Básico 2 - Final

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Apostila de percepção musical
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Básico 2
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01/01/2020
Felipe Guerzoni
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Felipe Guerzoni
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Básico 2
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Solfejo
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Ap
Fe
Felipe Guerzoni
Ear Training: At this point, students should drill on the Rhythmic Dictation exercises in Unit 2
of Music for Ear Training.
Pitch: Introducing Thirds

Preliminary Exercises
All metered melodies should be conducted as they are being sung.
ada
Sight read and practice these exercises slowly at first, being attentive to accuracy of pitch and
rhythm. Be especially careful with the intonation of the leaps; give yourself a starting pitch, and
e po or
check the pitch again at the end, but use the piano (or any instrument) as little as possible.
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G r
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Ap
lip
Fe
Felipe Guerzoni
Pitch: Introducing Thirds 15
Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
ada
e po or
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ab
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G r
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Ap
lip
Fe
Felipe Guerzoni
16 Unit 2
Pitch: Introducing Fourths
Preliminary Exercises
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e po or
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ab
on
el
rz
G r
ue
a
til
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Ap
lip
Fe
Felipe Guerzoni
Pitch: Introducing Fourths 17
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e po or
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ab
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G r
Melodies
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These and all subsequent melodies should be performed in as musical a manner as possible, with
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attention to phrasing, dynamics, and tempo markings. Careful analysis of the melodies will be
helpful. For procedures for preparation and analysis, see Suggestions to the Student, pp. xii–xvi.
os
Ap
As you prepare these melodies, stay conscious of scanning visually ahead of where you
lip
are in any exercise, looking for patterns and taking in as much as you can. With these and
most subsequent melodies in this book, full editing (tempo, dynamics, phrasing, and ar-
ticulations) is given. Such markings are as important as the pitches and rhythms, as is the
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expressive quality and style of each melody. Treat these as music, not “just exercises,” as
if you were performing them. As always, steadiness of beat and accuracy of pitch are very
important. Be sure your conducting patterns (including preparatory beat) are in the same
character, dynamic, and tempo as the whole melody. Again, working with a friend, a mirror
for conducting, or an audio or video recorder will be helpful.
Felipe Guerzoni
18 Unit 2
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e po or
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ab
on
el
rz
G r
ue
a
til
os
Ap
lip
Fe
Felipe Guerzoni
ada
e po or
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ab
on
el
rz
G r
ue
a
til
os
Ap
lip
Fe
Felipe Guerzoni
20 Unit 2
ada
e po or
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ab
on
el
rz
G r
ue
a
til
os
Ap
lip
Fe
Felipe Guerzoni
da
Duets and Trios
a
e po or
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ab
on
el
rz
G r
ue
a
til
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Ap
lip
Fe
Felipe Guerzoni
22 Unit 2
ada
e po or
i
ab
on
el
rz
G r
ue
a
til
os
Ap
lip
Fe
Felipe Guerzoni
ada
e po or
i
ab
on
el
rz
G r
Ear Training: At this point, students should drill on the Melodic Dictation exercises in Unit 2
ue
a
of Music for Ear Training.

til
os
Ap
lip
Fe
Felipe Guerzoni
24 Unit 2
Ap
os
til
Fe a
el
lip ab
Felipe Guerzoni
e po or
G r ada
ue
rz
on
i
Ap
os
til
Fe a
el
lip ab
Felipe Guerzoni
e po or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip ab
Felipe Guerzoni
e po or
G r ada
ue
rz
on
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Ap
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Fe a
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lip ab
Felipe Guerzoni
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G r ada
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Try this procedure on the following melody:
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Note that:
1. The key is E ♭ major.
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2. The tonic triad is spelled E ♭ G B ♭.
3. The tonic triad is located on the first, second, and third lines. Also locate
e o or
higher and lower tones of the triad on the staff.
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4. Find leaps involving members of this triad.
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5. Sing these intervals.

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Section 1. Major keys, treble clef, leaps of a third, fourth, fifth, and
octave within the tonic triad. The quarter note as the beat unit.
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Key signatures in this chapter are limited to four sharps or flats until
Section 6.
3.1
26
Felipe Guerzoni
3.6
3.5
3.4
3.3
3.2
Ap
os
t ila
Fe el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
27
on
i
28
3.9
3.8
3.7
3.11
3.10
Ap
os
t ila
Fe el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
3.15
3.14
3.13
3.12
Ap
os
t ila
Fe el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
29
on
i
3.16
da
3.17
a
e o or
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lip p ab
on
el
3.18
rz
G r
ue
t ila
os
Ap
3.19
Fe
3.20
3.21
2
Review the text preceding melody number 2.16.
3
This melody is from a collection in which Brahms set folk songs as vocal solos with
piano accompaniment. Others will be found on later pages of this text.
30
Felipe Guerzoni
3.22
Section 2. Bass clef.
da
3.23
a
e o or
i
lip p ab
on
3.24
el
rz
G r
ue
t ila
os
3.25
Ap
Fe
3.26
31
Felipe Guerzoni
32
3.31
3.30
3.29
3.28
3.27
Ap
os
t ila
Fe el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
3.32
ada
3.33 e o or
i
lip p ab
on
el
rz
G r
ue
ila
3.34
t
os
Ap
Fe
Section 3. Leaps of a sixth within the tonic triad.
3.35
33
Felipe Guerzoni
34
3.40
3.39
3.38
3.37
3.36
Ap
os
t ila
Fe el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
3.41
ada
3.42
e o or
i
lip p ab
on
el
rz
G r
ue
t ila
os
3.43
Ap
Fe
Section 4. The half note and the eighth note as beat units.
3.44
35
Felipe Guerzoni
36
3.48
3.47
3.46
3.45
Ap
os
t ila
Fe el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
3.49
da
Section 5. Duets.
The asterisk (*) indicates the original folk song to which a second line
has been added.
a
3.50
e o or
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lip p ab
on
el
rz
G r
ue
t ila
os
Ap
3.51
Fe
37
Felipe Guerzoni
38
3.54
3.53
3.52
Ap
os
t ila
Fe el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
3.56
3.55
Ap
os
t ila
Fe el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
39
on
i
Ap
os
til
Fe a
el
lip ab
e po or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip ab
e po or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip ab
e po or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip ab
e po or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip ab
e po or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip ab
e po or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip ab
e po or
G r ada
ue
rz
on
i
Ap
os
til
Fe a
el
lip ab
e po or
G r ada
ue
rz
on
i
Ap
os
til
Fe a
el
lip ab
e po or
G r ada
ue
rz
on
i
Ap
os
til
Fe a
el
lip ab
e po or
G r ada
ue
rz
on
i
Felipe Guerzoni
ada
e o or
i
lip p ab
on
Básico 2
el
rz
G r
Ritmo
ue
ila
t
os
Ap
Fe
Felipe Guerzoni
Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
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rz
on
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Ap
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til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
Felipe Guerzoni
ada
e o or
i
lip p ab
on
Básico 2
el
rz
G r
Ação combinada
ue
ila
t
os
Ap
Fe
Felipe Guerzoni
Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
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Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i
Ap
os
til
Fe a
el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
on
i

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Pitch: Introducing Thirds

Pitch: Introducing Thirds 15

Pitch: Introducing Fourths 17

Pitch: Introducing Fourths 19

Pitch: Introducing Fourths 21

Pitch: Introducing Fourths 23

of Music for Ear Training.

5. Sing these intervals.

Section 2. Bass clef.

Section 3. Leaps of a sixth within the tonic triad.

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