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SINGING COMPANION
LESSON BOOK - Bass Clef
Name:
36 COMPREHENSIVE
LESSONS from Malovance,
Wieneke, Melodia and
Burgmayer
2
ABOUT THE SINGING COMPANION
The Singing Companion is a carefully graded, step-by-step approach to reading
music sight-singing. The 36 lessons of The
Singing Companion follow and reinforce the pitch and rhythm sequence of the
six levels
teaching goals, correlated music theory concepts and
introduction of solfege syllables are presented in the colored boxes at the start of
each lesson.
The aim is for singers and instrumentalists of all ages to be able to hear and sing
solfege
rhythm accuracy. This acquired musical literacy will
speed the learning of music, and
Exercises are adapted from the three levels of The Weineke Method
Melodia
(Samuel W. Cole
,
3
CURWEN HAND SIGNS
The application of solfeggio is best reinforced by using the Curwen hand signs or
by adjusting your hand by levels to help indicate the pitches going up or down. This
aids in connecting physically to what you hear and will also help show the contour
of the melody. Pay careful attention to placement of the hand in relationship to the
body. Use the diagram below to help you.
4
TERMS & SYMBOLS NOTES
The note head tells you which note to sing.
bass or F clef
measures ledger lines
The direction of the stem does not matter.
final
double note head
bar line
ledger lines
Staff
stem
a g
f e
5 lines d 4 spaces
b
g
c
a sol mi
RHYTHM
COUNTING
RHYTHM
Q Q Q Q
= quarter note = quarter rest counting 1 2 3 4
(ta) one beat of sound (sh) one beat of silence ta ta ta ta
other counting sh sh sh sh
1
sol sol sol sol sol sol sol sol sol sol sol sol
2
mi mi mi mi mi mi mi mi mi mi mi mi
3
sol sol sol sol mi mi mi mi sol sol sol sol mi mi mi mi
sol sol mi mi sol mi sol sol mi
4
sol sol mi mi sol mi sol sol mi mi sol
sol mi sol sol mi sol sol sol mi mi sol
5
mi sol mi mi
mi mi sol mi
Level PRIMER A Complete: ________
Date
5
LESSON 2 [add la]
NOTES TERMS & SYMBOLS TIPS
Always use the Curwen hand signs when Always remember to use good posture:
singing in solfege. Make sure you are doing 1. Feet slightly apart
these at the correct height on your body. 2. Knees straight but not locked
This will help you place the notes because 3. Ribs high
you will be following the contour of the 4. Shoulders down
melody with your hand signs. See page 5. Chin parallel with the floor
la 6. Keep dropped jaw
number three for a complete diagram.
1
sol sol mi sol mi sol sol la la sol sol mi
2
sol la sol sol la sol sol la sol mi sol la sol
3
sol sol la la sol mi sol sol la la sol sol la
la la sol sol la sol la la sol mi sol la sol
4
sol la sol mi sol mi
sol la sol mi sol la mi
5
mi sol la sol la mi
Level PRIMER B Complete: ________
Date
6
LESSON 3 [re-do]
TERMS & SYMBOLS NOTES
These are abbreviations for the solfege syllables and
will be used throughout the following lessons. Use the
hand signs below while singing.
d = do r = re m = mi s = sol l = la
re do
RHYTHM
Q Q Q Q
COUNTING
RHYTHM
= eighth notes = eighth notes
one beat of sound one beat of sound counting 1+ 2+ 3+ 4+
(ti-ti) (ti-ti) other counting ti-ti ti-ti ti-ti ti-ti
1
mi mi mi re re re do do do do do do
re re re mi mi mi re re re do do do
2
mi re do mi re do mi re do re mi do
3
s m s s m m r d d d d m s m d d d
4
d r m r d d
d m s m d d
5
d
r
Level PRIMER C Complete: ________
Date
7
LESSON 4 [do re mi sol la] TERMS & SYMBOLS TIPS
These are the five notes in the F pentatonic scale. If it looks the same,
it IS the same!
d r m s l s m r d d d
1
d r m m r d d d d m s m d d d
2
s s l l s s m m m s s m m m s l s m r d
3
s l s s m s s s m s m
m m s s m m m m s s l l s m m
4
d r m s l s m r d l s m
m r d l s m r d r d
5
s l s m r d s l s m m r d
d r m d r m m r d m r d
Level PRIMER D Complete: ________
Date
8
LESSON 5 [add fa]
NOTES RHYTHM
COUNTING
RHYTHM
= half note counting 1 - 2 3 - 4
two beats of sound
(ta-ah)
other counting ta - ah ta - ah
fa
1
d r m m r d d r m s m r d
2
d r m f s f m r d
3
s f m s s l s f m d
s l s s f m r d
4
d r d m m f m s s m s m m r d
5
s
Level PRIMER E Complete: ________
Date
9
LESSON 6 [do-la]
RHYTHM TERMS & SYMBOLS
An “interval” is the
COUNTING
w
RHYTHM
distance between two notes.
= whole note
(ta-ah-ah-ah) four beats of sound
counting 1 - 2 - 3 - 4
w
other counting ta - ah - ah - ah
2nd
(do-re)
1
d r d d r m m f m m f s
s l s m s l s s m d
2
s m s s m s s l l s s m m r d m r d
m f s m d
3
d
4
d r m f s f m r d
Level PRIMER F Complete: ________
Date
10
TIPS
LESSON 7 [add high do]
TERMS & SYMBOLS NOTES
NEW KEY: D Major Even though “do” starts in a
different place on the staff in
D Major, the intervals sound
the same as F Major, used in
Level PRIMER.
do' This lesson starts
do re mi fa sol la do' (high do)
(high do) Level ONE.
1
d d r r m m m m m f f s s s
s s l l s s s s f m r d
2
d s
d m s l s m d d m s d' s m d
3
d s
d d m s d' s m d
4
d d'
s s
Level ONE A Complete: ________
Date
11
LESSON 8 [no syllables]
TERMS & SYMBOLS
Intervals for Major 2nd, Major 3rd and a Major Triad:
Major 2nd
Major 3rd
Major Triad
d r d m d m s m d
1
d
2
s
3
d'
4
d
5
m d
Level ONE B Complete: ________
Date
12
LESSON 9 [review]
RHYTHM
Ó Ó
Ó
COUNTING
∑ Ó
RHYTHM
= half rest = whole rest
(sh-m)
two beats of silence (sh-m-m-m)
four beats of silence
counting 1 - 2 - 3 - 4
other counting sh - m sh - m
(A whole rest is an entire measure of sh - m - m - m
silence, regardless of time signature.)
1
s m d'
2
3
s l
4
d' l
Level ONE C Complete: ________
Date
13
NOTES
LESSON 10 [add ti]
TERMS & SYMBOLS TIPS
D Major Scale: Make sure to
memorize the
major scale, both
ascending and
ti do re mi fa sol la ti do' descending.
(high do)
1
d r m f s l t d d t l s f m r d
2
3
d' t
4
5
s d'
Level ONE D Complete: ________
Date
14
LESSON 11 [counting]
RHYTHM
. = dotted half note
COUNTING
RHYTHM
= dotted half note
. three beats of sound three beats of sound . Q
counting 1 - 2 - 3 4
Two quarter note beats Three quarter note beats other counting ta - ah - ah sh
in a measure in a measure
1
d
2
m s d'
3
d'
4
l s m
5
Level ONE E Complete: ________
Date
15
LESSON 12 [review]
TERMS & SYMBOLS
As a reminder, use the solfege syllables and hand signs below while singing. This aids in connecting
physically to what you hear aurally and will help show contour as well. Low “do” starts at the belly
button and each hand sign gradually gets higher ending around nose height for high “do”.
do re mi fa sol la ti do'
1
s
2
3
4
5
Level ONE F Complete: ________
Date
16
LESSON 13 [intervals]
TERMS & SYMBOLS RHYTHM
NEW KEY: C Major A tie connects two notes that are the same,
&
turning them into a single note. You would
start the singing on the half note and hold all
the way through the end of the tied quarter
do re mi fa sol la ti do' note. In this example, the tied note gets
Ledger lines are small lines above and below the staff to add more notes to the three beats (h + q or 2 + 1 = 3).
range. Here we have one line bleow the staff to give us do (C) in C Major.
&
Here are examples of melodic contour.
& & &
1 (2 - 1) 2
by step same skip
C Major
1
(step)
2
(same)
3
(skip)
4
5
6
7
17
LESSON 13 [cont.]
RHYTHM
The whole rest indicates an entire measure of silence. Earlier, in Lesson 9 it was introduced as four
beats of silence in 4/4 time. Below are examples of a whole rest used in 2/4 and 3/4 time signatures.
No matter what the time signature is, the whole rest equals an entire measure of silence.
8
9
10
11
12
13
14
Level TWO A Complete: ________
Date
18
LESSON 14 [moveable do]
TERMS & SYMBOLS
When using moveable do, “do” changes depending on the key signature. So far, we have used F Major
(Lessons 1-6), D Major (Lessons 7-12), and C Major (Lesson 13). Now in Lesson 14 we will add G Major.
Always remember to check the key signature when figuring out the starting solfege syllable.
C Major
G Major
do re mi fa sol la ti do' do re mi fa sol la ti do'
F Major
D Major
do re mi fa sol la ti do' do re mi fa sol la ti do'
C Major
1
d r m f s s s s f m r d
F Major
2
d r
m
f
s s s s
f
m r d
G Major
3
d
r
m f
s s
s
s
f
m r d
4
5
6
7
8
9
10
Level TWO B Complete: ________
Date
19
LESSON 15 [intervals, ledger lines]
TERMS & SYMBOLS NOTES RHYTHM
E = eighth rest
Ledger lines are the small lines Sol can also be below
above and below the staff to add the staff on ledger e = eighth note
more notes to the range. lines. (ti) half beat of sound (ts) half beat of silence
e e ee
COUNTING
E E E E EE EE
RHYTHM
sol
G F
E D ' counting 1 + 2 + 3 + 4 +
do ti la sol
Discuss the difference between
ti ti ti ti ti ti ti ti
other counting ts
' ' ' sol and low sol. ts ts ts ts ts ts ts
C Major
2
3
d t l s
' ' '
F Major
4
d
G Major
5
d
6
20
LESSON 15 [cont.] 7
8
d t l s
' ' '
9
10
11
12
13
14
Level TWO C Complete: ________
Date
21
LESSON 16 [fourths]
TERMS & SYMBOLS NOTES
‘
The interval below is a P4 (perfect fourth) going from do to fa The scale can be extended higher than do. This is re’ and mi.
and sounds like the start of “Here Comes the Bride.”
Perfect Fourth C Major D Major
re' mi' re' mi'
TIPS
When learning intervals, start by singing up or down stepwise until you reach the destination note. See the example below.
The notes within the bracket should be sung while learning the interval. Once this has been established, take the
bracketed notes out and think them only.
This is a great way to learn all new
intervals throughout this book.
do [re - mi] fa sol [la - ti] do'
C Major
1
d f r s m l f r s
l r' r'
t m' r' d'
2
3
4
G Major
5
d f
D Major
6
s m r' m' r'
Level TWO D Complete: ________
Date
22
TERMS & SYMBOLSNOTES
LESSON 17 [fifths]
TERMS & SYMBOLS RHYTHM REVIEW
The interval below is a P5 The scale can be extended higher = quarter note w = whole note
(perfect fifth) going from do and lower than do and high do. one beat of sound four beats of sound
Q
to sol and sounds like the This is high fa and low sol.
= eighth notes = quarter rest
start of “Twinkle, Twinkle,
one beat of sound one beat of silence
Little Star.”
e = eighth note
half beat of sound
E = eighth rest
half beat of silence
= half note
two beats of sound
Ó = half rest
two beats of silence
Perfect Fifth fa' sol
' . = dotted half note
three beats of sound
∑ = whole rest
measure of silence
C Major
1
2
m' r' m' f' r' d'
3
F Major
G Major
5
6
7
8
m s
23
LESSON 17 [cont.] 9
m f
10
11
m d
12
d m
13
14
l r' t m'
15
r' m' f'
16
t l s
' ' '
24
LESSON 17 [cont.]
17
18
19
20
21
m r d s
'
22
23
m
24
m f s
25
d f s
26
m r s l t
' ' '
Level TWO E Complete: ________
Date
25
LESSON 18 [review]
TERMS & SYMBOLS
F Major Bb Major Eb Major Ab Major Db Major Gb Major Cb Major
Flat Keys:
C Major
F Bb Eb Ab Db Gb Cb
do do do do do do do
C G Major D Major A Major E Major B Major F Major C Major
do
Sharp Keys:
G D A E B F C
do do do do do do do
1
2
3
t s l
' ' '
4
m'
5
26
LESSON 18 [cont.] 6
7
8
9
10
11
m
12
13
Level TWO F Complete: ________
Date
27
LESSON 19 [chromatics]
TERMS & SYMBOLS NOTES
The chromatic scale is comprised entirely of half steps. Below you see the
solfege syllables and their pronunciation for each ascending half step.
n
The natural sign
Remember when using “movable do,” do is always the first note of the scale, ( ) cancels a
which is determined by the key signature. previous sharp
or flat in the
C = do D = re E = mi F = fa G = so A = la B = si* C = do
same measure.
& w #œ w #œ w w
w #œ w #œ nw w #œ
DO di RE ri MI FA fi SOL si LA li *TI DO' n
(doh) (dee) (ray) (ree) (mee) (fah) (fee) (soh) (see) (lah) (lee) (tee) (doh)
? w #œ nw #œ nw #œ nw w
w #œ nw #œ nw G natural
C# = di D# = ri F# = fi G# = si A# = li *often si (see) is
used in place of ti
1
do di re ri mi fa fi sol si la li ti do'
2
do di ri
3
sol si li
4
ri re si sol
5
fi fa
6
di fi si
li si sol fi
[Memorize the chromatic syllables ascending]
7
Level THREE A Complete: ________
Date
28
LESSON 20 [sharp keys]
TERMS & SYMBOLS
Below are the key signatures and starting “do” solfeggio for every sharp key signature. Before you
sing an exercise, always state the key, what pitch do is, and the starting solfege pitch.
G Major D Major A Major E Major B Major F Major C Major
C Major
C
do G D A E B F C
do do do do do do do
1
2
d t
3
4
5
d
6
d'
29
LESSON 20 [cont.]
7
8
9
10
11
12
Level THREE B Complete: ________
Date
30
LESSON 21 [q. e/pick-ups]
TIPS RHYTHM
COUNTING
A “pick-up” is a note that
RHYTHM
precedes the first downbeat of
the start of a piece or phrase.
. = dotted quarter note . e e
(ta-(i)) one and a half beats counting 1 - 2 + 3 - 4 +
Do not put a strong emphasis
on this note but instead, lead of sound other counting ta (i) ti ta (i) ti
to the downbeat.
1
si
2
si
3
4
do do' re re'
mi'
5
fi
31
LESSON 21 [cont.] 6
s d
7
s d
8
9
10
re'
11
12
Level THREE C Complete: ________
Date
32
LESSON 22 [directional signs]
TERMS & SYMBOLS
1 1st and 2nd endings are used
when different endings should
Segno means “sign”
and is used with the
Coda Coda indicates a
forward jump to the
2
be played at the end of a marking D.S. ending passage.
repeated passage.
D.C. Da Capo means “from
Repeat signs enclose a D.S. Dal Segno means
the top” and indicates to
passage that should be played “from the sign”
repeat from the beginning.
more than once. and indicates to go
to the nearest sign. Fine means the end.
RHYTHM
COUNTING
RHYTHM
= sixteenth notes = eighth note /
(ti-ri-ti-ri) one beat of sound (ti - ti-ri) sixteenth notes
(each separate note is
one beat of sound counting 1e+a 2e+a 3e+a 4e+a
worth 1/4 of a beat)
other counting titi ri titi riri titi ri titi riri titi ri titi riri titi ri titi riri
1
s d
2
m
3
m f
4
s
m f
6
7
m f s
33
LESSON 22 [cont.]
1 2
Fine
D.C. al Fine
al Coda
10
D.S. al Coda
Coda
Fine
11
al Coda 3rd time 1
2
12
al Coda Coda
D.S.
Level THREE D Complete: ________
Date
34
{
LESSON 23 [chromatics]
TERMS & SYMBOLS
The chromatic scale is comprised entirely of half steps. Below you see the solfege syllables and their
pronunciation for each descending half step. Remember when using “movable do,” do is always the
first note of the scale, which is determined by the key signature.
& w w bœ w bœ w bœ w w bœ w bœ w
DO' *TI te LA le SOL se FA MI me RE ra DO
(doh) (tee) (teh) ( lah) (lay) (soh) (say) (fah) (mee) (may) ( ray) (rah) (doh)
? w w bœ w bœ w bœ w w bœ w bœ w
Bb = te Ab = le Gb = se Eb = me Db = ra
A perfect (P) interval includes unison, octaves, fourths and fifths. RHYTHM
A major (M) interval is only used for seconds, thirds, sixths and sevenths within Syncopation is a shifting of the normal accent
the key signature. within a phrase and placing it off the beat.
A minor (m) interval occurs when a major interval is made one half step smaller.
More simply put, it means playing “off-beat.”
This can happen by lowering the top note or raising the bottom note.
A diminished (dim) interval is created when a perfect or minor interval is made
one half step smaller and the interval number is not changed.
1
do ti te la le sol se fa mi me re ra do
2
me ra se
Major 3rd minor 3rd
3
mi me
Major 3rd minor 3rd P5 dim 5th
4
me se
5
la le re ra
35
LESSON 23 [cont.] 6
[Memorize the chromatic syllables descending]
7
1. 2.
8
mi me re ra ti te
1. 2.
9
me ra se
10
Syn-co - pa
11
12
13
Level THREE E Complete: ________
Date
36
LESSON 24 [flat keys]
TERMS & SYMBOLS
Below are the key signatures and starting “do” solfeggio for every flat key signature. Before you
sing an exercise, always state the key, what pitch do is, and the starting solfege pitch.
C Major F Major Bb Major Eb Major Ab Major Db Major Gb Major Cb Major
C
do F Bb Eb Ab Db Gb Cb
do do do do do do do
RHYTHM
Three eighth note Six eighth note beats Nine eighth note Six quarter note beats
beats in a measure in a measure beats in a measure in a measure
1
2
3
4
5
6
37
LESSON 24 [cont.] 7
8
9
10
11
Level THREE F Complete: ________
Date
38
LESSON 25 [Duets]
TERMS & SYMBOLS RHYTHM TIPS
A duet is when two individuals sing independent musical lines. One
person should sing the top staff in treble clef while a second person sings Always remember to identify the
Cut time or alla breve is a
the bottom line in bass clef. Read the music vertically to see how your
4/4 time signature that has time signature, which note gets
part interacts with the other. Recognize if you are singing in unison, the beat and what beat the
been rhythmically “cut in
harmony or reeating the previous line. This will help you sing together. half” to manipulate the exercise starts on. Next identify
bass or F clef Staff rhythm. This can be the key signature and the starting
a g thought of as twice as fast, pitch. Repeat this for each
f
5 lines d e 4 spaces or in 2/2 time.
b c exercise until it becomes a habit.
g a
1 2
3 4
5
6
[taken from Melodia - pp. 21-25]
39
7
LESSON 25 [cont.]
8
m r
m r
9
m f
m f
10
11
40
LESSON 25 [cont.]
12
s f
m r
13
s l
m f
14
d t d
'
d t l s s
' ' ' '
t d
'
Level FOUR A Complete: ________
Date
41
TIPS
LESSON 26 [Duets]
RHYTHM
Two is the
COUNTING
w.
RHYTHM
half note Practice singing both lines.
beats in a It is important that you can
measure same as read music in both treble
w . = dotted whole note
counting 1 - 2 - 3 - 4 - 5 - 6 and bass clef. This will
also help the timing if you
other counting ta - ah - ah - ah - ah - ah understand how both parts
six beats of sound work individually.
1 2
s s
s
s
3
4
s
s
[taken from Melodia - pp. 26-29]
42
LESSON 26 [cont.]
5
6
7
s
d
8
s
d
43
LESSON 26 [cont.]
9
m
d 10
mf
d
11
f s
m l
Level FOUR B Complete: ________
Date
44
LESSON 27 [chromatic tones]
TERMS & SYMBOLS RHYTHM
A courtesy or cautionary accidental is shown as a 3
= eighth note
reminder of the correct pitch. Sometimes this happens Three half note beats
in a measure triplet
after an accidental was given in a previous measure.
{
one beat of sound
Here are the sharp chromatic solfege syllables:
C = do D = re E = mi F = fa G = so A = la B = si* C = do
COUNTING
w #œ w w
RHYTHM
& w #œ w #œ nw w #œ w #œ 3 3 3 3
DO
(doh)
di
(dee)
RE
(ray)
ri
(ree)
MI FA
(mee) (fah)
fi
(fee)
SOL
(soh)
si
(see)
LA
(lah)
li
(lee)
*TI DO'
(tee) (doh) counting 1+a 2+a 3+a 4+a
#œ nw #œ nw w
? w #œ nw #œ nw w #œ nw other counting tri-po-let tri-po-let tri-po-let tri-po-let
C# = di D# = ri F# = fi G# = si A# = li *often si (see) is
used in place of ti
di fi si
di fi si
2
sol
sol
3
fa
te
ti di
do
fa te ti di do
[taken from Melodia - pp. 47-54]
45
LESSON 27 [cont.]
4
m
m
5
3
3 3
3 3
3
3 3
tri - po - let tripo - let
3
3 3 3 3
tripo - let 3
tri - po - let
3
3 3 3
3 3
3 3 3 3
3 3
6
3
3 3
3 3 3 3 3
fi si
3 3
3 3
3 3 3 3
fi si
3
3 3 3
3 3
3 3 3 3
3
3
3
3
46
LESSON 27 [cont.]
TERMS & SYMBOLS TIPS
Minor scales share the same key signatures as major scales, but instead of starting on do, the minor
scale starts on la. Also, we can learn to sing the minor scale by singing la to la. Make sure to check the “road map”
before you start singing by checking for
C Major a minor F Major d minor G Major e minor
repeat signs, 1st and 2nd endings, etc.
Also look to see where you are singing
C a F d G e in unison (together). This can help you
do la do la do la find your pitch with the other part.
(new do) (new do) (new do)
a minor
la si la
la si la
fi si la
fi si la
8
3
3
3
3 3 3
3
d 3 3 3
d 3 3 3 3
3
1 3 2
3 3 3
3
l
3 3 3 3 3
3
l
9
d minor
l t d li ti
l t d li ti
47
LESSON 27 [cont.]
10
11
eminor
l
l
12
s
s
Level FOUR C Complete: ________
Date
{
48
TIPS
LESSON 28 [chromatic tones]
TERMS & SYMBOLS
Here are the flat chromatic solfege syllables: Always remember to take care of
& w w bœ w bœ w bœ w
your voice. As you start to sing more
w bœ w bœ w and more, you need to hydrate and
DO' *TI te LA le SOL se FA MI me RE ra DO rest as well. Never strain your voice.
(doh) (tee) (teh) ( lah) (lay) (soh) (say) (fah) (mee) (may) ( ray) (rah) (doh) If it hurts, stop. Never sing to the
? w w bœ w bœ w bœ w edge of your voice. Listen to your
w bœ w bœ w body and make good decisions for
Bb = te Ab = le Gb = se Eb = me Db = ra your overall vocal health.
1
te
te
2 3
[taken from Melodia - pp. 61-66]
49
LESSON 28 [cont.]
4
1
te
2
5
6
d
l
50
LESSON 28 [cont.]
7
m
fi si
8 ri
m
s d t li
di
9
te la le
10
mi di
do ti te fi
51
LESSON 28 [cont.]
11
sol fi
sol fi
12
mi ri
Level FOUR D Complete: ________
Date
52
LESSON 29 [modulation]
TERMS & SYMBOLS
Modulation is the term used to describe the changing of a key within a piece of music. In these
exercises, notice that the key signature changes before you reach the final double bar. Exercise
number one starts in C Major (inidcated by C:) and “c” is do. At measure five, (after the double bar
line,) the key shifts to G Major (G:), where the new do is now “g.” Four bars later, the key changes
back to C Major (C:), with “c” again as do.
In some exercises, like number three, five and six, there may be hints of a key change, signaled by a
number of chromatically altered tones. If the key does not change significantly, use the chromatic
solfeggio within that same key signature.
1
C Major G Major
sol
C: do (new do)
G: do
C: do sol G: do
(new do)
C Major
do C: sol
(new sol)
do
(new sol)
C: sol
2
C: s d G: s
(new fa)
C: s d G: s
(new fa)
d C: s
d C: s
[taken from Melodia - pp. 41-46]
53
LESSON 29 [cont.]
3
C:
C:
4
d F: s
C: C:
C: d F: s C:
5
F: d
6 F: d
F: d
C: d
F: d C: d
F: f
F: f
54
LESSON 29 [cont.]
7
F:
C:
F: C:
F:
F:
8
G:
G: 9
C: G: G:
C: G: G:
55
LESSON 29 [cont.]
10
F:
C:
C: F:
11
C: C:
C: C:
G: C: F:
G: C: F:
12
C: Bb: C: Bb:
C: Bb: C: Bb:
C: Bb: F:
C: Bb: F:
Eb: Bb:
Eb: Bb:
Level FOUR E Complete: ________
Date
56
LESSON 30 [modulation]
TERMS & SYMBOLS
Here is a review of all twelve major key signatures and the respective do. When changing key in the middle of a tie you will not
change the syllable but instead, think it. This way you are not affecting the rhythm. You will see the solfege to be thought, within
parenthesis. It is important to hear this syllable in your mind, so that you can anticipate the note you are going to next.
F Major Bb Major Eb Major Ab Major Db Major Gb Major Cb Major
Flat Keys:
C Major
F Bb Eb Ab Db Gb Cb
do do do do do do do
C G Major D Major A Major E Major B Major F Major C Major
do
Sharp Keys:
G D A E B F C
do do do do do do do
Look out for sequences within the music. A sequence is a succession of repetitions of a melodic phrase or harmonic pattern, each starting
at different pitch levels. The succssion of pitch intervals or harmonics within the sequence rise or fall by the same or similar intervals.
1
C: m
m G: (l) t d d C: (s)
f
m F: (t)
C: d d G: (f) f 2 m C: (t) l d F: (s)
t d m C: (l) l d
Bb: m
f d C: (f) f d Bb:
fi Eb: d Bb: l
Eb: m Bb: f
3
G: d
D: m
D: d G: m
[taken from Melodia - pp. 76-77]
57
LESSON 30 [cont.]
4
D: C: F: C:
D: C: F: C:
G: C: am:
G: C: am:
5
C:
C:
6
58
LESSON 30 [cont.]
7
8
9
59
LESSON 30 [cont.]
10
11
12 sequence sequence
C: m f s l s D: m f s l s E: m f s l C: l
C: do di D: do di E: C:
13
l
Bb:
C:
Bb: C:
D: Bb:
D: Bb:
Level FOUR F Complete: ________
Date
60
LESSON 31 [octaves & sevenths]
TERMS & SYMBOLS TIPS
Intervals for an Octave, Major 7th and minor 7th, ascending and descending:
Octave Major 7th minor 7th
REMINDER:
Always remember to
identify the time
signature, which note gets
the beat and what beat the
d d d d d t t d d te te d exercise starts on. Next
identify the key signature
Minor scales share the same key signatures as major scales, but instead of starting on do, the minor scale starts on la.
Also, we can learn to sing the minor scale by singing la to la. and the starting pitch.
Repeat this for each
a minor e minor d minor g minor c minor
exercise until it becomes a
habit.
do ti la do ti la do ti la do ti la do ti la
1 2
4
[taken from Melodia - pp. 81-84]
61
LESSON 31 [cont.]
5
6 7
8
a minor
am: mi fi si la
A: [sol la ti do]
9
10
62
LESSON 31 [cont.]
11
12 13
d minor
fi si la
dm: mi
D: [solla ti do]
dm: ti do
14 15
63
LESSON 31 [cont.]
16
g minor
gm: fi si
dm: do la
G: [la ti do]
dm: do
17
Eb: mi
Eb: mi
18
c minor
cm: mi fi si la
C: [sol la ti do]
19
20
21
Level FIVE A Complete: ________
Date
64
LESSON 32 [sixths]
TERMS & SYMBOLS RHYTHM
Interval for a Major 6th
COUNTING
RHYTHM
. = dotted eighth /
ascending and descending: . .
sixteenth notes
one dotted quarter counting 1 + a 2 + a
or three eighth
notes of sound
other counting ti tiri ti tiri
d l l d
TIPS
Now that you are singing larger intervals, you need to be aware of how to place the notes properly with your voice. Be
sure to keep the throat open and maintain your sense of vertical space within the mouth by making all sounds “spacious,
high and forward.” This should help you to float easily into the upper tessitura.
1
[taken from Melodia - pp. 85-86]
65
LESSON 32 [cont.]
3
4 5
6
7
66
LESSON 32 [cont.]
8
9
10
11
67
LESSON 32 [cont.]
12 13
14
15
16
17
Level FIVE B Complete: ________
Date
68
LESSON 33 [fourths & fifths]
TERMS & SYMBOLS
Here are examples of the intervals of a Perfect 4th and Perfect 5th, ascending and descending:
Perfect 4th Perfect 5th
s d' d' s d s s d
RHYTHM TIPS
COUNTING
RHYTHM
Sometimes intervals of a perfect
. . . .
. = dotted eighth / fifth and an octave can sound
similar due to the open nature of the
sixteenth notes counting 1 a 2 a 3 a 4 a perfect interval. Be sure that you
one beat of sound other counting ti ri ti ri ti ri ti ri are taking care to place the notes
correctly.
1
2
[taken from Melodia - pp. 88-89]
69
LESSON 33 [cont.]
3
4
5
6
7
70
8
LESSON 33 [cont.]
9
10 11
12
71
LESSON 33 [cont.]
13
14
15
16
17
Level FIVE C Complete: ________
Date
72
LESSON 34 [seconds and thirds]
TERMS & SYMBOLS
Now that you have mastered the major scale, it is important to learn different variations on it. One
common variation is the scale in thirds. This pattern uses thirds ascending and seconds descending.
M3 m3 m3 M3
Major arpeggio minor arpeggio
d m s d' s m d r f l r' l f r
2
3
[taken from Melodia - pp. 91-92]
73
LESSON 34 [cont.]
4 5
6
7
8
9
10 Memorize this pattern in solfege.
74
LESSON 34 [cont.]
11
12
13
14
15
75
LESSON 34 [cont.]
16
17
18
19
Level FIVE D Complete: ________
Date
76
LESSON 35 [intervals]
TERMS & SYMBOLS TIPS
To invert a triad, move the relative octave of any note in the triad either up or down. A triad in Breath support is essential to
root position (d-m-s) can be inverted to first inversion (m-s-d’) or second inversion (s-d’-m’). singing. Be sure to fill up
Root Position 1st Inversion 2nd Inversion completely and do not raise your
&
shoulders or allow tension in your
. body. You should take a low
breath that will fill back and chest
cavity as well. Inhale a quiet
d m s m s d' s d ' m' d' breath, wide and deep, to fill the
Root 3rd 5th back and chest cavity.
2
3
[taken from Melodia - pp. 101-107]
77
LESSON 35 [cont.]
4
5
6
7
78
LESSON 35 [cont.]
8
9
10
79
LESSON 35 [cont.]
11
1
2
12
80
LESSON 35 [cont.]
13
14
15
81
LESSON 35 [cont.]
16
17
Level FIVE E Complete: ________
Date
82
LESSON 36 [review]
TIPS
Congratulations, this is your final lesson in the Singing Companion. You are now able to read
music with reasonable accuracy and skill. Continue to improve your sight-singing skills. Look
for groups that you can perform with at the Corps, Divisional, Territorial and Community
levels. Find leadership opportunities and teach others. Use solfege whenever you can to sort
out musical lines. Even as you are singing more difficult music, do not forget the basics.
Always aim for a free and pure sound, using great posture and proper breath support.
2
[taken from Melodia - pp. 87-88, 126, 132-133]
83
LESSON 36 [cont.]
3
3
3
4
3
3
5
3 3
3 3
84
LESSON 36 [cont.]
6
7
8
85
LESSON 36 [cont.]
9
10
86
LESSON 36 [cont.]
11
3 3
3 3
3 3
3
3
3
3
3 3
3
3
3 3
3 3
3
3 3
3
3 3
Level FIVE F Complete: ________
Date
Interval Solfege* ASCENDING
Some-where over the rainbow
Perfect octave I’m singin’ in the rain
Chest-nuts roasting
Some-where o-ver the rainbow
Major seventh Superman theme
I love’s you Por-gy
There’s a place for us (Somewhere)
minor seventh
Star Trek theme (original-1st two notes)
My bon-nie lies over the ocean
Dash-ing through the snow
Major sixth
It came upon the midnight clear
For he’s a jolly good fellow
Where do I be-gin (Love Story)
minor sixth When Mo-ses was in (Go Down Moses)
The Entertainer (3rd and 4th notes)
Twinkle, twinkle little star
Perfect fifth God rest ye merry gentlemen
Star Wars opening (1st two notes)
Tritone Ma-ri-a (West Side Story)
(aug4, dim5) Simpsons theme
A-maz-ing grace
Here’s comes the bride
Perfect fourth
We wish you a merry Christmas
O Christ-mas tree
Oh, when the saints
Major third Kum-ba-yah
Sweet hour of prayer
What child is this? (Greensleeves)
minor third O Can-ada (Canadian anthem)
Go to sleep (Brahms lullaby)
Peo-ple, people who need peo-ple
Major second Fre-re Jacques
Ru-dolph the red-nosed reindeer
Jaws (theme)
minor second
I’m dream-ing of a white Christmas
*Solfege syllables are indicated using moveable “do.”
Interval Solfege* DECENDING
Be pre-sent at our table, Lord
(tune: Congress)
Perfect octave
Peace on the earth
(It Came Upon the Midnight Clear)
Try to re-mem-ber the kind
Major seventh
All I ask for is one love, one life-time
minor seventh The Girl with the Flaxen Hair
(1st and 4th notes)
Major sixth No-body knows the trouble
minor sixth Where do I begin (Love Story)
Perfect fifth Flint-stones, meet the Flint-stones
Tritone
(aug4, dim5)
O come all ye faithful
Perfect fourth I’ve been workin’ on the railroad
Eine Kleine Nachtmusik
Swing low, sweet chariot
Major third Sum-mer-time (Gershwin)
Symphony No. 5 fate motto (Beethoven)
Hey Jude (Beatles)
minor third Fros-ty the snowman
Je-sus loves me (sol-mi-mi-re)
Yes-ter-day (Beatles)
Major second Mem-ories light the corners
Fur Elise (Beethoven)
minor second Joy to the world (do-ti-la-sol)
O lit-tle town of Bethlehem
*Solfege syllables are indicated using moveable “do.”
RHYTHM KODALY SYLLABLES TAKADIMI COUNTING
Duple Time (2/4, 3/4, 4/4)
q ta (tah)
ALTERNATIVE
COUNTING "GORDON" ta (tah)* 1
ry ti-ti (tee-tee) ta-ti* ta di 1 + (an)
h ta-ah ta 1-2
h. ta-ah-ah ta 1-2-3
w ta-ah-ah-ah ta 1-2-3-4
sh or ts, sh-m,
EQHW sh-m-m-m, ts-ts, (ta) rest
ts-ts-ts-ts**
q. e ta-i-ti ta-(ah)-ti ta _____ mi 1 _ (2) +
eq e syn-co-pa ta di ___ mi 1 an_da
dffg ti-ri-ti-ri ta-ki-ti-ki* ta ka di mi 1e+a
rdg ti-ti-ri ta-ti-ki* ta __ di mi 1_+a
dgy ti-ri-ti ta-ki-ti* ta ka di _ 1e+_
r.g tim-ri ta-kim* ta ___ mi 1 a
dy. ti-rim ta-kim* ta ka ___ 1 e ___
Compound Time (6/8, 9/8, 12/8)
rty tri-po-let ta ki da 1 an da
rtyrty ti-ti-ti ti-ti-ti ta-ti-ti ta-ti-ti ta ki da ta ki da 1 an da 2 an da
q eq e ta-ti ta-ti ta _ da ta _ da 1 __ da 2 __ da
eq eq ti-ta ti-ta ta ki __ ta ki __ 1 an __ 2 an __
q. q. ta- ta- tam - tam ta ta 1 ____ 2 ____
* Ta is always on the beat, no matter what rhythmic value in these examples.
** The whole rest equals one entire measure regardless of the time signature.
(i.e. 2 beats in 2/4 time, 3 beats in 3/4 time, etc.)
S
DO
AT
FL TI
TE LI
LA
DESCENDING
LE SI
ASCENDING
SO
SE FI
FA
MI
ME RI
RE
RA DI
P S
AR
DO SH
SOLFEGE TREE
Chromatic Scale
(each represents a half step)
© 2018 The Salvation Army
Version 12.19.18
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