2

Copyright c 2004 Benjamin Crowell
All rights reserved.
rev. November 4, 2005
Permission is granted to copy, distribute and/or modify this document under the terms of the Creative
Commons Attribution Share-Alike License, which can be found at creativecommons.org. The book’s
web site,
www.lightandmatter.com/sight/sight.html,
provides the book for downloading free of charge, and also gives further details about the copyrights
of the individual melodies.
Brief Contents
I Rhythm 13
I-1 Whole, Half, and Quarter Notes 13
I-2 3/4 Time, and Dotted Half-Notes 14
I-3 Eighth Notes 14
I-4 Dotted Quarter Notes 14
I-5 Sixteenth Notes 15
I-6 Dotted Eighth Notes 15
I-7 Compound Time 15
I-8 Syncopation 16
I-9 Triplets 16
II Major Keys 17
II-1 Introduction to Solfeggio 17
II-2 Melodies Containing Only Steps 19
II-3 Leaps to ‘Do’ 25
II-4 Leaps Back to Remembered Notes 25
II-5 Easy Leaps Within the Tonic Triad 27
II-6 The Leap of a Fifth Within the Tonic Triad 32
II-7 Leaps of a Sixth Within the Tonic Triad 34
II-8 Leaps Within the Dominant 37
II-9 Wider Leaps Within the Dominant 44
2
III Minor Keys 53
III-1 Solfeggio in the Minor Mode 53
III-2 Steps 55
III-3 Leaps Within the Tonic Triad 58
III-4 Leaps Within the Dominant 61
IV Other Diatonic Materials 69
IV-1 Leaps Between the Tonic and Dominant 69
IV-2 Leaps Within the Subdominant, Major Keys 71
IV-3 Wide Leaps Within the Subdominant 84
IV-4 Leaps Within the Subdominant, Minor Keys 86
IV-5 Leaps of a Seventh 89
IV-6 Other Perfect Fourths and Fifths 94
IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale 104
V Nondiatonic Materials 107
V-1 Secondary Dominants and Chromatic Passing Tones 107
V-2 Blue Notes 121
V-3 Relative Minor and Major 123
VI The C Clef 127
3
Contents
I Rhythm . . . . . . . . .13
I-1 Whole, Half, and Quarter
Notes . . . . . . . . . . . . . . . .13
1 rhythm of Twinkle Twinkle, Little Star, 4/4 . 13
2 rhythm of Little Brown Jug, 4/4 . . . . . 13
3 rhythm of Bingo, 4/4 . . . . . . . . . . 13
4 rhythm of Rain, Rain, Go Away, 4/4 . . . . 13
5 rhythm of O Come, All Ye Faithful, 4/4 . . 13
I-2 3/4 Time, and Dotted Half-
Notes . . . . . . . . . . . . . . . .14
6 rhythm of We Three Kings, 3/4. . . . . . 14
7 rhythm of Take Me Out to the Ball Game, 3/414
I-3 Eighth Notes . . . . . . . . .14
8 rhythm of O Little Town of Bethlehem, 4/4 . 14
9 rhythm of We Wish You a Merry Christmas,
3/4 . . . . . . . . . . . . . . . . . . 14
10 rhythm of This Old Man, 4/4 . . . . . . 14
11 rhythm of Hush Little Baby, 4/4 . . . . . 14
I-4 Dotted Quarter Notes . . . .14
12 rhythm of Jingle Bells, 4/4 . . . . . . . 14
13 rhythm of Jimmy Crack Corn, 4/4 . . . . 14
14 rhythm of Away in a Manger, 3/4 . . . . 15
15 rhythm of Rockabye Baby, 3/4 . . . . . 15
16 rhythm of Home On the Range, 3/4 . . . 15
I-5 Sixteenth Notes. . . . . . . .15
17 Tchaikovsky, rhythm of trepak from The
Nutcracker, 2/4 . . . . . . . . . . . . . 15
I-6 Dotted Eighth Notes . . . . .15
18 rhythm of Alouette, 4/4 . . . . . . . . 15
19 Tchaikovsky, rhythm of waltz of the flowers
from The Nutcracker, 3/4 . . . . . . . . . 15
20 rhythm of I’ve Been Working on the Rail-
road, 4/4 . . . . . . . . . . . . . . . 15
I-7 Compound Time . . . . . . .15
21 rhythm of Here We Go Round the Mulberry
Bush, 6/8 . . . . . . . . . . . . . . . 15
22 rhythm of The Itsy-Bitsy Spider, 6/8 . . . 16
23 rhythm of Pop Goes the Weasel, 6/8 . . . 16
24 rhythm of Row, Row, Row Your Boat, 12/8 16
I-8 Syncopation . . . . . . . . . .16
25 Joplin, rhythm of The Entertainer, 2/4 . . 16
I-9 Triplets. . . . . . . . . . . . .16
26 Tchaikovsky, rhythm of march from The
Nutcracker, 4/4 . . . . . . . . . . . . . 16
II Major Keys. . . . .17
II-1 Introduction to Solfeggio . .17
II-2 Melodies Containing Only
Steps . . . . . . . . . . . . . . . .19
27 C, 4/4 . . . . . . . . . . . . . . . 19
28 C, 4/4 . . . . . . . . . . . . . . . 19
29 C, 3/4 . . . . . . . . . . . . . . . 19
30 Beethoven, Ode to Joy, C, 4/4 . . . . . 19
31 G, 3/4 . . . . . . . . . . . . . . . 19
32 G, 3/4 . . . . . . . . . . . . . . . 19
33 carol (Bohemia), D, 4/4 . . . . . . . . 20
34 Bach, Chorale, ‘Herr, wie du willst, so
schick’s mit mir’, A, 4/4 . . . . . . . . . 20
35 Latour, The Beautiful Angel, E, 6/8 . . . 20
36 Lewis, B, 3/4 . . . . . . . . . . . . 20
37 B, 4/4 . . . . . . . . . . . . . . . 20
38 Lewis, B, 4/4 . . . . . . . . . . . . 20
39 E, 3/4 . . . . . . . . . . . . . . . 21
40 A, 4/4 . . . . . . . . . . . . . . . 21
41 D, 4/4 . . . . . . . . . . . . . . . 21
42 G, 4/4 . . . . . . . . . . . . . . . 21
43 G, 6/8 . . . . . . . . . . . . . . . 21
44 C, 4/4, 1 . . . . . . . . . . . . . . 21
45 Emerson, Whither Through the Meadow?,
C, 2/4, 1. . . . . . . . . . . . . . . . 21
46 C, 3/4 . . . . . . . . . . . . . . . 22
47 G, 4/4 . . . . . . . . . . . . . . . 22
48 Lewis, C, 4/4 . . . . . . . . . . . . 23
49 Lewis, C, 4/4 . . . . . . . . . . . . 23
50 Lewis, C, 6/8 . . . . . . . . . . . . 23
51 Lewis, B, 4/4 . . . . . . . . . . . . 24
II-3 Leaps to ‘Do’ . . . . . . . .25
52 G, 3/4 . . . . . . . . . . . . . . . 25
53 F, 3/4 . . . . . . . . . . . . . . . 25
4
II-4 Leaps Back to Remembered
Notes . . . . . . . . . . . . . . . .25
54 C, 4/4 . . . . . . . . . . . . . . . 25
55 Bach, Chorale, ‘Seelenbr¨autigam, Jesu,
Gottes Lamm’, A, 4/4 . . . . . . . . . . 25
56 Bach, Chorale, ‘Jesu, meiner Seelen Wonne’,
A, 4/4. . . . . . . . . . . . . . . . . 25
57 G, 4/4 . . . . . . . . . . . . . . . 26
58 folk song, C, 3/4 . . . . . . . . . . . 26
II-5 Easy Leaps Within the Tonic
Triad . . . . . . . . . . . . . . . .27
59 Beethoven, opening theme of Symphony #3
(‘Eroica’), E, 3/4 . . . . . . . . . . . . 27
60 G, 4/4 . . . . . . . . . . . . . . . 27
61 G, 6/8 . . . . . . . . . . . . . . . 27
62 G, 4/4 . . . . . . . . . . . . . . . 27
63 Latham, Broadway Sights, A, 6/8 . . . . 27
64 A la Claire Fontaine (France), F, 2/4 . . . 27
65 Pergolesi, aria ‘Sancta Mater’ from Stabat
Mater, G, 4/4. . . . . . . . . . . . . . 28
66 Sullivan, E, 6/8 . . . . . . . . . . . 28
67 A Recouvrance (France), F, 4/4 . . . . . 28
68 Froebel, Pat-a-Cake, C, 12/8 . . . . . . 28
69 Carmela (Mexico), E, 4/8 . . . . . . . 28
70 My Father, How Long? (Florida), F, 4/4 . 28
71 Bach, Chorale, ‘Es ist gewisslich an der Zeit’,
B, 4/4 . . . . . . . . . . . . . . . . 29
72 Annie Laurie, C, 4/4. . . . . . . . . . 29
73 Cutler, The Son of God Goes Forth to War,
B, 4/4 . . . . . . . . . . . . . . . . 29
74 Luther, We Come Unto Our Father’s God,
G, 4/4. . . . . . . . . . . . . . . . . 30
75 Lawlan’ Jenny (Scotland), D, 3/4 . . . . 30
76 Foster, Hard Times Come Again No More,
E, 4/4 . . . . . . . . . . . . . . . . 30
77 Weston, Row, Burnie, Row, E, 2/4 . . . 30
78 En Revenant d’Auvergne (France), B, 2/4. 30
79 Entendez-Vous Sur l’Ormeau (France), F,
4/4, 1 . . . . . . . . . . . . . . . . . 31
II-6 The Leap of a Fifth Within
the Tonic Triad . . . . . . . . . .32
80 G, 4/4 . . . . . . . . . . . . . . . 32
81 G, 3/4 . . . . . . . . . . . . . . . 32
82 Scarlatti, Su, Venite a Consiglio, G, 3/4 . . 32
83 Rousseau, Hush, My Babe, F, 2/4 . . . . 32
84 Dans la Forˆet Lointaine (France), F, 2/4. . 33
85 The Beggar Girl (England), F, 6/8 . . . . 33
86 Hawthorne, Home, By and By, F, 4/4. . . 33
87 Froebel, Beckoning the Pigeons, G, 3/8 . . 33
88 F, 2/4 . . . . . . . . . . . . . . . 33
II-7 Leaps of a Sixth Within the
Tonic Triad. . . . . . . . . . . . .34
89 G, 4/4 . . . . . . . . . . . . . . . 34
90 G, 9/8 . . . . . . . . . . . . . . . 34
91 Wohlfahrt, Etude, Op. 45, #1, F, 4/4 . . 34
92 As-Tu Vu la Casquette? (France), G, 2/4 . 34
93 Praise, Member (South Carolina), G, 2/4 . 34
94 Froebel, Beckoning the Chickens, F, 2/4. . 34
95 folk song, G, 2/4 . . . . . . . . . . . 35
96 Poor Rosy (South Carolina), G, 2/4 . . . 35
97 Poor Rosy (South Carolina), C, 2/4 . . . 35
98 Wrighton, The Dearest Spot on Earth, B,
4/4 . . . . . . . . . . . . . . . . . . 35
99 Absent Davie (Scotland), D, 4/4. . . . . 35
100 A, 4/4 . . . . . . . . . . . . . . . 36
101 B, 3/4, 1 . . . . . . . . . . . . . 36
II-8 Leaps Within the Dominant 37
102 Mozart, allegro from ‘Eine kleine Nacht-
musik’, F, 4/4 . . . . . . . . . . . . . 37
103 Mozart, Duet No. 2, Menuet, from 12
Duets, K.V. 487, G, 3/4 . . . . . . . . . 37
104 folk song, G, 3/4 . . . . . . . . . . 37
105 Derri`er’ Chez Nous il y a Trois Fleurs
(France), G, 2/4. . . . . . . . . . . . . 37
106 Parry, Villikins and His Dinah, E, 3/4 . . 37
107
¨
Annchen von Tharau (Germany), G, 3/4 . 38
108 Ah! Mon Beau Chˆateau! (France), A, 2/4 38
109 Ainsi Font, Font, Font (France), G, 2/4 . 38
110 Husband, Revive Us Again, C, 3/4 . . . 38
111 Lightly Row (Spain), F, 2/4 . . . . . . 38
112 God Speed the Right (Germany), C, 4/4 . 39
113 Mozart, aria (Papageno) from ‘The Magic
Flute’, G, 2/4 . . . . . . . . . . . . . . 39
114 Sch¨ onster Schatz, Mein Engel, D, 3/4 . . 39
115 Down in the Valley, C, 9/8 . . . . . . 39
116 Musieu Bainjo (Louisiana), G, 2/4 . . . 39
117 Brother, Guide Me Home (Tennessee), A,
4/4 . . . . . . . . . . . . . . . . . . 39
118 Serenata (California), B, 2/2 . . . . . 39
119 Mozart, adagio from string quartet # 1, G,
3/4 . . . . . . . . . . . . . . . . . . 40
5
120 Bach, Chorale, ‘Es spricht der Unweisen
Mund wohl’, B, 4/4 . . . . . . . . . . . 40
121 Beuttner, Es kam ein treuer Bote, F, 4/4 . 40
122 Bach, Chorale, ‘Valet will ich dir geben’, D,
4/4 . . . . . . . . . . . . . . . . . . 40
123 Bach, Chorale, ‘Wie bist du Seele in mir so
gar betr¨ ubt’, G, 4/4 . . . . . . . . . . . 40
124 Gardez Piti Milatte-l`a (Louisiana), B, 4/4 41
125 Shout On, Children (Georgia), A, 2/4 . . 41
126 Schubert, Wohin?, G, 4/8 . . . . . . . 41
127 Bach, Chorale, ‘Liebster Jesu, wir sind hier’,
G, 4/4. . . . . . . . . . . . . . . . . 41
128 Haydn, menuet Oxford symphony, G, 3/4. 41
129 Bach, Chorale, ‘Mach’s mit mir, Gott, nach
deiner Gut’, D, 4/4 . . . . . . . . . . . 41
130 Schubert, Halt!, C, 6/8 . . . . . . . . 41
131 Holst, Venus theme from The Planets, D,
3/4 . . . . . . . . . . . . . . . . . . 42
132 Serenata (California), B, 2/2 . . . . . 42
133 If Your Foot Is Pretty, Show It (United
States), D, 3/8 . . . . . . . . . . . . . 42
134 G, 3/4 . . . . . . . . . . . . . . . 43
II-9 Wider Leaps Within the
Dominant . . . . . . . . . . . . .44
135 Bates, America the Beautiful, C, 4/4 . . 44
136 Eli Yale, B, 2/4 . . . . . . . . . . . 44
137 Krambambuli, D, 2/4 . . . . . . . . 44
138 Go ’Way, Old Man (Louisiana), E, 3/4 . 44
139 Our Baby (France), A, 2/4 . . . . . . 45
140 Aux Marches du Palais (France), F, 6/8 . 45
141 Bach, Chorale, ‘Herr, wie du willst, so
schick’s mit mir’, A, 4/4 . . . . . . . . . 45
142 Bach, minuet, D, 3/4 . . . . . . . . 45
143 Arlequin Tient Sa Boutique (France), A,
2/4 . . . . . . . . . . . . . . . . . . 45
144 Ballade de Roland (France), G, 6/8 . . . 46
145 folk song, G, 6/8 . . . . . . . . . . 46
146 Tu Eres Mas Bella (Costa Rica), F, 2/4 . 46
147 Praise, Member (South Carolina), G, 2/4 . 46
148 Wach’ Auf, Mein Hort, F, 6/8 . . . . . 47
149 Barbara Allan (Scotland), B, 4/4 . . . . 47
150 I’m a Pilgrim (Italy), G, 4/4 . . . . . . 47
151 Haydn, finale, London symphony, D, 4/4 . 47
152 Dans Notre Jardin (France), F, 2/4 . . . 48
153 The Gypsy Warning (Missouri), E, 3/4 . 48
154 Jungfr¨aulein, Soll Ich Mit Euch Gehn, F,
4/4 . . . . . . . . . . . . . . . . . . 48
155 G, 4/4 . . . . . . . . . . . . . . . 48
156 Strauss, Not Yet, A, 6/8 . . . . . . . 49
157 Ah, Suzette, Ch`ere (Louisiana), E, 3/4 . 49
158 La Paloma Blanca (Arizona), F, 6/8 . . . 49
159 Schubert, Das Wandern, B, 4/8 . . . . 49
160 C, 3/4 . . . . . . . . . . . . . . . 49
161 Chill Ether (Scotland), E, 3/4 . . . . . 50
162 folk song, A, 3/4 . . . . . . . . . . 50
163 folk song, A, 6/8 . . . . . . . . . . 50
164 Bach, Chorale, ‘Nun ruhen alle Walder’, B,
4/4 . . . . . . . . . . . . . . . . . . 51
165 Bach, Chorale, ‘Wenn wir in h¨ ochsten
N¨ oten sein’, G, 4/4 . . . . . . . . . . . 51
166 The Duke of Argyle’s Courtship (Scotland),
D, 3/4. . . . . . . . . . . . . . . . . 51
167 Samuel, The Fairy Boat, G, 2/4 . . . . 51
168 Gar Lieblich Hat Sich Gesellet, F, 2/4 . . 51
169 B, 4/4, 1 . . . . . . . . . . . . . 52
III Minor Keys . . . .53
III-1 Solfeggio in the Minor
Mode . . . . . . . . . . . . . . . .53
III-2 Steps . . . . . . . . . . . . .55
170 a, 4/4 . . . . . . . . . . . . . . . 55
171 a, 6/8 . . . . . . . . . . . . . . . 55
172 a, 3/4 . . . . . . . . . . . . . . . 55
173 a, 3/4 . . . . . . . . . . . . . . . 55
174 Lewis, a, 3/4 . . . . . . . . . . . . 55
175 Lewis, a, 3/4 . . . . . . . . . . . . 55
176 Lewis, d, 4/4 . . . . . . . . . . . . 56
177 Lewis, d, 4/4 . . . . . . . . . . . . 56
178 Lewis, d, 3/4 . . . . . . . . . . . . 56
179 Lewis, d, 3/2 . . . . . . . . . . . . 56
180 Bach, gavotte in G minor, g, g/minor . . 56
181 Lewis, a, 4/4 . . . . . . . . . . . . 57
III-3 Leaps Within the Tonic
Triad . . . . . . . . . . . . . . . .58
182 c, 4/4 . . . . . . . . . . . . . . . 58
183 c, 4/4 . . . . . . . . . . . . . . . 58
184 Wedge, c, 3/4. . . . . . . . . . . . 58
185 Who Got Dirt on the Carpet Again?, c, 4/458
186 c, 3/4 . . . . . . . . . . . . . . . 58
187 c, 4/4 . . . . . . . . . . . . . . . 58
188 Wedge, f, 2/4 . . . . . . . . . . . . 59
189 Wedge, f, 2/4 . . . . . . . . . . . . 59
6
190 Wedge, f, 2/4 . . . . . . . . . . . . 59
191 f, 4/4 . . . . . . . . . . . . . . . 59
192 Bach, Chorale, ‘Herr, nun lass in Friede’, a,
4/4 . . . . . . . . . . . . . . . . . . 59
193 Every Hour in the Day (Georgia), e, 2/4 . 59
194 Forget na’, dear Lassie (Scotland), a, 3/4. 60
195 Bach, Chorale, ‘Es steh’n vor Gottes
Throne’, g, 4/4 . . . . . . . . . . . . . 60
196 Mozart, theme from symphony in G minor,
g, 4/4 . . . . . . . . . . . . . . . . . 60
197 Thou Poor Bird, c, 4/4, 1 . . . . . . . 60
III-4 Leaps Within the Dominant61
198 Wedge, g, 3/4. . . . . . . . . . . . 61
199 Wedge, g, 2/4. . . . . . . . . . . . 61
200 My Field (Russia), g, 4/4 . . . . . . . 61
201 g, 9/8 . . . . . . . . . . . . . . . 61
202 Wedge, g, 3/4. . . . . . . . . . . . 61
203 Wedge, g, 3/4. . . . . . . . . . . . 61
204 Wedge, c, 3/4. . . . . . . . . . . . 62
205 Bach, melody from the notebook for Anna
Magdalena, g, 3/4 . . . . . . . . . . . . 62
206 lullabye (Russia), e, 4/4 . . . . . . . 62
207 Las Tristes Horas, e, 2/4 . . . . . . . 62
208 Wedge, g, 3/4. . . . . . . . . . . . 62
209 Froebel, The Wolf, c, 4/8 . . . . . . . 62
210 Guten Abend, g, 3/8 . . . . . . . . . 62
211 Bach, Gavotte II from cello suite # 5, c,
12/8 . . . . . . . . . . . . . . . . . 63
212 Lolotte (Louisiana), c, 4/4. . . . . . . 63
213 Mozart, menuet from string quartet # 15,
d, 3/4 . . . . . . . . . . . . . . . . . 63
214 Los Ojos Mexicanos (Mexico), g, 2/4 . . 63
215 White, Ophelia’s Song, e, 4/4 . . . . . 63
216 Bach, Chorale, ‘Nun sich der Tag geendet
hat’, a, 4/4. . . . . . . . . . . . . . . 63
217 Reir Es Necesario (Mexico), d, 2/4 . . . 64
218 En Avant, Gr´enadiers! (Louisiana), e, 4/4 64
219 Angel de Mis Amores (Mexico), d, 2/4 . . 64
220 Schubert, Am Feierabend, a, 6/8 . . . . 64
221 Bach, Chorale, ‘O Traurigkeit, o Herzeleid’,
a, 4/4 . . . . . . . . . . . . . . . . . 64
222 Brahms, Nachtwache 1, b, 4/4 . . . . . 65
223 Mi Sue˜ no (Mexico), c, 3/4 . . . . . . 65
224 Bach, Chorale, ‘O Haupt voll Blut und
Wunden,’ from St. Matthew’s Passion, d, 4/4 . 65
225 Bach, Chorale, ‘Von Gott will ich nicht
lassen’, b, 4/4 . . . . . . . . . . . . . 65
226 Wedge, g, 4/8. . . . . . . . . . . . 66
227 Wedge, g, 3/4. . . . . . . . . . . . 66
228 Handel, aria ‘O Jordan, Sacred Tide’ from
Esther, g, 3/4. . . . . . . . . . . . . . 67
229 Go Down, Moses (Unites States), g, 4/4 . 67
IV Other Diatonic
Materials. . . . . . . . . .69
IV-1 Leaps Between the Tonic
and Dominant . . . . . . . . . . .69
230 Ya Viene El Alba (California), G, 2/4 . . 69
231 Scarlatti, Gi`a il Sole dal Gange, A, 3/4 . 69
232 Schubert, Danksagung an den Bach, G, 2/469
233 Grieg, e, 4/4 . . . . . . . . . . . . 69
234 zandunga folk song (Southern Mexico), e,
3/4 . . . . . . . . . . . . . . . . . . 70
235 Carcini, Amarilli, Mia Bella, g, 4/4 . . . 70
IV-2 Leaps Within the Subdom-
inant, Major Keys . . . . . . . . .71
236 Jehovah, Hallelujah (South Carolina), F,
3/4 . . . . . . . . . . . . . . . . . . 71
237 Arlequin Marie Sa Fille (France), C, 3/4 . 71
238 folk song, F, 2/4. . . . . . . . . . . 71
239 folk song, F, 2/4. . . . . . . . . . . 71
240 Foster, Old Folks at Home, D, 4/4 . . . 72
241 Lang Johnny More (Scotland), F, 2/4 . . 72
242 The Bonniest Lass in a’ The Land (Scot-
land), C, 2/4 . . . . . . . . . . . . . . 72
243 Old Hundred, G, 4/4 . . . . . . . . . 73
244 Da Unten Im Tale, E, 3/4 . . . . . . 73
245 I Want To Be Ready (United States), E,
2/4 . . . . . . . . . . . . . . . . . . 73
246 Fasolo, Cangia, Cangia Tue Voglie, C, 2/4 73
247 The Ash Grove (Wales), F, 3/4 . . . . . 73
248 West, The Jenny Lind Mania (United
States), G, 2/4 . . . . . . . . . . . . . 73
249 Au Jardin de Mon P`ere (France), F, 6/8 . 73
250 Strauss, Devotion, C, 4/4 . . . . . . . 74
251 I Ride an Old Paint (United States), D, 3/474
252 Whittier, Song of the Free, E, 3/2 . . . 74
253 Handel, aria ‘Hush ye pretty warbling quire’
from Acis and Galatea, F, 3/8 . . . . . . . 74
254 Tallis, If Ye Love Me, F, f/major . . . . 75
255 The Huntsman, B, 6/8 . . . . . . . . 75
7
256 Moore, Evening Bells, G, 3/4 . . . . . 75
257 Sinner Won’t Die No More (Tennessee), A,
4/4 . . . . . . . . . . . . . . . . . . 76
258 Mozart, opening from clarinet quintet, A,
4/4 . . . . . . . . . . . . . . . . . . 76
259 The Gold Band (Tennessee), G, 3/4 . . . 76
260 Pergolesi, tune from Stabat Mater, G, 4/4 77
261 Bonnie Wee Window (Arkansas), E, 6/8 . 77
262 Fearis, Beautiful Isle of Somewhere, A, 6/877
263 Bradbury, He Leadeth Me, B, 4/4 . . . . 77
264 Sullivan, The Blue Juniata, F, 2/4 . . . 78
265 Red River Valley, E, 4/4 . . . . . . . 78
266 I’m In Trouble (Florida), C, 4/4. . . . . 78
267 Haydn, introduction, London symphony, D,
4/4 . . . . . . . . . . . . . . . . . . 78
268 Rosa Lee, A, 2/4 . . . . . . . . . . 78
269 My Lodging Is On the Cold Ground, A, 6/879
270 Cowboy’s Home Sweet Home (Arkansas),
G, 12/8 . . . . . . . . . . . . . . . . 79
271 Calinda (Louisiana), F, 6/8 . . . . . . 79
272 The Braes O Yarrow (Scotland), C, 3/4 . 79
273 Gaudeamus Igitur, G, 3/4 . . . . . . . 80
274 Mozart, andante from string quartet # 2,
A, 3/4. . . . . . . . . . . . . . . . . 80
275 The Wild Moor (Missouri), B, 3/4 . . . 80
276 Brahms, introduction, 1st symphony, C,
4/4 . . . . . . . . . . . . . . . . . . 80
277 Caroline (Louisiana), G, 4/4 . . . . . . 80
278 Avril (France), E, 6/8 . . . . . . . . 81
279 Mozart, menuet from string quartet # 10,
C, 3/4. . . . . . . . . . . . . . . . . 81
280 The Hallowed Spot (Missouri), A, 3/4. . 81
281 folk song (Russia), G, 2/4 . . . . . . . 81
282 The Ship That Never Returned (Missouri),
A, 2/4. . . . . . . . . . . . . . . . . 82
283 Paradies, M’ha Preso Alla Sua Ragna, A,
2/4 . . . . . . . . . . . . . . . . . . 82
284 Die Sonne Scheint Nicht Mehr, E, 4/4 . . 83
285 Ubi Bene, Ibi Patria, C, 6/8 . . . . . . 83
IV-3 Wide Leaps Within the
Subdominant . . . . . . . . . . .84
286 Mozart, presto from string quartet # 4, C,
2/4 . . . . . . . . . . . . . . . . . . 84
287 Ellor, Diadem, B, 3/4 . . . . . . . . 84
288 Mozart, rondo from string quartet # 6, B,
2/4 . . . . . . . . . . . . . . . . . . 84
289 Adieu, Bonne Hˆ otesse (France), F, 4/4. . 84
290 Derri`ere Chez Moi (France), F, 2/4 . . . 85
291 Foster, The Song of All Songs, F, 4/4 . . 85
292 Gladden, The Mountains, B, 4/4 . . . . 85
IV-4 Leaps Within the Subdom-
inant, Minor Keys . . . . . . . . .86
293 Wedge, f, 2/4 . . . . . . . . . . . . 86
294 Wedge, f, 3/4 . . . . . . . . . . . . 86
295 Wedge, c, 2/4. . . . . . . . . . . . 86
296 g, 4/4 . . . . . . . . . . . . . . . 86
297 Hanukah O Hanukah, d, 4/8, Presto. . . 87
298 Vivo Llorando la Suerte (Mexico), d, 2/4 . 87
299 Mozart, Osanna (bass solo, allegro) from
Sanctus, Requiem, D, 3/4 . . . . . . . . . 87
300 Bach, trio from Brandenburg concerto #
1, d, 3/4. . . . . . . . . . . . . . . . 87
301 Que No Te Amo (Mexico), g, 4/4 . . . . 87
302 folk song (Russia), d, 4/4 . . . . . . . 88
303 folk song (Russia), f, 2/4 . . . . . . . 88
304 Entre Vous Tous Gens de la Ville (France),
f, 3/4 . . . . . . . . . . . . . . . . . 88
IV-5 Leaps of a Seventh . . . . .89
305 Mozart, menuet from string quartet # 8,
F, 3/4 . . . . . . . . . . . . . . . . . 89
306 Hess, Little Charley Went a Fishing, F, 6/8 89
307 folk song, A, 4/4 . . . . . . . . . . 89
308 Carmela (Mexico), E, 4/8. . . . . . . 90
309 Mozart, menuet from string quartet # 1,
C, 3/4. . . . . . . . . . . . . . . . . 90
310 Gwine Follow (South Carolina), A, 2/4 . . 91
311 Mendelssohn, aria ‘If with all your hearts ye
truly seek me’ from Elijah, E, 3/4 . . . . . 91
312 Bayly, Long, Long Ago, D, 4/4 . . . . 91
313 Cradle Song, F, 4/4 . . . . . . . . . 91
314 Widdecombe Fair (England), C, 3/4 . . . 92
315 Walk, Shepherdess, Walk (Arkansas), C,
4/4 . . . . . . . . . . . . . . . . . . 92
316 Reir Es Necesario (Mexico), F, 2/4 . . . 92
317 folk song (Russia), A, 3/4 . . . . . . . 92
318 A Quinze Ans (France), g, 6/8 . . . . . 92
319 Mozart, menuet from string quartet # 8,
F, 3/4 . . . . . . . . . . . . . . . . . 93
320 Mozart, presto from string quartet # 7, E,
2/4 . . . . . . . . . . . . . . . . . . 93
321 Upidee, G, 4/4 . . . . . . . . . . . 93
8
IV-6 Other Perfect Fourths and
Fifths . . . . . . . . . . . . . . . .94
322 Mozart, opening from string quartet # 4,
C, 4/4. . . . . . . . . . . . . . . . . 94
323 folk song, G, 2/4 . . . . . . . . . . 94
324 La Rana (Mexico), D, 3/4 . . . . . . . 95
325 Poulton, Aura Lee, F, 4/4 . . . . . . 95
326 Weber, Softly Now the Light of Day, A, 2/495
327 Harris, After the Ball, B, 3/4 . . . . . 96
328 Sullivan, Take a Pair of Sparkling Eyes, F,
6/8 . . . . . . . . . . . . . . . . . . 96
329 Sullivan, Sing Hey to You, Good-Day to
You!, G, 2/4 . . . . . . . . . . . . . . 96
330 Foster, Slumber My Darling, E, 6/8. . . 96
331 Foster, Gentle Annie, E, 4/4 . . . . . . 96
332 Were You Ever in Rio Grand, B, 6/8. . . 97
333 Rimsky-Korsakov, Scheherezade (theme
from third movement), C, 6/8 . . . . . . . 97
334 Beethoven, opening movement from string
quartet # 1, F, 3/4 . . . . . . . . . . . 97
335 Mozart, trio from string quartet # 1, C, 3/497
336 Abt, Kathleen Aroon, G, 3/4 . . . . . . 97
337 folk song (Germany), D, 4/4 . . . . . . 98
338 Moore, Love’s Young Dream, G, 6/8. . . 98
339 Giordiano,, Caro Mio Ben, D, 4/4 . . . . 99
340 R´emon (Louisiana), F, 2/4. . . . . . . 99
341 Juanita, D, 3/4 . . . . . . . . . . . 99
342 Thompson, Lilly Dale, B, 4/4 . . . . .100
343 / . . . . . . . . . . . . . . . . .100
344 Pergolesi, aria from Stabat Mater, G, 4/4.100
345 Bach, menuet II from cello suite # 2, D,
3/4 . . . . . . . . . . . . . . . . . .100
346 Brahms, introduction, 1st symphony, C,
4/4 . . . . . . . . . . . . . . . . . .101
347 processional march song (Germany), D, 4/4 101
348 Milhaud, Chant de Sion, A, 4/4 . . . .101
349 Sagt Mir, O Sch¨ onste Sch¨af’rin Mein, A,
6/8 . . . . . . . . . . . . . . . . . .102
350 Gunhilde, F, 2/4. . . . . . . . . . .102
351 Ach, Englische Schaeferin, F, 3/4 . . . .102
352 Bach, Chorale, ‘W¨ar’ Gott Nicht Mit Uns
Diese Zeit’, C, 4/4 . . . . . . . . . . . .102
353 Handel, Angels Ever Bright and Fair, E,
4/4 . . . . . . . . . . . . . . . . . .103
354 Beethoven, allegro from string quartet #
6, B, 3/4 . . . . . . . . . . . . . . .103
IV-7 The Diminished Seventh
Chord, and the Harmonic Minor
Scale . . . . . . . . . . . . . . . .104
355 a, 4/4 . . . . . . . . . . . . . . .104
356 O Daniel (Florida), d, 4/4 . . . . . . .104
357 Bach, Invention 2, c, c/minor . . . . .104
358 Mozart, andante un poco allegretto from
string quartet # 5, a, 4/4 . . . . . . . . .104
359 Goldfaden, Raisins with Almonds, a, 3/4,
Lullabye . . . . . . . . . . . . . . . .105
V Nondiatonic Materials
107
V-1 Secondary Dominants and
Chromatic Passing Tones . . . .107
360 Luther, A Mighty Fortress Is Our God, D,
4/4 . . . . . . . . . . . . . . . . . .107
361 Kevin Barry (Ireland), C, 3/4. . . . . .107
362 Who Got Dirt on the Carpet Again?, c, 4/4107
363 Conkey, God is Love, His Mercy Brightens,
G, 3/4. . . . . . . . . . . . . . . . .108
364 Shoals, Valedictory, G, 4/4 . . . . . .108
365 Autrefois le Rat de Ville (France), G, 2/4 .108
366 Webbe, Come, Ye Disconsolate, B, 2/2 .109
367 Keller, Angel of Peace, F, 4/4 . . . . .109
368 Butterfield, When You and I Were Young,
C, 4/4 . . . . . . . . . . . . . . . .110
369 Woodbury, Speed Away! Speed Away!, A,
3/8 . . . . . . . . . . . . . . . . . .110
370 Mozart, aria from the Magic Flute, E, 3/8110
371 Let God’s Saints Come In (Virginia), G, 2/4 110
372 Vivo Penando (California), F, 2/4 . . . .111
373 Allan Maclean (Scotland), G, 3/4 . . . .111
374 Stradella, Ragion Sempre Addita, A, 3/8 .111
375 Dans le Port, Il Est Arriv´e (France), G, 2/4111
376 Root, Brother, Tell Me of the Battle, D,
3/4 . . . . . . . . . . . . . . . . . .112
377 Cooper, Beautiful Bells, A, 3/4 . . . .112
378 McNaughton, The Faded Coat of Blue, G,
4/4 . . . . . . . . . . . . . . . . . .112
379 Mozart, menuet from string quartet # 1,
C, 3/4. . . . . . . . . . . . . . . . .113
380 Haydn, adagio poco cantabile from string
quartet, Op. 73, #3 (‘Emperor’), G, 4/4 . . .113
381 Crep´ usculo (Mexico), D, 2/4 . . . . . .114
9
382 Media Noche (California), E, 2/4. . . .114
383 Pergolesi, tune from Stabat Mater, f, 4/4.114
384 Bach, Bourr´ee II from orchestral suite #2,
b, 4/4 . . . . . . . . . . . . . . . . .115
385 The Cruel Mother (England), E, 3/4 . .115
386 Hawthorne, Out of Work, A, 4/4 . . . .115
387 Joplin, The Easy Winners, C, 2/4 . . . .116
388 Edwards, In My Merry Oldsmobile, G, 3/4 116
389 Erlaube Mir, Fein’s M¨adchen, F, 3/4. . .116
390 Bach, Menuet I from orchestral suite #1,
G, 3/4. . . . . . . . . . . . . . . . .117
391 Handel, chorus from ‘Judas Maccabaeus’,
C, 4/4. . . . . . . . . . . . . . . . .117
392 Shackleton, The Orange and the Black, B,
4/4 . . . . . . . . . . . . . . . . . .118
393 Adelphi School Song, G, 4/4 . . . . . .118
394 Allen, Maid of Athens, G, 4/4 . . . . .118
395 Ascher, Alice, Where Art Thou?, B, 3/4 .119
396 Mozart, Duet No. 2, Menuet, from 12
Duets, K.V. 487, G, 3/4 . . . . . . . . .119
397 Schubert, Above the Mountains, A, 4/4 .120
398 Mozart, Duet from The Magic Flute, E,
6/8 . . . . . . . . . . . . . . . . . .120
V-2 Blue Notes . . . . . . . . . .121
399 The Graveyard (South Carolina), F, 2/4 .121
400 Roll, Jordan, Roll (United States), D, 2/4 121
401 Cyclone at Ryecove (Missouri), A, 3/4 . .121
402 Europe, Goodnight Angeline, G, 4/4 . . .122
403 ’Tis Me, O Lord (Unites States), A, 4/4 .122
V-3 Relative Minor and Major .123
404 Schwesterlein, g, 3/4 . . . . . . . . .123
405 Es Ritt ein Ritter, b, 6/8 . . . . . . .123
406 Cradle Song (Sweden), f, 2/4 . . . . .123
407 Bach, Chorale, ‘Befiehl du deine Wege’, b,
4/4 . . . . . . . . . . . . . . . . . .123
408 Bach, Chorale, ‘Das Walt’ Mein Gott,
Vater, Sohn’, d, 4/4 . . . . . . . . . . .124
409 Feinsliebchen, Du Sollst, a, 2/4 . . . . .124
410 Bach, Chorale, ‘Gib Dich Zufrieden und Sei
Stille’, e, 4/4 . . . . . . . . . . . . . .124
411 Crouch, Kathleen Mavourneen, C, 3/4 . .125
VI The C Clef . . . .127
412 C, 4/4 . . . . . . . . . . . . . . .127
413 C, 3/4 . . . . . . . . . . . . . . .127
414 The Ash Grove (Wales), C, 3/4. . . . .127
415 Haydn, menuet Oxford symphony, C, 3/4.127
416 folk song, C, 6/8 . . . . . . . . . .128
417 Wach’ Auf, Mein Hort, C, 6/8 . . . . .128
418 La Paloma Blanca (Arizona), C, 6/8. . .128
419 Holst, Venus theme from The Planets, G,
3/4 . . . . . . . . . . . . . . . . . .128
420 folk song, G, 6/8 . . . . . . . . . .129
421 Pergolesi, aria ‘Sancta Mater’ from Stabat
Mater, F, 4/4 . . . . . . . . . . . . . .129
422 Mozart, aria (Papageno) from ‘The Magic
Flute’, B, 2/4 . . . . . . . . . . . . .129
423 Haydn, finale, London symphony, D, 4/4 .129
424 Every Hour in the Day (Georgia), a, 2/4 .129
425 lullabye (Russia), a, 4/4 . . . . . . . .129
426 Feinsliebchen, Du Sollst, a, 2/4 . . . . .130
427 Crouch, Kathleen Mavourneen, G, 3/4 . .130
10
Chapter I
Rhythm
The rhythms in this chapter all come from well-known tunes. After reading them, you may want to
look at the titles, which are given in the table of contents. If you’re working with a teacher, you may
wish to clap the rhythm twice, with the teacher counting beats the first time, and singing the tune
the second time.
I-1 Whole, Half, and Quarter Notes
1
, . , , , . , , , , , , , , ,
2
, , , , , , . , , . , , . ,
3
, . , , . . . . , , , , , , , , , , , , ,
,
7
, , , , , , , , . . . , , . . .
4
, , . , , , , , . , , , , , , , , , . , , . . , , . ,
5
, , , , . , , , , , , . , , . , , , , . . , , . ,
1
, rhythm of Twinkle Twinkle, Little Star
2
, rhythm of Little Brown Jug
3
, rhythm of Bingo
4
, rhythm of
Rain, Rain, Go Away
5
, rhythm of O Come, All Ye Faithful
I-2 3/4 Time, and Dotted Half-Notes
6
4
3 .

.

, , , , , , . , .

. , . , . , . , . , , , , , . , , , , .

.
7
4
3 . , , , , .

, , , , .

.

.
I-3 Eighth Notes
8
, .

, , , , , , , , , , , , , .

, , , , , , , , , , , , , , ,
9
.
4
3 , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
10
, , . , , , , , , . , , , , , , , , , , , , , , , , , , . , , . ,
11
, , , , , , , . , , , , . , , , , , ,
I-4 Dotted Quarter Notes
12
, , , , , , , , , , , , , , , , , , , , . , , ,

,

, , , .
13
, ,

, , , , . , , , ,

,

, , ,

, , ,

,

, , , , ,

, , , , , , , , ,

6
, rhythm of We Three Kings
7
, rhythm of Take Me Out to the Ball Game
8
, rhythm of O Little Town of
Bethlehem
9
, rhythm of We Wish You a Merry Christmas
10
, rhythm of This Old Man
11
, rhythm of Hush
Little Baby
12
, rhythm of Jingle Bells
13
, rhythm of Jimmy Crack Corn
14 Chapter I. Rhythm
14
, , .
4
3 , ,

,

, , , , , , , , , , , , . , ,

,

15
.

4
3 ,

,

, . , , , ,

, . , ,

,

, .

,

,
16
4
3

, , , , .

.

, , . , , ,

, , , , , . , , , , , , , , .

. ,

.

. , , . .

, ,

I-5 Sixteenth Notes
17
4
2 , , , , , , , , , , , , , , , , , ,
I-6 Dotted Eighth Notes
18
, . , ,

,

, , ,

, ,

, ,

, ,

, , , ,

,

,
19
.
4
3 , , , , , ,

, . . ,

, .

.

, , ,
20
, , , ,

, . . ,

,

, ,

,

,

,
I-7 Compound Time
21
,

8
6 , , , ,

, ,

, ,

,

, , , , ,

, , , , ,

, , , ,

,

, , , , ,

, , , , ,
14
, rhythm of Away in a Manger
15
, rhythm of Rockabye Baby
16
, rhythm of Home On the Range
17
P.I.
Tchaikovsky, rhythm of trepak from The Nutcracker
18
, rhythm of Alouette
19
P.I. Tchaikovsky, rhythm of waltz
of the flowers from The Nutcracker
20
, rhythm of I’ve Been Working on the Railroad
21
, rhythm of Here We Go
Round the Mulberry Bush
I-5. Sixteenth Notes 15
22
8
6 , ,

, ,

, ,

,

,

,

, ,

,

,

, ,

, ,

,

, ,

, ,

,

, ,

23
,

8
6 , ,

, , ,

,

,

, ,

, , , ,

, ,

, ,

,

, ,

,

, ,

, , , , ,

, ,
24
8
12 , , ,

, ,

,

,

, , , , , , , , ,

,

,

, , , ,

, ,

,

, ,

, ,

I-8 Syncopation
25
, , ,

4
2 , , , , , , , , , , , , , , , , , ,
I-9 Triplets
26
, , , , , ,

, ,

, ,

, ,

, ,

, ,

, . ,

, ,
3
, ,
3
, , ,

, ,

, ,

,

,
,

,
5
, ,

, ,

, ,

, , ,

, ,

, ,

,

, ,

, ,

, ,

, ,

, ,

, ,

, ,

, ,

22
, rhythm of The Itsy-Bitsy Spider
23
, rhythm of Pop Goes the Weasel
24
, rhythm of Row, Row, Row Your Boat
25
Scott Joplin, rhythm of The Entertainer
26
P.I. Tchaikovsky, rhythm of march from The Nutcracker
16 Chapter I. Rhythm
Chapter II
Major Keys
II-1 Introduction to Solfeggio
The following syllables are traditionally used for the seven notes of the major scale.
,
do
,
/
,
re
,
mi
,
fa
,
so
,
la
,
ti
,
do
They originate from the Latin hymn Ut Queant Laxis, in which the first word of each successive mu-
sical phrase began on the next note of the scale.
This book uses the movable do system. In this system, ‘do’ is always the tonic, and the other syllables
are assigned to the other notes according to their role in the key. In the key of D, for example:
,
,
,
/
mi
,
fa
,
so
,
la
,
ti
,
do
,
do
,
re
,
This may seem confusing at first, but it’s the only system that makes sense to the ear. For instance,
‘ti’ is always a note with a tendency to move up a half-step to ‘do,’ the tonic. (There is also a fixed do
system, in which ‘do’ is always C, ‘re’ is always D, and so on. The fixed do system is often taught to
European schoolchildren, who don’t know enough music theory to recognize the roles of the different
notes in relation to the tonic in a key that has sharps or flats.)
Sight singing is first and foremost a method of training your brain to understand relationships between
musical notes, and is therefore an important component of musicianship even if you consider yourself
primarily a composer or instrumentalist rather than a singer. For example, a jazz musician improvis-
ing a solo on the saxophone needs to be able to imagine a melody, and understand the relationship
between the imagined pitches so as to be able to translate them into fingerings. The solfeggio syllables
are a device for making the recognition of the relationships automatic.
Broadly speaking, there are two main approaches to learning solfeggio singing. One can learn to sing
intervals, or to sing each note according to its role in the key. That is, we can hear each note in relation
to the preceding note, or in relation to the tonic. Suppose, for example, that we’re singing a piece of
music in the key of C major, and having just sung B, which is ‘ti,’ we see that the next note in the
melody is C, which is ‘do.’ In the first approach, we recognize this as the interval of a half-step (minor
second), so we move to the note a half-step above the one we’ve just sung. In the second technique,
we know how to sing ‘do’ because of its special sound in relation to the key: it’s the tonic, the note
that sounds like it would be a good one to end the song on. In reality, one doesn’t use either technique
exclusively. We might as well ask Shakespeare what he does when he reads words: ‘Mr. Shakespeare,
do you use phonics, or do you recognize whole words?’ A fluent reader is actually decoding patterns
at a subconscious level, and the process is extremely rapid because most of the patterns are familiar.
Because the goal is rapid recognition of patterns at a subconscious level, one should not expect to
become a fluent sight singer by artificial devices. For instance, many people learn to recognize the
interval of a major sixth using a tune such as ‘My Bonnie Lies Over the Ocean’ or the NBC jingle.
This is a good thing to learn, just as it’s good to learn that an E at the end of a word makes the
preceding vowel long. But a fluent reader doesn’t look at the word ‘sure’ and think ‘silent E makes
the U long.’ Learning the phonics rules is necessary, but having learned them, we actually become
fluent readers through the act of reading large amounts of English.
There is also a pitfall to this technique of learning to hear intervals via a personalized list of familiar
melodies. The leap of a major sixth in ‘My Bonnie’ is a leap from ‘so’ up to ’mi,’ but your brain will
probably refuse to recognize the leap from ‘re’ to ‘ti’ as being the same thing, because ‘re’ and ‘ti’
play different roles in the key than ‘so’ and ‘mi.’ Some people learn two melodies, one for ‘so-mi’ and
one for ‘re-ti.’ Some might even do another two for the downward leaps ‘mi-so’ and ‘ti-re!’ This just
shows that the technique is artificial and not usually very useful.
18 Chapter II. Major Keys
II-2 Melodies Containing Only Steps
In each example, start by identifying which line or space on the staff represents ‘do,’ the tonic. If
you have an instrument at hand, play the tonic, and then sing enough notes from the tonic chord
to bracket the range of the melody, e.g., ‘do mi so do’ for the octave spanned by the first example.
If an instrument is not available, pick a note for ‘do’ that will put the melody in the most comfort-
able part of your vocal range. Locate the notes of the tonic chord on the staff to use as reference points.
27 ,
/
,
·
,
,
,
,

, ,
,
,

,
,
,

,

28
,
,
/
,
.
,
,
.
,
,
,
.
,
,
.
.
29
4
3
/
, ,
,
,
,
.
,
,
,
, ,
,
, ,
,
, ,
,
,
, ,
,
,
famous tune (identified in the table of contents)
30 ,
/
,
,
,
,
,

.
,
,
,
,
,
,

.
, ,
,
,
,
, ,
,
, ,

,
,
, ,
,
, ,
The following example is in a new key: its ‘do’ is the former ‘so.’ If you have trouble convincing your
brain to switch keys, try singing ‘do re mi fa so’ in the old key, then repeating the last note as ‘do,’
and finally singing ‘do ti do’ — with authority!
31
4
3
,
/
,
,
.
,
,
,
.

. ,
,
.
,
.
32
,
4
3
,
/
,
,
,

,

,
,
·
,

,
,
,
·
,

, ,
, ,
,
·
,
,
,
,
,
,
·
,
II-2. Melodies Containing Only Steps 19
33 ,
,
,
, ,
.
,
,
, ,
.
,
, , ,
,
, .
,
,
.
,
,
,
,
,
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Moderato
,
Note that the following two examples both have the tonic on the line at the center of the staff, so the
one with five sharps actually isn’t any more difficult to read.
36 ,
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37
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The following five melodies all begin on ‘so.’
38 , ,
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,
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,
,
, ,
We now begin moving around the circle of fifths in the opposite direction. ‘Ti’ in the previous key
is flattened, and becomes ‘fa’ of the new key. If you’re singing the new, flattened version of the note
correctly, you should be able to hear its strong tendency to resolve down to ‘mi.’
33
anonymous, carol (Bohemia)
34
J.S. Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’
35
Pierre Latour,
The Beautiful Angel
36
L.R. Lewis
38
L.R. Lewis
20 Chapter II. Major Keys
39
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41
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,
The following two melodies both have the tonic at the same place on the staff.
42 , ,
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43
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Canon for two voices:
44
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1
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2
,
Canon for two voices:
45
4
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45
L.O. Emerson, Whither Through the Meadow?
II-2. Melodies Containing Only Steps 21
46
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Canon for two voices:
47
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,
,
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22 Chapter II. Major Keys
48
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49
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50
8
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48
L.R. Lewis
49
L.R. Lewis
50
L.R. Lewis
II-2. Melodies Containing Only Steps 23
51
,
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17
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51
L.R. Lewis
24 Chapter II. Major Keys
II-3 Leaps to ‘Do’
52
4
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53
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Adagio
.
II-4 Leaps Back to Remembered Notes
54

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55 ,
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56 ,
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7
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55
J.S. Bach, Chorale, ‘Seelenbr¨ autigam, Jesu, Gottes Lamm’
56
J.S. Bach, Chorale, ‘Jesu, meiner Seelen Wonne’
II-3. Leaps to ‘Do’ 25
The following example uses both leaps back to remembered notes and leaps to the tonic.
57 ,
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.
The next tune is easier than it appears, because you only need to return to the same note after each
low G.
58
4
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58
folk song
26 Chapter II. Major Keys
II-5 Easy Leaps Within the Tonic Triad
This section introduces leaps of a third, a fourth, and an octave within the tonic triad.
famous tune (identified in the table of contents)
59
4
3 ,
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60 ,
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61
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62 ,
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7
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63
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Allegretto
·
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64
4
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Allegro
,
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63
W.H. Latham, Broadway Sights
64
anonymous, A la Claire Fontaine (France)
II-5. Easy Leaps Within the Tonic Triad 27
65 ,
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67 , ,
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68
8
12
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69

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70
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65
Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater
66
A.S. Sullivan
67
anonymous, A Recou-
vrance (France)
68
Froebel, Pat-a-Cake
69
anonymous, Carmela (Mexico)
70
anonymous, My Father, How Long?
(Florida)
28 Chapter II. Major Keys
71 , ,
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6
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72 ,
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73 , ,
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74 ,
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71
J.S. Bach, Chorale, ‘Es ist gewisslich an der Zeit’
72
anonymous, Annie Laurie
73
H.S. Cutler, The Son of God
Goes Forth to War
74
Martin Luther, We Come Unto Our Father’s God
II-5. Easy Leaps Within the Tonic Triad 29
,
/
7
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75
4
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5
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76 , ,
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77
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Allegretto
,
The following example includes a leap of a sixth, but it’s an easy leap back to ‘do.’
78
4
2 ,
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,
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,
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,
,
Con moto
75
anonymous, Lawlan’ Jenny (Scotland)
76
Stephen Foster, Hard Times Come Again No More
77
H. Burgess Weston,
Row, Burnie, Row
78
anonymous, En Revenant d’Auvergne (France)
30 Chapter II. Major Keys
This four-part canon includes a leap of a sixth to ‘do.’
79
.
, ,
/
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,
4
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2
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,
1
79
anonymous, Entendez-Vous Sur l’Ormeau (France)
II-5. Easy Leaps Within the Tonic Triad 31
II-6 The Leap of a Fifth Within the Tonic Triad
80 ,
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/
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81
4
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7
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82
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Allegro
, .
83

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16
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82
Alessandro Scarlatti, Su, Venite a Consiglio
83
J.J. Rousseau, Hush, My Babe
32 Chapter II. Major Keys
84
4
2 ,
/
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·
,

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85
8
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,
Grazioso
,
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5
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86 , ,
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Moderato
,
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5
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87
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3
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88
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Andante

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84
anonymous, Dans la Forˆet Lointaine (France)
85
anonymous, The Beggar Girl (England)
86
Alice Hawthorne,
Home, By and By
87
Froebel, Beckoning the Pigeons
II-6. The Leap of a Fifth Within the Tonic Triad 33
II-7 Leaps of a Sixth Within the Tonic Triad
89
.
,
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/
, ,
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Allegro vivace
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91
Franz Wohlfahrt, Etude, Op. 45, #1
92
anonymous, As-Tu Vu la Casquette? (France)
93
anonymous, Praise,
Member (South Carolina)
94
Froebel, Beckoning the Chickens
34 Chapter II. Major Keys
95
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The next example includes both leaps within the tonic triad and leaps to ‘do.’ Because of its wide
range, it is given in two keys; make sure to choose a key in which you can actually reach all the notes!
96
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Another example that includes leaps to ‘do.’
98 , ,
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95
folk song
96
anonymous, Poor Rosy (South Carolina)
97
anonymous, Poor Rosy (South Carolina)
98
W.T.
Wrighton, The Dearest Spot on Earth
99
anonymous, Absent Davie (Scotland)
II-7. Leaps of a Sixth Within the Tonic Triad 35
100 ,
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Canon for two voices:
101

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1
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36 Chapter II. Major Keys
II-8 Leaps Within the Dominant
This section introduces leaps of a third within the dominant. Fourths, fifths, and sixths are included
in section II-9, and leaps of a seventh within the dominant chord are deferred until section IV-5.
famous tune (identified in the table of contents)
102 , ,
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Un poco allegretto

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103
W.A. Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487
104
folk song
105
anonymous, Derri`er’ Chez Nous il y
a Trois Fleurs (France)
106
John Parry, Villikins and His Dinah
107
anonymous,
¨
Annchen von Tharau (Germany)
II-8. Leaps Within the Dominant 37
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Moderato
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110
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Maestoso
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108
anonymous, Ah! Mon Beau Chˆ ateau! (France)
109
anonymous, Ainsi Font, Font, Font (France)
110
John Husband,
Revive Us Again
111
anonymous, Lightly Row (Spain)
112
anonymous, God Speed the Right (Germany)
38 Chapter II. Major Keys
/
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Hell und freudig
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113
W.A. Mozart, aria (Papageno) from ‘The Magic Flute’
114
anonymous, Sch¨ onster Schatz, Mein Engel
115
anonymous,
Down in the Valley
116
anonymous, Musieu Bainjo (Louisiana)
117
anonymous, Brother, Guide Me Home (Tennessee)
118
anonymous, Serenata (California)
II-8. Leaps Within the Dominant 39
119
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120

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Allegretto con grazia
119
W.A. Mozart, adagio from string quartet # 1
120
J.S. Bach, Chorale, ‘Es spricht der Unweisen Mund wohl’
121
Nikolaus Beuttner, Es kam ein treuer Bote
122
J.S. Bach, Chorale, ‘Valet will ich dir geben’
123
J.S. Bach, Chorale,
‘Wie bist du Seele in mir so gar betr¨ ubt’
124
anonymous, Gardez Piti Milatte-l` a (Louisiana)
40 Chapter II. Major Keys
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126 ,
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127

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128
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129 ,
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130
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125
anonymous, Shout On, Children (Georgia)
126
Franz Schubert, Wohin?
127
J.S. Bach, Chorale, ‘Liebster Jesu, wir
sind hier’
128
Franz Joseph Haydn, menuet Oxford symphony
129
J.S. Bach, Chorale, ‘Mach’s mit mir, Gott, nach
deiner Gut’
130
Franz Schubert, Halt!
II-8. Leaps Within the Dominant 41
131
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132
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133
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Moderato

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131
Gustav Holst, Venus theme from The Planets
132
anonymous, Serenata (California)
133
anonymous, If Your Foot
Is Pretty, Show It (United States)
42 Chapter II. Major Keys
II-8. Leaps Within the Dominant 43
II-9 Wider Leaps Within the Dominant
This section introduces leaps within the dominant as broad as a sixth. Leaps of a seventh are deferred
until section IV-5.
famous tune (identified in the table of contents)
135
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137

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136
anonymous, Eli Yale
137
anonymous, Krambambuli
138
anonymous, Go ’Way, Old Man (Louisiana)
44 Chapter II. Major Keys
139
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140
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142
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143
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Un poco allegretto
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7
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144
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139
anonymous, Our Baby (France)
140
anonymous, Aux Marches du Palais (France)
141
J.S. Bach, Chorale, ‘Herr,
wie du willst, so schick’s mit mir’
142
J.S. Bach, minuet
143
anonymous, Arlequin Tient Sa Boutique (France)
144
anonymous, Ballade de Roland (France)
II-9. Wider Leaps Within the Dominant 45
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145
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146
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·
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,

,
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147
4
2
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11
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,
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145
folk song
146
anonymous, Tu Eres Mas Bella (Costa Rica)
147
anonymous, Praise, Member (South Carolina)
46 Chapter II. Major Keys
148
8
6 ,
/
,
,
·
,
·
,
,
·
, ,
·
,

,

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·
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,

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,
Mit kraeftiger Leidenschaft

,
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7
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149 ,
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150 ,
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6
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11
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151 ,
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.
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, .
,
,
.
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,
, ,
,
.
,
.
,
,
.
,
,
148
anonymous, Wach’ Auf, Mein Hort
149
anonymous, Barbara Allan (Scotland)
150
anonymous, I’m a Pilgrim (Italy)
151
Franz Joseph Haydn, finale, London symphony
II-9. Wider Leaps Within the Dominant 47
152
4
2 ,
/
, , .
, .
,
,
, .
,
, ,
,
Allegro
,
,
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/
7
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153
4
3 ,
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3
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3
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3
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3
154 , ,
/
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,
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,
Lebhaft, doch zart
,
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6
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11
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155 ,
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,

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,
Allegretto
,
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/
6
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,
·
.
, ,
,
·
,
,

,
·
. ,
,
,
,
,
,
·
152
anonymous, Dans Notre Jardin (France)
153
anonymous, The Gypsy Warning (Missouri)
154
anonymous,
Jungfr¨ aulein, Soll Ich Mit Euch Gehn
48 Chapter II. Major Keys
156
8
6 ,
,
,
,
/
, ,
,

, ,
·
,
,

,
,

, ,

,

,
·
,
,

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,
Molto mesto

,

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,
157
4
3 ,
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,
Allegretto comodo
,
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/

9
,
.

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158

8
6 ,
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9
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·
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,
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,
,
,
159 ,
8
4 ,
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/
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·
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,
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,
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,
,

160
4
3
/
.

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,
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,
,
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,
,
,
,
, ,
,
,
,
,
, ,
,
, ,
,
Andante
,
156
Richard Strauss, Not Yet
157
anonymous, Ah, Suzette, Ch`ere (Louisiana)
158
anonymous, La Paloma Blanca
(Arizona)
159
Franz Schubert, Das Wandern
II-9. Wider Leaps Within the Dominant 49
161
4
3 ,
,
,
/
,
.
,
,

,
,

,
,
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,

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/
5
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,

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,

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,
162
4
3 ,
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9
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.

.
,
,
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/
17
,

,

D.S. al fine
,

,
,
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,

,
,

,
,

,
,
,
,

,
,
Fine
,
8
3
,
,
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.
163
8
6
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,

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,

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·
164 , ,
,
/
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,
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,
,
,
,
,
,
,
,
.
.
, ,
,
,
,
,
,
,
,
,
161
anonymous, Chill Ether (Scotland)
162
folk song
163
folk song
164
J.S. Bach, Chorale, ‘Nun ruhen alle Walder’
50 Chapter II. Major Keys
,
,
/
6
,
,
,
,
,
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,
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,
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165 ,
,
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/
5
,
,
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,

,
166
4
3
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/
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3
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167
4
2
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,

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,
Andante
168
4
2 ,
/
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Anmutig

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/
8
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, ,
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, ,
,
,
,
,
,
·
,
165
J.S. Bach, Chorale, ‘Wenn wir in h¨ ochsten N¨ oten sein’
166
anonymous, The Duke of Argyle’s Courtship (Scotland)
167
Harold Samuel, The Fairy Boat
168
anonymous, Gar Lieblich Hat Sich Gesellet
II-9. Wider Leaps Within the Dominant 51
Canon for two voices:
169 , ,
,
/
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,

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2
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,

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.

,
,
,
1
.
52 Chapter II. Major Keys
Chapter III
Minor Keys
III-1 Solfeggio in the Minor Mode
Some people sing in the minor mode using these solfeggio syllables:
,
re
,
do
, ,
,
,
/
,
te
,
,
le
,
,
so
,
fa
,
me
,
so
,
la
¸
,
ti
¸
,
do
,
do
,
do
,
re
,
me
,
fa
This system has the advantage that most of the notes have the same functions as in the major mode.
‘Do’ is still the tonic, ‘so’ the dominant, ‘ti’ the leading tone, and so on. In this system, the names of
the notes stay the same when switching between the parallel major and minor.
Others prefer this:
,
do
,
ti
,
la
, ,
,
,
/
,
so
,
,
fa
,
,
mi
,
re
,
re
,
me
,

¸
,
si
¸
,
la
,
la
,
la
,
ti
,
do
This system highlights the relationship between the minor and its relative major.
If you don’t have a teacher who wants you to use one system or another, I suggest you use the first
one, because it lets you recycle many of the patterns you’ve learned in minor. For instance, ‘so-ti-do’
is still a formula for a cadence.
In both systems, the vowel ‘i’ is used for a sharpened note, and ‘e’ for a flattened one. The chromatic
scale looks like this:
,
/
,
la
,
li
,
,
ti
,
do re
,
ri
,
,
mi
,
fa
,

,
,
so
,
si
,
,
do
,
di
,
,
,
ra
,
,
do
¸
/ ,
se
,
,
fa
¸
,
mi
,
me
,
,
re
¸
,
ti
,
te
,
,
la
¸ ,
le
,
,
so
¸
,
do
The important thing is to pick a system and learn it thoroughly. (I use my own enharmonic system
in which the chromatic scale is ‘do gu ri bu mi fa ka so ja la pa ti do.’)
54 Chapter III. Minor Keys
III-2 Steps
The purpose of the first exercise is to get used to the solfeggio syllables used in minor.
170

,
/
,
, ,
,
,
,
,
,
,
,
,
,
. ,
,
,
,
,
,
,
,
,
, , ,
,
,
,
,
,
,
Poco a poco accelerando
171
8
6
/
,
,
,
,
,
,
,

,

, ,
,
,
·
,

,
,
·
,
172
4
3
/
,
,
·
, , ,

.
·
,
,
,
·
,
,
, ,
,
·
,
,
,
, ,
Largo
·
This melody introduces the use of the ascending and descending forms of the melodic minor scale.
The rhythmic figure is the same as in the preceding tune.
173
4
3
/
, ,

.
, ,
,
,

,
,
,
·
,
,
,
,
, ,
·
,
,
,
,
,
, ,
,
,
·
, ,
,
·
,
,
,
, ,
, ,
,
Largo

, ,
,
,
·
174
4
3
/
,
,
.
,
, ,
, ,
,
,
,
,
,
,
, ¸
,
,
, ,
,
,
, ,
,
,
,
175
4
3
/ , ¸
,
.
,
,
,
. ,
,
,
,
.

, ,
,
,
.
/
8
,
. ,
,
,
,
.
, ,
. ,
,
,
,
.
,
, ,
.
,
174
L.R. Lewis
175
L.R. Lewis
III-2. Steps 55
176
.
, ,
/
,
,
,
, ¸
, ,
,
,
,
,
,
,
,
,
,
177 , ,
/
,
,
,
,
, ,
.
,
,
.
, ¸
,
,
,
,
,
178
4
3 ,
/
.
, , ,
,
, ¸
, ,
, ¸
, ,
,
, ¸
,
,
, ,
,
,
, ,
, ,
,
,
,
,
,
,
,
, ,
,
, ,
,
, , ,
,
,
179
2
3 ,
/
.
.
.
, . ,
,
.
,
,
,
. ,
.
. ¸
.
,
,
. ¸
. ,
.
.
.
,
180 , ,
,
/
, ,
, ,
,
,
, ,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
.
,
,
/
4
, ,
,
,
,

, ,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
, ¸
,
, ,
181
,
,
,
/
.
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
176
L.R. Lewis
177
L.R. Lewis
178
L.R. Lewis
179
L.R. Lewis
180
J.S. Bach, gavotte in G minor
181
L.R. Lewis
56 Chapter III. Minor Keys

,
/
5
,
,
, ¸
,
,
,
,
.
,
,
.
,
,
,
,
,
.
,
,
,
,
,
,
,
,
.
,
,
. ,
,
,
.
,
,
,

,
/
9
,
,
,
.

,
,
,
,
,
,
,
,
,
,
,
.
,
,
,
,
,
, ¸
,
,
,
,
,
,
,
,
,
,
,
,
,
.

III-2. Steps 57
III-3 Leaps Within the Tonic Triad
182 ,
,
,
,
,
,
,
,
.
,
.
,
,
,
,
.
,
,
. ,
,
. ,
,
. ,
, ¸
. , ,
183 ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
184
4
3
,
,
,
,
,
,
.
,
,
,
,
, ,
,
,
,
.

, ,
, ¸
,
,
,
,
,
,
,
,
,
,
, ,
,
,
185
,
3
,
·
.
,
,
,
,
,
,
,
3
,
·
,
,
,
186
4
3
,
,
,
,
.
,
,
,

,
·
.
,
,

.
,
,
·
,
,

.
,
,
,
.

,
,
,
,
9
,
,
,

¸
,
·
¸
,
,
,

.
,
·
,
,

. ,
,
187 ,
,
,
,
,
,
, ¸
,
,
,
,
,
,
, .
,
,
,
,
,
,
,
,
,
,
,
,
,
,
5
,
, ¸
,
,
,
,
, ¸
,
,
,
,
,
,
,
,
,
, ,
,
, ¸
,
184
G.A. Wedge
185
Who Got Dirt on the Carpet Again?
58 Chapter III. Minor Keys
188
4
2 ,
,
,
,
/
.
,
,
, ,
,
.
,
,
,
,
,
, ,
,
,
,
,
189
4
2 ,
,
,
,
/
,
,
,
, ¸
. ,
,
,
,
,
,
,
.
,
,
,
,
,
,
190
/
.
4
2 ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
191 , ,
,
,
,
/ ,

.
, , .
,
¸
, ¸
,
, ,
,
.
,
,
,
,
,
192 ,
/ ,
, ,
, ,
.
. , ,
,
,
.
.
,
, ,
, ,
.
. , ,
,
/
7
,
.
.
.
, ,
,
.
, ,
, ,
.
, ,
, ,
.
193
4
2
,
/ ,
,
, ,
,
,
,
,
,
,
,
,
, , , ,
, ,
,
,
,
,
,
, ,
, ,
,
, ,
,
, ,
·
194
4
3
/
,
,
,
,
,
,
,
,
,
.
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,

188
G.A. Wedge
189
G.A. Wedge
190
G.A. Wedge
192
J.S. Bach, Chorale, ‘Herr, nun lass in Friede’
193
anonymous,
Every Hour in the Day (Georgia)
194
anonymous, Forget na’, dear Lassie (Scotland)
III-3. Leaps Within the Tonic Triad 59
/
6
,
,
,
,
,
,
,
,
,
,
. ,
,
,
,
,
,
,

,
,
,
,

/
11
,
,
,

, .
,
,
,
,
,
,
,
,
,
.
,
,
,
,
,
,

195 , ,
,
/
,
,
, ,
, ,
.

,
,
,
.
,
, ,
,
.
, ,
,
,
,
,
famous tune (identified in the table of contents)
196
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195
J.S. Bach, Chorale, ‘Es steh’n vor Gottes Throne’
197
anonymous, Thou Poor Bird
60 Chapter III. Minor Keys
III-4 Leaps Within the Dominant
198
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famous tune (identified in the table of contents)
200 , ,
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201
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Vivace

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198
G.A. Wedge
199
G.A. Wedge
202
G.A. Wedge
203
G.A. Wedge
III-4. Leaps Within the Dominant 61
204
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205

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206 ,
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207
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208
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Draengend, doch nicht schnell

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204
G.A. Wedge
205
J.S. Bach, melody from the notebook for Anna Magdalena
206
anonymous, lullabye (Russia)
207
anonymous, Las Tristes Horas
208
G.A. Wedge
209
Froebel, The Wolf
210
anonymous, Guten Abend
62 Chapter III. Minor Keys
211
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Andantino
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211
J.S. Bach, Gavotte II from cello suite # 5
212
anonymous, Lolotte (Louisiana)
213
W.A. Mozart, menuet from string
quartet # 15
214
anonymous, Los Ojos Mexicanos (Mexico)
215
Maude Valerie White, Ophelia’s Song
216
J.S. Bach,
Chorale, ‘Nun sich der Tag geendet hat’
III-4. Leaps Within the Dominant 63
217 ,
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Allegro marziale
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219
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220 ,
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217
anonymous, Reir Es Necesario (Mexico)
218
anonymous, En Avant, Gr´enadiers! (Louisiana)
219
anonymous, Angel
de Mis Amores (Mexico)
220
Franz Schubert, Am Feierabend
221
J.S. Bach, Chorale, ‘O Traurigkeit, o Herzeleid’
64 Chapter III. Minor Keys
222 ,
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224 , ,
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226
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222
Johannes Brahms, Nachtwache 1
223
anonymous, Mi Sue˜ no (Mexico)
224
J.S. Bach, Chorale, ‘O Haupt voll Blut
und Wunden,’ from St. Matthew’s Passion
225
J.S. Bach, Chorale, ‘Von Gott will ich nicht lassen’
226
G.A. Wedge
III-4. Leaps Within the Dominant 65
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227
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35
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227
G.A. Wedge
228
G.F. Handel, aria ‘O Jordan, Sacred Tide’ from Esther
66 Chapter III. Minor Keys
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229 ,
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III-4. Leaps Within the Dominant 67
68 Chapter III. Minor Keys
Chapter IV
Other Diatonic Materials
IV-1 Leaps Between the Tonic and Dominant
The following three songs contain the leap from ‘ti’ to ‘mi.’
230
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Allegro giusto
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The next three use leaps of a diminished fourth, an interval which sounds like a major third, and is
typical of minor keys.
233 ,
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230
anonymous, Ya Viene El Alba (California)
231
Alessandro Scarlatti, Gi` a il Sole dal Gange
232
Franz Schubert,
Danksagung an den Bach
233
Grieg
234
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235 , ,
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234
anonymous, zandunga folk song (Southern Mexico)
235
Giulio Carcini, Amarilli, Mia Bella
70 Chapter IV. Other Diatonic Materials
IV-2 Leaps Within the Subdominant, Major Keys
The first two tunes clearly imply the subdominant chord in the marked measures.
236
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237
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Allegro
, ,
More commonly, the melody leaps into or out of ‘la’ without spelling out the subdominant chord
explicitly. Although dominant harmony can often be implied strongly with only one or two notes, this
is not usually true of the subdominant, because of its weaker character. Since thirds are the most
common leaps, the most important new leaps to learn to sing are the ones between ‘do’ and ‘la’ and
between ‘fa’ and ‘la.’ This melody leaps from ‘do’ to ‘la:’
238
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This one jumps from ‘la’ to ‘fa:’
239
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famous tune (identified in the table of contents)
240 ,
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236
anonymous, Jehovah, Hallelujah (South Carolina)
237
anonymous, Arlequin Marie Sa Fille (France)
238
folk song
239
folk song
IV-2. Leaps Within the Subdominant, Major Keys 71
.
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,
.
A great deal of Scottish folk music uses a major scale that omits ‘ti.’ ‘Fa’ is sometimes left out as
well, forming a five-note, or pentatonic, scale. Once one’s ear adjusts to the sound of the scale, the
characteristic leap between ‘do’ and ‘la’ no longer sounds like a leap at all. Of the following two
examples, the first is pentatonic, while the second uses the full major scale. The first example has
been notated with the style’s typical elaborate ornamentation, which you may wish to ignore.
241
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242
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241
anonymous, Lang Johnny More (Scotland)
242
anonymous, The Bonniest Lass in a’ The Land (Scotland)
72 Chapter IV. Other Diatonic Materials
243 ,
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244
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Sanft bewegt
,
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245
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Andante
246
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,
Moderato
,
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247
4
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248 ,
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249
8
6 ,
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,
Animato

,
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9
,
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·
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·
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,

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,
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·
,
,

,
243
anonymous, Old Hundred
244
anonymous, Da Unten Im Tale
245
anonymous, I Want To Be Ready (United States)
246
G.B. Fasolo, Cangia, Cangia Tue Voglie
247
anonymous, The Ash Grove (Wales)
248
W.H.C. West, The Jenny Lind
Mania (United States)
249
anonymous, Au Jardin de Mon P`ere (France)
IV-2. Leaps Within the Subdominant, Major Keys 73
250
,
.
,
/
, ,
·
,

,
·
,

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,

Moderato
,

251
4
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252
2
3 ,
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Andante sostenuto
.
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8
,
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253
8
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,

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,

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,
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,

,
,

,
250
Richard Strauss, Devotion
251
anonymous, I Ride an Old Paint (United States)
252
J.G. Whittier, Song of the Free
253
G.F. Handel, aria ‘Hush ye pretty warbling quire’ from Acis and Galatea
74 Chapter IV. Other Diatonic Materials
254 , ,
/
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.
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,
.
.
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.
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/
7
,
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255
8
6 ,
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,

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14
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256
4
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17
.
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,
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,
,
, .
, . .
254
Thomas Tallis, If Ye Love Me
255
anonymous, The Huntsman
256
Thomas Moore, Evening Bells
IV-2. Leaps Within the Subdominant, Major Keys 75
257 ,
,
,
,
/
,
,
, ,
,
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,

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5
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10
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258 ,
,
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.
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.
259
4
3
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260 ,
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8
,

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,

.
,

,
,

,

,

,
,

,

.
,

,
,
.
.
.
,
,
257
anonymous, Sinner Won’t Die No More (Tennessee)
258
W.A. Mozart, opening from clarinet quintet
259
anonymous,
The Gold Band (Tennessee)
260
Giovanni Battista Pergolesi, tune from Stabat Mater
76 Chapter IV. Other Diatonic Materials
,
/
15
,
,
,
,
,
,
,

,

,
,
,

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261
8
6
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262
8
6 ,
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,

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·
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,
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,
,
,
,

, ,
,

Moderato
,

263 ,
,
,
,
,
,
,
,

,

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,
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,

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·
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,
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6
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11
,

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,
,
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264
4
2 ,
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,
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,
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,

,
,
,
, ,
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,
,
,
261
anonymous, Bonnie Wee Window (Arkansas)
262
J.S. Fearis, Beautiful Isle of Somewhere
263
W.B. Bradbury, He
Leadeth Me
264
M.D. Sullivan, The Blue Juniata
IV-2. Leaps Within the Subdominant, Major Keys 77
,
/
9
,
,
,
,
, ,

,
, ,
,
,
,
,
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,

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265 ,
,
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.

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,
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,,,
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,
,
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,
266
/
,

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3
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267
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,

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,
268
4
2
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,
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,
,
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,
Allegretto
,
,
,
,
,
,
9
,
,
,
,

,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
269
8
6
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,
,
,
,
,
,
,
,

,
, ,
,
,
,
, ,
,
,
,
,
,
,
265
anonymous, Red River Valley
266
anonymous, I’m In Trouble (Florida)
267
Franz Joseph Haydn, introduction,
London symphony
268
anonymous, Rosa Lee
269
anonymous, My Lodging Is On the Cold Ground
78 Chapter IV. Other Diatonic Materials
,
,
,
,
5
,
,
·
,
,

,
,
,
,
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9
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,
13
,

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,
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,
,
,
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,
270
8
12
,
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271
8
6 ,
/

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272
4
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,
,
,
.
, ,
,
270
anonymous, Cowboy’s Home Sweet Home (Arkansas)
271
anonymous, Calinda (Louisiana)
272
anonymous, The
Braes O Yarrow (Scotland)
IV-2. Leaps Within the Subdominant, Major Keys 79
273
4
3
, ,
,
.
,
, ,
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,

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Maestoso
,
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7
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.
,
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274
4
3
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275
4
3
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3
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7
, ,
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3
276 ,
/
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.

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.
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,
277
/
,
,

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3
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,
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,
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273
anonymous, Gaudeamus Igitur
274
W.A. Mozart, andante from string quartet # 2
275
anonymous, The Wild Moor
(Missouri)
276
Johannes Brahms, introduction, 1st symphony
277
anonymous, Caroline (Louisiana)
80 Chapter IV. Other Diatonic Materials
278
8
6 ,
,
,
/
,
,

,
,
·

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, ,

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,
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,
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·
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5
,
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,
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·
,
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279
4
3
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3
280
4
3
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8
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,
,
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,
281
4
2
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/
,
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,
·
.
,
,
,
·
,
,
,
,
,
·
,
,
Adagio
,
·
,
,
/
9
,
.
,
,
,
,
,
,
,
,
·
,
,
,
,
,
,
,
·
,
,
278
anonymous, Avril (France)
279
W.A. Mozart, menuet from string quartet # 10
280
anonymous, The Hallowed Spot
(Missouri)
281
anonymous, folk song (Russia)
IV-2. Leaps Within the Subdominant, Major Keys 81
282
4
2
,
,
,
,
.
,
·
,
,
, ,

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,
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8
,

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,

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·
,
,
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283
4
2 ,
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,
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, ,
,
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,
Allegretto mosso

,
,
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,
/
6
,
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,
,
,
,
,
,
,
,
,
,
,
·
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,

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/
12
,
,
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,
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,
,
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,
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·

,
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/
17
,
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22

, ,
,
,

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,

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,
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,
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,
,
,
,
,
284 ,
,
,
,
,
/
, , ,
,
,
,
,
,
.

,
.

,
,
,
,
,
,
,
,
Gehalten und empfindungsvoll
282
anonymous, The Ship That Never Returned (Missouri)
283
Pier Domenico Paradies, M’ha Preso Alla Sua Ragna
284
anonymous, Die Sonne Scheint Nicht Mehr
82 Chapter IV. Other Diatonic Materials
,
,
,
,
/
6
,
,
,

,

,
,
,
,
,
,
,
4
3
Lebhaft

,
,
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.
,
,
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,
.
,
,
,
,
/
10
,
.
,
.
,
, ,
·
,
,

,
,
,
,
,
,
,

,
,
,
,
,
285
8
6
/
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·
,
, ,
,

,

,
·
,
,
·
,

,
,

,
,

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Moderato
,

,
,

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/
7
,

,
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,
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,

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,

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Vivace

,

,
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,
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,
/
13
,
,

,

, ,
,
,

, ,

, ,
,

,
, ,
·
,
,

,
285
anonymous, Ubi Bene, Ibi Patria
IV-2. Leaps Within the Subdominant, Major Keys 83
IV-3 Wide Leaps Within the Subdominant
286
4
2
/
,
,
,
,
,
,
,
, , ,

,
,

,
,

,
,

,
,
,

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,
,

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/
9
,
,

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·
,
,

,

,
,

,
,
,
·
,
,

,

,

,
,

,

,

,
,

,

,

287
4
3 ,
,
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286
W.A. Mozart, presto from string quartet # 4
287
J. Ellor, Diadem
288
W.A. Mozart, rondo from string quartet # 6
289
anonymous, Adieu, Bonne Hˆ otesse (France)
84 Chapter IV. Other Diatonic Materials
290
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291
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290
anonymous, Derri`ere Chez Moi (France)
291
Stephen Foster, The Song of All Songs
292
S.W. Gladden, The
Mountains
IV-3. Wide Leaps Within the Subdominant 85
IV-4 Leaps Within the Subdominant, Minor Keys
293
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295
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297
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293
G.A. Wedge
294
G.A. Wedge
295
G.A. Wedge
297
anonymous, Hanukah O Hanukah
86 Chapter IV. Other Diatonic Materials
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Allegretto
298
anonymous, Vivo Llorando la Suerte (Mexico)
299
W.A. Mozart, Osanna (bass solo, allegro) from Sanctus, Requiem
300
J.S. Bach, trio from Brandenburg concerto # 1
301
anonymous, Que No Te Amo (Mexico)
302
anonymous, folk song
(Russia)
IV-4. Leaps Within the Subdominant, Minor Keys 87
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303
anonymous, folk song (Russia)
304
anonymous, Entre Vous Tous Gens de la Ville (France)
88 Chapter IV. Other Diatonic Materials
IV-5 Leaps of a Seventh
With leaps of a seventh, as with any very broad leap, the most common problem is simply the
inability to reach the note. Make sure to sing each example in an appropriate key. If the leap of a
seventh is upward, find the lowest key in which you can comfortably sing the lowest note of the melody.
A factor in the sight-singer’s favor is that the most difficult leaps to sing are usually the ones that
are ugly as well, and therefore composers don’t write them; in real music, most leaps of a seventh
occur in certain special contexts that make them both easier to sing and more acceptable to the ear.
Although it is possible to memorize the sounds of the minor and major seventh leaps and sing them
on demand, that’s a fundamentally unnatural way to think about melody; keep in mind that most of
the examples in this section are folk songs created by people who were illiterate, and probably could
not have performed such a trick themselves.
Another technique for use when all else fails is to imagine the seventh as a downward step, with the
second note moved up an octave. In all the following examples, however, we’ll see that there are better
solutions arising naturally from the logic of the melodic line.
The first example is easy, because the leap begins a repetition.
305
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The next two examples are not much harder; there is repetition, but at a pitch one step higher.
306
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305
W.A. Mozart, menuet from string quartet # 8
306
C. Hess, Little Charley Went a Fishing
307
folk song
IV-5. Leaps of a Seventh 89
In the next tune, the leap upward from ‘ti’ to ‘la’ is heard as the inversion of the earlier step down
from ‘ti’ to ‘la.’
308
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The next example has a leap of a seventh as part of a dominant seventh chord. It resolves downward
to ‘mi,’ and this ‘fa-mi’ relationship is one of the most prominent landmarks of the key, so you may
find that the easiest way to hit the ‘fa’ is simply by locating ‘fa-mi.’
309
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This tune, like the preceding one, uses the familiar ‘so-fa-mi’ pattern. The leap is also made easier
because we’ve just sung ‘fa’ in the low register, and because, looking ahead, we anticipate the de-
scending scale ‘fa-mi-re-do.’
310
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308
anonymous, Carmela (Mexico)
309
W.A. Mozart, menuet from string quartet # 1
310
anonymous, Gwine Follow
(South Carolina)
90 Chapter IV. Other Diatonic Materials

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Another ‘so-fa-mi’ example. The ‘fa’ is heard as part of a logical progression of prominent high points
in the line.
311
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311
Felix Mendelssohn, aria ‘If with all your hearts ye truly seek me’ from Elijah
312
T.H. Bayly, Long, Long Ago
313
anonymous, Cradle Song
IV-5. Leaps of a Seventh 91
314
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315
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316
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317
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318
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314
anonymous, Widdecombe Fair (England)
315
anonymous, Walk, Shepherdess, Walk (Arkansas)
316
anonymous, Reir
Es Necesario (Mexico)
317
anonymous, folk song (Russia)
318
anonymous, A Quinze Ans (France)
92 Chapter IV. Other Diatonic Materials
319
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3 ,
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320
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319
W.A. Mozart, menuet from string quartet # 8
320
W.A. Mozart, presto from string quartet # 7
321
anonymous,
Upidee
IV-5. Leaps of a Seventh 93
IV-6 Other Perfect Fourths and Fifths
We’ve already sung leaps of a fourth and a fifth within the tonic, dominant, and subdominant chords,
and those leaps strongly implied their chords. For instance, it’s difficult to hear the ‘so-re’ leap without
perceiving a dominant chord. Although other leaps of a fourth or a fifth may imply other triads, in
real music they are more commonly produced not by the harmony but by the logic of the melody
itself. In the first example, the composer simply wants to repeat a molodic idea at a different pitch.
The ‘la’ is easily sung by thinking of it in relation to the ‘do’ it leads up to.
322 ,
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,

In this example, the leap from ‘la’ to ‘re’ is heard as an imitation of the preceding ‘so-do’ leap.
323
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Here, we really have the easy ‘so-mi’ leap, but with ‘la’ interposed.
324
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322
W.A. Mozart, opening from string quartet # 4
323
folk song
324
anonymous, La Rana (Mexico)
94 Chapter IV. Other Diatonic Materials
,
·
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14
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famous tune (identified in the table of contents)
325 ,
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327
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326
C.M. von Weber, Softly Now the Light of Day
327
Charles K. Harris, After the Ball
IV-6. Other Perfect Fourths and Fifths 95
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A.S. Sullivan, Take a Pair of Sparkling Eyes
329
A.S. Sullivan, Sing Hey to You, Good-Day to You!
330
Stephen
Foster, Slumber My Darling
331
S.C. Foster, Gentle Annie
96 Chapter IV. Other Diatonic Materials
332
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332
anonymous, Were You Ever in Rio Grand
333
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334
Beethoven, opening movement from string quartet # 1
335
W.A. Mozart, trio from string quartet # 1
336
Franz
Abt, Kathleen Aroon
IV-6. Other Perfect Fourths and Fifths 97
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anonymous, folk song (Germany)
338
Thomas Moore, Love’s Young Dream
339
Attributed to Guiseppe Giordiano,,
Caro Mio Ben
98 Chapter IV. Other Diatonic Materials
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340
anonymous, R´emon (Louisiana)
341
anonymous, Juanita
342
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IV-6. Other Perfect Fourths and Fifths 99
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344
Giovanni Battista Pergolesi, aria from Stabat Mater
345
J.S. Bach, menuet II from cello suite # 2
346
Johannes
Brahms, introduction, 1st symphony
100 Chapter IV. Other Diatonic Materials
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347
anonymous, processional march song (Germany)
348
Darius Milhaud, Chant de Sion
349
anonymous, Sagt Mir, O
Sch¨ onste Sch¨ af ’rin Mein
IV-6. Other Perfect Fourths and Fifths 101
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350
anonymous, Gunhilde
351
anonymous, Ach, Englische Schaeferin
352
J.S. Bach, Chorale, ‘W¨ ar’ Gott Nicht Mit Uns
Diese Zeit’
102 Chapter IV. Other Diatonic Materials
353 , ,
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354

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Allegro
353
G.F. Handel, Angels Ever Bright and Fair
354
Beethoven, allegro from string quartet # 6
IV-6. Other Perfect Fourths and Fifths 103
IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale
355 ,
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356
anonymous, O Daniel (Florida)
357
J.S. Bach, Invention 2
358
W.A. Mozart, andante un poco allegretto from string
quartet # 5
104 Chapter IV. Other Diatonic Materials
359
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359
Abraham Goldfaden, Raisins with Almonds
IV-7. The Diminished Seventh Chord, and the Harmonic Minor Scale 105
106 Chapter IV. Other Diatonic Materials
Chapter V
Nondiatonic Materials
V-1 Secondary Dominants and Chromatic Passing Tones
360 ,
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360
Martin Luther, A Mighty Fortress Is Our God
361
anonymous, Kevin Barry (Ireland)
362
Who Got Dirt on the
Carpet Again?
363
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Allegro moderato
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363
Ithamar Conkey, God is Love, His Mercy Brightens
364
Shoals, Valedictory
365
anonymous, Autrefois le Rat de Ville
(France)
366
Samuel Webbe, Come, Ye Disconsolate
108 Chapter V. Nondiatonic Materials
,
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367
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368
J.A. Butterfield, When You and I Were Young
V-1. Secondary Dominants and Chromatic Passing Tones 109
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369
I.B. Woodbury, Speed Away! Speed Away!
370
W.A. Mozart, aria from the Magic Flute
371
anonymous, Let God’s
Saints Come In (Virginia)
110 Chapter V. Nondiatonic Materials
372
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372
anonymous, Vivo Penando (California)
373
anonymous, Allan Maclean (Scotland)
374
Alessandro Stradella, Ragion
Sempre Addita
375
anonymous, Dans le Port, Il Est Arriv´e (France)
V-1. Secondary Dominants and Chromatic Passing Tones 111
376
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376
George F. Root, Brother, Tell Me of the Battle
377
George Cooper, Beautiful Bells
378
J.H. McNaughton, The Faded
Coat of Blue
112 Chapter V. Nondiatonic Materials
379
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379
W.A. Mozart, menuet from string quartet # 1
380
Franz Joseph Haydn, adagio poco cantabile from string quartet,
Op. 73, #3 (‘Emperor’)
381
anonymous, Crep´ usculo (Mexico)
V-1. Secondary Dominants and Chromatic Passing Tones 113
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9
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382
anonymous, Media Noche (California)
383
Giovanni Battista Pergolesi, tune from Stabat Mater
114 Chapter V. Nondiatonic Materials
384 ,
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384
J.S. Bach, Bourr´ee II from orchestral suite #2
385
anonymous, The Cruel Mother (England)
386
Alice Hawthorne,
Out of Work
387
Scott Joplin, The Easy Winners
V-1. Secondary Dominants and Chromatic Passing Tones 115
/
12
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388
Gus Edwards, In My Merry Oldsmobile
389
anonymous, Erlaube Mir, Fein’s M¨ adchen
390
J.S. Bach, Menuet I from
orchestral suite #1
116 Chapter V. Nondiatonic Materials
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391
G.F. Handel, chorus from ‘Judas Maccabaeus’
392
Frances Shackleton, The Orange and the Black
V-1. Secondary Dominants and Chromatic Passing Tones 117
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393
anonymous, Adelphi School Song
394
H.R. Allen, Maid of Athens
118 Chapter V. Nondiatonic Materials
395
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Moderato

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In the following two melodies, the flattened third scale degree occurs in the vii
o
7 of V chord.
396
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32
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395
Joseph Ascher, Alice, Where Art Thou?
396
W.A. Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487
397
Franz
Schubert, Above the Mountains
V-1. Secondary Dominants and Chromatic Passing Tones 119
,
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5
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398
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398
W.A. Mozart, Duet from The Magic Flute
120 Chapter V. Nondiatonic Materials
V-2 Blue Notes
399
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400
anonymous, Roll, Jordan, Roll (United States)
401
anonymous,
Cyclone at Ryecove (Missouri)
402
James Reese Europe, Goodnight Angeline
V-2. Blue Notes 121
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anonymous, ’Tis Me, O Lord (Unites States)
122 Chapter V. Nondiatonic Materials
V-3 Relative Minor and Major
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405
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406
anonymous, Cradle Song (Sweden)
407
J.S. Bach,
Chorale, ‘Befiehl du deine Wege’
408
J.S. Bach, Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’
V-3. Relative Minor and Major 123
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409
anonymous, Feinsliebchen, Du Sollst
410
J.S. Bach, Chorale, ‘Gib Dich Zufrieden und Sei Stille’
411
F. Nicholls
Crouch, Kathleen Mavourneen
124 Chapter V. Nondiatonic Materials
,
25
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V-3. Relative Minor and Major 125
126 Chapter V. Nondiatonic Materials
Chapter VI
The C Clef
This chapter recapitulates some melodies from earlier chapters, using the C clef. The clef indicates
middle C. In modern music, the C clef is used almost exclusively for the viola, but it will also be
encountered in older scores, both vocal and instrumental, as an equally important companion to the
treble and bass clefs. The C clef is a movable clef, but the examples in this chapter are all given with
C placed at the middle line. Sight-singing from the C clef is not difficult, because one merely follows
the usual procedure of determining which line or space on the staff represents ‘do,’ and reading all
other notes relative to it. A trick for instrumentalists is to imagine that the middle line is really the
ledger line for middle C on the grand staff, while the top two lines belong to the treble clef, and the
bottom two to the bass clef. (The same trick can be handy for vocalists when using the key signature
to find the tonic on the staff.)
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415
Franz Joseph Haydn, menuet Oxford symphony
416
folk song
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418

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anonymous, Wach’ Auf, Mein Hort
418
anonymous, La Paloma Blanca (Arizona)
419
Gustav Holst, Venus theme
from The Planets
128 Chapter VI. The C Clef
420
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The following three examples are in the minor mode.
424
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folk song
421
Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater
422
W.A. Mozart, aria (Papageno)
from ‘The Magic Flute’
423
Franz Joseph Haydn, finale, London symphony
424
anonymous, Every Hour in the Day
(Georgia)
425
anonymous, lullabye (Russia)
129
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426
anonymous, Feinsliebchen, Du Sollst
427
F. Nicholls Crouch, Kathleen Mavourneen
130 Chapter VI. The C Clef
Thematic Index
ddddrdtd — p. 119, no. 397
ddddmdss — p. 93, no. 320
ddddmsff — p. 39, no. 117
ddddslsd — p. 30, no. 78
dddrrrmd — p. 45, no. 139
dddrrmmf — p. 19, no. 29; p. 127, no. 413
dddmdsmm — p. 59, no. 193; p. 129, no. 424
dddmmssm — p. 90, no. 310
dddmssll — p. 73, no. 245
dddsmmrd — p. 63, no. 213
dddsllls — p. 71, no. 237
dddsltdt — p. 107, no. 360
ddrdmfss — p. 33, no. 86
ddrrmmrd — p. 31, no. 79
ddrmrdrr — p. 29, no. 71
ddrmrrmr — p. 100, no. 344
ddrmrmfm — p. 51, no. 165
ddrmmrdf — p. 75, no. 254
ddrmmmfs — p. 26, no. 57
ddrmmfsl — p. 91, no. 312
ddrmfsss — p. 40, no. 121
ddrmfssl — p. 73, no. 249
ddmrdrrm — p. 29, no. 74
ddmmrmdd — p. 27, no. 64
ddmmmdts — p. 41, no. 125
ddmssfmr — p. 37, no. 106
ddmsslls — p. 78, no. 268
ddmsltdt — p. 59, no. 191
ddsdrmfs — p. 88, no. 304
ddssddll — p. 75, no. 256
ddtdrdrm — p. 25, no. 55
ddtlsdrm — p. 40, no. 120; p. 73, no. 243
ddtltddt — p. 23, no. 49
ddtltdrm — p. 102, no. 352
ddtltlls — p. 25, no. 52
drddtdrm — p. 20, no. 36
drdrdrmr — p. 55, no. 170
drdrmfss — p. 33, no. 88
drdtdsdr — p. 97, no. 334
drdtlsls — p. 19, no. 32
drmdddrm — p. 47, no. 150
drmdrmrm — p. 58, no. 187
drmrdtdr — p. 55, no. 175
drmrmfmf — p. 19, no. 28; p. 127, no. 412
drmrmfsf — p. 19, no. 31
drmrfmrt — p. 113, no. 380
131
drmrsdrs — p. 62, no. 205
drmmmrfm — p. 94, no. 322
drmmmmsm — p. 30, no. 76
drmmmsrr — p. 48, no. 152
drmmfmfs — p. 21, no. 45
drmmfsds — p. 60, no. 197
drmmflss — p. 73, no. 244
drmfrmdm — p. 63, no. 215
drmfmrmf — p. 20, no. 37
drmfmmrr — p. 22, no. 46
drmfmfsl — p. 21, no. 44
drmfsmfs — p. 50, no. 162
drmfsfmr — p. 56, no. 180
drmfsfsl — p. 104, no. 355
drmfssfm — p. 41, no. 129
drmfsssf — p. 20, no. 33
drmfssls — p. 22, no. 47
drmfslsf — p. 55, no. 171
drmfslss — p. 62, no. 209
drmfslsl — p. 56, no. 177; p. 56, no. 179
drmfsltd — p. 19, no. 27
drssmddf — p. 82, no. 282
dmddmssl — p. 59, no. 188
dmdmsffm — p. 28, no. 70
dmdmssmm — p. 27, no. 60
dmdsdmsd — p. 27, no. 59
dmdslfmf — p. 116, no. 390
dmdtdrmm — p. 60, no. 195
dmrdmfst — p. 65, no. 223
dmrdssms — p. 35, no. 95
dmrsdmrs — p. 62, no. 206; p. 129, no. 425
dmrtdmrt — p. 84, no. 286
dmmmrfff — p. 69, no. 230
dmmflssm — p. 79, no. 270
dmfssrss — p. 49, no. 160
dmsdmssm — p. 34, no. 92
dmsdlsdd — p. 72, no. 241
dmsdtdrm — p. 61, no. 198
dmsrdrmm — p. 50, no. 161
dmsmrflf — p. 104, no. 358
dmsmmddt — p. 64, no. 218
dmsmfrfr — p. 99, no. 340
dmsmslsf — p. 58, no. 185
dmsfslsf — p. 107, no. 362
dmssdtrr — p. 72, no. 242
dmssdtls — p. 28, no. 68
dmsssmfs — p. 32, no. 82
dmssssfm — p. 105, no. 359
132 Chapter VI. The C Clef
dmssslss — p. 34, no. 90
dmsslfsd — p. 71, no. 239
dmssltds — p. 98, no. 337
dmslsddr — p. 38, no. 109
dmslsmss — p. 39, no. 114
dsdrmfsf — p. 59, no. 189
dsdsdsdm — p. 37, no. 102
dsdtdsmr — p. 62, no. 204
dsmdrmrt — p. 121, no. 402
dsmdslsm — p. 58, no. 183
dsmdslst — p. 86, no. 295
dsmrdrmd — p. 59, no. 190
dsmrdrmf — p. 28, no. 65; p. 129, no. 421
dsmrdlsf — p. 86, no. 294
dsmrmfmr — p. 108, no. 365
dsmsmdrm — p. 42, no. 134
dsfmddsf — p. 61, no. 203
dsfmsmrd — p. 27, no. 62
dssdddfl — p. 123, no. 406
dssdlllt — p. 80, no. 273
dssmdsms — p. 32, no. 80
dssfrdtl — p. 89, no. 305; p. 93, no. 319
dssfsfmr — p. 81, no. 278
dsssslls — p. 51, no. 168
dsslsmrd — p. 61, no. 199
dsslsfmd — p. 37, no. 104
dssltddm — p. 40, no. 122
dslsfmrd — p. 85, no. 291
dsltdrms — p. 111, no. 374
dsltdmfs — p. 36, no. 101
dtddddrm — p. 58, no. 182
dtdrdtdt — p. 23, no. 50
dtdrrdrm — p. 20, no. 34; p. 45, no. 141
dtdrmrdt — p. 24, no. 51
dtdrmfsl — p. 55, no. 173
dtdrmsfm — p. 115, no. 384
dtdrmslt — p. 104, no. 357
dtdtdrmr — p. 34, no. 91
dtfmdsls — p. 87, no. 299
dtlsfmrd — p. 56, no. 176
dtlsfmms — p. 73, no. 246
dtlslsfm — p. 74, no. 253; p. 98, no. 339
rddrmrdr — p. 55, no. 172
rmfsdmrd — p. 48, no. 153
rsdsdddd — p. 77, no. 262
mdrmfsfm — p. 50, no. 164
mdrmfsss — p. 100, no. 345
mdmrdtrs — p. 65, no. 222
133
mdmrsmrd — p. 61, no. 200
mdmfmrdl — p. 86, no. 293
mrdddttl — p. 29, no. 72
mrddrdrm — p. 96, no. 331
mrddrdtd — p. 39, no. 113; p. 129, no. 422
mrddmmsr — p. 63, no. 212
mrdrddms — p. 78, no. 269
mrdrmrdm — p. 96, no. 330
mrdrsmdr — p. 41, no. 127
mrdmrddl — p. 71, no. 240
mrdmssms — p. 35, no. 99
mrdsdrmm — p. 82, no. 284
mrdsfmdt — p. 124, no. 411; p. 130, no. 427
mrdsfmfm — p. 32, no. 81
mrdslsfm — p. 59, no. 194
mrdslslf — p. 97, no. 336
mrdslstr — p. 49, no. 158; p. 128, no. 418
mrdtdrmr — p. 21, no. 43
mrrdsmmr — p. 91, no. 313
mrmdmfss — p. 34, no. 94
mrmfmrds — p. 62, no. 208
mrmfmrsf — p. 46, no. 146
mrmfssmr — p. 28, no. 66
mrmsdrrl — p. 112, no. 377
mrfmlsmr — p. 95, no. 326
mmdrsmdm — p. 45, no. 144
mmrddrrm — p. 32, no. 83
mmrdtdrd — p. 40, no. 123
mmrmstls — p. 123, no. 408
mmmrdddd — p. 122, no. 403
mmmrdrmr — p. 97, no. 332
mmmfmmrr — p. 45, no. 140
mmfssfmr — p. 19, no. 30
mmslslsl — p. 115, no. 387
mfrdrmfs — p. 78, no. 267
mfrmdlsf — p. 87, no. 300
mfmrdmfs — p. 25, no. 54
mfmmrdtd — p. 55, no. 174
mfsmdttd — p. 69, no. 232
mfsmrtds — p. 41, no. 128; p. 127, no. 415
mfsmmrdl — p. 99, no. 342
mfsmfsmr — p. 76, no. 259
mfssfmrr — p. 25, no. 56
mfssfsls — p. 107, no. 361
mfsssfsl — p. 111, no. 373
mfsssssm — p. 41, no. 126
mfsssssl — p. 51, no. 166
mfssltdt — p. 114, no. 382
134 Chapter VI. The C Clef
mfslsmrd — p. 97, no. 333
mfslsffs — p. 80, no. 275
msrsmdtd — p. 84, no. 288
msmdrmsm — p. 30, no. 75
msmrdsfm — p. 92, no. 315
msmfmrdm — p. 121, no. 399
msmffflf — p. 79, no. 271
msmsslfl — p. 71, no. 236
msmlmsml — p. 95, no. 327
msfmslsm — p. 74, no. 252
msssffmm — p. 40, no. 124
mtrddrmr — p. 70, no. 234
ffdddtdr — p. 123, no. 405
fslsfmfs — p. 81, no. 281
sdddddrr — p. 50, no. 163; p. 127, no. 416
sddddrrr — p. 48, no. 154
sddddmrd — p. 121, no. 400
sddddtdr — p. 87, no. 302
sddddtss — p. 104, no. 356
sdddmddm — p. 33, no. 84
sdddslss — p. 44, no. 136
sdddlssd — p. 74, no. 251
sdddtdrs — p. 26, no. 58
sddrmfsl — p. 102, no. 351
sddrtddm — p. 94, no. 323
sddmdtls — p. 92, no. 314
sddmrdls — p. 101, no. 347
sddmmssm — p. 46, no. 145; p. 129, no. 420
sddtlslr — p. 103, no. 353
sddtlslf — p. 86, no. 296
sdrdsdrm — p. 61, no. 201
sdrmdmmr — p. 39, no. 115
sdrmdsrd — p. 71, no. 238
sdrmrdrm — p. 28, no. 67
sdrmmfmd — p. 28, no. 69; p. 90, no. 308
sdrmmffs — p. 63, no. 216
sdrmfrdt — p. 65, no. 225
sdrmfmfs — p. 51, no. 167
sdrmfsdr — p. 84, no. 287
sdrmsssl — p. 109, no. 367
sdrsdrmr — p. 69, no. 233
sdmdmdmr — p. 101, no. 349
sdmdtlsd — p. 108, no. 363
sdmrdrms — p. 37, no. 105
sdmrmrdm — p. 27, no. 61
sdmrfmrd — p. 101, no. 348
sdmmmmrm — p. 78, no. 265
sdmmfmrr — p. 116, no. 389
135
sdmsdmsd — p. 123, no. 404
sdmsrmld — p. 97, no. 335
sdmsfmdd — p. 73, no. 247; p. 127, no. 414
sdmssdms — p. 47, no. 148; p. 128, no. 417
sdsdrmrr — p. 45, no. 143
sdtdrmfs — p. 69, no. 231
sdtdrlrd — p. 95, no. 325
sdtdlsdr — p. 80, no. 276; p. 100, no. 346
sdtlsfsr — p. 65, no. 224; p. 123, no. 407
sdtlssls — p. 44, no. 137
sdtlslsf — p. 114, no. 383
sdtltdtl — p. 96, no. 329
srmtdrrs — p. 70, no. 235
smdrssdd — p. 77, no. 264
smdsslsd — p. 42, no. 133
smdlssfs — p. 108, no. 366
smrdrmfr — p. 76, no. 258
smrdsmrd — p. 36, no. 100
smrdslff — p. 77, no. 263
smrdtlds — p. 35, no. 98; p. 93, no. 321
smrdttdl — p. 91, no. 311
smrrdmrs — p. 42, no. 131; p. 128, no. 419
smrmdsss — p. 84, no. 289
smrmrtdd — p. 64, no. 221
smrmfmrl — p. 108, no. 364
smmddtrm — p. 73, no. 248
smmrrddt — p. 102, no. 350
smmrrmmd — p. 67, no. 229
smmrsdtd — p. 118, no. 393
smmmrddd — p. 27, no. 63
smmmmrrr — p. 89, no. 307
smmmmfmr — p. 112, no. 378
smmfrrdr — p. 38, no. 111
smfrrrmf — p. 37, no. 103
smfsddtt — p. 29, no. 73
smfsdrmf — p. 117, no. 391
smfslsmd — p. 58, no. 186
smfslsfm — p. 124, no. 410
smsmrdmr — p. 35, no. 96; p. 35, no. 97
smsfmrsf — p. 66, no. 227
smslssmd — p. 34, no. 93; p. 46, no. 147
sfrfmdss — p. 47, no. 151; p. 129, no. 423
sfmdrldl — p. 98, no. 338
sfmrrdtl — p. 21, no. 39
sfmmrdrd — p. 103, no. 354
sfmmrrmf — p. 99, no. 341
sfmmmmfm — p. 76, no. 257
sfmmsdsm — p. 49, no. 157
136 Chapter VI. The C Clef
sfmfmmfs — p. 21, no. 41
sfmfsdrd — p. 25, no. 53
sfmfsldt — p. 81, no. 279
sfmfsltd — p. 80, no. 274
sfmsmrrd — p. 117, no. 392
sfmsmsmf — p. 116, no. 388
sfmsfmrd — p. 33, no. 85; p. 90, no. 309; p. 113, no. 379
sfslsfss — p. 63, no. 211
sflsrmrm — p. 118, no. 394
sflsftrd — p. 112, no. 376
ssdddtdr — p. 62, no. 210; p. 85, no. 290
ssdddttd — p. 79, no. 272
ssddrmrd — p. 47, no. 149
ssddmrtd — p. 74, no. 250
ssddssmm — p. 111, no. 375
ssddsldr — p. 81, no. 280
ssddtddr — p. 124, no. 409; p. 130, no. 426
ssdrdtdr — p. 40, no. 119
ssdrdtlt — p. 119, no. 395
ssdrmmmm — p. 113, no. 381
ssdmrdrm — p. 87, no. 301
ssdmrdtl — p. 85, no. 292
ssdmmfsm — p. 83, no. 285
ssdmsfmf — p. 38, no. 108
ssdsmmsm — p. 38, no. 112
ssdssmmr — p. 49, no. 156
ssdtdrdt — p. 115, no. 386
ssdtrddt — p. 92, no. 317
ssdtfmsm — p. 49, no. 159
ssmdddrm — p. 64, no. 219
ssmddtll — p. 41, no. 130
ssmdsfrm — p. 61, no. 202
ssmrddtd — p. 89, no. 306
ssmrdrdd — p. 109, no. 368
ssmrdssf — p. 77, no. 261
ssmrdtdr — p. 64, no. 220
ssmmmddd — p. 44, no. 138
ssmmmddt — p. 110, no. 370; p. 120, no. 398
ssmmssdd — p. 34, no. 89
ssmmssrr — p. 44, no. 135
ssfmmrdr — p. 76, no. 260
sssddmms — p. 92, no. 318
sssdmsss — p. 62, no. 207
sssmrmdr — p. 45, no. 142
sssmfsls — p. 80, no. 277
sssffmmm — p. 39, no. 116
ssssdsss — p. 39, no. 118; p. 42, no. 132; p. 86, no. 297
ssssssms — p. 75, no. 255
137
ssssssss — p. 30, no. 77; p. 110, no. 369
sssslsmm — p. 121, no. 401
sssslssd — p. 63, no. 214
ssslsssf — p. 56, no. 178
sslddsfm — p. 78, no. 266
sslsmsss — p. 110, no. 371
sslsfmrd — p. 58, no. 184
sslsfmrl — p. 100, no. 343
sslsfmmf — p. 65, no. 226
sslsffmm — p. 64, no. 217
ssltddtl — p. 20, no. 38
ssltdtdr — p. 33, no. 87
ssltdtdt — p. 20, no. 35
ssltdttt — p. 59, no. 192
sstrddrd — p. 48, no. 155
slsmdsls — p. 38, no. 110
slsmrddt — p. 87, no. 298
slsffmmr — p. 21, no. 42
slssddrm — p. 37, no. 107
slslsdtd — p. 66, no. 228
slslsssd — p. 92, no. 316
sltdrmrm — p. 21, no. 40
sltdrmfs — p. 56, no. 181
sltdmmrd — p. 111, no. 372
sltdtddd — p. 23, no. 48
strsfmfs — p. 88, no. 303
stlsmfsd — p. 115, no. 385
lmsltddt — p. 96, no. 328
lsslssls — p. 60, no. 196
tdmddrfr — p. 52, no. 169
138 Chapter VI. The C Clef
Index
’Tis Me, O Lord, 122
¨
Annchen von Tharau, 37
Above the Mountains, Franz Schubert, 119
Absent Davie, 35
Abt, Franz
Kathleen Aroon, 97
Ach, Englische Schaeferin, 102
adagio poco cantabile from string quartet, Op.
73, #3, Franz Joseph Haydn, 113
Adelphi School Song, 118
Adieu, Bonne Hˆ otesse, 84
After the Ball, Charles K. Harris, 95
Ah Mon Beau Chˆ ateau, 38
Ah, Suzette, Ch`ere, 49
Ainsi Font, Font, Font, 38
Alice, Where Art Thou?, Joseph Ascher, 119
Allan Maclean, 111
allegro from Eine kleine Nachtmusik, W.A. Mozart,
37
Allen, H.R.
Maid of Athens, 118
Alouette (rhythm only), , 15
Am Feierabend, Franz Schubert, 64
Amarilli, Mia Bella, Giulio Carcini, 70
America the Beautiful, Katharine Lee Bates, 44
andante un poco allegretto from string quartet
# 5, W.A. Mozart, 104
Angel de Mis Amores, 64
Angel of Peace, M. Keller, 109
Angels Ever Bright and Fair, G.F. Handel, 103
Annie Laurie, 29
Arlequin Marie Sa Fille, 71
Arlequin Tient Sa Boutique, 45
As-Tu Vu la Casquette?, 34
Ascher, Joseph
Alice, Where Art Thou?, 119
Ash Grove, The, 73, 127
Au Jardin de Mon P`ere, 73
Aura Lee, George Poulton, 95
Autrefois le Rat de Ville, 108
Aux Marches du Palais, 45
Avril, 81
Away in a Manger (rhythm only), , 15
Bach, J.S.
Bourr´ee II from orchestral suite #2, 115
Chorale, ‘Befiehl du deine Wege’, 123
Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’,
123
Chorale, ‘Es ist gewisslich an der Zeit’, 29
Chorale, ‘Es spricht der Unweisen Mund
wohl’, 40
Chorale, ‘Es steh’n vor Gottes Throne’, 60
Chorale, ‘Gib Dich Zufrieden und Sei Stille’,
124
Chorale, ‘Herr, nun lass in Friede’, 59
Chorale, ‘Herr, wie du willst, so schick’s mit
mir’, 20, 45
Chorale, ‘Jesu, meiner Seelen Wonne’, 25
Chorale, ‘Liebster Jesu, wir sind hier’, 41
Chorale, ‘Mach’s mit mir, Gott, nach deiner
Gut’, 41
Chorale, ‘Nun ruhen alle Walder’, 50
Chorale, ‘Nun sich der Tag geendet hat’, 63
Chorale, ‘O Haupt voll Blut und Wunden,’
from St. Matthew’s Passion, 65
Chorale, ‘O Traurigkeit, o Herzeleid’, 64
Chorale, ‘Seelenbr¨ autigam, Jesu, Gottes Lamm’,
25
Chorale, ‘Valet will ich dir geben’, 40
Chorale, ‘Von Gott will ich nicht lassen’, 65
Chorale, ‘W¨ ar’ Gott Nicht Mit Uns Diese
Zeit’, 102
Chorale, ‘Wenn wir in h¨ ochsten N¨ oten sein’,
51
Chorale, ‘Wie bist du Seele in mir so gar
betr¨ ubt’, 40
Gavotte II from cello suite # 5, 63
gavotte in G minor, 56
Invention 2, 104
melody from the notebook for Anna Mag-
dalena, 62
Menuet I from orchestral suite #1, 116
menuet II from cello suite # 2, 100
minuet, 45
trio from Brandenburg concerto # 1, 87
Ballade de Roland, 45
Barbara Allan, 47
Bates, Katharine Lee
America the Beautiful, 44
Bayly, T.H.
Long, Long Ago, 91
Beautiful Angel, The, Pierre Latour, 20
Beautiful Bells, George Cooper, 112
Beautiful Isle of Somewhere, J.S. Fearis, 77
Beckoning the Chickens, Froebel, 34
Beckoning the Pigeons, Froebel, 33
Beethoven
Ode to Joy, 19
opening movement from string quartet #
1, 97
opening theme of Symphony #3, 27
string quartet # 6, allegro, 103
Beggar Girl, The, 33
Beuttner, Nikolaus
Es kam ein treuer Bote, 40
Bingo (rhythm only), , 13
Blue Juniata, The, M.D. Sullivan, 77
Bonnie Wee Window, 77
Bonniest Lass in a’ The Land, The, 72
Bourr´ee II from orchestral suite #2, J.S. Bach,
115
Bradbury, W.B.
He Leadeth Me, 77
Braes O Yarrow, The, 79
Brahms, Johannes
introduction, 1st symphony, 80, 100
Nachtwache 1, 65
Broadway Sights, W.H. Latham, 27
Brother, Guide Me Home, 39
Brother, Tell Me of the Battle, George F. Root,
112
Butterfield, J.A.
When You and I Were Young, 109
Calinda, 79
Cangia, Cangia Tue Voglie, G.B. Fasolo, 73
Carcini, Giulio
Amarilli, Mia Bella, 70
Carmela, 28, 90
Caro Mio Ben, Attributed to Guiseppe Gior-
diano,, 98
carol, 20
Caroline, 80
Chant de Sion, Darius Milhaud, 101
Chill Ether, 50
chorus from Judas Maccabaeus, G.F. Handel,
117
Come, Ye Disconsolate, Samuel Webbe, 108
Conkey, Ithamar
God is Love, His Mercy Brightens, 108
Cooper, George
Beautiful Bells, 112
Cowboy’s Home Sweet Home, 79
Cradle Song, 91, 123
Crep´ usculo, 113
Crouch, F. Nicholls
Kathleen Mavourneen, 124, 130
Crowell, B.
a, 3/4, 55
A, 4/4, 36
a, 4/4, 55, 104
a, 6/8, 55
A, 4/4, 21
B, 3/4, 1, 36
B, 4/4, 20
B, 4/4, 1, 52
C, 3/4, 19, 22, 49, 127
c, 3/4, 58
C, 4/4, 19, 25, 127
c, 4/4, 58
C, 4/4, 1, 21
D, 4/4, 21
E, 3/4, 21
F, 2/4, 33
F, 3/4, 25
f, 4/4, 59
G, 3/4, 19, 25, 32, 42
G, 4/4, 22, 26, 27, 32, 34, 48
g, 4/4, 86
G, 6/8, 21, 27
G, 9/8, 34
g, 9/8, 61
G, 4/4, 21
Who Got Dirt on the Carpet Again?, 58,
107
Cruel Mother, The, 115
Cutler, H.S.
Son of God Goes Forth to War, The, 29
Cyclone at Ryecove, 121
Da Unten Im Tale, 73
Danksagung an den Bach, Franz Schubert, 69
Dans la Forˆet Lointaine, 33
140 Index
Dans le Port, Il Est Arriv´e, 111
Dans Notre Jardin, 48
Das Wandern, Franz Schubert, 49
Dearest Spot on Earth, The, W.T. Wrighton,
35
Derri`ere Chez Moi, 85
Devotion, Richard Strauss, 74
Diadem, J. Ellor, 84
Die Sonne Scheint Nicht Mehr, 82
Down in the Valley, 39
Duet from The Magic Flute, W.A. Mozart, 120
Duet No. 2, Menuet, from 12 Duets, K.V. 487,
W.A. Mozart, 37, 119
Duke of Argyle’s Courtship, The, 51
Easy Winners, The, Scott Joplin, 115
Edwards, Gus
In My Merry Oldsmobile, 116
Eli Yale, 44
Ellor, J.
Diadem, 84
Emerson, L.O.
Whither Through the Meadow?, 21
En Avant, Gr´enadiers, 64
En Revenant d’Auvergne, 30
Entendez-Vous Sur l’Ormeau, 31
Entre Vous Tous Gens de la Ville, 88
Erlaube Mir, Fein’s M¨ adchen, 116
Es kam ein treuer Bote, Nikolaus Beuttner, 40
Es Ritt ein Ritter, 123
Etude, Op. 45, #1, Franz Wohlfahrt, 34
Europe, James Reese
Goodnight Angeline, 121
Evening Bells, Thomas Moore, 75
Every Hour in the Day, 59, 129
Faded Coat of Blue, The, J.H. McNaughton,
112
Fairy Boat, The, Harold Samuel, 51
Fasolo, G.B.
Cangia, Cangia Tue Voglie, 73
Fearis, J.S.
Beautiful Isle of Somewhere, 77
Feinsliebchen, Du Sollst, 124, 130
finale, London symphony, Franz Joseph Haydn,
47, 129
Forget na’, dear Lassie, 59
Foster, S.C.
Gentle Annie, 96
Foster, Stephen
Hard Times Come Again No More, 30
Old Folks at Home, 71
Slumber My Darling, 96
Song of All Songs, The, 85
Froebel
Beckoning the Chickens, 34
Beckoning the Pigeons, 33
Pat-a-Cake, 28
Wolf, The, 62
Gar Lieblich Hat Sich Gesellet, 51
Gardez Piti Milatte-l` a, 40
Gaudeamus Igitur, 80
Gavotte II from cello suite # 5, J.S. Bach, 63
gavotte in G minor, J.S. Bach, 56
Gentle Annie, S.C. Foster, 96
Gi` a il Sole dal Gange, Alessandro Scarlatti, 69
Giordiano,, Attributed to Guiseppe
Caro Mio Ben, 98
Gladden, S.W.
Mountains, The, 85
Go ’Way, Old Man, 44
Go Down, Moses, 67
God is Love, His Mercy Brightens, Ithamar Con-
key, 108
God Speed the Right, 38
Gold Band, The, 76
Goldfaden, Abraham
Raisins with Almonds, 105
Goodnight Angeline, James Reese Europe, 121
Graveyard, The, 121
Grieg
e, 4/4, 69
Gunhilde, 102
Guten Abend, 62
Gwine Follow, 90
Gypsy Warning, The, 48
Hallowed Spot, The, 81
Halt, Franz Schubert, 41
Handel, G.F.
Angels Ever Bright and Fair, 103
chorus from Judas Maccabaeus, 117
Hush ye pretty warbling quire from Acis
and Galatea, 74
O Jordan, Sacred Tide from Esther, 66
Hanukah O Hanukah, 86
Index 141
Hard Times Come Again No More, Stephen
Foster, 30
Harris, Charles K.
After the Ball, 95
Hawthorne, Alice
Home, By and By, 33
Out of Work, 115
Haydn, Franz Joseph
adagio poco cantabile from string quartet,
Op. 73, #3, 113
finale, London symphony, 47, 129
introduction, London symphony, 78
menuet Oxford symphony, 41, 127
He Leadeth Me, W.B. Bradbury, 77
Here We Go Round the Mulberry Bush (rhythm
only), , 15
Hess, C.
Little Charley Went a Fishing, 89
Holst, Gustav
Venus theme from The Planets, 42, 128
Home On the Range (rhythm only), , 15
Home, By and By, Alice Hawthorne, 33
Huntsman, The, 75
Husband, John
Revive Us Again, 38
Hush Little Baby (rhythm only), , 14
Hush ye pretty warbling quire from Acis and
Galatea, G.F. Handel, 74
Hush, My Babe, J.J. Rousseau, 32
I Ride an Old Paint, 74
I Want To Be Ready, 73
I’m a Pilgrim, 47
I’m In Trouble, 78
I’ve Been Working on the Railroad (rhythm
only), , 15
If with all your hearts ye truly seek me from
Elijah, Felix Mendelssohn, 91
If Ye Love Me, Thomas Tallis, 75
If Your Foot Is Pretty, Show It, 42
In My Merry Oldsmobile, Gus Edwards, 116
introduction, 1st symphony, Johannes Brahms,
80, 100
introduction, London symphony, Franz Joseph
Haydn, 78
Invention 2, J.S. Bach, 104
Jehovah, Hallelujah, 71
Jenny Lind Mania, The, W.H.C. West, 73
Jimmy Crack Corn (rhythm only), , 14
Jingle Bells (rhythm only), , 14
Joplin, Scott
Easy Winners, The, 115
The Entertainer (rhythm only), 16
Juanita, 99
Jungfr¨ aulein, Soll Ich Mit Euch Gehn, 48
Kathleen Aroon, Franz Abt, 97
Kathleen Mavourneen, F. Nicholls Crouch, 124,
130
Keller, M.
Angel of Peace, 109
Kevin Barry, 107
Krambambuli, 44
la Claire Fontaine, A, 27
Lang Johnny More, 72
Latham, W.H.
Broadway Sights, 27
Latour, Pierre
Beautiful Angel, The, 20
Lawlan’ Jenny, 30
Let God’s Saints Come In, 110
Lewis, L.R.
a, 3/4, 55
a, 4/4, 56
B, 3/4, 20
B, 4/4, 20, 24
C, 4/4, 23
C, 6/8, 23
d, 3/2, 56
d, 3/4, 56
d, 4/4, 56
Lightly Row, 38
Lilly Dale, H.S. Thompson, 99
Little Brown Jug (rhythm only), , 13
Little Charley Went a Fishing, C. Hess, 89
Lolotte, 63
Long, Long Ago, T.H. Bayly, 91
Love’s Young Dream, Thomas Moore, 98
lullabye, 62, 129
Luther, Martin
Mighty Fortress Is Our God, A, 107
We Come Unto Our Father’s God, 29
M’ha Preso Alla Sua Ragna, Pier Domenico
Paradies, 82
Maid of Athens, H.R. Allen, 118
142 Index
march from The Nutcracker (rhythm only), P.I.
Tchaikovsky, 16
McNaughton, J.H.
Faded Coat of Blue, The, 112
Media Noche, 114
melody from the notebook for Anna Magdalena,
J.S. Bach, 62
Mendelssohn, Felix
If with all your hearts ye truly seek me from
Elijah, 91
Menuet I from orchestral suite #1, J.S. Bach,
116
menuet II from cello suite # 2, J.S. Bach, 100
menuet Oxford symphony, Franz Joseph Haydn,
41, 127
Mi Sue˜ no, 65
Mighty Fortress Is Our God, A, Martin Luther,
107
Milhaud, Darius
Chant de Sion, 101
minuet, J.S. Bach, 45
Moore, Thomas
Evening Bells, 75
Love’s Young Dream, 98
Mountains, The, S.W. Gladden, 85
Mozart, W.A.
allegro from Eine kleine Nachtmusik, 37
andante un poco allegretto from string quar-
tet # 5, 104
aria (Papageno) from ‘The Magic Flute’,
39, 129
aria from the Magic Flute, 110
Duet from The Magic Flute, 120
Duet No. 2, Menuet, from 12 Duets, K.V.
487, 37, 119
opening from clarinet quintet, 76
Osanna (bass solo, allegro) from Sanctus,
Requiem, 87
string quartet # 1, adagio, 40
string quartet # 1, menuet, 90, 113
string quartet # 1, trio, 97
string quartet # 10, menuet, 81
string quartet # 15, menuet, 63
string quartet # 2, andante, 80
string quartet # 4, opening, 94
string quartet # 4, presto, 84
string quartet # 6, rondo, 84
string quartet # 7, presto, 93
string quartet # 8, menuet, 89, 93
theme from symphony in G minor, 60
Musieu Bainjo, 39
My Father, How Long?, 28
My Field, 61
My Lodging Is On the Cold Ground, 78
Nachtwache 1, Johannes Brahms, 65
Not Yet, Richard Strauss, 49
O Come, All Ye Faithful (rhythm only), , 13
O Daniel, 104
O Jordan, Sacred Tide from Esther, G.F. Han-
del, 66
O Little Town of Bethlehem (rhythm only), ,
14
Ode to Joy, Beethoven, 19
Ojos Mexicanos, Los, 63
Old Folks at Home, Stephen Foster, 71
Old Hundred, 73
opening from clarinet quintet, W.A. Mozart, 76
opening movement from string quartet # 1, Beethoven,
97
opening theme of Symphony #3, Beethoven, 27
Ophelia’s Song, Maude Valerie White, 63
Orange and the Black, The, Frances Shackle-
ton, 117
Osanna (bass solo, allegro) from Sanctus, Re-
quiem, W.A. Mozart, 87
Our Baby, 45
Out of Work, Alice Hawthorne, 115
Paloma Blanca, La, 49, 128
Paradies, Pier Domenico
M’ha Preso Alla Sua Ragna, 82
Parry, John
Villikins and His Dinah, 37
Pat-a-Cake, Froebel, 28
Pergolesi, Giovanni Battista
aria from Stabat Mater, 100
Sancta Mater from Stabat Mater, 28, 129
tune from Stabat Mater, 76, 114
Poor Rosy, 35
Pop Goes the Weasel (rhythm only), , 16
Poulton, George
Aura Lee, 95
Praise, Member, 34, 46
processional march song, 101
Index 143
Que No Te Amo, 87
Quinze Ans, A, 92
R´emon, 99
Ragion Sempre Addita, Alessandro Stradella,
111
Rain, Rain, Go Away (rhythm only), , 13
Raisins with Almonds, Abraham Goldfaden, 105
Rana, La, 94
Recouvrance, A, 28
Red River Valley, 78
Reir Es Necesario, 64, 92
Revive Us Again, John Husband, 38
Rimsky-Korsakov, Nikolai
Scheherezade, 97
Rockabye Baby (rhythm only), , 15
Roll, Jordan, Roll, 121
Root, George F.
Brother, Tell Me of the Battle, 112
Rosa Lee, 78
Rousseau, J.J.
Hush, My Babe, 32
Row, Burnie, Row, H. Burgess Weston, 30
Row, Row, Row Your Boat (rhythm only), , 16
Sagt Mir, O Sch¨ onste Sch¨ af’rin Mein, 101
Samuel, Harold
Fairy Boat, The, 51
Sancta Mater from Stabat Mater, Giovanni Bat-
tista Pergolesi, 28, 129
Scarlatti, Alessandro
Gi` a il Sole dal Gange, 69
Su, Venite a Consiglio, 32
Sch¨ onster Schatz, Mein Engel, 39
Scheherezade, Nikolai Rimsky-Korsakov, 97
Schubert, Franz
Above the Mountains, 119
Am Feierabend, 64
Danksagung an den Bach, 69
Das Wandern, 49
Halt, 41
Wohin?, 41
Schwesterlein, 123
Serenata, 39, 42
Shackleton, Frances
Orange and the Black, The, 117
Ship That Never Returned, The, 82
Shoals
Valedictory, 108
Shout On, Children, 41
Sing Hey to You, Good-Day to You, A.S. Sulli-
van, 96
Sinner Won’t Die No More, 76
Slumber My Darling, Stephen Foster, 96
Softly Now the Light of Day, C.M. von Weber,
95
Son of God Goes Forth to War, The, H.S. Cut-
ler, 29
Song of All Songs, The, Stephen Foster, 85
Song of the Free, J.G. Whittier, 74
Speed Away Speed Away, I.B. Woodbury, 110
Stradella, Alessandro
Ragion Sempre Addita, 111
Strauss, Richard
Devotion, 74
Not Yet, 49
string quartet # 1, adagio, W.A. Mozart, 40
string quartet # 1, menuet, W.A. Mozart, 90,
113
string quartet # 1, trio, W.A. Mozart, 97
string quartet # 10, menuet, W.A. Mozart, 81
string quartet # 15, menuet, W.A. Mozart, 63
string quartet # 2, andante, W.A. Mozart, 80
string quartet # 4, opening, W.A. Mozart, 94
string quartet # 4, presto, W.A. Mozart, 84
string quartet # 6, allegro, Beethoven, 103
string quartet # 6, rondo, W.A. Mozart, 84
string quartet # 7, presto, W.A. Mozart, 93
string quartet # 8, menuet, W.A. Mozart, 89,
93
Su, Venite a Consiglio, Alessandro Scarlatti, 32
Sullivan, A.S.
E, 6/8, 28
Sing Hey to You, Good-Day to You, 96
Take a Pair of Sparkling Eyes, 96
Sullivan, M.D.
Blue Juniata, The, 77
Take a Pair of Sparkling Eyes, A.S. Sullivan, 96
Take Me Out to the Ball Game (rhythm only),
, 14
Tallis, Thomas
If Ye Love Me, 75
Tchaikovsky, P.I.
march from The Nutcracker (rhythm only),
16
144 Index
trepak from The Nutcracker (rhythm only),
15
waltz of the flowers from The Nutcracker
(rhythm only), 15
The Entertainer (rhythm only), Scott Joplin,
16
The Itsy-Bitsy Spider (rhythm only), , 16
theme from symphony in G minor, W.A. Mozart,
60
This Old Man (rhythm only), , 14
Thompson, H.S.
Lilly Dale, 99
Thou Poor Bird, 60
trepak from The Nutcracker (rhythm only), P.I.
Tchaikovsky, 15
trio from Brandenburg concerto # 1, J.S. Bach,
87
Tristes Horas, Las, 62
Tu Eres Mas Bella, 46
Twinkle Twinkle, Little Star (rhythm only), ,
13
Ubi Bene, Ibi Patria, 83
Upidee, 93
Valedictory, Shoals, 108
Venus theme from The Planets, Gustav Holst,
42, 128
Villikins and His Dinah, John Parry, 37
Vivo Llorando la Suerte, 87
Vivo Penando, 111
Wach’ Auf, Mein Hort, 47, 128
Walk, Shepherdess, Walk, 92
waltz of the flowers from The Nutcracker (rhythm
only), P.I. Tchaikovsky, 15
We Come Unto Our Father’s God, Martin Luther,
29
We Three Kings (rhythm only), , 14
We Wish You a Merry Christmas (rhythm only),
, 14
Webbe, Samuel
Come, Ye Disconsolate, 108
Weber, C.M. von
Softly Now the Light of Day, 95
Wedge, G.A.
c, 2/4, 86
c, 3/4, 58, 62
f, 2/4, 59, 86
f, 3/4, 86
g, 2/4, 61
g, 3/4, 61, 62, 66
g, 4/8, 65
Were You Ever in Rio Grand, 97
West, W.H.C.
Jenny Lind Mania, The, 73
Weston, H. Burgess
Row, Burnie, Row, 30
When You and I Were Young, J.A. Butterfield,
109
White, Maude Valerie
Ophelia’s Song, 63
Whither Through the Meadow?, L.O. Emerson,
21
Whittier, J.G.
Song of the Free, 74
Who Got Dirt on the Carpet Again?, B. Crow-
ell, 58, 107
Widdecombe Fair, 92
Wild Moor, The, 80
Wohin?, Franz Schubert, 41
Wohlfahrt, Franz
Etude, Op. 45, #1, 34
Wolf, The, Froebel, 62
Woodbury, I.B.
Speed Away Speed Away, 110
Wrighton, W.T.
Dearest Spot on Earth, The, 35
Ya Viene El Alba, 69
Index 145

2

Copyright c 2004 Benjamin Crowell All rights reserved.

rev. November 4, 2005 Permission is granted to copy, distribute and/or modify this document under the terms of the Creative Commons Attribution Share-Alike License, which can be found at creativecommons.org. The book’s web site, www.lightandmatter.com/sight/sight.html, provides the book for downloading free of charge, and also gives further details about the copyrights of the individual melodies.

Half. and Quarter Notes I-2 3/4 Time. and Dotted Half-Notes I-3 Eighth Notes 14 14 I-4 Dotted Quarter Notes I-5 Sixteenth Notes 15 I-6 Dotted Eighth Notes I-7 Compound Time I-8 Syncopation I-9 Triplets 16 16 15 15 II II-1 II-2 II-3 II-4 II-5 II-6 II-7 II-8 II-9 Major Keys Introduction to Solfeggio 17 17 19 Melodies Containing Only Steps Leaps to ‘Do’ 25 Leaps Back to Remembered Notes Easy Leaps Within the Tonic Triad 25 27 32 The Leap of a Fifth Within the Tonic Triad Leaps of a Sixth Within the Tonic Triad Leaps Within the Dominant 37 44 34 Wider Leaps Within the Dominant 2 .Brief Contents I Rhythm 13 13 14 I-1 Whole.

Minor Keys Leaps of a Seventh 89 94 86 Other Perfect Fourths and Fifths The Diminished Seventh Chord. Major Keys Wide Leaps Within the Subdominant 84 69 71 Leaps Within the Subdominant.III III-1 III-2 III-3 III-4 Minor Keys Steps 55 53 53 Solfeggio in the Minor Mode Leaps Within the Tonic Triad Leaps Within the Dominant 58 61 IV IV-1 IV-2 IV-3 IV-4 IV-5 IV-6 IV-7 Other Diatonic Materials Leaps Between the Tonic and Dominant 69 Leaps Within the Subdominant. and the Harmonic Minor Scale 104 V Nondiatonic Materials 121 123 107 107 V-1 Secondary Dominants and Chromatic Passing Tones V-2 Blue Notes V-3 Relative Minor and Major VI The C Clef 127 3 .

3/4 . . Little Brown Jug. . . . . . Rain. . . . 46 C. . 4/4 . . . . . . . . and Dotted HalfNotes . 15 19 Tchaikovsky. . . C. 4/4 . Little Star. . . . . . . . . . 12/8 15 16 16 16 II-3 Leaps to ‘Do’ . . . 33 carol (Bohemia). 37 B . . 3/4 . .15 17 Tchaikovsky. 2/4 . . . . . . . . Ode to Joy. 4/4 . . 4/4 . 3/4 . . . . . . . . .15 21 rhythm Bush. . . . . . 51 Lewis. . . . . . . 4/4 . . . . . . . . . . . C. . . . Rain. . . . . . Jimmy Crack Corn. . . 3/4 . . . Away in a Manger. D. . . . . . . . . . . . 43 G. . . . 25 4 . . . . . . . . . 15 I-6 Dotted Eighth Notes .15 18 rhythm of Alouette. All Ye Faithful. . Home On the Range. 4/4 . . . . .13 I-8Joplin. 15 20 rhythm of I’ve Been Working on the Railroad. . . . . . . . 4/4 . . . . . . . . . .17 II-1 Introduction to Solfeggio . . . . . . C. 4/4 . . . . .. . . 49 Lewis. 6/8 . 4/4 . 2/4. . wie du willst. . . . B . . . . . . . . . . . . . . . . 16 I-1 Whole. . 14 7 rhythm of Take Me Out to the Ball Game. . . Rockabye Baby. of of of Here We Go Round the Mulberry . 47 G. . . . . . . . . 6/8 . . . . so schick’s mit mir’. . . 4/4 . . . . . . . . 14 14 14 14 14 14 15 15 15 I-4 Dotted Quarter Notes . . 4/4 . . . . 6/8 . . . . . . . 6/8 . . . . Row. . . 4/4 . 4/4 . . . . . . . . . . . . . . . B. . 48 Lewis. . . . . 38 Lewis. . . C. . . . . I Rhythm . rhythm of march from The Nutcracker. . . . 11 rhythm of Hush Little Baby. . 31 G. . . . . . . . O Come. . . . . 2/4. . . . 6/8 . . 3/4 . . . . . . . . . 4/4 . . 3/4 14 I-3 Eighth Notes . . . . . . . . . . . . . . . . . . . . . . 3/4. . . . . E. . . . and Quarter Notes . . . 4/4 . . . . . . . . . 4/4 . . . . . . . . . 1 . . Row. .14 I-5 Sixteenth Notes. . . 44 C. . . 15 I-7 Compound Time . . 30 Beethoven. . .14 6 rhythm of We Three Kings. 41 D . . . 4/4 . . . . . . . 3/4 . . . . . . . 16 II Major Keys. . . . . 4/4 . . . 6/8 22 rhythm 23 rhythm 24 rhythm of . . 39 E . . . 4/4 . . . . . . .Contents Syncopation . . . . . . . . 4/4 . . . B . . 29 C. . . . . . 4/4 . . . . . . 42 G . . . . 32 G. . 3/4 . 4/4 .16 26 Tchaikovsky. 45 Emerson. . . . . Row Your Boat. . 4/4 . . . . 4/4 . . . . . . . . . . . . 9 rhythm of We Wish You a Merry Christmas. . . . . . . . . . . . . . . . . . . . . . . . . . . . rhythm of The Entertainer. . . . . . . 25 53 F. . . . . . 36 Lewis. . . 12 13 14 15 16 rhythm rhythm rhythm rhythm rhythm of of of of of Jingle Bells. 34 Bach. 3/4 . . Go Away. . . A. . . . . . . . . 4/4. . . . . 35 Latour. 4/4 . . . C. .25 52 G. . . . . . . . . . . .16 25 . . 1. . ‘Herr. . . . . . . . . . . . 3/4 . . 19 19 19 19 19 19 20 20 20 20 20 20 21 21 21 21 21 21 21 22 22 23 23 23 24 I-2 3/4 Time. The Beautiful Angel. . . 3/4 . . . . . 3/4 . . . Bingo. . . . . 10 rhythm of This Old Man.19 27 C. . . . . . . . .13 1 2 3 4 5 rhythm rhythm rhythm rhythm rhythm of of of of of Twinkle Twinkle. . Chorale. . . . . . . . 28 C. .14 8 rhythm of O Little Town of Bethlehem. . . . . . 4/4 . . . . . . 13 13 13 13 13 I-9 Triplets. . Pop Goes the Weasel. . . . . . . . . . . . . . . . . . . . . . . 3/4 . . . . . . . . . . . . . . . The Itsy-Bitsy Spider. . 50 Lewis. . . . . rhythm of trepak from The Nutcracker. . . . Half. . . Whither Through the Meadow?. . . . . . . . . . . . . 4/4 . . . . . . . . . . . . . . .17 II-2 Melodies Containing Only Steps . . . 40 A . . . . . 3/4 . . rhythm of waltz of the flowers from The Nutcracker.

101 B . . . . . . . . . . . B 4/4 . G. B . . . . E . . . . . . 73 Cutler. . . . . 2/4 . . . . 4/4. . . . . . . F. . .25 54 C.34 89 G. ¨ 107 Annchen von Tharau (Germany). . . C. 3/4 . . . . . . 6/8 . . 9/8 . . . . ‘Jesu. 113 Mozart. 79 Entendez-Vous Sur l’Ormeau (France). 78 En Revenant d’Auvergne (France). . . . G. . How Long? (Florida). . 2/4. 2/4 . . 4/8 . . 4/4 . . Chorale. 4/4 . . G. . . . 2. . G. . . . . . . . . 74 Luther. 97 Poor Rosy (South Carolina). . The Son of God Goes Forth to War. . G. . . . Font. . . . . . . . . . G. 63 Latham. . from 12 Duets. . . . aria ‘Sancta Mater’ from Stabat Mater. . . . . . . 3/4 . . . . . . . . . . . . A. . 112 God Speed the Right (Germany). . Froebel. . . G. . . . 3/4 . . . . . . . . . . . G. . . . e . . 12/8 . . . Su. . 2/4 . . Hard Times Come Again No More. . 2/4 94 Froebel. . . . . . F. . . . . . 2/4 . . . 3/4 . . . . Pat-a-Cake. . . . . . . . . . . . . . . . 6/8 . . . . 116 Musieu Bainjo (Louisiana). . 9/8 . . . . 100 A. . . . 64 A la Claire Fontaine (France). A. . . . . . . 72 Annie Laurie. 71 Bach. G. . 2/4 . . . . . 3/8 F. . . G. . . 75 Lawlan’ Jenny (Scotland). . . 2/4 a 109 Ainsi Font. . . . B . . . . 61 G. . 32 32 32 32 33 5 . . . Beckoning the Chickens. aria (Papageno) from ‘The Magic Flute’. . . . . 2/4 . G. . . Scarlatti. . 106 Parry. . 58 folk song. . . . . We Come Unto Our Father’s God. 95 folk song. . 4/4 . . . . . . 6/8 . . . . . . 4/4 . . . allegro from ‘Eine kleine Nachtmusik’. . . . . 2/4 . C. 77 Weston. . . E . 4/4 . . . . A. . . . opening theme of Symphony #3 (‘Eroica’). . . Home. . G. . 4/4 . . D. . a Gottes Lamm’. . . . . Villikins and His Dinah. 98 Wrighton. 119 Mozart. B . . . . . . 104 folk song. . . . . . . . . . 76 Foster. . . . . . . . 65 Pergolesi. Op. G. . 110 Husband. . 3/4 . 92 As-Tu Vu la Casquette? (France). . . 4/4 . . . G. . C. . #1. . . 2/2 . . . . . . . . . 2/4 .V. meiner Seelen Wonne’. . . . Menuet. . . . . . . . Row. . . . 4/4 . . . 96 Poor Rosy (South Carolina). 99 Absent Davie (Scotland). 34 34 34 34 34 34 35 35 35 35 35 36 36 II-5 Easy Leaps Within the Tonic Triad . 4/4 . Broadway Sights. . . . . . . . . F. . . . . . . Chorale. E . . . . . . . 2/4 . . . 2/4 . . . . . . Dans la Forˆt Lointaine (France). . . Member (South Carolina). . . Beckoning the Pigeons. B . . F. . . . . . . . . G. . . . . . . . . . . . . . . . . . Venite a Consiglio. . 69 Carmela (Mexico). F. . Row. 111 Lightly Row (Spain). D. F. 4/4. 1 . . A. . . 62 G. . . . . F. 114 Sch¨nster Schatz. . 56 Bach. 4/4 . Revive Us Again. 3/4 . 4/4 . . . . . . . . . 1 . . . . . 4/4. . . . 4/4. 2/4. 4/4 . . . Etude. 66 Sullivan. 117 Brother. 4/4 . o 115 Down in the Valley. . 4/4. Mein Engel. . . . . . . . . . ‘Es ist gewisslich an der Zeit’. . G. . . . 2/4. . . . . . . . . . . . My Babe. . C. . . . . . . F. . . . 60 G. . 2/4. . . 57 G. . Guide Me Home (Tennessee). . . E . By and By. . . 33 33 33 33 II-7 Leaps of a Sixth Within the Tonic Triad. . . . . . . . F. Rousseau. . . 4/4 . . 4/4 . . . . . . . K. . adagio from string quartet # 1. . 2/4 . . . . . D. G. . . . 487. 105 Derri`r’ Chez Nous il y a Trois Fleurs e (France). . . . . 4/4 . . . . . . . 55 Bach. . . C. . . . . 4/4. . . . . 37 37 37 37 37 38 38 38 38 38 39 39 39 39 39 39 39 40 II-6 The Leap of a Fifth Within the Tonic Triad . . . . Hush. . . Hawthorne. . E . . . . Burnie. . . A. . . . . . . . . 68 Froebel. . . . . 45. . . 6/8 . 3/4 . . . 103 Mozart. . . . Font (France). 4/4 .32 80 81 82 83 84 G. . 27 27 27 27 27 27 28 28 28 28 28 28 29 29 29 30 30 30 30 30 31 II-8 Leaps Within the Dominant 37 102 Mozart. F. C. . C. Chorale. . . . . . . 3/4. . . . . . F. . . Duet No. . 90 G. . . . . 3/4 . E . 91 Wohlfahrt. . . . F. . . . 118 Serenata (California).II-4 Leaps Back to Remembered Notes . 4/4 . . . . . . . 2/4 93 Praise. . 3/4 . . . . . . 3/4 . . . . . . . . 3/4 . . 25 25 25 26 26 85 86 87 88 The Beggar Girl (England). 3/4 . . . 67 A Recouvrance (France). . . The Dearest Spot on Earth. . . Jesu. . . ‘Seelenbr¨utigam.27 59 Beethoven. . 108 Ah! Mon Beau Chˆteau! (France). . . . . . 70 My Father. .

. . . . . . G. 3/4 . . . . . . . . . . . . . . . . . . . . . . .120 Bach. Show It (United States). . . . 3/4 . . . 3/4 . . 126 Schubert. Old Man (Louisiana). . . . . . . . 2/4 . 134 G. . 58 Again?. . minuet. . . . . A. . wir sind hier’. . . . . . Chorale. . . 123 Bach. 44 44 44 44 45 45 45 45 45 46 46 46 46 47 47 47 47 48 48 48 III-3 Leaps Within the Tonic Triad . . 4/4 . . . . ‘Liebster Jesu. . E . . .53 III-2 Steps . . . . . 2/4 . . . . 4/4 . . . . Lewis. . 3/4 . G. . . . . . 6/8 . 4/4 . 130 Schubert. . . 4/4 . . . . . 2/4 . . 156 Strauss. . . . G. . gavotte in G minor. . 4/4 .53 III-1 Solfeggio in the Minor Mode . . . 6/8 . . . . . . 128 Haydn. . . . . 6/8 . . Ch`re (Louisiana). B . . 141 Bach. . 153 The Gypsy Warning (Missouri). . F. . c. . . . . . . 6/8 . a 4/4 . . . 3/4 . . . . . . Wedge. . . . . . . . . . . . D. . . . . 3/4 . . . . . . 4/4 . . 3/4 . 136 Eli Yale. 1 . 127 Bach. a. . . . . 160 C. . . . . . . . D. Lewis. . .55 170 171 172 173 174 175 176 177 178 179 180 181 a. d. c. . . D. . . . . Chorale. . . . nach deiner Gut’. . 3/8 . . 162 folk song. . . . . . Bach. . 3/2 . . . . . . . . . . . . . . 3/4. a. . . . . . . . . . 3/4 . B . ‘Wie bist du Seele in mir so gar betr¨bt’. G. Chorale. . . A. . . 2/4 . . . . 3/4 . . 122 Bach. . 169 B . . Carpet . . . . . . . 161 Chill Ether (Scotland). . The Fairy Boat. . . . . . F. . . . . Suzette. . . . . . 152 Dans Notre Jardin (France). 6/8 . D. 3/4 . . . . so schick’s mit mir’. . 131 Holst. . . . . . . . menuet Oxford symphony. . 2/4 .44 135 Bates. . . . . . . . . . . . . . 140 Aux Marches du Palais (France). . . . . . . . . . . . . . . . E . . . . . . . . . . . . . . . . . 4/4 . . 132 Serenata (California). . C. a. . D . 59 6 . . D. . 4/4 . A. . . . . 6/8 . . . . . Wedge. . . . 129 Bach. f. finale. . . . . B . 157 Ah. 3/4 . . . . . . . . . . Chorale. 143 Arlequin Tient Sa Boutique (France). . Soll Ich Mit Euch Gehn. . . . D . f. 145 folk song. 2/4 . . . . . 4/4 . 121 Beuttner. ‘Herr. . a. . . . . . . . Lewis. . . . . . . . . . . . . . . . . . G. . . . o 166 The Duke of Argyle’s Courtship (Scotland). . ‘Wenn wir in h¨chsten o N¨ten sein’. . 4/4 . 40 40 40 40 41 41 41 41 41 41 41 42 42 42 43 155 G. . 138 Go ’Way. Chorale. . . . . d. . . . 59 . . g/minor . . Wedge. . Das Wandern. . 4/4 . . ‘Es spricht der Unweisen Mund wohl’. C. . . . . . . 163 folk song. . 167 Samuel. 4/4 . . . F. . . 168 Gar Lieblich Hat Sich Gesellet. Chorale. . . . . . . . 3/4 . . . . . Lewis. . . . G. . . Chorale. . . 3/4. . 147 Praise. . a. . . . 2/4 . 142 Bach. . . . 154 Jungfr¨ulein. . 133 If Your Foot Is Pretty. B. . . F. 137 Krambambuli. . .58 182 183 184 185 186 187 188 189 c. . 144 Ballade de Roland (France). . . . . . . . . Gott. 4/4 . . . . . . . . . A . Lewis. u 124 Gardez Piti Milatte-l` (Louisiana). . . 3/4 . 58 . . Lewis. . 4/458 . . . . . . . ‘Nun ruhen alle Walder’. . . . . . . . . 3/4 . . . . . . . 4/4. . 151 Haydn. . . . G. . . . e 158 La Paloma Blanca (Arizona). . G. . . 58 . . 2/4 . G. . . . 165 Bach. . 139 Our Baby (France). . Venus theme from The Planets. . 4/8 . . . . 4/4 . F. . . . 4/4 . . . . . 4/4 . . . . . . . . . . . . . . . . . . . . . . Member (South Carolina). 3/4 . . . 4/4 . . 3/4 . . 2/4 . . . . . F. . . . . 4/4 . F. ‘Valet will ich dir geben’. . 149 Barbara Allan (Scotland). . . . . 4/4 . London symphony. 6/8 . . . 4/4. . . . . Lewis. . . . . Mein Hort. 58 . g. . Chorale. 2/4 . . . d. . 148 Wach’ Auf. . wie du willst. 4/4 a 125 Shout On. . . . . . . . Wohin?. . . . . . . G. . . . . . . . . . Halt!. . . . 55 55 55 55 55 55 56 56 56 56 56 57 II-9 Wider Leaps Within the Dominant . . . 159 Schubert. . . . . . Es kam ein treuer Bote. 4/4 . B . . . c. A . 58 . . . . . . . . . . . E . 4/8 . . . . . . ‘Mach’s mit mir. . . . d. F. 146 Tu Eres Mas Bella (Costa Rica). . . . . c. 6/8 . . . 2/2 . . A. . D. . . . . B . . . . . 164 Bach. . . . 48 49 49 49 49 49 50 50 50 51 51 51 51 51 52 III Minor Keys . B . . America the Beautiful. E . 6/8 . . . . . . . . . . . Children (Georgia). 150 I’m a Pilgrim (Italy). . . 2/4 . . 2/4 . . . . . A. . a. Not Yet. Who Got Dirt on the c. . .

. . C. . . . . . d. . . 4/4 . . . 191 f. . . . . . . . . . . F. 3/4. . 220 Schubert. Mia Bella. 2/4 . . 72 243 Old Hundred. . ‘O Traurigkeit. . . . Cangia. . Chorale. F. g. . . a. . G. . 4/8 . . . . . . . . . . 4/4 . . 2/4 . . . . . . Gr´nadiers! (Louisiana). . . . o Herzeleid’. . . . . 3/474 252 Whittier. . . . . ‘O Haupt voll Blut und Wunden. .69 IV-1 Leaps Between the Tonic and Dominant . . . . . . c. . . . . . . . . . . Chorale. . C. Matthew’s Passion. . . . . theme from symphony in G minor. 3/4 . . . 200 My Field (Russia). 225 Bach. . . 209 Froebel. . 4/4 . G. 229 Go Down. . . . . 4/4 . 6/8 . . . . . . . . . . . . . . . . . . . .’ from St. . 72 242 The Bonniest Lass in a’ The Land (Scotland). . . . . . 3/4. Cangia Tue Voglie. . . . . . . . . . . . . . . 66 66 67 67 IV Other Diatonic Materials. . . . 3/2 . . . . . . . . 71 237 Arlequin Marie Sa Fille (France). . . . a. 9/8 . . 3/4 . . . . . . . e. . . . 3/4 . . 212 Lolotte (Louisiana). 218 En Avant. . 215 White. 4/4 . . . . . 4/4 . 73 e 250 Strauss. . . . . . . . . . . . . 69 231 Scarlatti. g. . . melody from the notebook for Anna Magdalena. Chorale. 205 Bach. . . . 4/4 e 219 Angel de Mis Amores (Mexico). . A . . . 210 Guten Abend. . 3/4. . . . 211 Bach. 198 Wedge. . 4/4 . . 216 Bach. . . . g. F. 4/4 . . The Jenny Lind Mania (United States). . . 2/4 . ‘Es steh’n vor Gottes Throne’. . . . . . nun lass in Friede’. F. . . . 70 III-4 Leaps Within the Dominant61 IV-2 Leaps Within the Subdominant. . . . . . . . . 69 234 zandunga folk song (Southern Mexico). 3/4. 59 59 59 59 60 60 60 60 61 61 61 61 61 61 62 62 62 62 62 62 62 63 63 63 63 63 63 64 64 64 64 64 65 65 65 65 226 Wedge. c. . . e . . 3/4 . 193 Every Hour in the Day (Georgia). Moses (Unites States). Chorale. 73 249 Au Jardin de Mon P`re (France). . 197 Thou Poor Bird. . . . . 2/4. . . . . . . . 2/4 . . . 194 Forget na’. . . . . 3/4. . . dear Lassie (Scotland). . . . . . 4/4 . . 199 Wedge. . . 3/4. . . . . . . . D. Ophelia’s Song. . . Gavotte II from cello suite # 5. aria ‘O Jordan. If Ye Love Me. . . . . . 222 Brahms. . . . 4/8. . 2/4 . 73 245 I Want To Be Ready (United States). . . . . . a. . f. . . . . e . . . . . . ‘Nun sich der Tag geendet hat’. . g. g. . a.69 230 Ya Viene El Alba (California). Major Keys . . . 4/4. . . 201 g. . . g. . . . . 72 241 Lang Johnny More (Scotland). 221 Bach. . Old Folks at Home. . . 192 Bach. c. . . g. 71 238 folk song. . 3/4 . . . . . . . . Gi` il Sole dal Gange. . . E . . . . . . . e. . . . 74 253 Handel. . . . . . . 217 Reir Es Necesario (Mexico). 71 239 folk song. . g. . . . . . . . d. 2/4 . . . . . . c . 75 255 The Huntsman. . . 223 Mi Sue˜o (Mexico). . . 206 lullabye (Russia). . . . . 196 Mozart. g. 75 7 . . 3/4 . . . g. . . . . . . 2/469 233 Grieg. . F. . . 4/4 . 3/8 . . . . . . . . . . Chorale. . . . g. . . G. . . . . . . . . . 3/4. . . 69 a 232 Schubert. . 227 Wedge. Hallelujah (South Carolina). . . Danksagung an den Bach. . . . 207 Las Tristes Horas. . 3/4 . 208 Wedge. F. . e. . . . 203 Wedge. . f/major . 71 240 Foster. Devotion. . . . . . 4/4. D. . . C. . . . . . . . . . . 4/4 . 2/4 . . . Amarilli. . Song of the Free.71 236 Jehovah. 12/8 . . menuet from string quartet # 15. . c. . 1 . . . . . . b. 4/4 . . . Sacred Tide’ from Esther. . e. 2/4 . . 3/4 . . . . . . . g. . 6/8 . 3/8 . . . g. . 3/4 . 4/4 . 2/4 . 74 251 I Ride an Old Paint (United States). . . . . 2/4 . . . . . . . . a. b. . . . . . E . C. . 214 Los Ojos Mexicanos (Mexico). . n 224 Bach. . . . . . . . . . . . E . . . . . . . . . . 70 235 Carcini. c. . . . . . 4/4 . 2/4. . 228 Handel. . 74 254 Tallis. . . . 2/4 . . . . . . aria ‘Hush ye pretty warbling quire’ from Acis and Galatea. . 6/8 . G. g. ‘Von Gott will ich nicht lassen’. d. . . . 4/4 . 2/4. 4/4 . 204 Wedge. B . . The Wolf. 73 246 Fasolo. . 4/4 . . . . 202 Wedge. 3/4 . d. . . . 2/4 73 247 The Ash Grove (Wales). Chorale. F. 4/4 . . ‘Herr. . g. 195 Bach. . . . . 213 Mozart. Am Feierabend. . . . . . . . .190 Wedge. . Nachtwache 1. . . F. . . . . . . 73 244 Da Unten Im Tale. . g. . . e. . . 73 248 West.

. . Long Ago. . . . 3/4 . 3/4 . B . . opening from clarinet quintet. . . 12/8 . . C. . . . . 93 IV-3 Wide Leaps Within the Subdominant . 4/4 . . . . . . 82 283 Paradies. . . . 80 278 Avril (France). . . . . . 3/4. . . . . . . . aria ‘If with all your hearts ye truly seek me’ from Elijah. . 80 276 Brahms. . 91 313 Cradle Song. . . . . 6/8 . . 4/4 . . . 80 274 Mozart. . . . . 288 Mozart. . . . . . . . . . . . . . 85 IV-4 Leaps Within the Subdominant. . . . . 4/4 . 2/4 . . . . . . . . 3/4. . 4/4 . . 79 271 Calinda (Louisiana). 3/4 . . . . . . . . F. M’ha Preso Alla Sua Ragna. . . 4/4 . . . . . rondo from string quartet # 6. 4/4 . . . Presto . . . . . . 90 309 Mozart. . 80 275 The Wild Moor (Missouri). . . . . 6/8 . . 294 Wedge. B. . 296 g. . . D . . 93 320 Mozart. E. . . G. . . . 81 281 folk song (Russia). . 76 260 Pergolesi. C. . . . 4/4 . 3/4 . . . . . . . . . menuet from string quartet # 10. . . . Osanna (bass solo. . . . 3/4 . . 4/8. . . . . 78 267 Haydn. 78 269 My Lodging Is On the Cold Ground. . . 3/4 . . . . . . . . . C. g. . . . . . A . F. F. . 297 Hanukah O Hanukah. . . . . . . 2/4 . 92 319 Mozart. 4/4 77 261 Bonnie Wee Window (Arkansas). . 4/4 . 93 321 Upidee. . 2/4. . . . . 4/4 . . . introduction. . . . . . . . . . . . . B. The Blue Juniata. 76 259 The Gold Band (Tennessee). . 90 310 Gwine Follow (South Carolina). . . . 2/4 . . 2/4. . E. . 6/8 . . . . . . . A. . . . . . 2/4 . g. o 84 84 84 84 8 . . . . 83 290 Derri`re Chez Moi (France). A. 78 266 I’m In Trouble (Florida). . 2/4 . . . 4/4. . . . . . 80 277 Caroline (Louisiana). . . . 4/4 . Diadem. 303 folk song (Russia). . E . F. . presto from string quartet # 7. . . . . 89 306 Hess. . . . 4/4 . . . 298 Vivo Llorando la Suerte (Mexico). B . 4/4 . . . C. . 3/4 . . . . . . . Beautiful Isle of Somewhere. G. . . . . . . . . . 2/4 . 2/4 . . A. . 3/4 . . . 85 e 291 Foster. . 2/4 . . . . A. . f. 3/4 .256 Moore. . . . c. 3/4 . 300 Bach. . 6/879 270 Cowboy’s Home Sweet Home (Arkansas). 2/4 . . E. . . . . E . .86 293 Wedge. . . 287 Ellor. 91 312 Bayly. . . . 6/8 . . 3/4 . 92 316 Reir Es Necesario (Mexico). . Long. . . .89 305 Mozart. . . . . . F. . London symphony. 91 311 Mendelssohn. 77 262 Fearis. introduction. andante from string quartet # 2. . . B . G. . . . . . . . . d. trio from Brandenburg concerto # 1. . C. . . . . 3/4 . . F. . . 3/4 . . . . menuet from string quartet # 8. . . . . . . . 79 272 The Braes O Yarrow (Scotland). 92 315 Walk. 1st symphony. . . . . . Minor Keys . . 6/8 . . . 4/4. Shepherdess. . . . . 6/8 89 307 folk song. 92 318 A Quinze Ans (France). A. 6/877 263 Bradbury. . 304 Entre Vous Tous Gens de la Ville (France). 2/4 . . . F. . . . 299 Mozart. . 81 282 The Ship That Never Returned (Missouri). . . . .84 286 Mozart. . . G. . menuet from string quartet # 1. . . . . 4/4 . He Leadeth Me. . . . . . . . . 86 86 86 86 87 87 87 87 87 88 88 88 IV-5 Leaps of a Seventh . G. . . . . . . . 2/4 . Requiem. . . . 4/4 . . . . . . 4/4 . . . . . . . . 4/4 . . . . C. . The Mountains. . . . . . . d. Bonne Hˆtesse (France). . 89 308 Carmela (Mexico). . A . . . F. . . . . . The Song of All Songs. . . . 3/4 . . . . Walk (Arkansas). . . . . E . . . . 2/4 . . . C. . . 78 268 Rosa Lee. . . . . f. A . . . . F. . . . A. . . . . . . . . . . . . . G. . 76 258 Mozart. . . . . . . . . . . . . E . . . . . menuet from string quartet # 8. . F. C. . 81 279 Mozart. . . . . . 81 280 The Hallowed Spot (Missouri). . . . . . 4/8. . . . . . d. . 85 292 Gladden. . . . . . . . 78 265 Red River Valley. 4/4 . . . 91 314 Widdecombe Fair (England). . 4/4 . . . . . . . . . . . . . 82 284 Die Sonne Scheint Nicht Mehr. 3/4 . Little Charley Went a Fishing. . . . d. 75 257 Sinner Won’t Die No More (Tennessee). 2/4 . . . tune from Stabat Mater. . . . . f. . . allegro) from Sanctus. . A. . 302 folk song (Russia). 289 Adieu. Evening Bells. 77 264 Sullivan. . . . . . D. . . . 301 Que No Te Amo (Mexico). A . . . . . . C. . . . . . D. f. . . . 92 317 folk song (Russia). 295 Wedge. . . G. . . . Ibi Patria. . . G . . . 3/4. . . . 83 285 Ubi Bene. . . . 3/4. . A. 79 273 Gaudeamus Igitur. presto from string quartet # 4. . . . .

. . . . . . . . . . . . . A . . . . . . F. . 97 335 Mozart. 96 330 Foster. . c. 6/8 . . . . . . Beautiful Bells. . . . . . . After the Ball.102 350 Gunhilde. 99 340 R´mon (Louisiana). . . .104 355 a. . . Caro Mio Ben.103 IV-7 The Diminished Seventh Chord. . Ye Disconsolate. . G. . . . . . . . Sing Hey to You. . . . Chorale.108 365 Autrefois le Rat de Ville (France).102 353 Handel. . 2/4 . . . . .104 358 Mozart. . andante un poco allegretto from string quartet # 5. . . . Tell Me of the Battle. B . . . . . . 97 333 Rimsky-Korsakov. . . 2/4 . .103 354 Beethoven. . . . 3/4. .104 356 O Daniel (Florida). . . . 4/4 . . 4/4 . . . Invention 2. His Mercy Brightens. . . 98 338 Moore. .. . .101 347 processional march song (Germany). 4/4 . . . . a. . . . . 4/4 . 4/4. . . . 3/4 . 4/407 1 363 Conkey. . . . . . .111 374 Stradella. The Faded Coat of Blue. 3/8 . . . . . . . 2/4 95 327 Harris. menuet II from cello suite # 2. . . G. . . 95 326 Weber. . D. G. 3/4. . . . 99 342 Thompson. . 2/4 110 372 Vivo Penando (California). .110 369 Woodbury. . Raisins with Almonds. A . . . . . . . . . . . F. Valedictory. . C. . . .100 343 / . . D. . . . . Il Est Arriv´ (France). . . 3/4. . . .108 366 Webbe. Ragion Sempre Addita.100 346 Brahms. . . . . . F. G. 96 329 Sullivan. . . C. . . 2/4 . . . . .100 344 Pergolesi. 3/4 97 336 Abt. . Brother. . . . . . . . . 4/4 . . . . . trio from string quartet # 1.110 370 Mozart. 3/4 . . . . Slumber My Darling. . 3/4 . . F. . .104 357 Bach. . . . . 98 339 Giordiano. . 94 323 folk song. . . B .100 345 Bach. 4/4 . . . . D. . E. . B . . .107 361 Kevin Barry (Ireland). . D. . . . . A. . . . .111 373 Allan Maclean (Scotland). Angels Ever Bright and Fair. .107 362 Who Got Dirt on the Carpet Again?. .107 360 Luther. . . . . Kathleen Aroon. . 3/4 . . . . . . . c/minor . D. . B. . . . . . . . . . . . 3/4 . and the Harmonic Minor Scale . menuet from string quartet # 1. B . . . A. . . Lilly Dale. . . aria from the Magic Flute.114 u 9 . Chant de Sion. . . Softly Now the Light of Day. 4/4 . . . 97 337 folk song (Germany). . . . 96 328 Sullivan. . . . a. 4/4. 3/8 . . 4/4 . . . G. . . . . . . 4/4 . . 6/8. . . 96 332 Were You Ever in Rio Grand. . 6/8 . . . . Op. . . . . God is Love. #3 (‘Emperor’). . 3/4 . . opening from string quartet # 4.113 380 Haydn.109 368 Butterfield. A. . . . 3/4 . . . .113 381 Crep´sculo (Mexico). 4/4 . . .IV-6 Other Perfect Fourths and Fifths .101 349 Sagt Mir. . 2/4 . . . . 1st symphony. E . . . D. . opening movement from string quartet # 1. . F. . 96 331 Foster. . . . . . 4/4 . . c. . 4/4 . . Speed Away! Speed Away!. G. . . . . . . . . . . . . F. . . 4/4 . . . . . .102 352 Bach. . . . 2/4. . . o a 6/8 . . . . 3/4 . . 4/4 . . . . 4/4 . . . . Take a Pair of Sparkling Eyes. . . . . . Love’s Young Dream. .112 378 McNaughton. . . . . . . . . . . . Englische Schaeferin. . . D. . C. . 94 324 La Rana (Mexico). . . . . . . Lullabye . 4/4 . . G. 2/4 . G. . . . . A.104 359 Goldfaden. Scheherezade (theme from third movement). . . . G. . F . . . E . . D. . . . . . . . 3/4 . . When You and I Were Young.94 322 Mozart. . . . G. . . . . . 3/4 . . . . . G. . . . . 73. . A Mighty Fortress Is Our God. 3/8 110 371 Let God’s Saints Come In (Virginia). Come. . . . allegro from string quartet # 6.111 375 Dans le Port. 95 325 Poulton. . . F. . .105 V Nondiatonic Materials 107 V-1 Secondary Dominants and Chromatic Passing Tones . . . . 6/8. . . C. . . . .112 379 Mozart. . . ‘W¨r’ Gott Nicht Mit Uns a Diese Zeit’. . E . . . .108 364 Shoals. . C . . G. . . . . . . . C. . . . . . 3/4. . . . d. . . . C. D. . 6/8. G. . adagio poco cantabile from string quartet. . . . . 97 334 Beethoven. . . . . . . 4/4 . 4/4 . . . . . . . . . . .112 377 Cooper. 2/4 . . . . . . Gentle Annie. . . . . . . 99 e 341 Juanita. . . . . .109 367 Keller. . . Angel of Peace. . . . . . . . aria from Stabat Mater. Aura Lee. O Sch¨nste Sch¨f’rin Mein. . . . Good-Day to You!. .102 351 Ach. . . . 3/4 . 2/2 . 4/401 1 348 Milhaud. . . . . . introduction. C. 2/4 e 111 376 Root.

. In My Merry Oldsmobile. . . . . G. a. 4/4 . 6/8 . . . . Vater. .128 420 folk song. . 2/4 . . . .129 425 lullabye (Russia). . .V. . . . . . . . Alice. . O Lord (Unites States). . Duet No. aria (Papageno) from ‘The Magic Flute’.120 398 Mozart. .127 416 folk song. . . . . .114 383 Pergolesi.116 388 Edwards. . . . . . .117 391 Handel. . . . . . G. . .123 404 Schwesterlein. .127 413 C.129 423 Haydn. . . G.122 ’Tis Me. . . 3/4 . . . . . . 2/4 121 Cyclone at Ryecove (Missouri). . . .114 384 Bach. 2/4 . . . . .120 405 Es Ritt ein Ritter. . . . C. . . . . B . . . . 2/4 . . Maid of Athens.124 409 Feinsliebchen. . . . . . . g. . . . . . .121 Europe. . . . B . . . . D. .115 385 The Cruel Mother (England). C. . Chorale. . The Orange and the Black. . C. . Du Sollst. .382 Media Noche (California). Kathleen Mavourneen. . . . . . .118 393 Adelphi School Song.121 Roll. . 4/4 . K. . . Kathleen Mavourneen. 4/4 . . . . . . . 2/4 . . 4/4 . f. . . C. Menuet. . G. F. .115 386 Hawthorne. tune from Stabat Mater. . a. . . . C. London symphony. 2. . . 3/4 . Sohn’. . b. . .121 399 400 401 402 403 The Graveyard (South Carolina). . . C. . . 4/4 .123 10 . 3/4 . . f. . finale. . . 3/4 . ‘Gib Dich Zufrieden und Sei Stille’. . Roll (United States).125 VI The C Clef . Chorale. . . . . . .123 408 Bach. 3/4 . . .130 427 Crouch.118 394 Allen. . . A . . . 4/4. . .127 412 C. Where Art Thou?. . .124 411 Crouch. .123 407 Bach. . 4/4 . . Fein’s M¨dchen. .119 396 Mozart. A . 2/4 . . . . 3/4. . 3/4 . . . G. The Easy Winners. . 3/4 . . . . Mein Hort. E . . .128 419 Holst. . from 12 Duets. . aria ‘Sancta Mater’ from Stabat Mater. .118 395 Ascher. . . menuet Oxford symphony. 3/4. . . E . 4/4 . C. . . . 6/8 . . Venus theme from The Planets. .115 387 Joplin. . 487. Chorale. . . . . . F. . e.127 414 The Ash Grove (Wales). . Duet from The Magic Flute.128 417 Wach’ Auf. . 6/8 . . . . . . 3/4 . . . ‘Das Walt’ Mein Gott. . . . 6/8 .129 424 Every Hour in the Day (Georgia). . e b. . . . .116 a 390 Bach. . . . . .124 410 Bach. . . .123 406 Cradle Song (Sweden). . 2/4. . . 4/4 . . 4/4 . . D. a. . G. . b. . .129 426 Feinsliebchen. . . Menuet I from orchestral suite #1. . a. . A . . . . . . . 4/4 . . 2/4 . . . . . . Above the Mountains. 4/4 . ‘Befiehl du deine Wege’.128 418 La Paloma Blanca (Arizona). 4/4 .130 V-2 Blue Notes .129 422 Mozart. . .119 397 Schubert. . 3/4 .117 392 Shackleton. G. . . . . . . . . . . . . 2/4 . G. . . . . . 6/8 . . . . . B . . . . Jordan. . . . . Goodnight Angeline. . . .122 V-3 Relative Minor and Major . 3/4 . Out of Work. . . . . . Du Sollst. . . Bourr´e II from orchestral suite #2. . E .127 415 Haydn. 4/4 . . . d. 4/4 . . . . F. 4/4 . . G. . A. . . . . . . . . 4/4 . . . 3/4 116 389 Erlaube Mir. . . 3/4 . . C. . . chorus from ‘Judas Maccabaeus’. 6/8 .129 421 Pergolesi. .

Go Away . Half. rhythm of O Come. rhythm of Bingo 4 . All Ye Faithful 1 3 . and singing the tune the second time. which are given in the table of contents. rhythm of .Chapter I Rhythm The rhythms in this chapter all come from well-known tunes. with the teacher counting beats the first time. After reading them. I-1 Whole. If you’re working with a teacher. and Quarter Notes 1 2 3 7 4 5 2 . you may wish to clap the rhythm twice. Rain. you may want to look at the titles. Little Star . rhythm of Little Brown Jug 5 Rain. rhythm of Twinkle Twinkle.

rhythm of We Three Kings . rhythm of Hush Little Baby 12 . Rhythm .I-2 3/4 Time. rhythm of We Wish You a Merry Christmas . rhythm of Take Me Out to the Ball Game . rhythm of Jimmy Crack Corn 6 14 Chapter I. rhythm of O Little Town of 9 10 Bethlehem . and Dotted Half-Notes 6 7 3 4 3 4 I-3 Eighth Notes 8 9 10 11 3 4 I-4 Dotted Quarter Notes 12 13 7 8 . rhythm of Jingle Bells 13 . rhythm of This Old Man 11 .

rhythm of Here We Go Round the Mulberry Bush I-5. Tchaikovsky. rhythm of Home On the Range P. rhythm of Alouette P. rhythm of trepak from The Nutcracker . rhythm of I’ve Been Working on the Railroad 21 .14 15 16 3 4 3 4 3 4 I-5 Sixteenth Notes 17 2 4 I-6 Dotted Eighth Notes 18 19 20 3 4 I-7 Compound Time 21 14 6 8 15 16 17 . 18 19 Tchaikovsky. rhythm of Away in a Manger . Sixteenth Notes 15 . rhythm of waltz of the flowers from The Nutcracker 20 .I. rhythm of Rockabye Baby .I.

Tchaikovsky. rhythm of Row. rhythm of march from The Nutcracker 16 Chapter I. rhythm of The Entertainer 26 P. rhythm of Pop Goes the Weasel 24 .I. Row. Rhythm . Row Your Boat Scott Joplin.22 23 24 6 8 6 8 12 8 I-8 Syncopation 25 2 4 I-9 Triplets 26 5 3 3 22 25 . rhythm of The Itsy-Bitsy Spider 23 .

For example.Chapter II Major Keys II-1 Introduction to Solfeggio The following syllables are traditionally used for the seven notes of the major scale. The fixed do system is often taught to European schoolchildren. and understand the relationship between the imagined pitches so as to be able to translate them into fingerings. in which ‘do’ is always C. and so on. ‘re’ is always D. in which the first word of each successive musical phrase began on the next note of the scale. In the key of D. for example: do re mi fa so la ti do This may seem confusing at first.) Sight singing is first and foremost a method of training your brain to understand relationships between musical notes. For instance. ‘ti’ is always a note with a tendency to move up a half-step to ‘do. . ‘do’ is always the tonic. and the other syllables are assigned to the other notes according to their role in the key. but it’s the only system that makes sense to the ear.’ the tonic. This book uses the movable do system. who don’t know enough music theory to recognize the roles of the different notes in relation to the tonic in a key that has sharps or flats. a jazz musician improvising a solo on the saxophone needs to be able to imagine a melody. and is therefore an important component of musicianship even if you consider yourself primarily a composer or instrumentalist rather than a singer. The solfeggio syllables are a device for making the recognition of the relationships automatic. (There is also a fixed do system. do re mi fa so la ti do They originate from the Latin hymn Ut Queant Laxis. In this system.

one doesn’t use either technique exclusively. This is a good thing to learn. In reality. for example.’ we see that the next note in the melody is C. In the second technique. the note that sounds like it would be a good one to end the song on. The leap of a major sixth in ‘My Bonnie’ is a leap from ‘so’ up to ’mi. but having learned them. there are two main approaches to learning solfeggio singing. one for ‘so-mi’ and one for ‘re-ti.’ Some might even do another two for the downward leaps ‘mi-so’ and ‘ti-re!’ This just shows that the technique is artificial and not usually very useful. That is. One can learn to sing intervals. do you use phonics.’ In the first approach. one should not expect to become a fluent sight singer by artificial devices. and having just sung B. But a fluent reader doesn’t look at the word ‘sure’ and think ‘silent E makes the U long. We might as well ask Shakespeare what he does when he reads words: ‘Mr.’ Learning the phonics rules is necessary. or in relation to the tonic.’ Some people learn two melodies. Because the goal is rapid recognition of patterns at a subconscious level. Suppose.Broadly speaking. Shakespeare. we can hear each note in relation to the preceding note. and the process is extremely rapid because most of the patterns are familiar. we recognize this as the interval of a half-step (minor second). For instance. we know how to sing ‘do’ because of its special sound in relation to the key: it’s the tonic. just as it’s good to learn that an E at the end of a word makes the preceding vowel long. There is also a pitfall to this technique of learning to hear intervals via a personalized list of familiar melodies. or to sing each note according to its role in the key. 18 Chapter II. or do you recognize whole words?’ A fluent reader is actually decoding patterns at a subconscious level. which is ‘ti.’ but your brain will probably refuse to recognize the leap from ‘re’ to ‘ti’ as being the same thing. Major Keys . which is ‘do. we actually become fluent readers through the act of reading large amounts of English. that we’re singing a piece of music in the key of C major. many people learn to recognize the interval of a major sixth using a tune such as ‘My Bonnie Lies Over the Ocean’ or the NBC jingle. so we move to the note a half-step above the one we’ve just sung. because ‘re’ and ‘ti’ play different roles in the key than ‘so’ and ‘mi.

II-2 Melodies Containing Only Steps In each example.’ the tonic. start by identifying which line or space on the staff represents ‘do. e.. Locate the notes of the tonic chord on the staff to use as reference points. 27 28 29 3 4 famous tune (identified in the table of contents) 30 The following example is in a new key: its ‘do’ is the former ‘so. try singing ‘do re mi fa so’ in the old key. pick a note for ‘do’ that will put the melody in the most comfortable part of your vocal range. Melodies Containing Only Steps 19 . ‘do mi so do’ for the octave spanned by the first example. and then sing enough notes from the tonic chord to bracket the range of the melody. then repeating the last note as ‘do.’ If you have trouble convincing your brain to switch keys. play the tonic.g. If you have an instrument at hand. If an instrument is not available.’ and finally singing ‘do ti do’ — with authority! 31 3 4 32 3 4 II-2.

36 3 4 37 The following five melodies all begin on ‘so. If you’re singing the new. 20 Chapter II. you should be able to hear its strong tendency to resolve down to ‘mi. Chorale. Lewis 38 L.R. and becomes ‘fa’ of the new key. carol (Bohemia) 34 J.’ 38 We now begin moving around the circle of fifths in the opposite direction. Bach.33 34 Moderato 35 6 8 Note that the following two examples both have the tonic on the line at the center of the staff.’ 33 anonymous. wie du willst. flattened version of the note correctly. so schick’s mit mir’ The Beautiful Angel 36 L. ‘Ti’ in the previous key is flattened. so the one with five sharps actually isn’t any more difficult to read. Lewis 35 Pierre Latour.R. Major Keys .S. ‘Herr.

Whither Through the Meadow? II-2. Emerson. Melodies Containing Only Steps 21 .39 3 4 40 3 3 41 The following two melodies both have the tonic at the same place on the staff. 42 43 6 8 Canon for two voices: 1 2 44 Canon for two voices: 1 2 45 2 4 45 L.O.

3 4 46 3 4 7 Canon for two voices: 47 6 22 Chapter II. Major Keys .

Lewis 50 L. Melodies Containing Only Steps 23 . Lewis 49 L.R.48 49 8 6 8 50 6 8 48 L.R.R. Lewis II-2.

Lewis 24 Chapter II. Major Keys .51 5 9 13 17 51 L.R.

Bach.S. Chorale.S. meiner Seelen Wonne’ II-3. ‘Seelenbr¨utigam.II-3 Leaps to ‘Do’ 52 3 4 Adagio 53 3 4 II-4 Leaps Back to Remembered Notes * * 54 55 7 * * 56 7 * * 55 J. ‘Jesu. Jesu. Chorale. Gottes Lamm’ a 56 J. Leaps to ‘Do’ 25 . Bach.

The following example uses both leaps back to remembered notes and leaps to the tonic. 58 3 4 58 folk song 26 Chapter II. because you only need to return to the same note after each low G. * * * * 57 6 * * The next tune is easier than it appears. Major Keys .

II-5 Easy Leaps Within the Tonic Triad This section introduces leaps of a third. and an octave within the tonic triad. famous tune (identified in the table of contents) 59 3 4 60 61 6 8 62 7 Allegretto 63 6 8 Allegro 64 2 4 63 W. Broadway Sights 64 anonymous. Latham. A la Claire Fontaine (France) II-5. Easy Leaps Within the Tonic Triad 27 . a fourth.H.

Pat-a-Cake anonymous. My Father. Sullivan 67 anonymous.S. A Recou68 69 vrance (France) Froebel. How Long? (Florida) 28 Chapter II. Major Keys . Carmela (Mexico) 70 anonymous. aria ‘Sancta Mater’ from Stabat Mater A.65 66 6 8 67 5 68 12 8 3 3 69 3 4 8 70 8 65 66 Giovanni Battista Pergolesi.

S. Chorale. ‘Es ist gewisslich an der Zeit’ 72 anonymous. Bach. Cutler.S. We Come Unto Our Father’s God 73 H. Easy Leaps Within the Tonic Triad 29 . The Son of God II-5. Annie Laurie Goes Forth to War 74 Martin Luther.71 6 72 8 73 6 11 74 71 J.

Burgess Weston. Hard Times Come Again No More Row. En Revenant d’Auvergne (France) 77 H.’ Con moto 78 2 4 75 anonymous. Row 78 anonymous. Lawlan’ Jenny (Scotland) 76 Stephen Foster.7 75 5 3 4 3 76 6 11 Allegretto 77 2 4 The following example includes a leap of a sixth. but it’s an easy leap back to ‘do. Major Keys . 30 Chapter II. Burnie.

’ 1 2 3 4 79 79 anonymous.This four-part canon includes a leap of a sixth to ‘do. Entendez-Vous Sur l’Ormeau (France) II-5. Easy Leaps Within the Tonic Triad 31 .

My Babe 32 Chapter II.II-6 The Leap of a Fifth Within the Tonic Triad 80 7 81 7 3 4 Allegro 82 3 4 83 8 2 4 16 82 Alessandro Scarlatti. Hush. Su. Rousseau.J. Major Keys . Venite a Consiglio 83 J.

The Beggar Girl (England) 87 Home. II-6.84 2 4 Grazioso 85 5 6 8 Moderato 86 5 87 3 8 Andante 88 10 2 4 84 85 anonymous. Beckoning the Pigeons 86 Alice Hawthorne. Dans la Forˆt Lointaine (France) e anonymous. By and By Froebel. The Leap of a Fifth Within the Tonic Triad 33 .

II-7 Leaps of a Sixth Within the Tonic Triad 89 90 9 8 91 5 Allegro vivace 92 2 4 7 93 2 4 94 91 2 4 92 Franz Wohlfahrt. Op. 34 Chapter II. Major Keys . #1 anonymous. Etude. 45. As-Tu Vu la Casquette? (France) 94 Member (South Carolina) Froebel. Praise. Beckoning the Chickens 93 anonymous.

95 2 4 The next example includes both leaps within the tonic triad and leaps to ‘do. Poor Rosy (South Carolina) 99 Wrighton. make sure to choose a key in which you can actually reach all the notes! 96 9 2 4 97 9 2 4 Another example that includes leaps to ‘do. Leaps of a Sixth Within the Tonic Triad 35 .T. Poor Rosy (South Carolina) anonymous. it is given in two keys.’ 98 99 95 96 97 folk song anonymous. Absent Davie (Scotland) 98 W. The Dearest Spot on Earth anonymous.’ Because of its wide range. II-7.

Major Keys .100 Canon for two voices: 1 2 101 3 4 36 Chapter II.

A. Duet No. Menuet. from 12 Duets.II-8 Leaps Within the Dominant This section introduces leaps of a third within the dominant. and sixths are included in section II-9. K. and leaps of a seventh within the dominant chord are deferred until section IV-5. Mozart. Leaps Within the Dominant 37 .V. Annchen von Tharau (Germany) II-8. Derri`r’ Chez Nous il y e ¨ a Trois Fleurs (France) 106 John Parry. 2. 487 104 folk song 105 anonymous. famous tune (identified in the table of contents) 102 103 3 4 104 3 4 Un poco allegretto 105 2 4 106 8 3 4 107 3 4 103 W. fifths. Fourths. Villikins and His Dinah 107 anonymous.

Font. Font (France) 110 John Husband. Ainsi Font. Ah! Mon Beau Chˆteau! (France) 109 anonymous. God Speed the Right (Germany) 38 Chapter II.9 Moderato 108 8 2 4 109 2 4 110 111 9 2 4 Maestoso 112 108 anonymous. Major Keys . a Revive Us Again 111 anonymous. Lightly Row (Spain) 112 anonymous.

Leaps Within the Dominant 39 . Brother. Musieu Bainjo (Louisiana) 117 anonymous. aria (Papageno) from ‘The Magic Flute’ 114 anonymous. Sch¨nster Schatz. Guide Me Home (Tennessee) 118 anonymous.A. Mozart. o Down in the Valley 116 anonymous. Serenata (California) II-8.8 113 2 4 Hell und freudig 114 12 3 4 115 9 8 116 2 4 117 118 3 3 3 3 3 113 W. Mein Engel 115 anonymous.

Mozart. ‘Es spricht der Unweisen Mund wohl’ 121 Nikolaus Beuttner. Chorale. Major Keys . Bach.S. Chorale. Chorale. ‘Valet will ich dir geben’ 123 J. Gardez Piti Milatte-l` (Louisiana) u a 40 Chapter II.119 3 4 120 121 122 6 123 6 Allegretto con grazia 124 119 W. Bach.S.S. adagio from string quartet # 1 120 J. ‘Wie bist du Seele in mir so gar betr¨bt’ 124 anonymous. Bach.A. Es kam ein treuer Bote 122 J.

6

125

2 4

126

127
6

128

3 4

129

130

125

anonymous, Shout On, Children (Georgia) 126 Franz Schubert, Wohin? 127 J.S. Bach, Chorale, ‘Liebster Jesu, wir sind hier’ 128 Franz Joseph Haydn, menuet Oxford symphony 129 J.S. Bach, Chorale, ‘Mach’s mit mir, Gott, nach deiner Gut’ 130 Franz Schubert, Halt!

II-8. Leaps Within the Dominant

41

131

3 4

3

3

3

132
3 3 3

5

3

3

3

3

Moderato

133

3 8

134
7

3 4

14

131

Gustav Holst, Venus theme from The Planets Is Pretty, Show It (United States)

132

anonymous, Serenata (California)

133

anonymous, If Your Foot

42

Chapter II. Major Keys

II-8. Leaps Within the Dominant

43

II-9 Wider Leaps Within the Dominant This section introduces leaps within the dominant as broad as a sixth. Krambambuli 138 anonymous. famous tune (identified in the table of contents) 135 136 9 2 4 137 2 4 138 8 3 4 136 anonymous. Old Man (Louisiana) 44 Chapter II. Go ’Way. Major Keys . Leaps of a seventh are deferred until section IV-5. Eli Yale 137 anonymous.

139 2 4 140 6 8 141 7 142 3 4 Un poco allegretto 143 7 2 4 144 6 8 139 anonymous. wie du willst.S. ‘Herr. Chorale. Wider Leaps Within the Dominant 45 . Ballade de Roland (France) II-9. so schick’s mit mir’ 142 J. Arlequin Tient Sa Boutique (France) 144 anonymous. Our Baby (France) 140 anonymous.S. Aux Marches du Palais (France) 141 J. Bach. minuet 143 anonymous. Bach.

Major Keys . Tu Eres Mas Bella (Costa Rica) 147 anonymous.7 145 8 6 8 146 14 2 4 147 6 2 4 11 145 folk song 146 anonymous. Member (South Carolina) 46 Chapter II. Praise.

finale. London symphony 150 anonymous. Wach’ Auf. I’m a Pilgrim (Italy) II-9. Barbara Allan (Scotland) Franz Joseph Haydn. Mein Hort 149 anonymous.Mit kraeftiger Leidenschaft 148 7 6 8 149 4 150 6 11 151 148 151 anonymous. Wider Leaps Within the Dominant 47 .

48 Chapter II. The Gypsy Warning (Missouri) 154 anonymous. Dans Notre Jardin (France) Jungfr¨ulein.Allegro 152 7 2 4 3 3 3 3 153 3 4 Lebhaft. doch zart 154 6 11 Allegretto 155 6 152 anonymous. Major Keys . Soll Ich Mit Euch Gehn a 153 anonymous.

Ch`re (Louisiana) e (Arizona) 159 Franz Schubert. Not Yet 157 anonymous. Das Wandern 158 anonymous.Molto mesto 156 6 8 Allegretto comodo 157 9 3 4 158 5 6 8 9 159 4 8 Andante 160 3 4 156 Richard Strauss. Ah. La Paloma Blanca II-9. Wider Leaps Within the Dominant 49 . Suzette.

Major Keys .161 5 3 4 162 9 3 4 17 Fine 3 8 D. ‘Nun ruhen alle Walder’ 50 Chapter II.S. Bach. al fine 163 7 6 8 164 161 anonymous. Chorale. Chill Ether (Scotland) 162 folk song 163 folk song 164 J.S.

6 165 5 166 5 3 4 3 Andante 167 2 4 Anmutig 168 8 2 4 165 167 J. The Fairy Boat 168 anonymous. ‘Wenn wir in h¨chsten N¨ten sein’ 166 anonymous. Gar Lieblich Hat Sich Gesellet II-9. Chorale.S. Bach. The Duke of Argyle’s Courtship (Scotland) o o Harold Samuel. Wider Leaps Within the Dominant 51 .

Canon for two voices: 1 2 169 52 Chapter II. Major Keys .

because it lets you recycle many of the patterns you’ve learned in minor. and ‘e’ for a flattened one. ‘Do’ is still the tonic. ‘so’ the dominant. Others prefer this: la ti do re me fi si la la so fa mi re do ti la This system highlights the relationship between the minor and its relative major. ‘ti’ the leading tone. For instance. The chromatic scale looks like this: . ‘so-ti-do’ is still a formula for a cadence. In both systems.Chapter III Minor Keys III-1 Solfeggio in the Minor Mode Some people sing in the minor mode using these solfeggio syllables: do re me fa so la ti do do te le so fa me re do This system has the advantage that most of the notes have the same functions as in the major mode. In this system. If you don’t have a teacher who wants you to use one system or another. the names of the notes stay the same when switching between the parallel major and minor. I suggest you use the first one. the vowel ‘i’ is used for a sharpened note. and so on.

do di re ri mi fa fi so si la li ti do do ti te la le so se fa mi me re ra do The important thing is to pick a system and learn it thoroughly.’) 54 Chapter III. Minor Keys . (I use my own enharmonic system in which the chromatic scale is ‘do gu ri bu mi fa ka so ja la pa ti do.

Poco a poco accelerando 170 171 6 8 Largo 172 3 4 This melody introduces the use of the ascending and descending forms of the melodic minor scale.R. Lewis 175 L.R. Steps 55 . Largo 173 3 4 174 3 4 175 8 3 4 174 L. Lewis III-2. The rhythmic figure is the same as in the preceding tune.III-2 Steps The purpose of the first exercise is to get used to the solfeggio syllables used in minor.

gavotte in G minor 181 L. Bach.R. Lewis 178 L. Minor Keys .R.176 177 178 3 4 179 3 2 180 4 181 176 L. Lewis 180 J. Lewis 177 L. Lewis 56 Chapter III.R.S.R. Lewis 179 L.R.

5 9 III-2. Steps 57 .

Minor Keys .III-3 Leaps Within the Tonic Triad 182 183 184 3 4 185 3 3 186 9 3 4 187 5 184 G. Wedge 185 Who Got Dirt on the Carpet Again? 58 Chapter III.A.

Wedge 189 G. Leaps Within the Tonic Triad 59 . Forget na’.A. Chorale. nun lass in Friede’ anonymous. Wedge 192 J. Wedge Every Hour in the Day (Georgia) 190 194 G.A. ‘Herr. Bach.A.188 2 4 189 2 4 190 2 4 191 192 7 193 2 4 194 3 4 188 G.S. dear Lassie (Scotland) 193 anonymous. III-3.

Chorale.S.6 11 195 famous tune (identified in the table of contents) 196 Round: 1 2 3 4 197 195 J. ‘Es steh’n vor Gottes Throne’ 197 anonymous. Minor Keys . Bach. Thou Poor Bird 60 Chapter III.

A.A. Wedge 203 G. Wedge 202 G.A.A.III-4 Leaps Within the Dominant 198 3 4 199 2 4 Andante famous tune (identified in the table of contents) 200 Vivace 201 3 9 8 5 202 3 4 203 198 3 4 G. Wedge 199 G. Wedge III-4. Leaps Within the Dominant 61 .

lullabye (Russia) anonymous.204 3 4 205 3 4 Largo 206 207 2 4 208 3 4 209 4 8 Draengend. Bach. Wedge 205 J.A. Wedge 209 Froebel.S. Minor Keys . Guten Abend 207 62 Chapter III.A. melody from the notebook for Anna Magdalena 206 anonymous. Las Tristes Horas 208 G. doch nicht schnell 210 9 3 8 204 G. The Wolf 210 anonymous.

Gavotte II from cello suite # 5 212 anonymous. Los Ojos Mexicanos (Mexico) 215 Maude Valerie White.211 12 8 212 3 6 213 3 4 3 214 3 3 2 4 Andantino 215 3 216 211 J. Bach. Mozart. menuet from string quartet # 15 214 anonymous. Bach.A. Lolotte (Louisiana) 213 W. Leaps Within the Dominant 63 .S. ‘Nun sich der Tag geendet hat’ III-4. Chorale. Ophelia’s Song 216 J.S.

‘O Traurigkeit. Minor Keys . Bach.217 3 2 4 Allegro marziale 218 6 11 219 8 3 3 2 4 3 3 220 221 217 anonymous. Gr´nadiers! (Louisiana) 219 anonymous. En Avant. o Herzeleid’ 64 Chapter III. Angel e de Mis Amores (Mexico) 220 Franz Schubert.S. Reir Es Necesario (Mexico) 218 anonymous. Am Feierabend 221 J. Chorale.

Langsam 222 223 3 4 224 6 11 225 7 226 4 8 222 Johannes Brahms.’ from St. Bach.A. Mi Sue˜o (Mexico) 224 J. Nachtwache 1 223 anonymous. Chorale. Leaps Within the Dominant 65 . ‘Von Gott will ich nicht lassen’ 226 G. Bach.S.S. ‘O Haupt voll Blut n und Wunden. Chorale. Matthew’s Passion 225 J. Wedge III-4.

Sacred Tide’ from Esther 66 Chapter III.A. Minor Keys . Wedge 228 G. aria ‘O Jordan.F. Handel.5 227 3 4 228 10 3 4 17 26 35 43 227 G.

Leaps Within the Dominant 67 .51 Lento famous tune (identified in the table of contents) 229 6 12 III-4.

Minor Keys .68 Chapter III.

Gi` il Sole dal Gange a 232 Franz Schubert. .Chapter IV Other Diatonic Materials IV-1 Leaps Between the Tonic and Dominant The following three songs contain the leap from ‘ti’ to ‘mi.’ 230 2 4 Allegro giusto 231 7 3 4 232 The next three use leaps of a diminished fourth. Ya Viene El Alba (California) Danksagung an den Bach 233 Grieg 231 Alessandro Scarlatti. an interval which sounds like a major third. 233 230 anonymous. and is typical of minor keys.

Other Diatonic Materials . zandunga folk song (Southern Mexico) 235 Giulio Carcini. Mia Bella 70 Chapter IV.234 9 3 4 Moderato affetuoso 235 234 anonymous. Amarilli.

the melody leaps into or out of ‘la’ without spelling out the subdominant chord explicitly. this is not usually true of the subdominant. Major Keys The first two tunes clearly imply the subdominant chord in the marked measures. Jehovah. Hallelujah (South Carolina) folk song 237 anonymous.’ This melody leaps from ‘do’ to ‘la:’ * * 238 2 4 This one jumps from ‘la’ to ‘fa:’ * 239 2 4 famous tune (identified in the table of contents) 240 236 239 3 3 3 anonymous. Leaps Within the Subdominant. because of its weaker character. Arlequin Marie Sa Fille (France) 238 folk song IV-2. Major Keys 71 . * * 236 8 3 4 * Allegro * 237 3 4 More commonly. Although dominant harmony can often be implied strongly with only one or two notes. Since thirds are the most common leaps.IV-2 Leaps Within the Subdominant. the most important new leaps to learn to sing are the ones between ‘do’ and ‘la’ and between ‘fa’ and ‘la.

Of the following two examples. Lang Johnny More (Scotland) 242 anonymous.’ ‘Fa’ is sometimes left out as well. 241 5 2 4 9 13 242 2 4 241 anonymous. scale. the first is pentatonic.5 3 3 3 A great deal of Scottish folk music uses a major scale that omits ‘ti. The first example has been notated with the style’s typical elaborate ornamentation. while the second uses the full major scale. The Bonniest Lass in a’ The Land (Scotland) 72 Chapter IV. which you may wish to ignore. Once one’s ear adjusts to the sound of the scale. or pentatonic. Other Diatonic Materials . the characteristic leap between ‘do’ and ‘la’ no longer sounds like a leap at all. forming a five-note.

Leaps Within the Subdominant. Fasolo.B. Cangia Tue Voglie 247 anonymous. I Want To Be Ready (United States) G. The Ash Grove (Wales) 248 W.C. Cangia.H. Major Keys 73 . West. Old Hundred 244 anonymous.243 Sanft bewegt 244 3 4 Andante 245 2 4 Moderato 246 2 4 247 3 4 248 2 4 Animato 249 9 6 8 243 246 anonymous. Da Unten Im Tale 245 anonymous. The Jenny Lind Mania (United States) 249 anonymous. Au Jardin de Mon P`re (France) e IV-2.

Handel. Other Diatonic Materials . aria ‘Hush ye pretty warbling quire’ from Acis and Galatea 252 J. I Ride an Old Paint (United States) G. Devotion 251 anonymous.G. Whittier. Song of the Free 74 Chapter IV.Moderato 250 251 8 3 4 Andante sostenuto 252 3 2 8 253 8 3 8 250 253 Richard Strauss.F.

Leaps Within the Subdominant. Major Keys 75 .254 7 255 7 6 8 14 256 9 3 4 17 254 Thomas Tallis. The Huntsman 256 Thomas Moore. If Ye Love Me 255 anonymous. Evening Bells IV-2.

Mozart. opening from clarinet quintet The Gold Band (Tennessee) 260 Giovanni Battista Pergolesi.A.257 5 10 258 259 5 3 4 260 8 257 anonymous. tune from Stabat Mater 259 anonymous. Other Diatonic Materials . 76 Chapter IV. Sinner Won’t Die No More (Tennessee) 258 W.

Beautiful Isle of Somewhere Leadeth Me 264 M.S. Major Keys 77 .B.15 261 7 6 8 Moderato 262 6 8 263 6 11 264 2 4 261 anonymous. Fearis. Sullivan. He IV-2.D. Leaps Within the Subdominant. The Blue Juniata 263 W. Bradbury. Bonnie Wee Window (Arkansas) 262 J.

London symphony 268 anonymous. Rosa Lee 269 anonymous.9 265 266 3 267 8 Allegretto 268 9 2 4 269 6 8 265 anonymous. I’m In Trouble (Florida) 267 Franz Joseph Haydn. Other Diatonic Materials . introduction. Red River Valley 266 anonymous. My Lodging Is On the Cold Ground 78 Chapter IV.

The IV-2. Cowboy’s Home Sweet Home (Arkansas) Braes O Yarrow (Scotland) 271 anonymous. Major Keys 79 . Calinda (Louisiana) 272 anonymous.5 9 13 270 4 12 8 271 6 8 272 10 3 4 270 anonymous. Leaps Within the Subdominant.

1st symphony 277 anonymous. introduction.A. andante from string quartet # 2 275 anonymous. The Wild Moor (Missouri) 276 Johannes Brahms. Mozart.Maestoso 273 7 3 4 274 3 4 275 7 3 4 3 3 3 3 3 3 3 276 3 277 3 3 3 5 3 273 anonymous. Other Diatonic Materials . Gaudeamus Igitur 274 W. Caroline (Louisiana) 80 Chapter IV.

menuet from string quartet # 10 (Missouri) 281 anonymous.A. folk song (Russia) 280 anonymous.278 5 6 8 279 7 3 4 3 3 3 280 8 3 4 3 3 3 Adagio 281 9 2 4 278 anonymous. Major Keys 81 . The Hallowed Spot IV-2. Mozart. Leaps Within the Subdominant. Avril (France) 279 W.

Other Diatonic Materials . Die Sonne Scheint Nicht Mehr 283 Pier Domenico Paradies.282 8 2 4 Allegretto mosso 283 6 2 4 12 17 22 Gehalten und empfindungsvoll 284 282 anonymous. M’ha Preso Alla Sua Ragna 284 82 Chapter IV. The Ship That Never Returned (Missouri) anonymous.

6 Lebhaft 3 4 10 Moderato 285 6 8 Vivace 7 13 285 anonymous. Ibi Patria IV-2. Ubi Bene. Major Keys 83 . Leaps Within the Subdominant.

Ellor. Other Diatonic Materials .IV-3 Wide Leaps Within the Subdominant 286 9 2 4 287 8 3 4 16 288 2 4 Moderato 289 7 286 289 W. Diadem 288 W. Mozart.A.A. rondo from string quartet # 6 84 Chapter IV. presto from string quartet # 4 anonymous. Mozart. Bonne Hˆtesse (France) o 287 J. Adieu.

Derri`re Chez Moi (France) e Mountains 291 Stephen Foster. The IV-3. The Song of All Songs 292 S.W.290 7 2 4 13 Moderato 291 292 5 9 13 290 anonymous. Gladden. Wide Leaps Within the Subdominant 85 .

A. Wedge 297 anonymous. Hanukah O Hanukah 86 Chapter IV.A. Other Diatonic Materials . Wedge 294 G.A.IV-4 Leaps Within the Subdominant. Minor Keys 293 2 4 294 3 4 295 2 4 Largo 296 5 Presto 297 9 4 8 18 293 G. Wedge 295 G.

Leaps Within the Subdominant. Mozart. Vivo Llorando la Suerte (Mexico) J. Minor Keys 87 . Osanna (bass solo.S. trio from Brandenburg concerto # 1 (Russia) 299 301 W. Bach. folk song IV-4.A. Que No Te Amo (Mexico) 302 anonymous.29 298 9 2 4 299 3 4 300 3 4 301 8 Allegretto 302 298 300 anonymous. allegro) from Sanctus. Requiem anonymous.

8 Allegretto 303 9 2 4 Lightly 304 9 3 4 17 303 anonymous. Entre Vous Tous Gens de la Ville (France) 88 Chapter IV. folk song (Russia) 304 anonymous. Other Diatonic Materials .

as with any very broad leap.IV-5 Leaps of a Seventh With leaps of a seventh. find the lowest key in which you can comfortably sing the lowest note of the melody. A factor in the sight-singer’s favor is that the most difficult leaps to sing are usually the ones that are ugly as well. Another technique for use when all else fails is to imagine the seventh as a downward step. that’s a fundamentally unnatural way to think about melody. Little Charley Went a Fishing 307 folk song IV-5. Hess. with the second note moved up an octave. and probably could not have performed such a trick themselves. Make sure to sing each example in an appropriate key. because the leap begins a repetition. keep in mind that most of the examples in this section are folk songs created by people who were illiterate. If the leap of a seventh is upward. but at a pitch one step higher. the most common problem is simply the inability to reach the note. Lively * 306 6 8 307 5 * 305 W. there is repetition. The first example is easy. Although it is possible to memorize the sounds of the minor and major seventh leaps and sing them on demand. Mozart. in real music. menuet from string quartet # 8 306 C.A. Leaps of a Seventh 89 . and therefore composers don’t write them. most leaps of a seventh occur in certain special contexts that make them both easier to sing and more acceptable to the ear. we’ll see that there are better solutions arising naturally from the logic of the melodic line. In all the following examples. however. * 3 4 305 The next two examples are not much harder.

Carmela (Mexico) (South Carolina) 309 W. like the preceding one. menuet from string quartet # 1 310 anonymous.A.’ and this ‘fa-mi’ relationship is one of the most prominent landmarks of the key. the leap upward from ‘ti’ to ‘la’ is heard as the inversion of the earlier step down from ‘ti’ to ‘la. The leap is also made easier because we’ve just sung ‘fa’ in the low register. Mozart.’ 310 6 2 4 * 308 anonymous. we anticipate the descending scale ‘fa-mi-re-do. Gwine Follow 90 Chapter IV. looking ahead. Other Diatonic Materials . so you may find that the easiest way to hit the ‘fa’ is simply by locating ‘fa-mi.’ * 3 4 309 This tune. and because.’ 3 3 3 308 8 4 8 * 15 The next example has a leap of a seventh as part of a dominant seventh chord.In the next tune. It resolves downward to ‘mi. uses the familiar ‘so-fa-mi’ pattern.

Cradle Song 312 T. Leaps of a Seventh 91 .11 Another ‘so-fa-mi’ example. aria ‘If with all your hearts ye truly seek me’ from Elijah anonymous. Long. The ‘fa’ is heard as part of a logical progression of prominent high points in the line.H. Long Ago 313 IV-5. Bayly. 311 7 3 4 * 312 6 * 11 313 7 311 Felix Mendelssohn.

folk song (Russia) 318 anonymous. Widdecombe Fair (England) 315 anonymous. A Quinze Ans (France) 92 Chapter IV. Walk. Reir Es Necesario (Mexico) 317 anonymous. Walk (Arkansas) 316 anonymous.314 8 3 4 * 15 315 3 3 3 3 3 3 316 3 3 2 4 Moderato 317 3 4 * 318 7 6 8 314 anonymous. Shepherdess. Other Diatonic Materials .

A. Mozart. menuet from string quartet # 8 Upidee 320 W. Leaps of a Seventh 93 . presto from string quartet # 7 321 anonymous.319 * 3 4 320 2 4 321 5 319 W.A. Mozart. IV-5.

For instance. * 322 In this example. the composer simply wants to repeat a molodic idea at a different pitch. * 3 4 324 8 322 W. La Rana (Mexico) 94 Chapter IV. Mozart. we really have the easy ‘so-mi’ leap.A. it’s difficult to hear the ‘so-re’ leap without perceiving a dominant chord. Other Diatonic Materials . in real music they are more commonly produced not by the harmony but by the logic of the melody itself. opening from string quartet # 4 323 folk song 324 anonymous. The ‘la’ is easily sung by thinking of it in relation to the ‘do’ it leads up to. Although other leaps of a fourth or a fifth may imply other triads. and those leaps strongly implied their chords. and subdominant chords. dominant. but with ‘la’ interposed. 323 9 2 4 * 18 Here. the leap from ‘la’ to ‘re’ is heard as an imitation of the preceding ‘so-do’ leap.IV-6 Other Perfect Fourths and Fifths We’ve already sung leaps of a fourth and a fifth within the tonic. In the first example.

M. After the Ball IV-6. Softly Now the Light of Day 327 Charles K. Other Perfect Fourths and Fifths 95 . Harris. von Weber.14 2 4 famous tune (identified in the table of contents) 325 6 12 326 9 2 4 Tempo di valse 327 11 3 4 326 C.

Other Diatonic Materials . Sullivan. Sullivan.C. Take a Pair of Sparkling Eyes 329 A. Good-Day to You! Foster. Slumber My Darling 331 S. Sing Hey to You. Foster.23 328 6 8 329 2 4 330 5 6 8 Andante 331 6 11 328 A.S.S. Gentle Annie 330 Stephen 96 Chapter IV.

A. Other Perfect Fourths and Fifths 97 . Kathleen Aroon IV-6. opening movement from string quartet # 1 335 W. trio from string quartet # 1 336 Franz Abt. Scheherezade (theme from third movement) Beethoven. Mozart. Were You Ever in Rio Grand 333 Nikolai Rimsky-Korsakov.332 8 6 8 333 4 6 8 334 3 4 335 3 4 336 9 3 4 332 334 anonymous.

. Love’s Young Dream 339 Attributed to Guiseppe Giordiano. 98 Chapter IV. Other Diatonic Materials . folk song (Germany) Caro Mio Ben 338 Thomas Moore.Moderato 337 5 10 14 Moderato con espressione 338 7 6 8 14 339 337 anonymous.

Thompson. Lilly Dale IV-6.S. Juanita 342 H. R´mon (Louisiana) e 341 anonymous. Other Perfect Fourths and Fifths 99 .5 3 3 340 8 2 4 3 3 3 3 3 3 Andante 341 3 4 7 13 3 19 3 Andante 342 340 anonymous.

Bach. 1st symphony 345 J. menuet II from cello suite # 2 346 Johannes 100 Chapter IV. Other Diatonic Materials . introduction.6 12 343 2 4 344 6 12 345 3 4 346 344 Giovanni Battista Pergolesi.S. aria from Stabat Mater Brahms.

Chant de Sion 349 anonymous.7 12 Alla marcia 347 6 11 Moderato 348 6 Zaertlich und lebhaft 349 6 8 347 anonymous. Other Perfect Fourths and Fifths 101 . processional march song (Germany) Sch¨nste Sch¨f ’rin Mein o a 348 Darius Milhaud. O IV-6. Sagt Mir.

Bach. Other Diatonic Materials .S.7 In ruhigem Zeitmass und teilnehmend erzaehlt 350 6 2 4 11 Mit guter Laune 351 8 3 4 352 6 350 anonymous. Gunhilde Diese Zeit’ 351 anonymous. Chorale. Englische Schaeferin 352 J. Ach. ‘W¨r’ Gott Nicht Mit Uns a 102 Chapter IV.

Larghetto 353 5 9 Allegro 354 3 4 353 G. Angels Ever Bright and Fair 354 Beethoven. Other Perfect Fourths and Fifths 103 . Handel.F. allegro from string quartet # 6 IV-6.

Invention 2 358 W. Other Diatonic Materials .S. Bach. O Daniel (Florida) quartet # 5 357 J. and the Harmonic Minor Scale 355 356 6 11 357 3 358 4 356 anonymous.IV-7 The Diminished Seventh Chord. andante un poco allegretto from string 104 Chapter IV.A. Mozart.

The Diminished Seventh Chord.359 8 Lullabye 3 4 16 359 Abraham Goldfaden. and the Harmonic Minor Scale 105 . Raisins with Almonds IV-7.

106 Chapter IV. Other Diatonic Materials .

Chapter V Nondiatonic Materials V-1 Secondary Dominants and Chromatic Passing Tones 360 6 12 361 3 4 362 3 3 3 3 7 360 Martin Luther. A Mighty Fortress Is Our God Carpet Again? 361 anonymous. Kevin Barry (Ireland) 362 Who Got Dirt on the .

God is Love. Ye Disconsolate 364 Shoals. Autrefois le Rat de Ville 108 Chapter V. His Mercy Brightens (France) 366 Samuel Webbe. Come.363 9 3 4 364 6 11 Allegro moderato 365 8 2 4 366 363 Ithamar Conkey. Valedictory 365 anonymous. Nondiatonic Materials .

A.9 Maestoso 367 7 13 19 26 368 5 367 M. When You and I Were Young V-1. Secondary Dominants and Chromatic Passing Tones 109 . Butterfield. Angel of Peace 368 J. Keller.

9

13

369
12

3 8

370
11

3 8

371
6

2 4

369

I.B. Woodbury, Speed Away! Speed Away! Saints Come In (Virginia)

370

W.A. Mozart, aria from the Magic Flute

371

anonymous, Let God’s

110

Chapter V. Nondiatonic Materials

372
9

2 4

373
6

3 4

Allegro

374

3 8

375
6

2 4

13

372

anonymous, Vivo Penando (California) 373 anonymous, Allan Maclean (Scotland) Sempre Addita 375 anonymous, Dans le Port, Il Est Arriv´ (France) e

374

Alessandro Stradella, Ragion

V-1. Secondary Dominants and Chromatic Passing Tones

111

376
5

3 4

377
8

3 4

16

24

378
4

376

George F. Root, Brother, Tell Me of the Battle Coat of Blue

377

George Cooper, Beautiful Bells

378

J.H. McNaughton, The Faded

112

Chapter V. Nondiatonic Materials

Op. menuet from string quartet # 1 380 Franz Joseph Haydn. #3 (‘Emperor’) 381 anonymous.379 10 3 4 19 380 6 11 16 Moderato 381 2 4 379 W. Secondary Dominants and Chromatic Passing Tones 113 . Crep´sculo (Mexico) u V-1.A. adagio poco cantabile from string quartet. 73. Mozart.

Media Noche (California) 383 Giovanni Battista Pergolesi. Nondiatonic Materials . tune from Stabat Mater 114 Chapter V.9 17 25 Slowly 382 2 4 8 383 6 10 382 anonymous.

Bach. Secondary Dominants and Chromatic Passing Tones 115 .384 9 385 6 3 4 Moderato 386 Not fast 387 7 2 4 384 J. Bourr´e II from orchestral suite #2 385 anonymous.S. The Cruel Mother (England) e Out of Work 387 Scott Joplin. The Easy Winners 386 Alice Hawthorne. V-1.

Nondiatonic Materials . Menuet I from 116 Chapter V. Erlaube Mir. In My Merry Oldsmobile orchestral suite #1 389 anonymous.S. Fein’s M¨dchen a 390 J. Bach.12 Tempo di valse 388 3 4 9 17 26 389 8 3 4 390 3 4 388 Gus Edwards.

chorus from ‘Judas Maccabaeus’ 392 Frances Shackleton.7 13 19 Maestoso 391 7 13 19 392 391 G. The Orange and the Black V-1.F. Secondary Dominants and Chromatic Passing Tones 117 . Handel.

Adelphi School Song 394 H. Allen.6 11 393 6 11 394 6 11 393 anonymous. Maid of Athens 118 Chapter V. Nondiatonic Materials .R.

K. the flattened third scale degree occurs in the vii o 7 of V chord. Secondary Dominants and Chromatic Passing Tones 119 .V. Alice. Where Art Thou? Schubert.A. 487 397 Franz V-1. 396 8 3 4 16 23 Fine 32 Da capo 397 395 Joseph Ascher. Mozart. 2. Duet No. Above the Mountains 396 W.Moderato 395 8 3 4 In the following two melodies. Menuet. from 12 Duets.

A. Nondiatonic Materials .5 8 Andantino 6 8 398 6 8 6 11 398 W. Duet from The Magic Flute 120 Chapter V. Mozart.

Roll (United States) Cyclone at Ryecove (Missouri) 402 James Reese Europe. not too fast 402 7 399 anonymous. Blue Notes 121 .V-2 Blue Notes 399 6 2 4 400 2 4 3 3 401 8 3 4 3 3 3 Moderately. Roll. The Graveyard (South Carolina) 400 anonymous. V-2. Goodnight Angeline 401 anonymous. Jordan.

14 20 25 30 Moderato 403 7 12 18 403 anonymous. ’Tis Me. Nondiatonic Materials . O Lord (Unites States) 122 Chapter V.

Relative Minor and Major 123 . Vater.V-3 Relative Minor and Major Nicht zu langsam und mit inniger Teilnahme 404 7 3 4 In ruhiger Bewegung 405 6 8 Lullabye. andante con espressione 406 10 2 4 407 6 408 404 anonymous. Bach. ‘Befiehl du deine Wege’ 408 J. Bach. V-3.S. Es Ritt ein Ritter 406 anonymous. Cradle Song (Sweden) Chorale. Chorale. Schwesterlein 405 anonymous. ‘Das Walt’ Mein Gott. Sohn’ 407 J.S.

Kathleen Mavourneen 410 J. Chorale. Bach. Du Sollst Crouch.6 Heimlich und zierlich bewegt 409 9 2 4 410 7 Andante e penseroso 411 8 3 4 16 409 anonymous. ‘Gib Dich Zufrieden und Sei Stille’ 411 F.S. Feinsliebchen. Nondiatonic Materials . Nicholls 124 Chapter V.

Relative Minor and Major 125 .25 33 V-3.

Nondiatonic Materials .126 Chapter V.

Chapter VI

The C Clef
This chapter recapitulates some melodies from earlier chapters, using the C clef. The clef indicates middle C. In modern music, the C clef is used almost exclusively for the viola, but it will also be encountered in older scores, both vocal and instrumental, as an equally important companion to the treble and bass clefs. The C clef is a movable clef, but the examples in this chapter are all given with C placed at the middle line. Sight-singing from the C clef is not difficult, because one merely follows the usual procedure of determining which line or space on the staff represents ‘do,’ and reading all other notes relative to it. A trick for instrumentalists is to imagine that the middle line is really the ledger line for middle C on the grand staff, while the top two lines belong to the treble clef, and the bottom two to the bass clef. (The same trick can be handy for vocalists when using the key signature to find the tonic on the staff.)

412

413

3 4

414

3 4

415

3 4

416
414

6 8

anonymous, The Ash Grove (Wales)

415

Franz Joseph Haydn, menuet Oxford symphony

416

folk song

7

Mit kraeftiger Leidenschaft

417
7

6 8

418
5

6 8

9

419
8

3 4

417

anonymous, Wach’ Auf, Mein Hort from The Planets

418

anonymous, La Paloma Blanca (Arizona)

419

Gustav Holst, Venus theme

128

Chapter VI. The C Clef

420
8

6 8

421

422

2 4

423
The following three examples are in the minor mode.

424

2 4

Largo

425

420

folk song 421 Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater 422 W.A. Mozart, aria (Papageno) from ‘The Magic Flute’ 423 Franz Joseph Haydn, finale, London symphony 424 anonymous, Every Hour in the Day (Georgia) 425 anonymous, lullabye (Russia)

129

Heimlich und zierlich bewegt 426 9 2 4 Andante e penseroso 427 3 4 8 15 23 31 426 anonymous. Nicholls Crouch. Du Sollst 427 F. Feinsliebchen. The C Clef . Kathleen Mavourneen 130 Chapter VI.

64 ddmmmdts — p. no. 28. 55. no. 191 ddsdrmfs — p. 88. no. 73. p. 107. no. 55. no. 40. 237 dddsltdt — p. 40. 29. no. 41. no. 380 127. 25. no. p. no. 117 ddddslsd — p. no. 59. no. no. 125 ddmssfmr — p. no. 36 drdrdrmr — p. 352 ddtltlls — p. 334 drdtlsls — p. 106 ddmsslls — p. 165 ddrmmrdf — p. no. no. no. 91. 93. 175 drmrmfmf — p. 29. 19. 32 drmdddrm — p. 102. no.Thematic Index ddddrdtd — p. 256 ddtdrdrm — p. no. no. no. 33. 120. 187 drmrdtdr — p. 254 ddrmmmfs — p. 31. 71. 19. no. no. no. 86 ddrrmmrd — p. 97. 193. 37. 19. no. 33. no. no. p. 51. 23. 100. 26. 63. no. 245 dddsmmrd — p. 304 ddssddll — p. 150 drmdrmrm — p. 360 ddrdmfss — p. 344 ddrmrmfm — p. 55 ddtlsdrm — p. 243 127. 79 ddrmrdrr — p. no. 170 drdrmfss — p. 412 131 . no. no. no. 119. drmrmfsf — p. dddmmssm — p. 121 ddrmfssl — p. 52 drddtdrm — p. 49 ddtltdrm — p. 57 ddrmmfsl — p. 249 ddmrdrrm — p. 45. 397 ddddmdss — p. 413 p. 39. no. 139 dddrrmmf — p. 25. 312 ddrmfsss — p. ddtltddt — p. 424 73. 59. no. no. 58. 71 ddrmrrmr — p. no. no. no. 268 ddmsltdt — p. no. no. no. 90. 31 drmrfmrt — p. 78. 30. 320 ddddmsff — p. 27. 73. 129. dddmdsmm — p. 88 drdtdsdr — p. no. no. no. no. no. 75. 20. 213 dddsllls — p. 113. 29. no. no. no. 75. 47. 78 dddrrrmd — p. 310 dddmssll — p. 74 ddmmrmdd — p. no. 19. no.

no. 223 dmrdssms — p. 59 dmdslfmf — p. 21. 58. 129 drmfsssf — p. 340 dmsmslsf — p. no. 95 dmrsdmrs — p. 49. 35. 76 drmmmsrr — p. no. 206. 92 dmsdlsdd — p. 48. 218 dmsmfrfr — p. 22. 72. 188 dmdmsffm — p. 362 dmssdtrr — p. 94. 162 drmfsfmr — p. 50. 160 dmsdmssm — p. 62. no. 179 drmfsltd — p. 45 drmmfsds — p. 60 dmdsdmsd — p. no. 28. 61. no. no. 242 dmssdtls — p. no.drmrsdrs — p. no. 56. 359 132 Chapter VI. no. 46 drmfmfsl — p. 195 dmrdmfst — p. 19. no. no. no. 50. 63. 104. 84. no. 197 drmmflss — p. 322 drmmmmsm — p. no. no. 32. no. 171 drmfslss — p. no. 60. 286 dmmmrfff — p. 104. 82 dmssssfm — p. no. 60. p. no. 21. no. 59. no. no. 116. no. no. no. 180 drmfsfsl — p. 62. no. no. no. no. 99. 28. 27 drssmddf — p. no. 215 drmfmrmf — p. no. 107. 55. The C Clef . 82. 30. no. no. 56. 70 dmdmssmm — p. 41. 230 dmmflssm — p. 65. no. 198 dmsrdrmm — p. 177. no. 47 drmfslsf — p. no. 282 dmddmssl — p. p. 161 dmsmrflf — p. 425 dmrtdmrt — p. no. 44 drmfsmfs — p. 20. 33 drmfssls — p. no. 62. 129. 22. no. 27. 241 dmsdtdrm — p. no. 69. 209 drmfslsl — p. no. 152 drmmfmfs — p. 358 dmsmmddt — p. no. no. 20. 79. 390 dmdtdrmm — p. 355 drmfssfm — p. 27. 185 dmsfslsf — p. no. no. 68 dmsssmfs — p. 72. 34. 105. 37 drmfmmrr — p. 64. no. no. 244 drmfrmdm — p. no. no. 205 drmmmrfm — p. 73. 56. 270 dmfssrss — p.

58. 123. 102 dsdtdsmr — p. 62. 345 mdmrdtrs — p. 42. 85. 71. 45. 246 dtlslsfm — p. 34. 222 133 . no. 65. 339 rddrmrdr — p. no. 108. 337 dmslsddr — p. 173 dtdrmsfm — p. 38. 27. no. 40. no. 39. no. 299 dtlsfmrd — p. no. 59. no. 90 dmsslfsd — p. no. 93. 86. 278 dsssslls — p. 384 dtdrmslt — p. no. 190 dsmrdrmf — p. 62 dssdddfl — p. 183 dsmdslst — p. 81. p. no. 51. 32. 253. 65. no. 50. 91 dtfmdsls — p. no. 239 dmssltds — p. 61. 34. no. 74. 141 dtdrmrdt — p. 203 dsfmsmrd — p. 294 dsmrmfmr — p. 55. 58. 114 dsdrmfsf — p. no. 153 rsdsdddd — p. no. 204 dsmdrmrt — p. no. 189 dsdsdsdm — p. no. 34. p. 199 dsslsfmd — p. 48. no. no. no. 115. no. 73. no. no. 86. 291 dsltdrms — p. 37. 50 dtdrrdrm — p. no. 98. no. no. 87. 101 dtddddrm — p. no. 319 dssfsfmr — p. no. 262 mdrmfsfm — p. 176 dtlsfmms — p. 406 dssdlllt — p. 23. no. no. p. no. 80 dssfrdtl — p. 273 dssmdsms — p. 121. 109 dmslsmss — p. no. 77. no. 104 dssltddm — p. 172 rmfsdmrd — p. no. no. no.dmssslss — p. 295 dsmrdrmd — p. 402 dsmdslsm — p. 164 mdrmfsss — p. 421 dsmrdlsf — p. 61. 59. 129. 89. p. no. 305. no. 374 dsltdmfs — p. no. no. no. 365 dsmsmdrm — p. no. 56. no. 134 dsfmddsf — p. 37. 36. no. 28. 20. 104. no. 168 dsslsmrd — p. 111. 182 dtdrdtdt — p. 100. 55. no. 122 dslsfmrd — p. 51 dtdrmfsl — p. 357 dtdtdrmr — p. no. no. no. 24. 98. no. 80. no. no.

no. no. 377 mrfmlsmr — p. 408 mmmrdddd — p. 71. 422 mrddmmsr — p. no. 123 mmrmstls — p. no. no. no. 144 mmrddrrm — p. 32. 174 mfsmdttd — p. no. no. no. no. 342 mfsmfsmr — p. 29. 56 mfssfsls — p. 115. 41. no. 332 mmmfmmrr — p. 94 mrmfmrds — p. 81 mrdslsfm — p. no. no. 39. 373 mfsssssm — p. 61. 128. 54 mfmmrdtd — p. 158. 208 mrmfmrsf — p. 97. 232 mfsmrtds — p. 415 mfsmmrdl — p. no. no. 200 mdmfmrdl — p. 140 mmfssfmr — p. no. 129. 83 mmrdtdrd — p. 418 mrdtdrmr — p. 82. 113. 69. 112. 40. no. 114. p. 111. 326 mmdrsmdm — p. 41. 25. 387 mfrdrmfs — p. p. 126 mfsssssl — p. 28. 240 mrdmssms — p. no. 86. 267 mfrmdlsf — p. 336 mrdslstr — p. 32. 411. 62. no. no. no. 123. p. no. 51. 127. 95. 63. no. 259 mfssfmrr — p. no. no. no. 361 mfsssfsl — p. 269 mrdrmrdm — p. no. 128. 41. no. 403 mmmrdrmr — p. no. 331 mrddrdtd — p. 45. no. no. no. 293 mrdddttl — p. no. no. no. no. no. 97. 127 mrdmrddl — p. 382 134 Chapter VI. no. 25. The C Clef . 19. 46. 212 mrdrddms — p.mdmrsmrd — p. no. 146 mrmfssmr — p. 96. 284 mrdsfmdt — p. no. 66 mrmsdrrl — p. 21. p. no. 124. 35. no. 107. 427 mrdsfmfm — p. 99. 122. 49. 99 mrdsdrmm — p. 300 mfmrdmfs — p. no. 91. 72 mrddrdrm — p. no. 76. 43 mrrdsmmr — p. no. no. no. 130. 313 mrmdmfss — p. 45. no. 55. no. 34. 59. 78. 96. 166 mfssltdt — p. no. 330 mrdrsmdr — p. 78. 87. 194 mrdslslf — p. no. no. 30 mmslslsl — p.

349 sdmdtlsd — p. 28. 367 sdrsdrmr — p. no. 101. no. 121. 33. no. no. 234 ffdddtdr — p. no. 121. 302 sddddtss — p. no. 102. 101. 351 sddrtddm — p. 90. no. 323 sddmdtls — p. no. 101. 61 sdmrfmrd — p. no. no. 51. 39. no. 216 sdrmfrdt — p. no. 287 sdrmsssl — p. no. 399 msmffflf — p. 103. no. 95. no. no. 116. 71. 92. no. 400 sddddtdr — p. no. 154 sddddmrd — p. 94. 233 sdmdmdmr — p. 363 sdmrdrms — p. 46. 84. 70. 44. 84 sdddslss — p. 163. 109. 348 sdmmmmrm — p. no. 275 msrsmdtd — p. 61. 420 sddtlslr — p. no. no. 314 sddmrdls — p. 80. 115 sdrmdsrd — p. 347 sddmmssm — p. 75 msmrdsfm — p. 389 135 . 26. 67 sdrmmfmd — p. 48. no. no. no. 265 sdmmfmrr — p. 124 mtrddrmr — p.mfslsmrd — p. no. 405 fslsfmfs — p. no. 327 msfmslsm — p. no. 79. 201 sdrmdmmr — p. no. 288 msmdrmsm — p. 69. 50. 123. 27. p. no. no. 353 sddtlslf — p. 136 sdddlssd — p. no. no. no. no. 105 sdmrmrdm — p. 252 msssffmm — p. no. 74. 129. no. 167 sdrmfsdr — p. 58 sddrmfsl — p. 236 msmlmsml — p. no. 37. 238 sdrmrdrm — p. 92. 296 sdrdsdrm — p. no. no. 74. no. 271 msmsslfl — p. p. no. 315 msmfmrdm — p. 416 sddddrrr — p. 65. 40. 281 sdddddrr — p. 69. 71. no. p. 28. no. 145. no. no. no. no. 84. 225 sdrmfmfs — p. 87. 356 sdddmddm — p. no. 86. 97. 104. 81. no. 308 sdrmmffs — p. 108. 78. 63. 127. no. 333 mfslsffs — p. 251 sdddtdrs — p. 30. no.

73. 366 smrdrmfr — p. p. no. 124. 21. 91. 186 smfslsfm — p. 247. 84. 46. 103 smfsddtt — p. no. 39 sfmmrdrd — p. 417 sdsdrmrr — p. no. 29. 410 smsmrdmr — p. p. 235 smdrssdd — p. 127. 47. no. 49. no. no. no. 67. no. 47. 364 smmddtrm — p. no. no. 35. no. 77. 229 smmrsdtd — p. no. 96. p. p. no. 227 smslssmd — p. 338 sfmrrdtl — p. no. 129. 151. 346 sdtlsfsr — p. 123. 231 sdtdrlrd — p. 36. no. p. 321 smrdttdl — p. 137 sdtlslsf — p. no. no. 257 sfmmsdsm — p. 350 smmrrmmd — p. 98. no. no. 99. no. no. 95. 335 sdmsfmdd — p. p. no. no. no. 76. 63 smmmmrrr — p. 44. 103. 329 srmtdrrs — p. 133 smdlssfs — p. 65. no. no. no. no. no. 114. 76. 66. 148.sdmsdmsd — p. 404 sdmsrmld — p. 112. 248 smmrrddt — p. no. 423 sfmdrldl — p. 96. 391 smfslsmd — p. no. no. 311 smrrdmrs — p. 93. 97 smsfmrsf — p. 407 sdtlssls — p. 131. 45. 325 sdtdlsdr — p. no. no. 73 smfsdrmf — p. no. no. 289 smrmrtdd — p. 38. no. 77. 70. no. 157 136 Chapter VI. no. 123. 108. 102. 89. 93. 98. 100. 118. no. 224. 73. no. 27. 128. no. 258 smrdsmrd — p. 42. p. no. p. no. 42. no. no. 147 sfrfmdss — p. 143 sdtdrmfs — p. 276. 264 smdsslsd — p. 58. 64. p. 111 smfrrrmf — p. no. 35. 393 smmmrddd — p. 108. 100 smrdslff — p. no. 341 sfmmmmfm — p. 383 sdtltdtl — p. no. 307 smmmmfmr — p. 34. 37. 414 sdmssdms — p. no. 378 smmfrrdr — p. 117. 221 smrmfmrl — p. 80. 419 smrmdsss — p. 69. 35. no. no. no. no. no. 354 sfmmrrmf — p. The C Clef . 263 smrdtlds — p. no. 97. no. 128.

p. 85. no. 409. no. no. 49. no. 317 ssdtfmsm — p. p. 255 137 . 111. 75. 376 ssdddtdr — p. 62. no. 142 sssmfsls — p. 149 ssddmrtd — p. p. no. no. 159 ssmdddrm — p. 49. p. 274 sfmsmrrd — p. 207 sssmrmdr — p. no. no. 108 ssdsmmsm — p. 25. 118. 138 ssmmmddt — p. 81. 292 ssdmmfsm — p. no. 39.sfmfmmfs — p. 130. no. no. 38. no. 381 ssdmrdrm — p. 21. 119. no. 92. 309. 81. no. 39. 250 ssddssmm — p. 118. 89. no. 370. 87. 392 sfmsmsmf — p. 124. no. no. no. 113. 116. 285 ssdmsfmf — p. p. 62. 277 sssffmmm — p. 202 ssmrddtd — p. 297 ssssssms — p. no. 74. 272 ssddrmrd — p. 34. no. 112 ssdssmmr — p. 260 sssddmms — p. 398 ssmmssdd — p. 85. no. no. no. 110. 64. no. no. no. no. 40. 42. 86. no. 90. no. 306 ssmrdrdd — p. no. no. no. 120. 80. 33. no. 92. 318 sssdmsss — p. no. 77. no. 61. 113. no. 211 sflsrmrm — p. no. 132. 261 ssmrdtdr — p. no. no. no. 79. no. 379 sfslsfss — p. 112. no. 210. no. no. 64. 116 ssssdsss — p. 280 ssddtddr — p. 426 ssdrdtdr — p. 41 sfmfsdrd — p. 38. 83. 395 ssdrmmmm — p. no. 135 ssfmmrdr — p. 394 sflsftrd — p. 386 ssdtrddt — p. p. p. 45. 279 sfmfsltd — p. no. 89 ssmmssrr — p. 47. 220 ssmmmddd — p. 44. 368 ssmrdssf — p. 76. 130 ssmdsfrm — p. 109. 117. 375 ssddsldr — p. 119 ssdrdtlt — p. no. 219 ssmddtll — p. no. 53 sfmfsldt — p. no. 85. no. 80. 388 sfmsfmrd — p. 41. 44. no. no. 115. 63. 290 ssdddttd — p. no. 301 ssdmrdtl — p. no. 156 ssdtdrdt — p.

21. 181 sltdmmrd — p. 58. no. no. 184 sslsfmrl — p. no. 40 sltdrmfs — p. 38 ssltdtdr — p. no. 30. no. 87 ssltdtdt — p. 64. 20. 316 sltdrmrm — p. no. no. 369 sssslsmm — p. 100. no. no. 155 slsmdsls — p. 63. 78. 343 sslsfmmf — p. 385 lmsltddt — p. no. 298 slsffmmr — p. 178 sslddsfm — p. 48 strsfmfs — p. no. 20. 266 sslsmsss — p. 110 slsmrddt — p. 59. no. 96. 372 sltdtddd — p. 92. no. 371 sslsfmrd — p. 303 stlsmfsd — p. 115. 228 slslsssd — p. no. 56. no. 169 138 Chapter VI. 88. 401 sssslssd — p.ssssssss — p. 196 tdmddrfr — p. 65. no. p. no. 217 ssltddtl — p. 110. 111. 56. no. no. 48. no. 214 ssslsssf — p. 107 slslsdtd — p. no. 21. no. no. 33. no. no. 110. no. 60. 226 sslsffmm — p. no. 121. 192 sstrddrd — p. 66. 38. no. no. 52. 23. 37. 328 lsslssls — p. 35 ssltdttt — p. no. no. 87. The C Clef . 42 slssddrm — p. 77.

Index ’Tis Me. 29 Chorale. 44 andante un poco allegretto from string quartet # 5. 95 Ah Mon Beau Chˆteau. 127 Au Jardin de Mon P`re. G. ‘Nun ruhen alle Walder’. ‘O Traurigkeit. 37 Above the Mountains. Charles K. 45 As-Tu Vu la Casquette?. ‘Es steh’n vor Gottes Throne’. ‘Seelenbr¨utigam. 45 Avril. ‘Von Gott will ich nicht lassen’. 35 Abt. O Lord. J. ‘Nun sich der Tag geendet hat’. 40 u Gavotte II from cello suite # 5. wir sind hier’. Where Art Thou?.S. Font. 122 ¨ Annchen von Tharau. Englische Schaeferin. 118 Alouette (rhythm only). 45 trio from Brandenburg concerto # 1. 123 Chorale. Op. Matthew’s Passion. 41 Chorale. ‘Liebster Jesu. Franz Joseph Haydn. 59 Chorale. wie du willst. 64 Amarilli. 47 . Mozart. 20. Harris. 123 Chorale. 100 minuet. 64 Chorale. . Font. H. 73. 65 Chorale. 115 e Chorale. 60 Chorale. 102 adagio poco cantabile from string quartet. Vater. ‘O Haupt voll Blut und Wunden. Handel. 119 Absent Davie. Where Art Thou?. 70 America the Beautiful. 38 Alice. 81 Away in a Manger (rhythm only). Maid of Athens. 87 Ballade de Roland. 40 Chorale.’ from St. ‘Wie bist du Seele in mir so gar betr¨bt’. 84 o After the Ball. 108 Aux Marches du Palais. Mozart. Gott. Gottes Lamm’. ‘Mach’s mit mir. ‘Es spricht der Unweisen Mund wohl’. 62 Menuet I from orchestral suite #1. so schick’s mit mir’. 37 Allen. Bourr´e II from orchestral suite #2. 49 e Ainsi Font. 63 Chorale. 56 Invention 2. o Herzeleid’.A. 73. Franz Kathleen Aroon. Joseph Ascher. meiner Seelen Wonne’. 103 Annie Laurie. 50 Chorale. 113 Adelphi School Song. Franz Schubert. 109 Angels Ever Bright and Fair. Giulio Carcini. 63 gavotte in G minor. ‘Gib Dich Zufrieden und Sei Stille’. 45 Barbara Allan. 111 allegro from Eine kleine Nachtmusik. ‘Es ist gewisslich an der Zeit’. Bonne Hˆtesse. 116 menuet II from cello suite # 2. Jesu. #3. 97 Ach. a 25 Chorale. 38 a Ah. ‘Das Walt’ Mein Gott. 41 Chorale. 65 Chorale. ‘Wenn wir in h¨chsten N¨ten sein’. 119 Ash Grove. 104 melody from the notebook for Anna Magdalena. 119 Allan Maclean. ‘Jesu. o o 51 Chorale. Mia Bella. ‘Valet will ich dir geben’. 118 Adieu. 124 Chorale. The. 73 e Aura Lee. Suzette. 40 Chorale. 15 Bach. 95 Autrefois le Rat de Ville. ‘Befiehl du deine Wege’. ‘Herr. 45 Chorale. 25 Chorale. Katharine Lee Bates. W. 71 Arlequin Tient Sa Boutique. 104 Angel de Mis Amores. Franz Schubert. Keller. ‘W¨r’ Gott Nicht Mit Uns Diese a Zeit’. 34 Ascher. ‘Herr.A. nach deiner Gut’. M. 29 Arlequin Marie Sa Fille.F. Sohn’. Ch`re. 64 Angel of Peace. George Poulton. 15 Am Feierabend. . 102 Chorale.R. W. nun lass in Friede’. Joseph Alice.

Pierre Latour.B. 4/4. 112 Cowboy’s Home Sweet Home. The. 21 B . 3/4. 127 c. Franz Schubert. 29 Cyclone at Ryecove. 19 opening movement from string quartet # 1. 21 E . 77 Beckoning the Chickens. 4/4. His Mercy Brightens. 108 Cooper. 6/8. 55. e 115 Bradbury. The. 33 Beuttner. Bach. 55 A . Johannes introduction. 123 Crep´sculo. 25 f. Ithamar God is Love. 3/4. 65 Broadway Sights. 58 C. 104 a. Froebel. 1.F. 28. 73 Carcini. . 20 B . Sullivan. B. 70 Carmela. 27. 32. 112 Beautiful Isle of Somewhere. Fearis. J. 91. 42 G. 77 Bonnie Wee Window. 49. Nikolaus Es kam ein treuer Bote.H. 107 Cruel Mother. 25.S. 36 B . F. 19. 1. 33 F. 4/4. 22. G.A. 1st symphony. 59 G. 58 C. The. 21 F. 112 Butterfield. When You and I Were Young.D. 21 D . Giulio Amarilli. 27 G. Long Ago. 9/8. 4/4. 4/4. 34 g. 21. Cangia Tue Voglie. The. 77 Braes O Yarrow. M. H. 80. 79 Cangia. George F. Samuel Webbe. 4/4. 127 c. 6/8. 4/4. The. 90 Caro Mio Ben.S. Katharine Lee America the Beautiful. Ye Disconsolate. 21 Who Got Dirt on the Carpet Again?. 26. 124. W. 34 Beckoning the Pigeons. 79 Brahms. 3/4. a. 115 Cutler. 22. 9/8.Bates. 72 Bourr´e II from orchestral suite #2. 3/4. W. J. 2/4. 20 Caroline. 100 Nachtwache 1. Darius Milhaud. 33 e 140 Index . 109 Calinda.B. 4/4. 91 Beautiful Angel. 44 Bayly. 77 Bonniest Lass in a’ The Land. 27 string quartet # 6. 3/4. allegro. Attributed to Guiseppe Giordiano.H. The. Fasolo. Handel. 55 A. 40 Bingo (rhythm only). 101 Chill Ether. 3/4. He Leadeth Me. 79 Cradle Song. Froebel. 121 Da Unten Im Tale. 27 Brother. 73 Danksagung an den Bach. 80 Chant de Sion. 13 Blue Juniata. 86 G. 39 Brother. 4/4. George Beautiful Bells. G. 3/4. 117 Come. 103 Beggar Girl. Nicholls Kathleen Mavourneen. 4/4. The. 34. J. 19. 32. Mia Bella. 4/4. T. Son of God Goes Forth to War. 50 chorus from Judas Maccabaeus. 25. 4/4. 48 g. 52 C. 33 Beethoven Ode to Joy. Tell Me of the Battle. 108 Conkey. 36 a. 19. 4/4.. Root. George Cooper. 98 carol. Latham. 97 opening theme of Symphony #3. 61 G . Long. 130 Crowell.S. 113 u Crouch. Guide Me Home. 20 Beautiful Bells. 69 Dans la Forˆt Lointaine. 1. 58.

30 Entendez-Vous Sur l’Ormeau. The. The. 84 Emerson. The. 41 Handel. J. 121 Graveyard. 81 Halt. J.W. K. Moses. Thomas Moore. 73 Fearis. Foster. 51 Fasolo. Sacred Tide from Esther. Cangia Tue Voglie. 40 a Gaudeamus Igitur. J. 75 Every Hour in the Day. The. 85 Go ’Way. 38 Gold Band. Nikolaus Beuttner. Bach. 96 Gi` il Sole dal Gange. S. 123 Etude. 108 God Speed the Right. 82 Down in the Valley. 121 Grieg e. J.V.H. W. 105 Goodnight Angeline. 103 chorus from Judas Maccabaeus. dear Lassie. His Mercy Brightens. James Reese Europe. 33 Pat-a-Cake. 124. Whither Through the Meadow?. 74 Diadem.O. 67 God is Love. 129 Faded Coat of Blue. 90 Gypsy Warning. The.T. 31 Entre Vous Tous Gens de la Ville. Wrighton. 102 Guten Abend. 71 Slumber My Darling. 96 Foster. 80 Gavotte II from cello suite # 5. Alessandro Scarlatti.S. from 12 Duets.A. Old Man. 85 e Devotion. 98 Gladden. Mozart. 63 gavotte in G minor. 66 Hanukah O Hanukah. 77 Feinsliebchen. Angels Ever Bright and Fair.C. Attributed to Guiseppe Caro Mio Ben. 116 Eli Yale. Gr´nadiers.B. 130 finale. S. Franz Joseph Haydn. 115 Edwards. 35 Derri`re Chez Moi. The. 49 Dearest Spot on Earth. 112 Fairy Boat. 69 a Giordiano. McNaughton. L. 85 Froebel Beckoning the Chickens. 51 Gardez Piti Milatte-l`. Fein’s M¨dchen. 76 Goldfaden. The. The. 84 Die Sonne Scheint Nicht Mehr. Ithamar Conkey. #1. 44 Ellor. 34 Beckoning the Pigeons. The. 34 Europe. 120 Duet No. Beautiful Isle of Somewhere. Franz Schubert. Gus In My Merry Oldsmobile. 59 Foster. 74 O Jordan. Ellor.C. 48 Das Wandern. W. 129 Forget na’.. 111 e Dans Notre Jardin. Op. 4/4. Franz Wohlfahrt. Gentle Annie. Richard Strauss. 56 Gentle Annie. 117 Hush ye pretty warbling quire from Acis and Galatea. The. Mozart.Dans le Port.S. G. 69 Gunhilde. 45. 51 Easy Winners. Stephen Hard Times Come Again No More. 62 Gar Lieblich Hat Sich Gesellet.F. 62 Gwine Follow.A. 40 Es Ritt ein Ritter. 121 Evening Bells. W. Harold Samuel. 86 Index 141 . Franz Schubert. Mountains. 2. Diadem. 44 Go Down. 487. 96 Song of All Songs. Menuet. Du Sollst. Bach. The. Abraham Raisins with Almonds. 64 e En Revenant d’Auvergne. J. 39 Duet from The Magic Flute. 119 Duke of Argyle’s Courtship. G. The. S. London symphony. 116 a Es kam ein treuer Bote. 88 Erlaube Mir. 21 En Avant. 37. 47. 30 Old Folks at Home. 59. Cangia. Il Est Arriv´. James Reese Goodnight Angeline. 28 Wolf. Scott Joplin.S. J. 48 Hallowed Spot.

115 Haydn. 4/4. 91 Love’s Young Dream. a. 14 Joplin. John Revive Us Again. 13 Little Charley Went a Fishing. 80. Bach. Thomas Moore. A.H. Gustav Venus theme from The Planets. Pierre Beautiful Angel. 42. G.H.S. Op. Bayly. Bradbury. 32 I Ride an Old Paint.H. . 47 I’m In Trouble. F. 115 The Entertainer (rhythm only). The. M. T. The. 116 introduction. 89 Lolotte. The. 27 Latour. 56 d. Rousseau. 38 Lilly Dale. The. Thompson. 124. C. Franz Joseph Haydn. 99 Little Brown Jug (rhythm only). Johannes Brahms. . 3/4. Show It. 14 Jingle Bells (rhythm only). 118 142 Index . 100 introduction. Franz Abt. 62. 78 menuet Oxford symphony. 30 Let God’s Saints Come In. Angel of Peace. 110 Lewis. Alice Home.Hard Times Come Again No More. 4/4. 4/4.C. . 20 Lawlan’ Jenny. London symphony. 129 introduction. 95 Hawthorne. 56 d. Pier Domenico Paradies. 75 Husband.F. After the Ball. L. 128 Home On the Range (rhythm only). 41. 75 If Your Foot Is Pretty. 129 Luther. . 63 Long. My Babe. Little Charley Went a Fishing. Franz Joseph adagio poco cantabile from string quartet. Broadway Sights. 30 Harris.S. . 56 Lightly Row. 15 Home. 107 We Come Unto Our Father’s God. 109 Kevin Barry. Thomas Tallis. 99 Jungfr¨ulein. 113 finale. 14 Hush ye pretty warbling quire from Acis and Galatea. 3/4. 104 Jehovah. 91 If Ye Love Me. 23 d. 23 C. 89 Holst. Alice Hawthorne. London symphony. H. 15 Hess. W. 29 M’ha Preso Alla Sua Ragna. By and By. 3/2. 4/4. Scott Easy Winners. By and By. J. A. H. Soll Ich Mit Euch Gehn. 97 Kathleen Mavourneen. 73. 16 Juanita.R. Gus Edwards. 74 Hush. C.B. 20. 44 la Claire Fontaine. 42 In My Merry Oldsmobile. . 20 B . 130 Keller. 27 Lang Johnny More. 6/8. 56 B. 107 Krambambuli. 55 a. Hallelujah. 78 Invention 2. 78 I’ve Been Working on the Railroad (rhythm only). #3. 82 Maid of Athens. J. 48 a Kathleen Aroon. Nicholls Crouch. Martin Mighty Fortress Is Our God. W. Hess. Stephen Foster. 47.J. 74 I Want To Be Ready. 127 He Leadeth Me. 33 Huntsman. 38 Hush Little Baby (rhythm only). 3/4. 72 Latham. Allen. 77 Here We Go Round the Mulberry Bush (rhythm only). 1st symphony. 15 If with all your hearts ye truly seek me from Elijah. Long Ago. 73 Jimmy Crack Corn (rhythm only). London symphony. 73 I’m a Pilgrim. Felix Mendelssohn.R. 33 Out of Work. W. 71 Jenny Lind Mania. . 98 lullabye. Charles K. West. 24 C. Handel.

40 string quartet # 1. 45 Moore. 46 processional march song. 2. Richard Strauss. 28 Pergolesi. W. 76. 104 O Jordan. 127 Mi Sue˜o. . . Frances Shackleton. 119 opening from clarinet quintet. 97 opening theme of Symphony #3.F. 37. All Ye Faithful (rhythm only). 84 string quartet # 6.S. 93 theme from symphony in G minor. 61 My Lodging Is On the Cold Ground. 37 Pat-a-Cake. presto. Bach. 100 Sancta Mater from Stabat Mater. W. Gladden. Menuet.march from The Nutcracker (rhythm only). George Aura Lee. 100 menuet Oxford symphony. 101 Index 143 . 114 Poor Rosy. Stephen Foster. K. 63 Orange and the Black. 71 Old Hundred. La. 62 Mendelssohn. J. 78 Nachtwache 1. W. andante. 110 Duet from The Magic Flute. 27 Ophelia’s Song. Handel. menuet.S. Sacred Tide from Esther. Johannes Brahms.S.V. 112 Media Noche. allegro from Eine kleine Nachtmusik. Mozart. 65 n Mighty Fortress Is Our God. 66 O Little Town of Bethlehem (rhythm only). Bach. menuet. opening. allegro) from Sanctus. John Villikins and His Dinah. allegro) from Sanctus. 73 opening from clarinet quintet. G. Bach.A. Los. 94 string quartet # 4. Faded Coat of Blue. menuet. 76 Osanna (bass solo. Beethoven. 37 andante un poco allegretto from string quartet # 5. 104 aria (Papageno) from ‘The Magic Flute’. adagio. 87 string quartet # 1. 81 string quartet # 15. The. 85 Mozart. Beethoven. 75 Love’s Young Dream. trio. Requiem. 128 Paradies. rondo. P. Giovanni Battista aria from Stabat Mater. from 12 Duets. 19 Ojos Mexicanos. 65 Not Yet. Felix If with all your hearts ye truly seek me from Elijah. Martin Luther. 49 O Come. 91 Menuet I from orchestral suite #1. 101 minuet. 90. 89.A. S. 34.I. . 49. Thomas Evening Bells. Tchaikovsky. Franz Joseph Haydn. A. 129 aria from the Magic Flute. 63 string quartet # 2. Requiem. 107 Milhaud. 114 melody from the notebook for Anna Magdalena. 13 O Daniel. How Long?. Bach. 129 tune from Stabat Mater. 60 Musieu Bainjo. presto. J. Froebel. 487.A. Pier Domenico M’ha Preso Alla Sua Ragna. The. 84 string quartet # 7. J. The. 39.S. 98 Mountains. 35 Pop Goes the Weasel (rhythm only). 113 string quartet # 1.H. 93 string quartet # 8. 87 Our Baby. J. 82 Parry. 76 opening movement from string quartet # 1. Alice Hawthorne.W. menuet. 63 Old Folks at Home. 117 Osanna (bass solo. Member. 41. 45 Out of Work. 16 Poulton. 80 string quartet # 4. 39 My Father. 97 string quartet # 10. Darius Chant de Sion. 95 Praise. 116 menuet II from cello suite # 2. Mozart. 28 My Field. 16 McNaughton. Beethoven. J. 14 Ode to Joy. 28. 115 Paloma Blanca. 120 Duet No. Maude Valerie White.

51 Sancta Mater from Stabat Mater. Tell Me of the Battle. I. 64 Danksagung an den Bach. trio. 129 Scarlatti. Nikolai Rimsky-Korsakov. 28 Red River Valley. 95 Son of God Goes Forth to War.A. 41 Wohin?. Row Your Boat (rhythm only). Abraham Goldfaden. Alessandro Gi` il Sole dal Gange.A.A. Mozart.G. 63 string quartet # 2. 93 string quartet # 8. 28. A. W. 97 string quartet # 10. Mozart. opening. 111 Rain. George F. Children. Mozart. 123 Serenata. 30 Row. 32 Sch¨nster Schatz. 40 string quartet # 1. 108 Shout On. 13 Raisins with Almonds. menuet. Nikolai Scheherezade. 99 e Ragion Sempre Addita. 96 Softly Now the Light of Day. Mozart. W. 78 Reir Es Necesario.J. . J. 87 Quinze Ans. H. Burnie. 96 Sullivan. Alessandro Ragion Sempre Addita. Frances Orange and the Black. 105 Rana. The. The. A.M. menuet. 41 Schwesterlein.A. 69 Das Wandern. O Sch¨nste Sch¨f’rin Mein. Hush.S.A. 32 Sullivan. Burgess Weston. Mein Engel. Roll.A. Mozart. 110 Stradella. menuet. 96 Take a Pair of Sparkling Eyes. 6/8. Alessandro Scarlatti.D. A. H. adagio. 94 string quartet # 4. A. Whittier. Mozart. presto. The. menuet. Row. 117 Ship That Never Returned. Sullivan. John Husband.A. 84 string quartet # 6. Woodbury. W. Sullivan. 90. The. allegro. 41 Sing Hey to You. 96 Sinner Won’t Die No More. 77 Take a Pair of Sparkling Eyes. P. 82 Shoals Valedictory.A. 29 Song of All Songs. W. 94 Recouvrance. 39 o Scheherezade. W. 14 Tallis. 113 string quartet # 1. 97 Rockabye Baby (rhythm only). Alessandro Stradella. 93 Su. 101 o a Samuel. 92 R´mon. andante. 16 144 Index . Row. 39. W. 49 string quartet # 1. Good-Day to You. Thomas If Ye Love Me.S. C. My Babe. W. 121 Root. The. 38 Rimsky-Korsakov. 74 Speed Away Speed Away. La. Mozart. 81 string quartet # 15. Franz Above the Mountains. 64. 92 Revive Us Again. A. 74 Not Yet. Good-Day to You. 89.I. Harold Fairy Boat. presto. Rain. 28 Sing Hey to You.B. Mozart. 15 Roll. 111 Strauss. Venite a Consiglio.A. W. rondo. 85 Song of the Free. 76 Slumber My Darling.A. . Mozart. Blue Juniata. Mozart. The. Go Away (rhythm only).S. 32 Row. M.Que No Te Amo. 42 Shackleton. 16 Sagt Mir. 96 Take Me Out to the Ball Game (rhythm only). 75 Tchaikovsky. Stephen Foster. Venite a Consiglio. E . von Weber. 119 Am Feierabend. Cutler. 78 Rousseau. 69 a Su. Beethoven. W. . Mozart. . Jordan. 84 string quartet # 7. Giovanni Battista Pergolesi. W. 49 Halt. W. 97 Schubert. Brother.S. 112 Rosa Lee. Richard Devotion.A. march from The Nutcracker (rhythm only). Stephen Foster. 80 string quartet # 4. J. 103 string quartet # 6.

14 We Wish You a Merry Christmas (rhythm only). 83 Upidee. 14 Webbe. 86 f.G. 87 Tristes Horas. Maude Valerie Ophelia’s Song.trepak from The Nutcracker (rhythm only). The. . Little Star (rhythm only). Song of the Free. 92 waltz of the flowers from The Nutcracker (rhythm only). . 74 Who Got Dirt on the Carpet Again?. 66 g. 111 Wach’ Auf. 13 Ubi Bene. Lilly Dale. 16 The Itsy-Bitsy Spider (rhythm only). 60 This Old Man (rhythm only). 128 Walk. The. 69 Index 145 . 62 f. 63 Whither Through the Meadow?. J. 42. 128 Villikins and His Dinah. Walk. von Softly Now the Light of Day. 86 g.A. 2/4. Las. 29 We Three Kings (rhythm only). Speed Away Speed Away. 62 Tu Eres Mas Bella. 58. W. Burgess Row. Row. 62. c.S. W.T. Scott Joplin. 3/4. H. I. 4/8. 3/4.I. 16 theme from symphony in G minor. The. 108 Venus theme from The Planets. . . 15 We Come Unto Our Father’s God. Tchaikovsky. 47. 2/4. Ibi Patria. 93 Valedictory. Op. 108 Weber. 65 Were You Ever in Rio Grand. P. G. J. Mein Hort. 35 Ya Viene El Alba. 21 Whittier. 95 Wedge.S. Shepherdess. Butterfield. The. H. 37 Vivo Llorando la Suerte. Burnie. 14 Thompson. Bach. John Parry.C. Martin Luther. 107 Widdecombe Fair.M. 15 waltz of the flowers from The Nutcracker (rhythm only). 34 Wolf. #1. 46 Twinkle Twinkle. 80 Wohin?. 58. .A. 109 White. Dearest Spot on Earth. Ye Disconsolate. 60 trepak from The Nutcracker (rhythm only). 2/4. Jenny Lind Mania. 61 g. Shoals. 15 The Entertainer (rhythm only). Franz Schubert. 59. W. 87 Vivo Penando. 86 c. 92 Wild Moor. B. Crowell. J. 45. C.O. 73 Weston. 3/4. 30 When You and I Were Young. 97 West.I. Froebel.B. 61. 62 Woodbury. P. 41 Wohlfahrt. Gustav Holst. L. 110 Wrighton. 99 Thou Poor Bird. Samuel Come. Mozart. 15 trio from Brandenburg concerto # 1.H.A. Emerson. Franz Etude. Tchaikovsky.