Ear Training 3 Second Edition Scott deOgburn Tony Germain Mitch Haupers Steve Prosser Roberta Radley Dave Vose Berklee college of musicBerklee College of Music Ea Curriculum Workbook Series EAR TRAINING 3 WORKBOOK Second Edition Scott deOgburn Tony Germain Mitch Haupers Steve Prosser Roberta Radley Dave Vose © 2006 Berklee College of MusicChapter 1 4.4 Rhythm . Conducting; performance; funk 16th note patterns; review of swing eighth note interpretation and triplets 1.2 Melody . Review of major and minor tonalites; practice method for sight singing; solfege 8 exercises 1.3 Harmony 16 Review of cycle § in the major key; Aeolian mode Chapter 2 2.41. Rhythm 19 2/8 meter; halt and double time tempos; review of common meters 2.2 Melody .... Lydian mode 2.3. Harmony Lydian mode 24 29 Chapter 3 3.1 Rhythm : 3/8 meter, changing time signatur review of 6/8 meter 3 3.2 Melody .. 36 Mixolydian mode 3.3 Harmony At Mixolydian mode. Chapter 4 44 Rhythm... 43 ‘Tempo, specific metronome markings review of half and double time 4.2. Melody ... Dorian mode 4.3 Harmony ..... be Dorian mode Chapter 5 5.1 Rhythm Sia 12/8 meter; sixteenth note triplets; review of changing time signatures 5.2 Melody . : Phrygian mode 5.3 Harmony . Phrygian mode Chapter 6 6.1. Rhythm : Isolated note patterns; half note triplet; 66 6.2 Melody . on Review of all modes 63 Harmony .. .77 Melodic and Harmonic Minor Chapter 7 741 Rhythm... 79 9/8 meter, even and uneven groupings 7.2 Melody . 83 Mixed modality; mixed major modes, mixed minor modes 7.3 Harmony .......+ ag Modal interchange Chapter 8 8.1 Rhythm... Review 8.2 Melody . More on mixed modality; mixed major with minor modes 8.3 Harmony ..... foc: 103 Review of modal harmony - 96Ear Training 3 Workbook Chapter 1 Conducting Conducting is a method of timekeeping commonly used in ear training, Conducting patterns consist of distinct points in which beats are placed. In this way, there is only one point within the pattern that shows beat one, thus, aiding the student in the development of a sense of “place” within the meas- ure. Once these patterns are learned and practiced, the student can rely upon them to maintain flow as changing rhythms and meters become more complex in their study. Basic Patterns The conducting patterns used in ear training are designed to be simple, effective and inter- changeable. For example, the pattern used for 2/4 can also be used for 6/8; conducting in 4/4 can be used in 12/8, etc. As well, we have developed simplified patterns for 5/4, 6/4, and 7/4 that are all based upon the 4/4 pattern. These patterns function regardless of stress divisions within the measure (i.e., a bar of 5/4 divided into 3+2 or a bar of 7/4 divided into 2+3+2). Most importantly, the student can focus on rhythm and meter rather than the plethora of con- ducting options that exist in varying schools of thought. (Note: Students will be introduced to appropriate conducting methods and pedagogy in the required conducting courses later in the curriculum.) Conducting is to be performed with the right hand. When practicing conducting patterns, try to maintain a sense of flow. Do not stop on the beats. Instead, bounce the hand off of each beat, while moving toward the next beat with a sense of steady motion. Avoid angular movements, as these will create a duple feel. Although good for straight eighth-note subdivision, this can make learning odd divisions of the beat (triplet, quintuplet, and septuplet) difficult in later prac- tice. Once you've mastered the shape and flow of each pattern try to keep its size relatively ‘small and off to the right side — outside of the direct visual sight line for reading, yet within a comfortable peripheral visual zone. The conducting patterns shown on the following pages will be used throughout the entire train- ing process (levels 1-4). It is important that you take the time to familiarize yourself with the patterns and practice them separately until you can perform them accurately without thinking about them. Make certain that your pattern shows the beat and does not stop motion any- where — in other words, keep the flow between the beats. ET3 Chapter 1-1Let's start with a simple two-beat pattern (ex. 1). The example on the left (1a) shows the conducting pattern in two, whereas the example on the right (1b) is a more realistic and flowing version likely to occur in practice. Make cer- Practice thecon- | tain that in both patterns the beats are placed accurately within the flow of ducting parerns | the pattern. while listening to various CDs fiom your per- sonal library. z ‘Soon the ex. 1a imaginary plane pattern in two looks like thi in practice When practicing, try to place the beats consistently each time throughout the pattern. In all patterns, there is an imaginary plane where all beats except the last are placed. Notice the ‘common plane for the placement of beats 1 and 2 in the 3/4 pattern (ex. 2). While beat 3 is placed higher than the common plane for beats 1 and 2, it falls on the same descending line of beat 1. Also note that the downbeats (1, 2 and 3) are all arrived at in a downward motion while the upbeats (+) are all passed in an upward motion. ex. 2b am imaginary plane - pattern in three looks like this in practice The pattern for 4/4 is similar to the three-pattern except that beat 2 is placed to the left of beat 1 (ex. 3). Now, beats 1, 2 and 3 are on the imaginary plane and beat 4 is higher than beat 1 but on the same descending line. The 4/4 meter is perhaps the most popular time signature and therefore is also notated as “common time” ( (). i. L\ ex. 3a or ex. 3b imaginary plane pattern in four looks like this in practice 2.~ET3 Chapter 1TT, Performance r @ It is imperative for the beginning student to learn, feel and internalize steady pulse and subdivision as a means to improving sight-reading skills and IFfetingsubai-| — @XPANding one’s rhythmic vocabulary. There are a number of practice/ vision intemally | performance methods to help develop this skill. Yet, they all have the same isdiffcul, ey | objective in mind: the externalization of pulse and subdivision as a means poner ae of feeling rhythm. We calll this “laying down the grid.” “uR'icka | The grid is determined by the pulse and its most prevalent subdivision. For hhand while you | example, in 4/4 time where the eighth note is present but not sixteenth notes, aeconducting: | students need to keep the quarter note constant and feel the beats divided in two as eighth notes. Whenever more than one subdivision is present, (i. eighths and sixteenths together) students should perform the exercise two ways — feeling both eighth and sixteenth notes against the pulse. Accurately interpreting rhythm notation requires a combination of coordination, pattern recog- nition and sense of flow. Since we can break rhythm down into three “events” (attack-duration- release) that occur in time flow, our practice methods should help us to develop an awareness of these concepts and fluency with their execution. The following practice method, called “tah and conduct” is the most widely used and has proven quite effective for rhythmic develop- ment, Other useful practice methods are described in this chapter on page 9. Performance Method — Tah (or Dah) and Conduct This practice technique relies on the conducting patterns in the right hand for timekeeping, ‘The subdivision is internalized and the rhythm itself is performed vocally by saying “tah” (or ““dah’) in the appropriate places. The “t” in tah (or “d” in dah) is the attack and the “ah” is used for duration and release. (Note: For simplicity, this technique will be referred to as ‘tah and conduct” in the future, even though “dah” is an option.) Try to release as accurately as you attack. Precision at an early stage of learning develops a keen sense for reading, performing and transcribing rhythms in the future. ‘One common problem is running out of breath when “singing” the rhythms. Make sure you are inhaling in a “musical” place within the exercise (e.g., in between phrases or measures; not in the midst of a rhythmic duration). You may even want to mark the places where you discover breathing does not disrupt your rhythmic flow during your practice sessions. The common symbol for a “breath mark” is an apostrophe (') above the staff. Practice hints: If you notice yourself dropping or adding beats in a measure, check your con- ducting pattern and make certain you are not changing it. If that checks out, perhaps you are ignoring rests and “skipping ahead’ to the next note. Feel the rests and their subdivision as they pass by in the flow of time. Perform the rests! ET3 Chapter 1-34.1 Rhythm Rhythmic Exercises In this chapter we look at syncopated 16th notes with the funk rhythmic style in mind. Besides the extensive use of 16th note syncopation, the concept of repetition comes to the forefront. Musicians will often say things such as, “get in the groove," or “in the pocket.” These phrases are ways of saying that the a even players must perform the rhythms with a high degree of accuracy but also ‘ight accent. | With the “feel” that will bring this style to life. “This will coumestslins | Another important aspect of the funk style is the space in the music. If the pulecuings | Parthas too much rhythmic activity it can sound choppy and confusing. ‘hythmictension | Perform the rests as accurately as the notes. which sparcof ome Start by performing exercises 1 through 4. The rhythms in the first space are characteristic of rhythms that might be played by a bass player and/or by a drummer on a bass drum. The part notated on the third space is the back- beat and is usually performed on the snare drum. Sing the bass drum part, clap your hands on the back beats and perform these several times in succession. An additional option is to add example a or b to the groove. Rhythms like these are often performed by the drummer on the hi-hat cymbals. Next, while some of the class is performing the groove, have the remainder perform exercises 5 to 12. The two measure examples are characteristic of guitar or piano comping or horn parts. Then try exercises 13 and 14 which are 4 bar phrases and finally exercises 15 and 16 Which are 8 bar phrases. exa exb 4—ET3 Chapter 1ET3 Chapter 1-5pi LJ iu a iy yf, OL 0, J 0,2, — ET3 Chapter 1Review Throughout the book, each chapter will conclude with a review of rhythmic topics presented earlier on. The following examples review swing eighth note interpretation and triplets. Swing > fers ann eee oe 3 34 33 —— 3 3 3 5 = — SI I ET3 Chapter 1-71.2 Melody In Chapter 1 we will begin with a review of the materials from Ear Training 1 and 2: major and minor melodies. Sol-fa Exercises 1. Major Do Re Mi Sol Fa Mi Re / Mi Fa Mi Re Do Ti Do / Sol La Ti La Sol La Fa / Mi Do Ti Re Mi Fa Sol / La Fa Mi Re Ti Do / Re Fa Mi Sol La Fa Mi / La Ti Sol Mi Fa Sol Mi Do Re La Fa Mi Re / Do Mi Sol Ti Do Re Ti Sol La Fa Sol La Sol / Mi Re La Sol Mi Ti La / Sol Re Fa Mi Ti Re Do 2. Natural Minor Do Re Me Fa Sol Le Sol / Le Sol Fa Me Re Fa Sol / Le Te Sol Fa Le Sol Fa / Me Re Do Te Do Me Do / Re Fa Le Sol Me Fa Sol / Te Le Fa Le Sol Me Re / Do Me Sol Te Le Fa Sol / Fa Me Do Te Re Te Do 3. Melodic Minor Sol La Ti Do Sol Fa Me / Fa Sol La Sol Do Ti La Sol / Me Re Fa Me Re Do Ti Re Do / Fa Sol La Ti Sol Fa Me / Sol La Ti Do Sol Me Re / Do Me Sol Ti Do Re Me / Re Do Ti Do La Sol Me Do 4. Harmonic Minor Do Re Me Sol Le Ti Le / Sol Fa Me Re Do Ti Do / Me Fa Sol Le Ti Le Sol / Fa Me Re Me Do Sol / Fa Sol Le Fa Sol Le Ti Le Sol Fa Me Fa Le Sol Re / Do Ti Do Me Sol Le Sol Ti / Do Le Sol Fa Me Re Do 8—ET3 Chapter 1Practice Method for Sightsinging The following outline is a suggested practice method for learning to hear and sing a new melody using movable-Do solfege. Please note that the order of steps (shown below) is the generally accepted approach for the beginning student. After some time has been spent prac- ticing this approach and a reasonably comfortable level of facility with it is attained, the student is encouraged to choose only those steps that are best suited to accomplish small tasks and/or solve procedural problems as they arise. Do not play the melody before singing it! Do not write the solfege in the book! Practice slowly! — with or without a metronome. . Rhythm: Practice just the rhythm with Tah (or Dah) and Conduct. . Dry Solfege (Out of Time): Identify each new note in the melody by saying its corresponding solfege syllable without pitch. If solfege recognition is not immediate, try saying each new syllable with every beat of the metronome as a practice method for improving this skill. 3. Dry Solfege (In Time): While conducting, practice saying the syllables in their notated rhythm — yet still without pitch. 4, Melodic contour singing. Sing each pitch of the melody with solfege (in order while skipping repeated notes), but out-of-time. 5. Sing the Melody: Put all of the elements together — solfege, rhythm, pitch, in time while conducting. po Problem solving techniques: Practice the problem areas out-of-time by: 1. Singing additional unnotated target pitches with solfege to help you hear the notated pitches (i.e., to hear the interval do to mi, sing do, re, mi); 2. Inner hear (imagine singing the pitch without actually singing aloud) additional unnotated target pitches with solfege to help you hear the notated pitches (.e., to hear the interval do to sol, sing do, inner hear re, mi, fa and then sing sol); 3. Use octave displacement as a means to hear larger intervals that may occur in a melody {(ie., to hear a minor seventh interval from do down to re, first sing or inner hear the high do moving up to re. Then sing the re one octave lower). This technique will make singing and hearing larger intervals much easier. 4, (Especially for sight reading): Look over the melodic contour for melodic and rhythmic patterns which repeat, pitches which outline triads and 7th chords, inversions, and accidentals/non-diatonic pitches. Practice material enough to perform accurately, in time, in tune, and with correct solfege. You can practice and perform melody and rhythm at any tempo you wish, as long as you can per- form it accurately and without interrupting the time flow. When sight-singing, do not stop time to “fix” errors or comment on your own performance (i.e., expletives, facial gestures, groans, etc.)...maintain the flow! ET3 Chapter 1-91.2 Melody Practice these ‘pater in both major and minor keys. Solfege Exercises The solfege exercises included in this first chapter contribute to fluency with the movable-Do system. It is recommended initially to learn and memorize the syllables in a “dry” fashion (without pitch) before trying to hear the sequences. Apply these patterns to each new mode or scale. Also, trans- pose the patterns into different keys for reading practice. ‘As you master the challenges offered with each exercise, your skill level with pitch/solfege recognition, articulation of the solfege syllables, functional relationships between “do” and other pitches, and familiarity with common structures such as tetrachords, triads and seventh chords will increase. 10~ET3 Chapter 1ET3 Chapter 1~ 111.2 Melody Melodic Exercises Medium slow Fast it, (lst time) fine 12- E13 Chapter 1A\so sing in A melodic minor. 6 5. => of Grd time) D.C. al coda D c > ET AZsus4 ¥ ‘ = Samba 6 D.C. al coda ET3 Chapter 1-131.2 Melody Also sing in E melodie minor. = 80 9. 14-ET3 Chapter 1Chorale Also sing in C natural minor. last time molto rit, ~~ ------------- ’ a4 D.C. al fine AR ET3 Chapter 1-151.3 Harmony Review of diatonic cycle 5 in a major key Introduction of Aeolian In Book 2, we explored alll of the diatonic triads and seventh chords within a major tonality. The emphasis has been on hearing individual root position structures as well as diatonic progressions where the root is clearly represented in the bass voice. In this book, we will work with typical diatonic progressions found in the following modes: Aeolian, Lydian, Mixolydian, Dorian, Phrygian, Melodic Minor and Harmonic Minor. Modal interchange will be introduced in the final chapters. Again, progressions where the root is clearly stated in the bass voice will be emphasized. As a review, let's revisit the following cycle 5 progression which will bring us through all the diatonic seventh chords in the major key. 1m First establish the sound of the tonality by singing the major scale, then sing “do, mi, sol” to represent the | major triad. 1m Sing up and down the root position arpeggios for each chord in this cycle-5 progression. Then sing the root motion line, as well as the upper three chord tone lines which are voice lead. A brief explanation of voice leading follows. Imaj7_IVmaj7 VII-7)5 II-7 VI-7 I-7 V7sus4 V7 Imaj7 ti do re re do do do ti ti sol la la ti sol la fa fa sol mimi fa sol mi fa re re mi do fa ti mi la_—sre_—sol sol do (Root motion) Voice leading through a chord progression Voice leading is a linear (melodic) approach to learning how to sing and hear your way through a chord progression. This involves moving from one chord tone to the next with the smallest degree of movement. Using this voice leading approach is often easier to sing because of the common tones and stepwise motion that result. 16~ET3 Chapter 1Aeolian The following progressions define the Aeolian mode. Note that the “tension” chords (those chords suggesting a need for resolution) contain the mode's characteristic pitch “le.” Sof-fa Progressions 1m First establish the sound of the Aeolian mode by singing the scale, then sing “do, me, sol” to represent the | minor triad. “iy singing each line in ensemble | ml Sing root position arpeggios through the progression. Singing both up and vith ther su down the chord structures ensures a clear linkage of the root motion. For Caprica tir} example, with the first progression, sing: “do, me sol, me, do; fa, le, do, le, fa; sol, te, re, te, sol; do, me, sol, me, do.” 1 Apply the voice leading technique by singing horizontally through the pro- gression. Remember to support these lines with root motion in the bass for a clear presentation of the chord sound. Pn | oe on sol le sol sol me fa re me do do te do do fa sol do (Root motion) 2 Ve sol le sol sol me me re me do do te do do le —_sol__do (Root motion) 3 FT bVIT F col le eal me me re me do do te do do fa te_—_ do (Root motion) 4. b7 — bVimaj7 bvii7 +7 te do te te col bol le sol me me re me do le te do (Root motion) ET3 Chapter 1-171.3 Harmony Melody/Harmony Examples The following examples are designed to show the relationship between melody and harmony. Notice how most melody notes are chord tones. Practice singing the melody along with the root motion for each example using solfege syllables. The singing may or may not be accom- panied by playing the chords. F Bb c D- G- Cc F c (CMaj7_ FMaj7_— E~7,—— A=7_— FMaj7/G_ CMaj7_ E-7 _ D-7 BbMajZ EbMaj7, A705 D7 G7 G-7, Fy BbMajz. F-7 Bb-7—-Eb7 F-7 — DbMaj7 Eb7 F-7_ C7 18 — ET3 Chapter 1Ear Training 3 Workbook Chapter 2 2.1 Rhythm T Chapter 2 introduces the § meter. The § time signature is most often con- @ ducted in “one” but at times it is also conducted in “two.” Conduct the follow- I pls ing exercises using both the one beat and two beat conducting patterns. ‘Todarop | ExefCises 7 through 10 introduce half time and double time. smsidanship, perform these ‘cxercises with Conducting pattern in “1” avy of empes. imaginary plane pattern in one looks like this in practice Conducting pattern in “2” imaginary plane pattern in two looks like this in practice 8) FIAT a Finn. oss The above example shows the notational relationship between § and 3. We choose one meter or the other depending on ease of reading or stylistic requirements. ET3 Chapter 2 1921 Rhythm Rhythmic Exercises 1 nf 20 —ET3 Chapter 2The following four exercises include tempo changes that relate to each other in a half time or double time relationship. Half time means the tempo halves itself; double time, means the tempo doubles itself. These tempo changes are indicated with metronome markings, as in exercise 7, or with note value changes, as in exercise 9. For accuracy, start with the metronome set to the fastest tempo marking, i.e, in exercise 7, start with the quarter note at 120 beats per minute. When the tempo changes to 60, the metronome will represent eighth notes, rather than quarter notes. += 120 += 60 J-120 J=60 ET3 Chapter 2-212.1 Rhythm = 120 Lead rhythm d= 60 nf Drum set J = 120 = 22 ET3 Chapter 2Review Exercises 11-13 review common meters that were introduced in the Ear Training 1 and 2 books. Special attention is paid to the triplet figure. As always, conduct and perform the dynamics and articulations with detail and accuracy. ET3 Chapter 2-232.2 Melody In chapter 2 we introduce the mode/scale called Lydian. This mode has but one difference from the major scale — a raised 4th degree or “Fi” as it is called. Let's compare the two major modes/scales: lonian (Major): Do Re Mi|Fa| Sol La Ti Do Lydian:Do Re Mi|Fi | Sol La Ti Do Sol-fa Exercises 1. Do Re Mi Fi Sol La Ti Do / Do Ti La Sol Fi Mi Re Do 2. Do Re Mi Fi Sol Fi Mi Re Do / Ti Do Mi Fi Sol La Sol Fi La Sol / La Sol Fi Mi Sol Fi Re Do Ti / Do Re Fi Sol Mi Ti Re Fi Sol Mi Re / Do Re Fi Sol La Ti Sol Do 3. Sol Fi Mi Re Do Ti Do Fi / Sol La Ti Do Sol Fi Sol Mi / Re Fi Mi Do Ti Re Fi Sol / Mi Do Re Fi Sol Mi Do / Ti Re Do Fi Sol Fi Re Ti Do 4. Do Ti Do Re Fi La Do Re Ti / Do La Fi Sol Mi Fi Sol Mi Re / Fi Mi Do Ti La Do Fi La Do / Re La Do Re Fi La Fi Sol Mi / Ti Re Do Fi Sol Do Fi Ti Do 24 —ET3 Chapter 2T @ Melodic Exercises P Warm up To find “do” of. the melody, frst determine 1 whether the key signacure i that of relative oF parallel major. Medium swing mf. —==—_ a “Two” feel, d= 72 ET3 Chapter 2 ~ 252.2 Melody Fast swing Medium shuffle 26 ~ ET3 Chapter 2“One” feel ET3 Chapter 2-2722 Melody Etude Samba feel Eb Db D.C. al fine Lydian Chorale Slowly 28 ~ET3 Chapter 22.3 Harmony Lydian In this chapter we will study progressions diatonic within the Lydian mode. Note that “fis the characteristic pitch in the Lydian scale. Sob-fa Progressions 1 Establish the sound of the tonality by singing the Lydian scale, then sing “do, mi, sol” to represent the | major triad. 1m In addition to singing root position arpeggios, try singing up one chord, then down the fol- lowing chord, producing a melodic linkage throughout the progression. For example, with the first progression, sing: “do, mi, sol; la, fi, re; do, mi, sol; fi, re, ti; do, mi, sol” 'm Sing the voice lead lines across the progressions for a melodic approach. 4,4 not vi- I sol la sol fi sol mi fi mire mi do re do ti do do re do ti —_—_ do (Root motion) 24 17 It sol la sol mi fi mi do do do do re do (Root motion) 3. Imaj7_— Vmaj7_—_Imaj7 ti ti ti sol fi sol mi re mi do sol do (Root motion) 4. Imaj7_—VIK7_—sImaj7 ti la ti sol fi sol mi re mi do ti do (Root motion) ET3 Chapter 2-292.3 Harmony Melody/Harmony Examples The following examples are designed to show the relationship between melody and harmony. The chord progressions draw from the sof-fa progressions from the previous page. Most melody notes represent chord tones or featured diatonic tensions. Practice singing the melody along with the root motion for each example using solfege syllables. The singing may or may not be accompanied by playing the chords. CMaj7__ D7 Maj7_ D7 CMaj7 B-7 CMaj74) yx GMaj7_— DMaj7__ GMaj7_— AT. GMaj7_—F#-7 GMaj7 % 30 ~ET3 Chapter 2‘ar Training 3 Workbook (our) ard 3.1 Rhythm The § time signature is introduced in Chapter 3. The following & exercises should be conducted in three and in one. Changing time signatures are also featured in exercises. ETT INA Fit. | HI SIN Fl J The above example shows the notational relationship between & and #.. We choose one meter or the other depending on ease of reading or stylistic requirements. Rhythmic Exercises ET3 Chapter 3-313.1. Rhythm Rhythmic Trio J.=78 nf mf mf 32 —ET3 Chapter 3Changing time signatures require concentration on beat placement in the measures and on accuracy of the conducting pattern. 9. ET3 Chapter 3 ~ 333.1. Rhythm or er ote tr 1. 2-88 Review The following rhythm is constructed around the Afro-Cuban 6/8 bell pattern which appears on the third line of the score, The bell pattern can be used as a reference of the pulse. Orchestrate the piece with a variety of sounds to make the piece sound musical. -96 % 13. mf mf mf —= 34—ET3 Chapter 3DS. al coda wf F mp = 0 : a nf ———_ fff >>> nf ——— _ ff SS>s t nf ——— _ Ff ET3 Chapter 3 ~ 353.2. Melody In this chapter, the Mixolydian mode/scale is introduced. Note that One crite © | Mixolydian compares closely to lonian. tryon your own plrianben lonian (Major): Do Re Mi Fa Sol La [Ti] Do down te hee ajo quali Mixolydian:Do Re Mi Fa Sol La |Te| Do rmodes/cales, connie Mixolydian uses a lowered 7th degree (Te). We previously studied this Sol-fa 7 cone after function (Te) in the Natural Minor scale from Book 2. the other Sol-fa Exercises 1. Do Re Mi Fa Sol La Te Do / Do Te La Sol Fa Mi Re Do 2. Do Re Do Te Do Re Mi Fa Sol / La Te Do Re Do Te La Te Do / La Sol La Te Do Re Te Do Te / Sol La Te Sol Mi Re Do 3. Do Mi Fa Sol La Te Sol Mi / Fa Sol Mi Do Te Do Sol La Fa / Sol Te La Te Do Sol Mi Re Fa / Mi Do Te Re Te Do Mi Re Te Do 4. Mi Do Te Do Mi Fa Sol Do Te Sol / La Te La Sol Mi Fa Sol Mi Do Te / Do Te Re Do Sol Te Do Mi Do Sol / La Te Sol Mi Te Re Do Fa Mi Te / Do Mi La Te Sol Te Re Do Sol Te / Sol Mi Te Do Mi Te Do Sol Te Do 36 —ET3 Chapter 3Melodic Exercises Warm up 1 ET3 Chapter 3 ~ 373.2. Melody Slowly, straight 16ths Sf 38 ET3 Chapter 3Funk; J= 110 . 10. Duet 12. ET3 Chapter 3-393.2 Melody Etude Mixolydian Chorale with solos Students take turns: improvise over the vamp. 14. 40 ET3 Chapter 33.3 Harmony T Mixolydian I @ In this chapter we will explore progressions diatonic within the Mixolydian PLS mode. Note that “te” is the characteristic pitch in Mixolydian and is present in Tiyvisuling | all of the following examples. these soli lines indifferent key, | __ More on Voice Leading Seen Compromises are sometimes necessary with voice leading. In order for the entire chord structure to move smoothly to the next, at times the individual lines do not adhere to strict common tone or tendency tone resolutions. For example, with seventh chords, if you are limited to three upper voices, the root of the chord might be eliminated, it being stated in the bass voice. (See examples 3 and 4 below). Sol-fa Progressions 1m Establish the sound of the tonality by singing the Mixolydian scale, then sing “do, mi, sol” to represent the | major triad. 1 Continue to work with root position arpeggios. And as mentioned in the previous chapter, also sing up, then down the chord structures in an alternating pattern. '® Sing the voice lead lines across the progressions for a melodic approach. i sol fa sol mi re mi do te do do te —_do (Root motion) aA bv woot sol te la sol mo fa fami do re do do do te — fa_—_ do (Root motion) 3 1 vr sol te sol mi fami do re do do sol _do (Root motion) ET3 Chapter 3-413.3. Harmony 41 bVllmaj7 V-7 I sol la te sol mi fa fa mi do re re do do te so! do (Root motion) Melody/Harmony Examples The following examples are designed to show the relationship between melody and harmony. The chord progressions draw from the sof-fa progressions from the previous page. Most melody notes represent chord tones or featured diatonic tensions. Practice singing the melody along with the root motion for each example using solfege syllables. The singing may or may not be accompanied by playing the chords. G FC G D G FC G c eer C BbMaj7 C G7) <¢ AbMaj7®)G-7 F-7_— Bb F-7 Bb x Bb 42 ~ET3 Chapter 3Ear Training 3 Workbook Chapter 4 4.1 Rhythm Ws 1@ P Whether the rempo is very fast or very dow, the music should sound nacutal for che seting. In other words, ieshould never sound like you ae seruggling Performing a wide range of tempos is a necessity for acquiring a high skill level. The exercises in this chapter have specific tempos assigned to them. Practice with a metronome. Exercises 2, 6, 8 and 9 use fermatas. A fermata, or “hold? (/*\) indicates the prolonging of a sound or silence. A caesura ( // ), which indicates a slight pause or “break’ in the music, is also introduced in exercise 8. Tempo fluctuations are included in this chapter. An accelerando is used to increase the tempo between two designated tempo markings. The ritardando is used to slow down the tempo. In class, follow the teacher as he/she con- ducts the exercises. Rhythmic Exercises ET3 Chapter 4 — 434.4 Rhythm 345 > 44 —ET3 Chapter 4The concept of the tempo changes is the first priority. Attaining the precise tempo is a goal to strive for. ET3 Chapter 4454.1 Rhythm 2-176 molto rit. -— Review Exercise 9 reviews the concept of half and double time. You can conduct both tempos in 4, or choose to conduct the faster tempo in 2, as in cut time. «J ee > oe iad > Heo totroer oro 46 ~ET3 Chapter 44.2 Melody In Book 2 we studied the Natural Minor scale/Aeolian mode. In the next two chapters we will study two other minor-quality modes: Dorian and Phrygian. We'll focus on Dorian in this chapter. Aeolian (Natural minor): Do Re Me Fa Sol |Le| Te Do Dorian:Do Re Me Fa Sol |la| Te Do Notice that Le is raised to La in the Dorian Mode. Thus La is the characteristic note in Dorian. Sol-fa Exercises 1 Do Re Me Fa Sol La Te Do / Do Te La Sol Fa Me Re Do 2. Do Re Me Fa Sol La Sol La Te / Do Te La Sol Me Re Me Do Te / La Te Do Re Me Re Do Te La Sol / Do Me Fa Sol La Te La Sol La Te / La Sol Me Do Te La Do La Te Do 3. Me Do La Te Do Me Do La Sol / Me Do La Te Do Re Me Do La Do / Sol Me Do La Do Sol Me Do Re / Sol Me Do La Te Do Sol Fa Re / Te La Re Do Me Te Do 4. Do Te La Sol La Te Sol La Fa / Me Re Fa Me Te Do La Te Sol / Do Te Sol La Me Do Re Te Me / Re Me Do La Me Fa Re Me Sol / La Te Me Fa La Te Do Me La / Te Sol Me Re La Te Do ET3 Chapter 4-474.2 Melody Melodic Exercises Which of the two melodies below is in C Dorian? :[@||* Doe just look: atthe key signature, listen for which note sounds like “do” Warm up Bossa nova mf an of =f et 48 —ET3 Chapter 4Jazz. waltz, J = 104 =p ET3 Chapter 4-494.1 Rhythm «= 60 1. P (150 time) f Ondine) 50 —ET3 Chapter 4Etude Dorian Chorale Slowly ET3 Chapter 4-514.3 Harmony Dorian In this chapter we will work with progressions diatonic to the Dorian mode. “La” is the charac- teristic note within the Dorian scale. More on Voice Leading If you are limited to only three voices, the following practice is common: the bottom voice will remain the root motion, with the upper two voices representing the 3rd and 7th of the chord. ‘These two tones are often referred to as the “guide tones” because they represent the most essential color of the chord sound. Below is an example of this practice with the cycle 5 pro- gression shown earlier in chapter one. Imaj7_|Vmaj7_ ViI-7b5 II-7_- VIL? IL-7? V7sus4 V7 Imaj7, ti la la sol sol fa fa fami mimi re re do do do ti ti do fa ti mola resol so! do (Root motion) Sol-fa Progressions @ Sing the Dorian scale to estal I minor triad. h the tonality, then 1g “do, me, sol” to represent the ™ Continue to work with both root position and alternating pattern arpeggios for the. progressions shown below. ® Apply voice leading to the following progressions for a melodic approach. In examples 2-4, notice the bolded guide tone lines. a sol la sol sol_ sol me fa me re me do do do te do do fa do sol __do (Root motion) 2 boi te do te sol la sol me fa me do redo (Root motion) 52 -ET3 Chapter 43. 7 W717 te la te me me me do do do do fa__do (Root motion) 4. 7 bVilmaj7 +7 te la te sol fa sol me re me do te do (Root motion) Melody/Harmony Examples Analyze the harmony lines in ceamples 2 and 3: what chord tones are they? A-7 The following examples are designed to show the relationship between melody and harmony. The chord progressions draw from the sof-fa progres- sions from the previous page. Most melody notes represent chord tones or featured diatonic tensions. In addition, examples 2 and 3 have harmony lines which are embellished guide tone lines. Practice singing all three lines using solfege syllables. The singing may or may not be accompanied by playing the chords. GMaj7 A-7 rR GMaj79) A-7 B-7(11) GMaj7 A- ETS Chapter 4 ~ 53Ear Training 3 Workbook (eri Jo) (aed 5.1 Rhythm T We will revisit the meter, but this time with the inclusion of 16th note I @ triplets. This 'P groupir 1g consists of four groups of three eighth notes and P should be conducted with the 4 conducting pattern. “To develop the testihythnic | This chapter also introduces the sixteenth note triplet. The sixteenth note scurig: pe | triplet has three sixteenth notes placed within the time span of two sixteenth tice the 12/8 ‘exercises with notes. the metronome | set fr both Rhythmic Exercises 54 — ETS Chapter 5SS == SSH i = aoe ET3 Chapter 5 ~ 555.1 Rhythm Exercise 4 displays the duplet. The eighth note duplet rhythm is the same as two dotted eighth notes: 56 - ET3 Chapter 5yg 3 7% Pett Exercise 8 is an African groove. The variety of implied pitches is symbolic of the high and low tones produced when playing on various African percussion instruments. Choose a variety of interesting sounds to get the most out of this exercise. Repeat until cue ET3 Chapter 5 — 575.1. Rhythm Review Exercises 9 and 10 review changing time signatures. 58 — ET3 Chapter 55.2 Melody We will study another minor quality mode in this chapter — Phrygian. Note the close compari- ‘son to Aeolian (Natural Minor). The second scale degree, Re, is lowered to become Ra. Ra is the characteristic sound of Phrygian. Compare the two minor modes: Aeolian (Natural Minor): Do [Re] Me Fa Sol Le Te Do Phrygian: Do |Ra| Me Fa Sol Le Te Do Sol-fa Exercises 1. Do Ra Me Fa Sol Le Te Do / Do Te Le Sol Fa Me Ra Do 2. Do Ra Me Fa Sol Le Sol / Fa Me Ra Te Do Ra Do / Do Ra Me Sol Le Te Sol Fa Me Ra Do / Ra Fa Le Sol Me Fa Sol / Ra Fa Le Sol Me Ra Do / Me Fa Sol Me Ra Fa Le / Sol Me Ra Do Te Ra Me Ra Do / Ra Me Fa Sol Le Sol Te Le Sol Me Fa Ra Do 3. Do Me Sol Te Do Le Fa Ra / Do Ra Fa Le Ra Do Te Sol Do / Me Sol Te Do Ra Le Fa Le Sol / Ra Do Me Sol Do Le Fa Ra Do / Te Do Ra Do Te Me Ra Do 4, Do Ra Do Te Me Do Ra Me Ra Do / Me Ra Do Te Ra Do Ra Me / Fa Sol Le Sol Le Te Do Ra Do Te Do / Do Ra Te Ra Do Te Le Sol Le / Sol Fa Me Fa Me Ra Te Do Te Ra Do Ra Te Do ET3 Chapter 5-595.2 Melody Melodic Exercises Warm up themelods, | check 10 see if : the hey dignarae i relative mor, on pera sural minor. Swing “One” feel, J. 44 (60 ~ ET3 Chapter 5o.= 52 Jazz walez ET3 Chapter 5 ~615.2 Melody Etude Samba FMaj7 : E-7 FMaj7 D-7 E-7 62 ~ET3 Chapter 5Phrygian Chorale Take turns improvising on this progression; use the Bb Phrygian mode. ET3 Chapter 5 — 635.3 Harmony Phrygian In this chapter we will study progressions diatonic within the Phrygian mode. “Ra’ is the characteristic note in the Phrygian scale. Sol-fa Progressions i Sing the Phrygian scale to establish the tonality, then sing “do, me, sol” to represent the I minor triad. 1 Continue to arpeggiate the chords, both in root position and alternating patterns. 1 Voice lead through the following progressions. It is most rewarding to sing your line in ensemble with others for a full realization of the harmony. ok bul bill bu b sol le te le sol me fa sol fa me do ra me ra do do ra me fa do (Root motion) 2 W- bVIR oe sol le te sol me fa fa me do do ra do do fa te do (Root motion) In the exercises below, indicate which lines represent the guide tones of the chords. 3 kT bilmaj7 +7 te do te sol le sol me fa me do ra do (Root motion) 4. 7 bvi-7 +7 te le te sol fa sol me ra me do te do (Root motion) 64 ~ET3 Chapter 5Melody/Harmony Examples The following examples are designed to show the relationship between melody and harmony. The chord progressions draw from the sof-fa progres- Createahamony | sions from the previous page. Most melody notes represent chord tones or ed 7 fe featured diatonic tensions. Practice singing the melody along with the root tsingike ot | Motion for each example using solfege syllables. The singing may or may progressions | NOt be accompanied by playing the chords. on the previous paige as guide C7 Bb C7 DbMaj7_ C-7¢1) DbMaj7#1) Bb-7 C-7 F-7 Eb-71!) GhMaj7® F-700% F-7 GbMaj7_ Eb-7 D-7 c-7 D-7 BbMaj7 F E> D-7 EbMaj7) D-7(11) ET3 Chapter 5 ~ 65Ear Training 3 Workbook Chapter 6 6.1 Rhythm The rhythms in this chapter display many isolated attacks. Sporadic notes or patterns are challenging so pay careful attention to the rest values. Subvidng | Half note triplets are introduced in this chapter. Subdivide the beats with sil pum eighth note triplets and accent every fourth note. These accents represent theacaancyof | the attacks of the half note triplets. ‘isolared attacks, rrerrete Rhythmic Exercises Horror rere Sane oe eet tt A 66 ~ ET3 Chapter 635 S35 ——— mo — 5, ——rr 35 35 3 6. = 35 —3— 7. ET3 Chapter 6 ~ 676.1 Rhythm > > esa B30 a3 can > ed 5 —3— > 5 a 3 3 3355 So oo = 35 m3ocs5 i 3 3435 —3— 35 3 5 35 —3— (68 ~ET3 Chapter 6Trio J-88 Rhythm 4 oo 11. 35 3 = ET3 Chapter 6 - 696.1 Rhythm Review The following examples shift between § and . The eighth note remains constant. In order to clearly distinguish the two meters, conduct in two, 8 in three. mf’ 3 5 3 3 + f p——Sf *8eplerr pice be reer lererlbger 8 mp my mp mf ag Tisinea iB? 3 Bed ota ot f° P f 70 ~ET3 Chapter 66.2 Melody In Chapter 6 we will review the four modes studied so far. the sounds — i forthesoinds | Sol-fa Exercises: Modal Review scales, ina series ‘of brighe to dake Tyan, Tonia, Mixolydian, 1. Lydian Dorian, Aeolian, Do La Sol Fi Mi Re Do Mi Fi Sol Fi Mi / Fi La Sol Ti and Phrygian. Do Re Do Ti Sol Fi Mi Re Do / Re Fi Sol La Fi Sol La Sol Fi Sol Mi Fi Sol / Ti Sol Fi La Ti La Sol La Do Re Fi Sol Do / Fi Mi Re Mi Do Fi Mi Sol Do Ti La Sol Fi Sol Do / Ti Fi Mi Sol Fi Re Mi Ti Do 2. Mixolydian Do Mi Re Do Te Re Do Mi Fa Sol / Mi Do Re Te Re Mi Do Te Do / Re Fa La Sol Mi La Sol Mi Do Re / Do Te Re Do Mi Do Te Re Fa Mi Do / Sol Te Sol Fa Te La Sol Mi Fa Sol La / Te Sol Fa Mi Do Te Re Mi Do / Re Fa La Do Te La Do Mi Re Do 3. Dorian Do Me Do Sol La Te Re Do Te La Sol / Fa Me Fa La Sol Me Re Te Do / Re Fa La Sol Me Re Do Fa Sol La Te Do / La Sol Te Do Re Te Do / Sol Fa La Re Me Fa Sol La Te Sol / La Te Re Do Te La Sol Re Te Me Do / La Me Fa Te Sol Re La Te Do 4. Phrygian Do Ra Fa Me Sol Te Le Sol / Do Sol Fa Ra Do Ra Do / Ra Me Fa Le Sol Do / Sol Le Sol Me Ra Sol Do / Sol Fa Ra Me Do Te Me Ra Sol Fa Ra Te Do / Sol Le Ra Do Sol Do Te Ra Le Sol / Fa Ra Fa Te Le Do / Sol Ra Te Do Me Fa Te Do ET3 Chapter 6-716.2 Melody Melodic Exercises Jazz waltz d= 120 72 ~ET3 Chapter 6Medium, with a lilt > > = 2 f ET3 Chapter 6 ~ 736.2 Melody d= 66 St P ; f P “Two” feel > = ie Ea 74 ~ET3 Chapter 6d= 116 Medium swing Ce G- F7 Eb Ce D- ET3 Chapter 6 - 756.2 Melody Chorale This is the same Chorale from Chapter 1. Now, sing it in all four modes: Lydian, Mixolydian, Dorian and Phrygian. D.C. al fine AR 76 ~ ET3 Chapter 66.3 Harmony Melodic and Harmonic Minor In this chapter, both Melodic and Harmonic Minor tonalities will be explored. Note the different harmonic results due to the variation of the sixth degree of the scales. Sol-fa Progressions 1 Sing the minor scale to establish the tonality, then sing “do, me, sol” to represent the I minor triad. 1 Arpeggiate the chords throughout the progressions to emphasize the vertical approach. im Voice lead through the progressions to highlight the melodic approach. Melodic minor: contains “la and ti” combination 1b WN VOR sol la sol sol me fa re me do do ti do do fa sol_do (Root motion) 2 6 IK? V7 maiz la ola ft ti me fa fa me do do re do do re so!_do (Root motion) Harmonic minor: contains “le and ti” combination 3 ob NM Wb sol le sol__ sol me fa fa me do do ti do do fa sol_do (Root motion) 4 ob bv v7 - sol le sol_ sol me me fa me do do ti do do le sol __ do (Root motion) ET3 Chapter 6-776.3 Harmony 5. - 1-7)5 V7>9 oF sol le le sol me fa fa me do do ti do do re sol_do (Root motion) Melody/Harmony Examples The following examples are designed to show the relationship between melody and harmony. The chord progressions draw from the sof-fa progressions from the previous page. Most melody notes represent chord tones or featured diatonic tensions. In addition, examples 2 and 4 have harmony lines which are embellished guide tone lines. Practice singing all three lines using solfege syllables. The singing may or may not be accompanied by playing the chords. AS E70) AS p73) a- E7 AS B-7(11) D-6 A7 G74) D-6 E-701) 47 D-6 E-701D Cc G7») Se D-7>5 G79) AbMaj7 G76» Cc F_70) E—(maj7) any B79) E—(maj7) FH-75 B79) 4. z = 78 ~ET3 Chapter 6Ear Training 3 Workbook = Chapter 7 7.4 Rhythm time signature. Look at how the notes are grouped, which is determined by note durations and beaming, In this chapter we will focus on the § time signature. At first, the notes will be phrased as three groups of three eighth notes (3 + 3 + 3), which creates an even pulse. Next we will have four groups phrased as 2 + 2 +2 +3 and four groups phrased as 3 +2 +2 +2. In both of these cases the pulse of the meter is uneven. Rhythmic Exercises Use the } conducting pattern when performing exercises 1 through 5. ged TT. ST, by Lid), 0,0, Mb, ATT 4 PT Dy Ty dd LT bag ET3 Chapter 7-797. Rhythm Use the 4 conducting pattern when performing the following exercises grouped as 2+2+2 +3, Coordinate the motion to correspond to the pulses. 80 ~ ET3 Chapter 7Use the 4 conducting pattern when performing the following exercises grouped as 3+2+2+2. As before, coordinate the motion to correspond to the pulses. i jodie, d by ST, 9 "3 Chapter 7-817.4 Rhythm The following 3 grooves should be repeated many times before going to the last measure. ‘Simulate the sounds of the instruments. 34343 Voices 2424243 Voices i 8424242 82 —ET3 Chapter 77.2 Melody In chapter 6, we reviewed Lydian, Mixolydian, Dorian and Phrygian as individual and inde- pendent modes. In this chapter we will begin to mix “like” modes together in each example. Some melodies will group together major quality modes, (Ionian, Lydian and Mixolydian), while other examples will combine minor quality modes, (Aeolian, Dorian and Phrygian). These mixed modal melodies will help you to distinguish the characteristic sounds of each mode as you compare and contrast one modal phrase to another. Use the following sol-fa exercises as a warm up to the mixed modal melodies. Sol-fa Exercises: Mixed Modality 1. lonian — Lydian Do Mi Sol Mi Do Re Fi La Ti Do Sol / Mi Do Ti Re Sol Fa Mi Do Fa Mi Re / Sol Fi Sol Fa Mi Fi Sol La Fa La Sol / Mi Do Re Mi Fi Sol Fa Re Ti Do 2. lonian — Mixolydian Do Re Mi Re Ti Do Sol La Ti Sol Fa / Mi La Sol Mi Re Te Do Te Re Fa Mi / Do Mi Sol Ti La Sol Mi Do Te Re Fa / Sol Ti Sol La Te La Ti Sol Fa Mi Do 3. Lydian — Mixolydian Do Mi Fi Sol La Fi Sol Do Ti Fi La Sol / Fa La Te Sol Mi Fa Re Te Do La Te / Sol Fi Mi La Ti Do Fa Re Mi Te Do / Ti Re Fa Mi Do Fi Sol Te La Sol Mi Ti Do ET3 Chapter 7 ~ 837.2. Melody 4. lonian — Lydian — Mixolydian Do Ti Do Re Mi Re Fi Sol Fa Mi Re Do / Sol La Te Sol Fa Mi Sol Do Re Mi Re / Mi La Sol Te La Fa Re Mi Fi Sol Fa / Mi Do Te Do Ti Re Do Fa Mi Fi Sol La Fa Re Te Do 5, Aeolian — Dorian Do Fa Me Le Sol Do Re Fa Le Te Do Sol / Me Sol La Fa Me Do Re La Te Re Do / Le Sol Re Fa Me La Te Do Me Sol Le Fa Sol / La Sol Do Le Fa Sol Re Me La Sol Te Do 6. Aeolian — Phrygian Do Me Sol Le Fa Le Sol Te Le Sol Me / Ra Fa Me Ra Te Do Sol Me Ra Do Fa Le Te / Sol Re Le Sol Ra Fa Me Re Te Do Ra / Me Re Do Le Ra Sol Fa Te Re Me Ra Do 7. Dorian — Phrygian Do La Te Re Do Me La Sol Fa Me Sol / Do Ra Te Do Sol Te Le Sol Ra Fa Me / Re Fa La Me Le Sol Ra Do Re Sol Fa Ra / Do Te Le Sol La Te Ra Do Sol Fa Le Te La Do 8. Aeolian — Dorian — Phrygian Do Te Sol Le Fa Te Do Me Re Fa Me / Sol La Fa Me Re La Me Te Re Me Do / Fa Ra Sol Me Re La Sol Do Le Ra Fa Me / Do La Te Ra Me Do Sol Le Re Fa Me / Ra Le Sol Re La Sol Do Te Fa Me Ra Do 84 ET3 Chapter 7T @ Melodic Exercises I ¥ Mixed major modes Before singing the melody fist deremine which | 4, moves are wed in each example Then sing through those seals asa warm-up. ET3 Chapter 7 ~857.2 Melody ‘86 ~ ET3 Chapter 7Mixed minor modes d.-72 ET3 Chapter 7 ~ 877.2 Melody “One” feel 12. Shuffle 88 —ET3 Chapter 77.3 Harmony Modal interchange In this chapter we will explore the concept of modal interchange. Sometimes, chords from one tonality are “borrowed” and used within the context of another parallel tonality. This is not mod- ulation, but rather the hinting of another modal color. The following examples show modal interchange within the major tonality, borrowing from parallel! minor tonalities. Sol-fa Progressions i Sing through both the major scale, (the home tonality), and the parallel minor scale, (the borrowed tonality), to establish the harmonic ingredients. im Arpeggiate the chords in the following progressions. im Voice lead through the progressions, noting those tones which are diatonic or borrowed by their solfege identification. '® Identify which parallel minor scales have been used in the following modal interchange progressions. 101 bv bv 1 sol le fa sol mi me re mi do do te do do le — te do (Root motion) 2 1 WoT bvli7 4 sol le le — sol mi ome fami do do re do do fa te —_do (Root motion) 3 1 I-7b5 V7b9 1 sol le le sol mi fa fa mi do do fi do do re sol do (Root motion) 4, Imaj7 bVimaj7 1Vmaj7_pllmaj7_—_Imaj7 ti do do do ti sol sol la le sol mime mi fa mi dole fa ra do (Root motion) ET3 Chapter 7 -897.3. Harmony Melody/Harmony Examples The following examples are designed to show the relationship between melody and harmony. The chord progressions draw from the sof-fa progres- Find hemocal | _ sions from the previous page. Most melody notes represent chord tones or incerchange | featured diatonic tensions. Also, examples 2 and 3 have harmony lines which plereegt | are embellished guide tone lines. Practice singing all three lines using hie Frewha | — Solfege syllables. The singing may or may not be accompanied by playing ‘modesarethey | the chords. borrowed? Db Eb FMaj7_—Bb-7¢1!) B_7 79) FMaj7 EbMaj7 1. If Eb F7 Gb Bb7sus4 Bb7 EbMaj7 F-7 — GbMaj7 F-p5 Bb7(0913) EbMaj7 CMaj7 DbMaj7 CMaj7 FMaj7_ F-7 AbMaj7 G7sus4 G70) 90 ~ ET3 Chapter 7Ear Training 3 Workbook Chapter 8 8.1 Rhythm T Chapter 8 will cover many rhythm situations encountered in the past but with I @ a higher degree of complexity P ‘Alwyn mainain | Exercises 1-5 are written to be performed in a swing and shuffle style thefundamen- | although they can also be performed with a straight eighth note interpreta- tabofitythmic | tion, The difference between the swing and the shuffle style is that the swing Patra | interpretation can vary based on the tempo and other expressive factors. The ducing Sapo | Shuffle will usually be based on a consistent rhythm such as triplets. meen pale oe sc Rhythmic Exercises eS 7 v . mS Liv Til, tii jy ET3 Chapter 8-918.1 Rhythm Use straight 8th note interpretation for the following exercises. ee eee Poth eel loo 92 -ET3 Chapter 8At times, rhythm section players will encounter a variety of notation within the same piece. 3a ET3 Chapter 8-938.1 Rhythm 94 —ET3 Chapter 8foro erie tert ET3 Chapter 8 — 958.1 Rhythm Se ee ae 8.2 Melody In this final chapter, we will continue to work with mixed modality. The melodies will now com- bine major with minor quality modes. In conclusion, these mixed modal examples will prepare Us for the study of chromaticism, which will be introduced and studied in depth in Book 4. For now, concentrate on how all of the sol-fa pitches function and sound in relationship to “Do” Use the sol-fa exercises below as a warm up to the mixed modal melodies to follow. Sol-fa Exercises: Mixed Modality 1. Lydian — Dorian Do Fi La Sol Mi Ti Re Do Sol Fi Mi / Re La Te Do Me Fa La Me Sol Do Te Do / Sol Fi La Sol Te Fa Me La Fi Sol Mi Ti / La Te Do Me Fa Sol Fi Mi Do Ti Fi Do 2. Mixolydian — Dorian Do Mi La Te Sol Do Re La Sol Te Do / La Te Me Re Do Sol La Fa Me La Sol / Mi Re Te Do Me Fa Mi La Re Me Fa / La Mi Do Me Te La Do Mi Re Fa Me Do 96 ~ ET3 Chapter 8Lydian — Phrygian Do Sol Fi Re Mi Ti La Fi Sol Do Re / Me Ra Te Do Sol Le Fa Sol Do Te Ra / Re Mi Do Fi Sol Te Le Ra Sol Mi La Do / Te Le Sol Fi Sol Mi Do Ra Te Re Sol Ti Do Mixolydian — Phrygian Do Mi Fa La Sol Re Te Fa Mi Sol Te Re / Do Ra Fa Me Le Sol Te Do Sol Ra Do Te / Do Me La Mi Sol Le Te La Sol Me Ra / Fa Mi Te Ra Sol La Fa Le Me Re Mi Te Do In the following examples, notice that the presentation of the changing sol-fa functions is always by step, never by leap. 5. Do Ra Me Fa Mi Re Do / Re Me Re Mi Fi Sol / Fa Mi Fi Sol Fa Me Re Do Ra Me Fa Sol La Ti / Do Te La Ti Do Te Le Sol La Sol Fi Mi Re Do / Te Do Re Me Fa Mi Re / Me Fa Sol La Te Le Sol / Do Ti La Sol Le Sol Fi Mi Fa Me Ra Do Re Do Sol La Ti Do Te La Sol Fi Mi Re Me / Fa Sol Fa Mi Re Me Fa Sol Fi Mi / Re Do Ra Me Fa Sol Fi Sol Le Te Do / Ti La Te Le Sol Fa Mi Fi Mi Re Do Ti Do / Te Do Re Me Fa Mi Fi Sol Le Te Do / Ra Do Ti La Te Le Sol Fi Mi Re Do Do Ra Do Re Me Fa Mi Fi Sol Fa Sol La Sol Le Te / Do Ti Do Te Le Sol La Sol Fa Mi Fi Me Re Mi Re Do / Ra Mi Fa Me Fi Sol La Sol Le Ti Do Te Le Sol Fi / Sol Fa Me Fa Mi Ra Do Re Me Fi Sol La Te Do Re Mi / Fa Sol Fi Me Re Mi Ra Do Re Me Fi Sol Fa Sol Le Ti / Do Te La Sol Fi Mi Ra Do ET3 Chapter 8 — 9782 Melody T @ Melodic Exercises 1 P Notice that all melodies usethe | 1, Tonian key signature, given the complexity of using mised modes through cou the examples. “Two” feel, with a lilt 98 - ET3 Chapter 8The following melodies will combine several mixed modal fragments throughout each example. It becomes more and more essential to recognize the sound of each sol-fa function in relation- ship to “Do” 9. ET3 Chapter 8-998.2 Melody Medium fast f 100 - ET3 Chapter 8ET3 Chapter 8 ~ 1018.2 Melody Mixed Modal Chorale Very slowly 102 ~ ET3 Chapter 88.3 Harmony Review Below is an example from each of the modes studied in this book. Note that the characteristic pitch of the mode is present in the “tension” chord, the chord that suggests the need for reso- lution. Create your own modal progressions, using those listed here as models. Sol-fa Progressions 1 Before singing through the chord progression, first establish the mode by singing through the scale. 1 Sing both root position arpeggios and voice lead lines through the progressions. Aeolian: rn on oe sol le sol sol me fa re me do do te do do fa _—_sol_do (Root motion) Lydian: Imaj7_ Vmaj7_Imaj7 ti ti ti sol fi sol mi Te mi do sol_—_do (Root motion) bv woot te la sol fa fami re do do te fa do (Root motion) Dorian: 7 IW7 7 te la te me me — me do do do do fa do (Root motion) ET3 Chapter 8 ~ 10383 Harmony Phrygian: +7 bilmaj7_ +7 te do te sol le sol me fa me do ra do (Root motion) Melodic minor: bk Ww ov - sol la sol_—_ sol me fa re me do do ti do do fa sol_—_do (Root motion) Harmonic minor: L IL7bS v7b9 sol le le sol me fa fa me do do ti do do re sol_—do (Root motion) Melody/Harmony Examples The following examples are designed to show the relationship between melody and harmony. The chord progressions draw from the sof-fa progressions from the previous page. Most melody notes represent chord tones or featured diatonic tensions. Practice singing the melody along with the root motion for each example using solfege syllables. The singing may or may not be accompanied by playing the chords. c- Bb ab F- e CMaj7@1)— B-711) CMaj7 D7 CMaj7) p73) 2. = = CMaj7 x 104 ~ ET3 Chapter 8C-7 DbMaj7) C-7 DbMaj7@) c-7 Bbh-7C-7 DbMaj7 c—(maj7) D-7 C6 G7 FT C6 D-7_ G7 AbMaj7C-— D-765G7 CG 79) CG 718) C_(mai7) F-70)— CMaj7 DbMaj7@1)_—CMaj7_—F-79) Bb713), CMaj79) X% ET3 Chapter 8 ~ 105,