New Zealand School of Music MUSC 160/166/167/266 | Keyboard/Aural Anthology/Workbook Trimester 1, 2016MUSC 160/166/167/266 Keyboard/Aural Anthology/Workbook Dd) =f WOOL > MUSIC 2012 editionTable of Contents Introduction Module 1 1A Keyboard Basics 1. Body 2. Hand 3. Numbering fingers IB Technique 1. Turning the thumb under 2. Whole tones and semitones 3. Scales 4, C:major scale in contrary motion 5. Arpeggios 1C_ Developing hand co-ordination 1. Contrary motion 2. Articulation and dynamics 3. Accidentals 4, Tips for learning piano music 1D Tonic Triads Naming degrees of the scale 2. Formation of triads IE Perfect Cadences IF Repertoire Module 2 2A Technique 1. Scales 2. Arpeggios 2B Triads and Inversions 1. Formation 2. Inversions 3. Tonality 4, Labeling Triads 2C_Improvising Bass Lines 2D Alto Clef 2E Transposition 2F Repertoire Module 3 3A Technique 3B Triads and Inversions 3C_Improvising Bass lines 1, Perfect and Imperfect Cadences 2. Adding Bass lines using Perfect and Imperfect Cadences 3D Tenor Clef 3E_ Transposition 3F Repertoire 14 15 16 19 20 22 23 25 21 33 33 34 36 39 41Module 4 4A Technique 4B. Improvising Bass lines 1, Plagal and Interrupted Cadences 2. Adding Bass lines using all Cadences 4C_ Melodic Improvisation 4D Alto and Tenor Clefs 4E Transposition 4F Repertoire Advanced Keyboard Skills SA Technique 5B_Improvising Bass lines/Harmonisation 1, Passing 6/4 2. Adding Bass lines using Passing and Cadential 6/4 SC Figured Bass 1, Introduction to Figured Bass 2. Realising Figured Bass indications 3. Recitative and Arias with Figured Bass 4. Instrumental Works with Figured Bass SD _Transposing instruments 1. Transposing Instruments in B Flat and A 2. Transposing Instruments in E Flat and F SE Score reading 1. Three- and four-part score reading 2. Score reading with transposing instruments and more parts 3, Score reading with more transposing instruments and full score 4, Full score SF Repertoire Appendix I - Key signatures and relative keys Key signatures i) Relative keys Appendix II - Scales and Arpeggios i) Scales i) Arpeggios Appendix IIT - Cadences Appendix IV - Transposing instruments, clefs and intervals of transposition Appendix V - Ear Conditioner, Aural Instructions and Traditional Modes Appendix VI - Sight Singing 49 49, 53 55 59 62 2 4, 96 106 137 154 157 App2 App4 App7 App20Introduction ‘This anthology is for use in the sections of MUSC 160, 166, 167 and 266 which deal with keyboard skills. The keyboard sections have been combined here into & series of graded modules, plus a Keyboard skills section for more advanced players. Tris anticipated that the student should enter the keyboard course at a certain level (based on previous experience and current skill level), and pass one module per course to be awarded a pass. ‘Students in MUSC 266 must begin at Module 3 or above. spores of the keyboard syllabus isto balance the requirement for students 10 reac a specific standard with the desirability for students to extend their existing skill vescl naving a regard for the variety of Keyboard and other musical skills studen's bring to these papers. This modular keyboard compenent of the Mi ianship syllabus provides a target which is challenging and achievable for both experienced keyboard players and those approaching Keyboard studies forthe first time, ‘Ties anthology was compiled by Lindy Tennent-Brown and has been edited for these eourves by Catherine Norton. The anthology also includes a reference guide 19 the computer program, Ear Conditioner, commissioned by the School of Music from Michael Norris in 2003, and a guide to sight singing by Geoffrey Coker. General Keyboard requirements [At the beginning of the course the student and the Keyboard tutor decide on & AN liege starting module, and the student is to progress through one module per trimester. In MUSC 160 most students will begin in Module One. Some students will be of a standard that they might wish to begin in a more advanced module, but they should tear in mind that should they subsequently enroll in MUSC 166, they will in most arate, be attempting 3 modules in the course of the year and will be expected fo besin in the Module next above that which they have passed in MUSC 160 In MUSC 166/167 and MUSC 266 students who are enrolled in Piano, Organ, of Harpsichord performance papers will not be expected todo the seales, arpeseio™ 0 repertoire sections of this material but will need to negotiate with the tutor extra from other modules which will extend their skills materiMODULE 1 Aims of Module 1 1. To play fluently from memory, each hand separately for nwo octaves, the major and (harmonic) minor scales and arpeggios in all keys of not more than 1wo sharps/flats; and the C major scale, hands together in contrary motion (two octaves). 2. To be able to demonstrate tonic triads in root position, in all major and minor keys of not more than two sharps/flats. 3. To improvise perfect cadences in two parts in major and minor keys of not more than two sharps/flats. 4, To read and play fluently music written in the treble and bass clefs. 5. To be able to transpose (with a short preparation time) a simple piece of music up or down one whole tone, to a key of not more than two sharps/flats. 6. To present at the end-of-module assessment, a range of pieces appropriate to your skill-level, prepared to performance standard. 1A. Keyboard Basics 1. Body When you sit at the keyboard, find a position which is comfortable for you. You will need to keep a careful eye on your hand and body position to avoid developing bad habits. + Keep your back straight and your head as upright as possible. + Adjust your seat so that your elbows sit slightly above or level with your wrists + Sit far enough out from the keyboard so that you can move your arms freely. + Place your feet squarely on the ground. + Stay loose in your wrist, elbow and shoulder joints. + Try to keep movements minimal. 2. Hands Developing a good hand position early on is the single most important aspect of learning the keyboard. Go through this checklist each time you play and it will soon become habit. + To find a comfortable hand position, imagine holding a softball (or tennis ball, for very small hands). Alternatively, place your hands on your knees. Transfer this rounded position to the keyboard. + When you play, use the soft pads beyond the last knuckle, not the very tips of the fingers. (You may need to cut your fingernails if they tap or get in the way.) + Keep each knuckle slightly rounded. You will find that the last knuckle on each finger tends to collapse until your fingers strengthen + When your hands are in a good playing position your thumbs will naturally sit on their sides, so just use the area which falls over the keys. * Your wrists should be loose and flexible and act as shock absorbers.ge 3."Numbering fingers + Fingers are numbered from the thumb outwards: the thumb is number 1 and the little finger is number 5. + Itis very important that you learn to read the notes on the stave: do not just follow the fingering numbers. After the first few pages of this module you may need to play any note with any finger. + You may come across the abbreviations R.H. and L.H. which stand for ‘right hand’ and “left hand’ respectively. + Practise the exercise below to familiarise yourself with each hand’s fingering system. Be aware of your body, arm and hand positions. 1.01 Finger-location exercise 1B. Technique A basic level of piano technique is absolutely essential to be able to fulfill the demands of any career or activity which involves music-making. To make any useful progress, you need to work steadily throughout each trimester and play scales and arpeggios every time you sit down to practise. A good work ethic during the early modules will give you the technique you need in order to handle the later modules 1. Turning the thumb under . ‘The first thing you learn in this section is the technique of turning the thumb under the other fingers, so you can move out of the basic five-finger position. + Keep your hand well-rounded so there is room for the thumb to move under it. + Don’t swing your elbow out ~ make your thumb and wrist do most of the work. + Practise /,02 hands separately to begin with.1.02 Exercise for turning the thumb under 2. Whole tones and semitones ‘A semitone is the distance between any one note and the note right beside it, up or down, For example, find middle C. One semitone higher than middle C is Cif (the black note immediately to the right of middle C), and one semitone lower than middle C is B (the white note to the left of middle C), ‘A whole tone (also known simply as a tone) is made up of two semitones. It is the distance between any one note and the note two semitones away, up or down. For example, find middle C again. One tone higher than middle C is D (the white note immediately to the right of middle C, thus missing out the C# in between), and one tone lower than middle C is Bb (the nearest black note to the left of middle C, thus missing out the B in between). ‘A scale is a series of notes arranged in a prescribed pattern of whole tones and semitones. Each type of scale can be formed using the set pattern of tones and semitones specific to that scale-type. 'A major scale is formed using the following pattern, (We abbreviate a whole tone as T and a semitone as S.) T-T-S-T-T-T-S 1.03 C major scale showing tones and semitones ‘You will see that the distance between C and D is the first tone, the distance between D and E is the second tone, and so on. With this information alone you should be able to create a major scale starting on any note. 1.04 A harmonic minor scale showing tones and semitones THs 83. Scales In this module you are required to play scales in the major and harmonic minor keys with up to two sharps/flats. + There is a chart in Appendix II which gives you the correct fingerings and reminds you of the key signature of each scale. + Memorise all scales and their fingerings as quickly as possible. + Aim for quality of sound, a good hand position and consistency in your fingering. + NEVER go faster than you can manage. If your scale is not even, clean and correctly fingered, you are going too fast. * You must learn all the major and (harmonic) minor scales below, with each hand separately, two octaves each. C major Aminor G major Eminor F major D minor D major Brminor Bb major G minor 4, C major scale in contrary motion At this point, it is useful to start playing the C major scale in contrary motion. The word contrary (pronounced con-trary), when used in a musical context, means ‘opposing’ or ‘in opposite directions’. The fingering for scales works in a pattern of threes and fours, ie. 1- 2-3, 1-2-3-4, 1-2-3, 1- }-(5) in the right hand or (5)- the left hand. The good thing about playing C major in contrary motion is that both hands turn their thumbs under at the same time, every time. + Put both your thumbs on middle C + Play C and follow it by putting down your second fingers on B (LH) and D (RH). + Follow this with your third fingers on A (LH) and E (RH) + Pass your thumbs under to play the next notes, which will be G (LH) and F (RH) * Continue in this pattern until each hand has covered two octaves. + Tum at the top and bring the hands back towards each other until both thumbs are back on middle C. 5. Arpeggios Appendix II also contains a chart of arpeggios in all major and minor keys. You will need to learn arpeggios in all major and minor keys of not more than two sharps/flats, hands separately for two octaves. + Lear all arpeggios and their fingerings by memory as soon as possible. + Be careful to avoid swinging your elbows out when playing arpeggios: your thumbs and wrists should do the work. 1C. Developing hand co-ordination The aim of this section is to have you playing music with both hands together confidently, while the hands work independently of each other. The following pieces are designed to help you develop your hand co-ordination. They are arranged in order of difficulty, so start from the beginning and work through to the end1. Contrary motion The following exercises are played hands together, with each finger playing at the same time as the corresponding finger on the other hand (i. thumbs play together, second fingers play together, etc. Ex. 1.05 1. Articulation and dynamics ‘The following pieces introduce articulation and dynamic markings. The word articulation refers to markings which give you instructions about how to play the notes, with reference to their length and attack. Dynamic markings indicate at what volume you should play. + Notes with a dot above or below them are to be played short and detached ~ the Ttalian term for this is staccato. + Accurved line over or under a group of notes is called a slur. This tells you to play these notes in a smooth and connected way, or legato. + The same curved line seen between two notes of the same pitch is called a rie. This indicates that you hold the first note for the combined value of the tied notes, without re-articulating, * Below is an explanation of dynamic markings Italian term English fortissimo very loud forte loud mezzoforte moderately loud mezzopiano moderately soft piano soft pianissimo very soft =z becoming gradually crescendo, crese. louder 10———_entesctnda, deseoss. or becoming gradually diminuendo, dim. softer Ex. 1.07 Call and response Moderato , Sf Ex. 1.08 Hands together in similar motion Core oning aan eee = / rf WEx. 1.09 Independent hands — from 50 Piano Pieces, Hermann Berens ae Ex, 1.10 Chords - from The Five Fingers Allegretto, 2. Accidentals By using accidentals, a composer is able to bring into a piece notes that are not in the scale of the key in which the piece is written. Accidentals alter the pitch of the note to which they are attached (i.e. in front of), and any other notes of the same pitch which occur later in that bar. So, an accidental can be cancelled in two ways ~ (a) by a bar-line, and (b) by another accidental. + A sharp (2) in [ont of a note raises the pitch by one semitone. + A flat (b) in front of a note lowers the pitch by one semitone. + A natural (9) cancels any previous accidentals for that note in the bar, and also cancels a sharp or a flat in the key signature. Ex. 111 Moderato3. Tips for learning piano music Learn everything carefully with separate hands before you attempt to put it together. If you can’t play one hand well by itself, you cannot expect to play two. Slow and even is ALWAYS better than fast and erratic. Notice any spots where you habitually stop playing to think about the next note. Then slow down, so you can think ahead while you play the previous phrase ‘Always keep an eye on the suggested fingering. You will find that following this will make your life a lot easier. Asa general rule, pianists try to avoid playing black notes is occasionally acceptable if there is no better option. Mus¢le.memory is your friend. Use the same fingering every time you play a phrase and you will learn it in half the time. Keep your fingers close to the keys. Unnecessary movements will confuse your muscle memory and slow your learning. ith the thumb, but it 1D. Tonic triads 1. Naming the degrees of the scale ‘There is a set of names which we use to identify each degree of the scale, These are as follows: 1 degree Tonic 2" degree Supertonic 3" degree Mediant 4" degree Subdominant 5* degree Dominant 6" degree Submediant 7 degree Leading note 8th degree is repetition of tonic an octave higher. 2. Formation of triads ‘A triad can be formed on any degree of a major or minor scale. In this module we will be concentrating on triads formed on the tonic of a key. A triad is a chord made up of three notes, commonly called the roor, the third and the fifth. The root is the bass of the chord, or the lowest note when the triad is in roor position. ‘The third is the note which occurs (within the context of whatever key you are working in) three scale notes above the root (counting the root). In a major triad, the interval between the root and the third is a major 3rd (four semitones). In a ‘minor triad, the interval between the root and the third is a minor 3rd (three semitones). ‘The fifth of a triad is the note which appears (within the context of the key you are working in) five notes above the root.Below is a diagram of the triads formed on the tonic degrees of all the major and minor scales with up to two sharps/flats. In your assessment you will be asked to play the tonic triad of any key here. Practice material for this is provided in the Keyboard suite of Ear Conditioner as ‘Chord playing, set 1”. Notice how the third degree of the scale (the third of the chord in each case) affects the sound, or tonality, of the triad. When you play the major triads, try lowering the third by one semitone ~ the result will be the corresponding minor triad. If you do this in reverse with the minor triads, the result will be the corresponding major triads. 1.14 Diagram of tonic triads in all major keys of up to nwo sharpsiflats 1E. Cadences A perfect cadence can be played by placing both little fingers on the keynote with hands in the five finger position. The right hand then plays the notes under fingers 4 and 5 one after the other at the same time as the left hand plays the notes under fingers 1 and 5. Remember to raise the leading note in minor keys. Practice material for this is provided in the Keyboard suite of Ear Conditioner as ‘Cadence Playing’ . See also Appendix 11 1.16 Some perfect cadences vi 15IF. Repertoire Pho In this section you will find a variety of pieces for piano which are here for you to Jean and present at the end-of-module assessment. Consult your tutor if you are unsure where to start, S/he will be able to find a piece appropriate to your playing level. If you have a piece of music which you want to learn and it is not included here, talk to your tutor about the possibility of bringing that to work on as well. You are to prepare two contrasting pieces for the final rest 1A7 glum Jane Hebberd Piano 161.18 Mozart Allegro in F KV. le Allegro Menuett in F KV.21.20 Invention Sam Logan Andante J=100 a Sa eo were IQ: 1.21 J.N. Hummel: Ecossaise.MODULE 2 ‘Aims of Module 2 1.To play fluently from memory, each hand separately for nwo octaves, the major and (harmonic) minor scales and arpeggios in all keys of not more than four sharps/flats. 2. To be able to demonstrate the tonic, subdominant and dominant triads in root position, first and second inversions in all major and minor keys of not more than four sharps/flats 3. To be able to add an improvised bass-line to a given melody. 4. To read and play fluently, music written in the treble, alto and bass clefs, and any combination of two of these 5. To be able to transpose (with a short preparation time) a simple piece of music up or down one whole tone, to a key of not more than four sharps/flats. 6. To present at the end-of-module assessment, a range of pieces appropriate to your skill-level, prepared to performance standard. 2A. Technique ‘A basic level of piano technique is absolutely essential to be able to fulfill the demands of any career of activity which involves music-making, To make any useful progress, you need to Work steadily throughout each trimester and play scales and arpeggios every time you sit down to practise. A good work ethic during the early modules will give you the technique you need in order to handle the later modules. 1. Scales In this module you are required to play scales in the major and harmonic minor keys with up to four sharps/flats. © There is a chart in Appendix II which gives you the correct fingerings and reminds you of the key signature of each scale. + Memorise all scales and their fingerings as quickly as possible. + Aim for quality of sound, a good hand position and consistency in your fingering * NEVER go faster than you can manage. If your scale is not even, clean and correctly fingered, you are going too fast. * You must learn all the major and (harmonic) minor scales below, with each hand separately, two octaves each, C major Aminor G major E minor F major _-D minor D major B minor Bb major * Gminor A major F# minor Eb major C minor E major C#t minor ‘Ab major F minor 192. Arpeggios ‘Appendix Il also contains a chart of arpeggios in all major and minor keys. You will need. to leam arpeggios in all major and minor keys of not more than four sharps/flats, hands separately for two octaves. + Learn all arpeggios and their fingerings by memory as soon as possible. + Be careful to avoid swinging your elbows out when playing arpeggios: your thumbs and wrists should do the work 2B. Triads and their inversions 1. Formation ‘A triad usually consists of three notes, commonly called the root, the third and the fifth. ‘+ The root is the bass of the chord, or the lowest note when the triad is in root position * The third is the note which occurs (within the context of whatever key you are working in) three notes above the root (counting the root). In a major triad, the interval between the root and the third is a major 3rd (four semitones). In a minor triad, the interval between the root and the third is a minor 3rd (three semitones). + The fifth of a triad is the note which appears (within the context of the key you are working in) five notes above the root. 2. Inversions Triads can appear in many inversions. In this module we will be concentrating on the three basic positions - root position, first inversion and second inversion. + When a triad is in root position, the root of the chord is at the bottom. In a major triad in root position, the third note sits a major 3rd above the root, and the fifth note sits a minor 3rd above the third note, Thus, the major triad consists of a major 3rd and a minor 3rd stacked from the bottom up. In a minor triad, the third note sits a minor 3rd above the root, while the fifth note sits a major 3rd above the third note, so here, the order is reversed. The minor triad consists of a minor 3rd and a major 3rd stacked from the bottom up. + When a triad is in first inversion, the third of the chord is at the bottom. The fifth note then sits a 3rd above the third note and the root of the chord is brought over to the top, to sit a perfect 4th above the fifth note. Thus, a major triad in first inversion consists of a minor 3rd and a perfect 4th stacked from the bottom up. A minor triad in first inversion consists of a major 3rd and a perfect 4th stacked from the bottom up. + When a triad is in second inversion, the fifth of the chord is at the bottom. The root then sits a perfect 4th above the fifth note, and the third of the chord is brought over to the top, to sit a 3rd above the root. Thus, a major triad in second inversion consists of a perfect 4th and a major 3rd stacked from the bottom up. A minor triad in second inversion consists of a perfect 4th and a minor 3rd stacked from the bottom up. 3. Tonality A triad can be formed on any degree of the scale by using the notes appropriate to the key in which you are working. (See page 7 of Module | for an explanation of how the degrees of the scale are named). Because of the differing natures of major and minor scales, each 20triad formed on a degree of the scale has a different ‘tonality’, The diagram below shows you the tonality of each triad in major and minor keys. Triad formed on... Tonality in MAJOR keys __‘Tonality in MINOR keys Tonic major minor Supertonic minor diminished Mediant minor major Subdominant major minor Dominant major major (raised 7th is third of chord) Submediant minor major Leading Note diminished diminished 4, Labeling triads ‘The conventional way of labeling triads and their inversions is based on a system of Roman numerals in combination with letters, For triads of a major tonality, use upper case numerals (e.g. ‘I’) and for triads of a minor tonality, use lower-case numerals (e.g. ). If the chord is in root position, it does not require anything other than a Roman numeral e.g. ‘I’ means “tonic triad (major) in root position” ‘iy’ means “subdominant triad (minor) in root position” A chord in first inversion is shown by the letter *b’ after its Roman numeral, e.g. ‘i®, means “ tonic triad (minor) in first inversion” ‘VIS,’ means “submediant (major) triad in first inversion”. The chart below shows you how the tonic, subdominant and dominant triads and their inversions are formed in the keys G major and G minor. Practice playing these through, and use this chart to figure out the triads and inversions built on the tonic, subdominant and dominant in the other keys dealt with in this module. 2.01 Diagram showing triads and their inversions, formed on the tonic, subdominant and dominant degrees of G major and G minor scales. 212C. Improvising Bass-lines ‘Add bass-lines to the following melodies. Play the melody through first, trying to imagine what the bass-line might sound like. When you feel comfortable with that, add a bass-line with your left hand. To begin with, one or two notes per bar should be enough. ‘As you gain confidence, experiment with changing the harmony more often. 202 2.03 2.04 2.05 2.06 2.07 2.08 2.09 2.10 2.13 222D. Alto Clef In this module we introduce the alto clef. It is one of the ‘C’ clefs, called this because it locates middle C by its form. Another ‘C” clef is the tenor clef, which you will learn to read in Module 3. The idea behind using ‘C’ clefs is to avoid the inevitable stacks of ledger lines which result if one uses simply treble or bass clef. In the diagram below, you will see that the middle of the alto clef (the middle line of the stave) represents middle C. 2.15 Diagram of alto clef, showing middle C. ‘The next few exercises will give you practice at reading and playing from the alto clef. Use sensible fingerings and take note of any key signatures (they look different in alto clef!) 2.16 From Cherubini: Counterpoint and Fugue Inon abe tid above. Tien he how 2s Triton aes elo: 23orate ese ALOT Bx, 130, stare Ppa etrezeS paaseehiial| 2.20 Excerpts from Handel: Cantatas for solo voice and basso continuo Lae Lote te et. Eruna te [ran me [ta ninfe [bet la, [ke minjaa. £ wr = [le ninfi | bel te che | win. [na mo | ras ieee Pose |Clorted A. ma J rilti, Enrit | lo, 1 ¢-lee | Fill: nelle |pabsbie per we J cell. 242E. Transposition Throughout this course, you will be developing your ability to transpose music at sight. In this module you will be working on simple piano pieces, but itis a skill which, in later modules, enables you to read larger scores, for example string quartets and orchestral scores. At this stage, you can refer to Appendix IV which gives you information about all the instruments of the orchestra and concert band. The chart details which instruments are transposing instruments and the clefis each instrument reads in. This should give you a better picture of what the skills you are learning now are leading to. The following pages contain a selection of easy piano pieces which you should learn, and then transpose up or down one whole tone. + Remember the shape of each phrase rather than individual notes, as the former stays the same in the new key. + Read by interval from the last note you played ~ NOT by individually transposing cach note in your head! * A good way to begin transposing is to find your starting notes, then cover the clef and key signature. Then imagine the key signature you are now playing in. This will stop you from instinctively reverting to the original key halfway through. 2.26 Excerpts from Hermann Berens, 50 Piano Pieces Allegro. — 24. 25Par s_ a5 Pere et | 18 Fl! See eS Moderato. 227 | 26 P \= SEE2F. Repertoire The last section of this module provides you with a variety of piano pieces of a moderately easy level. You will need to prepare a number of these pieces (or pieces of ‘your own choice of a comparable standard - check with your tutor if you want to use your ‘own material) for the end-of-module assessment. They are designed to give you a medium through which to practice the skills you have learnt so far. Be careful to observe dynamics and any articulation or expression indications contained in the music. If you encounter any symbols or terminology with which you are unfamiliar, try to find the meaning in a good music dictionary yourself. If you are still unclear about something, ask your tutor for help. 2.30 Melody Melody Sam Logan Moderato. 2009 15 dim, 212.31 Short Story no. 1 Short Story no.1 for monophonic ye piano 7 ° the knit Fonathan Creban Mysterious, smooth Colonel Mustard in the kitchen with the knife o 140 Th. Fete _pp | geting uder and faster] with each pivate medium fast 8 SS getting more iniense 282.32 Menuet 29Menuet JOHANN Semastian Bacw (1685-1750) BW Auk, 1 fe er a hae ‘ypeset by Allen Garvin 302.33 Menuet in F, Mozart Menuett in F KV Soizbuug, 22 Ze ne. 312.34 Schumann: Soldier’s March ‘Munter und straff. Soldier’s March f 32 tf"2.35 Schumann ~ Humming Song cht sebnell. t sehn el, ———__ Humming Song 33MODULE 3 Aims of Module 3 1.To play fluently from memory, both hands together for two octaves, the major and (harmonic) minor scales and arpeggios in all keys of not more than four sharps/flats. 2. To be able to demonstrate triads formed on all degrees of the scale in root position, first and second inversions in all major and minor keys of not more than four sharps/flats. 3, To demonstrate an understanding of perfect and imperfect cadences; to add a bass-line to a given melody, incorporating the use of perfect and imperfect cadences. 4, Toread and play fluently, music written in the treble, alto, tenor and bass clefs, and any combination of treble or bass and alto or tenor. 5. To be able to transpose (with a short preparation time) a moderately simple piece of music to a related key of not more than four sharps/flats. 6. To present at the end-of-module assessment, a range of pieces appropriate to your skill-level, prepared to performance standard. 3A. Technique By the end of this module you will be required to play the major and (harmonic) minor scales and arpeggios in all keys of not more than four sharps/flats, hands together for two octaves. Refer to Appendix I to remind yourself of the correct fingering/s. Below is a list of the keys you will have to cover in this module. C major Aminor G major E minor F major D minor D major B minor Bb major G minor A major FA minor Eb major C minor E major C# minor Ab major F minor 3B. Triads and their inversions Module 2 covered the triads formed on the tonic, subdominant and dominant degrees of the scale. In Module 3 we look at the triads formed on the other degrees. of the scale: supertonic, mediant, submediant and leading note. For a detailed description of triads, their formation and inversions, read section 2B on pages 22-3 of Module 2. That section also contains information relevant to this module, about the tonality and method of describing different triads, so do take a look if you have forgotten any of those details. What follows is a diagram showing the triads formed on each degree of the G major and G minor scales. Every triad is shown in root position, first inversion and second inversion. Use this diagram as a model to learn all the other triads in their various positions, for all the keys dealt with in this module. As you play through this exercise, notice how each chord sounds in terms of its tonality, and compare the sound of each chord with the others in that key. 343.1 Diagram showing triads and their inversions formed on every degree of the G major and G minor scales. G major Ss =e == == == oe eS 5 1 1 we G6 ih we GS IV Ih IVE 3 a tt 3 3C. Improvising Bass-lines 1. Perfect and imperfect cadences ‘A cadence ending on the dominant chord of a key (approached from any other chord) is called an imperfect cadence. It is stable in effect, a good resting place, but not final. The most frequently heard imperfect cadences are I-V (tonic-dominant) and IV-V (subdominant-dominant), 3.02 Example of an imperfect (I-V) cadence in G major 35‘A cadence where the dominant chord moves to the tonic chord is called a perfect cadence (V-D. This cadence provides a stable, conclusive end to a piece of music as V-l is a very strong progression, 3.03 Example of a perfect (V-I) cadence in G major (See Appendix III for information on playing cadences in two parts.) Now add bass-lines to the following melodi 3.04 eS Sst 3.05 2. Adding bass-lines using perfect and imperfect cadences At this point, we will begin a more structured approach to adding bass-lines to melodies. {All the following exercises are in the key of G major or G minor. They give you practice with creating imperfect cadences, using the fourth degree of the scale (C) moving to the fifth degree (D) - the subdominant moving to the dominant. 36Play the tunes rhythmically and clearly, and add C-D in the bass at the places marked with a bracket. You should try to sing the bass notes at the same time as playing the melody, or you could ask someone else to play the tune while you sing and then swap places. Another more interesting effect is created when the bass proceeds C-C#-D. Notice that the Fés in these melodies, the leading note of G major and G minor, attract D as the bass; particularly when they occur in well accented places. In both keys the F# is the attracting note while the D is the stable dominant. 3D. Tenor clef Another type of ‘C’ clef is the tenor clef. As such, it looks similar to an alto clef, but instead, sits one line further up the stave. In the diagram below, you will see that the second line from the top of the stave is now middle C, 3.14 Diagram of tenor clef showing middle C These exercises will give you practice at reading and playing in the tenor clef. Again, notice the key signature/s, as they look different from any other arrangéménts that you have seen thus far. 3.15 From Dvorak Serenade for winds 373.16 Excerpts from Cherubini ~ Counterpoint and Fugue 3 SS —— 383.19 Bach: from Cantata BWV 22 Mein | Altes in | Allem.mein] © wiges mein | Altes in | AT. Jem, mein ~ wiges Gut, ver | bess.re das| ter. ze, ver — Ss = = fr — dreden Muth; sehlag'| 41 : Hes dar | nie der, 80s sa_gang des | Flei—sches zn —| wi —der, -wi-ges | Gut, mein] © _ wi_ges 393E. Transposition In this module you need to practice transposing music into the dominant and subdominant. Refer to Appendix I for an explanation of common Key signatures and relative keys. Please also continue studying the list of orchestral and concert band instruments with their clefs and transpositions which is in Appendix IV of this book. Remember to work with the shape of a phrase rather than the individual notes when you are transposing the following pieces. 3.20 Burgmuller: Excerpt from Consolation Allegro moderato. ( set 3.21 Schumann: Sicilienne Schalkhaft, = SS3.22 From Gurlitt: ‘Aus der Kinderwelt” 4 Diemlich bewegt- 5 3.23 Hermann Berens, from 50 Piano Pieces Waltz. Nae a wee 413.24 Heller: from The Art of Phrasing Allegretto con moto ¢=132 ‘bon protunslate la melodia) Bw mareeda la melodia Tiewew dehors te matodre | te maody well marked con sompliciti rn 7-1. as ——+ = ° : f © pp 1 acoompagnament 3K. Repertoire At this level we start to introduce some pieces with more complicated rhythmic/articulation features. A useful way of practising tricky rhythms is to clap the part you find difficult at a slow tempo before playing the actual pitches. You could also tap the rhythm with one hand while keeping a steady pulse going with the other. You will need to prepare a number of these pieces (or pieces of your own choice of a comparable standard - check with your tutor if you want to use your own material) for the end-of- module assessment). Again, if you encounter any unfamiliar symbols or terminology, try to consult a good music dictionary for help before asking your tutor. 423.25 Short Story no.3 Short Story no.3 er monophonic se pine Jonathan Creban. Baroque liveliness Hanging out with the Great JS. 22130 (2 \ _ = senza ped. © Copyright 2005 Jonathan Crehan Music 4a3.26 Melody - Schumann3.27 The Simplicity of Arcs — Carol Shortis The Simplicity of Ares Tranquillo J=60 — 80181 simite poco rit. = | mp Copyight © Carol Shoris 2006 453.28 Burgmueller - Arabesque V Arabesque Arabeske JoHiann Frizprict’ FRANZ BU 463.29 Tchaikovsky — Old French Song Old French song Moderato assai. oe | * Tr ig Za 473.30 Modern Fugue 100 48 Modern Fugue ‘NMATIAS3.31 Irony Irony ne mp gb SS with pedal 49MODULE 4 Aims for Module 4 1 To play fluently from memory, hands together for vo octaves, the major and harmonic and melodic) minor seales and arpeggios in all keys of not more than six sharps/flats. > To demonstrate an understanding of perfect, imperfect, plagal and interrupted cadences and cadential 6/4 patterns (see Appendix IID) S To be able to add an improvised bass-line to a given melody, incorporating the use of the cadences and patterns mentioned in Aim 2. 3a. To be able to improvise three further phrases to a given melodic phrase 4 To be able to read and play fluently, music written in treble, alto, tenor and bass clefs, and any combination of these. 5, To be able to transpose (with minimal preparation time) a piece of music into a related key of not more than six sharps/flats 6. To present at the end-of-module assessment, a range of pieces appropriate to your skill-level, prepared to performance standard 4A. Technique Th this module we introduce four new key signatures, taking you up to all the major and rinor keys with signatures of not more than six sharps/flats, As with previous modules, Consult Appendix II for any fingering/s you are unsure of. For this module you will need to know all the scales and arpeggios, major and (harmonic and melodic) minor, hands together for two octaves in the following keys: C major Aminor G major Eminor F major D minor D major B minor Bb major G minor A major F# minor Eb major C minor E major C# minor ‘Ab major F minor B major G# (Ab) minor Db major Bb minor F# (Gb) major Dit (Eb) minor Gb (F#) major Eb (D#) minor 4B. Improvising Bass-lines (and Melodies) 1. Interrupted and plagal cadences [A chord progression in which a dominant chord is effectively deviated from and does not nt cat home” (back on the tonic) can be called an interrupted cadence. In most cases this will appear as a V-VI (dominant-submediant) sequence. This cadence offers an Interesting alternative to the perfect cadence and allows a brief, often unexpected, resting place before the tune continues. 504.01 Example of interrupted (V-VI) cadence in B flat major If you have ever heard a hymn or a chorale sung with a concluding Amen, then you will already be familiar with the last important cadence, It is called a plagal cadence and it involves the chord progression IV-I (subdominant-tonic). It is a ‘soft’ cadence because there is no sharpened leading note included in the harmony, and the general movement of notes can be downwards. 4.02 Example of plagal (IV-1) cadence in B flat major Adding bass-lines to a melody using perfect, imperfect, plagal and interrupted cadences tof all, look over Example 4.03 and sing the bess-line. The harmony starts in G major and by way of leading notes (there are four of them) moves through the keys of A minor, E minor and C major. Notice how the F natural in bar 3 functions - it wipes out the original key signature and leads us into C major, before being swiftly counteracted in the last bar. 4.03 SlIn the following exercise, the first four bass notes will be F#,G, C, and D, all in G major. From bar 2, the bass will be F#-G, G#-A, B-C, C#-D. Each of these leading note basses indicates a new key, and you should name these keys as G major, A minor, etc. 4.04 e — Fo ees aes Efe ore 3 Try to create interesting bass-lines for the following melodies, using the techniques you have learned so far. 4.05 Creer tess ote rad ele 2 6 & 4.08 523. Cadential 6/4 and suspensions ‘The interval of a perfect fourth above the bass is often called a concord, and in the context of a chord where there are other parts hiding the fourth, it does not sound dissonant. However, the fourth can also be used as a dissonant suspension which resolves downwards, as in 4.12: Ex.4.10 ‘if ub) vs-3 With the fourth (G against D in the bass), the other interval can be a sixth or a fifth above the bass. This would produce a tenor line of B moving to A (third beat to fourth beat), or else an A as a minim. In Module 6 you will learn the correct figuring for these kind of progressions, for now we will use Roman numerals to describe the chords. The first case, using a fourth and a sixth above the bass on beat 3, going to a dominant triad on beat 4 could be described as Ic-V (tonic chord in second inversion moving to dominant chord, with bass note in common - also referred to as a cadential 6/4) or more specific to this key, G/D - D, (ie. G major chord over D in bass, moving to straight D major). The second case, where the interval of a fifth above the bass remains for beats 3 and 4, could be described as chord V4-3 (dominant chord with a four-three suspension onto the fourth beat). In 4.13 you have the chance to use the ideas above. Play through the melody and find the places where you think it needs a bass a fourth lower, and on this note, the shape will be either a cadential 6/4 or a suspension. Just to get you started, there are three places, and the second one is not in G major. Ex.4.1 The following exercises also provide some scope for using more of the techniques described in the paragraphs above. 412 534C Melodic Improvisation In the following example there is a single opening phrase and three examples of how to add more phrases to make a short piece of eight bars. The methods used here will work for both written and improvised endings. Note that some elements of the first phrase are used throughout in both rhythm and pitch patterns. Note also that only the last phrase sounds finished, as itis the only one to have an arrival on the tonic. The third bar is a transposition of the first with an open ending, the third and fourth phrases are repeats of one and two with an adjustment at the end to give a closed ending, 415 aS ea Fe ama = 2) The third bar is an inversion of the first. Five and six are transpositions of the first, as is seven with the starting pitch chosen so that the phrase will finish on the tonic. 4.16 3) The second phrase uses the inverted shape of the first and includes the next sharp of the key signature to arrive at the dominant. Phrases three and four use some elements of the opening bar and go to the flat side (subtracting a sharp from the key signature) and in in the last phrase the F# is restored to arrive on the tonic in a closed ending. 417Complete these melodies by improvising three more phrases. As you gain confidence in this, you can add a bass line as described in Modules 2, 3 and 4. 4.18 554D. Alto and Tenor Clefs In this module you will be reading ‘C’ clefs (mainly, but not restricted to, alto and tenor) simultaneously, You might like to get together with a friend and try singing these pieces, or play one part and sing the other. It is a very useful exercise to practice your sight- singing at the same time as learning to read in a new clef. 4.19 from Cherubini — Counterpoint and Fugue Subject. 7 =@ 564.21 Bach Cantata BWV142 Alto. Bin Soimist [uns ge. je — benjeinSohn ist fun ge geben, ein Sohn ist Tenore. Unsist ein Kind ge !bo.ren, cinSoba ist uns je-ge.—TeneinSohn ist ums ge ges ~ sums ist ein Kind ge [bo rene in Sohn ist fins ge.ge — benyrinSohnist uns ge geben, 422 Alto, Teh will den | Na.” men Tenore. = | hen, 4.23 Excerpt from Bach: Magnificat 37mise i | cor-diay, mise ri | eor. dla a proge— — | nic in pro.ge. mi mise. 1 | cor dia, mise. ri | cor-dia— a pro.genie | in pro.geni.e,inpro.ge E ¥ se tienen — tibus ‘mi.se—ri| cor dia pro.ge. hifes ticmen— — . tibus oe Uemen — thes] 0 - am, 2 584E. Transposition Having learnt the scales and arpeggios in most, if not all of the major and minor keys now, you should be able to transpose anything just about anywhere! Still working on the idea of transferring shapes into a different key (as opposed to each note), see how you get on with the next few exercises. Also try transposing repertoire pieces from the early modules, 4.24 Schumann, excerpt from Album for the Young The Poor Orphan Langsam. 594.25 Gurlitt, from ‘Aus der Kinderwelt’ Etwas bewegt 33 4, CSuitt. tT eet a 4 poco rit. poco rit.4.26 Gurlitt: Evening Prayer, from Aus der Kinderwelt PRALUDIUM. Langsam und feierlich. 19. P a CHORAL. a Bs [waite | Gott; [Gott der | Horr |siont und [reiss 2 uo oS y atte a Din ge. 614.27 Schumann: From Album for the Young, Chorale a Freue dich,o meine Sele, & 24B. Repertoire Another selection of pieces from which you can choose a number to perform. If there is absolutely nothing here or in the Advanced repertoire section which takes your fancy, please discuss with your tutor the option of bringing some other pieces of a comparable standard to work on 4.28 Schumann First Loss Nee _——$ _Permtlaneramer, fm Tompo, _____ gy a Ss 63429 Dad pulls off ant me joke Quick, zany dance Baas Jonathan Crehan 644.30 Beethoven: Sonatina Moderato4.31 Beethoven Sonatina 2" mvt ROMANZE 664.32 Rebikov: La promenade des gnomes, from Tableaux pour enfants Allegretto. 67Pia mosso. 5 pt aH # P é eet4.33 Tiptailvebet 2° ® pad, pes Ere S tae F = | \ 704.34 Schumann The Wild Horseman n4.35 Satie, ‘Fishing’ from Sports et divertissements SS eS 2ADVANCED KEYBOARD SKILLS At this level you will work with your tutor to put together an appropriate course of study. This should include substantial work in several of the 6 areas outlined below. You may work through one level for each of the areas, or work more concentratedly on a few chosen skills. Don’t forget to use the appropriate material in the earlier modules for preparation and revision. Areas of Advanced Work 1. Technique 2. Improvised bass lines and keyboard harmony 3. Figured bass 4, Transposing instruments 5. Score reading 6. Repertoire 5A. Technique + Level 1: To play fluently from memory, hands together for three octaves, all major and (harmonic and melodic) minor scales and arpeggios. + Level 2: To play fluently from memory, hands together for four octaves, all major and (harmonic and melodic) minor scales ané arpeggios. + Level 3: To play fluently from memory, hands together for four octaves, all major and (harmonic and melodic) minor scales ané arpeggios. Scales will be required in similar motion, hands starting an octave apart, a third apart or a sixth apart. + Level 4: To play fluently from memory, hands together for four octaves, all major and (harmonic and melodic) minor scales and arpeggios. Scales will be required in similar motion, hands starting an octave apart, a third apart or a sixth apart, as well as in contrary motion for two octaves. Appendix II has all the information you need about fingering, so refer to that if you have any problems. Ask your tutor for help if you have any further questions. In Appendix V you will find a variety of different technical exercises which you may find useful as complementary work to your scales and arpeggios. The pieces are there, primarily, to assist students who feel they need extra technical practice, but are useful for any keyboard student at any stage. Maybe you haver’t played for a few years and need something to get your fingers moving again, or maybe you just want a break from playing scales and arpeggios. Whatever the reason, make use of that Appendix as jt is there to help you develop your fluency in keyboard playing. - 135B. Improvising Bass-lines/Harmonisation at the keyboard © Level 1: To be able to add an improvised bass-line to a given melody, incorporating the use of the standard cadential patterns you have learnt in previous modules, as well as cadential and passing 6/4s. + Level 2: To harmonise a melody in a creative and rhythmically interesting ‘manner, using a variety of bass-lines, chords and cadential sequences 1. Passing 6/4 ‘There is another sequence of chords which involves a 6/4 shape, this time using three chords in a row. The unit is called a passing 6/4, since the chord in second inversion (the 6/4) is tucked in the middle, always on a ‘weak’ beat. Study 5.1 to understand this sequence. 5.01 Example of passing 6/4 vi I ‘To describe the chords using Roman numerals, we would call them I-Ve-Tb (tonic chord in root position, dominant chord in second inversion, tonic chord in first inversion), or G- DIA-GIB. This pattern works when there is a bass line moving by step over the interval of a third (starting from the tonic of the key). It can be reversed when the bass line moves down (ending on the tonic of the key). 6 2, Adding bass-lines to a melody using cadential and passing 6/4s Work on the following exercises, trying to incorporate passing and cadential 6/4 sequences as you go. Ex.5.02 Ga. Se Se (erp Ex. 5.03 See Ex. 5.04 PSS 4SC. Figured Bass + Level 1: To understand the theory of, and be able to realise, a simple figured bass (with a short preparation time), * Level 2: To understand the theory of, and be able to realise, a figured bass (with minimal preparation time). * Level 3: To demonstrate an understanding of, and be able to realise; a figured bass at sight. 1. Introduetion to Figured Bass In this module you will learn how to read, understand and ‘realise’ (play) a figured bass. The system of Figured Bass (sometimes called Thoroughbass) was devised as a way of reading a bass line and having the harmonies represented as numbers. The most important thing to remember, is that the numbers, or figures, refer to the number of the interval to be played above the written bass note. For example, 5 means to play the note a fifth 15above the bass note. 166 7 root position triad 5 chord with 7th in root position KS first inversion triad 6 5 chord with 7th in first inversion 3 second inversion triad 6 4 chord with 7th in second inversion 3 6 4 chord with 7th in third inversion 3 ‘The figures indicate the intervals to be played above the given bass, either at their actual distances or in a higher octave-transposition. There ate some standard practices and abbreviations which you should learn: (i) Where there is no figure, play the triad within the relevant key centre on the given note. Gi) A sharp, natural or flat sign by itself applies to the third of the chord. (ii) An slash through or next to a number (usually 4 or 5) indicates that the interval concerned should be raised one semitone. (iv) The following are always abbreviated: 6 for 6 T for 7 6 for 6 3 5 5 5 3 3 4 for 6 2 or 4 for 6 - sometimesalsofor 5 30 4 aes 2 3 2 (¥) Figures which appear in a vertical stack are played together; those appearing horizontally are played consecutively. (vi) A horizontal line indicates that the previous figures continue - there is no change of harmony on the following notes. (vii) Tasto solo, ts. or 0. means that only the bass is played (particularly at pedal points etc.) (viii) Figures below a rest indicate the prevailing harmony. (ix) Passing notes or unimportant changing notes in the bass, especially those of a smaller value, are usually left unfigured and do not require harmonising. («) In the early period of figured bass, a flat sign generally stood for a lowering of the pitch, and a sharp sign, for a raising of the pitch. Now, natural signs are more common depending on context. a2. Realising figured bass indications The following exercises are designed to give you some practice at working out the basics of figured bass. If you have trouble in this section of the course, do ask your tutor for help, as itis better to address problems before they compound! Ex. 5.11 ws ust Ex.5.12 Ex.5.13 s svlUmSCUCSC“<‘S!”:t‘ !SC‘;!TSSUE OS S$ 4 3 8 $$ 8 8S _ = = 5 ¢ § 7 é 7 € $ 3 i § 3 § j § i 3 3 5 6 6 7 5 6 5 7 5 $8 $s 3 $$ $ 3 } 2 3 3 33 3 89 8 6 5 9 8 6 5 9 8 The following are excerpts from Handel’s sonatas for solo instrument and basso continuo. Ex. 5.19 Adagio.5.20 cAndante. 6 5 One of the most common places to find a figured bass is in the accompaniments to recitative (in opera or oratorio). The following are recitatives from Handel cantatas. You will notice that the harmony seems to move quite slowly. Bear in mind that the aim of recitative is to make it sound as close as possible to the spoken language, so often the singer will move through parts of a phrase faster than we might sometimes expect. Some of these are quite sparsely figured, so use your common sense and watch the vocal line for clues. 80Ex. 5.22 Sovnano. AEG Ceri, ote Tabor persehi poe saanal we Hem | weit Lon gi da glice.ai | mic, wlan. geore al (up bel wien, dim. mi, dove tag. 81Ex. 5.23 82 Niereder gia che | finto ia questo fen ta lon tanan.20, Tel chaggi wml cle -[itnato, ole ve morte Te lonta-nan_2a, ¢ |mortea chi ten ama, € do. ra. to og ~ gettEx.5.24 ALTO. dept vcché |mie.i, — Clo.ri, del |en.re granpin.cer, gran tor|nrnlo, — per-okein tan ta bel farvargemento del | le twa cradeltedr, | « Odiatonso —|parla.no noLtve ginrno =f tanto rigo.re? 6 6 ° 6 te mn a non se 833. Recitative and arias with figured bass More excerpts for practice. When you are comfortable with the harmonies, try singing along as you play, or practice playing while a friend sings - it will give you a better idea of how recitative works, and, at the same time, improve your responses to the figuring. 5.25 Recitative from “E partirai, mia vita”, cantata for Soprano & Continuo ~ Handel delat cin gers poran.Seorger¥ dna tn forsa aggizaemistr| Fedrodombreinfellies pri ? pian. to i clanto, unde vir di.spe.ra.to ad fun so.erad TT pro mar.tiore, fa-lrannoit mio mo.rir, fr -[ rinaoil mio mo. rir pit che mo .| ria re. 845.26 Bach: from Schemellis Gesangbuch 2. Auf, auf! chte Zi Stun. de Anf, | anf! die reeh .te | Zeit ist hier, die i” = chen, || vor-gesst die = 855.27 Song by William Babell, typeset Grant Colburn Would YouI the Thing Discover = yd | Joy ® c—— & ae ” ze Vir-gins | coy Tis for |this we [Pine and | Lan-guish, sigh, look | Pale, and waste with | an guish:] For this AL ] ci = des 66 6 86War, and | Fame, and a taste 7 you, when pur | sue you. when we | al your gra 6 6 Eyes we praise for this | Sec-ret tis one 6 ene am = ‘tous Thrans- ports } raise, 5. 6 these] am - “Yous take: When we when your 6 874. Instrumental works with figured bass Figured bass lines were also used in the accompaniments to instrumental sonatas during the Baroque period. With these pieces, you will need to try and play the instrumental line at the same time as the figured accompaniment. 5.28 Excerpts from Handel sonatas for solo instrument and basso continuo Adagio. gn 5,30 “Sarabanda” from Sonata for Violin & Continuo ~ Corelli Sarabanda arg 885.31 “Prelude” from Sonata for Violin & Continue - Corelli 44 Preludrs aA ONATAVIT 90 acc 4,8 5.32 “Siciliana” from Sonata for Flute & Continuo - Handel SICILIANA.4, More advanced figured bass examples 5.33 ‘Giga’ from Violin Sonata ~ Corelli age ~ | Allegro 90pe =o bat i ott oe a a olf qd 4 a a 4 Et aay) dll at H i GH) olgh Pah) He acl A tb) ew) ft 91534 ‘Bourree’ from Sonata for Flute and Continuo — Handel BOREE.5.35 ‘Allegro’ from Sonata for Flute and Continuo - Handel Allegro.5.36 Aria from ‘Lucrezia’ Cantata - Handel extdagio. (Gi Fe pers bo del mio , . 5 f o44 7 ‘ jae - = = = Timape ote | d= na, ta. distor dello. mor | mie porate i ne = per bo del mivaf| for no tradi tor — ‘dette -ror| mio porte Fen.pio lo ae. sone be - = sxsr 2s a. = aac ee ee ae: > S =. =. - aa= = = a7 aan ie = SSS 2 wh Pn distor dee smur| mie, purate Cempio le ate Jal, lo sel, lo— de =e 7S ¢ : : aeeeeeeS 2 SSe ace = i — patate Fem pia to ite = i . = | a = ; ¥ == 5 : se ae OP Be Pr rd) 945.37 Bach, from Cantata BWV51 . Soprano Continuo eee Ga te fer-ner ‘al le Mor gen deineGi-te. fereneral-le “Mor: 957 a & so soll__ fur—die Va-ter - spiano) 76 ¢ 6 5 ¢ 5 trew auch eindank-ba - res_ Ge - hei- Ben, dei - ne Kinder, ne in-der, daSwir dei-ne Kin- der5D. Transposing Instruments + Level 1: Understand the principle of transposing instruments; and be able to transpose at sight, two lines of music written for instruments in either B flat and/or A. + Level 2: To be able to explain and demonstrate the principles of E flat and F transposing instruments. * Level 3: To be able to explain and demonstrate the principles of all orchestral transposing instruments. struments in B flat and A 1. Transposing Familiarise yourself with the chart in Appendix IV which provides information about all the transposing instruments of the orchestra and concert band, and explains the principle of transposition. Once you have understood the theory, have a go at the exercises below, Firstly, two excerpts from Mozart’s Clarinet Concerto in A major. Start by playing the Clarinetto principale (solo clarinet) part through by itself, bearing in mind that itis written for clarinet in A, so you will have to play the notes a minor third below where they are written. When you are familiar with that line, try adding either the Contrabass or Cello lines (they are written the same) with the solo clarinet line. This should give the solo line some harmonic sense, and from this point it will be quite easy to fill in some of the inner string parts. 98,5. Flaati- Fagotti. Corni in A, Clarinetto principale in A, Violino I. Violino Th. Viola. ‘Violoncello, Contrabasso. 38 Concerto for Clarinet and Orchestra, opening of Ist mvt. - W.A, Mozart seragangs aman vetoer Allegro. eve Pia5.39 Concerto for Clarinet and Orchestra, opening of 2nd mvt. - W.A. Mozart Adagio. ves Flauti. A | Fagotti. | Corni in D. Clarinetto principale in A. Violino 1. Violino IL Viola, Violoncello. | | I I a = I I I I i { f a \ ten ‘The next excerpt is also by Mozart, from the trio movement of his 39th Symphony. Here, the first clarinet plays the melody, while the second clarinet has an accompanying figure. Both parts are for B flat clarinets. The top part is a flute 5.40 Excerpt from Symphony No. 39, 3” mvt- W.A. Mozart getter fee ite JT ye aiclr crit etetatie ‘Tchaikovsky has provided the next example - an excerpt from his famous Romeo and Juliet score. This passage is for two clarinets in A and two bassoons. Play the clarinet parts through first, before adding the bassoons. 9) i 5.41 Excerpt from “Romeo and Juliet” ~ Tchaikovsky Andante non tanto quasi Moderato Flauto pice. 2 Flauti 2 Oboi 2 Clarinetti in A Corno inglese 2 Fagotti = poco pitt f 1015.42 Excerpt from Divertimento I~ Mozart ist Clarinet in Bb 2nd Clarinet in Bb Bassoon 1022. Transposing instruments in E flat and F ‘The first example is by Tchaikovsky. It is written for horn in F, so the pitches should sound a perfect fifth lower than where they are written 5.43 Excerpt from Tchaikovsky: Symphony no. 5, 2" mvt Andante eantsbile, con aleuna licenza ‘Viol Ih Solo dolce con molto apres =| 103More music for horn, this time from the Mozart Horn Concerto in E flat. Start by playing the Comno principale (solo horn) part, and then add the bass line. ‘Es’ means “E flat’ so the transposition of the horn part will be down a major sixth, 5.44 Excerpt from Horn Concerto in E flat, 2nd mvt. - W.A. Mozart Andante SOLO Oboi Corni (Es) Corno principale (Bs) ‘Violino I. Violino I. Viola, Basso Ob. Cor. (Es) Cor.pr. (Es) ve Via 1041055.45 Excerpts from Horn Concerto in E flat, 3rd mvt. W.A. Mozart ‘Allegro vivace- SOLO Oboi Corni (Es) Corno principale (Es) Violino 1. Violino Il. Viola Basso 0b. Cor. (Es) Cor.pr. (s) vi. Via 106107 Be 4 ka B 5 a cB be $5E. Score-reading «© Level 1: To play from an open score for String Quartet or similar ensemble (i.e four parts, one part in alto/tenor clef). «Level 2: To read and play fluently from an open score involving at least six parts, some of which may be in alto/tenor clef, or require transposing, + Level 3: To read and play fluently from an open score involving at least eight parts, some of which may be in alto/tenor clef, or require transposing. + Level 4: To be able to read and play fluently from an open orchestral score which will include transposing instruments and ‘C” clefs 1. Three- and four —part score-reading ‘The first examples are from four-part choral works. Again, notice clefs and key signatures before you start. Note that in choral music, the tenor is usually written using a treble clef With’an °8’ underneath. This indicates that the tenor is to sing one octave below where his part is written. 1085.46 — Excerpt from O Lord, the maker of all thing Anon, (eines 1548) Edited by GA.C., Braginetz King’s Pamer, 1545 Tae agra, We pray Thee ? eve-ning fe pray Thee now in this eve-ning ?D _up Tenor © Lord the Ma-her of all thing, We pray Thee now inthis ? Bass We pray Thee now in this eve-ning Us to de = fend tough Thy mer-ey Frem all do cet of our e- de ~ fend through Thy mer - ey From all de- cet of our @ - ne~ My to e-fend through Thy mer- cy From all de-cet of our e - ne-ny, cough Thy mercy From all de-csit of our Copyright © 1999 by The Choral Public Domnia Library Edition miay be Seely distributed, duplicated, performed or recon fe = my. 109110 5.47 Excerpt from April is in my Mistress’ face ‘Thomas Morleyin my i me fe, fice, ay ais = wen’ face, 5.49 Excerpt from Symphony No. 7, 2nd mvt. - Beethoven Allegretto. d — 76 Violino I. Violino TL. Viola. Violoncello I. ML5.50 - Trio from Serenade for String Trio op. 8 - Beethoven Trio, kes at Va BA OOo 5.51 Mozart: From 7 Menuette KV65a vo Nod Da Violino L Violino UL. {2 Basso.52 Opening of Death and the Maiden Quartet, 2nd mvt. — Schubert Andante con moto. ‘deoreer Tevet 113Some string writing from the slow movement of Beethoven's 5" Piano Concerto (the Emperor). Take your time and start with just two parts before playing the whole lot! 5.53 - Excerpt from Piano Concerto no.5 in Eb, 2nd mvt ~ Beethoven Adagio un poco mosso sem soo = z ze erin pat ae 42. Score-reading with transposing instruments, C clefs and more parts 5.54 ~ Excerpt from Et misericordia, from “Magnificat” ~ Bach Vitins Leo nt Flauto traverse 1. Violino ions gon sontn Flauto traverso ‘Violino it. Alto, Tenore. Organo © Continuo. # # BL mise i eon, mise [eer daa prego. =| ah in prog. i. nai it mise H lor.dla, miso] cor_dia © progeni-e | in prugeni.eyin prog * aise 1155.55 Excerpt from “Aus dem 51. Psalm” (Motet op. 29 no. 2) — Brahms Andante moderato press = Schaffe in mir, Gott, ein vein Here, (P espres Ea Alt === == Scheffe in min, Got, what fe in min Got, pesprere Tenor | : Schaffe in mit, echaffe in mir ein vein Herm, ——— eB Bab I fee = = Schaf.te im mi, Got, wad eb mi, und gb "p eeprece Bas 1 [SEER z: = saa = elo caeu en ge wis = cat Se Se == = Seat oa ea a ee Co SE cin rein = ae eS See ‘tnd finen neu-en ge ~ wis . sen Teo mie cin Fel + P==t1 ‘Schaf fein min und 1165.56 ~ Mozart Oboe Quartet — Opening of I“ mvt (1798-1781) Allegro. A . DS: Oboe Violino Viola Violoncejio ‘The following excerpt from Brahms’ Third Symphony contains only one transposing line - the clarinet part in B flat. Be careful of the different clefs used in the bassoon part. 7= =Ss Se = = se 2 = = = on. Kr n Pos AN 2 va KB 5.57 Excerpt from Symphony No.3, Andante 2nd mvt. - J. Brahms a pastieron poco rit, 1183. Score-reading with more transposing instruments, and full scores DO NOT uy to play everything in the full score. Lock for lines which are doing the same thing and be as economical as possible with the less-important interior parts. Violoncello © Basso.5.59 Excerpt from Piano Concerto No. 3 in C minor, opening of Ist mvt. 2 Flauti 2 Oboi 2 Clarinetti in B 2 Fagotti: . 2 Corni in Es (potin ©) 2 Trombe in G Timpani in C-6 Violino I Violino II Viola Violoncello Contrabasso Pianoforte 120 Allegro con brio rurrt - Beethoven L.van Beethoven, Op. 37 3770-1827Fr. ob. a. @ Fe. Gor. es) The. « Timp. via, ve. ob.5.60 Excerpt from Symphony No. 2, opening of 2" mvt. ~ Beethoven Larghetto. @) — 92. Flauti. Oboi. Clarinetti in A. Fagotti. Corni inE. 2 ‘Violino T. " erese, |p Violino TI. orese. |p Viola. Violoncello 0 Basso. 1225.61-Excerpt from Symphony No. 2, slow introduction of I” mvt.— Beethoven Adagio molto dL sa. ~ Flouti. Oboi- Clarinetti in A. Fagotti. a a Aaaga pote 2 Corni in D. ‘Trombe in D. ‘Timpani in D.A. Adagio motto dss. a Violino 1. crease LF Violino 1. Viola. Violoncello © Basso, 124Fl. ob, cl. Toy. Fe. cresc. ff Cor, Tr. Tp. Perens “pores ~ perese| ~"morese sf Sf Sf fo 1255.62 Excerpt from Serenade K.185, opening of 2nd mvt.- W.A. Mozart Andante. Oboi. Corni in F. fee Violino principale, | Violino I. { = Violino ul Viola. Rasso, eee —— = —* 1265.63 Excerpt from Serenade No. 12, 1" mvt.- W.A. Mozart Allegro. & Oboe I. Oboe IL. Clarinetto I, in B. Clarinetto I B. Corni in Es, Fagotto 4 Fagotto al 1274. Full score At this level you will read and play from a full orchestral score which includes transposing instruments and alto/tenor clefs. The following are exercises to give you practice at doing this. You will need to find more resources for this section of the course yourself, as there is not enough space in this anthology to print everything. Start in the University library, where you will find a shelf of mini-scores. It is useful to listen to a recording of your work before you try and play it on the piano, so that you have an aural picture of what it sounds like. Beethoven Symphonies are a very good point of departure, as is anything by Haydn or Mozart. You may want to challenge yourself with some of the more complicated twentieth century scores! Whatever you do, have fun and remember to check clefs and key signatures before you start playing. 5.64 Excerpt fiom Seventh Symphony, opening of I mvt. ~ Beethoven Poco sostenuta. 4:69. Flauti. Oboi. Trombe in D. Timpani in ALE. Violino f. Violino 1. ln. Violoncello ¢ Basso. 128FL 0», ‘dinin a. inn. Fog. nin in, ‘dinin. ‘dimin. dimin. aimin. 1295.65 Excerpt from ‘New World’ Symphony — Dvorak Largo. wu. d= 82: Flanti. bol. Clarinet! in A. Fagotti. Corni LU. in E. Corni HI.IV. in Eu.C. ‘Trombein E. ‘Tromboni I. ‘Trombone basso © Tuba. Timpani ‘Des, As. ‘Violino I, ‘Violino n. Viola. Violoncello. Contrabasso. 130PL Gor, Sngi. cLinB 131Slarinetti in 5.66 Excerpt from ‘Um Mitternacht’ ~ Mahler Ruhig, gleichmaBig Tranquillo, con moto eguale Fagotti ¢ Contrafagotto Corni in [ES Trombe in (aR Tromboni Tuba basso Timpani Ruhig, gleichmaBig Voce Arpe e Pianoforte 132 PP. Um Mit - ter-nachtCor. Es) Voce : 5 = hab! ich ge-wacht und auf. ge- blickt zum Him ~ mely 10 am, Fg, ety. Cor, (Es) Voce kein Stern vom Stern-ge - wim-mel hat mir ge-lacht um Mit - ter- 15 a tempo Aprunterzichen rit er tas == Fafphate grant Fg. cfg. Cor. Es) Voce 20 ‘Um Mit. ter- nacht 1335.67 Excerpt from First Symphony, opening of Ist mvt. - Beethoven Adagio molto.d Flauti boi Clarinetti in €. Fagotti, Corni in C. ‘Tromibe in C. Timpani in C6, i Violino I. ly? Violino 1. Viola. Violoneello Basso,FL ten, fen 0». = SS P ten. “ten a. Fog] ten. ten, Pe SF ten. ten| St P ten ae oom P Lule ~~. ten. ten. £ wf ten tent? erase 1 F, — —_— fen. teal wa VS Sip |p ! ten, ten| rae. Pf P —~ ten. ten. ” VRenSen fe | Z— oat. fF OFF Ps 135jolin Concerto, opening of I“ mvt. ~ Beethoven 5.68 Excerpt from Allegro ma non troppo Flauto ay 2 Oboi 2Clarinetti in A 2 Fagotti 2Corni in D 2Trombe inD ‘Timpani in D-A Violino prineipale| Violino 1 Violino 11 Viola. Violoncello Basso137dimin= dimin. PP5F. Repertoire Here is a wide selection of pieces for you to study and prepare for performance at the end of the module. If you have problems with the selection here, please discuss with your tutor the option of finding suitable repertoire yourself. 5.69 Bach: Gavotte from French Suite in E 1395.70 Clementi: Sonatina op. 36 no. 1, Ist movement SONATINA. 3 Spiritoso. Ore es ‘M. CLEMENTI.5.71 Bach: Bourree from French Overture SS Bourrée T. \ 7 (seas 115.72 Satie: Gymnopedie no.1 Lent et douloureux1431445.73 Chopin: Prelude in C minor op. 28 no. 20 Chopin uste-asse) Terre pin (2st0-2839) Sa FF FR FEF 1455.74: Bach: Invention in F major (Czemny edition: your tutor will advise on articulations) orese. mee 146Ex, 5.75 Sacharissa 148, SACHARISSA Jane HebberdThis page blank for page turns 149AT f 3. expressivo Ex. 5,76 Scarlatti: Sonata in F minor K.183 (dynamics/articulations editorial) ) Anpasrs (0 256) P* fT of: w ft A a ' Fens te : > P 150151Ex. 5.77 Mendelssohn: Song without Words op. 19 no. 4 Moderato. 152153Ex 5.78: Bach: Invention in A minor (Czerny edition: your tutor will advise on articulations) Mean eee 154APPENDIX I Key signatures and relative keys (i Key signatures ‘Any scale you can think of is arranged according to a set pattern of tones anc! semitones nail scales except C major, we need to add accidentals (sharps or flats) to preserve that order of tones and semitones. To write in an accidental every time one struck @ certain note in a piece would be cumbersome, so instead, the accidentals used to define that key ate grouped together at the start of the piece, and called a key signature. The key Signature almost always appears at the beginning of a piece of music, after the clef sign and before the time signature. It only ever contains sharps or flats, never both. The sharps or flats in the’ key signature are arranged in a certain order, which is shown below. Scales with sharp key signatures (C major) G major Fé D major Fe, C# A major Fa, C#, Gt E major F#, C#, G#, Di B major FH, C#, Git, Di, A# F# major Fe, C#, Git, Dit, Aft, Bt C# major PE, C#, G#, D#, A#, Et, BH Scales with flat key signatures (C major) F major Bb Bb major Bb, Eb Eb major Bb, Eb, Ab Ab major Bb, Eb, Ab, Db Db major Bb, Eb, Ab, Db, Gb Gb major Bb, Eb, Ab, Db, Gb, Cb Cb major Bb, Eb, Ab, Db, Gb, Cb, Fb You will see from the charts above that itis very easy to predict what the next sharp or flat in the key signature will be, by looking at the pattern of intervals between the previous sharps/flats, ‘The following staves show you how the key signatures look when they are written correctly in the treble and bass clefs. You will become accustomed to seeing the sharps fand flats in this order, arranged on the lines and spaces as they are below. When you start reading music written in °C" clefs, however, the key signatures will look different as they fre arranged on different lines and spaces — the order of appearance does not change! 156Find any printed music written for viola (in alto clef), or orchestral scores which include cellos, trombones or bassoons reading in tenor clef, and look at how the key signatures are arranged in these clefs = & i rf f= Ls oat aa + ae Ree | ET CMAJOR GMAsJOR DMAjOR AMAJOR EMAJOR BMAIOR FE MAJOR CH MAJOR AMINOR EMINOR BMINOR F¥ MINOR C# MINOR i ES BS FMAJOR Bb MAJOR EbMAJOR AbMAJOR DbMAJOR Gb MAJOR Ce Major DMINOR GMINOR CMINOR FMINOR Bb MINOR Eb MINOR ‘Ab MINOR ‘There are a few tricks which can help you find your way around key signatures. The first thing to do is think up acronyms for the orders of sharps and flats. For example, in the following acronym, the first letter of each word tells you the order in which the sharps appear in the key signature: “Foreign Countries Going Down Are Easily Beaten” Now try and figure out one for the flats! ‘When reading in flats you can find out what the (major) key is by covering the last flat in the key signature with your thumb. The flat immedictely before the one which is covered is the name of the key. So, if there are three flats in the key signature (Bb, Eb and Ab), then the last flat will be Ab. If you cover the Ab, the one immediately before it is Eb, Hh tells you that you are playing in either Eb or its relative minor. ii) Relative keys For every major key, there is a relative minor key. The relative minor shares the same key signature as its related major key, but is subject to the usual alterations in pitch which occur in a minor scale to make it fit the prescribed series of tones and semitones for that 157scale (ie. to make the natural minor scale into a harmonic minor scale, the seventh degree is raised by one semitone; to make a natural minor scale into a melodic minor seale, the sixth and seventh degrees are raised by one semitone ascending and lowered back to their original position descending). The most important implication of relative keys is that whenever you are presented with a key signature, you have to consider both the possibilities of what key the piece is in. To find the relative minor of a major key, start from the key note (the tonic) of the major key. Count down from this note, going a distance of three semitones. The note you end up on is the key note of the relative minor key. So, for example, if you start from D and ‘count down three semitones, you end up on B. D major and B minor share the same key signature, so they are relative keys — B minor is the relative minor of D major. To find the relative major of a minor Key, just reverse the procedure. Start, for example, from F minor. Take the key note (F) and count up three semitones. The note you arrive on is Ab, so Ab major is the relative major of F minor 158APPENDIX II Scales and arpeggios. In the following pages you will find every major and minor scale and arpeggio written out with the correct key signature and fingering. By the end of Module 4 you must be able to play every scale (major, harmonic and melodie minor) and arpeggio (major and minor) in every key with your hands together for two octaves. In this appendix, the scales, and arpeggios are grouped according to the circle of Sths. This means you may need to hunt around to find the prescribed scales for the module you are working on, but they are all here! One more thing to remember is that the scales and arpeggios here are written for two octaves only, so when you get past Module 4, you will need to do another turn on your way up and continue for the third and fourth octaves. Scales C Major a harmonic minor a melodic minor G Major e harmonic minor 159e melodic minor ee abe apibriciePitlen ts ————— 5135 bpthe Emtec inition = =| DMajor gma ee Geeeieieatt eae: ampli _— b harmonic minor ephtee t,t! A Major - eg ee SST © Cate pom f# harmonic minor gpafif melodic minor g# melodic minor fbia sy 161F# Major : pate arson Sper u eb melodi¢'minor 162{harmonic minor harmonic minor g harmonic minor 163gee ets a eet: : FeARPEGGIOS C Major a minor G Major e minor A Major at E Major c# minor B Major g# minor 165F# Major eb minor Db Major bb minor , ee ee Pee i ae 2 & = 3 6 = Ss Ore aSee a ee ‘lees fee? . sang Bete Dae | ees Ab Major f minor argh ttt Bees ee ee beset ett bee oe Bb Major g minor i 166APPENDIX III Cadences At the end of a phrase of music there is a cadence (the equivalent of a punctuation mark in language). A Cadence consists of two chords and, as a variety of notes may be in the tune, it is important to learn to make aural identification of cadences by feeling the chord progression rather than listening to the most prominent part. ‘The four cadences are: Ex. 8.1: Perfect: - The most final as it consists of the tonic chord preceded by the dominant which contains the leading note pointing the way to the tonic. (V-I) An "at home" or "closed" ending Perfect Ex, 8.2: Interrupted: - This feels as if it is going to be a perfect cadence, but becomes a parody of it instead, avoiding the tonic chord and finishing on Chord VI. (V-VI) As the tonic note is in chord VI it sounds partly "at home" but still expects the piece to continue afterwards. Incerupted Ex. 8.3: Plagal: - This also arrives at the tonic but from the subdominant which, because the subdominant chord lacks the leading note, doesn't sound quite so final. (IV-I) An “at home" or “closed” ending Phagal Ex. 8.4: Imperfect: - This cadence finishes on chord V thereby sounding incomplete or "away from home", An "Open ending"fe ‘A. method of beginning to play cadences on the keyboard. (remember keyboard fingering starts with the thumb as finger one): Perfect Cadence. Place both little fingers on the key note. Play 4 in the right hand and 1 in the left hand together, then both fingers 5. Interrupted.Cadence. Place both little fingers on the key note. Play 4 in the right hand and 1 in the left hand together, then finger 5 in the right hand and pass finger 3 over in the left hand to the note above Plagal Cadence. Place both little fingers on the key note. Play 5 in the right hand and 2 in the left hand together, then both fingers 5. Imperfect Cadence. Place both little fingers on the key note. Play 5 in the right hand followed by 4 together with the Left hand playing either 5 -1,or 4 -1,or 2-1 Ex. 85: Perfect Tterrupred Pagal Imperfect i —— —— tt = a + : : =| i 4 5 4 ee me “These cadences can be played in a number of different keys by just transposing the fingers to the new pitch.APPENDIX IV Instruments of the orchestra and concert band, their clefs and intervals of transposition. The following chart lists all the instruments of the orchestra and concert band in the order in which they should appear in a full score. It gives the most common abbreviations for each instrument and provides information about the clef/s each one uses. The most important function of the list is, however, the information it gives you about the transposing characteristics of each instrument. The coverage here of the percussion section is token only, as it is such a large and varied family of instruments. For more information about this section, you are advised to consult a reputable orchestration book, such as Walter Piston’s Orchestration or the more recent work by Samuel Adler, The Study of Orchestration Instrument Abbreviation Clef Written note to Interval of produce C transposition (concert to written) Piccolo Pic. treble c down an 8ve Flute Fl. reble G none ‘Alto Flute Alt FL treble F up a perfect 4th Bass Flute Bs. FL treble c up an 8ve Oboe Ob. treble c none Oboe d’Amore Ob. d’A. treble E flat up a minor 3rd Cor Anglais CA. treble G up a perfect 5th E flat Clarinet EbCL. treble A down minor 2nd B flat Clarinet BCL. treble D up a major 2nd A Clarinet Aq. treble E flat up a minor 3rd Bass Clarinet Bs. CL. treble D up a major 9th Bass Clarinet (older scores) bass D up @ major 2nd EbContrabass — EbCbs.Cl_ treble D up 1 8ve and a Clarinet major 6th BbContrabass _BbCbs.Cl. treble D up.2 8ves and a Clarinet major 2nd Bassoon Bsn. (Bn.) _bass/tenor cS none Contrabassoon Con. bass/tenor c up an 8ve Soprano Saxophone Sop. Sax. treble D up a major 2nd Alto Saxophone Alt: Sax. ~~ treble A up amajor 6th Tenor Saxophone Ten. Sax. treble D up a major 9thInstrument Abbreviation Clef Written note to Interval of produce C transposition (concert to written) Baritone Saxophone Bar. Sax. treble A up 1 Bve and a major 6th Bass Saxophone Bs. Sax. _ treble D up 2 8ves and a - major 2nd French Horn Hn. treble/bass G up a perfect 5th B flat Piccolo Bb Pice. Tpt. treble Bb down min. 7th Trumpet: Eflat Trumpet EbTpt —_—treble A down min. 3rd D Trumpet DTpt treble Bb down maj. 2nd C Trumpet Cpt treble c none B flat Trumpet Bb Tpt. treble D up a major 2nd Cornet Cor. treble D up a major 2nd Flugelhorn Fihn. treble D up a major 2nd Bass Trumpet Bs. Tp. _—_ treble D up a major 9th Alto Trombone Alt. Tbn. alto c none Tenor Trombone Ten. Tbn. _bass/tenor c none Bass Trombone Bs. Tbn. _bass/tenor c none Baritone Horn Bar. treble D up a major 9th Euphonium Euph. bass/tenor c none Tuba Tha. bass c none Timpani Timp. bass c none Vibraphone Vibe. treble c none Xylophone xyl. treble c down an 8ve Marimba Mar. bass/treble c none Glockenspiel Glock. treble Cc down 2 8ves Chimes Chm. treble c none Celesta Cel. bass/treble c none Piano Pno. bass/treble c none Violin Vn. (V1, Vin.) treble c none Viola Via. (Va) _alto/treble e none Cello (Violincello) Ve. (Vlc.) bass/tenor/treble C none Double Bass D.B.(Cb) __bass/tenor/treble C up an 8ve (Contrabass)Some notes on transposing instruments... AB flat instrument (Bb trumpet, Bb clarinet} sounds a whole tone lower than the writtén pitch. For example, if a Bb clarinet played a D major scale, it would sound as a C major scale. A clarinet in A sounds a minor third lower than where it is written, so to produce the note sounding middle C on this instrument, it would be written as the E flat on the bottom line of the treble clef. A French Horn (usually in F) sounds a perfect fifth lower than where it is written. Therefore, if a horn played the G on the second line of the treble clef, it ‘would sound as middle C. emAPPENDIX V Ear Conditioner ‘The classical theory papers at NZSM use the computer program Ear Conditioner as the principal resource. This was developed by Michael Norris as programmer and Geoffrey Coker as project manager to conform to the methods which were felt appropriate in teaching aural and keyboard skills at NZSM. ‘The program has been designed to be user friendly by minimising the amount of time spent dealing with the computer and application, and allowing the student to concentrate ‘on using the program to acquire skills. There is therefore no large manual - information is given on each window, The following however may prove useful: ‘After opening the program select the module or other suite required from the pull down menu. ‘The window will then show buttons of activities. If the cursor is held over a button, a description of this activity will appear at the bottom of the window. Clicking a button will usually give a choice of sets: different levels of difficulty for that activity. Select the set and OK. Most sets will give a selection of some sort at the bottom of the window. (Start, exit, replay, my answer, customise.) Where “Customise” is available, a page will come out where the user can click to exclude some types of question. The selector will have changed to “AIl ....” If this is clicked, all questions will be included again. Clicking customise again during the same session wil bring back the previously selected choices. ‘There is no short cut to change between sets: it is necessary to exit the activity and open it again. There is a score given for self assessment. This only records the first attempt, which is realistic as far any assessment test would be concerned. While Ear Conditioner only scores “correct” if all the parts of the question are correct, in the Aural tests credit will be given for each correct part of the answer. Most faults on Ear Conditioner can be eliminated by either quitting the program and restarting, or rebooting the computer.If you find a fault which can’t be remedied in this way, please write it down stating what the activity and set was, what the fault was, and what you were working on immediately before both this activity and the previous one. Leave the report in Geoffrey Coker’s mail box, or email it to him.Aural Instructions ‘The best method to practise aural skills is o break the tasks down into smaller ones ~ edit the choices and gradually add extra degrees of difficulty. It is easier to learn something new if you compare it with something that you already know. As a music student, you have a good deal of musical experience, either playing or listening to music, and you will also have opinions. Acquiring aural skills should be an extension of this experience, not something completely new. In “Ear Conditioner” there is often a “Play my Answer” option, use this to compare our answer with a replay of the question. Gradually hone in your answer before you “Give up”. This will help you to learn from experience, The actual end of Trimester tests will be based on this material but to help practise in the same format, a sample test will be posted on Blackboard in each paper. Description of what is required in Modules Module 1 1.) Interval Recognition - Identify any interval found between any two notes of the major key. J % Chord Recognition - Identify root position triads as being major, minor, or diminished. { 3. Cadence recognition - Identify cadences as perfect, plagal, interrupted, or imperfect. Both chords in each cadence will be in root position. ( 4 Performanee comparison - Identity differences in pitch Between the version in the scor® and the version played, single lines in G, C, and F clefs. Us. Accidentals - Add accidentals to a score to make it conform to the performance. y 6. Mode Recognition - Describe whether a piece is in a major or minor key. 7. Aural Analysis - Give the time signature, of the piece being played . TV Dictation Module 2 1. Interval Recognition - Identify any interval found between any two notes of the major or minor key. The tonic chord will be sounded first to give context 2. Chord Recognition - Identify triads as being Major, Minor, or Diminished, and in root position, or first or second inversion. These will be played in close position as a triad. 3. Cadence recognition - Identify cadences as Perfect, Plagal, Interrupted, or Imperfect, including those with one or both chords in inversion. 4. Performance comparison - Identify differences in pitch between the version in the score and the version played in two parts, in G, C, and F clefs, and also with one part written as for a transposing instrument. 5. Dictation - write down a rhythm from dictation in simple time. Write down a melodic line from dictation when the rhythm is supplied. Write down a melody with rhythm and pitch. All single lines 6. Aceidentals - Add accidentals to a score to make it conform to the performance in a Bach chorale written in open score. 7. Aural Analysis - Give the time signature and Cadence and describe whether the piece is in a major or minor key.\eforvals , (yetirrece (Int Jec}) 7 Chom ache 1. Chord Recognition - Identify Root position triads as being Major, Minor, or Diminished. The chords will be in open position 2. Cadence recognition - Identify cadential formulae ~ the cadence itself and the preceding chord. 3. Performance comparison Identify differences in pitch between the version in the score and the version played from a Bach chorale written in open score: 4. Accidentals - Add accidentals to a score to make it conform to the performance in a single line in treble or bass clef. These will not necessarily conform to the conventions of tonal melody andlor cmp ound 5. Dictation - write down a rhythm from dictation in simple/time. Write down a melodic line from dictation, pitch and rhythm, . 6 Mode Recognition — Afier-hearing a piece; describe_whichr of the-traditional itisi n about Traditional modes can ee foams ‘om page-245-at nic) iySounded thfoughout, in the test this fresent\in thetune and) the cadence isby step\, the msdilation and the.cadence inva fragment of a : i Nach Chorale / Module 4 1 Chord Recognition - Identify two chord progressions and common 3 chord progressions including chromatic chords and cadential formulae Aural Analysis - Identify cadences and modulations Dictation - write down a rhythm from dictation in simple, compound or irregular time. Write down a melodic line from dictation 4 Performance Comparison - Identify differences in pitch between the version in the score and the version played from a Bach chorale written in open score. (as in Module 3) 5 Mode recognition - After hearing a piece, describe which of the traditional modes it is in. (as in Module 3.) Information about Traditional modes can be found on page 215 at the end of this chapter. NB On EarConditioner the Prime (tonic) is sounded throughout, in the test this is not so but all the notes are present in the tune and the cadence is by step. wn Detailed Descriptions of Modules With suggested strategies Module 1 Interval Recognition ‘Assessment: Identify any interval found between any two notes of the Major Key. This is the level of Interval Recognition set 4 on Ear Conditioner. Method of preparation: There are two different possible ways of editing this skill: 101) Work on numbers only without quality (major/minor ete) 160 Set L 2) Add quality: 160 Set 2. Or 1) Intervals from the tonic of Major keys editing the choices down to: ascending Major 2", Major 3°, Perfect 4 Perfect 5", Major 6", Major 7 and perfect Octave., and descending — their inversions: Min 7", Minor 6", Perfect 5" Perfect 4*Minor 3", min 2" Module 1 Set 1 2) Intervals from the tonic of Minor keys editing the choices down to: ascending Major 2", Minor 3°, Perfect 4" Perfect 5°, Major 6", Major 7* and perfect Octave., and descending — their inversions: Minor 7", Major 6", Perfect 5" Perfect 4" Major 3", Major 2" Module 1 Set 2. Then in both cases go on to 3) Intervals found from the tonic of any Major or Minor key. Module 1 Set 3. 4) Intervals found between any two notes of the Major key. Note that you do not need to distinguish between a Diminished 5" and an augmented 4" in Module 1. Set three only allows you to give Augmented 4” as the answer. In set 5 you can practice distinguishing, but either answer will be accepted in the final test. Chord Recognition ‘Assessment: Identify Root position triads as being major, minor, or diminished, Method of preparation: You can customise the questions to get just one or two qualities of chord. Remember to leave the “Root position” option selected. Cadence recognition ‘Assessment: Identify Cadences as Perfect, Plagal, Interrupted, or Imperfect. Method of preparation: Work through all the sets in Ear Conditioner, and then at set 5 ‘you can customise the choice to just have the cadences you are having difficulty with Performance comparison Assessment: Identify differences in pitch between the version in the score and the version played, in G, C, and F clefs Method of preparation: There are between 1 and 9 errors in the examples on Ear Conditioner. Mentally sing through the score before you listen to it. Observe easily identified melodic intervals such as Sths or octaves and also when melodic lines reach easily identifiable notes, such as tonic ot dominant. After you have submitted your answer Ear Conditioner will tell you where your errors (if any) were, and you can still make corrections, although you will only be scored for the first attempt. After you have the answer, you can still play the question and, in hindsight, see where you missed errors or identified them incorrectly Accidentals “Assessment: Add accidentals to a score to make it conform to the performance Method of preparation:In Module One, accidentals will be of three types * Those associated with the Minor Scale ~ This is where the 6" and/or 7" degrees of the scale are raised when the part is ascending, and lowered (or restored) when the part is descending. These adjustments make the piece sound “normal” and so they will not be as obvious as others + Those associated with Modulation or chromatic harmony — This is usually to a related key, so will involve the sharpened 4" (especially when approaching the note a semitone higher), or the flattened 7" (especially when approaching the note a semitone lower). + Those associated with decoration: These will nomally be chromatic passing notes or appoggiatura, and again will be expected to resolve to their nearest semitone. Before listening to the performance, work out which are the most likely notes to be changed and then listen especially to those to confirm whether they have or not. Mode Recognition ‘This is limited to major and minor keys in module one. Assessment: Describe whether a piece is in a Major or Minor key. Method of preparation: Identify the elements which give a major or minor feeling in pieces or songs you are studying, or in your harmony and counterpoint studies. Minor sounds duller than major, but it is also more variable. Aural Analysis Assessment: Give the time signature, of the piece being played. Method of preparation: Ear conditioner gives a very strong 1* beat. This is most important to keep in mind when dealing with the most difficult area, which is to distinguish between duple and quadruple time. Compound time has a “skippy” feeling and compound duple will be too fast to beat time as simple triple time Module 2 In all these activities, it would be wise to revise the equivalent activity in the previous module, rather than start cold at this level. Interval Recognition Assessment: Identify any interval found between any two notes of the Major or minor Key. The tonic chord will be sounded first to give context. Intervals required in this module are: Major and minor 2", 3, 6", and 7", perfect 4", 5", and octave and tritone as in Module One, but now the diminished 5" needs to be distinguished from the augmented 4”, Also added ate the diminished 7* and its inversion the augmented 2" as well as the diminished 4". Of course there are many other possible intervals which could have been included but these are the most commonly found in tonal music. Method of preparation: Remember that a scale consists of one note of each letter name. If you are likely to confuse a major 6” with a diminished 7°, or an Augmented 2 with a 12minor 3°, remember how the scale might be spelt ~ C to E flat has a D in between, whereas € to D sharp cannot fit another note between, thus the former is a form of 3°, while the latter is a form of 2" Chord Recognition Assessment: Identify triads as being Major, Minor, or Diminished, and in root position, or first or second inversion. These will be played in close position as a triad. Method of preparation: You can customise the questions to get just one or two qualities of chord, or positions. Remember you need at least one of quality, and one of position clicked to be able to make the application work successfully. Chords seem to have the following qualities, although you might describe them differently it is important to assign some distinguishing elements to them, and often itis a mater of asking what is expected next: Root position - Secure, could end a piece with a root position chord + 1" Inversion — Alert, questioning, ready to move on to a new chord + 2” inversion — This is not a functional chord, but rather a linear chord, and so it will feel unstable and want to resolve over its bass note. The position of diminished chords has its own challenge. The Rule of the Half Step comes into play. + The root of a diminished chord expects to rise next to its nearest semitone. * The 5” of a diminished chord expects to descend to its nearest semitone (especially in the major key) © The 3" is neutral and could do either (although you may be put on the wrong track by a strong conviction according to the context that it should do one or the other) as it doesn’t have a neighbouring semitone. ‘Therefore to find the position of a diminished chord ask, “where do I expect the bass to go next?” Cadence recognition Assessment: Identify cadences as Perfect, Plagal, Interrupted, or Imperfect, including those with one or both chords in inversion Method of preparation: Work through all the sets in Ear Conditioner, and then at set 5 you can customise the choice to just have the cadences you are having difficulty with. Performance comparison ‘Assessment: Identify differences in pitch between the version in the score and the version played in two parts, in G, C, and F clefs, and also with one part written as for a transposing instrument Method of preparation: There are between 1 and 9 errors in the examples on Ear ner, Mentally sing through the score before you listen to it. Observe easily fied intervals, both melodic and harmonic, such as Sths or octaves and also when melodic lines reach easily identifiable notes, such as tonic or dominant. After you have submitted your answer Ear Conditioner will tell you where your errors (if any) were, and you can make corrections, although you will only be scored for the first attempt. Afteryou have the answer, you can still play the question and, in hindsight, see where you missed errors or identified them incorrectly. Dictation. Assessment: write down a thythm from dictation in simple time. Write down a melodic line from dictation when the rhythm is supplied. Method of preparation: Accidentals Assessment: Add accidentals to a score to make it conform to the performance Method of preparation: In Module two accidentals will mainly involve modulation to related keys, but is worth remembering all the reasons accidentals may be add * Those associated with the Minor Seale ~ This is where the 6” and/or 7* degrees of the scale are raised when the part is ascending, and lowered (or restored) when the part is descending. These adjustments make the piece sound “normal” and so they will not be as obvious as others + Those associated with Modulation or chromatic harmony ~ This is usually to a related key, so will involve the sharpened 4" (especially when approaching the note a semitone higher), or the flattened 7” (especially when approaching the note a semitone lower). * Those associated with decoration: These will normally be chromatic passing notes or appoggiatura, and again will be expected to resolve to their nearest semitone. Before listening to the performance, work out which is the most likely key that modulation might be to, then identify the crucial notes involved in the modulation, especially new leading notes, or tendency tones. ‘You should compare each part in the score with the performance, and also the harmony ~ eg, if you see a minor chord written but hear a majer one, then the third has been raised. Aural Analysis Assessment: Give the time signature and cadence and describe whether the piece is in a major or minor key. Method of preparation: Ear conditioner gives a very strong 1* beat. This is most important to keep in mind when dealing with the most difficult area, which is to distinguish between duple and quadruple time. Compound time has a “skippy” feeling and compound duple will be too fast to beat time as simple triple time. Module 3 It would be wise to keep up the skills in the previous modules (espedially if you are starting at Module 3) as these tend either to be cumulative, or individual skills from previous module are incorporated into larger tasks in this one. Chord Recognition Assessment: Identify Root position triads as being major, minor, or diminished. The chords will be in open positionJ. Dictation Method of preparation: You can customise the questions to get just one or two qualities, of chord, Remember to leave the “Root position” option selected. You may find it helpful to practice these as triads first as in this activity in Module 2 / Cadence recognition sment: Identify cadential formulae — the cadence itself and the preceding chord. Method of preparation: Revise the cadences from a previous module, and then play through the endings you write in Harmony assignments and exercises, and in keyboard harmony exercises. Don't listen particularly to the soprano Tine, but get a feeling for the underlying harmony Performance comparison ‘Assessments Identify the modulation, or lack of it, as well as the final cadence in a fragment from a Bach chorale Method of preparation: Listen to chorales in the 266 harmony anthology and CD. Work out both visually and aurally which key they arrive at at the end of each phrase. S necidentals ‘Assessment: Add accidentals to a score to make it conform to the performance. These will not necessarily conform to the conventions of tonal melody Method of preparation: Revise this activity from previous modules. Mentally sing through the piece as written to get an idea of where “surprises” occur in the performance: Assessment: write down a rhythm from dictation in simple time. Write down a melodic line from dictation when the rhythm is supplied, Method of preparation: Look at the methods suggested in the Sight-singing part of the book. The identification of “at home” and restless” notes will help here as well ~ Anchor points. Mode Recognition Recognise major and minor keys ank-traditional-modes- Assessmenit: After hearing a piece, describe which of the traditional modes itis in. Method of preparation: Identify the elements which give the mode its particular characteristic — Semitone, whole tone cadences for example. Edit the choices down to Minor and Major modes. Compare modes with your experience of major and minor scales, and note where “surprises” occur, Take an intelligent interest in pieces or songs you are practising, or in your harmony and Counterpoint studies and identify what gives the pieces the characteristics you like/dislike/find interesting or strange.Module 4 Chord Recognition - Identify two chord progressions and common 3 chord progressions including chromatic chords and cadential formulae. Method of preparation: Remember functional harmony. What function does the chord perform. Is it at home (tonic) does it want to go to the tonic (Dominant) or does it prepare for the dominant (subdominant). Having edited the choices to functions it remains to decide what the chord is within the function, Aural Analysis - Identify cadences and Modulations Method of preparation: Are cadences open or closed endings? Is there a leading note or tendency tone involved? Is the ending in the same mode as the beginning ~ is it brighter or duller ~ does it expect more to happen? Dictation - write down a rhythm from dictation in simple, compound or irregular time. Write down a melodic line from dictation Method of preparation: Look at the methods suggested in the Sight-singing part of the book. The identification of “at home” and restless” notes will help here as well — Anchor points. Performance comparison Assessment: Identify the modulation, or lack of it, as well as the final cadence in a fragment from a Bach chorale Method of preparation: Listen to chorales in the 256 harmony anthology and CD. Work out both visually and aurally which key they arrive at at the end of each phrase. Mode Recognition Recognise major and minor keys and traditional mades Assessment: After hearing a piece, describe which of the traditional modes itis in Method of preparation: Identify the elements which give the mode its particular characteristic ~ Semitone, whole tone cadences for example. Edit the choices down to Minor and Major modes. Compare modes with your experience of major and minor scales, and note where “surprises” occur. Take an intelligent interest in pieces or songs you are practising, or in your harmony and Counterpoint studies and identify what gives the pieces the characteristics you like/dislike/find interesting or strange. 16‘Traditional Modes ‘The Traditional modes date from the early Renaissance and were in imit Classical Greek Modes. They are: Ex. 10.1: Dorian — from D to D naturals only (minor mode as the third is a minor 3") 1 [aaron] Dorian Mode [eemmitene Ex. 10.2: Phrygian — from E to E naturals only (minor mode as the third is a minor 3") Phrygian Mode ‘semuitone] Ex. 10.3: Lydian - from F to F naturals only (major mode as the third is a major 3") Lydian Mode Tanto [semivone 1 ——— . Ex. 10.4: Mixolydian - from G to G naturals (major mode as the third is a major 3") Mixolydian Mode [seraitone | [semirone | — Ex. 10.5: Acolian- from A to’A naturals only (minor mode as the third is a minor 3") Aeolian Mode [semitoi semitone | Ex. 10.6: Locrian — from B to B naturals only (minor mode as the third is a minor 3") Locrian Mode And 17Ex. 10.7; Ionian - from C to C naturals only (major mode as the third is a major 3°) [Semitone semitone g — = ————————— — SSS SS —— rs Note that in the Locrian mode, a triad based on B will have a diminished 5* and therefore forms an unsatisfactory tonic chord. For this reason the Locrian mode was known as the Devil’s mode in the Renaissance and its use was avoided When first used in the early Renaissance modes were written without key signature and only had the notes given above as their tonic, known as the Prime, Modulations were not used as a rule between modes but Hildegard (1098-1 179) was before her time, associating particular modes with particular characters in her “Moral Plays” (leitmotiv?) and modulating between modes as the character developed. Modern Major and Minor scales developed out of these modes in the late renaissance by the chromatic alteration of notes to create tendency tones, or leading notes. The Traditional modes themselves, while still heard in European folk music, were not taken up by classical composers again until the early 20" century with the development of the interest in blending different musical genre. They are now also widely used in Jazz, It is interesting to note that the early renaissance musicians changed two important features of the modes when adopting them from ancient Greek usage. Firstly the names of the Dorian and Phrygian modes were swapped, and the renaissance modes were described as ascending while the ancient modes were described as descending. This latter fact affects the perception of the “dominant” as the 5" above rather than the 5" below. The most popular mode in ancient Greece and Rome was the Greek Dorian, then E to E descending. Counting downwards we can see that the semitones occur between the 3 and 4" and the 7 and 8" notes with the tendency tone, or leading note only a semitone above the prime. This is the exact inversion of the modem Major scale, arguably the most used modern mode. Ex. 10.8 1 in Mate ——<_——————— SS eon [semitone 1 [semitone 1 = In their definition the renaissance modes also implied a range of an octave and a step cither side of the Prime (to enable cadences) as well as a particular distribution of tones and semitones. Therefore the Dorian Mode has a range from C to E (a tenth) with D as the Prime (tonic). If two neighbouring parts performed together, for example Soprano and ‘Alto. The upper would be in the Primary mode (say the Dorian) while the lower would perform in a lower version of the mode which hed the same Prime but a range a perfect 4" lower. This other mode was the “Hypo” mode in this case the Hypodorian. The modes 182 = et See TH aduexg pe 111 aydurexgy “ojsnut your ur pasn sturaned woUUTOD sour ayp Jo autos are Kaxy puv ‘warp Surcejd pue Sunt qoq wory sors8odie pur sojeos ye aouatiadxa Jo [vap qwai8 v axRy nox “sajou ysnf you pur oisnut ut sued 105 YOO] pear nog way ssoH9] Isnf 10U PUL spIOM OYA asIUBOD9I NOK sv Kem ous BUT“ 04% Po avAd WE unioprad wea Koup axoyaq pray stoup Ut a109s a1 aUITeUT o} aAvy axOJoxOKp suoSutg 11 SurSurs azogaq peay aXp UF a10U yaLI09 ayp Yortd 01 IXaIHOD UO éfarqUD ySOUNTE Kfar 0} sey sa8uIs axp “Arourau

You might also like

• The Subtle Art of Not Giving a F*ck: A Counterintuitive Approach to Living a Good Life

  

  From Everand

  The Subtle Art of Not Giving a F*ck: A Counterintuitive Approach to Living a Good Life

  Mark Manson

  Rating: 4 out of 5 stars

  4/5 (5813)
• The Gifts of Imperfection: Let Go of Who You Think You're Supposed to Be and Embrace Who You Are

  

  From Everand

  The Gifts of Imperfection: Let Go of Who You Think You're Supposed to Be and Embrace Who You Are

  Brené Brown

  Rating: 4 out of 5 stars

  4/5 (1092)
• Never Split the Difference: Negotiating As If Your Life Depended On It

  

  From Everand

  Never Split the Difference: Negotiating As If Your Life Depended On It

  Chris Voss

  Rating: 4.5 out of 5 stars

  4.5/5 (844)
• • Magazines
  • Podcasts
  • Sheet music
• Principles: Life and Work

  

  From Everand

  Principles: Life and Work

  Ray Dalio

  Rating: 4 out of 5 stars

  4/5 (608)
• The Glass Castle: A Memoir

  

  From Everand

  The Glass Castle: A Memoir

  Jeannette Walls

  Rating: 4.5 out of 5 stars

  4.5/5 (1716)
• Grit: The Power of Passion and Perseverance

  

  From Everand

  Grit: The Power of Passion and Perseverance

  Angela Duckworth

  Rating: 4 out of 5 stars

  4/5 (590)
• Sing, Unburied, Sing: A Novel

  

  From Everand

  Sing, Unburied, Sing: A Novel

  Jesmyn Ward

  Rating: 4 out of 5 stars

  4/5 (1104)
• Hidden Figures: The American Dream and the Untold Story of the Black Women Mathematicians Who Helped Win the Space Race

  

  From Everand

  Hidden Figures: The American Dream and the Untold Story of the Black Women Mathematicians Who Helped Win the Space Race

  Margot Lee Shetterly

  Rating: 4 out of 5 stars

  4/5 (897)
• Shoe Dog: A Memoir by the Creator of Nike

  

  From Everand

  Shoe Dog: A Memoir by the Creator of Nike

  Phil Knight

  Rating: 4.5 out of 5 stars

  4.5/5 (540)
• The Perks of Being a Wallflower

  

  From Everand

  The Perks of Being a Wallflower

  Stephen Chbosky

  Rating: 4.5 out of 5 stars

  4.5/5 (2104)
• The Hard Thing About Hard Things: Building a Business When There Are No Easy Answers

  

  From Everand

  The Hard Thing About Hard Things: Building a Business When There Are No Easy Answers

  Ben Horowitz

  Rating: 4.5 out of 5 stars

  4.5/5 (348)
• Bad Feminist: Essays

  

  From Everand

  Bad Feminist: Essays

  Roxane Gay

  Rating: 4 out of 5 stars

  4/5 (1018)
• Elon Musk: Tesla, SpaceX, and the Quest for a Fantastic Future

  

  From Everand

  Elon Musk: Tesla, SpaceX, and the Quest for a Fantastic Future

  Ashlee Vance

  Rating: 4.5 out of 5 stars

  4.5/5 (474)
• Her Body and Other Parties: Stories

  

  From Everand

  Her Body and Other Parties: Stories

  Carmen Maria Machado

  Rating: 4 out of 5 stars

  4/5 (822)
• The Outsider: A Novel

  

  From Everand

  The Outsider: A Novel

  Stephen King

  Rating: 4 out of 5 stars

  4/5 (1850)
• The Emperor of All Maladies: A Biography of Cancer

  

  From Everand

  The Emperor of All Maladies: A Biography of Cancer

  Siddhartha Mukherjee

  Rating: 4.5 out of 5 stars

  4.5/5 (271)
• The Sympathizer: A Novel (Pulitzer Prize for Fiction)

  

  From Everand

  The Sympathizer: A Novel (Pulitzer Prize for Fiction)

  Viet Thanh Nguyen

  Rating: 4.5 out of 5 stars

  4.5/5 (122)
• Angela's Ashes: A Memoir

  

  From Everand

  Angela's Ashes: A Memoir

  Frank McCourt

  Rating: 4.5 out of 5 stars

  4.5/5 (441)
• Brooklyn: A Novel

  

  From Everand

  Brooklyn: A Novel

  Colm Tóibín

  Rating: 3.5 out of 5 stars

  3.5/5 (1947)
• The Little Book of Hygge: Danish Secrets to Happy Living

  

  From Everand

  The Little Book of Hygge: Danish Secrets to Happy Living

  Meik Wiking

  Rating: 3.5 out of 5 stars

  3.5/5 (401)
• A Man Called Ove: A Novel

  

  From Everand

  A Man Called Ove: A Novel

  Fredrik Backman

  Rating: 4.5 out of 5 stars

  4.5/5 (4610)
• The Art of Racing in the Rain: A Novel

  

  From Everand

  The Art of Racing in the Rain: A Novel

  Garth Stein

  Rating: 4 out of 5 stars

  4/5 (4203)
• Steve Jobs

  

  From Everand

  Steve Jobs

  Walter Isaacson

  Rating: 4.5 out of 5 stars

  4.5/5 (807)
• The World Is Flat 3.0: A Brief History of the Twenty-first Century

  

  From Everand

  The World Is Flat 3.0: A Brief History of the Twenty-first Century

  Thomas L. Friedman

  Rating: 3.5 out of 5 stars

  3.5/5 (2259)
• A Tree Grows in Brooklyn

  

  From Everand

  A Tree Grows in Brooklyn

  Betty Smith

  Rating: 4.5 out of 5 stars

  4.5/5 (1929)
• The Yellow House: A Memoir (2019 National Book Award Winner)

  

  From Everand

  The Yellow House: A Memoir (2019 National Book Award Winner)

  Sarah M. Broom

  Rating: 4 out of 5 stars

  4/5 (98)
• Devil in the Grove: Thurgood Marshall, the Groveland Boys, and the Dawn of a New America

  

  From Everand

  Devil in the Grove: Thurgood Marshall, the Groveland Boys, and the Dawn of a New America

  Gilbert King

  Rating: 4.5 out of 5 stars

  4.5/5 (266)
• Yes Please

  

  From Everand

  Yes Please

  Amy Poehler

  Rating: 4 out of 5 stars

  4/5 (1898)
• Team of Rivals: The Political Genius of Abraham Lincoln

  

  From Everand

  Team of Rivals: The Political Genius of Abraham Lincoln

  Doris Kearns Goodwin

  Rating: 4.5 out of 5 stars

  4.5/5 (234)
• A Heartbreaking Work Of Staggering Genius: A Memoir Based on a True Story

  

  From Everand

  A Heartbreaking Work Of Staggering Genius: A Memoir Based on a True Story

  Dave Eggers

  Rating: 3.5 out of 5 stars

  3.5/5 (231)
• The Woman in Cabin 10

  

  From Everand

  The Woman in Cabin 10

  Ruth Ware

  Rating: 3.5 out of 5 stars

  3.5/5 (2521)
• Fear: Trump in the White House

  

  From Everand

  Fear: Trump in the White House

  Bob Woodward

  Rating: 3.5 out of 5 stars

  3.5/5 (738)
• Wolf Hall: A Novel

  

  From Everand

  Wolf Hall: A Novel

  Hilary Mantel

  Rating: 4 out of 5 stars

  4/5 (3811)
• John Adams

  

  From Everand

  John Adams

  David McCullough

  Rating: 4.5 out of 5 stars

  4.5/5 (2409)
• On Fire: The (Burning) Case for a Green New Deal

  

  From Everand

  On Fire: The (Burning) Case for a Green New Deal

  Naomi Klein

  Rating: 4 out of 5 stars

  4/5 (74)
• The Light Between Oceans: A Novel

  

  From Everand

  The Light Between Oceans: A Novel

  M.L. Stedman

  Rating: 4.5 out of 5 stars

  4.5/5 (789)
• Manhattan Beach: A Novel

  

  From Everand

  Manhattan Beach: A Novel

  Jennifer Egan

  Rating: 3.5 out of 5 stars

  3.5/5 (792)
• The Constant Gardener: A Novel

  

  From Everand

  The Constant Gardener: A Novel

  John le Carré

  Rating: 3.5 out of 5 stars

  3.5/5 (104)
• D. C. Dounis Op. 36 Sifting

  

  Document16 pages

  D. C. Dounis Op. 36 Sifting

  Anonymous Oh3yv4vd2w

  No ratings yet
• The Unwinding: An Inner History of the New America

  

  From Everand

  The Unwinding: An Inner History of the New America

  George Packer

  Rating: 4 out of 5 stars

  4/5 (45)
• Devyn Fowles: Email: Phone: 0223236540 Address: 12 Everton Terrace, Kelburn, Wellington 6012

  

  Document2 pages

  Devyn Fowles: Email: Phone: 0223236540 Address: 12 Everton Terrace, Kelburn, Wellington 6012

  frances thorpe

  No ratings yet
• Rise of ISIS: A Threat We Can't Ignore

  

  From Everand

  Rise of ISIS: A Threat We Can't Ignore

  Jay Sekulow

  Rating: 3.5 out of 5 stars

  3.5/5 (137)
• Little Women

  

  From Everand

  Little Women

  Louisa May Alcott

  Rating: 4 out of 5 stars

  4/5 (104)
• Two Argentinian Tangos by Villoldo For Violin Viola PDF

  

  Document5 pages

  Two Argentinian Tangos by Villoldo For Violin Viola PDF

  frances thorpe

  No ratings yet
• Analysis Assignments 2020

  

  Document2 pages

  Analysis Assignments 2020

  frances thorpe

  No ratings yet
• Speaking Jazz

  

  Document23 pages

  Speaking Jazz

  frances thorpe

  86% (7)
• Hovhaness - Chahagir PDF

  

  Document2 pages

  Hovhaness - Chahagir PDF

  frances thorpe

  No ratings yet
• Insert Name Here: With Space Very Quick

  

  Document2 pages

  Insert Name Here: With Space Very Quick

  frances thorpe

  No ratings yet
• Adult Renewal: New Zealand Passport

  

  Document12 pages

  Adult Renewal: New Zealand Passport

  frances thorpe

  No ratings yet
• Adult Renewal: New Zealand Passport

  

  Document12 pages

  Adult Renewal: New Zealand Passport

  frances thorpe

  No ratings yet
• Speaking Jazz

  

  Document23 pages

  Speaking Jazz

  frances thorpe

  86% (7)
• Aimes Award Application: Profile Frances Thorpe 13th of July 2000. 40 The Terrace Wellington Central Violist

  

  Document4 pages

  Aimes Award Application: Profile Frances Thorpe 13th of July 2000. 40 The Terrace Wellington Central Violist

  frances thorpe

  No ratings yet
• Performance Journal 2019

  

  Document7 pages

  Performance Journal 2019

  frances thorpe

  No ratings yet
• Budget For Application Ala

  

  Document2 pages

  Budget For Application Ala

  frances thorpe

  No ratings yet
• Independent Study Application Form 2019

  

  Document3 pages

  Independent Study Application Form 2019

  frances thorpe

  No ratings yet
• Curriculum Vitae: Profile Frances Thorpe 13th of July 2000. 40 The Terrace Wellington Central Violist

  

  Document5 pages

  Curriculum Vitae: Profile Frances Thorpe 13th of July 2000. 40 The Terrace Wellington Central Violist

  frances thorpe

  No ratings yet
• Performance Journal 2020

  

  Document7 pages

  Performance Journal 2020

  frances thorpe

  No ratings yet
• Wed Mar 4

  

  Document1 page

  Wed Mar 4

  frances thorpe

  No ratings yet