enaerse_ und. 4/4/08 22129 Page 2 $ pwre_________secrow Unit 1 aM Melody 1A Melodic Dictation: Scalewise (Conjunct Diatonic) Melodies Before beginning the exercise inthis section, sing the following sample melodies. These melodies are transpositions toasingable range of tree exercises inthis section nll ea taining, lear o remember and recognize what you have seen and performed before. ‘Sample Melody 1 Sample Melody 2 Sample Melody 3 [Bach exercise consists ofa short melodic phrase. Listen othe phrase asi i played. Complete the phrase on the stafT in notation. 1. As you listen teach melody the fret time, immediatly try to memorize its sound and melodic shape. 2. Donot ty to write the melody unl you have completely memorized it. You will ear almost nothing by tying to write the melody 10 carly Before you hear the melody a second time, sing as much of it s you can. ‘Asecond or third hearing should provide the pitches you missed. Outside clas, listen as many times as you need inorder to memorize the entire melody. ‘5. Analyze the melody in your mind, identifying the sale degrees and shythmie values of each note. Use solfeggio syllables or numbers a directed by your insroctoe. {6 Only aftr you have memorized the sound ofthe melody and have analyzed the structre of the melody should ‘you atiempt to write anything on paper! 7. Observe that when the melody is memorized, you can slow it down in yout mind sufficiently to write the notes on the staff as you sing (or preferably dink) them. 8. Write the melody onthe staff in musi notation. ae eee Scanned with CamScanner15, 16.(R)* 1.8) 18.(R) a) 20.8) 21.(R) 22. (R) 23.(R) 24.(R) 2 EarTraining Scanned with CamScanner‘ch 0208 Te Ml Cap Ahn mer NAME bare SECTION 25.(R) 26.(R) 27.(R) 28.(R) 29.(R) 30. (R) 1 means recorded Melody 1B Mode Identification: Major and Harmonic Minor Scales 1 Your instructor will play melodies based on major and harmonic minor scales. Before listening to the melodi play major and harmonic minor scales on your instrument or piano until you know their sound well. 2. Sing the same scales until you can sing both major and harmonie minor from any given pitch. 43. Now, listen to the melody once and capture the last pitch in your mind by matching it pitch immediately after it is played. Most of the melodies in this section end on the tonic (first) pitch of the scale. 4, Try to reconstruct the scale by remembering the notes of the melody and forming the scale from your recollec- tons. You may need a couple of hearings before you have all the pitches in your mind. 5. Circle the correct answer (major or minor). 1. MAJOR MINOR 6. MAJOR MINOR 11, MAJOR MINOR 16. MAJOR MINOR 2. MAJOR MINOR 7. MAJOR MINOR 12, MAJOR MINOR 17. MAJOR MINOR 3. MAJOR MINOR 8 MAJOR MINOR 13, MAJOR MINOR 18. MAJOR MINOR 4. MAJOR MINOR 9. MAJOR MINOR 14, MAJOR MINOR 19. MAJOR MINOR 5. MAJOR MINOR 10. MAJOR MINOR 15. MAJOR MINOR 20. MAJOR MINOR Melody 1C Scale Degree Identification: Single Notes First you will hear a C-major scale, followed by one of the pitches of that scale. Write the number (1 to 7) or syllable (do tot) of the one pitch played. 1, Sing the scale (using numbers or syllables) until itis familiar to you. 2. Ifyou have difficulty remembering the pitch of all scale degrees, be sure to remember at last 1 and 5 (do and sol), ‘These two can be used as reference tones—landmarks that will help to locate other scale degrees. Unitt 3 Scanned with CamScanneree ee ee @ oar th singe ich (fer te eal payed ng (THINK) medi ‘Then, relate it to one ofthe reference tones, toni (ist scale step or dominant fifth sale step)—whichever is closest—and sng stepwise to that reference tne, Ee ‘You will know the identity ofthe pitch played by the number of scale steps you sang to gett the reference tone. (6. When you are sure of your answer, write itin the appropriate blank. 1 6 IL, 16. 2 if 12 17. 3. 8 n 18, 4 9 rs ». 5. 10. 15. 20. Melody 1D Intervals: m2, M2, m3, M3 Each exercise consist ofa single interval. 1. You can use your knowledge of the major and harmonie minor scale in recognizing intervals. Think ofthe inter- vals in this section as pitches of a major or harmonic minor sca minor 2nd (m2) = sounds lke the leading tone to tonic (scale degrees 7t0 8 or ti todo) of a major scale Major 2nd (M2) = sounds lke the toni to supertonic (scale degrees 1 10 2oF do to re) in the major scale minor 3rd (m3) = sounds like the tonic to mediant (scale degrees 1 to 3 or lato do) in the minor scale Major3nl (M3) = sounds like the tonic to meant (seale degrees 1 to 3 or do to mi) in the major sale 2. When you have related the sound of an interval to pitches found in the major or harmonic minor scale, then you are ready to write the answer. 3, White the missing note ofthe interval on the staff. 4, Write the name ofthe interval inthe space provided note is the lower of the two: 4 EarTraining Scanned with CamScanneree eee ee ) ! NAME pare ‘SECTION “The given note is the upper ofthe two. 21, 2. Melody 1E Models and Embellishments: Short Melodic Structures 1. Before coming 1 clas, play and sing the melodie stractures in the modes, Your instructor will review those srve- tures atthe beginning of this lesson. ‘2, Your instroctor will play the given musical structure followed by embellishments of that structure. Notice how notes and rhythms are added to the melodie structure. +3, Memorize the sound ofeach melody and repeat its sound in your mind. Write the notes of the melody on the num bered staves below each model. ‘4. Asyou proceed through the lesson the embelishments willbe more elaborate. Keep the strucrae in mind 2s you Tisten to cach embellished melody. Try to hear that structure “through” the embellishments, Model B: Model A: Embellishments: Etelismenn: 1 ‘ih 02h Mai Cr Ah Unitt 5 Scanned with CamScanner(opm 6205 The Meche Compe A eet NAME DATE seoron ‘The given note is the upper ofthe two. ane Fase 2 % 7 BO. 21. Melody 1E Models and Embellishments: Short Melodic Structures 1, Before coming to lass, play and sing the melodic structures in the models. Your instructor will review those strc~ tures atthe beginning of this lesson. 2. Your instructor will play the given musical strcture followed by embellishments of that structure, Notice how notes and rhythms are added to the melodic structure. 3, Memorize the sound of each melody and repeat its sound in your min« ‘ered staves below each model. ments will be more elaborate. Keep the structure in mind as you 4. Asyou proceed through the lesson, the embellis listen to cach embellished melody. Try to hear that structure “through” the embellishments 14. Write the notes ofthe melody on the num- Model A: Mode! B: Embellishments: Embellishments: 1A 1B Unit 1 5 Scanned with CamScannerpena 7S4_aned.cd 4/0/04 22:39 Page 6 eS 108 (One additional example based on these models, See G-F Handel: The Messiah, "And He shall purify." Harmony 1A Chord Function Identification: I and V Triads 1. Make sure you ean hear the bass note of four-voie triads in root positon. Outside of class, play the folowing Utiads and match the pitches ofthe bass notes by singing them in your own voice range, Wee 3. 4 s. 6 2 8 10. Practice singing the roo of chords that you hearin your daly listening. Scanned with CamScannerne See ens ee © NAVE, Dare SECTION 2. In this section, listen tothe four triads in each ofthese exercises. In class, your instructor may wish to combine ‘certain exercises to challenge you with longer chord progressions. All examples ae inthe key of C major. Be sure tokeep the tonic pitch (C) well in mind. 3. Inexamples 1-15, all chords are in root positon. It wil help you to isolate and identify the scale degree (by num- ber of syllables) of each bass note by singing it. These examples use the following chords: Tv 4, Woite the roman numeral analysis inthe blanks for the chords played. Notate each musical example as requested by your instructor. In examples 1-15, the number or syllable used to identify the bass cn be translated to a roman ‘numeral as shown below: Scale Number Syllable ‘Roman Numeral 1 oo 1 or sol v 11.-20.(R) L. pt © Te He Cen Ae er Unitt 7, Scanned with CamScanneren2erst_ond2.gnd 4/8/08 22:29 Page & ais not the lowest note. The ex= ‘Examples 16-25 contain chords in inversion. In inverted chords, the rot of the cho thors in inversions on reise in Harmony 1D will help you to identify inversion. Practice them with tapes or play c ‘eeyboard instrament. The chords in these examples are chosen from the following harmonies: oe Harmony 1B Chords in Music Literature: I and V Triads 1 Bach exercise consists of four examples from music literature, which inclade a variety of harmonic rhythms and ronharmonic tones. 2. Below you see four models (A-D). Your instructor will play each ofthese four models. Listen carefully and try to - Scanned with CamScannerfoo MME es, ‘SECTION jie ONE ees. ‘Write the number (1,3, oF $) ofthe chord factor inthe soprano, 13-24. (R) ie Tae Ma 19, —— 2 ot roe Moos a a = a eo 4 10. 16. Bi s. nL, 1. aa 6 2. 18. 24. Rhythm 1A Rhythmic Dictation: Rhythm Including Half-Beat Values Each exercise consists ofa two-measure melody. Complete the rhythm (only) of each exercise on the lines provided below. 1, Asyou hear the preparatory measure(s), count the meter Ifthe meters, count 1-2-3-4. 2. After the first hearing: Say or clap the rhythm immediately. 3. After the second hearing: Say meter beals and clap rhythm immediately. Ifyou are sure of the rhythm by now, ‘write it on the appropriate line. 4. Ifa third hearing is needed, use ito verify rhythms you have written down or to clear up any misconceptions. If you are working with the audiotape or computer program, listen to the rhythm as many times as you require 10 getthe right answer! Attempt to get the answer in thre tris, though accuracy isthe most important item forthe moment. ‘ty i fey ‘i it-—_+— 9. mn n le oO Te He ru eA Unit! 13. Scanned with CamScannerjencnae 4/9/04 22:33 Page 14 ae 10 1.) \ $-— 4 1 ) 14.18) f +r + i Transcription 1 ‘Mach can be learned by transcribing recorded performances into musical offer three types of exercises: 1 notation, Transcription units in this book 1. Complete wanscriptons of pieces of “classical musi 2. Harmonic function dill using popular and commercial music styles. 3. Harmonic function dis with melodic transcription using popular music styles Inthe first type, you wll write down the notation of ll notes played in a shor piece or excerpt. Inthe Second type, You will write a par like guitarists or pianists use to play chord changes witha performing group. Inthe third type, you will ‘write a “lead sheet” that will contain chord changes and melody fora given selection. ‘Because transcription requires the listener to specify entire compositions on paper, he or she develops a strong bond between written notation and the sounds it represents. During this process, you can develop your own strategies fori tening, recognizing, and notatng these recorded performances. To get you started, here are some general techniques Establish each key in your mind using the appropriate CD track (numbers 49-72). Listen to each musical example several times before you start writing its notation, ‘Conduct along with each selection, establishing the meter and shythmic relationships in ‘Sing or play along with the musical compositions. Interalize the sound of each composition If helpful, use a keyboard or other instrument as you listen to each recording. [If necessary, write each selection by dividing into smal sections, doble checking your work on each section as you proceed. Try to work with increasingly longer sections and learn how the form of the composition can help you transcribe it. 7. Certain musical events in each “guideposts” to aid you in the transcription process. composition are provided for you in the worksheets, Use these mscal Recorded Example 1 in G major [Notate the entre musical selection that is played in this example. 14 Ear Training Scanned with CamScannerpenne754_undd.cped 4/0/04 22:29 Page 35 6 Name DATE SECTION Recorded Example 2: Chord progression using T and V chords in the key of C major. ‘After the two-measure “count off,” measures 1-16 ofthe following example are played. Write the chord symbol ofthe triad used in each measure in spaces above the staff, Write each chord's roman numeral in spaces provided below the ‘staf Sometimes the chord changes atthe bar line and other times the same chord continues into the next bar. pecrded Expl 3: Cord progression using and Vcore Bey f Bh 4 -i6af te following example ae played follovel by atwomessre lof triad(s) used in each measure in spaces above the staff. Write each ‘After the wo-measure “count off” me The staff, Chord changes take place on ither the fist o third beat of symbol “tag” at the end. Write the chord sy! chord’s roman numeral in spaces provided below cach measure. Unit 15 ‘re Te Mn Cane eA Scanned with CamScannerenneTS4_unti.gpd 70/0 22:53 Page 16 A $ 16 EarTraining Scanned with CamScanner