Sight Singing and Ear-Training in Major/Minor Tonality Lars Edlund [AB NORDISKA MUSIKFORLAGET EDITION WILHELM HANSEN STOCKHOLM.Lars Edlund- MODUS VETUS Sight Singing and Ear-Training in Major/Minor Tonality Translation revised by Alan Stout, Professor at Northwestern University, Evanston, Illinois AB NORDISKA MUSIKFORLAGET EDITION WILHELM HANSEN STOCKHOLM ‘Witbelm Hansen, Masik-Forag 1.8 W. Chester Lt ‘Kabenharn London dion Withelm Hansen Prank. M [Norsk Musikolag A'S ‘Oxo kon Wiel Han Chester Mai New York ne. 3: Magaamuse‘Baton In, NMS 6399PREFACE ‘This textbook offers exercises in eartraining. Although primarily intended to be used in schools which specialize in music it also can be used in elementary schools, high schools, and junior colleges. Applicants for admission 10 colleges and conservatories will find the easier exercises helpful when preparing for entrance ‘examinations in ear-training. (This applies chiefly to the sections fon Melody Reading and Rhythmic Exercises). Many of the exercises aso can be used for private study, even though ths book 's not always decisive in their use or adaptation. The teachers and teaching assistants should complement and vary any material which is necesary for comprehensive use ‘The chief goal of ear.ruining is to develop complete familiarity ‘with the melodic, rhythmic, and harmonic sense of musical tones, [A book on this subject should contain material on all these separate aspects, but the studies of each aspect should be cultva- ted simultaneously throughout the course. The intimate connec- tion of this entire subject with practical music-making should be ‘obvious, however, its importance cannot be stressed sufficiently, If ‘ear-tcaning is taught in a comprehensive way, it will be a highly integated type of training which will include elements from several other branches of mmisical theory-melody writing, hharmony, counterpoint, and the elements of musical form, These are combined into one category for this subject: Ear-raining, The book is divided into four sections: I. Melody Reading Exercises TL. Rhythm Exercises IL, Figured Bass Exercises IV. Keyboard Harmony Exercises Once again it must be stressed that, as far as possible, ll these sspects should be studied simultaneously. (The introduction o the Melody Reading Exercises gives further reason why this is true.) ‘The index on page 6 gives some general suggestions how this can be accomplished. ‘The purpose of each section of the book is explained at its outset and instructions are given for practical methods to be followed, ‘All work must be approached in a practical manner in order for this book to be regarded as an exercise in musical craftsmanship, MODUS VETUS - “the old way”. Since the textbook on freetonal melody reading was entitled Modus Novus (1963), Modus Verus seemed an appropriate title for a textbook on practical music- ‘making in major/minor tonality. One might say that ths is a book published two centuries too late! Major/minor tonality has lost‘most of is basic meaning a a structural principe in contemporary music. Yet it is sill necessary for us to study this subject ‘methodically. As long as Bach, Mozart, and Beethoven are played ‘nd mean so much to us, we are obliged 10 study their “vocabulary”. In designing certain parts of the Melody Reading section, the author has been stimulated greatly by the works of the Danish composer, Jorgen Jersild, on the teaching of solfege (I), a debt ‘which I gratefully acknowledge I also wish to express my sincere thanks to Eva Eklund, my colleague at the Royal Academy of Music in Stockholm, who has examined my manuscript critically Lars Edlund yin Mody and hyth reading (Wie Hansen -G.Sshimer, New York)CONTENTS owe Correlation of various sections for simultaneous study 6 MELODY READING EXERCISES: Ineedaction 7 Chapter I From the tonic to the major third . a 11 From the major third tothe tonic . 10 IIL From the tonic to the minor third . IV From the minor third to the tonic . V Major and minor in the sameexample... 18 VIMajor third with neighboringtones ..... 20 VII Minor third with neighboring tones . VIII Summary onintervals ...... IX A. Major and minor thirds. .. B. Diminished triads .. X Five-tone scale in major with neigh- boring tones . XI Five-tone scale in minor with neigh- boring tones ... XII Arpeggiated cadences XIIIThe majorscale .. XIV The minor scale . . 80 XV Melodies not in major/minor tonali +93 XVI The dominant seventh chord. 104 XVII The dominant ninth chord . . 121 ‘The dominant ninth chord with a low- ered ninth and the root omitted (a dimi- nished seventh chord). Secondary se- venth chords. Diminished third in con- junction with the Neapolitan sixth chord. RHYTM EXERCISES...... eee FIGURED BASS EXERCISES .. sevens 180 KEYBOARDHARMONY EXERCISES . 193 HARMONIC EXERCISES IN CONNECTION WITH THE MELODIES SUGGESTED METHOD. . 09 Source of melodies in Melody Reading ENOICiS€S 6... ee eeeeeseeseeeees ses 205 Key to Figured Bass Exercises ........++++. 208Suggestions for general correlation of Melody Reading, Rhytm, and Keyboard Harmony Exercises.) Melody Reading Exercises Rhythm Exercises Keyboard Harmony Exercises (or aural tests in chords and dictation) Chap. 1-1 Series I — 11 Example 1 — es . m-w i :v » V-VI + 3n15 . Ww-Xxn » vt . xl = vil aon . xIV-XxV » Vu Sig. 2) . XVI » Vill > a2 » XVI ik x 22 45 }) Work with the Figured Bass Exercises should be done gradually at a pace suited to the student,MELODY READING EXERCISES ‘This section comprises the largest part of the book. The material hhas been designed primarily to develop a feeling for tonality. If tonal relations in melodies are to be understood properly, more is required than a mere facility in singing isolated melodic intervals. ‘The student therefore should study the Keyboard Harmony Exercises, page 193, and the Figuted Bass Exercises, page 180, at the same time as the Melody Reading Exercises. For those students who cannot play the piano at all, these exercises may be used at exercises in earctraining (see the introduction to each section). The Rhythm Exercises, page 166, should also be studied simultaneously ‘The table on page 6 gives suggestions for ways in which the various sections may be studied simultaneously. These cortelations can and should be applied somewhat differently by different students. The Melody Reading examples can be used for dictation, although they are intended primarily for singing, In the later chapters of this section some melodies are hard to sing not oly because of thei dificult intervals and complctedshythns but aso becsse of their wide ranges or because they are inherently instrmental Even s0 they sil shouldbe sung whenever posible, Ifthe range i too great octaves may be transposed. These melodies at least can te tied for dictation, Although most of the melodies are veal in character, the author has not resticted himself only to such melodies ‘The melodies lo can supply material for harmonic exercises, consisting of basis aural harmonic analysis with practice in key. board harmony. On page 203 ae suggestions for further we The sources ofthese melodies ae gen on page 205. Melodies not liste there have been composed by the author.I. From the tonic to the major third Any given note can be treated as the tonic Tonal material ee. = Begin on each degtee ofthe chromatic scale and sing upwards to the major third, naming the notes Choose several melaes im this chapter for harmonic practice ike the method on page 203. ‘Melodies: 2 7 Copyright © 1967 by Nordiska Musikflaget, Stockholm English version Copyright © 1974by Nordiska Musikflaget, Stockholm, Sweden10 II. From the major third to the tonic Any given note can be treated as a major third Begin om each degree ofthe chromati scale and sing downwatds tothe major thd, naming the notes Choose several melodies inthis chapter for harmonic practice like the method on poge 203. Melodies:2 ‘The following examples begin on the second degree of the major scale. The sim here is to eat any given note asthe second degree of the scale, Practice each example in two ways: (1) Determine the key and play its tonic. Then sing the example, (2) Play the first note and determine the tonie yourself - inthis Work through examples 16.24 in this way. ease a major second downwards, Then sing the example 16 7III, From the tonic to the minor third Tonal material = Begin on each degree ofthe chromatic sale and sing upwards to the minor third, naming the notes. ‘Choose several melodies in this chapter for harmonic practice like the method on page 203. Melodies’:17 IV. From the minor third to the tonic Any given note can be treated as a minor third Tonal material = = ‘Begin on each degree of the chromatic scale and sing downwards to the minor third, naming the notes, Melodies :7 “The following examples begin on the second degree ofthe minor scale, Practice each example according to the instructions on page 12. ‘Choose several melodies inthis chapter for harmonic practice like the method on page 203.V. Major and minor in the same example ‘Tonal material That which was ued previous. Choose several melodies inthis chapter fr harmonic practice hike the method on page 203. la 1b20 14 VI. Major third with neighboring tones Rising and falling leadingtone Dont forget to choose several melodies for harmonic practic lke che method on page 23 “The mor third, the interval from the fist tothe third degrees of text both these half steps havea stong leading tendency to the the major scale, has half step on either side of its notes. One leads tonic and to the thitd respectively. The note below the tonic is upwards ftom below to the tonic of the scale, and one leds usally called the leading tone ofthe sale. So we are working now downwards from above from the fourth to the third. In thiscon- with the following group of notes: SS The F (cubdominant) and the B (leading tone) in this example were harmonized. Sing and play the following harmonizations in each form a melodic digession from a starting point - E and C various major keys, paying close attention to the leading tones in respectively, to which they return. The tendency ofthese “chang. both voice and piano. ing” notes would be more obvious ifthe above notes in the groupSlow tempo (4 = about 60) aa about 100) Faster tempo (4 1 owe vor Note: In the faster example certain notes have not been harmonized. They act as so-alled passing tones between two chord tones, thus ‘vinga more flowing movement to the rhythm, 3 t wit In Example 3 the dominant seventh (V?) is included. This means that both the subdominant, which falls, and the lesding tone, ‘which rises, are found in the chord, stil further emphasizing the tendency of the chord to move towards the tonic, Regarding the 13 in Ex. 4, refer to Keyboard Harmony Exercise No. 10. 4 Excercise: Play V7 (in different keys) and sing the subdominant and the leading tones, Try to find the B and the F in the V7 chord without repeating these notes once the entire chord has been played,Melodies: ’1) a 14 ‘Aus mei-nen Tri-nen sprie - Ben viel_-blG - hen-de Blu-men her - vor (1) Regarding lt msodie which donot begin on the tonic, athe nsrtions in Chapter I, age 12.24Jo non voglio f - la-re, Ne fi- le - 1d maipiu; Ches’hoggiunpar de-scar - pe Non me Phai com - pre tu, me Mhaggio ben guada-gaa te d'andar_ in su in ye A gil; Di su, di git, di qua, di fk Come meglio me par. ve mi par Le as savch ofthe previous chordal material as possible wih the subdominant txad (IV) and its inversions (IVS and 1V$) with the cadetial 1 chord (f-V) and also the dominant seventh chord (with its inversions (V8, V8 and V4).26 VII. Minor third with neighboring tones Tonal material: Exer The interval F-Eb in the above example does not have the same (1) Sing and name these nots in various minor keys. downward-eading tendency as it has in a major key. Yet the F (2) Pay, also starting on many different tones, the hazmonizations does have a strong downward tendency when given the function of in Chapter VI, page 21, in minor, observing the accidentals in 1 dominant seventh. parentheses. Sing the appropriate melodies! ise: Melodies: 22729 27 28 29: Use the chordal material in Keyboard Harmony Exercises Nos, 1-15 (possibly also Nos. 16:25) in as many ways as possible.30 VIII. Summary on intervals (On the bass of the tonal material used so far, we can clasify the intervals encountered as follows: SECOND ‘Major second (a diatonic *) whole step): = Minor second (a diatonic half step) THIRD Major thied (2 diatonic whole steps): Minor third (1 4 1/2 or 1/2 41 diatonic steps): = = = SS SS (0) A dtonk sept the dtnace between two neighboring tones with dierent ter names with oF without aceonFOURTH Perfect fourth (1 1 1/2 oF 1/201 + Lor 1 «1/241 diatonic steps) BL = Diminished fourth (1/2 1+ 1/2 diatonic steps): = a Exercise: ‘The following exereise can be used to memorize the intervals. Write a chromatic scale Write the above intervals upwards and dawnoards from each note inthis chromatic scale. A good knowledge of intervals implies quick recognition of any interval in the printed music and an ability to sing at sight. This ‘exercise i often applied only to isolated intervals, But itis by n0 means certain that skill in singing isolated intervals guarantees good sight reading of complete melodies. There are several reasons for this: 1}. A melody is much more than a mechanical succession of larger and smaller intervals. When we read a literary text, we grasp syllables and whole words at a single glance, we see them as nits, shapes, The same fechnique shouldbe applied to reading ‘music. Here the shapes are made up of melodic motives and phrases. But vital fo the reading of major/minor melodies isthe ability to see and feel the tonal quality of such shapes and (0 spot those notes which are “magnetic”, thereby giving the ‘other notes dreetion and function. 2) In major/minor tonality each interval always has some kind of {onal quality. The same interval can hae several different tonal meanings, the response evoked being entirely different in different contexts 3 In isolated intervalic exercises we ignore rhythm, which plays a great but sublle part in a melody. Rhythm also strongly influences our response to an interval. One reason for this is that shythm often is related closely to the harmonic develop. rent of a melody. 4) A good command of isolated intervals (the ability to “hear” them mentally and to sing them from the printed page) is therefore only one requirement for good sight reading. This command is important, but itis ot enough in itself, Jn actual practice there ts constant interplay between this knowledge and 1 perception of the tonal and rhythmic shapes and sequences.32 Note: THE INTERVAL EXERCISE USING THE NOTES OF THE CHROMATIC SCALE, WHICH WAS RECOMMENDED ON THE PREVIOUS PAC The preceeding chapters and exercises have stressed the importance of being able to determine the key in each example and thus identify the function of any given note in that key: Whether it is the tonic, the Teading tone, the major third, the For example, take the note D. It may be the: (1) Keynote or tonic fst degree ofthe sale): (2) Leading tone (seventh degree of the scale): (3) Major third: (4) Minor tir: (6) Dominant seventh of the key, which i also the subdominant (fourth degre of the scale): SHOULD BE REPEATED WITH EACH NEW INTERVAL YOU ENCOUNTER IN THE MUSIC BELOW. second, ec. These terms inthe mental picture we form ofa note, lays must have definite meaning, depending on the position of ‘the note in relation to the tonic and other important notes, Any ‘given note implies either potential movement of rest ®33 IX. A. Major and minor triads B. Diminished triads A Since the triad is emphasized greatly inthe following chapters, it s 19 - 27 are in second inversion (the fifth ofthe chord is the lowest presented here in a special section which should be prepared care- note). The term location refers to the highest note of the chord fully. The tsiads in Nos. 1-9 are shown in root position (the root Thus Nos. 1 - 9 have fifth location, 10 - 19 have octave location, ‘of the chord Is the lowest note in the chord). Nos. 10 - 18 arein and 19 - 27 have thied location. No. 28 isin root postion and first inversion (dhe third of the chord isthe lowest note) and Nos. third location, et. Excercise: Describe position and location for triads in Nos. 29 - 40. 1 2 3 4 5 6 7 8 9 4 3 20 5 2 23 Be = a ne 5a4 28 29 30 32 33 34 35 36 Excercise: The triads on page 33 should be practiced as outlined in Nos. 1 $ below: 1) Play the triads on the piano. Sing the notes of each triad by name while the tones are still sounding onthe piano. Check by playing the tonic alone. 2) Practice singing the thied ofeach triad in the same way. 3) Do the same with the fifth ofeach triad, 4) Write the notation of triads 1 - 40 on a separate sheet of paper: (1) € major, (2) E minor, (3) C minor, tc. Close the text book. Play only the tonic in each triad and then sing the com- plete triad by naming the notes, The tonic of the triad is easy to determine if the chord isin root position: That is, when the bass note and the tonic are identical. Determining the tonic in the inversions will take peshaps a litle longer. A visual aid: ‘The tonic is the top note in the inter val of a foucth, 5) The following mumbers show the intervals used in the trad on ‘the next page, determined from the toni. The arrows indicate direction of movement. a 173/5 ©) 5N3N1 2 ans by 175\3 a sNv73 DEVE! Play triads 1 - 40 in tum, Sing each triad, naming the notes, according to (a) above. Check afterwards by playing (a). Then ‘do the same with (b) through (). In addition, the following exercises are recommended 6) Play any note on the piano. Sing major and minor triads according to (a) - (f) in (5) above by naming the notes, begin ing each of the triads on the note you have played. This is a rather difficult exercise but a very effective one, The result of this exercise stating from the note Fis shown on page 35,35 a b c d oe = 5 = i SS a8 b © d Minor x= +E + j Se 7) Notate broken major and minor triads as shown in (2)-(f) _notes after you have played only the first note of each triad, above, but change the tonic for each triad. Sing the name of the Check your work on the piano! B. B, The diminished triad consists of two minor thirds, the interval between the upper and lower notes forming a diminished fifth. According to major/minor tonal coaventions, a diminished interval is a dissonance which must be resolved to consonance. we look at the diminished triad formed on the seventh degree of the major scale (the leading tone), we find that the interval between the outside notes, the dimished fifth, is formed from the two “tendency tones” we have discussed previously. The customary resolution of this chord is therefore: vu t [Notice that this diminished triad consists of the three upper intervals found in an ordinary dominant seventh f= Therefore in its harmonic function the diminished tind is « dominant seventh with the tonic let out, ora so-called imperfect dominant. The omitted tonic is symbolized by the zer0 following the function symbol inthe figured bass. The imperfect dominant is perhaps most ‘commonly used in second inversion - that i, with the fifth of the V? chord a its bass note: See Keyboard Harmony Exercises, No, 14, for additional ‘work, we ws vis36 Exercise: The diminished triads below can be practiced in the following way: 1) Determine the omitted V root foreach triad, together with the key to which it customarily resolves. 2) Sing the triads and their common resolutions to tonic major, naming the notes, asin the folowing example 8 2 Downwatds v l= Sing ob di c ¢ re od (if you like, you can play the roots of the dominant seventh and the tonic chords with the left hand on the piano. Then the harmosic context will become much clearer.) (@) Sing the triads in the same way asin (2), but with resolution to (onic minor. 1 2 3 4 5 l= 6 7 8 9 10 SSS SS 1 2 B 4 5 SSS = SSS 16 Tv 18 19 wo $ SS SS SSS =jX. Five-tone scale in major with neighboring tones Tonal material 1 1% vo “ty I 5) Nelenborng tne - leo cae auxilry tone when it goes back to the > Sonal note a om *) Pasng tone - ves by step and pases between two harmonic tones, 2) The C here can be called an accented pasing tone or a sppogsatrs toa8 “The unifying fector inthis group of notes is the major txiad, or the fest, third, and fifth degrees ofthe seal: ———— es 1) ) a ) ) 3) Melodies: Molto adagio — cresc. ff ——— pDa Da Do - mine, picem, Domi da pacem, cs 39 © = bus most sis, Do -misne, in di pacem, Domi - ne, in di-e --~bus ost ~~ ris.a Drei Sonnen sah ich am Himmel steh’s, hab lang und fest. sie angesehn. 22 anf espress.42 Allegro scherzoso (J = 112) >| te - 24 25 Lento maestoso 4 =54 26 Pilee cae —_ FF a SS43 Examples 27 - 36 contain chromticaly altered notes within the span of five consecutive tones. The raising ofthe fourth degree of the scale is one of the most common alterations. This augmented fourth may be 2 fast neighbouring tone, such asthe A in melody No. 27 But this alteration also can acquire greater importance by functioning asthe leading tone to the dominant key. In such cases it then is heard as a new tonie of shorter or longer duration. This is known as a transitory (or passing) modulation. (Refer to Keyboard Harmony Exercise No, 26 and those immediately following) When a definite key change takes place, we speak of fim modulation. As a rule, raised notes act as leading tones to the note a half step above The lowered note which we notice chiefly at the moment is the Datted sixth (submediant), It has a tendency to go downwards tothe filth degree ofthe scale, the dominant, See examples Nos. 28 and 29. (Rete sso to Keybourd Harmony Exercise No. 26.) 27 Teh grol - le niche, und wenn das Herz auch bricht, Menuetto grazioso 31 = ~~ —4 Menuetto Trio Ti pat - ti, cor mio ca - ro, Mi las - stim pian - -Va + ma - 10 BE osen = gal cunt = pa -- 0 La - ni - ma sen -4 te Non ti par-tir dame Deh, cor mio ca - 10, Per le na fl In examples Nos. 35 and 36 we encountered alterations of the frst and fifth degrees ofthe scale, Presumably they caused no difficulty since the melodic movement proceeds step-wise, The following examples use difficult leaps in approaching the augmented frst and second degrees ofthe scale. Always try to imagine the note of resolution (the goal ofthe augmented note) before singing the chromaticaly altered note,46 Inexample No, 37 therefore, and then and : Ee first think Ifyou find examples Nos, 37 and 38 too difficult, leave them for the time being and retum to them ater. B. kannst es nicht be-greisfen, wie ich wei-nenkana; ta der teuch -ten Per - len tun = ge-woha -te Zier feu - dig hell er - rit - tern in dem Aw - ge mir! Adagio molto (J ~s4) e 38 : = : gp ? crese. of ff ‘You may study example No. 38 (and similar examples) in the following ways (1 Sing the ehythm on one fone with a steady eight note pulse (2 Sing the tones of che melody in equal time values and in any comfortable octave. Slowly! (9) Sing the melody as notated, but without the teil (4) Play the melody on an instrument with the tills, accents, dynamics, ete. 39 Hie und-da ise an den Bau - men man-ches bun-te Blatt za seh’n,47 XI. Five-tone scale in minor with neighboring tones ‘Two important exercises: 1) Play and sing the minor versions of the harmonizations in Chapter X, page 37, 2) Practice minor triads carefully in the same way as you practiced major triads in Chapter IX, pages 33 and 34 Tonal material:48 Som stiimman up - pi himme-len $4 kd hon ling tar till site rum, sh Ming tar jag till dig, minil- la vin, var tim~- me och var stund, Var tim me ar somen mh-oad ling, var_mA- mad som ett as Si ling - tar jag till «dig, min ll - ba vin, fast’ fag dig ald - rig Ap ~ pel-lon nau Le doux ai - gneau, Ap - pel - lon nau, Ap ~ pel-loncc nau, Le doux ai - gnena, si haut quill nous a = peLi-mu, i-mu, li = ma, Gud lat so-len ski - na O-ver ber - gen de bli, G- ver kul-lor-na sma som i sko-gen skall gh om somma ren, 1634 Si git en dag in fri vir tid och kommer te - ke men, och in en att med Her - wens rid el jor den sin - es ned Adagio 26: : z Bin = ge-schla-fen auf dee Lau - er oben ist’ deroal - te Rit - ter, dri - ben ge- hen Re - gen-schau-er und der Wald rauscht durch das Git- ter.3234 Was ver-meid ich denn die We - ge, wo die arden Wandser — geha, sen hdbn? su -che suche mir versteck- te Ste - ge durch ver-schnei -te mit versteck - te Ste- ge durch verschnei - te Fel-sen - hihn, durch Fel - sen - hdbn? — 41 Use the chordal material in Keyboard Harmony Exercises Not, 1-25 in as many ways ax possible. Inthe following meladies the lower neighboring tone of the tonic lies a whole step below. Therefore if Dis the tonic, we have: SSS SS This is the central group of notes in one of the old church modes - the Dorian plagal or Hypodorian (church mode Ul) Later several examples of diatonic melodies which are not govemed by the tonal cadences and therefore are not related to major/minor tonality will ‘be found, But first here are some simple examples inthe Dorian mode OE Ss a ‘Varl- dens Frill - sa - re, kom his, re = na jung -frun mo- der as,33 — + ¥ + + = — qq = oF SSS dl yen bed shun = dee ~ Hig, Her - re Je su, - des dig. 43 Porlin oss Gud, i nid, frid i va-m — da-gaey ty in-gen a ph jorde- rik, som o- frid kan Or-ta = ga, u-tandu, Gud, al ~ 44 © Kis td som unset ix, dig han €) mvir-kerbli- va nar, s s x ress ‘ & 2 re 2S 7 v ¥ v Vi skt- da upp i wron ll dig, ir 50> Kens jos fr - dal - jer ig, 3 times) a Si times) GE Rass rs Ky-d-e ++ deeison, Chii-we ee + + devison = (2 times)36 Some old French carols 46 Je me suis le - vé par un ma ti - net Quelan- be pre - mait Son blanc mante let. Chantons no let, n0-let, no ~ let, chantons no - let en- co - re, Al ~ tons, suivons, les Ma - ges, Qui char- gés de pee ~ sents Vont rend -re leurs hom-ma - ges A ce di - vin. en ~ fant. Mais. le meil - leur Est gulls don-nent leur coeur Un cocur ar - dent Est tou ce qu’il at - tend. Or vous tremous-sez, pasteur de Ju dé - Estes - vous las - sez i-quet-te ne - te =e. Chan-tez par - mi le pre - au Nau-let, nau-let, nau-let, nau37 (Chan-tez par - mi le pre -au Naw-let, nau-let, nau-let, nau Naw-let, nau-let,nau-let nav, 49 de Dieu Voici le jour de le nais-san- ce du fils En signe de té-jou - i san - ce dans ce saint lev, Chantons un aie mé-lo- di- eux quel -- - que can-ti- que Quiphi-se aumo - narque des ciewx Par sa dou- ce mu-si - - - que ‘The tonality of the church modes is made up largely of certain typical melodic formulas which reveal much more about the mode in question than merely the arrangement of the notes. Notice the typical Hypodorian melodic formula in Examples Nos. 42 4. ‘The use of formulas is called the modal system. (Modus, plur. modi, i used, as is known, as an identification forthe church scales.) Many folksongs are modal. (See Chapter XV). ‘Contemporary composes ofien have used church or folksong modes. Here ae afew examples from the works of Igor Stravinsky J-80 50 rer dans not{re) chau - mit - xe ks ma ci euse, ai ~ ders38 d-0 a =a 51 Un beau cu - ban blew, un bea tu - ban rouge raz am Un mu - ban rouge comme mes joucs (4-120) 52 dans Daig - ne simable méx(e), __daigne ent - rer a chaumiés(e), daig - ne nous ai- Tenor solo renor solo der lesboucles dé - fair(e), lesboucl(es) du marié- Daigne dé&-mé - ler les bouel’ du bouclé ~ En - tre Mére dans la chau-miér(e)daig-ne nous si- der les boucles a defair(e). (J 80) 53 Et vous pére et mb = re be nis - sez votre en - fant "VF the rhythm is too difficult to sing at first, sing notes of equal length until you can sing the shythm as given, Return to this example when you can master the exercises in Rhythm Exercises, ‘on page 176,qui Sap ~ pro che é-rement toute mu--fail- le reaver - sant molto cant.ma nonf —_. 56 Pantabile SS hee60 XII. Arpeggiated cadences The following exercises are based on arpeggios (broken chords) belonging to the cadential material. Practice inthe following way: 1) Read through each example and determine on what chords itis based. Play these chords on the piano (right hand only) while you sing the example. In Example No. I therefore, the following chords are played: in Example No. 2, these are played: 1 ws 1 1 rg ve I 2) Sing the examples without using the piano, Always try to hear the chord notes sounding together as harmonic enties, 3) Practice the major examples in minor and vice-versa, 1 *) Refer to Keyboard Harmony Exerc No. 18662 XIII. The major scale Tonal material: ete v >see?” = = Tt ‘The stepwise movement from the dominant degsee of the scale upwards to the tonic, forming a perfect fourth (5 1, see group of notes above), should be practiced first by using the following simple harmonic execcse Exercise: Pay and sing this chord in all major keys, naming the notes ! vi u ‘The group of notes given isa trad This trad contains two new intervals. The With the tonic doubled atthe top terval formed by the third of the chord nd the tonic above (34 1)isa minor sixth OS 1 [If the triad is putin second inversion (with the Fifth a the lowest note) ‘or into open position:“6 then the interval ofa major sixth formed from the ith ofthe ta uptoits thie. (5 7 3) Excercise: itis most important to practice the sixth in open positions of the tid. Pay the trad in Chapter IX, part A, page 33, onthe piano Singand name the notes of the major and minor sats of each rad that reel from the allowing progesionss) 5.73. «) 3.7 1 yaNs a 1N3 Be sure to rea and sing upwards and downwards, beginning with all the notes in the chromatic seale (see Chapter VIII, page 31), the new intervals which you have encountered in Chapters X - XIII: Perfect fifth, diminished fifth, major sixth, and minor sith. Melodies Allegro non troppo ma con brio poco fAndante cantabileThad a little nutteee, nothing would it bear, bor a sil- ver out-meg, and a golden pear, The King of Spain's daugh - ter came t0 vi sit me, and all for the sake of my litt Je mut - tree Fin Jling-ling liebt cin Mad - chen, die hat ei -nen An-dern er wile; det And'-re liebe “ci-ne And’ - re, und hat sich mit die - fer ver ~ mihi Andante larghetto 15 ‘Their sound is gone out, their sound is gone out in-to_all_Tands. into all lands.66 Allegro vivace 16 Cp P Allegretto Violoneell 17 > ———*f P —=s Violin L f gf Allegretto PrestoVivace assai 23 Allegrooa Allegro 26 ft 27 And Oh! i was a 1 saw a ship a sailing, @ - sailing on the la = den with pretty things for me There was com-fts in the ca din and ‘The sails were made of sa - tin, and the mast was made of gold apples in the hold. Vin = den drat, skeppet_ far. = bort till fj - ran tand, sj = mans - gos sens = a,‘ - la van ste © sOr~ jan - de ph strand, Ne, fifingt’. Vare jag ser, gj min - sta nymf ger 8 = gat 10,6. ci gus och ler en Klack = lapp av ca sko. Fj) vis sar mig en tick er - ire sin fot. i sprin get —_blyg, Vad ser jag? Toffeln lig - ger = dir, fr ~~ «su tan ver = yg. Brisk and happy 2 30 31 Det bod- de en fa alle So -der un- der 0, hon ha - de en dot + ter som kal la~ des Mal - fred, Den Sjon han gror —aldrig.32 Jungicu Mar - jo hon skul- le at af -ton-sing-en gin- ga. Tiden girs migling, Si sick hon den vi-gen it ber - get Ig. Herren Gud vet sorgen den ar tung. 33 Och l= a Ka- rin thin te pi ko. ~~ —ungens gtd. Lento Hon tjin-te dir si Hin-ge uti tol, he - ae a. Us thro = sen Allegretto CAS Se 34 dp ip Allegro teneramente 35 sempre p e dolceAllegro con brio 36 Allegro moderato & = Andante 40: As when! the dove la - ments, ber Tove, Allon. the na ked sprayn 43 Adagio molto espressivo 44 =— P —>P <=> Andante, ——— 45 P ~~ Mein teu - rer Heiland, a8 dich fa - gen, ‘la dich fra - gen, teu-rerB Hei - land, laB dich fra - gen, laB dich fa - gen, teuter He-land, ia8 dich fragen: Poco andante PP. 47 — hit = ft, komgladthi - tit, link och, Kom sladt late, skyn- dom pi, skyn dom pl, fie kor smi Kom hit och vil) och kép, shir, de blom - mor vir - en sks - rast biel Kom, valet gar eg ——— be -4 svi, jag har des - ta quar, debs = = ta quar. Poco allegretto. 49 Fa gela pi gre - nen sn = geri ka gill. Blom - man pa re = nen Blic = kar = ka salle, Men alle -se - dan dig jag sig har for = and = rats all min _ hig. p —= He - lh da-gen jag be - ~~ gen set och hor blow dig. In several of these exercises you may notice that it i easy to use the parallel triads of the major key (submediant,supertonic, mediant), ‘This may be practioed in Keyboard Harmony Exercite No. 38. It also may be meaningful to do this exercise in connection with the ‘harmonization of melodies in that chapter.Rectatives often provide excellent practice in reading a melody ‘The ability to read the Bach reitative below (and by reading we mean as always, not only the ability to hear it in your head, but also to sing it) depends on one’s proficiency in reading the hatmo- ‘ic progessions. To a great extent the following melodies contain the notes of the chords indicated by the figured bas: symbols These numbers, written below the bass note, are a musical shor hhand to indicate the desired interval(s) above the given bass note ‘Thus the examples also provide practical Higured bass exercises using chords in conjunction with the Figured Bass Exercises begin- ring on page 179. If you have difficulty in finding the right note, 5 ‘you always should find the broken chord of which the "dificult interval usualy forms 2 part (se the inserted notes in parentheses inthe first recitative), ‘A good method for singing ectatives is as follows: (1) Pay the figured base patt and sing each eho notes, while the piano is stil sounding naming the (2) Play the figured bass part and sing the recitaive with or without the text, (@) Sing the rectative without help fiom the piano. I student cannot play the piano, the igure bass pat should be played by the teacher or some other person 50 Und er kam 20 sei-nen Jiingern, Die Schaar a-ber und der O-ber - hauptmann und fand sie schlafend, tund die Diener dee Judea nahmen Jesum. vund sprach zu ihnen:bin Da ging hin der Zwalfen ei - ner, 2a den Ho- hen pries-tern und sprach die Stadt Ei - nem, und sprecht 2 mit Na-men Ju - das T-scha- si ihm: Der Mei = ster bt dit ich will bei dir die © - stern” Evangelist: 53 mit mei-nen Jin = gern, Je - sas mit th-nen zu ci-nem Ho- fe, der biel! Gethse - ma-ne, und Jesus sprch zu sei ~ nen Jn - gern: Set - zet euch hier, bis | a ich dort-hin ge - he 6 ————————" © ¢ ¢78 Evangelist Re- de vollen - der °, sprach erm sive Jin - gern: Thr wis set, da nach zwei- en Ta -gen = O-stern wird, und des Menschen Sohn wird ud - ber-ant-wor- tet werden, i- get wer - de.9 Evangelist: Pitarus 55 este Da sprich Pi - le ! So bist du den - noch ein Evangelist: Jesus Je -sus ant -wor-te-- rez: Du sagst's, ich bin cin K8-nig. bin da-2u ge-bo-ren und in die Welt kommen, dal ich die Wabrheit zeu - gen soll. oe — : z 3 v . 4 Wer aus der Wahrheit ist80 XIV. The minor scale ‘Tonal material minor The relative minor of C majoris sy. A minor SSF “Those notes ofthe minor scale which lie between the tonic and the fifth (145) differ only from the corresponding part of the major scale sn the lowered thied. The other part, from 541, i more complex because the sixth and seventh degrees are variable, aocounting fr the diferent pitch sequences ofthe natural, harmonic, and melodie minor sales. Harmonie minor scale Melodie minor seal: Natural minor scale Gometimesealed Aestian: se oS 4181 a Se = = From the note d: = veo 7 All seales are specific patterns of tones. They are foundations of total musical ideas - general basis for compositions. Melodies rarely confine themselves toa fixed scale pattern. To explain their differences we may examine them as follows: Let us begin with the natura minor scale: foo In a perfect cadence in a minor however, the third of the dominant is raised to gf in order to giv the feeling ofthe leading tone rising to the tonic a If we arrange this particular group of notes into scale form, the result will be a harmonic minor scale. As you can see, this scale has fan augmented second between the sixth and seventh degrees, or the submediant (which tends to fall) and the leading tone (which tends to rise), In traditional Western melodies this augmented interval oRen has been considered difficult to sing and pethaps also ugly to hear, and therefore it has been avoided. Even today it sounds somewhat exotic, a in ths excerpt from Geroges Bizet’ opera, Carmen:82 The augmented second does occur in several East European and non-European types of scales (See Chapter XV). In major/minor tonality it is common for the natural sixth and seventh degrees to For example, in Catl Nielsen's song “Limelin Rose" bbe used in downward movement (stressing the direction towards ‘the dominant) and the raised sixth and seventh degrees tobe used in upward movement (stressing the direction towards the tonic). Se, der var en gang en © Kon - = gy mangen Skat han ald - te sin, The results what we call the melodic minor scale ‘he harmonization of the movement Se1 with the raised sixth and seventh degrees can be waitte tke this 1 owe ovis 4 ‘The Dorian Key belongs to the medieval system of church modes - the tonal material of the scale and the Dorian melodies themselves. a subject not theoretically (rested in this book (1). Here we shall The Dorian repertoire used is monophonic, In modal polyphony. restrict ourselves to a few observations ona typical Dorian melody however, ditional factors apply. taken fiom plainsong in order to illustrate the difference between = os —. == a SS ee ad oy SS Ro. = te coe 7 Ode OP etna bespla = rant ju ~~ =~ stom: ap-pe-ri-a - - -tur ter (0) Chapter XV however does contain some melodie mater for practice in mandy raaing (2) The sigan (quia) i performance practice sign. The tne \havates + somewhat lenthened tone and ws shor and some83, ———+ SSS SS 55 ESS SS SS et get = mi- net sal - ete oem Some observations: 1) The tonie (usually called the inalis)is 3) Tonally, the c is a very important note (ste the word 2) Both the raised and the lowered sixths, b& and bP occur.In desuper) and in tum is related closely to the fifth below, f. cach instance the lowered sixth, bb, appears as a note filling _Melodically, the ¢ plays a more important role than the high & to the dominant a, The raised sixth, bY, appears (o nse as 2 (the tonic), which here is only a "neighbering tone” to the c link between the dominant a and the leading tone c The melody therefore encompasses a range of ct , rather than ata? . Melodies: Allegro con brio 2 ftAllegretto (Polska) 11 p—_=— 12 oven AdagioEtwas langsam 16 Bis oe Ket-he © war mit mir aus der Stadt ge - 20 - gen Massig 17 5 Non metk’ ich erst, wie mid’ ich bin, da ich zurRuh mich — le ~ ges Ro-sa lil-la tal-te ll sin Bro - der si. Under linden Hvad_—sporde du fr nytt up-pi tin - get i - gir Sd sent om en af- toms t= der86 Andante 20 Hertig Hil -le-brand han si- der pa fi-ka Grefvens gird U- ti lunden. Och a 4-KaGrefvens dot-ter for honom w-te sti. Den jag hafver tingat i min ungdom. Allegro appassionato 1g SS SSS espress. crese. He trusted in God thathe would de i-verhim; let him de - li-verbim, if he delight in him 23 Och hie da lil-la batsman Hvad jag au si-ger dig. Och ville du nu spe - la gull vie - ning med mig? —-«dDe_—sspe-la- de, de spe-la - de gull - rarning,Jag gack mig ut en midsom-mar- dag, di grédan och Gr - ter-na_geor. Det vac wi a-de-la-konun-ga -baen, de lof - de by: "Og har He. Pe- der!” Biv hjem- me i ar! da ved, vad jeg i min Ung-dom er spaad.” men So- en deager_ un der. Ro-si lil-la gen -te pi Ko - sungens gird = med a tanoch med dyed. Och deren te hon th nda ie I vin = nen vil, I vin= nen vil ba = de Ro = sor och Til ~ jor.a Och Wal-le-mo ban sad- la- de gin-gar-en gh U-ti léndom, Si red han sig till jungfru Hil - debrands gird. For detta var mig timat i min ungdom. 28 Det var den fil - a Ka - rin som —tjen- te pi Konung- ens gird. Hon tien - te bland de lil - jor och bland de ro - sor sin Sarabande ~ ra 29: Moderato 30 P ——— Allegretto (J 31 tfDet lig-ger ex slo i O- ster-tik, Dee lig-ger si val be - bun- det Med sil-wer och det x5 - da gull, eda gull, Med mar - mot-ste-nar upp - mu - rat1 Allegro vivace Om al a berg och © da-ke vo- ro vin- da guld, Alle vat-ten vo - re vindt ust vin: Allt - sammans vill) jag va = ga for dig win Hla vin, Om du vor all- aki = re -stan min,92 seo rie ke How Det bod - de en fw pa Tros te Mal- fred; Den sor- gen gror ald - iy, ha - deen dot - ter som het hie det dig. Sjun-gerjag, sk hor, du mig; Grk- cer ag, \sw In several ofthese exercises it may be easy to exchange the parallel chords of major and minor keys. This may be practiced in Keyboard Harmony Exercises Nos, 38 and 39. It also may be helpful to work with these exereise in connection with melodie harmonization, since velodies. Examples Nos. 26 32 (.37)as well as 40 -43 in the Keyboard Harmony Exercises will we now have completed the chapter provide an even greater variety for harmonization.93 XV. Melodies not in major/minor tonality This chapter deals with a number of melodies whose tonality in many cases is not major/minor. Most of the examples ae in some type of mode (see pages 57 and 82). In reading almost any melody one must be aware of tonality as well asthe intervals. The same applies here. The student therefore is advised not to sing using the “one intorval ata time” principle, “He must imagine whole shapes. It is now, jst as before, a question ‘of melodic studies, not intervalic exercises, Before singing melo: dy, the student is advised to determine the tonic, This wil make it easier for him to become aware of the special types of tonality encountered here Otherwise the metodies are stated without comment. A perceptive teacher wil be able to find numerous examples illustrating the ‘eatment of diferent tonal systems and types of scales. Sources of the melodies canbe found on page 204 cide May - en - zeit o + ne Uk dem Phan © > ne wi = der - streit, “Sein wol - ge - an, few - den sieht man eit ban uns al plim-leia bay + ku = mer pelu = ne wi - der Lich «te = den den Dorch das hel - gel * sind fen fen, gras sie schon uf ge - drun - gen und det walt oma nig-vald un - get- zalt ———— + ¥ a? = 7 ist der = schale Taser ward mit demd-n0Da Capo al Fine1. U-a ma- ti- nada Fes -ca, vaig sor- tir per’ na ca - car, —no’n tro-bo perdi ni 2. Si nou-na po-bra pa - sto- ra que'nguarda-va el be- sta Ja Pen tro-bo a-dor-mi - 3. Detant bo-ni-que-t2 qu’e-r2 no la’n go so des-per = tae, ne eu Ilo un pom de 2 ’ 2 wat Th pera po-der-li i ~ el eis fa Sovmduncan-yari-3,Stmti-sa Vamécy'm 0 = ca sm to-cabe'mto- ca io “bas yal-pit le nivaig t= me 1698 19 Lal lachan, jot- ft on ys - ti oll, kun mi- a ai-na lau lan Tau - lol- la ni mi-na pie - net su - rut sy - di-me-ni poh jaan san. pai La - lul- a ni mi-nd pie - net su- rot sy di-me-ni poh -jaan pai - aan. 2 a 20:Loo. Yea them whaurthe hea - ther grows, 26 tothe knowes, a Cathe ewes them whaur the burn - ie rows = my bon = nie dear - ie. ey’ - nin? sang, sound ing Clu den's thro the ba = aes Cle den” side, att, thou hase stowo my : y woods a mang; 1, Hark, the ma 2 We'll’ gaedown by 3. Fair andlove - ly as thou then a-fanld - in’ Jet us gang, my_—_bon - aie o'er the waves that sweet - ly glide tothe moon sae T can die, but can - na part, my —_ bon nie101 29 Alemen Ah - tje, dat gaik - viek - sak gen gol fa ~ mon gaikver -alt ley dat Ie ai niu un-ne juh-ko na-to, may gul dat gaik-viek-sak jic-l- tal - la jagichtja- ta, ¥o- lo, vo - lo, vo-l0, vo - lo, vo-lo, vo - lo, vo-lo, ¥0- lo, vo-lo, yo = Io, v0-lo,vo - lo. 30.102 dain vill tae -k - key 31 Fa taher de, Asma ~ her dey fie ochlamm «ill mej? FA = a - her -de, fi - a= her -de fit - ta di ma fin = na saf-tige gels Wr dina fir all tid skall du om till mej du gar,103104 XVI. The dominant seventh chord We have stressed previously the importance of focusing attention on whole groups of notes or shapes when reading melodies, These Shapes have generally consisted of triads. ‘Now study the melodic line in the following excerpt from the St. Matthew Passion by J'S. Bach. by Wahslich, ich sa-ge euch: —Ti-ner un-ter euch wird mich ver = ra ob ob * ‘ sb mo ea a ah ‘As you st, the melody is govemed by two Vchords:In the fst the chords of which the sevenths are part - that i, think ofthe var the V? on eb and inthe second the V7 on c (inspite of the V7 chordsin all f bar 1 and bar 2 respectively. In earlier exercises fact thatthe figured bass has ane, which simply means the chord we experienced “finding out way about” within the tind (Chapter is used in fst inversion). You wil find it much easier to sing dhe 1X). Here are some similar Exercises using the W” chord tminorsevenths of the melody €-r 49 and cord? ifyou can hear A 7 8 9 10 1 te 13 fo aie € q105 B Exercises: 1) Play the above V7 chords and thee resolutions. (Refer to page 38) 2) Play the chords with resolutions, but let each chord sound while you sing it, naming the notes. The chords should be sung from the bottom up, starting with the tonic. The chords notated in open position are to be sung as if they were in clae position. Chord No.12 therefore is sung: Note: In this chapter all the resolutions of the V" chords have been ‘notated with the major tonic. However you should practice re a nr solutions to the minor tonic in the same ways, 3) Play the bass note (root) of each chord, Sing the chord. Sing the chords and their resolutions, naming the notes, beginning with the note you have played. 4) From the bass notes notated in Section B, sing the notes ofthe V7 chords and their solutions aftr fist playing them on the piano, 5) Think of the notes below as sevenths in various V7 chords, Pay them on the piano and sing the V" chords from the note downwards Name the notes. Finish with the tonic in the key of resolution, 1 2 3 4 5 6 2 8 9 10 ’ ©106 Using the V7 chord, here are some special exercises forthe following intervals: 1. Minor seventh 11. Augmented fourth (tritone) IIL, Major sixth (it has alteady been introduced in conjunction with the trad, but here it has a different harmonic function) I. Minor seventh 1) Sing the minor seventh from the root ofthe VTchord upwards (8) ffom the sevenths of the above chords after fist playing to the seventh, naming the notes, ‘only the seventh on the piano. If you find it difficult to sing (@) from the chords notated in A, page 108, ater fest playing the minor seventh downwards immediatly, first think of the ‘only the tonic on the piano descending V7 chord a6 2 whole, (6) from the bass notes notated in B, page 105. ‘Sing the minor seventh from the seventh of the ‘V7 chord downwards to the root SSS] b stands for a V'chord in fist inver- enor son wih the root omitied-The bass noe is thus the third of he" chord, conta strong leading tone tendencies (ee the arrows in example) From this thir (e) upto the ninth ofthe V? (ab) diminished seventh and. theel stormed, which explains the figure bass notation “diminished seveath which follows © cb db. This chord, which consis of three minor thirds, has & very marked tendency to resolve 0 the triad Exercises: 1) Ply again the seventh chords in B, Chapter XVI, page 105. While the chords are sounding, ing the appropiate dimished seventh, begining withthe third of the V" chotd, Also sing thelr eslutions. No.1 in B, page 105, wil be performed in this manner Sing Pray 2) Sing, naming the notes, the diminished sevenths with their rsolutios the following notes as starting tones: (also to minor triads) as in the musical example b) above using 3 1 2 4 5 6 7 8 9 10 i 12 ; SSS! A == SSS SS aS