SIGHT SINGING bee lela MELODIC ANALYSIS A GUIDE TO THE STUDY OF SIGHT SINGING AND AN AID TO EAR TRAINING INSTRUCTION Leland D. BlandSight Singing through Melodic Analysis A Guide to the Study of Sight Singing and an Aid to Ear Training Instruction Leland D. Bland S The Scarecrow Press, Inc. Lanham, Maryland + Toronto + Oxford 2005SCARECROW PRESS, INC. Published in the United States of America bby Scarecrow Press, Inc. Avholly owned subsidiary of The Rowman & Littlefield Publishi ‘4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 ‘www.scarecrowpress.com POBox 317 Oxford (OX2 9RU, UK Copyright © 1984 by Burnham Inc., Publishers Reprinted 2000 First Scarecrow Press, Inc. edition published in 2005, All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any ‘means, electronic, mechanical, photocopying, recording, or otherwise, ‘without the prior permission of the publisher. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-ta-Publication Data Bland, Leland D. Sight singing through melodic analysis. 1. Sight-singing. 2. Melodic Analysis. _1. Title. MT870.B58 1984 784.9°4 83-8184 ISBN: 978-0-88229-820-7 ©The paper used in this publication meets the minimum requirements of ‘American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSU/NISO Z39.48-1992. Manufactured in the United States of America.Contents Preface v Chapter One / Rhythmic Organization in Music 1 Simple Meters 2 ‘Simple Meters. Duple Division of the Beat 3 Rhythm 4 Ties 7 Dotted Notes 8 Simple Meters. Further Subdivisions of the Beat 11 Compound Meters 14 Moters in %, *, he, and %he 19 Review of Previous Material 20 Syncopation 21 ‘Syncopation within the Beat 27 Moters in*, %2,74,and% 30 Moters with Asymmetrical Groupings 32 ‘Simple Meters with Triple Division of the Boat 36 ‘Simple Meters with Triple Division within the Beat 37, Compound Meters with Duple Division of the Beat 39 Multiboat Duplets and Triplets 40 Homiola and Other Shifts of Accent 42 Changing Meters 43 Chapter Two / Harmonic Outlines in Melodies: The Tonic Triad = 47 Rhythmic Material (Duple or triple meter with duple division of the beat and dotted notes) 50 Passing Tones 51 Inversions of the Tonic Triad Outline 56 Neighbor Tones 61 Appoggiaturas 67 Chapter Three / Melodies Outlining the | and V Triads 77 New Rhythmic Material (Compound duple, triple, and quadruple meters) 60 Delay of the Leading-Tone Resolution 82iv CONTENTS Chapter Four / Melodies Outlining the | and IV Triads 95 ‘The First Scale Degree as aCommon Tone 95 New Rhythmic Material (Simple meters with furthe ofthe beat) 97 Chapter Five / Melodies Outlining the |, IV and V Triads 107 New Rhythmic Material (Compound meters with dotted rhythms within the beat ‘and further subdivisions of the beat, plus %, *, %e, and %he meters) 109 Chapter Six | Chromatic Variables in the Major Mode 127 ‘Chromatic Neighbor Tones 127 Chromatic Passing Tones 129 Chromatic Appoggiaturas, 131 Analysis of Chromatic Embellishing Tones 133, New Rhythmic Material (Simple meters with triple division of the beat, plus *2, %, *%, and % meters) 136 Chapter Seven / Chromatic Variables in the Minor Mode 151 Seventh Scale Degree as a Leading Tone in Minor 151 Scale Passages with the Tonic as the Structural Goal 152 Structural Goals Other Than the Tonic 153 New Rhythmic Material (Syncopation) 156 Chapter Eight / Melodies Outlining the Dominant Seventh Chord 173 Resolution of the Seventh in the V’ Chord 174 Delayed Resolution of the Seventh 177 New Rhythmic Material (Syncopation within the beat and hemiola) 178 Chapter Nine / Melodic Contours 203 ‘The V’ Chord Outline and Melodic Contour 203 Rising and Felling Melodic Contours 213 Scalewise Melodic Contours 222 Chapter Ten / Melodic Contours: Two Melodies in One 227 Introduction of Tenor and AltoClefs 232 Chapter Eleven / Melodies with Modulation 253 Modulation tothe Dominant 253 Modulation between Relative Major and Minor Keys 268 Chapter Twelve / Modal Melodies 287 Chapter Thirteen / Melodies Containing either Complex Tonal or Complex Rhythmic Patterns 305 Extensive Chromatics with Moderately Difficult Rhythmic Patterns and Meters 305 Extensive Chromatics within Triad Outlines 305 Large Intervals with Chromatics 306 Familiar Patterns with Enharmonic Spellings 306 Nontriadic Melodies 307 Moderately Difficult Pitch Patterns with Complex Rhythm and Meters. 318, New Rhythmic Material (he, *%, 74, %, and 7he meters; triple division within the beat; multibeat duplets and triplets; and changing meters) 318 Chapter Fourteen / Melodies Containing both Complex Tonal and Complex Rhythmic Pattems 329 subdivisionsPreface A, text intended for use in music theory courses on the col- Tege level must relate to the general purposes of theory and ear trai ‘Traditionally, a justification for the inclusion of theory and ear trai lege music curriculum has been thet this instruction somehow improves musical performance and listening skills. As part of the ear training program, sight singing is the most available and direct means for applying melodic concepts to actual per- formance. Sight Singing through Melodic Analysis provides direct applications of analytical techniques to improving skill in sight singing. Although the book draws upon theoretical concepts, it is not a technical book, nor is it difficult to under- stand, The word analysis has a broad but practical interpretation in this text. Even the earliest stages of the book involve simple but functional analysis as the basis for singing melodies at sight. Many of the melodies and exercises have a special for- ‘mat, based on Schenkerian analysis, which provides a guide for discovering and interpreting various structural levels in tonal melodies. Space is provided for writ- ten analyses of representative typos of melodies. Given a tonal melody for analysis, students learn to (1) distinguish between structural and decorative tones within horizontal triad outlines, (2) recognize and interpret melodic shapes associated with triad outlines in various positions, and (3) recognize and interpret overall me- lodic shapes within entire phrases. Material is arranged logically for developing an awareness of basic tonal rela- tionships, phrases, and common shapes and motions in melodies. Rather than be- ginning with bits and pieces, such as individual intervals, the book progresses from general concepts to more specific ones. In the very first lesson, students deal with a slightly larger context than that of individual intervals: namely, horizontal outlines of the tonictriad. Since the sound of the tonic triad is familiar toeveryone,students are able to grasp its outline as a basic contoxt in melodies. Techniques of melodic embellishment are covered as the book progresses. Students learn to con- sider details in melodios in relation to larger patterns. Melodic contour is utilized frequently as a means for developing tonal memory. The melodies for sight sing- ing, composed especially for the book, provide a maximum experience in each reading problem studied. PREFACE HOW TO USE THIS BOOK ‘Sight Singing through Melodic Analysis may be used independently, or it may be coordinated effectively with a number of theory texts or approaches during the first two years of music study in college. Aside from fundamentals, the use of this book requires no special background or training for either the student or the in- structor. Chapter 1, devoted entirely to discussion of rhythm and meter, contains exten- sive rhythmic drill. Sight singing begins in chapter 2 with the simplest relation- ships between time and pitch in melodies, and progresses to the more difficult melodies in later chapters. Most chapters contain (1) a short explanatory sectioi including a summary of new rhythmic material, (2) exercises in the melodic pat tems to be studied, (3) melodic analysis, and (4) melodies for sight singing. New thythms and meters are summarized at the point at which they are introduced; stu- dents are referred to the fuller explanations and rhythmic drills in chapter 1. Although the material is designed to be taken in sequence from chapters 2 through 14, the order of some of the later chapters may be rearranged to suit indi- vidual needs.CHAPTER 1 Rhythmic Organization in Music =— A\arnetoios nts book have underlying patterns of accent called meter. To understand meter in music, one may think of producing a series of pulsations with eny sound source—singing, clapping, tapping on a drum or other object, or playing a musical instrument. If each pulse in a series is produced in an {dentical manner, no single pulse will stand out from the others. One of the stan- dard units for representing the pulse, or beat, in music is the quarter note (J ). The quarter notes in example 1.1 represent a series of identical pulses. Any pulse in Example 1.1 gids siliddsi sisal this series may be differentiated from the others if it is performed louder, or ac- cented dynamically ( > ). The random placement of accents in example 1.2 pro- Example 1.2 blildddldiggiigs2 SIGHT SINGING THROUGH MELODIC ANALYSIS duces no particular metric grouping, while the regular pattern of accents in exam- plo 1.3 creates groups of two—one pulse acconted and one unaccented. For ease in Example 1.3 Lididddddddsdids reading, bar lines may be drawn to separate the groupings into measures. In the pattern below, there are two beats per measure, or a meter in two. Example 1.4 diidsigslgs lia 2 72 - se “Ve we “a An accent on every third beat creates a meter in three. Example 1.5 Lis lssidss less laa 23 ‘SIMPLE METERS ‘Since the first beat of each measure is normally performed with slightly more stress than the other beats, an accent sign is not necessary. The accent sign is usu- ally reserved for indicating stress on normally unaccented beats or for giving extra stress to the accented beats. In example 1.6, the quarter note represents the beat for meters in two, three, and four. Ina meter signature the top number designates the number of beats per measure, while the bottom number indicates the metric unit,Rhythmic Organization in Music 3 Example 1.6 ‘An accent on every second beat creates a meter in two. Alildd idl dl 12 1 2 Ff 2 4% An accent on every third beat implies a meter in three. daha gauges i 3 Anaccent on every fourth beat indicates a meter in four; the third beat receives less accent than the first, but more then the second and fourth. mes igliggg dda dddl ‘SIMPLE METERS. DUPLE DIVISION OF THE BEAT All meters thus far have been simple meters. In simple moters the beats are often subdivided into two parts or multiples of two (duple division). Example 1.74 SIGHT SINGING THROUGH MELODIC ANALYSIS Units other than the quarter note are used frequently in music literature to rep- resent the beat; meters such as *, 4/2, and */1s will be treated later in this chapter. RHYTHM Rhythm refers to duration of sound in the temporal dimension of music. Al- though rhythmic patterns may exist independently from metric groupings, the rhythms in this book are associated with specific meters. The durations of individ- ual tones in rhythmic patterns may have various relationships with the unit of the beat in a particular meter: 1. Athythmic pattern may contain durations that are equal to the value of the. beat. In example 1.8, both the rhythm and the metric unit consist of quarter notes exclusively. Qldli sli dti dl 2, Athythmic pattern may involve durations that are subdivisions of the beat. Example 1.9 GLI LI AINA | 3. Athythmic pattern may contain durations that are greater than the beat. Example 1.10 Qlid i Nie Ie dle | a4 er than BebeatRhythmic Organization in Music 5 4. The rhythmic patterns in compositions are usually a mixture of the three possibilities above. Example 1.11 tidi, Jia ams | a. rhythmic duration equal to the beat b. rhythmic duration greater than the beat c. rhythmic duration less than the beat (subdivision) ‘Rhythmic Drill 1 The following exercises provide practice in reading rhythms in simple meters with two, three, or four beats per measure and duple division of the beat. tall i INN WANIAN ie Paella | 34le Ul lee ll) Alle iT: | 4Hsil id Ws leer innals 2 Sai UAL li te inanis | PALIT MIDlet Ad Ws | THAN IITs We le lamifl Plreleeleriere: elererir § © ofl fOr fitrer rir rir Ee 2 Ioreritrece eiecererr) eerie Foe “amsvour [[ny @ se oxnseour eyo duroouy orp 3no Suppuod Aq LoIoU OTP YSTTqHISO ‘sesforOXe BUMOT]OF otf JO YORE ‘Sujuro1ed axoyog “emsvour e jo uoNHod & Ayuo YPM UyBoq suoTSoduTos KUBY zm spun Ire el Crerl teal feels ClOP Ore bat Flee ee Claeey ferie+ eCLer bw fer fits ferie es @ fl POP figs f ree Ife -lfefel POP PICEEPCeerl Por re a | PIOh Pir Plererl ror) Perl 2 flop re | Pieeeeepirorri es Plorerfi es Pl Feo Ifeatlerrriceerr rit eer rl Fett I fir fle flr rel Tier rl Fk SISATVNV DIGOTAW HONOUHL ONIDNIS LHDIS 9 o oRhythmic Organization in Music 7 0 a fil JUADM eld (ANNs | 5 a fil Wee NINA Aled pe LUI le eddie count 1 Tg Pee ss Le Ald ee dls od 8 FPN DDS (DID | o aiid lod id ieid Wilsliid | wil iii id JULIAN TIES Note values may be combined by means of a tie—a slur between notes of the same pitch |. The second note of the tie is not articulated, but its value is added to that of the first. Rhythmic Drill 3 tails [rE 2 eS Lid IAT sd td sid8 SIGHT SINGING THROUGH MELODIC ANALYSIS PLM Led WU Qsldsld ste HILUANI Noe QUI ee a PNIAAIAM ANIL SOIL COL SI TTYILALLnALa PLIST NIL Les PMI PON LAs de PALO INNA aninn.s tHe SLL. (le CLAM WON Wy Deda o » a o ~_ o ° s DOTTED NOTES Ifthe second note of a tie is equal to half the value of the first, then a dot may be used to replace the tie. The following example shows the relationship between tied and dotted notes.1 cle trtiere Tl Pref Pr fo s I rorrie te Tie Teeer it far rice re Tire Io flepericecele TIP Orig +k 9 1 Titer Tirerricer Tl fir rre s I ofle tee tie TOLeriy fe rior re + I fl¢ Tlreletl fle fie thr tee Feefl et Tl Plone Tl rereri rer re z I "l¢ Tottriy rrerir re Te “88}0U peop UTEWUOD sestorexe BuyMO]|O} OY, yaa smunpsyy 1 Pf tie’ theese f Pe’ te VPP ei Cr PEELS f PEE Te 6 OfSM Uy UOReZIUEBI SNAYYPLETE TL CET ACC eae E ve T Fi te thts Fit te Fit T PLETE 2 oe Co TICPOPCLL POPC te] ee PIP EEL ICE fees TICLE Cel ror rie te PICtofe seo we Pieri Tie Theerel erierrie Tie Ticere eat Profiler te tite e Fle ter rit feo TE POLO ICO CARE i at CATR EOE Cees gst Fite rd Pie the TAP eel Or el teeta + 1 Pitete -[ re triaeferel -¢ Tithe Place Tl flerererir ecritrr riers z - fT iter ~l wef feetite =| ou rite ricftrie Tle ricreri fori fe fives o erlrerricferricrerrieeri¢ rir rire SISATVNY SIGOTAW HONOUHL ONIONIS. LHOIS: oL oRhythmic Organization in Music " 2 STL TUTTI IT | aaj) J 10) WIT DA 7d ael NALIN slrdurd ms tt eel bdr dts JL ells ddr dle ll ‘SIMPLE METERS. FURTHER SUBDIVISIONS OF THE BEAT Table 1.1 demonstrates simple meters with subdivisions of the beat into 4. Table 1.1. Simple meters. Mod od cd 100] J FFA IFFATI OR | WAIT AV ITAN Oa | Rhythmic Dri 5 ‘The following exercises in simple meters contain subdivisions of the beat into four. 141) TN FRAIL SITAR eln o > a o ~ o °° 10 1 yD 3 SIGHT SINGING THROUGH MELODIC ANALYSIS al Miles ll QA Lee IT IORITRL DARL SVT NB. Qi DIAN WA Ad TAT GNNUINATATALL SARA ¢)] NIWA JIRA TART oJ WTR ARI QIU 1 ATA SII ASSL ML Me ALD dM dl. Rilke sce ll At Fld 4) OJ IFA Ol VFRITARTAN | PHAN NANA IAN 41 4FR (FRI dit FirRhythmic Organization In Musie 13 IFA AR AAPA oO we FAITH FATA TARA ARN wELQIBTQs Fle we le de dd we HAN FATA WAG ls a wIMIT CAI) WIM ie wa tbl Te Se TTUTAlL bb aatdis £3) i Ar AL TRU | aeFils JT V1 lh dd de dl tbe 2am TA AL ll Ly tld ddI 7 BRLITUNOA sled AA. 4a) CU TAL AR AAN Abed eel SIV td lO lle4 ‘SIGHT SINGING THROUGH MELODIC ANALYSIS. COMPOUND METERS ‘Meters in two, three, or four with triple subdivisions of the beat are called compound meters. In table 1.2, compare simple meters with compound meters in two, three, and four. Table 1.2. Comparison of simple and compound meters. Simple Meters 2 beats per measure d= beat rr AMINA i JJlidd ANIM ANN 4 beats per measure j= abet aioli AaAnnn Compound Meters 2 beals por measure d= 1 beat Ql ol ied MIMI IT) ao Olid liad MIMI | ITN 4A beats per measure d= 1 beat Blood i od MINIT Rhythmle Drit 6 ‘The following exercises are in compound meters. 1 §8JTI1. 2 81 3 81 IT 4. ITT Id. WIT ik ITVNITIV IT) Ie l Jodls ddr dITTIITI IL + Ieet ter TICLE eer ceri rte Peeters a T TICeCrelcereerie fe ri tf tes ve fltfee fltfee flow Tl TBH 1 oTle te ieereesie fr Titers Core (Ctr Ceri Cee) ro rea Tit POGOe CE Color reeecer a ter teen rie re ee feel Pott tao +f Tid PeLeeerl + rererrig rote te flop re fl) recerrigr ry re T TCLPICer TOI CO Cer cece 8 T TICEPCercericore re ricer tre fe flcere fl Teer tf Tits T Tiecrectie f theo tee ISN Uj LOReZIUEBIE SULPAYY o o nN © 016 SIGHT SINGING THROUGH MELODIC ANALYSIS 7 STRAT Fl A) D1 JTS de wR J dL IW dl TR dd wil AR I Fl Fil ol oel & ly TSI ll dt SIITLITI | a §J DJ ORITIISRR OI) bored 2 edi ddr do ds MOM 23 BJ STIL TUTTI db NTI IT. | maelAA. TFA WTI beds od 8) DITUSTUTIUTL Ie IL I 7 8) SITIUISAIT IL ld dd ddd ll a 8) STAIN SITLITLUTI od Table 1.3. The dotted eighth note in %s and %/s meters. UDUPI REDE Ere Cr, IPReCECEE EL L2e3earsresRhythmic Organization in Music W7 IT) IT) ld fe na J vl 12+34 546 aT) Wy IEPs | fifi Pari rt 2 OTRO RIST LSA dre dels oe fl esi. | ROM AL | STR) OAR Le | a gl dra dider& [dvdr SFR of 2 8) MDANDAMA AN OU D1 dL we $l & ls ddr dls de DIFRL I uw gdrryy didrod SR GFR. I 3 SIT). WR DIST. dl od GIT MARR IIT IM dard 8 8SIGHT SINGING THROUGH MELODIC ANALYSIS. BJ od) DIDTIL SILT SITLL SIT) SITTIN 207 TT. SIT) SILK 1 TIS SITS 7 SIT STHIITFR. \TWFRTA I dd BJ dd TTL DDT Te START J tii le SITU IIL i TAIT I) BITLITI SILT L SITNNITIITI Ob Bhi db) IIT MORALS 1. Shorr dr rrr dL ITIL dle i id Slr) ALT de lk SIILTAITAIITAL I dd DIT Bd MITT + ML td ITT dd ldRhythmic Organization in Music 19 so gslT]l MIT I) ds SISTA | 8 TTI TIL I TTL TTT. l 2 EMIT slim) | 83 BL DIL SITT LL det dlr drs de [de dl METERS IN *s, 4/s, 3/16, AND S16 ‘Rhythmic Drill 7 tel i WTI ITT 2 Bdldr di) MIT IL Ire dle es dT IL Ml 381 tide ITI ISHII IIT | 4 8th WIT) WITS IT ot ALL 5 8ITUTI Ik ber ITI Cad DDD IA ADs [MMMM DL Ml 74) TU FRA UGA ITUIFRAL |20 SIGHT SINGING THROUGH MELODIC ANALYSIS 8 ab dd SSS LTFRIFAITA | 9 RFFIUID MAPA ATIF) MIA LS | wal VIET WD le dt lp dt dd dl uw RET) MEP MFR) MIMD TI wzbd dD S12 D LRU FRI lhe aa dl weahbli Hl dr edi MM) Did ALLTITGL | 4 Ed ETD dd SIF dd ) > we BAIR Ilda la FPR lag dla | REVIEW OF PREVIOUS MATERIAL we §J od. IITA dl) dd SIT | wal DAN ied ile mis we SITI AAAI +1) FRI 1 |Rhythmic Organization in Music 21 8d Wt I i lk ed —— 20 4ST) A TAR ISA Il agdi. db) 1 OAL dle tds tL Dt A_ 28) Al All ddl AL RISA | SETMOINMOnmnins | MP DIOL ML el SDL 7d es STTUTISLT I dL AL ed SYNCOPATION ‘As mentioned earlier, a particular meter is established through a recurring pattern of strong and weak beats. Any deviation from the established accent pat- tern of a meter is called syncopation. Three common means for shifting accents are: (1) stressing a weak beat dynamically, (2) connecting weak beats to succeeding beats, or (3) placing a rest on a strong beat. In the first way, as shown in example 1.13, the dynamic accent is shifted to the normally unaccented beat—in this case, the second beat. This shift of accent makes a very noticeable contrast to the ex- ected pattern in 4/4 meter. Syncopation through dynamic accents is produced in Example 1.13 aids igs ub an22 SIGHT SINGING THROUGH MELODIC ANALYSIS meters in three by a shift of accent from the first beat to either or both of the second and third beats. In the second means of shifting accents, a weak beat is connected to the suc- coeding beat or beats. In example 1.14, attention is drawn to the second beat be- cause it is connected to the third beat. oss dl Le di ied J In example 1.15, the normally weak third beat is connected to the succeeding beat in the next measure. Example 1.15. wii Lui cus i ‘The third way of shifting accent is to place a rest on the strong beat, or at least, on the first part of that beat (example 1.16). Example 1.16 lid" inlW ALI accented Qld dd Od TW Ae dl accented Rhythmic Drill 8 In the exercises below, dynamic accents on normally weak beats produce syn- copation. P4aliiiuiiik si Aue a. ICPi Pari heath tae rite rh meserics aTiT Tit ricer tie PTI Peerl reer rs ef PiehrerriercreiPercierrercireeee Plrorice Clerc) fl Porites tick re TELE CL OOP) s fe Pi fer cers ¢ :COef eerie Peeererrerriers afi teterl -Prharaetife rite po ce Ti PatlaP the Priarer rire ties POPES Iccereeeree reer | + reTOrl Pore Cori Corie ricer) Ti ceri ceric ricer POPOL Cer) TOOPICePoericerceri 8 ri Pei rerie the ther rier rier rire Tite tie f rir f tlerer rire cs & @ FSH Ul VOR ZIUEBIO oRUYLAYYPOP fit recer Flt recer Pit esreeer re oe Ttttic re ticer Tl 7 Th T TS % eat] PeTPrriceri¢eeieert Pripericees efler ALTO The fl trie titer § rrierrartir Prlerrerroe cefl efit ett torrl tieterre TICPOPELS) PriCrerecs! Pritrer rk o Pefif Priv f fi Creer eres o "|r ft ticgororrir et rir rerree rir fi trier fier ir riop rir rg 2 FIOfor rift rif tri rorerl ror rk o zt re z “sywoq Suypo0o -ons 0} syeoq yeom BupooutIOD Aq payeosd st uoNedooUAs ‘sosjoexe BuymoT|OJ OY UT A(ETET) ¢ POOL TI ¢ PETES Ho SISATVNY SIGOTW HONOUHL ONIONIS LHOIS vePr e[Ceer reel fF feel POSE fo we firfalte tire rl tifrelrerrirer re’ ve ‘sie0q Buons uo sysax £q poyeero 6j uoedoouAs ‘sasyarexo 3xoU Ot UT rele sie eel Tl Pel Cericeel Tk ve TICCATLLI CES! Tl CE Ceeer| cette se HCl TCE Cle PIA ACL TELE CIE PIER ve eC (ELE PCL PCI KEMETIC FI CET B oe PLLA CI LEAT ele eee ele’ ce TI CEST LOS! tleeel Ti Ltyre tree tore tl rer tl Pe thee o et erierlererl ert rie rier re oe fitrrl eri erir rire el tite rg PIC HELE eT Teer le TeLEPERr EY +o uz sz DySnIN UI YoREZUEBIO J]uNpAYYread TL PC HRLPET | PC MCPELl teat TE TPT) Pel Tl TiECALer) rel cenit 68 TICLE) PalAter | eat] Cfo] relecerer TCP el Chel epee AT Tie eeie ees eet] fal TIMMOEl eat] Pel oe 1 RCOES 8 Col Cel POLAT TICE RAL TI COPie 8 Tralreeflertrl pri ereic tie Peel Perel rere Tiree Thee iret Tiere MCL COP) Pei te] TALES +] CERES) COEEP I 8 eeC IOP el Oral COP leet] COP COP Core CPICOOP ICC eleree el PIM TI Pel A TICS TTL T vICteeerieereer| «ieee -eicercer ieercer 8 Presleeer feel reeiraetel eraieeere SISATVNY SIGOTAW HONOUHL ONIONIS LHOIS bRhythmic Organization in Music 27 ‘SYNCOPATION WITHIN THE BEAT The initial portion of a beat is strong (say, the first of four sixteenth notes); a dynamic accent placed on any other subdivision produces syncopation within the beat (example 1.17). 7 iA bP omine 4 (AR RRS | ‘Syncopations are created in example 1.18 by ties between weak portions of the beat. Example 1.18 Inexample 1,19, the second half of the first beat has more stress because itis tied to the succeeding beat. Example 1.19 Ws. dl ‘The beat in compound meters may be syncopated internally also (example 1.20). Example 1.20 81 od. |; 4. | NIG «dd III28 SIGHT SINGING THROUGH MELODIC ANALYSIS Rhythmic Drill 9 This exercise contains syncopation within the beat. 14) TUNA benaAn ns 24d ATMs uel ine 3 ADDL (rr MOBS lore dd. Ldr dtd 48MM eA wT ob BAL Morr dM M14 Idd Idd 1d) ddr 64) SRA AWARD) OAR 7 § TTT TT TT dd e1NO ANIA» AAA 88 MOMs Im mMImm wR LSS IR) I bt DID Oe TESTI DIT lee ale dd dd em4dJol UW As WanaBAO OAR. AR AIR IL 7 “4 AFAR) 2) BARA BAM NIAAA 61 ON FAIA OBR Aman 731 RADIAN IR mA» we RT de les ride dls ole eA NIE A. (ADA DAA EST DL de ly d ddl 1D AE | TBR |B 22 8ST) (ede ST FR ADRS Gd dir ddr edt LGD aa) TU leet 8) M MAT id ds dT v130 SIGHT SINGING THROUGH MELODIC ANALYSIS AFL FL FTG ae Ie de deer dd a 8 SRG. |). |) BU 1501. |) Bl ATL | BALI LLL Seda 2 § SRATU ATT + | METERS IN 4/2, 3/2, 2/2, AND /a Fhytheie Det 10 taddddle ddlrdddle Jd la lw Ido I 28d dee lelild- le ididdllelli. ll 3 Be dle Jit. did dele did ddddl.. | 4 BS MM [LN iiild-d 12 I lisse 5 Be Md ld dele lo Vdd Sloe sell Ts eC ce ee a |~~ Pl PAT ATTA? HL Pt APA Pres ow Petrie reel are reirreri retire Pee Porerreel rere reece rere re ree ~ firrer rl er ericeftecicece r& o i Teeete tl -ef er Pele Porro e o iP frererceeri¢ oe terra Peer ee wm rreerecera tir Peeericreeereeere te et "lrerrirterinnceir rrie ether eg a TPe-1 PIP Pl °lP--1 CPI ces Preceeer| rr Pele Peeeeerif reer Pg o ro fittrre tie & Fireere rirg 6 Poeerrir reel Peeerrirerel-virrres e F Tiree eettetieer rireree tl tre ge te SIS Uf UopeZIUEB19 oURAYY32 SIGHT SINGING THROUGH MELODIC ANALYSIS METERS WITH ASYMMETRICAL GROUPINGS Meters such as %/, */, and 7/ have asymmetrical accent patterns. Typical accent groupings are demonstrated in example 1.21. Example 1.21 toe: WTA “bide? IT Glllliidli ddd lisiiddseiull @+@ @+@ Some of the ways / may be grouped are shown in example 1.22. ENN kIT AN TTI TTI Some meters may have either symmetrical or asymmetrical accent groupings. Ex- ample 1.23 demonstrates both symmetrical and asymmetrical groupings for % and 20% meters. Example 1.23 ‘Symmetrical groupings in 8/8 and 10/8 mom ominnoi ennanni ‘Asymmetcical groupings in 8/8 and 10/8 SIT ITI be ITI AIT MMA AAT |f Pitreterer tleererer ricercerrra COP CEO Oricereerercricercererce & Prevl PreTiP =| POsceerl Pret eres th Terity Tritreercricreereriercerce een? Peete Feetireerrie Pl Peeel Peers P Tier aN te COiOre eCOriCrer eer? ChOrcrel tr vi rerelerreerie reer Cr Creeerreeeer | PF eer ceri erercercer eps fof TILA CO TIC HCP ETI Cr er cers ref Plerereferchir Porcrirr tr fepe Mf CREE C OOO] * Pee Orereer se EET Cf ceri ee rier cere “s8uydnox8 jwoynowruxAse uyEyuOD sesjo1xe BuLMOTIO} OU, 21 ama syunphyy L ee fen ] uoeZUBBIO o}UNAYSIGHT SINGING THROUGH MELODIC ANALYSIS H@DlId [J JAH dd bd dd SAAMI NONE. dd EMIT J ol) NT IAN ANN Glisd ld dle J Usd ssii sl i SMM La Jd. ITT * OMIM MIM mm mM MAAMIMAMA Ms deenms GIN POM WAM EL MOM LOTT WM dd fLIIMeoaimMAvs naan {JB 0) FBO 1s Bn § SARI TB NIT AFRAID ) IFRFRID > 1b)CTC CCIE OTe ee Sreere COrey ey cf her! or cer Or Ler al oe reefer - tl pecherefereric tee preva se COCOPey | OF eer leer cer erl ef corer? rreopre ti Pf eceerinrfecerrfirrrerry ec Carvel ere el Gf 7) COLfeeyr| CESeeys e ze ICPCOP CRO reer Peerierereer TICror reer a JOC PEE ere berl ee « tI f TPO JOPPA COCO OS ere Pier eres y 6 icceeeecreeraerieteterrerr ineeeerereri rercerce & 8 |< eyreftereciercretericeceteeticetertee § wz irfreeerir er ricreecericceterricce ree es 9 Jt TIO CREP SI CCLETIOS OP OPO Orcs e se 9e Sten uf voReZ|UeBIO OMAR, 3 oO36 SIGHT SINGING THROUGH MELODIC ANALYSIS el ‘SIMPLE METERS WITH TRIPLE DIVISION OF THE BEAT Beats with triple division (compound beats) may occur within simple meters, such as 2/4 oF 4/4. Rhythmic Dri 12 1 aU de an 22M NBII Te SANT oT do Meni nan sel MN? (MW DIT OAL le 840 MIBR. omnia 69) DINNMIAAN Nd Ble 7 ADEA Woe i Tbe ae safAO TANGO IRR): 24, 2) Wt ITN Wy es Loomduooe oi TheRhythmic Organization in Music 37 wad 2 Webi voir da WED LeM BIO od ea TDD eI AMARA iT 94101) FROIN la 44) 01) J URRIQJ aTAAmu Sa MOAN Om MOMs 64) Qld All GRR ARL I 7 ae BOO le UL Te e 4) DERARLTI ERE bl de - weaiFAFR ICR WT‘ ‘SIMPLE METERS WITH TRIPLE DIVISION WITHIN THE BEAT Rhythmic Drill 13 1 QIAO IIDPOONA 1) 0) FRIAR LRA QJ Tide di) FB OB BL tAATA In mR QL TUL leeds oer dee PHI tl OR els lL CRIA AR ARI WER TARA - (CRIS ed 21s 0) A | SRY | Bea Qo. AO ROW. Al WW AIMNimMAW: wm 4) SWB BL Dele tLe AR) FARRAR AD AA: 2Rhythmic Organization in Music 39 198 C30 NSBR LL Du | COMPOUND METERS WITH DUPLE DIVISION OF THE BEAT In compound meters, characteristics of simple meters may be introduced if beats with duple divisions are interspersed with the compound beats. Rhythmic Drill 14 MTOM AIm OI. GIT ML TRA A A RTT. ee AAT ol CIR DIR OOF ARISTA OW BNLL MIA am AlL il STR RIT RL SLIT SIA ole | 8. To 0d | LI GL MOPAAMP AA Ne40 SIGHT SINGING THROUGH MELODIC ANALYSIS 0 QdJI J laud Wms 2 TT dae tl nemo. IR im. | MULTIBEAT DUPLETS AND TRIPLETS ‘The use of three notes to replace two notes of the same value, or the reverse, is not confined to divisions of individual beats. Such relationships may involve sev- eral beats—even an entire measure. In the patterns in example 1.24, triplets re- place two beats and duplets replace three beats. Example 1.24 eAisiWals aos PATI MO IT. lems asminmi simmi oAddddled dod isade WT d lad Rhythmic Drill 15 tas Manommssinmas shi. 4Perip ere) ferric ere) rer ee Les beste Fle cierriforris Fl Leite tier ee a TI CSi Ceri Criceri+ fl Cerice re w “Tf P fl Per rirrrerirr rte o eo oa f PIPP rel Pr eoelere ri cor rir ere 6 bes bes TT TCT] Cl Cfleeei¢ fl Tee Titeteir rirercier eit eit te e Pig MC fitter! ricer eric tre 8 “i ernPPlererrel ~ cirer tl cere 8 ree + TICMEEPLEFIC CETL cre ies Pore E+ seTi¢t the citer el thre tite « eFietti tls rier rie terre z Ww FSM U] UOREZTUEBIG J]UNpAYY42 SIGHT SINGING THROUGH MELODIC ANALYSIS —— HEMIOLA AND OTHER SHIFTS OF ACCENT A temporary shift of accent groupings from threes to twos within a prevailing meter is called a hemiola; no change of meter signature is required. Example 1.25, demonstrates typical cases of hemiola. As may be seen in rhythmic drill 16, other shifts of accent are possible as well. Example 1.25 eGsliid Ld le Liss lisisle ol sonst 3d 1d [J Id ld | eG TUT dls dds LL OTL A sot Glsils Fl Rhythmic Dell 16 ‘The following exercises contain hemiola and other shifts of accent. PHL MI SU Le ee 2A UAR WII Wd a ASTI DIM WOM tT 1d I SRLS Ud Md ys Meds lds SATII Jd ld te sidedRhythmic Organization in Music 43 6 SITTIN sl dd dll CHANGING METERS Rhythmic Drill 17 Meter changes may occur within a single composition. In numbers 1 through. 9, the J) is the constant pulse unit throughout. 1 2 3 SITTIN TUT AN TT aT LL Ae BLM dle dell ITI N dT Il BIT DIT lk 2 aa 1. | ATT BIT SIT DBT AIL. ls ell BIDS FFA De TIARA) odds 8 STI) | SBS M8 TID | STI 8 ST dN ol SITITER TIT RTI) dT I ATT MIATA IDR Al ll SIFATIL RII ha os4 SIGHT SINGING THROUGH MELODIC ANALYSIS In numbers 10 through 14, the J is the constant pulse unit throughout. ETI Ne dd MN sod wALMITIADOON Ji oTRlssls dl 2 PIDIRI LORI ILL | we ANT RMN ABA lee MeL MOOR idol Lu In some meter changes, relationships between the old and the new moters need clarification. In example 1.26, the meter changes from %a to %. The )..) above the meter change indicates that the J) in the old meter is the same in tempo and duration as the J in the new meter. Example 1.26 dep 2d) gM werk Tn. mi | Although the rhythmic pattern and meter change in example 1.27 are identi- cal to those in example 1.26, the units equated above the meter change are differ- ent. In example 1.27, the J. J indicates that the J. in % meter is equal in tempo and duration to the J in %/ meter. Example 1.27 hed Ged) old QMiieNeks AA mi tlRhythmic Organization in Music 45 Rhythmic Drill 18 ‘The following exercises contain changes in meter. 14) TU. ALG ool Ly oR 2 aC |e Allie | PNTDILTADAI MTL Lee 6 STR ol Aes ie 1A. Boer SB) ET RII SAL MITTIIb 1 ol GLI RN RO AT ETNA MIA. lid I aM do. be oR i HII dds Jd, dls suidle g tad DOA ADIs ladle PADI MS IRIS le J sled o a o ~ o °a rs a a 7 8 o 20 x GIlJJedJldad JILL dle dle. GJJJJJJJdL BIS J ddd ded SLR. YORI BAB BUTI Bl) AI PLSD I DRT Let Bld @ NTI BUGIS A ON Ld PARI) ROR allo QJJDJ JI Dd BIJ JILIN Jd Le. AAU Roa alCHAPTER 2 Harmonic Outlines in Melodies: The Tonic Triad T onat melodies are often organized around underlying har- monic outlines. Although all melodies contain individual pitches and intervals, analysis reveals that even seemingly complex tonal melodies often have simple horizontal outlines of harmonies prolonged in time through various ornamental devices. ‘The first, third, and fifth scale degrees of any key form the tonic triad. In exam- ple 2.1, the tonic triad in C major is notated harmonically, or vertically. The tones Example 2.1 ofa tonic triad may also be sounded and notated separately, or melodically (exam- ple 2.2). Example 2.2 4748 SIGHT SINGING THROUGH MELODIC ANALYSIS ‘The top staff in example 2.3 has a melodic segment in the key of C major. The reduction* beneath demonstrates that the tonal material of this melody consists entirely of a horizontal outline of the tonic triad, or the first, third, and fifth scale dogrees in the key of C major. Example 2.3 q T Since an awareness of underlying harmonic outlines provides an indispensable background for reading tonal melodies, the tonic triad outline, rather than the individual intervals, will serve as the basic structural unit on which to build skill in sight singing. As an introduction to the techniques developed in this book, all melodies in this chapter have outlines of the tonic triad as their structural founda- tions. Before beginning to sing melodies, its wise to adopt some basic procedures for orientation. After the proper clef, key, and meter are determined, the pitch and thythmic placement of the starting note must be established. Does the melody be- gin on the first, third, or other beat of the measure? Does it begin on a fraction of a beat? (See chapter 1, rhythmic drill 2.) In addition, a melody should be scanned for any overall characteristics that might give important clues to its performance; large leaps, overall contour or melodic shape, and underlying triad outlines should be taken into account. ‘As part of the preparation for sight singing any melody or exercise, the sound of the tonic triad should be well established in the ear. A special effort should be made to retain the tonic triad sound in the ear as the melody or exercise unfolds. Special techniques for scanning melodies for discovering relationships between tones will be developed as the study progresses. ‘All melodies in this chapter are written in elther the treble or bass clef. Meters are either 74, 94, or “4. Starting pitches are the first, third, or fifth of the tonic triad. In fact, tonal material in the beginning melodies will be limited to tonic triad out- lines. The the reductions inthis book i adapted from analytical techniques asoclatd with Helarich Schenker. Open note Indleateharmonte tones. Beginning with te action on pasting tones, closed note wil dengaate nonharmone {ooet, of ambellihing tonesHarmonic Outlines in Melodies: The Tonic Triad 49 Exercise 1 ‘The following tonic triad outlines are presented in several keys. Remember to establish the tonic triad outline in the ear before singing each line.50 SIGHT SINGING THROUGH MELODIC ANALYSIS RHYTHMIC MATERIAL Melodies in this chapter involve duple or triple meter, with duple divisions of the beat. Refer to the discussions of meter and rhythm in chapter 1. Typical rhyth- mic patterns are summarized below: QJ J ibe THI et i Fist Qld IITs Ts 2 | PLSD Me ODIs dl Nel de Extra drill in these patterns is found in chapter 1, rhythmic drills 1, 2, 3, and 4. Melodies ‘The following melodies are based on the tonic triad. The meters are duple or triple, with duple divisions of the beat. Moderato mfHarmonic Outlines in Melodies: The Tonic Triad 51 Vivace t PASSING TONES Few melodies in music literature are limited to triad tones exclusively; most have embellishing tones which elaborate the basic harmonic outlines. One of the most common embellishing tones is the passing tone. In example 2.4, passing tones fill the spaces between tones of the triad outlines. The reduction beneath the melody distinguishes between triad tones and passing tones.52 SIGHT SINGING THROUGH MELODIC ANALYSIS Hereafter, triad tones, or harmonic tones, will be referred to as structural tones; other tones will be called embellishing tones or decorative tones. With stepwise motion produced by passing tones, the possibilities for variety and interest in mel- odies are greatly increased. Exercise 2 ‘The following patterns contain tonic triad outlines with passing tones.Harmonic Outlines in Melodies: The Tonic Triad 63 Melodies The following melodies contain tonic triad outlines with passing tones. In melodies 13 through 16, a reduction beneath distinguishes between structural tones and passing tones. If any melody causes a problem in performance, sing the reduction first. Allegro Mie = 1554 ‘SIGHT SINGING THROUGH MELODIC ANALYSIS In numbers 17 through 22, make a reduction beneath each melody. Use the reduc- tions as guides for singing the melodies. Presto TT 7 a Lively _—Harmonic Outlines in Melodies: The Tonic Triad 55 Allegro_—__————__ 20 t Sete 21 ot f Largo e sostenuto Exercise 3 In this exercise, triad outlines begin on either the third or fifth of the tonic triad,56 SIGHT SINGING THROUGH MELODIC ANALYSIS INVERSIONS OF THE TONIC TRIAD OUTLINE All harmonic outlines up to this point have involved the tonic triad in funda- ‘mental position. Triads may be inverted—rearranged so that the three tones are in different orders. Example 2.5 demonstrates the tonic triad arranged vertically in its three possible positions. Example 2.6 ® w © Fundamental First inversion Second Inversion. Position ‘Also known as a § chord ‘Also known as a § chord because of the Intervals because of the intervals. offs 3rd and a 6th above (of 6th and a 4th above the lowest note. ‘he lowest note, ‘The tonic six-four outline is found in many melodies. Note the relationship between the fundamental position and the six-four position of the tonic triad in example 2.6. Example 2.6 fi s ° 4G tonic tiad in tonle triad in fundamental position she-four position Although these two configurations are both outlines of the tonic triad, they have significant differences with regard to contour, or shape, in melodic lines. In example 2.7, the lines drawn over the triad outlines indicate shapes, or contours. Compare the contours of outlines of tonic triads in the fundamental position with those in the six-four position. Example 2.7 triad contours in fundainental position tind contours in six-four positionHarmonic Outlines in Melodies: The Tonic Triad Notice that the six-four outlines involve a larger distance between lower and upper notes. It must be understood that in this book “triad outline" and “harmonic out- line'* do not necessarily imply individual chords that may be used in harmonizing ‘a melody. Rather, “triad outline” refers to the linear or horizontal aspect of a mel- ody on a more general level. Passing tones have the same relationships with structural tones regardless of the triad position. In example 2.8, outlines of the six-four triad contain passing tones. ee Example 2.8 1% ‘The six-four and six-three triad outlines each contain the interval of a fourth. To fill that interval, two passing tones may be needed (example 2.9). Example 2.9 Passing Tones Passing Tones Exercise 4 ‘This exercise contains outlines of the tonic triad in six-three and six-four posi- tions with passing tones. Concentrate on each pattern as triad outlines with embel- lishments rather than as a series of interv: 8758 SIGHT SINGING THROUGH MELODIC ANALYSIS. 1§ ‘The following triad outlines are in six-four position and contain passing tones.Harmonic Outlines in Melodies: The Tonic Triad 59 14 Melodies ‘The following melodies contain outlines of tonic triads in six-four position. Passing tones are included. Allegro 2360 SIGHT SINGING THROUGH MELODIC ANALYSIS Brood a In numbers 25 through 27, make reductions and sing. Quick 25 = ‘continue reduction Ascue meHarmonic Outlines in Melodies: The Tonic Triad Vivace 61 eee NEIGHBOR TONES ‘The neighbor tone differs fundamentally from the passing tone. While the passing tone is found between two structural tones of different pitch, the neighbor tone occurs between structural tones of the same pitch. In example 2.10, the pitches F and A serve as neighbor tones, respectively. Since neighbor tones may be above or below the decorated tone, the terms upper or lower neighbor often refer to these embellishments. Example 2.10 Decorated Tone 1 Lower Nelghbor Upper Nelghbor For further clarification of the function of neighbor tones, compare examples 2.11 and 2.12, In 2.11, the note C gets two beats; in 2.12, it is embellished by its neighbor tone, D. While adding melodic activity, the neighbor tone does not de- stroy the basic feeling of the note C in the final two beats of the measure,62 SIGHT SINGING THROUGH MELODIC ANALYSIS Example 2.11 2 beats Examples 2.13 and 2.14 demonstrate the fundamentally different functions of passing tones and neighbor tones. Example 2.13 ‘Passing Tones, Passing tones provide a heightened sense of direction between structural tones. Example 2.14 Neighbor Tones ‘A neighbor tone produces a stabilizing effect bby returning to the embellished tone. Exercise 5 ‘This exercise contains triad outlines in various positions, Both passing tones and neighbor tones are included. 1Harmonic Outlines in Melodies: The Tonic Triad 63 10 a Exercise 6 ‘This exercise has several series of pitches containing structural tones (har- monic tones) and embellishing tones. Make a reduction on each staff provided be- low. After completing each analysis, sing the pitches.‘SIGHT SINGING THROUGH MELODIC ANALYSIS ContinueHarmonic Outlines in Melodies: The Tonic Triad 65 Melodies The following melodies contain triad outlines in all positions. Both passing tones and neighbor tones are included. The dotted quarter note is introduced, (See chapter 1, rhythmic drills 3 and 4.) Moderato 28 mf66 SIGHT SINGING THROUGH MELODIC ANALYSIS Alegre mel. 30 mf eeeHarmonic Outlines in Melodies: The Tonic Triad Maestoso 34 67 APPOGGIATURAS Although it is beyond the scope of this book to pursue all ramifications of the term appoggiatura, the following characteristics will suffice for analysis of the sight singing melodies: (1) An appoggiatura results from a melodic leap to the neighbor tone either above or below a structural tone, and (2) it usually occurs on an accented pulse and resolves toa structural tone on the last half of the pulse or on the next unaccented pulse. However, for the purpose of scanning melodies for un- derlying harmonic outlines, attention will be focused upon the structural tone to which an appoggiatura resolves rather than upon accent. ‘Structural tones in example 2.15 involve the D major triad. The appoggiatura (the pitch B) results from a leap to the upper neighbor of the note A, the fifth of the D major triad. In singing example 2.15, it may be beneficial to think of the appog- ‘latura as a whole step above the fifth of the D major triad, rather than as the inter- val ofa sixth above the preceding note D. Before singing example 2.16, think of the ‘appoggiatura as a half step above the structural tone B of the G major triad outline.