168

Ear-Training and Sight-Singing

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CHAPTER XXI
Setting

Words

to

Music

In setting words to music we shall begin with the common poetic form, the four-line stanza in trochaic tetrameter. The relation of this form to the phrase- and period-form in music is

very

close.

poem for long and short syllables then find the number of long (or accented) syllables in the complete thought. Each long syllable will occupy an accented pulse in music. The smallest form in music used to express a complete
First scan the
;

a phrase. is determined by the number of long syllables in the complete thought of the poem. If there are four long syllables, the meter will be duple or triple if eight, either a four- or a
thought
is

The meter

six-pulse meter.

The meter, whether duple

of feet used in the

a dactyl ( iambus (^

^^
),

poem.
If

or triple, trochee

is
(

decided by the kind >-^) would be duple,

first,

the short syllable comes the music will begin on the up-beat.
)

triple.

as in an

"Twinkle, twinkle,

little star,
;

How I wonder what you are Up above the world so high,

Like a diamond in the sky."

NOTE

Each

line

has a silent short syllable.

in prose, we use a In the first phrase (two lines of the poem), there are eight long or accented syllables. Therefore we have either a four- or a six-pulse meter. At first sight we seem to require 4/4 meter, because of the constant trochaic rhythm. In reciting this > ^' with one silent poem we shall find that we really scan it This short syllable. If this is the case, we shall use 6/8 meter.

As

this

would be a compound sentence

Period in music.

'

seems the better, though either

is possible.

[1691

170

Ear-Training and Sight-Singing

The poem
phrase
:

takes the following arrangement as to measure and

Twin-kle, twin-kle,

lit . tie

star,

How

woo-der

what yon ar;

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Up
a -hove the world so high,

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Like

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In

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the

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dia-mond

sky.

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The melody
or low tones
syllables.
is

The choice of high will follow the melodic laws. determined from the importance of the words and The range will be from one to one and one-half octaves.

In speaking the word twinkle the inflection on the first syllable higher than on the second, so in our choice of tones we should select for the first syllable a tone higher in pitch than for the second.
is

in the phrase is placed on the highest might consider the climax of the phrase to be on how, In that case, wonder, what, or are. Wonder is probably the best. wonder would receive the highest pitch. The choice of parallel or

The most important word

pitch.

We

contrasting construction

is

optional.

Rhythmic variety may be obtained by using two or more In those first attempts pitches for one syllable, or by dotting notes. the as as uniform it is better to keep rhythm possible.

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LESSON 31
Section A.
Suggestions for Study: (1) Scan and outline rhythmically for musical
following

setting, the

rhymes

Setting

Words

to

Music

171

Jack and Jill Jack Horner *Little Miss Muffet

"Little

*Mary, Mary

Humpty Dumpty
musical settings of the poems. (3) Use stanzas of your own choice or composition in the same meter.
(2)

Make

Section B.
(1) (2) Intervals

Continue practice of Absolute Intervals. 7 for Practice on I and V chords, in minor.

p,

172

Ear-Training and Sight-Singing

to

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NOTE.

In outlining rhythm

write 5 under the dot.

No.

Section C.
(1)

Review rhythmic

drill

of the preceding lesson.

(2) Exercises

in Sight-Singing:

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Setting

Words

to

Music

173

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174

Ear-Training and Sight-Singing

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