New-found Voices by Derek Hyde

Author:Derek Hyde [Hyde, Derek]
Language: eng
Format: epub
ISBN: 9780951754702
Google: MMcXAQAAIAAJ
Publisher: Tritone Music Publications
Published: 1991-01-15T03:44:57+00:00

By further subdivision of the group the tonic chord is practised in four parts, the larger group, the least able, singing simply the upper DOH. Those that are unable to sing the correct notes are seated together and made to sing either quietly, or simply to listen to the others. In a similar manner other common chords are practised as well as the dominant seventh to tonic chord progression. It is interesting to note that pitch and harmony are taught before rhythm, and that intervals are taught harmonically from the start. For her purposes, pitch is more important than rhythm and the judging of the intervals and the building up of mental sound-pictures of them, is one of the great advantages of Sol-fa and Tonic Sol-fa. The subdivision of the class according to ability seems practical: above all, the teacher’s singing voice is largely the medium of communication rather than the spoken voice, imitation being a major part in the process of learning.

With regard to rhythm, pupils are encouraged to externalize it by striking their palms together for loud beats, and their fists or arms for soft beats. Rests are physically recorded by striking the forefingers downward for the accented, and sideways for the unaccented beats. Rests of several pulses or more are spoken numerically. By inventing specific physical actions to correspond to the beats Sarah Glover ensured that not only have the pupils an active contribution to make, but that the teacher is able to check the nature of the response.

Once tune and rhythm had been established Sarah Glover then progressed to the German Canons.26 The first twelve canons she designed so that all the intervals of the DOH scale are included. They are taught by imitation of the teacher and by use of the ‘Musical Ladder’. The canons lead on to the two-part singing of the hymn-tunes which contain modulation. The progression is then to the LAH scale which is taught similarly to the DOH scale. Music dictation forms a part of the teaching, and there is insistence on the more able pupils teaching the less able. Variety is the keyword, with different groups having independent roles to play in the singing, thus avoiding the boredom and slackness that often occur when everybody sings everything. With justification Sarah Glover regarded her system as a self-teaching method. The teacher’s role is as much one of organiser as instructor. The degree of independence in the singing and conducting entrusted to the pupils is, perhaps, the most noteworthy of her innovations.

In a publication of 1838, Rewards and Punishments in Week-Day Schools for the Labouring Classes of Society, Sarah Glover27 puts forward a sensible and detailed list of rules for running a school, obviously based on her own practice. Long before the advent of Parent Associations, Sarah Glover advocates parental involvement in the school:

Assemble the mothers in the evening, refresh them with tea etc., and then address them on the objects of the institution, on the ways in which they may co-operate

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