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