Songs
for little children, to serve their purpose fittingly, should express
the simplicity of childhood, should embody its moods and reveal its
charm. And while simplicity is perhaps the first quality which urges
its claims upon teacher and composer, variety and beauty of form are
not less important. The simple may not be the commonplace, the monotonous,
the vapid. The tiniest melody must have some measure of grace and
beauty if it be reckoned worthy to train the musical sense and develop
the taste of young children.
The
song most feasible for the youngest singer is first of all short and
compact in form. Non only must the stanza be simple in form but lines
must not be long. The long stanza makes for elaborateness or for monotony,
while the long line presupposes ability to execute long musical phrases
properly. Since complete breath control is difficult of achievement
for the mature singer, we would not expect it of the very young.
Many
kinds of easy tonal combinations and much rhythmic variety should
appear in a collection of songs for young children. The monotony which
stands in many minds for simplify is in fact the very destruction
of simplicity. A somewhat difficult tune which has charm and individuality
will often be more easily learned and remembered than a less difficult
tune which is commonplace and without distinction. Variety is as important
to the practical phases of music material as to its beauty.
Melodies
for little children should keep within somewhat narrow limits, seldom
moving beyond the eight tones of the major scale. That the high pitch
of the child-voice should be taken into account in writing these melodies
is a matter of almost universal agreement though not of universal
practice.
Difficult
intervals should be avoided and only the most natural chromatics should
be used.
The
only admissible modulation is that to the key of the dominant (the
fifth above the key note).
Complicated
rhythmic figures as well as changes in time are not advisable.
Though
great rhythmic variety should be found in collections of songs for
the very young, a large proportion of strongly accented tunes will
be appropriate to the stage of development which the little child
has reached. If the proportion of such tunes is too large, however,
over-stimulation results and becomes apparent in nervousness and jerkiness
of movement, in fatigue and irritability.
To
say that melodies to be successfully sung by little children should
be most simple does not mean that piano accompaniments need be equally
simple. The easy tune is not less easy for the harmonies accompanying
it are interesting and characteristic. For while a very difficult
and elaborate accompaniment is as inappropriate as it is unpractical,
meagerness of harmony is neither necessary nor attractive. In no way
is the ear better schooled or the taste more effectively ministered
to than by singing to a well-constructed accompaniment.
Children
should not sing to accompaniments, however, until after they have
thoroughly mastered the melody. Especially is this true of the independent
accompaniment; viz, the accompaniment which does not include the full
melody. Very few independent accompaniments should be made use of
and exceptional songs showing such accompaniments should be most carefully
taught. The premature addition of an independent accompaniment will
often make the learning of the melody impossible.
Needless
to say, all rules given here for the structure of children’s songs,
may be faithfully regarded and the product may still be commonplace
and uninteresting. The very fact of the apparent simplicity of the
task tempts the unskilled and the uninspired to the composition of
children’s songs. Considering, however, the narrow confines to which
the composer must submit himself, there is probably no task more exacting
than the composition of songs for little children, if these are to
possess some measure of distinctive charm. To this result a wide knowledge
of music in general must contribute, as well as experience and thorough
technical training. Above all, a great affection and sympathy for
children and a thorough understanding of their musical needs and limitations
must dominate the work of the artist.
The
composer of “Songs for a Little Child’s Day” has gathered much inspiration
from Miss Poulsson’s verse, which is not only child-like, simple,
varied in subject and form, entirely lacking in self-consciousness,
but is noteworthy for the excellence of its rhythm. This rare quality
has greatly lightened the labor of the composer.
As
an expression of the experience of its authors and their years of
study of little children, and the ideals resultant from this study,
it is hoped that this book will prove helpful to kindergartners, teachers
and mothers. This will surely be the case if the songs appeal to the
small singers for whom they have been created. Made with joy, may
they bring joy.
- ELEANOR SMITH
Chicago, Illinois, 1910
