se ee eT “oN LT} SS a ee, | ke tA Nd — } 1} } | ae } Lt A PITCH - INTERVAL - RHYTHM ry I i Py Lar) eee oe ty ty J LT‘SPECIALLY COMPOSED MELODIES FOR THE PRACTICE OF PARTICULAR INTERVALS 2 DUETS AND CANONS 2 Rhythmic Studies 2 Additional Material for Study and Review 3 PART ONE Melodic Studies 5 CHAPTER | Seales and Their Relationships 7 aia ee THE RELATIONSHIP OF KEYS 7 INTERVALS MAJOR SCALES AND THEIR RELATIVE MINORS 8 ‘THE RELATIONSHIP BETWEEN MAJOR AND MINOR SCALES 8 WRITTEN EXERCISES 9 Identifying intervals 10 CLASSIFICATION OF INTERVALS 10 TYPES OF INTERVALS 11 ENHARMONIC SPELLING OF INTERVALS 14 WRITTEN EXERCISES 75 CHAPTER II Singing Scalar Seconds +7 SCALAR SECONDS ‘The Major Second +7 CONTENTS Preface to the Second Edition i INTRODUCTION Sight Singing by Interval and Rhythm + Melodic Studies + PREPARATORY EXERCISES 1 NONRHYTHMIG EXERCISES 1 = MELODIC EXAMPLES FROM THE LITERATURE 2 — ~ — — 9 — _ = = — = — — — ~ - ~ . 2 2 ~ = =CHAPTER Il THE PERFECT FIFTH AND THE PERFECT FOURTH CHAPTER IV THE THIRD CHAPTER Vv SOME OTHER: CLEFS, CHAPTER Vi THE SIXTH CHAPTER Vil THE SEVENTH The Minor Second 20 wXERCISES 20 ‘Singing Major and Minor Scales 22 exercises 22 Exercises for Performance 27 The Perfect Fifth 32 exercises 33 The Perfect Fourth 6 EXERCISES 36 Mixing Perfect Fifths and Perfect Fourths 03 EXERCISES 30 Exercises for Performance 49, The Major Third <2 exercises 42 The Minor Third 52 Exenoises 52 Mixing Major Thirds and Minor Thirds 55 EXERCISES 55 Exercises for Performance 57 The Alto and Tenor Clefs 72 Written Exercises 74 Pires ennincATION 74 TRANSCRIBING MELODIES 75 Exercises for Practice and Performance 61 The Major Sixth a3 exeRcises £4 ‘The Minor Sixth 57 exercises 67 Mixing Major Sixths and Minor Sixths 60 EXERCISES 90 Exercises for Performance 90 The Minor Seventh 105 EXERCISES 106 The Major Seventh +02 exercises 110 Mixing Minor Sevenths and Major Sevenths 114 exeRcises 114 Exercises for Performance 117CHAPTER Vil ‘THE TRITONE AND ENHARMONIC INTERVALS, CHAPTER OTHER SCALES CHAPTER x CHORDS ‘The Tritone 120 exercises 130 ‘The Augmented Second 134 ‘The Augmented Sixth and the Diminished Seventh, exercises 128 Exercises for Performance 141 Modal Scales and Other Scales 147 Modal Scales 147 Other Scales 152 ‘ME CHROMATIC SeALE 152 THE WHOLE-TONESCALE 159 ME oCrATONIC SCALE 153, syNTHEniC scaLes 153 Exercises for Performance 157 Chords and Simultaneities 162 LUKEANTERVAL CHORDS 162 DIVERSE-INTERVAL CHORDS 165 PLANING (OR PARALLELING) EXERCISES 105 PART TWO Rhythmic Studies 169 CHAPTER x1 LEARNING ABOUT RHYTHM CHAPTER XII SIMPLE (COMMON) METER Defi n of Rhythmic Terms 171 Table of Rhythmic Values 174 Simple Duple Meter, the “Two-Beat” 175 exercises 176 ‘Simple Triple Meter, the “Three-Beat” 121 exercises 16 Simple Quadruple Meter, the “Four-Beat” 164 exenciens 125 Syncopation 128 The Anacrusis or Upbeat 169 exercises 169 Irregular Division of a Beat in Simple Meter 191CHAPTER xill ‘COMPOUND METER, ‘Compound Duple Meter (f,, 4) 200 EXERCISES 200 Compound Triple Meter (8,1, 44) 203 EXERCISES 203 ‘Compound Quadruple Meter ('f, 'f, 12) 205, EXERCISES 206 Additional Compound Meters 203 exencises 209 CHAPTER XIV Quintuple Meter 214 COMPOSITE grencises 214 METERS Septuple Meter 217 weencises 217 Division of Compound Meter into Irregular Patterns 220 Additional Composite Meters 222 wxencises 222 CHAPTER XV Mixed (Changing) Meters 225. ADDITIONAL “Gomis cap RHYTHMIC A DEVICES Complex Divisions of the Beat 229 wnoises 229 Exercises for Performance 231 PART THREE Additional Material for Study and Review 237 CHAPTER XVI_ MELODIES FOR REVIEW From Gregorian Chant to the Present Day 229 CHAPTER xvil_ ENSEMBLE PIECES FOR REVIEW 258 Acknowledgments 311 eeSIGHT SINGING PITCH o INTERVAL © RHYTHM SECOND EDITION‘This process can be quite creative on the part of either the instructor or the student Fixed Do Versus Movable Do 1 remain neutral as to the adoption of any specific method of sight singing. While I think the “fixed do” system may be more easily applied to nontonal or modulatory material, ways can be found to use the “movable do” method for the same material, simply with certain modifications. This book is now more conducive to those instructors who choose to use movable do, since T have added many tonal excerpts from past centuries. Numbers or neutral syllables, such as “Ia,” “ta,” “da,” “du,” etc,, certainly can also work well, and these sylla- bles should be used when performing the purely rhythmic exercises in Part Two. Humming must be discouraged because it obscures articulation of melody as well as of rhythm and is often a nebulons, nonspecific sound behind which a student may hide without being one hundred percent accurate in her perfor- ‘mance of either a melody or rhythm, Using the Material for Dictation Exercises I would like to stress the importance of a dual approach to sight singing, namely: actual singing, of course, but also dictation. The melodies or rhythms should be dictated not only from the piano but also from students playing vari- ‘ous instruments. As is well known, many people are able to hear intervals and melodies better when played on a violin, oboe, or saxophone than simply dic- tated from a piano. Dictation using a variety of instruments and voices is very helpful and provides a certain relief from the constant use of the piano, Any of the exercises in Parts One, Two, or Three can be used for dictation purposes. Icis my sincere hope that this volume will help strengthen musical literacy in its application to all kinds of music, regardless of style or tonal organization. Further, I hope it will facilitate the instruction of this most crucial subject at a time when music making, in all its manifestations, is proliferating wildly and the multiplicity of musical styles and techniques has become a permanent reality.Acknowledgments Tam indebted to a great number of people who have made it possible for me to rewrite the original text. First of all, I wish to thank Claire Brook, the for- mer Music Editor at W. W. Norton, for her encouragement to write a second edition. Next, I am most grateful to the students and colleagues at the Eastman School of Music and the various other schools at which I've been a guest for the excellent comments and suggestions they have so thoughtfully given to me. A special thanks must go to the “official” readers of the manu- script, who remain anonymous to me. Their critique was invaluable and their guidance most welcome in shaping new ideas in this edition. Last, but certain- ly not least, my gratitude goes to my present editor at W. W. Norton, Suzanne La Plante, who was patient, untiring, and ever so helpful in every aspect of the revision. It was a privilege and pleasure to work with someone who possesses such genuine knowledge of the subject and who is so thorough and dedicated handling every detail which had to go into the finishing of this second edi- tion. I cannot thank her enough, Samuel Adler, 1996PREPARATORY EXERCISES NONRHYTHMIC EXERCISES INTRODUCTION Sight Singing by Interval and Rhythm The object of the exercises in this book is to learn to read all music at sight. Each chapter in “Part One: Melodic Studies" offers three types of practice ‘examples: a series of exercises that concentrate only on intervallic relation- ships, melodic exercises drawn from music literature, and newly composed, “rhythmicized” melodies that focus on the particular interval under study. For additional practice, collections of duets and canons are presented in chapters 1V, VI, VIL, VIII and IX. The chapters in “Part Two: Rhythmic Studies” concen- trate on many aspects of reading rhythm. And “Part Three: Additional Material for Study and Review” offers many more exercises from the literature in addition to some works to be sung in parts and others to be performed with accompaniment. You or your teacher may also use any of the material in this book as dictation exercises. Melodic Studies To hear and sing by interval successfully you must be able to instantly recog nize all pitches on, above, and below the stafE in both the treble and bass clefs Each set of melodic exercises is preceded by specific directions, which you should follow very closely. You should begin by singing all intervals within the preparatory and other melodic exercises in Part One very slowly, striving for perfect intonation. Practice each interval separately so that you can firmly establish its unique characteristics in your ear and be able to perform it whenever you see it on a printed page. Later, when the intervallic relationships are firmly implanted in your ear, you may begin to sing all exercises at much faster and freer tempos. ‘The nonrhythmic scalar exercises in Chapter II have key signatures because they are based on major and minor scales. You will notice, however, that from Chapter III onward no key signatures are given within these exercises; instead, individual notes are preceded by accidentals (where applicable) so that you will concentrate on the interval per se. All accidentals in the nonrhythmic exer- cises apply only to the notes that they precede. If that pitch is immediatelyMELODIC EXAMPLES. FROM THE LITERATURE SPECIALLY COMPOSED MELODIES FOR THE PRACTICE OF PARTICULAR INTERVALS DUETS AND CANONS. repeated and there is no rest to separate the notes, the accidental applies to the repeated note as well. The rests in these exercises are to be taken as sug- gestions for performance only The excerpts from music literature range from the medieval period to the pre- sent, and will help in the study and performance of all intervals. Like the non- rhythmic exercises, these examples are not exclusively made up of the one interval being stressed in the given chapter, but they do contain a concentra- tion of that interval and will greatly help in clarifying its sound in your ear. The excerpts from music literature are marked with tempo indications, metronome markings, or both. Practice each exercise slowly, and then careful ly bring it up to tempo. Toward the end of each chapter we have provided melodies that feature a large number of accidentals. Some are not necessarily centered around one particular key but contain intervallie patterns that reflect modulations to other keys. While the melodies all have one or more tonal centers, which will reveal themselves as you master these exercises, the best way to approach them is purely by interval. Sing each exercise slowly, concentrating on one interval at a time. In doing this you should have no trouble gaining mastery of the intervals contained within these melodies. We offer duets at the end of Chapters IV, VIII, and IX to give you practice in applying intervals both melodically and harmonically. Like the other melodic examples in Part One, each duet concentrates on the particular intervals under study but contains other intervals as well. Those in Chapter IX, of course, contain all intervals. ‘The practice of singing canons or rounds dates back many centuries. We offer a series of canons in Chapters IV, VI, and VII because they provide us with “instant” polyphony and thus constitute another very important way to harmonically train our ears. Many of these canons will challenge you to con- centrate on singing a rather difficult line, and as you try to perform it perfect ly, listen to the rich harmony that is created as the round is realized by the additional entrances. Rhythmic Studies Since the object of this volume is to teach you to read all music at sight, the ability to sing every musical work using the correct notated rhythms is as important as performing the pitches correctly. The rhythmic exercises in Part ‘Two should be practiced slowly at first and brought up to a speed that will suit each exercise. At various points in Part One, directions are given to practice a particular rhythmic exercise or set of exercises from Part Two in order to facili tate your performance of the rhythm found in a melodic excerpt. ‘We recommend that the rhythmic exercises in Part Two be studied along with the nonrhythmic, intervallic exercises in Part One. You may alternate interval chapters with rhythm chapters, or you may create your own pieces from the “given” notes contained in the nonthythmic exercises, adding in your ‘own rhythmic patterns and other types of articulation, or drawing on those that are contained in the rhythmic exercises. (The preface contains some sug- ‘ ‘ ‘ ; . . ‘ « ‘ . . . . ‘ c ‘ < € - . - . 7 . € . . . « . - « - . . . . . . - - annneaeasdassarngestions of how to combine these two musical aspects.) This process will help you better perform the examples that are drawn from music literature. Additional Material for Study and Review The material contained in Part Three may be used at any time during the study of Parts One and Two, whenever your instructor feels that these excerpts would benefit your study. On the other hand, they may simply be used as review exercises at the end of the study of the intervals and rhythms. The fifty- five melodies from music literature that are contained in Chapter XVI span about five hundred years; about half of them are from the twentieth century. If you have thoroughly mastered all of the individual intervals covered in Part ‘One as well as the rhythmic exercises in Part Two, these excerpts should not prove too difficult to handle. Again, each melody should be carefully prac- ticed, beginning at a reduced speed before bringing it up to tempo. ‘The material in Chapter XVII provides an opportunity for you to be involved in ensemble singing as well as to perform with instrumental accompa- niment. The chosen works are chronologically arranged, beginning with the sixteenth century and ranging into the twentieth. At the discretion of your instructor, the melodies from this chapter in Part Three may be introduced at any time during the sequential study of individual intervals. For these sight singing exercises, you may sound the starting pitch for the melodic exercises on a piano or any other instrument. It’s best to match as many different timbres as possible, both instrumental and vocal, so that you will continue to sharpen your aural perception. However, it is strongly urged that you sound only the first pitch of every exercise and then study it @ cappella (without instruments). If you do this with all the exercises in each chapter faithfully and carefully, you should eventually be able to perform the exercises, with ease.PART ONE Melodic StudiesCHAPTER | LEARNING ABOUT SCALES AND INTERVALS Seales and Their Relationships Before we are able to identify all intervals we must learn about the structure of major and minor scales, since the terms major and minor occur frequently in the designation of many intervals. We will see that these intervals are used to build our major and minor scales as well as many of the other types of scales that we will treat in Chapter IX. We will use the first portion of this chapter to study major and minor scale construction, the key signature for each scale, and the various relationships between major and minor scales, and devote the second portion of the chapter to the spelling and notation of intervals. We will postpone the actual singing of scales until Chapter Il THE RELATIONSHIP We will learn scales quickly if we first teach ourselves to instantly recognize key OF KEYS signatures. How key signatures are related can be shown by the “circle of fifths” (given below), which begins at the top with the key of C major (with no sharps or flats in its signature) and continues clockwise by showing the major keys with a growing number of sharps and counterclockwise by showing the major keys with a growing number of flats. Relative minor keys are placed inside this circular diagram, opposite their major counterparts. Study the cir- cle of fifths carefully and master its logic as well as the correlation between ‘major scales and their relative minors. (0 fats) (no sharps) c (ay F G.sharp) (2a) Bb /e »\P@sharps) ‘The Circle of Fiths (3 Bats) | Ag saps) cena) bE (4 sharps) on) ees, z eae)MAJOR SCALES AND Now let us study the structure of major and minor scales. In the diagrams THEIR RELATIVE below, rounded brackets above the notes signify whole steps and angular MINORS brackets below the notes, half steps. A half step is the shortest difference between two pitches in either direction: A-Bb or A~Ab; while a whole step is ‘made up of two half steps in either direction: A~(At)-B or A~(Ab)-G. ‘The major scale is constructed in the following manner: 12 3 4 5 6 7 7 6 5 4 3 214 6 SSS ‘There are three types of minor scale, each constructed slightly differently. 1 Natural, Simple, Modal, (or Pure Minor 2 Melodic Minor As the melodic minor ascends, the sixth and seventh scale degrees are raised; they are lowered again when descending. The descending melodic minor is like the natural minor scale, On a rare occasion, you will find the ascending form of the melodic minor scale used when descending 3 Harmonic Minor ‘This scale is the same as the natural minor, except that the seventh degree is raised both ascending and descending, creating an interval of one and one- half steps between the sixth and seventh scale degrees. THE RELATIONSHIP Each major scale has a relative minor scale. The key signature for both the | BETWEEN MAJOR AND major scale and its relative minor is the same, as is the collection of notes con- MINOR SCALES tained within each, but that is the extent of the relationship. Each scale starts on a different note, thereby arranging the notes in a different order. To find : the relative minor of a major scale, count down three half steps (a minor third) from the key (tonic) note: 2 CrajortoAminor (both have no sharps or fats inthe Keysgnature), | 2 Dimajor to B minor (bth have two sharps inthe Key sgnatre) & CHAPTER! LEARNING ABOUT SCALES AND INTERVALS.Major Relative Minor Major olative Minor Conversely, to find the relative major of a minor scale, count up three half steps (a minor third) from the key (tonic) note: © F minor to Ab major (both have four flats in the key signature), 5 E minor to G major (both have one sharp in the key signature) Here is the full table of key signatures: Example B minor melodie Example B minor melogic Example B minor melodic WRITTEN EXERCISES ‘Write out the following scales by half and whole steps, without using key signa- ‘ures, 1. Diminor, melodic 11. Aminor, melodic 2 Ebmajor 12. Ebminor, harmonic 3, Fminor, harmonic 13, G minor, simple 4. Amajor 14, G major 5. Chmajor 15. Demajor 6 CEminor, simple 16. Emajor 7. Femajor 17, F¥minor, melodic 8. Cminor, harmonic 18. Bb minor, harmonic 9. Dmajor 19. Bb major 10. Abmajor 20. Chmajor Write out the twenty scales above in both the treble and bass clefs, using key signatures. E SSS SS lCLASSIFICATION OF INTERVALS Unison (Prime) 2nd rd ath sth eth mh ave Identifying Intervals Now we will study the notation and spelling of all intervals that are contained “in the octave, as well as those that are between one and two octaves in size. Starting in the next chapter we will begin to sing and hear all intervals within the octave separately, one by one. ‘An interval is the distance between any two musical pitches—in other words, the difference or amount of aural space between two musical tones. In our western musical system we divide intervals into two groups: 1 those that are smaller than an octave, or within the chromatic scale of an octave (C-C}); 2 those that are larger than an octave. Intervals within the octave are the following: Simultaneously Notated 40 CHAPTER! LEARNING ABOUT SCALES AND INTERVALS a ~~ iin —_o-seeeeeeeeeeeeeeeeeeeeeeerereeeeeeeeeeeeeeeereeeeeeerereer eeeIntervals larger than an octave ar the following ‘Simultaneously Notated Successively Notated 10th (a Srd plus an ‘ectave) 11th (@ 4th plus an octave) 42th (a 6th plus an octave) 1th (@ 6th plus an octave) 14th (a 7th plus an octave) 18th (compound 8ve or two Bves) TYPES OF INTERVALS The intervals within the octave are called unisons, seconds, thirds, fourths, fifths, sixths, and sevenths. These intervals fall into two different categories depending on how they are formed. The intervals within the first category are seconds, thirds, sixths, and sevenths, which may be “major” (M), “minor” (m), “diminished” (d), or “augmented” (A). An oftrepeated, simple rule for remembering the classification of these four intervals is the following: © the interval is major if the upper note is in the major scale of the lower note; 5 the interval is minor if the upper note is in the minor scale of the lower 1 the interval is augmented if the upper note is one half step higher than the upper note of the major (or perfect) interval: Cup to E isa major third Cup to Efis an augmented third; © the interval is diminished if the upper note is one half step lower than the upper note of the minor (or perfect) interval: Ct up Bisa minor 7th Ct up to Bhis a diminished 7th. LEARNING ABOUT SCALES AND INTERVALS CHAPTER! 14‘Therefore, if we order the intervals according to half steps from small to large, we have diminished (42, 43, 46, d7), minor (m2, m3, m6, m7), major (M2, M3, M6, M7), and then augmented intervals (A2, A3, A6, A7). The above rule is helpful if the student uses it carefully, but it does have its limitations; for one thing, it does not allow for the minor second, for instance, from C to Dr. We know that the second scale degree in the minor scale, like that in the major scale, lies a major second rather than a minor second above the scale’s first note. Therefore the second scale degree in the C-minor scale is the note D, not Db. Calling the interval C-Db a diminished second might therefore seem logical at first, but as we can see in the following chart, the diminished form of the second (which actually sounds like a unison) is one half step too small: ‘Major (M) Minor (en) Diminished (6) ‘Augmented (A) 2nds co cob cob cot 2 half steps or 1 half step unison S half stops or 4 whole step 4 whole step and a half step Srds _ ce ce cee cet ge == 4 haif steps or half steps or 2 half steps or S half steps or 2 whole steps 4 woe step 4T whole step 2 whole steps and 2 hal stop and a half step cab cab cat ‘half steps or half steps or Thai steps or 10 hatt steps or 4 whole steps 4 whole steps 3 whole steps 5 whole steps and a hall step and a half step c-8t 411 haif steps or BS whole steps ‘and a half step 40 half steps or © half stops or 12 half steps o Swhole steps 4 whole steps 6 whole steps and a halt step 42 CHAPTER| LEARNING ABOUT SCALES AND INTERVALSThis chart shows that the diminished form of an interval is ovo half steps sinaller than the major interval, not just one half step. Our C-Db, then, which is a half step smaller than the major second, is a minor second. The intervals within the second category, fourths, fifths, unisons, and octaves, are designated differently from those of the first: they are never called major or minor but instead are considered perfect (P). With the perfect fourth and perfect fifth, the upper note is always in doth the major and minor scales of the lower note. If these intervals are lowered one half step, they are designated diminished (44, 45); if they are raised a half step, they are consid- ered augmented (A4, AS): Perfect (P) Diminished (€) ‘Augmented (A) 4ths oF cr oF 5 half steps or 4 hait steps or 8 half steps or 2 whole stops 2 whole steps 8 whole steps (tritone) and a halt step Sths oo oo 7 half stops or 6 half steps or B half steps or Swhole steps 3 whole stops (tritone) 4 whole steps and a hatt step Octaves and unisons (or primes) are also called perfect (or “pure"), diminished, or augmented. While perfect octaves and unisons abound in ‘Western music, augmented and diminished octaves and primes are infrequent- ly encountered in music before 1900. Theoretically and visually—especially within the notation of twentieth-century scores—we will sometimes encounter augmented primes as well as augmented and diminished octaves. These inter- vals, of course, sound like minor seconds, major sevenths, or minor ninths: a 48 3 a 8 at In fact, alternate (i.c., “enharmonic") spellings for these particular aug- mented and diminished intervals are used so frequently in music composed before 1900 that we will not spend a lot of time in this text on them. In con- trast, augmented and diminished fourths and fifths are used so regularly that, they must be easily and quickly identified. LEARNING ABOUT SCALES AND INTERVALS CHAPTER] 13,ENHARMONIC Some intervals sound alike but appear in different spellings in musical scores. SPELLING OF For instance, the intervals B-Cé and B-D> sound alike because their top notes, INTERVALS Ch and Db, are actually the same pitch in our tempered scale.* These two inter- vals, however, create different visual impressions on the page: SS «a SS Even though these two intervals sound the same, we must label the first a M2 since it involves two adjacent pitch names (B, C) and the second a d8 since it embraces three adjacent pitch names (B, C, D). We call the practice of label- ing intervals that sound alike but have different spellings the “enharmonic spelling” of interval ‘The enharmonic spelling of intervals is used by many composers to create greater unity of voice leading, such as in the following melody where sharps are found in ascending lines and flats in the descending line: bes: [== = Enharmonic spelling can also accurately designate the harmonic function of a pitch to assure its correct resolution, such as the following interchange of the augmented sixth with the minor seventh: In examples @ and 6 above, the two chords denoted with an asterisk (*) sound alike, but the first functions as an augmented sixth chord, with the Fé resolving up to G, and the second functions as a dominant seventh chord, with the Gb resolving down to F. *Nontempered instruments such as strings and even the human voice may perform Ct and Db with a slight tonal variation, but for most ears and for our early attempts at sight singing, we should not concern ourselves too much with these very small devia tions in pitch, 44 CHAPTER] LEARNING ABOUT SCALES AND INTERVALSWRITTEN EXERCISES Label each interval and include the number of half steps. 2 wow 3 psa a sl Fill in the missing pitch. 2 m3down 3 MT up 4 dSdown Mu © M6 down 8 M6! 9 at 10 Pal 14 mol 12 wrt 14 met 15 mel 16 mo | 17 pal 38 nv! LEARNING ABOUT SCALES AND INTERVALS CHAPTER] 1519 sl 20 msl 21 Me! 22 Ps! 2s Atl 24 mat 25 wel 26 m6! 27 Ps! 28 05! 29 x21 30 Mri 46 CHAPTER! LEARNING ABOUT SCALES AND INTERVALSCHAPTER II SCALAR SECONDS Singing Scalar Seconds Now that we have studied the construction of both major and minor scales and their relationships, we need to exercise our ability to sing major and minor seconds, the two intervals that are used to construct these scales.* In doing so wwe will gain the necessary skill to perform all major and minor scales as well as most melodies of the common-practice period (the era in music history from the carly eighteenth century to the late nineteenth century) that show these scalar relationships. The Major Second The major second (M2) is the distance of one whole step (or two half steps) between two pitches. PREPARATORY EXERCISES Play the first pitch of each set of pitches (indicated by repeat marks) on the piano or on any other “C” (nontransposing) instrument and then sing the rest of the pitches without the piano or instrument. Repeat each set several times until the characteristic sound of this interval is well established in your ear, 3 4 5 6 *Since an augmented second occurs in both the upward and downward motion of the harmonic minor scale, however, we advise that the student practice a few of these inter- vals in Chapter VII (pp. 184-85) before attempting to sing the harmonic minor scale, SCALAR SECONDS CHAPTER! 17SOUND THE PITCH AND SING geaeeageaeaeanwearte Play the notated pitch on the piano, and then sing the given interval above or below the note, Do not play the pitch you are to sing until after you have sung it; the piano should only be used to check your accuracy. Do these exercises very slowly and deliberately at first, and then increase your speed gradually. Play each note, then sing a major second above it. ————————— | Play each note, then sing a major second below it. e Play the given note, then sing the indicated pitch. M2up M2down = M2.down M2 up Meup M2down = M2up.—M2.down st a — # rao > ne | wet wet el Mel met NONRHYTHMIC EXERCISES Play the first note of each exercise on the piano, then sing the entire exercise without accompaniment. Do it slowly at first, and then increase speed with each successive repetition. If an exercise is out of your voice range, feel free to tans. pose it up or down an octave; but be sure to maintain the intended intervals.* “in the nonthythmic exercises, all accidentals apply only to the notes that they pre~ cede, If that pitch is immediately repeated and there is no rest to separate the notes, the accidental applies to the repeated note as well. 48 CHAPTER || SCALAR SECONDS. SRR eCecaeaegeaaeagaeaterec rc create.s1 SSS SSS SS = 6 fete fe st 2 : ta SS ——— * = ———— on ten tet ee ee = pa Nt SG SCALAR SECONDS CHAPTER! 19The Minor Second The minor second (m2) is the smallest interval between (wo pitches in the Western tonal system. It is the “nearest” interval, only one half step away in er direction. PREPARATORY EXERCISES 'As with the previous exercises drilling the major second, play the first pitch on the piano and then sing the given set of pitches. Each set is bracketed by repe- tition marks; repeat each set several times. 3 4 5 6 SOUND THE PITCH AND SING Play the notated pitch on the piano, and then sing the given interval above or below the note. Play each note, then sing a minor second above it. 6S = |] ae ¥ 20 CHAPTER|| SCALAR SECONDS:Play each note, then sing a minor second below it Play the note that is given, then sing the indicated pitch m2 down, meup m2.up m2 down m2 up ° met met ml mal SE 5 aocie S mat met me! mal mal NONRHYTHMIC EXERCISES Play the first note of each exercise on the piano, then sing the entire exercise without accompaniment. Start slowly, and then after several repetitions try to increase your speed. SCALAR SECONDS CHAPTER! 21BES a6 (Gestetner pie * SS Singing Major and Minor Scales We are now ready to sing typical scalar patterns using these two intervals, first in a series of nonrhythmic exercises, next in melodies drawn from music litera- ture. Finally, we will sight sing melodic patterns featuring the major and minor second that are a bit more challenging, due to their modulatory or sometimes chromatic nature. NONRHYTHMIC EXERCISES Play the first note of each exercise on the piano, then sing the entire exercise without accompaniment. Start slowly, and then after several repetitions try to increase your speed. ‘While these exercises consist mostly of major and minor scales, a few thirds 22 CHAPTER!) SCALAR SECONDSand fourths occur, but these return to notes that you've already sung. These “discrepancies” add interest to the line and present a bit more of a challenge. But think about each interval as you sing it; do not take your knowledge of these intervallic relationships for granted! Major-Scale Exercises a1 ARRECONDR CHAPTERIT 23Minor-Scale Exercises a. Natural, Simple, or Pure Minor af 2 , tr ° oct = eter ob ————— a3 os 2 # ¢ ————— \e 24 CHAPTERI| SCALAR SECONDS CETLAGATTT TELA GAGTATALT TATU AO GUT TTT TTT V TTT TTT'b, Melodic Minor ——= Se ee a2 ee SCALAR SECONDS CHAPTER I] 25cc. Harmonie Minor a4 patel = ———— o © * ° Se as 5 igi ee 26 CHAPTER|| SCALAR SECONDS:Exercises for Performance MELODIES FROM THE LITERATURE Sing the following melodies, which are taken from vocal as well as instrumen= tal literature. These tunes are mostly based on major and minor seconds—that js, whole- and halfstep motion—although all contain a few other intervals. Sing the melodies very slowly, checking your pitch at times with the piano but not playing along on the piano while you sing. ‘You may wish to practice certain rhythmic exercises from Part Two before attempting to sing these melodies. For melodies 1, 2, 3, 4, and 8 we suggest particular examples with which you may warm up. These directives give an idea of how you can precede all of the melodies in Part One with rhythmic ‘exercises from Part Two that focus on a particular meter or rhythmic pattern, If the rhythmic exercises that are suggested below have already been covered, simply review them before singing the melodies. Practice numbers 9-11 of the Regular Rhythmic Exercises in Chapter XI (p. 183) before singing this next exercise. Easter Hymn Practice numbers 5-6 of the Preparatory Rhythmic Exercises in Chapter XI (p. 185) before singing this exercise. ‘Symphony No. 9 Ludwig van Beethoven SCALAR SECONDS CHAPTER|I 27"3 Practice numbers 1~5 of the Regular Rhythmic Exercises in Chapter XII (pp. 179-80) before singing this exercise. ‘Symphony No. 1 Johannes Brahms a4 Practice numbers 9-1] of the Regular Rhythmic Exercises in Chapter XII (p. 180) before singing this exercise, Romeo and Juliet Pyotr Ilyich Tehalkovsky Stately =5 Haydn Variations Brahms Simply The Creation Franz Joseph Haycn Fast 28 CHAPTER || SCALAR SECONDS PALATE EEEAEAADAAAAAAEEAADAAAAAAAEE EE EAAAAZALLLL ALMA27 The Marriage of Figaro \Woltgang Amadeus Mozart SSS a8 Practice numbers 1-2 of the Regular Rhythmic Exercises in Chapter XIII (p. 201) before singing this next exercise. The Motdau Bedrich Smetana a9 ‘Symphony No. 7 Beethoven 210 ‘Symphony No. 1 Gustav Mahler SCALAR SECONDS CHAPTER! 29an ‘Symphony No. 2 Howard Hanson SPECIALLY COMPOSED MELODIES EMPHASIZING MAJOR. AND MINOR SECONDS Here is a set of exercises that feature a greater occurrence of accidentals. Some melodies contain modulatory patterns; others are not necessarily cen- tered around a particular key. Most of these exercises, however, do have tonal centers that will reveal themselves when the melodies are mastered; the best ‘way to approach them, nevertheless, is purely by interval. Sing each melody slowly, concentrating on one interval at a time. In doing so you should be able to master the different seconds contained within them, 30 CHAPTER|| SCALAR SECONDS=3 Ina relazed manner pap —— = : Eth ee Nee ee u 6 Happily ee? oe “7 Pay special attention to the enharmonic spelling in measure 4: Af = Bb, which will make the whole step to C very easy Quite stowly=3 Ina relaxed manner 4 = aS 6 Happily i a, Pay special attention to the enharmonic spelling in measure 4: Af = Bb, which will make the whole step to G very eayy,Harmonic Series of C CHAPTER III THE PERFECT FIFTH AND THE PERFECT FOURTH The Perfect Fifth The perfect fifth (P5) is one of the most important intervals in Western music. Its prominence and distinction stem from the fact that itis the first “new” note in the harmonic series after the unison and the octave: — ‘The word “perfect” used to describe this interval (as well as the perfect fourth; see below) stems from several practical and historical sources. In the early tory of Western polyphonic music, the fifth and the fourth were considered the only true consonances aside from the unison and octave;* they were conse- quently the most frequently used. Practically speaking, these intervals are called “perfect” because they remain constant even if the mode of a piece changes from major to minor or vice versa, (As we learned in Chapter I, this is not the case with seconds, thirds, sixths, and sevenths, which change quality when moving from the major to the minor mode, or vice versa.) ‘The perfect fifth is made up of seven half steps, or three whole steps and one half step. Tune this interval well, for in our tempered scale system, the perfect fifth helps to stabilize the intonation of a piece of music. We recognize that all strings tune to it or to the perfect fourth, and itis a very useful interval for tuning voice parts as well. “The numerical ratios that define the unison 1/1, the octave 2/1, the perfect fifth 3/2, and the perfect fourth 4/3 are all based on the first three prime numbers, a factor that reflected the alhimportant theological concept of the Trinity during the Middle Ages. 32 CHAPTER III THE PERFECT FIFTH AND THE PERFECT FOURTHPREPARATORY EXERCIS! Play the first pitch of each set of pitches on the piano, and then sing the rest of the set without accompaniment, 1 2 3 4 5 6 SOUND THE PITCH AND SING Play each written note on the piano and sing a perfect fifth abvve it before going on to the next note. Then go back to the beginning, play each note and sing a perfect fifth below it THE PERFECT FIFTH AND THE PERFECT FOURTH CHASTER III 22Play the written note and sing the appropriate interval PSdown P5up PSdown PSdown PSup PSdown Sup PSdown PSup — PSup PS down PS down, Pst Pst ps! ops} Pst Pst Pst P| psi Pst ss = = P| Pst pst Pst Psl Pst. pst eet Pst Pst Ps! Pst DS ss pote: = © te = NONRHYTHMIC EXERCISES Play the first pitch of each exercise on the piano and then perform the rest of the exercise without accompaniment. Check your pitch at the end, Follow this procedure for all exercises in the rest of this chapter 34 CHAPTER ||| THE PERFECT FIFTH AND THE PERFECT FOURTHTHE PERFECT FIFTH AND THE PERFECT FOURTH CHAPTER II| 25Harmonic Series of © The Perfect Fourth The perfect fourth (P4) is constructed of five half steps, or two whole steps and one half step. In the harmonic series this interval appears just after the perfect fifth: fundamental omnes PB Cae ‘The perfect fourth is the inversion of the perfect fifth. PREPARATORY EXERCISES Play the first pitch of each set and then sing the rest without an instrumental accompaniment. 36 CHAPTER Il THE PERFECT FIFTH AND THE PERFECT FOURTHSOUND THE PITCH AND SING Play the written note on the piano and sing a perfect fourth below it, Then go back, play each note and sing a perfect fourth above it. o> Se oo Play the written note, then sing the appropriate interval. Fédown Pédown Paup P4down P4up Paup PAdown P4up dup Padown 4 down NONRHYTHMIC EXERCISES a1 6 SS Sl THE PERFECT FIFTH AND THE PERFECT FOURTH CHAPTER II] 3738 CHAPTER ||| THE PERFECT FIFTH AND THE PERFECT FOURTH HTMixing Perfect Fifths and Perfect Fourths PREPARATORY EXERCISES Play the starting pitch for each set on an instrument and then sing each set at least three times. 2 3 4 5Exercises for Performance MELODIES FROM THE LITERATURE at Violin Concerto Ludwig van Beethoven ' re os e + SSS SS 5 ro a2 Lieutenant Kiié Sergey Prokofiev Andante ante Zee ae 40 CHAPTER ||| THE PERFECT FIFTH AND THE PERFECT FOURTH ‘ : ‘ ‘ ‘ ‘ : ‘ ' ' ' : / /(Quite slowly) Canon \witiaen Bret a4 arses Coca aici Ss 3 ‘ — th SeIsraeli Folk Song Lariésionne Suite No. 2 Bizet 42 CHAPTER II THE PERFECT FIFTH AND THE PERFECT FOURTH‘Symphony No. 1 Johannes Brahms “Sleepers, Wake!" from Cantata No. 140 Johann Sebastian Bach Academic Festival Overture Brahma ‘THE PERFECT FIFTH AND THE IRFECT FOURTH CHAPTER III 42210 Canon Paul Hindemith att Fanfare (Third Symphony) ‘Aaron Copland a12 Concerto for Orchestra Béla Bartok 44 CHAPTER ||| THE PERFECT FIFTH AND THE PERFECT FOURTHSPECIALLY COMPOSED MELODIES EMPHASIZING PERFECT FIFTHS AND PERFECT FOURTHS lodies consist of mostly fifths, fourths, whole steps, and half steps so that you may gain further experience in practicing these intervals. Again, the tonal centers will reveal themselves as you master these exercises Moderately fast, a3 Rather slowly THE PERFECT FIFTH AND THE PERFECT FOURTH CHAPTER IlLightly moving (in 1) 46 CHAPTER ||| THE PERFECT FIFTH AND THE PERFECT FOURTH=6 Practice numbers 1-8 of the Regular Rhythmic Exercises in Chapter XV (pp. 226-27) before singing this next exercise "7 Slowly ‘THE PERFECT FIFTH AND THE PERFECT FOURTH CHA°TER II] 47CHAPTER IV THE THIRD ‘The importance of the third in tonal music cannot be overestimated because it is the interval that defines the modality of a piece or musical passage; we should therefore be especially conscious of the difference in sound between the major third and the minor third. While unisons, octaves, perfect fifths, and perfect fourths were considered perfect consonances during the early history of Western music, thirds and sixths (see Chapter VI) were termed “imperfect consonances™* and were not often used as stable consonances until the sixteenth century. The terms “major” and “minor” to describe thirds (as well as seconds, sixths, and sevenths) came into favor much later, during the eighteenth century, when thirds took on a more primary role in defining the modality of a musical composition. In some foreign musical terminologies major and minor thirds are desig- nated by the terms “large third” and “small third,” respectively. These terms might help in guiding us how to tune each third: the major third should be sung on the “high” side (but without going sharp) and the minor third on the “low” side (but without going flat). The Major Third The major third (M3) is constructed of four half steps, or two whole steps, in either direction from a given pitch. PREPARATORY EXERCISES Play the first pitch of each set of pitches on the piano, and then sing the rest of the set a cappella, or without accompaniment. 3 4 5 6 ‘This is partly because the numerical ratios that define thirds and sixths are made up of prime numbers that are larger than the theologically correct 8; for instance, a major third is 5/4,a minor third 6/5. 48 CHAPTER IV THE THIRD7 SOUND THE PITCH AND SING Play each written note on the piano and sing a major third above each one. ‘Then go back to the beginning, play each note and sing a major third belowit. Play the written note and sing the appropriate interval. M3up -MS.up -MSdown M3up-MBup MS down M3down M3 up MS.down up ——— THE THIRD CHAPTER IVwal aa tat tl wal wat wat wal wal = = = 2 2 2 mot wet Mal st Mola? wal vat alt NONRHYTHMIC EXERCISES Play the first note only and then perform the rest of the exercise without accompaniment. Check your pitch after completing each exercise. Follow this procedure for all exercises in the rest of this chapter. 50 CHAPTERIV THE THIRD CETCTTCCCEC LETT LATTE EEL CL TTT TTT TATA Tato = fo to Se THE THIRD CHAPTERIV 81The Minor Third ‘The minor third (m3) is the interval of three half steps, or one whole step and one half step, in either direction from a given pitch. PREPARATORY EXERCISES Play the first pitch of each set and then sing the rest without an instrumental accompaniment. 2 3 4 5 6 7 . tho (SS —] 2a SS = eo : PP 62 CHAPTERIV THE THIRDSOUND THE PITCH AND SING Play the written note on the piano and sing a minor third above it. Then go back, play each note and sing a minor third below it Play the written note, then sing the appropriate interval. m3 down, m3 up maup mSdown ——m3.down, maup m3 down SS SS mat mal mal mal mal mal mat mat m3 | aml wal mat mal mol mal mst ae Ho = = oe bor msl mst msl ma} mat mat mat mal mal THE THIRD CHAPTERIV 83NONRHYTHMIC EXERCISES Play the first pitch of each exercise on an instrument, then sing the entire exercise without accompaniment, beginning slowly and gradually increasing your speed. Remember that the rests are only suggestions for where to breathe, "3 je a SSS 4 ee oS : SSS SSS SS SSS SSS 64 CHAPTER IV THE THIRDMixing Major Thirds and Minor Thirds SOUND THE PITCH AND SING Play the written note and then sing the interval that is indicated. Be sure you tune the different thirds with precision. MS.up MSup mS down m3.up mBdown MSup mB up mBdown MS down M3 up_M3 down msi oat mal ost mst mals aml wat mal mat mat mst mst wat ms! mat mst wat = oO = = wal malta sl ms} ma] wT wat ml Mat mal wal Mat a) m3 sl Mal mt THE THIRD CHAPTERIV 55Seconds have been added; be careful! Mel mal Mot wet Mat mel stoma wal met wate) wal NONRHYTHMIC EXERCISES Play the first pitch on the piano and then perform the exercise a cappella, Check the accuracy of your last pitch after each exercise, 56 CHAPTER IV THE THIRD EFLELELEPL ETL DVUDLILLI PALL LVAD ADUTEE LETTE D AIEEE EET eesExercises for Performance MELODIES FROM THE LITERATURE Cornish Folk Song Andante J= 72 a2 © bolla fusa (The Spinning Wheel) ‘Orlando di Lasso ME THIRD CHAPTFRIV 87Slowly J= 60 ‘Wo Macedonian Folk Songs Happily J = 120 Andante J=72 88 CHAPTER IV THE THIRD Chorale, Sheep May Safely Grazeae Spanish Folk Song, Ya viene la vieja =6 Thanksgiving Hymn George J. Evy THE THIRD CHAPTERIV 59“7 Magdalena Johannes Brahms Poco lento J = 60 8 The Lamb of God ‘Traditional Easter Tune a9 The Swan of Tuonela Jean Sibellus 60 CHAPTER|V THE THIRD=10 Overture to The Schoo! for Scandal ‘Samuel Barber 21 Glory to God Giovanni Battista Pergolesi > ee eg eee THE THIRD CHAPTERIV 61a12 Practice the rhythms in Leonard Bernstein's “America” (p. 203) before singing this next exercise. North Argentinian Folk Dance Transcribed by Alberto Ginastera Vivace 54. = oS er Hee = Fe x 6 SSS Sa eg SS a13 The Sorcerer's Apprentice Paul Dukas 62 CHAPTER IV THE THIRD EEF ELELELELTLVIFELILTELE LL ATA TAL LATTE EAT TTT TT TTS214 ‘Symphony No. 49 in G minor Woltgang Amadeus Mazart i = SS ‘SPECIALLY COMPOSED MELODIES EMPHASIZING MAJOR AND MINOR THIRDS THE THIRE CHAPTFRIV ae64 CHAPTER IV THE THIRD CTLGUAAATATADLVUDLADLADTELALLTLDTADLADLTLTATL ETAL=8 Practice some “changing meter” Regular Rhythmic Exercises in Chapter XV— for instance, Exercise Nos. 3-6 (p. 227)—before doing this next exercise. Quite slowly Ea =~Here are some duets that emphasize the intervals of Chapters II through IV. Women and men should divide (S + T and A + B). If possible, these exercises should be done a cappella after only the first pitch is given. Like a waltz 66 CHAPTER IV THE THIRD aQuite slowly Happily moving along“7 Bediich Smetana Nicely moving a S s a9 ‘George Frideric Handel 68 CHAPTER IV THE THIRD212 Gently flowing The next two exercises emphasize singing not only melodic fifths and fourths but also harmonic fifths and fourths. CANONS Most of the canons presented in this and subsequent chapters were written on non-English texts. Rather than risk inadequate or unmusical translation, we have often chosen to omit the text altogether so that you may concentrate on the intervallic content and perform the music accurately. Even those canons that have been translated would benefit from performance with neutral sylla- bles. Each canon should be studied in unison and then divided up into parts once the lines can be performed with ease.a4 Johannes Brahms Allegretto (4 parts) s 3 1 a on Pa Repeat three times a2 Luigi Cherubini Repeat three times a3 Brahms Andante espressivo (4 parts) 1 Ct ee Se Repeat Tee times 4,8, 2, 1 stop at these fermatas at the third repeat 70 CHAPTERIV THE THIRDAndante con moto (4 parts) an SSS : Repeat three times ‘Anonymous, ¢, 1600 pana meee ee cae, Repeat thre tmes a6 ‘Anonymous, ©. 1600 Rapidly flowing (4 parts) ae x Repeat three times John Hitton Quite stowly 6 pars) last dime a a Repeat thyee times "4,8, 2, 1 stop at these fermatas atthe third repeat.“8 Eusebius Mandyczewsk’ Quite lowly Double Canon (2 parts each) 1 2 "72,1, the fermatas are the stopping places for the respective voices the second time through. 72 CHAPTER|V THE THIRDCHAPTER V SOME OTHER CLEFS The Alto and Tenor Clefs ‘Throughout our studies of intervals up to this point, we have read music that is notated only in the treble and bass clefs. Historically, a number of clefs have been employed in music written for different instruments, usually to minimize the need for ledger lines. Many of these clef are no longer in use, and others, such as the soprano clef, are only rarely found. Two additional clefs, however, are still frequently employed. They are the alto clef, in which middle C is notated on the third line of the staff: The soprano clef, found today mostly in older editions of Renaissance, Baroque, and Classical pieces, notates middle C on the first line. te. While we will not focus on the soprano clef in this text, you will want to be aware of its existence. If you memorize where middle C occurs in these clefs, you should be able to casily organize where the other pitches fall on the staff. Why should we study these clefs? Simply because we encounter them today with some frequency. The alto clef is used to notate most music for viola, and may also be found in eighteenth- and nineteenth-century scores notating alto voice or alto wombone. The tenor clef is often used to notate the higher regis- ter of the cello, double bass, bassoon, tenor trombone, and in older vocal CLere CuAPTFRV 7ascores the tenor voice. Often one finds a mixture of clefs in a musical score— even to notate a single instrument! We must therefore attain some mastery of both of these clefs. Sight singing exercises using the alto and tenor clefs will appear quite frequently throughout the rest of this book. In this chapter, we feature both written and aural exercises to help you familiarize yourself with them, Written Exercises PITCH IDENTI ICATION On the lower staff, write the equivalent note in either the treble or the bass clef, as indicated. The first two examples are done for you. Write out these lines first in the treble and then in the bass clef. 74 CHAPTERV SOME OTHER CLEFS FCT TT TTT LTT TTT TATA ATTA TTA AA TAT TTT TTTTRANSCRIBING MELODIES ‘Transcribe the following melodies into the clefs that are indicated, a1 ‘Transcribe first into alto and then into tenor clef. ‘SOME OTHER CLEFS CHAPTERV 75a2 ‘Transcribe into treble and then bass clef, as indicated. Be >i > a3 ‘Transcribe into either treble or bass clef. “4 ‘Transcribe into treble clef. . 76 CHAPTERV SOME OTHER CLEFS=5 ‘Transcribe into alto and then tenor clef, Lbs a6 ‘Transcribe into bass and then treble clef, as indicated, SOME OTHER CLEFS CHAPTERV 77“7 ‘Transcribe into bass clef, a8 ‘Transcribe into either bass or treble clef; you may wish to switch back and forth between the two. 78 CHAPTERV SOME OTHER CLEFS=10 Transcribe into treble or bass clef you may wish to switch back and forth between the two, an Transcribe into treble clef, bass clef, or a combination of the two. CPy by SOME OTHER CLEFS CHAPTERV 79a12 ‘Transcribe into treble clef, bass clef, or a combination of the two. 213 ‘Transcribe the following excerpt from Wagner's Tristan und Isoldeinto treble clef. f West-wiirts schweift der Blick; ost-warts streichtdas Schiff. Frisch weht der Wind der pean go" a Fiei-mat zu; mein i-rischKind, wo wei-lest du?_—Sind’s._det-ner Seuf-zer__ We-hen, v die mir dieSe - gel bli- hen? We- he, we - edu Wind!_— Weh, ach we-he,mein Kind! I~ ri-sche Maid, du_wil- de, min-ni-ge Maid! 80 CHAPTERV SOME OTHER CLEFS TATA AAT TTT TAD AAATATALLATAAATLITTTTALAExercises for Practice and Performance a NONRHYTHMIC EXERCISES Sing the following lines, MELODIES FROM THE LITERATURE: Sing the following melodies, slowly at first and then increasing your speed. Agnus Dei Georges Bizet Allegro moderato = = —— — 2 ae =e SFI Jesu, Priceless Treasure Johann Sebastian Bach a f $i =e SOME OTHER CILEFS CHAPTERV 81The Willow Tree English Falk Song SSS Wandering ‘American Folk Song | SSS - . 82 CHAPTER V SOME OTHER CLEFS.CHAPTER VI THE SIXTH The Major Sixth We begin this chapter with the major sixth (M6) since many people consider it ‘easier to master than the minor sixth; certainly, many Western folk songs con- (ain this interval rather than the minor sixth. With the sixth, as with the third, we must be conscious of the mode of the interval; here we enter the majorminor tonal system again, if only by the des- ignation of the intervals themselves. We call the “large” sixth major and the “small” sixth minor. Remember that the sixth is major if the upper note is con- tained within the major scale of the lower note, and minor if the upper note is contained within the minor scale of the lower note. To many people intervals larger than the perfect fifth are more difficult to hear and sing, Instead of making these assumptions let us carefully, diligently, and slowly practice the sixths in this chapter and the sevenths in the next, being attentive to their tonal individualities and characteristics and integrating, them into our vocabulary and auditory memory. Quite a number of people find it valuable to remember one or more favorite tunes from the classical or popular music repertories that prominently feature sixths or sevenths; you may find some of these quoted in the next few chapters. (Even the NBC “call theme” is useful in remembering the major sixth.) The major sixth is constructed of nine half steps, or four whole steps and one half step, in either direction from a given pitch. Since this is the “large” sixth, we must try to sing it as “high” as possible without going sharp. Before singing the preparatory exercises, you may wish to warm up with the following scalar patterns to get the interval firmly into your ear, 5 pa — 9 ete 3S THE SIXTH CHAPTER VI 83.PREPARATORY EXERCISES Play the first pitch of each set on the piano, and then sing the next pitch or pitches in the set without instrumental accompaniment. Do not forget to repeat each set until the sounds are well implanted in your ear. 1 2 3 a 5 6 SOUND THE PITCH AND SING Play each written note on the piano and sing a major sixth above each one. 2 84 CHAPTERVI THE SIXTHPlay each written note and sing a major sixth below it 5 ee PE Phe 2 pte ep Ponte lt Ie Shey Play the written note and sing the appropriate interval Mé.cown MBdown MBup MB up MBdown M6 down M6 up MEdown MGdown MGdown —MBup ba a vl wel Mel Mel MeL Me! Met NONRHYTHMIC EXERCISES Play the first note only and then perform the rest of the exercise without accompaniment. Check your pitch after completing each exercise,pa SS qe ee ey a6 aa Se "7 Se SS SSS = 86 CHAPTER! THE SIXTHThe Minor Sixth The minor sixth (m6) is the interval of eight half steps, or four whole steps, from any pitch in either direction. It is the “small” sixth, and we recommend shat before singing the preparatory exercises you sing the following scalar pat terns a few times to get the interval firmly into your ear: Aeon rl PREPARATORY EXERCISES Play the first pitch of each set and then sing the rest without an instrumental accompaniment. Repeat each set a least once THE SIXTH CHAPTERVI 87SOUND THE PITCH AND SING Play the written note on the piano and sing a minor sixth aboveit. 5 = — é < ee wh tsi sete “wut plod ade nes pe 4 = =e fe bo e mel mel m6 mel m6! mol met mel met k m6! a == : = 7 7 me) m6! mot m6] mét m6) mét mel mot = 2 sor : is 2 : 5 : 88 CHAPTER VI THE SIXTHNONRHYTHMIC EXERCISES THE SDCTH OGCHAPTFRVI 89Mixing Major Sixths and Minor Sixths Be very careful to distinguish between the two sixths by feeling the unique qualities of the small one (m6) versus the large one (M6). Although this sense he of difference may be purely psychological, it will insure good intonation. PREPARATORY EXERCISES Play the first pitch of each set on the piano; sing the others a cappella. 1 2 3 a 5 6 90 CHAPTER VI THE SIXTH | | CELE C LCL LTE ATLA eee a71aaaaa aSOUND THE PITCH AND SING Play che written note, then sing the indicated interval. MBdown médown MBup médown m6up MSdown MEdown méup M6up médown MBup MBdown to ¥ te x S Mel me! Mel MBL ms! mel_= at M6] meme Mt met omelets} mel MOL mt ome msl Mel mel ees fo S ° s mot mat MEI gt wet mat! nwt el Mat Malet Eo Sa =I = . = THE SIXTH CHAPTERVI 94NONRHYTHMIC EXERCISES Play the first pitch on the piano and then perform the exercise @ cappella. Check the accuracy of your last pitch after each exercise. a1 oe he Spas = = = —— 92 CHAPTERV| THE SIXTH “ECRTTEFT TELL LVGTAT UTE LTT‘Symphony No. 40 ‘Wolfgang Amadeus Mozart Se Symphony No. 6 ‘Ludwig van Beethoven a ‘THE SIXTH CHAPTERV! 9S#10) Octet in F major Franz Schubert Eo este tpi EEN EN IPN TPS an “Brindisi” from La Traviata Giuseppe Verdi Allegretto J. = 69 96 CHAPTER VI THE SIXTH ALELLELELELELVVADLTELECELLAVVVVVIGE LATTA eaeExercises for Performance MELODIES FROM THE LITERATURE ad Brausten alle Berge Johannes Brahms Briskly a2 Golden Mornings ‘Traditional English Carol Andante ‘THE SIXTH CHAPTERV! 93a3 ‘Mon Dieu (My God) ‘Anthoine de Bertrant Paschal de L’Estocart a5 Run Moses a4 Celut qui pense pouvoir (He who thinks can have) Jamaican Folk Song Quite fast a6 1 Remember Polish Tango 94 CHAPTERVI THE SIXTH DEDRTAGAEAALELVEADTLDLAALL ELLA AAAI TTT‘Symphony No. 5 Pyotr tyich Tehaikovsky 213 Children’s Games Georges Bizet Allegro vivo = 152 a4 “Tonight” from West Side Story Leonard Bernstein Quite fast SPECIALLY COMPOSED MELODIES EMPHASIZING MAJOR AND MINOR SIXTHS ‘THE SIXTH CHAPTERV! oFPUUUUUUUEEDEEUEUUULLLUL LEER EULULULEL EDS EUE EE LLUL ESOS SLED 98 CHAPTER VI THE SIXTH Gently rocking“4 it Must Bo Quite fat (4 vices) : Ludwig van Beethoven Ie must. be, It must be, yes, yes, yes, yes. It must be, yes, 3 yes, yes, yes. It must be yes, yes, yes, yes. Get out! Throw him out now! Get 4 out, get out! It must be. Yes, yes, Yes, Yes, yes, yes, yes, yes, yes, yes it must be, Repeat four times, then drop out a2 Cool, Not Lukewarm* Rather relaxed (3 voices) Romneven 11.8 ACW 2 = Repeat three times, then drop out *A canon whose text isa pun on the name of the composer Friedrich Kublau: kil (cool), nicht (not), lau (lukewarm). +n German, B signifies Bb; H, BE. We do not know if the use of the notes B-A-C-Bt (or, in German, B-A-C-H) was an intentional allusion to the composer’s name. 400 CHAPTER VI THE SIXTHAnti-Cherubini* Friedrich Kuhlau Repeat three times Welcome to the Month of May Franz Schubert Gently flowing (3 voices) 1 Repeat thre times A canon intending to extol the virtues of lesser composers, who used clear and singable material, as opposed to Luigi Cherubini’ chromaticism, THE SIXTH CHAPTERVI 101a. © Lord, How Long (Psalm 13) Quite slowly (2 voices) Georg Telemann 1 ‘second second time ue Ave Marta Wottgang Amadeus Mozart Quietly moving (4 voices) A+ ve Ma- tie a a . ve— Ma - i-a A 3 ve, A : ve— Ma - n- a, A + ve Masts a, Men Soa 102 CHAPTERVI THE SIXTH“7 Dona Nobis Pacem ‘Attributed to Mozart Catmly (3 voices) ae pa = cem, pa-cem; do - na no - bis do - na no - pa - cem. Do + na = SOW th pacem, dota to bse cem. Repeat tre times #8 A Drinking Song Robert Schumann Quite fast (3 voices) So Repeat three times pel VNRPleni sunt cool! vJosquin Desprez ES SF eS = v a Ple - ni sunt coe - : : - ok ple - ni sunt (No repeat) = 10 Contide tia ‘Anonymous (sixteenth century) cit. : vam— fe = cit, te sal- vam fe 12,3 Con-fi- de fi-li- a cn-fi- de fi-li-a & =. le--* 2 Repeat four times 404 CHAPTER VI THE SIXTHCHAPTER VII THE SEVENTH The Minor Seventh The minor seventh (m7) is the interval of ten half steps, or five whole steps, from any pitch in cither direction. The minor seventh is of great importance to the entire tonal system because it is a member of the dominant seventh chord, which consists of one major third and two minor thirds: m7 ‘This chord, and therefore the interval itself, demands resolution in a tonal context, where traditionally all sevenths melodically “settle down’ to a sixth: oo = ‘We shall study and practice the minor seventh for its own particular sound characteristic, however, so that when we meet it in nontonal surroundings (i.e., in many musical compositions of the twentieth century) it will present no difficulty—regardless of whether or not it is resolved or whether it is preceded or followed by another minor seventh or an even more dissonant interval. In the course of these exercises, we shall be made aware of the many different combinations of intervals that may be contained within the minor seventh, such as two perfect fourths, a perfect fifth and a minor third, and so forth, You should practice these combinations with great care so that they may serve as guidelines for you to “tune” the minor seventh well. Thy this exercise before any of the others: THE SEVENTH CHAPTER VI 105PREPARATORY EXERCISES Play the first pitch of each set and then sing the rest of the set « cappella. Repeat each set until itis mastered. LELELEP EERE DEEE ELLE OL ELTA EEE OEE ee 106 CHAPTER Vil THE SEVENTH .SOUND THE PITCH AND SING Play the written note on the pia nd sing a minor seventh abmwe it. => = Se Play the written note, then sing the appropriate interval. 7 down m7 down m7 up m7 up m7 down mTup m7 down m7 up m7 down mi? up mn? down m7 down ffs bes o o—— — be = zt FS! mrt mA ome De mth ae 2 bo — = : o— = = THE SEVENTH CHAPTER VI) 40o7mri mt nal m7 mv o bo % == 3 2 mat m7l tt mo te S- 3 ya m7 mrt mo7l omit m7 i ml m7 mt a a pee iS & s is zs 2 © . * NONRHYTHMIC EXERCISES 408 CHAPTER VI| THE SEVENTH FELEDEEEELELEDEDEDEDLELE LLL DDVVAVUTEL ETE UDTLEGGEEET ERED DADos The Major Seventh ‘The major seventh (M7) is the interval of eleven half steps, or five whole steps and one half step. Its the interval of greatest tension within the octave. The major seventh has come to be called “the contemporary composer's disease” because it has been used so frequently in music of the twentieth century. Tts use as a melodic interval before the twentieth century was rare and always within a musical context in need of resolution, usually by “settling down” to a sixth! re «tof, pe THE SEVENTH CHAPTER!) 409Today, consecutive sevenths, both melodic and harmonic, are commonplace, creating the kind of musical tension that composers of the past few decades have been interested in conveying. Practice the major seventh carefully. The nonthythmic exercises, as well as the excerpts from music literature, should provide many opportunities to become well acquainted with this interval Perhaps another short preliminary exercise will help to firmly establish this difficult interval in your ear: PREPARATORY EXERCISES Play the first pitch of each set, and then sing the rest of the set. Keep repeating cach set until the sounds are well implanted in your ear. 1 2 3 4 5 6 440 CHAPTER VIl THE SEVENTH aSOUND THE PITCH AND SING Play each written note on the piano and sing a major seventh aboveit. Play che written note and sing the appropriate interval. M7 down M7 down M7 down M7up MT.up MT down M7 down M7 up MT down M7 down M7 down M7 down ere be 4 THE SEVENTH CHAPTER VII 141wrt owt orl rt whl rt wt Mt wrt wml orl ort ba el wr] Mr) zl rt wz} url w7t rt ul ur wrt ba bas = -o g = == = a s ee 2 NONRHYTHMIC EXERCISES Play the first note only and then perform the rest of the exercise without accompaniment, Check your pitch after completing each exercise. a2 te fe a S SSS SS SSS tee a QS eS = | 442 CHAPTER VI| THE SEVENTH PARAADEAATADADVVLADALEEATALDAVADADATEDADAGADVATEEEEREDADODEESLPlay the written note, ther SOUND THE PITCH AND SING ‘ing the indicated int = # ba a es m7! rt m7 M7 mit wz m7} M7{ = SS 7 yj oS - eS ml url m7t rl mat mil 7d url url te be = = = m7 Ml ol ke wl mrt part ml mt ml = co fs oo - bo 7} m7} m7 M7 url mit ut — = — = = ut wrt m7! m7 il mt mil m7 to. eS = 2 . — Mt rt m7} m7 m7 url uit m7 ie = apts — =] ‘ boNONRHYTHMIC EXERCISES Play the first pitch on the piano and then perform the exercise @ cappella. Check the accuracy of your last pitch after each exercise. ef SS . be. b SS SS SSS SSS SS SSS SS SSS SSS 446 CHAPTERVI| THE SEVENTH CORTE E ETL LLAUDLALDLELEL EL LDDADDAVAUL TTT TAD URATLET EEE ADDOTHE SEVENTH CHAPTERVI! 444Mixing Minor Sevenths and Major Sevenths It is important to remember that there is a “large” (major) and a “small” (minor) seventh. Differentiate between them carefully, since pitch suffers greatly if these or any other intervals are mistuned; this is especially so of the larger ones. PREPARATORY EXERCISES Play the first pitch of each set on the piano; sing the others a cappella. 444 CHAPTER VII THE SEVENTHFi te be 3 te i Exercises for Performance MELODIES FROM THE LITERATURE at Polish Folk Song Happily o THE SEVENTH CHAPTER VI! 147,«2 “Contessa Perdona" from The Marriage of Figaro Woltgang Amadeus Mozart Slowly fa a3 La creation du monde Darius Mithaud J=88 3 —3— —. 3 a4 ‘Symphony No. 2 ‘Sergey Rachmaninoff Alllegro molto a5 “0 terra addio” from Alda Giuseppe Verdi ee 448 CHAPTER VII THE SEVENTH=6 “Conwulsion, Rage, Terror” from The Creation Franz Joseph Haydn =7 Well, Did You Evah? Cole Porter ‘Tempo di Polka a8 “1 Love You" from Mexican Hayride Porter Con moto SI THE SEVENTH CHAPTERVI) 44929 “Every Day a Little Death” from A. Liltingly Little Night Music ‘Stephen Sondheim = 10 Youkali (Tango Habanera) Mt. de Tango Kurt Welt, —_ at Pastorale from In Praise of Music 120 CHAPTER VII THE SEVENTH Paul Hindemith FELELELIELLLEDELDETLEEELLTEADETUDETEELEEETULELODEE OEE AD UDORORES212 Concerto Grosso No. 1, Fugue mest Bloch =13 Enigma Variations Edward Elgar a14 Wind Quintet ‘Arnold Schoenberg THE SEVENTH CHAPTER VI! 1209‘SPECIALLY COMPOSED MELODIES EMPHASIZING MINOR AND MAJOR SEVENTHS Quite fast Ng i 122 CHAPTER VII THE SEVENTH DPARVLTEEEVADAEELEEEELLEDLD DVT OEE CEQuietly, butin 2 THE SEVENTH CHAPTER Vil 123Quite fast bo a7 Rather slowly and leisurely ' 124 CHAPTER VII THE SEVENTHCANONS: 1 Viva ta musica Michael Praetorius : i? im _$ a : = va, vieva la massive, Vi-wa, vi-va ke mu-si-ca, Viva la mus Repeat thee times a2 All Who Hate Music Are Not Worthy of Hearing tt Johann Staden Repeat seven times =3 ‘Music, The Dispeller of Sorrows Paul Sartorius Repeat fover times a4 Glory to God Ludwig Gebharc 3 (a) 2,————_ Glo - ry tw. God. in the high - ent Peace earth and_good will, and _good will, to ward all omen, A - : oo ‘Repeat four times The fermatas in these canons signify the stopping places when the first voice has sung the entire canon the final time. THE SEVENTH CHAPTER VII 125as A Now Hymn Glambattista Martini 4. (oprano) 2. (enon) < (ov) oO ‘Repeat three times a6 Solid Truth Franz Joseph Haydn a 0 2 ® @ o CO] Repeat three times “7 Lacrimeso Woltgang Amadeus Mozart Me. I-dol mi-o. La - cri- mo 126 CHAPTERVIl THE SEVENTH — =_ = = = _ = = =- -_ _ _ _ -_ = = = = = = = =_ _ _ = = = = = Sa —_ = =< -_ _ — = —_— = =_ =< = = = = = = = -_ -_ —_ =_ -_ -_ — _-8 Lullaby Johannes Brahme es Repeat three times =9 A Pretty Bird Sits in 2 Tree Brahms =10 Parting ‘Charles Gounod 1 oy 2 oO Repeat four times at When I Know What You Know Franz Lachnar a Repeat three times THE SEVENTH CHAPTER VII 127ai2 As the Dew Awakens a Wilting Flower ‘Anonymous. Oo a > 4 1 2 8 Repeat four times a13 Hallelujah Anonymous, Repeat three times a4 ‘Two All-Interval Canons. Anonymous 2 a a ‘Repeat three times Repeat thre times a15 ‘Three Original Canons Repeat four times 128 CHAPTER Vil THE SEVENTH CTCL CCC TT TTT TTT ATL TTT TTT ATTA TTRepeat three times THE SEVENTH CHAPTERVII 129CHAPTER VIII THE TRITONE AND ENHARMONIC INTERVALS The Tritone ‘The augmented fourth (A4) or diminished fifth (d5), called the tritone, is six half steps or three whole steps between two pitches. Unlike all other intervals, it inverts only to itself As Because this interval sounded awkward and was certainly hard to sing, it was banned in medieval plainsong and early polyphonic music, and was called dia- bolus in musica, the devil in music. Even in the period of common-practice (roughly from the mid 1700s to about 1900), on which many of our harmony and counterpoint exercises are based, we find rules and prohibitions concern- ing this interval. Within the diatonic system, it is a restless interval that is always in need of resolution, which can be accomplished in the following manner: a nom PREPARATORY EXERCISES Play the first note of each set and then sing the rest of the set without accom- paniment. 430 CHAPTER Vill THE TRITONE AND ENHARMONIC INTERVALS SELLELELELELELERTELEELTLD VIVE EESOUND THE PITCH AND SING Play the written note on the piano, then sing a tritone above it. Then go back to the beginning, play each note, and sing a tritone belowit. 1 2 Play the written note on the piano, then sing the indicated interval. 85 down Adup —dSdown dSdown Adup —Adup— dup dup down dSdown d5doun ‘THE TRITONE AND EMMARMONIC INTERVALS CHAPTER Vili 134as] asl ast Ss o => Aal aah 5h fo fo Aa oslo NONRHYTHMIC EXERCISES Play the first pitch on the piano and then perform the exercise a cappella. Check the accuracy of your last pitch after each exercise, TLETTVAVVVVVUITEL AAT TULPLLCC LL LTV 4132 CHAPTER Vill THE TRITONE AND ENHARMONIC INTERVALSSPECIALLY COMPOSED MELODIES EMPHASIZING THE TRITONE Quite fast (all separate notes staccato) THE TRITONE AND ENHARMONIC INTERVALS CHAPTER Vill 133P (echortike) In 1, quite fast The Augmented Second ‘The augmented second (A2) is made up of three half steps, or one whole step and one half step, and therefore sounds like a minor third. In fact, itis often notated a8 a minor third. Many ethnic repertories, such as Balkan, Near Eastern, and Jewish, however, feature the augmented second as an integral part of their melodic vocabulary. Two examples are the “Hungarian major” scale: 6 SS 434 CHAPTER Vill THE TRITONE AND ENHARMONIC INTERVALSand the “Hungarian minor” scale (Ahavah Rabbah mode, Jewish): Harmonically, the interval warrants our consideration. As we have seen in Chapters I and II, the harmonic minor scale contains an augmented second between the sixth and seventh scale degrees; this is because in common har- monic practice the leading tone must be present to form a major dominant- seventh chord. So concerned were the original practitioners of our cigh- teenth- and nineteenth-century harmonic system that they built strict admoni- tions into their voiceteading rules about avoiding the augmented second by all means; they felt that this interval, like the tritone, was too difficult to per- form, Today, however, we can no longer avoid studying this interval since eth- nic repertories that contain augmented seconds are a growing segment of our musical scene. Practice these exercises diligently, for the interval appears here in ways that will be found in much of today’s literature. PREPARATORY EXERCISES Play the first note of each set on the piano, and then sing the next note 2 3 4 5 ‘SOUND THE PITCH AND SING Play the notated pitch, then sing an augmented second below it. SS Play the notated pitch, then sing an augmented second abeveit.NONRHYTHMIC EXERCISES aes SPECIALLY COMPOSED MELODIES EMPHASIZING THE AUGMENTED SECOND at Quite fast 436 CHAPTER Vill THE TRITONE AND ENHARMONIC INTERVALS ERTTTLTET ELL TTT UDALL ATE LTT TTT FFT TUTTI TTT TTTBate = SS SS ee —. ee The Augmented Sixth and the Diminished Seventh ‘Our study of intervals would not be complete without a brief discussion of the augmented sixth (A6) and the diminished seventh (d7). Although both inter- vals are enharmonic spellings of other intervals, the first of the minor seventh and the second of the major sixth, their use within augmented sixth and diminished seventh chords, two harmonies employed frequently during the common-practice period, makes it necessary for us to practice them. Play the following harmonic patterns on the piano and note the spellings of the aug- mented sixth chord and diminished seventh chord. Most commonly used aug- ‘mented sixth chords and their resolutions: a iit aE v AB if (talian) (also in (German) (in minor minor) ‘ony ‘THE TRITONE AND ENHARMONIC INTERVALS CHAPTER VII 187- AB * if iat iS ty . it i> rene iso in Subly fn Major ‘ a fined augmented © only) (Common harmonic and melodic uses of the diminished seventh chord: oe The intervals of an augmented sixth and a diminished seventh are most important visually and psychologically, for they determine upward or down- ward movement in tonal music: the sharped pitch(es) must move upward while the flatted pitch(es) must move downward, Contemporary composers ‘use these intervals simply to clarify the movement of a particular set of pitches, not necessarily because of harmonic considerations. In actual music literature we find very few instances of melodically notated augmented sixths, but harmonically notated augmented sixths are in abun- dance. The melodically notated diminished seventh is frequently used. NONRHYTHMIC EXERCISES = — +2 bea be fetrathe Ba — — — oy te 2 te be bebe eee 438 CHAPTER ViIl THE TRITONE AND ENHARMONIC INTERVALS ERTVUTTL TL EDUVUVADT ELA LTV RU U VRAGENSPECIALLY COMPOSED MELODIES EMPHASIZING THE AUGMENTED SIXTH AND DIMINISHED SEVENTH THE TRITONE AND ENHARMONIC INTERVALS CHAPTER Vill 139a2 Moderately slow quarters ——~ Like a waltz, but in 3 2 ESS a4 With good spirit, rather fast 440 CHAPTER Vill THE TRITONE AND ENHARMONIC INTERVALS ATLALFTFL LLL LEV AE LTTE LT LTA V VAGINAExercises for Performance MELODIES FROM THE LITERATURE a1 ‘Symphony No. 5 Ludwig van Beethoven Andante con moto «2 ‘Symphony No. 4 Gustav Mahler “3 Riceroare from The Musical Offering Johann Sebastian Bach ee THE TRITONE AND ENHARMONIC INTERVALS CHAPTER VIII 144a4 “Maria” from West Side Story Leonard Bernstein a5 Violin Concerto Jean Sibelius Allegro moderato a6 Piano Concerto No. 24, K. 491 Woltgang Amadeus Mozart 142 CHAPTER Vill THE TRITONE AND ENHARMONIC INTERVALS FULEDELLLLLVEVELELEEL EEL UVVVAVVIT EAE27 Was soll der Zorn (What matters the anger) Hugo Wot Cello Concerto Frederick Dative DUETS ‘THE TRITONE AND ENHARMONIC INTERVALS CHAPTERVII] 143444 CHAPTER VIII THE TRITONE AND ENHARMONIC INTERVALS CLEEVULELTLEDEVLELTETELO LLL TLUVUVULT ELLER RRDERROEEOP EDO ODODBOOSETHE TRITONE AND ENHARMONIC INTERVALS CHAPTER Vl) 445— ——— 146 CHAPTER Vill THE TRITONE AND ENHARMONIC INTERVALS ATTLILTICC1114114191999000099919191999400099909000060600060044484848.CHAPTER Ix OTHER SCALES Modal Scales and Other Scales Now that we have considered all the intervals that appear within major and minor scales, as well as the tritone and some enharmonic intervals, we can turn our attention to a few other scales. These scales—modal, chromatic, wholetone, and octatonic, as well as folk and synthetic scalar configura. tions—have come into use with increased frequency within the last hundred years or so, Melodies based on modal scales have been composed for hun- dreds of years, but since the Baroque period they have not been a predomi- nant part of the Western classical repertory. With the dawning of the twentieth century, however, we have seen a revival of interest in modal writing, especially in impressionistic music. Similarly, with the growing interest in folk music, eth- nic scales of all types have come into the consciousness of Western composers, Because these various scales are a major fact of life in much of the music that is currently heard, we will treat them one by one in this chapter. Modal Scales ‘SCALE CONSTRUCTION AND NONRHYTHMIC EXERCISES Play the first note of each scale or nonrhythmic exercise on an instrument, then sing the rest of the exercise, Check the notes after you have repeated the exercise at least three times. oo “By synthetic we mean scalar configurations made up by composers, consisting of non- ‘waditional patterns that suit the composer's particular purpose. OTHER SCALES CHAPTER |x 447baa oe o a5 o* —s SS SS] espe Poe ipe TE een speed ‘You may begin a modal, synthetic, or another type of scale on any pitch, but you must, of course, be careful to use the prescribed pattern of half and whole steps of the partic- ular scale, 448 CHAPTERIX OTHER SCALES SHTTTTACE TTT AT TTTALLLAeolian (Natural Minor) a4 480 CHAPTER IX OTHER SCALESMODAL SCALE COMBINATIONS The following exercises will test your knowledge of Lid che exact makeup of the rent modal scales as you modulate fram ane sca to another. Sing the first two exercises carefully and then follow the directions for creating other combinations of scales. 1, Starting on the pitch D, sing a major scale up, and then a phrygian scale down (and vice versa), ie pe el 2. Starting on the pitch C, sing a melodie minor scale up, and then a mixolydian scale down (and vice versa) ee 3. Starting on the pitch E, sing a lydian scale up, then a dorian scale down. 4, Starting on the pitch A, sing a locrian scale up, then an aeolian scale «town. 5, Starting on the pitch Bb, sing a major scale up, then a mixolydian scale down, 6, Starting on the pitch Fy, sing a harmonic minor scale up, then a phrygian scale down. Now practice in a similar manner: Now make up your own combinations, SPECIALLY COMPOSED MELODIES EMPHASIZING MODAL SCALES a Phrygian OTHER SCALES CHAPTERIX 184a2 Lydian a3 Mixolydian a4 Loerian See Se ae Other Scales Repeat each of the following scales at least three times, slowly at first and then, increasing your speed. THE CHROMATIC SCALE 452 CHAPTERIX OTHER SCALES OT TTITIT TCT T TT ATTA TOTTI TTT TTT ae aaaJUNIE THE WHOLE-TONE SCALE THE OCTATONIC SCALE ‘This scale has the same intervallic relationship upward that it does downward, but it can “modulate” between its two versions: 1) whole step, half step, whole step, half step, etc., and 2) half step, whole step, half step, whole step, etc. SYNTHETIC SCALES Sing these patterns purely by interval. Do not rely on second guessing! OTHER SCALES CHAPTERIX 153Whole-Tone Scale at SPECIALLY COMPOSED MELODIES EMPHASIZING WHOLE-TONE, OCTATONIC, AND FOLK SCALES. 454 CHAPTERIX OTHER SCALESns R_ OTHER SCALES CHAPTER IX 155PRUEEEEEDDASDSULUELELDD DDD DLLLLUELLDD DDD DDELEU LED DDD DEED EES 456 CHAPTERIX OTHER SCALES “Hungarian” or “Gypsy” ScaleExercises for Performance IGHT FOLK SONGS BASED ON MODAL AND OTHER SCALES =1 Kason—Tartar Melody (Mixolydian) 2 Southern U. S. Folk Song (Dorian) = =3 Wish Folk Song (Aeolian) a4 Personent Hodie (Aeolian) OTHER SCALES CHAPTERIX 157«5 a7 Greek Hymn (Phrygian) Down In That Valley (Phrygian) ‘These folk tunes are related to traditional modal melodies but differ in one or ‘wo intervals because of the oral ethnic musical traditions from which they are developed. Polish Folk Song (Folk Scale) ‘Armenian Folk Song (Folk Scale) 3 458 CHAPTERIX OTHER SCALES OORAAGAEAAEOAAAAAAEACECCLCAEACAAAAADATC ETTOTHER SCALES CHAPTERIX 159SOOO EOE ORR E AEE EEE EEE SESEOLEUULULE DPE REEL UUUE EE De eee eee. 460 CHAPTERIX OTHER SCALESOTHER SCALES CHAPTERIX 164CHAPTER X CHORDS Chords and Simultaneities Now that we have mastered all our intervals and scales, let us sing some of these intervals in simultaneous combinations. Usually we think of chords as stacked thirds, but in the twentieth century composers have experimented with some wonderful chordal structures that are based on all of the intervals we have studied. In order to get your ears accustomed to these sounds, study the exercises in this chapter carefully, repeating each one as many times as needed. We suggest that as a class you sing the series of single pitches that pre- cedes each succession of chords before you attempt to sing the actual simuk taneities LIKE-INTERVAL CHORDS ‘Sing each succession of chords at the pitches that are given, then select three additional starting pitches and sing the transposed series. Class sings: first the women, then the men, then together. Finally, mix up the parts between men and women. 462 CHAPTERX CHORDS *4TVUCLATTTITTTLTIVITITITITTT TTT TTA aaa lkeJTS odode Minor Thirds Perfect Fourths oe bo ~~ —_— bo Gea a gig ty a f= wectieg a ches => i @#}7;}§}§}§&» © SGA Sey aahMinor Sixths Major Sixths Minor Sevenths Class sings: a1 oS = Class sings: Glass sings: 164 CHAPTERX CHORDS. EECEVVTTLELEVAVEVETTT ITT TVA VIA ITT TITIAN TaT aiaGlass sings: Major Sevenths Class sings: OS = i= ES DIVERSE-INTERVAL CHORDS In the following paired exercises, first sing each chord as a broken chord (called an axpeggio)—that is, each note separately from the bottom up and then from the top down, as in Example 1. Then as a class, sing these same chords as harmonic simultaneities, progressing directly from one chord to another (Example 1b). aq aL Ee! CHORDS CHAPTERX 165.PLANING (OR PARALLELING) EXERCISES. Choose any of the chords that are given above and perform them in the fol lowing two ways: ‘Sing the chord up and down as an arpeggio and then transpose it up a step, performing it in the same way. Keep transposing the chord up a step each time. 166 CHAPTERX CHORDS. “ATTTLLIFTFT LT VVULIIUT TOT TTT TUTTI eee22 Sing the chord up and down as an arpeggio and then sequence it up or down a half step, a third, or any other interval that you or your instructor chooses. Because of vocal limitations, you might stop transposing at the interval of a third in both directions since the compass of the chords is so large. a ete. Asa class, choose any of the chords given above and perform them by building the chord from the bottom up and then holding it before sequencing it up or down a half step, a whole step, a third, etc. ote ate JOS o BH |PART TWO Rhythmic StudiesCHAPTER XI LEARNING ABOUT RHYTHM Definition of Rhythmic Terms Music, like dance, is basically a temporal art. That means it is dependent to a great extent on the dimension of time, through which it passes. The way we organize music within a temporal, rather than spatial, framework is called rhythm. The word comes from the Greek rhythmos, meaning flow or continuity Plato said, "Rhythm is ordered movement.” Some other standard dictionary definitions may help us further to understand this important concept: Rhythm is the organization of pitches in recognizable patterns. Rhythm isa “periodic quality"—the regular and irregular of all musical movement. Rhythm in the broadest sense is the organization of duration. One isolated, nontepeated sound cannot constitute a rhythm; however, it can become a unit of a rhythmic phrase. If this single unit is combined with others of equal duration, it becomes a pulsear a beat The organization of pulses into groups or twos, threes, fours, etc., is called ameter, Meter is achieved by placing a stress or an accent on the first pulse of each pattern, What we mean by a musical accent is any kind of emphasis on a beat or pitch that makes it stressed or more pronounced than the rest of the pat tern, Without some kind of accents, whether regular or irregular, notes become simply a “monotonous series of pulse-groups,” as Paul Creston puts it. There are three basic ways of achieving the feeling of accent in a pulse grouping, notwithstanding the natural tendency to group irregular or regular sounds into patterns of twos and threes (for example, the ticking of a clock or a bammering outside our door). They are 1. Dynamic accent—performing a note louder than the others: ‘Overture to The Magle Flute \Woitgang Amadeus Mozart Alege L L 1 f LEARNING ABOUT RHYTHM CHAPTERXI 4171OO ‘Symphony No. 9 Ludwig Van Beethoven 2. Agogic accent—making a note longer than the others: 38. Tonic or pitch accent—having one note higher than the others: ‘Symphony No. 4 Felix Mendelssohn Allegro vivace 1 ce ° eg ‘There are other ways of achieving accentuation, for instance by harmonic or textural weight—i.e., harmonizing one note with a greater dissonance or with greater density of texture than the others. This is called either harmonic accent or weight accent. Another accent is called the embellishment accent because itis the embellishment or the ornamentation that calls attention to the partic ular note, ‘Symphony No. 103 Franz Joseph Haydn ‘The metric groups of beats, with the first beat accented strongly or some- times almost imperceptibly by any of the above means, are called measures. ‘These are separated from each other by barlines. A measure or a bar may be called the distance between two barlines. ‘The speed with which the beats occur or are performed in music is called ‘empo. At the beginning of a piece of music, we may find a verbal description of the speed or tempo at which it is to be performed, or a precise metronome marking. The metronome marking indicates how many pulses or beats are 10 occur within every minute of a particular movement or passage. For example, the indication J = 48 means that the piece is to be played slowly, for only 48 beats (in this case 48 quarter notes) should occur in the course of a minute. On the other hand, a passage marked J = 138 will be played fast, since 138 172 CHAPTER X| LEARNING ABOUT RHYTHM AT UVGTTLETT LR VAUGUTTITT ITT TATA VATAquarter notes must be fitted into 60 seconds. The marking 4 = 60 can be tested without a metronome, for the unit specified (here a quarter note) will have a duration of one second and may be regulated by a watch In older music, the character of the music and its notation determine the tempo. As for tempo indication by verbal description, we must rely on our own perception of the music and how to achieve greatest clarity of performance. We suggest that if there is no metronome marking, you gauge your speed on the smallest units of notation and calculate at what speed these fast notes would be most clearly defined. Similarly, in a slow piece, the small units must not sound rushed, yet must convey the feeling of movement and “inner beat” that is so necessary in giving a slow work clarity, intensity, and vitality, In the Haydn example, tempo must be determined by the speed with which the sixteenth notes can be performed with clarity. Otherwise, the work takes on a frantic quality ‘Symphony No. 99 Haydn In the Bach excerpt, the thirty-second notes must be the measuring rod. Although the piece bears a slow marking, Adagio, the eighth notes must be steady and not drag. Yet the thirty-second notes must not be played so fast that they give any kind of frantic feeling to this noble and rather pastoral piece. “Aria Duetto" from Cantata No. 140 Johann Sebastian Bach Vat pent Sina oper ee) LEARNING ABOUT RHYTHM CHAPTERX! 173,Table of Rhythmic Values You should firmly implant this table of rhythmic values in your mind so that reading rhythmic notation will become second nature during the course of this study, Rests Notes Whole ggq¢0904¢4094040440¢0¢¢06¢0¢¢¢04004aa4as e e e - - - - - - e e e e e - e e e - - - e e e e - Thirty-second Sixty-fourth == Fr SS =i cpprrrr lm Whole = 2 half = 4 quarter = 8 eighth = 16 sixteenth = 92 thity-second = 64 eixty-fourth notes 174 CHAPTER XI LEARNING ABOUT RHYTHMA dot following any note elongates it by one-half of its own value. Rests Notes Hl eee Less frequently, we encounter a note followed by two dots, which elongate the note by half the value of the note plus half the value of the first dot. These are the most frequently encountered double-dotted note values: Rests Notes Sar eS NONMEASURED RHYTHMIC EXERCISES We use a rhythmic or time signature to indicate to the performer how the piece is rhythmically organized. The time signature is usually constructed of two numbers. The upper number signifies the number of beats in a single measure; the lower number tells the unit of measurement. The signature V indicates that there are three quarter notes in a measure, while J signifies that seven eighth notes make up the measure. For our first exercises, only the unit measurement (ower number) is considered, so that ¥ will mean a quarter note gets a beat, or § an eighth note, and so forth. a ee eeemx x x x ee x x x In the following exercises: a. Set a metronome on 60 and let each basic unit equal one “click” of the metronome; then perform the exercises. (If no metronome is available, uuse a watch or clap a steady pulse equal to a unit note per second.) b. In the classroom, one half of the class may clap a steady beat while the other half performs the exercises ¢. Ifa metronome setting of 60 (or one unit per second) is too fast, begin by selecting a slower tempo and gradually work up to 60 and, eventually, faster, . Repeat each exercise at least three times. €. Use the syllable “ta” or “doo,” so that the articulation of each note is very clear. dd ddl sisi id dlilid dd. il odd da dd dlls d cid dlis i lil ddid lilid dlidiiii sd . sils il Lod d Idd Jd J dese di didi e do di ddd Ji dio ddd dd didi eee SIs deel a ell With rests (clap hands for the rests) elliddii- did tli Jile il a tlid J 7 6 dtlide dd. Wl 476 CHAPTER X| LEARNING ABOUT RHYTHM SLTLULELE LLL LLU LIT LTTE aewat itlilti) - Ji fd tld Jeledd Bere iyi. Bete sc J J J ddl d Jd de peemieners tl J) di Ji J Sd wetJ iss rl i di lildidi. Bere) I- J Jd di Jt ded cd = 60 WMI Ayommnin. ADAMANT Im QP Oe mimins WOS)SRRD Boas) wild) Abii ia Ti meio LEARNING ABOUT RHYTHM CHAPTER! 177CHAPTER XiIl SIMPLE (COMMON) METER Simple Duple Meter, the “Two-Beat” i Measures in duple meter contain two beats. The most commonly used two- beat meters are #,4, 8, and of these, we will probably encounter ¥ more fre- quently than the others. Practice all three in order to familiarize yourself with both the smaller and larger rhythmic values PREPARATORY EXERCISES Repeat each exercise several times, always conducting the"two-beat” pattern until it feels natural. Then proceed to the regular duple-meter exercises. For both preparatory and regular exercises, begin rather slowly, approximately 4 = 60, J = 60, or D = 60 (the basic unit = 60), increasing the speed each time you complete an exercise until you reach an eventual speed of J= 120, J= 120, or = 120 (the basic unit = 120) 142 ld ld ld oi oa etl WWI od sfJ ld Wed ili etl J ie td io CTE TCAAAAAAAALETEAABAADAGDAAADAAATATADAAGDAAAGAAGAATTT TAA 178 CHAPTER XI| SIMPLE (COMMON) METERJa) Meee i) i) ii ld Wil on eee iS Wd deo ras ie) ii id id i 2 dl eft WJM Wd ld Weld etd WI Wi Alot eA DIU I iid oll rELNQNI TIN I NOI Ol ll eh ITT QUIT QT dl REGULAR EXERCISES All exercises should be conducted while they are performed. ‘There are two quarter notes to each beat. Remember that J=J J, J J= JT, PALO WW WN Wd 2G) J 1F)) WSeloia| ) S yl) Wd SIMPLE (COMMON) METER CHAPTERXII 179e FLINT LADD NT dl a ETDS DDL NL DDD ITT D0 Be @ PPP aPePaPe Pinel PPP PP ark arr aires iPr ene || Sixteenth notes are not difficult if you remember that J = 772 and J = S73 or oe EID Lede DTD) Dos Dll rEDDNTD INT DL LD TI Lt dd TD! | DIN LN BD do Sil RL A DI? ly SNR FR) TH As JT ALT) 1 IBLE) Dll ae ee eee eee eee | wed IJ did ddd edd ell wR IID TID Md Qld OQ! ld el eB NIT ST LTT dle ll 180 CHAPTER XII SIMPLE (COMMON) METER CAAA EAEELLEAAAAAAEEAEEOCEEAEAAAAADAAAEAOOOE44AEOO4OOOOOOOOEAAAaAaEOOHU Since the eighth note gets one beat in these next four exercises, you will encounter thirtysecond notes simply because of the smaller time values. These must not be feared! J]= S770, d= FR I-13 uB SINT NTIS) STAT Il wed (0D 1D ISDA SGA Fy iy Il oS ovat cal Sy || Ts TAL Simple Triple Meter, the “Three-Beat” \ — 3 1 1 Measures in triple meter contain three beats: 4,4, 4, and fh (the last is relative: Iy rare). The most commonly used of these signatures is 4; therefore most of our exercises are in that meter. However, you should also practice the other four time signatures carefully 60 that you become accustomed to their visual aspects as well as both the larger and smaller rhythmic values they contain. PREPARATORY EXERCISES Repeat cach exercise several times, always conducting the “three-beat” pattern, until they are all completely mastered. Then proceed to the regular triple- meter exercises. Once again, begin each exercise slowly (the basic unit = 60) and gradually increase the speed so that each can be performed eventually at a much faster tempo (the basic unit = 100). ASW od JJ ldo ie ied dll SIMPLE (COMMON) METER CHAPTERXI! 4284afl Widli Wild el die Lies el luis i lu ellie didi d x moo ® mo Id) Jlddedolded J JINWIDAWII I J eH DID eo oh LID DL 1D): " eae 3 eo eo 2Jeil JIMS LISTS DAD DN DW ld Wd dud) ITT did ll 482 CHAPTER XI| SIMPLE (COMMON) METER CRADRAAAALALAGARLADGAAABAALECAAARADADAAAEEEEADAAEEEE Eee eeeTW REGULAR EXERCISES perce] Poi l Lidl dsl oie Jd Ndi suse dd side ide le od il PJM Wil i ieee i j AAA ddl le dd de ddd lot ell BRINN SUA Ue Jl ot TRI i dee dd ill PADTIADI WO ANN oF dee | dee JST ID) | SL | | I In the following four exercises the half note gets one beat; J=J J, J= 4772 Se ee lee teal wb dd ilo > deities d lide ide ddd le dl abd WALD dd IN d) ddd 2 abo Wald MT. WOU 2 dss i700 ITIJ4 lo 7 Ml eines © (COMAMAOAN METER CHAPTER XI 183ef STI Il (09d Ie TT Il wEJ DIL LATE DASA AT 177 OTT BD UAT TET 60 | 80 oll 8 SSNS Tidy FRR ARATE SF» BTL TA al Even more black ni when the sixteenth the next set of four exercises; )= 43, )= Fs of FTAs RAS Ay el eB IFS UG) AIA of UTE FSB ERR RII of [BS Said APs |S BD Ral i | note receives one beat, as in Simple Quadruple Meter, the “Four-Beat” 184 CHAPTER XIl SIMPLE (COMMON) METEReee} the preparatory exercises. However; #and fs are quite common time signatures ay pular signature in the Renaissance and Baroque periods em all carefully in order to accustom ler rhythmic values in each ee ° 4 o a > ao _ a ea — ° eid. J ld stiis WAU Tl dt PREPARATORY EXERCISES Follow the same directions as those given for the duple- and triple-meter exer- cises: repeat each exercise tuntil mastered, and perform it (as well as the regu lar quadruple exercises) slowly at first (the basic unit = 60), eventually reach- ing a faster tempo (the basic unit = 100). J? le Ic [Je Ade los Hh dddle Wosd i d i. l od wid Wood te |eid JJ ld J lls Jee J ATTIRE DIL WT dd ll abl DIN NNDEIWNIIA JI. ll REGULAR EXERCISES A quarter note gets one beat in the first eight exercises. EIR TIN IIT Ll abl d RIN ded We dd lll ofl JIL LLU Ls Te ddl di eA ADIN) GN TG | BEG ll eb l Bl lt) (GL ld ft dll oh)? S02 (Tt TdT lt ld J ST J ll PALIN IS WI TN i A FITS SEBS Dy IID ll eA IST J Dd |) ST | TUL WAT) eel lt FAI 486 CHAPTER XIl SIMPLE (COMMON) METER 2 ee a a en Oe Oo oO Ob DO Ob 6 O 6 OOO OSS HHO OOOO?ATMA DIED bd SRT BO ED eh OTD FB DE d i J GS I {GE Ba OR and a a4 DSS SOE 7) SEE SBA ab FRSA N EA IRR a SUSE FR TER ERT Flo ot of STS FRR TRA al ot DSTA TERA BA Bos Alpe In the next es the half note receives one beat and the bracketed whole note is held for four beats: x =J 4 J J ee ee el wade. lo o Id ddd d Weds- Md ddd de ll wa dIdIIJ led ddd ld- 6 ddd eV d- lie Il eh II De ITT AN J dd JLT ONAL iid > lhSyncopation Syncopation, which literally means “cutting up,” can be described as a situa: tion in which the metric accent occurs on the normally weak beat instead of coinciding with the regular metric pattern of accentuation, It may be called a displacement, and in these situations it is important to note that syncopation results when the pitches fail to fall on the beat with frequency and consistency. ‘Syncopation obscures the basic beat, and in some nineteenth- and twentieth- ‘century pieces it even has a blurring effect on the rhythm. Syncopation can be accomplished by: 1. tying over the strong beat (which in ¥ and fis the first beat and in 4 the first and third beats of a measure): FIIs el ow LD dD dN tl ao) die iiiet «LiL Mee As id ll dda 2. placing a rest on the strong beat: Billede lds did dt BIDE ELD oe DL db DLL? BALL ds dbl Wile 3, placing an accent on the weak beat: PLU Weed e dd olde MAT PI JILL igh SLI LQ. Pi segledssledel JL Jide 188 CHAPTER xii SIMPLE (COMMON) METER AGATA AET ETD DAADATTT CATA TAADAAAIAT ITAA har eaeancusis ce pensation (Upbeat) Wid de PE ! mln Ninn EXERCISES IN SIMPLE METER WITH UPBEATS AND SYNCOPATION ‘Two quarter notes to the measure. ELM Ide be I i dl 2 LOT LP RITUAL Ll del oF) MIST MIT FG TL Old ll eB DIU DIDI dd DTT Il ‘Three quarter notes to the meas sEL IDI SD) LN DIS o AL SLIT TDA dl PRL DIDI Ds DID I oR DIDI Ji dt bebe) LD) ell 7 eee)Four quarter notes to the measure. Ad DLT DID dled OLA Wd Lh wh LIL R DTN AL I Lal whl Ld STU) Ld DDS Ia eh lll d? UI dD de DID) AI LA ‘Two eighth notes to the measure. eS DIST Wy AFF ys AFLLATIIT lds 7 Sl dal we MAR TD FLAT wbdra Aly dy ly AlAs dldy ALT TAAL Dall 8 A FRY Fy FAB LD ALTE Tiay dd 8 ‘Three eighth notes to the measure. DELILE GRA BDA EDEL wh DINED Di Aol dy BD) FREE BR al eR OBO BAA DBRS STs Glas al ooh S77 dy ANA AT ALD dy El Thy Sl Day by STE Daa gry Ady droll 190 CHAPTERXI| SIMPLE (COMMON) METER CHTTTATTITTTTTTATITT TTT TTT TTT TT TTT eet— — — =a => —> — — — — — — — —— — — — = — — — — — — — — — — Ad Four eighth notes to the measure, 4h s = shy NBD nid! AGA EUAN DAM STAID Be Woosbahsss Boorkr¥ors Porslsroibserdoos Bctaastelons EEE Da of SITU SED ir AN vd wea) BD) BAST ds DI dvs dl Fay diby Ald vil Irregular Division of a Beat in Simple Meter Up to this point, we have divided each beat into two or a multiple of two equal parts: gad Each beat may be divided equally by other multiples, such as three, five, seven, nine, or more, in the following manner: mn ornwe. 4 eighth note wiplet quarter-note triplet oo «waded halfnote triplet SIMPLE (COMMON) METER CHAPTERXI 194less frequently: 5 do. sixteemth-note triplet , LFF acts wipe ‘ pyre Je dada d _— sixteenthnote quinmplet de PPT) gnats aati odd dd quarernote quintupler 2 By Seven J = J J 2 2) | Z 4 sixteenth-note septuplet 1 J = FTTITTY eightncieseprapet ° TAU IND eacerteeteaae The above are the most frequently encountered irregular divisions and are featured in the following exercises. Further irregular subdivisions will be intro- duced in Chapter XV. PREPARATORY EXERCISES Practice each exercise many times. In order to achieve clarity and evenness say aloud the numbers that reflect the subdivisions. Do not conduct these exercis- es, but set a metronome and clap at about 50 for the basic unit. When a rest occurs in any irregular division of the beat, say the numbers for the sounded notes, and be silent for the rests, or clap during the rest: Sa TT) 780503 85 (clap) (clap) (clap) Limmmanmm is 192 CHAPTER XII SIMPLE (COMMON) METERnoms a ehrhTn Jl a . Jou) Tims imi TT). ammmmAmTs mimes re mmsan WHIMITA TIT sir SlittiighreiTe ran iJ tmarmiinmoii 1) SRR Du J ail) Mn amoama wf. Jai J Ian 7 ;i io e H ‘h 5 f eo ] a a emant © (AAMMORN METER CHAPTER XI 193.Remember: if you are using syllables to perform the irregular divisions, clap the rests; if you are clapping the notes, recite a syllable whenever there is a rest. ATT aaa po add J)ede Lee) ETI LAF RR oa JOT —7— RI ATA dd A Nae 7 A 7 a A wATHIN ATION ATTA TOT RhaimmAA Maso RhhimnA Washo REGULAR EXERCISES Practice each exercise many times until the subdivisions are absolutely even. ‘The greater the subdivision of the beat—especially the septuplet—the slower the practice tempo should be. In these exercises, it may help to perform the triplets, quadruplets, and septuplets by saying the numbers themselves in order to assure greater evenness, Conduct all of these beat patterns using the conducting patterns pictured on previous pages. 194 CHAPTER XI| SIMPLE (COMMON) METERLi Imm mel AM Mine Mme is Widow us eda hl gees) (70) hash si IU We Dit ae Mise Ms ds dll fore attempting the next, ei, PWS). ws Td oe WIL NWA ons shld se ouTT a MITT Tad wal) LUI yd - et MMII BI ss ae iwi al 8 o 3 3 eo re eo eo . . aid al aod rr 24 LUST TTT + IND TTT TITY i dT ea TW USL fle a UT J - LUTON DTI TIT | JTLT STITT LITT LTT oo ld JJ WS TI TT 1. WT. JL JT J Ws. TILT - - 196 CHAPTER Xi| SIMPLE (COMMON) METER, TTVTITTITT TTT TTT TTT TTT TaalWU eee SFL FT J ll eg AMMA RAR NEI Boma ATE J ae STITT J de ‘Three beats (o a measure, with five or seven notes occurring over the course of two beats, wh) STII ANL DTU IIT DD TTTTAA 2 wl) DDD TIS wb) ds MITTS. abo J JIT JID J dle Ul RR Ra SS aA SE) Se Se BS — ee aBefore auemptn ngine an ih four beats to cach measure revi practicing fe, even counts over th of an sn Chan me beats. will) TT TT 2 JIM OMT TT oAL STII ow ITI dd A sod JTTD| SERS. IIT GG SES STE wh LDU ON NITRA II 498 CHAPTERXI| SIMPLE (COMMON) METER ee ti kg Aa hh nehnanhsannadaaansCHAPTER Xill COMPOUND METER Ithas been said that music is “either song or dance” (Plato). There are many dances in which each beat is divided into three rather than two subbeats or units (gigue, tarantella, saltarella, etc.). In simple rhythm, these would be notated as triplets. In order to create a more individualistic, regular triple feck ing within each beat, we use compound meters, which were developed many cen- turies ago, We arrive at compound meters by multiplying the upper number in simple meter signatures by dhree and the lower number by two: ¥ (simple) ‘becomes § (compound); { (simple) becomes § (compound); { (simple) becomes 8 (compound). When compound meters are found in slow music, for instance a largo in §, 4, 4 time, the eighth, quarter, or half note gets a beat, yet the grouping will stil have a triple feel ‘simple (common) and compound meters conducted in 2: tll io AN 12 ia 2 5 ‘Simple (common) and compound meters conducted in 8: 3 do {77 COMPOUND METER CHAPTERXII] 199,Simple (common) and compound meters conducted in 4: [IN] LS Ls tS init} 8 df) or DP BP ome FLL dd or JN 2 becomes becomes fe 4 becomes F 4 becomes {8 4 becomes # % becomes Compound Duple Meter (§, {, &) PREPARATORY EXERCISES Practice each exercise several times, initially at J. = 50, later up to 4. = 100, always conducting the pattern while performing. Be sure that each accented beat contains three equal counts. (Al od i oi i od i ee ee a ere I ofl od ids i iT db I ee ee ee ee eee | eh ITI ITI WL 2 oi IT WTI) lod 200 CHAPTER XIII COMPOUND METER awe ee PEA AAAGATEEEEAETTETVVAQCAVIFTT TTT VTL ETT TeaTTIW Wd 1 iTd i ITM TTT iT ITAA odd (FT) 2 blk IT ee ee eee) | afd) J DIT. WTR diem dl 28 AT) TT NTR DATTA bd ll REGULAR EXERCISES lowly at ETL DL TDL DTI STI Dd del e8l DTDs DTS DDD Ld dW DITO 8A dL FTL WTR AT Il RIT AL DUT SAT dd IT RTI ITD J METIS ddl Ss compu METER CHAPTER XIII 208 JSS III IEE08 fl J ATI TTA TIT T Tl STAM NIP UP bl SDT A Daddy lel ded PTD dall oS DD DIMI Tl ded de DD wh Jy TAS AT Dd DTI DIL del wo 8 ITD Dd ITI TI DTT Ol eS SH) MITA DDT IT | TD ded Sl o8d Wd SNL ITT DIT TL ld dell eA TDD TU A DITA whl 2 WIS Wl ddd. DUTT a De ll of Fly ila dy JT) y GA by FULT oS LIT Dd I DDD II ED ITD Lh 202 CHAPTER XII| COMPOUND METER,WA eb FDL UD SDL dT added a did daed'd e. Teds ‘The use of hemiola obscures the rhythmic regularity of compound meters by switching three to two and vice versa. Hemiola patterns are especially preva- lent in certain genres of music from the Renaissance period, and have been used extensively in music composed from the eighteenth century onward. Here are two examples from the literature to practice; in these excerpts you can feel the rhythmic shifts very strongly, a factor that will explain the practice of the hemiola better than words ever will. ‘Symphony No. 8 Johannes Brahms 123456 125 456120 456 JSF DI Utd ol Wd Wale “america” from West Side Story Leonard Bernstein could be spelled: sTM al) a ToL Compound Triple Meter (}, {, i) PREPARATORY EXERCISES Practice each exercise several times, always conducting the pattern while per forming. Be sure that each beat contains three equal counts. Mod died Wo elo ld died do dd fla dio dud Wel COMPOUND METER CHAPTER XIII 203