ERKLEE t:i ~~~kl

E RT ININ I

i>UETS AND TRIOS

~UDIO ACCESS INCLUDED
�,,,,,, .. 1,1, ......

�EART INING
DUETS AND TRIOS

GAYE TOLAN HATFIELD

 Dedicated to my father, Peter J. Tolan

Thanks to Berklee College of Music and my friends and family for their support and encouragement.

BERKLEE PRESS
Editor in Chief: Jonathan Feist
Senior Vice President of Online Learning and Continuing Education/CEO of Berklee Online: Debbie Cavalier
Vice President of Enrollment Marketing and Management: Mike King
Vice President of Academ ic Strategy: Carin Nuernberg
Editorial Assistants: Emily Jones, Megan Richardson

Music Performed, Recorded, and Engineered by Brad Hatfield

Notation Ed iting and Initial Typesetting by Wm. C. Brinkley

ISBN 978-0-87639-196-9

DISTRIBUTED BY

Berklee
Press
1.:1 Berklee Online
Study music online at HAL•LEONARD ~
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Berklee Press, a publishing activity of Berklee College of Music, is a not-for-profit educational publisher.
Available proceeds from the sales of our products are contributed to the scholarship funds of the college.

Copyright© 2019 Berklee Press.

'-'
L
L CONTENTS
L
L
L
L
L
L
L
INTRODUCTION: HOW TO PRACTICE SIGHTREADING .......................................... v
L About the Audio .......... ............ ............ .......................... .... ... .. ... ...... ......... ................. vi
'-- How to Use This Book .............. .. ........... .......................... .. ... .... ..... ................. .... ...... vi

'-- CHAPTER 1. MAJOR .................................................................................................... 1

L C Major Du et I .. ............ ........................... ......... ........ ..... ............. ............ .... ........... .... 1
L C Major Trio ... .. ... .. ... ...... ... ............................. ... ......................................................... 2
C Major Duet II ............... .... ... ..... .. ...... ........................... .............. .............................. 3
L
F Major Duet 1. .................. .. ................................ .. ................. .................................. .. 3
L F Major Du et II ................................ ..... .. ..... .......................... ............... ...... ... ........... . 4
L G Major Du et ............. ............................................. .... ... ........... ........ ........ ................. 5
L G Major Canon ... ............................................ ............................ ..................... .......... 6
D Major Du et 1... ................................ .. .... ........................ .. ........ ...... .... ... .... .... .. ... .. .... 7
L
D Major Trio ... ........................................ ...... .......... ....................................... ............. 8
L Bb Major Du et I .. ......... .. ................................ ..... .......................................... .............. 9
L Bb Major Duet II ........... ..... ...... ...... .. ............ ..... .............. .... ... ..... ... ... .. ... ..................... 9
L
CHAPTER 2. MINOR .................................................................................................. 10
L A Minor Duet I ... .... ..... ... .......... ...... ... ... .. ............................ ................ ........ ........... .. . 10
L A Minor Duet II .............................. .... ... .... ... .................................. .. ...... .... ............. . 11
D Minor Trio ....................... ..... ........... ... ... ... ............. ... ............. ............. .... ...... ......... 12
L
D Minor Canon .. ............................................... ... ....... ... ............ ............... ... ............ 14
L E Min or Du et ........... .... ... ........... ................. ............. .. .. .... .......... ...... ....................... 15
L C Minor Du et ... ......... ................ .... ....... .................. ... ....... ............................. ........ .. 16
L C Minor Canon .... ... .. .... ..... ........... .............. ............... .... .... ..... ........ ..... .......... ... ...... 17
B Min or Du et I .... .................. ... ........ ... .. .............................. .................... ... ........ ..... . 17
L
B Min or Du et II .................... ........ ............ ........................ ....................................... 18
L C# Minor Trio ................................ ...... ....... .... ........................................... .. .. ... ...... .. 18
L G Minor Trio ..... ............................ .... ................... .... ... .. .............. .............................. 19

L CHAPTER 3. MODES ................................................................................................. 20

L Bb Lydian Duet ................... .. .................... .......... ................. .................... .............. .-. 20
L Db Lydian Duet .......... ......................... ..... .. ........... ........... ..... ..... ....... .. .. ............... ... .. 21
C Mixolydian Duet ............. .. .. ...... ..... ..... .... ... ........................... ...... .... ......... ............ 22
L
D Mixolydian Duet ... .... .. ......................... .......... ... ........ .... ........ ... ........... ................ 23
L G Mixolydian Trio .......... .. ............................ ............. .... ... .... .. ..... ...... .................. .... 24
L A Dorian Du et .... .... ...... ......... ............. ... .... ................... ........ ..... ........ .. .. .... ..... ..... ..... 26
L E Dorian Canon ...... ....................................... ....... ......................... ............. ......... ... 26
B Dorian Du et ... .. .. ........ .................................. .. ............. .............. ................... ........ 27
~
A Phrygian Du et. .......... .. .. ... ...... ..... .................. ... ................... ............. ..................... 28
I._,,
D Phrygian Canon ... ... ... .... .. .... ......... ....... ..................... ... ... ...... .... ..... .... ............. ..... 29
~
 \

\
iv Contents

'
CHAPTER 4. CHROMATICS ...................................................................................... 30
'
\
C Major Duet III ..................... .......................... ...................... ........ ......................... 30 1
C Minor Trio .............. .............................................................................................. 31
\
D Major Duet II. .......... ............................................................................................. 32
D Major Duet III ...................................................................................................... 33 1
Di, Major Duet .................................................. ............ ................................. ....... ... 34 \
D Minor Duet ........................................................ ................ ....... ............................ 34
\
B!i Major Duet III ..................................................................................................... 35
\
A Major Duet I ......................................................................................................... 35
El, Major Duet ................................................................. ................................ ......... 36
F Major Duet III ...................................................................................................... 36
'\
E Major Duet ........................................................................................................... 37

CHAPTER 5. COMBINATIONS AND MODULATION ............................................... 38

'
C Minor Mixed Mode Duet ................... .............. ....... ............................................. 38 '1
D Mixed Mode Trio ................................................................................................. 39
\
Al, Major Duet I .............. ........... ....... ................ ...... ................................ .................. 40
El, Major Mixed Mode Duet ................................................................................... 40
Al, Major Duet II ..... ................................................... ............................................... 41
'\
A Major Duet II .............. ........................................................................ .................. 42
D Major Mixed Mode Duet .................................................................................... 43 '
B Minor Mixed Mode Duet ........ ...... ................................................... ................... 44 '
Bi, Minor Duet .......................................................................................................... 44
A Minor Mixed Mode Duet. ............ ....... .............................. ................................... 45
'
D Aeolian Duet ....................................................................................................... 46 '
SCALE GLOSSARY...................................................................................................... 47
'
'
\
ABOUT THE AUTHOR ............................................................................................... 49

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'\
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'
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\

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'
'
'
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1
'---

L INTRODUCTION
t

'--
'--
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\......,

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How to Practice
'--
'--
Sightreading
'--
'--
'--
'--
\......,

L
There are a few elements to consider when sightreading a melody. The basics
L
include rhythm, solfege syllables, and pitches. There may also be dynamics and
'-- articulations present.
'-- If you follow the steps below, your sightreading will become faster and more
'-- accurate over time. It's important that you do the steps in order and are successful
'-- with each step before moving on to the next.
L
Step 1: Know the Theory
'-- Identify the clef, key, and time signature.
'--
\... Step 2: Rhythm Only
'-- Perform the rhythm of the melody on the syllable tah, beginning with a moder-
'-- ately slow tempo. The goal is to perform the entire rhythm without stopping, so
L don't be afraid to start slowly, and then adjust the metronome accordingly.
\...
L Step 3: Solfege Out of Time ("Dry Solfege")
L
Speak the name of the pitches with solfege syllables, along with a metronome,
L but do not consider the rhythm of the melody yet. Speak the syllables like you
L would the words in a paragraph, each syllable spoken at a regular pace without
'-- stopping. If there is any hesitation in naming the syllables, keep at it before going
L to the next step.
L
L Step 4: Solfege In Time
L Now, you should be ready to speak the solfege using the rhythm of the melody.
L Keep it honest by using a metronome. When you can do this step without stop-
'-- ping, you're ready to start singing!
'--
........

'--"
vi Berklee Ear Training Duets and Trios

Step 5: Pitches Out of Time

First, warm up with the appropriate scale in the given key. When you're able to
sing the scale accurately, sing each note of the melody (in solfege, of course) at
regular intervals. For instance, put your metronome on 60 bpm, and sing each
note of the melody as if they are all half notes. Remember to always reference Do
and the scale to find pitches, especially when there are leaps within the melody.
Do not get the pitches from an instrument; remember that you must be the
creator of the pitch, using your inner hearing and your voice.
If you have a tough time with this step, go back and warm up that scale!

Step 6: Performance Time

If you've mastered steps one through five, you should be ready to go. It's okay to
start with slower tempos than indicated at first.
And, don't forget the icing on the cake: the dynamics and articulations.

ABOUT THE AUDIO

To access the accompanying audio, go to www.halleonard.com/mylibrary and
enter the code found on the first page of this book. This will grant you instant
access to every example. Examples with accompanying audio are marked with
an audio icon.

HOW TO USE THIS BOOK

Use this book to practice sightreading. Singers and instrumentalists alike will
find it useful.
Recordings for all parts are provided, so even if you are working on these
materials independently, you can have virtual duet and trio partners and can
practice every voice with an ensemble. If possible, practice these pieces with
other musicians.
For the best personal musical growth, it is recommended that you prac-
tice the six-step method for sightreading and are "performance ready" before
listening to or singing along with the recording. The ultimate learning goal is
independence, not mimicking or memorization.
When you are ready to sing with the recording(s), choose the alternate part(s)
that you'd like for your accompaniment. Each recording begins with a two-
measure countoff on the tonic note of the key. For example, on the "Bl:, Major
Duet in 4/4," you'll hear eight quarter notes played on a Bl:, before the music
begins.
Have fun, and share your success with friends, classmates, and teachers. Take
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16 Berklee Ear Training Duets and Trios

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~

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I
r I
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I
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I
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9
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t) •
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Please do not copy or distribute without express written permission from Berklee Press.
......
I...,
C MINOR CANON
...__

I.....
J= 84
1. 2.

Jj
~ ·r; I J J J J J. ~
I.....

I..... .,,JJ j I J J J J J ~ ...J------~ F

>
I..., p
I..., 5 3.

I...,-

........
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1
' , F B r t¥ cJ E; F ~ J J J J J J JqJ F I

ef
I.....
9
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'--
~>
~ E2r j r IJ J J J J IJ J lqJ J II
1....- f p ef mp p
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'-
L B MINOR DUET I
L
J= 100
L
L
L mf
'---·

mf
'---
5
L
~ #j IJ
L
L
I J lnJ r } J IJ t
L
L r ~
#
F I•r #~ ~ I r~ ~ t i7l
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9
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>
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mp
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13
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t)
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11

'--- f mp
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-
L
f mp
-
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L Please do not copy or distribute without express written permission from Berklee Press.
18 Berklee Ear Training Duets and Trios

B MINOR DUET II
J. =58

ef
5

ef

p ef
© 2019 by Gaye Tolan Hatfield. All Rights Reserved .
Please do not copy or distribute without express written permission from Berklee Press.

C~ MINOR TRIO
Reggae J= 66

mp
4

ef

ef
'-

L G MINOR TRIO
L
Bossa J= 88
L

I._,

L
L·
L p
L

L 5 I1.

L
L p
r a-r
L
L
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mp p

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L
L
L
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L Please do not copy or distribute without express written permission from Berklee Press.

L
L
L
L
L
L
L
L
L
 .......
20
'
~ _C_HAP_!ER
'--

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'""'I

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i t

[Modes +
'
'l
)

'
Bl, LYDIAN DUET .,'
")
J= 60
'1
''l
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p
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...... D~ LYDIAN DUET

'-·
...._
Jazz Waltz J= 112

........
...._

'-
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'- mp
'--
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...._

'-
mp
L
'-~
L
mf mp
L
L. 9

L
'- mp mj'
'--
'-
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p mp mj'
L
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'-
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'-·
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L
f
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·-----------
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Please do not copy or distribute without express written permission from Berklee Press.
L
L
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L-
L
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'---
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L
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 ......,
22 [ - Berklee Ear Training Duets and Trios

.....

C MIXOLYDIAN DUET
Funky J = 64

......

mf

'
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)

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,---3----, '
'1"""
f 'l

1
3

JO
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""'I

'I
1
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 Chapter 3. Modes (Tolan Hatfield) 23

D MIXOLVDIAN DUET
Bossa Feel = 112

mf

p
~
9

mf
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13

"
"
"
"
~
© 2019 by Gaye Tolan Hatfield. All Rights Reserved.
Please do not copy or distribute without express written permission from Berklee Press.

"
~
24 Berklee Ear Training Duets and Trios

G MIXOLYDIAN TRIO
J =63
/J Joi

fl Joi

t) ......,

-
'- ..... - ......
. .-..,
.. ...
77
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mp
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fl Joi I
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t) I I r 7

mp
l

t)
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mp
• -e-· -,J . ._,-,J

- ----
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--
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ef
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j Joi > I

,... -=•
•
t. I I r I I I
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f
fl Joi I I
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t)
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JO

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 Chapter 3. Modes (Tolan Hatfield} 25

"

13
.
fl J.I
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..
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-· -· -·
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--· -· I

p mp

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16
ti ~ I I

u I .,. ',.._, .,.. -,. •

" pp p ---·
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u
p
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,.....,,_

,......_ 19 rit.
......__

,......._

,......._

"

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,......._
26 Berklee Ear Training Duets and Trios

A DORIAN DUET
J= 90

mf p

mp

mp
'1
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Please do not copy or distribute without express written permission from Berklee Press. '
1
1
1

'
E DORIAN CANON '1
1
)= 104
1.
'
I J. '
mp
'
1
1
•
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J z Jl I J. z 1
p IJ .t' I } I J lffJ J J I J > I <J
p mp ef '
1

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17 3.

JI J J~IJJJ IJ I II
f p
ef mp
© 2019 by Gaye Tolan Hatfield. All Rights Reserved .
Please do not copy or distribute without express written perm ission from Berklee Press.
 Chapter 3. Modes (Tolan Hatfield) 27

,.......,, B DORIAN DUET

j = 100

mf

mf

,......,

,......,

,......,
nif

13

mp

'
mp
© 2019 by Gaye Tolan Hatfield. All Rights Reserved .
Please do not copy or distribute without express written permission from Berklee Press.

,.......,,

,.......,,

-----,
 "
28 Berklee Ear Training Duets and Trios

......,
A PHRYGIAN DUET
......,
Rock J= 120
......,
...
I\

t.J
-

- .. -
ef
I
_...., I r---i ......
I ,,_
- - r '
mf

9
Ii I I

t.J
mp
.-1
... ..
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.-1
I

I
r r I r
..,
>

>
.......

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r r I r I I

mp

13

mf

p ef -====ff
© 2019 by Gaye Tolan Hatfield. All Rights Reserved.
Please do not copy or distribute without express written permission from Berklee Press.
 Chapter 3. Modes (Tolan Hatfield) 29

D PHRYGIAN CANON
"\ d= 52

" JI IJ J I J. 31 I J JI I u____,•
I~ f
---
0 II

p mp = p

IJJ JIJ
nif
J Iu I J. JIJ --- fJ I 0 0 l

>

~ I r r Ir j 0 I r J f I r· CJ I J r f I J. f 11
mp p
© 2019 by Gaye Tolan Hatfield. All Rights Reserved.
Please do not copy or distribute without express written permission from Berklee Press.
,,......
,,.....,

,....._

"

"

".........

"
30

CHAPTER 4

f Chromatics

C MAJOR DUET Ill

Swing j = 106

nif

p nif

p mf
© 2019 by Gaye Tolan Hatfield . All Rights Reserved .
Please do not copy or distribute without express written permission from Berklee Press.
 Chapter 4. Chromatics (Tolan Hatfield) 31

.......I
C MINOR TRIO
.........
Rock J= 120

"
,......_

,......_
"'if
,......_

,......,,_

"

,,.....,_

",....,

"

,,......,, © 2019 by Gaye Tolan Hatfield. All Rights Reserved .

Please do not copy or distribute without express written permission from Berklee Press.

"

"
32 Berklee Ear Training Duets and Trios

D MAJOR DUET II
Jazz Waltz J= 112
- - ....,.
-- -
ti .. I
.-
·- -
'

t)
V
r.J _,
- -
~

• -,,,.. #-.I· -61-

nif
.. - l

- -,
L..'WI.•-
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~

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~
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• 17

nif
5
ti .. I
-·
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...

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.,,.- -
9

mp

13
ti .. i-----, I
(:\.

4~
p
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... •

.Lo. .....

- -
I I
• -
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(:\.

I
::
::
p mp
© 2019 by Gaye Tolan Hatfield. All Rights Reserved.
Please do not copy or distribute without express written permission from Berklee Press.
 Chapter 4. Chromatics (Tolan Hatfield) 33

D MAJOR DUET Ill

.......

mp

"
mp
.---...
5

"""' f

,-...

9
" ti
:, . -
~ > I I

u I I >
., i+· >
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., ... Tf- > > • I

.........
,......_
13
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.........
p

,,...,,.
mp p
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,....., Please do not copy or distribute without express written permission from Berklee Press.
 -+-- - - - - -
34 Berklee Ear Training Duets and Trios

Dl, MAJOR DUET

Calypso J= 60
-·

'"!I
5

mp mf

© 2019 by Gaye Tolan Hatfield. All Rights Reserved .

Please do not copy or distribute without express written permission from Berklee Press.

....,

D MINOR DUET ..,,

Tango .I= 49 ---

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'
'
-,'
p ·1
1

'.,.,
>
-.,
f
> -,
'
mp '......,
© 2019 by Gaye Tolan Hatfield. All Rights Reserved.
Please do not copy or distribute without express written permission from Berklee Press. 1
~
 Chapter 4. Chromatics (Tolan Hatfield) 35

,,....,_ BP MAJOR DUET Ill

Lullabye ) = 98

·-------
nif
9
,,....,,

mp mf p

mp nif p
© 2019 by Gaye Tolan Hatfield. All Rights Reserved.
Please do not copy or distribute without express written permission from Berklee Press.
~

·""\

A MAJOR DUET I
J= 48

mf p
~ I":'..
36 Berklee Ear Training Duets and Trios

El> MAJOR DUET

}= 186

> >

mp

--
-,,

.......

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'"!I '"'
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',
F MAJOR DUET Ill
'
'
'
'
'
1

mp '"!f '
1
5

'
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mp mf 1
)
9
1
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 _J 37

E MAJOR DUET
Swing .J = 112

mf

mf
I"""'\
5

I"""'\

9
ti j,j, +t • • ,....., I

...
t) r I
r I
I
mp
>
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mp

13
ti j,j, +t
~
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t)
T ""

mf
T
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II

• 1.,_

mf
© 2019 by Gaye Tolan Hatfield. All Rights Reserved .
Please do not copy or distribute without express written permission from Berklee Press.

~
38
I

--
CHAPTER 5
- - --
I+

1
Combinations I
I
,and Modulation
i
I
I
- -
l ---
---

C MINOR MIXED MODE DUET

J =74

'"!I
5
ti I • • I
•

t.J
- I
- -
~

- -
~

l I I
-
~
' - ~- I I
mp

- •
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,,
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I
:::-
l I
-
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I
-
~

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I I I I l I I
mp

p
© 2019 by Gaye Tolan Hatfield. All Rights Reserved .
Please do not copy or distribute without express written permission from Berklee Press.
 Chapter 5. Combinations and Modulation (Tolan Hatfield) 39
......,

D MIXED MODE TRIO

"

mf mp
,......_
5
~

,.....,_

"
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""
,.....,_

r'\

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"
.,.....,_

,....,
mf
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"
",.....,_ mf
13 rit.
"
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"
-----.

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40 Berklee Ear Training Duets and Trios

Al, MAJOR DUET I

.J = 100

p mp

mp --.
mf p
--.
5
--
......,

1
1

'1
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1
Please do not copy or distribute without express written permission from Berklee Press.
1
1
El, MAJOR MIXED MODE DUET 1
J. =40
'1
1

'
1
mp 1

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'
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ef
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 Chapter 5. Combinations and Modulation (Tolan Hatfield) 41

"'\
Al, MAJOR DUET II
"'\

)= 150

nif
5

......_

,....,,_

,....,,_ 9
.......,,
,.....,

,......,,_

,,....,_
p

,......,,_ 13

"'

nif
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© 2019 by Gaye Tolan Hatfield. All Rights Reserved.
Please do not copy or distribute without exp ress written permission from Berklee Press.

,......,,_

,....._

.......,,
42 Berklee Ear Training Duets and Trios

A MAJOR DUET II
}=200

.....
mf
.......
13
> > >
----
-.,

mp
> > > >
"'
'
p
>
'
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'
Please do not copy or distribute without express written permission from Berklee Press.

'
'
',
....

'
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-.,

-.,
 Chapter 5. Combinat ions and Modulation (Tolan Hatfield) 43

D MAJOR MIXED MODE DUET

In "One" J. =48
.
,,ti .. 0
I

t) .,
ef
.... .. ....
•• -IL

,,
......
a ■ - I

I
- - I
I

I
I I
I
ef
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fl .. I I

,.. ,-,,
.,
II

t) q• i..---- I

_,
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""' 9
fl ..
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~ I I I
mp
...... .., ,.. "
-
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LL

mp

13
ti .. I
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t) ., . .... ., _,
- I
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p
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~
,
- I I I
p
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Please do not copy or distribute without express written permission from Berklee Press.

,....._

'\

,....,._

'\

'\
44 Berklee Ear Training Duets and Trios

B MINOR MIXED MODE DUET

J= 80

mp p

mp p
© 2019 by Gaye Tolan Hatfield. All Rights Reserved .
Please do not copy or distribute without express written permission from Berklee Press.

Bl> MINOR DUET

Swing 16ths J= 52

mp
7
 Chapter 5. Combinations and Modulation (Tolan Hatfield) 45

A MINOR MIXED MODE DUET

) = 112
ti I

u
.
p
r I
., ... ., -,j
mf

-·
~

p
I r
.,
- - -
........
5
ti
_,
u I ., ... -,j
p
,t
"
T I""

mf p -
"
....... 9
ti I
,.......,
~

u I Tl

mf p
"
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..
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-
l

" mf
I I
-
"......._ 13
,,..--.,_

/""'\

'\

"
"' p
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"'
-----,
......._

"'
"'
/""'\

"'
46 Berklee Ear Training Duets and Trios

D AEOLIAN DUET
J= 90
()
--
I I I

-
t)
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mp
•
n
>-
__,
- __,,
- __, __,
- - I
nif
...

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I
I

,-
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....
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r
mp mf

5
ri I

t)
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mp
I
I ' - • V
...
•

-
>-
.... • .. ♦ -P- ..
I I

mp

. .,ri -,, I

- -- . - -- - - -- ~- - - -.
I

'
~
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>- - -- - ~

I
-
-
I
~

I
-
I
- I I
~

~ --
I r
p mp nif

- - - .. - - .. .,.._
- -- -.
-
>- ,..-..._ - ♦
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-- -- - ....- ~

~
~

p mp ........:===== mf
.....,
13 .....,_
ri I I >- I I r.'\
:
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- ,-
r.'\
::
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© 2019 by Gaye Tolan Hatfield. All Rights Reserved.
Please do not copy or distribute without express written permission from Berklee Press.
 47

""
SCALE GLOSSARY

...,__

"

" Chapter 1. Major

--.. Major
........,
a II a

' -e- u a II e II II a 11 e u -e-

II
Do Re Mi Fa Sol La Ti Do Ti La Sol Fa Mi Re Do
1 2 3 4 5 6 7 1 7 6 5 4 3 2 1

,-,.
'""'\

,.I,
~
Chapter 2. Minor
Natural minor
'""'\

a II a
.,...... !2 II a 11 II a 11 II
-e- u a a u -e-
,-,.
Do Re Me Fa Sol Le Te Do Te Le Sol Fa Me Re Do
/"""\ 1 2 b3 4 5 b6 b7 1 b7 b6 5 4 b3 2 1

'"'
,,....,
,.......,
,.I, !2
Harmonic minor

-e- u e II e IJ ija II ija II e 11 a u -e-

II
,.......,
Do Re Me Fa Sol Le Ti Do Ti Le Sol Fa Me Re Do
1 2 b3 4 5 b6 q7 1 q7 b6 5 4 b3 2 1
"'
,,.

'\
,......_
,.I, !2
Jazz melodic minor

-e- u e II a !in ija II ija fj<> e II a u -e-

II
'\ Do Re Me Fa Sol La Ti Do Ti La Sol Fa Me Re Do
,,...., 1 2 b3 4 5 q6 q7 1 q7 q6 5 4 b3 2 1

- ,,1,
/"'\
Traditional melodic minor
ija II ~a
!2 () e fl<> lz11 a () II
/"'\
u e a u -e-
-e-
48 Berklee Ear Training Duets and Trios

Chapter 3. Modes

'=i•n Do Re
0 0

Mi
ffo
Fi
0

Sol
()

La
0

Ti
()

Do
0

Ti
(j

La
0

Sol
ffo
Fi
0

Mi
0

Re
-e-
Do
II

1 2 3 #4 5 6 7 1 7 6 5 #4 3 2 1

Mixolydian
()

-e- 0 0
(, 0 (j () 0 () 0 0 -e-
II
Do Re Mi Fa Sol La Te Do Te La Sol Fa Mi Re Do
1 2 3 4 5 6 P7 1 P7 6 5 4 3 2 1

Dorian

-e- 0 0
,, 0
0 () 0
0 11 0 0 -e- II
Do Re Me Fa Sol La Te Do Te La Sol Fa Me Re Do
1 2 P3 4 5 q6 P7 1 P7 q6 5 4 P3 2 1

Aeolian (natural minor)

:::;,~:::;;~~1,1=,=-e-
====o=====o====,=,===o=====
. ,====o===:::;,:;::,===o
======<>====o====,=,====
o====o====-e-===::::;:;11 -

Do Re Me Fa Sol Le Te Do Te Le Sol Fa Me Re Do
1 2 P3 4 5 P6 P7 1 P7 P6 5 4 P3 2 1

Phrygian

0 () 0
-e- &o 0 ( j 0 l I () 0 () 0 &o -e-
II
Do Ra Me Fa Sol Le Te Do Te Le Sol Fa Me Ra Do
1 P2 P3 4 5 P6 P7 1 P7 P6 5 4 P3 P2 1

Chapter 4. Chromatics

ff,) o <> o ~o I,,, o

o &o q-e- II
<) ()
~o o o
' <a>- #<a>- u ff u e o #o
Do Di Re Ri Mi Fa Fi Sol Si La Li Ti Do Ti Te La Le Sol Se Fa Mi Me Re Ra Do
1 #1 2 #2 3 4 #4 5 #5 6 #6 7 1 7 P7 6 D6 5 D5 4 3 D3 2 D2 1

Chromatic tendency tone pairs

=:J~~============:
II qo II o ===ii
~@~ff;:::::::o====::;::;: -
0 q-e- 0

Di Re Ra Do Ri Mi Me Re Fi Sol
#1 2 P2 1 #2 3 D3 2 #4 5

II () 11,.) §o II 0
II
 49

....,

t ABOUT THE I
~ AUTHOR I

Gaye Tolan Hatfield is a professor

in the Ear Training Department at
Berklee College of Music, where she
has also taught in the Harmony,
Ensemble, and Vocal Departments.
She is also a course instructor and
.....,
author for Berklee Online.
Gaye has been an active vocalist,
flutist, and arranger in the Boston area
since the 1980s. She has earned four
Daytime Emmy nominations as part
....... of the composing team for The Young
and the Restless on CBS. Her arrange-
ments have also been performed by
the Tanglewood Festival Chorus and
on NPR's From the Top.
Photo by Kiki Larouge Photography
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BERKLEE JAZZ PIANO
THE CONTEMPORARY SINGER - ~)' Ray Santisi
2ND EDITION 50448047 Book/Online Audio ........ ... $19.99
EwIE,\7'S OP Vooo TECHNIQUE
by Anne Peckham LEARNING TO LISTEN:
50449595 Book/Online Audio .......... $24.99 THE JAZZ JOURNEY OF
GARY BURTON
BERKLEE MUSIC THEORY
by Gary Bu1'ton
BOOK 1 - 2ND EDITION
0011 7798 Book ..................... ............ $27.99
by Paul Schmeling
50449615 Book/Online Audio .... .. .....$24.99
MODERN JAZZ VOICINGS
AR1w.'GING FOR SMALL AND MBDIIJ.lf ENS&IIBLBS
by Ted Pease and Ken Pullig
50449485 Book/Online Audio ........... $24.99
THE SINGER-SONGWRITER'S
GUIDE TO RECORDING IN THE
HOME STUDIO
by Shane Adams
001482 11 Book ................................. $16.99
SONGWRITING STRATEGIES
by Mark Simos
5044962 1 Book ................................. $22.99
nprove your ear, sight-reading, and sense of ensemble. These duets ,
ios, and canons will help improve your sense of pitch and timing
trough major scales, modes, and chromatic melodies. They bring
> any study of ear training the added dimension of ensemble-
erforming with other musicians, which helps improve your sense
f timing and ability to create more of an integrated ensemble sound.
uitable for solfege or with any melodic instrument, you can practice
1ese etudes independently (with the accompanying play-along audio
acks) or with other musicians.
1cluded are:
•
•
54 ensemble etudes, featuring treble and bass clef notation
184 audio tracks, including complete performances and play-
along tracks so that you can practice each part
• Canons, in single-melody notation , so that you can practice
orienting by ear
• Selections in major, minor, Dorian, Phrygian, Lydian, Mixolydian,
and chromatic scales, independently and in combination
Gaye Tolan Hatfield is a professor in
the Ear Training Department at Berklee
College of Music, where she has also
taught in the Harmony, Ensemble, and
Voice Departments. She is a vocalist,
fluti st, arranger, and composer with
multiple Emmy®nominations.
'he price of this book includes access to audio tracks online, for
ownload or streaming, using the unique code on the first page.
row including PLAYBACK+ , a multi-functional audio player
iat allows you to slow down audio without changing pitch, set loop
oints, change keys, and pan left or right-available exclusively
·om Hal Leonard.
~
Berklee
Press
l:1 Berklee Online
Study music online at
,erkleepress.com online.berklee.edu
J.S. $19.99
II I
6 8 0 8 7 2 0 8 1 Il l 3
L00284897
"A breakthrough teaching method for beginning music students and a h1
must-have 'sharpen-your-skills ' set of exercises for those who are
more advanced. Having known and worked with Gaye for years, I've
,._
always been impressed with not only her complete musical skill set, p
but her ability to teach and pass on those skills to willing learners."
- Crit Harmon, Songwriter/Producer,
2007 Boston Music Awards Winner: Best Producer
m
"I was very fortunate to study with Gaye Tolan Hatfield while attending
Berklee College of Music. Her teaching methods are extremely
comprehensible and really helped in the development of my ear
training skills. This variety of exercises and examples would be
beneficial to anyone looking to develop and enhance their skills,
whether it be through their voice or any other instrument."
,"'
,Q
-Angie Swan '05 , Guitarist,
David Byrne American Utopia Tour 2018
"What a great way to develop your sight-reading skills. You can choose
to do it alone or with one or more of your musician friends, and with
or without the provided audio accompaniment. The variety of choices
keeps it interesting. You will find in this book a fun way to step up
your sight-reading skills, which are so important in today 's professional
life as a musician. You will also strengthen your knowledge of the
different major, minor, and hybrid modes , which will help you
navigate through this learning experience. I would recommend this
book to any singer or instrumentalist wanting to develop a solid base
of reading music at first sight. I have a feeling this book will be loved
by singers who can now practice this lonely skill with their other
singer or instrumentalist friends."
- Christian Jacob, Grammy®-~ominated Pianist and Arranger
"A fantastic resource for students, teachers, and musicians who want
to improve their reading and musical ear. The pieces are fun and
practical to sing. There are plenty of examples for beginner and
intermediate students, as well as rewarding challenges for more
r-
advanced students. This is a great book for use in the classroom,
ensemble, or private lesson , and for working alone at home ,
overdubbing, or using the provided audio accompaniments."
:J
-Allan Chase, Chair of the Ear Training Department, ~
Berklee College of Music
J
m
)
DI STR I BUTED BY
HAL•LEONARD®
www.halleonard.com
ISBN 978-0-87639-196-9
1111111
9 11 78 0 876 391969