iatonte Solfge Syllables and Scale-Detreo [Numbers in Major Keys Melodies ean be sung wth slg lables o seale-degree numbers. “When sing se degrees sings" on scle- dare seven to retain the consistency ofa single yale ange teach ele degre, Diatonie Solfoge Syllables and Seale-Deyree [Numbers in Minor Keys 1 lage ese ge lables are asigned as if the music were itn jn th: major key withthe same tonic fr nal), but wid 3 Towered along with sea degrees 8 and 7, depending on conte) and sven ditne ible Sing "moh “teh and Te rete than “a? “tay andy" Notin the example below ta although aden do ot appar before the thirst and seventh notes, the sele-degroe umber india that dey bare bee lowered when compare to the major key 2 Chromatic Syllables and Seale-Degree Numbers ‘The chromate, sealedegree ymbols # and b mean “wel” and “were? respectively with eoresponing vowel enings to indicate ‘hedieton athe altensin.Noteinthe example below that Dan are the sane pitch elas but ae assigned diferent las depending lon fhe are considered ta be aed orlewered notes. THE MUSICIAN’S GUIDE TO AURAL SKILLSTHE MUSICIAN’S GUIDE TO AURAL SKILLS Sight-Singing THIRD EDITION Paul Murphy Muhlonbora Colao Joel Phillips Westminster Choin College of Rider University Elizabeth West Marvin astra Soho of Muse Jane Piper Clendinning Florida Stzo Univorsity Be‘ew nn Computer nent set angio ‘Winn Wr Nery No eel ee {Scant btn dn rath hls ger aon, {he Nerem tn eps ther rz pn tipi be ‘oid sonst etn od ey ea Pll explain rambo eg tee ‘lsd bh Norn tard ont he amp ite ‘Shtyesn tay evinv sa ord dace med ‘alg geen ie bine er WW No Cog an ‘Sth lapet cn lot pba usc om aly emplgen ar 201 30, 20055 ¥. Wenn Compa ne ris eed Sangh elie Cle Mrs hon pedioe Hae Br ‘ction Be ape ‘helene anita Sephnide Dov de a Dot opting peri: Di tin Clean Deni on pi ten Isao 260508) ‘wit ay he, 0 A Se aD {WW Neon Comp a 1 CS Laan BS LOfeysutss ened Preise Part I Bloments of Musie Chapter 2 Chapter? 9 Chapters 25 Chapters 37 Chapters 38 Chapter 67 Chapter? 82 Chapters 97 Chapter 110 Chapter 10125 Part II Diatonio Harmony and Tonicization Chapters 140 Chapter :2 155 Chapter 7 Chapter 185 Chapter 5198 CChaper 6 210 Chapter? 225 Chapters 2 Chapter e255 Chaps 20 268 Chap 21283)Part IIT Chromatic Harmony and Form CChapter22 300 Chaps 23 317 Chapter 24 333 : chape25 351 CChapee 26-355 Chaper 27 379 Chapter 28 397 chapter 29 515 CChape30 425 ‘The Musician’ Guide sve ithe most comprehensive et of tera CChaper st 4a wae for leaning msi theory and aural ll. Consisting of Caper 32446 ‘theory text, workbook, and anol along with a two-volume aural CChaper 33367 sls text he series etares cordate resoures th ean be mised ‘and matched fr any theory crcl Part IV The Twentieth Century and Beyond ‘The two volumes of The Musi’ Gude Ano Shieh the CChapers4 452 practical sil stodens ood as profesional musicians dation, Caper 38407 Sehesinging.ehythm-reding, keyboard harmony, improvisation, ines co sartraiing nd composition Unough eal music Thoagh tho 0 Chapter 37520 ‘lunes ofthis hook eomespnd to The Mascon Gude to Theory Caper 38590 ‘end Analyiein ordering and ering they are designed tobe se sr Angee vidal on conjunction wither theory texts ee ‘This Sigh Singing wume emphases he sills equa fo el> ‘time performance, and la lauds strate, progressive tuning ‘Keyboard Lessons ‘hyth-readig improvisation, and kesbard kl. The companion arMialning volume hops students develop Tseng skis wth fete 0 inovaive pe of tton atts: short Thy I tations Patil 597 develop stents sls in rengzng onl pater, while Contextual Patt 627 Listening execs gude students through the proces of taking Pacly 645 Aiton ro he itertare Both wlames etre wide ang of al ‘skal repertoin—inding elas, poplar, ad elk ssletions— Cette ck ‘hronghout The Earning volume emphases recordings of al musicians over sts performance. The Musician Guide 19 Aural Sil, 3rd Elton Sight Singing fs itn in So sgt way itt sategraten skills that students nad ia onde to understand common mos pater. ‘Theeincudethe ality to imagine and perform the sounds of pita ‘sie; to recall musie they bear by singing, playing, and writing ‘it; and to demonstrate their gasp ofa arety of masa ses in ‘onde to improvise mse of thei own, For example fa Chapter 4, conanpreparation for singing shythms and melodies in compound meter, ‘dents are instructed how to eect tpl dupe meter ae part tf Pin-and Sing exerci in which they point to notated ytmic pattems wil sngingand conducting them. The then impeoise tee jw phrases using these same patterns in cabiations of hr ow ‘hooting Finally theyae inset oot thir inprovstions ad ‘change hem withers: Senod, mas forsght-singng.rythm- reading and improvisation Inludes ian ensemble works not oly oes, but lo msi for thre, fou, and rept. Thee rang from the abundant two-part rhythms to be perform bya single person, in pais, ore group, to Thonn Mel ear tet “Now I the Month of Mayin in Chapter 2, Using This Volume ‘With this new edition, we've reorganized the Sigh-Singing volume lato 40 chapters to align with both the EarTrsning volume and The Musician Guide to Theory and Analyt. Melodies, ry tnd improvisation activities all apear together within exch chapter. Keghoant actsties-now enhanc and regained nto $0 ess appear in the back of the volume. We hope that these changes will ‘at ever frinstractors to plan for els ad to nora srl ills with writen theory. ‘As students move trough the Sight Singing volume, leering objectives atthe beginning of each chapter identify the specie tmeodie and shythmie sk to be adresse, and summarize what ‘staent learn, The ita sgh-siging melodies of Chapter are ‘aes spect compased to lp students asimate to singing and ‘inductng ecognine patterns ad interpret the viel elements of ‘ue noation, and develop x sense fsa degree and intonation by plying slg lables or seaegree numbers Stents wl want tortura to these deadestrouphoot thee ay sng them fr warm ‘ps lable mastery, and woel developmen. Most of the remsning rods are drawn fom 2 wide range of sles and periods Popular (Broadway mils, movie and television, asc rock jaz, ‘nd blues) to common-pactie, a wells teteth-and went Lest ‘entry ms erate ‘Although the companion tet, The Muscans Guide to Thary cand Analysed ition proves an onervew of ethic concep and terminology, this Book emphasizes the praca aplication af Prete reaing and performing rhythms. The hundreds of exerci bere te gaat so that students ean learn to recognize patterns in & ena, developmental fashion, We begin with the Basis of est ‘nd miter, ieorporating divided, sabe, and doubled eas ‘mapping these concepts onto diferent beat valves. We provide ‘planation and duds fr understanding dated and ted tes, ‘managing intemaptions of the tempo, coordinating super-subdided Tats in slow tempos, performing different types of smeapation, derstanding swung shins, inemalcing characterise jazz and ‘ragtime rythnn through actual Kterte, and singing yh the ken word, We cone by preeatings rst ait ofthis Aleveloped or revisited by compaser ofthe twentieth and weaty-List ‘centuries: ametic rhythms sre shythms, “feathered” beans ded salves, toviythn, and-non-retrgadable rhythms, With ‘ingrams throughout, students rceneguidance on conducting simple beat pateras while the perf rbythins Each chapler also preseats one of more Imprvition execs to develo this important and ereatve spect of making msi. The lesions fnture enough safolding so that evn i students have never Smprovsed before, they ean sce in thi ey sll nd ve fo in the proces. These exes, for both slo and group performance, are dlsgned to reinforce hey concepts in mse theory and aura kl Following mort improsstons are Quick Compostion exis ‘which students are guided in notation oftheir improvisations so that they learnt ape thei musica deas or emseles and wees 10 reproduce and retain, inal, we rnforce all msl anceps atthe keyboard with a esboardeson corresponding to each chapter ofthe text. Oa rpc eels nottodevelp pianists, btratertoteach studetshowtorelze ‘the sound andes they study th thls most fundameatal muse tool haughevenone shod be able to pay the casi exec, sents shoul yo play ll of thems its mportant for students Tear opis ax mich as hey can a oon as they can an to develop these skis from the beginning The Keyboard exercises progres in 8 ‘pia ishion, olen returning to ear model to demonstate and faeiltate mor-advanced pects of keshoaré harmon: For expe, Simple twos entapuntlptters eta ter asthe soprano and as of four pat exis, and even ater eth chromate altrations Spl lering demonstrates the siple origins of what ight thers soem complex‘Planning Your Curviculum ‘The Musician Guide covers concepts ical aught ring the Sst tn years ofeollog instrction in mse For instructors who adopt ‘oth the Theory end Analg and Aural Sheets, we know yu wll sppredatete consistent peagoial ppeoach,tenioloy and order ‘of presentation thatthe to tet share Nowerthees, yon may Bind ‘times that stodents aural and pact skis develop mae slowly tha ‘heir gran of theoreti concept There iso hare de tu rae ‘ieansttion lightly behind concept understanding ethic son, we summarize theuranation ofthe volumes and sages tate ‘ges forusing them Typical deployed ver far rv semesters mas ‘ole curcula might e addres y one of thefllowing wo ode. Plan 1 (foursemester,ncading one semester dealing with rusia iments) Sigh Singing arTrining ‘Team Chapters 1-10 ineuding | Chapters 1-10 and Keyboard Lessons Comper “Toon? | Chapters 1-71 inloding | Chapters 1-21 and Keyboard testons Compions ‘Team Chapers 22-39 neuding | Chapters 22-35 and Keyboard Lessons Comperiions 1215, Terma | Chapt 4-40 incading | Chap 4-80 and Kehoard Ueseons | Comprtons 1-17 _Aterstively the flowing oganizaion none suggestion fr those uri that fern deat raiment ls in aon to. fo semester core sequence Plan 2(a rudiments das followed by four semesters) [Signe Singing [earring Todi | Chapters rsomiting | Chapters 8 and meats | mall melodies in Chapter) Compasions 12 5; Kaybourd Lessons 5, "Tai | Chapter § Gta malo | Chapar $6 lh sew ‘oftmads fom Chapter) Sn Compositions 7 | sisi singing EarTrang TTeom? | Chapters 15-21 and Chapters 1-21 ad Kesbosed Lessons Comparisons 8-1 "Ferm | Chapter 22-28 and | Chapters 22-99 and Keyboard Lessons Compiions 1-13 "Ferm | Chapten ai-s0and | Chapter a4-40 and Kesbosed Lessons Comporiions 617 Applying Solfogo Syllables and Seale-Dogroo Numbers Allsingingsystems hve marian choosing sme tem fa speror ‘to using none T enforce musa prterns, we recommend singing with movabledo mle mllbles andor sale-dgree numbers, but ve provide a summary explanation ofboth the movable: and fixed do ‘peers in Chapter 1 to help stents get started, (A qulek reference for diatonic and eromatie lables also appears at he font of i elume) For sofge In modal contest, we present to mst in Chaperone sing lables derived frm major and minot, and one sing lative (rotated abe, Applying a Rhythm-Counting System Many peoplewsesome ountngsteto earn and perf Hts Sin eet, htm oie” or expla rth in meter might ‘be woealeed "du de da t de ta" (Bain Gordon sytem), 0° and, 2 e anda (Metfone/ Ts sate), or “a di Taka di ma akan syst) Welewe othe discretion of ech inractor whether to we set a ptem aed which to requ (Our Thanks to. A wor this sve and scope helped along the way by many people We are espcilly gate for the support of our fanes and oar sens Oar work together at eanuthors bas baen inerady reening «collaboration for which we are sincerely tha. or subvention of the recordings, we thank James Undetoter Ginsctorand deanofthe Eastman Sholof i) ar wells Hasta Prfeslonal Development Commitee. For audio engineering we are steal to recording engineers Sn Hert and eh Bake For suo Production work, we hank Glenn West, Christina Lent and Lanceese, who assed in the rcoring sessions, We also thank one colleagues st oth Westminster Choir Calle of Rider Univers ad {he Eastman Scool af Mase who gave of thei tent to ep make {he recordings, The oy of tee mse making eontsbted mighty to ‘his prot ‘Weare rate the dhrough and detailed work of oar rep eatin reviewers hase saggtions inepted many provements large and small: Michal Bey (Unversity of Washington), David Casto (8. Olaf Cale) Melisa Cx (Emery University), Gary Do (Gaiversity of Wisconsin: a Clie), Terry Eder (Pann Senior High Schoo, Jtiey Gillespie (Butler Universit), Melissa Hoag (Oakland Universi, Rebecra Jemian (Univerty of Louie), hares Leinberger (University of Texas-El Paco), David Laskar North Hunterdon High Schon), Robert Mis (Liberty Universi), Daniel Delman (Union Universi), Kristen Neon (Stephen F. Astin ‘Sate Universi, Shaugn O Dunnel (Cty Cllege, CUNY), Ti Pack (Waiver of Oregon, Scot Perkins (DePuaw University) and Sarah Sarer(OMlahoma City Universi). For previous editions, reviewers tate inched: ef Donovik (8 otersbung Colles), Brace Harned (Wirgnin Commonwealth Univer), Rath Rendlemsan (Monta Sate Univers, Alexander Tatunor (Southern Oregon Universi), nd Annie Yih (Univesity of Calor at Santa Barbas) ‘Weare indeed tthe tt of WW, Norton for their commitment to this project and thee painstaking ear in producing these values, ‘Most notable among these are music theonyeitor Tustin Hina, wwhnce Knowledge of mosieund detailed, thought questions, ad genuine support for ths projet made his jy t9 work with, and Maribeth Anderson Payne, whos ion helped launch the svies with grestenthusias Michael Fauser was project eitorahe volume wth SSsintance fom copyeditor Hlaabeth Bora and proofeader Debra [Nichols We epprciate the invaluable asistance of media exert Stee Hoge, Stephunie ads, Meg Wilboits, and Timothy Basch Grant Phelps was edtrial sistant, David Rewiik was pester, and Andy Ease was prodution manager Paul Murphy, eel Philp, Eteabth West Marcin, land Jane Piper Cleaning ‘THE MUSICIAN’S GUIDE TO AURAL SKILLSElements of Musicose Melody: + epee rages ine ban alo ap tena ae + Aoahng lege arte In this chapter you'll lara to: «+ Appt alge ab sele-dgen sums a te nt 1 Sing tanya bot tpl and wh ip + Chak your pc with Sing-Che Applying Solfoge Syllables, Seale-Degroo Numbers, and Letter Names ‘When singing sofge sabes ep torent yours othe framework in which you ae singing Seven stem are alae, ech of which ie designe to reinforce a certain oetation. Two general eter of ‘these systems are considered movable oes Movable Systems: 1 With cae degres, you singe number each step ofthe seal: the numbersare the sume fr major and eno. + With morale do cach note of theses asocitd witha solge lal, some ofwhish change between major and ino. + Thefollowing able shows how cle degre cele with movable solfge labs in major keys withthe changes for ‘minor showa in parentheses. SCALEDEGREE _ SOLFBGESYLZARLE i fer ite) & lade) a wt a fo a ‘mitme) i te ised Systoms: + Withleter names, you sing the name ofeach note, dropping any secidentals.Forexample,C, Ci, and Crareallsungas"C" = With xed dosolfoge, uch sole sll is asnited with 8 note mame reps of ey + Thefilowing able shows how noe names cera wih edo sole ales. LETTERNAME —_SOLFEGESYLLA cao) a 8s, « AGA we rex) ot POLE) fe BEL) mi Dewi» © cea aw ‘Using Point-and-Sing Improvisations (P&S) ont and-Singimprotionshelpoeara mesic pater, Practice the by ourself with pstner‘Treble and Bass Clefs Improvisation 1:4: Point-and-Sing with Treble and Bass Clots Ply , thes sing i with slg sabes, a scle- degree number, oF let name, Pit 1 an adjacent pte and sng iting the same ‘pst, Continue unt you ave ade a atishng melody. Use Sing Cheek to ensure sour pitch isonet. oe a Using Sing-Chocke Sing Check cn belp you learn mele ites and thee rationship toothers. Pay Cthen sing Sng pth 2 then heck ity playing ton ‘the keyboard Coutinue unl yu nis he melody awa gig the pit is then checking by piping Quick Composition Improvisation can be & rich source fm ‘hich compostions canbe written, Thrughaut the et you wil Be nconrga tbl upen your anprovstions and nate your faite eretins This nt ony serves to eord your ss, but alo ge you ‘becom silled a ansering your Wes to writen notation tht snd others ca read. Using Improvisation 1, for example, choose 4 lef an write wih ile and hllow noe head; Mallow notes are held Tonge than lle. xchange with peer and sngeach other meade with elie lle, ele degree numbers, or eter names. ‘Poor Evaluation of Quick Compositions. Share notated Quick Composition with classe. While one person sing twithslfge thers oka the msi ands for to items: crest pitcher and slfge lbs (or sel-desree numbers orleter names). Foeach tes, var point for god to exelent fr fi and for weak or onsite. For example if someone ngs wih ad pitch nd fur slfege lables, ward 3 ints oto. ‘Singing Melodies Notated in Treble, Bass, Alto, and Tenor Clefs Pay C then sng thee tepise melodies with sige sales, sale agree numberof eter names: Hold bllw aot heads longer than filled ons 2» ——— tered‘Alto and Tenor Clef ‘We use C let accommodate the range ofa parla instrument ‘or voice so tat the note tayo the staff at mach as posible Thee ‘fs are mozalein hat they appt on diferent line the fith ‘ene ofthe" chap lays ndeting CX The alto de plc on ‘te hid ine the enor df on the oath, When ang tes ee ‘git help think of sep, kip eps in relation to specie reference noes, rather than temoriing the loeaton ofeach lear ‘are, For example you start on C (a ori) onthe mil line you can determine tht the ote that sa sip up iE (rt or 8 just a the not that sa ship down A lar 8) Improvisation 1.2: Point-and-Sing with Alto and Tenor Clef PlayCythensingit with asogesylablesle-degree amber oles ame. Point 1 a adjacent pitch and sing it osing the same ptt, Contin wil you have made a sting melo. With sltge sing pare vowel asin Halon. Singsev" for le degre seven). Use Sng- Check to ease you pitch score, aes case Quick Composition Notte your forte improvisation. Chose ‘clef and write with led or blow nate heads holding hollow note ‘ads Langer than led. xchange with a por and sing each wer melodies with slg lables, seale-degree numbers, of eter ames Singing Skips Before singing each melody, Joate the skips and practice thm separately To ing kp fom a given ote, imagine te note that is ‘between that note and the oe that askp aay lne-toin oe pace trepace) and ely sing though the "missing note cers prima Soe em s ae] Piseetheteteppattemesterssy SSoe Improvisation 1.3: Melodie Fragmonte in Four Clots Improvise steps meld fragments using the Pint-and-Sng chars neue the far ees that you've learned ths. Include a st 90 skips in each of our improvisations, Melody: + Soge aba sledge mbes tran Rhythm: «+ Aopbing a sae sounng stem, In this chapter you'll earn to: + Cont an pertor site dept snp gan sil arte + Ae rythm-eoutog ste + Pri aay ad ate meets peeormansoe + Argyl line and cle dea mies to trenton fame + tmprvie pd oat thn patra Conducting Duple Mater 1a com in dupe meter Follow thepltesn in the agra, moving yourhand fer abd elbow throughout each beat ‘+ Make smal bounce, alle the ison cach best number + Price before amiror unt your gestures look nara and your arms move conden and steadily + Conduct with both hand searing each other toimprove the ‘rorinatin of your wondominant hand,Porforming Simplo Duplo Rhythms + Wheres emp ination indented, psorm the rhythm at that tempo, Where oe ina given set tempo bre performing that yon can emintaintroaghout, + Conduct or tp ligt main yoarsempo + Perform musically, ing anton to dynamies and the relate stress of stronger and wesker bets ‘Sig wth counting sales orn a nut slab ie "da" ora" sesourteacher dire, Aprlying « Rhythmn-Counting System “Many musicians us «counting stem when performing shythns—in fle, "yh slg” The mast sophisticated of tas sain, evs by Richest Hofnan, Wiliam Poko, and John W. White. A ‘dada ude found onthe tern. Your eaher will yo whieh system, fang. you are equ tose. app yg ep eye yy we et ete eH Rhythmie Ducts farm wth panes, or conduct nd perform one par ald while tapping he bee Variations ‘+ Sith parte and perform again unt cach musa as performed both pats + Choose ensembles hal ture mor than one perfrmer on cah pa. + One perme can perfor the ryt fw part sine — tapping with each hand ona diferent surface o tapping one part hile performing the oer prt well desc egpled et ee + ne / Practicing Maloy Amladicperfomanceintudstvecomponents—condueting. ryt, pitch, solfybcledegre number, ad mance and exprescenss. Prac these separ then pt them toguer For example end tnd perform the eyhin only. Then we Sing-Check to master the ‘tees Speak aloud the slg yabe/seaedgnee mabe then fing pitches with sole sableysealedegree numbers. Finals ‘odetandpeformthe rod mascly with acoustic, Hythe, sd ogo labes/senle degre numbers. (Chapar 2Poor Evaluation of Melodie Performances (40-Point Assonements). Score each component separstely, awarding 2 for good to facet ofr and 0 fr week or ising, Conier the felowing rite + conluatng = Aythm + pet + soli lablescnle- degree numbers 4 umes and expressiveness or example a musical perfomance with god pitch, xslt, ‘rhythm, good conducting weaksoleacle-dege numbers ad ‘weak mianceandexpresivenes wold eeeea +2621 400 = pins. Your scores high componente that nod ateton loc haveimprore,Fo the supe peormance reviewer might suggest: “Tey Sige Check to lea pitches and practice bles separates Yor condueting ha ally improved™ By oflring and acknowledging comments on perfomance you develop asf stages fr your ove improvement through efor wth partes, Switch part nd peeorm again 36 a of Applying Identical Solftge Syllables and Seale- Degree Nuinbers to Transpositions of a Molody ‘erie 37-42 pair an original melody with one oft ranepasitins Forench ar play Cand sing the fst melody with soli sales or seale-degree number. Pay the fst pitch of he second melody and fing it with dentin elables or numbers. Acidental) that appeae itera def ppl tall octaves ofthat pith,Conducting Quadruple Motor olowing the downbeat, beat 2 crosses the chest, bet 3 swings ant to Uheside, and beat isthe aptet Again to cai the direction forest 2 practice conducting wi bot nds miroring ach cer Improvisation 2.4: Point-and-Sing Rhythm Pattorns: with Boat Divistong ‘uit to one ofthe following etm patterns and penorm it, While Keeping steady beat, point towne pattern and ptfor i Continoe in this way, changing the oder of pens ent yon ve performed all patterns dre times. Option Ron ssch pater with eounting slabs recommended by your ech [Riythm Patterns: Duration wee pap fd wg pete eddy oad phy thy tt ydddpe ty dds dy mp gpeajeddyl ddl gl lad pda oy Mbps pede ldldd ddl Improvisation 2.2: Point-and-Sing Rhythm Patterns: swith Tiee, Dots, and Syneopations —____ 1. Perform example), (and (et ean howto change patterns {and 2 om Inprovstion 21 intone patterns. Pitt one ofthe flloving ethan pater and perform I While keping {steady bea, pint one pater ad perform # Cantaae in this wa, changing te over of ters wt you have performed ll paiterns thre tines, Optional: Read each pattern with ousting ‘lables recommended by our teacher yt Pater ore oy ' Hee —— Jet bs 4 creme te pate one) poy agtert2. Improvise phrases drawn from al elght puters. Variation: Have a elasmate point to pater a any anes, while you perfor them Sch roles wfefedyddddys Lost sl wd) oy ick Composition Nott yourivorite thc proton ‘ona single staf nett meter ignated pee tempo. Eschange with «per and sng each er yt with 2 Deut syablee wh contig lab. Wppeddfe dofid po Jy ddd dbo beefalo dad sald od py ahd eds Ldp Jilly) Jad op Anacrasis| ‘An anus isnot or group of ts that move found x downbeat, For this reason it sometimes elle an "upbeat" The atacrss Toul ineoeegy ad relenses this energy onthe flowing downbeat “To perfor an aacrns, conduct and count sent one ll measure ‘plus the “sing” beat) Then, perform aloed begining withthe fnacrsis moving toward the downbeat, and continue witha steady tempo ut the naMT aye Welly epost yates ll Telit ay (eal TEA Ae Sing), she inal pitch ofeach melody and then sing up oF down to find oy, the anaerase fe aaConducting Triple Meter Conduct the doe, then move your hand t he righ fo est 2 ‘Beat 3 returns invard and upward Again, to arith dt fr ‘eat 2, prectice conducting wih oth ands miorng ech ter Improvisation 2.3: Point-and-Sing Rhythm Patterns: Boat Unit Pont to one ofthe flowing rythm patterns and perform it While ‘eepinga steady beat, pola to' new pattern and perfor Coatings inthis way until you have performed ou aterm ‘ipthm Pater: Duration = . we 8, ‘sony wtp Ly yg wPgoyy ly ayy why le dedi daddy wp Ass dpld 4s dyads splay aby aeceies pateediee ddan weg yl WESToe dee leah 6Aways take note of the writen range of the melody and chonse a Starting pitch that allows you to ang the meds coma within the range of your wie. {82 Batik, Mikrotoumas, Vl 1, No 24 Tn a round, performer fellow a Inder (tbe ft performer. For this four-part round, the second perrmer begins when the leader reaches the third begin when the lade ees andthe orth efomer begins when the er eats. 85 “Tre Jacques (Pench) Mogens . ie = er vou? Sacer meth = a oes ng ng, don, ing dg dog Coed ‘Melody: Major lee Rhythm: In this chapter you'l loarn to: + Berm mos and ryt withing dios and miles + Sng wl ng hemi peta we pocatni ake 1 Sing melo tao the sr cake 1 pois hh ptr with inp don nd mil ho ‘Quartor-Note Boat Divisions 1 Where emp indstion is mark, perform the byt that tempo, Where ne ino given sta tempo bute performing that pcan maintain throughout. + Candas plight maintain your tempo 1 Perform easily, ging attention todas nd the reaive stress of stonger ad weak eats Sing wit counting lables, freien neat sable such aa nt?+ Rem dcs witha of cond wo pti ne et oad wh the othe In ether ese sit parts and Improvisation 3.4: Point-and-Sing Rhythm Patterns: Boat Unit. PAARL dys Boog nepal Laie a OL oy SSM fee ail St Simple Quadruple Mpg DELS YL Bd ty UPHAM AR. Mohs 4 EPDM DAL A day wp DDL dLde AL Ly Bhp BAe didi Dds aps aay ug Tietdjatos Piedad te Bey Ccnaper 338)ME PLD] Dydd LL dtd 4} Wp RDU BAD yd d2eprg ddag Duets Eras aah aa fanart apg AL yt gy ee eee | Dost | gp 4d 7] nd fh der roe oe Ee en ‘The Major Pentachora an captar 8‘Now onpanie the melodies int snple dupe simple tip or snple qadraple eter A fst lit your Ath to fal est As yu Improve add beat divisions. 108 Bart, No.6 rom 44 Dut, Vo adapted) ‘Repeat hiemelay and sing as ctoon with partner, When te fist singer begins mesure 2, the second begins measre Performing Rhythins in Cut Time + Incwtsimcor meter beause the alf oe gets on best enter to ondiet ech meas vo ‘Wheres tempo stone indicted, perform the thi hat tempo, Where ne sot given, set tempo before pesoring that sou can maintain croughout + Conde tap iby to siti your emp. + erfom mail, ving atetion to dynes nd the eatie sre of stronger and wear eats + Sing wih oantng lables, requied, or ona neutral sale suchas" ora”Improvieation 3.3: Point-and-Sing Rhythm Patterns: “Boats and Beat Divisions 1m eat time or mete, the half note isthe beat units the two quarters ae the bet divson. Post to one ofthe follwing rigthim puters and perform Wile keeping a stad bes, pint to new paler Spd perform it Conn in this way, changing the der of pater ‘ntl you have efor al terns thre times, Optional Read each ster wth counting lables recommended by our teaches ‘Rhythm Patterns J eat Unit 1. Paterns age fl pdddys Lp ld fh Spl fl Jy — Quick Composition Notateyoufivorite improvisation Choos a lef and write wih led and hollow note ead; bllow noes are held Jonger than filed. schange with a per and sing each ober melody ith volte lb, ele degre numbers, or leer names. oe Weg fede dps dapddd ped ddd poy we pled afd dap ds ideal dpe me tetdend dtedjadey|—J eens) sdd}s Ja "The fling cyt is performed esa ke he one jt gen, HE Ltt stta detciede peed ead} Weg yd dy wise ay wd teadpiedep tly wedge tte dd ptaedteadd weg edyd ad pea doy weg pe tees sige tn wegittipedipie dis reer sgl Bates fata ‘Molodios in Cut Time For atte melaties,bacnute he half note gets one est remember tocomdt ech meas 0.14 ohn R Cash“ Walk he Line” ‘Theantrisi consis of thee quarter noe, 1 hap ta cede ete te te tht idk "The Major Pentatonie Seale “The major pentatone scale ca be considered suet of the major scale in that contains five ofits seven pitches, Signy, sale egres § and 7 o not appear, such that there ace 20 balf eps Although the sa'do (i) socom is til pile a «concision to major penttonic melodies, many such tlodes—epeallythoue ‘hat frm the bas of Americas folksongs conchae with ado (61) Instead. We introduce the major pentatonic sae ere and elitr fn rete detain seceding chapters ‘Cmajor pontatoneseale |e = opp bt . toy smarty 4 otto Da Imereti Med Follow the procures fr Improvtion 3.2 to improvise melds fn the major pentatonic see. Be sae to practice fm both simple and compound metersMelody: The afr peta and mae scale compen dope tar + Pag ii Rhythm: + Comound dp meter In this chapter you'l loarn to: + vor lio a ryt pound pl mar with 1 Sing od sing he major pntahor and th nor sel in compound dupe mter + Improve shyt para with egound dean of he tad Dotted-Quarter-Note Beat Divisions + Where tempo ndstion is inctd,perfnm the ym at that tempo, Wher one nat ven seta tempo belore perfuring that yom enn msitainthroaghowt ' Condeto tp lightly to maintain your temp, Note that, except slow temps, he lower numberof the compound meter signature indicates the detonate eat, nt ‘he os tc To determine the umber of beatin ach ease ‘feompound met, divide the top number ofthe mete signature bya. Forexample in there are ro beats per pean 4+ Perform musilly; vig atontion to dynamies nd the relative sires ofstronger and weer bets4+ Sing with counting sable, requ or on a neutral sable such anda ora? 1 Perfor dct with a partner orcondact and perform one part load wile tapping theater neither cass, switch parts ad perform agai, Improvisation 4.1: Point-and-Sing Rhythm Pattorna: 1 apaion ee EES In compound mets the doted not ets one bat tat divides into thro pars, Pat to one ofthe allowing etm pater and perfor it While keeping steady bea, point to anew pattern and perform Continue inthis wy, hanging the onder of patterns until you have formed al pairs thre tne. Optional: Head each pltern with counting sabes eeommended by your teacher. Rpt Patterns: 4 eat Unit age —_ 4074s byt. iy “Wing two dated quarter notes proces a dated half whieh san ie measure inthis compound dap meter Me fee fe Quiek Composition Notte yor favorite improvisation, Choose ‘land wnt with note also compound dup unter, Exchange wrth a per and sng each others melody with afage lables sae degre nubers, ot eter names Rhythms in Compound Duple Meter with « Durations These rhythmare tobe conden toes pater P imp IS) afer d pd fd ST eI J dy pH Ly od wi 4 yg a§g- TH TyL y Y af LT hy es ng AFL ds EA y wh Sys dy da dy wPR Tl days y mp ALL ya dy ay pean yyA pe Weegee y Wg AT} TI 2 fT | ag Ty 0 Paty 4g) OL, Dy Gy See eee WGP TL jp doe ef OL pp amy De Do DLs Peyy ap ALT pl as wed Dog yl dae ot Pe as sr us MP de bay wT oe de fe FT eg anc ana ope gel aL ag PL DTYL 6 DLAI fy Woy yy Duets‘The Major Pontachord in Compound Duple Meter“The ellowing melodies present the embellshed major penta In ‘which the ranges expanded above or blow hone note ‘The Major Seale and Major-Key Melodies {in Compound Duplo Motor maar &187 Philip ls, "Wonder Words of Life™ ‘The following mss present a plagal vison the etn: sol wit do inthe idea the range. on perorming round se page 2 in Chapter 2 189 “Thee Blind Mie" (England) fr ere mh ihn yoreCoa Rhythm: In this chapter you'll learn to + Sing nto ag the moo ents 1 imprest patra wth sted eatin so and Improvisation 5:t: The Minor Pentachora and Minor-Sioale Boma Combine the allowing min key meodesegment to centers in each of the following meters simple dep, simple wpe, simple ‘quadruple; compound dupe compound il, compound quadraple amm Sew Sais Seats 1. Inmelodie ino, complete the upper ttrachord When a ies to {u,continve upward through todo (6-7-1). When do descends tw ts contin downward through feta wal 4-8) 2 In armonic minor, use the pies ofthe embellished pentachord al om eo el) se fom st0 do Quiek Composition Notte your avort improvisation. Choose def and indicate a ey and meter. Notte the rythm and slfge ‘lables of your improvisation above the staf hen contert this Information to aotation on the taf. Hachange wth a per and ing tach others melodies with slfge sabes, sae degre nbs ot leternanes ‘Tho Minor Pentachord [Nate that in te fist two melodies each phrase presents the minor pentahord,190 ——— 96, Improvisation 5.2: Point-and-Sing Rhythm Pattorne: eas Og seas eee Point to oe ofthe olin yn pate and perf i, Wile eepinga ead ent pit one pater and perform ie Conn Jn this way, changing the ode of pateras unt You bave performed all pauers dhe ines. Optonls Rea each ptern with counting ‘ullables recommended by jour teacher, hython Patera Best Unit 2 Tes, dots, and yncopation Oi viet WH stray OI wea ap IYER Ccuapterstsoa petorm them. Switch les WREST oy Simple Duplo WP FD RAD S| WLLL NG QPRTT, TITY ITTY STL ing IE BT STI Ly f =| rd moan amd fT r Single Quarto BPR LL, G3 BBD, SR IR oy | v3), | 8, FEL oh PDT) ORT TA re intkonn one es WRIT FRO AD pL ORE, ly chaptersstage Tone ah PRD DAA TRY uly EIT by Sy | SITS ITIL hg 2D SL TAL Ay PTLD. DSTI Ay MTT dy 2 Ty Ty we Pld RIE Ty pe Fy a a Duct wv +—r gp ae 26 Be206 Clara Setamann, Le Ballet des Revenant adapted) or instructions on performing rounds seepage 2 in Chapter2, 2 Ab, Poor Bie” (eaditonal roan three pasts) Point to on of the elon rhythm puters and perform ft, While 'ecpinga steady beat, point tone patter and perform it Coatings ‘this way, changing the ode of patterns unl oa have pesormed all patterns thre times. Optional: Read each pattern with counting ‘lables recommended by sour teacher ‘Rhythm Patterns 4a Unit 1. Pater age pT ph RY 2. Improvise pss dave fom the Hit of palms jot sen ‘aration: Have a dassmate pint to pate, in any ode, while you perm them. Switch les. Compound Dupe agg ST. aE TL oy LY TLL yy Pat ‘chapters 67pITTI HL AL a PRG STL FO TY ‘Rythm Patterns 4 Beat Unitag ¢ Th) SL SS FTL 4p SUDIDR) STU STITT agp Tar aA LY WRAL AL BL Ly Dut fag dL. bet joo. oe f did py ad [PreeImprovisation 5.5: Metodioe Based on the ‘Minor Pentatonio Soale ‘Cminor petatonieseae "The Minor Pontatonic Seale Analogous tothe major sale andthe major pentatonic the minor pematoneseale ean be considered a subset ofthe mor salen that it contains Sve ofits sever itches Silay seal degre and 8 do ‘not appear, such that there are noha steps Although the std (i) sucesin i stil pole sa coneason to minor pentane mel hs, many such melodies conelade with tro 1) or meds (i) Instead. We induce the minor pentatonic see hee, long with a selection of medel melon, and labora in great detallinsucteding chapters. Ie ° = Pes = alow the prolate fr Improvtion 54 wo improvise meas fn the minor pentatonic scale. Beret practice in both simple and compound meters Melodiesseperote of manic hat wile explored throughoet thictxt. Here we provide two introductory strategies for singing modal melodies and ‘lnborate in detain soceeding chapters with a vary of excess ‘nd melodies fo the erature Pecans ur tweny-fist ‘Toapply slg sabes wth century ers are accustomed to || the "eat metho, thik of ‘he major and minor scales we || the major ey associated wth sometimesherthe diatonic || the melody ey signature nd rmodesasaltertlonsofthee || use mjorkey soe lables more famine sales Weean || rears af where the melody therefore group the modes nto || conclude. This method is ‘wofimiiesaccordingto || often ease fr reading modal whether her third cle Imdodies Because there are no Aegrecomes fom the major _|| chromate sabes to aign 0 forminorpentachord We'thos || notte pitches, apply parle yb, using | ‘hottie lables fo thowe Pitehes tha fer fiom major td ence tala This eto romies thet we assign | ctiromatc solfge syllables to | pitts tht often appear | sithoo awrite sharp ot rian mode erforma natural minor scale Callthefirt pitch re(3) Perform nd esse a half sep mrs rm ete). eree Eee TURP EST ‘The Diatonie Modes PIs Peas PEST EGTE ‘The datoniecllecton of pitches fom C19 C may be ated to bla with any pitch Hae rotation forms 9 tonic mode, These are Cin ‘odes, om C) Ionian, Dotan, Phrygian, Ldian, Milan, and ‘Aeolan Sud rotations of the datoni colction have edd eh met comePhrygien mae efor ature minor sale and lower Saba ep (sng a amp e PEGs Thea yin made Perform amar sea and else ‘ahatstep (ung Miropaian made Peform a maer sae and Lower Fahalfstep ange, calthe in pte (8), Perfor ‘aranjor sale from mito (3). call hei pte 3) Perform major se rom tao), Sake a pae : 3 alee ft ite sot. ero major sel rm al 5), ein : oak ae Q a Aeloan mde ema major sae and aver 3.B.and? shale gm sale. saa oreaa ee Tigt Ted ~all VT ITaT Cathe et pitch la Reform majors rom fool). Melody: Rhythm: + Compound dt, quedo ii metas In this chapter you'l earn to: «+ Pfr ud tat apie loi cre Tnverval Etudes ‘The folowing és folate specie intra in predictable pater. ‘ac dude fewses on partcalar concept and sil. For example, the ist cde present all of the diatonic terials above and bow ‘he tone in major keys the second one weinfres the same bt nthe ‘tal minor mode,247 Interne above snd below the tonic the major sale Ss 252 Major key Fourth 259 Mierke BS ae fet Fy 258 Major-hy sis SealMinor key sith S35 Forinstrvsions on performing rounds se page 29 n Chapter 2 Notice inthis round the common eal of wis singing in parallel thirds, 260 “Oh, How Lys the ening” (rational: oandinshre parts) Compound Duple (Review) ‘To review more compound dupe shythms with bat dvsons reer to chapter ag Jopd OLS spe 9 ZI Sate age] PSL aL yd ag Wg pot Apt de fet Ape tf 4 a etd hie Improvisation 6. Alternating Improvised Patterns in. ‘Simple and Compound Quadruple and Triple Motors — ‘With 4 partir, lap, tap, oF sing on w neta yale improvised two-meanre patterns that ales between simple and compound eter Start withthe fling examples, which strate between nd Band between {and Callenge yourself o convert what the leader presentsint the new meter pe Conduct he meter whe ue partes performing + Star with simpe/ompound quadruple meter + Decide who willbe the lender, + Perfor aot of oar phrases.itch leader/foower roles, 1 Swit to simplelcompound tiple meter wl), (pL TTL wf Dl oyca0Dyg TEL pay Ay Ea Beamon Quick Composition Notts your forte improvisation on 8 ‘ngle-line tll wit changing tine signatores Exchange with pet nd sing each others melodies with sige lables seale-degee ‘umes oF eter names. Compound Quadruple Remember tht excep in slow tempos the lower number fhe come pound meter signature indicts the dean ofthe Best, nat he bat ‘sal. To determine the number ofbets in each meas ofeompotnd meter divide he top number ofthe meter signature by. For xan sould be condacted wi fourbeats per mearure (2+ =). WE pT da ed TIL dp ly Lp Tht Tp eTalpat tal apg TL tidy dy eld Tp Td yd bn TIL pA TL y fe J dITIL 4d dd TIL pad a ay POLAT alt y WG LT Dy TDI pdf Bn dDy et) WL GP pp Ty we gL TL pag DT Ly wf Ts ge fll ph TIL "The net thw hth esi with anarates of aris durations the ale ofeach one subtract from tefl measure Count sen 40 ‘orthre ests imagining the Ue-part dion ofeach eat. Perform ‘oud tegnning wth the anacrsis moving turd the dwsbeat, and continue wth asteady tempo unt the end Carters v8 |rep 4,2 sy WAAL Ds IY ITY DLT LTT LL dd dy pO AAT TY Pr DL aT NAT weal DTA stad Lat Ty Ducts pao Jeo Shanesvat | i A > 2 ee eee eeADDY IN AAT DO I Hl Wg} MTD YTD Oy Ty wd DN ITT) TDN TI a8 i eet | aQojg pL Ld Noy gy odd Sp Lp pd tT ny tal doo Oy POA es Bp pid Oy dal a oy Higedtt Abad} da penny ag de ge did od 4d T2t By ae peas i aa feet od | car 4 pds ddd omBas famt atm Me beet Eriastateaits291 Alan Pie, "The House ofthe Rising Sun" EZ = = evr spor aad baa ome 292 Bach, Chorale: “Jeo Blt meine Free” fom Cantata No. 147 adapted) “The neat evo melodies present subdivisions ofthe best in rhytme terns that wer explored in Chapter 296 Hand Harpsichord Siti G Major, Gigue 295 “Bea of London Gy” agli) gtaRhythm: + Beaute oe with noe en ta gh + Dirptons of pe In this chaptor you'l learn to: ‘+ mpeov rao hey ard au a pser in sl t 4 vor use thn ate atone ela a ar a io ye + corm melas and yeh in sph amp tr ‘eh odie bata + Conde ergo intempo au per Improvisation 74: Major and Minor Triads In preparation fo improvising your wn mii, lap tp, orig on ‘neutral lable each yt while conducting app psy yt lta ALL ya deg ° | wed lg aglos pita ye ede y A. comsiage tonite adtarinemetre | on aes Sample solution wth yt) Ca aa of mw ae 1B. Choose thn from 0) through 3) an mprovisea melody with to, mead vl 5-38-), Sample olaton with shyt) oar POP SPT (Doct: Choose a sythm fun (0) thong (4) and work with ‘rter to pesorm execs A ad B agai. Face each oter and sing ernest, . Doct: Perform exerse € agin, but thi tne Begin cach measre with the same pitch and lable wth which your partner ended the previo mene Sample solution wih yt (3) . on ou aa arrbust: Now aerate mess btwn di ora, or 8) Bed 00 (5.083. re ataton with yt (3) j ‘Semple ene ee “quick Composition Novate sour fuerte improvisation, The ante een ve, 0 write the oll sabes of your mpeo- rete saad then choose an poops cle snd con- Pane ann the sal. Exchange withapeerand sing each others sy ihe bles cale-deqre numbers o eter namesMelodion Many of these melo reew ls and concepts cover in preous chapter 504 Bark No 2 rom 44 Duets, Vol adapted) 208 Jerome Ker, “Lok forthe Sve ining” [Note tht the range of the nest malody isa thirteenth Yor sch inrumentl mods fen ep to ehange oases when the hots exced your ange. Here, fr exampl, the ast four notes ean Be sungan aca ower they can be sung where notate 310 Mahl, Srmphory No. fst movement 211 Bart No 16 from 44 Dut, Vol (apd) Repeat the melody and ing itasaanon wit pare. When the ist singerbegne mesure 2, the second bene meu SSeS 2 ‘2 Bart, No.9 fom 44 Ducts, Vaated) Onotoe7‘13 Kurt Weil and Masel! Anderson, “September Song” apie me talline me Sd rete mew ‘sing car, Tt voldeah ew coe of wi 214 Te Data, Born to Lass” Improvisation 7.2: Potnt-and-Sing Rhythm Patiorns: Boat Unit. 1 Point to one of the flowing shythin pattems and perm ‘While Keping a steady Bet, point toa new pattern abd perform ‘Continue tis way aati om have performed al fie potter ‘Optional: Read each pater with counting ables commended ty your teacher. eee WSS yay bow tochange rythm pater, 5, and nto three ne pater HBA DDS Ry 8, Crete new rhythm composition fom thelist flowing eight alters Variation: Hare classinte plat to paar n ay nde, hileyouperfomn them, St le, CofC Ty ‘Simple-Meter Rhythms with 2 Beat Unit Remember that beans play aerial role in Pythmie notation. By Teaming tgeter thowe ute that elon withn singe bet the farmer sesythneroupethat alia with the bests prticlar eer. orthe next shyt, remember thatthe eighth notes the est ot the beat division); the sxe ate ithe beat dito, while thethiry-secnd noes the Bet subion. or ay cons about ‘he comet eating lables spy imagine the notes wth ane ewer ems lags, that a they would oki the amir qurtr-ote ‘eat units The ist than ie sown nba ad for compari: the coontingables are hese ‘er ithesame hth with oe fag or beam removed” axsb ‘Andante omptae?Thenest ve shythms indicate a drytion dierent ways a es hi = ep Saas oy oe 8 ey — dT pr BAprsady mg nasa, eres! Mero mato Ug drs MAD. gids 988] Hd G0) tigre dBA or AL oy We Bd Fo Ade RAO 3) wa a WEY agp d ATA Adda dy AD} PAD ALD DDD AAD of spd anys fda o pd ALAA, yd oy Duets Ke 7 FeslasiooiImprovisation 73: Point-and-Sing Rhythm Patterns: Boat Unit = Choose om Patterns 1-5 nd improvise pice that seen patterns Tong Kee steady bet you pet, vn ste Ba BoyRyoyn jsy Compound-Metar Rhythms with \ Beat Unit ‘Note thatthe net four sythms ae patel (a) and (b), with chest ineachwundingthe area the sce. The Set th in each pai ‘spotted with ts while the second is noated with combined and ote ote ales apeer?pe pd aA Ay Fad s5| OOD Ody air pT) Dd OTA AY ight LE Sy WFR BR By A ay Ag Ph Td tp PADRE sgl 2e 2a Jin dish By ge) Ti 959] FT| WHER dy 95) F gc hy baie fee ainpees iu ea sndaad Ta Soa,‘Andante Melody: Rhythm: In this chapter youll learn to: cua he Mi, ta ning Improvisation 8.1: The Mim7, MM?, and mm?. Review the filling fa rhthms, which serves the ass peo visng seventh-chord melodies. In preparation for improvising your ‘wm ilodes, ep, tp.orsingona natal sylable ac yen we conducting HoT yyysell Lg « (Choose 2 ethe rom (through (4) aad improvise mead that inde the indicted seventh hor, SingSev "for and endon do). AL Ming asst 4-3-4) ‘Sample salon with rhythm B. Mosrasdomisol-t (458-4) Sample soliton with hythan (2) 6S SS Oe ey ©. mmr as fla 4-8-4) Sample sluion wth shyt (2) o , Duet. Chose rythm fm (2) through (8) above, and one type of seventh chord~Almy, MMT, min. acing apart cah person sings one measure in ten, Quick Composition Using thyhms 0) through 4), notate your Favorite improvisation. Wate thesolégesylales of your mprovistion shove the statfthen choose an appropriate ef and convert to ntation fom the stall. change witha per ad ring each oer ody ith sole lables seae-degree numbers o eter ames Seventh-Chord ftudes 846 Major key seventh chords ee #erGhe Forzeiew common eut-timeythm patterns, refer tonproksation 33 (9.90) ration oct oaptar 8‘When the alfnote othe dte-hlf oes the beat unit divisions a the eat cannot be shown with Beans. For this reason, sue ys ‘an at est be challenging to read accurately, Ono way to improve realng Nueney i to asointe hythmie patter notated in thse Tanger st ales with her ae pater nated in he fei squarter-note and dotted-quarterote beat units The same process tun lr any confasion about the corect counting sylblen Tet "tht shown in oth and for comparison the coontng lables tretherame, ths with Beat Unit 00 Hr the same shythm notated wth qoater-ote best nits Andante weed je AE add Fd FF th ‘Simplo Duplo (Review) For more cattime rhythm, refer ta Chapter 2 2 Jefe de dt r dyed iis it 4 Hh iy ot | Simple Quadruple Weed fo dddd de Wye ey pitas ugteedeeritaned glide die dedit 4 ayy adddde dydd dddd pp daddy pdddddy ddd pd Jd pla ly Ducts tddddidddld Jt Sarena I fe [eee t das sy oly dada 7 ate guar 8408Pee ht beaaadstheeaiaal ea Eee nest Simple Triple 89 thy 41d dy wd a wpe pp tpt ddd ty wil poi tte 4 wpe a petted tl py =r) Ieee eye a tradi ede 7 00 Pane Cgter 8408s70b ere the same shythm notated wth qurter-note beat unis 368 Wiis Byrd, Galarde to the Fite Pvin adapted), fom My Compound Duple Lady Newel ook os Improviation 82: Pointand-Sing Rhythm Paton: BAltigeedttedddr dee pip oy ett Choose rom the flowing patterns and apis «pte that is fidedtelede ! Stee pte long Reopen be ay perm egy iythms withthe Bet Unit ot ae fogs poy Compound Quadruple These ythos are tobe conducted na fmt pater an ne : WR gd fd oo fd do ddd why peed pidds 1 Wedd Gp dd add ddd da wedded ddd tts toy wedded doywip tll a dey PerVENDnT Ny wimnr Te vent wis) Wteetteed tip el weld pid ytd haperdladdddpsesaddgdldrddaddedere| pis pila yo -¢ fe it 4 | ‘Compound Triple ‘hase rhythme are tbe conduct in three bet pters Wyld List didlo jdadnddl HRA lsfan padjsldedddpsjon rd} epddddjendd ddd daddy diy Dw : ig 4sdygs td ddd dd dd) oe red] = Chapters 107ChaptersCoed) Rhythm: + Narrowed best nen ries) {i this chaptor you'll loarn to + prove stant cote pass to a en cat See 1+ Por yt ts boro a din pe singe (Cantus Firm “Te allowing cant frm (CF arena excuse in whole nots, with neither meter signatures or bar lines Te reason for this to Concentrate acs on melodic ine, However, this des not sug! you howl sing these CPs in a dry, Mls, metronome manne. Rather, perfor them dynam, managing tempo and volume to crate a ‘usa statement that gis, ves toward the Fea point ima) fomewtere mar the mid, then mune away fom this point fora satlfping ending ‘ote tht th fist wo CFs te the same bat notte into dierent ef 91 Fax SSS SSSI 92 Pox 397 Layadow 398 S| 7 Improvisation 9.1: First-Spectes Counterpoint [A Athokeybord pay on ofthe given cats rma (CF fragments wi all of he pose ounterpits ote ight Net, play js the counterpoint while singing ont of spose counterpoint Create 4 complete phrase by cambising begining, midi, and ending CP Sagments while singing coresponding contrapuntal ie. Stages + Phy each ofthe CPs and memorize the counterpoint to en your ‘art favor consonance (PU, 9, P56 and). chapter 9+ Move inavarety of motions whe avoiding panel and diet pele intervals 1B, While a partner sings « C, improvise a frst species nant by choosing rom among the possible counterpoint tothe ight Star vith just the begining fragment, then combine them with mile land ending ements fo cesteemitephraes. Sve parts and sng the CF for your partner. (Find diferent partner who sings in diferent range fom your previous cast; you started each excese on aus before ind omen who sings an oetave say frm our past regi Pose couneols Quick Composition Notte sour forte improvisation, Wait the sole apabes of your improvisation above single ta hen choose an appropriate cle end convert to notation in whale notes ‘on the sta Hxchange with peer and sing each oer melody with solge sabe, seledagree number of eter thes. Firet-Spesies Counterpoint ‘Thecants fm appearngat he beginning ofthe chapter now apse with notetornotecounterpoins above and elo Sing the flowing eerciss witha arte, into groups, or lon, pling oe pat while Singing the other Onapier®‘Modal Melodies Meloies 408-42 fete white-hey” moder that may be transpose nd notated with ey signatures, secldentas or bots demons in erate ladies appearing in succeeding chapters. Review the ‘explanation in Chapter to corporate eer relive or parallel tallge while performing thevemladies Each setion of modes ines see intonation forma that presents the eharacerstic features ofthe mode being slated: many other formulae are posse, Aer rating these formula ryt fvent our ova, Dorian46 Pent Caper 47Ensemble Melodies Yo have alendy performed rounds, cyte duets, and two-part sounterprint. We now expand such interactive performance with terblerelos fortwo, tne, and four pats. Prepare each pat separately a fr single melody. Practice musi thee with parts separator in combination wth the rythm, condicting ite, Sole slabs, or scalederee numbers Ifa prt is too high o too low for our voice range tanepweit dwn up an octave 0 ll be ina more comfortable register Suggestions for Class Porformanco ‘+ Chose an ensemble—one performer for cach pat far example ‘+ Choose x conductor, who wil roid the tne pitch and extabish ‘the tenpa The every performer should conde, flowing the ‘condvtor lead + Sand whl singing onde topos the bast sn # Maintain ey contac with each performer + Balance your part with te oters Variations + Exchange pats nd prform agin unl each sin bas ong ery pa. + Chase casenbls ht fnture mare than oe performer an cach pat “+ One musician ca pla one part whilesinging anather 1+ One pefomer can perform the rhthm of 0 pars ‘simulancouty—tapping wth each hand one diferent surfice ot ‘upping one pat whl peering the othe part scaly 48 Coupei, Ls Moissonnewrs (adapted) 409 Tis, “The Hunters (adapted) raper 9450 “Who Stole My Chickens" Gradina nip DB EE My 3 pansy ool We Fe gae TL 2) ae tt Mpdedssls Laas y Mg deBry J eee wD y ay ye yy wpe Dy yt aay 1 anyhia | Boat Unit FeEE aa Melodst + lateyehicembshnnt in eno pr sutra Rhythm: + Brome eat one pie aod une) In this chapter you'll earn to: + Improve cllahments io t-prt ouster ‘fe trp snipe soap emcee th partner + Recor hm with Reeoned bea vss (pits i oped Improvisation 10.1: Second: Spoctos Counterpoint Analyze the contrapuntal implications of the filling outne by ‘writing intrval numbers been the staves Then with = partner, perform the outline ana Forte fit imethrough,embelistthe higher part with consonaat skp, passing tones. suspensions, andor eghhor ton For the epettionemblish he lower prt. Noe that suspensions ean stall be created whore the mle line desceads eps, What surpensions canbe created in menses 6nd 8? Other members ofthe elas can rite the counterpoint by aking ‘ictaton, ottng hot the harmonic neva and dhe melodie aesQuick Composition Norste your favorite improvisation, Wie ‘he sollte alabes of sour improvisation above and below a grand ‘aff with astrughtbrce Below cachline ofl, notte the btn of soar mprovisntion India the ey signature snd meter hen con- ‘vert the solo slale and rhythmic notation to nots an the sta uchange wid per and sing each others melodies with welege yl ‘bles ele degree numbers otter aes “Molodie/Rhythmie Embellishments {in Two-Part Counterpoint “The two-part contrapuntal eerie from Chapter 9 now appear with ‘ncodi and rhythmic embelsiments alongwith two new examples fiom the iterate ample chapter 10487459 {63 asin, rom The At of Counterpoint adap) Plainsong (Plainchant) Melodios Medieval Roman Catholic urgcl music calle plainson.oF pain han, of simply chant, was monopboniand modal. Beeause the oi nal frm of chant notation f now archi, the mae tamed so thu ostemporary musians may perform it more easy Melsmas (vo oemae pitches sung to sage lable of text are indicated with sslurbesneen antes or by beaming notes together Test phrase endings remarked wth ashort fine throug the tp stating or witha arline Syllabi emphasis isiniated by plang an ace acoentsybel ) corer vowel The melodies ar sang somewhat rely nth with ‘modern rythmie alae indicating shor or "Tong more than rece hth efore singing thee moti, refer othe explanation of tive and pall slfge lables on page 5 of Chapter455 Ven’ rotor Spritu (anon plaasong) +468 Atiphon fr Vespers (anonymous plainsong fom Ler mat471 Dolan, “Now, O Now News Mat Pa” rO-now teed St Fr P= ng mh te Ble prs arin tous 1 Se Nom O sow 1 pest pr, Pet ng 1 Beemer can jy 472 Weekes, “Lady Your Bye My Lane Enforced”Rhythms with Borrowed Beat Divisions Duplets and Quadruplets ia Compound Meters The counting lables for those sed for siplemete indicated others, the best Boy Wo Sy yay ae yy WOM yA gy ge mete mA +7 POD LTT Ty BPA 1 ys Met Ly west hie de Ted charter 108fet Mgetieaebogs ts yd pete “44. | pio syjTI TT 4 fg ey Th wep uy TIT Regal aaa Jt =| oy . fret Td hy . a oh Lo bor] apples dds deg paddy os af a eee i ore He HTT ty Duets, | Eat Jif 4 foo: od | 46 i. got tr Pe pig SI fo dai eg i Fas at o JT IT 2. Ll =a ) +- ddtt dys. DOT 1 sydd A a fell fo | cnapr 10487felt T Th eu Diatonic Harmony and TonicizationMelody: + Soran an sie knetbensary ye Rhythm: impr yt with it In this chapter you'll learn to: + Rotem svn oto i rity of bat sons Improvisation 11.4: Embollishing Melodie Outlines Improvise an ebelisied melody based on the allowing outing. Add oosonat skips (CS) and neighbor tones (and expand upon the simple rhythm. Pers your spoon in cst, As yo listen to the melodies of others, analy the means by which the otlne has been emblisbed—tat, where are he CS, and N? ‘+ egin by singing each prt as wet, then sng the may while laying the as ne. + Create tudes consisting of single typeof bellsinent or ‘ample sing vation that ens of nothing tsps within tho chords Sing another hat festres ony upper gers cre that etares lower neighbors, ands on, ‘+ nprovise melo tha cubis from our des nto ne, orginal mai (Compare wth Haya, Plano Sota No.1 nC Mar, Minuet) asain + linprovee athe pal minor hs, and inl the leading tne ‘Tranpose the one omar ad nor keys from tre at to three sharps. ‘+ Perfor he improvisation a duct with one person pr sta ‘+The ds sustains the pitcher of he uti while ne oe two pesformers impose Quick Composition Notte your favorite improvistion on a rand tf showing the comet ey and mete signature Fxehage with {poor and sing each ater part with sole syllables, scale degrees, cr letier nes. ‘Ryths with Subdlvided Boat Unit orarevew oftine signatures wth he ighth-nte beat, sce Captor, ge 88, 196— wi), ABSA Ay 199 “Alege ap BERL 03.5) 28) a BFR FAA dy GSI A BD AEN yy 2A Aaa fu yn) do [as Rhythms with Subdivided J Boat Unit shy IAL ARYL yy eon . See Fog Ra, a may ‘i iy: AyD) BL yy whys GAY EaE Sj IR A ty foe SILL Ry TL Ay po yy chapter tHHe I Ly i a ey nsomble Rhythens 09 foabsteeiZe PSST teat | gL Lys 5 ep eg ol sl te, inne 42 tp ceeree ey wep Lys SAL Nd wet gp LL ya ly sepl Dj ys aL yy WRAL yi ay] : : s ~ Deal Fine wetted ed Att Ty Ly Chaplet 168Me Pee dy DL ddad yy Dy) pA Oise al siti, ee Te TLL bla BH A ad thd in ddd ee “The das appeared in Chapter 10 and provides valuable comparison esnuenlatestenth-contry entrap ils and those of the iehteenth entry, wih follow Singone par whi pling the other, then switch, Perr thi nly in elas as a duet ensembe Dust 519 Byrd allan tothe Sse Pai, om My Lady Neve Bok Soprano and Buss Lines in Eightoonth-Contury Style lw does the coanterpint in thee excerpts der fom the previous dct? T help you understand he counterpoint of thee soprano bas feanworks, vit interval numbers between the staves. Youl ntiee that, er, disonant tervals ae controle diferent, ocasonally ‘sppearingan the bet and mong diet to consonant intervals Sing ‘one part wl plying the ote, then sich. Perfo hex melodies inelssas duets or ener, enagtor£20 Bach, “0 Eaighit du Donner “Thunder, BWV 60 {521 Bach, "Was Got tt dasit wohl” What Gal Doss Wel Done) BWV 99 522 tah, Jes, der du meine Sek sus, Who Saved My So, 529 Bach, "Non komm, der Helden Helland” (Now Come, Savior of the Gentiles) BAY 61 todet 599 Tack, “Wer nr den iben Gott st wate" CHe Lets Only owed God Ral’, BWW 8 cre, tet) ymin diving the quae es. “55 ach, “Exh us Hers bel delnam Wor” (Preserve Us, God by Your Word”, BWY 126£527 Hay, String Quartet in Bs Major, Op. 99, No.2 (Theo), ‘hint movement adapted) 528 Hay, Sting Quartet nF Mao Op. 20, 8o.5 third movement (adap) 529 Leonards, Ce, rm Mesa Prima This acept cy to-prtmne, he per prs ete same "ihmanon th tase hat sar ta Toe themes omar hight theimar e le pr a Beha Conclusive and Inconchusive Cadences Forconchsive cadens Listen fr and enti the cadena melodic Pitch asco (i). Forinconchve adeness: Listen for and Went pitches such sr (2, o sl les eonlasive cadences might fad with ni. 590 sa, HangurianRhapdy No.4 291 James Homme and Wal Jennings, “My Heart Will Gon roo. ‘Titanic(edated) ™ 595 Grieg, Norwegian Melis, Op, 6 ist movement note cc535 Chopin, Call Sonata ia G nor Op. 65, ext mowement 596 Al Kasha and Jol Hirschhorn, Candle on the Witer* = ae eee My ve fr yon ale Bar 7 knw oe ae ane FE ‘dont pve op, yoo ave some-where 40 fur. 587 John Deaver Bill ano and Tay Niert, “ake Me Home, Ensomble Melodies {540 Clement Sonatina in C Major, Op. 36, No. hid movement (adapted) Chapter tt 81542 Beh, Bane, rom Orchestral Suite No 2 fr Orchestra, BWV 1057 fret Melody: + Moe T-D-1 progreatane + Atti of oun Rhythm: {+ Move-adarsd compeurd-oeter hythims wk oat adie In this chapter you'll earn to: 1 mpi pres in pe + Pelr and ecgnoe meake -D-T pogemione + Petra compan ter tine wth «saraty of but aeons npovise mkt my be acompani bythe flowing prose on Sig the melody wile scompanyng youself atthe Keyboard Diretthe soy och phrase toward the cadence ely descending treat thea eadence(m. 4 aod do (7) at the second eadene. For eta guidance, reer to the rates presented in Improvisation 1.o_ PTS, FL. ky [Rhythms with Subdivided A Beat Unit, “Andantino fej yf 1 AE EE, SBE GE y a OSA, yy SB, VOL) TR TyRythme with Suave J Bent Ua MFR Es 2) FIRE TDS TS wh oo, aon, we FR TL yy we lB RR Soo yon Dy Ly PAG TY WFP AIRE ALTIN oy WoT A Sy Wy yy ie ay WT yoy esd Od 211) FIT day es$00 Pace [Rhythms with Subdivided 4 Beat Unit ag dep Lm a ah Se WPI TI LID LN LAL JIT pO D 1 DD DI e.Didi dd bt doy eee wd 368 argh fh ddd fede dd JTL Harmonie Progressions Sing thee ude tear the commen sound of progenons ha sat inthe tonic ares, move tothe dominant hen rer otoni T-D-T) Stems-down pts represent the bas lina; Isen especialy otese sor havea partersusiin them wile you sng the meld Sing the melodies in thei paral yo,on eviaeviaer dhe eet Getting the mo oat ofthis de + Ply the bassline whiesnging the melody with alfge lables snd sale-degsee numbers ‘# Maveaparnersng the bas line wil you sing he eeble part + Realize the progzeston in black chords atthe keyboard by olding thetree highest tebe ptees while playa the base ine ‘Play the four-part progression in block chords whl sing the sndlody a8 nota Authentic and Half Cadences ‘As you perform thee melodies Hsten caefly tothe phrase endings andro dent authenticeadenees endingon do(i},mi(S) ora), tnd ha eadenes ending on r(3), lo (- 575 “Sng Bells (waitonal) 1 wit thesanpe teat lew Tt a sng made Joe seo [SSS Chapter 2384 “Dubious” Harmer Song) ration) 51 Johnny Mark, “Ser and Gol (adapta) = ‘Sh - ver ond wl > wend al orem vibe fe als wand gd 582 Mable, Symphony No 2 second movernent 589 Hank Cochran, Make the Won Go vay” $08 Pace[Ensemble Melodies ‘As you perform these ensemble melodies, litem carly tothe sopranos pase endings and try 10 Meni cadences: perfect thetic PAO, imperetathenie LAC, o bal HO). 88 Byrd, “The Carman Whistle” My Lady Neowls Bonk 589 Fete “Better Times Are Coming? ay hepa prt and sing tele pro aut lr eine gn td ed hm ped era a ely & $ af 500 Haydn, Stag Quartet in D Mar Op. 0, No.6 fist movement Sgt th hind. tng ih Chapar #2584 Hn, String Quartetin G Minor, Op. 20, No.3 fest movement ‘Apoing inline bet sone tv nei ‘be ne eat proet Motody: + Te dominan sve chord Rhythms + Sygate dria In this chapter you'l lear to rons and ha eg th roman ae + erm maltose dominant adnan went + Haren aly + Reform repel ryt in which acon cacu on we ba of Improvisation 13:1: More Phrases in Pairs Improve « melody that may be accompanied by the flowing progres pusiag prtcla tention to where the dominant and Aominant seventh chords appear Sing themelod while sceompanying ose at the leboard Direc the melody a each phrase toward the adence, eal desendng a7) 3 the rst aden (mand do (atthe second eadeace. Fo eta guidance, rer wo the statis resend in eproisation 1.Wile one person plays an eibelshed version of the progression the partner improvise melody by singing paying an instrument. ‘Site alas and perform agin, Intervals of the Dominant and Dominant Seventh Ineschofthe allowing melodies, late the dominant a -e ( snd dominant seventh chords ate (5-7-8), and observe the ‘esolution of tendeney tones. For additonal practice refer to the ‘eventveod des resent in Chapter. 589 1, Mou, Mint (adapted) 50 Mozart, Piano Sonata in G Maar, K. 285, third porement (adapted) 395 Seber, Fans, D299, No.8 (aapted) 598 Schumann, "Caso Gch” Cason Story), Op. 1s.Net os soa Teper Ogre509 Ssbert, “rings” Dream of Spin, fom Winenie 100 Schumann, “sisted” New Year Bxe Song), Op. 68, No.4 (adapted) Ensomble Melodies 602 Couperin Ler Moisonnen(aapted)Improvisation 13.2: Predominant Harmony. Improvise a melody that may be accompanied by the Flowing progression paving particular tention to where the predominant harmonics appet. Sing the melody wie acompansig yousl at the keyoan Dist the melody ofeach phrase ward the cadence, ely descending to re) at he est cadence (m4) and dG) at the Second eden, Fr eta guidance refer tothe strategies presented in Blow Mot or we vel ‘+ egin wth fourmeasue sols. ates extend hem to ght or sSneen measure shorten them to Eo meas ‘Trade fours? One perion impress fourars and then soon responds tothe fist improvisation, + yaar afales rt song, pop mong jas et). Crate ‘ythmicembelltment to the aconpaninent tt ae tharactersic ofthe chosen se. Change the tempo, mood, and tharacter to elt yur chee + Perform ach example ins parallel minor mode Transpo the examples to es ging thre att thee sharps 1+ Change the metersto compound meters + Conte goon by addingone or more perusinits who play on objects avaible in as (boks, desktops, penis te). Quick Composition Nitate your Favorite improisaton (melody fons) on a single sf showing the corect hey and meter signature "Eshange with a eer and sing each ater mpeoisaton with slg slabs sealedegree numbers, o eter nares. Intervals of Predominant Harmony fand the Predominant Area nthe falling melodies, obeeve—both by ea and by ight—predom Jinan harmonies andthe predominant are, Notice that when preom nat harmony mes to dominant harmony, the follwing edie motions ie cur first G8) r-re(-9); lal 6-8 ort 6. {abe the appropriate nots measure with"PD? and aback blow thor 0 Scher, Zoaneig Walser (Pventy Wales), D186, No.3 (adapted)50) Brahe, Waltz, Op. 39, (adapt) : lA as — — Sti 610 Burgmile, ZArabewque, Op 100,No.2 Sen of he gang ly pre a apn Swe {69 1.6 Bach, Sonat in © Minos, Op. 17, No.2 {612 Hay, Sing Quartetin F Major, Op 3.5, cond sverent adapted) Harmonizing Melodies ‘Asan intouction to harmonizing melo, flow thse steps to develop a outine as you harmonize hs rly and hose tha pe ‘hroaghout he book ‘+ Harmonize melodies in keyhourd syle thre voicesin the right Jaan, the base oie nthe Pac Cuaper sa 9+ Sing the melodies wiley play our harmonization, sccompanytlassmat instrumental peormance of the mel + Enploy 10, V0, andalmenins ofthe dominant seventh or as well as Ian VIE. For he lates flo the path of the igure: 8 moves downward 95 as 4 moves downward to3. ‘+ Look forcommon to and theepteh melodic patterns that nay ‘behsrmoniaed wih the progressions you hase earned Model our ‘oe leaing on these progressions, ‘+ Experiment wth the harmonic rhythm, changing chord once por Ine once per beat, each time you change the pte, ay soy but with the correct tne and yt, ul you rete ‘asiteFng phrase Doing wil allow the ear ine to engage i proces and pede whats acertng. + Direct the motion ofeach phase ois cadence trough the use of cexpresive devices oeodingdymane nuance or example the fist time you haemonize a mod ty an ensy posi sch ay that show in the fst line beneath the sta ‘When sou have mastered the can” version, ry the more cali rmonaations asin the soon ine ‘Syoopation 1: Synorpation doar when an epee scent displaced or moved 1 soother best orpartof brat. Thefollowingshythms present two Kinds ‘of synopatio, the st of which valves an accent on « neti ‘weak best, Nate he many ways in which his ca acu ayo pesorm ‘hese rhythms while conducting Prorm thse yt and balance the relay ofthe strong nt beat with the feel ofthe secnte beats curing in the ret ofthe mesure wp gtendis de Da pe gp poy agp ape ape pe bey wy pe i DDL DLL 4 Dy we A te ey nS wp yy asoo om Wp PSY FI | Muon Mota alegre PPL Oy ty pO} FO yy sepa adda ALLL gy Ft op ay oy wedin dye doy dye 1 Fyre gy $82 race Cnpter 1s 188Rea od} dade dd de dy werd OD SA Sy MP Bada teddy women d fe Epa der dep edly HUME WEL Ly oo ‘Andante alle u ay <4) LT LL Ab a oy Deets 09 ‘Allegre boa tor dfds> —- @ otf Canter 8Melody: + te ta + Sun as Rhythm: 1 Sun tins In this chapter you'll earn to: 1 Sing and cogase chords in mel contete ets pre wih mines vison ad mee of ior tae «+ Efren ain oan se {Chora Bude ‘The flowing shot dts hight diferent types ofthe & chord “ste forthe {chord in each sod and enti ty ype: eaenta, neighboring (pods, ampere, oF passing. Stems-down pitches represent the basslines; Tten especially to these notes or have a partner stain them while yon sing the melody09 eee s Improvisation 14.4: Prodominant Chords. ‘tile one person plas the falling accompaniment eveneneis tars should improvise a mead: Chose part and eli, flowing, the gen statepes. Before anyone sings loud, have somone pay ‘he progression several tine wile the clase len noise Hach person should aecomany a well as perform a melody. Strategies + tart improvising melody using rythm that matches the pleas harmonic rythm, and ada ocho tones once hie framework hasbeen std ‘+ Singeach pat swt, then sing the melody while playing the ae ie ‘+ Create dade consisting a single pe ofembelshment. or ‘example sng variation that consists of wating bu skip within the cords, Sng ater that atures nly upper neighbors one ‘hat fests ower neighbors, and oon + Improvise meloies that combine Wes frm your dade into new, vigina muse miowe row wenn Varations + Begin with our measare solos Later extend hem tight or _xteen messes or shorten tht oto meses ‘+ “Tine oars“ One person improvises fue bar then aaecond person responds tte it sipeoisaton, $8 ret 4 Dry vary ose (art song pop song, jaz ete). Create ‘yt entlishments in the accompeniment tht ae harcteritic ofthe chosen se Change the tempo, mond, and character reflect your oie ‘Perform ach example in its parallel minor mode 1+ ‘Transpote he examples to key ning fom thee ats to hee sharps 1+ Change the meterto ompound meter + Transeibe the examples for instruments avalabe nla, and ply the accompaniment on hot instruments, Hac player shold improvise on his or her chosen par. 1 Create "grme” by adding one or more persion who play on objects valablein clas cboks, desktops, pene ete). Quick Composition Norte your forte nprovition oa a ‘grand staf showing the eorec key and meter sigatere. Exchange with peer and sing cach other part with slg sable, sele- egree numbers or eter name. Harmonising Melodies Refer to Chapter 1 for instructions on harmonizing melodie, then sccompunyyourlf at the piano ax you and your lassie ing the folloving males. (4s Monat, Serenade in, Bine cine Nacht, K.525, fit movemt (adapted)56 Seubert, Wiegenied” allay), Op. 98 Swung Rhythms ‘The following rythm are similar to those encountered eae in (Chapter 3 and do not present any new hye complete, Here however the rythm are to be rang tht i the bet sould be vided in an nog long-short manner snr to (1-2) thm of compound meter Sang tthe ar fen performed with «ight stress on the shorter nots Along sng thse rythm shoal be onvdcted ina steady tempo. For comparton ry performing each thythm in bot a sweng and srettime manner Compare theft ‘to ehthms (6490 and 649), the second of which approximate the gout ist. on wget oF 6495 ag pe tpt Sy we dL dp dd pdt oy Mg Ale ea Rade DATA Sy Sometinesdotednotation was wd in id swenith cena meas to indicate thatthe hth should be sung. ‘Moderato aegis DIS b TD SITS Cut Time ‘These medina ho be sung co Andante negestdylse dps std dy ated ips yet hater #8wep yt syd pay wd ng eel yy esis 7 qo Lay Se BP Dey 2D dL 20 wy — fe et Gere te oe PrittIW le a fi dad [7 du al Swung Melodies “The et nai sh(676 Prank erin, “Stas Fallon Alaa” ‘Remenerthat deted asation wasn andi: onertcth ony ‘melodies toindiate that the rhythm should be swung (67 Ile Styne a Sammy Ca,“ Boe Long, Lang Tie” oe semana emcee = rf Fy The Toe eRe A ny no ‘Some soz ies ae notated in ct tine Because there i 8 0 ‘ea fe inthe accompaniment ot may perform this melody a st ‘wernt incom ine, wih ea 60 678 Ted Kochle and Haro Aen, "Stormy Weather” fp tie Dat haw vay eae me pe a Be meee Se CapraCote Melody: 1+ Mota melodie rom te tere + Harms li wih che deo tpt Rhythm: + Syncnmin& Subvns In this chapter you'l learn to: 1+ Sing and vy ditoni rot ogres ines eaten 1+ Perform mele we ad bat ions + Sing medal alte on Herter Dintonie Root-Progression Etudes ‘The elowing shor tds Ince common root progression Listen focthese progressions ineach melody and identify ype, hr, second, Stenson pitts represent the ass ines ten especialy tothese notes or ve partner sustain them wile you sing the ed, Harmonizing Melodies with Other Cadence Types Refer o Chaper 19 fr instructions on artoniing mois, then company yourself a the piano a you and your classmates sing the folowing melds.685 “We Tree Kings (radon, adapted to rise scale-degre nthe dominant chord. At the nd ya plage 586 “On the trie Cana” (rational D Aeolian or natural noe “ny hr ln rene td erp cues ee. 887 Brahms, Symphony No. Jin F Mao, fourth movement (adapted) Tekh thee sige nd ith Pg i, 88 Boch, “Barer” ‘ach pec may behamenied wih pap ance 689 Beach, Forgan” Improvisation 15.1: Diatonie Root Progressions. "he flowing progression presents thie diferent sot pogrsions. ‘While one person pl the socompuniment, ewenone in ar sould improvise amend: Choos part andes it, fllowingthe strate ‘even in Improvisntion 13. Before anyone sigs lod, havesome- ‘one lay the progreson severalines wl the leet prvi. Eich pero should acompany aswell perfor amos. Vary the Inypronsations vt he sgn given or inpevistion 1.1 Quick Composition Notaeyoustwonteimpronasononasingl lft the caret hy and meter signature Bscange with pee Sid sing each thers part with olf spabe,sele-dgre ners, frlener ats. Syncopation 2: Subdivisions In the felling yt, synopationcecus when @subivson of th Betis stssed, In these cases, consider the yncopted note 8 immediately anticipating ofllving the estat i we movniher Aine tard o from te beat or dvi of the beat. Oseve the ‘anyways which thi cn cer as you perform towers while convene 690 ‘Andante gH, I, 3] Wd AT Ee oon SplHRS ASS WRAY Ay « seg pel alas as pad dy pe pao sega Mp ay wed La pay Hanne oT ddd dndDy eh Died OTL A a 696 pee Hoy . EE odd de (LOA 4 599 ‘Sted Pe PLR wr LFS SLL we FY eee DL BL Foie 0 ddd py Ry nr BED GDL GBA EY aap Ty RLTE, TB pop TEL a rR Ty WSR omgtar 15 B08Dot at aed eae of Jt | mm sad 4 {ET IBSIE ET} TI eby ‘Modal Melodies from the Literature “The tonic mes were intro’ in Chapter & slog wih tate ses for reading with pra and relative slg sales More moval ‘read, incloing plsinchant and short intonation formulae, were prsented in Chapter 9 and 10. Aseletion of modal melo rom ‘hellterature appears nex. Before performing eat mad. fist deter ‘min the mde comparing its centri itch fen calle simply the ante 205“fina” because itis ally the lst ote feds) to both the Key ‘signature and any accent that pear, then sng an intonation fr rmulaoe fom Chapter 9 or your oma erent youself tthe p= ticlar mode ofthe melody. 709 “Old Joe Ca” edition) 1710 Bart No 18 fom 44 Duets, Vol. adapted) 2 “Cambetand Nely” (raion) ‘73 John Lagan, Consolation rom Sstion Tne Stings (151) 1714 “Dance of You" edna) ‘15 ark, No, 6 from 44 Dut, Vl (adapted)117 "The Bid Song” (raiona) $ [SS z vat) ee ie pee! wv = Rounds 718 “Hey, Ho, Anybody Home? (radonal; mond in three pats) ® ‘ig "Shalom, Charen” (Peace, Friend” (atonal: round in ‘hee pats) a ® Duet 780 Bart, No.9 fem 44 Dut, Vl (adapted) Chapin $5200Melody: + Roba odin Rhythm: + Compl Gupte {In this chaptor you'l learn vo: ‘+ Elio on shy with ene of pans os 1 Rosy ot perform len witht eels Improvisation 16.1: Embellishment of Melodie Outlines Imprviseanembelsed melody ase onthe gen ote flowing the stategis given in nproviation 161. Ad consonant skips (9), psingones(P), and negor tones (and expand upon the simple "hyhm. Perform your improvisutins in ela Ax yo listen tothe reds of hes, sralse the meane by whi he one has been embeishod that whee are the C3, nd NP (Chord symbole are inladed as a ide, (Compare with the ‘rational sng" Good Night Las") ‘+ Improvise inthe purl minor kes, and ince the leading one + Transpote the tine to majo and maa hes tm hee ats to tree sharps + Perform the improviation a2 duet wit one person per staf «+ Theclas sustains te pitches ofthe otine while one o two performers improvise. Quick Composition Notseyourvoriteinprovstiononagrand “Sa showing the correct hey and meter signature Exchange witha peer fusing eh others part wih sole als seae-degre nombers, orl names [Embellished Melodies “The next group of melodies emphasizes the mote wse of nonchord tones. Look an listen fr the ad ry to ident them by specie ype: diatonic ot chromatic passing tones; and distoni, chromatic, incomplete or complete neighbor tones, “71 rome Kero, "The Song Is You" 20 Irving Bevin, “White Chests”725 Joh Hil Hew “All Quiet Along. the PstomToigh™ ‘une ms by ring ten (in me pe 1725 Mendelsohn, Song Wihow Words, Op. 62, No. (adapted) ee 1726 Gene Lees ad Anand Manzanero, “esterday 1 Heard the Rai = Seer dr Tie i leer rr me on 1727 Rodger and Hat, Bewitched” ea 2 ee ce 1728 Ned Washingon a Ligh Hating, "When You Wish Upon ata” +4] cage ts 8)129 Andrew Loyd Webber, Chaves Hart, and Rickard Silo, Askof You" adapted) SSS nike oat wile Lowan th alt uk ot po Improve your proceney with soige lables osa-degree ma bers practicing these maladies slow then increasing your speed 730 Morar. String Quartet No.2 D Mj K. 18 fst movement (adapted) {a1 Mozart, Piano Sonat aD Major, K.1, third movement (adapted) ‘2 Handa, Plano Sonata No 40 9G Majo, thind movement (adapted) ae Ensemble Melodies 178 Haydn, Pano Sonat No in € Mao Mento794 Beethoven, Bowie in G (adap) 3 Barth, No 39 fom 44 Duet tVoLT ‘Compound (Super) Triplets “The flowing shythms include compound tilts, also ale super tripe thee notes that ec nthe space of heats To prepare, perform rythm 736 while conducting into. n measures 3-5, per form ony the ates with steep wie inagining he lt dvision (stems dow. ow compare messed, and 7in hth 73. wih thosein htm TaTb, Rhythm 77 etues trv compound (ape rps, which re ‘ways evenly spaced. Rhythm 737 inddes an unequal pattern of fineeth notes (2+ 2) ha i fen mistaken for ompound pls these fleets aresometimesclled Broad” or"rmbs" pets Allegretto apices a wojloyoiny rb Allegro nig coe ite SAR | FE 2 Wiofjaojmoyoyagi a RTI S214 Winns opp y Fol al 00), 23}, Ty ap gies omy ty 66 0 ay 7Beinn cia eee = econ 4 Boat Unit 79 nee tase yt oy WOO ay gy chapter 107 fu ode a ty ie ue goat ie alti Pleat v ‘ Harmonizing Modal Melodies I dda jeeeey ‘| Refer to Chapter 19 for structions on harmonizing melodies, then scopy youre a the plano ox and your east sing the folowing melodies, 8 *Canocng Song" (raion) one 1. neSone761 Geonge Gers and ix Gers, “Oh, Lo Fi on My Way? fom Pngy and Best Shere ta 1702 “Morison Jig (atona) Modes he hv dna cde Melody: 1 Sng diminish aes 1 Hrmenising ies Rhythm: + Comp cup) daplien In this chapter you'l learn to: + Peoria comp bent dine + Regis ad ptr arpeggios of th carn erent + improve meu bio minis an veh chord + Petr emp nies gs by ourntfand with here Improvisation 174: Diminished Triads ‘and Soventh Chord A The following four sym serve a the basis fo imposing, rods. Clap tap, or sing on a neutral spllable each rhythm while contig in preparation for improvising your own meade. oa ap psy °, ne dl pity l lity old y o 1B, Choose one ofthe rhythms (1-4), and improvise melodies using the note the vi? chord th vi chord andthe vl chor. End ond) Perform dhe follmng examples, and then create your on melodic. (C. Wih parte, peo exercise B. While acing eah ther ler Quick Composition Notteyourtworteimprovstiononssiagl staff shosng the correct key nd mete signature Exchange witha pee fandsng each ober part with sofge sabes, seal-degree numbers, rte mes. Mixed Boat Divisions Before singing the next group of melodies, prepare by establishing the meters simple beat diisin, then aerate between simple and somos division rotated Assit he notated pitches that ed ‘the phases wt their sound and decide ia eadence conta kes ‘crocus, or inconclusive, 765 Lis, Hungarian Rhepody No.5 hagtee #7766 Chopin, Necture in G Minot, Op. 97,No.A 789 “Ane, os, Carlie (Cro fk sor) 1768 Bach, Fugen E Minor hn The Ml-empered Clavier, Book I, BW #79 ‘bere thee eine te eminent ‘mpm gnng mae Baw equ Soraone dhs 8-46 Pa same sen psn deeton (teganing ame bat CAG Ho) For the net ve melodies, pero is with eels o sale degre numbers and then ith he et, rent Chapter #7Ensemble Melodies ‘774 Haydn, Piano Sonata No, 1 in Be Major, second move (adapted) 1715 Radsil, Ponape) “Ting the hh ot lyon prin ep srt Sag the ‘ly ki lig ban rain an ——— ae e sl tated - Pett Cchaotar #7 a776 Hay, String Quartet in F Major, Op. 3,5, stcond movement, Tio adapted we Pie Singing v7 ‘The following éeude (777) featre he commen progressions i, SSP and HP. The accompaniment i provided a «gue The we" hors often siggeted bythe oiling of era and 2, whic te eteated by #9) ade () nthe harmonic mina sae ‘Sing with the acompanioent to elp tune the chord then witht a ‘+ Tullow the melodie tendenles of iPr chord tones: 1) ead to do tlt sol fa) als tome. ‘Singin the parallel major Recall dat he eadig tne seventh, hors quis half- dined (7) 1778 Bach, Hague in € Mina, BWV 546 1779 Bach, Invention Non D Minor, W775 ter rin, ih se ia ih ing e chapter #7780 Beethoven, Sting Quartet in F Major, Op. 18, No.1 second ovement adapted) ‘hears ihe hrm oe ie 781 Bach, Double fom Violin Panta No. 1a B Minor adapted) Inoue aden flor eet Harmonizing Molodios Refer o Chapter 19 fr instructions on azmonising melodies, then company youre at the piano as you ad your dassmats sing the folowing melodies. 7 Wol-Das ernest’ The adn Mai) 785 Handa, Fue fom Suton F Major (6179) ‘Tryhamoising tet ro mes ag TL ‘Compound (Super) Duplete The flowing shsthms incide compound dupes abo called super pls, to notes that oseur in Ue apace of tree bets. To prepare, perfora thn 740 while condtng in thee. Iv measures 2-4 perform only the notes with stems up, whe imagining the dle Avision (sts dae rf bat oe wep ror f. |e +14 Rhythm 785 i = polindroms; measures 5-8 ate the exact verse (retraite) of mesures 1-4 In measures 3 and 6, imagine the dle Aivisionofthe baat butaticlate oly he fist noe ofthe mesure ad ‘the sasond notf the soond eit. Moderate mb pRGH LF 4 we jes ea wreret Ra Lyd, dy AyD 4 yy (Chapter #7WP yyy wt LL ay FB ty : oo. — 3223} Dea pasts Addis 2 rere [FA fea. PAA, 37] me ie = 4 eae oe Wd fos ede Ji fed see pasta Compound Metee Foc compound (ape dps in ona (ety dpi to pce pla he repaze, St compare ‘he Iter while conduct$ ap pH Re ays dig ay SD pled dy ee Lys SIL ay WE pdt TD eo TD de Dy ddr Sy Ty ey ‘Stainedeo mee ‘Melody: + Harmonking moi Rhythm: + Syaonpaton Trip and Depts In this chaptor you'll earn to: + Improve eis youre and wth apse + Petr cpio ba nsrornts let and ite Sontoncos ‘A sentence it phrase comprised ofthe segments, often in the ‘Proportion 1:2. In a fourmeasre phate, the sentence: might he 11+ 1+2 measures. In longer phrases the sentence may stil low the same proportion (eg 2+ 2+. Segment tates a ide, which repeated or varied in segment 2: segment which may oF may nt be tet othe orginal en leads ow ecence (Real heft phrase Beethoven Fh Symphony.)10 Schubert String Quartet in Eb Major Op. 125,No. seed ‘movement adapted) 511 Boch, Fugue in € no, fiom The Well Tempered Clacier, Bok Bw ser eine the antsodent consequent relationship sity, reserving the term pera for onl those stracturs of HC-PAC. Others port i ferent weakstong pases e4,1AC-PAC). ‘15 Has on Morar Plano Sonata in D Major K. 576, fst ove- ent adapted) ‘6 Basan the trations Shaler med “Sipe Cit (adapted) OOM le RRA Z ‘17 Basd on Mendon "Spring Song fom Songe Without Wid Op 62, No 6 ape 914 Faster, "Camptown Lads” Madero A period is tpl a two-phase harmonic structure: an inconelsive ‘onal motion flowed aconlsive one. The irs phrase, theaneeed ‘nt inate a harmonic mein that resles ia the second, the com Secuet Th antecedent usally ealnees on the consequent pase tinays reaches purfect abhentie dence (PAC), Some theorists{820 Tony Velona and Remo Capmy “0 Bambino” {526 Based om Scuberts“Des Millers Blane The Miler ‘lower fom Die eine Mien adapted) eS = ee rsa re 7 eae Sle ee ‘Bom ta er more sentences! 25 Petaod, Minuet fom the Anna Magdalena Bach Notebook 822 Tom Blackburn and George Bruns, Balla of Davy Crocker” Pat Chapar i8 asEnsemble Melodies 527 Hay Sting Quartet in G Major, Op. 3 No.3 hid movement (adapted) 1528 Bewhoven Geman Danee No.3 Sing or Brad Be 26 mt £29 Clement, Sonatina in G Major Op. 96, No.5, Hondo yh et and and age ay oper a. te 70 Mori Sing Weand Chant I” Fatt § MOR SR ome 8 $ Foe ites. Wie lo a gant Improvisation 18.1: Periods Thi Gide wil Help you lear to improvise «pall peo. Fist sing line 1 earn the mac outline of each nein ies 25, Sing part a individual melons, or pone ew vasa ofthe ‘mcldy by jumping rom linet lin on ech meso alfmessire Sing wih parte, aternating phe, then emating mesures ortalf messes + Choose a theme and invent texto wth the fst phe, Have our partner spond inthe second phrase witha tt ha your Quick Composition Notatesourfsvorsimprovisasomons grand ‘ff shovngthe conect ky and meter signa, Exchange wth per anusingeach others par with seg abe, seale-deree amber, ore ares Chapee 18Harmonizing Melodies Refer to Chaper 1 fr istracions on smonising madi, then sccompany yourelf at the pian as ou ahd your lasses ing the folowing ely a .naring Grace(raitonal) snoring nour hao wad LV in Syneopation 3: Duplets and Triplets Inthe olowing hts sycopation cars then aborted division ofthe beat esteem thee eases, consider the syncopated nes 4 falling dietly between beats (uplts) or moving ether diet Toward oe from he bea pets). Observe the many ways fn whieh ‘his an occuras you perform this hye wie conducting. pee ides Paper! fy ch a yy Lut a u eo ‘Aeeto appt A bd ey we yt So). Tyg Stony re “PS wld I yp yg 5 Sete Neg Mjidee je tise gh ea eyaa A LLY nt pL NL 2 dpa oy + FIAT 1 org GYMelody: + Soueno Rhythm: In chapter you'll learn to: + Reni petra mdi ogo by area wth others 1 Reform bom nwo nd thre payin Soquonces Asequence sa musi pattern stata at diferent pitch ews. Discover ‘hesoquence typeby determining the harmon progression imped st ‘ts bepning, Hers focus on the plied rot movement bean ‘measure whieh alls y hs 551 “Musi Alone Sal Lve"(wudtonal canon in three pats)‘452 Jacquet dea Gere, Chaconne, om Pe de Caen = se Wey Dg ened Bp Tey Da 57 Hay, Seng Quartet in 5 Mae Op. 50, No. fist movement fia 7 Ping agin tthe soe Sec mayen the ar ye an Mn py Da Tay ld Seva = geaon por veh Pett Chanter 19887‘60 Bouton, Kyl, tlm Mas nC Op. 85 Ensemble Melodies 5 Bach, Sonata I, from Si Dro Sonatas, BMY 526 & 1 ‘63, Hap, Sting Quartet nH Major, Op. 50,.No seam movement (adapted) homer th soe ped dtr te rai poo pl t eteginng feat ye ageer 19‘866 Bac, Ves V frm Canta No.4, Chri lain Todxbanden (Christ Lyin Poth Bana), WY (adapted) 868 Hay, String Quart in Mar, Op 50, No.3 rth rmonemen adapt) 867 Hay, Sting Quartet in CMs Op. 20,2. thd movement (adapted) | ? & f | 200 rere tt chapter 19 atImprovieation 19-4 Singing and Playing Diatonte Sequences UUsecach ofthe following sequences the as fr nprovition, Pay the ovine a the keyboard while singing an iasproved melody, ot Impose on your instrament while someone improv «keyboard Sues + Seca the patterns are sequential hk ofa motive da yo ean perform over a two-chord segment. Then ranspore his pater oe othe next segment + Compound melodies work eatfily oer thenexequenoes Create motives that ipl to melodie strande ‘+ Fellow the strategies fom Improvisation 4. Soqenet On Fo B Bing? Aba? Dat # Change to ple mete + Change to compornd meter + efor cach sequence ints paral minor ky. ‘+ Ald meadicembelishmens sich a sspensons 64 sequence: EV, et) “+ Chromatic sequen with secondary dominant ‘+ Asien te gen soprano vice oa dierent par to rete a lent linear nteralic pater (LIP) ‘Change the inversions ofthe chords ein wequence 1: v6 Ite) Quick Composition Notsteyourfverte improvisation onasinge sll soving the comet ey and meter sgatare, Exchange with pet td singeach thers part with slg ales, sele-deree nambers forlener names Harmonizing Melodies Refer to Chapter 1 fr instructions on harmonizing melodies, then sccompuny yourself at the pian a ou and your elassmate ig the following melo 69 Date West, Bil Das, od Diane Whies, "County Sunshas” Meprwehibe single Saar de, {570 Haydn, Sng Quaret in Bs Major, Op 20, No, sco nage 19Homiola a iu I, gad fff big fiii tis ols = isa pf af nfs | ee yyy POND ty s yl tly Woo Do oe, wT dy ee tye ty Compound Meter wp OA TT LY pada oy og win. Spl yd ty VTL typ a 44 AUDEN Sd gtd py SUIT Ly SR sy captar 10285‘Simplo Motor thos: Wyre NRE ABA d8y nee J Gal yey aa ie pe : a tenes “ae cuapter 19CHAPTER Melody: + Tonaton Rhythm: + Combine at dso (32 nt 2) i np ane In this ehapter you'll earn tot + evo main tt tin wn denna dingo {+ Pere ryt whine nape deo oh a or ‘improvise mo! prods a ne «ondary acina o V Improvisation 20.4: Tonicizing the Dominant (V) im Musieal Periods While one pert pls the following accompaniment, everyone in turn should improvise a melody that includes «secondary dominant seventh of V to onde the dst phrase. Note the eri alkeration ‘ef fa(@) of Gin bath major and not, Fllow the strategies rom Improvisation 1, Before anyone sings lod, have smo ply the progression several tines wile the clase lenty improvise. Eas person shoo company as well as perform a meld. Variations 1 iad fours? One pertoniapronss the fst four ars and hen second sponds witha condom tothe pas, ‘Try avai of sue (art sony, op song, jz). Crete ‘Bythmicemblishment the acompaninet that ae ‘characteristic ofthe chosen sie Change the emp, mood, and ‘Ghmcter torte ou choi. 1+ Perform each example in its paral minor mode 1 Tranpose the examples to hey ging fom thre ats to thee sharps 1+ Chang the meter to compound meter 1+ Transeribe the earples for instruments viable class and ‘lay the esompunienton thon nrruments Each player shoal Iimpovie on his or he hase prt “+ Create apron Wy adig oe or more percsslonss who play on ‘bjs able fn das (Boks desktops, pees ee) Quick Composition Notateyourteoriteimprviationonesingle ‘Sal shoming the corey adnate signa: Exchange i per fan singeach thers part with selfege sabes, seale-degree munbers rleter ees. Harmonizing Melodies With Secondary-Dominant- Function Chords Sing ea ofthe flowing lai, and then harmonize them ing sgn aud accorapany yourself wth your harmonization. At places ince with row, ue 9 secondary dominant of leading-one chord ¥. ‘5 Hay, String Quaretn © Maj, Op. 64, No-4 thi movement886 Richard Rodgers, "People Wil Sey Werein Lone fom Oktomal "ste oma psi a ie 87 Peter vero “Pf the Magic Drag" ovis tre ne nm 2 ply ened i wih md hte ‘ed tig 39 Roger and Hammerstein, "Clin By Mountain from The Sound of Muse af haba Mein ch Ah a Tore mw = ath 3 bow 30 Tick, Gavote (adapta) ‘99 Schur “Mit dom rine Lautenband” With the Late Green Ribbon) rm Die shine Millerin Inthe following melas, observe ow scale degre # signals aon ctatonof¥. 92 Mendelsohn, “Volkliod" Fk Song", Op. 4%,No-#409, Mendelsohn, “Linge Faerie Mac, Op. 99,o. 9 1 thefllowing meade, Vis toned, but see dare ter Implied or appears nanothe voce 97 esc, "Chanson TAMour CSong of Lor) 598 Brahms String Sextet No.1 ia BS Major, Rondo (lo past) ‘Weaning yd ris ewe nV athe ‘chapter 20Ensemble Melodies 902 Peseta adapted) 900 Bets, iced Water, Op. 52, No.1 909 Bethove, German Dance No.6, Tho P a | ae ke Patt Ccmaper 20 815» 90% Thomas Mode, "Now ie the Month of Maying” Z — The Spagna ied = ton ah gh Wins ehager20 27 Pettom ower tes wh our eft and. ee reer hp ett te oe fed ttt ieee ptt ptt 06 Ce ab eee eee Pe he opt ae A a PE RRAMAGaeta 7 [eas tial Se rete RpPEREeSi [REESE Begs tattt a [iia Baia bee eee Epo Fislm nanae| Etc po ieties ae ‘chapter 20 88 |‘lego a Melody: + Tunoaton faze dare ther than Rhythm: + Combine! advo (2 an in congo tare In this chapter you'll earn to: «+ Pertrm moles hat cation secondary Soin and dig o00 ‘horde male degren ther than + Haralson wih cenary oman -faeton chore ‘+ Perfr yt in wie ple ad dap don of the toe ‘Stason compound meter «+ Iwi mn period tat inte codary dominant 08 sey ose sro Improvisation 21-1: Tontetzing the Subdominant (IV) {in Musical Poriods ‘Wile one pero plays the falling accompaniment, eveyone in ‘tur sould improvise + melody that inl a secondary dominant scent of Ti the fist phrase, Note the ec alteration oft) ‘ote 7) in major, an both) tte (6) ar me (3) to (3) in ‘mint allow he stele from Improvisation 14. Before anyone ‘ngs aloud, have someone play the progression ser tmes while {heclass sienty improvise. Each person should accompany a8 wll as preform amdods.=I wa YT eT ‘¢"Tade fours? One person ianronss theft oar bars, and then & second espns wth a oneosion tthe phe, + Tryararieyofstyes (art sone pop song, juz). Crete stim meisheent inthe soompanimen hat are ‘arcterstiofthe chosen stl, Change the tempo, no, and sharcteracordlngl. + Perform each example in its parle ino mode + Transpone the examples to es unging rom thre att three sharps. + Change the meter to compound meter + Transeribethe examples for instruments male acs. Pay the scompanienton how intents, Lt cach yer improvise wins her pa + Create trot” by adingone or more pesusionist who pay objects aalble in las (books, destons, pecs et) Quick Composition Note your taste improvetion on 8 Single staf shoving the eaet hey and miter sigate,Esehange With a per and sing each other part with sige yale, sae degree umber ot eter names. Harmonizing Melodies with Secondary-Dominant- Function Chords ‘Sing eah ofthe thee medi tha follow an then harmonize he. Sing again and accompany yours with yourkarmonlzation. At places indiatd wit an amon; use secondary domain o leang tone hor 916 Saoqut dela Gucre “AH hom Somalé here an St ee ry te tdi ee 918 Rodgers and Hammer, Clin Bry Mountain’ rom Te Sind of se af (Risto ery omy w= erp go ba ‘Melodies that Tontelze Seale Degrees Other than 5 1m the fuowing melodies observe how sted scale dgres fen st rst atoniciation ofthe sale degree half step higher, {919 Fre Ebb and Jon Kander, “Willkommen From Caberet Oaoter 21{920 Mendelsohn, “Graf” Groting”, Op 19, No. 921 James Rad, Gerome Rage, and Gal MasDermat “Where Do 1G" "eth ed ie oti cma irs nm’ 928 Mendelsohn, Auf Figen des Gesange” (Om the Wings of Song, Op. No.2 “The neste mead eturethecomon ltestion oft) fortoninations of the subdominant (IV). 925 Dorothy Fes and Cy Coleman, “Sweet Chariy” Cater Bt126 Schubert, “Dankgesang an den Buck Song of Thanks tothe Brook), rom Diese illeria {927 Rovers and Hammerstein, “It Might as Well Be Speing from ‘Stat Fair of Tim set oeiant are Sroniae ch ie i=; a sdeepinwmbos vane Ensemble Melodies 1928 Bac, “Ih ice Jesu alle Stun” Lave Jesus in Bry Hou") {929 Boetoven German Dance No.6, Minuet adapted) ‘Tempo di menuetto f apter 24950 Bach, “Nn bmn Selden Herren" Now Prise, My Sl, the Lord), BWW 390 he amsrsstomeae taba ome yaaa or ‘ede: elt he on 951 Buch, Bouse om Suite No.2 for Orhets (pte) Pew apter et 204939, “Her wie d wil so eck lt ("Lond Deal wth De a You Wish), BOY 73 Sree 2 995 Bach, “teas Christa, unter Hella” (sus Ct, Our Sale), fiom Bigheen Choral Preludes for Orgen BWV 666 (apd) ever dedoy hiroModerate ? FB bd a ei EE "neleaal 2a| nee Idd bealml pldd Hy Tha gids |adJ1| af 7 ded eddie. i ee i Bt Bes Judd ronalChromatic Harmony sorte goup and excnge and Form eg PTT x 7 pe Titi cml 4 7S gpl S3| x” (eeseereeberbebe weer In Ge eee ee pi E32 at STB |p OB I. Seg m TIT] DTI‘+ Embelish our proton with psig tones, neighbor tones suspensins and consonant sis + Play your own accompaniment while improvising melody. + Improvise an ccompanient while a dassmats improves sda and then ch le + Crate our ow key-defning progesion, Quick Composition Notsteyourforteimprovsation on ged staf showingthe comet key and meter signatre Exchange wih per nd sing each other part wih slg lables, sealedegre mbes ‘Melody: orleter names. 1 Moduisone to any real Haye e 2 C2 CZ tJ 4 ‘Tonicizations (Review) Rhythm: + Cini nts tea onan (nota quale) In this chapter youl earn to: «+ lpi sel periods that mealies mina (0) 1 Perform mls ha tna eee kaye + Recor mein tat ola to ther hers + Resor yma hangs meters weeping note aie Improvisation 221: Major-Koy Musical Phrases that ‘Modulate To The Dominant (V). _Atshekboard improvise modulatory phrsesin major keys following ‘the plan demonstrated in Keyboard Lessn 23. Start wit the ba lin aloe ‘Add yourown soprano ely with height hand. 1 Pay the progression a8 vsten whl singing an improvised dod ‘Create an interesting tetue by playing arena “boom- a = | Captor e4331009 Bach, "Av at de ecto Zait it ler” Up! Up The Right Times Here") af of > -Four-Past Chorale Textures 2o12 Hach, “ex mine Frode” Cesus, My Joy, BWW 227 (edad)1018 i Laso, Maton mia ara (My Deer Lady) 10 Bach, Ago Dek frm Mase in B Minor Melodies with Contrapuntal Accompaniment 101 Bach, Recitation Cantata No 5 achat Gat in ln anlen Pree Godin At Land), BWV 5 adapted) atin efter cn aloe so Pant pier 24 3801016 Bach, "Rt Spirit Sanctum Domina” And in the Holy Spit”), om Moss Minor —_— caper et 3A1019 Beethowe, Piano Sonata in Ab aor Op. 11, Fugue adapted) i rent f 3 a ; Imitative Counterpoint 1018 Bach, lvention in E Majo, BWW77 (adapted)1020 Handel, Suite nth (G. 9, Gigve ‘When apart neering dye int non ple ry | a , 1021 Palestina leant Domine, Sat three entrances onthe nite C rm we Gt oie Sig coaper 24)1022 Beetboven, Gloria res Manin € Op. 86: a6 Pea hater aTwp py yt wot tity yy Rehig aig ID DL RT Wola my Wp AD LY We AYA yy oreree—wer HEE A SAYA) oy Ppl DOLL OA PALA ey y chapter ed 88eG} PUD}. 1) FTL 1, pL DLL gg Ly oe eed 1008 Roig, Concert de Aranjus rst movement (adapted) Allegro com pita ROMS I [ay oy do SITY wo jy wr TS FE ieee fees ; J ad ‘Melody: Rhythm: In this chapter you'l lear to Improvisation 25.1: Continuous Variations. Improvise series of continuous variations hase on the flowing “Lament” Listen wo this accompaniment and practice singing your Improvisation, Solo Ply the outer wios atthe keyboard and improvise the roy: Sng wih sole lables oe saedegree numbers + Duet: One person improvise keyed acompanieent rm ‘the outline wile th ther Improves a melo. Stch parte and perform again, # Trio: Three instrumentals improvise ane based on oe of he parts, On each petitionsite prt until each peermerhas Sexprved o each parPerform the bac ine by is Then on the dst rept, sng a ‘simple melo in counterpint On each succeiverepestion, make our melody mor dabomte After your mot elaborate embllishnes, eeapitlte he ipl fst) melody asthe st variation Quick Composition Notteyour forte improvisation snes score tht ncladeslpats. Ake sure toslign the parts toa layers an bath Se and hear each others part. Use the appropriate ey Square, and meter signature. Hxchange with peer ad sing etch thers part with solfge lbs, scale-depee numbers or eter Melodie Yor the nest our melodies, one person performs the ground bas epeatdly wile the other person impronses rod vations. 1036 Boch, Pascagtsin C Minor for Osan 1098 Parcel round bas from “A New Grown fom ui landed apts) 1099 Pursell ground ase rom “Ground in Gam rom Mac Hand Mit “The next two made are wellknown examples of chromatially descending ground bases 1040 Parcel ‘Did Lament fom Did and Aeneas adapt’) 1041 Hach, Crus, rom Maso fn B Mino adapted) The next eacerp an be divided into two setionss measures 1-10 and ‘measures 10-18 At you sng neti the cleft progression that ‘epars from A minor and earn there easure 10. 1042 Bach, Avi, fom CntataNo St, Jebset Gt inal Landen (Prose Godin ll ands), BY‘aH Om oe ret ih oe i Prot Caper 8s 986Melodies 10895 and 1043e present the eondasion ofthe composer ‘ignal theme and two vritons that theme Note the amon {ature in setonal variations of presenting the erga heme a the parle hey 10494 Clara Schumann, Theme fom Veriton ona Theme by Robert Seeman ober Schuman 1o0i3e Clara Schuman, Variation 6, Vritions on a Theme by Rater Sshumann Melodies 1044and 1045 feature complete theme fallow by section] ott Brahms Theme fom Veriton on an Original Thome for ‘Pano, Op.21,No.1 Peat SS I oti Brahms, Varason 2, fom ritins on an Original Thome for Piano, Op. 21, No 10446 Hiram, Vriton fom Veratns on an Origin! Thome for Pien,Op.21,No.1 044d Brahms, Variation 5, om Fritine onan Original Theme {or Piano,Op.21,o.110854 Beethoven, Theme, rom Vritions for Plano, Op. 78 4 Boathoven, Variation fom Variations for Plano, Op. 78 (adapted)tse Beethore,Variton 3 ftom Varztion for Plan, Op. 76 (aiapred) Rhythms: Super-Subdivided Boats in Slow Tempos 1 ‘Simple Meters Supersubvided bets occur when «bea is divide, ddd agin, ad thea divided a thin (or farther) tne, fr example,» qiarer note heat divided into thi-second notes. Lo slow temps, saper- Subdvided Beat may be indicated with multiple beams To mintin cert counting cond the bet divisions + Conduct the bet division a separate beats infor example, sendin + Conduet the normal bet prtera, but articulate each beat vison ‘ith an addtional rebound n each bet to inet the divin. ‘Simple Duple Meter 04s Wp fo FR 2) ,4) 2 OO CEO 4 00 Pac napta 25LES AR AER ! CR ERRRDLER | | Re inaueammmy veer ares ap ALL. ees STL, Ty pT TRL yMelods: Rhythm: In this chapter you'll learn to: «+ Belem ml tht borrow tbe roa the paral de ‘+ Beem sow spond eter yt in eh ea + Imprvie pra it ites borrowed roa the pal ie My | Improvisation 264: Predominant Chords with Modal Mixture While one penon pl the fllowingasompaniment, «ery ia tara should improvise melody in major, then aero 6 rom the minor foe de repeat The apper and ler lines of Roman numerals eis ‘the diferenes in harmony, Chose a par and embelist, llowing the gien strates. Before anyone sings aloud, have someone pay ‘the progression several times while the class sient improvise, Each son should accompany swell as perform aed. Strategies + Begin by singing each prt s write, ten sing the melody while laying the a ie‘+ Crete dudes consisting af single pe of enbellshment. For example sing vation that conse of main but ships within {the cons. Sng another tat features only upper neighbors, one that fetus ower neighbor, ands. Improvise meas tht combine diferent dens from yur tudes to createnew, orginal phrases, 1 ove Wey o1 owe were bohm Mei ot hae ver en with foarte sols, Late, exten them tight or sSieen muses, or sborten hem to two measures “Trade four” One person improvise our bar, and then a second espns tothe ft mproisason, 1+ Tryaarity aster song pop song, jaz. te). Create rhythmic embellishment nthe accompaniment that are ‘arctic ofthe chosen st. Change the tempo, mond, and ‘harcter to ref the chosen se frm ach extple inp minor mode. Transpo the examples to heys ranging rom thre att three sharps Chang he mete to compound meter -Transrbe the examples fr esteument aval in elas. Pay the sccompanimenton tone nstrments. Leah player inprovise ‘thin his ore part Create prone by aig neo more percussionists who ply on objects able in las (boks desknp, peels ete). Quiok Composition Notstyourforte improvisation andereate _fourparthoral corto show all prs Make sare to align the pats so ‘pagers ca oth ose a hear cach thers part. nelade te core ay and meter signature change with a esr and sing each ober port with slfge syllables, sede-degree numbers ote names Modal Mixture 1057 Brahms, String Sextet No.2 n © Majo fst movement (adapted) 1058 Daa Fogle, “Lonse” jini) a ee | . Lamperti. thee Ben ko a ake 9c, ere 1059 Ver "Ua fie, tre? fom La Tat (adapted)1060 toa Jobn and Here Tin, “Your Song” 1062 Besthoen, Pano Sonata nC Major, Op. (Mian), ist ovement adapted) 1061 Mohler, “n diesem Witte (In This Winter”), oma Kinderaender Songs on the Death of Children) Captar 26 a61006 Brahms Pana Sonata No. in Mj, et meme aspe) 106% Mahle, ‘Die ze blauen Augen von meinem Sehat” (The Two Ive yes of My Sweetheart), fom Linder ene fhrenden Gealen (Sons ofa Weyer (adap) caper 26 etPaces nctated in tebe cle with an" Benet it sound one octave lower than write, 1070 Mahler, Symphony No.2, fourth movement (arranged by Dai Geary) Sehrfelehsberseleht et sheppen OR Pel Ciel cle Ensemble Melodies 1069 Brahms, Liber Wale; Op. 65, No.4 (adapted) Pact Caoter 26548Rhythms: Super-Subdlvided Boats in Slow Tempos 2: ‘Compound Meters ‘Compound Duplo Rererber that even in ow tempos meter should eta he fe a ‘compound dupe meter rather than convertingtoaimple terete) Frthat aso, woe ond each eighth note and ergs Tien the Hat and et side of our bad For the elowing exes, ‘cot ins inde or acento our aches istration.a Melody: a Se | i = jae ee 3 Rhythm: ae em oe eee | + prove my to sha acre dal mare + Bem he yi of hasan dene Bil a ee ™ Z Improvisation 27.4: The. tan Six a‘+ Create an immersing texte forthe accompanies. For example, arp the chords inszed of playing nem ax lock aon, ‘+ Once you ave analy the hon, perform thes by looking at onl the Homan mamerals + Greta diferent ype of dane by changing the mtr tose quadruple Quick Composition Notte ynur forte improvisation and cee seoretoshowall parts usinga gran salir the keyboard psasinge lf above forthe soloist Align the parts al pliers can bth vee and hear eachother parts Inelde thecoret he ad eeter signatures xchange with peer and singeach other’ pars with sole slab, see dre numbers, oleter names. LLowored ® and the Neapolitan Sixth Chord Sing these études to lar the sound ofthe Nesplitan ssh chor Stoms-down pitches represet ast lines; listen especialy to thse note or hve «partner ssn them wile you sing the melas. Eevtaeansev-r1055 Beahns, Lisbeider Woe, Op. 65, No.9 1089 Jack Gold and John Bary Midight Conboy" Min owes toons see_the Me-wie Tigh ev-hos Ones — i hp wee hgh se yr A Somes 1090 Joh Hary and Don Blk “Thunderball” a 1091 Stephen Sloat, “Tar Back © Man nef Fins ait ile they em, aod i te deamine 1092 Mahler, “Nun wilde Son wo bl auf" (Now the Sua Wa ise Brightly, tram Kinderatenide adapted)[Ensemble Melodies 1095 Bach, Giger Partita Non A Mis, BWV 827 (adapted nC minor) 1096 ach, Baines, fom Suite No.2 for Oreos, BIVV 1057 (adapted) haper 271095 Bach, Sonata Vf Sis Trio Sonatas, BWV $288 Evbavave-cereviviL 1096 1.8, and Avgmonted-Sixth Chords Sing these ude to lean the sound ofthe Geri augments shor. Stems-down ptees represent bas ine, listen especially to thse notes or have a partae sitsnthem while you sng the lod, Aller the ptche in mensre 4 to ceate the Brench angmented-sth ‘hod andthe Ralanaugmentd-sith chord [Basemble Melodies 1098 Bach irs rom Mase in Minar1099 Beethoven, Bagatelle No, Ln G Mino, om Been Bagatl, (0p. 19 (adapted) 1100 Wolf Ein siden well vr Tg” (Hast Refor the Dana) (adapted) east lite a ‘02 Besthoven, String Quartet in G Major, Op. 18, No.2 tid overeat Cio) Z “2 Ccuaper #73901108 Haydn, String Quatt in ¥ Major, Op. 74, No.2 st movement (adapted) Sty cient dee ee e be 104 Mazar, Plano Sonata nF Mar: 93 fs movement api) Cine | | Characteristic Danco Rhythms Foreachof the filling sythms note the characteristic meter, tempo, tnd thythmic motives ofeach dance type. For example, Viennese rales often etre pe meter ina relatively ft tempo, and shot nae efore the downbeatcomo 27988Paap IR TAA IRR ERE M aims. HRT, d| WOE ATI G84 SSS. ooo — a | SPE Loy WPL ALBA 4 j Ea. fi4 ees WeMelody: Rhythm: {in this chaptor you'l learn to: 1 vor peop ot fram magne ce . 1 apr ragtine eon’ + Ress a prfem ml ‘ce Improvisation 28.4: Ragtime \Whiteonepersonplasarugtime sccompanimentbasedonthefllowing ‘lt, a soon person improvise mod, The accompanist should tho improv, embelishing the olin snd imitating the sla when posible Fach person boul inprovise aol and ccompany. | 2moved | WP ET MT Pe “steno hi sompaniment and pratice singing your provision ith the recording. Sateres + According to Sst Joplin, rg shoul ever be payed ist." ice stoling tempo of + Crete motive that features tythms characteristic of ngs sch a8 thse: ‘+ Perform ho mative cach ne the opening hon progression ears. Use the moti in aher places, ‘+ Inmeasure an of bath performers should rt len tothe ext phrase (The bass ino a good place or the edn!) Quick Composition State yourfwvoiteimpevisaton and create seoreto showall parts wsngaran sl fr the egboad pls singe staff above for the soloist. Alig the prs oll pernmescan bath sce and ar each othe parts Incude the hey sige and miter sigoature. Exchange with poe nd sing each other part with slge lables seae-degre urbe. ote as, ‘Vocal Melodies for Harmonization Perform eich of the flowing melodie « capella, aking note of specie harmonic and melodic fetares of cach. For example, the fist mts to the relative jr: the Second presets exer hal dence proach fon 6 melodica, and so oa. The erate a ‘imple acsmpniment foreach and perform them again 1129 Schubert, “Der Jee" (The Hunter ram Die ene Mri oe Filet eee ‘N24 Schubert, “Veetaniaches Gondlled”CSong of Venetian Gondolie*) caoter 28125 “Love Grows Under Wide Oak Tree" radiona) ‘Ensemble Melod 7 = 1127 Heethoven, Gloria fm asin C Op 86 1126 “Every Tie Fel the Spt” (rational) Sn sores 11 Aer mae 6 tun gig cy) Ccoaper 28 404128 Mozart, sult, jit i movement 10 Ml Ap In My Mists Face” 2 pis my Morten o- 2 Shel oy eee fp 3 19 ins" Lae SS eee] ey Mico fs, yr = eet fa Pott caper 28408)‘This isan enti vel composition whose fetes recall many of he challenges ou hve worked har o master. 1151 Bruckner, “Laca Ie1197 Jose Lamb, "Bohm" (adapted) Moderately ap POR AAR 4p TRI SRT CR, SER {SREB OL OR Pa 4 ret chars 40neg aE TL yd TTL wD Ap ly BPR Patt [Salsa L muReview: The Neapolitan Sixth Chord and the Auimontod-Sixth Chord 144 Schubert. “Der stirmische Manges” The Story Morning”, fom Winternvise a 5 A ah ml: onl ih: 1146 Hensal “Schon ehzen de Vga” Ben the Birds Retr) coupon 28 cy‘WOT Bach, Agnus De from Mass be B Minor t Melody: Rhythm: + Sen ttn In this chaptar you'll earn to: + rear mati om pple mis efor ew ryt ond in jar mae 1 apes the vere of so ina ds rock le é Improvisation 29.4: Rooke ‘se the flowing progeson a «Basis for the vere of song & sick ae Ea a8 #8 éaH 96 ‘Listen to this acompaninent nl pracive singing our poison with the recording+ Accompany yourselfon keybos or ita ‘+ nay play the mic as riten, Les, embellish the rhythm, but hepa stead driving bet ‘+ Addother instruments persion and bast rete an ensemble ‘+ Asembloa vel quatt Wile oar people sng the progeson, ‘fifth persoa improves «melody. change parts ech tine, ‘ch person hasa chance to impeoise + Improvise chars, then perm foes, vers chor Quick Composition Notsteyou faut improvisation and ces 1 score to show all parts using a grand af fr the keyboard plas 2 singe staff abo fo the soloist. Of moat the oral quitet a fe part sore. Align the parts sol peformercan ths and et th ter pts Ince the hy signatre and me sige Fathange witha per and sing cach other part with slg mills sel Alegre number of eter nares, Rhythms: Syneopation and Swing in Jazz ‘The following ryt should be"rwung with long-short dision of ‘het sinlarto that ofa compound meters J 2 shyt. Where 0 ‘wings indicate, prfnn the hth a writen, ‘States ar weg ths ‘+ Perform the hth in ste tn, then“rela the oes, + Experiment hy ascentng theo + Sing the rythm fom th start set = tempo and conduct fe measure wl imagining the writen eythane swung fshion, Wot owing 1149 dt Gre, Body and Sal (adapted) Stony npr Td aL df Td odd tay wT ay aera peo (OD TG S54 weg 4. 4 LY WOT pe ng rd dp Dds dps ge dL AS oy pL DLA LALLY wpAL di pas dipds ds pds asd oo aWo} OOO, wd Gp JOO, 2y pO Ayo, sy is Theis Monk “ound nigh ated affee AL DL By ty SL oy WL Ray a oy eS yy ns ASAD AAD 3 WLLL oy sped day dL I oy tt Dp 1 t,o 0) WAAAY 7eeo=esl ae [eae Ao t 1 ts [ “i sal | a — f oi chaper 20 “0Popular Song 1164 Dave Loggins “Please Comet Baton” 160 Fete Spe Tare! Tar! Tr! Us Fertig Tete ea Ses a-ak yo Rnd ftom Tee st no gd an ere a nobody he 165 “How Can I Kexp from Sinng* raion) 1162 Joe Burk, “Tipe Trough the Talips™ anon th bain whe hoes aq Cate moog fate weed oT ava Pose ater 291167 George Gershwin and DuBose Heyward, "Summertime? fom 1171 James Tyo Colina My Ming” Pong and Bese fee ae “179 Richard Rodgers and Oscar Hammerstein I, "Sixtoen Going on ‘Seventeen fom he Sound of Mare ye Pact Chater 20488176 Joe Satan, "Hyng na Blue Dean? 7 1175 Pal Francis Webster and Dimitri Tomkin, “The Gren Leaves fume ‘in: ea playa A Coe Melody: + Meloy tarmoniatin Rhythm: sepa tare: ule [in this chapter you'l learn to: + Yestorm mace whie hmong hn we mae + Beer wali that promt vary of chroma pitches + imgeovine oe the tle ao + Restor yeaa whch he manuel id int 40 wg Improvisation 80:1 The Bluse ‘Wile one person performs the chords of the twelve Hiss on keyboard or utara soles improvise, drawing trom ptces of the ‘es sal, Sith roles and perorn gain. Sloat cay sing hei Sempronatons play eon an instrament “o get started, review the C blues sale and progression ead in eyboard Lesson 291‘ration: Tanapse the blues sale and progression to the key of F. ‘Ack multiple slits to improvise over he accompaniment. The Ses ‘elo perorms « fourmeasare motive based onthe bes seal. The Second imitates the mative ating forthe chor ange. The thie ‘makes variation ofthe mative and cadences is measure Quick Composition Norse your fois improvisation andcreate score to show all arts using a grand staff fr the Heya’ plas a ‘ingle staff above forthe slit. Align the pct all performers ca ‘both see and ear ach ober’ part Inde tek signature and meter sgnature.Eachange witha per and ing each oer part with safe ‘lables sale degree numbers of ete ames ‘Harmonization with Chromatic Chords Harmonire the llnng melodies asndatd whe yo sng 1176 Hensel Song No.6 for Piano uu hare ad wth ALY te nA Inthelay ofan he ened tre ge de 1877 Johann Stn J, “The Beal Boe Dane” adap) Cone oer nit Ain ago. 178 “My Country "Ts of Thee (eaitina) ma harms ith chm ele fond yd ‘Sin south een amen eer EE TE Chromatic Molodioe 1180 Thais, Symphony No.5 thind movement adapted) Allegro maneato ‘Chapter 301182 Moz, Piano Sonata in 5 Major K. 29, second movement 1st Wager, “Nosh bbe denn unaugesproshen’ For x Shor Whites) om Tanahdnuer es mae nnsemble Melody 185 Haydn, Sting Quartet ia F Major, Op. 7, No.2, ret movement (adapted) Saye nda dering lo ins, ot.‘The Blues Sing the flowing melodies st without harmon and then play the oes progressions incnad as unother student sings the telody Finally sing the clots while asomparying roar 1196 Hart A Wand Dallas aes 199 J Brandon Wal, “The Broad Bles"adpted) oy aT pe bal Rhythm: Asymmetric Motors 1: ‘Two Unequal Boats Per Measure ‘The beat disions of aeymmetitemetere are unequal. Th, ters of fie or seven may sound like allernaons benwen t0 oF thee Alerent meters. Meters of ve usualy hae wo Bats (viding into 5+ 2or2 + 3 Meters of seven can se teu bets (4+ 3.03 + 4) 0 fhree(+22,242+ or2+.3+2), Whenamecers bottom number |e beams halp to indcate the grouping whan the bottom number 164 analyz the longs and shortest noe values ofeach measure 0 revel an grouping pater Perfor the fllowing two prepuratony eters by condacing 0 ‘wo thmughoot, while keeping the eighth not steady and constant ‘+ Inmeasures 5-4 change your conducting to aepound pater flowed by single pater + Make sre that the eats macures 9-4 are not of the same uration: the second eat wil fel guarin comparison with the “rode fhe ist ea. ‘+ Tapeighth notes with one hand while conducting the meter with the other, ag} yy ay wpe Id gp JT | Ly ‘caaper 30Whigs steer tere eee] py. yds 2 Toy uggaje de fe de eR pl dey 1 oe Sty Fh y hg Dye Dorp yt WoO ye yg peo 4 peop yy ap Ty SL 4A ty weed beds Tey wt ey ner 1p 2b. Bape — be ha ager aN faa — wes dy fe me A epee) lad ros ale pH] pty yy Sen rr vonaah a ib Fy ee yk ap ys dy weit yd a dg Ompter30 498‘Seb sche Moderate ST spp asyitsdps a fddde {ts t4] > Meh | ‘Melods: + Mogan data related kay Rhythm: 1+ Seymeetmters 2 oo thre ts er mas In this chapter you'l learn to: + Peco ten bat atre nharmonle aan ously lead + Resor melo thatprecnt modus any slid kp ‘here the Neapolitan ath car and he untae cond + Peas plan whieh he maa ied no neo te Improvisation 31.4: Reviow of Mixture, Neapolitan Sixth, and Augmented-Sixth Chords. Improvise a wale from thefllowing melodic and harmonic oie ‘hileone person reais the igure bast the keybourd. the partner Improves a melody Sing wth slog nlales and scale-degee ‘nutes tha eft the maa mitre. Best of measur 6 maybe performed two ways, Uni oubecome comfortable with AB chords, ignore the parenthetical gure and perform oly thes. Once ou lear AS hoes, peor buh igure ‘the parenthetical 6 and thebs.a ett : Quick Composition Notstyour forte improvisation and ete score to show al parts using grand sta forthe keyboard pls a ‘ingle slave for the sls. Align the pts ol prfrmers can oth see and hear eachother pat.Inclde the key signatre and eter signature athange wih peer and sing each ther pats with tele alas sale degree numbers or lever ames Chromatie Modulation The eds that follow festare chromatic (enharmonic) odaaions to keys in achromatic medint relationship to the tring hy. Sing ‘ach ude with sole sla scale degree numbers tera how ‘hon ca be eatespeted thu hey cn fanetion i another key ‘Stemsdown pitches represent bas Loe; listen especialy to these nots ora arner stain them while you ing the mle. ‘Note thefllowing: ‘+ These modus oan appear vill quite complied! #y contrast, hee sound isguite smooth and subtle 1 Meseures 4 and wil sound ect the same, but should be sung wth dieat ofge lbs or esle-daree numbers to ree the chor faction in each key “The dominant seventh chords enterpeted asthe Ger chord “The fly diminished seventh chard is reinerpreted in «fret , ash sn a paddy, ar aptae861207 Besthoen, Symphony No.5, Op. acon movement adapted) Inthe melaly the comon ane ee the Smit chr Vand Andante con moto 1208 Schuman, “Wining (Deda adap) Toni Lee 1209 Schubert 36 Orinalns, .365,No.3 Tempo dvalbe ict machined1212 Schubert, "Der Fg der Zi” The Hight f Time) D. 35 (adapted) Inthenestnelo isthe common one between Cmajor abl sma 125 Schubert, Zw Lindl, .790, No (adapted) Inthe nest melo isthe common tne betwen F maior (saced ia 1n.21)and Dringox 1214 Bothovea, Symphony Nain Be Major Mento adapted) 40 Parc nate 31Ensomble Melody In this excerpt the Ein measure 16 plays eral ole in oth the lating bey of G major andthe conling kay oA nr How would this chord be pled in A minor? 1217 Hay, Sng Quartet, Op 78, No.6 son manent apt) Adagio : Rhythm: Agymmetsic Meters 2 ‘Two on Three Bente Por Measure Remember tht, ke compound meters in moderate fre tempos, ‘heloweeaumberinssymmcrc mtr signatres ints the dion ‘of thebeats the tp umber must be dived nym to revel ‘he number ofbeats permease Wht td pdt sys ag 2 Tofu has? fr add be pee aor Qe 4 La Wy a ey ae te FT TT app yy _Alegg9_————<$$$————__PB ms y ODA ADA Ly Pp GDL ak Wap IDDgo aa pasts dddpodddpo ddd dy nL fo ddd 06 cain wFgpde jlo pidddd piste wy ly eirtty pap dp ny pL LAL e ddl y apple tte tt anal lal ay ey va29 Slog (2-3-2) Wage de po dette + 4d creel wpe ddsplsaid ys syConese Rhythm: + Combine dine ba soe sie meters In this chapter you'l learn to: “+ Teform nero atm sof vee tad “repertory soon un in rae 1 Perform smplowetr st ows bbea he me ‘turn drstone imaneculy Improvisation 32.4: Singing and Playing Chromatic Dosconding-Third Sequences ——— ‘Use cach sequence shown next the bas or improvisation, Begin vith the dati sequence then ax you Boome moe enna, chromatic it (2). Pay he otine a the Keyboard wl inging a Improvised melody, or mprovse on your istrament while someone improvise sleboardacompacimet Sues + Secause the pate are sequential think of ive tat yo ean perform over tworchard agment. Then transpowe this pater ‘ow othe nes sent ‘+ Compound melodies work Beutily over these sequences. Crete ots that imply tw melodie strands For example present starting motive ahigher rst then a stennd one in alower register, pd atenate tween then asthe roquenee Progress allo the stntegis fom Improvisation 18 (1 Diatone descending thirds ot ton cor th 30-5 L1P (2) Chromatiedesoeting this Alecia an fvihs SUP cl vin ow vow via kw + Changeto tiple mete, + Changet compound meter + Add melodic embelishmens, such as suspension (eg. in sequence 2: FV, 0). + Assign the give soprano voice to mother part wo eeatea diferent linear interac patra LIP). Quick Composition Notsteyour forte improvisation and eee 2 score to show al parts using a grand stl forthe keyboard plas a singe staf abowe fo the slit, Align the parts 0 all performers can Toth see anda ach oer part Ine the corte hey and meter signature. Exchange witha peer and singeach her par with oe ‘yllabls sale-degre numbers, orleter names.‘Themes and Exoerpts from Sonata-Form, and Concerto Movements 1231 Copland, Piano Coneet, second movement 1294 Mozart, Piano Sonat nD Major, K- 286 tind movement (adapted) 1206 fran, Double Concert in A Minor, Op. 102 fest meee (adapted) ee — ee, 7 Ensemble Melodies Ahough the following excerpts are drawn from instromental ‘eperiaie they Ind themselves to ensemble weal pefarmance Ty to develop the sl of rteing to = comforable ntae hem the amdadis extend beyond your rane. 1298 Hay, Piano Sonata No.155n Majo fst movement eager 381239 Hay, Pino Sonata No. Hin D Majo, scond movement 1240 Beethoven, Pano Sonata in Minor, Op. 1, No 2 Tempe Set movement (adapted) Ccnater 8845111 Han in Sot sn Ba Hah 45 at a Stn ting oti AMO 6. 6h 7 (adapted) nema ae1249 Monat Pano Sonata in A Minos K. 10, est movement (adapted)1248 Moeart Plano Concerto in € Major, K. 457 fst movement (adapted) ae eer chants 4570 chapter 3800 Pare caoter 52461Rhythm: Combined Beat Divisions in Simple Meters Riythms 12460 and 12k understand Knetheticlly how rouse of hee andthe gp ot) right hand *erreercereorty t derdbr ities th assb prt ott eecerte ti Joep seetf faa na Bibl apes badd fd ‘ghee pete et Tutti 3 j4_ JI} afe 7 Why iy owas ea HG mow erupenst a8eS eee Peet Melody: Rhythm: In this chapter you'l learn to: + om i-th i wi hehe re + gov ss om nen 5-8 ones Improvisation 33.1: Singing and Playing (Chromatie Asoending 5-6 Sequences ‘Use ath sequence th flows a he has or provision. Begin with he distoni sequence 1) then, a5 you become more comfortable Choma i) Ply the olin tthe Keyoardwle singing an jmprovsed lady, or hnprovse on your osrument while someone innpronnesa keyboard accompanies Sateen + Hocue the pters are sential thik ofa motive that you can perfara ve a two-chnd see- Then ranspone this patera flow forthe nest segment. + Compond mates work benttly oer these sequences, Crate notes that ply te mele stands+ Follow the strategic rom Improvisation 14. (0) Diatonc ascending 6 er ww Nw WET (2) Chromatic scending 5 CUE kwh Hw ww Meet aiatons 4 Change toile meter ‘= Changeto compound meter, 1+ Ad melodic embelishments ach aspen 0 Sexuence2: Vasari et) ‘+ Assign the given soprano vice to anlber par ta reste dierent Tinea interval pttern (LIP) Quick Composition, Notae your frie improvisation and crete ‘score ta sow all parts ing grand stl forthe Keyboard plas a ‘age tl shone for She slit. Aliga tho pars oa performers can bth sean her each herp. Inka the correct hy signe nd mete signature Exchange wit a per and sing each others pat ‘ith slr lables scalederee amber or eter mates. ‘Melodies: Rondo Refrains 1256 Diabel, Sonatina, Op. 168, No.2, hed movement, Rondo adapted) 1259 Dial Sonain, Op. 168, No.4 hin movement, Ronda (dante) chapter 33300,1260 Morar, Ronde, K 485 (adapt) ANhongh rnd tenes ase often fast and ghar this famous ‘emp demonstrates x moderately lo, serious, ad cmtemplative rater 1261 Moat, Rondo, K.51 (adapted) owe 1262 Monat, Clarinet Concerto K-51, endo (adapted) In this next melas, one phrase i eid with the beginning of he next pra, which ress i seven-measure phrases. To manage the instrumental ange, eur to the ginal reste for measures 7-18 and 25-90, 1263 Brains, Quartet fo Pano and Strings Op. 25, Rondo all Zingrese (adapted)“The design of his five-part rondo is A B.A € A. The composition Is presented next seth its thee diferent estions separate, (Te reruns and eoda are not shown here) Practise each fs three Aeon setone alls > the melody sone + he melody and basa two-part det fr nda or roaps + inthe parts for groups or inviduals ayn Piano SonataNo $0 in D Major, Hob, XV thid movement A section, the thome ofthe rondo 6 Preston ‘Becton, dlresion frm the them inthe parallel minor 65 ‘The A seotion returns flowed by the Csetion, which contracts ‘th both and Bn he ubdominane ‘The A section returns followed by the ed 1267 Hayd, Piano io No, 39 jn G Major third movemeat apt) ‘heim an ample