UNIVERSIDAD CENTRAL DEL ECUADOR FACULTAD DE ARTES ARTES MUSICALES ARMONIA & ENTRENAMIENTO AUDITIVO Nivel I Estudiante: Compilacion y Seleceién: MSc. Willams Panchi, MSc. Natalia Luzuriaga . MSc. Juan Carlos PanchtCHAPTER II SCALAR SECONDS Singing Scalar Seconds Now that we have studied the construction of both major and minor scales and their relationships, we need to exercise our ability to sing major and minor seconds, the two intervals that are used to construct these scales.* In doing so ‘we will gain the necessary skill to perform all major and minor scales as well as ‘most melodies of the common-practice period (the era in music history from the early eighteenth century to the late nineteenth century) that show these scalar relationships. The Major Second The major second (M2) is the distance of one whole step (or two half steps) between two pitches. PREPARATORY EXERCISES Play the first pitch of each set of pitches (indicated by repeat marks) on the piano or on any other “C” (nontransposing) instrument and then sing the rest of the pitches without the piano or instrument. Repeat each set several times until the characteristic sound of this interval is well established in your ear. 3 4 5 6 "Since an augmented second occurs in both the upward and downward motion of the harmonic minor seale, however, we advise that the student practice a few of these inter- vals in Chapter VIII (pp. 134-35) before attempting to sing the harmonic minor scale. SCALAR SECONDS CHAPTER || 17SOUND THE PITCH AND SING Play the notated pitch on the piano, and then sing the given interval above or te. Do not play the pitch you are to sing until afteryou have sung it; the piano should only be used to check your accuracy. Do these exercises very slowly and deliberately at first, and then increase your speed gradually. Play each note, then sing a major second above it Play each note, then sing a major second belowit. Play the given note, then sing the indicated pitch. Wom Medown—Madown Mvp —=Mup—= Roun bap Moun ‘ ate Sa = NONRHYTHMIC EXERCISES Play the first note of each exercise on the piano, then sing the entire exercise without accompaniment. Do it slowly at first, and then increase speed with each successive repetition. If an exercise is out of your voice range, feel free to trans- pose it up or down an octave; but be sure to maintain the intended intervals. “In the nonrhthmic exercises all accidentals apply only to the notes that they pre- cede, If that pitch is immediately repeated and there is no rest to separate the notes, the accidental applies to the repeated note as well. 48 CHAPTER || SCALAR SECONDSSCALAR SECONDS CHAPTERII 19The Minor Second ‘The minor second (m2) is the smallest interval between two pitches in the Western tonal system. It is the “nearest” interval, only one half step away in cither direction. PREPARATORY EXERCISES As with the previous exercises drilling the major second, play the first pitch on the piano and then sing the given set of pitches. Each set is bracketed by repe- tition marks; repeat each set several times. 3 4 5 6 SOUND THE PITCH AND SING Play the notated pitch on the piano, and then sing the given interval above or below the note, Play each note, then sing a minor second abcoeit. 20 CHAPTER || SCALAR SECONDSPlay each note, then sing a minor second belowit. Play the note that is given, then sing the indicated pitch. — ; {= 5: = =s t= . “ mt mal mat mal m2) met mat me mat NONRHYTHMIC EXERCISES Play the first note of each exercise on the piano, then sing the entire exercise without accompaniment. Start slowly, and then after several repetitions try to increase your speed. a oor whe ee Tie. ee ! | SCALAR SECONDS CHAPTER II 24aS] SSS a Singing Major and Minor Scales ‘We are now ready to sing typical scalar patterns using these two intervals, first in a series of nonrhythmic exercises, next in melodies drawn from music litera- ture. Finally, we will sight sing melodic patterns featuring the major and minor second that are a bit more challenging, due to their modulatory or sometimes chromatic nature. NONRHYTHMIC EXERCISES Play the first note of each exercise on the piano, then sing the entire exercise without accompaniment. Start slowly, and then after several repetitions try to increase your speed. ‘While these exercises consist mostly of major and minor scales, a few thirds 22 CHAPTER|| SCALAR SECONDSMajor-Scale Exercises af and fourths occur, but these return to notes that you've already sung. These “discrepancies” add interest to the line and present a bit more of a challenge. But think about each interval as you sing it; do not take your knowledge of these intervallic relationships for granted! SCALAR SECONDS CHAPTER|| 23Minor-Scale Exercises a. Natural, Simple, or Pure Minor a1 24 CHAPTER!) SCALAR SECONDSb. Melodic Minor a1 = ee b is ie ' hee . ie Ie SCALAR SECONDS CHAPTER|| 25. Harmonic Minor 26 CHAPTER|| SCALAR SECONDSExercises for Performance MELODIES FROM THE LITERATURE ‘Sing the following melodies, which are taken from vocal as well as instrumen- tal literature. These tunes are mostly based on major and minor seconds—that is, whole- and halfstep motion—al:hough all contain a few other intervals Sing the melodies very slowly, checking your pitch at times with the piano but not playing along on the piano while you sing. ‘You may wish to practice certain rhythmic exercises from Part Two before attempting to sing these melodies. For melodies 1, 2, 8, 4, and 8 we suggest particular examples with which you may warm up. These directives give an idea of how you can precede all of the melodies in Part One with rhythmic exercises from Part Two that focus on a particular meter or rhythmic pattern, If the rhythmic exercises that are suggested below have already been covered, simply review them before singing the melodies. at Practice mumbers 9-11 of the Regular Rhythmic Exercises in Chapter XII (p- 188) before singing this next exercise. Easter Hymn a2 Practice numbers 5-6 of the Preparatory Rhythmic Exercises in Chapter XIL (p- 185) before singing this exercise. ‘symphony No.9 Ludwig van Besthoven SCALAR SECONDS CHAPTERII 27a3 Practice numbers 1-5 of the Regular Rhythmic Exercises in Chapter XII (pp. 179-80) before singing this exercise. ‘Symphony No. 1 Johannes Brehms Allegretto pS a eel te hati ee ee cent a ee a4 Practice numbers 9-11 of the Regular Rhythmic Exercises in Chapter XII (p. 180) before singing this exercise Romeo and Juliet Pyotr Ityich Tchaikovsky Stately Haydn Variations Brahms Simply "6 The Creation Franz Joseph Haydn 28 CHAPTERI| SCALAR SECONDS“7 The Marriage of Figaro Wolfgang Amadeus Mozart Fast “8 Practice numbers 1-2 of the Regular Rhythmic Exercises in Chapter XIII (p. 201) before singing this next exercise The Moldau ~ . Badfich Smetana Flowing a9) ‘Symphony No. 7 . Beethoven a10 ‘Symphony No. 4 Gustav Mahler 2 2 SCALAR SECONDS CHAPTER|| 29t PREPARATORY EXERCISES” Play the first pitch of each set of pitches on the piano, and then sing the rest of the set without accompaniment. 1 2 3 4 5 6 2 SOUND THE PITCH AND SING Play each written note on the piano and sing a perfect fifth above it before going on to the next note, Then go back to the beginning, play each note and . sing a perfect fifth below it. ‘THE PERFECT FIFTH AND THE PERFECT-FOURTH CHAPTERIII 33Play the written note and sing the appropriate interval PSdewn PSup PSdown PSdown PSip PSiicwn..” Pui. PS down PSup — PSup PSdown PS down Pet Psl_ Pst Pst Ps! opal = Pst Pst sl Pl Pst psl pst Pst = pst pl Psl_~ Pl Pst slat Pst ps| —ps|sPst = psl_~= Psi pst Pst «Ps! = Psi pat = Pal PSI Sl nko NONREYTHMIC EXERCISES Play the first pitch of each exercise on the piano and then perform the rest of the exercise without accompaniment. Check your pitch at the end. Follow this procedure for all exercises in the rest of this chapter. SSS = SS SS Se 34 CHAPTER |I| THE PERFECT FIFTH AND THE PERFECT FOURTHThe Perfect Fourth ‘The perfect fourth (P4) is constructed of five half steps, or two whole steps and one half step. In the harmonic series this interval appears just after the perfect fifth: overtones. Wo atc, fundamental Harmonic Series of © =5— 8 Ls ‘The perfect fourth is the inversion of the perfect fifth. PREPARATORY EXERCISES Play the first pitch of each set and then sing the rest without an instrumental accompaniment‘SOUND THE PITCH AND SING Play the written note on the piano and sing a perfect fourth below it. Then go back, play each note and sing a perfect fourth above it. Play the written note, then sing the appropriate interval. - Pédown P4down P4up P4down P4up Pdup Padown Paup Pup PAdown Pédown ¢ SS — rs pal pat opal pat Pal Pet Pal pat Pal pat pal pal = pat pat Pal pat Palau pal ad a Pat Pal Pat pal Pat Pat Pat pal Pat Pal , o +, rs : 5: 2S = SSS sae a NONRHYTHMIC EXERCISES - ‘THE PERFECT FIFTH AND THE PERFECT FOURTH CHAPTER III 37a4 be ate ee 3 —- js = bo — =e pa a5 ¥ a6 ————— 2 —<—— Se SSS SS SS 38 CHAPTER III THE PERFECT FIFTH AND THE PERFECT FOURTHPp) FP) tJ Mixing Perfect Fifths and Perfect Fourths PREPARATORY EXERCISES Play the starting pitch for each set on an instrument and then sing each set at least three times. S = 2 rete THE PERFECT FIFTH AND THE PERFECT FOURTH CHAPTER Ill 39Exercises for Performance MELODIzS FROM THE LITERATURE Violin Concerto Ludwig van Beethoven Lieutenant Kiié a2 ‘Sergey Prokofiev aa osa3 (Quite slowiy) 1 Andantino Canon Wiliam Byra Entr’acte from Carmen Georges Bizet IRFECT FOURTH CHAPTER III 44a5 4 Rather slowly Israeli Folk Song 16 LArlésionne Suite No. 2 Bieot Like a march, very steady — = = 6 + = a ae — SS = 42 CHAPTER II 2 SS ‘THE PERFECT FIFTH AND THE PERFECT FOURTH“7 4 Symphony No.1 Johannes Brahms 3 “Sleepers, Wake!" from Cantata No. 140 Broad Johann Sebastian Bach 10% Academic Festival Overture Brahms THE PERFECT FIFTH AND THE PERFECT FOURTH CHAPTER III 43CHAPTER IV THE THIRD ‘The importance of the third in tonal music cannot be overestimated because it is the interval that defines the modality of a piece or musical passage; we should therefore be especially conscious of the difference in sound between the major third and the minor third. ‘While unisons, octaves, perfect fifths, and perfect fourths were considered perfect consonances during the early history of Western music, thirds and sixths (see Chapter VI) were termed “imperfect consonances™ and were not often used as stable consonances until the sixteenth century, The terms “major” and “minor” to describe thirds (as well as seconds, sixths, and sevenths) came into favor much later, during the eighteenth century, when thirds took ‘on amore primary role in defining the modality of a musical composition. In some foreign musical terminologies major and minor thirds are desig- nated by the terms “large third” and “small third,” respectively. These terms might help in guiding us how to tune each third: the major third should be sung on the “high” side (but without going sharp) and the minor third on the “low” side (but without going flat) The Major Third ‘The major third (M8) is constructed of four half steps, or two whole steps, in either direction from a given pitch. PREPARATORY EXERCISES Play the first pitch of each set of pitches on the piano, and then sing the rest of the set « cappella, or without accompaniment. 3 4 5 6 *Thisis partly because the numerical ratios that define this and sixths are made up of prime numbers that are larger than the theologically correc ; for instance, a major third is 6/4, a minor third 6/6. 48 CHAPTERIV THE THIRDM3.up M3 up SOUND THE PITCH AND SING Play each written note on the piano and sing a major third above each one. Then go back to the beginning, play each note and sing a major third below it. Play the written note and sing the appropriate interval. MSdown M3up — Mdup-MS.down M3down M3up -MSdownM3up THE THIRD CHAPTERIV 49al wat al mal wal wat Mat wal Mt Mot vst sls} wg) st wal wat slat al ust msl msl wat ust —— —— rs — = S 9 = val wat oslo? MBL owst st wst 31st} wat Mal wal Ms} Mat wel oust wal Mat st wal NONRHYTHMIC EXERCISES Play the first note only and then perform the rest of the exercise without accompaniment. Check your pitch after completing each exercise. Follow this procedure for all exercises in the rest of this chapter. 50 CHAPTERIV THE THIRDTHE THIRD CHAPTER IV 51The Minor Third ‘The minor third (m3) is the interval of three half steps, or one whole step and one half step, in either direction from a given pitch, PREPARATORY EXERCISES Play the first pitch of each set and then sing the rest without an instrumental accompaniment. 1 2 3 4 5 6 52 CHAPTERIV THE THIRDSOUND THE PITCH AND SING Play the written note on the piano and sing 2 minor third above it. Then go back, play each note and sing a minor third below it. Play the written note, then sing the appropriate interval. m9 down mp m3.up mSdown m8 doun mup ‘m3 down mat m3] mal mal mal msl mal mat m3 | ma) mat mal mt m3} mat mat mat m3{ mal mst ml mat mol mat mt mal THE THIRD CHAPTERIV 53NONRHYTHMIC EXERCISES Play the first pitch of each exercise on an instrument, then sing the entire exercise without accompaniment, beginning slowly and gradually increasing your speed. Remember that the resis are only suggestions for where to breathe. 84 CHAPTER IV THE THIRDa6 S eS é = == = Mixing Major Thirds and Minor Thirds SOUND THE PITCH AND SING Play the written note and then sing the interval that is indicated, Be sure you tune the different thirds with precision, M3.up MSup mown mBup mdovn MB up m3 up m3down —M3down —-M3.up_ M3 down ko: ofr $2 © wal wat mala ui mi st CC mal mat mat mh m3! msi wal ma} Mat Mal wal wat mt se THE THIRD CHAPTERIV 58Seconds have been added; be careful! mets} oot maT owat mel Mat ma} tm at omel Met NONRHYTHMIC EXERCISES Play the first pitch on the piano and then perform the exercise a cappella, Check the accuracy of your last pitch after each exercise at SSS SS 66 CHAPTERIV THE THIRD—— == Exercises for Performance MELODIES FROM THE LITERATURE a4 Cornish Folk Song Andante J=72 a2 0 bella tusa (The Spinning Wheel) Crtando di Lasso THE THIRD CHAPTER IV 57a3 ‘Two Macedonian Folk Songs Slowly J= 60 a4 Chorale, Sheep May Safely Graze Andante J=72 58 CHAPTER IV THE THIRDst a6 ‘Spanish Folk Song, Ya viene la vieja ‘Thanksgiving Hymn George J. Elvry THE THIRD CHAPTERIV 59me Magdelena Johannes Brahms Poco lento J= 60 The Lamb of God ‘Traditional Easter Tune Bee he The Swan of Tuonela Jean Sibelius Slowly 60 CHAPTERIV THE THIRDato Overture to The Schoo! for Scandal . . Samuel Berber Quietly moving ear att Glory to God Glovann| Battista Pergoles! Allegro pai == = SS as THE THIRD CHAPTERIV 61Exercises for Practice and Performance NONRHYTHMIC EXERCISES Sing the following lines. ~ MELODIES FROM THE LITERATURE Sing the following melodies, slowly at first and then increasing your speed. at Agnus Dei Georges Bizet 1 a2 Jesu, Priceless Treasure Johann Sebastian Bach Moderato : a SOME OTHER CLEFS CHAPTERV 8123 The Willow Tree English Folk Song a4 Wandering ‘American Folk Song 82 CHAPTERV SOME OTHER CLEFS4 Chapter One _/ Melodies BX YS Each of thenext four melodies is builtin two phrases. Scan the melody for the peak of each phrase 9. Conmoto f pS 10. Allegro ee oF 1. Allegro f 12.” Allegro decisoSection XH SThepatiem of two short phrases and one longer one is found in the nex three melodies. 13, Allegretto ~ i ——— 14, Allegro 15. Andante f uaS 3 BW The following nine melodies introduce skips in the tonic triad. 16. Allegro L 17. Andante con moto6 Chapter One / Melodies 20. Allegro moderato fe f 21. Allegro com brio f P 22. Allegro molto P wt 24. Allegretto anf 25, Allegro moderato aes MEM The shythm J.) is included in the next five melodies, nf 26. Allegro | | i30. Allegro 32. Andante cantabile8 - Chapter One / Melodies 8% NS The same melody is written with three different clefs 33a. Moderato 3b. Moderato 33c. Moderato 8H Thenest tenmelodies are written using the alto cle. 34. Andante P crese. mf dim, P 36. Allegretto P 37. Allegro con spirito f be ce a a ta tdSection I 9 38. Modéré 43. Andante10 Chapter One / Melodies 44, Andante 46. Allegro con spirito 7 m 7 tno ee MME Three C-minor scales. Natural oo? = Harmonic ° 7 e Melodic : SSE = ‘Melodies in which the major and minor modes are compared may be found in Supplementary Exercises, p. 30Lf. aae coe ks ee a i a tLSection 11 8M Thenext seven melodies are built on minor scales. 47. Andante ~_ Se we 51, Allegro moderato12 Chapter One / Melodies SEW SE Skipsin the tonic minor triad are found in the next four melodies. 54, Andante Pat f 56. Allegretto uf 57. Moderato o eos = ee al #: dat saps eal ae SPA mf RR Oe 58, Allegretto 59a. Moderato an ‘The same melody is notated in three different meters.13. S8 AN Thenexteight melodies are in { time. Observe the differences between two versions of the same melody, given in different modes. 60. Andantino af 61. Andantino 62, Allegretto 63. Allegretto14 _ Chapter One / Melodies SESS SESS Sf RE Rests are included in some melodies from this point on. 68. Allegro moderato oASection | 15 71. Andantino (in one) a ae ge t P 72. Allegro WEBB Thenextfourmelodies begin withthe 5th ofthe tonic trind 73. Allegro16 Chapter One _/ Melodies 76. Andante pastorale SE NESE Thenext three melodies begin with the Sed of the tonic triad. 77. Allegro 79. Allegro con spirito S 80. Andante pee ce ee ce aa a i |Section I 7 BL. Frisch und munter mf P NM Ml Thenextfourmelodies begin with J upbeats. 82, Allegro moderato 85. Andantino P con calma MM BE Thenext ten melodies include skips in the IV chord, in both major and minor. Fo | 86. Andante7 Numbers Inrger than seven (beats per bai) are ecensionally found in musical literature. They are rarely prime numbers such as 11 and 13, but mostly multiples of shorter numbers such as 9 (3x3) or 12 (43) and will be dealt with in lacer chapters. Changing Meters 15 =aChapter II Dividing the Beat into Two Equal Parts The Eighth-Note Notation: The eighth-note can be notaced J) Dor SJ; also ST Dd feces. G (See No.4 for conductor's symbol) Notation: The eighth-rest 7 1719 Notation: J Lg is usually notated DJ) Such an “off-beat'' chy hm pattem is called syncopation. Ie can also be created by the use of ties and rests. 18 Notation: J. The dotted quarter-note equals three eighth-notes or one and.a half quarter-note beats.20 ‘A musical composition can begin on an upbeat rather than on a downbeat, This upbeat may be an eighth of a quarter-note. In order to perform che upbeat precisely, itis wise to establish the pulse clearly before beginning Thus ete. should be practiced: Notation: usually the value of the upbeat is subtmeted from the Inst bar. Z meter 2033 Chapter IV Dividing the Beat into Four Equal Parts The Sixteenth-Note Notation; the sixteenth-note can be notated AND) Nor SFZS Six basic patems: 1. FFF 2. SF 3, FD Ss FT A These basic paiterns should be understoodas differently notated versions of familiar th ythms.To compre- hend their ratio to the beat i beset to take every one of them through the different stages outlined be- low, keeping in mind that stages 2 and 2a are identical except that 2a is twice as tase as 2 Stage 1: Stage 2: Stage 2a: Stage 3: Pattern | 1M Patterns 1, 2 and 3 37 Patterns 4, 5 and 6 38The Sixteenth-Rest¥ Notation: AD (7 sixconthenotes) Upbeats using one or more sixteenth-notes occur frequently. To execute them precisely the pulse should be firmly established before beginning the exercise. 40 351. H) Moderato (J = 100) apa) cat Ji dj raj ny tlre ho rodrrher Ire Fo adda tibet IE rroiper he pekRoe ire 1.1) Allegro (o = 132) {ie adc sn cr or fii on 7 fo crir crf: 1.3) Andante (J = 72) Heer Jit Pee je [Jos |i georlr ole criperir erie or jAl ia |: ae fo Crir crir Crir crir crip 1.K) Allegro (d = 100) fee J jl Jal) 1 f] tlersalersalerseles flee 1 FAd-4 | wifes [od cevpler> ples» Fler =p lero2.D) Allegro (¢ = 152) ales ii) eld 71! lel LifTTTTI ele oe idol WT A nu Snag i} 2.8) Andante (J = 96) Rll) OW ANI) Ol: FL Bi Fl! PAW eal Ad al) adil: I A As di 2.3) d =60-160 Ql dl dd - BDL doa ~ EDD Da 2.) Allegretto (/ = 112) EPIL ITN Mase Sl) TIL 2 [Ede MDa MITT OS ODD. ode ol 2.G) Allegro (4 = 138) ELI LITT IM MW) Olde J IFS FUT I STS de IW LITT Wad dd dd 0 TI FD Jib) dL Id STITT 3 2.4) J = 60-160 dite, | Re [7° ile edo Redd el2.1 Alege ih wih ede =| Ne de SOM aera ny oo diid di ‘| re ttrelerre Naasaa Ore |; ee 2odiid id ie | ie tenn) reele ele ane ee t WI) rn tr rir FR ek bo Were tel bP ered 2D Leet 100) Jf) 1401 [J 00 tir cir crirr erire or ree Jd fl Os js a0 Prorinr cfir ereriererer dd hor die | eerie r rete2.K) Allegro (d = 120) wildd | Nass | heohecirr sr lr aa Jill JALAN AN : ‘| irecrir rr lore trlererer t 2.1) Vivace (d = 138) art eed Ph hee | Regre kh ope ike rope ire of A dey 12 flats 2.M) Allegro moderato (¢ = 120) al dye fel sj - jis js fd Bidped ple gdpdan ss acheter dre tleet ple Pelee NJ = J ilimjnn = Pde Pepys dd t Alp) fm chalet pele alee re Fleet pt 2 t 2. N) Paul Dunbar (1872-1906), “Compensation” ial sta wid sid Jib dapper dl lst cause 80 deep-ly, Be-cause I had ld did a1 ~- Ww fay J lide loved so long, God in His great com - pas-sion 1827) Alero moderate iD) TIDE Jy Dida JAIN ds Did did OT = DLS STTUD MTD dds did ll 59) 0 3st | aes a ee a rhe dlp ee 2 Ouse (liar, ‘ ete ere oe = It ss did flid [i - Ue rt leek = ee rier? i alee |a isa] RSA PeLeCE GIP = dj rt rir 3.H) Vivace (J = 160) te hath diet hearer oars ps 14) Lilith, If y falas at ale Canals ef fre Fie3.4) ¢ = 60-120 fe PL | [LP eL ee | torr ceed berr re ced - her teer -W Dy Pei | 3. Vivo (J =144) ie Wd : = Jed | toler ceerine eeerie ee vole fe cee Jilijlo- Jon- jom- | rrcceritr rope ¢ ceerlr ¢ coer |fr- fo dod el rercopleeceerlereceerie a+ Yo) QBs - jan e je oe ™ Py a7 eeleee?e eele tere LO ee Noa). \ay 21 aE | tre er plrerrel= fcr lor er er lteerrr 3.K) Allegro (4 = 108) pn dea Ql a dT vd hho: hb crore he epecer j= STI) J avd) Ad 7 ree decerre fe sere JJM) boorerl, JAIN vere Cf ht yore n4) Allegro (d = 120) ADDL MIL MD DDL DL DT [AD MTD J NL DTD DTD DL OT Ld J MJ DDL J ML J MD J MS ol Roe | PA: le 377] = | a = UF PY: be F74 4.G) Andante ( = 84) Ql Did) Nd Oiler lls ool eee 4 trorrirereir re ireelrere Peete ate aa ati] ree ireedeere ipare ir ee oi 4,1) Moderato (J = 100) i) Ji)? DJ dda fd r set tree roeflre iro Agr ce stole er orb re leer lore | | fs d MTA | rocrire crter pir4.D Andante (J = 88) fy a am iplor plor plor dM ages prooler Belo a dd tals sare rls he 4 rooler+b lpr pipe p | 4.) Allegro (d = 116) Pe uiignty Aitee Nid mus PII ds fy laa pf PICLEr here if orf it ore eorrer: Dld dda ae JU. NSTI rel fr opere it pr leperrer ir pteer it or 4. K) Allegro moderato (¢/ = 112) il J dd Jioih a aL dL ji DJ fd dd tooolooeiooe did i fad fal: Si dod | OM jl oN Crorcrierercr'ereror Jd dMda | dod ddd creror/r tor Jad Fd | Bs | Dd at crererierr *to the left for both the second and third beats, and out to the right for both the fourth and fifth beats: down-leftlef-right-ightup. 51) J. =4eu6 81 JTW - kl dL Dae I Dd Loe I J odd = dS STA S.A) Alla marcia (d. = 88) SIT ITI I le TOT th PTIUITI Ll oT IT, J Id db ITO STOTT J 1d 5.B) Vivo (4. = 116) BDL MMI ITI NTI rt De MT] IE MTD ITIL dd rt MITTIN OO (PTT dat PITTS MTT dhe S.C) Allegro (J. = 104) BLT) ddd TTI OL. LTT DS | 1d) STUDI J NL fils f immi dd ipls igual dn TT oe ot5.D) Vivace (J. = 120) Soi J A LMS STOUT lhe Wd doi dL SITIO IT WITH eM TO STITT ITI MI ATTIITU de lk kd dd I) SDJ IITIM NTIIT Le i 5.E) Allegretto (J. = #4) aaa. MNITW MITT ad IIT) J MITI DTT Ia dd 1d ft Idd 2 Te file dM ITTI SD Ide } Wi MITI. Md ITD Whoedl 5.F) Presto (e. = 126) a4 ido J dL J di dd a ee eer (4 FTL TTdoid eid tit td ld did STI MIT ATI dy (dd TL MT J $7 (TIITV) ~ te ddl SIT 8dh 4 i or fol: ie fe Bel: he - |r i or fp: 59M HHegretto (J. = 88) ATOR Pe 4 ee 2) bd AL emmy rer Por pit Las ele dal deg ael LAE te et Mute da ee | ro cerlr terle Lond. APE ga | fF ELS: th.) Mm Min mn Wher cert gleerr” ener J bly dad J dd J MTA st cere Qube an ao5D) We d= "i al fel didh iP ah pb Pr vi aaa JdI NJ MTL flow ‘| oF F pIPF OF IP eb dt cn altel aa or or Pye pare albecae Fel 5.K) Allegretto (d- = 60) gp iw yummy he 1 id. smjmus | - er iron plecrecrle #1 © -| JNM N snd Lids omm|oan | ou ror ge plegrenr ign ep 'S.L) Oscar Wilde (1856-1900), from “A Harmony” oh as! re Andante (2 =”) wT Tim We. diff! WTI AL ST MII SII 1 ser gleam when the pop = lr tees Note rote leaves Ustless-ly, Or the aI SITUS 2 Degg oe ill Do) Roepe 2 erties Gel Coach es Oy IF tu Eee? Eee? | : 7.G) Andante (4 = 66) ae AID) I3| IN | eee BR olororer lorceror lorcerce cfrocr 12 DN II Cire IOPor of 7.3) J = 48-84 TIA |: ee | Le ey? arr fe 7.H) Andante (J = 60) AJA. |2T) jer A. 2. ee lercerlercer Ir +5 cror FUT L128. |r cercer le yo lesrcurle 5 7.0) Allegretto (J =76) ies iN) |. w ae pr or INIII II J | Clee oer Gr ier | ~ [Ee A | PEP CoS | Ard EG | Cf 4 crcer AA ITs COCeriercer fr . IF t pr OF pf of } a MA ON laa froe orp caler pele of | A. pram a pe ‘ere: cercferr Lercere er J. MTR Ty ae | be oeabre cabr peels a | et)8.1) J. = 40-76) BIT) II = ITT = bal l= RTI = STITT = | KAT UTI = bITa 8A) Grazioso (J. = 66) gL al MIEN MITT lJ dls IE L SIT IT Wend I£T) J. ITVITN IT WPos MITTIN TTI did el 8B) Adagio (J. =52) SMITIL MIT Dd dd rk ETL MITTS oh INIT SITET ITT vt ‘8.C) Allegro (J. = 88) 82 MTUIN INIT ld MTU WTI) TT MIND AT WT) IST STD ITA IT ATU 8.D) Allegretto (4. = 66) slain | a ws [LTD SIT |) SIFTS | IT) IF J. oh a rd ihFUITITT STD PTT ToT STS ht rfl [ET IT ITI IT Sel 8.E) Allegro (d. =80) SIUITTN ITT by SDT) TTI IT) 1 FUT ITT ST IT | (5D) + DU ITT) SITS | IIIS) SIT TTD + S| METI ITVS be STUSTITIIT II) + oll 8.F) Andante (d. = 60) SITTIN DJ MIT ITI DL 7) CINIT TILT TI ITA bs yl [SD IT ITNT I STITT + | STII IT UTI TIT ITS ll 8.2) J. = 40-66 Ieee | hegre |= Lecter =| fected = Fete]8.L) Thomas Hardy (1840-1928), from “A Musical Incident” Andantino (4. = 66) thine (9 J dy TL Wg do) oe eae a SMB Wee ede ha idle de Dr gun ol ogee BML dQ de 1k a 9. MORE RESTS AND SYNCOPATION IN SIMPLE METER In performing a phrase that contains rests, we should sill aim to understand and project the whole phrase. Rests interrupt the sound, but shey should not interrupt the flow ofthe pase. In this chapter andagainin Chapter 10, three ofthe studies ae written with lags instead of beams. This notation is sometimes encountered in vocal music, where notes sung to different syllables may not be connected with beams. The frst step in reading such notation is to bracket the notes of beats where the beats are not ebviots. 9.1) J = 80-144 BDiv dy Da 9%.) Allegretto (d = 88) END rd dee MED drs Ned dd | leon Dl dya SLED 7 dle edt = le Ads al9B) Vivace (¢ = 132) aMdee tr Mdre 2 MGW): | fate Sfdoe a a MIDe eo MIFST Ai (Fld ar dd ta dl dea 2 vl 9.€) Moderato (d = 84) tl oats SM ald J Fn ld World AUNT Js I) ld eld FIT lk J TI Wd 9.2) J=56-96 thi hdl Mo - WONT Lo Wy PLT MT - | IIT = RAL 9.D) Allegretto (J = 80) id PPD + MD DNS Md a + M [DDSAD Ld SDAD I gd DDAD SIU Ld SRSA | Ide dd NRG > 4 ISDAADAIAD ASD Sd9.E) Allegro (¢ = 96) EDDDANDADL ALDI dh SDMA ADA Lh J Dy dt DARD AN Join DADA Iyd Died MDDADD AL: SAAD A SDD SI INddy SMASASD A 2 I 9. F) Allegretto (J = 72) mit: ’ NAUTOLT + MR UFR + MITT LT | : rh Te NTT ILM hen) |ASUIR LG o MTU TY Ll 1) pr dd dy = TTT - | | a EP | | wir ‘A: rrr BGBMEAP PEE! REPRE) Pore: Cees: 9.G) Allegretto (J = 100) {i>|? fans tA SS MID byt 2 arlope [pr olpye lepertpr pipye | l rhe di rAd eae | Cre lvoprlere ivperter sicrol9.) Moderato (¢ = 69) LALA) 3: 2 awe | ter pr te rcoferr | ae (A Tl |b 2m POLO Orr Ie pore recs dt a | SYTLIG | TTT |) 32 pease fpr 7 fer les el 9.1) Allegro (d =92) Breda ad da dt Tay ma dh | t= ope Upee pe Ipee ore tere + ITT STT gi Th Pe lala | Cro cre A 9.3) Allegretto (J =72) ee ITT |b DST) | SUIT i ND) ft rearterh) op eer Cortocarpy IAA: 2 STII IT [J 7 *Poer Le icefeers yp eercerie »10,L) Langston Hughes (1902-1967), “Sport! ‘Andante (J. = 69) Bi dd rie dd Dida DOD edo! Bicldide tigre er nate hb dg tides aaa dels de de A 5 ee Pre Sige \Jove Lo J Bis r il NOTE "From COLLECTED POEMS by Langston Hughes. Copyright © 1994 by the Estate of Langston Hughes. Reprinted by permission of Alfred A. Knop! ine. 411, NINE-EIGHT AND TWELVE-EIGHT METER: ‘Nine-cight and twelve-eight meter combine the compound beat patterns of six- ight with the three and four beats of three-four and fourfour meter, so there are no new problems here. In Exercise 11.3 especially, single beats should be repeated until they seem easy before whole measures are attempted, 1.1) 4. = 40-66 BL J ddd = RII STa - | WITT TI - I Tl |= BRITT ITT Hl11. A) Allegro vivo (4. = 120) SLi da dL ML SOTTO dea ADIT ITIL DU NTI de VITQI NM SITII MTU Md el 11.B) Con moto (J. = 69) SLIEMA» FIT EDIT PT Le AIT dy pil Id de fiom oc. roll 11. C) Allegretto (J. = 63) BN ITD SI TD STD ST TS DST | | STIDVITINITINS | STIS STII STITS | TTI J de | | STISSTIIST IN | TINTS | JIT) SIT) | Wd L DTD eal 11.2) J. = 56-16 PIT ddd - EID ITA - | WITT A = Ak. STI. ITT 11.D) Allegro maestoso (d. = 104) epi ddl LL ddd file TT ol J Jor fli. Aldo Ph dt 2 Wd dd ITOII dd J rfid. fal) Idd J de. rfelds J dd I MITTIN J oll Ea12. TRIPLETS ‘The division ofthe beat into thirds is familia from compound meter, and succes- sive performance of duple and triple divisions of the beat was encountered in Chapter 10. The new problems here are dividing into thirds a beat normally divided in half, and performing in succession triple and quadruple divisions of the beat. Successions of cighths, triplets, and sixteenths may be performed by numbering aloud the notes on cach beat nimnm ‘When alternating different divisions ofthe beat, i s helpful to use a metronome ‘enough to ensure thatthe beat stays constant. ‘A common tendency, when moving from duplet to triplet eighth-notes, is to make the first note ofa triplet too long. It may help to realize that a third of a beat is closer in length to quarter ofa beat than to half a beat, so triplet eighths are more like sixteenth-notes in length than they are like eighth-notes. When beginning atriplet after 1 duplet, we must move quickly to its second note, rather than sit onthe first note, In simple meter a sextuplet of sixteenths is usually considered to be two sixteenth-note triplets unless the beams indicate an eighth- note triplet divided into six- tenths, 12.1) 4 = 60-120 HUDA- Mag hamaa b-bd 12.A) Allegro (¢ = 120) tO DTI i su sh) WGA Ns Tas I Ge DA a12. B) Allegro ma nen troppo (¢ = 112) woo minminoa F second tinemp In mim mimnimoss id Mama minnisss 12.C) Moderato (+ = 88) p Di dL a ac at LIN AANAmMinami ot Vamsi OM se Wann aman ot ‘12.D) Andante con moto (« = 76) a sia ATF ITI dy Dds 150+ fi) (ero Modo ede ODDO Dee lr ve a Me 12.2) J = 60-100 ti Oona - homens - | ROW - Mma 12.) Andante is 66) adi AmMinmMami 1, ananml \Acnamins pinshatn sham beg aaeiasham maa22.9) Allegro ( = 100) 7 g NAMA Mn Amn (ud | ae un dy AIA MHA 0 12.3) d = 50-80 tlormmsama - LATE ITI ~ LA | - Ko ssp son ‘12, G) Allegretto (¢ = 72) 4 LNAI | TUN Toa (ST) - nm [SPP STU TTT)l 32.B) Allegretto (d = 65) r RID I | ITT de | IN Nw hm spp hn fe Wamp aah Jer) - edi 612.4) d= Le a: lan A clin }: oe Am jm, | i Ct eoor'r serif aerlt | ag lee baa fale J floa ld cuarl cob Pua EP ha f Geer Gee tees 9 12. K) Con moto (J = 72) a ae J ten(d. Se| Cf ip Cr iCarcrior 6 ICP eo! 613.2) J = 52-88 it aN || P22 || PRP |: teroror lth egregr-Tt corer a- BRIBE | BEE eoreereo r= hor ores crore 13.€) Allegro (J = 100) ald dy nian} Ula Ee a ee ae bee? a SPRAGAH creo leres ler Pee al. Ee? J |} DJ | ther cP ct ePee 1 ond It? mi sh Perey eet Pees forer isd) oshinm ETM 1 ein rbHegel eBI PFI I heeriral 13.E) Allegro ma non troppo (# = 96) teh di Ad fd SDI d.: DTD fd. J CrOorir creerie cercerir SJ jd) 3 yy |: d a ; oF erir eae cercer lf ae ‘a i! J did on | r Cr ogr f COPcer ; 13, F) Andante (d = id ee rod "or ae perce mm: IV: | Pere pcercericr or? Lamynanminshny. "Of Cf ICereerce Icerer eerieDESARROLLO ARMONICO Juan Garon PomchiGaigl——SS~*~*~*~«C idiyahoo.co =cong O28 Te ion Ln 1, Chops, Mlacwahi (posttnnaoas) a 1 masses a oe Dy 4 t i Harmony 1D Triad Position Identification: Major and Minor Triads Stuntent text: Page 1. ‘ach cvervise cunsists of the three positions of the same triad in any oes you with the 1-3-8-3-1 pater, which isan essenti Before you begin your instructor will ing the triad in root pasition, S-1-3-1-5 4 sates ners abe the lowes soomng Lone |. Listen unit all thrve positions have been played. Loeate the one in roo! position by relating it to the 1-3. pattern, Remember that 1 1 means thatthe 3rd and Sth are above the root—thus, root position. When you have located the root position version write § in the appropriate blank (1, 2. oF 3). Now that you have identified the root, 3rd, and Sth, listen a second time and sing (hetter yet, ink) the 3rd of the id. When the 3rd you are singing eoincives withthe lowest-sounding tone oF an example, that example isin first wersion, Write § below: he process as described in number 3, above, but this time ng the Sth ofthe triad, When the Sth you are h the lowestsounding tone of an example, that example is in second inversion. Write $ 5. As you become more experienced you will liscover that you can determine each position simply by listening to it ‘as unit—your elaborate mental calculations became awtomatic! ‘To the Instructor: ‘This is the fist assignment introducing the trial positions. If you prefer a method other than the one presented above to students, by all means apply it. Inthe inital presentation, play the examples slowly, giving class members plenty of ¢ 10 make mental calculations, If students ‘inve difficulty, clirect them through the entire process several times— until the procechire is quite clear, You may wish to introduce this section before encountering numbers 16-25 of Harmony 1A. Unit 19al a iv 2 ‘a aor gas Ma. Harmony 1E Chord Quality Identification: Major and Minor Triads ‘Student text: Page 12, Bach e consists ofa single tind, Recognize the quality of these mor aad yxinor triads. |, Por munibers 1-20 (triads ina simple position a. Write large M for major or sual m your instructor requ numbers 21—10 (tris i 1¢ M or siall a in ¢ sound of the triad played, Your instrutor may ask you to spell the tia orally in class, ‘To the Instructor: two oF three times and arp asa wit the triad roots is p ut will affor vatuable practice i pate them only if students have considerable difficulty, Asan alded ail ied for numbers 1-20. "This is optional and will consume mone isthe rials om te stat, 10, ES M 20 Instructor's Edition: Ear Trainingapg 8S Te scene Comp oe Arig me Melody 1E Models and Embetlishmenis: Student tet: Page §, Short Melodic Structures Befiove coming to class, play alsin 1 the tieloatiestryetunes inthe lunes at he begin Imoulels. Your instructor will ne wf this fesson, ‘or will play the given mus ‘notes an shy thy are ade! to th Menvorize the souml of cael mel bens Ww those sirace al structure followed hy melodie structure, Teal ane! repeat its se staves prowided below each model. Ax seu prweed throogh the fesson, the eb Yisten w each embellished metealy. Try ¥Y embellishments of hat structure. Notice how Mt in your mind, Write the notes ofthe melody on the nun hments will he mone ef borate. Keep the structure in mind as yew {o hea that siruetore “trough he embellishments, ‘To the lustructor: Have the students sing one of the melodie structures 2. Preeveding down the page, have the between them bet For these meloic vide a stron the first tine of this seeti turlents sing the model and an embel ‘fier and during their nofation af the mietody. mbellishments, ft may be usetial to play the harmonic contett for the mitoaies, Hemay be helptial to discuss simple the in “Models and n. ishment to discover the relationships hhamionies given withthe ef hand in oder o proe nes with variations in class co intro bellishments” exercises throughout this book, is from Messiah and may be fi ly fumiliar to the students, You may be able to find other melodies in ature that ane based on these models, the (ype of elaboration represented Motel Az Model Bs FE s F F nbeltishments Embellishments: 1A 1B aa 4p Unit = 77 9A 9B Joa, top (One additional example based on these models, See G.R, Handel; The Messiah, “And He shall purity.” Harmony 1A Chord Function Identificatio Student text: Page 6. Tand V Triads |. Make sure you can hear the bass note of four-voice triads in root position. Outside of class, play the following triads and match the pitches of the bass notes by singing them in your own voice range, 5 6. a 8. Practice singing the root of chords that you hear in your daily listening. 2. In this section, listen to the four triads in each of these exereises, [n.class, your instructor may Wish to combine certain exercises to challenge you with longer chord progressions. All examples ane in the key of C major. Be sure to keep the tonic piteh (C) well in mind. 8 Instructor's Edition: Ear Training‘The following examph harmonic tone is diss consonant. i instances (1) the non first and thied notes are istrates nonharmonie tones i (2) the noaharmonie ton one-voice setting. Note that in isthe middle note, and (3) the C= Consor nce Do issonance cipation Passing tone Neighboring tone Escape tone Suspension Anticipation CRC Cpe c¢pe cpe the eo 6’ ape OR OR hep 8. Practice playing these patterns unil you know them ihoroughly. 9. Before playing the two-voiee illustrations, your instructor wil play randomly some of the one-voice examples lo help acquaint you with the distinguishing characteristies of each nonharmonie tone type. ‘amples of the nonharmonie tones: ur APT UNT ANT sus A Pnaccented |] Accented | Unaecentes |] Accented] Escape |] Suspension |} Anticipation Bras sai Reighboring|| Neishring| ie ‘Tone ‘Fone"® || Rejebborine | Hergnooring} Tone a) Circle the correct nonharmonie tone abbreviation: To the Instructor: ‘When this section is assigned, go over the above steps one by one, and play (randomly) some of the one-voice non: harmonic patterns to illustrate the sound pattern of the three notes, When that i thoroughly digested. play some of the twvo-voice examples to show the added dimension of dissonance, Nonharmonic tones are in the uppet voice in numbers 1-10, 40 Instructor's Edition: Ear Trainingite roene cipre 009 Te ica Gongs Ie. y —— = =| = es ——— A urr unt 448s ee _.~—| — lle _| pe = SiS F Nonharmonie tones are in the lower voice in numbers 11-20, uh 12, 13. (4, 15. unr Nontarimonic tones inay be in ether the upper or lower voige in numbers 21~30, 21 2, 23, 4, 25, = 7-6 SUS unit2 448, Hande) I: Chaconne in G Major, Var. 48 (G228) Play ehords in rectangle only To the Instructor: te discussion of this type oF exercise and suggestions for classroom use are provi section of Harmony 1D, led in the “To the Harmony 3C Cadence Identification: Cadence Types Student text: page 38 Each exereise consists of four chords in four-part harmony. The final two chords represent one of the traditional ca- dence types. Cadence types: PERFECT AUTHENTIC ‘V to T with both chords in root position. The tonic is the soprano note in the Tehord, Vito or vii** to | with at feast one of the following circumstances present: (a) the V may be in inversion. (b) the final soprano note is not the tonic. IMPERFECT AUTHENTIC HALF |.ii, or TV proceeding to V. The first chord of the two may be in inversion, PLAGAL Viol DECEPTIVE In these exercises: V to vi (or Vi, Perfect Authentic Imperfect Authentic Hall Plagat Decepti To the Instructor: {you think your students will have difficulty wit all five options in this section, try isolating only the pertect and im perfect authentic and half cadences. This will reduce the options to thres, and accelerate understanding ofthe more ; i i i é : Units 59ng class time with: ‘common types. To assist in the eulling process, note the numbers in parentheses (1-8). After 59 these cadences, add the plagal and decepti erfect Authentic 1. Halt 2, Deceptive 3. Perfect Authentic 4. Imperfect Authenti ay 8) 222g] 444 CMT 8 Wf VooDM: 1 6 Vow oRM:1 ve V1 BMT vo voT 5. Plaga 6. Deceptive THalf (yes) Ime ag aaa Fim i iS iv iG Gm i W8 Vo VEAmi i iW® VooOEM: 1 itt vii 1 9. Plaga 10, Hatt 11, Plaga 12, Perfect Authentic 6) me @) gasty Dm: i Vi iv i Em i vs VAM: 1 vi IV TAM: 1 Iv6 ¥ur a Half 14, Deceptive & Imperfect Authentic 16, Deceptive aaa aad agai Cm: i VE 8 Vo GM:1 8 Vo vi Emi WS Vo i Chm i if Vv 60 Instructor's Edition: Ear Trainingopp ons cam emp eA me Harmony 4A Chord Function ldentification: 1, ti, IV, and V Triads Stent tet age 82. 1 the Ui ¢ comsists of 3 harmonie progression of four chords in four-part harmony, The monies are fimited 10 sand V trials, your instructor, ‘Numbers 1-15 contain root-position triads only. Dd orwiv tMid Vivi wwyvi vid twivotwi v cvMVvv vivi wiv Unita 711-20, (R) U1 wtreivovive wivi wivi wiv Numbers 16-25 contain inversions, 16, 17 IB, 19. 20. TP Vv Ve fi v ver ge wivev t BWV Tt 1iveve 1 o1 i V1 viv Ve L Ivey by Harmony 4B Chords in Music Literature: I, ii, IV, and V Triads Student text; Page 52, 1, Each exercise consists of four examples from music literature, which include a variety of harmonic thythms and nonharmonic tones. 2. Below you see four models (A~D). Your instructor will play each of these four models, Listen carefully and try 10 distinguish cach—one from another. : Ear Training 78cpr 0508 The Senet Compe nA mn 3. Your instructor will play an exsmple (1-1) from musi Fiterature, hors and same inversion as one af the lowe models above, 1. Selimbert: Waltz i ® ii6 v ations on Nel cor pitt non mi sento Units 79Crh 62s Ts Hemp as Agree ver 4 ae e+ our ae ur up az a. GM: 1 Vii Voom a 1 ii Vo BM 1 i Voot 8. Liebster Jesu, wir sind hier (Dearest Jesus, we are here) a a) SAPT er a, a | a ce er | a3sus APT UPT AM: [ r ve =. GM: 1 1 veo ov T mtv 9. Christo, du Beisind deiner Rreuzgemsine 10, Wo soll ich lichen hin? (Christ, Thou support of Thy followers) (Whither am Ito flee?) Fat upr pT APT PT Dm: i ie veo i i v Gm i i WG Wh OV 1, Lobt Got, ihr Christen, allzugleieh 12, Nun danket alle Gott (Praise God, ye Christians all gether) UPty (Now let usa hank God) Spr Wer ver upr fa aie eT urT so uPT TONS OR AME SOT IY SIV Unit4 85opprig 020s Te Mtn Companies Ine A igs ‘To the Instruetort For a complete discussion of this (ype of assignment, see Harmony 3D, nh y If mumbers 7-10 seem too dittieult fv our ekass a thts time, numbers (ob are injendedt as a intextuction, AU tials arv in root position, and tonharmonie tones are confined to unagented passing tones anu an aces DM: 1 ii < a z 2 < 7-10. (R) 7. UT uPT cm i ® VO v6 i ive Gm i 8 iw Vv FM: Tove ii ov weveot Bm: i Units 107Harmony 6A Chord Funetion Identification: I, ii, IV, V, and vi Triads Swudent ext: Page 85. Each exercise consists of Four block chords in four-part harmony using the following ehords: Write the roman numeral analysis of cack chord in the blanks provided, Notaie your instructor. ‘each musical example as requested by To the Instructor: Play the first few exercises slowly, allowing students to sing each triad in root position, Then, ask the stadents to sing only the roots for another few exereises. By the sixth or seventh set of progressions, the crutches may be abandoned), ‘Numbers |=15 contain roal-position triads only: i DM IF wiwvo ot twvy wi laviro viwvy twwi vuwv TW Unité 128Then) reen! lvwiy ‘NEV wivi wviw wvit Numbers 16-25 contain inversions: 16. re} NOH RSREVS Pky vow vg £ VVo Ive Woy wav Harmony 6B Chords in Music Literature: Emphasis on ti, 1V, and vi Student text Page 86. 1. Each exercise con of four examples from music literature, which include a variety of harmonic rhythms and nonkarmonic tones, 2 Below you see four models (A-D), Your instructor will lay each ofthese four models, Listen carefully and try to distinguish exch—one from another, A B. C. D. aw a wethevoro rw tf voy mow ¢ 124 Instauctor’s Edition: Ear Training