COLEGIUL NAŢIONAL DE ARTĂ „ION VIDU” TIMIŞOARA

Roxana Mihăescu

TEORIE – SOLFEGII
Clasa a V-a
ÎNCEPĂTORI

Numele şi prenumele_____________________________________

Pentru uz intern
Ediţia a II-a
2016
 2
Măsura de
4
1 Horea Făgărăşanu

2 Ï Î Î Î Ï
&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

&Ï Ï Î Î Î
Ï Ï Ï Ï Ï Ï Ï Ï Ï

2 Rodica Giurgiu

& 24 Ï Ï Ï ú Ï Ï Ï Ï Ï Ï
î
Ï ú

&Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï
Ï ú

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï ú ú

3 Rodica Giurgiu

& 24 Î
Ï
Î Ï Ï Ï Î Ï Î Ï Ï
Î
Ï ú Ï

&Ï Î Ï Î Ï Ï Î Ï Î Î Î
Ï Ï ú Ï

4 Rodica Giurgiu

& 24 Î
Ï Ï Ï Î Ï Ï Ï Î Ï Ï ú Ï Î ú
Ï

&Ï Ï ú Ï Ï ú Ï Î ú · ú Ï Ï ú ú

5 Rodica Giurgiu

& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï ú

&Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Î
Ï Ï ú Ï
6 Rodica Giurgiu

2
&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
3
7
2
&4 Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï ú

& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

& 24 Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï
Ï Ï ú

&Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï ú

10

& 24 Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï ú

&Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï
ú

11
2 ú ú
&4 Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï ú

12
2
&4 Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

Ï Ï Ï Ï
&Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï ú Ï Ï Ï ú

13

& 24 Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Î Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï
Î

Ï Ï Ï Ï Ï Î Ï Ï Ï Ï Ï
& Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

14
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
& 24 Ï Ï Ï Ï Ï

4
15
2 Ï ú Ï Ï
&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

Ï Ï ú Ï Ï Ï Ï Ï Ï ú
&Ï Ï Ï Ï

16
2 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
&4 Ï Ï Ï Ï Ï Ï

17
2
& 4 .. Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï ú
..

18 Cloşca
& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î

& Ï Ï Î
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

&Ï Ï Ï Ï Î
Ï Ï Ï Ï Ï
19
2
&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï
20

& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
21

& 24 Ï ú Ï Ï Ï Ï
Î
Ï Ï Ï Ï Ï Ï Ï ú Ï
22

& 24 Ï Ï Ï ú Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

23 Cântec pentru copilaşi

& 24 ..
Gheorghe Cucu

Ï Ï Ï
ä
Ï Ï Ïj Ï Ï Ï
Î .. ..
Ï Ï Ï Ï Ïj ä Ï Ï Ï
Î ..
Ï Ï Ï Ï Ï Ï Ï

5
 3
Măsura de
1
4
& 43 Ï Ï Ï ú Ï Ï Ï Ï ú Ï Ï Ï Ï ú Ï Ï Ï Ï ú Ï
2

& 43 ú Ï ú Ï ú Ï ú Ï ú Ï ú Ï Ï Ï Ï ú Ï

3
3
&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï
4
3
&4 Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï
Ï Ï

&Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï
Ï Ï
5
3
&4 ú ú Ï Ï Ï
Ï Ï Ï Ï Ï ú Ï ú Ï Ï Ï Ï ú.
6
3 Î Î
&4 Ï ÏÏ ÏÏÏÏÏÏ ú
ÏÏ Ï ÏÏÏ Ï ÏÏÏÏÏÏ ú Ï Ï ÏÏÏ Ï

7 Primăvara Ana Motora Ionescu

3
&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï ú. Ï Ï Ï Ï Ï Ï Ï Ï Ï ú.
8 Ţara mea
& 43
D.G.Kiriac

Ï ú Ï ú Ï ú Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï ú.

&Ï Ï ú Ï Ï Ï ú Ï Ï Ï ú Ï Ï Ï Ï
Ï Ï Ï ú.

9 Dansul Edith Wisky

3
&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï ú. Ï Ï Ï Ï Ï Ï Ï Ï Ï ú.

&Ï Ï Ï Ï Ï Ï Ï Ï Ï ú. Ï Ï Ï Ï Ï Ï Ï Ï Ï ú.
6
10 Greieraşul D.D.Stancu

& 43 Ï Ï Ï Ï Ï Ï Ï Ï ú Ï ú.
Ï Ï ú Ï ú. Ï Ï

& .. Ï Ï Ï ú. Ï Ï Ï ú. Ï Ï Ï ú Ï ..
ú Ï ú.

11 Cucul
3
&4 Ï Ï Î Ï Ï Î Ï Ï Ï Ï Ï Î Ï Ï Î Ï Ï Î Ï Ï Ï ú.

&Ï Ï Ï ú Ï Ï Ï Ï ú. Ï Ï Î Ï Ï Î Ï Ï Ï ú.

12

& 43 Ï Ï Ï Ï ú Ï Ï Ï Ï ÏÏú
Ï ÏÏÏ ú Ï Ï ÏÏÏ ú.

&Ï ÏÏÏ ÏÏú ÏÏú ÏÏÏÏÏ

ÏÏú Ï Ï Ï ÏÏÏ Ï Ï ú.

13 Feodor Oancea

& 43 Ï Ï Ï Ï ÏÏÏ Ï Ï ú. ÏÏÏ Ï ÏÏÏ Ï Ï Ï ú.

ú ú

Ï ÏÏÏÏ Ï ÏÏÏÏ Ï Ï Ï ú.
& Ï Ï Ï Ï ú. Ï Ï Ï Ï ú.

14 Dansul piticilor Ana Motora Ionescu

& 43 Ï Ï Ï ú Ï Ï Ï Ï ú Ï Ï Ï Ï Ï ÏÏÏ Ï Ï Ï ú
Î

Ï ÏÏÏÏÏÏ ú.
& Ï ÏÏÏÏ ú Ï Ï ÏÏÏÏ ú ú Ï Ï Ï Ï

15

& 43 Ï Ï Ï Ï Ï ÏÏÏ ÏÏÏÏÏ

Ï ú. Ï ÏÏÏ Ï ÏÏÏ Ï Ï Ï Ï Ï Ï ú.
16
3 .. Ï Ï Ï ..
&4 ÏÏÏ Ï ÏÏÏ Ï ÏÏÏ Ï ÏÏú Ï ÏÏÏ Ï ÏÏÏ Ï ÏÏú

7
 4
Măsura de
4
1
4
&4 Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï ú

& 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

3
4 Ï Ï Ï Ï Ï Ï Ï
&4 Ï Ï Ï Ï Ï Ï Ï Ï ú
Ï

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
Ï
4

& 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
Ï Ï

& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

5
4
&4 Ï Ï Ï Ï Ï Ï Ï w Ï Ï Ï Ï Ï Ï Ï w

&Ï Ï Ï Ï Ï Ï Ï w Ï Ï Ï Ï Ï Ï Ï
w
6
Melodie
& 44 Ï Ï Ï Ï ú
V. Gabrielescu
î
Ï Ï Ï ú î Ï Ï Ï Ï ú î Ï Ï Ï Ï ú î
Ï

&Ï Ï Ï Ï ú ú Ï Ï Ï Ï ú ú Ï Ï Ï Ï ú ú Ï Ï Ï Ï ú ú
7

& Ï Ï Ï Ï Ï ·
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

& Ï Ï ·
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
8
8

& 44 Ï Ï Ï Ï ÏÏÏÏÏ
Ï ÏÏÏÏú ÏÏÏÏú
ÏÏÏÏú ÏÏÏÏú
9

& 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï ú

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
10
4
&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï ú

11

& 44 Ï Ï
Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï

&Ï Ï Ï ú Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï ú

9
 Pătrimea cu punct

Punctul pus la dreapta unei note prelungeşte durata acesteia cu încă jumătate
din durata ei.

1 Exerciţii ritmice
24 Ï j j j j
Ï Ï. Ï Ï Ï Ï Ï Ï. Ï Ï. Ï Ï Ï Ï Ï Ï. Ï ú
2
2 Ï Ï Ï . Ïj Ï . Ïj Ï Î j
Ï Ï.
j
Ï Ï. ÏÏÏÏ ú
j j
Ï. Ï Ï Ï.
j j
ÏäÏä ú
4
3
34 Ï Ï Ï Ï . Ïj Ï Ï . Ïj Ï ú Ï Ï . Ïj Ï Ï ú . j j j j
ÏÏÏ.Ï Ï Ï. Ï Ï Ï. Ï Ï Ï. Ï Ï Ï Ï ú.
4
44 Ï Ï Ï Ï Ï . Ïj Ï . Ïj ú Ï Ï Ï . Ïj Ï Ï Ï Ïj Ï . Ïj Ï . Ï . ä Ï . ä Ï Ï Ï Ï Ï . Ïj ú . Î

1 Raţa şchioapă
j j j j j j j
Ana Ionescu Motora

& 24 Ï . Ï Ï . Ï Ï Ï Ï . Ïj Ï . Ï Ï . Ï Ï Ï Ï . Ïj Ï . Ï Ï . Ï Ï Ï ú Ï . Ï Ï . Ïj Ï Ï ú

2 Horă
j j
& 24 .. Ï . j
Tiberiu Brediceanu

Ï Ï. Ï Ï. ä Ï Ï ä ..
Ï Ï Ï. Ï Ï Ï Ï Ï Ï.

& .. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï.
ä ..

3 Vino vară Timotei Popovici

j j
& 24 Ï . Ï Ï Ï Ï Ï Ï Ï Ï ä Ï Ï Ï Ï Ï Ï Ï jä
Ï Ï

j ä j ä
& Ï. Ï Ï Ï Ï Ï Ï Ï. Ï. Ï Ï Ï Ï Ï Ï Ï Ï.
10
4
j
& 43 Ï . ÏJ Ï Ï Ï . Ï Ï Ï Ï . ÏJ Ï Ï ú Ï
j
Ï. Ï Ï
j j
Ï. Ï Ï Ï Ï. Ï Ï ú.

Pescarii
,
5
j j j j ,
Nicolae Buicliu
j
& 4 Ï Ï J Ï Ï Ï Ï Ï . Ï Ï Ï Ï . Ï Ï Ï Ï Ï J Ï Ï Ï Ï Ï . Ï Ï Ï Ï . Ïj Ïj Ï
3 . j Ï Ï . j j j j j j j j . j Ï Ï . j j j j j

,
j j j j j
& .. Ï . Ï ÏJ Ï Ï . j Ï Ï Ï . Ï ÏJ Ï Ï . Ï ÏJ j Ï . Ïj Ïj Ïj Ï . Ï ÏJ j Ï . Ïj Ïj Ïj . ..
j j j
Ï Ï Ï ú
6
3 j j ú ÏÏ ú j j
& 4 Ï. Ï Ï Ï Ï . Ï Ï Ï Ï. Ï Ï Ï Ï Ï. Ï Ï Ï Ï ú.
7
3 j
& 4 Ï . Ï Ï Ï Ï Ï Ï Ï Ï Ï . Ïj ú Ï . Ï
jÏ
Ï Ï Ï Ï Ï Ï . Ï
j
Ï Ï ú Ï

8
În noaptea liniştită
4 j
Ion Vicol

& 4 Ï . Ïj Ï Ï Ï. Ï Ï Ï ÏÏÏÏÏ Ï ú.
Î j
Ï. Ï Ï Ï j
Ï. Ï Ï Ï

j
Ï Ï Î .. Ï Ï Ï Ï
1. 2.

&Ï Ï Ï Ï Ï. Ï. j ä
Ï Ï.

9 Melodie
4 j
G.F.Händel
ú î
&4 ú Ï. Ï ú ú ÏÏÏÏÏ Ï w ÏÏÏÏÏ Ï ú Ï Ï Ï Ï . Ïj ú

10
jú
& 44 Ï Ï . Ï Ï . ÏJ Ï Ï Ï Ï ú j Ï
Ï. Ï ÏÏÏÏ Ï ú Ï Ï Ï Ï ÏÏÏÏ
Ï Ï Ï ú ú
11
j
& 44 Ï Ï. Ï Ï Ï Ï Ï. j
Ï Ï Ï Ï.
j
Ï Ï Ï Ï Ï. j
Ï Ï
j j
&Ï Ï. Ï Ï Ï Ï Ï. Ï Ï Ï Ï.
j
Ï Ï Ï
Î î
Ï
11
 Şaisprezecimea

1 Exerciţii ritmice

2 ÏÏÏÏÏ ÏÏÏÏÏ Ï ÏÏÏÏ Ï ÏÏÏÏ Ï Ï ÏÏÏÏ ÏÏÏÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

4
2
3
4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏÏÏ Ï Ï Ï

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú.

3
4 Ï Ï Ï Ï ÏÏÏÏÏÏÏÏÏÏÏÏÏ ÏÏ ÏÏÏ ÏÏÏ Ï Ï Ï Ï ÏÏÏÏÏ Ï Ï
4

Ï ÏÏÏÏÏ Ï Ï Ï Ï Ï Ï ÏÏÏÏÏ Ï Ï Ï Ï ÏÏÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏÏú

1 La moară
F
Vesel Maria O. Ionescu

& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏÏÏ Ï ÏÏÏÏÏ ÏÏÏÏÏÏÏÏ Ï Ï Ï

Ï Ï Ï

3
2 Ï
& 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏJ ä Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
j ä ÏÏÏÏÏ Ï Ï Ï Ï Ï

ÏÏÏÏ ú ÏÏÏ ú
&Ï ÏÏÏÏ Ï Ï Ï Ï ÏÏÏÏÏ Ï ÏÏÏÏ
Ï Ï Ï Ï Ï Ï

12
4

& 43 Ï Ï Ï Ï Ï Ï ÏÏÏÏú
ÏÏÏÏ ÏÏÏÏÏ Ï Ï ÏÏÏÏ

F p
5
3 jä
& 4 Ï Ï Ï ÏÏÏÏú Ï Ï Ï ÏÏÏÏú ú Ï ú Ï ÏÏÏÏÏ Ï ú Ï
p F
&Ï Ï Ï ÏÏÏÏÏ Ï
Ï Ï Ï ÏÏÏÏú ú Ï ú Ï ÏÏÏÏ
Ï Ï ú.

& 44 Ï Ï Ï ÏÏÏÏ Ï ú Ï Ï Ï ÏÏÏÏ Ï Ï ú

Ï

&Ï Ï ú ÏÏÏÏÏÏÏÏ ú ú Ï Ï Ï Ï ÏÏÏÏÏÏÏÏ Ï ÏÏ Î

Ï Ï

7
4
&4 Ï ÏÏÏÏÏ
Ï Ï ÏÏÏÏ Ï Ï Ï Ï ÏÏÏÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏÏ ÏÏÏ
Ï ÏÏÏ Ï Ï Ï Ï Ï Ï Ï Ï

13
 Dactilul
Ï Ï Ï
Dac - ti - lul
1 Exerciţii ritmice
2 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
4
2

43 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏ Ï Ï Ï Ï Ï Ï ÏÏÏ Ï

Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏ Ï Ï
3
4 Ï Ï ÏÏÏ Ï ÏÏ Ï Ï Ï ÏÏÏ ÏÏ Ï Î Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏ Î
4

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏ Ï ÏÏÏ ÏÏÏÏÏ Ï Ï ÏÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

1 Horă Melodie populară

& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

F
2 Allegro
Musette
2 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
W.A.Mozart (1756 - 1791)

&4 Ï Ï Ï Ï Ï
p
&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
F p F
& ÏÏÏÏÏ Ï Ï ÏÏÏ ÏÏ Ï Ï
ÏÏÏÏÏ ÏÏÏÏÏ Ï ÏÏÏÏÏ

3 Horă după George Breazul

& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ïj ä Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ïj ä ..

j
& .. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ä Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ïj ä
..

14
4
3 Ï ÏÏÏ Ï Ï
&4 Ï ÏÏÏ Ï Ï Ï Ï ÏÏÏ Ï Ï Ï Ï ÏÏÏ ÏÏÏ

& Ï ÏÏÏ ÏÏÏ Ï Ï ÏÏÏ ÏÏÏ Ï ÏÏÏ Ï Ï Ï Ï ÏÏÏ Ï Ï

Anapestul
Ï Ï Ï
A - na - pest
1 Exerciţii ritmice

24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
2
24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
3

43 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏ Ï Ï ÏÏÏ Ï ÏÏÏ Ï ÏÏÏÏÏ Ï ÏÏÏ

Ï ÏÏÏÏÏ ÏÏÏ Ï ÏÏÏÏÏÏÏ Ï ÏÏÏ Ï ÏÏ ÏÏÏÏÏÏÏ Ï

4
4 ÏÏÏ ÏÏÏ ÏÏÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ Ï ÏÏÏÏÏÏÏ Ï Ï ÏÏÏ
4

ÏÏÏ ÏÏÏÏÏÏÏ Ï Ï Ï ÏÏÏ Ï Ï ÏÏ ÏÏÏ Ï Ï ÏÏÏÏÏ ÏÏ

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

1 Melodie Alfred Mendelsohn

& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
15
2
2
&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î
Ï Ï Ï Ï Ï Ï
3

& 43 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏ Ï Ï Ï ÏÏÏ Ï Ï Ï

&ÏÏÏ Ï Ï Ï Ï ÏÏÏ Ï Ï Ï Ï Ï ÏÏÏ Ï Ï ÏÏÏ Ï Ï Ï

4
3 ÏÏÏ Ï Ï ÏÏÏ
&4 Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏ Ï Ï Ï Ï ÏÏÏ Ï Ï Ï
Ï

& .. Ï Ï Ï .. Ï Ï Ï Ï Ï
1. 2.

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï

Trioletul
3

Ï Ï Ï

1 Exerciţii ritmice

2 Ï ÏÏÏ ÏÏÏÏ Ï Ï Ï ÏÏÏ ÏÏÏÏ

3 3 3 3 3 3 3 3

4 Ï Ï ÏÏÏ ÏÏÏÏ Ï Ï ÏÏÏ ÏÏÏÏ

2
3
3 3 3 3 3 3 3

4 Ï Ï Ï ÏÏÏ Ï Ï ÏÏÏÏ ÏÏÏÏÏÏÏ Ï Ï Ï ÏÏÏÏ ÏÏÏÏÏÏÏ Ï

3 3 3 3 3 3 3

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

3
4 Ï
3 3 3 3 3

4 Ï Ï Ï Ï Ï ÏÏÏÏ Ï Ï Ï Ï Ï Ï ÏÏÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏÏÏ Ï Ï Ï Ï Ï

3 3 3 3

ÏÏÏÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏÏÏ Ï Ï Ï Ï ÏÏÏÏ Ï ÏÏÏÏÏ Ï Ï Ï Ï Ï

16
1 Ploaia Georgeta Moraru

2
3

Î ÏÏÏ Ï Î
3 3

&4 Ï Ï Ï ÏÏÏÏ Ï Ï Ï ÏÏÏÏ

3

Ï ÏÏÏ Ï Ï

&Ï Ï Ï Ï Ï Ï Ï ÏÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î
3 3

Ï Ï ÏÏÏ Ï
2 Cu bicicleta
2
Laura Lianu

&4 Ï Ï Ï Ï Ï ÏÏÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Î
3 3

Ï Ï ÏÏÏÏ Ï Ï

&ÏÏÏÏ Ï Ï Ï Ï Ï ÏÏÏÏ Ï Ï Ï Ï ÏÏÏÏ Ï Ï Ï Ï Ï ÏÏÏÏ Ï Ï Î

3 3 3 3

3 Vioi Dans Sabin V. Drăgoi

2 . . ÏÏÏ Ï ÏÏÏ Ï Ï
&4 Ï ÏÏÏ Ï ÏÏÏ Ï ÏÏÏ ÏÏÏÏ . .Ï ÏÏÏ Ï
3 3 3 3 3

3 3

ÏÏÏ Ï ÏÏÏ Ï Ï ..
3 3

&Ï
3 3

ÏÏÏ Ï Ï Ï
4

& 43 Ï . j
Ï Ï Ï ÏÏÏÏ Ï ÏÏÏÏ Ï Ï Î Î ÏÏÏÏ
Î
ÏÏÏÏ
Î
3 3 3

Ï
3

j Î ÏÏÏÏ j
ÏÏÏÏ Î Î Î Î
3

& Ï Ï Ï Ï Ï Ï Ï Ï
3

Ï Ï Ï Ï. Ï.
3
5
3 Ï ÏÏÏ Ï
3

Ï
3

&4 Ï ÏÏÏÏ Ï Ï
3 3

Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï

ÏÏÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú.
3 3

&Ï Ï Ï Ï Ï Ï Ï ÏÏÏÏ
3

Ï
3 3 3

6 Liviu Dandara

& 44 Ï . j j ÏÏÏÏ
3 3

Ï Ï Ï Ï Ï Ï ÏÏÏÏ Ï Ï Ï. Ï Ï Ï Ï Ï Ï

ÏÏÏÏ
3

&Ï Ï Ï Ï Ï Ï Ï Ï. j j
Ï Ï ÏÏ Ï ÏÏ Ï ÏÏÏ
Ï Î
3 3 3

Ï Ï.
3

7
4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï. j
Ï Ï Ï Ï
3 3 3

&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏÏ
3

&ÏÏÏÏ ÏÏÏÏ ÏÏÏÏ Ï ÏÏ Ï ÏÏÏÏ ÏÏÏÏ ÏÏÏÏÏÏÏÏÏ

3 3 3 3 3

Ï 3
Ï
3 3 3

17
 Optimea cu punct
Ï Ï Ï Ï = Ï. Ï

1 Exerciţii ritmice
2 Ï Ï Ï Ï Ï Ï. Ï Ï. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï. Ï ú
4

Ï Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï Ï. Ï Ï Ï. Ï Ï Ï Ï Ï Ï Ï Ï. Ï Ï

43 Ï Ï Ï Ï . Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï . Ï Ï Ï Ï Ï . Ï Ï Ï Ï Ï . Ï Ï Ï . Ï Ï Ï Ï Ï Ï

& 24 Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï Ï Ï Ï

2
2 Ï. ÏÏ Ï Ï Ï Ï ÏÏÏ
& 4 Ï. Ï Ï Ï Ï Ï Ï Ï. ÏÏ Ï Ï Ï Ï. ÏÏ Ï. ÏÏ Ï. ÏÏ Ï
3
2 j
& 4 Ï. Ï Ï Ï Ï Ï Ï ä Ï. ÏÏ Ï Ï Ï Ï Ï Ï. Ï Ï Ï Ï Ï Ï Ï. ÏÏ Ï Ï Ï Ï Ï

4
3 Î
& 4 Ï. Ï Ï. Ï Ï Ï Ï. Ï Ï. Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

Ï Ï Ï Ï Ï Ï ú
& Ï. Ï Ï. Ï Ï Ï Ï. Ï Ï. Ï Ï Ï Î

5
j j Î Ï . Ï . Ï Ïj ä
& 43 Ï . Ï Ï . Ï Ï ä Ï . Ï Ï . Ï Ï ä Ï . Ïj Ï Ï ú Ï Ï
jä Ï. j
Ï Ï Ï ú.
Ï. Ï Ï.Ï
6 Cântec de leagăn
4
Franz Schubert (1797 - 1828)

&4 Ï Ï Ï. Ï Ï Ï Ï ÏÏÏÏÏ Ï Ï Ï. Ï Ï Ï Ï ÏÏÏÏÏ Ï

Ï

& Ï. j Ï ÏÏÏ Ï Ï Ï
Ï Ï. Ï Ï Ï
Ï Ï. Ï Ï Ï Ï ÏÏÏÏÏ Ï
18
 Alteraţii accidentale
Diezul, bemolul, becarul

1
2 Ï Ï Ï Ï ú
&4 Ï Ï Ï Ï Ï #Ï ú Ï #Ï
2
4 Ï Ï Ï Ï Ï Ï Ï
& 4 Ï Ï Ï #Ï Ï Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
3
2 j
& 4 .. Ï .. ..
1. 2.

Ï #Ï Ï Ï Ï NÏ Ï Ï Ï Ï Ï Ï Ï Ï
Ï.

j j
& .. Ï ..
1. 2.

Ï ä
18

Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï Ï Ï Ï
4
3 Ï Ï Ï
&4 ú #Ï ú nÏ ú #Ï ú nÏ ú Ï Ï Ï Ï ú.
31

&ú #Ï ú Ï ú Ï ú Ï ú #Ï ú nÏ ú Ï ú.
5
2 Ï
&4 Ï Ï Ï Ï Ï bÏ Ï Ï Ï Ï bÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï

Ï Ï Ï Ï
47

& Ï bÏ Ï Ï Ï Ï nÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
6
2
&4 Ï Ï Ï Ï Ï Ï Ï Ï bÏ Ï Ï Ï Ï
Ï Ï Ï bÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
7

& 24 Ï Ï Ï Ï b Ï Ï Ï Ï Ï Ï ú Ï Ï
Ï bÏ Ï Ï Ï bÏ Ï Ï ú

8
4 Ï Ï Ï Ï Ï Ï Ï bÏ
& 4 Ï bÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏú Ï Ï Ï Ï Ï Ï
Ï ú
9

& 24 Ï Ï bÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï bÏ Ï Ï Ï
19
 INTERVALE
Prima
1p
&w w
Intervalul de primă constă în repetarea unui sunet pe aceeaşi treaptă.

Prima este un interval perfect (are un singur aspect de bază).

1+ 1+
Cu ajutorul semnelor de alteraţie se obţine prima mărită (1+),
care conţine un semiton cromatic. Primă micşorată nu există.
&w #w w bw
semitonuri cromatice

&w #w w bw
Semitonurile cromatice se formează
pe aceeaşi treaptă cu ajutorul alteraţiilor.

semitonuri diatonice

&w w w w w #w Semitonurile diatonice se formează

între două trepte alăturate, având denumiri diferite.

Moderato
1 Canon
j
a b
& 44 Ï Ï Ï Ï Ï . j
Ï Ï Ï ú Ï Ï Ï Ï Ï. Ï Ï Ï ú

&Ï Ï j j
Ï Ï Ï. Ï Ï Ï ú Ï Ï Ï Ï Ï. Ï Ï Ï ú

& 24 Ï Ï Ï Ï Ï Ï ÏÏÏÏÏ ÏÏÏÏÏ Ï ÏÏÏÏÏ Ï ÏÏÏ

Ï ÏÏÏ

&Ï ÏÏÏ Ï ú ÏÏÏÏÏ Ï ÏÏÏÏÏ ÏÏÏÏÏ Ï Ï ÏÏ ÏÏ

3
j j
& 24 Ï Ï Ï Ï Ï. Ï Ï Ï Ï Ï Ï #Ï Ï. bÏ Ï Ï

& Ï #Ï Ï Ï ú Ï Ï Ï bÏ Ï Ï Ï Ï bÏ Ï Ï ú

20
 Secunda
2M 2m
& w w w w 2M = 1T
2m = 1ST

Secunda cuprinde două trepte alăturate.

După numărul tonurilor şi semitonurilor, secundele pot fi mari şi mici.

Secunda mare cuprinde un ton (2M = 1 T)
Secunda mică cuprinde un semiton (2m = 1 ST)
Cu ajutorul semnelor de alteraţie, secunda mare se poate transforma în secundă mică, iar secunda mică
în secundă mare.
2M 2m 2m 2m 2M 2M
& w bw w w w w #w bw w
w w #w
Tot cu ajutorul semnelor de alteraţie din secunda mare se obţine secunda mărită (2+),
iar din secunda mică, secundă micşorată (2-).
2+
2M 2m 2-
& w w w Ï #w w w w bw
1t 1t + 1st 1st 0t +0st

1 Cântecul secundei Ana Motora Ionescu

2
&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï #Ï Ï nÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï

Exerciţiu de intonaţie în dialog

Ï
Grupa I Grupa II

& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï

2
j
& 24 Ï Ï Ï Ï Ï Ï Ï
bÏ ú nÏ . Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú ÏÏÏÏ ú
3

Ï Ï Ï Ï Ï Ï Ï Ï
3

21
3 Melodie
j
& 43 Ï .
Bogdan Moroianu
j Ï ú. Ï Ï Ï j
Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï Ï. Ï Ï ú.

j j j j ú j ú.
Ï Ï Ï Ï Ï. Ï Ï
& Ï. ÏÏ Ï. ÏÏ Ï Ï. Ï Ï Ï. Ï

& 43 ú Ï ú Ï ú ú
Î
ú Ï ú Ï Ï Ï Ï ú Î
Ï
j j j
& Ï. Ï Ï Ï. Ï Ï Ï Ï Ï ú. Ï Ï Ï Ï. Ï Ï Ï Ï Ï ú.

j j Î
& Ï. Ï Ï Ï. Ï Ï Ï Ï Ï ú

5
3
&4 Ï Ï Ï Ï ú Ï Ï Ï Ï ÏÏú
Ï ÏÏÏ ú Ï Ï ÏÏÏ ú.

&Ï ÏÏÏ ÏÏú Ï Ï Ï ÏÏú ÏÏÏ Ï ÏÏú ÏÏÏÏÏ

Ï ú.

6 Allegretto Jules Arnoud

2 Ï #Ï Ï Ï Î
& 4 Ï #Ï Ï Ï ú ú #ú Ï

Ï Ï Ï Ï #Ï Ï Ï Ï Î
&Ï #Ï Ï Ï Ï

7 Jules Arnoud

ú. ú
& 43 Ï # Ï Ï ú. Ï #Ï Ï Ï Ï Ï ú Ï Ï Ï #Ï Î

Ï
&Ï Ï ú Ï Ï Ï Ï ú. ú. Ï #Ï Ï Ï Ï Ï ú Î

22
 Cheia FA pe linia a IV-a

w w
Exerciţii de citire

? w w w w w
w w w w w
w w
Fa Do Fa Do
w w w w
? w w w w w w w w w w w
Fa Do Fa Do Fa

8 Moderato

?4 Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï
4 Ï Ï Ï Ï Ï Ï Ï

? Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
3 3

9
? 43 ú Ï ú Ï ÏÏÏÏÏ ÏÏÏÏÏ Ï Ï Ï Ï Ï Ï ú Ï ú.

?ú Ï ú Ï ÏÏÏÏÏ ÏÏÏÏÏ Ï Ï Ï Ï Ï Ï Ï
ú ú.

10
?2 Ï Ï Ï ú Ï Ï Ï Ï
4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

?Ï Ï Ï Ï Ï Ï Ï Ï Ï ú ä ÏJ Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

Temă:
Construiţi următoarele intervale:

a 1p 1+↑ 1+↓ 2m↑ 1p 2M↓ 2+↑ 1+↑

&w w w w w w w
w

b 2M↑ 2m↑ 2m↓ 2M↑ 2+↓ 2+↑ 2m↑ 2M↓

w
&w w w w w w w

23
 Terţa
3M 3m

& w w À w
w À
3M = 2T
t t
3m = 1T + 1ST
st t

Terţa cuprinde trei trepte alăturate.

După numărul tonurilor şi semitonurilor, terţa poate fi mare sau mică.

Terţa mare conţine două tonuri (3M = 2T)
Terţa mică conţine un ton şi un semiton (3m = 1T + 1ST)

Cu ajutorul semnelor de alteraţie, terţa mare se poate transforma în terţă mică, iar terţa mică în terţă mare.

3M 3m 3m 3m 3M 3M
& w Ï w bw Ï w w #Ï #w
w Ï w w Ï bw #w Ï w
Tot cu ajutorul alteraţiilor, terţa mare poate deveni terţă mărită (3+), iar terţa mică poate deveni
terţă micşorată (3-).

w Ï
3+ 3- 3+ 3-
& #w #w w Ï bw w Ï bw
w Ï
t 1t +1st st st t 1t +1st

1 Victor Iuşceanu (vol.I nr.34)

& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï
&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Î

2 Cântecul terţei Ana Motora Ionescu

Cu veselie

& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

Exerciţiu de intonaţie în dialog

w À w
Grupa I Grupa II

&w À w w À w w À w w À w
w À w w À w

&w À w w À w w À w w À w w À w w À w w À w

24
3 Trei albine Edith Visky

& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î Ï Ï Ï Ï Ï Î Ï Ï Ï Ï Î
Ï Ï Ï

4
Horă Din folclorul copiilor

j
Moderato
2
& 4 .. Ï Ï Ï Ï ..
1. 2.

Ï Ï Ï Ï Ï Ï Ïj ä Ï Ï Ï ä Ï Ï Ï
j ä

j j
& .. Ï Ï Ï Ï ..
1. 2.

Ï Ï Ï ä Ï Ï Ï
j ä
Ï Ï Ï ä Ï Ï Ï
j ä

5 Andante
2
&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï

6
j
& 43 j
Ï Ï Ï Ï ú Ï. Ï Ï Ï ú. Ï. Ï Ï Ï
J Ï ú
Ï.

& Ï. j j Ï. j
Ï Ï Ï ú. Ï. Ï Ï Ï Ï ú Ï Ï Ï ú.
7
? 43 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï ú.
ú. ú ú

?Ï Ï Ï Ï Ï Ï ú Ï ú. Ï Ï Ï Ï Ï Ï Ï Ï
Ï ú.

8
4
&4
Ï Ï Ï Ï Ï
Ï Ï Ï ú ú Ï Ï Ï Ï Ï Ï Ï Ï ú ú

&Ï Ï Ï Ï Ï Ï Ï Ï ú ú Ï Ï Ï Ï Ï Ï Ï Ï î
ú

Ï. Ï Ï Ï Ï
9 Andante

? 44 Ï Ï. Ï Ï Ï ú Ï Ï Ï ú
Ï J J

?Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï ú

25
 Ï Ï Ï Ï Ï ú
10
Ï
Moderato Jules Arnoud

? 24 Ï Ï Ï. Ï Ï Ï Ï Ï Ï Ï Ï Ï. J
J
Ï Ï Ï. Ï Ï ú ú
? J Ï Ï Ï Ï Ï Ï Ï Î
Ï

11 Jules Arnoud
ú
& 24 Ï Ï Ï Ï Ï Ï Î Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Î
Ï
ú Ï Ï ú Ï
&ú Ï Ï Ï Ï Ï Ï Ï Ï Î

12 Roxana Mihăescu
3 j Ï. Ï Ï Ï Î
& 4 Ï. Ï Ï Ï ú Ï J ú

&Ï Ï Ï Ï Ï ú Î
Ï Ï Ï ú
3

Ï ú

& Ï #Ï Ï Ï Ï Ï Ï Ï Ï ú.
Ï ú
3

13
3 j j Ï ú.
& 4 Ï. Ï Ï Ï. Ï Ï Ï Ï Ï Ï Ï.

& Ï. Ï Ï Ï Ï. Ï ú Ï.
j
Ï Ï. Ï Ï ú

& . Ï Ï Ï Ï. Ï Ï Ï ú.
Ï Ï Ï Ï Ï.

& Ï. Ï Ï Ï Ï Ï. Ï Ï Ï Ï Ï. Ï Ï Ï Ï. Ï ú.

26
14 Moderato
?4 Ï Ï Ï. Ï Ï Ï Ï. Ï ú Ï Ï Ï. Ï Ï Ï Ï. Ï ú
4 J J

Ï Ï Ï Ï Ï
? Ï. Ï Ï. Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï Ï. Ï Ï. Ï Ï Ï ú
J

15

& 24 Ï
3

Ï Ï Ï Ï Ï Ï ú
3 3 3

Ï ú Ï Ï ú Ï Ï Ï Ï Ï Ï ú

&Ï Ï Ï ÏÏÏÏ Ï ÏÏÏÏ ÏÏ ú

3

Ï Ï Ï
3 3

Ï Ï Ï Ï Ï Ï Ï
ÏÏÏÏ
3

16 a Iulia Bucescu
2
&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
b
&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
c
Ï Ï
&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
d
&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï

Temă:
Construiţi următoarele intervale:

3M↑ 2M↑ 2+↑ 3M↓ 3+↑

& 44 w w w w
w
2M↓ 3m↓ 2+↓ 1+↑ 3M↓

&w w w w w
3m↑ 2M↑ 2m↑ 3+↑ 3M↑

&w w w w w
2+↑ 3+↓ 3m↑ 1p 3M↓ 3M↑
w w
&w w w w

27
 Cvarta
4p
&
w Ï Ïw 4p = 2T + 1ST

Cvarta este distanţa de la o treaptă la cea de-a patra.

După numărul de tonuri şi semitonuri, cvarta este un interval perfect (are un singur aspect de bază) şi conţine
două tonuri şi un semiton.

Cu ajutorul semnelor de alteraţie, din cvartă perfectă se poate obţine cvartă mărită (4+) sau cvartă micşorată (4 -).
4+=3T
4 - = 1T + 2ST

4+ 4+ 4+ 4-
&w Ï Ï w
4-
w Ï Ï bw bw Ï
t t t w Ï Ï #w #w Ï Ïw Ïw
t t t t t t t st t st
st st

Exerciţiu de intonaţie în dialog

&w À À w w À À w w À À w w À À w w À À w w À À w

w À À w w À À w
& w À À w w À À w w À À w
w À À w

& 44 Ï Ï Ï Ï ú ú Ï Ï Ï Ï ú ú Ï Ï Ï Ï w Ï Ï Ï Ï w

& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú ..

& .. ú ..
1. 2.

ÏÏÏÏ ÏÏÏÏ Ï ÏÏÏÏ Ï Ï Ï ÏÏ ú Ï ÏÏ ú

Ï

3 Cântecul cvartei Ana Motora Ionescu

2
Moderato

&4 Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï ú

28
4

& 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï ú

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï

5
Ï Ï Ï Ï ú
Moderato
?3 Ï Ï Ï ú Ï Ï Ï ÏÏ ú Î Ï Ï Ï ú Î
4

?Ï
Ï Ï ú Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï
Î ú.

6
3 Ï Ï Ï
&4 ú ú ú Ï Ï Ï Ï Ï Ï
ÏÏÏ Ï ú ú ú

&Ï Ï Ï Ï ú Ï ú Ï ú Ï Ï Ï Ï Ï Ï ú. Ï Î Î
Ï ú

& 43 Ï ú Î ú Ï ú Î ú Ï Ï Ï Ï Ï Ï Ï ú.
ú

&ú Ï ú Î ú ú. Ï Ï Ï Ï Ï Ï ú. Ï Î Î
Ï

8
ú Ï Ï Ï Ï ú ú Ï Ï Ï ú
? 43 Î
3 3

Ï Ï Ï Ï Ï
?Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
3 3 3 3
3

9
Ï. Ï Ï
Jules Arnoud
3 Ï. Ï Ï Ï. Ï Ï
& 4 Ï Ï . ÏJ Ï J J Ï Î Ï Ï . ÏJ Ï J Ï Ï ú Î

. Ï j Ï. Ï Ï Ï. Ï Ï
&Ï JÏ Ï ú Ï Ï. Ï ú Î J J
ú Ï Ï Ï Ï

29
10
4 Ï Ï Ï Ï Ï Ï ú Ï. Ï Ï Ï Ï. Ï Ï
&4 Ï Ï.
3

Ï J Ï ÏÏ Ï Ï ú
3

& Ï Ï. Ï Ï Ï Ï Ï Ïú ÏÏÏ Ï ÏÏÏ Ï ÏÏÏÏ Ï ú

3

Ï J
3

11 Moderato Jules Arnoud

4 Ï Ï Ï Ï Ï Ï Ï Ï
3
Ï Ï Ï Ï Ï Ï Ï Ï 3
&4 ú Ï Ï Ï Ï Ï
3

Ï Ï Ï ú
3 3
3

j Ï ú Ï Î j Ï Î Ï Ï
& Ï. Ï Ï Ï. #Ï Ï ú nÏ ú

Ï Ï Ï Ï Ï Ï Ï ú
Ï bÏ ú
3 3

& Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï
3 3

3
3

j
Ï Ï Ï Ï Ï Ï
3

Î î
3

&Ï Ï. Ï Ï Ï Ï Ï Ï Ï Ï
3

ú Ï

Jules Arnoud
12

& 24 Ï
Ï ÏÏÏÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ä
Fine
Ï Ï Ï Ï Ï
Ï J

ÏÏÏÏÏ ÏÏ ÏÏ Ï Ï Ï
Da Capo al Fine

& ÏÏÏÏÏ ÏÏÏÏÏÏÏ Ï Ï Ï Ï Ï Ï Î

Ï

13
Ï Ï Ï Ï Ï. Ï
Roxana Mihăescu

? 44 J Ï. Ï ú Î Ï Ï Ï Ï Ï. Ï Ï.
J Ï ú
J

? Ï Ï Ï #Ï Ï . j Ï Ï Ï #Ï Ï . Ï Ï . # ÏJ # ú Ï ÏÏÏ
Ï Ï. Ï ú J

?ú Ï #Ï Ï Ï nú Ï Ï Ï. Ï Ï Ï Ï. Ï Ï Ï Ï Ï Ï. Ï Ï
J J

30
 Temă:
1.Construiţi următoarele intervale:
4p↑ 4p↓ 3m↑ 2M↓ 2m↓
w w
a) &w w w

1+↑ 4+↑ 2+↑ 3M↑ 4+↑

b) &w w w bw w

w
3M↓ 2M↑
w
4p↑ 4+↓ 4+↓
&w w
c) w
2+↓ 2M↑ 3M↑
4-↓
w
4-↑
&w w #w
d) #w

2.Recunoaşteţi următoarele intervale:

&w #w w bw w bw w w bw
a) w

bw #w w #w w bw
b) &w w #w w

#w w
c) &w #w #w w bw bw w #w

w w w bw
d) & #w bw w w
bw w

e) & #w w w bw bw bw bw bw bw w

31
 Cvinta
5p

& w
w Ï Ï Ï 5p = 3T + 1ST

Cvinta este distanţa de la o treaptă la cea de-a cincea.

După numărul de tonuri şi semitonuri, cvinta este un interval perfect (are un singur aspect de bază).

Cu ajutorul alteraţiilor, din cvintă perfectă se poate obţine cvintă mărită (5+) şi cvintă micşorată (5-).

5+ = 4T
5 - = 2T + 2ST

5+ 5+ 5- 5-
& w w w Ï Ï Ï #w
Ï Ï #Ï #w Ï Ï bÏ bw
w Ï Ï Ï w
t t t t t t t t t st t t st
st t st

1 Cinci oiţe
& 24 Ï
Edith Visky

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï

& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï

Exerciţiu de intonaţie în dialog

w
Grupa I Grupa II

& w Ï Ï Ï w w Ï Ï Ï w Ï Ï Ï w w Ï Ï Ï w

&w Ï Ï Ï w w Ï Ï Ï w w Ï Ï Ï w w Ï Ï Ï w

&w Ï Ï Ï w w Ï Ï Ï w w Ï Ï Ï w w Ï Ï Ï w

Cântecul cvintei
2 Ana Motora Ionescu

& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï ú

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

32
3
2 j j j Ï j
&4 Ï Ï Ï. Ï Ï Ï Ï Ï. Ï Ï Ï. Ï Ï Ï Ï.

j j
&Ï Ï Ï Ï. Ï Ï Ï Ï ú Ï Ï Ï Ï Ï. Ï Ï Ï Ï Ïj Ï .

4 Allegretto
3
&4 ú Ï ú Ï
ú
Ï
ú. Ï Ï Ï ú Ï Ï Ï Ï ú.

&ú Ï ú Ï ú Ï ú. Ï
Ï
Ï Ï Ï Ï Ï Ï Ï ú.

& 44 Ï Ï ú Ï Ï ú Ï Ï Ï. Ï
J
Ï Ï ú

. j
&Ï Ï ú Ï Ï ú Ï
Ï Ï Ï Ï Ï
ú

Iarna Ana Motora Ionescu

6
Ï Ï Ï. Ï Ï
Allegretto

& 43 .. ú ÏÏ ú Î ..
1.

Î Î
ú ÏÏ ú ú J Ï Ï . Ïj Ï Ï ú
2.
Ï Ï Ï Ï. Ï Ï Ï Ï. j ú.
& Ï. J J Ï Ï

ú
7
ú Ï Ï Ï Ï
Moderato
? 44 Ï Ï Ï Ï ú Ï Ï Ï
Ï
w ú

Ï Ï Ï Ï ú Ï Ï Ï Ï w
?Ï Ï Ï Ï ú ú ú

33
 Victor Iuşceanu
8 (adaptat după solfegiul 66 vol. I)
4 ú. Ï Ï Ï ú Ï
Ï Ï
Ï Ï. Ï Ï Ï î Ï Ï
&4 J ú Ï ÏÏ

& ú. Ï Ï Ï ú
Ï
Ï Ï.
Ï Ï Ï Ï
J Ï ú Ï Ï Ï Ï Ï

& ú. Ï j Ï Ï Ï Ï Ï Ï ú
Ï. Ï ú Ï Ï Ï Ï Ï Ï w

>ú
Ï Ï ú Ï Ï ú
Victor Iuşceanu
Ï Ï Ï Ï Ï
9
?4 Ï Ï >ú Ï Ï Ï Ï Ï Ï ú
4 Ï Ï Ï ú

Ï >ú Ï Ï Ï Ï Ï Ï
? Ï Ï Ï Ï >
ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Î ú

10 Jules Arnoud

j
& 24 Ï Ï Ï Ï Ï.
j
Ï Ï Ï ÏÏÏ ú ÏÏÏÏ Ï ä
3 3

ÏÏÏÏ
3 3

Ï Ï ÏÏÏ Ï
3

Ï j
Ï Ï Ï Ï Ï Ï Ï Ï.
3

Ï ú Ï Ï. j
3

&Ï ÏÏÏÏ
3 3

3
Ï Ï Ï Ï Ï Ï Ï Ï

Ï Ï ä
3

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï j
3 3 3

Ï Ï Ï Ï

Victor Iuşceanu
11 (adaptat după solfegiul 191 vol. I)

2 Ï Ï Ï Ï Ï Ï
&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

& Ï Ï Ï Ï Ïj ä Ï Ï Ï Ï j ä Ï Ï Ï Ï Ï j ä
Ï Ï Ï Ï Ï

34
 Temă:
1.Construiţi următoarele intervale:
5p↑ 4p↑ 5-↓ 2M↑ 5p↓
w w
a) &w w w

2+↑ 4p↑ 4p↑ 5p↑ 5p↓

#w
b) &w bw w #w

2M↑ 5p↓ 1+↑ 4+↓ 5+↑

#w w
c) &w w w

3m↑ 2+↑ 3M↑ 5p↓ 5-↑

w bw
d) & bw bw w

2.Recunoaşteţi următoarele intervale:

&w bw w w w w #w w
a) w bw

b) & #w #w w bw bw w w bw w w

w
c) & #w w w w w #w w bw w

#w
& w bw bw w bw #w
d) bw w w

35
 Sexta
6M 6m
& w Ï ÏÏ Ï w wÏ Ï Ï Ïw 6M = 4T + 1ST
6m = 3T + 2ST
t t st t t st t t t st

Sexta este distanţa de la o treaptă la cea de-a şasea.

După numărul de tonuri şi semitonuri, sexta poate fi mare sau mică.

Sexta mare conţine 4tonuri şi un semiton (6M = 4T + 1ST)
Sexta mică conţine 3 tonuri şi 2 semitonuri (6m = 3T + 2ST)

Cu ajutorul semnelor de alteraţie, sexta mare se poate transforma în sextă mică, iar cea mică în sextă mare.

w ÏÏ Ï
6m 6m 6M 6M
& Ï bw Ï #w Ï Ï Ï #w w Ï Ï Ï
w Ï Ï Ï w Ï Ï bw

Tot cu ajutorul semnelor de alteraţie, sexta mare poate deveni sextă mărită (6+), iar sexta mică poate deveni
sextă micşorată (6-)
6+ 6+ 6- 6-
#w #Ï Ï Ï Ï Ï bw bÏ bw
& w Ï Ï #Ï #Ï #w Ï w #w Ï Ï wÏ Ï Ï
t t t t t t t t t t st t t st st st t t st st

1 Şase puişori Edith Visky

& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï

Grupa I
Exerciţiu de intonaţie în dialog
Grupa II
w Ï Ï Ï
& w Ï Ï Ï Ï w w Ï Ï Ï Ï w w Ï Ï Ï Ï w w Ï Ï Ï Ï w Ï w

&w Ï Ï Ï Ï w w Ï Ï Ï Ï Ï Ï Ï w Ï Ï Ï Ï w w Ï Ï Ï Ï w
w w Ï w

2
2 Î Ï Ï Ï Ï Ï Ï Ï Î
&4 Ï Ï Ï Ï
Ï Ï Ï
Ï
Ï
Ï Ï Ï Ï Ï Ï

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î Ï
Ï Ï
Ï Ï
Ï Ï
Ï Ï Ï Ï
Ï
Î
Ï

36
3
Cântecul sextei
Allegretto Versurile şi muzica: Ana Motora-Ionescu

& 43 Ï ú. ú
Ï ú. Ï Ï Ï Ï Ï Ï ú
Ï ú.
ú
Ï Ï Ï Ï ú Ï ú.
&ú ú ú ú Ï Ï Ï Ï Ï Ï

4
3 Ï Ï Ï Ï Ï ÏÏÏ
&4
ÏÏÏÏ
Ï
Ï
Ï
Ï Ï ú. ÏÏÏÏÏ Ï Ï ú.

&ú Ï
ú
Ï ú
Ï ú. ú ú Ï ú.
Ï Ï ú

& ÏÏÏÏÏ Ï Ï Ï j Ï Ï Ï Ï Ï Ï Ï.
Ï Ï. Ï ú. ÏÏÏÏ Ï j
Ï ú.

5
j
& 44 Ï Ï Î Ï Ï Ï Ï Î Ï.
Ï
jÏ Ï Ï Ï Ï Ï Î Ï Ï Ï Ï Î
Ï.
j Ï Ï Ï
&Ï Ï
Ï. Ï
J Ï
Ï
Ï. Ï Ï Î Ï Ï Ï ú

6 Andantino
3 Ï. Ï ú Ï. Ï ú Î Ï Ï Ï Ï Ï Ï
&4 ú Ï ú Ï Ï Ï ú.

Ï. Ï ú Î Ï. Ï ú Î Ï Ï Ï Ï ú ú Î
&Ï J Ï J Ï Ï Ï

7 Cuibul de barză
Alexandru Paşcanu

& 43 .. Ï Ï Ï ú Ï Ï Ï Ï ú. Ï
Ï Ï ú Ï Ï Ï Ï ú.
j
Ï Ï Ï Ï. Ï Ï

j
Ï Ï Ï Ï Ï Ï Ï Ï Î Î .. Ï Ï Ï Ï
1. 2.

Ï. Ï Ï Î Î
&Ï Ï Ï ÏÏÏÏÏ ÏÏ Ï

37
 Ca o zi de primvăvară
8 Din colecţia: Gavril Musicescu (1847-1903)
Ï Ï Ï Ï.
Moderato
?3 Ï Ï Ï. Ï Ï Ï Ï j Ï Ï Ï.
4 J Ï ä J ä Ï Ï

Ï Ï
? Ï. J
Ï Ï Ï ä Ï Ï Ï.
Ï Ï Ï
J Ï. ä Ï Ï
J
Ï Ï
? Ï. J Ï Ï Ï ä Ï Ï Ï. Ï Ï Ï Ï. ä
J J

9
Ï
Rodica Giurgiu

?2 Ï Ï Ï Ï Ï Ï Ï Ï ú
4 Ï ä ÏJ Ï Ï ú ä Ï Î
J

?Ï Ï Ï Ï Ï Î Ï ú Ï Ï Ï Ï Ï Ï. Ï ú
J

? Ï Ï Ï Î
Ï Ï Ï Î Ï Ï Ï Ï Ï Ï ú Ï Î

10 Victor Iuşceanu

3 Ï Ï Ï Ï
&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú.
Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú. Ï Î Î
& Ï Ï Ï Ï Ï Ï
Ï Ï

11 Victor Iuşceanu

2 Ï Ï ú Ï Ï Ï ú
&4 Ï Ï ú Ï
Ï
Ï
Ï Ï
Ï ú Ï Ï Ï

Ï Ï Ï Ï Ï Ï ú
& Ï Ï Ï Ï Ï Ï ú

Ï Ï Ï Ï Ï Ï Ï Ï Ï
&Ï Ï Ï Ï Ï Ï Î

38
 Temă:
1.Construiţi următoarele intervale:

6m↑ 6m↓ 2M↑ 6+↑

#w
a) &w #w w

3M↑ 6M↓ 2+↓ 5p↑

w w
b) & bw #w
4+↓ 3m↑ 6-↓ 2m↑

c) &w bw #w
w
6m↑ 5p↓ 2+↑ 6M↑

d) & #w bw w w

6M↓ 4p↑ 5-↓ 3M↓

w bw
e) & bw w

2.Recunoaşteţi următoarele intervale:

w w bw
a) &w w w bw w

& bw w #w w w w
b) w w

& w w w #w
c)
w w w bw

bw w w #w
d) & w bw w #w

& #w w bw #w #w #w w
e) bw

39
 Septima
7M 7m
& Ï Ï w Ï Ï Ï w
w Ï Ï Ï w Ï Ï
7M = 5T + 1ST 7m = 4T + 2ST

Septima este distanţa de la o treaptă la cea de-a şaptea.

După numărul tonurilor şi semitonurilor, septima poate fi mare sau mică.
Septima mare conţine 5 tonuri şi 1 semiton (7M = 5T + 1ST)
Septima mică conţine 4 tonuri şi 2 smitonuri (7m = 4T + 2ST)

Cu ajutorul semnelor de alteraţie, septima mare poate deveni mică, iar septima mică poate deveni mare.

#w
7M
Ï bw Ï
7m
& w Ï Ï Ï Ï w Ï Ï Ï Ï

Tot cu ajutorul semnelor de alteraţie, 7M poate deveni 7+, iar 7m poate deveni 7-.

7+ 7-
& w #Ï #Ï #Ï #w w Ï Ï Ï Ï Ï #w
Ï Ï
t t t t t t st t t t st st

Şapte pitici
1 Edith Visky
2 Ï ú Ï Ï Ï Ï
&4 Ï Ï Ï Ï Ï Ï Ï ú
j
&Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ä Ï Ï Ï Ï ä
J

Exerciţiu de intonaţie în dialog

Ï w
Grupa I Grupa II
Ï w w Ï
&
w Ï Ï Ï Ï Ï Ï Ï Ï w w Ï Ï Ï Ï

w Ï Ï Ï Ï w Ï Ï Ï Ï w Ï Ï
& Ï w Ï w Ï Ï Ï w

&w Ï Ï Ï Ï Ï w Ï Ï w Ï w w Ï Ï Ï
w Ï Ï Ï w Ï Ï Ï Ï Ï Ï w

40
 Cântecul septimei
2 Ana-Motora Ionescu

& 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï
Ï
Ï
Ï
Ï ú
î

& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

3 Cântec
2
Alexandru Paşcanu

& 4 .. Ï Ï Ï. Ï Ï ú Ï Ï Ï Ï ú .. .. Ï Ï Ï Ï
J Ï ú Ï Ï ú

j
& Ï . Ïj Ï Ï ú ..
1. 2.

ú Ï Ï Ï ú Î
Ï. Ï

4
Ï. Ï Ï Ï ú j ú
? 24 J ú Ï. Ï Ï Ï ú

Ï Ï Ï. Ï ú Ï Ï Ï Ï Ï. Ï Ï
? J ú Ï Ï Ï Î

5
3 Ï ú Ï Ï Ï. j Ï ú Ï ú.
&4 Ï Ï Ï ú ú. Ï ú

j
& Ï Ï. j
Ï ú. Ï j
Ï ú. Ï ÏÏÏ ÏÏÏ Ï. Ï Ï Ï .
Ï. Ï ú

6
4
&4 Ï Ï Ï Ï Ï Ï Ï Ï
Ï
Ï Î Ï Ï Ï Ï Ï Ï
Ï
Ï
Ï
Ï Î

Ï Ï Ï
& Ï Ï Ï Ï Ï Ï Ï Ï
Ï
Ï
Ï Ï Ï Ï
Ï
Ï
Ï Ï Î

7
ú ÏÏÏÏ w
& 44 ÏÏÏÏ
ú
Ï
Î
ú
Ï
Ï Ï Ï ú. Î ú ÏÏÏÏ Ï Î ú
ú

&ú Ï Ï Ï . Ïj ú ú j
Ï Ï Ï. Ï ú ú Ï ÏÏÏ
ÏÏ Ï Ï ÏÏÏ Ïú

41
8
ú
& 43 ú Ï
ú Ï Ï ú.
ú Ï ú Ï
ú Ï ú.

Ï ú Ï Ï
&ú ú ú Î ú Ï ú
Ï Ï Ï Ï ú.

Ï ú ú. Ï Ï Ï ú.
&ú ú Î Ï Ï Ï Ï

& 44 Ï Ï Ï Ï ú Ï Ï
Ï Ï Ï
Ï
Ï
Ï ú
Ï Ï

&Ï Ï Ï Ï
Ï
Ï
ú Ï Ï
Ï Ï
Ï
Ï
Ï ú
Ï

&ÏÏÏÏÏ Ï Ï
Ï
ú ÏÏÏ Ï Ï ú ÏÏÏÏÏ Ï ú
Ï Ï Ï ú

10 b Victor Iuşceanu
>Ï >
a
2
&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï
c
Ï
d
Ï Ï Ï
&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
> >
e f
> >
&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï
g
Ï Ï Ï Ï Ï Ï Ï Ï Î
&Ï Ï Ï Ï
> ú Ï

42
 Temă:
1.Construiţi următoarele intervale:
7M↑ 6m↑ 2m↑ 7m↓

a) &w w w bw

2+↑ 7m↓ 5p↑ 3M↓

w bw
b) &w
w
3m↑ 7m↑ 4p↑ 7M↓

&w #w
c) bw bw

7m↑ 7- 6M↓ 7+↑

d) &w w #w w

2.Recunoaşteţi următoarele intervale:

w w w w
& bw w #w bw

#w w #w bw w w
&w w

& #w w bw w w w
w #w

&w bw bw w #w
w bw w

43
 Octava

& w ÏÏ Ï Ï Ïw
Ï 8p = 5T + 2ST

Octava este distanţa de la o treaptă la cea de-a opta.

După numărul de tonuri şi semitonuri octava este un interval perfect (are un singur aspect de bază).

Cu ajutorul semnelor de alteraţie, din octava perfectă se poate obţine octava mărită (8+) sau octava micşorată (8-).

8+ 8-
& Ï Ï Ï Ï Ï #w Ï Ï Ï Ï bÏ bw
w Ï w Ï

1 Melodie Edith Visky

& 44 Ï Ï Ï Ï
Ï ú Ï Ï Ï Ï Ï Ï ú Ï
Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï
Ï

Învăţăm octava Ana Motora-Ionescu

2
2 Ï Ï Ï Ï Ï Ï
&4 Ï Ï Ï Ï Ï Ï Ï
Ï
Ï
Ï
ú Ï Ï Ï Ï Ï ú Ï

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î
& Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï

& 44 Ï j j Ï Ï ÏÏ w Ï . ÏJ Ï . ÏJ Ï Ï ú j Ï
Ï Ï Ï. Ï Ï. Ï ú Ï Ï. Ï Ï w

4 Moderato

& 43 ú Ï
ú Ï ú Ï ú Ï
ú
Ï ú.
ú Ï ú.
Ï Ï Ï ú Ï Ï Ï ú Ï Ï Ï Ï ú.
& Ï Ï Ï Ï
Ï Ï Ï

5
Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï ú
?2 Ï ú Ï ú
4
Ï ú Ï ú Ï Ï Ï Ï ú ú
? Ï Ï Ï Ï

44
 6
2 ÏÏÏÏ Ï Ï Ï
&4 Ï Ï ÏÏ Ï ÏÏÏÏ Ï
Ï Ï
Ï
ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï

Ï
&ÏÏÏÏÏÏÏ Ï Ï
ú Ï
Ï
ú Ï ú Ï Ï Ï ú
Ï
Ï

7 Andantino
Jules Arnoud

3 ÏÏÏÏÏ . Ï
&4 Ï ú Ï Ï Ï Ï Ï ú. Ï
Ï
Ï ÏÏú Ï Ï ÏÏú
Ï
Ï Ï Ï Ï ÏÏÏÏÏÏ ÏÏ
&Ï Ï ÏÏú Ï Ï Ï Ï Ï Ï ÏÏÏÏ Ï
Ï Î

Jules Arnoud
8

&c Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î Ï Ï Ï Ï
Ï Ï Ï Ï
ÏÏÏÏ
&Ï ÏÏÏÏ Î
Ï Ï Ï ÏÏÏÏ Ï ÏÏÏÏÏ
ÏÏÏÏ Ï
Ï Ï

Ï Ï Ï Ï Ï Ï ÏÏÏÏ
&Ï Ï Ï ÏÏÏÏÏÏÏÏÏÏ
Ï Ï
Î Ï Î
w

Temă:
Recunoaşteţi următoarele intervale:

&w w #w w bw
a)
#w w w bw w

w bw w
b) & w bw w w #w w bw

#w bw bw bw w
c) &w w w #w w

#w #w w w
d) &w bw bw w bw w

45
 RĂSTURNAREA INTERVALELOR

Când se răstoarnă un interval, numai primul sunet al intervalului își schimbă poziția, al doilea sunet
rămânând pe loc (la aceeași înălțime). Dacă intervalul este ascendent, treapta inferioară trece mai sus cu o
octavă, iar dacă intervalul este descendent, treapta superioară trece mai jos cu o octavă.

Intervalul obţinut prin răsturnare poartă numele de interval complementar, întrucât, adăugându-se celui
iniţial, întregeşte (completează) cu acesta cadrul octavei.
Suma intervalului simplu şi a celui complementar este totdeauna 9: 1+8=9, 2+7=9, 3+6=9, 4+5=9,etc

Prin răsturnare, intervalele își schimbă mărimea și denumirea.

Prima Octava Secunda Septima Terța Sexta Cvarta Cvinta

Ï Ï Ï Ï
1p 8p 2M 7m 3M 6m 4p 5p
& w Ï w Ï w Ï
w w Ï w w w

Cvinta Cvarta Sexta Terța Septima Secunda Octava Prima

Ï Ï Ï Ï Ï Ï w Ï Ï
5p 4p 6M 3m 8p
w
7M 2m 1p
& w w w
w w w

Prima Octava Secunda Septima Terța Sexta Cvarta Cvinta

&w w Ï w w w
8p
w Ï
1p 2m 7M 3m 6M 4p 5p
w Ï w Ï
Ï Ï Ï Ï

Cvinta Cvarta Sexta Terța Septima Secunda Octava Prima

&w w w w
5p 4p 6m 3M 7m 2M 8p 1p
w Ï Ï w Ï Ï w Ï Ï w Ï Ï

Cvarta Cvinta Cvinta Cvarta

5-Ï
w Ï #Ï Ï
4+ 5+ 4-
&w #w
w

Prin răsturnare, se modifică nu numai denumirea intervalelor, ci şi calitatea lor, astfel:

Intervalele mari devin mici.
Intervalele mici devin mari.
Intervalele mărite devin micşorate.
Intervalele micşorate devin mărite.
Numai intervalele perfecte rămân perfecte.

46
 1
2 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï
Ï Ï Ï

2
3 Ï ú Ï ú Ï Ï Ï
&4 ú Ï ú Ï ú Ï ú Ï ú.
Ï ú Ï ú. Ï Ï Ï Ï ú.
&ú Ï ú ú Ï ú

3
Ï
& 43 Ï ú ú Ï
ú ú Ï Ï Ï Ï ú Ï Ï
ú ú.

Ï ú Ï ú Ï Ï Ï
&Ï Ï Ï ú
Ï ú. Ï Ï
Ï ú.

Temă:
Copiaţi pe caiete următoarele intervale şi spuneţi denumirea lor, atât în stare directă, cât şi în răsturnare.

w w bw w w w
a) & w bw w #w #w w #w
w

bw w w w bw w #w
& w #w w #w w
w #w
b)

47
 SINCOPA pe timp
24 Ï
>Ï Ï Ï

Sincopa constă din legarea unei valori accentuate cu valoarea neaccentuată precedentă şi mutarea
accentului de pe valoarea accentuată pe cea neaccentuată.

Sincopa se realizează între sunete de aceeaşi înălţime.

Sincopa care se realizează pe durate de un timp se numeşte sincopă pe timp.

24 Ï 44 Ï 43 Ï
>Ï Ï Ï >Ï Ï Ï Ï >Ï Ï Ï Ï
Sin - co - pa Sin - co - pa Un, sin - co - pa, trei.

Sincopă falsă
3
4 >Ï Ï Ï >Ï ú

În exemplul de mai sus (3/4), observăm o formulă ritmică formată din contopirea timpilor 2 şi 3, ambii
neaccentuaţi. Această formulă ritmică se numeşte sincopă moale (falsă) sau sincopă ascunsă şi se întâlneşte
în toate măsurile de 3 timpi şi 6 timpi.

1
Exerciţii ritmice
2 Ï
4 >Ï Ï Ï Ï Ï Ï Ï ú Ï >Ï Ï >Ï Ï Ï ú

43 Ï Ï >Ï Ï ÏÏÏ Ï Ï Ï Ï >Ï Ï Ï Ï Ï ú ú >Ï Ï ÏÏÏ ú Î

3
4 Ï
4 >Ï Ï Ï Ï >ú Ï Ï Ï Ï Ï >Ï Ï Ï Ï Î

1 Moderato

& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
&ú Ï Ï Ï

& .. Ï Ï ..
1. 2.

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú ú

48
 ÏÏÏÏ
2
Ï Ï Ï Ï Ï Ï
? 43 Ï Ï Ï Ï Ï Ï Ï Ï Ï ú.
Andantino
Ï Ï Ï ú

?Ï ú Ï ú Ï ú Ï Ï Ï Ï Ï Ï ú.
ú. Ï Ï Ï

3 Jules Arnoud

Ï ú
&c ú ú Ï Ï Ï Ï Ï Ï Ï Ï î
ú ú. Ï Ï ú Ï Î
w
ú ú ú Ï Ï Ï Ï Ï Ï Ï Ï ú. Ï ú
& ú Ï ú Ï ú Ï Î Ï
Î

4 Allegretto Jules Arnoud

Ï Ï ú Ï
& c .. Ï ú Ï Ï ú Ï Ï ú Ï Ï Ï Ï Î Ï ú Ï Ï Ï Ï
F
Ï
&ú Î .. Ï Ï ú Ï Ï Ï Î Ï Ï ú Ï Ï Ï Î Ï Ï ú Ï Ï ú

Ï Ï Ï Ï ú Ï Ï Ï ú
Ï Ï ú Ï ú ú w
& ú ú

5 Jules Arnoud
>Ï >Ï Ï
& 24 Î Ï Ï Î Ï Ï Î Ï Ï Ï Ï

&Ï Î Ï Ï Ï Ï Ï ú Î
>Ï Ï Ï >Ï Ï Ï Ï Ï

Ï >ú Ï Ï Ï Ï >ú
6
Ï Ï >Ï Ï Ï Ï Ï Ï Ï Ï >ú
Victor Iuşceanu
? 43 Ï Ï Ï

?Ï ú Ï ú Ï ú Ï Ï Ï Ï Ï Ï Ï ú ú. Ï Î Î
>

49
 SINCOPA pe jumătăţi de timpi
24 Ï Ï Ï Ï j j
Ï Ï Ï
> >

Sincopa care se realizează pe jumătăţi de timpi se numeşte sincopă pe jumătăţi timpi.

desfăşurată concentrată
24 Ï j j 44 Ï
>Ï Ï Ï Ï >Ï Ï >Ï Ï Ï Ï >Ï Ï Ï
Sin - co - pa, sin - co - pa. Sin - co - pa, sin - co - pa

1
Exerciţii ritmice
2 Ï Ï Ï Ï Ï Ï Ï Ï Ïj Ï j
Ï Ï Î
j
Ï Ï Ï Ï >Ï Ï Ï Ï >Ï
j
Ï Ï Î
4 > >
2
3
4 Ï Ï Ï Ï Ï Ï >Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï >Ï Ï >Ï Ï Ï Ï Î

3
4 Ï Ï Ï Ï Ï j
4 Ï >Ï Ï Ï Ï >Ï Ï Ï Ï Ï. Ï Ï >Ï Ï >Ï Ï Ï Ï Ï Î

1
>Ï Ï Ï Ï >Ï Ï Ï
Jules Arnoud
2 Ï Ï Ï Ï Ï Ï Ï Ï Ï
& 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï >Ï Ï Ï > >
> > >
Ï >Ï Ï Ï Ï >Ï Ï Ï Ï >Ï Ï Ï Ï Ï Ï Î
& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
> > > > Ï

2
j j > Ï Ï >Ï ÏJ Ï >Ï ÏJ
Ï Ïj Ï
Jules Arnoud
j
& 24 Ïj Ï Ïj Ïj Ï Ïj Ïj Ï Ï Ïj >Ï Ï Ï Ï
> J J J J
> > >
Ï > > > j j j j Ïj
& J Ï ÏJ ÏJ Ï ÏJ ÏJ Ï Ï ÏJ Ï Ï Ï Ï Ï
j j j Î
> > >Ï Ï Ï >Ï Ï Ï

3 Repejor Haţegana
2
După Achim Stoia

&4 Ï Ï Ï Ï ÏÏÏÏÏ Ï Ï Ï Ï ÏÏÏ Ï Ï Ï Ï ÏÏÏÏÏ Ï Ï Ï Ï Ï Ï

50
4

& 24 Ï Ï Ï Ï Ï Ï Ï j
Ï Ï
j
Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï j
Ï Ï
j
Ï Ï Ï Ï

& .. Ï Ï Ï Ï Ï ÏÏÏ Ï ÏÏÏ Ï Ï Ï Ï Ï

..

5 Moderato
j
Jules Arnoud
Ï Ï Ï
& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï J Ï Ï Ï
J J
Ï Ï Ï
J J Ï ú

j Ï Ï Ï Ï Ï Ï ÏJ Ï Ï Ïj Ï j
& .. Ï Ï Ï Ï Ï Ï Ï J J J Ï Ï Î ..
J J J

6 Jules Arnoud

4 j j j j
&4 Ï Ï Ï ú Ï Ï Ï ú Ï Ï Ï ú Ï Ï Ï ú

Ï Ï ú Ï Ï Ï ú Ï Ï Ï ú Ï Ï j
&Ï J J J Ï ú

j j j j
&Ï Ï Ï ú Ï Ï Ï ú Ï Ï Ï ú Ï Ï Ï ú

Ï Ï Ï Ï Ï Ï ú
& Ï Ï Ï Ï Ï Ï Ï Ï î
ú Ï

7 Victor Iuşceanu

&c Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Î

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î

51
 CONTRATIMPUL pe timp
24 Î Ï Î Ï

Înlocuirea unui sunet accentuat cu pauză, și trecerea accentului pe sunetul slab se numește contratimp.

Contratimpul trebuie să se repete de cel puțin două ori, pentru a nu se confunda cu anacruza.
Contratimpul care se formează pe durata de un timp se numește contratimp pe timp.

1
2 Ï Ï Î Ï Î Ï ú Ï Ï Ï Î Ï Î Ï ú
4
2
4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Î Î Ï Î Ï Î Ï ú
4
3

43 Ï Ï Ï Î Ï Ï Î Ï Ï ú Î Ï Î Ï Ï Î Ï Î Ï Ï ú.

1 Hop, hop, tot pe loc Cântec popular

2 Î Ï Î Ï ú Ï Ï Î Ï Î Ï ú Ï Ï Î Ï Î Ï ú
&4 Ï Ï Î Ï Î Ï ú Ï Ï

2 Moderato

& 24 Ï Ï Î Ï Î Ï ú Î Ï Î Ï Î Ï ú Ï Ï Î Ï Î Ï ú Î
Ï
Î Ï Î ÏÏ ú

& Ï ÏÏ Ï ÏÏ Î Ï Î Ï Ï ÏÏ Ï Ï Î Ï Î Ï Ï ÏÏ Ï Ï Î Ï Î Ï Î Ï Î Ï Ï Ï Ï Î

3 Allegretto

& 44 Ï Ï Ï Ï Ï Ï Ï ú Î Î
Ï
Î ÏÏú Ï Ï Ï Ï ÏÏÏÏú Î Ï Î Ï Î ÏÏú
Ï Ï

& Î Ï Î Ï Î ÏÏÏ Î Î Ï Î Ï Î ÏÏú Î

Ï
Î
Ï
Î
ÏÏú
Î Ï Î Ï Î Ï
Ïú

52
 CONTRATIMPUL pe jumătăți de timpi
2 ä j j
4 Ï ä Ï

Contratimpul care se formează pe jumătăți de timpi se numește contratimp pe jumătăți de timpi.

1
2 Ï j j j j j j j
4 Ï Ï Ï Ï ä Ï ä Ï ä Ï Ï ä Ï ä Ï Ï Ï Ï ä Ï ä Ï ú
2
j j j j j
43 Ï Ï Ï Ï Ï ä Ï ä Ï Ï Ï Ï Ï ä Ï ä Ï ä Ï ú Î
3
44 Ï Ï Ï j j j j j j j
Ï Ï Ï ä Ï ä Ï ä Ï Ï Ï Ï ä Ï Ï Ï ä Ï ä Ï ä Ï ú

& 24 Ï . Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï. Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï

& Ï. Ï Ï Ï Ï Ï Ï ä Ïj ä Ïj ä Ïj Ï Ï. Ï Ï Ï Ï Ï Ï ä Ïj ä Ïj ä j
Ï Ï

2 Allegretto

& 24 .. Ï Ï Ï Ï Ï Ï Ï ä j ä j ä jÏ .. ä j Ï Ï Ï Ï Ï Ï
1. 2.

Ï Ï Ï Ï Ï ÏÏ Ï

&ä j ä j Ï Ï Ï Ï ä j ä j
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

3 Allegretto Jules Arnoud

2 j Ï ä Ïj ä ÏJ Ï Ï Ï Ï Ï Ï ä ÏJ Ï Ï ä ÏJ Ï Ï ä ÏJ Ï
& 4 ä Ï ä ÏJ Ï jä
Ï

4 Allegretto Jules Arnoud

Ï
& 24 ä J Ï Ï Ï Ï Ï ä ÏJ Ï Ï Ï # Ï Ï ä Ïj Ï Ï Ï Ï ä ÏJ Ï Ï ä Ï Ï ÏJ ä
J

53
 5 Jules Arnoud

2 Ï Ï Ï
a &4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï

& 24 Ï Ï Ï j
Ï ä Ïj ä
j
Ï ä Ï ä Ï ä Ïj ä Ïj ä j
Ï ä Ï
Ï Ï J J Ï Ï Ï
b

j j
& 24 ä j Ï Ï Ï Ï ä Ïj Ï Ï
Ï Ï ä ä ÏJ Ï ä Ï Ï Ï ä Ïj Ï
Ï Ï
Ï
c

2
& 4 ä Ïj ä Ïj Ï ä Ïj ä Ïj ä Ïj ä Ïj ä ÏJ Ï ä Ïj ä Ïj Ï ä Ïj Ï
d
Ï Ï Ï

6 Moderato Jules Arnoud

A
3
& 4 ÏJ ä ÏJ ä ÏJ ä Ï Ï Ï Ï Ï ä Ï ä Ï ä Ï Ï Ï Ï Ï Ï
J J J
Ï Ï Ï j j j ä ÏJ ä ÏJ ä Ï
&J ä J ä J ä Ï ä Ï ä ä Ï J
Ï Ï Ï #Ï Ï Ï

Av
& J ä ÏJ ä ÏJ ä
Ï Ï Ï Ï Ï Ï ä Ï ä Ï ä Ï
J J J
Ï Ï Ï Ï Ï

Ï Ï Ï j j j
&J ä J ä J ä Ï ä Ï ä ä Ï Ï Ï Ï Ï Ï ä j Ï Ï Ï
Ï Ï

7 Moderato
j Ï
& 43 ä j ä Ïj ä Ï ä ÏJ ä J Ï Ï Ï Ï ä Ï ä Ïj ä j ä Ïj Ï
Jules Arnoud

Ï J Ï Ï

Ï Ï Ï Ï ä
&Ï Ï ú Ï Ï Ï Ï Ï Ï Ï
J ä Ï
J Ï
Î

8 Moderato Jules Arnoud

& 44 Ï ä Ïj Ï ä Ï Ï ä ÏJ Ï Ï
Ï j
Ï Ï ä J Ï Ï ä ÏJ ÏJ ä ä Ï Ï
J Ï

9 Jules Arnoud

&c Ï ú ä Ï Ï Ï Ï Ï Ï ä Ïj ä Ïj Ï Ï ú Ï Î
J Ï Ï Ï Ï
j Ï Ï ä Ïj Ï Ï Ï Ï Ï ä Ïj ä ÏJ ä Ï ä Ï Ï Ï ä j
&ä Ï Ï Ï Ï J J Ï Ï
Î

54
 ACORDUL DE 3 SUNETE
Suprapunerea a trei sunete aflate la interval de terţă unul faţă de celălalt, se numeşte ACORD.

Ştiinţa muzicală care se ocupă cu studierea acordurilor şi cu legătura ce se stabileşte între ele se numeşte
armonie.
Cântare melodică = cântarea sunetelor succesive (care se aud pe rând)
Cântare armonică = cântarea sunetelor simultane (care se aud deodată)

Fiecare acord este format din trei elemente: fundamentala (baza acordului), terţa acordului (mijlocul) şi
cvinta acordului (vârful).
& www cvinta (vârf)
terţa (mijloc)
fundamentala (baza)

În funcţie de mărimea calitativă a terţelor ce compun acordul, avem patru tipuri de acorduri:

Major (M) Minor (m) - Micşorat (-) Mărit (+)

& www 3m b www 3M b b www 3m # www 3M
3M 3m 3m 3M

RĂSTURNAREA ACORDURILOR

Acordurile, ca şi intervalele, pot fi:

a) în stare directă
b) răsturnate Stare directă

& ww
În stare directă , acordul are fundamentala jos (la bază) w fundamentala

În răsturnarea I (notată cu R I sau 6), terţa devine baza acordului (nota cea mai joasă), fundamentala trecând
la octava superioară.
+ directă
Stare Răsturnarea I

& www wwÏ

6

În răsturnarea a II-a (notată cu R II sau 6), cvinta devine baza acordului, fundamentala şi terţa trecând
la octava superioară. 4

Ï
Stare directă Răsturnarea II
& www wÏ
6
4

55
 Pentru a înţelege mai bine când un acord este în stare directă, răsturnarea I sau răsturnarea a II-a, vom
arăta:

- poziţia acordului major, pe următoarele scheme:

Stare Răst.I Răst.II
ww
directă
& www ww w
3M
3m w 4p
3m
4p
3M
6
5 6
4
(3)

- poziţia acordului minor, pe următoarele scheme:

Stare
Răst.I Răst.II
b ww
directă
& w
b www 3M b ww w
4p 3m
3M 4p
3m
6
5 6 4
(3)

- poziţia acordului micşorat, pe următoarele scheme:

Stare
Răst.I Răst.II
bw
directă
& w b ww
b b www 3m b b ww 4+
3m
3m
4+
3m
5 6 6
(3) 4

- poziţia acordului mărit, pe următoarele scheme:

Stare Răst.II
Răst.I
w
# www 4- # ww 3M
directă
& # www 3M
3M 3M 4-
5 6 6
(3) 4

Exerciţii de intonaţie şi recunoaştere, după auz, a acordurilor de pe treptele I, IV, V, în înlănţuiri armonice
(legate între ele):

U ww ww ww Uw
& ww ww ww ww ww w w w ww ww
w w w w w w
I IV I V I I IV I V I

w ww ww ww ww ww ww Uw U
& ww w w w w w w ww ww
w
www ww
w ww
w
ww
w
I V I IV I V I V I IV I V I

56
 Temă:
1.Analizaţi următoarele acorduri:

& www w www ww b ww # www

# ww
ww
w w w # # www

w # www
& ww b ww
w # ww # www # www # ww b b www
w w

2.Construiţi pe sunetul RE tipurile de acorduri cunoscute, în stare directă şi în răsturnări:

M m
& Ï Ï Ï Ï Ï Ï
5 6 6 5 6 6
(3) 4 (3) 4

- +
& Ï Ï Ï Ï Ï Ï
5 6 6 5 6 6
(3) 4 (3) 4

57
 Gama Do major

Înșiruirea treptată a șapte sunete muzicale cu repetarea primului sunet la octavă se numește gamă.

Gama care începe cu sunetul DO și se termină cu sunetul DO (având toate sunetele naturale) se
numește gama Do major.
Primul sunet dă numele gamei și se numește tonică.
Sunetele gamei se numesc trepte.

& w w w w w w
w w
I II III IV V VI VII VIII
Succesiunea tonurilor și semitonurilor, precum și felul intervalelor de terță, sextă și septimă ce se
formează pe tonică se numește mod.

Modul poate fi: major (dacă terța este mare)

minor (dacă terța este mică)

Denumirea gamelor majore se face cu literă mare, iar a celor minore cu literă mică.

7M
6M
& w w w w
w
3M
w w w
I II III IV V VI VII VIII

Caracteristicile gamei majore:

- semitonuri între treptele III - IV, VII - VIII
- intervalele de terță, sextă și septimă sunt mari (3M, 6M, 7M). Ele se numesc intervale modale.

Structura gamei majore: T - T - ST - T - T - T - ST

Treptele I, III, V, VIII formează arpegiul gamei.

Arpegiul mare Arpegiul mic

& w w w w
w w w w w w
w
I III V VIII I III V III I V I

58
1
4
&4 Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï ÏÏÏ Ï Ï Ï
Ï Ï Ï ÏÏú

&Ï Ï Ï Ï Ï ÏÏú Ï Ï Ï Ï Ï Ï Ï
Ï
Ï Ï
Ï Ï Ï Ï
Ï Ï

2
2 Ï Ï Ï Ï ú
&4 Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï

&Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï ú
Ï

3 Wolfgang Amadeus Mozart (1756 - 1791)

2 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
&4 Ï Ï Ï Ï Ï Ï

&Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

& Ï Ï Ï Ï Ï Ï Ï ÏÏÏ ÏÏ ú
ÏÏÏÏ ÏÏÏÏ ÏÏÏÏ ÏÏÏÏ

4
?2 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
4 ú

Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
?Ï Ï

?Ï Ï Ï ú Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

5 Moderato Victor Iuşceanu

?3 ú ú Ï Ï Ï Ï ú. ú Ï ú Ï Ï Ï Ï ú.
4 Ï

? ú Ï
ú Ï Ï Ï Ï ú. ú
Ï
ú Ï Ï Ï Ï ú.

59
 Gama la minor
2
&4 Ï Ï Ï Ï Ï Ï Ï j
Ï Ï Ï Ï Ï Ï Ï Ï Ï. ú
j j j j
& Ï. Ï Ï Ï. Ï Ï Ï. j
Ï. Ï Ï Ï Ï Ï Ï Ï Ï Ï. ú
Solfegiind cântecul de mai sus observăm că se distinge o altă tonică, tonica acestui cântec va fi sunetul la.
Dacă înșiruim treptat sunetele de la nota la până la octava lui, obținem gama la minor natural.
7m
6m

& 3m
w w w w w
w w w
I II III IV V VI VII VIII

Analizând semitonurile și intervalele modale, putem concluziona caracteristicile gamei la minor natural:
- semitonuri între treptele II - III și V - VI
- intervalele modale: terța, sexta și septima sunt mici (3m, 6m, 7m)

Structura gamei: T - ST - T - T - ST - T - T

Făcând un paralelism între gama Do major și gama la minor, observăm asemănări și deosebiri:
7M 7m
6M 6m
3M 3m
& w w w w w w
w w w w w w w w
w w
I II III IV V VI VII VIII I II III IV V VI VII VIII

Astfel:
1) sunt formate din aceleași sunete dar au tonică diferită

În gama Do major tonica este sunetul______ În gama la minor tonica este sunetul_______

2) au aceleași semitonuri dar între trepte diferite

Semitonurile din gama Do major și la minor sunt______________________________________

În gama Do major semitonurile se află între treptele ____________________________________

În gama la minor natural semitonurile se află între treptele _______________________________

3) Intervalele modale: terța, sexta, septima, în cazul gamei majore sunt mari, iar în gama minoră sunt mici

În gama Do major: 3___ , 6___ , 7___

În gama la minor: 3 ___ , 6 ___ , 7 ___

Datorită acestor înrudiri, cele două game se numesc game relative. Gamele relative sunt două game, una de
mod major, alta de mod minor, care au aceleași sunete, aceleași semitonuri, dar tonică diferită. Ele se află la o
distanță de terță mică una față de cealaltă.
Gamele Do major și la minor sunt game model după care se vor construi toate gamele majore și minore.
60
 Variantele gamei la minor
Orice gamă minoră are trei variante:
- naturală (studiată deja)
- armonică
- melodică

Gama la minor armonic

În varianta armonică a unei game minore se alterează suitor treapta a VII-a

7M
6m
3m 2+
& w w #w w
w w w w
I II III IV V VI VII VIII
Caracteristicile gamei la minor armonic :
- treapta a VII-a este alterată suitor
- semitonuri între treptele II - III, V - VI, VII - VIII
- intervalele modale: 3m, 6m, 7M
- între treptele a VI-a și a VII-a se formează un interval caracteristic: secunda mărită (2+)

Gama la minor melodic

În varianta melodică a unei game minore se alterează suitor treapta a VI-a și a VII-a

7M
6M
3m
În coborâre melodicul redevine natural.
Excepţie face minorul lui Bach.

& w w #w #w w w nw nw w w
w w w w w w
I II III IV V VI VII VIII VIII VII VI V IV III II I

Caracteristicile gamei la minor melodic :

- treptele a VI-a și a VII-a sunt alterate suitor
- semitonuri între treptele II - III, VII - VIII
- intervalele modale: 3m, 6M, 7M
- în coborâre gama minoră melodică redevine naturală. Excepţie face minorul lui Bach.

În toate cele trei variante, arpegiul rămâne neschimbat:

Arpegiul mare Arpegiul mic
w w w
& w w w w w w
w w
I III V VIII I III V III I V I
61
1 Ceasul
Ï Ï Ï Ï Ï
Sabin Drăgoi
2 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
&4 Ï ú

Ï Ï Ï
& Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

Vai, săracul pui de cuc!

2
j j j j * Ï Ï Ï .. ÏJ ÏJ ÏJ ÏJ
Nelu Ionescu
Ï Ï Ï
& 24 Ï Ï Ï Ï
(canon)
Ï Ï Ï Ï Ï
J J Ï J J J J J J

Ï Ï Ï Ï Ï Ï ÏJ Ï Ï Ï j
& ÏJ ÏJ Ï J J J J J J J Ï Ï Ï
J J Ï Ïj Ï

3 Andante
4 Ï Ï Ï . ÏJ Ï Ï Ï Ï ú
& 4 Ï Ï Ï Ï ÏÏÏÏú Ï Ï Ï Ï ÏÏÏÏú j
Ï Ï Ï. Ï Ï ÏÏ Ï
ú

4 Melodie Dimitrie Cuclin

2 Ï #Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
&4 Ï Ï Ï Ï Ï Ï #Ï Ï

Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
5
Ï Ï Ï Ï Ï Ï
Moderato

?2 ú
4
3 3 3

Ï Ï Ï Ï Ï Ï Ï Ï Ï
? Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
3
3

6 Melodie Filaret C. Barbu

& 24 Ï Ï Ï Ï Ï . Ï Ï #Ï Ï Ï
J ú Ï Ï Ï Ï Ï Ï #Ï Ï
Ï Ï Ï #Ï Ï .
Ï
j

,
& Ï Ï Ï Ï Ï. j Ï Ï Ï Ï Ï #Ï j
Ï Ï Ï Ï Ï ú Ï. Ï ú

,
7
j j
Andante
3
&4 Ï Ï Ï . Ï #Ï Ï ú Ï Ï Ï . ÏJ Ï Ï ú Ï Ï Ï . Ï #Ï Ï ú j
Ï Ï Ï . Ï Ï #Ï ú

62
8 Jules Arnoud

2 Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï ú
&4 Ï #Ï Ï

&Ï Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï Ï ú Ï #Ï Ï Ï Ï Ï Ï Î

9 Rodica Giurgiu
j
& 24 Ï Ï Ï. #Ï Ï Ï #Ï Ï Ï . Ï Ï Ï #Ï Ï Ï Ï Ï Ï Ï Ï Ï #Ï Ï ú

&Ï Ï #Ï Ï Ï #Ï Ï Ï #Ï ú
Ï ú Ï Ï Ï Ï Ï

10 Rodica Giurgiu
3 j j Ï Ï #Ï
& 4 Ï #Ï Ï Ï. Ï Ï Ï Ï Ï ú. Ï #Ï Ï Ï . #Ï Ï ú.

j
& Ï Ï #Ï Ï Ï Ï Ï # Ï . Ï Ï #Ï
Ï
Î Ï Ï Ï Ï #Ï Ï
Ï Ï. Ï ú.
J

11 Moderato

2 Ï Ï Ï Ï j
3

Ï Ï #Ï Ï Ï Ï Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï . Ï
3

& 4 #Ï Ï
3 3

Ï Ï ÏÏÏ Ï Ï

12 Greierul
& 44 Ï #Ï #Ï Ï nÏ nÏ ú
Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï ú ú Ï Ï Ï Ï Ï Ï ú

13
4 j
& 4 Ï #Ï #Ï Ï Ï #Ï #Ï Ï nÏ nÏ Ï Ï ú ú Ï Ï ú Ï . Ï Ï Ï #Ï #Ï ú
Ï Ï ú

14 Joc popular
4 Ï Ï Ï ÏÏÏ Ï Ï Ï Ï #Ï #Ï Ï
&4 Ï ÏÏÏÏÏ ÏÏÏ nÏ . nÏ Ï Ï Ï Ï Ï
ÏÏ Ï Ï ÏÏ
Ï
& Ï Ï Ï #Ï #Ï Ï Ï Ï Ï Ï Ï Ï . Ï Ï Ï Ï Ï Ï Ï Ï #Ï #Ï Ï Ï Ï Ï Ï Ï nÏ . nÏ Ï Ï Ï
Ï ÏÏÏ

63
 Ï Ï Ï Ï.
15
Ï
Allegretto

? 44 Ï Ï Ï Ï # Ï # Ï Ï nÏ nÏ Ï ú Ï J
Ï Ï Ï
Ï ú

Ï Ï Ï Ï Ï Ï ú
?Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï
Ï #Ï #Ï Ï . J

16

& 24 Ï Ï Ï #Ï #Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï #Ï #Ï Ï nÏ nÏ Ï Ï Ï ú

&Ï Ï Ï #Ï #Ï Ï nÏ nÏ ú j Ï ÏÏÏÏ Ï ú
Ï Ï. Ï #Ï #Ï Ï
3

17
4
& 4 Ï Ï Ï Ï #Ï Ï Ï Ï Ï #Ï #Ï Ï Ï Ï Ï Ï Ï Ï #Ï #Ï Ï ú
Ï Ï Ï Ï

& Ï nÏ nÏ Ï Ï Ï Ï Ï ú Ï #Ï Ï Ï Ï #Ï Ï Ï #Ï #Ï ú

18 Cocorii Ana Motora-Ionescu

& 43 ú #Ï Ï Ï Ï ú. #Ï Ï Ï nú Ï ú.
Ï Ï Ï Ï Ï Ï

& Ï #Ï #Ï ú Ï nÏ nÏ Ï ú Ï Ï Ï Ï 43 ú .
ú. Ï #Ï #Ï

Joc
19
A
2 Ï Ï Ï. Ï #Ï Ï Ï Ï Ï Ï Ï
&4 Ï. Ï Ï Ï Ï Ï
,
&Ï Ï Ï Ï. Ï #Ï Ï Ï Ï Ï nÏ nÏ Ï Ï Ï #Ï #Ï
Ï.
, B
Ï Ï #Ï #Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï Ï Ï
&Ï Ï Ï #Ï #Ï
,
Ï
&Ï Ï Ï #Ï #Ï Ï Ï #Ï #Ï Ï Ï Ï Ï Ï Ï Ï Î

64
 Gama Sol major
Respectând întocmai structura gamelor "model" de mod major și minor (ordinea tonurilor - semitonurilor și
intervalele modale), de pe orice sunet se poate construi o nouă gamă majoră sau minoră. Aceasta se va realiza
cu ajutorul diezilor și bemolilor care vor modifica înălțimea unor sunete. Aceste alterații vor intra în construcția
gamelor respective, formând armura, deci sunt alterații constitutive.

Repejor, vioi Hai la joc

# 2 j j j j Ïj Ï j Ïj j j j Ïj Ï
Corneliu Mereș

Ï Ï Ï ÏÏ Ï Î Ï Ï ÏÏ Ï Î
& 4 Ï J Ï Ï Ï J J JJ Ï Ï Ï Ï J J JJ

# Ï Ï Ï Ï Ïj j Ïj j j j j j j Ïj Ï Ï Ï Ï Ï Ïj Ïj Ïj j Ïj Ïj j j . ä
& JJJJ Ï Ï Ï Ï Ï Ï Ï JJJJ Ï Ï Ï Ï

Solfegiați cântecul de mai sus și descoperiți tonica se se desprinde din melodia lui. Dacă formăm o gamă majoră
pe această tonică - sol - obținem gama Sol major.

7M
6M

# w w
3M
w w w w
& w w
I II III IV V VI VII VIII

Arpegiul mare Arpegiul mic

# w w w
& w w w w w w w
w
I III V VIII I III V III I V I

Observăm că pentru a crea semitonul între treptele VII - VIII este nevoie să alterăm suitor treapta a VII-a.
Astfel vom obține sunetul fa#. El devine alterație constitutivă, formând armura gamei Sol major.

Caracteristicile gamei Sol major:

- semitonuri între treptele III - IV, VII - VIII
- intervalele modale: 3M, 6M, 7M

Vom recunoaște o piesă muzicală scrisă în gama Sol major după nota finală (tonica) = sol, și după armură = fa#
Armura se scrie la începutul fiecărui portativ și are efect asupra tuturor notelor cu aceeași denumire.

1
Marșul soldaților
# 2 Ï . Ï Ï ä Ï ä Ï ä Ï ä Ï ä j ä j ä Ï . Ï Ï ä Ï ä Ï ä ÏJ ä Ï ä Ï ä Ï ä
Robert Schumann (1810 - 1856)
Vesel

& 4 J J J J J Ï Ï J J J J J J

# Ï. Ï Ï ä Ï ä Ï ä Ï ä Ï ä j ä j ä j j
& J J J J J Ï Ï Ï. Ï Ï Ï Ï Ï Ï ä Ï ä Î

65
 Arie din opera Don Juan
2
# 2
Wolfgang Amadeus Mozart (1756 - 1791)

& 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Î
Ï Ï Ï Ï Ï Ï Ï Ï

3
#
& 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï

4 Frunză, frunzuleana mea

# 3 j
Ï Ï ú.
Allegretto Dimitrie Cuclin

& 4 ú ÏÏ ú ÏÏ ú Ï. Ï Ï Ï Ï. Ï Ï Ï ú Ï ú.
J
# Ï. Ï Ï Ï Ï. j
& ú ÏÏ ú ÏÏ ú Ï Ï ú. J Ï Ï Ï ú Ï ú.

5
#
& 24 Ï Ï Ï. Ï Ï ÏÏ Ï
J Ï ú Ï Ï Ï. Ï Ï Ï Ï ÏÏ ú
J

#
& Ï. Ï Ï Ï Ï Ï Ï ÏÏÏ Ï ú Ï Ï Ï Ï Ï Ï. Ï ÏÏÏ
ÏÏ Ï Ï ú
3

J J
3

6
# 4 ÏÏÏÏ Ï Ï Ï Ï. Ï Ï Ï Ï ÏÏÏú
3

& 4 Ï Ï Ï Ï Ï. Ï Ï
3

ÏÏú Ï
3

# Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
& Ï Ï Ï Ï Ï. Ï Ï Ï ú Ï Ï
ÏÏÏú
3

Jules Arnoud
7 Allegretto
# j Ï
& c Ï Ï ä ÏJ ä ÏJ ä ÏJ ä Ï ä Ïj ú ä jÏ ä jÏ
Ï Ï
ä Ïä ÏÏ Ï
J J Ï Ï ä ÏJ ä ÏJ ä J

# ä #Ï ä Ï Ï Ï ÏÏ ÏÏ ÏÏ Ï Ï
& J J ä Ï ä Ïj Ï Ï ä Ïj ú ä Ï ä j Ï ä Ïj Ï Î
J J Ï Ï

66
 Gama mi minor
Știm deja că orice gamă majoră are o relativă minoră, pe care o aflăm coborând o terță mică de la tonica ei.
Coborând o terță mică de la tonica gamei Sol major, obținem tonica relativei sale - mi - de pe care se va forma
gama mi minor natural.
Cunoaștem faptul că relativa minoră are aceleași sunete ca și gama majoră, înseamnă că va avea și aceeași
armură.
7m
6m

# w
3m
& w w w w w
w w
I II III IV V VI VII VIII

#
Arpegiul mare Arpegiul mic
w w w
& w w w w w w w
w
I III V VIII I III V III I V I

Caracteristicile gamei mi minor natural:

- semitonuri între treptele II - III, V - VI
- intervalele modale: 3m, 6m, 7m

Gama mi minor armonic

7M
6m

# w
3m 2+
& w w w w #w
w w
I II III IV V VI VII VIII

Caracteristicile gamei mi minor armonic:

- treapta a VII-a este alterată suitor
- semitonuri între treptele II - III, V - VI, VII - VIII
- intervalele modale: 3m, 6m, 7M
- intervalul caracteristic variantei armonice: secunda mărită (2+) între treptele VI - VII

Gama mi minor melodic

7M
6M În coborâre melodicul redevine natural.

#
Excepţie face minorul lui Bach.
w w
3m
& w w w w w #w #w nw nw w w w w w
I II III IV V VI VII VIII VIII VII VI V IV III II I

Caracteristicile gamei mi minor melodic:

- treptele a VI-a și a VII-a sunt alterate suitor
- semitonuri între treptele II - III, VII - VIII
- intervalele modale: 3m, 6M, 7M
- în coborâre gama minoră melodică redevine naturală. Excepţie face minorul lui Bach.
67
1
# 2 j j
& 4 Ï. Ï Ï Ï Ï. Ï Ï Ï Ï. Ï Ï Ï Ï Ï ú
J
# j j
& Ï. Ï Ï. Ï
J Ï Ï Ï Ï Ï. Ï Ï Ï ú ú

2
# 2 Ï Ï Ï. Ï ú Ï Ï Ï Ï Ï Ï Ï Ï
& 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï

# UÏ U
Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏ Ï Ï Ï Ï
& Ï Ï Ï Ï Ï Ï

# 4 F
3 Moderato

Ï Ï Ï. Ï Ï Ï Ï Ï
& 4 Ï Ï Ï. j Ï Ï Ï Ï ú J ú
Ï 3

# Ï. Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï
& Ï Ï J Ï Ï Ï Ï Ï ú
3
3

Canon după Arleziana de George Bizet

4
# 2 A
B (1838 - 1875)
j j Ï Ï Ï Ï
& 4 Ï Ï. Ï Ï Ï Ï Ï Ï. Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï
# j j Ï Ï Ï Ï Ï
& Ï Ï Ï. Ï Ï Ï Ï Ï Ï. Ï Ï Ï Ï ú

5 Vioi
# j Ï Ï Ï Ï.
& 24 Ï Ï Ï Ï Ï . Ï Ï Ï Ï Ï ú Ï
Ï Ï Ï Ï
J ú

# Ï Ï Ï Ï Ï. j j
& Ï Ï ÏÏÏ Ï Ï. j Ï Ï Ï Ï Ï ú
ú Ï Ï.

Melodie
# 4 f p p
6
f Bogdan Moroianu

& 4 ÏÏÏÏú Ï Ï Ï Ï Ï Ï Ï Ï
#Ï Ï Ï Ï ú Ï Ï Ï #ÏÏ #Ï Ï Ï
# f >Ï >Ï p
& Ï Ï Ï Ï Ï Ï ú. ú. Ï Ï Ï Ï Ï Ï Ï #Ï w

68
7
p Moderato
F
# 4 Ï Ï #Ï . Ï
& 4 Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï ú J Ï Ï Ï Ï ú

# p Ï Ï . #Ï F Ï Ï Ï
p
j Î
& Ï J Ï ú Ï Ï Ï. Ï Ï Ï #Ï Ï Ï

8
# 3 Ï Ï Ï Ï
& 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï #Ï Ï Ï Ï Ï Ï

# Ï Ï Ï #Ï
& Ï Ï #Ï #Ï Ï ú Ï Ï Ï ú Ï Ï Ï Ï Ï Ï
ú

9 Moderato
# Ï Ï #Ï . Ï #Ï Ï Ï Ï ú
& 44 Ï Ï Ï # Ï Ï Ï Ï Ï Ï ú J
p Ï
# Ï Ï
& Ï Ï #Ï Ï Ï ú Ï Ï Ï Ï. j
Ï Ï #Ï Ï Ï ú
p

10
# 3 Ï Ï #Ï #Ï Ï Ï #Ï #Ï Ï Ï nÏ nÏ ú .
& 4 Ï Ï Ï Ï Ï . Ïj Ï Ï ú Ï ú.

# Ï Ï #Ï #Ï Ï Ï #Ï #Ï Ï Ï nÏ nÏ ú .
& Ï Ï Ï Ï Ï . Ïj Ï Ï Ï . Ïj Ï
#Ï ú .

11
# Ï ÏÏÏ Ï Ï #Ï #Ï Ï #Ï . Ï
& 24 J nÏ Ï Ï .. Ï Ï Ï Ï Ï Ï Ï Ï

#
& Ï Ï Ï Ï Ï Ï Ï Ï Î Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Î
Ï Ï #Ï #Ï Ï

12
# Ï #Ï Ï nÏ .
& 24 Ï Ï Ï Ï #Ï #Ï ú Ï
Ï ÏÏÏÏ Ï ú
J
Ï Ï 3

# Ï. Ï #Ï #Ï Ï Ï nÏ nÏ Ï Ï Ï Ï j
& J Ï ú Ï. Ï.
3

J Ï ú
3
Ï #Ï #Ï Ï
69
 Gama Fa major
7M
6M
3M
w w w w
&b w w w w
I II III IV V VI VII VIII

w
Arpegiul mare Arpegiul mic

&b w w w w w w
w w w w
I III V VIII I III V III I V I

1 Melodie
j j j j j Ïj Ï Ï
Corneliu Mereș

& b 24 Ïj Ïj Ï Ï Ï Ï Ï Ï ÏJ ÏJ Ï Ï Ï J J Ï Ï

j Ï j j j j
& b ÏJ ÏJ j j Ï Ï J Ï ä ä ÏJ Ï ä ä ÏJ Ï ÏJ Ï ÏJ Ï Î
Ï Ï

2
Bătuta
Ștefan Popescu

& b 24 Ï Ï Ï .. Ï Ï. Ï Ï. Ï Ï Ï Ï
1. 2.

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

& b Ï. Ï Ï ä
Ï Ï. Ï Ï Ï Ï Ï. Ï Ï. Ï Ï Ï Ï. Ï Ï. Ï Ï.

3 Trio
3
W.A.Mozart

&b 4 ú ÏÏ Ï Ï Ï ú ÏÏ Ï Ï Ï ú ÏÏ Ï Ï Ï ú Ï Ï Ï Î Î ..

4
j
& b 44 Ï Ï Ï . Ï Ï Ï ú Î ÏÏÏ Ï Ï Ï ú w ú. Î Ï Ï ú

& b ú. ÏÏ Ï Ï ú j j
w Ï. Ï Ï. Ï Ï Ï ú w Ï Î î
Allegretto
f
5
2 Ï Ï ÏÏÏ Ï Ï Ï ÏÏ Ï. ÏÏ Ï Ï Ï Ï
& b 4 Ï. ÏÏ Ï Ï. ÏÏ Ï Ï Ï Ï Ï. ÏÏ Ï

F f f
b ÏÏÏ ÏÏ ÏÏÏ Ï Ï Ï ÏÏ ÏÏÏ ÏÏ Ï Ï Ï
& Ï ÏÏ ÏÏÏÏ Ï Ï ÏÏÏÏ Ï ÏÏÏ
70
 Cântecul brăduţului
6 - canon - Marius Cuteanu
j j j j
A
j j
& b 43 ÏJ ÏJ Ï . Ï
J Ï Ï Ï. Ï j
Ï Ïj Ï . Ï Ï Ï Ï Î

Ï j j j j j j j
& b ÏJ J Ï . Ï
J
Ï Ï Ï. Ï Ï Ïj Ï . Ï Ï Ï Ï Î
B
j j j j j j
& b .
.
Ï
j Ï Ï. Ï Ï Ïj Ï . Ï
J Ï
j Ï Ï. Ï Ï Ïj Ï Î ..

7 Moderato

& b 43 Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï
Ï
Ï Ï Ï Ï Ï Ï Ï
&b ú ú. ú Ï Ï Ï Ï Ï Ï Ï

ú. Ï Ï Ï
&b ú Ï Ï Ï Ï ú Ï ú.

& b ú. Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï ú.

8 Moderato
j j j
& b 44 Ï Ï Ï Ï Ï Ï ä Ïj ä Ï Ï Ï Ï Ï Ï Ï ÏÏÏ Ï ä Ï ä Ï Ï Ï Ï

j j Ï ä ÏJ ä Ï Ï Ï Ï Ï ä Ïj ä Ï Ï Ï Ï Ï ä ÏJ ä Ï Ï Ï Ï Ï
&b ä Ï ä Ï ä ÏÏ

71
 Gama re minor
re minor natural
7m
6m
3m

&b w w w w w w
w w
I II III IV V VI VII VIII

Alterația sib se pune după cheia sol, sub denumirea de armură.

re minor armonic
7M
6m 2+
3m 2+

&b w w w #w w bw T w #w
ST
w w w
I II III IV V VI VII VIII VI VII

re minor melodic
7M
În coborâre melodicul redevine natural.
6M Excepţie face minorul lui Bach.
3m
nw #w w w nw bw
&b w w w w w w w w w w
I II III IV V VI VII VIII VIII VII VI V IV III II I

Arpegiul mare Arpegiul mic

w
&b w w w
w w w w w w
w
I III V VIII I III V III I V I

72
1 Trageți hora
2 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Vesel

&b 4 Ï Ï Ï Ï Ï Ï Ï Î Ï Ï Ï Ï Ï Î

UÏ
& b .. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï
..

2
2 j Ï. Ï
& b 4 Ï. Ï Ï Ï
Ï Ï Ï ú J Ï Ï Ï Ï ú

&b Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï ú

3 Hai la horă! după A.Voevidca

& b 24 Ï Ï Ï
Allegretto

Ï. Ï Ï Ï Ï j ä ..
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

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4 Edith Visky

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Tamburina Jean Philippe Rameau (1683 - 1764)

6 Allegretto
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73
7 Andantino

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10

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74
 BIBLIOGRAFIE

Arnoud, Jules Solfegii – partea I,

Casa de Editură GRAFOART 2008

Făgărăşanu, Horia Solfegii progresive – vol.I Edition H.S.,

Freiburg, 1998

Giurgiu, Rodica 100 Solfegii – vol.I şi II

Iuşceanu, Victor Solfegii – vol.I,

Casa de Editură GRAFOART 2014

Motora – Ionescu Ana Teorie şi solfegii,

Manual pentru clasa a III-a, şcoli de muzică,
Editura Didactică şi Pedagogică R.A.,
Bucureşti, 2008

Vintilă, Ion; Teorie şi solfegii,

Gabrielescu, Valentin Manual pentru clasa I, şcoli de muzică,
Editura Didactică şi Pedagogică, R.A.,
Bucureşti, 2010

Visky Edith Teorie şi solfegii,

Manual pentru clasa a II-a, şcoli de muzică,
Editura Didactică şi Pedagogică R.A.,
Bucureşti, 2006

75
 CUPRINS

2
Măsura de .......................................................................................................... 3
4
3
Măsura de .......................................................................................................... 6
4
4
Măsura de .......................................................................................................... 8
4

Pătrimea cu punct ................................................................................................ 10

Şaisprezecimea .................................................................................................... 12
Dactilul ................................................................................................................ 14
Anapestul ............................................................................................................. 15
Trioletul ............................................................................................................... 16
Optimea cu punct................................................................................................. 18
Alteraţii accidentale ............................................................................................. 19
Intervale simple ................................................................................................... 20
Prima ................................................................................................................ 20
Secunda ............................................................................................................ 21
Cheia FA pe linia a IV-a...................................................................................... 23
Terţa ................................................................................................................. 24
Cvarta ............................................................................................................... 28
Cvinta ............................................................................................................... 32
Sexta ................................................................................................................. 36
Septima ............................................................................................................. 40
Octava .............................................................................................................. 44
Răsturnarea intervalelor ...................................................................................... 46
Sincopa pe timp ................................................................................................... 48
Sincopa pe jumătăţi de timpi ............................................................................... 50
Contratimpul pe timp........................................................................................... 52
76
Contratimpul pe jumătăţi de timpi ...................................................................... 53
Acordul de 3 sunete ............................................................................................. 55
Gama Do major ................................................................................................... 58
Gama la minor ..................................................................................................... 60
Gama Sol major ................................................................................................... 65
Gama mi minor .................................................................................................... 67
Gama Fa major ................................................................................................... 70
Gama re minor..................................................................................................... 72
Bibliografie .......................................................................................................... 75

77