The Cecilian Series of Study and Song, Vol. 2
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📗 Excerpt from The Cecilian Series of Study and Song, Vol. 2: For Soprano and Alto Voices; Comprising Study in Tune and Time, With Songs for Practice and Recreation
In this, the next stage of the work, music for two parts or voices is provided, and there will be felt all the contrasts of concord and discord, of brightness and somberness. These are best perceived in music unaccompanied by words. The musical impressions must be established first, and then the words can be added. Contrary to the usual idea, music does not need to be interpreted in words, and the latter are generally impediments in musical expression.
The musical interest is increased when secondary parts or voices are added; for then will come the adjustment of tones in the great variety of the combinations.
It is suggested that the order of study laid down in the first of the series be fol lowed here also, but that, in taking up the work, the practice of the lowest part come first. As a rule, the singers should be familiar with both parts. Should the lower part be too low for the Sopranos, a higher pitch may be taken for study. When the upper part is to be sung by the Altos, the pitch can be lowered temporarily, the cor rect pitch being given when the two parts are taken together.
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Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
In this, the next stage of the work, music for two parts or voices is provided, and there will be felt all the contrasts of concord and discord, of brightness and somberness. These are best perceived in music unaccompanied by words. The musical impressions must be established first, and then the words can be added. Contrary to the usual idea, music does not need to be interpreted in words, and the latter are generally impediments in musical expression.
The musical interest is increased when secondary parts or voices are added; for then will come the adjustment of tones in the great variety of the combinations.
It is suggested that the order of study laid down in the first of the series be fol lowed here also, but that, in taking up the work, the practice of the lowest part come first. As a rule, the singers should be familiar with both parts. Should the lower part be too low for the Sopranos, a higher pitch may be taken for study. When the upper part is to be sung by the Altos, the pitch can be lowered temporarily, the cor rect pitch being given when the two parts are taken together.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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