32 Chapter One / Melodies > 162. Andante > > > mp > : ete fe f ° SS 163. Ziemlich schnell 4 €F85C. poco a poco — f 38% & Skips of all diatonic intervals up to an octave are included from this point on. 164. Andante con moto we wwe VEG eee UWE Y innit. —~ | POCUR YOY EY Ue YOU UE EU 166. Langsam‘Section It 33 97 S& @ W Ties are included in many of the melodies from this point on. 167. Allegretto dO 168. Andante Sal fine 170. Allegro . -34 Chapter One / Melodies 171. Allegro f 172. Alla marcia as 173. Andante 3X B® BV The next six melodies begin with upbeats 2) or 7, 174, Allegro marziale riten. f rif vo Pe 8 wo POPP Ge vue we YE OY YY VOY Eu BECSection It 178. Andante pastorale 177. Con moto 179. Gaio a 3536 BX % 8 syncopations are introduced in the next six melodies. 180. Allegro J Chapter One / Melodies f / 181. Sustained 182. Gaio 183. Largo —s P eresc. S subito 184. Lively 185. Brisk dim.” “p Vv Pe YY IW WU WII UI DU ww Wo eR DOUG38 Chapter One / Melodies —~ > 191, Allegro ¢ . PwiUIUG. 192. Valse (in one) ' Ww vw > 193. Andantino grazioso > S82 ®& Thenext four melodies include chromatic neighbor notes. 194. Andante > — Sf 195. Andante :Ye} & Section It 39 196. Andantino piacevole 197. Moderato f. A a 198. Massig und 2art 199, Lively40 Chapter One / Melodies 200. Moderato con moto 201. Allegretto 1 202. Cheerful fF Se P sub, Si @ W The next four melodies, in the minor mode, move'through the relative major. Before singing, find the point where that motion begins. 203. Allegro DNA A SA Ned NAN ADDS we CEE YEE VEY UW YEE 3Section I Al yd 204, Allegro moderato S 206. Andantino mf P “af ? 7 S 4 842 Chapter One / Melodies 208. Waltz tempo a a “2.2 Vw 5 > 4 rall. 4 be > y ‘a tempo f oP > Ser > f P 5 > 209. Allegro moderato 5 F pesante r P mf érese. St P > SS -@ SW Thenext three melodies include chromatic passing'notes. 210. Moderato con moto. SfSection I 43 211. Andante con moto 212. Allegro non troppo mf psf —— > 213. Lileing \ 214. Ben'ritmico mf fSection II 45 SN % ® The next three melodies, in the major mode, move through the dominant. 220. Allegretto grazioso mp . ft 221. Fanfare f 3 222, Allegro assai162 47a. Moderato (maggiore) f 47b. Moderato (minore) Chapter Three / Sing and Play Jae VEE OUWUTUUY we Ew Ceyvue163 Section I 48. Allegro 49. Lento = —— a ———— ——— CL CaO Cee rR eee PR Be ER SY OY. vTnAw naee eee eT TD Section II 52a. Andantino (maggiore) 52b. Andantino (minore) 53., Andante 165166 Chapter Three / Sing and Play 54. Moderato Ww ID 55. Allegretto Www ueSection 171 65. Andante cantabile 66. Allegretto a ‘mf sempre staccato172 67. Adagietto Chapter Three / Sing and Play PU ws ve 3 >10. L) Langston Hughes (1902-1967), “Sport”! Andante (6. = 69) mf f Si dich dD) MAM DA Life For him Must be The shi-vering of A great drum “f DAD del de re [dee AND Od Beat en with swift sticks Then at the clos -ing hour P mp Po Dt DIN The lights go ‘out And there is no mu-sic at all And ey death becomes An emp - ty ca-ba - ret Ande - ter-ni-ty an PP os DAD 2 Did Sde DI OL 2 un-blown sax - 0-phone And yes - ter-day A glass of gin = Joe oe Ae || Drunk (mee NOTE 'From COLLECTED POEMS by Langston Hughes. Copyright © 1994 by the Estate of Langston Hughes. Reprinted by permission of Alfred A. Knopf Inc. 11. NINE-EIGHT AND TWELVE-EIGHT METER Nine-eight and twelve-eight meter combine the compound beat patterns of six- eight with the three and four beats of three-four and four-four 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 11.1) ¢. = 40-66 J dd = TIT ITT - | ITT) STI = IT STI Lo= WITT TTT ll 5611. A) Allegro vivo (e. = 120) To | Be JOTI Lol IDM MTI MTD dL TOUTS Lt ITIL MS MIT TOTTI Md el 11. B) ee (e. = 60) Bere Te te eae |e 0 oT i a om. + NOTH d+ AIT i dy UTI r rll 11.C) Allegretto (e. = 63) SMITH TSI TT) SIT): ) TIHeJoedddded STILT IJd008 | JIT de ITI TTI TT | AIT STD TT | JL DTD Le ll 11.2) «- =56-76 BTID LD - WEI I ITA - | WIT IST SI = Uk STIL ITT 11.) Allegro maestoso (¢. = 104) we d oder lla ded Jd. ITIVITIS ld. eorgale dM J. fall dd. vee ln Md STU Sly PPD Jd vee Idd J dd fal MIO MITTIN J “I 5711. E) Andante con moto (+. = 66) ® MITLITI CILITIL d LL OL LUT 11. F) Andante («. = 56) oe ML SMe JT J QDI Lt LT TB TTT yy orn ‘om fad TSF 4. + Il 11.3) «. = 40-60 (Bod dM le? por fp ll DDL 1c} er penne ocer 4 eee ea edd 11.G) Allegro non troppo (¢. = 88) de te Pe oe 7?) Ui cee i di dl ds fd dL DIT. | oo ft Oe 0G Oe Ie ee |Tadl J Dd ITID J DIL Dd Mee rr opr ir fr per ler for pir cere 11. H) Andante (d. = 56) fe IH) IT) | IT ger of piderr ihe 58 J Ear hetDJ dT Ls IN| cerca ir op orp leerpr opr | a d. i b fae | o lpr 3p (elelnlg (aka talean yelp 11.1) Allegretto (¢. = 60) Pe eer fee a gro por ir’ sr por 1 dIT)3 + | ep op ae t 7 : popper, eee) eerie cee tees of eee Da capo al fine | ITT TIT | J79T) JF) (Leer ere ere eer cee SCOOP eee eo 11. J) Adagio (. = 48) ore dy ad ol. : ot dae Bt = eels fe vie ee sep) | peep pel iy ef e oa Cutt 7 weer ths TT. eee) eee | feet bE tree | |) dITI) IT ITI]. leer rp per trey feaerte cert11. K) Allegro (e. = 112) dor ddd dob je redid | P shi DSTI] 4 Mas dd dJT)| oe 2 6 . o 4 pon 5| dR valle Md dds dM IT 1 mi 4 JM L dL MTL DS DTI oe | I 7 Be ie MT J dL ITIL dL ITIL et fe ole Gf tele 11. L) Percy Bysshe Shelley (1792-1822), from “With a Guitar, to Jane” Adagio (e. = 52) | STR aa For it had learned all har-mo-nies Of the plains and of the skies, Of the for-ests and the pe ssaminemon moun-tains, And the ma-ny-voic-éd_ foun-tains; The clearest ech-oes of the PP f voy | | Joe) fete) eee. hills, The soft-est notes of falling rills The melodies of birds and DP ) phe) ov PTL or or dl bees, ‘The mur-mur- ing of sum-mer_ seas. 6012. TRIPLETS The division of the beat into thirds is familiar 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 each beat: a 1 J 3 4 When alternating different divisions of the beat, it is helpful to use a metronome enough to ensure that the beat stays constant. ‘A common tendency, when moving from duplet to triplet eighth-notes, is to make the first note of a triplet too long. It may help to realize that a third of a beat is closer in length to a quarter of a beat than to half a beat, so triplet eighths are more like sixteenth-notes in length than they are like eighth-notes. When beginning a triplet after a duplet, we must move quickly to its second note, rather than sit on the 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) « = 60-120 3 nmami tJ DA-b Om mA- © de do Tat MM 12. A) Allegro (¢ = 120) tA ITT i) TM | Mes Di) TT ra JTIl JD D0 naam \deell 6112. B) Allegro ma non troppo (# = 112) 2 minminmn ea F second timemp PTT a a | 7 ad Ue ea ee > || 12. C) Moderato (¢ = 88) ij tow dD DT Amo Lon ADIAAMIAAM + Wome i AM sel Jaminamimma 3 12. D) Andante con moto (4 = 76) eee essen eg aS Lois Aid (sails edd dy roe blvd Blt ol Ider \FDy De ded NL oA 12.2) ¢ = 60-100 1) Os - hams fl = | (ORT - TT Mm 12.E) Andante (¢ = 66) ti AMIN MAM J anim Washam in cnin ae Rag Dd 12 DIESE ABA 6212. F) Allegro ee 100) JAmaivam moe) aman a TTdy | ST SD Th | AMINO NM: - i 12.3) ¢ = 50-80 Ws oem - | ag diidd TIITLITT ITI: Nw [| DATE | ~ ET sapere sa 12.G) Allegretto (¢ = 72) LOOT ARM: |e! CSTV STL - (CB [STI STITT l 12. H) Allegretto (¢ = 63) gD | eI | ITI | TJ In Om masts Jo amen mista TIA - imi 4 6312. N) Gerard Manley Hopkins (1844-1889), from “Spring” Allegretto (¢ = 80) ™ add Pil did vr dil dis si Noth ing is so beautiful as Spring~ When weeds, in wheels, shoot 3 3 = Pam 2 (el dT 7 long and love-ly and lush; Thrush’s eggs look lit- tle low heav-ens, 3 ya 3 ror did J dT DL by FD and thrush Through the ech - o- ing tim-ber does so f *f [03 Ta Tare |r AT rinse and wring The ear, _ it strikes like light- nings tohear him sing 413. TWO AGAINST THREE We encountered two against three in Chapter 10, in the division of the dotted- quarter beat of six-eight meter into two dotted eighth-notes that are heard against the basic triple division of the beat. Review of Exercises 10.2 and 10.3 and Studies 10.E, F, and J provides good preparation for the material in this chapter. To perform cross-rhythms we must understand the numerical relations of the note-values. When triplet eighths sound against duplet eighths, each note of the triplet is two sixths of a beat, so the triplet eighths begin on the first, third, and fifth sixths of the beat, while the duplet eighths, each three sixths of a beat, begin on the first and fourth sixths of the beat. Grasping the patterns may be facilitated by speaking verbal phrases that we naturally speak in these rhythms: Three against two: {wo against three: 12 3 4 5 6 123 4 5 6 =) FF tif Ss Nice cup of tea Pass the butterIt is relatively easy to hear and perform the composite pattern made by two against three, as the rhythm of the pattern—# Jd is familiar. However, it is musically important to be able to hear the duplet and triplet as independent concurrent patterns. For this reason, we need to practice two against three slowly so as to hear that the composite pattem is correct and quickly so that we can hear two and three at the same time but independent of each other ‘INS - 4 - | “|| as er |: Pee | 13. A) Allegretto (¢. = 52) pee ele (eel cece Gey J oan a): CeCe CLP Cee cer te soi EE ban | 13.B) Allegro (#. = =) aa oe eee gr pf fir f Oto crrsl be pir orp |JTId 9 a STINT | £7) JT) 7 || le Ge ley ee Se ee Be eee oo le corr LE {I IF ence aaa, eons leer er or erre ere (ltd bald oa IT . ee fTdd 713.2) ¢ = 52-88 LEP IP RRP RPI: LGaaeP Bea K, Aa | Poirier 1 mmm ays my peoapereel ie ars or bi Eee :. PIB e HBA cr crer ey re 13. D) Allegretto (d 3 se ! ds | i Piet bie tlt Pee yy sh fey + nana i PF cro ae Mea eae fai), . | f ee rfide [Lee | [Pes | Eeerecreged - beereercerd br orp “(—-QAN | corr ere 13.) Allegro ma non troppo (# = 96) fil |e |e Yel ee iad tr lircrerit opeerit cereerir | 1 od |) dM dL LD] rororir creerir cereerir of | oda 2a | Ieper cpeerit eercerie | 13. F) Andante (J = 69) td) OM) Mn) pad lor er legrercerlere lo cerer MMMM |e +B op tercrl* pcerepricr er? | : AM mn mann}: | Tor cr leerceree lepresr epelorr 713.G) Andan Noe ip Mw dF ‘ Rate r seer? cere pceyit I ber elt or Nel deel ly di 2 7 rt OF PCO leorr peorir es CLS oe, dM STIILSS ee rocerit or ptefitere ecerit Cer ie J dl STD J a rir or OCOPICErcercerir he ee td 11 GEBE Be Raa, Ett TD LPT a aD fi “heb eich eet hom WNL: 72? oer rr [ee fester nm. som, 2 ‘| pr porcoripr pcercrir "| PPLE AP icp cd ~ beeerer dl - ber ce13.1) Allegretto (d = 72) ; ie ae ioercerier ce - [ee Feeds (22 a — oproorler cr ler or lee terleor ce Pereerecreere| cereerioe cr ir? | ee lterderleerear| 13. J) Adagio (¢ = 52) He Tmaminormmmy 3: iLorce Ce icerce co ieee : Mm Ppa TPE: ta Loree cr iterece ce leer : NII) - ah - ore ee) - ler ec el - | SDAIN 2: | leer cer cr iter eer OF bee cee |13. K) ae (e =76) i t dd - 4 mm). : : | pI AA AT egal eee eee ere eee eee eee Thomann ler cop er or er or Ie cr! Vamnonyman Amami mm)mm ae ge ical aca eT 13. L) Langston Hughes (1902-1967), from “The Weary Blues”! Andante (¢ = 66) amin hich, ee ee eee With his eb - o- ny hands on each i - vo-ry key He made that poor pi-an. Wo ior rr iItrerr ttt a J? r g 2 t t oe ee cpr ior teri cer - : eee le ls Sway ing 10 and fro on his rickety stool He played that sad ra-gy Ir Ca | 72mf Hegel o> 6 6 cr ter cr Cerice Cee lp: ~ || NOTE "From COLLECTED POEMS by Langston Hughes. Copyright © 1994 by the Estate of Langston Hughes. Reprinted by permission of Alfred A. Knopf Inc. 414. HALF-NOTE BEAT When no values smaller than eighth-notes are involved, the half-note beat pre- sents no new rhythmic difficulties, but simply a problem of reading: we must see a half-note as one beat, a whole note as only two beats, and a quarter-note as half a beat. The first two exercises that follow (14.1 and 14.2) are given first in four-four meter and then in four-two: the performance of the two versions should be identical. Likewise, the first study (14.A) is given first in two-four, then in two-two meter, and the two ver- sions should sound the same. Rewriting the next three studies may help make the sim- plicity of the rhythm obvious. Sixteenth-notes, which appear in Exercise 14.3 and the following studies, divide the half-note beat into eight parts. Saying the names of the note-values in rhythm while beating time may be helpful in learning to feel this di ee eee eight eight cight eight six-teen. six teen six teen six - teen The division of the beat into eight will be encountered again when thirty-second- notes appear in quarter-note beats in Chapter 18. As € stands for four-four meter, ¢ stands for two-two. The symbol appearing at the beginning of Study 14.H is the breve, which equals two whole notes. Originally a square note, it is now written as a whole note between two vertical lines. The breve rest is used less often than the whole rest for a whole measure of silence, even when the measure is longer than a whole note, and even though the whole rest is also used for a half-measure rest in four-two time, as in Study 14.C. Two half-rests, not a whole rest, are used for two beats in three-two time, just as quarter rests, not a half rest, are used for two beats in three-four time. vi14. 1.1) « = 88-176 lid de - Jd = bh Os | = Fhl SISA 14. 1.2) 3 = 88-176 lio d-b Jd- td Idd lel Le 14.A.1) Allegro (# = 132) tele ew ld FI Fa let eel J) | a Se IT) i i Fold Did 2 ao Be, go 14.A.2) Allegro (d = 132) t id Wo sill dail - bid Wo dildadu - Juli J Wd dud Id Jild dud ow ao we go 14. B) Presto (¢ = 160) eee ee Rid lsld didi) sd. 7414.2.1) ¢ = 60-108 RIT - be bd A 14. 2.2) ¢ = 60-108 f00) ee ee CU 14. C) Vivace (¢ = 120) Se lo + lod d JI Ded dl Jd dio = LY IIT Ld) 0070 | Alissa d Al. -ll 14.D) Allegretto (¢ = 92) Bein fold eddie Till - . Wie AANA oa ote tbe be ddl ee ee o Jdsld Jidils ANI. | 14.3) ¢ = 48-60 § 11ST TITS eli J ST STI STII 14. E) Adagio (¢ = 60) ej did yd Jl) eile et i eee ia): | 4 id peel peel ol cpp i = || 7514, F) Largo (d = 44) HW dd ST J dd ry A JN DDL M1 TIM dl, ddd dd a | od AL STN Bl TT NM AL ATR ATT | dds dg a . 40-56 ie Jedd: lgrere “le Seerbepnrertteer |Z 14. G) Allegro (J = 96) Be did iiee fetes |e cease 9 (ie? - ae Je 7 ef rel rrr fl ‘ if; sedelee d vette . | = d | Fie | Chit | (fs 14,H) Presto (d = 192) a . | cae | : ffeil fFoy : |< bench ot ~|F> | ie tle | Sere "lp - 14.1) Allegro ma non troppo (d = 104) He \o JJ - Jd J02 ala aD airlrrr Pe lieee erie ee prea eee p lee fff - ae . ‘AED eae | irceerler tot le ee tit = 14. i Adagio (d = 40) Be TRAMs alts air Pep leeeercecterleeerr | a7 TE a 1M oad eerterleree ret SURI 1 ia | PCr lenererenceer14.) Andante =72) 7 Jyi - | ietade NAT DITION S ee rt lt cee fl P Ne . >— eT d me ao iJ J2 i nm» Nom ame | po orrir pro re! Wan so. yma yom relr ore fo | of ITD dS e ° | ore le 14. L) Christina Rossetti (1830-1894), from “Summer” Andantino (¢ = 92) ghd dll dove dd du = | Win-ter is cold - heart-ed, Spring is yea and nay, of Do) ee ‘Autumn is a weathercock Blown ev-ery way. Summer days for ioe ee e- Wheneve-ry leaf is on its tree; When Rob-in’s not a Idcrescendo ddva didi ddd ar dis d itd dl beg gar, And Jenny Wren’s a bride, And larks hang — sing ing, sing ing. a f —_ \ ' eo et le de se dle td le a ae | sing — ing. © ver the wheat fields wide, And an-chored |i lies ™p See ride. And the pendulum spider swings from side to side 415. DOTTED-HALF-NOTE BEAT Reading six-four and nine-four meter, we quickly appreciate the clarity with which beams show beats in six-eight and nine-eight meter. Here, we have to learn to see nine consecutive quarter-notes as constituting three beats. Exercise 15.1 is written first in nine-cight: the nine-four version should sound the same. 15. LI) «. =48-72 Bh J dd DM - ITI ITI - =_— —- -=. ITN IT TI - bh dd Fl 15.1.2) o. = 48-72 = le = | Io- Wo 22 ANZA to - eeoeceeee 15.A) Allegro (c. = 108) 2d dios dd Jiid dd did d= | dddd slits si less Jild =: | ad ad dlddded dled JiJdiie i]15.B) Adagio (4. = 56) le de wd 2 Jamia aati = P 15. C) Vivace (c. = 126) eo 2 dddla ddd did. - | eee ee Pp nf Ck 15.D) Andante (J. = 60) to go a | eed MIL MIST Middis dda 15. E) Allegro (c. = 72) PIL IMT Mid aed SLL MLL ee le NLT. Td dd + JT ee |15.2) J. = 40-60 eceeteec | D [ee% fd 1 JIN: Pore | - || eect | for re errr nae dd1 dS ae | reer re ara 15. F) Andante (d. = it J dd 4 1 | Jdd fddddddjl — | trereir rie Pale usa diidi , Jssyd rd aaa ea ah ae 15.G) Moderato (d. = 72) itu). 12144) d= ddjsl J ddd giilirrr er rirrer r= leerre fo | = J dbdads J odidd = add vrrr porreree Ip ree = | ; rf ret ete ee ‘|15. H) Allegretto (4. = 52) 8) 12d J ITs = | Be tee ee lee ier rere ur ele dl dd ~ | r err” fe cr lp 15.1) Andante (J. = 44) anaes dd ili d. JTI2 Jaad Lele Vee Dire Ci oF ve vas J S104 ol dd : r ret a Mid dS pra | A Pr | ur ute tral or er oor oS dd ore oplrar rt of Jered NL Mill a Irropra rire err ole cererr r 15. J) Maestoso (4. = 72) at : . f gi - - lili di oJ od f t | le od 2 _. = | tele roe rir re oreee ele cat fp do~ = JdiJIQM}s dd ddl. rreererrerrie reoreeeir 7 te pode ed eye ee J o~ = dik oJ JID Por rrerr rere rere coer 203 JIM JDM. - - 113/03 002 entice pot em pp Ip me 15. K) John Greenleaf Whittier (1807-1892), from “Laus Deo! On Hearing the Bells Ring on the Passage of the Constitutional Amendment Abolishing Slavery” Maestoso (d. = 54) is ~ Wd edd did cays [ete Feld gs TOs Dold ded dls a How the bel-fries rock and reel! How the ld eo ald = | ac bate J0le dd dl joy from town 10 town! ld AM 3 dis = (Jd Idd =. tells Of the bi long, that all may hear. iid i HOI) edie = I at gun ern Id. 8316. EIGHTH-NOTE BEAT There are no new rhythmic problems here, but simply the problem of seeing a \s equal to two beats, an eighth-note as equal to a beat, a sixteenth-note as alf a beat, and so on. Exercise 16.1 is written first how much easier the rhythm looks in the more familiar meter The four syllables of “thirty-second” may be spoken evenly so as to match the four thirty-second notes within the time of an eighth-note. Although the syllables become too tricky to be useful in some dotted and syncopated patterns, speaking the names of the note-values may be helpful in learning the more straightforward patterns of eighths, sixteenths, and thirty-seconds sixteen thir-ty sec-ond eight —thir-ty second six. sec-ond thir-ty teen four-four time to show 16.1.1) o ae TTD = DIT = ST = (eee eer 2 i) Oe | 16.1.2) 2 = 72-112 {onan WA - VFA TSA - eos 16. A) Allegretto (2 = 112) bye ITD ISIS ITT Ed | (RRNA ee ee SPUD WD Ths Ea Td» ni Ain ari 4 he 8416.B) Vivace () = 120) BTA TBs faa FBG TB PU STs ATLL: 16.C) Presto (2) = 184) _ [ abiderl ee De drl- le Sidr Pele Fly darth eh Di DA dl vB) TB fldrrl=h Diy dy Edad 16.D) Largo (# = 60) aI TRUSTS dy AA [ORR FRST RI SF [SOE U ST l 16.E) Allegretto (2 = 92) 2S Mi AIT: Al |J_ FATS J_ STI ST TA + bo gf pABUTTT Uf fl cresc. ld NIT RITT HOST vl16.2) d= za ae? [ere (cee | fae Cofr “| eee | 16. F) Allegret 0 =112) — se a Tn | = Ee TF Coe? cr FE CWB AE 16.G) Allegro (@ = (BIO Z i para 2? =| ie perletp Voeerlecerler|+ » am aI AREF. sof lecbr vn PREP BP Lt |16. H) Adagio (2 = 56) eae ere TUTTE | 13) 8) LL ee eh) ee EGER oh 5 ta’ f = | \erceret EES : PHBE 16.1) Allegretto () = 96) Re ere |; 1 aa| ar ekr hear Fearon Peer reer Weer 7Onr oar onl? gary one | Pe eral: : | Cee eee | ce16. J) Largo (2 = 50) (in [i | SIT “| [8 a am PRE | STs | S| wel; er le cele a ls ey | i Gh) Ge) Ge 0) oe IT | SR | z x . 2 Ae ITH | TBI cori er i er |p Sy . cere 0 tt I a! 5 tt FOS!