Singing By Ear And By Note
Many choirmasters maintain that, considering the short musical life of
the choir-boy, it is not worth while to teach him to sing by note. The
quickness of boys' ears for music, they say, is astonishing, while their
memories are equally good. Between the two faculties--ear and memory--we
are told that all things necessary are supplied. The boys, it is said,
don't like theory, and it saves time and patience not to have to teach
it to them.
I am altogether at issue with this view. I believe theory can be made
interesting to boys, especially if the Tonic Sol-fa system is used, and
that if they are taught sight-singing the choirmaster saves himself a
vast amount of trouble. The after musical doings of the boys should also
be considered, and whether they become tenors and basses, or take to an
instrument, the power to read music will be a happiness through their
whole lives.
The leading anthems, services, and psalters are now published in the
Tonic Sol-fa notation, so that boys who have learnt to sing from the
letters at school may quickly be put to sing their parts in the church
choir. The late Alfred Stone, of Bristol, who used the Tonic Sol-fa
notation for his choir boys, found it a great time-saver. So quickly was
the service music got through at the weekly practice that there was
nearly an hour to spare for singing glees and getting up cantatas. Mr.
Stone arranged his boys in two grades. The upper grade all held a Tonic
Sol-fa certificate, and they received higher pay than the lower grade.
The result of this arrangement was that the lower boys got the upper
ones to teach them Tonic Sol-fa in their playtime, and thus saved the
choirmaster a great deal of trouble.
A serious disadvantage of the ordinary way of learning to sing from the
staff notation is that practice usually begins in, and is for several
months confined to key C. For boys' voices this is the most trying of
all the keys--the one most likely to lead to bad habits in the use of
the registers. The keys for boys to begin in are G and F, where you can
get a cadence upon the tonic in the thin register. A German choirmaster,
whose choir is greatly celebrated, has sent me a little book of
exercises which he uses, and I find that, as in most English
publications of a similar kind, there are pages of exercises in key C,
before any other key is attempted. In Tonic Sol-fa all keys are equally
available from the first.
I have had a wide experience of boys taught on all systems, both in this
country and abroad. I have been present, by the courtesy of
choirmasters, at rehearsals in all parts of the country. And I have
noticed that boys taught by ear, or taught the staff notation by the
fixed do, make mistakes which boys trained by Tonic Sol-fa and singing
from it, or applying their knowledge of it to the staff notation, could
not make. The class of mistake I refer to is that which confuses the
place of the semitones in the scale. A sight-singing manual which I
picked up the other day says that the whole matter of singing at sight
lies in knowing where the semitones come. And from one point of view
this is true, but to the Tonic Sol-faist the semitones always come in
the same places, i.e., between me and fah, and between te and
doh. He has only one scale to learn, and as to modulation, that is
accomplished for him by his notation, while the time marks, separating
and defining the beats or pulses of the music, make rhythm vividly
clear.
If choirmasters wish to save themselves trouble, and get confident
attack and good intonation from their boys, they should teach them the
Tonic Sol-fa notation, and let them sing from it always. The staff
notation they can easily learn later on.