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    11 views28 pages

    Music Fundamentals PDF

    Uploaded by

    Jovy Ando

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    © All Rights Reserved
    Download as PDF or read online from Scribd
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    MELODIES Section I To be used with Section I of all other Chapters ‘The first melodies emphasize the basic aspects of tonality. They are designed to include easi- ly recognizable scale and chordal patterns. ‘These diatonic melodies are based upon both major and minor modes. ‘The phrases are usually symmetrical and short enough to be grasped at a glance. How- ever, the diversity of rhythms, keys, modes, tempos, dynamics, and clefs should provide a variety of musical experiences. The alto clef is introduced in exercise 41b; compound meter § in 73c; the minor mode in 57. Students who are unfamiliar with one or another of the clefs that are used in this sec- tion should prepare for the actual singing by reciting the names of the notes in strict time. ‘Then the melody should be sung, again nam- ing the notes, To develop facility in reading the various clefs, the student should also play the melodies which have been sung in class, ‘The first seventeen melodies are based entirely on stepwise motion, 1, Andante f 2. Allegretto 4. Andante cantabile P Allegro non troppo f In this chapter, we have discussed musical time as it relates to both rhythm and meter, ‘Remember, hythm is the duration of pitch and silence in music; meter is hylhm measured into regular recurrent beats, We wil now start with some simple rhythm exercises. Beginning Rhythw Exercises Clap and count out loud: Melodies —1 7. Allegretto Sf 8. Andante oo f ‘The next four melodies are in five-measure phrases. 9. Largo P f . 10. Andanting_—=——————————__ mf Ah, Allegro_§$_—$——$$ f dim. == P erese. f 12, Allegretto P 14, Con moto Sf 15, Allegretto Recegmizing Patterms ‘To avoid contusion when you ate fist learning to read rhythms, you can count them out loud. This is a professional technique often used when there isa dificult measure of music. In Chapter 1, we saw how we will count *One-and, two-and, three-and, four-and,” etc, counting each individual beat and rest, but we also want to start recognizing rhythmic patterns. itis Impossible to count out every beat as you play and sing, especially at fast tempos. You mus stat recognize the patterns. FRead end count through al the folowing examples. See haw many pattems you can ind within them, "EH OWWeReee eee ee eee eee Melodies— ‘The following eleven melodies emphasize skips in the tonic triad 18. Allegro f au. Allegro moderato f Pp f 22. Allegro con brio f Pp 23, Andante cantabile P 2A, Allegretto Wb jena Sy Chapter Three Ties We nit beg Chater 9 by gting mre faa wih os, A to ins Wo notes ogee YON need to refresh your memory, go back to Cheptor 1 and reread the segment on Hes ‘Clap andlor sing the following exercises: a Melodies —1 25. Presto P 26, Allegro P f 27, Alllegretto BEE Ee 2 ee The rhythm J, J) is introduced in the next six melodies. 30. Allegro moderato oo REE ne Chapter Four Detted Notes ‘We will begin Chapter 4 by getting more farniiar with dots. You may recall from Chapter 1 that a dot ‘adds half @ note’s lanath to itsel Clap andior sing the folowing exercises: a Ge ae 1 + = 2 SS SS +a4 2 Sixteenth Notes Ite time now to get comfortable with sixteenth notes. As we saw in Chapter 1, four sixteenth notes ‘equal one beat; you have fout (4 claps inthe space of one beat. We count them: “one-e-ancha." Clap andior sing the folowing exercises: a dovag 3 4 fo+azeraa @ 1 2 Sevrad teraz Senad + Gesaseras 1 2 Secad 12+ Seras ternzeras 4 I E aE 4 + 2 4h te 24aes 14 24944 Torna 9 4 a Nielodies—a 33. Andante P 34, Andante cantabile mp. 35, Andante _————_ P f 36.. Andante con moto Pp 37. Allegretto P f 38. Tempo di menuetto mf 39, Vivace f 40. Andante cantabite bd Metosies—t 36, Allegro con spirito. ak FPO ‘Three C-minor scales Melodies in which the major and minor modes are compared may be found in Supplementary Exercises, p. 294, ‘The next seven melodies are based on minor triads. 57. Andante mp 88, Algo mg tf 59. Andantino 2 Chapter Five Combining Dotted Netes and Sixteenth Notes Clap andior sing the following exercises: 1243 4 10682 Setadesa 1 2 + tesag Te+azeced @ 124 Se+ad 1+ == , alee ae E Allegro moderato Allegretto f Pp “The following eight melodies include skips in the tonie minor triad, 64. Andant 65. Aul est f 66, Andante 68, Allegretto me 13 Chapter Six | Combining Eighths amd Sixteenths {In musi notation, you will find often that note lengths can be written more than one way. Below are ‘some examples of rhythms written diferently but sounding the same. ‘These rhythms can be written either way and be correct. However, the second way in each example is ‘more common, Clap and/or sing the following exercises: Les 1424 dasa te azead : Chapter 6 ie i Triplets So far we have become familar singing one note par best (quarter note), two notes per beat (eighth | notes), and four notes per beat (sixteenth notes), But what about three notes per beat? When you divide a beat ilo three equal pats, itis called a tripe. : 31 Melodies 69, Andante espesivo__——— a. Andante con mato oo EE Pp a 72, Allegretto a. aR Pras tt mp —=S P “The same melody notated in three different meters. Moderato 3a. TBb, Allegro g—~ TBc. Larghett ‘The next nine melodies are in § time. 74, Andantino es 75. Andantino z € <2! = FF # j 5 or ng 4 A a 9 | a 6 % q g 6 3 e I Combining Dotted Eighths and Sixteenths t Balow is another “sounds alike" example: meee eit: Apes tala cats firccire ste oi ata fal cetiitiattista cinta areta-sstre-ecsiy sais E f i f | I : i | : | : 7 Melodies aperies =H t# Pp mf 80. Allegro feet Ete Pree — Eps z recoseeeetes pee a Lepretad P mp 81, Allegro « " fee, ee : parent SE 4 fae = P mf 82, Allegretto fie eteee { cen fot = Fath oy ag quiets 83. Allegro f 84, Andante cantabile Pp 85, Con anima Po 4 In, we foot tour beats per measure. © = 3 In}, we foo! wo beats per measur. c —a i g & 2 0 Cut time is indicated by a °C” with a stash through it. Cut time is equivalent to 2/2 time. Clap andlor sing the following cut time exercises: Cut Time 40 Melodies—1 Rests are included in melodies from this point. 86. Allegro moderato Dae —~Er 88, Allegro f P t Pp 89, Andantino 90. Allegro. F h of the tonic triad. ‘The next three melodies begin with the St 91. Allegro mf Chapter & Combining Mote Values ‘These exercises focus on sixteenth notes, dotted notes, eighth notes, and tied notes. sae 1243 6 4 2 S44 Ferateveds 4 1 2 8 4 pay ae an angie INTERVAL WARR-UPS Stan with the root (1) of each key. Write out the intervals, then sing them. M= major m= minor P = perfect D=diminished A= augmented a Melodies—t 92. Larghetto. am Pp 98. Andante P 94. Moderato P 95. Andante pastorale os p Patser : te ‘The next three melodies begin with the 3rd of the tonic triad. 97. Allegro Sf 98. Andanting ee mp ——— 99. Allegro con spirito t 100. Andante mp ” _ Chapter Mine 6/8 Time in 6/8 time, there are six beats in each measure, and an eighth note gets one beat. However, 6/8 time is usually felt in two (Instead of six), with the strong beats falling on 1 and 4 and the weak beats, falling on 2, 3, 5, and 6. = six counts ina measure 8 = eighth note gets one count ‘Clap andlor sing the following exercises: a 4 Chapter 9 f Combining Nete Values I Clap andlor sing the following exercises: i oy @+ac4 teateas 4 142 Sesaey In @zead @ E devel 3 4 14240344 ‘Soa2eadeas 442? 346 | Melodies—1 101. Frisch und munter mp 102. Allegretto mf ‘The next six melodies begin with J upbeats. 103. Allegro moderat P

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