles, 1949.

Evaluation Syllabus. C. C. (Mim.)

P. 54.

CHAPTER 5.

BRASS INSTRUMENT

HOW TO PERFORM ON THE Bb TRUMPET The benefits you will receive through trumpet perform­ ance are numerous.

Your Bandmaster will give you membership

in the beginners band.

Local musical bands and orchestras

will give you a chance to perform with their units. trumpet players are scarce.

Good

Therefore, you have the oppor­

tunity to set the pace in your locale.

The directions below

will point the way to mastery of trumpet techniques.

Follow

this plan if you want quick success. A.

TRUMPET CARE

How to protect your trumpet Proper care of your instrument will give you freedom from many embarrassing moments.

A stuck valve, bent tube,

or old horn can ruin your performance.

The suggestions be­

low will show you how to care for your trumpet. I 1. How to assemble the trumpet. Take the trumpet from the case.

Be sure to lift the trumpet by the valves.

the mouthpiece into the trumpet.

Ease

If the valves are. stuck,

remove the piston and lubricate them with a few drops of valve oil. 2.

How to separate the trumpet.

piece when removing it.

Do not force the mouth­

Tap ligjitly on the sides of the

mouthpiece without damagingthe instrument.

Remove the mute,

music and other accessories from the case.

Put the instrument

43 in the case and check to see that it is held firmly.

Check

the latch to see if it is holding properly. 3.

How to clean vour trumpet.

lukewarm water.

Get a container of

Add enough soap to give the water sufficient

cleansing properties.

Obtain a special trumpet swab.

the slides and clean them in the solution. clean the inside of the slides.

Remove

Use the swab to

After cleaning, rinse the

parts and let them dry.

Lubricate the slides and valves

with special valve oil.

Clean your mouthpiece by washing

it after each performance. B.

TONE

How to produce pleasing music on the trumpet It is easy for you to gain popularity when you learn how to play beautiful music.

Other classmates will seek

your advice, once you are able to produce a lovely tone. The directions below will show you how to produce pleasing tones on the trumpet. 1.

How to hold the trumpet.

the left hand.

Balance the trumpet with

Place your left hand around the three valves,

placing the smallest finger in the finger rest. trumpet straight and forward. 2.

Hold the

Do not hold it at an angle.

How to produce a tone.

Begin by smiling.

tightens the muscles around the mouth.

This

Blow the air gently

through the lips, rolling the outer part of the lips in toward

44 the teeth.

Hold back the expulsion of the breath by increas­

ing the tension at the corners of the lips.

At this point,

cause the lip to vibrate by compressing the lips and forcing air through them.

Place the mouthpiece half on the lower.’

«

lip and half on the upper lip.

Proceed, following the afore­

mentioned directions, in making a tone.

You can make the

proper adjustments to fit your need. 3.

How to use vour tongue in producing and controlling

a tone. teeth.

Place the tongue.on your gums back of the upper When making the tone, pronounce the syllable wtuh,M

For staccato playing, pronounce the syllable «ta.M overblow the trumpet.

Do not

Overblowing distorts the true tone.

Triple-tonguing and double-tonguing should be reserved until the elementary steps in articulation have been mastered. 4.

How to finger the trumpet.

Use the tips of the

fingers in manipulating the trumpet keys. G.

PERFORMANCE

How to play a melody on the trumpet You can gain prestige as a good performer if you are able to play with a beautiful melody.

The advice below will

assist in improving tone and musicianship. 1.

How to play a melody.

section D, Chapter 4.

Follow the plan described in

Briefly stated:

copy the song, name

the notes, select the proper fingering, and practice playing the song.

45 2.

How to get a better tone.

Listen to professional

trumpet performers on records and in person.

Build a con­

ception of a good tone and use this concept as a guide to your playing. ^

${

How to make a lesson plan.

four parts.

Divide your plan into

A description of the parts and their functions

S5 are as follows: a.

Make part A the motivating section.

In this sect­

ion describe the rewards or advantages that your students can get after they have learned the lesson. b.

Make part B the direction phase of the lesson plan.

In this section show how to do the things you are trying to teach.

In giving directions, use only action verbs.

Avoid

the ”how to know” type of directions. c.

Make part C the activity assignment section.

In

this phase, give the student several assignments that will completely cover the things you have taught.

Give only as­

signments that can be checked. d.

Make part D the evaluation phase of the lesson plan.

Devise a test that will measure the things you have taught. Follow the plan used in this book for your evaluation. 4.

How to teach vocal and instrumental selections.

For vocal selection, use the plan discussed in Chapters 1 and 2.

For instrumental selections, use the plan discussed

in Chapters 4, 5, 6 and 7. B.

COOPERATION

How to get full class participation Your ability to teach will depend upon how well the class participates.

You can have a successful lesson if

you follow the plan below.

36 1.

How to set vour class at ease.

of the lesson you are teaching.

Haster the contents

It is also a good policy to

invite the class to present problems for solution. all, sell your lesson to the class.

Above

Show them the benefits

they can receive from having learned the lesson. 2.

How to solve the student’s problems.

questions to the best of your ability.

Answer their

If you can’t find

the solutions to the problems, ask the class to find the right answers.

Ask your instructor when all other methods

have failed. ❖

#

#

SOURCES "Where to get useful information 1.

Gehrkens, Karl Wilson:

Music in the Grade Schools.

C. C. Birchard & Co., New York, 1947. 2.

Dykema, Peter W . , and Gehrkens, Karl Wilson: Music.

3.

High School

C. C. Birchard & Co., New York, 1941.

Normann, Theodore F.: Schools.

Instrumental Music in the Public

Oliver Ditson Co., Philadelphia, 1941. ACTIVITY ASSIGNMENTS Work that will enable you to master instruction techniques

1.

PERFORMANCE:

Prepare a lesson and teach it in class.

LESSON PLAN:

Prepare a lesson plan for the teaching of

a unison song. CITATION:

Submit the plans to your instructor.

For one of your lessons, plan and write a

list of problems that you expect to teach.

After each

problem, list the way in which you would solve the prob­ lem if you did not know the answer. EVALUATION Useful device for measuring progress True-False:

You will be graded on your ability to per­

form on the time-false test below. Directions:

Place an X in the proper space for true or

false. T a.

F

{ )( )

You should begin teaching by giving the students the direction phase of the lesson plan.

b.

( )( )

You should

ask your students for help in

selecting a problem. c.

( )( )

You should

divide your lesson plan into three

parts, direction, assignments and evaluation. d.

( )( }

You should make your assignments checkable.

e.

( )( )

It is best

to reserve your assignment phase

for the end of the lesson plan.

33 f•

( )( )

It is best to motivate the students for genuine participation,

g,

()(

)

You should never offer the students a reward for learning your lesson,

h,

()(

)

You should never ask for student aid in solv­ ing problems.

i,

()(

)

You should have a general knowledge of the lesson you are going to teach*

j.

()(

)

You should select a lesson that will intere st the st udent s •

89 CHAPTER 13.

PRIVATE INSTRUCTION

HOW TO TEACH MUSIC IN YOUR PRIVATE SCHOOL Public school instruction offers you an adequate de­ gree of security.

But, if you want to get rich private

instruction is the best answer. rigid schedules.

You are your own boss.

upon your ingenuity. struction,

You will not have to follow Your salary depends

It is not stabilized as in public in­

Take advantage of this opportunity to prepare

yourself for private instruction.

Follow the directions

given below. A.

PREPARATION

How to qualify for private instruction The best opportunities for private instruction comes to those who are best prepared.

You can obtain adequate

preparation by following the plan below. 1.

How to get the proper training.

curriculum.

Study the school

Take all of the music courses that are offered.

Obtain bulletins from renowned music schools and colleges. Plan your courses now to meet the requirements of the ad­ vanced schools.

Master at least one instrument.

A degree

in music is recommended for private instruction.

However,

many private instructors have been successful with little or no college training. 2.

How to get experience. .Participate in many musical

90

activities.

Join the choir, band, orchestra and other musi­

cal activities.

Get into some of the local music -units.

Try writing music for various groups. 3.

How to find the right location for teaching. Make

a survey of the musical interests of the city in which'you plan to teach.

Any city with little musical interests

should be avoided.

Find out the number and qualifications

of the instructors already in the city.

In addition, get

some idea of the incomes of the best instructors.

Choose

the city that offers you more benefits in salary, living conditions, and chance for expansion. B.

INSTRUCTION

How to teach private students Your ability to gain the confidence of your students will determine whether you will be successful.

You can gain

more students and give them better instruction if you follow the rules below. 1. How to begin private instruction.

Through perform­

ance, discussion and tests determine the student’s musical standing. 2. How to teach the private student.

After having

determined the student’s musical standing, if any, begin by formulating a lesson plan that will best suit his needs. Use the same lesson plan outlined in section A, Chapter 12.

91 3.

How to keep vour students*

not enough. progress.

Instruction alone is

Write the student’s parents indicating his Invite the parents over for recitals.

Reward

your students with various merits and medals if they show progress. ^ •V* ¥ SOURCES Where to look for useful materials 1.

Bender, George C.:

Business Manual for Music Teachers.

Theodore Presser Co., Philadelphia, 1910. 2.

Educational Music Bureau:

E. M. B. Guide.

Music Bureau Inc., Chicago, 1949*

Educational

(Contains a classi­

fied list of vocal and instrumental music.

Method books

and music supplies are also included.) ACTIVITY ASSIGNMENT Work that will enable you to begin a career as a private music instructor 1.

INDIVIDUAL PERFORMANCE:

Prepare a music lesson for a

student in the city you have chosen to begin your career. Teach the lesson in class to one of the students. 2.

LESSON PLAN: or.

Submit a music lesson plan to your instruct­

Include in the plan the city you have chosen and

several reasons to substantiate your city choice.

EVALUATION Device to help measure your progress in private instruction True-False:

You will be graded on your ability to per­

form in the true-false test to follow. Directions:

Place an X in the proper space for true or

false. T a.

F

( )( ) You should gain mastery on at least three instruments.

b.

( )( ) You should select a city that has the largest population.

c.

{ )( ) You should obtain the number of music in­ structors in a city before beginning your private teaching.

d.

( )( ) You should never write the student or his parents a letter.

e.

( )( ) It is best to give rewards for your student*s ac complishment s•

f.

( )( ) You should make one lesson plan for all students to follow.

g.

{ )( ) It is best to begin instruction by perform­ ing for the students.

h.

( )( ) It is best to obtain

a degree in music be­

fore you begin teaching.

93 i.

( ){ ) It is best to get most of your music exper­ ience through observing musical performances,

j.

( )( ) You should begin teaching as soon as you learn how to play an instrument.

(

)

Total.

94

PART VI.

RELATED FIELDS

HOW TO EARN A LIVING BY OTHER MUSICAL OCCUPATIONS All students cannot learn music. those students, do not be alarmed.

If you are one of

You can learn to repair

musical instruments or you may want to manage musical talent. Many times the manager makes more money than any of the per­ formers.

There are many other related fields in music that

will give you security and a chance for leadership. next two chapters will pave the way for your success. them carefully.

The Follow

CHAPTER 14.

REPAIRMAN

HOW TO MEND A CLARINET OR SAXAPHONE Here is your chance to save money. a high fee to fix instruments. can repair your own instrument.

Repairmen charge

With a little knowledge you Once you have learned the

techniques of repairing clarinets other people will seek your advice.

Follow the directions closely for perfection

in clarinet repair. A.

PADDING

How to stop the keys from leaking air You can guarantee a perfect performance if your instru­ ment is in good condition. squeaky music.

Leaking pads will give you

You can get a better tone from your clarinet

if you follow the directions below; 1.

How to get an instrument to repair.

mates for a clarinet or saxaphone.

Ask your class

If your classmates are

unable to obtain one, ask your instructor to borrow an in­ strument from the Bandmaster. 2.

How to get the proper pads.

of the instrument.

Get the model and type

Go to your local music dealer and ask

for a set of pads for the instrument.

If, for example, you

have a Bb Conn clarinet, ask for pads to fit that type. Also, obtain the special padding glue for the clarinet or saxaphone.

96 3.

How to replace a pad.

There are several steps in

replacing a pad. ' They are indicated as follows: a.

Remove the key with the faulty pad.

This can be

done by unscrewing the mechanism that holds the key. b.

Remove the worn pad.

Clean the hardened glue from

the key after the pad has been removed. c.

Put special padding glue on the key.

Let the glue

dry for a short time. d.

Place the proper pad in the glue.

e.

Replace the key on the clarinet and tighten the

screw. B.

SPRINGS

How to fix a worn or weak clarinet spring You can get faster execution with strong springs. springs make your music sound sloppy and flat.

Weak

Follow the

directions below and you will get more speed in your execu­ tion. 1.

How to remove a weak spring.

Obtain a special de­

vice for removing clarinet or saxaphone springs. be obtained from your local music dealer.

They can

With this special

device, remove the spring by inserting the device at the base of the spring.

Tap li^itly with a small hammer until

the spring is removed. 2.

How to replace a spring.

Insert the new spring in

the open hole and hammer it in place.

97 3.

How to connect the spring to the k e y .

small piece of string around the spring.

Place a

Place the loose

ends of the string together and pull the spring into place on the key. ❖ SOURCES Where to look for useful information 1.

Conn, C. G., Ltd.:

How to Care for Your Instrument.

C. G. Conn Ltd., Elkhart, Indiana, 194#. 2.

Conn, C. G., Ltd.:

Conn Vocational School.

Ltd., Elkhart, Indiana, 1947*

C. G. Conn

(This is a catalogue of

the musical and instrumental repair school.) ACTIVITY ASSIGNMENTS Work that will enable you to perfect your instrumental repair techniques 1.

GROUP PERFORMANCE:

Make the necessary pad and spring

repair on several of the clarinet keys. 2.

INDIVIDUAL PERFORMANCE:

Make a complete padding and

spring job on any Bb clarinet or saxaphone. 3«

ASSISTANT:

Assist the Bandmaster in the repairing of

the pads and springs on some of the clarinets and saxa­ phone s.

EVALUATION Device for measuring your progress True-False:

You will be graded by your instructor on

your ability to perform on the true-false test below. Directions:

Place an X in the proper space for true

or false. T

F

)

You should obtain pads from your local music dealer. It is best to get pads to fit the specific model of the instrument you are repairing. You should begin repadding by gluing the new pad on the key. You should let the glue dry completely be­ fore replacing the new pad. It is best to remove a weak spring with a hammer. You should insert a spring in the spring ' hole with a pair of pliers. You should always hook the spring on its corresponding key. You should obtain a special device for remov­ ing weak springs.

( )

You should remove faulty pads by unscrewing the mechanism that holds the key.

You should use a special padding glue in replacing pads. Total.

CHAPTER 15.

MANAGER

HOW TO SELL MUSICAL TALENT Today the managers practically control the musicians. They have the right to hire or fire the musicians. begin now to prepare your career as a "booker."

You can

You can

increase your ability to speak effectively by mastering the contents of this chapter. how to dress properly.

In addition, the manager knows

His appearance must be acceptable

in order to sell the talents of musicians.

You can improve

your appearance by adhering to the advice given in this chapter. A.

PREPARATION

How to gain the basic tools for management Your classmates will seek your assistance when you learn the smooth techniques of winning friends.

Follow the

directions below and watch your personality improve. 1. ately.

How to dress.

The best business men dress moder­

Do not wear flashy clothes.

suit your complexion type.

Dress, in clothes that

Above all, keep your clothes

clean and neatly pressed. 2.

How to keep accurate records.

the business teachers on bookkeeping.

Obtain advice from Practice keeping a

budget during the school term. 3.

How to increase your musicianship.

Select an in­

strument and get a competent instructor to teach you how to

101 play it.

Subscribe to the national music magazines and keep

up with the current news.

Listen to records, radio programs,

television shows, and attend musical programs. B.

SPEECH

How to win your audience Effective speech is the key to your success.

You can

sell the musicians* services much faster if you know how to speak effectively. 1.

Follow the directions below.

How to get your sales speech organized.

Get some-

/

thing to sell. musicians.

In your case get the confidence of the

Show them how you can increase their popularity

and financial status.

After securing the services of the

performers, select their outstanding qualities.

Make a note

of the best points to be used for reference. 2.

How to make the initial step in booking talent.

Select the people who are able to buy the talent that you are selling.

Go to the theaters, night clubs, radio auth­

orities, television managers and other places that offer entertainment.

Make an appointment to see the person in

charge of the organization. 3.

How to begin your sales speech.

Tell the manager

you have talent to sell him that will increase his profits. Explain to the manager what he will gain by listening to your proposition.

It is important that you give him a thorough

account of the advantages of each performer.

102 A.

How to "close the deal *11

After you have convinced

the manager of the performer»s abilities, set the date for the performance.

Make a contract that will cover the cost,

date of performance, and the individuals concerned. the manager to sign this contract. cate.

Get

Make a copy in tripli­

You should keep one, give one to the manager, and

keep the other for future references. C.

ADVERTISEMENT

How to increase your talent sales Your performers are no better than the advertisement they receive.

You can get a larger audience and more money

if you follow the guide below. 1.

How to .advertise through the newspaper.

article to the newspaper concerning your artist. will assist you" in revising the article.

Submit an The editor

It is advisable to

send a picture along with the article. 2.

How to use posters.

Secure the aid of a printer.

Describe the manner in which you want the poster made. Place the finished posters in public places. 3.

How to advertise by radio.

Contact the radio offi­

cials and submit your commercial, giving information about your artist, the date and place of the performance.

The

length of the commercial will* be determined byjour ability to pay.

103 4.

How to advertise by personal contact.

friends to "spread the news."

Tell your

Announce the time, and place

of the performance at social functions* sJL*

s ’«»

•V

'I -

SOURCES Where to look for further information 1*

Denis, Paul:

Your Career in Show Business*

E. P. Dutton

& Co., Inc., New York, 1948. 2.

Johnson, Harriet:

Your Career in Music.

E.

P. Dutton

& Co., Inc., New York, 1945* ACTIVITY ASSIGNMENTS Work that will assist you in developing managing skills 1.

GROUP DEMONSTRATION:

Demonstrate in class, using class

members, how you would promote one of your outstanding vocalists for a theater engagement. 2.

INDIVIDUAL.

PERFORMANCE: Using your own ingenuity, pro­

vide the class with ten minutes of entertainment using talent found outside of class. EVALUATION Useful device for measuring your progress 1.

True-False:

Your instructor will grade you on your abil­

ity to perform on the true-false test below.

104 2.

Directions:

Place an X in the proper space for true or

false* T a.

F It is best to dress in flashy clothes when

() ( )

acting as a manager* b.

(){

)

For practice in keeping records, you should keep a budget during the school year.

c.

()(

)

It is best to avoid practicing music for effectiveness in management.

)

You should always organize your sales speech.

d.

()(

e.

()( ) You should contact all individuals when pro­ moting an engagement.

f.

()(

)

You should begin your sales speech by asking the manager for his opinion of music in gen­ eral.

g.

() (

)

It is best to sign a contract on the day of the performance.

h.

()(

)

You should make one contract in promoting an artist.

i.

(){

)

In the first stages of management it is best to get mediocre talent to sell.

j.

()( )

You should advertise only through the news­ papers.

(

)

Total.

U is lv o r s ity o f b io u trv e rn C a lif o r n ia U P trr.ry