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SCHIRMER'S LIBRARYOF MUSICAL CLASSICS
A. Dan n h auser
Solfege des Solfeges
Translated by
J. H. CORNELL
IN THREE BOOKS
-*- Book I — Library Vol. 1«8»
Book II — Library Vol. 1890
Book III - Library Vol. 1191
G. SCHIRMER, Inc.Distributed by
HAL'LEONARD'ICORRORATION7777 W. BLUEMOUND RD. P.O.BOX 13819 MILWAUKEE, Wl 53213
Copyright, 1891, by G. Schirmer, Inc
Pifcrt*« la ib* (J. $. A.
Preparatory Exercises.
For the Intonations.
These exercises are made in order to familiarise the pupil with the in -
tonations, and for sparing him the necessity of solving two difficulties at
a time; the duration of the values and the accuracy of the sounds; hence,
he will have to practise them exclusively while he is learning the first
chapters of principles.
When the pupil shall seize the intonations easily, he will have to prac-
tise in beating two, three and four to the measure, counting the beats
instead of naming the notes, or of solfeggiating them. For this exercise,
he should observe the greatest equality in the duration of each beat.Ci)
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(l) It would even be very important to make use of the Metronome for this work.which ought to
be done at different degrees of slowness and of quickness.The first labor, made with care, will give great ease to all that shall follow; it belongs,
however, to teachers or to mothers of families beginning with young children in this so es-
sential part of the art, to guide them, according to their youthful intelligence,
(a) Each exercise should be made as many times as indicated. It would be well that the teacher
should execute it alone the first time, letting the pupil repeat it immediately.
GO Let the pupil hold each note as long as his breath will allow him, without fatigue, and let
him rest for a measure, in silence.at all the rests indicated.
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One Eighth-note to one beat, one Quarter-note to two heats,the dotted Quarter-note to the whole measure.
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24 Two sixteenths to one beat.
Andante assai.(» -. 100)
72.
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A Quarter-note and an Eighth-note to a beat.
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35
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30 Exercise for the study of three sharps-. Fa, Do and Sol.
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34 Exercise for intoning Si flat.
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35
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Moderato (J -&i\ G. C
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36 Scale of the tone La, minor mode.
Parallel of the scale of Do, major mode.. Lento. (J - bo)
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Summary of lessons 103 and 104
Stesso tempo.i
37
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Lessons of the major mode of Sol.
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Lessons in the minor mode of Mi.
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Lessons in the major mode of Fa.
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44Scale of the tone Re, minor mode.
Parallel of Fa, major mode.
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129.
Scale of the tone Re, major mode.
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130.
Lessons in the major mode of Re.
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48Scale of the tone Si, minor mode.
Parallel of Re, major mode.
Lento (J -.60)
134.^^ -o- &r"TV" -W- *T"
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138
Lessons in the major mode of Sib.
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T ,i Parallel of Si k major mode.
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51
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Of the Fa-Clef (Bass -Clef.)
DoDo si vt
uf re mi fn sol ln' 4*— ' _ . _ . <-*. UICE -*-»-
ZEE331 -»-
Example of the compass of the (Fa-Clef) for the Piano.
Notes in the Sol-clefcorresponding tothose in the Fa.
u o '.'
^
TT »
la
jW fit
mtf" x"f 'aA <i> * S 2^ I I o
/y, „„/ f„ x, 4,1r" nc.Z u o » «
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Exercise in the compass of the Soprano Voice.*)
Cati'e the notes to be named.and let them afterwards be solfeppiated if it be thon^lit
necessary; in which case lot the time be counted by beating two to the measure.
v/r ini(io,n ,
.v/<t<> mi W Si J±4*. fn re si solmi^ re Q ///././fr /r sol,,,,™ si so/
(/m IT. zee ZEE ZEEn ret **-*»-
-**-" »/ o -o-
ZEE IE-«*- ZEE
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mdo • redo mi re
si re fn In so/ mi do .».' O ^». ** ^" re/n si so/mi a ilso/si do
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7.3
Allecretto.G)- too")
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H.Lfn mi , /« sol . ./&
z u 1-»- IE147.3iz2zZZEE
ZTE ZEE €>- ZEE
rr .vo/ //// f» re do data
m ZEEfn mi re J re do
I-€»-
-O- ZEE -O-
?P-O- ZEE
*) Soprano or Contralto voices (women or children) executing music written in the Fa-clef,
will sound it an Octave above the notation.
»S"»'J
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