CONTENTS (R) indicates Rhythmic Reading exercises PREFACE xiii ACKNOWLEDGMENTS xv PART | MELODY: = DIATONIC INTERVALS RHYTHM: DIVISION OF THE BEAT 1 MELODY: — Scale-Line Movement, Major Keys RHYTHM: — Simple Time (Meter); the Beat and Its Division into Two Parts 1 RHYTHMIC READING, 1 Section I (R). The quarter note as the beat unit, Beat-note values and larger only, 3 Section 2 (R). The quarter note a Dotted notes and tied notes, § Section 3 (R). Two-part drills, 6 Section 4 (R) the beat unit and its division. Note values other than the quarter note as beat values, 8 eee| i | | MR asians SIGHT SINGING, 13 Section 6. Major keys; treble clef; the quarter note as the beat unit, 14 Section 7. Bass clef, 15 Section 8, Other time signatures, 17 Section 9. Duets, 19 MELODY: Intervals from the Tonic Triad, Major Keys RHYTHM: Simple Time 21 Section 1. Major keys, treble clef, intervals of the third, fourth, fifth, and octave from the tonic triad. The quarter note as the beat unit; undotted notes, 23 Section 2. Dotted notes, 26 Section 3. Bass clef, 28 Section 4. Interval of the sixth, 30 Section 5. The half note and the eighth note as beat units, 32 Section 6, Duets, 34 MELODY: _ Intervals from the Tonic Triad, Major Keys RHYTHM: Compound Time (Meter); the Beat and Its Division into Three Parts 38 Section 1 (R). Rhythmic reading: The dotted quarter note as the beat i unit. Single lines and two-part drills, 39 Section 2. Sight singing: Major keys, treble clef; the dotted quarter note as the beat unit, 41 Section 8, Sight singing: Bass clef, 44 Section 4 (R). Rhythmic reading: The dotted half note and the dowed eighth note as beat-note values, including two-part drills, 45 Section 5. Sight singing: The dotted half note and dotted eighth notes as beat-note values, 48 MELODY: — Minor Keys; Intervais from the Tonic Triad RHYTHM: Simple and Compound Time §3 Section 1, Simple time, 55 Section 2. Compound time, 59 Section 3, Duets, 615 MELODY: Intervals from the Dominant (V) Triad; Major and Minor Keys RHYTHM: Simple and Compound Time 64 Section 1. Intervals of the third from the V triad; major keys; simple time, 66 Section 2, Intervals of the third from the V triad; minor keys; simple time, 68 Section 3. Intervals of the fourth and fifth from the V triad; major and minor keys; simple time, ‘71 Section 4. Interval of the sixth from the V triad; simple time, 75 Section 5. Various intervals from the V triad; compound time, 76 Section 6. Duets, 79 THE CCLEFS: Alto and Tenor Clefs 83 Section 1. The alto clef, 84 Section 2. The tenor clef, 89 Section 3. Additional practice in the C clefs, 98. MELODY: — Further Use of Diatonic Intervals RHYTHM: Simple and Compound Time 94 Section 1. Single-line melodies, 95. Section 2. Duets, 107 MELODY: Intervals from the Dominant Seventh Chord (V7); Other Diatonic Intervals of the Seventh RHYTHM: Simple and Compound Time 110 Section 1. The complete dominant seventh chord, 111 Section 2. The interval of the minor seventh; chord members 1 up to 7 or reverse, 112 Section 3. The interval of the witone, 116 Section 4, Other uses of diatonic intervals of the seventh, 119ee PART II MELODY: DIATONIC INTERVALS 9 10 11 12 RHYTHM: SUBDIVISION OF THE BEAT RHYTHM: The Subdivision of the Beat; the Simple Beat into Four Parts; the Compound Beat into Six Parts 122 RHYTHMIC READING, SIMPLE TIME, 122 Section 1 (R). Preliminary exercises, simple time, 122 Section 2 (R). Rhythmic reading exercises in simple time, 123 Section $(R). ‘Two-part drills, simple time, 126 RHYTHMIC READING, COMPOUND TIME, 127 Section 4 (R). Preliminary exercises, compound time, 127 Section 5 (R). Rhythmic reading exercises in compound time, 128 Section 6 (R). ‘Two-part drills, compound time, 150 MELODY: Intervals from the Tonic and Dominant Triads RHYTHM: Subdivision in Simple and Compound Time 133 MELODY: — Further Use of Diatonic Intervals RHYTHM: Subdivision in Simple and Compound Time 140 Section 1, Diatonic intervals except the seventh and the tritone, 140 Section 2. The dominant seventh (V7) chord; intervals of the seventh and the tritone, 151 Section 3. Other uses of the interval of the seventh, 156 PART Ill MELODY: CHROMATICISM RHYTHM: FURTHER RHYTHMIC PRACTICES MELODY: — Chromaticism (I): Chromatic Tones; the Dominant of the Dominant (V/V) Harmony; Modulation to the Key of the Dominant 158 Section 1. Chromatic nonharmonic tones. Augmented and diminished intervals whose second tone resolves to a tonic triad tone, 158 Section 2. The secondary dominant chord) V/V or V7/V, Modulation from a major key to its dominant key, 163 Section 3. Duets, 175 ana13 MELODY: Chromaticism (1): Modulation to Closely Related Keys; : Additional Secondary Dominant Harmonies 179 Section 1. Single-line melodies, 180 Section 2. Duets, 196 — KR RHYTHM: Syncopation 207 RHYTHMIC READING, 208 Section 1 (R). Divided beat patterns in simple time, 208 Section 2 (R). Divided beat patterns in compound time, 209 Section 3 (R). Two-part drills, 210 Section 4 (R). Subdivided beat patterns, including ducts, 212 SIGHT SINGING, 214 Section 5. Divided beat patterns in simple time, 214 Section 6. Divided beat patterns in compound time, 222 Section 7, Duets, 225 Section 8. Subdivided beat patterns, 230 — a RHYTHM: Triplet Division of Undotted Note Values; Duplet Division of Dotted Note Values 236 . RHYTHMIC READING, 237 Section 1 (R). Triplet division of undotted note values, .237 Section 2 (R). Duplet division of dotted note values, 239 Section 3 (R). Two-part drills, 240 SIGHT SINGING, 242 Section 4. Triplet division of undotted note values, 242 Section 5. Duplet division of dotted note values, 250 Section 6. Duets, 255 = oD RHYTHM: Changing Time Signatures; the Hemiola; Less Common Time Signatures 260 RHYTHMIC READING, 260 Section 1 (R). Definitions and rhythmic-reading exercises, 260 SIGHT SINGING, 264 Section 2. Changing time signatures, 264 Section 3. The hemiola, 270 Section 4. Meters of 5 and 7, and other meters, 273 = S].__ e _-eee e e e Ee e C a2 BQ @@ EX GN £2 2 Ee me om me em =. .17 RHYTHM: Further Subdivision of the Beat; Notation in Slow Tempi 280 » Section 1 (R). Rhythmic reading, 281 Section 2. Sight singing, 284 18 > meLony: chromaticism (Iti): Additional Uses of Chromatic Tones; Remote Modulation 292 Section 1, Chromatic tones, 292 Section 2. Remote modulation, 299 PART IV THE MEDIEVAL MODES AND TWENTIETH-CENTURY MUSIC 19 MELODY: The Medieval Modes 309 Section 1. Folk music, 310 Section 2, Composed music, 318 20 TWENTIETH-CENTURY MELODY 328 Section 1(R). Meter and rhythm. Rhythmic reading, 328 Section 2, Melody. Singing nontonal lines, 331 Section 3, Twentieth-century melodic lines, 338 Section 4, Duets, 351 APPENDIX: MUSICAL TERMS 357: 1 1 i . a ‘ ' 1 A h a i ' PREFACE To become successful in reading rhythm and singing pitches at sight, one must have at hand a considerable amount of material, for the simple reason that after the initial performance of an exercise, its repetition cannot again be considered performing at sight. To make the study pleasurable, itis important that the music examples illustrating each of the theoretical concepts under study be of the highest quality. With few exceptions, the melodies in this text are carefully chosen from the literature of composed music and from a wide range of the world’s folk music, The materials chosen are so graded that the student is presented with one musical problem, rhythmic or melodic, at a time, No example contains any element not already presented, allowing the student to progress easily from the simplest to the most complex materials. 'To facilitate each new Presentation in either element—pitch or rhythm—the opening exercises make use of the simplest materials in the other clement. Prerequisite to the study of sight singing are some of the simplest aspects of music theory, often taught under titles beginning with “Introduction,” “Rudiments,” or “Fundamentals”! In the area of pitch, the most important of these are knowledge of staff and clef signs; the ability to sing, spell, and write all major and minor scales; the ability to write all major and minor key Signatures; and the ability to recognize the key from the given signature. In the area of rhythm, a knowledge of note values and the interpretation of time “This material is covered in these Prentice Hall publications by Robert W. Ouman % and Frank D. Mainous: Rudiments of Music. 8rd ed. 190% “and Punanamanet Ped A(meter) signatures is necessary. Although many of these skills will be reviewed here during the presentations of rhythmic reading and sight singing, previous thorough knowledge of them will guarantee more immediate accomplishment of sight-reading goals. The fourth edition of Music for Sight Singing retains in general the concepts and the format of the previous editions. These further changes and additions contribute to making the new edition even more attractive, useful, and effective. Organization: The text is divided into four parts: Part I, diatonic melodies with rhythmic patterns containing only beat-note values and their divisions; Part II, diatonic melodies with rhythmic patterns including subdivision of the beat; Part III, chromaticism, including modulation, and more-advanced rhythmic patterns; and Part IV, pre-seventeenth-century music and music from the twentieth century. Though the use of the materials in the order presented will produce successful results, the organization and grading of materials allow other pedagogical approaches. For example, upon completion of Chapters 3 and 5 (intervals from the tonic triad, major and minor keys, and rhythm in divided beat patterns only), the student may skip to Chapters 9 and 10, where those same intervals are found with rhythmic patterns in subdivided beats. A careful study of the detailed table of contents will reveal many similar possibilities. New and reorganized materials: 1. Over one hundred melodies new to this edition 2. New rhythm drills, including many considerably longer than those in previous editions 3. A greatly expanded chapter on twentieth-century music 4, Preliminary melodic drills in many chapters—for example, in Chapter 2; practice in singing intervals from the tonic triad of a given key 5, Additional discussions to aid in the understanding of particular materials, together with markings on selected melodies to illustrate their application Major changes made in the second and third editions have been retained in this fourth edition and include scalesine melodies only for the first sight-singing experience, the inclusion of two-voice rhythmic reading and sightsinging examples, exercises and melodies that illustrate secondary dominant harmonies as an introduction to the sight singing of modulation, and finally the rhythmic and melodic exercises prerequisite to study of twentieth- century melody. Robert W. OltmanMELODY scale-line movement, major keys RHYTHM simple time (meter); the beat and its division into two parts An important attribute of the accomplished musician is the ability to “hear mentally"—that is, to know how a given piece of music sounds without recourse to an instrument. Sight singing, together with ear training and other studies in musicianship, helps develop that attribute. The goal of sight singing is the ability to sing at first sight, with correct rhythm and pitch, a piece of music previously unknown to the performer, Accomplishing that goal demonstrates that the music symbols on paper were comprehended mentally before being performed. In contrast, skill in reading music on an instrument often represents an ability to interpret music symbols as fingerings, with no way of demonstrating prior mental comprehension of the score, To help you become proficient in sight singing, this text provides you with many carefully graded music examples. Beginning in this chapter, you will perform the simplest of exercises in reading rhythm, after which you will perform easy melodic lines that incorporate those same rhythmic patterns. RHYTHMIC READING’ In simple time, the beat is divisible into two equal parts; therefore, any note value so divisible can represent the beat, Most commonly used arethe quarter note (J = 49), the eighth note (d= £3), and the half note (J = J 2) though other values (o, 4,4) are sometimes seen. In this chapter, the note value representing the simple division of the beat will be the shortest nove value used. In reading, follow these suggestions: 1. Rhythmic syllables. Rhythmic reading is best accomplished through the use of rhythmic syllables. Items a through d describe the basic use of these syllables, all of which are illustrated in the music example immediately following item d. a. Each note value appearing on a principal heat of a measure is spoken with the number for that beat (measure 1) b. For a note longer than one beat, hold the number spoken for the dur ation of the note value (measures 2 and 3). c. Note values shorter than the beat can be read with maximum precision by using a syllable beginning with an explosive consonant, The syllables “ta” (“tah”) and “te” (“tay”) are commonly used (measure 3): tla J one ta one te d. A rest indicates silence. Make no sound (measure 4). o ® ® gli ddl. | INL Spoken: one two three four one 4) one ta wo ta three— ta (te) (te) (te) @ ee | one three 2 The conductor's beat. It should be obvious that only the first performance of an exercise can be considered reading at first sight. (After that, you are practicing!) Therefore, on the first try, you should not stop to correct. errors or to study what to do next. To help you complete an exercise without hesitation, the use of conductor’s beats is highly recommended. Shown below are hand-movement patterns for two beats, three beats, and four beats per measure, Successive downbeats of each pattern coincide with successive bar lines. The Conductor's Beats: two beats, three beats, and four beats per measure eee ee == = a ae | The downbeat (1) drops ina straight line and describes a small bounce at the instant the first beat occurs, The first downbeat is preceded by an upbeat, beginning at the point of the last beat of the pattern being used. Therefore, the last beat of cach measure is the upbeat for the following measure. Practice these three conductor's beats without reading or singing. Next, with the left hand, tap twice for each beat of the conductor's beat. These taps represent the normal simple division of the beat-note value. When you no longer have to concentrate on these hand movements, you are ready to begin rhythmic reading and sight singing. As you read an exercise, use the conductor's beat and tapping to keep going without pause until the very end. If you make a mistake, don’t hesitate or stop; the next “I” (downbeat) will be the next bar line where you can pick up your reading and continue to the end. If you made errors or lost your place, you can review and practice in anticipation of doing better on the next exercise. Follow this procedure beginning with the very first exercises. Conducting and tapping easy exercises now is the best way to prepare yourself for the more difficult exercises to follow. . Notation for rhythmic reading. In each chapter with a new rhythmic study, the first examples for reading are on a one-line staff, as in example a, to avoid possible confusion with melodic notation. However, reading rhythmic notation from melodic lines, as in example 4, should begin in the given chapter as soon as possible. As seen in this pair of examples, there is no difference in the resulting performance, (@) yd ‘4 Ho ay la2asoa 3 i— tas 1 3 lta®u3ea 1 Section 1. The quarter note as the beat unit. Beat note values and larger only: J=1beat, J=2beats, J.=3 beats, o= 4 beats. Not all exercises begin on the first beat of the measure. Determine the beat number of the first note before reading. 1d3 gi —ji_1 4» 4 44+] 4 getlan Jydap dys MAA s gLite dapat tey iid 6 ge pd pl dy 7 ge pttipe ly dyiotets Se ett jo_J J yj J 1 44 . | wget tra ditpa— pityJ . Section 2. The quarter note as the beat unit and its division (J=J)- Dotted notes and tied notes. 1 qe 4 pe Ii) Ld Fu t—|| vel n yy ‘eed Megs gr ct et a Ae feel et yy Hee rsre va) | wD OW dy 6 glial do id dy 16 ett Ty Ly Scere eae | pitti 4). , bi pb J 4 pee FL A dy bY ppd DL dpe pd DIY SL Ly BOR en ees inet, teat ew oo oo i i a aye pet yp pip phd dy ppd DTD py DDL dD SY AyD Ly yp dD Ly Section 3. Two-part drills. Suggested methods of performance: 1. ‘Two persons: Each recite a line. 2. One person: Tap both lines, using both hands. 3. One person: Recife one line while tapping the other. a A UTTEI tT eS a Tee te pease et pe j¢+t afar es Ut aE | | Ht (a eee am Tr oY » JJ Ld J iy stl orl ere DAY TID Ly iS sere telpetit SEL J. rrr — 7 rT [p+ JJ oe TTI ararerr TOT att pn I? dF, A erie | Scere) Gaus 21 bee wo prSyt—_a Oy eta ae as eps Bay or ote pert tty a poh oi. ee | ; ESP SAS | Joy ! [| a a i = ae us aac am | | , @ clodies using only the signatures £,%, and ¢ will be found i | n 6 of this chapter, “Si “ nging studies may begin there at this |Section 4. Note values other than the quarter note as beat values. The half note, the eighth note, and the sixteenth note are also used to represent the beat, but far less commonly than the quarter note. In number 24, examples a, 8, ¢ and dall sound the same when the duration of each of their beat notes—J, J, Nand) —is the same. d= 1 beat es Ld did —te—y 1 2 3 4 i aeeeeee 2uwa $_ ta Poe a det beat gd dd dy, db FEI y 1 2 3 4 J 4 1 Ree eee Jerboa Godda y dy CTD 1 2a $2 w 1 f yessetet we gd Joi yd dod Ld 6 dtodd dy dd yy ar g¢d4d tpt tpt pe dd pet Lio a Ld pitt ltd djs eye bd yey a a Jidd29 frocpod td pte oops ddd tte 30 gl J 1d pasted fapid it tid JJ | peat ddd pe dd prt tJ tJ { rettpt J ee m gli pd de ply do gd tid. did Jee fo— pL fetid dd dps a jo ope i 33 3 a [4 (FET day AY CRY Ty by i 96 BD Dy fe FD fp ty EY DAD Ap dy35 GST der ST Dy ST OTL TT bl mm : m og Ay AO Oy ze FIFTY FT | FTI 4 i Sao ee ee 7 QO A Ry oo de DO, Dy A OL 39 HA LMAA AMAA AA od | ao fidy ty FLT 4, phy Sy hy a gS d) PS TA Ty yy I PoP EE ST hogye gibi, , A, By pad.y OV oy Section 5. Two-part drills. | a iy SSS eee : | Sotto tet fe eee see ee Lee | Seca ese reseee Cel ale re fore a Jdsu dd | Eee eH ein ot tT : PEE Daever se eee en asi rrr Tet TTT Tt TT ay yy ptr ee f4d ddd ddd dd Perret Ae ee | eg, a PPP -— BSB SB eS SS 2 SS ee ee ee ee eS ee| | Jd Lipo ee a | reer ferret fee suena ae | error de tt | a ddd Ld Rerreertert rh | aaa eto | ae ts ae corer eet PDD STD 0 te eer atte db, Sel, a DERE = = =. | : f / | 5t Bye + | An |SIGHT SINGING All melodies in Chapter 1 display scaletine movement and in a major key only; each interval is either a whole step (major second) or a half step (minor second) # Ifyou can sing a major scale, these melodies should present very little difficulty. Before reading a given melody, make these general preparations, all of which refer to all chapters in the text.as well as to the melodies of this chapter. 1. Look at the key signature, What key does it indicate? On what line or space is the tonic of the key? Does the melody begin on the tonic tone, or on some other pitch? Play the tonic note, but no other, immediately before singing. 2. Scan the melody for passages in scaleine movement and then for intervals, particularly those presented in the chapter under study, 3. Observe the phrase marks. The end of a phrase mark usually indicates a cadence, that is, a temporary pause or a final stopping place, much the way commas and periods indicate pauses in language reading. Look ahead to the last note under each phrase mark so that you know where you are heading. 4.. Continue the use of the conductor's beat together with the tapping of beat divisions, as described under “Rhythmic Reading” on page 1. Remember that “sight singing” refers only to the first time you sing the melody. Sing to the end of the example without stopping, no thatter how any mistakes you make, Then go back, review the melody, practice the rough spots, and sing the entire melody again. There are several ways to accomplish sight singing: 1. Sing syllables. In each major key, the tonic tone ié do, followed by the syllables below for cach scale step.’ The syllables mi-fa and t-do are always half steps. ee oa ‘o-| la i do A: do re mi fa sol la ui do 2. Sing scale-step numbers. The tonic tone for the key is “1,” followed by successive numbers 2 through 8. They are sung “one,” “two,” and so forth, q (The caret, 4, means “scale step,” 1 means “first scale step,” and so forth.) sinder of the text ‘Meloclies inv his chapter were written by the author of the text. The mples from these includes, for dhe most part, only folk music or music by recognized composers, but e sources occur too infrequently for purposes of Chapter 1 This is known as the (onic sulfa system, In the French solfge system, C is always do, D is always 17, and so forth, regardless of the key. The use of syllables began with the work of3. » Sing letter names. Sing each pitch using its letter name, When reading both pitch and rhythm, do not add the word “sharp” or “at,” since so doing Changes the rhythm. For example, saying “Fsharp” on a quarter note produces the sound of wo eighth notes. Sing on a neutral syllable, With sufficient practice in singing scale lines and intervals, many students find that singing on a neutral syllable such as Ta suffices. Section 6. Major keys; treble clef; the quarter note as the beat unit. = Syllables: do re mi & sgl sgl fami fa mire do Numbers: 123 4 5 $434 32 1 Letternames:’ C D E F G GC FEF EDC In all melodies, ® indicates the location of the tonic note. oSaa ee a 57 25h 58 A 59= 2 -_ = Se Se ee a aaa a eae eee Section 8. Other time signatures. he A, bil TPC, paudlio 27 SERIE:nL | } ti 71) | | | | | A Isl! i ij We Van qa as Ae MH kan Tr 1 || is! {i ae eo eS oo 2 oe ee a 2 oe eePoui ql MELODY intervals from the tonic triad, major keys RHYTHM simple time The melodies of this chapter contain several intervals larger than the scale steps of Chapter 1. Singing these particular intervals will be easy, since all are based on the tonic triad in the key of the given melody. If you can recognize and sing the three members of the tonic triad, you should have little or no problem when they occur in a melody. In C major, the tonic triad is C E G; the possible intervals between any two of these pitches are as follows: gi tes t eT oT M3rd = m3rd_P5th «= Path «= mth «= M6th =~ P8ve M-= major, m= minor, P = perfect The members of the G major triad at a in the following exercise are arranged melodically at b. Sing these on 1-3-5-3-1 or do-mi-sol-mi-do. Then, at sing pairs of notes from the triad. Pa == ote Se SS 3.5 301 ae 15 5 1 i misol mido sol mi do sol sol doNow add higher notes, lower notes, or both from the C major triad, and sing the new available intervals. or or vo 5131 58 58 15 18 85 8 sel do mi do. sol mi sol mi do sol do mi mi sol mi sol ge Here are successions of several intervals from the tonic triad, first in C major, then in several other keys. For each key, first sing 1-8-6-8-1 or do- swivolmi-do, carefully noting the location of each of these on the staff. Notice that if 1 (do) is on a line, 8 (mi) and 5 (sol) are the next two lines above, or if'on a space, on the next two spaces above. Q (, Se do sol e 5 that include both stepwise motion Now we are ready to sing melodie tonic triad. Follow these steps in and intervals from the given. melody's preparation for singing each melody: 1. Determine the key. 2. Spell the tonic triad. 3, Locate the tonic triad on the staff. 4. Scan the melody for examples of intervals in the tonic triad. 5, Sing the tonic triad. ‘Try this procedure on the following melody: O_ ® . 9% @ SEE SEE ESE Se See eel tiie iallaiaeiaa el br ia een ee geen age Ell = = Sa i =e a ae i1. Note that a. The key is Eb major. b. The tonic triad is spelled Eb G Bb. c. The tonic triad is located on the first, second, and third lines, Also locate higher and lower tones of the triad on the staff. mm, 1-2 | mm. 46 i Section 1. Major keys, treble clef, intervals of the third, fourth, fifth, and Octave from the tonic triad. The quarter note as the beat unit; undotted notes. Slowly France =—Moderato 6 85 ca y= SS 7 P — Allegro Germany 86 f pee Allegro Soro ere ere 87 Ct , nf Allegretto tt il Allegro 90 ire, bs shea err as a ee = me oe oe oe=a es SS ee eee eee ee ee ee Silesia ote Fa AllegrettoCanon for 3 voices 1 2 3 P. Hayes (18th century) 96 Hep Canon in 3 voices 1 2 3 o HSS LE Cte al Canon for 8 voices Section 2. Dotted notes. Allegretto Tennessee 99 ie == Bese ce EES Pee emcee : ? = 4. ' 2 = 5 a =e =l et ST mT TE Menuetto * Haydn, Quartet, Op. 3, No. 3 100 or = — = 2 = je == =—se Allegrewio 101 4 oy file gea ee ea a eee eee Se : ne G25 ee =] oe z Con spirito Germany SS mf’ (repeat p) ge Thy ¥ Allegretto Z acai 105 Gres Sao Pp 4g ibe Sd Ferre————§ Con spirito a ar a So eto of nf P Canon for 8 voices Germany y 2 8 7 ger re Section 3. Bass clef. Andante Denmark 109 Allegro Germany hp RE —— 110 Die Efe ee IF fata e f i _—— a m ~~ = io om a oe a oe ae re-™ Allegretto spain ——— Allegro Handel, Judas Maccabaeus Lively Spain 8 METTLE CP ILeer ep we i 3 .Section 4. Interval of the sixth. Allegro United States 117 Andante Pomerania * Phis melody is from a body of folk songs collected by Bartsk, Others will be found in later pages of this text. Buy - 2a="-nb oo oe o CS U6} 2 c =— =Mexico Allegro — 120 ¥ Allegro moderato Smetana, The Bartered Bride Germany 7 ral Beethoven125 ‘Canon for 4 voices 1 a P. Hayes 126 Section 5. The half note and the eighth note as beat units. Andante Slovakia oo ii 127 roar === SS - eee eee Yep SSSI ee Z Adagio Germany 128 { Ep JRousseau, Lorsque Venus pour un borgar Andante 129 ae Ba SSS ae <== - Allegretto Germany (Brahms) — 130 England | ¥Section 6. Duets. The asterisk(*) indicates the original folk song, to which a second line has been added. Germany — Allegretto 134 & eee‘Andante con moto GermanyGermany i > France Germany . See eS ee eee eee ee T t 5 | | Hl Hil i = es ef =GermanyMELODY intervals from the tonic triad, major keys RHYTHM compound time (meter); the beat and its division into three parts The melodies of this chapter include only those intervals already presented in Chapter 2. New to this chapter is the use of compound time. In compound time, the beat is divisible into three parts, and therefore it can be represented only by a dotted note value. In a § meter, for example, the dotted quarter note representing the beat is divisible into three eighth notes (d.= ). Two dotted quarter notes, therefore, equal six eighth notes, hence the signature § (2 x §=§). Signatures in compound time show 6, 9, and 12 in the numerator but are ordinarily conducted as two, three, and four beats, respectively, each with three taps per beat. A simpler compound signature exists but, unfortunately, is little used. Instead of §, for example, the signature / is an exact description of the meter: two beats per measure and a dotted quarter note receives one beat. Some similar signatures are - instead of 1, }. instead of , and so forth Example 142 shows a § signature, reflecting two beats per measure, with — a choice of syllables for the second and third divisions: ta, ¢ ¢ ¢ or (one ta) la lee, J 7 q The latter is useful when it is desired that the rhythmic fone la lee) syllables differentiate simple and compound time. a in nu a a ese rrererEreGermany fer cee COE eC CD CeCe CR Cee ec ce ee ee ee ce ce3 MELODY intervals from the tonic triad, major keys RHYTHM compound time (meter); the beat and its division into three parts The melodies of this chapter include only those intervals already presented in Chapter 2. New to this chapter is the use of compound time. In compound time, the beat is divisible into three parts, and therefore it can be represented only by a dotted note value. Ina § meter, for example, the dotted quarter note representing the beat is divisible into three eighth notes (d.= ). Two dotted quarter notes, therefore, equal six eighth notes, hence the signature § (2 x §=§). Signatures in compound time show 6, 9, and 12 in the numerator but are ordinarily conducted as two, three, and four beats, respectively, each with three taps per beat. A simpler compound signature exists but, unfortunately, is litle used. Instead of §, for example, the signature f- is an exact description of the meter: two beats per measure and a dotted quarter note receives one beat. Some similar signatures are f- instead of 2, 2. instead of 42, and so forth. Example 142 shows a § signature, reflecting two beats per measure, with a choice of syllables for the second and third divisions: ta, Ja 2 or (one tata) la lee, d 7 @ . The latier is useful when it is desired that the rhythmic (one alee) syllables differentiate simple and compound time a a = eS (f ' Se ee ee ee |= a ee ee Section 1. Rhythmic reading. The dotted quarter note as the beat unit. Single lines and two-part drills. ee ee one two one ta ta two ta one____ ta ta one___ one two one la leetwo lee one la lee one___ a gl Tid. Ld. ddd D4: wa gdpd J dil bid dd 145 ¢ Dd yy DTI DY Dp ST by ve ELT ey a7 gJTI JT oT ad | ] jy SLIT ol by ee ee tJ Fy Fy Sy Fy lot eee ee ee 148 gd d \4 1 JLT. IT) ITI a je JT) IT) |b STIL tS IT fe pe STU en J AJL AL ay| jdt DAT DD J ge Th ody gg Get Loy tL eet ct pl dt dy pa ppp eee it a eee ee TT eo | (dp pe LIT dy lode doy Serco * erie gt pet pees . TT bh SS Te eee . y J Jy 2 PL pe de Dy pe pp tte webb tate pemess: aa eer prdiddy + davypders t | rpracere eer rere 7 149 1g-d—2 Jd pdb Mt TJ _ ee ae ee ae a i gg ye nei AJM de pL de Ly wet phe gle Soe AT yd TMT La | or peer terror prt Section 2. Sight singing. Major keys treble clef; the dotted quarter note as the beat unit. Allegro ee ere eee ceeeeceeeeee ee 154 % 155 x 7 Oi. EP i Es Moderato 1 Quhg sj Depo) Meee 86 oy> 973 gl Ltd: dite. Jip titty aged yiliiy ttyl y wa glide red rre dd tida pod dy ood dd pot tli t lp pidaa dy sdee ot a pd pt iit. iti 1 Lily prot tite a 175 J+: J Jd de — Jd He ttdt ON petit yd. dd dpe dd dyed ddd ey 176 apd d- ddd ttle tt J dd Lode] a7 aged. J dow fded Jd ddd psn didds| co sre pdb pled dda de ddd de ply ji ded - ide fd idode Jd odya ee ee ee eee oe uel v9 TUS FR) FR Aaya Ab dy 10) ) (FPL AR) Fy tlhhy pA, My Ma by wt fd Do) AT Oph 4 182 9 dA) Ly | 1 BMD DAD ty SE Dd rea BN DD DD FD, ATED Dy. 185 fz ddd, ids, )) 2 fy uyAllegro moderatoMELODY minor keys; intervals from the tonic triad RHYTHM simple and compound time In minor keys, most melodic lines conform to the melodic form of the minor scale, using #6 and #7 ascending, and 9 and descending. (The caret, *, means “scale step.” 6 means “sixth scale step,” 46 means “raised : ; sixth scale step,” and so forth') EEE EA aH at ar At oat tat ec actt Sao OHS THe Here EPH G Him tia tes cart as f ] ate eid i = ees do re mi fi si la fa sol fa mi re do ti la Notice in the minor scale above that the tonic tone is designated as ‘a, ensuring that mifa and tido are half steps and that all other adjacent syllables are whole steps. The syllables fiand siare used only for #6 and #4. Descending, 7 and 6 are soland fa When a melodie line contains an ascending natural seventh seale step, or a raised SAM scale step without an accompanying raised seventh scale step, that line is tsally base on one of the medieval modes. See Chapter 19.| Be sure you can sing accurately the complete melodic Follow these steps as preparation for sight singing in a minor key: B jor scale in the key of the melody, ascending and descending, Practice with letter names and with either numbers or syllables. Look for examples of 6 and 7 and of 6 and #4. es a #647 a7 <—o> o> 4 ‘ G minor . Note special uses of 6 and 7 (see Elementary Harmony, 4th edition, pages 152-154, for a more complete explanation). a. In the succession 6-7-6, the direction of the last tone of this group determines that the descending form of the scale is used for all, three notes. See melody 205, measure 2. In the group BY-C-Bb (6-7-6 in D minor), the final Bb descends; therefore, all three notes are from the descending form of the scale. b. In the succession #7-46-44, the direction of the last tone of this group determines that the ascending form of the scale is used for all three notes, See melody 205, measure 3. In the group CH-B-Ct (7-H 6-47 in D minor), the final C# ascends; therefore, all three notes are from the ascending form of the scale. c The descending succession #7-#6-5 implies the use of dominant harmony at that point. In melody 231, measure 2, the descending F#-E-D in G minor implies the use of the V triad, D FEA. |. Recognize intervals. The same intervals used to construct a major triad are used to construct a minor triad, The perfect intervals (P4, P5, and P8) remain the same, but the major and minor intervals are reversed: Major Triad Minor Triad Lup to 3 M3 m3 3.up tod m3 M3 3uptol M6 m6 Sup to 3 m6 M6 Lup to5 PS PS Suptol pa pa D minor_— eee ee ee Ce eee ae: a All members of the D minor triad are here arranged melodically. Sing these on 1-3-5-3-1 or la-do-mi-do-la. 13531 1383 85 81 58 1 51 la do mi do la la do do mi do la mido la mi mi la or or oe a rs o 51 $1 53 58 15 18 35 35 mi la do la mi do mido la mi la do domi do mi Here are successions of intervals from the tonic triad in various minor keys. Sing each group with numbers or with syllables. 203 1335 1551 la do do mi la mi mi la Section 1 Simple time. Numbers 203-208 use whole steps and half steps only. la sol fa mi reomi fimi fh sir 7 > gg a a | Lightly Germany 209 Fo SSS Ser foe ee eet ra _ Germany (Brahms) SS Sas |= BS Canon for 4 voices 1 2 3, 4 as 21 Andante ey Sec cn TTP Us — mp Allegretto Germany (Brahms) ee x 20 OP hin pape ei 7 a fe ieee aS England aie eee aeSeats IL ae i TE TT —= af —— pp Canon for 4 voices England 1 216 217 Allegretto{ae eee aS ee ee Portugal 221 5 Section 2. Compound time. Allegretto vain 222 ont Sarge eer ore Andante ia Basque 223 Se See ee ¥ 2 7 —— ¥ ce aH a Eeateeneoero rp ferrets Pip: Eerie mf SES DC Alleyo con gravia a 224 Geter s mpLento 225 Allegro sia! — FLEE me ST plma ee ee eee ee ee eee ee eee ee ee Doloroso Germany 229 Germany Section'3. Duets. depen Fane 231 France 232235 France ase [EeMELODY intervals from the dominant (V) triad; major and minor keys RHYTHM simple and compound time Intervals from the dominant triad, very common in melodic writing, are the same as those from the tonic triad, but in a different context. In major keys, syllable names for members of the,V triad are sol, ti, re (ascending), and the scale-step numbers are 6-7-8, as at a and 6 below. Observe also that at ¢, its members can be identified as 1-3-5 of the triad. @ wo _ G major: v rp Of Soe HHT tee aedaaet a tee (ofthe scalc) (of the triad) In minor keys, the dominant triad is the same sound as in major kes, since the leading tone is the raised seventh scale degree. (@) o o Gminor: i = | ~> 9] ]\| 5 (of the seale n> ros fof the wiad) ' f X } J eeObserve these characteristics of the various possible intervals: : 1. Skips to the third of the triad (the leading tone) are easy, since the second > note of the interval, no matter what the size of the interval, is always a half step below the tonic tone. 2. Skips to the root of the triad are easy because this root is the 8 (dominant) of the scale. 3. Skips to the fifth of the triad are skips to the tone above the tonic (supertonid). ‘ 1 1 a eet r e t oS SSE ee v It (uncommon) Any skip in the dominant triad will be either to the dominant tone or to a scale step above or below the tonic tone. so remembering the sound of the tonic and dominant tones of the key (as learned in Chapters 2-4) is important. Before singing, spell the tonic and dominant tiads. ‘Then scan the melovly for location of intervals from the dominant wiad. woObserve that wre tone. . The key is G major. 1= GBD. The dominant (V) triad is D FFA. At a (interval, D down to A), the leap is to 4, At® the intervals outline the V triad. 5. Ate the interval, though large, is simply a skip to the leading tone, the scale step below the tonic tone. the scale step above the tonic Section 1. Intervals of the third from the V triad; major keys; simple time. Moderato Germany 237 % HBr f 2nd time p SO Eee EEE EEE EEE EEE EEE Sere ett = s SS rate a Fae ea > of t ea Germany EoAllegretto sree titania 241 3% af (repeat p) Moderato 242 ccrese. LpaEnEEES Allegreuo 243 ss Con spirito 244 bee Sh aCanon for 4 voices 1 : 2 Germany 245 3% 3 eee Lustily Germany 246 Louisiana 247 A Section 2. Intervals of the third from the V triad; minor keys; simple time. 249 os tf 6 Allegro risoluto 7 . Netherlands rm io u == wee eee eS SSLargo ‘Sweden Moderato Germany | 252 Mozart, The Abduction from the Seragiio, K. 384 253 Dp a! ioresc. f 2s Gate pe = = 2 i E i a wl a i- DBRS SS BS Ee ACS SS ee Se) ea Section 3. Intervals of the fourth and fifth from the V triad; major and minor keys; simple time. Menuetto Mozart, Symphony No. 15, K, 124 Pee eet —_—— 257 Allegro spirito rene 258 A P eresc. f Con moto Gormany 259 Upere sesso SHES 1S fess aS ETS 7 == Fea ] Allegretto 260 Deters fe nf AustriaEngland 263 Ziemlich langsam Iceland ot Ep ed mf : P or a = De Deere cresc decrese, Canon for 2 voices ws fie eyGreece Wachsmann (1781-1863) Canon for 3 voices England My dame has in her hutch at home a lit-tle dog, 8 Hey, dog, hey with a clog. Ziemlich schnell Schubert, Erstarrung, Op. 89, No. 4 a Andante Beranger, Ce four-ttLebhaft Germany (Brahms) tp pe ’ 271 De ee (3 fps 5] Germany (Brahms) _——— 272 273 bse my p repeat AndanteSection 4. Interval of the sixth from the V triad; simple time. 4 Allegretto Dvorak, Saint Ludmila —= = > Canon for 4 voices 1 276 Andante Russia Spiritual, United States 279Section 5. Various intervals from the V triad; compound time. indante as Gi gc n gy 78 Germany (Brahms) EDP RP MEM Dir pr rie e |id # DL eo Sl nf p——— Moderato seer ig tee etree of DC. Presto Wolf-Ferrari, The Jewels of the Madonna a Ky = =S7 = 205 Gia rp ee tf Allegretto . eee ecco EeePC Maine 206 GPL Nie ge ee fie | — ; T¥ T 7 we ApS SE -e. = oy 7a Hr Zs ——— Ks 22S Con stnima ze Oe si Ta Ta Tay Ne f ——__ I Tat Meperieees| I Mh 6 PRESS ny Dd dy RS ar aed ilAllegro Germany 288 nf op nf eee ee eee eee eerie eee ie tyre tigi fats 7 = EE Ee mi eS ne Melodies with a numerator of 3 in the time signature, and with fast tempo indications, are very often performed with a single beat per measure. The effect is that of compound time, one beat per measure, as shown in the next four examples. Fast (d- = 1 beat) Germany 289 oe Allegro (d. =] beat) Germany (Brahms) ——~ pity 290 Gees a=tempo. ibaa tc aera eee oped J. =1 beat Canada 292 Spb ap pe te aaah ep " “of Section 6. Duets. Lively Germany BSRBaeae BB BE SB BRS SE He ee 7 ta o>NetherlandsTHE C CLEFS alto and tenor clefs The clef sign [B, or less commonly |K, indicates the location of middle C on the staff. When found on the third line of the staff, the C clef is known as the “alto clef,” and when found on the fourth line, it is known as the “tenor clef.” Alto Clef Tenor Clef pe p= The alto clef is commonly used by the viola, the tenor clef by the cello, the trombone, and the bassoon, and each occasionally by other instruments. The ability to read music in these clefs is important, not only to the players of these instruments, but also to any musician studying orchestral scores such as those for symphonies, or chamber music scores such as those for string quartets. Those studying music written before about 1700, either in original scores or in modern musicological editions, will find that these two C clefs, together with the soprano clef, f— . R— = ,and the baritone clef, the mezzo soprano clef, i in vocal and instrumental music.Section 1. The alto clef. Before attempting to sing at sight in any C clef, be sure to learn the names of the lines and spaces in that clef, just as you did when learning to read the treble and bass clefs. These are the names of the lines and spaces in the alto clef: eee S=0= 8p Saas = — FGABCDEFG FACGCEG GBD F To facilitate learning these spellings in a melodic setting, sing using correct letter names. The pitches of the melody America at 300a and bare identical, When singing in the C clef with letter names, you may omit the words “sharp” and “flat,” as indicated by the parentheses in 3004, to avoid changing the rhythm of the melody. ‘Ail melodies in this chapter use only those melodic and rhythmic materials already presented in previous chapters. America 300 GGA FH) GA BBC B AG A GF#).G Andante — a Egan 301 ? reece eee Wi ae Allegretto é Englend 302 Pay =Ps | aig Cece BEBgegttet fst rt EzCanon for 4 voices Hauptmann (1792-1868) 4 1 ooo BYR I eS Canon for 4voices Webbs (c. 1680) 1 304 [Pre Pe a ater : + x Moderato Germany 305 fee eee reeeareee CeCe slid 306 18S mp == 307 ott =e ; Aa 2Gee eeaeeeee eee eee iammcay 308 Andante a Germany (Brahms) Allegro ‘Schubert, Der Musensohn, Op. 92, No. 1 eoreGwetes EUEERBESEAllegro Haly o BH Ss ie Ie as eee ee Bas £ ptf wa iff pp Be France 313 Bree AE f Gass seeEb anaes eet HHO Szon?ESEIERS aaeeregecdseetd fe aeazeerntenanazoneee® {Bb ee a = E aie : Res SS ae @ Moderato: 7 Germany 4 a! = _ 314 | = pe y ee a Andante con moto TO 315 [aR =< mp Germanyaf England Andan!Section 2. The tenor clef. These are the names of the lines and spaces of the tenor clef: oO GABCDE DFAGE EGBD Also note that in the tenor clef, the first sharp of the key signature is on the second line, with the following sharps in the pattern fifth up and fourth down. This arrangement avoids the use of ledger lines and spaces. After learning the names of the lines and spaces, sing with letter names the tune America as shown in melody 318, Its sound is identical to that of America in melody 3008. GGA FH) GA BBC B AG A GR G =. Maestoso Germany 319 Bee a f = = Allegretto efoiandne ChE & i ml Saas Soe eee BrahmsGermany Andantino seen 2, BS SS SS} Ganon for 4 voices 5 4 Praetorius 1 ~~. 327 = 7EnglandSection 3. Additional practice in the C clets. I Any melody in the treble or bass clef can be used for sight singing in cither of the G clefs. We will again use America to demonstrate. GGA FA) GA BBC B AG 1, Locate the line or the space of the tonic note. In America above, the tonic note is on the second line, 2. Ignore the given treble or bass clef, and imagine in its place an alto clef. With the alto clef, the second line is still tonic. Since the second line is A, the tonic is now A (or Al). Add the appropriate key signature and sing the letter names in the key of A (A}). A A BG) AB C)CU)D Ci) BA 3. In the tenor clef, the second line is F (or F#). Proceed as above. The key will be F (or FH). Sing the letter names in this key. E FG A ABb) A GFMELODY further use of diatonic intervals RHYTHM . simple and compound time Melodies from previous chapters have included the intervals most frequently used in melodic writing: major and minor seconds, major and minor thirds, major and minor sixths, the perfect fourth, and the perfect fifth. Intervals larger than the second were learned as used in tonic and dominant triads, contexts very frequently used and easy to read. This chapter presents the same intervals in different contexts. Of course, a given interval will sound in itself the same in any context. You have already learned, for example, to use a major third in ovo contexts: first as members 1 and 8 of a major triad and second as members 3 and 5 of a minor triad. So it should not be difficult to sing any of these familiar intervals in additional contexts. For students correlating sight singing and harmonic studies recognizing the particular use of an interval helps to achieve success in both areas. Here are new contexts you should be looking for. 1. Two successive intervals outline a triad other than tonic or dominant, The subdominant and supertonic triads are those most frequently found in melodic form, as in melody 332 (IV triad) and melody 335 (ii wiad). Look for the infrequent use of a different complete triad in melody 358, 2. Commonly, an interval may not imply a single harmony, even when the wo tones of the interval appear visually to be from the same triad. As an example, look at the single melodic line of the canon, in Bb major, melody 372. Measures 1-2: C up to F looks like 5 up to 1 of the V triad, and F down to BE looks like 5 down to 1 of the [ triad. In each interval, the wo tones are members of different triads. aaa Ee ee 2S SS 2S eeMeasures 9-10: Bb up to D looks like 1 up to 3 of the I triad, and A up to C looks like 3 up to 5 of the V triad, In each interval, the second tone functions as a nonharmonic tone, anappoggiatura in this case. > measures 1-2 Gre 6 measures 9-10 AF eo When the measures above are combined with measures 5-6, as heard when the canon is performed, the harmonic context is complete and the functions of the intervals can be clearly seen. app. app. [ 3. Frequently you will encounter the easy minor third 3 up to 4 or 4 down to 8. Most often, this interval implies not the ii triad but the fifth and seventh of the dominant seventh chord, to be presented in Chapter 8. This interval is commonly found in melodies more difficult than those of the previous chapters Suggestion: Before singing, scan the melody to locate examples of any of the foregoing uses of diatonic intervals. Section 1. Single-line melodies. Pomerania AllegroGermany eee ee = =~ 5S Ae 333 4% = Allegro, Germany => — 334 aS ee 2 a f a |Lente Caldara England SSF :Pee er TUCO COC EOCLLOCLELCLLELOOLLOLOEL England Hee] Finland was . ia; hw = ee ee ee ee oo Se eeMendelssohn, Das Schifilein, Op. 99, No. 4 Andante con moto 345 Bye P a Fine = nf D.C. al Fine Canada 347Canon for 4 voices 1 Germany 349 Pie ia Pas trop lent sine 350 : = Denmark De preceding melody 289 ec ele ae a Before performing melody 352, review the text page 78. eee Mozan, Divetimonto No. 2, K. 191 Alleg No, 2,46 11 SS SEE eee _ * 5 Bree 352 9Canon for 3 voices (¢. = 1 beat) ‘Anonymous 1_— _—— 353 Canon for 8 voices England 1 SEE Reece CeCe eo 354 Alabama, 101Con spirito Gormany ee eee x pe Coeeerre care ceeeteee| Lento Beethoven, Quartet No. 16, Op. 135 358 Moderato. 359 3 P Allegretto Allegro 361 BSArgentina Allegretio [pons 362 Deh be: of of fe eee eee Netherlands eee 19 Ged SS a ay 364 Molio moderato 365 ByeBye England —_—_— He =——— 2 Canon for 4 voices teen -fo tte 369 ey a5 SeatCanon for 4 voices 1 Haydn Canon for 3 voices 1 Praetorius Massenet, Chant Provencal 7 poco rit.Anaanie ‘Germany SEER 374 sd mp A __—— eee eee eee teeeeeSee vee = eee eos eee ee pee ZH 2] ov => o —— et Moderato Schubert, Der Entfernten SE pment SHEE Cee ee 375 nf eee PF Moderato 376 4 ba =F ‘i \ . “ eS ee soeeeeerrs terre ie Fas] Veet 106 2 = 2 = 2, ee ee ee ee ee ee ee ee ee etSection 2. Duets. Andante ~ SilesiaEngland 381 382 383 1S ee eeMozart, Quartet, K. 458MELODY intervals from the dominant seventh chord (V7); other diatonic intervals of the seventh RHYTHM simple and compound time The dominant seventh chord is a four-note chord, the dominant triad plus an additional minor third above its fifth. Of all the possible intervals from this chord, these have not previously been presented: Chord members 1 up to 7 or 7 down to 1 = minor seventh (m7) Chord members 3 up to 7 or 7 down to 3 = diminished fifth (d5), or tritone! Chord members 7 up to 3 or 3 down to 7 = augmented fourth (A4), or tritone ee eae ee eee te ess be —|—_po—|bo- = — aS o m7 a5 Ad s Scale steps: 5 Syllables: sol (inF minor): mi sol ti ore mi “The term tritone eelers to an interval composed of three whole steps. ta the V7 chord, the two tritones, 3 and Ad, are enharmonic even though they differ in the number of lines and spaces encompassed. SFSRGUGSGeS8 Ca SP GQRESPSy Siar SSE TonAB pees B ye ce) ee leeSection 1. The complete dominant seventh chord. In this section, successive chord tones outline a complete fournote V7 chord or the near-complete V7 chord (chord members 1-5-7 or reverse), all utilizing only the intervals of the major third, the minor third, and the perfect fifth. ee Germany - = Allegro 387 nf =< f Menuet pines Allegretto 389 Digi geetore—- fi — CanadaFauré, Les Berceaux = “SEAS Germany Section 2. The interval of the minor seventh: chord members 1 up to 7 of reverse. Moderato394 % Allegro Gormeny England — nf —— a AniméHaydn, Divertimento FTE FESai England #: =F a “aSection 3. The interval of the tritone. Andante Ohio 405 i b-F— f Fine mp DC. Moderato ooo Gray P = ; Soncarapmareer ey ere ectie eee DC. Andante Poland 407 408 = i |Moderato ma con moto PolandNicht schnell 413 P —= = dim. e rit. P atempo Allegro ma non troppo Germany pak 414 a a ee ee eee ee ee a co er eeAllegretto fe marcato I ‘bow be be Section 4. Other uses of diatonic intervals of the seventh. Mozart, Quartet, K. 428 Allegretto Ao 416 See| Mighty England 4 417 5 = a nf ——— eae Spee eaeraeeat ere ParesE pane f $4 a ae : St ety ee | v to t cresc. " Lee mT Haydn, Piano Sonata in E> major (1780) oe or} ca oo ] Louisiana Canon for 3 voices 1 421 > SSS |423 424 Bach, ‘Vell-Tempered eh asstRHYTHM the subdivision of the beat: the simple beat into four parts; the compound beat into six parts RHYTHMIC READING, ‘SIMPLE TIME In simple time, the beat may be subdivided into four parts—for example, Licftd. B)-00TI, 8) FR. Rhythmic syllables may be used as follows: 1, All note values shorter fhan the beat note may be read using the syllable fa. iyi ©. When the syllable teis used for the divided beat, note values not using (are read using ta a. iam rai? I ltateta2 te ta Section 1. Preliminary exercises, simple time. Following are three groups of patterns, one cach for the subdivisions ofthe J, J,and J) notes. Select first the group under te heading “J=1 beat.” Read each line in the group, repeating without interrupting the fempo untilyou have mastered it. Continue in like manner with the following line. When you have completed all the lines, skip from one line to any other line, as directed or as chosen,:without interrupting the tempo. Continue with each of the other two groups in this same manner. + _ The patterns shown are those most commonly used, except for the rhythmic figures F). and SJ). These and comparable figures for other beat values will be presented in Chapter 14, “Syncopation.” J = heat d= 1 beat (vey d d ud J (division) 2J 4 ae 2 d 4 J d cubaiviion 3. SIDI FIT J ITIITT Med apa ae an ad FI NT 3 f71 FF aJii Jd er et eee ME IMLS 2 =1 beat aa era 2£5 TAP al eee ina a Sollaa eo eg e Section 2. Rhythmic reading exercises in simple time. aegd til FJ Fpl APryl yy a7 3p TT | FIFA. FFT EER Ly| aoe ge DAY CARY Ay wp lOO A yan > 420 gD ETE) a pid 4 | jy FL oy JAPA FL, Ay Ao, Ayah oe ee ee ai gd OD LR La weg 4 SRjly Ay aryl ol I OCR yl aa gd fl FL SRY yt as $I LTT I |) ST FRI. i I lae 4 TI) JO La AL A pO, A A Ay ee eee a7 gt TTT TT Ly ase gd 10 dL i TT aso gd JJ) SJ. LOY. ao GJ) SUL Si be wn g1 TL LLL Ly az g dd FA), A PAPA Fy jd EDA) FFB) FAT A by 495Section 3. Two-part drills, simple time. eeu Am AR 0 eer terre tr ‘| gag Fo TT) | Aree eer tere rr us PO dy aah (aaa ce ce crt Joes 9 di) 9 AT Cr eerie tert eae ee uo wom Shot Me trotwo Bt ei ie, RHYTHMIC READING, COMPOUND TIME In compound time, the beat may be subdivided into six parts—for example, 81-f970, 81-000, &). FRR Rhythmic syllables may be used as follows: 1. All note values shorter than the beat may be read using the syllable ta. gIT7 STV ATT ATTA ob 2a a lavaaa2aaaana | 2. When fa eis used for beat divisions, note values not using Ja or le are read using the syllable «a. SITU ITD | ATF PPL ob | Eola We 2 la tee 1 tala taleeta 2 tala taleeta 1 Section 4. Preliminary exercises, compound time. Follow clirections for similar exercises in simple time, pages 122-123. The patterns in subdivision shown are the most common of those possible.J. = 1 beat d. = 1 beat (beat) 1 ae d. i d: a ee es) eliijiid avin 3 HHA 3 J ITT a J dadad Jada 42 NN OD wins aA oii 7 12) som icm «333 Ad | 1) #J fo: As Nn seme oad Nd dd acme TA ook TT MN >. =1 beat | lo Section 5. Rhythmic reading exercises In compound time. ast G4 Tie | AAA 1d “|ae § 11S | Sy. Oy jo RL 493 gdb AIT Jy FT. Tay 454 9 JT 3. JT » Fo NG ed] ass gO | de. d. yoy FL ETI yy FY a 456 4d J). STL. » AT lL IT) 4 FR ad gy aor GD LDL IT db IT | oe gli dy JIT, SLL 459 9 J je de od ITT tL ITT, J — 11 Fls Ay yywoo dd J YL TT joo TT Lt dy at 6) ) AR Fn hy a2, )_ tee | So ST FL Sh d. = 1 beat oo pL DD a pol Dp dp 4. = 1 beat 404g ST) by ST DD, FI TY hy be 3.21 beat 40s fetid Thy SG) ET) | FA Section 6.. Two-part drills, compound time. 2 oa $2 ET SE TB ror er eeecer tp prrge468 § pete earl e ol fete 470 ery raat been dtd ddd Serer Pt ele teeta le oF pA J DT J dd PPT Th PT tear472