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    Sight singing study

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    13 views99 pages

    Sight Singing - Samsight Dinginguel Adler

    Uploaded by

    Etneciv Zepey
    Sight singing study

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 99
    SIGHT PINGING Pitch Inter Sa mucl Adler ns KN Contents Preface ix Acknowledgments xii vant ont Melodic Seudies Major and Minor Sales 4 Execs 6 Learning about tmervaly 7 ‘Simple and Compound Intervals “Typesof Imerrale 9 The Second 13, "The Minor Sond (m2) 15 ‘The Augmented Second (AZ) 21 Nonrhythmic Exercises 22 Simple Melodies Using Seconds The Third 36 ‘The Major Third (M3) Nonshythmle Evercies 44 Rhythmic Exerc The Diminished Fourth yy The Fourth andthe Fith go The Perfect Filth (0 The Triae (A406 09) 8 Nonrhythmic Exerses 39 Rhythmic Escrcives 32 The Major Sith (MG) by Nomthydhiic Exercises Gp Rhythnie Exercises by The Augmented rina vi The Seventh 3 The Major Seventh; ( be Mined Seventh MO onttsthnia Peerriey Rhythmic Exercises Modal Scales and Passges 1) Oe Sales 108 Liketnteral Chows any Divene-lmenal Chords. top Odie Ei ao COPTER Melodies for Pracice and Reniew i Prepacator Exerches 115, Forty Two Tweusieh-Century Melaliey 4 ase Two Rhythinic Studies EEK. Definition of Rhythmic Terma 129 Nonmeasured Rhythunic Exercises 09 GHArTx xt Simple Common) Meter 137 Dimpie anpie ever the “Two Beat Simple Triple Meter, the “Threeteat” yu Siople Quadruple Meter, the "Four leat” The Anactiss oF Upbeat 146 Tbsegela Division ofa Heat in Simple Mever SUITED EHH HH pound Meter 56 Camposind Bupl Meter 437 Compo Triple Meter 16 Compond Quadruple Meter 102 ‘lditional Compound Meters 16 polite Meters by Quintupie Meter 369 Dison of Compan Meters into Toregular Pacers +74 Additonal Composite Meters 176 iam 9 Burther Riythoie Devices 179 Mixed (Changing) Meters 179 Complex Divisions ofthe Beat 48a ThintsFourDucte 183 Preface Himes of This Book ‘We are living in a time when the technical demands on musicians are Increasing with every passing year There are atleast two major rea sons fr hs cone phenotnenon, Fis he repereire we are ex persed to perform not only grows larger and more dificult with each newly compored score, but alsa embraces muse fom histrieal periods “bing back o medieval tier Only thirty or Frey year ago, moe con ‘certs presented music (rm the tine of |S, Bach tothe ealy twentieth Century. with the greatet emphasis on the yeats between 1730 and 8, cise no longer true. Setond, the fuctating or unable ute of tonality, which i commonplace in contemporary musi, places an the nineteenth centiy on, the extent of tonality aid seas om the ton ener as varie fom comer to compte and sometines even tro ing of our repertoire, we observe in rks from 35 lang ago 24 the twelfth century that lens of tonality ane modality were ane in With te areas of speiatization open to misicians becoming move Aisenilcd. 4 Bevomcs event to fake a Rar inhich the performing composing condurting, ov sholaly musician Preparing lor the condone tat exist in the profesion today. The ajo concer of thi fn is msl literacy. It has alnays sere tne thatthe ability to ved music, regardless of style period, of ca fest, the iow essential tool forthe profesional musician, Ye fre of the Hieraie dealing with this cil avea of eading, hen inadequate to meet the new demands fm he tansie student owt tess vone erate ot mele, hac svt rhytme evenings which elect the aarose thigh maga PREFACE peti of creativity from 1750 to 180. In this volume, 1 have face fon the one sical element common to al styles and creative peti amely the incerta. eoutendl that if you sing by interval ta vine you wil be able wo ead msc chat is on, sda, panto! sta fF # combination of ai uf these means of organization and pli inn, The other atea of concentration is rhythm. The stulent wil he lle in basic shythmie problems, at the sme time encountering the ‘more complex thyme configurations found ao frequcutly i he monks ofthe past went five years. Is hoped that a greater avates ol the fenuite scope of music will reult fom thi procedure: For reavas fmmetiary and pros TThave chosen 0 pretent & multe of ‘eserves rather than abundance of text. How to Use This Book Wb suguested atthe stunt practice for abou fifteen nines» day structured for use ina four semester tusilanship cons, but i nn Bho serve tor andivadaaize eacrction of anyoue wating to sen his sight singing, ication, or thymic skills, Furtheraune. i ud fui ae ain duction vo any conducting clas inorder hehe she studcis" anatenes of pitch and stythm. Finally, the eves db ased for warmup by choral groups to strengthen their yt cope wth amervalic and hythne problems, The specie meth of singing i le wp to the instructor seudent. A sollige stem may certainly be died In that cae, 1 wo strongly recommend the se of the stationary do, since no hey tela tionships ate xpountanshere in the book. Alternatively 9 ‘of sumbers may te wlized, abeing each noe from © 10 ily, The label yt ety be wed singing te exetcoes have never been to concerned about the exact method of singing + relody or dhe qvaiy of tone produced ina sight singing class as long 14 le, da dy, e shoul! be employed inthe performance of the rhyth ne exeiehes in Fart Two. Humming muse be discourage esse 14s of primary importance shat the fret (melodic) and second (rinshnicy parts ofthe hook be wel simadineowty oF Concurrent The reason they are presented separtely is because the shythmie pr PREFACE tion dare not require the sme ameunt of time atthe melodic cape ters. Therefore, It should be rather simple to complete Chapters X, Xlv and It by the time the student has fenched the Ise seaton of Chapter IIT and is ready to tackle the ehythmic exercises presented there. TF the material in the rhyeho chapters has not been mastered, the exercies bred on nonshythinic fragments should be postponed luni sch time atthe stadent has a good command ofthe rhythmic ‘ectniges contained in the Sst three chapters of Fart To. Sil another imaginative way of wtlzing this text: every week ot so, the student should be assigned a nonthythmic exercise om Part ‘Ones asked to "rhythmiie fe. Saar hyhanieexerte ro Pare Two should be “melodied” with pitches from the nonshyehmic ‘exercte in Part One that i being drill at that time, These creative ‘cxrcves should be performed in cau by the “compote.” eight read by the group, or given as dictation in ehythmic and melodic dil. 1 it alto nged that extensive ue be made ofeach stident's particule inwtroment. for too often diciaton drile are confined to the piano ‘This technique has many advantages: it provides an excellent oppor “equalizs” the poston of the nonpianist; and it provides the exer ses with 2 greater variety of tonal color. Duets may be ased fe “aoc doving denne af ly an pea igen ny for example 1. Melodite Duet No. °X" using only major oF minor seconds in the upper pare and only major oF minor thirds in che lower 2, Takea rhychmic exercise in Chapter XI and melodize it using 4 Phaygat or other modal ele 3 Take'2 nonchythmic melodic fragment from Chapter V and. shythmitze it with the thymic patern of Exercise “Y" in hayes XIE 4. Take a series of chords in Chapter VII and set them thyehmi cally Exerese "2" in Chapter XIV. As ns alteny ben mentioned, all thee exert should be sight ead in land performed ona areyof instrument Canons have been provided to aford the aident the greatest soon pri ing hi peppy we he enjoye singing rounds. I wold be most desirable i the ls wo pesform the cans capella after am inital period of fsramental "Spper and help: Of cour, instrument ae val, they should ‘lobe used in the performance ofthe rounds wo thatthe a ath ‘entrances, tor example. may be vocal while the tend and fowth ‘ule playa by instrument, Conclusion 1k is my sincere hope that this modest volume will help su musical literacy in 18 application to all Kinds of musi. regres style or tonal organisation Further, [hope i wil aia he in tion ofthis mom crucial subject ata time when music making in al its manifestations, Is proiterating wildly and mulepiey of musical styles and techniques has become a permanent reality Samuel adler Acknowledgments 1am greatly indebted to 2 number of people for ther aid and eco agement in the writing, cating and final completion ofthis book, ist Tike to mention Jan DeGaetani, who ingpred the intial dea for this syste of sigh singing by describing the dficultes students experience) in her master clases when asked to perform unorthaox sntevallic ‘combinations. Farther, Y like to expres my appreciation 1 the ‘Thewty Depastcas of Ue Esstnan School of Msi, partic 40 Dorothy Payne (now at the University of Texas in Austin), Willa enn, David Beach, and Robert Gauldin, as well a to Jerold Grae, ‘chairman af the Department of Muiealogy here or their consnuctive iticism and for the opporeinities they provided to test ch of the materia. 10 my secretary. Wende Persons, goes special thanks Kr lier ‘untiring devotion inthe preparation of the mamerip. Last buat ce tainly not leas, like to expres my special gratitude to susie editor of W. W. Norton, forthe splendid editing ofthe ma script and for being so very supportive in all aspects leading to the ‘onpletion of the projec. PART ONE Melodic Studies = = Ll a = mae = ws = w= Preliminaries Two prerequisites wll facilitate our uy of singing by interval before iw of al pitches on, above, and below the statt in both the teble and she bs clef. Alter the fst few chaps we shall discuss and practice exercises in the alto and tenor clea wel A thorough Knowledge of all wajor at enun sees wo ‘ertainly help, even though a wil be emphasized throughout ‘his book, noc all che exeeses are based on our "common prac tice” tonal system. Nevertheles, the terme major and. minor ‘occur so frequently inthe designation of intervals that 2 brie Sint shouldbe spene 1 review Key signatures as well a6 the ‘halfwep-whole step construction of ut major ane min sales Modal scales and synthetic als willbe dscused and analyecd PRELIM Major and Minor Seales ‘The Relationships of Keys in the Circle of Fifths oan) ) (na) 6 (stam) 4 : ( a Aas Gm) fe 8) 6 aarp E(¢share) e 1 teas) (Stas) Det “cal rs ‘ous Major Sales and Their Relative Minors “The major scales constructed in the following manne ‘Treve ate dhe yp of mor ecle 1. Simple, modal, natural or pare minor: 4 $n PRELIMINARIES 2 Melodie minor “The melodic minor ascends with the sisth and seventh degrees mised and then lowered agin when descending. Ihe descening melodie rminor is like the simple minor sale. Occasionally. yon will fd the :scendng form of the melodic minor scale used inthe downward direc: ‘ion. Thete instances are rare. 4. Harmonie minor ee ee ‘This sale isthe same 25 the simple minor, except that the seventh ghee titel tet tng wn deceading, Relatianehip hetwren Major and Minor Scales Each major sale has relative minor. The key signature i the same, but that isthe extent of the relationship. To tnd the telatve minor sale. count down theee hal wepe (2 minor third) from the ey onic) noe major related to A roinor (no sharps o Rat in the signatu major related to B minor (both have two sharps ine ae ure) Conversely 1 Bnd the relative major of 3 minor sale, count up ‘ee hal steps (minor third) from the key (tonic) note minor related to Ap major (both have four Hats the signa E minor related 10 G major ath have ome sharp inthe signature, ere ie the fll table PRELIMINARIES Exercises J. Write out the following sles by Half and whole step, withow sp an Esanple Learning about Intervals 2 Bape te mon 8. Ce major 13. Dp major Aw intersal isthe distance between pitches (in ther words, the difer: eae Tt Fema, mela oe 3 Cminor, harmonic 18. Bh minor, harmonic 1 Simple intron: thoae which are smaller than an octave. oF leew 4 18. Bb major cal 1e chromatic seale of an octave (C-C}, TH. Write out the hey signatures for the twenty scales above in both the treble clef andthe bss cle Faample LEARNING ANOUT INTERVALS re somal amtersa are (comp Sn 21k (compo eh 120 fempound 5) Lith fompound 7) 1h compound Ave or 2 Sve i pertec filth (Py q ® fet G0 Fhe Literal HE LEARNING ABOUT INTERVALS Types of Intervals Second third ssths, ad events may be maj, sinor, diminished or augmented geen pg oS pean geen a and the i Tealing, where the dani fox! in an asceniing Tine and the fat LEARNING ABOUT INTERVALS for a deserting one Aiminished, these te intervals aes pe with them they oe the Exercises 1. Label cach intereal and ele the numberof haf steps However, the instances ae wo rare and the alternate spellings wed a0 frequen hat not mach tie showid he spe these tw hers xcept 10 a6 that the tate and the anon mnt alamo always be perfect or pute, and it “imperee™ should be labelled (A) ag {in thes enharmonic forms, so thee must be edi and quickly hem tied ‘tltwepy BEE 13 = oo ot Fae “The fi interval we wu be correc wo label M2, while she second should be designated 36-3, OF course, the two intervals sound ape proxinately the sie 0 Ss for harmonic conaidertions uch at the use of the augmented ih ABEL LEARNING ABOUT INTERVALS 2. ili the mining pitch The Second The objet of bot the melodic and shythanic exercises i this book is to be able 1o rea all music at sight Eventhough ie may seem eather ian rouing acer as sale When aging eno yams capes you mld eg seca ne Set ebay ict ia enc a mae mul ae pat eum teatociur cts cama me acttre Nes gute may be bal ath ee Mla ne sopernpie pn th, Sch excel eo Sera cat ae cans athand sorta cee CTS Cor imseatons nn oes arse cece fige, Each set of exerces is preceded hy specific itetions, ee sey closely for beat results. Do aot skip around from a sexond ra ith tne instance, but pracice and master the iterate rom Salt seconds) #0 lange (events) im sequence, since sme adds % ‘THESECOND ~ Nonrhythnic Esercies ‘THESECOND. Pay the frst note ofeach exercise on the piano, then try to ing Aten she este ever wide mmpaniqnene Da cao 6 ith each “epetition. A das heel it forse han the oers® ‘The Minor Second (m2) i he males interval betwee two pits eI mn all ep neither divection. . Preparaoey Exercises Pay the following minor seconds on the plano or any other °C yang) Snstrineoe, de sing them Ks ayene ty ctv atleast three tes before going onto the next ie oe UU UES HEHEHE peer Serike, and sing a minor second shove yj . at! The Major Second (M2) The major second is the diaance of one whole sep oF two hall steps es Fetwee any two pitches, Preparatory Exercises Asin the preparatry exercises [or the minor send, play cach of he Gllowing apr aeons om the pane "on any eet “C instrument, then sing” Repeat each example several times until the “van caracterstic of the interval swell stashed i thee. Surke and Sing i 4 the notated pitch vn the piano and eh = ie piano and then follow th aE = a0 BY ech Yu af i on the pa al aa 4d {2 sue it The rane thould be wl oy ache a series very slowly and deliberately ats thoy thevense the yer pray n = al THE secon fe 2p éE Nonthythmic Exercises the piano, then sing the en a Slowty at ra then increase FF moe means thar it should be held a speed: remember, a dat on Ii Tonge than the others ‘THESECOND THE SECOND The Augmented Second (A2) The augniented second Is mite up of thee halt steps oF ane whore pis ome hal step, Like other imerals diseased in later chapters, the Ivginented second ig oth an enharmonic and + peirhologial phe Teds fea enharmonic aypert, and we wl practice it extensively the next chapter where the minor thd is dealt with, However, itis pschotogically valid to in ny ethnic wales, 1 consideration, At we armonically, this imerval warrants Strike the notated pel Ihave seen the harmonic mi ach ofthe following exercises, beseen the sixth and seventh sile degrees, since in common har nome practice the leading tone mst be preent to fora a mayor flominant seventh chon. So rnareraed weve he aigil prettinner ‘of out eighteemth-nineteent century harmonic sytem that they built Sune aatnonitions into thei woe leg rules abot asoding the Sarike, then sing a major second above A? hy all means, ince they felt that thi interval. a bit lie the eine {AL dB), was too diliclt tm pevfors, ‘Thi may certainly he the case Strike then sing a major eae low h ‘ a , rate ent, since we sng “world musi,” 2 grea lel of which contatns sgmente sero, Practice thee few esercses a8 iligenty a4 the n-nays that veil found in thers forthe interval appears tr of tay Treat, Site and sing the pitches setoee Preparatory Exercises Apes SS ase a | Foe SSS] at ‘THESECOND THESLCOND Strike and Sing ‘Sui dhe notated teh om the pana, the flow dire sions Rhythmic Exercises sequent rhythmic exer leer mastering etch ‘THESECOND The Third peed ut sing a minor third above the beginning. Strike each DESMO C ETT Dt HAE The ma erence Herne the ir THE THIRD = = a ot i mn ac lens ee ee ‘ ; Neath Eerie : ‘Play first on an instrument, then try wo sing the entire exercise * = cet ove: Tet go bch re Ulaing atthe ead te, ud ig Iai hid belo it ‘THETHIRD Ske the writen note nd sing the pith indicated swt wt wh sot sot tot 28 op otg st Nonchythnie Exercises Play the frst note ony, then try 10 sing wltRout accompa: hater roeypleving wach exercie. (Be cate of = = eae a. ‘ — = THE THIRD: Sirike the written note and then sing the interval indicated (Wau he mined aids careraly and tune he dilferent ids with precision) sot wot Py mst ot sof_paat mat goose THE THIRD Nonvhytlomie Exercises AHH UC HHH S., Moving quarers THE THIRD Rirythmic Exercises PODDLEDE ECC CDD TOOT DOPE ‘THE THIRD The Diminished Fourth Tetore we leave te sty of thirds, we ned to ok atthe “diminished vet forma” whl isan enfarmonic spelling ofthe major third aS. or the himonic execution ofthis metodie iM formula,” sn ig the mpenne part and play the ater tice pais watch dhe ero Felton) asa clas ing the bapa a play the other tree: The Fourth and the Tifth The P The perfec fourth the ‘one bal sep, The word tonal sic these intervals resin constant eve ifthe f Aleyend for thee speling om the He ud proper voice Tea fof the eo pitces Preparatory Exercises Remember to ply the interval oF the group of intervals othe piano, and then sng with at = THE FOURTH AND THE FIFTH sire and Sing Sike the written note on the pian abl sing 2 perfece fou fp back to the heginning.srike each noe, and sing 3 (ra ‘THE FOURTH ANDTHE FIT Sirk de written ae, hen sing the pte for which in Lael nt ont Nowslylunie Bseatve ment ater the fre notes sounded, (Check pitshat the end.) ‘Whale she nonrythmacexcrcas he peso chapter ante only the interval being etd, tons hereon, exercises of this type ‘will make use of bah Tanger interval inorder to make ‘ea anne singable. Now pleted Chapire TH and IN, second and thitds of ll pes have been clearly established so that : their se from tu cn a ther development am ight singing aN EMEFOURTH AND THE FIFTH The Perfect Fifth (P5) “The perfect 6th f hein ral of seven Hall step, ur thee whole and one hall seep. 1 fmportance stems Ho the fat that the "new" note in the harmonic series alter the union ‘moreover, the frst polypnic sistem of Western musi on owed din intervals Tun” his sane wel scale sytem, the pertec th stabilizes the imu usc ta great extent. We tevogize that all se othe pert incerval for tuning veal msc ap well Preparatory Exercises Remember to play the interval or the grou intervaeom the Pano, and then sng without accotnpanient Strike and Sing Sei the writen vent ‘ach ore. Then go bck wo the beginning, ithe each ate, sad sng a perfect th elon ie Ut TOTUTG ECCT GH ‘THE FOURTH AND THE FIFTH Siwike dhe writen note and sing the appropriate inter st st gst rst rsh ast = THE FOURTH AND THE FIFTH FHEFOURTHAND TAL HET " cise for Mined PA and P53 ve tease he mc. vig ve arnt me ‘THE FOURTH AND THE FIFTH THE FOURTH ANDTHE FIETH The Tritone (44 on as ted fourth oF the diminished ie, a ce while steps Hetween ay tu pl hea. Tt is nox song and in eatly polyphonic music. and wa, Practice period on which mush four hattony and oneae Strike and Sing Sake the written note om the pian and te, Them go ack he begining the ea below ritone above each Preparsory Exercises Sake the written ote and sing the inerval indicated ia the Remember wo play the intereal or group of imesvals on the piano, and then sing directions stay ast TTT RH Predominantly Moved ws, iths, and Tritones THEFOURTH ANDTHE FIETHL Nonrhythmic Exercises Predouinantly Tritones THE FOURTH AND THE FIFTH THE POURTH AND THE FIETHL Rinstomic Exercises 1 Maniceaely Fst THE FOURTH AND THE THEFOURTH AND THE FETE Canons HEE CC CHEER THEFOURTHAND THE Her Andante espressivo i4peny THE FOURTH AND THE FOFTH axon, 6 1600 ‘Guieon The Sixth he Manor Sixth (m6) hall steps four whole ses. tonal aye again, if ayy the vel Te fas iten been saguested the fh ight ce emda “compe ran thatthe best wa to remember the min a perfec out followed bya nor thir rides intervals, Ding attentive a all times co thei terse, ad intenatng each saerval rranditny vocabulary THESIXTH Siu the written not onthe piano and sing 4 sn abo each one THESSTH Preparatory Exercises As ore, play €aUH Wayment ow he pan peated Strike the writen note, then sing the intereal indicaed by the Uirecton shove each note po ase Strike and Sing es rok sh mth sh mit mst mt Bch mh mth Swike the writen note on the piano 24d sing & nF Bes = THESISTH Nonththmic Exercises The Majo Sixth (Ma) Jmeral of wine hal steps o fur whole steps cic of the major third and the major seventh, re shh" geese care met therefore be taken 1 sing ita high av one dates in order to ensuse the diflerence heteeen the minor and major sath, Preparatory Exerc Do nt forget ta repent each fragment several times, nil the sound is well implanted im the ex. THESIXTH ‘THESIXTH Srike the waiten note on the prano, the sing « Mi below Sike the wri Alivections shove ech n ote, then sing dhe ater indkated i dh Mob Mab uh Mah taf cd ah Me sah ad et Met Mot Me Mt ‘THESIXTH Mixed Sixths Sgn a warnings in order: the student should be very ca ihe enya ch this sense of difleence moh Moh Ma Mah st crarsinTy Sutely 3 4 THESIXTH THESXTH 5 ie fas Happily fo 2 ‘TuESISTH Very slowly The Augmented Sixth This chapter would not be complete without a Uriet discussion augmented sixth, Although itis an ena {quency in common practice harmony makes i nccenary 1 Look this phenomenon belore you practice the seven Intervals. You wil evoallypraree the ouercal ithe next chapter. tot play the follow ing exercises on the pian See how ic functions Mos commonly wae A cols ib Se Conversely, the itera calle! 3 diminished seventh i actually a cxharmonically spelled its resolution in the tonal idm, since a sharped ote ries and 4 faxed ore moves downward fr sash Tak repelling i need Tm brah cases, the augmented sixth as well as the diminished seventh ae toot inpertant rually and ychugialy, Kor they de THESINTHE Canons Most of the canons presented in this and other chapters were writen lation, we have often chogen tn ait the ate at unesusieal tran may conce rate on the interval content and perform the music ae rately. Even those canons tht have taon tava wuld bene {om pesto mance with neutral sllabes, Enh canon shoul be studied in unison and then dived wp ito parte once the lies ran be per Luinie vas mreenvEs, Ut ft Be Quite fase te 2 Saas ather relaxed (3 rie) a eet eter apt Bast tom asx, See = owocr santas, a Drinking Song fae ‘THE SEVENTH Exercises sents estates, she sng them repeatedly unt each The Seventh The Minor Seventh (m7) ‘own particular quae, (ie. much of the music ent iicuy rege, of follow! by ‘THE SEVENTH ‘THU SEVENTH Sike and Sing Strike the written note om the iam, uhew ie 4 wnt seventh Sirike the writes note on the piano. then sing = minor seventh ‘belo each one, Sirike the writen noe, thet sing the feral sce i te Aiections above each note ot ak BM ot ahh ae ‘THESEVENTH that necded resolution. Today, consecutive lic ad aon, are tax commonplace ant nin which contemporary composers are often seventh the inerel of gente tension within “Tue SEVENTH we Major Seventh (M7) isthe interval of eleven hall tes. or five ane This interval as een ealled he & THESEVENTH Strike and Sing Sire the writin note on the nso, then sing sve each one Sirike the writs note ot the ino, then sing a major seventh below each one Scribe the writen note, shew sing the interval indicated in che directions above each note Agh sok wt ne NT AE wh ved nH By THE SEVENTH Strike al Sing ing the dgectione abe each note Mixed Sevenths eis importann vo emer that there isa lange (major) and a small ich afer een rr the minuning o any ikea especial the poratory Exercises THE SEVENTH ‘THESEVENTH mT wh we wat ae ‘THESEVENTH THESEVENTH 4, Quis hat 2 ie 1 Map She THE SEVENTH ‘THESEVENTHL 4 Stately THESEVENTH Canons Scales and Chords hee a di aes a ter pgs othe siaj tine congurations which have umdred Some of thee me tia hen ral chord sorabular. However, gers rn interae vastly diferent from are hrs wth which ee hate eae 90 4 Passages Cesk the nes aftr the exerie has hee tepeatod at feast three EE pian TRE CC AH Repeat each ofthe foto The C cs The Whale-Tine Scale mate Seale Soushetc oF “Hybrid” Scales Caution: Sing these pattems purely by interval, Do not rely un ALES AND ep aoe tie oy! peso zeae ee. eee SCALES AND CHORDS TOPPER CERO CECH DDH SCALES AND CHORDS, Minor Sesths| SCALES ANDCHORDS. Planing (or Paralleling, Exercises hurd ave: La ‘You shoul alk ery wo sequence chvanuics on shin frequen im music ben tee tenor cle is oten used to notate the itl ‘ole ba, the baron and the tenor toons Write the equialent note in ether erebleor bass lef om the lowe SCALES AND CHORDS 2 minor third wp ft 16, a minor sia ip SCALES AND CHORDS 17. a majo seventh down: ae a 1. Take thisome from dation (ike belore einai) TODDR CORE COT OD ee Melodies for Practice and Review rent relationship omypaniment several tines, always hen sng the example MELODIES FOR ACTICE AND RESIEW MELODIES FOR PRACTICE AND REVIEW 2 ser slowly, Bt eythaiclly 2. tally an pe onthe version ofthe Sst meld LUTE MELODIES FOR PRACTICE AND RE EW oy mann, hind Sempra FL MARDOK. Concerto for Orc 1k srseassey, Pe ha, Fourth Tal ass F Dane Of the Nessematd a ‘ . a DR PRACTICE AND REVIEW MELODIE NELODIESTFOR PRACTICE AND REVIEW ; Pogo is Saab = 7 [Tat see : 3 f Fa pete = é i= MELODIES FOR PRACTICE AND KI-VEEW cena, Black Bead TOO08 C00 00 (HHH HHH FOR PRACTICE AND REVIEW TAA PART TWO Rhythmic Studies DODUE S00 00 (HHH Definition of Rhythmic Terms Music tke dances basically 3 temporal art ‘That means itis depen dln to a great extent on the dimension of time, through which 1 pases. The way se organize music within a temporal. rather than Spatial, framework elle ti. The ovement” Some ner stan futher to understand tions may help we yeh he of pitas Rhiythan is a peri quality ‘sca movement sical passes and regular ofall Tonle ean he onganiation of duration, however ican become 4 unit ofa thythmie phase. This single une of ‘saraion is clled a pulie oa eat The oneanizaion of erent oreape of is called meter. Meter is scieved the fet pe ofeach pater. BY text tae is louder o thes the fst heat rare sk. What we mean a misc accent any Kn of empisen'a beat or ite that makes it There are tee Setes of pl la the resto he pattern, jc mans of achieving the Feeling of acent in a we qrouping, norwtastanding the natura tendency to erp. i fanple, the ishing uf a thek ot a maple Hub a ekck on a fete inside un duty ote Hager han the athens: ca rane vas aUETHOvES, Ninth Syphon ess Tonic ov pitch accent-having one noe high than the exh: rau sesoussons, Fourth Syphon. Allegro vivace 4 ke, Hastuonizing Fe note witha grey rete density of teatime than the others hin Is hxmonic oF textura! wei stanomanve on with alled estes arn theentbe when! accent because is the etubelishment or the ores Peas Josten Mason, Symphony No. 103, 1H TA Ot RHYTHMIC TERMS « gumpe nf feats with the ft ea usally accent tv camer alist imperceptibly by any ofthe aboxe Tecalled mownies, Lice ae separated (fom exh ont By Ter ana be calle the divance between 69 Tih pea with shi the Bea axe performed in me is called temo. At the einniny af apiece of music, we may find 2 That tection af tie spent of expo ae whi ws to be per lonmed.ora precise metsonome marking. The metronome marking in cues how mat) peso heats are co occ thin every minite of { parictar movement or pay Fon vans, the indinton j — 18 tneans thatthe piece i be plac slowly for only 48 bens (inthis tee t9 quarter notes) sould orc inthe course ofa minute. Om the thot hands puwene marked | — UA will be played fast since 138 parier notes ms he te into seconds The marking J = 6D can Tre esed ichout a mere, forthe it specified (Ree a quater sf we sron and may be regulated. by etch termine the temper but this matter with which we will Not concern arate sts moment A for temp indication by weal descrpaion. fee a sey rept im af herons And how to achieve Shentes lary of performance. Tis suggested that if there is 0 Sreromome marking, the peor cr syige Ris consderauin uf spect sie ite oeaion at eaulae at what speed these fs mld he mont searly ein. Similarly, im a slow piece, the the shanster of the muse and ite otation de ren aad “inner Heat” whi sv evesary im ging a slow work nso Mee navi, Smphony No. 9,1 Jn the example alive, temps uate determined by the sp se the work thes on 2 fan ne gt ones Te this Bach eacerp the {ng rod. Al hough the piece hears slow marhing. Adagio. the eighth notes mas he steady yet mist ot diag. Theron, te ‘tes mt not be pyr ing wo this noble att rater yas Table of Rhythmic Values The suden should get this ae of shyehnic values il npn. nature rig the oun tas dys nn Mme So a ss es = a = = = = RAN THSUC TERS clon Wat teva othe wae pls Nonm red Rhythmic Exercises Is eontructed of two muses, sighs the user of Deas in i utube ells the io ractement The lndictes tat there are thee quarter notes i meas, 1 uber is eonsered a ‘or an eighth note, et quayler mate gets be al he unit egal one ek nome: then pestsan the exerci (fw ttre sea watch clap a steady poe equal to @ wnt vue, ane Hall of he cass may clap 3 stead ea, ite the tes tal pertorae te exes, {© Ta mesenori sing or nr nt por second) 6 Desi slower tet and gradually work up ts (HT A Jeeed ess iectiiisi- tl RHYTHMIC TERMS: ddd tees ee jd ae BPE Sera Simple (Conson) Meter the “Two Beat Simple Duple Met — vse twobeat meters, and of thee, we will probably en iether Prctce all dace in onder lems of smaller and larger shyhmie mquery ch inarveyourselt with i he basic unit» i) in THU EEE 1 dBRL 09 ier earl i Simple Traple Meter, the “Three bi Measures in ple meter coutain ee beats (four exercises ate it that mie Iloweter Repeat each fragment seta ines. al pattem uni they are all complete, mater fis slvely the basic nit», aégradvaly cies the speedo f3ch cane pérlonved evernsls as mth grees foes ike L nit = 109 Regular Exercves Simple Quadruple Meter, the “Four-Beat” r aaa Messe in quadruple meter contain four beats: $54 $. The mca Ccnmonly wed of tha, mill unnpaie de bulk of itt exercise i ‘nding all of dhe prlinnary fragments However, and are quite ‘omumon mete sigtatites today, while wat 4 popular signataye fe Rrowisance and Barge periods and fail wed today. Ther resiouly suggested. study them alleaetuly, in order to te stuns omell goa vinual pects of La tions as thone given for the duple and tiple wos pest ach preliminary agent wl mastered 1h, evenly reaching higher seed the basic unit ' ale Wale 1 ! i ail adie ' dias Wad us Regular Freres (HHH UAUOTEEE WwW =. = Syneopation postion, hich Fiery ea “esting up cam he deserted as sins in which the metric acent oxy on the tern. Te may he call snportare wo wee tha sults hen the pits id consitency. Scat crest centh- ad tenth gentry pees that. Spncopation ea he erm Ws he rst beat and TUL ETETTCCCUrCungneancgas 1h Upbents and Ssneapation wet ular Di livided by other mules hae of « Beat in Simple Meter quarternote renter 2 TTT e ciahtvnate quintet quaniernote quintuplet ight ep ‘quarter note sepsupies vow

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