Berhlee Colhge ofMusic Curriculum Worbbo o h Series

EAR TRAINING 3 WORKBOOK

Second Edition

Scott deOgburn Tony Germain Mitch Haupers

Steve Prosser Roberta Radley Dave Vose

O 2006 Berklee College of Music

Chapter 1 Chapter 5
1.1 Rhythm ....... .1 5.1 Rhythm .......54
Conducting; performance; funk 16th note 1218 meler; sixteenth note triplets;
patterns; review of swing eighth note review of changing time signatures
interpretation and triplets
5.2 Melody .......59
1.2 Melody ........8 Phrygian mode
Review of major and minor tonalities;
practice method for sight singing; solfege 5.3 Harmony .. . . .64
Phrygian mode
exercises
1.3 Harmony .....16 Chapter 6
Review of cycle 5 in the major key;
Aeolian mode 6.1 Rhythm .......66
lsolated note patterns; half note triplet;
review of 218 and 3/8 meters
Chapter 2
2.1 Rhythm .......19 6.2 Melody .......71
Review of all modes
218 meleri half and double time tempos;
review of common meters 6.3 Harmony .....77
Melodic and Harmonic Minor
2.2 Melody .......24
Lydian mode
Chapter 7
2.3 Harmony .. ...29
Lydian mode 7.1 Rhythm .......79
9/8 meter, even and uneven groupings
Chapter 3 7.2 Melody .......83
Mixed modality; mixed major modes,
3.1 Rhythm .......31 mixed minor modes
3/8 meter; changing time signatures;
review of 6/8 meter 7.3 Harmony .....89
3.2 Melody .......36 Modal interchange
Mixolydian mode
Harmony Chapter 8
3.3 .....41
Mixolydian mode 8.1 Rhythm .......91
Review
Chapter 4 8.2 Melody .......96
4.1 Rhythm .......43 More on mixed modality;mixed major
with minor modes
Tempo, specific metronome markings;
review of half and double time 8.3 Harmony ....103
42 Melody .......47 Review of modal harmony
Dorian mode
4.3 Harmony .... .52
Dorian mode
The authors wish to thank and acknowledge all members
of the Ear Training 3 Workbook Revisions Committee for
their dedicated commitment and contributions throughout
the editing process of this second edition: Corinne Chase,
Rick DiMuzio, John Funkhouser, Robin Ginenthal, Kaye
Kelly Hardt, Rosey Lee, Brian Lewis, Yumiko Matsuoka,
Berke McKelvey, Lydia Okumura, Phil Person, Jane potter,
Mark Shilans§, BillThompson, August Watters.
 Ear Training 3 Workbook Chapter 1

1.1 Rhythm

Conducting
Conducting is a method of timekeeping commonly used in ear tra¡ning.
Conducting patterns consist of distinct points in which beats are placed. In
this way, there is only one point within the pattern that shows beat one, thus,
One wayto
practice the con- aiding the student in the development of a sense of "place" within the meas-
ducting paaerns ure. Once these patterns are learned and practiced, the student can rely
is alongwith a upon them to maintain flow as changing rhythms and meters become more
recording or
metfonome.
complex in their study.

Basic Patterns
The conducting patterns used in ear training are designed to be simple, effective and inter-
changeable. For example, the pattern used for 214 can also be used for 6/8; conductingin 414
can be used in 1218, etc. As well, we have developed simplified patterns for 514,614, and7l4
that are all based upon the 414 patlern These patterns function regardless of stress divisions
within the measure (i.e., a bar of 514 divided into 3+2 or a bar of 714 divided into 2+3+2).
Most importantly, the student can focus on rhythm and meter rather than the plethora of con-
ducting options that exist in varying schools of thought. (Note: Students will be introduced to
appropriate conducting methods and pedagogy in the required conducting courses later in
the curriculum.)

Conducting is to be performed with the right hand. When practicing conducting patterns, try to
maintain a sense of flow. Do not stop on the beats. lnstead, bounce the hand off of each beat,
while moving toward the next beat with a sense of steady motion. Avoid angular movements,
as these will create a duple feel. Although good for straight eighth-note subdivision, this can
make learning odd divisions of the beat (triplet, quintuplet, and septuplet) difficult in later prac-
tice. Once you've mastered the shape and flow of each pattern try to keep its size relatively
small and off to the right side outside of the direct visual sight line for reading, yet within a
comfortable peripheral
-
visual zone.

The conducting patterns shown on the following pages will be used throughout the entire train-
ing process (levels 1-4). lt is important that you take the time to familíarize yourself with the
patterns and practice them separately until you can perform them accurately without thinking
about them. Make certain that your pattern shows the beat and does not stop motion any-
where in other words, keep the flow between the beats.
-

ET3Chapterl-1
 Let's start with a simple two-beat pattern (ex. 1). The example on the left (1a)
shows the conducting pattern in two, whereas the example on the right (1b)
is a more realistic and flowing version likely to occur in practice. Make cer-
tain that in both patterns the beats are placed accurately within the flow of
the pattern.

.)
ex. la 7+
+

imaginary plane

pattern in two Iooks like this in practice

When practicing, try to place the beats consistently each time throughout the pattern. ln all
patterns, there is an imaginary plane where all beats except the last are placed. Notice the
common plane for the placement of beats 1 and 2 in the 3/4 pattern (ex. 2). While beat 3 is
placed higher than the common plane for beats 1 and 2, it falls on the same descending line
of beat 1 . Also note that the downbeats (1 , 2 and 3) are all arrived at in a downward motion
while the upbeats (+) are all passed in an upward motion.

ex.2a ?f ex.2b

imaginary plane
12
pattern in three looks like this in practice

The pattern for 414 is similar to the three-pattern except that beat 2 is placed to the left of beat
1 (ex. 3). Now, beats 1,2 and 3 are on the imaginary plane and beat 4 is higher than beat 1
but on the same descending line. The 414 meter is perhaps the most popular time signature
and therefore is also notated as "common time" (Q ).

ex.3a fr* e ex.3b

imaginary plane
213
pattern in four looks like this in practice

2 -l!T3 Chapter 1
 T Performance
I It is imperative for the beginning student to learn, feel and internalize steady
P pulse and subdivision as a means to improving sight-reading skills and
If feeling subdi-
expanding one's rhythmic vocabulary. There are a number of practice/
vision internally pedormance methods to help develop this skill. Yet, they all have the same
is difficult, try objective in mind:the externalization of pulse and subdivision as a means
tapping the sub-
of feeling rhythm. We call this "laying down the gridJ'
divisions lighdy
on your chest
with the left The grid is determined by the pulse and its most prevalent subdivision. For
hand while you example, in 414 time where the eighth note is present but not sixteenth notes,
are conducdng.
students need to keep the quarter note constant and feel the beats divided in
two as eighth notes. Whenever more than one subdivision is present, (i.e.,
eighths and silteenths together) students should perform the exercise two
ways feeling both eighth and sixteenth notes against the pulse.
-
Accurately interpreting rhythm notation requires a combination of coordination, pattern recog-
nition and sense of flow. Since we can break rhythm down into three "events" (attack-duration-
release) that occur in time flow, our practice methods should help us to develop an awareness
of these concepts and fluency with their execution. The following practice method, called "tah
and conduct," is the most widely used and has proven quite effective for rhythmic develop-
ment. Other useful practice methods are described in this chapter on page 9.

Pefiormance Method (or

Dah) and Conduct
-Tah
This practice technique relies on the conducting patterns in the right hand for timekeeping.
-The subdivision is internalized and the rhythm itself is performed vocally by saying "tah" (or
"dah") in the appropriate places. The "t" in tah (or "d" in dah) is the attack and the "ah" is used
for duration and release. (Note: For simplicity, this technique will be referred to as "tah and
conduct" in the future, even though "dah" is an option.)Try to release as accurately as you
attack. Precision at an early stage of learning develops a keen sense for reading, performing
and transcribing rhythms in the future.

One common problem is running out of breath when "singing" the rhythms. Make sure you are
inhaling in a "musical" place within the exercise (e.9., in between phrases or measures; nof in
the midst of a rhythmic duration). You may even want to mark the places where you discover
breathing does not disrupt your rhythmic flow during your practice sessions. The common
symbol for a"breath mark" is an apostrophe (') above the staff.

Practice hints: lf you notice yourself dropping or adding beats in a measure, check your con-
ducting pattern and make certain you are not changing it. lf that checks out, perhaps you are
ignoring rests and "skipping ahead" to the next note. Feel the rests and their subdivision as
they pass by in the flow of time. Perform the rests!

ET3Chapterl-3
 1.1 Rhythm

Rhythmic Exercises
T
I
P
Sing the s¡rnco-
pated notes wiü
a slight accent.
Thiswill
counterbalance
the downbeat
pulse causing a
rhytlmic tension
which is part of
the essence of
syncopation.

drummer on a bass drum. The part notated on the third space is the back-
beat and is usually performed on the snare drum. Sing the bass drum part, clap your hands
on the back beats and perform these several times in succession. An additional option is to
add example a or b to the groove. Rhythms like these are often performed by the drummer on
the hi-hat cymbals.

Next, while some of the class is performing the groove, have the remainder perform exercises
5 to 12. The two measure examples are characteristic of guitar or piano comping or horn
parts. Then try exercises 13 and 14 which are 4 bar phrases and finally exercises 1S and 16
which are 8 bar ohrases.

4 -ET3 Chapter I
ET3Chapterl-5
 1.1 Rhythm

-i-

6 - ET3 Chapter 1
Review
Throughout the book, each chapter will conclude with a review of rhythmic topics presented
earlier on. The following examples review swing eighth note interpretation and triplets.

Swing

r- 3-------.t t- 3 --t t-3-t

18. --3----'-'--
-3------

¡- 3-----------.t ¡_ 3_t r- 3__________ ¡_ 3__________

¡-3---'t ¡-3- ¡- 3--------- ¡- 3-t

-3-t

¡- 3----------.t ¡-3_________ ¡-3_t __3___ ¡- 3--t ¡- 3-- r- 3¡

ET3Chapterl-7
 1.2 Melody

ln Chapter 1 we will begin with a review of the materials from Ear Training 1 and 2: major and
minor melodies.

Sol-fa Exercises

1. Major

Do Re Mi Sol Fa Mi Re / Mi Fa Mi Re Do Ti Do / Sot La Ti La
Sol LaFa/Mi DoTi ReMi FaSot lLaFaMi ReTi Do/ReFa
Mi Sol La Fa Mi / La Ti Sol Mi Fa Sot Mi Do Re La Fa Mi Re /
Do Mi Sol Ti Do Re Ti Sol La Fa Sol La Sol / Mi Re La Sol Mi Ti La I
Sol Re Fa Mi Ti Re Do

Natural Minor
Do Re Me Fa Sol Le Sol / Le Sol Fa Me Re Fa Sol / Le Te Sol Fa

Le Sol Fa / Me Re Do Te Do Me Do / Re Fa Le Sol Me Fa Sol /

Te Le Fa Le Sol Me Re / Do Me Sol Te Le Fa Sol /
Fa Me Do Te Re Te Do

3. Melodic Minor

sol La Ti Do sol Fa Me / Fa sol La Sol Do Ti La sol / Me Re Fa Me Re

Do Ti Re Do / Fa sol La Ti sol Fa Me / sol La Ti Do sor Me Re /
Do Me Sol Ti Do Re Me I Re Do Ti Do La Sol Me Do

4. Harmonic Minor

Do Re Me sol Le Ti Le / sol Fa Me Re Do Ti Do / Me Fa sor Le

Ti Le Sol / Fa Me Re Me Do Sol / Fa Sol Le Fa Sol Le Ti Le Sol Fa
Me Fa Le Sol Re / Do Ti Do Me Sol Le Sol Ti / Do Le Sol Fa Me Re Do

8 - ET3 Chapter I
Practice Method for Sightsinging
The following outline is a suggested practice method for learning to hear and sing a new
melody using movable-Do solfege. Please note that the order of steps (shown below) is the
generally accepted approach for the beginning student. After some time has been spent prac-
ticing this approach and a reasonably comfortable level of facility with it is attained, the student
is encouraged to choose only those steps that are best suited to accomplish small tasks
and/or solve procedural problems as they arise.

Do not play the melody before singing it!

Do not write the solfege in the book!
Practice slowly! or without a metronome.

1. Rhythm: Practice just the rhythm with lah (or Dah) and Conduct.
2. Dry Solfege (Out of Time): ldentify each new note in the melody by saying its corresponding
solfege syllable without pitch. lf solfege recognition is not immediate, try saying each new
syllable with every beat of the metronome as a practice method for improving this skill.
3. Dry Solfege (ln Time):While conducting, practice saying the syllables in their notated
rhythm yet slill withouf pitch.
4.
-
Melodic contour singing: Sing each pitch of the melody with solfege (in order while skipping
repeated notes), bul out-of-time.
5. Sing the Melod¡r:. Put all of the elements together solfege, rhythm, pitch, in time while
conducting.
-
Problem solving techniques: Practice the problem areas out-of-time by:

1. Singing additional unnotated target pitches with solfege to help you hear the notated
pitches (i.e., to hear the interval do to mi, sing do, re, mi);
lnner hear (imagine singing the pitch without actually singing aloud) additional unnotated
target pitches with solfege to help you hear the notated pitches (i.e., to hear the interval do
to sol, sing do, inner hear re, mi, fa and then sing sol);
Use octave displacement as a means to hear larger intervals thát may occur in a melody
(i.e., to hear a minor seventh interval from do down to re, first sing or inner hear the high do
moving up to re. Then sing the re one octave lower). This technique will make singing and
hearing larger intervals much easier.
4. (Especially for sight reading): Look over the melodic contour for melodic and rhythmic
patterns which repeat, pitches which outline triads and 7th chords, inversions, and
accidentals/non-diatonic pitches.

Practice material enough to peÉorm accurately, in time, in tune, and with correct solfege. You
can practice and pedorm melody and rhythm at any tempo you wish, as long as you can per-
form it accurately and without interrupting the time flow. When sight-singing, do not stop time
to "fit''errors or comment on your own performance (i.e., expletives, facial gestures, groans,
etc.).. .maintain the flow!

ET3Chapterl-9
1.2 Melody

T Solfege Exercises
I The solfege exercises included in this first chapter contribute to fluency with
P the movable-Do system. lt is recommended initially to learn and memorize
Practice these the syllables in a "dry" fashion (without pitch) before trying to hear the
patterns in
sequences.Apply these patterns to each new mode or scale. Also, trans-
boü major and
minor kgn.
pose the patterns into different keys for reading practice.

As you master the challenges offered with each exercise, your skill level with pitch/solfege
recognition, articulation of the solfege syllables, functional relationships between "do" and
other pitches, and familiarity with common structures such as tetrachords, triads and seventh
chords will increase.

10 - ET3 Chapter 1
ET3 Chapter 1- l1
1.2 Melody

Melodic Exercises

rnf

12 -ET3 Chapter 1
Also sing in A melodic minor.

5.

(2ndtime)
-D,C, al cod¿
(no repeats)

A7 sus4

Samba

D.C. al coda

ET3Chapterl-13
12 Melody

D.C. alfne

Also sing in E melodic minor.

D.C. alfine

14 -ET3 Chapter I
Also sing in C natural minor.

lasttimemolto rit. ----- r

\y \7

ET3Chapterl-15
1.3 Harmony

Review of diatonic cycle 5 in a major key

lntroduction of Aeolian
ln Book 2, we explored all of the diatonic triads and seventh chords within a major tonality.
The emphasis has been on hearing individual root position structures as well as diatonic
progressions where the root is clearly represented in the bass voice.

In this book, we will work with typical diatonic progressions found in the following modes:
Aeolian, Lydian, Mixolydian, Dorian, Phrygian, Melodic Minor and Harmonic Minor. Modal
interchange will be introduced in the final chapters. Again, progressions where the root is
clearly stated in the bass voice will be emphasized.

As a review, let's revisit the following cycle 5 progression which will bring us through all the
diatonic seventh chords in the major key.

r First establish the sound of the tonality by singing the major scale, then sing "do, mi, sol" to
represent the I major triad.

I Sing up and down the root position arpeggios for each chord in this cycle-S progression.

I Then sing the root motion line, as well as the upper three chord tone lines which are voice
lead. A brief explanation of voice leading follows.

lmajT lVmajT vil-7bs ilr-7 vl-7 il-7 V7sus4 v7 lmaiT

ti do re re do do do ti ti
sol la la ti sol la fa Ía sol
fa sol mi fa re re mi
do fa ti mi la re sol sol do (Root motion)

Voice leading through a chord progression

Voice leading is a linear (melodic) approach to learning how to sing and hear your way
through a chord progression. This involves moving from one chord tone to the next with the
smallest degree of movement. Using this voice leading approach is often easier to sing
because of the common tones and stepwise motion that result.

16 -ET3 Chapter 1
Aeolian
The following progressions define the Aeolian mode. Note that the "tension" chords (those
chords suggesting a need for resolution) contain the mode's characteristic pitch "1e."

Sof-fa Progressions
r First establish the sound of the Aeolian mode by singing the scale, then
sing "do, me, sol" to represent the I minor triad.

r Sing root position arpeggios through the progression. Singing both up and
down the chord structures ensures a clear linkage of the root motion. For
example, with the first progression, sing:"do, me sol, me, do;fa, le, do, le,
fa; sol, te, re, te, sol; do, me, sol, me, do."

I Apply the voice leading technique by singing horizontally through the pro-
gression. Remember to support these lines with root motion in the bass
for a clear presentation of the chord sound.

1. t- tv- v- t-
sol le sol sol
me fa re me
do do te do
do fa sol do (Root motion)

2. r- bvr v- t-
sol le sol sol
me me re me
do do te do
do le sol do (Root motion)

3. !- tv-7 bvtz r-
sol le le sol
me me re me
do do te do
do fa te do (Root motion)

4. l-7 bvtmai7 bvlt l-7

te do te te
sol sol le sol
me me re me
do le te do (Root motion)

ET3Chapterl-17
1.3 Harmony

MelodylHarmony Examples
The following examples are designed to show the relationship between melody and harmony.
Notice how most melody notes are chord tones. Practice singing the melody along with the
root motion for each example using solfege syllables. The singing may or may not be accom-
panied by playing the chords.

CMajT F}i4qT E-7 A-7 FMü7|G CMqT E-7 D-7

sbNr."it nbtvt^¡t x-tb5 D-7 G-7 sbtta¡t

18 - ET3 Chapter 1
Ear Training 3 Workbook Chapter 2

Chapter 2 introduces the § meter. The § time signature is most often con-
ducted in "one" but at times it is also conducted in "two." Conduct the follow-
ing exercises using both the one beat and two beat conducting patterns.
Exercises 7 through 10 introduce half time and double time.

Conducting pattern in "1" +

imaginary plane
\\
1
l]
pattern in one looks like this in practice

Conducting pattern in "2"

imaginary plane

two looks like this in practice

2 l\
8.1 ' ¿=,) ))))
- - ll

6Dt
2t
4¿ nn ) )

The above example shows the notational relationship between § and 3.*" choose one
meter or the other depending on ease of reading or stylistic requirements.

ET3Chapter2-19
2.1 Rhythm

Rhythmic Exercises

-J-
-J-

mf
20 - ET3 Chapter 2
 nw

mf

The following four exercises include tempo changes that relate to each other in a half time or
double time relationship.

Half time means the tempo halves itself; double time, means the tempo doubles itself. These
tempo changes are indicated with metronome markings, as in exercise 7, or with note value
changes, as in exercise 9. For accuracy, start with the metronome set to the fastest tempo
marking, i.e., in exercise 7, start with the quarter note at 120 beats per minute. When the
tempo changes to 60, the metronome will represent eighth notes, rather than quarter notes.

)=po J=eo

)=oo J=eo

)=e+ )=ot

)= e+ )= Ds

ET3 Chryter 2 -21

2.1 Rhythm

)=7s

--3----
>>>A

)=vo
Lead rhythm J= eo

Drum set
)= oo

J=eo

22 - ET3 Chapter 2
Review
Exercises 1 1-13 review common meters that were introduced in the Ear Training 1 and 2
books. Special attention is paid to the triplet figure. As always, conduct and perform the
dynamics and articulations with detail and accuracy.

-J- -j-

rnf

ET3Chapter2-23
 2.2 Melody

In chapter 2 we introduce the mode/scale called Lydian. This mode has but one difference
from the major scale - a raised 4th degree or "Fi" as it is called. Let's compare the two major
modes/scales:

lonian (Major): Do Re Mi t--, sot La ri Do

Lydian: Do
tt I sol La Ti
Re Mi lr¡ Do

Sol-fa Exercises

1. Do Re Mi Fi Sol La Ti Do / Do Ti La Sol Fi Mi Re Do

2. Do Re Mi Fi Sol Fi Mi Re Do / Ti Do Mi Fi Sol La Sol Fi La Sot /

La Sol Fi Mi Sol Fi Re Do Ti / Do Re Fi Sol Mi Ti Re Fi Sol Mi Re /
Do Re Fi Sol La Ti Sol Do

3. Sol Fi M¡ Re Do Ti Do Fi/ Sol La Ti Do Sol Fi Sol Mi /

Re Fi Mi Do Ti Re Fi Sol / Mi Do Re Fi Sol Mi Do i
Ti Re Do Fi Sol Fi Re Ti Do

Do Ti Do Re Fi La Do Re Ti / Do La Fi Sot Mi Fi Sot Mi Re /
Fi Mi Do Ti La Do Fi La Do / Re La Do Re Fi La Fi Sot Mi /
Ti Re Do Fi Sol Do Fi Ti Do

24 -ET3 Chapter 2
 Melodic Exercises

Warm up

1.

Medium swing

"Two" feel, ).= 72

-,¡Í,lry

Eil3Chrpter2-25
2.2 Melody

)= u+

Fast swing

Medium shufile

26 -ET3 Chapter 2
ttOnet'feel

1.

Swing

ET3Chapter2-27
 2.2 Melody

Etude
Samba feel
Db Eb

12.

D.C. alfine

Lydian Chorale

Slowly

13.
a) t t/l ? l'11 t Ir I tt1
) J.l -l) l. l'l -l -,|l .¡ J )').1

rit.-

) JJ

28 -ET3 Chapter 2
2.3 Harmony

Lydian
In this chapter we will study progressions diatonic within the Lydian mode. Note that "fi" is the
characteristic pitch in the Lydian scale.

Sol-fa Progressions
I Establish the sound of the tonality by singing the Lydian scale, then sing "do, mi, sol" to
represent the I major triad.

r ln addition to singing root position arpeggios, try singing up one chord, then down the fol-
lowing chord, producing a melodic linkage throughout the progression. For example, with
the first progression, sing:"do, mi, sol; la, fi, re; do, mi, sol;fi, re, ti; do, mi, sol."

r Sing the voice lead lines across the progressions for a melodic approach.

1. I il I Vil- I
sol la sol fi sol
mi fi mi re mi
do re do ti do
do re do ti do (Root motion)

2. I 17 I
sol la sol
mi fi mi
do do do
do re do (Root motion)

3. lmq7 VmajT lmajT

ti ti ti
sol fi sol
mi re mi
do sol do (Root motion)

4. lmaiT vil-7 lma¡7

ti la t¡
sol fi sol
mi re mi
do ti do (Root motion)

ET3 Chapter 2 -29

2.3 Harmony

Melody/Harmony Examples
The following examples are designed to show the relationship between melody and harmony.
The chord progressions draw from the sof-fa progressions from the previous page. Most
melody notes represent chord tones or featured diatonic tensions. Practice singing the melody
along with the root motion for each example using solfege syllables. The singing may or may
not be accompanied by playing the chords.

CMajT D7 CMqT D7 CMqT cM4TGtt) a

GMajT DM$7 GMajT A7 GMqT Fil-7 GMaj79) %

30 -ET3 Chapter 2
 Ear Training 3 Workbook Chapter 3

3.1 Rhythm
ffre § time signature is introduced in Chapter 3. The following §exercises should be
conducted in three and in one. Changing time signatures are also featured in exercises
9 through 12.

gJ-rl - -
))))))
-

il) J ) ,r]J1 J) ) ) ll

The above example shows the notational relationship between § anO 2.*" choose one
meter or the other depending on ease of reading or stylistic requirements.

Rhythmic Exercises

ET3Chapter3-31
 f
Changing time signatures require concentration on beat placement in the measures and on
accuracy of the conducting pattern.

)=ze

mf
3
-3-

-3-

ET3Cheptet3-33
 f
Changing time signatures require concentration on beat placement in the measures and on
accuracy of the conducting pattern.

)=ze

rnf
" -3-

-3-

ET3Chapter3-33
3.1 Rhythm

.l=ss

¡-3----------.t ¡-3-_ 3
-3-

r-3-

Review
The following rhythm is constructed around the Afro-Cuban 6/8 bell pattern which appears
on the third line of the score. The bell pattern can be used as a reference of the pulse.
Orchestrate the piece with a variety of sounds to make the piece sound musical.

).= ge X

cnf

34 - ET3 Chapter 3
 D,S, al cod¿

rnf

^fffi
ET3Chrpter3-35
 3.2 Melody

ln this chapter, the Mixolydian mode/scale is introduced. Note that

Mixolydian compares closely to lonian.

lonian (Major): Do Re Mi Fa Sol La Do

Mixolydian: Do Re Mi Fa Sol La Do

Mixolydian uses a lowered 7th degree (Te). We previously studied this Sol-fa
function (Te) in the Natural Minor scale from Book 2.

Sol-fa Exercises

1. Do Re Mi Fa Sol La Te Do / Do Te La Sol Fa Mi Re Do

2. Do Re Do Te Do Re Mi Fa Sol I LaTe Do Re Do Te La Te Do /
La Sol La Te Do Re Te Do Te / Sol La Te Sol Mi Re Do

3. Do Mi Fa Sol La Te Sol Mi / Fa Sol Mi Do Te Do Sol La Fa I

Sol Te La Te Do Sol Mi Re Fa / Mi Do Te Re Te Do Mi Re Te Do

4. Mi Do Te Do Mi Fa Sol Do Te Sol / La Te La Sol Mi Fa Sol Mi Do Te /

Do Te Re Do Sol Te Do Mi Do Sol I La Te Sol Mi Te Re Do Fa Mi Te /
Do Mi La Te Sol Te Re Do Sol Te / Sol Mi Te Do Mi Te Do Sol Te Do

36 - ET3 Chapter 3
Melodic Exercises

J.= eo

Swing
4

rnf

ET3Chapter3-37
3.2 Melody

Slowl¡ straight l6ths

Jazzwaltz

38 - ET3 Chapter 3
Funk, J = rro

f D.C. alfine

-J- -3- -3-

FiÍ3Chaptet3-39
3.2 Melody

Etude

13.

-,nyp

f ?

Mixolydian Chorale with solos

Students take turns: improvise over the vamp.

40 -ET3 Chapter 3
 v
Mixolydian
ln this chapter we will explore progressions diatonic within the Mixolydian
mode. Note that "te" is the characteristic pitch in Mixolydian and is present in
all of the following examples.

More on Voice Leading

Compromises are sometimes necessary with voice leading. ln order for the
entire chord structure to move smoothly to the next, at times the individua!
lines do not adhere to strict common tone or tendency tone resolutions.

For example, with seventh chords, if you are limited to three upper voices, the root of the
chord might be eliminated, it being stated in the bass voice. (See examples 3 and 4 below).

Sol-fa Progressions
I Establish the sound of the tonality by singing the Mixolydian scale, then sing "do, mi, sol"
to represent the I major triad.

I Continue to work with root position arpeggios. And as mentioned in the previous chapter,
also sing up, then down the chord structures in an alternating pattern.

I Sing the voice lead lines across the progressions for a melodic approach.

1. r hur I
sol fa sol
mi re mi
do te do
do te do (Root motion)

2. I bvlt IV I
sol te la sol
mi fa fa mi
do re do do
do te fa do (Root motion)

3. I V-7 I
sol te sol
mi ta mi
do re do
do sol do (Root motion)

ET3Chqter3-4I
3.3 Harmony

4. I hV¡lma¡7 v-7 I
sol la te sol
mi fa la m¡
do re re do
do te sol do (Root motion)

MelodylHarmony Examples
The following examples are designed to show the relationship between melody and harmony.
The chord progressions draw from the sof-fa progressions from the previous page. Most
melody notes represent chord tones or featured diatonic tensions. Practice singing the melody
along with the root motion for each example using solfege syllables. The singing may or may
not be accompanied by playing the chords.

ltbtvtait(sD c-t

42 -ET3 Chapter 3
 Ear Training 3 Workbook Chapter 4

4.1 Rhythm

T Performing a wide range of tempos is a necessity for acquiring a high skill

I level. The exerc¡ses in this chapter have specific tempos assigned to them.
P Practice with a metronome.
Vlhether the
tempo is very Exercises 2,6,8 and I use fermatas. A fermata, or "hold," t A I indicates
fast or very slow, the prolonging of a sound or silence. A caesura // ),
( which indicates a
the music should
slight pause or "breaK' in the music, is also introduced in exercise 8.
sor¡nd nanrral
for the setting.
ln other words, Tempo fluctuations are included in this chapter. An accelerando is used to
it should never increase the tempo between two designated tempo markings.The ritardando
sound like you
is used to slow down the tempo. ln class, follow the teacher as he/she con-
are struggling.
ducts the exercises.

Rhythmic Exercises

)=tu

ET3Chapter4-43
4.1 Rhythm

J=eo

J=reo

)=ee

rnf

44 -ET3 Chapter 4
 )=ve

The concept of the tempo changes is the first priority. Attaining the precise tempo is a goal to
strive for.

l=90
acceL

rnf
.l = reO

rit.-- -. aPrimoternPo

J=rso rtt.

-j-

J=roo

cresc. - f

ET3Chapter4-45
 4.1 Rhythm

)=ve ntobo rit, - -.

onf
a tern?o

rnf

-?
p onf

-j-

Review
Exercise 9 reviews the concept of half and double time. You can conduct both tempos in 4, or
choose to conduct the faster tempo in 2, as in cut time.

J=68
.f=J

)=J

J=.¡

46 -ET3 Chapter 4
4.2 Melody

ln Book 2 we studied the Natural Minor scale/Aeolian mode. In the next two chapters we will
study two other minor-quality modes: Dorian and Phrygian. We'll focus on Dorian in this
chapter.

Aeolian (Natural minor): Do Re Me Fa Sot It¡ re Do

Dorian: Do Re Me Fa Sol |_La_l Te Do

Notice that Le is raised to La in the Dorian Mode. Thus La is the characteristic note in Dorian.

Sol-fa Exercises

1. Do Re Me Fa Sol La Te Do / Do Te La Sol Fa Me Re Do

2. Do Re Me Fa Sol La Sol La Te / Do Te La Sol Me Re Me Do Te /

La Te Do Re Me Re Do Te La Sol / Do Me Fa Sol La Te La Sol La le I
La Sol Me Do Te La Do La Te Do

3. Me Do La Te Do Me Do La Sol / Me Do La Te Do Re Me Do La Do /
Sol Me Do La Do Sol Me Do Re / Sol Me Do La Te Do Sol Fa Re /
Te La Re Do Me Te Do

4. Do Te La Sol La Te Sol La Fa / Me Re Fa Me Te Do La Te Sol /

Do Te Sol La Me Do Re Te Me / Re Me Do La Me Fa Re Me Sol i
La Te Me Fa La Te Do Me La I Te Sol Me Re La Te Do

ET3Chapter4-47
4.2 Melody

Melodic Exercises
Which of the two melodies below is in C Dorian?

Warm up

Bossa nova

48 -ET3 Chapter 4
 p

Jazzwala, ) = rc+

Medium swing

ET3 Chapter 4-49

4.1 Rhythm

J.= 60
11.

? Qst time)
(2ndtime)
f

50 - ET3 Chapter 4
 Etude

enf

D.S. al cod¿

Dorian Chorale
Slowly

13.
)
t I
(
c t- I r' I
) ). I ) ) I t

ET3Chrpter4-51
 4.3 Harmony

Dorian
ln this chapter we will work with progressions diatonic to the Dorian mode. "La" is the charac-
teristic note within the Dorian scale.

More on Voice Leading

lf you are límited to only three voices, the following practice is common:the bottom voice will
remain the root motion, with the upper two voices representing the 3rd and 7th of the chord.
These two tones are often referred to as the "guide tones" because they represent the most
essential color of the chord sound. Below is an example of this practice with the cycle 5 pro-
gression shown earlier in chapter one.

lmajT lVmajT vil-7hs //,t-7 vt-7 il-7 V7sus4 v7 lma¡7

ti la la sol sol fa fa fa mi
mi mi re re do do do ti ti
do fa ti mi la re sol sol do (Root motion)
Sol-fa Progressions
r Sing the Dorian scale to establish the tonality, then sing "do, me, sol" to represent the
I minor triad.

I Continue to work with both root position and alternating pattern arpeggios for the
progressions shown below.

r Apply voice leading to the following progressions for a melodic approach. ln examples 24,
notice the bolded guide tone lines.

1. t- tv t- v- t-
sol la sol sol sol
me fa me re me
do do do te do
do fa do sol do (Root motion)

2. t-7 lt-7 l-7

te do te
sol la sol
me Ía me
do re do (Root motion)

52 -ET3 Chapter 4
3. l-7 lv7 l-7
te la te
me me me
do do do
do fa do (Root motion)

4. t-7 bVllma¡7 t-7

te la te
sol Ía sol
me re me
do te do (Root motion)

Me odylH a r m o ny Exa m p les

I

The following examples are designed to show the relationship between

melody and harmony. The chord progressions draw from the sof-fa progres-
sions from the previous page. Most melody notes represent chord tones or
featured diatonic tensions. ln addition, examples 2 and 3 have harmony lines
which are embellished guide tone lines. Practice singing all three lines using
solfege syllables. The singing may or may not be accompanied by playing
the chords.

G-7 G-7

A-7 GMajT A-7 GMajtQ) n-t B-7Qr) ctr¿"jz e-

ET3Chapter4-53
 EarTraining 3 Workbook Chapter 5

5.1 Rhythm

e with the inclusion of 16th note

ur groups of three eighth notes and
cting pattern.

This chapter also introduces the sixteenth note triplet. The sixteenth note
triplet has three sixteenth notes placed within the time span of two sixteenth
notes.

Rhythmic Exercises

54 -ET3 Chapter 5
ET3Chapter5-55
5.1 Rhythm

Exercise 4 displays he eighth note duplet rhythm is the same as two dotted
eighth notes:

56 -ET3 Chapter 5
Exercise 8 is an African groove. The variety of implied pitches is symbolic of the high and low
tones produced when playing on various African percussion instruments. Choose a variety of
interesting sounds to get the most out of this exercise.

Repeat until cue

ET3Chapter5-57
5.1 Rhythm

Review
Exercises 9 and 10 review changing time signatures.

-- tr

? ntf

58 - ET3 Chapter 5
5.2 Melody
We will study another minor quality mode in this chapter Phrygian. Note the close compari-
-
son to Aeolian (Natural Minor). The second scale degree, Re, is lowered to become Ra. Ra is
the characteristic sound of Phrygian.

Compare the two minor modes:

Aeolian (Natural Minor): Do t*l Me Fa sot Le Te Do

Phrygian: Do
|na_l Me Fa sot Le Te Do

Sol-fa Exercises

1. Do Ra Me Fa Sol Le Te Do / Do Te Le Sol Fa Me Ra Do

2. Do Ra Me Fa Sol Le Sol / Fa Me Ra Te Do Ra Do / Do Ra Me

Sol Le Te Sol Fa Me Ra Do I Ra Fa Le Sol Me Fa Sol /

Ra Fa Le Sol Me Ra Do / Me Fa Sol Me Ra Fa Le I
Sol Me Ra Do Te Ra Me Ra Do / Ra Me Fa Sol Le Sol Te Le

Sol Me Fa Ra Do

3. Do Me Sol Te Do Le Fa Ra / Do Ra Fa Le Ra Do Te Sol Do I
Me Sol Te Do Ra Le Fa Le Sol / Ra Do Me Sol Do Le Fa Ra Do /
Te Do Ra Do Te Me Ra Do

4. Do Ra Do Te Me Do Ra Me Ra Do / Me Ra Do Te Ra Do Ra Me /
Fa Sol Le Sol Le Te Do Ra Do Te Do i Do Ra Te Ra Do Te Le Sol Le /
Sol Fa Me Fa Me Ra Te Do Te Ra Do Ra Te Do

ET3Chapter5-59
 5.2 Melody

Melodic Exercises

-W

"One" fe.l, ).= 4l+

60 - ET3 Chapter 5
)=rc+

).= sz

Bb A_ A-

f-D-3

Jazzwala

ET3Chapter5-61
5.2

10.

11.

*ff
-
-
--

62 -ET3 Chapter 5
Phrygian Chorale
Take turns improvising on this progression; use the Bh Phrygian mode.

Eif3Chapter5-63
5.3 Harmony
Phrygian
In this chapter we will study progressions diatonic within the Phrygian mode. "Ra" is the
characteristic note in the Phrygian scale.

Sol-fa Progressions
r Sing the Phrygian scale to establish the tonality, then sing "do, me, sol" to represent the
I minor triad.

I Continue to arpeggiate the chords, both in root positíon and alternating patterns.

I Voice lead through the following progressions. lt is most rewarding to sing your line in
ensemble with others for a full realization of the harmony.

1. t- br bu hr r-
sol le te le sol
me fa sol fa me
do ra me ra do
do ra me ra do (Root motion)

2. l- tv- bvll- t-
sol le te sol
me fa fa me
do do ra do
do fa te do (Root motion)

ln the exercises below, indicate which lines represent the guide tones of the chords.

3. l-7 hllmajz l-7

te do te
sol le sol
me fa me
do ra do (Root motion)

4. l-7 bvl-z l-7

te le te
sol fa sol
me ra me
do te do (Root motion)

64-ET3 Chapter 5
 MelodylHarmony Examples
The following examples are designed to show the relationship between
melody and harmony. The chord progressions draw from the sof-fa progres-
sions from the previous page.Most melody notes represent chord tones or
featured diatonic tensions. Practice singing the melody along with the root
motion for each example using solfege syllables. The singing may or may
not be accompanied by playing the chords.

sb-t obvt"¡t q-71t) DbtttET{#tt) Bb-7 c-7

cbt',tt1l Eb-7 F-7 Bl-70r) cbtvttlt9 p-70r)y

D-7 c-7 D-7 vbt'ttt1z r Eh D-7 nbtvt4T9l p-71t)

ET3Chapter5-65
 Ear Training 3 Workbook Chapter 6

6.1 Rhythm

The rhythms in this chapter display many isolated attacks. Sporadic notes or
patterns are challenging so pay careful attention to the rest values.

Half note triplets are introduced in this chapter. Subdivide the beats with
eighth note triplets and accent every fourth note. These accents represent
the attacks of the half note triplets.

tJ__t t_tJ tJ_t afJ

I I I ltl
¡-- 3-----l ¡-- 3-_1

rtt-
3
Aoo

Rhythmic Exercises

-3---

-3-t

66 -ET3 Chapter 6
 -3- -3- -3- -3- -3- -3-
-3-

-3- -3- -3-

-3- -3-

¡- 3-t ¡- j----

-3-t

r- j--'-t t- 3-l
-3-r
-3-t

¡- 3---------.t

-3-t

_3__1 ¡_3_-_1 ¡- 3---------------

-- 3-------------1

ET3Chapter6-67
6.1 Rhythm

13-
-3-
8.

-j- -j-
-3-
-J-

¡-3---- ¡-3-t ¡- 3---- ¡- 3--------

-3--.t

¡- 3-t ¡- 3-- ¡-3-- ¡-3---- ¡-3---

-3- -3-t

-3-t
-3-t -3-t -3-t

-3- -3- -3- -3--3-

10. -3-

-3- -3- -3-

-3-

-3--3-
-3- -3-

-3- -3- -3-

-3-
-3-

-3- -3-
-3- -3-
-3-

68 -ET3 Chapter 6
Trio

J=ss
Rhythm 1

-j- -j-

-3--3-

-J-

-J-

ET3Chapter6-69
6.1 Rhythm

Review
The following examples shift between fi anO § . fh" eighth note remains constant. ln order to
clearly distinguish the two meters, conáuct two, in tfrree.
§Tn §

¡-3------ 1r j-r
12.

?f

13.

70 -ET3 Chapter 6
 -!

6.2 Melody

In Chapter 6 we will review the four modes studied so far.

Sol-fa Exercises: Modal Review

1. Lydian

Do La Sol Fi Mi Re Do Mi F¡ Sol Fi Mi / Fi La Sot Ti

Do Re Do Ti Sol Fi Mi Re Do / Re Fi Sol La Fi Sol La

Sol Fi Sol Mi Fi Sol / Ti Sol Fi La Ti La Sot La Do Re

Fi Sol Do / Fi Mi Re Mi Do Fi Mi Sol Do Ti La Sot Fi

Sol Do / Ti Fí Mi Sol Fi Re Mi Ti Do

2. Mixolydian

DoMi ReDoTeReDoMi FaSol /Mi DoReTeReMi DoTeDo/

Re Fa La Sol Mi La Sol Mi Do Re / Do Te Re Do Mi Do Te Re Fa
Mi Do / Sol Te Sol Fa Te La Sol Mi Fa Sol La I Te Sol Fa Mi Do Te
Re Mi Do / Re Fa La Do Te La Do Mi Re Do

3. Dorian

Do Me Do sol La Te Re Do Te La sol / Fa Me Fa La sor Me Re Te Do /

Re Fa La sol Me Re Do Fa sol La Te Do / La sol re Do Re Te Do /
sol Fa La Re Me Fa sol La Te sol I La Te Re Do Te La sor Re Te

Me Do / La Me Fa Te Sol Re La Te Do

4. Phrygian

Do Ra Fa Me sol re Le sol / Do sol Fa Ra Do Ra Do / Ra Me Fa Le

sol Do / sol Le sol Me Ra sol Do / sol Fa Ra Me Do Te Me Ra sol Fa
Ra Te Do / sol Le Ra Do sol Do Te Ra Le sol / Fa Ra Fa Te Le Do /
Sol Ra Te Do Me Fa Te Do

ET3 Chapter 6 -71

6.2 Melody

Melodic Exercises
Jazzwaltz

)=no

72 - ET3 Chapter 6
 FEbBbF

Medium, with a lilt

D.C. alfine

f ?
ET3 Chapter 6 -73
 Melody

).= ee

)=yz

ttTwo" feel

74 - ET3 Chapter 6
 J= 116

Meüum swing

rnf

mf

Slow Latin -mlP

Eb D_ D_ C_ D_
12.

ry
Bb D_

ry fj
C_ Eh D_
t>
-
gp
ry pp
C- G_ F7 Eb C_ D-
D.C. alfine
?>

ET3 Chapter 6 -75

-
 6.2 Melody

Chorale
This is the same Chorale from Chapter 1. Now, sing it in all four modes: Lydian, Mixolydian,
Dorian and Phrygian.

rr?r ? r,
13.
d rl r I
r rr.'t Ir I
I

I -l ) tr I ú rl))

lasttimemolto rit -----r

D.C. alfine
AA
(
c €>
I l- t 't r-T-t I r ir
). I l.JJ. a J) I r ttt

\y

76 -ET3 Chapter 6
6.3 Harmony
Melodic and Harmonic Minor
ln this chapter, both Melodic and Harmonic Minor tonalities will be explored. Note the different
harmonic results due to the variation of the sixth degree of the scales.

Sol-fa Progressions
r Sing the minor scale to establish the tonali§, then sing "do, me, sol" to represent the
I minor triad.

r Arpeggiate the chords throughout the progressions to emphasize the vertical approach.

I Voice lead through the progressions to highlight the melodic approach.

Melodic minor: contains "la and ti" combination

1. l- tv v t-
sol la sol sol
me fa re me
do do ti do
do fa sol do (Root motion)

2. l-6 ll-7 v7 l-mai7

la la ti ti
me fa fa me
do do re do
do re sol do (Root motion)

Harmonic minor: contains "le and ti" combination

3. l- tv- v7 t-
sol le sol sol
me la fa me
do do ti do
do fa sol do (Root motion)

4. r- hvr v7 t-
sol le sol sol
me me fa me
do do ti do
do le sol do (Root motion)

ET3 Chapter 6 -77

6.3 Harmony

5. l- il-7b5 VTbe t-
sol le le sol
me fa fa me
do do ti do
do re sol do (Root motion)

M e I ody/H a rm ony Exa m p les

The following examples are designed to show the relationship between melody and harmony.
The chord progressions draw from the sof-fa progressions from the previous page. Most
melody notes represent chord tones or featured diatonic tensions. ln addition, examples 2 and
4 have harmony lines which are embellished guide tone lines. Practice singing all three lines
using solfege syllables. The singing may or may not be accompanied by playing the chords.

p7(e) p7Í3) g-7(t1)

D-6 A7 G7(flt¡ D -6 E-70t) A7 D -6 p-7(tt)

67rb»

D -7b5 xbtvt4t p
-70)

p-(maj7) A-7 wGg) y-(ma)7) Ffr-7bs BTbe)

78 - ET3 Chapter 6
Ear Training 3 Workbook Chapter 7

7.1 Rhythm
ln this chapter we will focus on the $ time signature. At first, the notes will be
phrased as three groups of three eighth notes (3 + 3 + 3), which creates an
even pulse. Next we will have four groups phrased as 2 + 2 + 2+ 3 and four
groups phrased as 3 + 2 + 2 + 2.ln both of these cases the pulse of the
meter is uneven.

Rhythmic Exercises

Use the f conducting pattern when peñorming exercises 1 through 5.

ET3 ChapterT -79

 7.1 Rhythm

Use the f, conducting pattern when performing the following exercises grouped as
2 + 2 + 2 + 3. Coordinate the motion to correspond to the pulses.

80 - ET3 Chapter 7
Use the ft conducting pattern when pedorming the following exercises grouped as
3 + 2 + 2 + 2. As before, coordinate the motion to correspond to the pulses.

fp
-J-

ET3ChapterT-81
7.1 Rhythm

The following § grooves should be repeated many times before going to the last measure.
Simulate the sounds of the instruments.

3+3+3
Voices

13.

82 -ET3 Chapter7
 7.2 Melody
ln chapter 6, we reviewed Lydian, Mixolydian, Dorian and Phrygian as individual and inde-
pendent modes. ln this chapter we will begin to mix "like" modes together in each example.
Some melodies will group together major quality modes, (lonian, Lydian and Mixolydian), while
other examples will combine minor quality modes, (Aeolian, Dorian and Phrygian). These
mixed modal melodies will help you to distinguish the characteristic sounds of each mode as
you compare and contrast one modal phrase to another.

Use the following sol{a exercises as a warm up to the mixed modal melodies.

Sol-fa Exercises: Mixed Modality

1. lonian
- Lydian

Do Mi Sol Mi Do Re Fi La Ti Do Sol / Mi Do Ti Re Sol Fa Mi Do

Fa Mi Re / Sol Fi Sol Fa Mi Fi Sol La Fa La Sol / Mi Do Re
Mi Fi Sol Fa Re Ti Do

2. lonian
- Mixolydian
\v. Do Re Mi Re Ti Do Sol La Ti Sol Fa / Mi La Sol Mi Re Te Do Te
Re Fa Mi / Do Mi Sol Ti La Sol Mi Do Te Re Fa / Sol Ti Sol La
Te La Ti Sol Fa Mi Do

3. Lydian
- Mixolydian

Do Mi Fi Sol La Fi Sol Do T¡ Fi La Sol I Fa La Te Sol Mi Fa Re

TeDoLaTe/Sol Fi Mi LaTi DoFaReMi TeDo/Ti ReFa
Mi Do Fi Sol Te La Sol Mi Ti Do

ET3ChrpterT -83
7.2 Melody

4. lonian
- Lydian Mixolydian
-
Do Ti Do Re Mi Re Fi sol Fa Mi Re Do / sol La Te sol Fa Mi
sol Do Re Mi Re / Mi La sol re La Fa Re Mi Fi sol Fa / Mi Do
Te Do Ti Re Do Fa Mi Fi Sol La Fa Re Te Do

5. Aeolian
- Dorian

Do Fa Me Le Sol Do Re Fa Le Te Do Sol / Me Sol La Fa Me Do

Re La Te Re Do / Le sol Re Fa Me La Te Do Me sol Le Fa sor /
La Sol Do Le Fa Sol Re Me La Sol Te Do

6. Aeolian
- Phrygian

Do Me Sol Le Fa Le Sol Te Le Sol Me / Ra Fa Me Ra Te Do Sol

Me Ra Do Fa Le Te / Sol Re Le Sol Ra Fa Me Re Te Do Ra /
Me Re Do Le Ra Sol Fa Te Re Me Ra Do

7. Dorian
- Phrygian

Do La Te Re Do Me La Sol Fa Me Sol / Do Ra Te Do Sol Te Le

Sol Ra Fa Me / Re Fa La Me Le Sol Ra Do Re Sol Fa Ra /
Do Te Le Sol La Te Ra Do Sol Fa Le Te La Do

8. Aeolian
- Dorian Phrygian
-
Do Te Sol Le Fa Te Do Me Re Fa Me / Sol La Fa Me Re La Me
Te Re Me Do I Fa Ra Sol Me Re La Sol Do Le Ra Fa Me /
Do La Te Ra Me Do sol Le Re Fa Me I Ra Le sol Re La sol Do
Te Fa Me Ra Do

84 -ET3 Chapter /
Melodic Exercises

Mixed major modes

1.

----

__ry

ET3ChapterT-85
7.2

5.

)=tz

86 - ET3 Chapter 7
Mixed minor modes

Latin

).= 72

cre§c. -

ET3 ChryterT -87

7.2 Melody

12.

.1.= eo

rnf

Shuffle

t >>>>
==>

tr

88 - ET3 Chapter /
7.3 Harmony

Modal interchange
In this chapter we will explore the concept of modal interchange. Sometimes, chords from one
tonality are "borrowed" and used within the context of another parallel tonality. This is not mod-
ulation, but rather the hinting of another modal color. The following examples show modal
interchange within the major tonality, borrowing from parallel minor tonalities.

Sol-fa Progressions
I Sing through both the major scale, (the home tonality), and the parallel minor scale,
(the borrowed tonality), to establish the harmonic ingredients.

Arpeggiate the chords in the following progressions.

Voice lead through the progressions, noting those tones which are diatonic or borrowed
by their solfege identification.

ldentify which parallel minor scales have been used in the following modal interchange
progressions.

1. I bvr bvu I
sol le fa sol
mi me re mi
do do te do
do le te do (Root motion)

2. I tv-7 bvlz I
sol le le sol
mi me fa mi
do do re do
do fa te do (Root motion)

3. r [-7b5 vTbe I
sol le le sol
mi fa fa mi
do do ti do
do re sol do (Root motion)

4. lma¡7 bvlmaiT lVmajT bttmaiz lmaiT

ti do do do ti
sol sol la le sol
mi me m fa mi
do le fa ra do (Root motion)

ET3ChapterT-89
 Me I ody/H arm ony Exa m p les
The following examples are designed to show the relationship between
melody and harmony. The chord progressions draw from the sof-fa progres-
sions from the previous page.Most melody notes represent chord tones or
featured diatonic tensions. Also, examples 2 and 3 have harmony lines which
are embellished guide tone lines. Practice singing all three lines using
solfege syllables. The singing may or may not be accompanied by playing
the chords.

FMarjT Bb-7Qt) r-Z sTdt) FMajT EbMajT

C_7 F7 s-70) Ebtvtqzdrt)p(add9) 6

r' r'

Yblsus4 Bbl

t-
obtvt"¡t r-t cbwr;1t F _T> shbgbti

CMqT obtrt4t CMajT FM{T F -7 nbu';7 G7ws4 6,70)

90 -ET3 Chapw/
Ear Training 3 Workbook Chapter I

8.1 Rhythm
Chapter 8 will cover many rhythm situations encountered in the past but with
a higher degree of complexity.

Exercises 1-5 are written to be per{ormed in a swing and shuffle style

although they can also be performed with a straight eighth note interpreta-
tion. The difference between the swing and the shuffle style is that the swing
interpretation can vary based on the tempo and other expressive factors. The
shuffle will usually be based on a consistent rhythm such as triplets.

Rhythmic Exercises

-3- -3-

-3- -3-

ET3ChapterS-91
8.1 Rhythm

-3- -3-

Use straight 8th note interpretation for the following exercises.

92 -E:f3 Chapter 8
At times, rhythm section players will encounter a variety of notation within the same piece.

-3- -3-

ET3ChapterS-93
8.1

,¡nf

cresc.- - tr

-3-

94 -ET3 Chapter 8
)=no J=eo )=po

J=60 )=no

J=eo

ET3Chapter8-95
8.1 Rhythm

¿2r ¿21

8.2 Melody
In this final chapter, we will continue to work with mixed modality. The melodies will now com-
bine major with minor quality modes. !n conclusion, these mixed modal examples will prepare
us for the study of chromaticism, which will be introduced and studied in depth in Book 4. For
now concentrate on how all of the sol-fa pitches function and sound in relationship to "Do."

Use the sol-fa exercises below as a warm up to the mixed modal melodies to follow.

Sol-fa Exercises: Mixed Modality

1. Lydian
- Dorian

Do Fi La Sol Mi Ti Re Do Sol Fi Mi / Re La Te Do Me Fa La Me Sol Do

Te Do / Sol Fi La Sol Te Fa Me La Fi Sol Mi Ti I La Te Do Me Fa Sol Fi

Mi Do Ti Fi Do

2. Mixolydian
- Dorian

Do Mi La Te sol Do Re La sol re Do I La Te Me Re Do sor La Fa

Me La sol / Mi Re Te Do Me Fa Mi La Re Me Fa / La Mi Do Me Te

La Do Mi Re Fa Me Do

96 -ET3 Chapter 8
3. Lydian Phrygian
-
Do Sol Fi Re Mi Ti La Fi Sol Do Re / Me Ra Te Do Sol Le Fa Sol

Do Te Ra / Re Mi Do Fi Sol Te Le Ra Sol Mi La Do / Te Le Sol Fi Sol

Mi Do Ra Te Re Sol Ti Do

4. Mixolydian Phrygian
-
Do Mí Fa La Sol Re Te Fa Mi Sol Te Re / Do Ra Fa Me Le Sol Te Do Sol

Ra Do Te / Do Me La Mi Sol Le Te La Sol Me Ra / Fa Mi Te Ra Sol La

Fa Le Me Re Mi Te Do

In the following examples, notice that the presentation of the changing sol-fa functions is
always by step, never by leap.

5. Do Ra Me Fa Mi Re Do / Re Me Re Mi Fi Sol / Fa Mi Fi Sol Fa Me Re
Do Ra Me Fa Sol La Ti / Do Te La Ti Do Te Le Sol La Sol Fi Mi Re Do /
Te Do Re Me Fa Mi Re / Me Fa Sol La Te Le Sol / Do Ti La Sol Le Sol
Fi Mi Fa Me Ra Do Re Do

6. Sol La Ti Do Te La Sol Fi Mi Re Me / Fa Sol Fa Mi Re Me Fa Sol F¡ Mi /

Re Do Ra Me Fa Sol Fi Sol Le Te Do / Ti La Te Le Sol Fa Mi Fi Mi Re
Do Ti Do / Te Do Re Me Fa Mi Fi Sol Le Te Do / Ra Do Ti La Te Le Sol
Fi Mi Re Do

7. Do Ra Do Re Me Fa Mi Fi Sol Fa Sol La Sol Le Te i

Ti Do Te Le Sol Do
La Sol Fa Mi Fi Me Re Mi Re Do / Ra Mi Fa Me Fi Sol La Sol Le Ti Do
Te Le Sol Fi / Sol Fa Me Fa Mi Ra Do Re Me Fi Sol La Te Do Re Mi /
Fa Sol Fi Me Re Mi Ra Do Re Me Fi Sol Fa Sol Le Ti / Do Te La Sol Fi

M¡ Ra Do

ET3Chapter8-97
8.2 Melody

Melodic Exercises

"Two" feel, with a lilt

nw

Rock

f cresc.- ----- tr

f
Medium swing

98 - ET3 Chapter 8
 .1.= 60

The following melodies will combine several mixed modal fragments throughout each example.
It becomes more and more essential to recognize the sound of each sol-fa function in relation-
ship to "Do."

ET3Chapter8-99
8.2 Melody

Meüum fast
10.

mf

100 - ET3 Chapter 8

12.

ET3Chapter8-101
8.2 Melody

Mixed Modal Chorale

rit. a tempo ri

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102 - ET3 Chapter 8
8.3 Harmony Review
Below is an example from each of the modes studied in this book. Note that the characteristic
pitch of the mode is present in the "tension" chord, the chord that suggests the need for reso-
lution. Create your own modal progressions, using those listed here as models.

Sol-Ía Progressions
I Before singing through the chord progression, first establish the mode by singing through
the scale.

r Sing both root position arpeggios and voice lead lines through the progressions.

Aeolian:
t- tv- v- t-
sol le sol sol
me fa re me
do do te do
do fa sol do (Root motion)

Lydian:
lmajT VmajT ImajT
ti ti ti
sol fi sol
mi re mi
do sol do (Root motion)

Mixolydian:
I hvu rv r

sol te la sol
mi fa fa mi
do re do do
do te fa do (Root motion)

Dorian:
l-7 tv7 t-7
te la te
me me me
do do do
do fa do (Root motion)

ET3ChapterS-103
8.3 Harmony

Phrygian:
l-7 bllmaiz l-7
te do te
sol le sol
me ta me
do ra do (Root motion)

Melodic minor:
t- IVVI-
sol la sol sol
me fa re me
do do ti do
do fa sol do (Root motion)

Harmonic minor:
t- l-7b5 vTbe t-
sol le le sol
me fa fa me
do do ti do
do re sol do (Root motion)

MelodylHarmony Examples
The following examples are designed to show the relationship between melody and harmony.
The chord progressions draw from the sof-fa progressions from the previous page. Most
melody notes represent chord tones or featured diatonic tensions. Practice singing the melody
along with the root motion for each example using solfege syllables. The singing may or may
not be accompanied by playing the chords.

CMa¡tGl) g-7(tt ) CMajT D7 CMaj79) p7(t3) CMajT /

104 -E-f3 Chapter 8

 c-7or)

c-7 »bv,q79l c-t obvtut{ilr2 c-7 yb-t »btvt"it

q_(rnaj7)

ahu o -tbt G7, c- cl(bn) g-(mai7)

"r<bt

p-7(1r) CMajT Dbua¡Z(#rr) CMajT p-70) sb713) CMafl@ %

ET3ChapterS-105