draw STUDENT WORKBOOK near ONLY - Music Camp

drawnearSavoring and Singing the Presence of God

ST

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Wendell Nisly and Lloyd Kauffman

A Worship and Music Curriculum for the Church

Sample: Lessons 1–3These are the first three lessons of Draw Near: Savoring and Singing the Presence of God, provided as sample material for trial purposes. To pur-chase Draw Near, please visit musiccamp.info/shop.

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ii Draw Near: Savoring and Singing the Presence of God

Copyright © 2020 by Shenandoah Christian Music Camp

All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any

means, including photocopying, recording, or other electronic or mechanical methods, without the prior written

permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other

noncommercial uses permitted by copyright law. For permission requests, please email [email protected], or

write to the address below.

Shenandoah Christian Music Camp

57 S. Main Street, Suite 309

Harrisonburg, VA 22801

www.musiccamp.info

Printed in the United States of America

ISBN 978-163625106-6

First Edition, First Printing

1 0 9 8 7 6 5 4 3 2 1 | | 2 9 2 8 2 7 2 6 2 5 2 4 2 3 2 2 2 1

Unless otherwise indicated, scripture quotations are from The ESV® Bible (The Holy Bible, English Standard Version®),

copyright © 2001 by Crossway, a publishing ministry of Good News Publishers. Used by permission. All rights reserved.

Front Cover Artwork: Mullet, Shandon. Torn Curtain. 2020. Digital.

Torn Curtain abstractly expresses the rending of the temple curtain at the moment of Christ’s death. The presence of

God moves throughout the piece, pulling apart the curtains—revealing the red blood of Christ and the gold of his

triumphant kingship at the torn seams—and emanating from the holiest place, which is now flooded with light. The

faintest hint of wings peeks from behind the curtain, representing the cherubim guarding the altar of God.

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Now unto the King eternal, immortal,

invisible, the only wise God, be honor

and glory for ever and ever. Amen.

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Contents v

CONTENTS

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .vii

Lesson One. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Introduction to This Course . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Introduction to Reading Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Properties of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Solfege . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Counting and Takadimi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Lesson Two. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Worship: Drawing Near to the Presence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Note Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Round and Shape Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Lesson Three. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

What Is Worship? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Beat, Measure, Bar Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Simple Time Signatures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Reading Simple Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Voices High and Low. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

Letter Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Grand Staff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Lesson Four . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

The Essence of Worship: Revelation and Response . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Dotted Half Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Voice Parts on the Grand Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Treble Clef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Bass Clef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Lesson Five. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

Why Worship? (Psalm 95:1-5). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

Eighth Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Measure Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59

Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Home Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Ledger Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Word and Note Alignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Lesson Six . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Why Worship? (Psalm 95:6-7) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Compound Time Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

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Reading Compound Time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Intervals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Half Steps and Whole Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Sharps and Flats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

Naturals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Lesson Seven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Worship: Empowered by the Spirit and the Word . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Dotted Quarter Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87

Key Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

How Key Signatures Work. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Identifying Key Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92

Lesson Eight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

What If I Can’t Sing? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

Sixteenth Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

Chromatic Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104

Chromatic Scale—Solfege . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

Accidentals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106

Lesson Nine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

The Story of God . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Dotted Eighth–Sixteenth Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Pick-Up Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Roadmaps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Lesson Ten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

May Jesus Christ Be Praised!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

Eighth–Sixteenth Note Rhythms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Minor Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130

Minor Scale Variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Dynamic Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Other Musical Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133

Footnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143

Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143

Glossary of Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144

Meter-Pattern Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148

Hand Sign Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150SAMPLE

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Introduction vii

INTRODUCTION

Draw Near: Savoring and Singing the Presence of God is a curriculum intended to help the people

of God as they gather in his presence.

We were made to live in the presence of God. In his presence is life. Away from his presence

is death. In this sense, sin is not our main problem, but the cause of our problem. Our main

problem is that, as sinners, we are exiles from God.

But Jesus brings us near: “I am the way, and the truth, and the life. No one comes to the Father

except through me” (Jn. 14:6). When through Jesus we enter together into the presence of God,

we are approaching the very source of life, joy, and pleasure. For this we should be profoundly

grateful, because away from God is only death and despair.

God calls us into his presence to worship him. Though his presence is the most essential

component of worship, he also gives his people things to do as we gather in worship. One of

those is singing. Singing is frequently commanded by God, and all God’s people are called to

participate. It’s an aspect of worship, but it’s also a skill to be learned. A grasp of basic singing

skills helps God’s people participate freely and fully in worship.

Overview

In each lesson you will explore a facet of biblical worship, followed by a variety of musical

concepts.

Worship Goals

I encourage you to spend time considering the worship meditation in each lesson. In scripture

God calls his people into his presence, but he also instructs us how to approach him. Let us

strive to listen, and to develop our worship in increasingly God-honoring ways.

Musical Goals

This curriculum aims to help congregations read and sing from a hymnal with understanding.

The goal is fluent reading and singing of music found in hymnals, working toward comfortable

familiarity rather than complete musical mastery.

Method

• Solfege is an effective tool to teach pitch and is taught throughout this book, using moveable do, and la-based minor.

• For teaching rhythm, we are using two tools: counting and takadimi. Each has its strengths; teachers may opt for one or both.

• At times, shape notes and round notes have been perceived as being at odds, but each has validity. This book uses both. Both are accessible to the person of average capacity, and I encourage you to invest in both.

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Congregational singing, the focus of this course, is a gift that needs nurturing and development

in order to thrive. When congregational singing loses its life and a sense of transcendence—a

God-ward trajectory—singing becomes a chore. This is lamentable and correctable; may God

give us insight and courage to do both.

My prayer is that you, a worshiper of God, will grow both in knowledge and wisdom, and that

this course of study will truly help you come before his presence with singing. I wish you joy,

laughter, and delight in the journey. Come, let us worship the Lord!

—Wendell Nisly

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Lesson One: An Introduction 9

LESSON ONE

Introduction to This CourseThis is a congregational singing course. As such, it discusses singing that is rooted in worshiping

together. Our prayer is that, with the study of this course, your congregation will grow in a

unified understanding of music, singing, and the worship of our glorious God. Before we dive

in, let’s step back and look at how worship, music, and singing work together.

Thoughts About Worship

Congregational singing is a part of worship. The Bible teaches us various actions of worship

such as prayer, preaching, giving, singing, the Lord’s Supper, and baptism. Each of these

activities plays a different role in the worship of the church. Each activity is important, and

worth studying.

Since worship is our ultimate goal, it’s important to remember that worship does not fit into

singing; rather, singing fits into worship. Biblical principles of worship are not best formed

by reflecting on the kinds of songs we like or don’t like, but by considering what the Bible says

about worship.

Throughout scripture, God teaches principles of worship, and throughout history, humans

have discovered and invented skills of singing. We will study both—but again, it’s important

to remember which is first and which is second. In this course, we highlight the priority of

worship by making it a part of each lesson.

The Bible gives principles and

defines the different parts of

worship.

WorshipSingingPrayer

Offering

Preaching

Lord’s supper Fellowship

The Bible does not teach musical notation and singing skills.

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10 Draw Near: Savoring and Singing the Presence of God

Thoughts About Reading Music

Though today much of our music is written down, singing is first done by ear, not eye. People were singing long before they tried to capture notes on parchment. Many cultures still do not have a system of written music.

The Psalms were written to be sung, but we don’t know how they sounded because only the words were written down. The music was learned aurally—by ear. In the Bible, God’s people are frequently instructed to sing, but they are not specifically instructed to read music.

Printed music does have certain advantages, however:

• Once a congregation learns how the notes work on the page, they can learn songs that they have never heard. A whole new world of music opens up to them.

• Printed music makes it easier for the entire congregation to sing together in harmony.

Nevertheless, not everyone in the congregation necessarily needs to know how to read music. Still, in order to make use of the hymnal, it’s helpful for most to have music reading skills, just

as it’s helpful for most to have word reading skills.

Thoughts About Singing

The goal of healthy congregational singing is meaningful and enthusiastic worship, with as much skill as lies within our gifts and capabilities, to the glory of God and the benefit of the body of Christ.

Since God’s people are universally commanded to sing, just as they are universally commanded to pray, we should expect that all are capable of both singing and praying. Of course, not all are equally gifted in song or words. The body of Christ has different gifts according to the grace given to each individual (Rom. 12:6). These varying gifts are both a difficulty and a joy. They are sometimes difficult to give (others may not appreciate my gift), and they are sometimes difficult to receive (others have gifts I do not—but wish I did).

Nevertheless, part of the maturing of the body is to give and receive the gifts that are given us in varying quantities. As with any gift, we should exercise that gift to the glory of God, to the benefit of the body of Christ, and to the best of our personal capacity. Giving and receiving gifts requires great humility and love. When each part is working properly, so that the body builds itself up in love, the result is great joy (Eph. 4:16).

Congregational singing has many purposes, including worshiping God, and strengthening and bringing harmony to the brotherhood. In singing together, then, the people of God honor the

two great commandments of the Kingdom of God.

If you are one who despairs of

reading music, take heart! You

learned to read words. The

same skills will teach you how

to read music. Mastery and

confidence in any skill (e.g.,

furniture-making, baking,

or raising children) requires

learning, understanding and

practice in bite-size pieces.

In the process of learning

to read music, you will gain

confidence in singing.

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Though both versions represent the same music, one uses a round-note system and the other

uses a shape-note system. Some people find round notes confusing, and others find shape

notes confusing. Both systems have advantages and disadvantages. Because each system has

unique strengths, in this course you will study both round notes and shape notes.

°

¢

3

4

3

4

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A maz- ing- grace! How sweet the sound that saved a wretch like me!

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Figure 1.1 “Amazing Grace”—round notes

Figure 1.2 “Amazing Grace”—shape notes

Course Goals

In summary, this course should help you learn

• principles of worship as taught in the Bible

• basics of reading music from a hymnal

• basics of healthy singing

Introduction to Reading MusicThe skill of reading music aloud is almost identical to the skill of reading words aloud. Both

are processes which take time and practice. If you don’t yet know how to read music, you will

find yourself understanding more as you persist.

There are many different systems for teaching reading literacy (just ask first grade teachers!).

In the same way, there are different systems for teaching musical literacy. Moreover, musical

notation is not all the same. Below are two written versions of “Amazing Grace” that look

different on the page, but sound the same when sung.

°

¢

3

4

3

4

&

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A maz- ing- grace! How sweet the

-4-

sound that saved a wretch like me!

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SAMPLE

ONLY


œ

œœ

œ

œœ

œ

Properties of MusicMusic is a language that communicates through sound. But not every sound is music. A jet

taking off makes a lot of sound—but that’s not music. It’s noise. Musical sounds are made up of

tones. Tones have four properties that make them tones:

1. Pitch—how high or low a sound is

2. Duration—how long or how short a sound is held out, also known as rhythm or timing

3. Dynamics—how loud or soft a sound is, also known as volume

4. Timbre—the quality of a sound, also known as tone color. The timbre of a sound is

how you tell one voice or instrument from another.

Duration is also indicated by notes. Whereas pitch is indicated by

where a note lies on the staff, duration is indicated by the note

alone. A tone will be longer or shorter depending on whether

the note head (the round part) is open or closed, or whether it

has a stem or a flag.

Duration

Whole Note

Half Note

Quarter Note

Eighth Note

Sixteenth Note

Short Long

Pitch is indicated by notes placed on a staff. As the notes go up

or down on the staff, pitch goes up or down.Pitch

Higher Lower Lower Higher Lower Lower

Dynamics are not indicated by the notes, but by other symbols.

Hymns usually do not include these dynamic markings. Here are

a few examples:

Dynamics

piano—quiet decrescendo—gradually become quieter

forte—loud or full crescendo—gradually become louder

SAMPLE

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Although learning the rudiments of music requires some understanding of all four properties,

we will deal primarily with the first two. Hymnals rarely have dynamic markings, and never

have timbre markings. So that leaves us with pitch and duration, which are the primary focus

of this book.

Timbre, or tone color, isn’t prescribed in music. Different

tone colors are achieved by choosing different instruments.

For the purposes of speaking and singing, we have the timbre

God gave us—that’s how we can tell one person from another

just by listening.

Timbre

Practice

Listen as your instructor sings a series of two pitches. Indicate whether the second pitch

is higher or lower than the first by pointing upward or downward with your finger.

SolfegeShape notes are based on a pitch system called solfege. Solfege is the ABC’s of music. Developed around 1000 years ago, solfege assigns a syllable or name to each note of the scale.

The solfege scale is a series of pitches that go up and come down. The most common solfege scale looks like this:

Do

Re

MiFa

Sol

La

Ti

Do

Figure 1.3 Solfege scale

Solfege was devel-

oped by an Italian

monk around 1000

AD. This system is

still in use by singers

all over the world.

Music is a language, and learning a language takes time. For this language, solfege is the singer’s alphabet. Time invested learning solfege pays off, and singers who learn it are well on their way to reading songs quickly.

SAMPLE

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Practice

Sing up and down the scale. Repeat. You may be surprised how quickly it moves from

feeling awkward to feeling normal.

do re mi fa sol la ti do do ti la sol fa mi re do

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Counting and TakadimiJust as solfege is a system for reading pitch, counting and takadimi are systems for reading

duration. Each method has its own advantages and disadvantages, and both will be used

throughout this curriculum.

In these systems, as in much of life, more is “caught than taught.” Explaining them is much

more difficult than simply doing them. Your teacher will help you learn by practice.

Practice

Repeat these rhythms after your instructor.

ta di ta di ta di ta di ta ta ta ta ta di ta di ta di ta di ta - a ta - a

ta ta ta ta ta di ta di ta di ta di ta - a ta - a ta - a - a - a

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙

œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ w

SAMPLE

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2. What property of music describes how high or low a sound is? _______________

3. What term describes how long or short a sound is held? _____________

4. What term describes how loud or soft a sound is? __________________

5. What term describes the quality, or tone color, of a sound? _________________

Match the following terms.

EXERCISESConcepts

1. Name the notes of the solfege scale on the diagram below.

6. _____

7. _____

8. _____

9. _____

10. _____

11. _____ forte

12. _____ piano

13. _____ crescendo

14. _____ decrescendo

a. quiet

b. eighth note

c. quarter note

d. gradually become louder

e. half note

f. loud or full

g. sixteenth note

h. gradually become quieter

i. whole note

SAMPLE

ONLY


Skills

Sing the drills below, one measure at a time, or an entire line at a time. Continue to drill

these until you can sing them accurately.

1

2

3

4

7

5

8

6

9

do

1 f

re

f

mi

f

mi

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3

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2

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4

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4

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3

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do

1

re

2

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3

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2

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1

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2

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3

do

1! @ # $ $ # # # @ ! ! @ #!

SAMPLE

ONLY


Thomas Ken Genevan Psalter, 1551

Praise God From Whom

4

2&

#

do

Praise

do

God

ti

from

la

whom

sol

all

do

bless

re

ings-

mi

flow;

mi

Praise

mi

him

mi

all

re

crea

do

tures-

fa

here

mi

be

re

low;-

&

#

do

Praise

re

him

mi

a

re

bove,-

do

ye

la

heav'n

ti

ly-

do

host;

sol

Praise

mi

Fa

do

ther,-

re

Son,

fa

and

mi

Ho

re

ly-

do

Ghost.

˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙

˙ ˙ ˙ ˙ ˙˙ ˙ ˙

˙˙

˙ ˙˙ ˙ ˙ ˙

Thomas Ken Genevan Psalter, 1551

Praise God From Whom

4

2&

#

do

Praise

do

God

ti

from

la

whom

sol

all

do

bless

re

ings-

mi

flow;

mi

Praise

mi

him

mi

all

re

crea

do

tures-

fa

here

mi

be

re

low;-

&

#

do

Praise

re

him

mi

a

re

bove,-

do

ye

la

heav'n

ti

ly-

do

host;

sol

Praise

mi

Fa

do

ther,-

re

Son,

fa

and

mi

Ho

re

ly-

do

Ghost.

! ! & ) ˙! @ # # # # @ !

* # @

! @ # @ !) & !

˙#

! @* # @ !

Songs

Sing the songs below on solfege, then on text. Continue to drill these until you can sing

them accurately.

10

12

13

do

1

re

2

mi

3

fa

8

sol

œ̇

fa

8

mi

3

re

2

do

1

re

2

mi

3

mi

3

re

2

re

2

do

1

do

1

do

1

ti

7

la

6

sol

œ

do

1

re

2

mi

3

do

1

fa

8

mi

3

re

2

mi

3

sol

œ

fa

8

mi

3

re

2

do

1

mi

3

re

2

do

1

la

6

ti

7

do

1

sol

œ

la

6

fa

8

sol

œ

mi

3

fa

8

mi

3

re

2

do

1

! @ # * * # @ ! @ # # @ @ ! !

! & )! @ #

!

* # @ # * # @

!# @ !

) & !

)* # * # @ !

do

1

re

2

mi

3

fa

8

sol

œ̇

fa

8

mi

3

re

2

do

1

re

2

mi

3

mi

3

re

2

re

2

do

1

do

1

do

1

ti

7

la

6

sol

œ

do

1

re

2

mi

3

do

1

fa

8

mi

3

re

2

mi

3

sol

œ

fa

8

mi

3

re

2

do

1

mi

3

re

2

do

1

la

6

ti

7

do

1

sol

œ

la

6

fa

8

sol

œ

mi

3

fa

8

mi

3

re

2

do

1

! @ # * * # @ ! @ # # @ @ ! !

! & )! @ #

!

* # @ # * # @

!# @ !

) & !

)* # * # @ !

do

1

re

2

mi

3

fa

8

sol

œ̇

fa

8

mi

3

re

2

do

1

re

2

mi

3

mi

3

re

2

re

2

do

1

do

1

do

1

ti

7

la

6

sol

œ

do

1

re

2

mi

3

do

1

fa

8

mi

3

re

2

mi

3

sol

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fa

8

mi

3

re

2

do

1

mi

3

re

2

do

1

la

6

ti

7

do

1

sol

œ

la

6

fa

8

sol

œ

mi

3

fa

8

mi

3

re

2

do

1

! @ # * * # @ ! @ # # @ @ ! !

! & )! @ #

!

* # @ # * # @

!# @ !

) & !

)* # * # @ !

SAMPLE

ONLY


Reflection

Take some time to ponder the questions below. Discuss and compare your responses with

someone else.

1. What are some actions of worship the Bible describes?

2. How would you describe the relationship between worship and singing?

3. What are a few principles the Bible teaches about singing in worship? How might you grow

in honoring these principles?

Challenge

For an additional challenge, help each other read the melody below.

From Psalm 95

Come and Let Us Sing

Lloyd Kauffman

4

2&bb

b

do

Come

Voice 1

ti

and

do

let

re

us

mi

sing

2

Canon in 2, 3, or 4 voices

re

for

mi

joy

fa

un

sol

to

3

-

la

the

sol

rock

fa

of

mi

our

4

fa

sal

mi

va-

re

tion,-

&bb

b

do

Come

ti

and

do

shout

re

a

mi

loud-

re

to

mi

God

fa

the

sol

Lord

la

of

sol

all,

fa

and

mi

praise

fa

his

mi

name

re

in

do

song.

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ W

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Lesson Two: Worship—Drawing Near to the Presence 19

LESSON TWO

Worship: Drawing Near to the PresenceConversations about worship often center on human actions. We debate the most appropriate

ways to sing, preach, baptize, or commemorate the Lord’s Supper. As important as these actions

are, they are not the center. The center and focus of worship is the presence of God.

Humans were created to live in God’s presence. In the presence of God is abundant, overflowing

life:

In your presence there is fullness of joy,

At your right hand are pleasures forevermore. (Ps. 16:11)

Away from the presence of God is death. One of the most devastating effects of Adam and Eve’s

sin was not just that they were expelled from the Garden, but that they lost the closeness of

communion with God in his very presence.

God’s plan has always been to dwell with his people—to have his people live in his presence,

deeply satisfied with his goodness. Even after we sinned, God did not abandon his plan!

God’s plan became evident when he delivered the children of Israel from Egypt. He said these

precious words to his people: “You yourselves have seen . . . how I bore you on eagles’ wings

and brought you to myself” (Ex. 19:4).

God then designed a place where part of what was lost in Eden could be rediscovered. The

tabernacle sanctuary, or the “tent of meeting,” was the place where God would manifest his

presence and draw his people near. “There,” God said,

I will meet with the people of Israel, . . . I will dwell among the people of Israel and will be their God. And they shall know that I am the Lord their God, who brought them out of the land of Egypt that I might dwell among them. (excerpts from Ex. 29:43-46)

The people could never enter into the very presence of God in the Most Holy Place, which was

set off by a heavy veil. Only one man—the high priest—could enter there, and only once a year.

This anticipated a time when all God’s people could draw near to him through Christ (Heb 10:22).

Let us remember that the most essential thing about worship is not our actions, but that we

are drawing near to a holy God, coming into his presence. Only in the presence of God will

we find what we have been created for.

Blessed is the one you choose and bring near,to dwell in your courts!

We shall be satisfied with the goodness of your house,the holiness of your temple! (Ps. 65:4)

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Whole

Half

Quarter

Eighth

Sixteenth

Short

Note ValuesDuration—the length of a tone—is indicated by the note itself, known

as the note value. How long the tone is held is indicated by the way the

note is constructed.

The most common notes are shown below from longest to shortest.

As you can see, these notes are mathematically related to each other, as illustrated below. The

note each level down is one-half the length of the note above it.

Practice

These notes work as math, but they can also become sound. Repeat these rhythms after

your instructor.

Figure 2.2 Length of notes

Whole Note

Half Note

Quarter Note

Eighth Note

Sixteenth Note

Figure 2.1 Types of notes

Each shorter note adds one

feature to the previous note.

A half note looks like a whole

note with a stem, a quarter

note like a half note with a

filled-in notehead, an eighth

note like a quarter note with

a flag, and so on.

flagstem

notehead

Long

ta

1

di

&

ta

2

di

&

ta

3

di

&

ta

4

di

&

ta

1

ta

2

ta

3

ta

4

ta

1

di

&

ta

2

di

&

ta

3

di

&

ta

4

di

& 1 - 2

ta - a

3 - 4

ta - a

1

ta

2

ta

3

ta

4

ta

1

ta

&

di

2

ta

&

di

3

ta

&

di

4

ta

&

di

1

ta

2-

- a

3

ta

4

a

-

-

1 - 2 - 3 - 4

ta - a - a - a

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙

œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ w

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ScaleSongs are built from the musical scale, a set of pitches that go up and come down. Each of these

pitches has a name.

There are many different scales. The major scale runs from do to do by

steps—some half steps and some whole steps (which you will study

later). In a major scale, the half steps occur between mi & fa, and ti & do.

Look at the illustration for the placement of whole steps and half steps.

Scale is derived from the

Italian word scala, a staircase

or ladder.

Figure 2.3 Solfege scale

Round and Shape NotesMost music is written using round notes. Round notes indicate pitch by their placement

on the staff. Singers often read round notes using solfege.

Do

Re

MiFa

Sol

La

Ti

Do

Do

Re

Mi Fa

So

La

Ti

Do

Figure 2.4 Round note solfege scale

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You have seen that duration is indicated by

the construction (or shape) of the note itself.

Similarly, pitch can be indicated by the shape

of the notehead itself.

Just as each solfege syllable has its own name

(do, re, mi, etc.), each solfege syllable has its

own shape.

Thus shape notes indicate the pitch in two ways:

the placement on the staff, and the distinctive

shape of each note. Round notes indicate pitch

in only one way: the placement on the staff.

Figure 2.5 Seven-shape (Aiken) system

We are using the solfege system. Another

system utilizes numbers. Numbers

are used extensively by many singers,

students, and composers.

Do

Re

Mi Fa

So

La

Ti Do

1

2

3 4

5

6

7 1

StaffWhether round or shape, the notes are placed on a staff, a graph of 5 lines and four spaces.

Notes may be centered either on a line (“line notes”) or in a space (“space notes”). Each note

represents a single pitch.

Figure 2.6 The musical staff

line notes

space notes

œ œ œ œ œ œ œ œ

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EXERCISESConcepts

Draw notes as indicated.

1. whole note ________________________________________________________________________________________________

2. half note __________________________________________________________________________________________________

3. quarter note ________________________________________________________________________________________________

4. eighth note ________________________________________________________________________________________________

5. sixteenth note ________________________________________________________________________________________________

Answer the questions.

6. Define scale. _______________________________________________________________________________________________

7. What kind of scale runs from do to do? _____________________________________________________________

8. What two kinds of steps make up a major scale? ________________________ ________________________

9. How do round notes indicate pitch? ________________________________________________________________

10. In what two ways do shape notes indicate pitch? _______________________ ________________________

Label each note on the scale diagram below using both solfege and numbers.

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– = ______

– = ______

+ = ______

+ + + = ______

1

1 5

5

2

2 6

6

3

3 7

4

4 8

1

ta ta

2

ta

3 1 - 2

ta - a

3

ta

1

ta

2

ta

3

ta

1 - 2

ta - a

3

ta

œ œ œ ˙ œ œ œ œ ˙ œ

œ ˙ œ ˙ œ œ œ œ ˙

œ œ œ œ ˙ ˙ w œ œ ˙ ˙ ˙

œ œ œ œ ˙ ˙ w

ta

1

ta

2

ta

3

di

& 1 - 2

ta - a

3

ta

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

&

di

3

ta

œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ ˙ œ œ ˙ œ œ œ œ œ œ œ œ

˙ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ

Answer each equation below with a single note.

Example: + =

+ = ______

– = ______

+ = ______

+ = ______

Skills

Count and clap the rhythms below, then speak them on takadimi.

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Sing through the scales below on solfege.

Sing through the exercises below on solfege. As you may see below, in shape notes the

notehead for fa may point either left or right.

7

9

11

13

8

10

12

14

ta

1

ta

2

ta

3

di

& 1 - 2

ta - a

3

ta

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

&

di

3

ta

œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ ˙ œ œ ˙ œ œ œ œ œ œ œ œ

˙ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ

do

1

re

2

mi

3

fa

9

sol la

6

ti

7

do

1

do

1

ti

7

la

6

sol fa

9

mi

3

re

2

do

1

do re mi fa sol la ti do do ti la sol fa mi re do

œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

do

1

do

1

ti

7

do

1

do

1

re

2

re

2

mi

3

do

1

re

2

mi

3

re

2

mi

3

fa

4

mi

3

re

2

do

1

ti

7

la

6

ti

7

ti

7

do

1

re

2

mi

3

do

1

re

2

mi

3

fa

4

do

1

fa

4

fa

4

mi

3

mi

3

re

2

re

2

do

1

do

1

re

2

ti

7

do

1

do

1

re

2

mi

3

fa

4

sol

œ

sol

œ

fa

4

mi

3

sol

œ

fa

4

mi

3

re

2

sol

œ

mi

3

re

2

do

1

sol

-œ-

la

6

ti

7

do

1

mi

3

re

2

re

2

do

1

do

1

re

2

mi

3

fa

4

sol la

6

ti

7

do

1

do

1

ti

7

la

6

sol fa

4

mi

3

re

2

do

1

œ œ

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Songs

The following song is given in a number of formats. Sing each one on solfege and text.

do

1

do ti do do re re mi do re mi re mi fa mi re

do

1

ti la ti ti do re mi do re mi fa do fa fa mi

mi

1

re re do do re ti do do re mi fa sol sol fa mi

sol

1

fa mi re sol mi re do sol la ti do mi re re do

œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œœ œ œ œ

œ

œ œ œ

œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ

œ œ œ œ

œœ œ œ

œ œ œ œœ œ œ œ

Do can be located on any line or space on the staff. Until we learn key signatures, we will show

the position of do on the staff with a small triangle.

15

17

16

18

All

do

1

do

praise

1

ti

to

7

do

thee,

1

do

my

1

re

God,

2

re

this

2

mi

night,

3

do

For

1

fa

all

8

fa

the

8

mi

bless

3

mi

ings

3

-

re

of

2

re

the

2

do

light;

1

sol

Keep

œ

fa

me,

8

re

O

2

mi

keep

3

mi

me,

3

re

King

2

re

of

2

do

kings,

1

sol

Be

œ

la

neath

6

-

ti

thine

7

do

own

1

al

mi

3

might

re

2

-

re

y

2

-

do

wings.

1

! ! & ! ! @ @ #!

# # @ @ !

@ # # @ @ !) & !

# @ @ !

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do

All

1 f

do

praise

f

ti

to

f

do

thee,

f

do

my

f

re

God,

f

re

this

f

mi

night,

f

do

For

f

fa

all

f

fa

the

f

mi

bless

f

mi

ings

f

-

re

of

f

re

the

f

do

light;

f

sol

Keep

f

fa

me,

f

re

O

f

mi

keep

f

mi

me,

f

re

King

f

re

of

f

do

kings,

f

sol

Be

f

la

neath

f

-

ti

thine

f

do

own

f

mi

al

f

-

re

might

f

re

y

f

-

do

wings.

f

Thomas Ken

Canon for 4 voices

Thomas Tallis

All Praise to Thee, My God

4

2&

#Voice 1 2 3 4

All praise to thee, my God, this night, For all the bless -ings of the light;

&

#

Keep me, O keep me, King of kings, Be -neath thine own al -might - y wings.

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙˙

˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙˙ ˙ ˙ ˙

As you have just seen, shape notes indicate pitch both by their placement on the

staff, and by their shapes. Round notes indicate pitch by their placement on the

staff alone. Pitches in either method can be sung on solfege.

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Challenge!

Sing through the two forms of this song on solfege. It may be in a single voice, or 2

or 3 voice canon.

Reflection

1. Why are our actions not the most essential thing about worship?

2. Do you tend to think of being in the presence of God as the height of pleasure? How

might the scriptures quoted above challenge your perspective?

Solfege Canon 2

4

2&b

Voice 1 2 3

&b

˙ ˙ ˙ ˙˙ ˙ ˙

˙ ˙ ˙ ˙˙ ˙ ˙ ˙

˙

˙ ˙ ˙˙ ˙ ˙ ˙

˙˙ ˙ ˙

˙ ˙˙

w

Solfege Canon 1

4

2&b

Voice 1 2 3

&b

! ! @ #˙ ) ˙

# # @ #! ! & !

#

˙ ) ˙# # @ #

!# * #

! !

˙!

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Lesson Three: What Is Worship? 29

LESSON THREE

What Is Worship?Everyone has an idea of what worship is, but these ideas often disagree with each other.

For some, “All of life is worship.” They rightly understand that our service to God can’t be

confined to pew and pulpit. But at times they may undervalue the gathering together of the

church in a formal worship service.

For others, worship is defined as what the gathered church does, usually on a Sunday morning.

Some define worship even more narrowly, so that “Let’s have a time of worship” means “Let’s

have a time of singing.”

Worship in the Bible is broad, and includes both the worship services when God’s people come

together, but also the lives they live in the everyday world of the kitchen, classroom, office,

or highway.

The Old and New Testaments have numerous words that refer to worship. In both, however,

two main meanings emerge.

The most common meaning is “to bow down.” If you worship in this sense, you prostrate

yourself; your face is on the ground in the presence of someone vastly superior. When Ezra

brought the Book of the Law and opened it, the people “bowed their heads and worshiped the

Lord with their faces to the ground” (Neh. 8:6).

Another set of words mean “to serve” as a slave serves a master. Paul appealed to the church

at Rome to “present your bodies a living and holy sacrifice, acceptable to God, which is your

spiritual service of worship” (Rom. 12:1 NASB). He was beseeching them to see their entire lives

as a service of worship to their Lord.

We should see biblical worship, then, as a broad term that includes all of life. It is both bowing

down before God and serving him. We might define worship as “bowing all that we are before

all that God is.”1

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Figure 3.1 Musical symbols relating to time

measurebar line bar line

double bar line

time signature

Measure

In music, beats exist in groups of strong and weak beats called

measures.

• The first beat of a measure is accented—a strong beat.

• Measures usually have 2, 3, or 4 beats per measure. These are called duple, triple, or quadruple time.

• A time signature (written after the clef) indicates whether a song is in duple, triple, or quadruple time.

• A measure (sometimes called a bar) is represented on the staff as the space between bar lines.

• A double bar line indicates the end of the song.

Practice

Draw a simple staff with two bar lines and a double bar line.

The idea of beat is built into

creation itself. Like music, your

heart also has a regularly occur-

ring pulse, called your heartbeat.

Walking, running, the chirp of a

katydid, the regular rushing of

ocean waves on the shore—all of

these have a sense of beat. Beat,

along with rhythm, are among

the many good gifts God has

given to humanity.

Beat, Measure, Bar LinesMusic is sound in time. Various words and musical symbols describe and represent the

relationship of music and time.

Beat

You have probably noticed that you can often tap your finger or toe to the music. You are

tapping the beat, a regularly occurring pulse.

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Simple Time SignaturesThe time signature consists of two numbers. If the top number is 2, 3, or 4, the time signature

is in simple time.

Triple Time

Quadruple Time

Je-sus is ri-sen, the great King of hea-ven.

Lamb of God our souls a-dore thee,

While u-pon thy face we gaze.

1 2 3 1 2 3 1 2 3 1 2

1 2 3 4 1 2 3 4

1 2 3 4 1 2 3

> w w > w w > w w > w

> w m w > w m w

> w m w > w m

Figure 3.3 Triple time

Figure 3.4 Quadruple time

The groupings of strong and weak beats are illustrated in the poetry below.

Duple Time

Joy-ful, joy-ful, we a-dore thee.

1 2 1 2 1 2 1 2

> w > w > w > w

Figure 3.2 Duple time

(quarter note) (half note)= =

The top number represents the number of beats in a measure.

The bottom number represents the note reckoned as the beat.

Figure 3.5 The anatomy of a time signature

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In simple time, the beat note is divided into two. Study the following chart, which indicates

time signature, beat, and beat division.

Reading Simple TimeStudy and speak the examples below.

Duple 2 beats per measure

Triple3 beats per measure

Quadruple 4 beats per measure

Figure 3.6 Beats per measure

2

4

3

4

4

4

2

2

3

2

4

2

1

ta

2

ta

1

ta

&

di

2

ta

&

di

1

ta

2

ta

3

ta

1

ta

&

di

2

ta

&

di

3

ta

&

di

1

ta

2

ta

3

ta

4

ta

1

ta

&

di

2

ta

&

di

3

ta

&

di

4

ta

&

di

1

ta

2

ta

1

ta

&

di

2

ta

&

di

1

ta

2

ta

3

ta

1

ta

&

di

2

ta

&

di

3

ta

&

di

1

ta

2

ta

3

ta

4

ta

1

ta

&

di

2

ta

&

di

3

ta

&

di

4

ta

&

di

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

˙ ˙ œ œ œ œ ˙ ˙ ˙ œ œ œ œ œ œ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ

Practice

Add the time signature in these examples. Sing on solfege, counting, and takadimi.

&

#

Ho

ta-a

1-2

ta

3

ly-

1

God

ta

2

ta

3

we

ta

1

praise

ta

2

ta

3

ta

Thy

1-2-3

ta-a-a

name.

1&

#

Ho

1-2

ta-a

3

ta

ly-

1

God

ta

2

ta

3

ta

we

ta

praise

1

ta

2

ta

Thy

3 1-2-3

name.

ta-a-a

&

1

An

ta

&

di

2

ta

gels-

&

di

ho

3

ta

4

ta

ly,-

1

high

ta

&

di

2

and

ta

&

di

3

ta

low

4

ta

ly-

-

1

1

&

1

An

ta

-

&

di

2

gels

ta

-

&

di

ho

3

ta

4

ta

ly,-

1

ta

high

di

& 2

and

ta

&

di

low

3

ta

4

ta

ly-

! 1 1 7 1 2 3 2 ! ™ ˙ œ œ œ œœ œ œ ˙ ™

3 2 3 4 ˙ ˙ 4 3 4 œ ) )

œ œ œœ ˙˙ œ œ œ

œ ˙ ˙

1

2

&

#

Ho

ta-a

1-2

ta

3

ly-

1

God,

ta

2

ta

3

we

ta

1

praise

ta

2

ta

3

ta

thy

1-2-3

ta-a-a

name.

1&

#

Ho

1-2

ta-a

3

ta

ly-

1

God,

ta

2

ta

3

ta

we

ta

praise

1

ta

2

ta

thy

3 1-2-3

name.

ta-a-a

! 1 1 7 1 2 3 2 ! ™ ˙ œ œ œ œ œ œ œ ˙ ™

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You are already familiar

with how length and

thickness of vibrating

strings affect pitch.

Smaller instruments,

with shorter and

thinner strings,

have higher tones.

Larger instruments,

with longer and thicker

strings, have lower tones.

Voices High and LowThe human voice is a marvelous instrument. The

vocal cords or vocal folds are two muscle tissues in the

throat housed in the “Adam’s apple” or larynx. They

vibrate as air passes between them, creating sound.

Their length and thickness help to determine

the pitch of the sound they produce. Men’s vocal

folds are longer and thicker, and women’s vocal

folds are shorter and thinner, so men have lower

voices and women have higher voices.

Adult female vocal folds are less than 2 cm long

(about the breadth of a nickel), while the male

vocal folds may be up to 2.5 cm long (about the

breadth of a quarter).These vocal folds have an

astonishing range (low to high pitch), and can

produce a tremendous amount of sound for

their size!

Singing voices are divided into four classes, or

voice parts. From low to high, these are bass, tenor,

alto, and soprano. Bass and tenor are usually sung

by men, with the lower voices singing bass and

the higher voices singing tenor. Soprano and alto

are usually sung by women and children, with the

lower voices singing alto and the higher voices

singing soprano.

The keyboard of a piano is helpful to illustrate

the approximate range of each voice class from

bass to soprano. Figure 3.7 Human vocal folds can sing a wide range of

pitches.2

bass

tenoralto

soprano

Figure 3.8 Common vocal ranges

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Figure 3.10 Parts ranges on a grand staff

Letter NamesEach pitch on the piano is played by a single white or black key. Each key has a single letter

name. The white key letter names are the first seven letters of the alphabet: A, B, C, D, E, F, and

G. These seven letters make up what is known as the musical alphabet.

Grand StaffEach pitch above can be represented on paper by placing it on a grand staff. The grand staff

is simply two connected staffs (or staves, the common plural of staff). The pitches on a grand

staff correlate generally to the entire range of the human voice, from the low notes of basses

to the high notes of sopranos.

F G A B C D E F G A B C D E F G

The black keys derive their

names from the white keys,

e.g. A-flat (written A ) or

C-sharp (written C ). We will

study the black keys later. Figure 3.9 White letter key names

FG

AB

CD

EF

GA

BC

DE

FG

AB

CD

EF

G

soprano

altotenor

bass

F G A B C D E F G A B C D E F G A B C D E F G

MIDDLE

SAMPLE

ONLY


In the middle of the grand staff is middle C. Because it appears above the bottom staff and below

the top staff, it is written using a ledger line—a short line which extends the range of a staff. Note

that middle C also falls roughly in the middle of the piano keyboard.

Practice

Practice the pitch names on the grand staff by singing the following exercise. As you sing,

observe first the notes above, then the notes below the text. For an extra challenge, sing

the note names while covering up the text.

°

¢

°

¢

C C C D E E D E F G C C G G E E C C G F E D C

C C C D E E D E F G C C G G E E C C G F E D C

4

4

4

4

4

4

4

4

&

?

&

?


œ ˙œ œ

œ œœ œ

œ œ

œ œ œ œ ˙


œ ˙œ œ

œ œœ œ

œ œ

œ œ œ œ ˙

1 1 1 2 3 3 2 3 4 ˙1 1

œ œ3 3

1 1œ 4 3 2 !

1 1 1 2 3 3 2 3 8 ˙1 1

œ œ3 3

1 1œ 8 3 2 !

SAMPLE

ONLY


EXERCISESConcepts

Identify the terms.

1. a regularly occurring pulse ______________

2. groups of strong and weak beats ______________

3. two beats per measure ______________

4. three beats per measure ______________

5. four beats per measure ______________

6. indicates whether a song is in duple, triple, or quadruple time _________________________________

7. time signatures with 2, 3, or 4 as the top number ________________________________________

8. a short line that extends the range of a staff ________________________________________

9. two connected staves _________________________________________

10. on a grand staff, the pitch that occurs exactly in the middle of the two staves

__________________________________________________________________

11. human muscle tissues that vibrate to create sound _________________________________________

Identify the musical symbols.

1312

14 15

12. __________________________________________

13. __________________________________________

14. __________________________________________

15. __________________________________________

SAMPLE

ONLY


Fill in any missing letter names or noteheads on the grand staff below.

Fill in the chart below with the correct time signatures.

Duple Triple Quadruple

beat note =

beat note =

Skills

Compare the similarities and differences between examples with the quarter-note and

half-note beat. Perform each exercise counting and clapping, then speaking on takadimi.

1

1 2 3

A E A B A D F

4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23

2

3

2

4

2

2

3

4

3

2

4

4

4

2

3

4

4

4

1

ta

2

ta

&

di

1

ta

&

di

2

ta ta

1

ta

2 1

ta

&

di

2

ta

&

di

1

ta

2

ta

&

di

1 - 2

ta - a

ta

1

ta

2 &

di ta

1 &

di ta

2

ta

1

ta

2

ta

1 &

di ta

2 &

di ta

1 2

ta

&

di

1 - 2

ta - a

1

ta

2

ta

&

di

3

ta

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2 - 3

ta - a

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

&

di

3

ta

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2 - 3

ta - a

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

&

di

4

ta

1

ta

&

di

2

ta

&

di

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

4

ta

1

ta

2

ta

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

&

di

4

ta

1

ta

&

di

2

ta

&

di

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

4

ta

ta

1

ta

2

ta

3

di

& 1 - 2

ta - a

3

ta

&

di

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2

ta

&

di

3

ta

1

ta

2

ta

3

ta

&

di

4

ta ta - a

1 - 2 3

ta

4

ta

&

di ta

1

ta

2

di

&

ta

3

ta

4

di

&

ta

1

di

&

ta - a

2 - 3 4

ta

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

˙ œ œ œ œ ˙ ˙ ˙ œ œ œ œ ˙ œ œ w

œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ

˙ œ œ ˙ œ œ ˙ œ œ ˙ w œ œ œ œ ˙

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

˙ ˙ ˙ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ ˙ œ œ ˙ ˙

œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ ˙ œ

2

4

2

2

3

4

3

2

4

4

4

2

3

4

4

4

1

ta

2

ta

&

di

1

ta

&

di

2

ta ta

1

ta

2 1

ta

&

di

2

ta

&

di

1

ta

2

ta

&

di

1 - 2

ta - a

ta

1

ta

2 &

di ta

1 &

di ta

2

ta

1

ta

2

ta

1 &

di ta

2 &

di ta

1 2

ta

&

di

1 - 2

ta - a

1

ta

2

ta

&

di

3

ta

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2 - 3

ta - a

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

&

di

3

ta

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2 - 3

ta - a

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

&

di

4

ta

1

ta

&

di

2

ta

&

di

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

4

ta

1

ta

2

ta

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

&

di

4

ta

1

ta

&

di

2

ta

&

di

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

4

ta

ta

1

ta

2

ta

3

di

& 1 - 2

ta - a

3

ta

&

di

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2

ta

&

di

3

ta

1

ta

2

ta

3

ta

&

di

4

ta ta - a

1 - 2 3

ta

4

ta

&

di ta

1

ta

2

di

&

ta

3

ta

4

di

&

ta

1

di

&

ta - a

2 - 3 4

ta


˙ œ œ œ œ ˙ ˙ ˙ œ œ œ œ ˙ œ œ w


˙ œ œ ˙ œ œ ˙ œ œ ˙ w œ œ œ œ ˙


˙ ˙ ˙ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ ˙ œ œ ˙ ˙



2

4

2

2

3

4

3

2

4

4

4

2

3

4

4

4

1

ta

2

ta

&

di

1

ta

&

di

2

ta ta

1

ta

2 1

ta

&

di

2

ta

&

di

1

ta

2

ta

&

di

1 - 2

ta - a

ta

1

ta

2 &

di ta

1 &

di ta

2

ta

1

ta

2

ta

1 &

di ta

2 &

di ta

1 2

ta

&

di

1 - 2

ta - a

1

ta

2

ta

&

di

3

ta

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2 - 3

ta - a

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

&

di

3

ta

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2 - 3

ta - a

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

&

di

4

ta

1

ta

&

di

2

ta

&

di

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

4

ta

1

ta

2

ta

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

&

di

4

ta

1

ta

&

di

2

ta

&

di

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

4

ta

ta

1

ta

2

ta

3

di

& 1 - 2

ta - a

3

ta

&

di

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2

ta

&

di

3

ta

1

ta

2

ta

3

ta

&

di

4

ta ta - a

1 - 2 3

ta

4

ta

&

di ta

1

ta

2

di

&

ta

3

ta

4

di

&

ta

1

di

&

ta - a

2 - 3 4

ta


˙ œ œ œ œ ˙ ˙ ˙ œ œ œ œ ˙ œ œ w


˙ œ œ ˙ œ œ ˙ œ œ ˙ w œ œ œ œ ˙


˙ ˙ ˙ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ ˙ œ œ ˙ ˙



SAMPLE

ONLY


5

6

7

8

2

4

2

2

3

4

3

2

4

4

4

2

3

4

4

4

1

ta

2

ta

&

di

1

ta

&

di

2

ta ta

1

ta

2 1

ta

&

di

2

ta

&

di

1

ta

2

ta

&

di

1 - 2

ta - a

ta

1

ta

2 &

di ta

1 &

di ta

2

ta

1

ta

2

ta

1 &

di ta

2 &

di ta

1 2

ta

&

di

1 - 2

ta - a

1

ta

2

ta

&

di

3

ta

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2 - 3

ta - a

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

&

di

3

ta

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2 - 3

ta - a

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

&

di

4

ta

1

ta

&

di

2

ta

&

di

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

4

ta

1

ta

2

ta

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

&

di

4

ta

1

ta

&

di

2

ta

&

di

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

4

ta

ta

1

ta

2

ta

3

di

& 1 - 2

ta - a

3

ta

&

di

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2

ta

&

di

3

ta

1

ta

2

ta

3

ta

&

di

4

ta ta - a

1 - 2 3

ta

4

ta

&

di ta

1

ta

2

di

&

ta

3

ta

4

di

&

ta

1

di

&

ta - a

2 - 3 4

ta


˙ œ œ œ œ ˙ ˙ ˙ œ œ œ œ ˙ œ œ w


˙ œ œ ˙ œ œ ˙ œ œ ˙ w œ œ œ œ ˙


˙ ˙ ˙ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ ˙ œ œ ˙ ˙



2

4

2

2

3

4

3

2

4

4

4

2

3

4

4

4

1

ta

2

ta

&

di

1

ta

&

di

2

ta ta

1

ta

2 1

ta

&

di

2

ta

&

di

1

ta

2

ta

&

di

1 - 2

ta - a

ta

1

ta

2 &

di ta

1 &

di ta

2

ta

1

ta

2

ta

1 &

di ta

2 &

di ta

1 2

ta

&

di

1 - 2

ta - a

1

ta

2

ta

&

di

3

ta

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2 - 3

ta - a

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

&

di

3

ta

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2 - 3

ta - a

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

&

di

4

ta

1

ta

&

di

2

ta

&

di

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

4

ta

1

ta

2

ta

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

&

di

4

ta

1

ta

&

di

2

ta

&

di

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

4

ta

ta

1

ta

2

ta

3

di

& 1 - 2

ta - a

3

ta

&

di

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2

ta

&

di

3

ta

1

ta

2

ta

3

ta

&

di

4

ta ta - a

1 - 2 3

ta

4

ta

&

di ta

1

ta

2

di

&

ta

3

ta

4

di

&

ta

1

di

&

ta - a

2 - 3 4

ta


˙ œ œ œ œ ˙ ˙ ˙ œ œ œ œ ˙ œ œ w


˙ œ œ ˙ œ œ ˙ œ œ ˙ w œ œ œ œ ˙


˙ ˙ ˙ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ ˙ œ œ ˙ ˙



2

4

2

2

3

4

3

2

4

4

4

2

3

4

4

4

1

ta

2

ta

&

di

1

ta

&

di

2

ta ta

1

ta

2 1

ta

&

di

2

ta

&

di

1

ta

2

ta

&

di

1 - 2

ta - a

ta

1

ta

2 &

di ta

1 &

di ta

2

ta

1

ta

2

ta

1 &

di ta

2 &

di ta

1 2

ta

&

di

1 - 2

ta - a

1

ta

2

ta

&

di

3

ta

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2 - 3

ta - a

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

&

di

3

ta

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2 - 3

ta - a

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

&

di

4

ta

1

ta

&

di

2

ta

&

di

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

4

ta

1

ta

2

ta

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

&

di

4

ta

1

ta

&

di

2

ta

&

di

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

4

ta

ta

1

ta

2

ta

3

di

& 1 - 2

ta - a

3

ta

&

di

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2

ta

&

di

3

ta

1

ta

2

ta

3

ta

&

di

4

ta ta - a

1 - 2 3

ta

4

ta

&

di ta

1

ta

2

di

&

ta

3

ta

4

di

&

ta

1

di

&

ta - a

2 - 3 4

ta


˙ œ œ œ œ ˙ ˙ ˙ œ œ œ œ ˙ œ œ w


˙ œ œ ˙ œ œ ˙ œ œ ˙ w œ œ œ œ ˙


˙ ˙ ˙ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ ˙ œ œ ˙ ˙



2

4

2

2

3

4

3

2

4

4

4

2

3

4

4

4

1

ta

2

ta

&

di

1

ta

&

di

2

ta ta

1

ta

2 1

ta

&

di

2

ta

&

di

1

ta

2

ta

&

di

1 - 2

ta - a

ta

1

ta

2 &

di ta

1 &

di ta

2

ta

1

ta

2

ta

1 &

di ta

2 &

di ta

1 2

ta

&

di

1 - 2

ta - a

1

ta

2

ta

&

di

3

ta

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2 - 3

ta - a

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

&

di

3

ta

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2 - 3

ta - a

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

&

di

4

ta

1

ta

&

di

2

ta

&

di

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

4

ta

1

ta

2

ta

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

&

di

4

ta

1

ta

&

di

2

ta

&

di

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

4

ta

ta

1

ta

2

ta

3

di

& 1 - 2

ta - a

3

ta

&

di

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2

ta

&

di

3

ta

1

ta

2

ta

3

ta

&

di

4

ta ta - a

1 - 2 3

ta

4

ta

&

di ta

1

ta

2

di

&

ta

3

ta

4

di

&

ta

1

di

&

ta - a

2 - 3 4

ta


˙ œ œ œ œ ˙ ˙ ˙ œ œ œ œ ˙ œ œ w


˙ œ œ ˙ œ œ ˙ œ œ ˙ w œ œ œ œ ˙


˙ ˙ ˙ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ ˙ œ œ ˙ ˙



Study the counts (the numbers under the notes), then add the correct time signature to

each exercise. Perform each exercise counting and clapping, then speaking on takadimi.

1

ta

2

ta

3

ta

&

di

4

ta ta - a

1 - 2 3

ta

4

ta

1

ta

&

di

2

ta

3 - 4

ta - a

1

ta

2

ta

&

di

3 - 4

ta - a

1

ta

&

di

2

ta

&

di

1

ta

2

ta

&

di

1

ta

&

di ta

2 1

ta

2

ta

1

ta

2

ta

&

di

3 - 4

ta - a

1

ta

2

ta

&

di

3

ta

&

di

4

ta

1 - 2

ta - a

3

ta

4

ta

1

ta

&

di

2

ta

3 - 4

ta - a

1

ta

2

ta

&

di

1

ta

&

di

2

ta

&

di

1

ta ta

2 1

ta

&

di ta

2

œ œ œ œ œ ˙ œ œ œ œ œ ˙ œ œ œ ˙

œ œ œ œ ˙ œ œ œ œ ˙ ˙ ˙

œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ ˙

˙ œ œ œ œ œ œ ˙ ˙ œ œ ˙

9

10

12

11

4

2

4

2

2

3

4

3

2

4

4

4

2

3

4

4

4

1

ta

2

ta

&

di

1

ta

&

di

2

ta ta

1

ta

2 1

ta

&

di

2

ta

&

di

1

ta

2

ta

&

di

1 - 2

ta - a

ta

1

ta

2 &

di ta

1 &

di ta

2

ta

1

ta

2

ta

1 &

di ta

2 &

di ta

1 2

ta

&

di

1 - 2

ta - a

1

ta

2

ta

&

di

3

ta

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2 - 3

ta - a

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

&

di

3

ta

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2 - 3

ta - a

1

ta

&

di

2

ta

&

di

3

ta

1

ta

2

ta

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

&

di

4

ta

1

ta

&

di

2

ta

&

di

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

4

ta

1

ta

2

ta

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

&

di

4

ta

1

ta

&

di

2

ta

&

di

3

ta

4

ta

&

di

1

ta

2

ta

&

di

3

ta

4

ta

ta

1

ta

2

ta

3

di

& 1 - 2

ta - a

3

ta

&

di

1

ta

&

di

2

ta

3

ta

&

di

1

ta

2

ta

&

di

3

ta

1

ta

2

ta

3

ta

&

di

4

ta ta - a

1 - 2 3

ta

4

ta

&

di ta

1

ta

2

di

&

ta

3

ta

4

di

&

ta

1

di

&

ta - a

2 - 3 4

ta


˙ œ œ œ œ ˙ ˙ ˙ œ œ œ œ ˙ œ œ w


˙ œ œ ˙ œ œ ˙ œ œ ˙ w œ œ œ œ ˙


˙ ˙ ˙ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ ˙ œ œ ˙ ˙



SAMPLE

ONLY


13

14

16

15

Look carefully at each time signature. Some measures are incomplete. Draw one note to

finish any incomplete measures. Finish writing the counts under each note. Then, perform

each exercise on counting and takadimi.

3

4

4

4

3

2

4

2

1

ta

2

ta

&

di

3

ta

1

ta

2

ta

&

di

3 - 4

ta - a

1

ta

2

ta

3

ta

&

di

1

ta

2 - 3

ta - a

4

ta

&

di

œ œ œ œ œ œ œ œ œ ˙

œ œ œ ˙ ˙ œ ˙ œ œ œ

˙ ˙ œ œ œ œ ˙ œ w ˙ œ œ

˙ w œ œ w œ œ w œ ˙

Read the following rhythm patterns.

17

18

19

20

4

4

3

2

3

4

2

2

4

4

4

2

2

4

3

2

1

ta

2

ta

3

ta

4

ta

1 - 2

ta - a

1 - 2

ta - a

1 - 2

ta - a

1

ta

&

di

2

ta

&

di ta - a - a - a

1 - 2 - 3 - 4

1 - 2

ta - a

3

ta

1

ta

2

ta

3

ta

1

ta

2

ta

&

di

3

ta

1

ta

2 - 3

ta - a

œ œ œ œ ˙ ˙ ˙ œ œ œ œ w

w ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ w

˙ œ ˙ œ œ ˙ œ ˙

˙ ˙ w œ œ ˙ œ œ ˙ ˙ œ œ ˙ ˙

œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ ˙

˙ ˙ ˙ ˙ w w w œ œ œ œ w œ œ ˙

œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ

˙ œ œ ˙ ˙ œ œ œ œ ˙ ˙ œ œ w ˙

SAMPLE

ONLY


4

4

3

2

3

4

2

2

4

4

4

2

2

4

3

2

1

ta

2

ta

3

ta

4

ta

1 - 2

ta - a

1 - 2

ta - a

1 - 2

ta - a

1

ta

&

di

2

ta

&

di ta - a - a - a

1 - 2 - 3 - 4

1 - 2

ta - a

3

ta

1

ta

2

ta

3

ta

1

ta

2

ta

&

di

3

ta

1

ta

2 - 3

ta - a

œ œ œ œ ˙ ˙ ˙ œ œ œ œ w

w ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ w

˙ œ ˙ œ œ ˙ œ ˙

˙ ˙ w œ œ ˙ œ œ ˙ ˙ œ œ ˙ ˙

œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ ˙

˙ ˙ ˙ ˙ w w w œ œ œ œ w œ œ ˙

œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ

˙ œ œ ˙ ˙ œ œ œ œ ˙ ˙ œ œ w ˙

21

22

23

24

do

1

ti

7

do

1

re

2

mi

3

fa

8

re

2

mi

3

re

2

do

1

ti

7

la

6

ti

7

do

1

mi

3

do

1

3 2 1 28 3 2 3

œ 8 3 2 1 28 3

1 2 3œ 4 3 4

2

œ 4 3œ 4

2 13

3 4 3œ

1 2 31 2 3 4

6 œ 4 31

1 7 13 4 3 4

6 œ 4 œ3 4 3 2

œ

Sing the following patterns using solfege syllables.

25

26

27

28

29

SAMPLE

ONLY


30

31

32

mi

1

re mi fa sol la sol mi fa sol la fa sol fa mi do

1

1

œ œ œ œ œ œ œœ œ œ œ

œ œ œ œœ

œœ

œ œ œœ œ œ œ

œ œ œ œ œœ œ

œ œ œœ œ œ œ

œ œ œ œœ œ

œœ

œ

Songs

Sing the following melodies on solfege, counting, takadimi, and text.

Henry van Dyke

Joyful, Joyful, We Adore Thee

Ludwig van Beethoven

4

4&

#

mi

Joy ful,

mi

-

fa

joy

sol

ful,-

sol

we

fa

a

mi

dore-

re

thee,

do

God

do

of

re

glo

mi

ry,-

mi

Lord

re

of

re

love;

&

#

mi

Hearts

mi

un

fa

fold-

sol

like

sol

flow'rs

fa

be

mi

fore-

re

thee,

do

hail

do

thee

re

as

mi

the

re

sun

do

a

do

bove.-

&

#

re

Melt

re

the

mi

clouds

do

of

re

sin

mi

and

fa mi

sad

do

ness;-

re

drive

mi

the

fa me

dark

re

of

do

doubt

re

a

sol

way;-

&

#

Giv

mi

er

mi

-

fa

of

sol

im

sol

mor-

fa

tal-

mi

glad

re

ness,-

do

fill

do

us

re

with

mi

the

re

light

do

of

do

day.

œ œ œ œ œ œ œ œ œ œ œ œ œ ™

œ

j

˙

œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ

j

˙

œ œ œœ œ œ œ œ

œ œ œ œ œ œ œ œ

˙

œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ

j

˙

SAMPLE

ONLY


Anna L. Barbauld Asahel Abbot

Praise to God, Immortal Praise

2

2&bb

b

sol

Praise

sol

to

sol

God,

mi

im

fa

mor-

sol

tal-

mi

praise,

sol

for

sol

the

la

love

la

that

sol

crowns

me

our

re

days;

&bb

b

fa

Boun

fa

teous-

mi

source

mi

of

sol

ev

do

'ry-

sol

joy,

F

la

let

la

thy

sol

praise

mi

our

fa

tongues

re

em

mi

ploy.-

˙ ˙ ˙# $ ˙

#˙ ˙ ) ) ˙

# @

$ $ # #˙

!) ) ˙

# $@ #

Anna L. Barbauld Asahel Abbot

Praise to God, Immortal Praise

2

2&bb

b

sol

Praise

sol

to

sol

God,

mi

im

fa

mor-

sol

tal-

mi

praise,

sol

for

sol

the

la

love

la

that

sol

crowns

me

our

re

days;

&bb

b

fa

Boun

fa

teous-

mi

source

mi

of

sol

ev

do

'ry-

sol

joy,

la

let

la

thy

sol

praise

mi

our

fa

tongues

re

em

mi

ploy.-

˙ ˙ ˙˙ ˙ ˙

w˙ ˙ ˙ ˙ ˙

˙ w

˙ ˙ ˙ ˙˙

˙w ˙ ˙ ˙

˙ ˙˙ w

SAMPLE

ONLY


Challenge!

Sing this melody on solfege, counting, takadimi, and text.

Isaac Watts Gregorian Chant, Arr. Lowell Mason

When I Survey the Wondrous Cross

2

4&

#

See,

For

Were

When1.

2.

3.

4. the

I

bid

from

-

whole

sur

it,

his

vey

Lord,

head,

realm

-

his

the

that

of na

hands,

I

won

should

drous

ture

his

-

-

feet,

mine,

cross,

boast,

on

sor

that

save

which

in

row

were

-

the

the

and

a

love

death

pres

Prince

flow

ent

of

of

-

glo

far

min

Christ

ry

too

my

gled

-

- down;

died,

Lord;

small;

&

#

All

My

Did

Love

rich

the

e'er

so

vain

est

a

such

- gain

maz

things

love

-

I

and

ing,

that

- so

count

sor

charm

but

row

di

me

-

loss,

most,

meet,

vine,-

I

or

de

and

sac

thorns

pour

mands-

con

ri

my

com

-

-

fice

soul,

tempt

pose

-

- so

them

on

my

all

to

life,

rich

my

his

my

a

blood.

crown?

all!

pride.

1 1 2 3 2 3 8 3 2 # 3 3 3 8 3 2 1 7 1 @

1 1 2 3 2 3 8 3 2 # 3 3 3 2 1 2 3 2 !

Reflection

1. How does understanding the words the Bible uses for worship challenge or expand

your ideas of worship?

2. We have defined worship as “bowing all that we are before all that God is.” How does

this look in your life?

3. What is the relationship between worship (as defined in this lesson) and singing?

SAMPLE

ONLY

Sample: Lessons 1–3These are the first three lessons of Draw Near: Savoring and Singing the Presence of God, provided as sample material for trial purposes. To purchase Draw Near, please visit musiccamp.info/shop.

SAMPLE

ONLY

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