LESSON SEVEN

The Tie

A tie is a curved line which connects two notes with the same position on the staff. The tie tells you to sing the first note only, and to hold it for the length of both notes. In the following example, the note G should be held for six beats.

There are two common reasons for using ties. One is that this is the only way of indicating that a note is to be held across a bar line (as shown in the diagram) and the other is that a tie is a way of increasing the length of a note within a bar.

If you look at the written music for the song "Scarborough Fair", you will notice ties used both of these ways. In bar 2 there is an eighth note tied to a quarter note and there are several instances of ties used to indicate notes held across the bar line.

Here is another example to help you become more familiar with the use of ties. Once again, try clapping the rhythms while counting the beats out loud. Then try singing the rhythms while tapping your foot on the beat. Make sure you don’t start tapping your foot on the written rhythms instead of evenly on each beat.

Syncopation

When you count along with music, there is often a natural pattern of accents on each beat. However, when ties are used with eighth notes, this often displaces some of the natural accents from on the beat to off the beat (in between the beats).

This effect is known as syncopation. The preceding example contains several syncopated rhythms created by the use of ties. Here is another example of syncopation. Listen to the way the accent is thrown to the + (and) part of the count by the use of ties.

The Eighth Rest

This is an eighth rest.
It indicates half a beat of silence.

There are two common positions for eighth note rests - off the beat and on the beat. These are demonstrated in the following example which is sung with the syllable ba.

The use of eighth rests on the beat is a common way of achieving syncopated rhythms. Here is an example to help you understand the use of eighth rests. This example is written in the style of Bobby McFerrin, who often mimics instrumental solos with his voice. This style developed out of Jazz "scat" singing; a technique using wordless vocal lines which are often improvised.

The progression used for this example is the 12 Bar Blues. This progression is the basis of thousands of popular songs. This example is sung using the syllable ba. Try some other syllables with this melody as well.

Jamaica Farewell

This traditional Caribbean song makes much use of syncopated rhythms. It is written here in the key of D major, which was comfortable for both our female and male singers. The difference is that they are singing it in different octaves. You will also notice slight differences in timing and phrasing between the two versions.

This is a natural part of each singer’s personal expression. Phrasing, interpretation and improvisation are dealt with in Lesson 8. Once you have learned the song, you could try singing it in several other keys until you find the most comfortable key for your voice.

The key note (do) in this case is the final note of the song (a D note). To sing this in another key (e.g., key of F) play and sustain an F note on a keyboard or guitar while you sing the final phrase of the song. Check to see that your voice is finishing on the note F along with the instrument. Then sing the whole song in that key. Try keys which are both higher and lower than D by a small distance at first.

Eventually it is a good idea to try every song you know in all possible keys until you find the most comfortable key for your voice for each song. Then you can instantly tell the musicians who accompany you which key you prefer to sing the song in. This will always be appreciated and can save a lot of time at rehearsals.

2. Sounds of laughter everywhere,
And the dancing girls sway, to and fro,
I must declare my heart is there,
Though I’ve been from Maine to Mexico, but I’m
Sad to say, I’m on my way, etc.

3. Down at the markets, you can hear,
Ladies cry out, while on their heads they bear,
Ackie rice, salt fish are nice,
And the rum is fine any time of year, but I’m
Sad to say, I’m on my way, etc.

The Lead-in

Sometimes a song does not begin on the first beat of a bar. Any notes which come before the first full bar are called lead-in notes (or "pick-up notes", or an "anacrusis"). When lead-in notes are used, the last bar is also incomplete. The notes in the lead-in and the notes in the last bar add up to one full bar.

Exercise 55, Greensleeves contains one lead-in note. When lead-in notes are used, it means that the melody begins before the accompaniment. This means you will probably need a reference pitch for your starting note in order to be sure you are singing the correct pitch.

Before you begin the song, get somebody to play first the note or chord of the key, and then the starting note on an instrument. Hum the starting note to yourself for a few seconds until you are confident of the note and then begin counting the song in.

You can try this on the following example, which demonstrates a lead-in for the song Greensleeves. The chord is an E minor chord because the song has been recorded in the key of E minor and the lead-in note is also an E note.

First and Second Endings

The next song contains first and second endings. The first time you sing through the verse, sing the first ending (Z), then go back to the beginning. The second time you sing through the verse, sing the second ending (X) 2. instead of the first.

Greensleeves

This traditional English folk song is written here in the key of E minor, which is the relative minor of G major. It is in ^ time and once again begins with a lead-in note. Notice the F# note written as a key signature for the key of E minor in this song, reminding you to treat all F notes as F#.

Notice also the frequent use of other sharps in this song. When sharps or flats occur that are not part of the key signature, they are called accidentals. An accidental is a temporary alteration to the pitch of a note and is canceled by a bar line.

Both our male singer and our female singer found E minor a comfortable key for singing this song. Once again, the difference is that they are singing the same notes in different octaves.

2. I have been ready at your hand
To grant whatever you would crave,
I have both wagered life and land,
Your love and good will for to have.

3. I bought thee petticoats of the best,
The cloth so fine as it might be,
I gave thee jewels for the chest,
And all this cost I spent on thee.

4. Well, I will pray to God on high,
That thou my constancy may’st see,
For I am still thy lover true;
Come once again and love me.