MELODY Intervals from the Dominant Seventh Chord (V’); Other Diatonic Intervals of the Seventh RHYTHM Simple and Compound Meters The dominant seventh chord is a four-note chord: the dominant triad plus an additional minor seventh above its root. Of all the possible intervals from this chord, these have not previously been presented: Root up to seventh or seventh down to root = minor seventh (m7) Third up to seventh or seventh down to third = diminished fifth (d5), or tritone! Seventh up to third or third down to seventh = augmented fourth (A4), or tritone Chordmembers:R 35 7 R R 7 37 7 3 = Rw m7 a5 At Solfége: sol oti ore fa_— soll Scale degrees; 5 7 8 4 8 Actively imagining the sound of the V’ chord will make these dissonant leaps much easier to sing. ' The term tritone refers to an interval composed of three whole steps—technically an 4, Because the d5 is enharmonic with the A4, it is also frequently described as a tritone. 130Section |. The complete dominant seventh chord. In this section, successive chord tones outline a complete four-note V’ chord or the near-complete V’ chord (chord members R-5-7 or reverse), all utilizing only the intervals of the major third, the minor third, and the perfect fifth. vi Lively Germany 91 See ft Allegro Germany a — — 9.2 f Mozart, Cassation, K. 99 es Menuet 9.3 FB Ee ar Sere eee EE Fine Allegretto France 131Allegro moderato Canada 9.5 Andante J. =58 Fauré, Les Berceaux Germany Allegro Ht Section 2. The interval of the minor seventh: § up to 4 or reverse. Moderato Memel 9.8 3 =~ 132Allegretto Mozart, Symphony No. 39, K. 543 9.9 5 P Allegro Germany Allegretto England —@ See = 9.11 f nf See See EEE SEEE PE ere eeeee eee eee 9.12 133Andante Germany Haydn, Divertimento pe eee eS ES eel 9.14 me 4. =One beat Mexico 134Canon for 4 voices England 1 2 9.17 Canon for 3 voices Germany 1 $$ 9.18 Canon for 4 voices Mozart 1 ao _—__,—... 9.19 135Section 3. The interval of the tritone. Andante ‘Ohio 9.20 St eee Fine —— <—> Complete this melody using notes from the tonic triad and dominant seventh chord (as indicated below each bracket). Restrict yourself to rhythmic values no shorter than an eighth note. eet Eee eee eee 9.38 2—— SD 141»> Complete this melody using elaborations of the tonic triad and domi- nant seventh chord (as indicated below each bracket). Use any combina- tion of }, J, and J. that fits the meter. 9.39 »»> Complete this melody as indicated below each bracket. Include at least one leap of a minor seventh (between § and 4, either ascending or descending) both in measure 2 and in measure 5. Restrict yourself to rhythmic values no shorter than an eighth note and no longer than a half note. include seventh leap 9.40 oe oF ve vi stepwise motion 1 142MELODY Intervals from the Tonic and Dominant Triads RHYTHM Subdivision in Simple and Compound Meters Section I. Major keys. Reichart, War ich ein wilder Falte Moderato eee 156Con moto, England mf = SSE mp — Pp Vif et gai France oe f P ee $$ Langsam Senuber, Wlegente D498 157Allegretto £ wee iv’ f —= ete eee 11.7 —=_ Fine nf f ee ee S (repeat p) DC. al Fine ‘Tres vif eae eae ice’ 11.8 mf Canon for 5 voices 1 2 Praetorius Dolendo Nicaragua 11.10 Pp —=_ ss >> — Se oe epee =—_-_ —-—===_ ¥ =— P (Stately) Handel, Teseo Io el See EEE eee - 11.11 mf? cresc. —= f 158Andante Ohio 11.12 Con moto. Texas 11.13 Spain 11.14 France 11.15 159Germany Andante moderato 11.16 England = Allegro 11.17 Lent anes 11.18 Canon for 8 voices Beethoven 1 2 11.19 Canon for 4 voices 1 2 3 England 11.20 160Lent es _anee 11.21 Canon for 4 voices 1 : 3 Germany 11.22 Section 2. Minor keys. Moderato Mexico — SEE eo 11.23 mp SS Allegro non troppo Italy 11.24 161tl Andante > Scotland 11.25 mf —_—_= crese. Andante England 11.26 Ukraine Mesto — 11.27 162In melody 11.28, measure 3, the second note in the interval of the aug- mented second functions as an appoggiatura in the V’ (F# At C# E) harmony. Con tristezza Russia a —_ 11.28 mf = =a SuPSSRELIEIAE"WRannnas = nee f > mp Ukraine Andante con moto 11.29 Allegro sig 11.30 f —. .f o> OO BP ER eS EEE EE eee ee oaeeet aly: 11.31 163Canon for 3 voices 1 2 3 England 11.32 Moderato Russia uf crese f Section 3. Structured Improvisation. »» As indicated below each bracket, fill in the missing beats with an out- line of the tonic triad, an outline of the dominant triad, or stepwise motion. A rhythm has been suggested in most places, but you will need to improvise your own rhythm in measure 7. 11.34 1 Vv 1 Td iad —— Td Vv I stepwise motion stepwise motion 164»> A melodic outline for two phrases is provided below; notice that the two cadential measures have been completed. Using entirely stepwise motion and any combination of 4 and J that fits the meter, connect these notes (all of which fall on the beat) so that they form a complete melody. Look over the entire exercise and think about the key before you begin. 11.35 »»> Improvise a second phrase that “answers” the first (in other words, improvise a consequent phrase to the given antecedent phrase). It is appro- priate for the second phrase to sound similar to the first phrase, perhaps even using an identical beginning. However, the final cadence must sound more conclusive. 11.36 1655.K) Oscar Wilde (1856-1900), from “A Harmony” Andante («. = 72) eNO Mmimiwminams Her i-vo-ry hands on the i-vo-ry keys Strayedin a fit- ful fan-ta-sy Like the © AIT dL WTI) ITI Fd sil - ver gleam when the pop - lar trees Rus-tle their pale leaves list-less-ly, or the cresc. mf’ IL SITU SITUS! LF ll drift-ing foam of a rest-less sea when the waves show their teeth in the fly- ing breeze. 6. SIXTEENTH-NOTES IN SIMPLE METER In learning sixteenth-note patterns, speaking the names of the notes in rhythm reinforces the correlation between the sound of patterns and their notation: I Pa FTI Fl IT eight six-teen six-teeneight six eight teen six-teen six - teen “Fight” and “sixteen” are easier to repeat rapidly than “eighth” and “‘sixteenth.” “Six” names the first or accented of two sixteenth-notes, “teen” names the second, unac- cented one. This system is less satisfactory for quarters and dotted quarters because the two or three syllables in their names must be sung as eighth-notes: edd a 2 371 Fa 5. quarter eight eight quarter dot eight issungas quar-ter eight eight quar-ter dot eight 6.1) ¢ = 48-100 200 Fal - ITO = Td 6. A) Andante (¢ = 52) a. SAIS PTT Td: | IASI FIO PPR Ts | CAPITA TI TR FRA): ll 2?6.B) Allegro (¢ = 96) ehitvald TAT | ATT 1 2! (0 iA OR Ar) fl BOAT FP. vl 6.2) ¢ = 56-100 PST - bOITA - NT 6.C) Allegro ma non troppo, leggiero 2 =84 ‘ ee TUT) | TD) SATA | ST | ST STITT JE 6.D) Andante (¢ =72) a) fe Ji Mi. Lae eerrr an |) Mmm 2 hk oer rrr yn J TAM VIM! | errr a JDAIM SHIA 1 6.E) Allegretto (@ = 76 RBS ATT 1) CRB ITU vd STRIATE, PTT be ol CROTRTWUSTR TAT. | 28 3ba ] eli» Md Ti) TT TUT Dy DTT TUTTI RO DSRS 6.3) 2 = 40-80 tered = Mere? | = Ler ere her ceed ~ beer eee | = le etec | BAAD mM), ' raat Prey carey Fae PH + te Leadls in Th = 60) Jdddls id SUSTT3 |S : Firat Ch CEPCLir itr Ze 2 ef 7 Of ood FIFI TIS FTG ) 2 Pp ffP Aff iL Gfr aff if fp: Cf cp peetetle t aeee oiddsld QJ r Peer ics OLS -Act II, Scene 1 _orrreee ' : le with all 1 mA Ww oa? up P Fya To | Fso b+ FT “RB mi? Bi-an-ca, take him for thy lord, “Ca fa ut” 30 Ly op O 3 Ssoenc wo tt eet ogyMSs Did) PTR), be “TD sol re” one clef, two notes have I, “E la mi” show pi-ty, P f ly De (FTI Tie dv le FTG b72 ll or I die. Call you this ga-mut? Tut, Ilike it not! NOTE 'Hortensio is here courting Bianca. His gamut, or scale, that Bianca reads was given an elaborate explanation by Henry Collin Miller in “A Shakespearean Music Lesson” (Notes and Queries, 165 [1933]: 255-57). As with “Doh, a deer,” there is a series of puns, of which the least obscure to modern ears, if mi is pronounced as “my,” are “B mi Bianca” and “E la mi show pity,” which can be heard respectively as “Be my Bianca” and “Tll am I, show pity.” 7. DOTTED EIGHTHS IN SIMPLE METER Since a dot adds to a note half of its value, a dot adds to an eighth-note the value of a sixteenth-note: J = ge and te. — dag In speaking these patterns in the manner explained at the beginning of Chapter 6, the dot may be spoken or the syllable “eight” may be given its extra length: saying “dot” reminds us of the notation but the extra syllable requires an extra note: TF TAIT eight dot teen six eight dot is sung as eight dot teen six eight dot Simply extending “eight” by the value of the dot allows us to speak the pattern in its | TF eight teen six eight Counting aloud, articulating the subdivisions, while clapping the rhythm is use- ful in learning the relative lengths of the notes in dotted rhythms. While clapping ROO dl first count “le & e2e &e,” then “1 & 2 &,” and finally just the beats. 31The double dot, introduced in Study 7.C, adds to a note three quarters of its qalue a fa plus half of the half); the double dot thus a almost doubles the value of a J. 2 I. Jo 7.1) ¢ = 52-100 s SRB - bITa - bIT Pe OSD ll = 7. A) Allegretto (¢ = 72) td TIVE Eee IIIT im: Y pon mn y | 7. cm Allegro (¢ = 100) Fra | Co Frreis orl Yoon y NOVI SFG + NI Sars Ta IT STs. || 7.C) Andante con moto (e eR AL Al M.S \Prasod: | IT. Ald. dd Fl. A. A \icdd 2 ll Fi. Pia rds + Z| Lo Ri MM aA | 32 ~mmaaeacaacaertacerye@ -ararrer T TET TS EY7.D) Allegro ma non troppo (d = 104) ikl td el shod lod ld oct ol | sove stn meta dot Ed | Lo STII STO TD. I. FF) 2 FD. FTI STI SD. STIS I IT Sid ell 7.E) Allegretto (¢ =80 Ln EA ORRIN STIS TUF A FRAGT de | STSALSTSAI STIS Sd 2 |. Sad | SS | | SS | TS J: ll 7.2) ¢ =48-84 tel: - [PE Z CEE CEES? :) = - eee: - beoreee: - ere’ a a = ir ae Me ORS CS eesr ip i PEPPER | : J 4 |e JS ddddeddls ? a ea, Es ere leer oe ROPE EES | eee ler ee leone reer lt Pr CY ICP CP Geer ceker|’ :Sl 7.G) Andante (¢ = 66) ies errata ieee cale eli a: ieferee ifeeroe i fcecl mie: dais i Pater CUFT 4 eorree)ercs |fufeeercr iC foeircl ba TH TTS TAIT |S Td). 8 cfrpe (CSCS 23 Sees ecrtr ts =| nets. | |e | Bea! [Bo Wine Gea fA... Adie | ePIC Cerier Cerin PCP CPicy yp eer ce re role J. ee Jd J) 1732" erreer inp icrceir 7p IOPCerierce if 7.1) Allegretto (# = 76) ie Bae MAA. TUK! 3 | sor or lorpr ior or if OF 5 Bis. AM) Fas peor lpr pp cfipf pCeler OF emmaacaadacarerrarrereerceererere rere esc rere I. | A. | TTI | — rerererr |LOPCorcer Serer ty ; J. MAM LT a tt | Sey earbt PEST Pp Ler: 2 7.J) Elizabeth Barrett Browning (1806-1861), from “A Musical Instrument” Allegretto (e = a MII Al SA: 3 He tore out areed, the great god Pan, From the deep cool bed of the ri-ver, poco a poco crescendo JI TRI TPT IF £4 hacked and hewed as a great god can, With his hard bleak steel at the pa-tient reed, Till Ssarammossine | there was not a ial of the leaf imdeed, To ~—_ it fresh fromthe — ri-ver. eo omooon. oma “This is the way,” laughed the great god Pan (Laughed while he sat by the ri-ver), Then LFya TFT SIDI ETT Fe drop-ping his mouth to a hole in the reed, He blew in pow-er by the ri-ver. cresc. Ty thar ltodel Bin ot Sweet, sweet sweet, O Pan! Pierc-ing sweet by the — ri-ver! 8. SIXTEENTH-NOTES IN SIX-EIGHT METER Twenty-four different patterns of sixteenth-notes, eighth-notes, and dotted eighths constitute a dotted-quarter beat in compound time. Performing the patterns by speaking the note-values in rhythm is a good way to become familiar with them: a) quarter eight eight (dot) teen eight eight(dot} teen six - teen Itai FT TTI ITT? eight six-teeneight six eight teen six-teeneight six-teen six-teen 35When learning six-eight patterns, we may first count the eighths and articulate the sixteenths, while clapping the rhythm, but we then proceed to count the beats and articulate the eighths, and finally we just count the beats: ap. $2000 40 dod SST ST TI LTS. oo Idd count: 1&2&38&4e&5h%6& 1& © 2 & © The convention of notation that sixteenth-notes within a beat be beamed to- gether makes it difficult in some patterns to see the basic three eighth-notes of the dotted-quarter beat. JST has to be understood as dade , for example. In Exercise 8.3, voice and hands reverse parts within each measure. Therefore, the single beats should be practiced until they can be performed easily; only then should whole measures be attempted. 8.1) #. = 40-76) 670 Fo = WT = ET Al ie SSA - PT - ous eee - WIT JT ol 8, A) Grazioso (#- = 66) | 8. DMT s DTI ITs F ddd \rad d HITT ST Lt odd e. \dodde. | ITT Se Idd MITTAL DL tl 8.B) Adagio (¢. = 52) ghitsl J DIT 2 dM dd le bd Tl. DIT J oie ob mT bITa ll 36 ‘seaman agag@gegoqrtaracaq¢Cet CHTTTTTEETCPCLCLCE TITa } §.C) Allegro (¢. = 88) SI DIT SI IT ST) ld MI IIIS | STIS ITT MISTS TI 2 STIL TOSI SIT ST LT I STI STF STS STS DT de ll §.D) Allegretto (#. = 66 eld aOR) on al. dy fl LISI STS I SSFP IT OF ST JT STATA ATARI + fl ITD ITD TPS | Se §.E) Allegro (¢. = 80) STU ITFI ITS de SOILS SITS ITI TUFTS FT TFT dda dt da lddadd dddda|ddddd daldda | dae dt ¥ dc, STII STG be ST FTO Id 7 ll 8. F) Andante (#. = 60) SIT ITIL aL SLT OTT Dd 7 | IFS LTI ST FTI TI IT ITT SL | JLT SFT IT IT STE FF I | TSI SIT FT| IT ITN ST PIs vl 37rt Ve or a spear Tae dD giir reer pir or ir pees mn id Poa ia rerettrit prvip fo pir fe E Loi eee: leer | or drt alr a it: TREE A PCL Cor ee if Pp CES SPREE ’ ais a LS eer p jC OPctes Peer er IF | eaanaagcarge~7 soe ete ecTcrc errerrrgrrerrrrprrerTreeer concord - Were cert - fee eee | 2 [caer steed = | ceerr eee er ll - Weoer ceed - ic eat |r ete 8.1) Alleg oma «LT sf Pf pif Pr p JIT) J575) | 47 fi) (LEEerC coer? Seere eer care pF oF oe peek ete on mp rod Sy |: PLES ICEL perp rede Jos \ Fa da ae Taek ete ~ | > § CLP |Letr cher se epeereoee |eceere J. SI/7 IT errr cee Jie dd de ¢ OPES $. K) Thomas Hardy (1840-1928), from “A Musical Inciden antino («- = > gD | dy? Tad J ald J dr did de 2 ‘Twas thus. IAT I Ty aI Dy lJ vb it rie) speed - i-ly growing Ti the play-er’s chair, Som - no-lent, un-a -oR) ibee (Od: OM SS ware Of an-y mu-sic _ there. “Beau-ti-ful!” said she wak-ing As the f mf bd dalle cd dle a DIFTOL Dll rt DI mu-sic ceased. “Heart -ach-ing!” Though ne-ver a note she’d heard To Sd1r Bll od (STs ML oe Io judge of as a-verred Save that of the ve - ry last word, 9. MORE RESTS AND SYNCOPATION IN SIMPLE METER In performing a phrase that contains rests, we should still aim to understand and project the whole phrase. Rests interrupt the sound, but they should not interrupt the flow of the phrase. In this chapter and again in Chapter 10, three of the studies are written with flags instead of beams. This notation is sometimes encountered in vocal music, where notes sung to different syllables may not be connected with beams. The first step in reading such notation is to bracket the notes of beats where the beats are not obvious. 9,1) ¢ =80-144 EJ dt de dll 9, A) Allegretto ( = 88) ED TD r di dy MLD ddr le dy alors | ——__ rr | rdidva NLD dN yd = te oy Side oll 9.B) Vivace (¢ = 132) i ee ehidye 2 a didrr rt cD SGT Dr? | bay a Sort boo DSO DIGIT Sl Tyidd Fla dave et adi dye toll 40 mppanaacacaarearrerrereeegrereerer ere ec re