Mangalorean Recipes

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An overview of this Text Book.

Section 1.   The Teacher may use the information provided and adapt it to suit the level of the student.   The exercises on page 8 to 15, are limited to 5 finger patterns.   I suggest the keyboard student uses the CDE name set, as this will be used also when scales are transposed.   The Singers however, should use the Do Re Mi name set, so that they associate the sounds to the name, as when the scale is transposed, the relationship does not change. The men should read the Bass Stave, and Women/Children read the Treble Stave.   When you reach the end of page 15, the teacher should give a test to the students, to see if they can produce the sound each name is supposed to generate.   Try saying a name between Do and Sol, and wait for the student’s response.   In the same way, play a sound on the key board between C and G, and ask the students to name the sound.   This will ascertain, if the association between name and sound has occurred.  Read Count and Play method allows the teacher to monitor how the student understands the notation.  Translation is another way to ascertain the same.

Section 2.  I have aimed to point out that the music script is in fact a graph;  the student should be made to recognize it.   Again, only 5 finger patterns are used.   The keyboard student should associate the notes to the finger numbers, and be made to notice the intervals between the notes.   The singers however, should use the respective note names, observing how alternate or adjacent names are used.   First make the student read the name aloud, and then sing it with rhythm. The teacher may develop the idea of alternate names by trying to elicit these from the student.    Response to name and sound may again be tested at this stage.   Using the traditional method of counting, now, can prepare the student to eventually play the whole score..

Section 3. Finger manipulation is for the benefit of the keyboard student and may be skipped by the Singers.

Section 4.   This deals with the black keys which are of interest to the keyboard student. The singer however should know the method of naming the notes with accidentals.  Also the subject of scale formation is of interest to both.   Exercises on page 32, are of special interest to Singers.  Exercises 55 to 66, starting on page 40, the keyboard student should name the note in the CDE name set, noting which key is modified.  The singers should use the new names for the modulated sound..

Section 5.  More about durations, the teacher may use this information to suit the student’s level.  Exercises 67 to 74, starting on page 50 are in unison.  Singers should transpose the name when a new scale is used.   Exercises 75 onwards the music is set for two voices.   Organ players should first practice the Treble Stave, then the Bass, and then combine both.  In the beginning, it will seem difficult, but soon the difficulty will be overcome.


Section 6.  Time Signature and Accents may require some explanation from the Teacher. The Modulation too  may be explained if the student’s level demands it.   In order to assist the singer to develop association between sound and name, I strongly recommend, they use the name set proposed on page 61. Exercises 83 to 106 are exercises for Singers to sing in two voices.  Note the keyboard player’s skill has to be developed now, as it is the beginning of Score Playing. The exercises should be repeated till the student can play without mistakes.

Section 7.  Chords and the Inversions, are of interest only to keyboard players, and thus the singer may use only the treble part to sing the melody, while the teacher plays the chords.    The Organ Student, should make use of the exercises to learn how to play the various chords of the different transposed keys, how to connect the common notes, and make use of these ideas when he learns to play songs and hymns later on.

Section 8.  Harmony is a general interest topic, which might interest advanced students.  Exercises from page 90 onwards are intended to teach the keyboard players rudiments of score playing.  Singers may use these exercises for choral singing practice.  Up to exercise 38 of Harmony on page 103 are more designed as exercises for keyboard students.   Exercises 38 to 48 are to be used by singers as they are 4 part exercises.  Ex 49 and 50 are again organ pieces.

Section 9.  General information useful for all.  Exercises 51 and 52 are choral exercises for singers.  Of course, organ players are expected to play them as well. Exercises 53 and 54 are Organ pieces.  Songs on page 115 onwards may be used by keyboard players to play the melody with the right hand, and chords with the left.

Appendix A.  More information about the theory of chords and harmony.  General information.

Appendix B.    Examples of Translation of some exercises.   The teacher’s tool to monitor the absorption level of the student.  Once the student can translate freely, this can be dropped.

Epilogue:   A few parting words from the author.


Walter J. Pais

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