Advance Ear Train

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G g' G G

G

7;^^

Advanced Ear-Training and

Sight-Singing AS applied to

the

STUDY OF HARMONY

A

Continuation of the

and Coordinated Course Schools and Private Study

Practical

for

By O

GEORGE

A.

WEDGE UNIVERSITY OF TORONTO

w*-^ EDWARD JOHNSON 1

G.

SCHIRMER,

%Qy:^y£)Z)(y)fi)
Inc.,

P^UStC LIBRARY

NEW YORK

Copyright, 1922, by G. Schirmer, Inc.

30914C

fiT R.

:T

A i^

4 1963

Printed in the U. S. A.

To Dr.

FRANK DAMROSCH

U6

:ally

iding

read

Harfor

is

o rcises

)niza-

and

.1

thms, ods a

The :an

be

nd the

k

and

'ho has e

3

at the

C1

ng

this

Vlusical

ictation

.xercises

DGE.

bo

(4

%

PREFACE The study

of

generally consists of writing notes, mathematically understanding bass, without hearing their sound or

Harmony

calculated from a figured

must be able to read and bearing upon playing or singing. A musician his mother tongue. and hear written music as readily as he reads to study and apply HarThe purpose of this book is to show the pupil how written and to furnish exercises for mony, to develop the ability to hear what is

their use

study.

.

1

the exercises divided into three Sections: Section A contams to Melodic Construction and Harmonizafor written work, applying Harmony B, the exercises for Harmonic, Interval and tion and the study of Form; Section in Singing Intervals, RJiythms, Melodic Dictation; Section C, the exercises .

Each Lesson

is

Chords and Sight-Reading. use two fifty-minute periods a In class-work it has been found practical to B and the other to Section C. The week, devoting one period to Sections A and combined with Section C can be explanations at the beginning of each Lesson and the Sight-Singing without the written work of Section A used for the study of

Ear-Training of Section B. j development of the work and Following is a plan of the book, showing the order in which the factors are taken up. ,

i

AN ACKNOWLEDGMENT The author wishes

to express his gratitude to Dr.

encouraged and sponsored Institute of Musical Art;

this

work

To Miss Helen W. Whiley

as it has

for loyalty

Frank Damrosch, who has in the classes at the

been developed

and enthusiasm

in

presentmg

this

the manuscript; material, and help in the preparation of manuscript; Dr. Thomas Tapper for reviewing the

To To

and "Material Used in Musical Dr. Percy Goetchius' "Tone Relations"

Composition";

To Mr.

Franklin

,

W. Robinson

and the use and meaning

To

for ideas in presenting

Harmonic Dictation

of chords.

material in the Exercises G. Schlrmer, Inc. for the use of copyrighted

for Sight-Singing.

^^^^^^ ^ ^^^^^^^

North Brooklin, Maine, August 15th, 1922.

[v]

CONTENTS Page

Chapter

I

Chapter

II

Chapter

III

Triads

I

Inversions of Triads

Chords of the Seventh and Ninth

43 63

Chapter IV

Chromatically Altered Chords

132

V

Modulation and Embellishi-ient

160

Chapter

Ivi]

ADVANCED EAR-TRAINING AND SIGHT-SINGING CHAPTER

I

TRIADS

A

Chord

is

a combination of three, four or five tones placed one above the gth

other in thirds:

^

•

gir^S^

The tone upon which the chord is built is called the Root. The next tone is the third, the next the fifth, the next the seventh, the next the ninth of the chord. Each tone is named from its interval-relationship to the root of the chord.

A

three-tone chord

a Triad:

is

Seventh (seventh-chord)

A

8

:

A

p

five-tone

four-tone chord

chord

is

is

a Chord of the

a Chord of the

Ninth

(ninth-chord)

A A

chord may be built upon each tone of a key. chord is named from the degree of the scale which is its root. is the first degree of the scale, it is a One Chord (I), or Tonic Chord; degree, a Five Chord (V), or Dominant Chord; etc.

*

xc

" I

I

V

U n

I

A

I

IV

IM VI

-y

m

I

M VII

§

If if

the root the fifth

II

v^

Roman

numerals are used as symbols of chords. is a duplication one octave higher of one of'the tones, generally the root. The tonic chord is i, 3, 5, 8; the dominant chord 5, 7, 2, 5; the subdominant chord 4, 6, 8, 4; the two chord 2, 4, 6, 2; the six chord 6, 8, 3, 6; the three chord 3, 5, 7, 3. The I, V and IV chords consist of a major third and a perfect fifth from the These chords are major chords. The II, VI and III chords consist of a root. minor third and a perfect fifth from the root. These chords are minor chords. The VII chord consists of a minor third and a diminished fifth from the root. As this chord upon the leading tone is imperfect, i.e., the only chord with a diminished fifth, and is included in and used as the seventh-chord built upon the dominant, it is not considered, by most theorists, as an independent triad. A chord is major or minor according to the size of its third. Chords are arranged in harmony for four-part vocal music. The upper part is the Soprano, the next the Alto. These are written on the G staff. The next voice-part is the Tenor and the next the Bass. These are written on the F In triads, there

staff.

A I

is

chord

is

when when the

in octave position

in the position of the ^th

It the 8th of the chord is in the soprano. It is the chord is in the soprano.

fifth of

[1]

ADVANCED EAR-TRAINING AND SIGHT-SINGING chord is in the soprano. The in the position of the 3rd when the third of the nothing to do with Inversion, has chord of a position The root is in the bass.

which will be treated later. The proChords are used in music to establish the key and to give accent. Therefore, accent. gression or resolution of one chord into another produces an the accented pulse. on chord the into resolves pulse unaccented the on the chord tones found different Chords are built upon the tones of the key, i.e., the in the arranged pitches by dividing a string into thirds, and not upon these as chord the I to progress major scale relationship. Chords are related to and -

these tones are related to the key-tone.

key are

*

If

C

is

the key-tone, the tones of the

-e-ff-

o V

VII

•©• rv

III

VI

These tones

as

roots of chords and arranged

in this order are

II

V I

IV

which is at rest is the key-tone. The other tones In arranging the chords the IV is transare active in their relationship with C. includes the IV posed and placed between the II and the VI, as the IF chord

The only tone

and

is

in this series

nearer the key-centre.

to any Compositions generally begin with the I chord and may progress active more to progress chord. As all other chords are active, they will have to progress we if example, For chords until they come to rest on the I chord. the centre, from the I to the VI, the VI will progress to some other chord nearer the IV, II or V, and then to the I. The V and IV chords are the only chords which may progress immediately The other chords will pass through V or IV before going to I. Ihe to the I. III always goes to IV or II before going to V. Harmonic This law of the progression of the roots of chords is known as the Harmonic an series this in next the to Law and the progression from one tone .

Step or Degree. The three upper voices of chords resolve according to the law of active and rest It will be found that if the tones in the major scale which is the Melodic Law. will fulfill the root of the chord fulfills the harmonic law the three upper voices melodic law. ,

(a)

(b)

ADVANCED EAR-TRAINING AND SIGHT-SINGING

3

When the V chord progresses to the I cliord as in (a) the root V in the bass progresses an harmonic step to the I; the 7th degree in the soprano progresses to the 8th; the 5th degree, which is a rest tone, remains stationary; the 2nd degree progresses to the 3rd. In the progression IV to I, as in (b), the root IV in the bass goes to the I; the 6th degree in the soprano to the 5th; the 4th degree to the 3rd; the ist degree remains at rest. In the progression IV to V, the root of the IV progresses harmonically to the root of the V; the 6th degree in the soprano moves to the 5th; the 4th degree, which must resolve down, moves to the 2nd, as there is no 3rd degree in the V chord; the 8th degree moves to the 7th.

Lesson

i.

Section A.

Learn the arrangement of the chord roots in the harmonic series. Construct melodies, phrases in length, in 6/8 meter, using the I, V and IV chords as a basis for the melody. Employ any of the following rhythms: (1)

(2)

J-

;J

J);JT3iJ J? JJJJJJ

In writing a melody, using chords as a basis, first divide the staff into measures and place the chord symbols underneath, one chord for each pulse. The choice of chords is determined by the harmonic law. A chord may be repeated within a measure, but not over the bar, A phrase when regular will begin with the I chord on the accented or unaccented pulse and will end with the I chord on an accented pulse of the fourth measure, preceded by the V chord. This is an Authentic Cadence. If the final I chord is in the position of the octave, a Perfect Authentic Cadence results; if in the position of the third or fifth, the cadence is known as Imperfect Authentic. A phrase generally ends with a Perfect Authentic Cadence. A melody may follow the line of a scale up or down. In working from an harmonic basis the melody will move along the scale-line from some tone of the chord on the pulse. Not all the tones of the scale will be found in this chord. The tones which come between the tones of the chord are called Passing-Tones, and do not affect the harmony. At any time the melody may stop and embellish a tone of the chord by progressing to the tone a half-step or whole step above or below. These tones are known as Neighboring Tones, and do not affect the harmony. Neighboring tones must always return to the principal tone and may never jump, unless from the upper to the lower neighbor or the reverse. All skips, single or consecutive, must occur between tones of the chord. Occasionally a skip may be made to a neighbor; the neighbor must immediately resolve to the principal tone. For example, divide the staff into four measures.

As these melodies are to be have two chords in each measure but the last. The phrase may end on the first or second pulse of the fourth measure as it is a compound meter. On the first pulse we may have a I chord and repeat it for the second; on the third the V and its resolution on the fourth; then the IV, which may go either to the V or 1. In the following example the IV will move to the V on account of the cadence. in 6/8 meter,

we

shall

ADVANCED EAR-TRAINING AND SIGHT-SINGING >

J J J J

II

Ml

^n

I

j

V

I

I

I

I

J J * p IV

Pr

V

I

P

P'

I

and progress down the scale to 3, making b, a and f, passing- tones; then to 2, a part of the V chord on the next pulse; then to I, the lower neighbor of 2, and back to 2; then to 3 for the I chord, passing through 4 and 5 to 6 for the IV chord; then skip In the IV chord from 6 to 4 to 8; turning after the wide skip to 7, a member of the V chord, and passing through 8 up to 2 and returning to 8 for the cadence.

The melody may

start with 8

Section B.

Play the following chord successions, listening to the difference in sound of the I and V chords. The I chord gives a feeling of rest, because the root is the fundamental tone in the harmonic series and the three upper voices are rest If the I chord is in octave position, it sounds comtones of the major scale. of the third or fifth it gives a feeling of rest, but position plete; if it is in the questioning. sounds incomplete or The V chord sounds unfinished and as if the I chord should follow. It is an active chord and needs resolution into the I chord, because its root is the nearest related tone to the I chord in the harmonic series and two of its upper voices are active tones in the major scale and demand resolution. In listening to the chord, hear it as a complex of tones, if it is at rest or needs In chord repetitions resolution, do not listen primarily to the bass or soprano. the same sounds will be heard, but in different arrangement. (i)

Practise as follows: Play each exercise several times, determining (a)

if

the chords are active

or at rest. After each V chord pause for a moment so that the mind may realize the demand for resolution. (c) Play the first chord and think the sound of the others. Test with the piano to see if you think correctly. Use each exercise for dictation as follows: (d) Rule the staff for four measures. (i) someone play the exercise slowly, twice. Have (2) the second playing write the chord symbols according as you At (3) think it is the I or the V chord. Have the exercise played again and write the numbers of the (4) scale steps in the soprano. Compare your version with the exercise. If there is a mistake, (5) play your version, then the correct chord, until you hear the (b)

mistake.

Exercise

I

would be written;

IV The chords

of this exercise will

I,

as

V V first

chord as the

I,

the

demanding resolution into the I, so it must be the V; the the resolution of the V; the next as the same chord, the position having

next a different chord next the

II

be heard thus: The

ADVANCED EAR-TRAINING AND SIGHT-SINGING been changed; the next a different chord and an active chord; the next the same chord in a different position; the last the I, as the resolution of the V.

2

i 8

3

2

B

6

7

8 3r:

ff

s

1i I

^

V

I

^^ M rr s

li

311

V

^

i^

n y

3r:

:^

3x:

r

rr #

3z:

do: DOC

ui ff i

i

31:

^ FF

^

i r

^i

3x:

ii

^ 3x:

V ^ S

ff ff ii

W w rr

s

f

w

3z:

DOC 3x:

An Harmonic and most Melodic Intervals are parts of a chord and (2) sound in relation to the root of the chord. All the intervals in the I chord are consonant intervals, or intervals which do not need resolution. The Major 3rd, 1-3, from the Root to the Third of the chord. The Minor 3rd, 3 - 5, from the Third to the Fifth of the chord. The Major 6th, 5-3, from the Fifth to the Third of the chord. The Minor 6th, 3-8, from the Third to the Eighth of the chord. The Perfect 5th, i - 5, from the Root to the Fifth of the chord. The Perfect 4th, 5-8, from the Fifth to the Eighth of the chord. Since the I, V and IV chords are major chords, their interval content

is

the

same.

As these chords

are used in composition, the

same

intervals occur

between

different scale-degrees.

In the V, or Dominant Chord: Major 3rd, Root to Third, from 5th -7th degree

Minor

Third to Fifth, from

3rd,

7th

-2nd

degree

In the IV, or Subdominant Chord: from the 4th -6th degree

from the 6th -8th degree

S ADVANCED EAR-TRAINING AND SIGHT-SINGING

6

Major

from the ist-6th degree

6th, Fifth to Third, from

2nd -7th degree Minor 6th, Third to Eighth, from 7th- 5th degree Perfect 5th, Root to Fifth, from

from the 6th - 4th degree

from the 4th -8th degree

5th -2nd degree Perfect 4th, Fifth to Eighth, from 2nd- 5th degree

from the ist-4th degree

All these intervals are consonant and are therefore complete, requiring no resolution; as they occur in the I chord there is no question as to their position As different chords are used and four or five intervals occur in a in the key. chord, other than the I chord, there is a danger, because of their consonant

and inactive scale-degrees or of the keyThis cannot happen if the change of chord is recognized and the posicentre. For example, in this series the first tion of the intervals in the chord is known. perfect 5th, 1-5, a minor 6th, 3-8, are a three intervals, a major 3rd, 1-3, with the I chord. begins generally music as known to be in the I chord,

quality, of losing the feeling of active

^

-^ The next (a)

interval

might be heard 3rd, but not

—

^ TT

in the following

ways:

If the new chord is recogchord, its position is known to be from the 5th to nized as the the 7th degree of the scale. If the scale-degrees 5 and 7 are recognized, it is known to be a major 3rd and a part of the V chord. The 7th degree might be recognized as the upper tone of a major 3rd, so the interval is from the 5th to the 7th degree and a part of

As a major

in the I chord.

V

(b)

(c)

the

The next (a)

(b)

V

Interval

chord.

might be heard:

a perfect 5th and in the same chord as the preceding interval, therefore from the 5th to the 2nd degree. If the scale-degrees 5 and 2 are heard, it is known to be a perfect chord. 5th in the This interval is It is more likely to sound i to 5, or Root to Fifth. interval, so the preceding same chord as the of felt to be a part

As

V

(c)

could not be from the ist degree to the 5th, but from the Root to the Fifth of the V chord, and from the 5th to the 2nd degree. it

undoubtedly sound like 5 up to i the realize that these intervals are in the we Unless 8. up to 3 same chord as the two preceding and sound in relation to the root of that chord, If they are known to be a perfect 4th, from the 5th to the key-centre is lost. the 1st (or Root), and a minor 6th, from the 3rd to the 8th of the V chord (not

The next

next, a

interval, a perfect 4th, will

;

minor 6th,

of the scale), they are easily placed in the key.

The I

chord

last interval is

may

follow the

heard as a major 3rd in a different chord. chord, the interval must be from i to 3.

V

As only the

ADVANCED EAR-TRAINING AND SIGHT-SINGING Practise the following: I, IV and V chords in the key of C. Think the sound the intervals. Test with the piano. The intervals in Exercises i and 2 are in the I and V chords; in Ex. 3, 4, 5 and 6, in the I, IV and V chords. Play the intervals, listening to determine how they sound in relation to the root of the chord and to the key-centre.

Play the

(a)

of

(b)

Play the lower tone, sing the upper tone of each. Play the upper tone, sing the lower tone of each.

(c)

(b)

(a)

i Sr

^

^ — "o

XL.

^

-^

:^ (d)

(c)

* ^=t^

-&-

1^

o «: o 3x:

-o

XE

-^

(b) :3ai

XE SE

:8=

-»-

cr

(a)

(c)

(a)

(c)

XT. 3x: -&- :&:

xx:

5E

«:

xx:

4 (a)

(c)

(b)

~n~3a: zz ^8r

xi:

i «:

^

s

:«:

o-

(d)

TT

000 TT

v'd)

000

xc

^^^

s

:^ :8r

(c)

(b)

o o XE 3X= -

iflt

XE

000

(b)

XE

S TE XE

(d)

s

«*

»

and Sight-Singing.

Exercises for Melodic Dictation

(3)

xx:

TJ-

(a)

(a)

Practise:

V

C

(a)

Play the

(b)

Read the melody mentally, without

If this (c)

and

chords in

major to establish the tonality. singing, at a moderate tempo. Test with the piano. If you cannot hear the J. =72. melody mentally, play the melody, then try to read it mentally. It is most vital that written music should be read and heard mentally as readily as one reads English. I,

I

MM

is

at first difficult, persist:

it is

the greatest aid to sight-singing.

Play the phrase twice, look away from the music and sing the phrase from memory to la. Test. Repeat until successful.

Sing from memory, using the number-names of the scale-degrees; then use the letter-names. (d)

first

to Note.

B

D

I, V and I chords in Major. Sing the melody, using the number, then the letter-names. Transpose the melody Major in the same way.

Play the

Let the construction of the melody help in memorizing. In 2 the first four notes form a next four are in a sequence with it: the next measure is a scale-line on the first pulse and a wide leap on the second. figure, the

ADVANCED EAR-TRAINING AND SIGHT-SINGING

8

In singing and memorizing a melody beginning on the up-beat, be sure that the

r—

measure

is felt

from the up-beat to the up-beat.

«P <^

r

Jm Jh

J

Pr LTi

Jl

("

Lx;J^irr

?

p

J.

^^^5

Pc:

^

Oli,_rj

iJ^icJXc^fJ ?J-

IJJJJ.

p

i

i

J

i

jm^

rfto''

^^

J

4 ^ir J>ff^ir pJ ^i^jE,^^^^ (e)

Have someone play (i)

J)J

^ s

^

,

8j^|J J)J J)|J

3

^^^ ^m

1.

f

p

^

the melodies for dictation as follows:

Play the entire melody with simple chord accompaniment, two chords to a measure, using the I, IV and V chords on the pulses, allowing the other tones to be passing-tones or neighbors. Number I would be harmonized:

The

pupil decides the meter and form of the melody. The form determined by the cadence; the meter by the number of pulses in the phrase. Play the phrase twice while the pupil listens and memorizes the tune. The pupil should relax and allow the entire phrase to Is

(2)

make an impression on

the mind; he should not spend time

ADVANCED EAR-TRAINING AND SIGHT-SINGING

(3)

trying to determine the note it begins on or analyzing a rhythmic complication. After the mind has grasped the phrase it is easily analyzed. As these phrases are in compound meter, remember that a mental breath in the middle of the phrase will help in memorizing, The pupil writes the melody on the staff. At this stage there should be no difficulty in writing, but if there is, make an outline as in the elementary work.

Q 88 55 8

654 3

284

5 67

8

3"

2

2

8

with the rhythm in only one measure, write dots for the pulses and determine the figure on each

If the pupil has trouble

pulse. (4) (5)

Play the phrase again for correction. After the melody is written, the pupil should mark the chords that may be used for harmonizing the melody, as well as the rhythmic figures, sequences and repetitions. Figure

^

-ir

S

sequence

±j± IV

^ ^^ ^ I

IV

I

The chord symbols

indicate the harmo;iic background. The question of inversions to avoid parallel fifths and octaves is left until those points are taken up in the theoretic study.

Section C. (i)

Absolute Intervals.

In sight-singing there is no need of thinking the interval name or the size made, as long as the key is known. It is only when this feeling of key has been broken down by unusual skips or a modulation that a knowledge of how to sing absolute or unrelated intervals is needed, and then only until the tonality has been reestablished. The position of intervals on the staff and in the major scale, also of what chords they are a part, must be known so that they may be quickly recognized and sung. There are major 3rds on the staff from c-e, f-a, g-b; in the major scale from 1-3, 4-6, 5-7; in the I, V, II, IV, VI and III chords. To sing a major 3rd up, make the lower tone i and sing 3; to sing a major 3rd down, make the upper tone 3 and sing i. Play any tone on the piano, sing the tone calling it i, then sing the (a) tone a major 3rd above, calling it 3. Test. (b) Play any tone on the piano, sing the tone calling it 3, then sing the tone a major 3rd below, calling it i. Repeat, singing the letter-names of the pitches. (c) of the skip

.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

10

jTJj

Rhythmic Study:

mm J^m mm m

(2)

J

(b)

(c)

(d)

J.

in

6

iJis^m ^n2

m i-m i/Ti

r^

^nn

im

^j~33

ij

nrRtJss^r^ j JT]

iJ.

i-TT] J"TJ

in j.h

j>in

iJ.

II

(e)

As 6/8 is a Duple Metre, each pulse divided into triplets, beat two to a measure and intone the rhythms. The rhythmic subdivision must be felt and sung as a unit. In singing any rhythmic subdivision there is a feeling of relaxation after the tone

on the pulse,

JJJJJJ

e.g.,

In each

is a feeling of stress on the first tone and relaxation for the other tones. Each group should be mentally conceived as a figure before singing, the eye taking in as a unit the figure on each pulse and not each individual note. It has been found practical in studying these exercises to sing a major scale as well as intoning the rhythm on one pitch. Begin on 8 and sing down; (a) would be sung:

of these figures there

The as the

figure

J.

jj

two sixteenths

into the next pulse.

is

often confused with

in the figure

The


JTjJ

figure

Rhythmic Study contrasting

JTjJ

m m ,m n2 m ,n}

ck)J),j

J)i~5] ,J

a)J),rr3J

J

J)

Jj.

J

This

is

easily corrected,

relate themselves to

^J

halts

and

and

J

and progress

not legato.

is

^J

J

j5irr]j~j].j

J

j5iJ^t]j

J

.B J55553 J^T] ,

J5.JT:1 /1555.J~51

J

J3j-

j3iJ~j3

j-

J;

.J

.^iJ-

J

ADVANCED EAR-TRAINING AND SIGHT-SINGING (3)

11

The following Chord Successions are to be practised: Play the key-tone. Think, or hear mentally, the exercise in a moderate tempo. (b) Sing the chords, using the letter-names, c, e, g, c, etc. Sing the

(a)

numbers of the (c)

(d)

(e) (f)

(g) /^

scale-steps,

i, 3, 5, 8, etc.

Write the chord symbols I, V, I, IV, I and sing the letter- and number-names from memory. Test at the end of each exercise to see if you are singing on pitch. If below pitch, repeat more slowly, taking care that the 5th and 8th of each chord are high enough. Sing each chord as follows: Root, 3rd, 5th, 8th, 5th, 3rd, Root. Sing the exercise to a neutral syllable, as la, thinking first the then the number-names. Repeat each exercise until it can be sung rhythmically.

letter,

1

U

J ^

I

? IV-

m

^ IV

^

1^

^ J

r

^ p

? IV.

P

Pi

?

^ p c/i'

^

C;'

^

&H

i»«n

^ u

'^

3

I

I

m

m :m

i^r^JU-i^

m IV-

V

IV

IV

i

^n

I

Q-i-b'^ 'i.^r^J j.j i

i

c::/'

D s

0' m

aS^u L^' \

\

— '^-

^^m ^-

ADVANCED EAR-TRAINING AND SIGHT-SINGING (4)

Exercises for Sight- Singing:

V

(a)

Play the

(b)

Read the

(c)

Sing the exercise to the number-names of the scale-steps; to the letter-names of the pitches. Sing to the syllable la, thinking first the number-names, then the

(d)

and I chords to establish the tonality. exercise through mentally at a moderately slow tempo. Test for pitch. I,

letter-names. Note. Beat two beats to the measure. the sound of the entire chord.

^ >irp^i'

ip=if¥

Take

^^^

in

each pulse as a unit.

In consecutive leaps, think

biJJJJ'i^j

• #

J'

Folk-Song

JDFJNCED EAR-TRAINING AND SIGHT-SINGING

•

'—Jr.

E=2^a

'-uiss^aa—i

.M/jJj JmJT-jJI] JI^ r

^

j_ ;;j

'^

J.1^ J"n

i

I

J j. IN- i .

J

l

JJji

I

f

13

^

—

A.

'J^J 'V > l

p

''

u

lff^l J.JJ^Jff^lr

jK i

4 JT3^J^iJ7].fffP||jj|i

P.TO

M^n

<

•

* d

1^^^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

14

j'm

/fjMj 4-^T^

i J J>i?J '

I

I

j

J^i^

J

I

JJ.7]

^

j)ir-^i'>iJ-^^j^ij.jjpg

^

i

I

g'H? *^^ J »"^ <

r

"^'rP

r'

r

\

ii

j,^

J

II

J,JUfi-l

g

m«-pu

r i

T

^JJ^icjUJ.

i

Jin

Lesson

A

j_

i

^ s ^ ^ ^ ^ ^

'^•J^'^ « •

-l-Cc/^

I

rJ' j> Jj,r7]i

^

^

'

i

?^.

TU73 rTji p |

2

phrase in music corresponds to a simple sentence in English. In English Is often used; this Is, in reality, two sentences, each expressmg a complete thought, the one qualifying the other. In music a Period corresponds to this form. a

compound sentence

ADVANCED EAR-TRAINING AND SIGHT-SINGING A

15

when

regular, consists of two phrases, each usually four measures the Antecedent Phrase, the second the Consequent Phrase. A period begins as any phrase, but the antecedent phrase ends with some tone of the V chord, 5, 7 or 2. This gives the effect of being incomplete and makes a Semicadence. The consequent phrase ends with the i or 8, a Perfect Authentic Cadence. A period is in Parallel Coristruction when at least the first measure of the antecedent and that of the consequent phrase are alike, as Alelody 3, Section B (3). (Page 18.) A period is in Contrasting Construction when the antecedent and consequent phrases are different, as Melody 2, Section B (3). Melodies are constructed in the Minor Mode the same as in the Major Mode, the Minor Mode being formed from the Major by lowering the 3rd and 6th degrees of the Major. In using the progression from the 6th to the 7th degrees, the augmented 2nd,

Period,

long.

The

first is

which sounds

like a

minor 3rd,

often retained

is

f

,

I

'

J J

^r

=p=^

but gen-

is raised and in descending the 7th degree is lowered so as to give a diatonic progression. This is known as the Melodic Minor Scale and is used when the scale-line is harmonized with the I chord.

erally in ascending the 6th degree

^M CT I

If the

harmony

descending.

is

the

V

IV

I

I

chord, the raised 6th

^hSy^\

^

•-#

V

V

used both in ascending and

is

I

If the harmony is the IV, II or VI chord, the lowered 7th ascending and descending.

used both in

is

±=3i.

IV

II

Section A. (l)

Construct periods in c minor, with both parallel and contrasting phrases, I, V and IV chords as a basis for the melody. Employ the following

using the

rhythms

in 6/8

meter: J.

;

J

J)

j

JT3

;

J

J3

;

JJJJJJ

;

m

-

Section B. (i)

in in

Play the following chord successions, listening to the difference in sound is minor is major

and V chords in minor. The I is a rest chord as in major, but quality on account of the lowered 3rd degree. The V chord is active, quality, and sounds the same in the major and minor modes.

of the I

ADVANCED EAR-TRAINING AND SIGHT-SINGING

16

Practise

and

I, 2,

3,

as follows:

Play each exercise several times, determining

(a)

if

the

chords are

active or at rest.

After each V chord pause for a minute and think the chord of resolution before playing it. Play the first chord and think the sound of the others. Test with the piano. Have each exercise dictated. Work as outlined on page 4. Transpose the exercises of Lesson i to c minor.

(b)

(c)

(d) (e)

In Exercises 4, 5, 6, 7 and 8, in C major, the IV chord is used. The IV chord is major in sound, and is an active chord because its root is the first harmonic tone below the Tonic and two of its upper voices are active tones in the melodic series. The IV chord resolves into the I, or it m.ay progress into the V. It is distinguishable from the V chord because it sounds lower and farther from the I; it impresses the ear as if another chord could be played before its resolution into the I. It is impossible to think a chord between the V and I. Practise these Exercises as follows: Play each exercise, determining (a)

if

the chords are active or at

rest.

(d)

Pause after each V chord and think the chord of resolution. Pause after each IV chord and think first the I chord, then the and I chords. Think the sound of each exercise.

(e)

Have

(b) (c)

V

the exercises dictated.

5 would be heard: first a I chord; next an active chord, before the resolution of which another active chord could be substituted; or as an active chord resolving into the I and sounding like an *'A-men," therefore the IV^-I; the next a rest chord, the I: the next the same chord in another position; the next an active chord resolving to another active chord, which must be the IV to the V

Ex.

chord; the next the rest chord.

Transpose each exercise to c minor. In minor the IV chord is a minor chord and is distinguished from the which is also minor, on account of its activity. (f)

Z

1

^ rr ^ ff 8

8

7

6

6

8

7

^ ^i

I

chord,

J=J:

^m

31:

I

V

I

V

I

V

in

WA ^W

S

i

4=A '

r

1

r

f

3x:

3x:

TT ^3

ADVANCED EAR-TRAINING AND SIGHT-SINGING 4

3

^

8

3

17

8

7

f

m

^^ IV

I

I

ZXSl

IV

I

V 8

i

t

rf

^^

r

^

f

Ya

^

3x:

f

TT

^ fT

rf

rr

^

^

3CC

i

JOl.

DCC

m r

3i:

i

In minor the position of the major and minor Intervals In the I and will be changed on account of the lowering of the 3rd and 6th degrees of the scale. The minor 3rd will occur from the root to the 3rd of the chord; the major 3rd from the 3rd to the 5th of the chord; the major 6th from the 3rd to the 8th of the chord; the minor 6th from the 5th to the 3rd of the chord. The perfect Intervals will remain the same. The Intervals in the V chord will not change. (2)

IV chords

Practise the following:

Play the

(a)

V

IV and

I,

Plav the intervals,

(b)

Think the sound

chords In c minor.

of the

Test with the piano.

intervals.

listening

how they sound

determine

to

relation to the root of the chord

in

and to the key-centre.

Play the lower tone, sing the upper tone of each. Play the upper tone, sing the lower tone of each.

(c)

2 (©

(a)

XE

4

8.°

11

°

n °

S

(d)

(0 »*

(a)

3r

3x:

"

^j

1

"

^r

^y.

IV

3 (b)

30:

xc

(d)

(c)

S

te

S

(b)

(a)

xx:

(d)

(c)

xc

^te ^

DCE

3x:

^gr :^ O O

-XT

4 (b)

(a)

«

(d)

(c)

^m^ sx.

XX X3L 11 ! :8=

ii..u!:ii XE

a

(b)

(a)

:Sr

xx:

xx:

ias _g_^

11

'

XE ffi

ADVANCED EAR-TRAINING AND SIGHT-SINGING

Exercises for Melodic Dictation

(3)

and Sight-Singing.

Practise:

V

(a)

Play the

(b)

Read the melody mentally.

(c)

Play the antecedent phrase twice. Sing it from memory to la. Sing mentally the number-names; then use the letter-names.

IV,

I,

and

I

chords in c minor to establish the tonality. Test.

Sing aloud. Practise the consequent phrase in the same way. Play the entire melody. Sing from memory.

(d) (e)

Transpose to d minor; to b minor; to C major. Sing first the number-, then the letter-names, in each key. Using the arm movement, down-up, sing the melody mentally and analyse the rhythmic figure on each pulse. Concentrate upon

(f)

(g)

the figures of three notes to the pulse,

j. J J stitute

.

If

there

confusion of

is

J

J J J

^

^

J

and J. J J

one for the other until the difference Drill," page 10.

is

felt.

,

and sub-

Review

"Rhythmic i

g

)!

^Hr=\

>ij73r

J^'i

j'J^j p

i

^ciirr p

^^»

^m

ADVANCED EAR-TRAINING AND SIGHT-SINGING

^ f

p

^ i^ij.jjJ /Ji;:jj

J^j

^hS

)\JV^^

Q-

iCjjff

i

r-7

ii

i

''

f'r

i

n >i[i;v

rj\jVn ^\

I

J^J]Jj>Uj:jJ3N'

^''^

hH^us

19

rpcif Q^ i

J.

r.^^iJJ^J>

i

J

-

g

J'i?^

^^

rprpi[:ir[j;;irp^^'ijjMrpp 10

E=S

^nira/irprc^ifr^iJ'irjirrg

Have each melody

(h)

(i)

dictated as follows:

Play the entire period with simple accompaniment, two chords to a measure, using the I, IV and V chords on the pulses, allowing the other tones to be passing-tones or neighbors.

The

pupil decides the form, the construction, contrasting, and the meter.

(2)

(3) (4)

(5) (6)

if

parallel

or

Play the antecedent phrase twice while the pupil listens and memorizes the tune. Do not allow the pupil to sing the melody aloud. He should sing mentally.

The

pupil analyses and writes the melody on the

staff.

Play the phrase again for correction. Dictate the consequent phrase in the same manner. The pupil marks the chords for harmonization, the figures, repetitions and sequences and the form of the melody.

Section C. (l)

Absolute Intervals.

There are minor 3rds on the staff from d-f, e-g, a-c, b-d; in the major scale from 2-4, 3-5, 6-8, 7-2; in the I, V, H, IV, VI and III chords. To sing

ADVANCED EAR-TRAINING AND SIGHT-SINGING

20

a minor 3rd up, call the lower tone 3 and sing 5; to sing a minor 3rd down, call the upper tone 5 and sing 3. Play any tone on the piano; sing the tone, calling it 3; then sing the (a) tone a minor 3rd above, calling it 5. Test. (b)

(c)

Play any tone on the piano; sing the tone, calling the tone a minor third below, calling it 3. Repeat, singing the letter-names of the pitches.

m

(a)§

8

5;

then sing

rm

Rhythmic Study.

(2)

it

ni

ijn JTSij~i] /^,JT?3J'

(b) (c)

The

three sixteenths in the figure

jT"^^

group themselves with the

next pulse, the same as the two sixteenths in the figure J

^,

Study using

and singing each exercise to la on a major scale, These exercises should be sung at a moderate tempo, about J. =69, gradually increasing to about J. =88. In all of the drill both for Rhythm and in Sight-Singing use a light tone so that there is no concern about

the

arm movement

for the pulse

as in the preceding Lesson.

tone-production. (3)

Practise the following Chord Successions: Play the key-tone and sing the exercise mentally.

(a)

(b) (c)

(d)

Sing, using the number-names. Sing, using the letter-names. Sing to la, thinking the letter-names, then the number-names. Write out the chord symbols and sing the letter- and numbernames from memory. In singing from memory, always have a mental picture of the staff or look at a blank staff.

Note. In exercises 3 B531, not each tone 8, 5, 3,

and 1.

4,

where the descending arpeggio is rapid, it must be thought of this the mind must relax after the note on the pulse.

^"i-^iJ^ir^J j MJ^rr i

*

^

^m iv^

as a unit

To do

' i

^^r^^

n^jJir

iJ^ r^J i i

l

^ IV-

ADFANCED EAR-TRAINING AND SIGHT-SINGING

m P

i

1,1

ij^pr

r^r ij

II

»

i

21

^

j

V.

^^ ^J^T

^ff^

^^u

I

V

I

^1

—^

I

IV.

*

mj

i^i

^^ii

^

^^ ^ t±:

(4)

ls/i-^

^

* i

x^ir

j

^Jij

*

* ^^ ^ ^a ^ ».

iv_

Exercises for Sight-Singing: and I chords and read each exercise through Play the I, IV, mentally. Test for pitch. (b) Sing each exercise to the number-names of the scale-steps; to the

V

(a)

(c)

letter-names of the pitches. Sing to the syllable la, thinking

first

the number-names, then the

letter-names.

Note the

skips in the

IV chord.

Mozart

*

;J3??]^

mF m -m-^ ^-m.

CX

I

J7ii^

22

ADVANCED EAR-TRAINING AND SIGHT-SINGING

ADVANCED EAR-TRAINING AND SIGHT-SINGING

23

^ QrrJ^ J^^ JJ-M^JJ^ J JJ^ l

l

l

^"^^'^ttW^^p

^h

J

^^

jhQ;^^

JO

i

M=i *

P

J^JJJjiJJ!IJi

J'

J

J' I

i

<^^^

J

^^

pir

^

i7^j

P^ Ji'J^ P^ I

*•

^

m^JK.

I

ilM

i

^^P

««___

h'l,

B

^^

C^ijjJf^

rrrCtt;

14

^j

I

^-+J^r

i^-Qj

^^ ^^

ffi

|.

^'

13

* •^j^ ^

r

J,,

s

**d

u M

J J,

I

r

^

Tj,

Pi i

i^j j.-^

^'

J V

"^

I

16

^

r

'

p

^•^J^iU ^??^

ij

'

i^i

;r

S£

#-"-•

V ^

i'

^^^ ^ ^

I

iJ

^

^

.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

24

fir^l^LiJlCu

iji'i

'

H-il^

^^^

^h I^^iJJ]

Lesson

The

II

called the

chord is minor in quality and is next to the V chord in activity. It is Second Dominant Chord because its root is the second dominant from

the tonic in the

The

3

Harmonic

may be

Series.

preceded by any chord but the V.

It resolves into the Exceptionally it may resolve into the VI chord, as will be explained later under "Exceptional Resolutions," in Lesson 4, page 33.

V

II chord

chord.

Section A.

Construct periods in G major, with both parallel and contrasting Employ phrases, using the I, V, IV and II chords as a basis for the melody. meter: the following rhythms in 6/8 (i)

JT3,J

J). J-

J ^

,

J55115

.

JT3 JTTO and JTJS ,

Section B. (i)

Practise the following Chord Successions: Play each exercise several times, determining

(a)

(c)

or at rest, major or minor. Pause after each active chord and think Read each exercise mentally.

(d)

Have each

(b)

exercise dictated.

the chords are active

resolution.

as outlined

on page

4.

.

The II chord will be heard as a minor chord. At first it will be confused with IV chord. Always go back and substitute the IV for the II if this mistake made, determining if the quality of the chord is major or minor. Remember

the is

Work

its

if

that a chord

is

not repeated over the bar.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

13

^

^

4

4

5i^

rr rr

2

7

n n n ii ii ^ m ^ rf rf n

n J.

^^ I

IV

I

II

V V

mn ji

a#

^ ^ ^ rr rr

^^

r

i:

$

r

^ ^ ii ^ i ^ f^ ^ J

r

(

^^

\

t

I

i

ii

i i p^

I

n ii

m

r 8

^^

r

i=i

1-^

^

25

i

i

r i

The minor 3rd and perfect 5th in the II chord, are from the root (2) to the 3rd and the root to the 5th of the chord: from the 2nd to the 4th and the 2nd to the 6th degrees of the scale. The intervals in the II chord will follow the intervals in the IV chord, and will be followed by intervals in the V chord. Practise the following: (a)

(b)

(c)

I, IV, II, V and I chords in major. Think the sound of the intervals. Test with the piano. Play the intervals, listening to determine how they sound in relation to the root of the chord and to the key-centre. Play the lower tone, sing the upper tone of each. Play the upper tone, sing the lower tone of each.

Play the

G

I

ADVANCED EAR-TRAINING AND SIGHT-SINGING

26

(b)

(a) CT

O

$

=&

(d)

(c)

^

s

(d)

s

a »o '

:^

^

S IE

ii i\ ti trr:

(e)

_o_

3ir

s ^=^

33:

=^

TF^

^8^

Exercises for Melodic Dictation

(3)

^

Jtt.

-

*

(c)

(b)

(a)

(e)

=S

=§:

=R=°^ xn

and Sight-Singing, containing skips

the II chord and employing the rhythmic figure

J.

JT^

G

major.

in

in 6/8 meter.

Practise:

V

and

(a)

Play the

(b)

Read the melody mentally.

(c)

(d) (e)

(f)

(g)

(h)

I,

IV,

I

chords in

Test. Play the antecedent phrase twice. Sing from memory to la. mentally the number-names; then use the letter-names. aloud.

Sing Sing

Practise the consequent phrase in the same way. Play the entire melody. Sing from memory. Use the period-form, figures, repetitions and sequences, as an aid to memorizing. Use the arm movement for beating the meter and mentally analyse the rhythmic figures. Transpose to F and A major, singing the number- and letter names, Have each melody dictated as outlined on page 19. .

Figure I

!!

II,

j)N pr I

—

Rep. Modified -

j)

i

i^r

Figure

^ p

\

p^ Fir'"?

jiir

V

Modified

[xrr

^1^-1^^

j'

l

j.jjJi^

i

rTriLXg

p

Rep J' ji

.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

^

rJ'r J] J,J UjJ-n]]|j;,,J

.

|

P

i

r-

a

mjij n^fj J^^i^L^p i

4*

ni

^

^

J'l

n

IV

(•

•. J

Nil

jiigr^

I

f

I

i

r

pr

I

iJ

iij^

i

i

J.

ff

iU

Irrrsr

J

I

r"'H

j^-i

nr

i

«-^

^

n^ftiFr_p'p_i

«^

p

i^micj!^

V

4*rrrrrrQ:;ir nn]i y

p

^ ^m

^

n^

4" rrrrrrr

^-F^

i

^

*

27

I

jj jic^;^

10

JM.Tf rPr^M^

nJ^

i

^-

J

J'

j.ijjJT3iJ irr^

irT^cx;i^P^pi^^-^i

-^-»-

ADVANCED EAR-TRAINING AND SIGHT-SINGING

28 Section C.

Absolute Intervals. the 4ths on the staff are perfect, except f-b; in the major scale, *xcept 4-7; in the niinor scale, all but 4-7, 6-2, 7-3. To sing a perfect 4th up, call the lower tone 5 and sing 8; to sing a perfect 4th down, call the upper tone 8 (i)

All of

and sing

5.

(a)

(b)

(c)

(2)

Play any tone on the piano; sing the tone, calling

Rhythmic Study: (a)

(3)

then sing the

it 8;

then sing the

§ 8

JjjJ

and J J

JJ

Study using the arm movement to Indicate the meter, and sing the rhythms to la in a major scale.

ji^

(c)

it 5;

tone a perfect 4th above, calling it 8. Test. Play any tone on the piano; sing the tone, calling tone a perfect 4th below, calling it 5. Test. Repeat, singing the letter-names of the pitches.

11^2

>n2 m^ij^TT^nrt^rn} I

Practise the following Chord Successions: Play the key-tone and sing the exercises mentally. (b) Sing using the letter-names; the number-names. (c) Sing to la, thinking the letter-names; the number-names.

(a)

(d)

*

Sing from memory.

wn ^rf :

r

.n

w--

w

ADVANCED EAR-TRAINING AND SIGHT-SINGING

)\^_y jTJ^J i

^

f^

^

i

II

—•

W--

4

^

Jlj. 4

^

\

^T^J

J'U^i^ jlJ^j j

IV.

igjl^j ) i

ii.tJ''^i

iJT^^ i

^

^

^'

jJi^J i n

*-:

29

i

''

j.j

^

Jj

^ Ft

Sing the following chord succession in the same rhythm as 2: I, II, V, IV, V, 1 Sing the following in the same rhythms as 3: I, IV, I, IV, II, V, I. Test fo pitch at the end of each exercise, even the mental exercises, so as to be sure that you are thinking and singing in tune. If below pitch at the end of the exercise, repeat, testing after each chord. The flatting is generally caused by not placing the 8th of the chord high enough. Use the piano only to test. Do not play as you sing. Learn to think in tune.

(4)

Exercises for Sight-Singing: (a)

(b) (c)

Play the I, IV, II, V and I chords, and read each exercise mentally. Test for pitch. Sing each exercise to the number-names; to the letter-names. Sing to the syllable la, thinking first the number-names, then the letter-names.

Note the sing

all

skips in the

of the notes

^^r

II chord.

on one pulse

Recognize the chord

as a tone group,

and

as a unit.

pi::;^-^'

i

L

'

ir

i

^^-^^^^i^n^TT

ADVANCED EAR-TRAINING AND SIGHT-SINGING

30

^ J'^

M s-^tir-s-

a

tJ U'TB

jg~^

l

\

\Awrr\\rjj}iT]-jfny^jyp

^Tnrm|^^|

i'

^r tf

• r

J

>^

8 J-

T 7

''

pi [x;L£Lri

^m

dst

L^l-rpuj

j

m

i

•

^^IH^ ^

^

^'

^M

i

¥=»

cX;^ riLLa-cJi O

l

f

i

m^^ ^

#=F

F=*

F==#

Q"LJ^^^>

ij^

J^r

m

i — *-p-

L4

Cfi-^MiJ^

r

D'iL£[r[^^^

^

7

Q-

^^

'.

7

|

|>-

J

7

|j>-

7

7

Q,

ADVANCED EAR-TRAINING AND SIGHT-SINGING

31

10

^rJT

n'i

i^'^

^

rJTEf -T^r-^NJi^"iJ 3?: i

j

l

[

\

uJ^

P:Mj ff^m

\f

u ^fflff Nj Tr £f^i pipj^ij J] i

y

rp^j

J^ff^r it

mj J

^

*

r. f i

'^n

n7g

<<M d=^=^ j,

i

1

^

^m

13

m

^ ^—

^^

j»

J

j'lj

•

«

J

^

j^n^^i

ADVANCED EAR-TRAINING AND SIGHT-SINGING

32

19

'''

UJ

r

^^m

[j-

Lesson 4

The VI chord is minor in quality. It is preceded by the I chord and may be In the harmonic series the root normally followed by any chord but the I. progresses to the IV. The III chord is a minor chord in quality. I chord and is followed by the IV chord, as

melodic progression

8765.

It it is

m u

i

I

lU

IV

I

generally preceded by the best used to harmonize the

is

ADVANCED EAR-TRAINING AND SIGHT-SINGING

33

following exceptions to the harmonic law are possible because the three upper voices resolve properly, fulfilling the melodic law, thus counteracting the exceptional resolution of the root of the chord. The chord may progress to the VI instead of the I chord. This progression

The

V

is

known

as the Deceptive Cadence.

*

f

^ 1

k

^

i ^

i ^

1

i

I

VI

IV

VI

S

VI II

chord and the IV chord may also progress to the VI. following exceptions to the melodic law are possible because the roots of the chords are fulfilling the harmonic law. The 4th degree of the scale may be forced up if harmonized with the IV chord resolving to the I chord or the II chord resolving to the V chord.

The The

II

^

4-

-

4-

B

-

5

i r

i

w

^ IV

The 6th degree of the scale progressing to the V chord.

II

I

may

be forced up

6-

-

7- 6

III

harmonized by the

II

chord

7

The yth degree of the scale may be forced chord progressing to the IV chord.

I

if

IV

down

if

harmonized with the III

ADVANCED EAR-TRAINING AND SIGHT-SINGING

34 Section A.

'

D

Construct periods in major, with both parallel and contrasting phrases, (i) using the I, V, II, IV, III and VI chords as a basis for the melody. Employ the rhythms given on page 28. Section B. Practise the following Chord Successions:

(i)

Play each exercise, determining if the chords are active or at rest, major or minor. Pause after each active chord and think its resolution. Pause after each minor chord and determine if it sounds like the I chord or the IV chord.

(a)

(b) (c)

As both the

and the VI are minor chords, they are distinguishable by IV and the I chords. The II, having two tones in common with the IV chord, sounds like the IV; the VI, having two tones in common II

their relation to the

with the

I

chord, sounds like the

I.

Read the exercise mentally. Have each exercise dictated.

(d) (e)

The i.e.,

Work

as outlined

position of the minor chord w'dl often determine the VI would not follow the IV or the II follow the V.

8

8

8

2

7

i

I

VI

f IV

n

it

is

a

4,

VI

or a II;

2

^il J J

a^ ^

if

on page

V V

^

Wnw lA lA U ^ r^ ^

J.

f

ADVANCED EAR-TRAINING AND SIGIIT-SINGING

35

8

S ^

^ r?

1

ff

r

m^ ^^ rr

n

f

fr

^M

.^J=^

i

^

The minor 3rd and perfect 5th in the VI chord are from root to the 3rd (2) and the root to the 5th of the chord; from the 6th to the 8th and the 6th to the 3rd degrees of the scale. The intervals in the VI chord will follow the intervals in the I chord and will be followed by intervals in any chord but the I chord. Practise the following:

Play the

(a)

VI, IV,

I,

II,

V and

I

chords in

D

Think the sound

major.

Test with the piano. Play the intervals, listening to determine how they sound to the root of the chord and to the key-centre. Play the lower tone, sing the upper. Play the upper tone, sing the lower. Transpose the intervals to the keys of C and G major. of the the intervals.

(b)

(c)

(d) (a)

(b)

=B=

(d)

(c)

^

S VI

(f)

(e)

zsn

^

:S:

in relation

3E

3r:

n

IV

z

*

^

(b)

^

=& -e>-

^

-o-

(d)

:§=


(b)

nnr

rr|;;T>

i

S

xx:

XJC

(b)

(a)

S

SE

(a)

(c)

i

-XT

(b)

(c)

^ ^ jGl.

XE

^^W

(d)

(e)

:^ o^^ ^^ ^

(f)

S^ ^

i

Exercises for Melodic Dictation and Sight-Singifig, containing skips in

VI chord and employing the rhythmic

meter.

XE

:&:

S^ ^ ^""U

(a)

(a)

SE

(i)

3EE

*t fi: «» »? 1

the

(f)

(e)


a)

(e)

331

XT"

-o-

:§=

(d)

(c)

-©-

:§!

(e)

O"

(f)

(Q)

«*

I

(d)

(c)

\\ t>

(3)

^^

Ol.

-o-

-"-

31:

it

(d)

(c)

(b)

(a)

figures

J^jJ

,

J J

J^

in 6/8

ADVANCED EAR-TRAINING AND SIGHT-SINGING

36

Practise:

V

and

D

(a)

Play the

(b)

Read the melody mentally.

(c)

Play the antecedent phrase twice. Sing from memory to la. Sing mentally the number-names; then use the letter-names.

(d) (e)

Practise the consequent phrase in the same way. Play the entire melody. Sing from memory.

(f)

Use the arm movement

VI, IV,

I,

II,

I

chords in

major.

Test.

Sing aloud.

(g)

(h)

for beating the meter and mentally analyze the rhythmic figures. Transpose to E and C major, singing the number- and letter-names, Have each melody dictated as outlined on page 19.

There will be no difficulty in determining the pitches of the wide skips and consecutive skips if the chord in which the skips are made is recognized. Apply the chords used in Section B (i).

%^^r II

—

"!

(»-^

VI

m IV

^ir p^

r

p

i

[^j

IV

VI

V

IV

I

PCg-i

j^j J^r

i,i

2

^

—W

#

^'\j

-9--

^Mr

J) J

J>

^

I

¥^i^.i JJJ>ijjj^irJY^i^.r^ i

ft JMjj^rVI

ft

jj^'i^

i>\

^'

1

^^ Jirrr I

ip

J

^JJU J>^ J, ^^•jj-'ij.

I

j.

j

^m

J^rrr^J

V

IV

J.

J-j]

\

J

-^

^

l

^'

^-J^^ '^>^rj[j^

*•

iiJ^i^-JjjJir

'

d

^

iJ-ir

^^

Pirpr

JJpiLifrp

p

^^J^' i

ADVANCED EAR-TRAINING AND SIGHT-SINGING

lUHtfP

i

J

f>r

—

"'

(S>-^

^

KIK

r^n-^r^^

a

8

p

i

i^^-^if-

^'

Lmujjjj.

^ t*

^

J'

ij^J

J^M.

p

[

^ j«^ *-F

I

^

rrc

i

iO 1©-^ ')

J ^jj J '

I

J)

^r -^ ^J4JQ J'

i

37

i

I

J

J] J J

^

n

.rjj r

Section C. Absolute Intervals. 5ths on the staff are perfect except b-f; in the major scale, except 7-4; in the minor scale, all except 7-4, 2-6, 3-7. To sing a perfect 5th up, call the lower tone i and sing 5; to sing a perfect 5th down, call the upper tone 5 and sing i. (a) Play any tone on the piano, sing the tone, calling it i; then sing the tone a perfect fifth above, calling it 5. Test. Play any tone on the piano, sing the tone, calling it 5; then sing the (b) tone a perfect 5th below^ calling It i. Test. Repeat, singing the letter-names of the pitches. (c) (i)

All of the

(2)

Rhythmic Study: The Up-beat (a)

(a)|

(b)

(c)

(d)

(e)

(f)

In 6/8.

^

j

JJ

|

Study using the arm movement to indicate the meter, and sing the rhythms to la on a major scale.

;3iJT^ JT3

i/n

J

J3i;t3 s~t: j-

^j

#

ADVANCED EAR-TRAINING AND SIGHT-SINGING

38

Note that each of these phrases divides into two sections of two measures Remember that when the phrase begins on the each, as indicated by the slurs. the measure meter, is from bar to bar. When the phrase of the pulse accented on measure begins the up-beat. up-beat, each Ex. e divides as the on begins J L

J L

J

L.

Great care must be taken always to group the last two eighths in a measure with the following pulse: Practise the following Chord Successions:

(3)

Play the key-tone and sing the exercise mentally. Sing using the letter-names; then using the number-names. Sing to la thinking the letter-names; then think the number-names. Sing from the chord symbols without reference to the notes on the

(a)

(b) (c)

(d)

staff.

Note. The III chord is minor. It follows the I chord and resolves into the IV chord, used except to harmonize the 7th degree of the scale as it progresses down to the 6th degree.

ff jt

m

—

^ »

-*

n.

IV_

H^

^.--.

m

r

It

is

little

ADVANCED EAR-TRAINING AND SIGHT-SINGING

4'ihj^'T^

l

j'lj

j

VI.

(e)

39

^

Sing the following chords in the rhythm of i I, IV, II, V, VI, V, I. Sing the following chords in the rhythm of 2: I, II, V, I, VI, IV, V, I. Sing the following chords in the rhythm of 3 I, VI, V, I, VI, IV, II, :

:

(f)

Additional pitch drill. In the following exercises think, then sing, using letter- and number-names: (i)

RootofIchord,RofIV,RofV,3rdof

R of (2)

R

of

I,

Rof (3)

R

3rd of IV, 5th of IV, of R of IV, 3rd of II, 5th of

I,

5th of I, R of V, 5th of V, 3rd of I, 3rd of VI, 5th of VI, of II, 3rd of II, 3rd of V, of I.

The chords should be not possible at

Exercises for Sight-Singing:

Ihw

Ri

R

of VI,

R

seen mentally on the staff as these exercises are sung, the chords may be written out in close position on

first,

the staff and referred to. 4.

II,

3rdofV, 5thofV,

5th of V, R of I. R of V, 3rd of V,

I.

R

if this is

I,

II,

ADVANCED EAR-TRAINING AND SIGHT-SINGING

40

/?

"jl

J

1

r

1

1

- i

/1

1 1

^ i

>1

1 1

ADVANCED EAR-TRAINING AND SIGHT-SINGING

^e j,^

*

ii

-^.rrt

li * 14

*f

^,^1

^^ ^m

^

i•

^m

i

iJ.j,Tj ji

'

d

^P

rij ;:n i

i

yi^

1

P^J

i

^

• J i^^ »

^u

^1

hi^ Jhrr n]

i

i

^^

p

41

^ •

^

d

^^ ^^B jjj,

?^

i

c-ri

^ ^m

— 42

ADVANCED EAR-TRAINING AND SIGHT-SINGING

19 —^^"^

I

I

-trr-

):tfiirTfrrr

loj

*

i i

I

1/

—

'^

r

rrrrr '^l:

i

^^ mzri

'

r i

'

^

•—

^^*

PrrrirLrr^irTfP

CHAPTER

II

INVERSIONS OF TRIADS

A chord is in Fundamental Position when its Root in the A chord is Inverted when its 3rd, 5th or 7th is in the bass. is

When

a chord has

its

3rd in the bass,

it is

bass.

in the First Inversion

i

=8: It

When

a chord has

When

a seventh-chord has

its

5th in the bass,

its

in the

7th in the bass,

$ A

it is

Second Inversion.

it

is

in the

^

Third Inversion,

:^

small Arabic numeral placed to the right of the chord symbol indicates the

inversion:

Ii.

Chords are inverted so as to allow the bass to progress melodically along

tJie

diatonic scale.

Lesson

The first

inversions of the

I,

IV and

5

V chords are weaker than the fundamental

positions.

The

II chord is better and more easily handled in the first inversion. chord in the first inversion will progress to the chord an harmonic degree below, the same as when in fundamental position. If there is a succession of chords in the first inversion, the bass and soprano will move in parallel 6ths. Because of this diatonic parallel motion the harmonic law will be ignored.

A

*

r

^

VI,

^

i r

rV,

IV,

nit

Section A.

Construct periods in F major, with both parallel and contrasting phrases, I, VI, IV, II and V chords in fundamental position and first inversion as a basis for the melody. Employ the rhythmic figures given on page 37, (i)

using the

6/8 meter. [43]

ADVANCED EAR-TRAINING AND SIGHT-SINGING

44

In constructing a melody when using the first inversion of a chord on a pulse, the 5th or the root of the chord will be used on the pulse, never the 3rd, if the chord is major. The 3rd is possible when the chord is minor.

Section B. (i)

Practise the following Chord Successions: Play each exercise, determining if the chords are active or at rest, (a) major or minor, in fundamental position or inverted.

(c)

Pause after each active chord and think its resolution; after each minor chord and think its major relative chord; after each first inversion and think the fundamental position. Read the exercise mentally. Test with the piano to see if you think

(d)

If there is trouble in thinking a chord, play it several correctly. times, then go back until you can hear it. Have each exercise dictated. Work as outlined on page 4.

(b)

The mind must attach some definite meaning to the sound of first inversions. The Ii, IVi, Vi all sound weaker than the fundamental position. They also sound top-heavy. They can be distinguished by the smooth progression into It is the next chord. This is difficult and cannot be mastered in one lesson. hear inversions. definitely to comes one drill that practice and constant only by

^^

1

4

2

5

^

^^ w

i

rt m

IV

rvj

V

isi

V4

n

i

ik

^

ij

^ r

ii

I

14.

i-,

1

1

1

^

^ rf

r

Ji

r

i

JDFJNCED EAR-TRAINING AND SIGHT-SINGING

|i'|i|'|i'i'|i'i'

r

ii jj ij i

^^ (2)

^ U rr ^^

Xi

i

^

45

4:

I

Practise the following Intervals:

Plav the

(a)

VI, IV,

I,

II,

(b)

(c)

(d)

V

and

F major.

chords In

I

Think the sound

Test.

of the intervals.

Play the intervals, listening to determine how they sound to the root of the chord and to the key-centre. Play the lower tone, sing the upper. Play the upper tone, sing the lower. Transpose the intervals to the keys of C, G and D major.

These intervals are

same order

in the

in relation

as in the preceding Lessons,

but are

not divided by bars.

^ » o »

3X1

XE

VI

3X

s TH

:xe:

3r

^

:^

-©- -Oi\

i\

^

^ "o-

^

xc

xc ff

:§:

xc

:&:

xx:

(3)

ii

33:

n V

IV

4 3£ WW

^^

"xr

"O

** «i «t

:^ «T-

S

xx:

XE -»U

xn

-oil

XX re:^

-o ^^

^

"O"

^ S

S XX.:^ =g3X

XI

^

xx:

S

xx:

Exercises for Melodic Dictation and Sight-Singing, containing the skip

from 4-7 and

^

and

Jj

on the Up-beat

in 6/8.

Practise:

V

(a)

Play the

(b)

Read the melody mentally.

(c)

(d) (e)

(f)

I,

VI, IV,

II,

and

I

chords in

F major.

Test. Play the antecedent phrase twice. Sing from memory to la. mentally the number-names; then use the letter-names. aloud.

Sing Sin^

Practise the consequent phrase in the same way. Play the entire melody. Sing from memory. In memorizing, keep a mental picture of the contour of the melody on the staff. Stop for a moment and take breath at the end of each rhythmic figure, so as to feel the rhythmic grouping.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

46

T r

(g)

(h)

(i)

Be sure that the mind Sing again mentally without stopping. phrases or breathes properly, Sing the letter- and and E major. Transpose to the keys of

G

number-names, Have each melody dictated

mn

i

I

j.a

i

jTij

cX/^ IV

Ii

I2

\

pqi

IV

II

jJ^

I

^

rnrr^

rr

i

IV,

as outlined

on page

19.

H] mij.

IV,

I

cX;J-jJ iJj V

I

m]m i^j

ij

i

llET

l

J^

J

V

^^ 'l

JTjJxjijTir

p

Folk- Song 3

f

r

r

^

c/i^

P

TT j-ir

nr 1}

(^T^J r nc^

jr^m—d^

tiafc*

r

^

rr c;

'

f^-ni *• m

i

^^

j.j

^^ ^

Rimsky-Korsakoff 7

t

jJirpj

ii ^•"

•

a

J]

^

^

ADVANCED EAR-TRAINING AND SIGIIT-SINGING

47

OJiU^U-r

i

^m ^m P >

^

itzfEat

P^jJ

^J73|f

f

I

p^-''^

J

h

•

^

I

^ P^^!^ J^ij-J^iJ:!?

^

^ife

a

^ J^

M ^^

m m'M

fi-

^^

at*

10

IJJ)

JJ

| I

N^S

^

ancjjJB

TK

p cjffl

Section C. (1)

Absolute Intervals.

There are major 6ths on the staff from c-a, d-b, f-d, g-e; in the major scale, from i-6, 2-7, 4-2, 5-3; in the minor scale, from 2-7, 3-8, 4-2, 6-4. To sing a major 6th up, call the lower tone 5 and sing 3; to sing a major 6th down, call the upper tone 3 and sing 5. Play any tone on the piano, sing the tone calling it 5, then sing the (a) tone a major 6th above, calling it 3. Test. Play any tone on the piano, sing the tone calling it 3, then sing the (b) tone a major 6th below, calling it 5. Test. (c)

Repeat, singing the letter-names of the pitches.

Rhythmic Study:

(2)

(a)

The Up-beat

Study, using the

rhythms to -i

(i)i

rji.j^

(3)

^^^
(4)

J

'5)

J)7j),J>i

J), J

la

arm movement on a major

m

-i

^^T} ij

->

JTI^iJ

y

JT^

iJ)i

J J J

to indicate the meter, and sing the

scale.

r

vjT3 7

in 6/8,

r

"ir

rn tj~nm

m J

>

m^

^

^i,J5?313J-

J~J53iJ)i

J>7

j-

•^-J'

/niJ J)

,_J

1 7

ADVANCED EAR-TRAINING AND SIGHT-SINGING

48

When

the measure begins on the secondary pulse in 6/8 meter, avoid stressing the first group. Always feel the first figure as an inhalation of the breath, and the next, on the stressed pulse, as an exhalation. Feel the grouping as indicated by brackets in Ex. i. The value and rhythmic beauty of beginning on the secondary pulse in a com-

pound meter it is

is

most apparent

in the setting of words.

With

this

understanding

easily applied to instrumental music.

In setting words to music, the composer has to endeavor to parallel the forms of English with the forms in music, i.e., a simple sentence corresponds to a phrase in music, a compound sentence to a period in music. The meter, whether simple or compound, is decided by the number of long syllables in the complete thought of the text. If there are four long syllables the meter is duple or triple; if

there are eight long syllables it is a compound, a four or six pulse meter. A four pulse meter is a duple meter with each pulse divided into

half

tnn a six pulse meter, a duple meter with each pulse divided into triplets. The stress which is given to the third pulse of a four pulse meter and to the fourth pulse

meter is known as a secondary accent. This is in reality the second or relaxed pulse of the duple meter and should not receive any more stress than that pulse. The tendency in playing and singing in compound meter is to give too much stress on the secondary pulse, thus changing the meter to a simple meter and making two phrases where one was intended. Mendelssohn, in the "Elijah," in setting the following sentence begins on of a six pulse

the third pulse in 4/4 meter:

(D*

J

J

Bless

-

n

J walk

I

J.

J)

are

the

J J men who

J.

J)

ways

of

J

J

Him,

they

J

,

n

J fear

,

ev

-

er

»

peace.

making Blessed, men, they and way the principal This changes the meaning of the sentence and would be set:

also be read

stressed words.

(2)

the

in

The sentence can and

,

ed

J.J-

J Bless

J they

-

ed

are

j~]i

J

ev-er walk

J) the

j)|

J-

I

who

men

n

ways

in the

The tendency in singing this phrase as in word Blessed, and equal stress to each long

J-

.

i

is

J

J

fear

Him,

>• of

J

11

peace.

to give too

syllable,

I

much

making

it

stress

sound

on the

like

the

ADVANCED EAR-TRAINING AND SIGHT-SINGING

49

accented word as in 2, thus destroying the balance of the phrase, and making two phrases in duple meter. The only words which are stressed are the first

words

in

each measure.

Practise the following Chord Successions. the arpeggio begins on the 3rd of the chord. (3)

(a)

(b) (c)

(d)

In singing the

first

inversions,

Play the key-tone and sing mentally. Test for pitch. Sing the letter-, then the number-names. Sing to lay thinking the letter-, then the number-names. Have someone read aloud the symbols and sing the chords without reference to the written exercise. Keep a moderate tempo.

^m m m m^ # mm ^ m m ^ m i ^ jJ^^^J j.j^

-9-'

IV-

IV,.

i

-9-

VI

-J-JF

J

•J.

IV-

Sy^r

\^

J-P—

-1-J.J

'

[

'

n.

^^ m

H' '^

n.

f

r^j^ -J^^"

^

i

J

^ ^

^^'f ^^J I

lis^

I

f J

^''•^

VI.

^

IV,.

^^jHjjJ.

'

I

j

J^^-

I

fe '^jj

IV-

1^ ^

'

^^ n,.

^^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

50

^m ^^

f

^ ^ IV-

(e)

^

m

IV..

III

#

Trr

P

IL^J

^"

Sing the following chords to the rhythm of 2: I, VIi, VI, IVi, IIi, V, I; to the rhythm of 3 I, IVi, IV, IIi, II, V, Vi, I; to the rhythm of 4: I, VIi, VI, IVi, IV, III, V, I. Additional pitch drill. Sing the following exercises, first with the letter-names, then with the number-names: of II, 3rd of II, 5th of II, 3rd of I, 3rd of I, R of IV, (i) of V, R of V, R of I. of I, 5th of I, 3rd of VI, R of VI, 3rd of IV, 3rd of II, (2) 3rd of V, 5th of V, 3rd of I, R of 1. 5th of I, 3rd of VI, 5th of IV, R of IV, 5th of II, R of II, (3) 5th of V, 3rd of V, Rof I. 3rd of I, 5th of VI, of IV, 5th of IV, R of II, 3rd of II, (4) RofV, 5th of V, Rof I. :

(f)

R

R

R

R

Think the sound (4)

'!}'

of the entire chord before singing the tone.

Exercises for Sight-Singing:

nr Lu

I ^

u/Li

ii

f

H'^^

r

i

I

ui-^i

r*i"*i

rrrrrr

I

I

^^

II

I

i

i-r%fft

ii

J-

J J*j*IJt IH'^ 1^

i

I

r I

Jj'JTm r T^ II '^^^'^^JJ^J J' I

JT^Ll;

*

I I

r r ill

^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

m ^M

m

d:±

rci&'

'l

' i

^

p ni

m —* •

i

!

p-m

j

i

j.

jT^

^

r^

i

^^

J.

jJJ urjjj.jjJiJ-

f

J.

[^ir i^T^^iij-jjiJ

i

JTlJrjii. c£^iJ

CI;

I

f p

-^

^'j

[jl

^

I

J-

V

J-

i

mj

ji

i

j

'^Jrs^

J>J

^£gf

i

1

r

S

^^"^ i

ip^-TJp^-^i

cjl;

pfpiJPJTj

^m

fe5

^

1^

£

i

^

^^

r:jJ^

f

iJ-:£;

^^

Jp-rTjirc:;iPlJJ

J

i ^J

j

i

51

^-

cij

I

I

I

^ ir p

pr pir

»j^ JJHJ- j^

n-]

Jmj.

-^

^g

J^ j:S

ADVANCED EAR-TRAINING AND SIGHT-SINGING

52

I

p

M

l

p J

p

1

1

m

1^

Folk-Song

Folk-Song^^

i

i -

|:

.1

^

i

j:;

i

r

u pU ^

M'lr

^

P^

j'JT]

J |

i

j

j.^•

^

p

'

d

ADVANCED EAR-TRAINING AND SIGHT-SINGING

jj^jiJ iT3b£H+tci:; '^^^^

'

i

i

<^b ^

|

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^

tf

*

20

« #

^

I

P- - a P

a<

^

''

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i

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|

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i

J JJ4JJrrrrrr

^-t^

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4^ JJJi,JTJI;j>^jT]

|

53

l

i-4JiJJ

rrrfCr^J^T^

rP^

J1]p

l

i

J-ciri^-''[iI/

^^

ff-Jl

Beethoven

»=*

Lesson 6

A

chord in the second inversion

li

J

J

J

J

^

r

r

r

r

J

J

M

_

J

r

r

I

I»

I

;

41' '^'

triad

la

is

used in three ways: in chord repetition

as a suspended or appoggiatura chord, resolving to the

on the same bass tone

^ ..

triad or an inversion of a triad

i

J

I,

V

;

as a passing-chord, resolving tD a

on the bass tone above or below:

I

V,

I.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

54

In this Lesson the second inversions of the

will

I

and IV

as appoggiatura chords

s

be used.

IV.

T,

These chords occur generally on the accented pulse of the measure. inversion of the I resolves to the V chord. As the 5th of the always doubled in second inversions, it sounds like and is often mistaken It is generally used preceding the V chord at the authentic for the V chord. It will be preceded by the I, Ii, IV, IVi, VI, II or IIi. cadence. The second inversion of the IV resolves to the I chord. Because of the doubled 5th it sounds like the I chord. It may be preceded by the I, V, Vi, IV or IVi. This chord is sometimes used on the unaccented pulse as in Section B This is known as a Plagal Cadence, (i) (5)> ^^^ ^t the cadence, as in 8.

The second

chord

is

Section A. Construct parallel and contrasting periods in Bb major, using the I2, IV2 (i) and all chords in fundamental position and first mversion as a basis for the melody. Use 6/8 meter, beginning on the 4th pulse. Study the rhythmic grouping of Lesson 5, Section C (2), page 47, and the melodies in Section B (3), of this Lesson. Section B. Practise the following Chord Successions:

(i)

(a)

Play each exercise, listening to the character of the chords and

(b)

Pause after each second inversion and think

(c)

Read the exercise mentally. Have each exercise dictated.

inversions.

I2

lution. is

the I2

1 8

8

7

8

i

'h^'

resolution.

Work as outlined on page 4. and IV2 are distinguished from each other by the chord of resoYou hear the same effect of suspension for each, and determine that it because it resolves to the V, or the IV2 because it resolves to the I.

(d)

The

its

Test.

iJ.

r

if

I4

V

. I

^ TT u

I

3

la

2

2 8

xr

V

^^^ J4 AA U W f

xr

3

i rr

m lA

^ 4

n lA

:sr.

i

rr

^

»

ADVANCED EAR-TRAINING AND SIGHT-SINGING

UU i TT TT 11 ii ff ^ ^ ^ f rr rr J

J

I

UM TT

:U rf

33:

^

J

T

i

ff=

^ rr

8 "O"

ff

&

-VQ

"O"

11

j

J

55

r

1^ TT

fP i

f

TT

Practise the following Intervals:

(2)

(a)

Play the

I,

VI, IV,

II,

of the intervals. (b)

V and

I

chords in

Bb major.

Think the sound

Test.

Play the intervals, determining of what chord they are a part and how they sound in relation to the root of that chord and to the key-centre.

Beginning with this Lesson, the intervals do not occur in any fixed order. They always follow, however, the correct harmonic sequence. Intervals in the V chord will be followed by intervals

Note.

in

the

I

chord; in the II chord, by intervals in the

(c)

(d)

*

t ^=e=

ti

ii

S I

1,'^

8

8

H

3x:

30:

^^

i

31: 31:

33:

o

*

V

chord, etc.

Sing both tones of the intervals. Transpose the intervals to the keys of C, G,

»

-8>

.a

^^

^

VI

IV

DEC

^

3ac

S :§:

SE -^ "

^

ZSXL

sS 31: :S:

and F major.

—n=§:

-o

jDC

IV 3e:

8

SE n

33:

K

D

8

^=^ :§=

30:

:^

V

I

S

3a: 33:

-o

o-

4V

TJ-

Q "

"O"

3r:

33:

s

:§:

=8:

JOl

33:

33: :«:

^ s


TJ-

SE

FF^

^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

56

Exercises for Melodic Dictation and Sight- Singing, beginning on the fourth pulse in 6/8 meter. and I chords in Bb major. Play the I, VI, IV, II, I2, (a) melody Test for pitch. Read the mentally. (b) Sing from memory to la. Sing Play the antecedent phrase twice. (c) (3)

V

mentally the number-names; then use the letter-names.

Sing

aloud. (d) (e) (f)

(g)

(h)

Practise the consequent phrase in the same way. Play the entire melody. Sing from memory. Study the rhythmic grouping. In memorizing consider each rhythmic group as a unit. Transpose to the keys of A and G major. Sing the number and letter names. Have each melody dictated as outlined on page 19.

Note. When there are consecutive skips in the same direction, do not think the separate tones, but analyze the chord. In Ex. 1, the third measure, the leaps down from the 3rd degree must be in the VI chord. In a melody like Ex. 6, third measure, do not try to remember the pitches; analyze as a scale from the Sth degree for six sixteenths ending on the next pulse.

Rep. Modified

Figure

f'^'rrT ^^'LC/iri'J^ i

4

'

r 'dfi" i

m •

I

i

rrpir^^ gfJ^ i

r

m

^

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ri.

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JDVANCED EAR-TRAINING AND SIGHT-SINGING

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p

mm ^^

^

<^^''ctrCl;irrri^^T.ir rpJ^ij. i

ji

f''

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57

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pprr rP^nrpJi^ rpo^ rprp rP^p i

i

i

i

f''CZ^LC;iPT J^^icrr.rrif.i^ i

^

Section C. (i)

Absolute Intervals.

There are minor 6ths on the staff from e-c, a-f, b-g; in the major scale, To sing a minor 6th up, 3-8, 6-4, 7-5; in the minor scale from 1-6, 5-3, 7-5. call the lower tone 3 and sing 8; to sing a minor 6th down, call the upper tone 8 and sing 3. (a)

(b)

(c)

(2)

Play any tone on the piano; sing the tone, calling it 3; then sing the tone a minor 6th above, calling it 8. Test. Play any tone on the piano; sing the tone, calling it 8; then sing the tone a minor 6th below, calling it 3. Test. Repeat, singing the letter-names of the pitches.

Rhythmic Study: (a)

J,

Study, using the arm la

on

a

major

is

Pj

J

J

rn

and the Up-beat

movement

.

J)

in 4/4 meter.

to Indicate the meter, and sing to

scale

In singing the figure J^ 1

^^

^^

which

is

the combination of a J

tied

to

give a slight pressure on the dot so that the second pulse

perceptible to the listener.

J

J

JJ

>•

Note. The Rhythmic Exercises following are all four measures long, as in the preceding Lessons, and are arranged in two braces on account of the number of notes in each exercise.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

58

(Df

J

(2)

J

<«J)|J. J.

J J-

J

n

J. J.

J3J

' J)

;3J.

I'J-

J3J

7

J

i

J3,J

;i

;?sj.

j^n

mm}-

Practise the following Chord Successions. (3) In singing the second inversions of chords, the arpeggio will begin on the 5th of the chord. (a)

(b) (c)

(d)

Play the Icey-tone and sing mentally. Test for pitch. Sing the letter-, then the number-names. Sing to la thinking the number-, then the letter-names. Have the chord symbols read and sing the chords without reference to the written exercise.

^' f'"" •'« «y« «ak=' in the arpeggio as a unit. .,,l,'!f^,''^' i°allows '""^'"l each note and the mind to concentrate upon the rhythmic

This saves the labor of readinc

difBculties.

^[\'^

ri

JDVANCED EAR-TRAINING AND SIGHT-SINGING

j.J^r'^ij.

'

Jlr

^n^.

ig.^^r

59

IV.

^

%

^o^

jjf Jj

ij.

^

ij.-^r

J

cJfLr i l

'

J

I

J-

4

tffcj

M

il

V

la

i''

'

jr^

^"3

^

^

U.

'

i

^

i

j i""^' '^'

jj:^r-J]

i

f^

i

fe

J

j-

mj^^

j.

IV.

li-

(e)

P

.

ijJ'^r^'J

VI,.

4^'-^.nr-J3i^.

j

It

'J I4.

'i.Jh

r'

>

n.

U.

i|i''

Oij.

Sing the following chords to the rhythm of i I, IV, I2, V, I; to the rhythm of 2: I, Ii, IV, IIi I2, V, Vi, I; to the rhythm of 3 I, IV2, I, V2, Ii, IV, III, I2, V, I; to the rhythm of 4: I, IVo, Vi, V2, Ix, I, I3, V, 1. Sing the exercises for pitch drill on page 50 in the key of Bb. :

:

(f)

(4)

H

Exercises for Sight-Singing:

ADVANCED EAR-TRAINING AND SIGHT-SINGING

60

Mozart 3

^''

4

cjr

J

f'r 4^''

sr

j

.

I

^

i

jr

r [

'-J

i

r

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^

"i

i

r'

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jJJ^ ji j.cfJMUJrcJ'

«bd=^

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i

ji ^-9t

I

J J J J

«rjs F^

i

J.

pr'^n

J^

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j.

^i

f^J J^'Ji

^^

m-M-JL

JDFANCED EAR-TRAINING AND SIGHT-SINGING

in^^

i,\Pr [j\rrj:]^

\

^

^ ^''

rJ:^r

j.j

i

#-"^ *

jpjjjj

i

j.

^

I

J

j^r

^^^ ^i ^^ f' J77^r>

1

^

j.j^

^^M 7jjj.^

i

j.

I

r

J

u

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p r

i

M

J^r

i

.i

J J

I

£f

j-ji

J.

^^

_

,_

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rprJ

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f>-

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14

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^^ 13

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i

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c;rcriCi£;J^ r^r

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61

cir

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ADVANCED EAR-TRAINING AND SIGHT-SINGING

62

^ ^^

16

'N'

« J

r\

f»-i

\

^

^

r

f iS

^

r

1

1

18 ,V'

i,i'

r

A-

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rj

i

cJi

rj-icJ

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ftrm

i

Folk- Song

v-^"r

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[;ir

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CHAPTER

III

CHORDS OF THE SEVENTH AND NINTH and Ninth-Chords are Dissonant, because of the major and minor by adding one or two more thirds to the triad. formed 7th and 9th, The IV^ VV, V and UV are the V^ and IV. seventh-chords used The most chords sounds these like a suspended tone each of of 7th the but are also used, chord. of part the legitimate and not as a All Seventh

M

^f

v^

n^

11

"

iv^

vi^

The most commonly used ninth-chord

is

Lesson

^ f

the V^,

m^

m

7

chord is a major discord on account of the major 3rd from the 5th of the scale and the minor seventh from the 5th to the 4th degrees to the 7th

The

V'^

degrees of the scale;

is used the same as the V chord. The 7th of the chord, the scale, must the always resolve downward. Its resolution may be 4th degree of up to progressing the degree 5th and down to the 3rd, or down by then delayed then to the 3rd while This is known as a 2nd and the chord is held. to the V

The V^ chord

J

p my J

delayed resolution:

J

I

=^

Section A. (i)

using figure

Construct parallel and contrasting periods in G major and g minor, and inversions and the V^ chord as a basis. Use the rhythmic

all triads

\

^^

in 4/4 meter.

Section B. (i)

Practise the following Chord Successions: (a)

Play each exercise, listening to the character of the chords and

(b)

Pause

inversions. after each

V^ and think f63]

its

resolution.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

64

Note the difference In place of each V^ play the V chord, then the V^. in sound. Read the exercise mentally. Have each exercise dictated. Work as outlined on page 4.

(c)

(d) (e)

The V^

is

distinguished from the

V

on account

of the dissonance.

Note. Have the exercise played slowly. During the first playing relax and listen to the chords so Do not try to anal^^ze at the first playing. that the entire exercise makes an impression upon the mind. During the second playing write down the chord symbols. At first it may be necessary to have the exercise played a second time for the symbols; next have it played and write the numbers of the scale-steps Compare your version with the exercise and correct mistakes by playing the mistake of the soprano. and then the correct version until the difference is heard.

I

VI

IV Hi

I, Y'

U-T4-J

I

m

,M

t

n

r

i

gi

m ^^

m TT rr

^ AA 4

m T

r

AA AA

r 1

f

ii

n

fr n AA

i r

r

ADVANCED EAR-TRAINING AND SIGHT-SINGING

65

Practise the following Intervals:

(2)

There are four new Intervals in the V^ chord: the minor 7th from the root to the 7th of the chord, from the 5th to the 4th degrees of the scale; the major 2nd from the 7th to the root of the chord, from the 4th to the 5th degrees of the scale; the augmented 4th from the 7th to the 3rd of the chord, from the 4th to the 7th degrees of the scale; the diminished 5th from the 3rd to the 7th of the chord, from the 7th to the 4th degrees of the scale. (a) Play the I, IV, and I chords In g minor. Think the sound of the intervals. Test. (b) Play the intervals, determining of what chord they are a part and how they sound In relation to the root of the chord and to the

V

key-centre. (c)

(d)

«

*:

Sing both tones of the Intervals. Transpose the Intervals to the keys of

^ :^

:^

VI

I

_CJL

-&- 30E

an 335 XE

^^-^

^

XE

M IV

XE

—or h

8 "

:^ "W XE

i»

g and

ss

M

-»

II

:§:

d,

f,

XT'

c

minor.

XC

11

o XT

V7

1

o XE

3x:

XE

:^

"O"

^i=W XE

=8=

:^ :^

4

o

=^=5=

XE

'^=W XE

# *

xr (3)

XE

33:

^ u »

=^ ^^=ff XE

ifi:

XE

=

(a)

(b) (c)

(d)

^ XT

XE

Exercises for Melodic Dictation

V^ chord and the rhythmic figure

nnQ-

J^

XE

-O

©-

XE 8

S XE

\\

««-

^

0—o—XE

-^—«»

o «=

xr

and Sight-Singing, employing skips

^^

in

the

in 4/4 meter.

I, IV, V^ and I chords In g minor. Read the melody mentally. Test.

Play the

Play the antecedent phrase twice. Sing from memory to la. mentally the number-names; then use the letter-names. aloud. Practise the consequent phrase in the

same way.

Sing Sing

»

ADVANCED EAR-TRAINING AND SIGHT-SINGING

66

Play the entire melody. Sing from memory. Transpose to the keys of a and f minor. Sing the number- and names. Have each melody dictated as outlined on page 19.

(e) (f)

(g)

Note.

In harmonizing a melody in 4-4, use a chord or inversion on each pulse.

rhythmic figure

1,

^^

letter-

In analyzing the

note that the two sixteenths group themselves with the next pulse.

analyzing, on account of the length of the

J.

note, not waiting for the two sixteenths. pulses, sing the tune, placing your pencil

there

is

danger of counting one, two and calling

it

In

a half-

ever in doubt about the rhythm, make an outline of the on a dot as the pulse recurs. In this way the figure is easily If

analyzed.

Figure

*

p I

I

Repetition

^'

^\^'

Vi

V

Ii

Sequence 1

I

4''''

f

1^

r"

c/

n,

n

ij

I

1

:a

d'

4

^-

'''

p

r"

v^

^-

ll^ S

-^ ^ ii

I

V

I4

I

^

^U v

IV

I

=mg r -fp

rrcrr' cf ^JiiJ'^ i

I

—

^=^

I Ii la Ii

I

m m

^i-''

V I Hi Sequence

n,

«

^m

w « p

^i

^

r

r

v^

i,

i

i

n

r

II

J-'^vn^

^ rr

^

v

m

nj

«!

I

p- J^ri

r

^

n^r

^

r

err

^

ja

N-

^

i

ADVANCED EAR-TRAINING AND SIGHT-SINGING

^;^''

J

i

jHJ

j.jj-.:^

#

# j;i-''

Mi-.M

¥' 1

'

i

p

^i''

^ r-r

Ej

ii

i'Pu

J

B JiJ^JJJH

JjiJ-crirrrr jry- c/if

i .n i

ii

i

i

'

r

67

r

i

cj-^-^^- Ji

iLr^-iH^

cjrP rc;r-c; ^c/J-p

-^iiiJirJ-tLrraii

i

i

.ij

ADVANCED EAR-TRAINING AND SIGIIT-SINGING

6S (b)

(c)

(d)

(2)

Play any tone on the piano, and sing a minor 7th down, using first the number-names, then the letter-names. Play any tone on the piano and sing a major 2nd up, using first the number-names, then the letter-names. Play any tone on the piano and sing a major 2nd down, using first the number-names, then the letter-names.

Rhythmic Study: (a)

4

^j

|

and J)

Jj

j

on the Up-beat

in 4/4 meter,

Study using the arrn movement to indicate the meter, and sing to Always begin on the 8th degree of the scale la on a major scale. and sins down.

R

n~^

n

F

ADVANCED EAR-TRAINING AND SIGHT-SINGING

>

f' jj

l i

4.}J7l^J4^ i->^l l

I

^JJ*IJJ|^

IV.

JJ'ij.J-ff

4'''l

« V

^

^'''"

li

ij

^

IVi-

^

vj.

« ^

' i

i

j.

l|il

^

f

^

Il

IV

L-^

,r7

JpJj

l|l

"iiJ'^^u.

''

^ ^

jxffl

|l|lj

lj.iiH|

'

69

JJJi'lJj

i

'

j.

i

^^

JJJ^Jj i i

II-

4

^ rMfrli

u

r

J

P

i

^^

r-lflJ^

v/

(|^'-

-l|[Jj^

liJiJ-^'ljiJji^ '3

-

J

^ I

IN-

^iJ.lWjj^

l

vl.

s

«

l

E^^p

^

^^i VI

_[4J.

^

— ADVANCED EAR-TRAINING AND SIGHT-SINGING

70

(e)

Sing the following chords to the rhythm of i I, V, V^ V^a, Ii, IV, I2, V^ I; to the rhythm of 2: I; VI, I2, V^ VI, IV, I2, V^ I; to the rhythm of 3 I, Yl, Yl, h, I2, V^ Vj, I; to the rhythm of 4: I, IV2, :

:

IV, ivi, I2, v^ I. Sing with number-, then letterExercises for Pitch and Key Drill. names, in the key of g minor. Think the sound of the entire chord before singing the tone. (i) R of 1, 5th of I, R of v^ 3rd of v^ 5th of v^ 7th of v^ 3rd of I. of IV, 5th of I, 3rd of V^ of I, of I, 5th of V^ 3rd of I, R of IV, 5th of I, 3rd of IV, 5th (2) of II, 3rd of V^ Rof I. 3rd of I, 7th of V, 5th of V^ R of I, 3rd of VI, 5th of IV, (3) of V, 3rd of V^ R o^ I. 3rd of IV, of of V^ 7th of V^ 3rd of V^ 3rd of I, R of I, 5th of I, (4) of I. IV, 3rd of I, 5th of I, 5th of V^ I, ii,

(f)

R

R

R

R

R

R

R

Exercises for Sight-Singing:

(4)

r

*

^

^

r

m

ir r

^^m ^^

^^4

JlJ j^»pp

h^

\

If

f

J

r

J J

Ij

U^'

—

a<

^B

m ^

]»

i^

p

\

m

r J

t=i

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J'»EI

i

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r

^a ^

^ Mozart

SP

Mozart 3 d

IS)

— r 9'—*

P

JiiJj'i

^ mi

^

««-=

s

#—ft

r r

— — —r^ 1

i

w±

^^ ^g

r r r*^^-!'^'*^-'^

i

1

ADVANCED EAR-TRAINING AND SIGHT-SINGING =g^=:

# ySTr

—m

1

I

m ^^

I

^^— "T

1

Y~l

FT

—

1

71

W=f P F m

ADVANCED EAR-TRAINING AND SIGHT-SINGING

72

nrir^

^^

?

r

\

Brahms

Cr[^^m

d

''

12

>'

!!

rrp-ppfir P^^ji

Lr f/rri^ Ir7rf I I

I

^

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^

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rr

u

^^ ^ 13

i

^

p^i^i^

'^

w Prp fr-

|i

p^

i

[riE::::jrfrirrr,rrr^p

i

P

i

^

^^[jiE;

16

^=»

rrT

^

'>'«[i:^r tH

ffr

r^

/

[

i

tT-

T^^

i

Mr-

tf/

nr i^^Mjr

i

|

i

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i

fe ^

D^^

I

;

ADVANCED EAR-TRAINING AND SIGHT-SINGING

>'»^

P-[j

73

rr 'f i

l

18

^"uJLd' LJ^-iLJ^^'

''^'r^^ i

^=K

^^^

i

i

rdLd'iQi;r ^i'' i

v^tf

j'

[j^r f>pr

*j.tj

l

rPJ g ^^-^

Mr

i

20

s vtef

r

Lesson

When

the V^ chord

The \\

melodic law.

inverted

all

will resolve to

the

is

i

f

f-._

i

fr

.

vvfri^^pir

^i

8

four tones will resolve according to the

I

# ^"

^1= the V3 to the

I

'a

the V2 to the

The

or

I

^^-

Ii

V^ chord may be omitted, leaving the 7th, 2nd and 4th deThis is known as the qV^ (five-seven incomplete), and is the of the tones in this chord resolve melodically and like the upper

root of the

grees of the scale.

VII chord.

All

voices of the

V^ chord

*¥

Section A. (i)

using

all

up-beats

The oV^

is

best used in the

first

inversion.

o^'

Construct parallel and contrasting periods in D major and d minor, triads and inversions and the Y\ and V] chords as a basis. Use the

^j

and

J)

J J

in 4/4 meter.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

74 Section B. (i)

Practice the following Chord Successions, which use the VJ and V3. Play each exercise, listening to the character of the chords

(a)

and

inversions. (b)

Pause after each V^ inversion and think the chord of resolution.

(c)

Read each exercise mentally. Have each exercise dictated.

(d)

Work

as outlined

on page

4.

On

hearing the V^ inversions, you will determine first that it is a V^ chord; that it is inverted, because of the diatonic progression of the voices; that it is a Vi because the I fundamental follows, or a V3 because the I^ follows. The \ J affects the ear as contracting when it resolves; the V3 as expanding.

^ ^ ^^ n n ^ ^ U^ mm^ 8

2

8

j=^

^j.

gi

p?

v;

I

II

^m

I,

1 p

4=^

11

a

^

V'

f

J J

f=r

i^ X4

^^ hi ^ m J=J:

ViL^ p r

^

r

r

^

^

'

^

r"

— ADVANCED EAR-TRAINING AND SIGHT-SINGING

75

Practise the following Intervals:

(2)

The minor 7th and major

2nd, augmented 4th and diminished 5th in the V^ chord are the same in minor as in major. There is also an augmented 4th and diminished 5th in the II chord in minor, caused by the lowering of the 6th degree. The augmented 4th is from the 5th to the root of the chord, the 6th to the 2nd degrees of the scale, and the diminished 5th from the root to the 5th of the chord, the 2nd to the 6th degrees of the scale. Play the I, IV, II, V^ and I chords in d minor. Think the sound (a) of the intervals.

Test.

(b)

Play the intervals, determining of what chord they are a part and how they sound in relation to the root of the chord and to the

(c)

Sing the lower tones of the intervals, think the upper tones. Sing the upper tones and think the lower. Transpose the intervals to the keys of g, f and c minor.

key-centre.

(d)

Note. The augmented 4th in the II chord generally resolves to the minor 6th in the diminished 5th to the major 2nd in the V^ chord.

3x:

331 noE =CF TJ

O-

11

«

=^=S

*

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.

M

(3)

O

3x:

3x:

xc

s

W^ -r-^

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3x:

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8

Dcx:

^ :&

;I^d:

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rr-»xx:

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» xc

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T

xc

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=«nc

SE

3o

o

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8

^

'Tl

Exercises for Melodic Dictation

Skips in the

ar:

-d

'Tt— 8 8 O— g te

^

«

*

ff« -O

^

3a:

m^

3x: it

P.

o XE

«»

^^

XE

<

..

:

chord; the

v

II

^

^=^

» o

«

-^^

IV

I

SE

^

I

o

jt

-o

ll

3z:

\r

xx:

and Sight-Singing:

V chord and the Up-beat

Jj

and

J)

Fl

Observe carefully the rhythmic grouping with the up-beat

in 4/4 meter.

^J

o^

J)

Jj

ADVANCED EAR-TRAINING AND SIGHT-SINGING

76

/3,j.

No.i No .6

j)ji

,j.

j)j.

j),j^j^j. ;3,j

j)j

n

,j.

j)j)j>;i ,j. j)j

/^

,j

7 „

(e)

I, V^ and I chords in d minor and read the melody mentally, using the arm movement to beat the meter. Play the antecedent phrase twice. Sing the melody to la. Sing mentally the number-names, then the letter-names. Sing aloud. Practise the consequent phrase in the same way. Play the entire melody. Sing from memory. Transpose to the keys of e and c minor. Sing the number- and

(f)

Have each melody

(a)

(b)

(c)

(d)

Play the

letter-names.

dictated as outlined on page 19.

Modified Sequence

Figure

I2 Ii

I

1^

r'

^'p

Ii

I

I

^J^ IV

IV4

IV

N-

III

ii

V

V

^

^ f

m

V

n^

n

V

V3'

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I

ij

III

I

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la ii

i

n

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V^^

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.[ii|^

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i

77

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.

ADFANCED EAR-TRAINING AND SIGHT-SINGING

78 Section C.

Rhythmic Study:

(i)

J^

Ji

and

J JJJ

in 4/4 meter.

^-£^

Study using the arm movement to indicate the meter, and sing la on a major scale.

(a)

Do

Note.

which

J

is

not confuse the rhythmic figure

0*0'

^«

While holding the

^

1^

which

f)

is

J J

J

with

^ ••

to

J)

mentally divide the pulse into halves, and the sixteenth.

notes will give no trouble.

a)|

j)H J~i j~iJ"

(2)

I

a

<s>

Practise

augmented 4th (a)

(b) (c)

(d)

J"

I

n3 j??^

iijT^rjSiJ-

the following

in the V'^ chord

J.j^nj

Chord Successions. is

'J)

I

Ji

7..

i'j)/73i

n^iTf^iJ

}

,j..

J

(6)

(2)

J3J"

j),J.

J)

Watch

J^

1-

J>

.

carefully that

the

in tune:

Sing mentally. Test. Sing the letter-, then the number-names. Sing to la, thinking the letter-, then the number-names. Have the chord symbols read and sing the chords without reference to the written exercise.

jT

ADVANCED EAR-TRAINING AND SIGHT-SINGING

l^j^r

U-ijMji^r

rh'

\

\

79

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ADVANCED EAR-TRAINING AND SIGIIT-SINGING

80 (e)

(f)

Sing the following chords to the rhythm of i I, IV, V3, Ii, qV], I, VI, V^ VI, I; to the rhythm of 2: I, VI, I2, V^ VI, VIi, oVl oV^ I; to the rhythm of 3: I, qVI, I, V^ Ii, V^ \], I, qV^ I; to the rhythm of 4: I, oV^ I, oVl, h, IV, V^ Ii, oVi, I. Sing with number-, then with Exercises for pitch and key drill. letter-names in the key of d minor. R of I, 3rd of I, R of IV, 5th of oV^ 3rd of oV^ R of oV^ (i) :

R of (2)

(3)

oV^ (4)

I.

3rd of I, R of IV, 7th of V^ 3rd of V^ R of V^ R of I, 5th of I, R of VI, 3rd of IV, R of V, R of oV', R of I. sth of I, 3rd of I, R of IV, 3rd of oV^ R of oV^ R of I, R of VI, 3rd of IV, R of IV, 7th of V^ 5th of oV^ 3rd of

R

of

V^

R of I. 3rd of oV^ 5th of oV^ 3rd of I, 3rd of IV, 3rd of V^ of oV^ 3rd of oV^ R of I.

I,

of

Exercises for Sight-Singing:

(3)

J

J

J

J

;^^

J. I

^ 2

«

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R

^^

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Cramer

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ADVANCED EAR-TRAINING AND SIGHT-SINGING

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i

F' ^ m

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81

mum.

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ir3 J-pi» i

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ADVANCED EAR-TRAINING AND SIGHT-SINGING

82

'^'i'"

'^'^

i

gLLLl

r

L^cJT

^

n

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til L kaaa

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f

^

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m '

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13

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^^ ^

ADVANCED EAR-TRAINING AND SIGHT-SINGING fl|,*«

,

nn

n

n

83

ADVANCED EAR-TRAINING AND SIGHT-SINGING

84

third, and the period is in parallel construction when the first and slight modifiand cadences the for second and fourth phrases are alike, except

The double

cations,

j.n-

phrases are ditterent. The double period is in contrasting construction when the chord. to the \ third another adding by The V^ (five-nine) chord is made

the chord is best in the In major this chord is not inverted, and the 9th of nine tones from the In minor it may be inverted, but the 9th must \>e soprano. '^"''The

oV

(five-nine incomplete) chord, or the

This chord

root omitted.

is

VIF

more used than the V^

chord,

is

the V^ with the

*1 ,9

In major the qV may be inverted and all inversions but the third are used. This is not available, because the 7th of the chord must be above the root or it sounds like a VI chord with the 7th, 2nd and 4th degrees of the scale suspended. In minor the qV chord is a diminished seventh-chord (a chord the tones of which All the voices of this chord are a minor 3rd apart), and all inversions are used. resolve melodically.

Section A.

Construct parallel double periods in F major and f minor, taking the (i) melodies in Section B (3) as models and using all triads and inversions, the V^

and V^ chords in 4/4

as a basis,

Use the rhythmic

figures

!„

J\

and J

rT^

meter.

Section B. Practise the following Chord Successions which use all inversions of the V^. When it resolves to the Ii the 7th of the resolves to the I or the Ii. chord, the 4th degree of the scale, will go up so as to avoid doubling the 3rd of the This sounds well because of the parallel thirds between the bass and the I chord. (i)

The V2

^ m r

7th of the chord. 4):

(a)

2

Play the entire exercise, listening to the character of the chords and inversions. At the first playing do not analyze. Allow the sound of the chords to make an impression upon the mind.

ADVANCED EAR-TRAINING AND SIGHT-SINGING inversion and think the chord of resolution.

(b)

Pause after each

(c)

Read each

exercise mentally.

(d)

Have each

exercise dictated.

(e)

After working these exercises in

The V2

will

V'^

^^n 3

3

rf

^m

I.

i r

lA

i

I

2

2

^

J

Work as outlined on page 4. F major, repeat in f minor.

be recognized as going down to the

4

$

i r

ii

F

*

A=i

^ i

i

i i

r

w

i

^

«^^

chord, or up to the

#^

ff

m

^

Ii.

i T

4 ^

m n n ii ^ u ^ i f ff rr ^ ^^ ^ tt ff rr ii i^ ii ^g i

r

r

i

£

i=i

i

ii ii ii

i

^

(2)

I

vji

^ U Mn .

85

£

8

i

1 r

i

r

r

i r

i

£

Practise the following Intervals:

In the V^ chord there is a major 9th from the root to the 9th of the chord, the 5th to the upper 6th degree of the scale. In minor this is a minor 9th.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

86

In the oV chord there is a minor 7th from the root to the 7th of the chord, In minor this is a diminished 7th. the 7th to the 6th degree of the scale. Play the I, IV, V^, V^, Vj and I chords in F major. Think the (a) sound of the intervals. Test. Play several times any interval you cannot hear mentally, then go back and read from the beginning. Repeat until you know the interval. Play the intervals, determining how they sound in relation to the (b) root of the chord and to the key-centre. Sing the lower tones of the intervals, think the upper tones. (c) Sing the upper tones and think the lower. Transpose the intervals to the keys of Bb, D, G and C major. (d)

I

"80o

:;

»»

-o-

B^ =& ^ ^ ^^

m m (3)

o

JOC

o

^«»

-o-

—o- s

-o

^^

tjS t^o Ijo

"

" » II

Exercises for Melodic Dictation

Double Periods

in form.

^

o 8

-o-

31:

o o SE

S

^=ff

«>

JOC

—o- s

-o

U o o

3x: :&:

s "S^^ s

«.

^ "

3x:

S

*^ o " 8 bo bo

*' **

3x:

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Q o

^

^^

o«*

Q

XX '^o

"

:^»n:

Q

tl

u^ u" ^^^

,.

o" H

JE .

c

..

and Sight-Singing:

Skips in the V^ chord and the rhythms

J„

Jj

s

and J

JT2 (a)

in 2/4, 3/4, 4/4 meter.

Play the

I,

IV,

II, V^,

V and

I

chords in

F

major.

Read the

entire

melody mentally.

(b)

Test for pitch. Play the entire melody, noticing the effect of the semicadences continuing the thought for sixteen measures.

in

ADVANCED EAR-TRAINING AND SIGHT-SINGING (c)

(d) (e) (f)

(g)

87

Play the first antecedent phrase twice. Sing from memory to la. Sing the letter- and number-names, first mentally, then aloud. Practise the first consequent phrase in the same way. Play the first period and sing from memory. Practise the second antecedent and consequent phrases in the same way. Play the entire double period and sing from memory. This is easily accomplished if the construction of the melody is clearly understood,

(h) (i)

(j)

Transpose to the keys of E and G major, Sing melodies 2, 3, 5 and 6 in f minor. Have each melody dictated. (i) Play the entire double period. The pupil determines the meter by the number of pulses in a phrase, and the form by the number of cadences in the melody. Play the first antecedent phrase twice. The pupil listens and (2) memorizes the phrase. The pupil analyzes and writes the phrase upon the staff. (3) Play again for correction. (4) Dictate the other phrases in the same way. (5)

The

pupil marks the form, and harmonization.

(6)

figures, repetitions

and sequences,

s

The

figure

The

figure

J

VI

I

must be

Jt

J..

nl

IV

Fi^re

and

really a "turn,"

is

J'J^

will

be recognized as such.

carefully contrasted with

It

vj

vj

I,

ii

I

J.

I2

J)

in dictating.

v^

I

Modified Seq.

I4

n

V

I

VI

IV

r

vj

\

ii

II

v^

ij

U

Vj

m

V/

Ij

r

^i ?pir-Hi

i^

I

V

v/

I

J^ JJ^lJ l

n

IV

la

I4

l^

)i

m

i^iJ.

i

IV

v

n^

Vj

I

rf^

i

J

^

n^v*

plr'j^^^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

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f

j-jjj

f

Jj^JJ i^Cj

f

/3r]

J. |

p

i

l

4=^

|

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I

^

H^

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l

r

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J'ri].ni;^rr;

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f

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I

ADVANCED EAR-TRAINING AND SIGHT-SINGING

89

Section C. Absolute Intervals.

(i)

There is an augmented 4th on the staff from f-b; in the major scale from 4-7, l-#4, [76-2, 6-^2, 3-#6; in the minor scale from 4-7, 6-2, 1-^4; in the V\ IIjJ IIJ, oV^ and VIJjj chords. There is a diminished 5th on the staff from b-f in the major scale from 7-4, #4-1, 2-b6, #2-6, #6-3; in the minor scale from 7-4, 2-6, #4-8. To sing an augmented 4th up, call the lower tone 4 and sing 7; to sing an augmented 4th down, call the upper tone 7 and sing To sing a 4. diminished 5th up, call the lower tone 7 and sing 4; to sing a diminished 5th down, call the upper tone 4 and sing 7. ;

(a)

i

£

Sing an augmented 4th up and a diminished 5th down from the following tones, using first the number-names, then the letter-names of the pitches:

do:

3x:

(b)

(c)

fe

sa:

^

h&-

xz:

E

Repeat, singing the augmented 4th and its resolution, the minor 6th. Determine the ke^ of which each interval is a part. Sing a diminished 5th up and an augmented 4th down from the following tones, using first the number-names, then the letter-

names:

*

*

T

(d)

(2)

t^

do:

i

t^

^

Repeat, singing the diminished 5th and its resolution, the major 3rd. Determine of what key each is a part.

Rhythmic Study:

J^^JJJJ^

J^^^^

^"^

^^^

in 4/4

meter. (a)

Study, using the arm la

on a major

slowly,

movement

scale.

to indicate the meter, and sing to These exercises are to be practised very

subdividing each pulse.

divided pulses in 4/4 meter

The arm movement

is

2 <-

—

sub-

Study the

liV 1

for

-*

3

rhythms mentally before attempting to sing them.

Repeat

until the eyes can quickly grasp the

At first count one and, two and, make the subdivision mental.

beaming and group on each

three and, etc.; later

only on^, two,

pulse.

three, four,

and

ADVANCED EAR-TRAINING AND SIGHT-SINGING

90

(d| 4

J

]

S

^

S

S

44444444^

«dJ

J

«r7w

J

«i

«i

w

J 6 7

(2)i^iJ (3)

J)

i

/T^^

—

(4);^,j

(6)

;^

,

J

J

J

3

]^n"n

J

rai

JJJJJJJ iJJ Jdj>

—n J"TT5 /^T^

J

I

J>

j

J

J

»

idJ

J

w

«r77? J

J

J

r-3

J

^

J

w

J

J

J

i^J

7

J

JJJ iJJ

J

4^

J

j

^

^

1

J-

'

"

I

J-

7

n

J

J)

3

n^

1

I

Practise the following Chord Successions. Watch carefully that in the (3) inversions of the Y^ and in minor the augmented 2nd, from the 6th to the 7th degree of the scale, is in tune.

oV

(a)

(b) (c)

(d)

Sing mentally. Test. Sing the number-, then the letter-names. Sing to la^ thinking the number-, then the letter-names. Have the chord symbols read and sing the chords without reference to the written exercise.

ADVANCED EJR-TRAINING AND SIGHT-SINGING

m#

^^ w

^^^

^^

(^^

ll'

J^j^j^ i 3?=» I

p

l

I

j..j^

J.^

J^

1

^^ n3 f

1

^ i^ 1

1

i ^

0'8

li'n,!

H fLjj i

i

Jij-TnjTii IV,

IN^

i

J.

I

VI

^j-J^lp..j1j^lj.

l

91

i^ ^ r

I

l

p-JIJ

F-

i

Mi^

^^

*^

:

ADVANCED EAR-TRAINING AND SIGHT-SINGING

92 (e)

Sing the following chords in the key of F major to the rhythm of i I, VI, Yl Ii, IV, II, VI, oV^ I; to the rhythm of 2: I, V^ oV^ oV?, I, I:, IV, II„ oV^, Ii, VL oV?, L Sing the following in the key of f minor to the rhythm of 3 I, VI, IVi V^ VI, I, oV^ oV?, Ii, Yl, I; to the rhythm of 4: I, I^, oV?, oV^ I, IV, V, v^ oV, VI, 1. :

Note

Omit the 5th

(f)

of the

V chord.

Exercises for pitch and key drill in F major and f minor. Sing the number-, then the letter-names. Think the sound of the chord before singing the tone. (i) of I, 5th of I, of IV, 7th of V^ 3rd of I, 5th of V, 7th of V^ 9th of V^ of V, 3rd of V, of I. 3rd of I, 5th of VI, of II, 9th of V^ (2) of oV, 3rd of V^, of I, 5th of IV, of oV, 7th of oV^ 5th of I.

R

R

R R R

R

(4)

R

R

Exercises for Sight- Singing:

i^^^^^^^^^^^#

^^

^

^^

^

J3?3

I

p

^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

^^P ^'^ iji

j^

j

^

^^

d/ ^M* U; I

93

^^^

JBMiJTr3nn[_j^^i^te

n rrmirjj^^i^n^TiTnini

r]'TOniJjJ'jJ3» [j.[^g^inn;i»i i

[^;ff^^

^i-^

'

p

l

O

^T^

^"^

i

r

l

^^^ ^

< *

^

^

ip»«^

After Wii liner

« ^h

i

J

^

n^,p|nrr)

I

I

jM- ^^^J|J

J

^J

i

[;

^^

^

JDFANCED EAR-TRAINING AND SIGHT-SINGING

94

i

^

P

^

nrrfB

i

j

i

fi

r

r^

\d »

j"?

dirfr/c^r^

i

y\^ i

fertrrj

^r ^ffl^ I

S^ -Tj

5

rnmrff^

-

\\

r

^'''''^

(

^

rj^ irT^rrciij

v

^^

Dvorak

^^iJ.ir3^P^J.jg

iSiriiLiLjiiiiy

i

m

^

**^^

4^ [J »F

frf

i

Mrrr/r^i

J-

i

i

^

i

^

Hi-ng]!

^

^

J

fron

i

=^gr^

^

-TO^

i

l j

j:i

i

^"

^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

j'

'

Lui

*

i

1

Laj-

i^=»^=«

95

-n^ i.r^^i^'iQj rrnmri-^ nKiJip^ i

Lesson

io

The IF chord Is formed by adding a third to the II triad. It is a minor discord because of the minor 3rd from the root to the 3rd of the chord, the 2nd to the 4th degrees of the scale, and the minor 7th from the root to the 7th of the chord, the 2nd to the 8th degree of the scale;

^ W

When the 8th degree of the scale is the 7th of a chord, it becomes an active tone and resolves downward to the 7th degree, as all 7ths of chords contract. The IF chord may follow any chord but the V, and is followed by the V"^ or the 1 2. Section A. (i) Construct parallel double periods in Eb major, using all triads and inversions, the V^, \^, and IF chords as a basis. Use the rhythmic figures

oV

.Sro^

''"•^

J"^^

'" 4/4 meter.

In writing melodies with thirty-second-notes it is difficult to slow down the mind. Think the subdivisions (the '^ands") for each pulse. Study the rhythms in Section C of the preceding Lesson, page 90, and the melodies in Section B (3) of this Lesson.

Section B. (i)

Practise the following Chord Successions: Play the entire exercise, listening to the character of the chords. (b) Pause after each IF and V^ and think their resolutions. (a)

(c)

(d)

Read each exercise mentally. Have each exercise dictated.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

96

be heard as a minor discord and will be distinguished from the V^ minor quality. The dissonance is harsher in quality because ot the perfect 5th from the 3rd to the 7th of the chord.

The IF

will

because of

its

1 8

8

-I

8

7

-I

J

I

gdA

8

mN

m

2

m rr

:^

^

^^

8

2

p

r

^

u

f

i

i4

J=i

s

8

t^ ^ I

i

^

Ft TT

^^ (2)

11 P

^

* JEC

TT

^ i

P

i f

31:

sx. 3x:

Practise the following Intervals:

The minor 7th

IF

chord, from the 2nd to the 8th degree of the scale, chord and will be distinguished by its interval in the resolution and context.

will resolve to

(a)

in the

some

Play the

I,

V

IV, IF, V^ and

of the intervals.

I

chords in

Eb major.

Think the sound

— ADVANCED EAR-TRAINING AND SIGHT-SINGING

Play the intervals, determining how they sound in relation to the root of the chord and to the key-centre. Note the difference in

(b)

relation to the key-centre of the three minor yths. Sing the intervals. Test for pitch. Transpose the intervals to the keys of Bb, F, G, and

(c)

D

(d)

«s

»1

I

«n

s

s

«s l^'i*

!

o " xc " o 8 U =g=^

3a:

n^ v^

IV

»

is

(3)

1.1

^

I

ti

o

U

8

o

„

(c)

(d) (e) (f)

(g)

(h) (i)

v^

3X1

»Q

8

i;

XT

Q O

— XT

-o

..

O

o-

—"o

" fj

3x:

"

** o

i;

O

"

u

.^.

» *

^ 8

" 8

II

ii''

11

^

ii

11

"°

^

-Ol tl

O

C

major.

\^

3x:

IV

11

8

»

» VI

u " 8

"

.£1.

I

3x: ^^^^^ff

Double periods in form. duple and triple meter.

(b)

II

8

Exercises for Melodic Dictation

(a)

97

iio

O

v''

"

I

:^

*»

8

n

ft

llO^

and Sight-Singing:

Skips in the

IF chord and

thirty-second-notes in

I, IV, IF, V'^ and I chords in Eb and read the entire melody mentally, beating the meter. Subdivide the pulse on account of the slow tempo and the number of notes to a pulse. Play the entire melody, studying the effect of the cadences. Play the first antecedent phrase twice. Sing from memory to la. Sing the letter- and number-names, first mentally, then aloud. Practise the first consequent phrase in the same way. Play the first period and sing from memory. Practise the second period in the same way. Play the entire double period and sing from memory, Transpose to the keys of F and major. Have each melody dictated as outlined on page 87.

Play the

D

ADVANCED EAR-TRAINING AND SIGHT-SINGING

98

m

.

^rn

rj

Lj

i

IV

I

i

f^

^m V

nl

I

^

Figure

n^

I

v^

Mod.Seq

^

III

v7

I

i

ma

p'^j i'HjUJ'jiin^

i

iXj'Cj

II

BS98B9

E^

M^f

m ^i-V

^

I

^

.

J^

^ikJU

I

r.i

I

==¥

J

*

ir

r,f

!

1

^

IJJJ3U

^5 f

^^173

^^

jjjjj'j'j'j'in F "#•

r?7:irir

m

i '

J d

ADVANCED EAR-TRAINING AND SIGHT-SINGING

a

m

^i"''!'

r

p

jOj^

f=Ft»

^

If

\

iif

i

I

^

ifrf

-P

I

99

-J^

g

CJdJ

^

^^

^Ur^Ul^ u^j gj^^^^

f'l-

l

s

m

a

l

>

\

»

-*—«t

s^

-J

I^^^J

Section C. (i)

Rhythmic Study: J. (a)

J^ and jiTj

^"

44

rn^ter.

Study using the arm movement to indicate the meter and sing to on a major scale.

J~3 j:^

(1

7

(2

J)

J~~3J

(3

7

(4

(5

IJ

(6

jtt: j~~i

j-^j-

nri

ni

J.

ij J

J J.

7

J>

/a

ADVANCED EAR-TRAINING AND SIGHT-SINGING

100 (2)

Practise the following Chord Successions. is in tune.

Be

careful that the 7th of the

IF chord

(a)

(b) (c)

(d)

iJli'i

Sing mentally. Test. Sing the number-, then the letter-names. Sing to la, thinking the number-, then the letter-names. Have the chord-symbols read and sing the chords without reference to the written exercise.

'J

Hi

||

Jc/^ rpJiJ^r i

p-«=-wv^^i

i

r".^ji

n

IV

I

jPll^l

ii|i

-S

r-^

__=-:il

j^v^f

—

ADVANCED EAR-TRAINING AND SIGHT-SINGING

fv

J

J^rir

J'j

i

j ..

J^r N-ij u. J^r

101

ip-J^

3^^=pE^=^^^5b^=pp===i^^^fe=|

ADVANCED EAR-TRAINING AND SIGHT-SINGING

102

\>\)'

y p jJ

i

j.

;jJ iI^JTJ^

n^JJ^

i

j. p J

^

ninV i]^ *-f* I

#

rjJJ

•

jjj^j ij.jjJij^jjj

^^'•1^

fV >^. i

*g ^ 10

..['].

•

!

# •"

.1

«

v

'

J-

i

J

i dd^

j- ifcifaia; I

> ^ZjiU

jdpc

i^Wir-ffr3 r' ^J-iU j

J

1

)

i

^

9

Mendelssohn

JJTJij

.

8

Mendelssohn ^''|>lJ^

jg

J

#

d

^

_

>

ir"jnj..j

^^ ^ ^

i

^

^

Verdi

i^

g

.

^^t^rrfe ricJ Llrr^j

g • #

i

cjrclD'^rJ'

i

ADVANCED EAR-TRAINING AND SIGHT-SINGING

-^

103

104

ADVANCED EAR-TRAINING AND SIGHT-SINGING

ADVANCED EAR-TRAINING AND SIGHT-SINGING Pause after each IF,

(b)

105

and V^ inversion and think the chord of

ll\

resolution,

Read the exercise mentally. Have each exercise dictated.

(c)

(d)

The in

will

^

be distinguished from the

IV hy

the diatonic progression of the

voices.

42

13

^ ^ rr rr

M

v¥ ^ /

23

r

32

,2

i r

ir

r

71

32

^n^ rj ^ i

f

VI

V

i T

i f

^m n ^ ^ ^ ^^ m

r

^ ^ rr Tf

^

IV n;

VI

I

I

nl

vi

It

I,

J

^ tt

ii

feM:

§ rr

J J

J

#

P

^ 3

f r

n

m 1^ ^^#

^ Hy j J

v-M (2)

r

j-i

F

^

f

i

f

r

^ fT ^ ri ^ rj ^ ^ # rr y ^ u f^ i-i

rz:

J^

r

i

i

J

p

r

Practise the following Intervals: (a)

Play the

I,

IV,

11^,

of the intervals.

V^ and

I

chords in

A

major.

Think the sound

ADVANCED EAR-TRAINING AND SIGHT-SINGINi

106 (b)

Play the intervals, determining how they sound root of the chord and to the key-centre.

(c)

Sing the intervals. Test. Transpose the intervals to the keys of Eb, Bb, F, G,

(d)

O: »

11^

V''

il

H

^§r

-O-

TT

a

tt ««

..

jc

a

3x:

I

a ur

tt

«

«

I

I

=^

r^ §:

" o

o

;.'

i

io

31: :xx:

o

VI IV

I

" n—n o

—

.".

" o

o

«*

»io

,

J.

Jj and

J.,

J

in

xc o or

8

8^0 «—o—o®—

O"

.

F=^

"» 8 ^^^^

il-."

3i:

8 :S Q o

—oo

*»

* _g_

o o

*»

*

Double periods

JJj

and C.

^^

o

Exercises for Melodic Dictation and Sight-Singing: in form. Skips in the IF chord. The

(3)

D

V^ V^

;;

..0

11

o o

3X tt

:«:

n o " o o

li

If

o" »

^=^ xr .^

S

O " »

g

aos a

H o" o

8 ^DC

t|

in relation to the

o

«» :

-o- 3BE

rhythmic figures

duple and triple meter.

I, IV, IF, V^ and I chords in A major. Read the entire melody mentally, using the arm movement to indicate the meter.

(a)

Play the

(b)

Play the entire melody, studying the effect of the cadences. Play the first antecedent phrase twice and sing from memory to Sing the number- and letter-names, first mentally, then aloud. Practise the first consequent phrase in the same way. Play the entire first period and sing from memory. Study the second period in the same way. Play the entire double period and sing from memory. Transpose to the keys of and Bb major. Have the melodies dictated as outlined on page 87.

(c)

(d) (e) (f)

(g)

(h) (i)

G

^ IV

s^

mn

[:^c;ir

Mr ul

^

ri y'

la.

ADVANCED EAR-TRAJNING AND SIGHT-SINGING

*i

[jj-^ir IV

^^rn

V

nj

cf

i

v^

P

I

ii

i

i

iJ

^¥

/J

n^

v^

/,

^.

i

J.

i

arc^ IV

I

^^

^^

r^ [j^

^ IV

I4

-ii.MMi.1

^s ii;>

i

I

ij

0. n^i'

i^- J

nil

rirrrf

IV

I

id^

*

r

i

vj

r

¥jmjjj j

J^

j/

107

^

^ i

r

HBijjr^ip

ii

fe^R^

CJ'C^iCiJU- ^a' ^-i-'iLfl'cJir^ i

i

1^

P^^^^^s ^*"Vr i.iJ,^^iJ ^> j.¥Jrrt:rir ^>

4¥

[x/c/

i

p^^

i

.

i

r

/^[jir r

j

n niJti^ .

j,

i

i

j

r

LLT

^r3iJ h

rrr'ririi

ii

i

;

ADVANCED EAR-TRAINING AND SIGHT-SINGING

108

Wagner ®

uni

1

<

1

i

i

r^

^

^^ Folk- Song

Section C.

Rhythmic Study.

(i)

Irregular

Rhythms

in 2/4

and

3/4.

Rhythm Is irregular when the shorter notes occupy the accented or stressed portions of the measure. The metric stress is still on the first pulse, but as the rhythmic motion stops on the longer note, that note is brought into prominence and acquires an accent. This is known as a Rhythmic Accent. Care should be taken not to stress this longer note, as it has stress on account of its length, and that stress combined with the rhythmic accent would give a sforzando. In setting the following lines, Mr. Johnstone has used duple meter and these 2

4

rhythms

Land of

The

the brave,

natural inclination

is

land

to give

all

"free," thus giving the effect of beginning

of the free

the stress upon the words "brave" and

on the up-beat J :

J^

|

J

J^J

1

J

The

stress should be on "land," and the rest of the measure a relaxation. The words "brave" and "free" will receive proper stress on account of the length of the notes without any effort of the singer. (a)

Study, using the arm la

(1)

(2)

on a major

4 J

n

movement

to indicate the meter,

scale.

J J

<3)

(4)

(5)

J~3J

(6)

J72

J

J

and sing to

ADVANCED EAR-TRAINING AND SIGHT-SINGING

«)IJ

J

J

109

no

ADVANCED EAR-TRAINING AND SIGHT-SINGING

iv_

M-]

IV..

m

ADVANCED EAR-TRAINING AND SIGHT-SINGING

^

Allegro molto e vivace

Beethoven

Negro Song

(^*»^j{jJicjr

J^icjrr

i

-^JJ'J^

i

r

j^^ Speidel

^"^

•^

m

pz:

m

iUx

*

O-g-

^"^ a tempo

r»/.

»

[j'Lrcj' fi

#»

-

L/r^^

i

I

•

H^j^

J'

I

''

r

^

I

cj-f

r-p-

M cj-

['

Polish Folk-Song

:^

L;r

i-ir

— ADVANCED EAR-TRAINING AND SIGHT-SINGING

112

Dvorak

')=t

ttt i

r r r

^

^

&

g fr fi

.

.rrf

i

r^

-V rrr^^rrrrfrrfirrmff^tMrrrr

^)'.fi^i

f

Tr

^

jfl E

<9

P

* m

^

Haydn

il

ff f rr

t:rr

i

irrff ifr

t

r

i

»yifrr frf frr ffrr i

|

|f

rr

f^^ |tf

i

Folk-Dance _>j:it),

i

^rritrrr

tf,j'rtrrf i

iiiiirff^ffff^

f^

:

a

g

ADVANCED EAR-TRAINING AND SIGHT-SINGING

113

^r.h\\fTrrr

"frrrrrr i^^^^to Folk-Dance

Folk-Dance

Lesson

12

formed by adding a third to the IV triad. It is a major discord because of the major 3rd from the root to the 3rd of the chord, the 4th to the 6th degree of the scale, and the major 7th from the root to the 7th of the

The IV^ chord

is

chord, the 4th to the 3rd degree of the scale.

The

3rd degree of the scale, as the 7th of this chord, resolves

downward

to

the 2nd degree.

The IV^ chord may

follow the

III, V^ or I2. The IV^ chord sounds

I,

VI

like a III

or

IV

chords.

It will

be followed by the

chord with a suspended 3rd degree of the

scale.

Section A.

Construct double periods in Ab major, with the See melodies in alike and a new second consequent phrase. IV^ chords IF and all triads and inversions, the V^ V^, qV^ 108 and pages given on as irregular rhythms in 2/4 and 3/4 (i)

antecedent phrases Section

B

as a basis. 109.

Use Use the

(3).

ADVANCED EAR-TRAINING AND SIGHT-SINGING

114 Section B.

Practise the follozving Chord Successions:

(i)

(a)

Play the entire exercise, listening to the character of the chords and

(b) (c)

Pause after each IF and V^ and think the chord of resolution. Read each exercise mentally.

(d)

Have each

the effect of the semicadence.

The

II2

chord

will

^^ 3

1

exercise dictated.

be determined by

12

i

^ rr 2

3

i ^i

r

I

I

^

ulul

i=i

^^

^M ^

^

?

^

rl^I

rt

^ r

^ J

^

r

j-

^

I

I2

or

V^

^ ^ rr rr

i

i

M

^ f

nj

i.v

3

f I

2

i

fT

3

2

^ rr

Aj.

^^ ^ r ^ ^ y i r ^

T

r

^ r

J-

?

^

a

i-i'ii

r

^

r

^

4

i

VI

Ji

A^

^

i

chord of resolution, the

7

J

^H)y i

its

f 3:

1

tt

r

U

r

ADVANCED EAR-TRAINING AND SIGHT-SINGING

115

Practise the following Intervals: in the IV^ chord, from the 4th to the 3rcl degree of the scale, will resolve to some interval in the V^ or IV chord, or to the major 6th in the I2 chord. Play the I, IV^ IF, V^ and I chords in the key of Ab major. Think (a) (2)

The major 7th

(b)

the sound of the intervals. Play the intervals determining their sound in relation to the root of the chord and to the key-centre. Test.

(c)

Sing the intervals.

(d)

Transpose the intervals to the key of Eb, Bb, F, G,

S IV7

v^

I

IV

S

o

I

V^

o

D

and

C

major.

=&: I

Exercises for Melodic Dictation and Sight-Singing: (3) Double periods with a new second consequent phrase. Skips in the IV^ chord. Irregular rhythm in 2/4 and 3/4 meter. and I chords in Ab major. Read each Play the I, VI, IV^ IF, (a) melody mentally at a moderate tempo, using the arm movement to indicate the meter and thinking the rhythmic subdivisions.

V

(b) (c)

(d) (e) (f)

(g)

(h) (i)

Play the entire melody, studying the effect of the cadences. Play the first antecedent phrase and sing from memory to la. the number-, then the letter-names. Practise the first consequent phrase in the same way. Play the entire first period and sing from memory. Study the second period in the same way. Play the entire double period and sing from memory, Transpose to the keys of G, F, and Bb major. Have each melody dictated as outlined on page 87.

Sing

ADVANCED EAR-TRAINING AND SIGHT-SINGING

116

Mod. Seq.

Fig. n

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Section C. (i)

Absolute Intervals.

There are major yths on the staff from c-b, f-e; in the major scale from 1-7, in the minor scale from 1-7, 3-2, 6-5 in the IV^ chord in major. There are minor 2nds on the staff from e-f, b-c; in the major scale from 3-4, 7-8; in the minor scale from 2-3, 5-6, 7-8. To sing a major 7th up call the lower tone i and sing 7; to sing a major 7th down call the upper tone 7 and sing i. To sing a minor 2nd up, call the lower tone 7, and sing 8; to sing a minor 2nd down, call the upper tone 8 and sing 7.

4-3

;

;

(a)

(b)

(c)

(d)

(2)

Play any tone on the piano and sing a major 7th up, using first the number-names, then the letter-names. Play any tone on the piano and sing a major 7th down, using first the number-names, then the letter-nam^s. Play any tone on the piano and sing a minor 2nd up, using first the number-names, then the letter-names. Play any tone on the piano and sing a minor 2nd down, using first the number-names, then the letter-names.

Rhythmic (a)

Drill.

Irregular

Study, using the arm la

on

a

major

scale.

rhythm

in 4/4 meter.

movement

to indicate the meter,

and sing to

ADVANCED EAR-TRAINING AND SIGHT-SINGING

118

(Of

^

ADVANCED EAR-TRAINING AND SIGIIT-SINGING ^>'^>

jjj

J

ijjj-K^iiUi-Jjj

V,

i i

1

T

i

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119

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^

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* J

—

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^^ W

j

f

0*1-

IV2

(e)

J *

1,

nri

r'''^

-^

Sing the following chords In the key of Ab to thie rhythm of i I, Ij, IV^ V^, Ii, IV, IV^ I2, VI, I; to the rhythm of 2: I, VI, IVl, V^ VI, Ii, IV, IV^ III, V], Ii; to the rhythm of 3: I, IV2, IlL oV\ I, IV^ IF, V^ ^P, I; to the rhythm of 4: I, IV, IF, III, I2, IV^ V^, :

VLI, IV2, I. Exercises for pitch letter-names. (i)

(2)

(3)

and key

drill.

Sing both the number- and

I, R of IV', 5th of IV^ 7th of IV', 3rd of I2, 5th of V, 7th of V, R of V, R of I, 7th of IF, R of IF, 3rd of V, 5th of V, R of I. 3rd of I, 5th of VI, 7th of IV', 5th of V, R of I, 5th of I, R of IV', 7th of IV', R of IF, 7th of IF, 3rd of V, 7th of V, 3rd of V, Rof I. 5th of I, R of V, 9th of Y\ 7th of V, 3rd of I, R of II, 7th of IV', 7th of IF, 9th of V, 7th of V, 5th of V,

Rof

Rof

I.

J

ADVANCED EAR-TRAINING AND SIGHT-SINGING

120

3rd of I, 7th of IF, R of IF, 3rd of IF, 7th of V^ 3rd of V^ R of I, 3rd of IV^ 7th of IV^ 5th of IV^ 7th of IF, 3rdof V^ Rof I. Transpose to other keys. (4)

(g)

Exercises for Sight-Singing:

(3)

Mozart

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ADVANCED EAR-TRAINING AND SIGHT-SINGING

122

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13

VF

The chord Is formed by adding a third to the VI triad. It is a minor discord because of the minor 3rd from the root to the 3rd of the chord, the 6th to the 8th degree of the scale, and the minor 7th from the root to the 7th of the chord, the 6th to the 5th degree of the scale VI'

The

5th degree of the scale, as the 7th of this chord, resolves the 4th degree.

downward to

ADVANCED EAR-TRAINING AND SIGHT-SINGING

123

The VF chord may follow the I chord, and the VI chord. It will be followed by any chord but the I. The chord sounds like the IF chord with the 3rd and 5th degrees of the

W

scale suspended.

Section A.

Construct double periods in F major, with a new second consequent Use all triads, inversions, seventh- and ninth-chords as a basis for the

(i)

phrase.

Employ

melody.

irregular

rhythms 4/4 meter.

Section B. Practise the following Chord Successions:

(i)

In these exercises in triple meter the chord on the third pulse resolves to the chord on the first pulse; the chord on the second pulse is unrelated and allows foreign progression, the V to the IV or V to the II chord. (a)

Play the entire exercise, listening to the character of the chords and

(b)

Pause after each IF and V^ chord and think the chord of resolution. If you cannot hear mentally the chord of resolution, play it, then go back and try again.

(c)

Read the entire exercise mentally. Have each exercise dictated.

inversions.

(d)

The

II3

chord

is

diatonic introduction

565

recognized by its chord of resolution, the Vj, or by I chord.

543

m m^ 344

342

364 342 at*

f

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its

by the

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rrr r

r

ADVANCED EAR-TRAINING AND SIGHT-SINGING

124

rr (2)

Practise the following Intervals:

The minor 7th

in the

VF

chord

will resolve to

some

interval in the IV^,

IF

or V^ chord. (a)

(b)

V

Play the I, VF, IV^ IF, and I chords in F major. Think the sound of the intervals. Play the intervals, determining their sound in relation to the root of the chord and to the key-centre.

(c)

Sing the intervals.

(d)

Transpose the intervals to the keys of Eb, Bb, G,

I

VI^

Test.

and

C

6

"

^

major.

t'^

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JL*

D

=i

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(I

ADVANCED EAR-TRAINING AND SIGIIT-SINGING

m

3s:

^^

s

3x:

:^

125

3BE

XT

Exercises for Melodic Dictation and Sight-Singing: (3) Double periods with new second consequent phrase. Skips in the chord. Irregular rhythm in 4/4 meters. Play the I, VF, 11/ V^ and I chords in the key of F major. Read (a) each melody mentally, using the arm movement to indicate the meter and thinking the rhythmic subdivisions. Be careful not to overstress the rhythmic accents.

W

(b) (c)

(d) (e) (f)

(g)

(h)

Play, studying the form. Play the first antecedent phrase and sing from memory to the number-, then the letter-names. Practise the first consequent phrase in the same way. Play the entire first period and sing from memory. Study the second period in the same way. Transpose to the keys of Eb, D, and major. Have each melody dictated as outlined on page 87.

G

^m

zz:

V

li

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V

r

r n^ nj v7

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ADVANCED EAR-TRAINING AND SIGHT-SINGING

126

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Section C. (i)

Rhythmic (a)

Drill.

Irregular

Study, using the arm la

on

a

maior

scale.

rhythm

in 3/4 meter.

movement

to indicate the meter,

and sing to

ADVANCED EAR-TRAINING AND SIGHT-SINGING

(2)

J

(3)

/I

(2)

/73J /71J

nrm ^^}

127

J

^

^ImIT^^^I^s~lm^^

\

^^^

rz}

Practise the following Chord Successions: Sing each exercise mentally. Test for pitch. (b) Sing the number-, then the letter-names. (c) Sing to /<2, thinking the number- and letter-names. (a)

(d)

Sing from dictation.

4^.nrM^

^^^

VI!

Hb*

jj p-p

i

p

N-JJ

I

n

IVi.

f

\p^-^\^1

^3j

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i

j:jJ.pi

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^?

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r

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i

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m

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n-

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i

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ifjJriJ-j, VI'

p ivL.

i

ADVANCED EAR-TRAINING AND SIGHT-SINGING

128

f

j.^Jri^Ji

i

i-Jrri^J U-^rri^j

iJ'^rr

i

vZ

f^ ^t-

J

'

I

1

IM i^\ \

IE^,I

Ij

,1

Ij

J

l-^j

l

y^.j lj,l

VI!

(e)

l

^j

l

-^i

.r^ I

j IVi

F major to the rhythm of i: VF, VI, V^ I, m, VI, I; to the rhythm of 2: I, III, HL I2, VL Ii, IV^ I2, III, y\ I; to the rhythm of 3: I, IIL h, oV, I, Vr, IV^ VI, Ii, III, I2, V^ I; to the rhythm of 4: I, IV, III, V^, Ii, VI, VF, IVI, V^ I, IIL I2, V^ 1.

Sing the following chords in the key of I,

(f)

l

oV^

I,

Exercises for pitch and key

drill.

Sing both the number- and letter-

names. (i)

(2)

(3)

5th of I, 7th of VF, 7th of V^ 3rd of I, 7th of V^ R of V, 3rd of V^ 5th of V^ R of I, 7th of IV^ R of IF, 5th of V, R of I. 3rd of I, 7th of IV^ 7th of IF, 3rd of V, 7th of V^ 3rd of I, 5th of VF, 7th of VF, 5th of I, 3rd of VF, 5th of IV^ 7th of IF R of I. R of I, 7th of IF, 3rd of V^ R of V^ 5th of I, R of VI, 3rd of VF, R of IV, 7th of IV^ R of II, 7th of IF, 3rd of V^

Rof (4)

(g)

(3)

I.

3rd of I, R of IF, 3rd of IF, 7th of V^ 3rd of V^ 3rd of I, 5th of I, 7th of VF, 7th of V^ 3rd of I, 7th of IV^ 3rd of I2, 7th of y\ 3rd of I.

Transpose to other keys.

Exercises for Sight-Singing:

f

ADfANCED EAR-TRAINING AND SIGHT-SINGING

^i>

^j Mi

^^

J^j-M^J

N

"Hj

\

\

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\

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i

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129

m ff

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p

f

1

ni

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1

130

ADVANCED EAR-TRAINING AND SIGHT-SINGING

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l^

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I

SIGIIT-SI NGING

J^

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:

CHAPTER

IV

CHROMATICALLY ALTERED CHORDS The pitch of the ist, 2nd, 4th, 5th and 6th degrees of the major scale may be chromatically raised a half-tone, and the 2nd and 6th degrees chromatically lowered a half-tone, without disturbing the feeling of the tonality. In using the scale-line these inflections must progress chromatically as chromatic passing-tones, never diatonically, or a modulation will occur: 3 4 :|^4 5 or

5

#4

t]4 3,

not

3

#4

5

or

#4

5

^

*

3

3r t «t

EC

o

In minor, the 2nd and 5th degrees are not raised because of the lowered 3rd and 6th degrees. The 6th degree is raised in the melodic progression from the 6th to the 7th degree, and the 7th degree is lowered in the melodic progression from the 7th to the 6th degree. In skips, single or consecutive, the altered tones must be part of a chord.

The

#4, of the 11; or IVJ chord:

The

#2, of the V#, VJ,

V^ or the

|i^

I

i»

conjunction with the #4:

IIl^ in

\h.

V«

The#i,oftheVi;:

_^ ItU

»1^

»?

V^l

oV^I

V^jl

:fj:6,

II

U^i^

m VI^II

The

\0

I

of the VI^^ in conjunction with the ^i

^

yi\

Theb6,oftheII^,IVJandV^

(£ |,y

|

The

I72

and b6 together

,\\

iv\

Jl\

Theb2,oftheV2\andoV^

\

v^t

«

in the II^^

and

qV^i,:

m

,bii

ni^ 132]

~

Jmi

oV\

j

ADVANCED EAR-TRAINING AND SIGHT-SINGING

The :{^4 and b6 togethe rIntheII^«,andIVl,,:

#4 and b6 togethe r

i^2,

#2 and b6 together

^ t 'y. Lesson

The either

raised 4th degree

is

^^^^^^

^t^W

In the 115,,:

in the oV^,:

133

^^

14

used as a chromatic passing-tone in progressing

from the 4th to the 5th degree, or from the 5th to the 4th degree:

«

\o

11

fn ^ I t

*! 1f^

be made from or to the raised 4th degree in the IIJ chord. The scale-line using the natural 4th degree or skips in the V^ or I chord should follow: Skips

may

n^t Section A.

C major, with a new second consequent seventhand ninth-chords and the IIJ Use all triads, inversions, phrase. rhythms in 3/4 meter. irregular Employ chord as a basis for the melody. Construct double periods in

(i)

Section B. Practise th^ following Chord Successions:

(i)

is a discord because of the minor 7th from the root to the the 7th to the 6th degree of the scale. The qV chord chord, seventh of the or I chord. the followed by may be Vi,

The

oV

chord

V

(a)

Play the entire exercise, listening to the character of the chords and

(b)

Pause after each qV, IF and V^ and think the chord of resolution.

inversions.

Test. (c)

(d)

In

Read the entire exercise mentally. Have each exercise dictated.

The oV chord will often be confused with the IF, as they have three tones common, the difference being that the 7th degree of the scale Is in the qV

ADVANCED EAR-TRAINING AND SIGHT-SINGING

134

Play the difference. hear the qV, until you

and the

1st degree in the IF.

(e)

Repeat these

^ mm 822

854

i

TTT

11^

V^

I

I,

Vj

655 221 342

346

^ f rr

T $ 1.

I

IVjUj

V

T

^

^^f

M

^ rrff

^

-&-^

joi J44 .y4 i

^

chord in place of the qV, then the

exercises in c minor.

m I

III

^ oV^vJ

I

r II J

V

VI

IjIVjV''

w i^ w

^

^^ T ^ w Ul

^ f

J ii

^i

i JJJ

Trf .

JJJ

i

^k

^

f Tf

^ ^^ r ^ m ^ ^^ M i.

m ^^

'

rr rrr

ij

i 4

J i ^^ i

i^ J=^

? r

rf=r

(2)

?

w

r 4 ¥

Practise the following Intervals:

The following intervals, parts of the 11^ chord, are used: The major 3rd from the root to the 3rd of the chord, the 2nd to the #4th degree of the scale; the minor 3rd from the 3rd to the 5th of the chord, the #4th to the 6th degree of the scale; the minor 6th from the 3rd to the 8th of the chord, the #4th to the

ADVANCED EAR-TRAINING AND SIGHT-SINGING

major 6th from the 5th to the 3rd of the chord, from degree of the scale. Play the I, IV, IF, IIJ, V^ and I chords in C major. Think the sound of the intervals. Play the intervals determining their sound in relation to the root of the chord and to the key-centre. Sing the intervals. Test. Transpose the intervals to c minor.

2nd degree of the the 6th to the (a)

(b)

(c)

(d)

i

^

scale; the

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1

o

o

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8

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Exercises for Melodic Dictation and Sight-Singing: (3) Double periods with new second consequent phrase. chord and the :ji4th degree used as a chromatic passing-tone. in 3/4

135

ft»

^

t|.»

Skips in the IIJ Irregular rhythm

meter. (a)

Play the

I,

IV, IF,

IIJ,

V^ and

exercise mentally, using the (b) (c)

(d) (e) (f)

(g)

(h)

I

chords in

arm movement

C

major.

Read each

to indicate the meter,

and thinking the rhythmic subdivisions. Play, studying the effect of the chromatic tones. Play the first antecedent phrase and sing from memory to the number-, then the letter-names. Practise the first consequent phrase in the same way. Play the entire first period and sing from memory. Study the second period in the same way. and E major. Transpose to the keys of B, A, Have each melody dictated as outlined on page 87.

D

la.

Sing

ADVANCED EAR-TRAINING AND SIGHT-SINGING

136

Mod. Seq

Fig.

m^

r

1

IV

v7

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tt

3 J

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^

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ri

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V

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4

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I

ADVANCED EAR-TRAINING AND SIGHT-SINGING

137

Section C.

Rhythmic

(l)

(a)

m

(!)«

Drill.

la

on

a

rhythm in 6/8 meter. arm movement to indicate

Irregular

Study, using the

major

the meter, and sing to

scale.

J

(2)

(3)

ij

jjjjj

j)iJ

j^i jjjjjjj

jjjjj

(4)

(5)

j-j:

(6)

J

(2)

j

J5J Practise the following Chord Successions:

(a)

(b) (c)

(d)

Sing Sing Sing Sing

each exercise mentally. Test for pitch. the number-, then the letter-names. to lay thinking the number- and letter-names.

from dictation.

lijTJrNjqiJ^^

^Fm ^

Ii-

^ t^j.

I

JP^

p

r

1

vj.

s

nV

iil-

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nil

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ADVANCED EAR-TRAINING AND SIGHT-SINGING

138

44S^^

J^.

I

iJ-i-

i

j. J'^"'''- '^-4.

jTJi'^- 'J ij.

'

'

jl^^'

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atz

i-j^ri^ Ja

^

Jt

iJ^r

Jh

l

r

J'J.IiiJ^

nl

ir

nl«-

vj.

(e)

Sing the following chords in the key of C major to the rhythm of i I, IV, Ills, I2, Vl, Ii, 11;, VL I; to the rhythm of 2: I, IF, IIL in„ oV^ I, 11^, II[„ I2, V^ I; to the rhythm of 3 I, VI, IVi, IIL II^„ h, VI, I, in, Il3^, VI, I: to the rhythm of 4: I, IV^ III, HJ,, :

I2, (f)

VI,

oV^

I, 11^, III,,

VL VL

Exercises for pitch and key

1.

drill.

Sing both the number- and letter-

names. (i)

R

of

7th of IF, 5th of III 3rd of 11^, R of V^ 7th of of I, R of IIJ, 3rd of 11^, 7th of V^ 3rd of V^

I,

V^ 3rd Rof I. (2)

3rd of

I,

V^ 5th Rof I. (3)

5th of

I,

R of

of IV, 3rd of 11^, 7th of IF, 3rd of V^ 7th of I, 7th of VF, 3rd of 11^, 5th of I2, 5th of V^

7th of IV^

R

of IF, 5th of IF, 3rd of IF, 3rd

of 11;, 7th of V^ 3rd of I, 7th of IF, 3rd of 11;, 3rd of IF, 7th of V^ 3rd of I, Rof I. (4)

8th of I, 3rd of IV, 7th of IV^ R of IF, 7th of IF, 3rd of IF, 3rd of 11;, 5th of Ii, 3rd of 11;, 7th of V^ 3rd of

V^ R (g)

of

I.

Transpose to other keys.

ADVANCED EAR-TRAINING AND SIGHT-SINGING (3)

iH

Exercises for Sight-Singing:

139

i

ADVANCED EAR-TRAINING AND SIGHT-SINGING

140

jj i]

it

Ju

—

II

|i

-ii>,

iijJi;Jc;i

'in nijjc; jc;ir i

'I

jj|

i

^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

^

I

^\\^

p

1^ J|iJJiiJj

p

^^

h

^^

10

p

^

i3

JJP^J^

j.J

4

141

1

i

^jx^j*^

w r^ P^ ^

jJ^O

J-| |

||

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J^

rr

i

i

I

Tp^ "c;

i

T^

#

LrT^^p

i

j^^j'j j.ii3J^-^ [:i;^ i

fp_'rpFN' j^t=^ ^

Lesson

i

I

rTJ

Tp

T^f^

15

In a melody skips may be made from or to the raised 4th degree of the scale IV^ chord. The scale-line, using the natural 4th degree, or skips in the

in the

II|,

or

I2

V'chord, should follow:

Section A.

Construct double periods in Bb major, with a new second consequent Use all triads, inversions, seventh- and ninth-chords and the 11^ and IV^ chords, as a basis for the melody. Employ irregular rhythms in 6/8 meter. See Section C of the preceding Lesson. (l)

phrase.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

142 Section B. (l)

Practise the following Chord Successions: Play the entire exercise, listening to the character of the chords and

(a)

inversions.

Pause

(b)

after each IV^, II",

V^ and qV' chord and think the chord

of

resolution.

Read the entire exercise mentally. Have each exercise dictated. The IV^ chord sounds like a IF chord with the 3rd degree of the scale Be sure the mind grasps the characteristic tone of difference suspended. (c)

(d)

between these chords.

m ^M 3

3

3

2

f

f I

VI

s

rp

sf

11 ? iv^nl

S 1^ ^

6

8

7

n ii ^ V7 ''8

nV^ V7

i

^ ^

* =rr

^

I

VI

i=i

3

2

U lo

V

f

^ rr

i

^ f^

i

J

tt

f=f

? :i

frr 5^ TT

TT i

.Li

r

J^ I f

4^

i

rf

8

I

^ rr ^

6

f r rr

I *1

^

6

r~r

U

ADVANCED EAR-TRJINING AND SIGHT-SINGING

143

Practise the follozving Intervals:

(2)

In the \\\ chord there will be a minor 3rd from the root to the 3rd of the chord, the ^^xh to the 6th degree of the scale; a diminished 5th from the root to the 5th of the chord, the:tt4l^h to the 8th degree of the scale; a minor 7th from the root to the 7th of the chord, the ^\X.\\ to the 3rd degree of the scale. (a)

(b)

(c)

(d)

V

and I chords in Bb major. Think Play the I, IV^ IVJ, II[«, the sound of the intervals. Play the intervals determining their sound in relation to the root of the chord and the key-centre. Sing the intervals. Transpose the intervals to C major.

i

.

v^

VI IV n'i

I

n^j( v''

I

iv

i

^

2

8

* U

'

o"

o o ^08

::

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||o

«*

" v

,0 ,0 i.* do bo Po

.»

^^ „

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tj8

ivi i^

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o bo

t?o-

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t|8

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n'i

i

TT"

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4 l\t

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P

O b«1 O "O

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t|o

ImB 11.

-O o " o o tjo «


bo S

O

11

O

tj-S-^^

.

8

^^" 8 "

_ .0 ^o

t;8

(3)

|/ttO

,

» H

l|o

Exercises for Melodic Dictation

" "

**

bo

" " » " 8

^;; ,>

11

.-

<>

^^

'l» 1"

Q **

J^

^ L^

:{t4th

^

-

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^ o'* o xr

o

1?o"^:j»=

y „

..

8 "

[

[}8

l|o

«»

b

^

"O"

and Sight-Singing:

Double periods with a new second consequent phrase. chord and the

--

-0-1** 1-8-

."^ " " a»

im L

degree used as a passing-tone.

Skips in the IVJ

Irregular

rhythm

in 6/8

meter. (a)

(b) (c)

(d)

Play the I, IV, IV^ IVJ, I2, V^ and I chords in Bb major. Read each exercise mentally, using the arm the movement to indicate the meter and thinking the rhythmic subdivisions. Play, studying the effect of the chromatic tones. Play the first antecedent phrase and sing from memory to la. Sing the number-, then the letter-names. Practise the first consequent phrase in the same way.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

144 (e) (f)

(g) (h)

Play the entire first period and sing from memory. Study the second period in the same way. Transpose to the keys of C, D, A and G major. Have each melody dictated as outlined on page 87.

In all wide or consecutive skips, it is most important to remember the tone jumped from. In Ex. i, measure 7, you hear chord-line from the 3rd degree down for three tones, then a skip back to the same tone. In that way you do

not have to think of the large skip.

Ex. 3, measure 6 and 7, if the pitch of *'f" remembered there is no difficulty in recognizing the "etj". In Ex. 4, measure 3, remember *'f," which will recur in 4; meas. 4, "d," which will recur in 5; meas. 5, "et^" and "c," so as to get the "eb" and "c" following. is

V

n'

^ ^ IV7

U ^^'

l''

(f

*

J

VI

JJ

IV

la

V7

I,

IV^I

|

Ji^ mn^ ||

lifi ^J

ii

IV

I

'^'^

*

f_|)i_[jjijju

1

:

V

I

Ni^r -^ JJir

jif

mn

i

V

iv^n

P S

JIJ^MjJlrii mmim r*

q?

J

iv

l[4p

i

VI

ii

j)p

UJH^T^J.

nPr

i

i

rn

r

"n

|

ADVANCED EAR-TRAINING AND SIGHT-SINGING

j;Bl3[-p

4^''

J^rp

i

Mr

rjui^r

145

.r3^riijj> rFrp rr ^i'

i

i

r"^''^iiD-'^J'^-

1

i

cocif

I

J^

Section C.

Rhythmic

(i)

Drill:

A

tie and a dot have the same effect and are sung in the a sHght pressure on the tied note so as to preserve the pulse.

-^

—^ • • •

pressed

by

When figure,

ties

(a)

J..

not

J)

J

singing

(2)

J J JJ

,

,

think the triplet as the quarter

la

arm movement on a major

I J

J_yT3

J_/TJ

I

held; for

I

to indicate the meter,

J_/T3 J_/T3

n I

and sing the

scale.

fm

3 I

is

think either two eighths or four sixteenths.

Study, using the

3 <5)

jTj

J

J J J

J

rhythms to

(I)

expressed by a dot are seldom ex-

holding a tied note, always think the subdivision which makes the next

i.e., if

the figure

Rhythms which can be

same manner, with

/3?3 J

i

j

»

^73 J

^

n

»

ADVANCED EAR-TRAINING AND SIGHT-SINGING

146

Practise the following Chord Successions: Sing each exercise mentally. Test.

(2)

(a)

Sing to la, thinking Sing from dictation.

(b) (c)

first

the number-, then the letter-names.

rhythms be sure that the mind takes in the rapid arpeggio While the tied note is being held, think the rhythm and arpeggio that to be sung on the next pulse. In singing these

as a unit. is

tn^^ w

JP

i

-n

.

L !f^ I

i

iv'^l

JN'.

^^

:m

^

*

J]^|J^JJ

2-

^

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I

^

^ uai

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r

I

-a

niii

J

ar

^^

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^

3

w

a

^

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rH

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w.

i^ J

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^

=;="]

^^

iv^i-

«^5-

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f^

zd — i^

•

^ IV^ji.

ij

j^ ^^^m^^ i-^jj I

n^l,

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ir-^g

n\

vj.

^

^

^

^^^ J :^=r%rjTnP^ ij^ ''

^ ^ m

IV^J.

it

JJ^I

9j

Ul

^^i

n^i

fc?

\

ii

I

J ffl

'jjU^ff M ; iii^'!Tii irjje n^i

vJ

^

:

ADVANCED EAR-TRAINING AND SIGHT-SINGING

(d)

147

Sing the following chords in the key of Bb major to the rhythm of i I, I2, IVJ, V], VI, I, 11;, ir, VI I; to the rhythm of 2: I, VF, I, IVJ, IVI«, I2, IVJ, III,, VL Ii, II[, I2, V^ I; to the rhythm of 3 VI, Ii, III,, h, 111, III,, h, V\ I; to the rhythm of 4: I, III, II],, :

oV^ (e) (f)

(3)

VI,

I,

ivj, 11;,

I2,

v^

I.

Transpose these exercises to other keys. Sing the exercises for pitch and key drill of the preceding Lesson on page 138, in the key of Bb major.

Exercises for Sight-Singing:

nr^

^i

»

«

"T

J

>

^

2

Mozart

(^y

J J j J

r

ij J j*^ r

uj"^

LT

^i^U^i

'

J

«^

r

i*'

J ^

^=^

ADVANCED EAR-TRAINING AND SIGHT-SIN GING

148

«

:r r-i'J^r

p

ijii

ifi'

j.,iijni

-TJP

f-''r

i

r

ii

r

jri Q-jrjpigjf

jTijpjrijiijfj r OldSwiss Melody

fP

j.

ii

^jT

.1

Luj

ii

M

s

^

Oj.ijT>MJiJP

^^ ^ ^

MZS

^^

i

i

4 4

I

^J^ =¥^

i

mum.

Folk-Song 5

*

#

4

•

#•

'^JM*

^•J hJgJ^'^ l

i

r

J

ll

^

V

IL

J^

:^^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

'7R'^

~-"i

J

i

»

-

f~

W-»

Fm ^^

---•

149

=

>

ADVANCED EAR-TRAINING AND SIGHT-SINGING

150

Lesson

i6

In a melody the raised 2nd degree is used as a chromatic passing-tone between the 2nd and 3rd degrees and the 3rd and 2nd degrees. In progressing from the 3rd to the 2nd degree, the progression is often written 3, lowered 3 and 2. It will be found simpler and much less confusing in both harmonic and melodic relations in major to use the raised 2nd, never the lowered 3rd degree, as this is the characteristic tone of the minor mode.

uf su

if^

Skips may be made from or to the raised 2nd degree of the scale The scale-line, using the natural 2nd degree, or skips in the chord.

or

I

in the IIJj IIJ,

IF, V^

chord, should follow.

Section A.

Use

and

as a basis for the

II^j},

all

triads,

B

major, with a new second consequent and ninth-chords, the 11^, IVJ, Employ the rhythms given on page 145.

Construct double periods in

(i)

phrase.

inversions, seventh-

melody.

Section B. (i)

Practise the following Chord Successions: Play the entire exercise, listening to the character of the chords

(a)

and

inversions. (b)

Pause

(c)

Read the

(d)

Have each

m^ 1

33

^fp u f I

VI

after

each seventh-chord and think the chord of resolution.

entire exercise mentally.

exercise dictated.

43

28

7

^u ^

$

f

6432

87

^ n ^ rr

lA

^W IV

IV''

II''

111

AA i

rfi rr i

I,

III

IV

II,

i

r Ij

V

8

i

ADVANCED EAR-TRAINING AND SIGHT-SINGING

^

i

ft ii

i

TT f ^ T

i 'T

^YT

^^ TT ii

"«1

(2)

r

r

n

rr ff

^

TT 11 fT TT T i

u TT n n lA ii ^^^

n f

J:

f

p

rt

151

#

f i

T 1

f

^i^ TT 1

J

m ^

Practise the following Intervals:

In the Il^ij chord there v/ill be a minor 3rd from the root to the 3rd of the chord, the i^ind to the :Jt4th degree of the scale; a diminished 5th from the root to the 5th of the chord, the #2nd to the 6th degree of the scale: a diminished 7th from the root to the 7th of the chord, the :ft2nd to the 8th degree of the scale; a major 6th from the 3rd to the 8th of the chord, the #4th to the #2nd of the scale; an augmented 4th from the 5th to the 8th of the chord, the 6th to the #2nd degree of the scale; an augmented 2nd from the 7th to the 8th of the chord, the 8th to the ^2nd degree of the scale. (a)

(b)

(c)

(d)

Play the I, IV^ IF, IIJ, IIJ^, V^ and I chords in B major. Think the sound of the intervals. Play the intervals determining their sound in relation to the root of the chord and to the key-centre. Sing the intervals. Transpose the intervals to

C

major.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

152

I*"

Uj^jt^^^^

*

I

n'

v^ PEC

I

a

I

:&:

o

I,^

U

o-^

n'

I

v^

x«»

»

o

o

i »-

TSJ-

il

" "

I

il -«-

ffe=§^ S 3X1

^^^^^^^sw

„ |o

(3)

Exercises for Melodic Dictation

^ »o

x» X» C

O

oo

~^" " **

IV^

||-.^ V^

I

„ tl o O O ^

« o 8/^.« j|o ho ** O o

jto 1 =^

and Sight-Singing:

Double periods with a new second consequent phrase. Skips in the chord and the raised 2nd and 4th degrees used as passing-tones. The tie in 3/4

IIJ^

2/4,

and 4/4 meter. Play the I, IF, IIJ, IIJ^, I, V^ and I chords in B major. Read each exercise mentally. Test for pitch. (b) Play the entire melody, studying the effect of the cadences, the chromatic tones and the ties. (c) Take each section of the melody which has a chromatic inflection and sing it first without the altered tones, then as written. (d) Play the first antecedent phrase and sing from memory to la. Sing the number-, then the letter-names, mentally and aloud. (e) Practise the first consequent phrase in the same way. (0 Play the entire first period and sing from memory. Study the second period in the same way. (g) (h) Play the entire double period and sing from memory. (i) Transpose to the keys of C and Bb major. Have each melody dictated, as outlined on page 87. (J) (a)

1

ADVANCED EAR-TRAINING AND SIGIIT-SINCING

ijv

1 I

1

njin

pox

iLr^T^ I

n^

It

V

rLf I

Figure

nl

nlii

I

i

V

IV

153

LT'i I

'

It

Sequence

^

^

^^^^^^^ #

#11

•

li

^

r-

.

r—

1

n

—

—

r

ADVANCED EAR-TRAINING AND SIGHT-SINGING

154

Section C.

Rhythmic

(i)

(a)

Drill:

Study, using the arm movement to Indicate the meter, and sing the rhythms to la on a major scale.

(2)

JlJ_/h

(»

J_r33J333,J5SJ_/T3,J_nj.

,J~3J

jri,JT5J

J553,j

J)

J

„

JJ

J..

Practise the following Chord Successions: Sing each exercise mentally. Test.

(2)

(a)

(b) (c)

Sing to la, thinking the number-, then the letter-names. Sing from dictation.

'^ijJ^r

-J^JjnjjT^f

i

i

n

j

i |

IV.

a

tf

"

i it^

i

^i

^

ftSHji

i

Li

jR^

I

jj^r

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jitif ii.u

^^Ji^

^ij

r

i^'il^

^^

i,i>lliiljj ''a

i

^^

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^ f ^ nf •

J ^

I.

n\ II

i |

n'

n^l,

ii^ii

tt

^j]j

^

o*-

Wr

IVi

iv^i.

ADVANCED EAR-TRAINING AND SIGIIT-SINGING

^'A

o.jHjf^iiu

i

J

M,

i

j.P

i

155

n, j

i

nlUji-

|.'<''iU,iJ„ri^

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^'

^

l

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rjjiij

i

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i*

ij„Li^i n\

^

Ijd

v|.

m

a

^j. jir

*jjjii.^ ^B ^^ m •

III

*

%k ^'

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^

tfj

piT

m

'^^|J

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m

nlii.

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r'Pi'T

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iiln,.

f

»«

f

I i

I'

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ig
^

t

—

^

te^^

IV^j

v/.

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Mjhi

ij;Pi injii,j.mi li.

iv^l.

i

ADVANCED EAR-TRAINING AND SIGHT-SINGING

156

fft^

(d)

Pr

j

i

Ii,

IIJs,

IV^

Ii,

I2,

I, III,

Ilk nin,

oV^

VI, VI,

Exercises for pitch and key

R of

j

Tlr

I,

to the rhythm of i: rhythm of 2: I, IV, rhythm of 3: I, IF, the rhythm of 4: I, IV2, oV^

VI, I; to I.

drill.

R

Sing the letter- and number-names: R of V^ 3rd of I,

R

(3)

(4)

(3)

^

R

of

I.

3rd of I, 3rd of IIJ, R of 111, R of 11^ 5th of 11;-, 7th of V^ 5th of I, 7th of IF, 3rd of III, 7th of V^ 3rd of I. 5th of I, 3rd of IV, 5th of IV, 7th of IF, R of 115,, 5th of IIJ,, 5th of I, R of IV, 3rd of V^ 5th of V^ R of I. 3rd of I, 7th of Ii;„ R of Ii;„ 5th of IIJ„ 3rd of IIJ„ 3rd of I, 7th of V^ 5th of I, 3rd of V^ R of I.

(2)

(f)

^ JJ

B major

of Ii;,, 3rd of II J„ 7th of V^ 3rd of IV, of 11;,, 3rd of I, 3rd of V,

(i)

I

IVJ, II J, \1, I; to the n,%„ h, V^ I; to the

VI, VI, h, IIU, III,,, IIJ„ Ii, IV;, II J„ VI, I, VI,

j

I

Sing the following chords in the key of I,

(e)

rrj

i

Sing this

drill in

the keys of

Bb and C major.

Exercises for Sight-Singing:

J3J3

^'"''iin

^ ^m

i

•-#

jjj3^i #-

I

fi

\

^jij.m

2

Bach -

—

-«

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».

J

jEt

Ji

I4

jjii

m

^

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^^ ^ P d

<

I

g

rJ

Haydn

¥

1°

tt 88

ii'Ai' rg ii rr

'Jt

i

u

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J

I

v

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^ j

i

p

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i':z/

j J

^Jl J

P

# Haydn

'

\

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»

^

^^

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ac=K

s^^ m ^

U *

157

J

v^

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B

ADVANCED EAR-TRAINING AND SIGHT-SINGING

158

V

i

J"3

J U

1

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j

—

j

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I

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riz±*

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ADrjNCED EAR-TRAINING AND SIGHT-SINGING 'y-

^

U\

p

!«J

.v--i'ii"ii„

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r

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159

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CtlAPTER V

MODULATION AND EMBELLISHMENT Modulation Is the process of progressing from one key or mode to another. Modulations to the keys of the Dominant, Subdominant, the Relative Minor and the relative minor keys of the Dominant and Subdominant are most used; Modulations these are easily made because of the common tones and chords. to these keys are known as Next-Related Modulations.

The

next-related keys are those on either side of a the circle of keys, and have one accidental more key In or less in the signature.

Gi>Fl

In modulating, it Is best to leave the key with the I chord on an accented pulse of the meter and to begin the new key with any chord but the I on an unaccented pulse of the meter.

Lesson

17

Modulation to the Dominant Key and back Is bv the V^ or a common chord; e.g., the I chord of C Is the_IY. chord of G; the V chord of C Is the I chord of G; the VI chord of C Is the Il^chord of G; the III c hord of C Is the^YLchord of G. -Ck-

#* lofC IVofG

*

s

VofC lofG

VIofC

s mofC

HofG VIofG

In Section B, Ex. i, the first three chords establish the key of C major. The begins with the IV chord, the second chord in the second measure. The first chord in the second measure Is the I chord of C major, because it is the resolution of the preceding V chord. The next chord, though Identical with the preceding chord, is the IV chord of major, as it resolves Into the I2 chord over the bar. The same type of modulation is made from back to C In the second phrase. In Ex. 2, the first chord In the consequent phrase is either the I of C or the V of G. In Ex. 3, the key of begins with the V^: the I of C preceding Is the IV of G. The consequent phrase begins with the V^ of C. In Ex. 4, the second chord of the second measure is the Ii of C, the resolution of the \\ chord, and at the same time the IV^ chord of progressing over the bar into the I chord.

key of

G

G

G

G

G

Section A. (i) Construct parallel and contrasting periods modulating to the key of the dominant and back. rhythms given on page 154. I

160

1

In

the key of C major, the meters and

Employ

ADVANCED EAR-TRAINING AND SIGIIT-SINGING

161

Work as in the preceding Lessons. Write the chord symbols and construct It is best not to modulate until there have been the melody from the chords. enough chords in the key to establish the tonality; in duple and quadruple meter at least three, and in triple meter at least four.

—The

V

chord progressing to the I chord establishes a key. When modulating in the period form the modulation to the key of the dominant is generally made in the antecedent phrase, so that the perfect cadence in See Ex. i, Section B the dominant key takes the place of the semicadence.

Note.

IV

or

(I).

Section B. (i)

Practise the following Chord Successions: Play the entire exercise slowly, listening to the character of the chords, if major or minor, active or rest, inverted or fundamental.

(a)

Do (b)

(c)

(d) (e)

not try to think the key.

Pause after the last chord in C and think the rest of the phrase. Pause after the last chord in G and think the rest of the phrase. Sing the number-names of the soprano as you play.

Read the entire exercise mentally. Have each exercise dictated. (1)

(2)

(3)

played, relax and listen to the sound of Do not analyze. the chords. As the chords are played a second time, write down the chord symbols as you hear them, regardless of key. Write the numbers of the soprano. In Ex. i you will hear the first three numbers as 8, 7, 8; the next as 8; the next as 3,

As the

entire exercise

be uncertain; the next as 2, i. The mind In that case the fourth pitch will will reflect and hear 3, 2, i. have to be 4, as the unaccented pulse is always related to and In the consequent phrase progresses into the accented pulse. The mind will reflect then you will hear 3, 4, 3, then 5, 3,2, i. to 3 over the bar. resolving up and make the fourth pitch 2, In Ex. i you soprano. the pitches of Next, write the absolute as as a 2 and g as i, b c as then will have c, b, c as 8, 7, 8; 3, 4, consequent the major. In to G modulated therefore you have e as 3, d as the d as key of G, the of 2, phrase, b, c, b, as 3, 4, 3 In Ex. major. to back C modulation 2 and c as I, therefore a the 8th time, same the is, at measure second 4, the c in the 4th of G. the and of C degree of the key or possibly

(4)

^

is

it

will

ADVANCED EAR-TRAINING AND SIGHT-SINGING

162

5

6

6

I

IV

iGn;

2

3

2

5

iz

v

I

6>:

H n ^^

*

•

^^ fr

(b)

(c)

(d)

€\

r

u

v7

N

r

i iJti

^

^ rr ^

r f

Play the I, IV, IF, IIJ, IIJ^,, V^ and I chords in C major. Think the sound of the intervals. Play the intervals, determining their sound in relation to the root of the chord and to the key-centre. Sing the intervals. Transpose the intervals to

€\

XE

«- ^TTiii;::o '

I

:fe*

iv"

Practise the following Intervals: (a)

i

2

f^ ^

r

J i

(2)

9

^

r^

r F

It

8

3

rr rr ^f

r

it

'^'

cvj

^

rr J §

8

7

8

4*'°

v;;: 8ii tllUt|»

I

ii'^ijj

»

C

till

B

n''

" 8

n^ V''

ijlln

ttii

Ho

8

I

D

major.

3r:

8yoiil|ot*;^

^ ^ jt^lj^X5-jt«-jt-»-" VI

iv'' v'' 1

iv^

n^ v''

i

ii''#|

00 n —

{^

Q n „ H

fall

err

ft

"

ijfl^

:^

v-^ i

^^

Tcr

» o " " 8 o

if

—O"

"o

:^

ADVANCED EAR-TRAINING AND SIGIIT-SINGING 11 ni% "^" "'^M^it^" &4^^" "

8

o-^ -*>-

^^#^

«v^

#^

tl^

TT

8

_o_

an

s

H-jfJ^U

s

ai «^

tl

O

1"

tO T^

il"

11

tl

,

,

^ 35:

^

^

H ~cr

g

^

1T~

W=^

8

^o** O^' ^

#

n

o

-»^

XT

Exercises for Melodic Dictation and Sight-Singing:

(3)

The

Modulations to the Dominant Key. in the

t»

1^

163

II^j^

tie In

4/4 and 6/8 meters, and skips

chord.

In each melody the modulation to G major Is made after a I chord of C on an accented pulse. The modulation back to C Is made after the I chord of G on an accented pulse, or at the beginning of the consequent phrase. (a)

(b) (c)

I, V^ I chords In C, the IV, I2, V^ I chords in G, the V^ I Read the exercise mentally. chords In C. Play the entire melody and decide where the modulations occur. Play the antecedent phrase twice and sing from me:^ory to la. Sln-^ mentally the number-names, the letter-names. Sing aloud. Test.

Play the

A safe rule is In each melody, at the point of modulation the tones could be in either key. In the third measure of the new key on an unaccented pulse, except after the cadence. of (1) the g is the 5th of c, the next three notes at first sound like 3, 2, 1 of C, but as soon as you hear the b, a, g as the 3, 2, 1 of G the mind reflects and rhythmically includes the e, d, c with the b, a, g, making The next phrase begins in C. it 6, 5, 4, 3, 2, 1 of G. Note.

to begin the

numbers

(d) (e) (f)

(g)

The

Practise the consequent phrase in the same way. Play the entire period and sing from memory. major. Transpose to the keys of B and Have the melodies dictated, as outlined on page 19.

D

marks where the modulations occur and the

pupil

3215 6B432

4KT

i

CLrriJT] ^iP r.

I

^^ I

I

J

ii

Ii

^ i

E£jIV

i

\

Ii

GW

Schumann

pJ L; \' n

rr'i JWJ-

IV*

i

I

J||j

r

^n

UV^

35 m

I

CI

.

m

V''

2

Hi J|tJ

J-^j'ii^^

I

il^

1

scale-steps.

i

f'

^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

164

I

LuU'ir CUj

'•^ i

j

^^^^^^

^^' #

•lil

I

^'^j

iiJ.

-

p

r

i

m^

?J

^-

i>

* i|

^m

^ rPfiiJM

^

r'^

Li;i^^iiJ^

'l^

p

^^ i

r

B

"ltO

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t

p

P

J.

i

m

m

i iMrc::;ir~r JMrpfiiJ^jjn

i

'

iiii'j'irpJ JM

^

r

i

i

ii|

rtifrJ

j

i^r

If

p

i

r

['

if^^r-

i>

i

ni

w

==¥

\

-i i

^'

^ I

I

i«-^j^^i

F^ j:n„rr]|j. jfe i

ADVANCED EAR-TRAINING AND SIGHT-SINGING

165

Section C. (l)

Absolute Intervals.

There are diminished yths in the major scale from 7-b6, #2-8, :^6-5; in the minor scale from 7-6,^4-3; in the qV^, IIJ» and Vljjf chords. There are augmented 2nds in the major scale from b6-7, S-itz, 5-^6; in the minor scale from 6-7, 3-:tt4- A diminished 7th sounds the same as a major 6th and is sung up and down as the major 6th. The augmented 2nd sounds the same as a minor 3rd, and is sung as the minor 3rd. (a)

Sing a diminished 7th up and an augmented 2nd down from the following pitches, using first the number-names, then the letternames. (Use the numbers 7-6 for the diminished 7th and 6-7

augmented 2nd.)

xx:

(b)

301

Sing a diminished 7th down and an augmented 2nd up from the following pitches, using first the number-names, then the letter-

names.

im

(2)

^

^

Rhythmic (a)

>^

fyi^

31=

^^X

a:

^^

Drill:

Study, using the arm

movement

to indicate the meter,

Beat two to the measure.

to la on a major scale. held, the mind divides the pulse into triplets.

Is

(1)

8

J

1

(2)

(3)

J)

J

J)

J

J)

jjjjjjj

T2

<4)

(5)

r~ji

(6)

J

<7)

J.

/3J.

77iJ-^n

m

and sing

As the

(over)

J.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

166

J"

751J

;: J

J)

J

Practise the following Chord Successions: Sing each exercise mentally. Test.

(3)

(a)

Sing the number-, then the letter-names.

(b)

Note. In the fourth chord of 4 6 8 4 of the key of G.

the numbers are

1 3 5

8

,

in

the next chord

the numbers are

thinking the letter- and number-names. i.e., write down the symbols and sing without reference to the written exercise. Sing from dictation. Sing to

(c)

/<3,

From memory,

(d)

(e)

I

1

C major

vj

T^h

I.

n^Ki,

^ ^JjMj.jTJ -^i'Mj.jTJI^Ji^ljJ^IC:; I

IV

G major.

jifl -^]j^i^_[j3 jjj^^ jj:?jir^ji'^ j^j.'3^ ii

i

i

i

I

J

I

.J.'^-

*

I

*1J.

A.

VI

-J.

j. *

n G major.

C majoi

^•J'-J-

*• •• ff

I

f^

t

ADVANCED EAR-TRAINING AND SIGHT-SINGING

^^ ^ E^

167

j.7^1^ Ja^i4j:]i ^ Jju i

ii

i

Vg'G major.

^

—*n^\f}>r>

W-'

I,

iv^ll

^ iijj^

ir

^'

^v

^^a^

I

r

i

p

J ^

i

ii. I

i^i

jj

J

C major.

3E I

v7

VI

I j.jiJl^^ii^lJJ-f^

l

Cj:;J^IJJl|i^

l

'^J^

I

n G major.

iiJ -il^JJi^lj.4J''l^Jj^

|i.iJ-'

l

«

l

"^V

nil,

4 jj

J^

i

[j;j^ ^4t^^ i

i

[:£rii^^|'^^^£i'

|

^^^ C major

(f)

Sing the following chord successions to the rhythm of G major iVi,

I2,

G il, 11;,

Yl,

Ii,

IV J,

I2,

V^

l';

rhythm

to the

of 2:

VI,

G

to the

I;'

rhythm

of

3

:

I,

V^

Ii,

(g)

II,

Ii

C major I,

III, IV, I

HJ,, II J, IF, oV?,

I

C major

major

iVi,IlLV^V^,Ii,IIIs#,l2,V^ll to the rhythm of G major

n VL

IV, V3,

C major

major

V^

i: I,

IVJ, IIJi,

4: I,

IV2,oV^Vl,

I

V^ L

Exercises for pitch and key drill. Sing the letter- and numbernames. As these exercises are sung, think the entire chord as well as the tone asked for. In this way the harmonization of the tone is heard as the tone is sung. (i)

R

IV

(2)

R

of IV, 3rd of IV, 5th of I, 3rd of V^ 3rd of V^ of I. of of II J#, 3rd of I, 3rd of I in C, of IV, 3rd of Ii;«, of I. in G, 5th of V, 3rd of I, 3rd of V^ of

I in

in

C, 3rd of

G,

R

R

V

I,

R

of V, 7th of

R

R

R

ADVANCED EAR-TRAINING AND SIGHT-SINGING

168

I in C, 7th of ir, 3rd of Ii;«, 7th of V^ 3rd of I, Sth of IV in G, 7th of IF, 3rd of IIJ, 5th of V^ 3rd of v^ of I. of I in C, 3rd of IV, 9th of the V^ 3rd of V^ of I, 7th of V^ in G, of V^ 3rd of V^ R of I, 5th of V^ of I.

(3)

5th of

(4)

R

R

R

R

R

Exercises for Sight-Singing:

(4)

rr' LrJLc/i^D- i

li

I

m

^

M^J. J^'IJ||7]JJ^Ijj^MiJ^I[£f^

——

-y

=

= 1

ADVANCED EAR-TRAINING AND SICIIT-SINGING

169

|^TJ?^^ffl&^'iEffl'^r"m"^

^Jn? t ^^ jjjjjff M^jj/^P^-^ i'y^'nn i[jj.J'^-j]j ^ijr (a i

J

(

rjjiu J^

^^

cri

i

^ii

ji

i

i

^^f~[i;c-r

cacJ*

r

r

N

r

i

Mozart

^

I

aiz/

!'

i^p^f ^

ULg 'U^^"^

i'

i

>jij"]

^^

i

j

!

'

J^ij

t

j

i

M

r r

I

'U^^c:/

^

I

!'

'

r

r^ip. ^

J

^

Verdi

r>

^^ ^V

J

LCTCJir

LX/^"

f

;''.!

"

I

f

.ii.mii i^

i

j

J!1

i

^

l

f^=w

i

uu

i

r

p

i

r irx;

s^^J^

i

r^rr

i

J

^

ir

p

^

r^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

170

4'''

r/

f

m

i

tj'p

LUf t/'i^i-^ 'cj^P i

r»p

c.-

^k? J'l^J^J' 4^

i

l

i

r

^h Jl

^

jm

J": ^ j>

I

Kr

#—#

E

S

Beethoven

^

liiS^-'pir ^\f-

^]^J'lf^

Cjv^lO^ JlP

i

Jj

iji.J

I

[_cj'j.

J

V

JH

I

J

J-

^

'^

« ^^t ^^^ P

p

r^

;.3 j^

\

^

l

m

iJ~^

^^

Rheinberger

p

J

U,

J

I

rl

ij.

i)

|

J

Ih

JHJ

iTj ip

p

yji

ADVANCED EAR-TRAINING AND SIGHT-SINGING

Lesson

171

i8

Modulation to the Snhanminani- Key is made in the same way Dominant key. Leave the key after the tonic chord on an accented begin the new key with any active chord on the unaccented pulse.

as to the pulse and

In Ex. I of Section B (i) the first three chords establish the key of major. fourth chord is the same as the third with a 7th added which immediately establishes the key of C major. In the consequent phrase the first three chords are in the key of C major; the next chord, though the same as the I of C, is the IV of because of its resolution. In a melody the raised 5th degree of the scale is used as a chromatic passingtone in progressing from the 5th up to the 6th degree. Skips are not made from the raised 5th degree. When skips are made to the raised 5th degree it resolves into the 6th degree, as it is the lower neighbor of

G

The

G

the 6th degree.

^ U^

^

m

Skips may be made to or from the raised 2nd degree in the Vg, VJ, Y\ chords. Skips in the I chord, or the scale-line, will follow:

|8„ 3CE v^l

\t v^i

Section A. (i) Construct parallel and contrasting periods in the key of G major, modulating to the key of the subdominant and back. Employ the meter and rhythms given on pages 165 and 166. Use the Vj^, V^, and V^ chords. Write the chord symbols and construct the melody in the usual manner.

Section B. (i)

Practise the follozving Chord Successions:

(c)

Play the entire exercise slowly, listening to the character of the chords. Do not try to think the key. Pause after the last chord in G and think the rest of the phrase. Pause after the last chord in C and think the rest of the phrase. Sing the number-names of the soprano as you play.

(d)

Read the

(a)

(b)

exercise mentally.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

172

Have each

(e)

exercise dictated.

(2)

First playing, listen to the sound of the chords. Second playing, write down the chord symbols.

(3)

Third playing,

(i)

Do

not think

of the keys.

write the numbers of the scale-steps of soprano. Fourth playing, write the absolute pitches of the soprano.

(4)

Note. In Ex. 1 the pitch b changes from the 3rd of becomes the 4th of G on account of its resolution.

^ n^ 3

2

3

Al

8

V

I

cv

J

r ^i I

V

^ f # 11 i

^

^^ i i

*

J

J

«^i

i

n J

3

J.

^M

2

J

i

^ ^ TT 3

4

J

1

3

2

i T

J

$ ^^ u IV

r

rr rf

r

rr

r

I

r 1

j^j ,j

=4

In the consequent phrase, c

to the 7th of C.

2

i^i

^m I

7

G

GIV

I,

V

^ rr

r f^

the

j

^i i ^

i r

r

ADVANCED EAR-TRAINING AND SIGHT-SINGING Practise the following Intervals:

(2)

(a)

(b)

(c)

(d)

Sing the intervals. Transpose the intervals to

o_

ja

8 » I

V

Play the I, IV, III, III«, III^, and I chords in G major. Think the sound of the intervals. Play the intervals, determining their sound in relation to the root of the chord and to the key-centre.

i

#

tflt

8

;:d=

I

U'

V

F

w^

xc

major.

TT~;:3i

3X i

#

<|*

:7rr

r^^

-Ki^

jo:

Zf:. e'i°"

5 U

"'

ff"

* 1 n: :^ xx:

^

S

I

=3CC3r

TJ-

XT-

=8=;^ «

°

"''» 8

s

tw=^ w

1^

«*

U\ 8

7T"

Q

:n

;

,

»

:xc =e=

/^

*^

tf"

8

7 .

8

8 o „

o

^^f

XE

^

O O

«*»

«^

g

31:

It

^sqr

*^

t«

::

:^

VI V

-o-

XE

3r:

31:

ffc

B^

—o-

xx:

m :^ ^

XV

I

f>

o :^

1=^

173

^»

^^ 3r:

JO-

3sS:

jcx.

xx:

;; d:

,> |}

xc

zx:

:^

8 :^

:«:

TCJ-

Exercises for Melodic Dictation and Sight-Singing: In each melody the modulation from to C is made after the I chord of G on the accented pulse, which becomes the V chord of C. The modulation back to is made in the same way or after the cadence. (a) Play the I, V^ I chords in G; the V^ I, chords in C; the IV, I2, V^ and I chords of G. Read each melody mentally. (b) Play the entire melody and decide where the modulations occur. (c) Play the antecedent phrase twice and sing from memory to la. Sing mentally the number-, then the letter-names. Sing both (3)

G

G

aloud. Note.

It is even harder, in modulating to the Subdominant, to decide when the modulation occurs, chord of G is the V chord of C. In (1), third measure, the high g is both the 8th degree of G and the 5th degree of C. The f is certainly the 4th degree of C, so it is better to consider the entire pulse in

as the I

C

and that the numbers of (d) (e) (f)

(g)

g, f

are

5, 4.

Practise the consequent phrase in the same way. Play the entire period and sing from memory. Transpose to the keys of A, F and E major. Have the melodies dictated as outlined on page 19.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

174 *

IV

^

i^

Modified Seq.

Figure

Ij

V

n,

I

nl

rnni"

11^

Inversion of Fig.

V7

ir

j

-

uJ

i

ii|iirLuj:ii

J

-CM-

U

l

'

i

i!|.^T'>JJir

ii

fMc

^

i

j .ii

i|

«-#

^^

rr'^ir' p

Schumann

^Cj- Jj^-ftr

f^

TT^ rTj^ ^m ^ P

r

cj iiL/'^

rm[^iQi-

-€M-

.

^

c

i

^

P

^^rrn

li^'^

i!>*jMcjr'^£j^i^i'^J

!

Lj'L^'

i^ ^ i

i

i

ADVANCED EAR-TRAINING AND SIGHT-SINGING

i

^^

^

i=:

^"Vr^rrif

J

ir

jn^^i^

9

U

Mp

"rJ

>

i

^

P m

-6M-

TTT

IM^rd-ijit 'LLfiC/^

^^ ^

175

p

^

—

<9

J^^^

lh»-

^

=»f

U- Ji-i^

'

sm

r-j.-n ^^ ^

Section C. (i)

Absolute Intervals.

There is an augmented 5th in the major scale from 5-+f2, in the minor chord in major and the III chord in minor. There is a scale from 3-7; in the diminished 4th in the major scale from ^2~^, in the minor scale from 7-3. The augmented 5th sounds the same as the minor 6th and is sung up and down as the minor 6th. The diminished 4th sounds the same as a major 3rd, and is sung as the major 3rd. Sing an augmented 5th up and a diminished 4th down from the (a) V:j::j:

following pitches, using

(b)

xr

Rhythmic (a)

the number-, then the letter-names.

Sing a diminished 4th up and an augmented 5th down from the following pitches, using first the number-, then the letter-names.

« 1 ^m w^ (2)

first

zxn

^

Xf=

*

^

Drill:

Study, using the arm la

^

on a major

scale.

movement

to indicate the meter,

and sing to

ADVANCED EAR-TRAINING AND SIGHT-SINGING

176

(1)

?J)iJ 5.

8,

J), J

(2)

J^^iJ

JTT^J

y

^^ij

JT} ^jt^jt:

J3iJ?]

y

^

.j

(3)

;5r3

(5)

r73n (7)6

,

?•

jij

7-

J55551.r753J~T]

J.

.J.

/7553iJ 7^ J?53iJ)^ J^JJJJJJi

JliJ.

(8)

J.

^

practise the following Chord Successions:

(3)

Sing each exercise mentally. Test. Sing the number-, then the letter-names.

(a)

(b) _

m

/J], J.

,j) V

Note.

In the fourth chord of

the

1,

numbers

are

3

5 8 3 8 5 3;

the next chord,

7245427

of

C

major.

Sing to la, thinking the number- and letter-names. Sing from memory. Sing from dictation.

(c)

(d) (e)

^m I

^

^

fS

irjJ J^i /]

)

G major.

i

'

m

i/JL'^'nj

^^

^

>^

3

1

*

^^

yJ C major.

ii-

# I

G major.

^

m

#

£ VI.

^

ADVANCED EAR-TRAINING AND SIGIIT-SINGING

^

P

^ cj

I

n

^

^^

»

J

I

1

V.'-

ii

j.i

i

f1]ji

G major

^^ I

vj.

|,^rr^.j,

177

ij,i vf.

^^^r[£;i|JMjJ

r

ir'"^[[j.M

Ii-

ij

Vill

^

T'^Ji

^

rr I

^m fe ^^

H

J ^

Vj C major.

'

[Tj

1

^

*

^ tf"

I

G major.

i

It

r

I'

^^

W I'

M^^

IjiJ

I

i

j Vtjl

,j

J

Ir

JT,Jj

^ Tr-^JM I

i

i

It-

Mj Nir'^i ^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

178

G (f)

Sing the following chord succession to the rhythm of G major C major I2, Vjf, I

VI,

I, III#, I2,

V#, I; to the

rhythm

of 2:

i

I,

:

I, Ii,

rhythm

of 3:

V«, I;

Ii,

to the

rhythm

of

4:

I,

major

IlL 11^, h, G major

I,

,

V^,

major

II J^, IF, V^, I

G

V^, VI, Ii, IIJj,, V^, V^, I; to the C major

V^

IVi, IV, IVJ,

G

C major

.

major

Il3^

oV^

V„

I

VJ, V^,

I

C major

VL VL (g)

I,

m,

Vs,

I.

Sing the exercise for pitch and key major.

drill

G

(4)

in the

key of

Exercises for Sight-Singing:

iji

4*

on page 167

ttp-

iNH

i

p'

p[T

m

j>^4

ir

J

ic:-i

r

^f;

\ir

^Mf

ifis

prj^^

i

r

r

vp

'

— ADVANCED EAR-TRAINING AND SIGHT-SINGING

U

I

^

r

^^ «

d

*

"^ '

" 1

—J

)

J J ^

I

* " ^ r ^zzj=z:gj r f

e

ni LrrFl

^

^^ — ^ Dvof^nc

*

l

179

zjiI

I

Bach

i^^

4

n w

•

—

• r w nrj

—

rrj t

i

Brahms

db*

^

^h\\m

*

\

^

^

nj]\j vu^jj

^

rrxf

ifc^ iijgQ.JiP

i

i

jJ^^Ji^J

i

Ij :

^

l

^ «

^

If^

i

l

\

i

\

\

rj-H'

^

i

Oi Brahms

J^NJj^i:;

^

i

7

H 'l' lljM I'l

^^

f

j.jJIP^ cjr

^ g

Dregert

I'l-C/L/ El^lf

^

i

^

r

iir3p

M Jj

4*<'Cj-n

^rJ^

M

M^ r *p r

p

— ADVANCED EAR-TRAINING AND SIGHT-SINGING

180

^., tip

it

r

r

r

I

A

'

p

ji^^n #

-I

i

^

j

.

*

Wi

m

Brahms

^

.

^

9

«

^

'—0-

i

^

J

hptl^J.

ni^nnii

rr,

^p

^^ ^^ ^

10

J^

» m

\

^P=7^

^

c:Xlir

i

Liu i^n-^i^^'^

<*/

p

^

Spohr

cj 'i

Schumann

y^J?^JlJ

^^

^

Uji^-JTJJ-.in r

.

^

'

-

\-

\

f

I

J.

/j

^

^ ^ ^

ADVANCED EAR-TRAINING AND SfGIIT-SfNGING

^ #

fcfe^

181

mmjTirg

^

4*r-fJ??]

r

^

L^r^

^

Lesson

m

^

Handel

^^P

J-

i>j

t

19

In the double period form, the cadences at the end of the second and third phrases are often modulations to next related keys instead of semicadences in When in major, at the end of the second phrase, in place of the Domithe key. nant chord, there is an authentic cadence in the Dominant Key. At the end of the third phrase, in place of the Subdominant chord, there is an authentic cadence After the perfect cadence in the Dominant Key, the in the Subdominant Key. melody must return to the original key before progressing to the Subdominant. When in minor, the second phrase modulates to the relative major key. In a melody, the lowered 6th degree of the scale is used as a chromatic passingtone in progressing from the 6th Skips are

made

to

down

to the 5th degree.

and from the lowered 6th degree

scale-line, or skips in the

V

chord, should follow.

^

in the 11^ chord.

The

\j\\

ii\

Section A. (i)

Construct parallel double periods In the key of

to the keys of the Dominant and Subdominant. given on page 176. Use the 11^ chord.

Employ

D

major, modulating the meter and rhythms

Note. Make the cadences as follows: At the end of the first phrase, an imperfect authentic cadence, or a semicadence in the key; at the end of the second phrase, an authentic cadence in the key of the Dominant; at the end of the third phrase, an authentic cadence in the key of the Subdominant; at the end of the fourth phrase, a perfect authentic cadence in the key.

Section B. (i)

Practise the following Chord Successions: Play the entire exercise, listening to the character of the chords. Pause after the last chord In D, and think the chords in A; pause (b) (a)

after the last chord in A, and think the chords in D; pause after the last chord in D, and think the chords In G; pause after the last chord In G, and think the chords in D.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

182 (c)

(d) (e)

Sing the number-names of the soprano as you play the chords. Read the exercise mentally. Test. Have each exercise dictated as outlined on page i6i.

3

2

2

7

trrr-Um

P ^ ^ i. ^'git

,ut

rr 1

j-i g f

p

^

I

al

\J vj

T i

f ^ I

r

Av^

^ ^ 3^ ^ ^ ^ u^ u M ^f ii ia a^ r ^ J:

m

I

i

J i

r 4 r

^ rr

^

fT r

j-i

i

f

(2)

4

3

7

8

2

J

J-

i ^i ^

Wi v' V?

^

IDVJ

I.

v

^ ^ rr rr Tf li

f ^ rr r P J: i i ^¥ r ^ $ f

^ ^U W

i i P :i

1

i

^

^

s

ff rr

mm * f1

^ 4^ i f r r$ ^ 5

f r T

f

m

i

J:

rrr

Practise the following Intervals:

In the 11^ chord there will be a minor 3rd from the 3rd to the 5th of the chord, the 4th to the lowered 6th degree of the scale; a diminished 5th from the root to the 5th of the chord, the 2nd to the lowered 6th degree of the scale; a major 6th from the 5th to the 3rd of the chord, the lowered 6th to the 4th degree of the scale; an augmented 4th from the 5th to the 8th of the chord, the lowered

ADVANCED EAR-TRAINING AND SIGHT-SINGING

183-

6th to the 2nd degree of the scale; a major 3rd from the 5th to the 7th of the chord, the lowered 6th to the 8th degree of the scale; a minor 6th from the 7th to the 5th of the chord, the ist to the lowered 6th degree of the scale. (a)

(b)

(c)

(d)

Play the I, IV, IV, III V^ and I chords in D major. Think the sound of the intervals. Play the intervals, determining their sound in relation to the root of the chord and the key-centre. Sing the intervals. Transpose the intervals to

II

8

^S^

(3)

I

«" 3E

3j:

>-»-

^v;

n'

-CL.

^^8

n

g

t|o

*

t^=^

o PO

»

i

r xc

..

xn

° ^

8

i|o II'

I

k\ 8 ^T n hi 8

-&-

XE

ij'j

o^^»^»ottg.u °^8

» S

m

major.

^^

s

*

C

?-&-

^

t»

8 P8 ^^

il «*

°"

fe ^«»

ji

3X

u

ii

3x:

Exercises for Melodic Dictation and Sight-Singing: (a)

V^,

(b) (c)

(d) (e) (f)

(g) (h) (i)

D

major, the IV, I2, V, I in A major, the major. major, the IIi, I2, V'^, I in major, the V'^, I in Read each melody mentally. Test. Play the entire melody and decide where the modulations occur. Play the first antecedent phrase twice. Sing from memory to la. Sing Sing mentally the number-names, then use the letter-names.

Play the

I,

I in

V^, I chords in

D

G

both aloud. Practise the first consequent phrase in the same way. Play the entire first period. Sing from memory. Practise the second period in the same way. Play the entire double period and sing from memory. Transpose to the keys of E, C and B. Have the melodies dictated as outlined on page 87.

D

; ADVANCED EAR-TRAINING AND SIGHT-SINGING

184

rv

43

H5

"

f

^p

i

JM

f

y

-^cf^

'T

^ #^^ 1 g

rr (|»ii

#

li

^

1 1

,^h

m

[jic;

i

\^^.^

^p

j.

i

f

J

r

I

\

m

^i^r

1^

It r

J

^^

f

''^pcj

U-L-[jrrJ i

^^

i^

c;>i

8

p

r

A IV

I

iVi

I

J

^

i 1

1

,^^

Jjj^rM_Jl]?i^ ^r irr[i!i^

^^

t

i

I I

i

JmJ-

l i

rpr^^i^"rp r[tt^ J--^^ 'ii

-_^ ^

^

ir piT

i

p

l- fXj

E

''

i^r

|

i

Y^

^

^-"^J' fpr^ri^-' f pr^iF

J JMjJ- J

ir

ii

1

J'^i^T^J^

4

1

ADVANCED EAR-TRAINING AND SIGHT-SINGING

186 hung,

must be preserved so that the

it

and

listener will recognize it

in this way-

and enjoy the syncopation.

feel

To

sing

measure

this

give this effect J)

J)

4^ y

J

I

J

J)

^ ,

J

J)

making

do not accent the quarter-note and

J) it

sound as

if

began on the up-beat

it

^^^S the measure with a stress on the

t<

eighth, the

first

metric pulse, feel the beginning of the quarter as a relaxation of that pulse, give a slight pressure as the the second pulse of the meter occurs, and feel the last eighth as a relaxation of that pulse.

(2)

Practise the following Chord Successions:

Sing Sing Sing Sing Sing

(a)

(b) (c)

(d) (e)

I

^"^

"

J J J J

from memory. from dictation.

D major

f'^r

J

each exercise mentally. Test. the number-, then the letter-names. to la, thinking the number- and the letter-names.

^N

^ i

^^

jj >

^ i

jij rV

pJ

-i'

i

jHj

^p J

j'lj

l

t i

^

i

j){J

j)j

J

^

ijij^J

lj)i JH-^'J I.

P'^

^' i

^

flirr JtJMj

n^

n^jiM

i

-^^j

j)i^

>

\

j>t^

*(?

i

pi'r »^'

^

V||.

ii^t

^

i

A major

ii

«

n\

u!

jl^

>

IjJ ^'IpJ Ii-

i;

l

j

^

i

ADVANCED EAR-TRAINING AND SIGHT-SINGING ^"^

j

1

J

^JM-J^J

J:l^

>

I

'MP^ JHJ

JiJ

»

P m Vg

W( D major.

vlDmaior

^*U

I

^h

J'

l

^

J

D major.

j,j

I^J

J'

I

pJ Jilj

^

1^^ II

VI.

^7irr"^J

^

\M^

G major

H^t

Ii

-^MF^

j)J

187

iF^r^-^^N

"f

^

i^p

Vj».

4*'i

-i^

J^

> l

l i

j> ^ J

J'ipJ Jmj

V2 D major

^

ij.j^'ipJj'

i

j

»

— ADVANCED EAR-TRAINING AND SIGHT-SINGING

188

mg

Pr

^p

i

^

^

1

^7

pit^r pij

^

^^ ni»D major

VjG major.

D major (f)

Sing the following chord successions to the rhythm of A major D major D major | r 7~\ l~

vi,i,iiLVLi IVl,vI,v],Il,III,IIL,v^I D

iVi,Vl,VLl! to the rhythm of A major G major D major IIL,I2,v^I (g)

v^vUl D

major

2:

i

:

G

major

v^vUl,II5#,Il A major

major

l,IV,,l,oV\VlvJ D

I, II], lll^^j

V],

Ix,

III

major

v^oV^i v^oV^i ii,ir,i2,iiLi2,v„i'

Exercises for pitch and key drill: Sing the letter-, then the number-names, in the keys of D, A, and major. (i) of I, R of IV, 3rd of ir, 5th of in, of V, 5th of V», 3rd of I, 5th of VI, R of IV, 3rd of Ilij,, 5th of Ii. 3rd of I, of IIJs, 5th of II5#, 5th of ir, 5th of 11^, of (2) V, 5th of I, 3rd of V^ 7th of V^ 3rd of I, 5th of IIJ, of V, 3rd of I. 3rd of I, 5th of VI, 7th of iv;, 5th of ivj, of iv;, (3) R of Ii;^, 5th of in, 7th of in, 3rd of V^ 7th of V\ 5th of I.

G

R

R

R

R

R

R

(3)

4^

Exercises for Sight-Singing:

ADVANCED EAR-TRAINING AND SICIIT-SINGING

189

CiirL^i^it^^^^-^^-^ii?^!

'II

ilJn

r-

p

i

^yjTJi

^h JXnjJTljr

prs^

i

J

ji

^^

j

|

Jlnp^pin ^j- j^p. plpfiir.^J.

Ji|

Mendelssohn ^"

1^

rto"^

CJ^^ icicrf^iN.jj^ij-iQt

^» ti!^/;^ij^ i

d

***Jii^fpi j j^

^

hjgJ

^.JJ^

l

rrr

J

^m [j^ ^'ii

jiJ JJ

l

I

i

J

r>

JJJl»ji

i

pr

l

j

J

mpt

rijgjJ J>l>r

J]

^^ ^'

I

'^i

n ;;^r^ ;jl4^ .lhlLjL;|. l

-l za

®

Dvorak

j»i

i

i

l

iJJCj

|

ADVANCED EAR-TRAINING AND SIGHT-SINGING

190

H

r» J V

ff

I

J

L

J5

1

-R

I

^

I

ff

Jf^ jQ J

*y

I

I

JT] r r

I

i

^

J?l rr

8 K=iac£3C=sJ:

1^^ (^*ii

ijA

H'WW

J«}* IjJ- dl^^J

«=¥

i

cj-Cf-iL/r

i[fCf'i^ffi

^^^"^LdJLIrfi-^-'^^iHM-LI^

^TT^ a 10

rir^

^

fjj

^

i

rr^ri^^f'

«=?

i

i

^

J J

.rj4]^j j;37i i

i-^-J

^

iJ]p

i

i

I

pr

i

r"p^^-

i

^

Arr. by Serly

^-

p

i

I

'wj^t)

i

f p

J

^

I

Folk-Song

^^

¥=^P«

5=5 ^

*'*

*==*

t

Lesson 20 Modulation to a relative kev is made after an authentic cadence, through an active chord, preferably the dominant. In Exercise i of Section B (i), the ill St chord in the second measure is the I of Eb, the next the V^, which resolves to the

I of c minor. In a melody skips are

chord.

The

made

to

and from the lowered 6th degree

in the

V^ chord, should

jV \A \

scale-line, or skips in the IIJ or

follow.

IV'

iv\ Section A.

Construct periods in the key of Eb major, modulating to the relative Employ the meter and rhythms given on page 185, and skips in the IVJ chord. (i)

minor key and back.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

191

Section B. Practise the following Chord Successions:

(i)

(a)

(b)

(c)

(d) (e)

Play the entire exercise, listening to the character of the chords. Pause after the last chord in Eb and think the chords in c minor; pause after the last chord in c minor and think the chords in

Eb major. Sing the number-names of the soprano as you play the chords. Read the entire exercise mentally. Test. Have each exercise dictated as outlined on page i6i.

Note. There will be trouble at first in hearing the numbers of the soprano, especially if the early training in music has been to sing the same numbers for the relative minor and major keys. It is only by constant practice and mental drill that this will be corrected.

^ Ir,

V-^H.

8

7

a J

J

'i

8

2

5

^

5

T

I

V'

^

M

*

^^

3

^ I

f

u ^^

f V

^ ^ fT I

f

1

f

rf

f

T rr

i

v

rf

rf

J=^

rr^

f=

jA

i.

^ —•-

ff

I.

i

-U f

laiv

V.'

m n

i r

m

mm T

2

J J

I,cV'

k

3

r ft iT

rr fT rr r

4

5

f rr

f

rt

r

T=T

p

f

ADVANCED EAR-TRAINING AND SIGHT-SINGING

192

Practise the following Intervals: (2) In the IV^ chord there will be a minor 3rd from the root to the 3rd of the chord, the 4th to the lowered 6th degree of the scale; a major 3rd from the 3rd to the 5th of the chord, the lowered 6th to the 8th degree of the scale; an augmented 5th from the 3rd to the 7th of the chord, the lowered 6th to the 3rd degree of the scale; and the Inversions of these Intervals.

Play the I, IV^ IVJ, IlL, V^ and I chords In Eb major. Think the sound of the intervals. Play the Intervals, determining their sound In relation to the root of the chord and the key-centre.

(a)

(b)

Sing the intervals. Transpose the intervals to

(c)

(d)

|ii tl

j

m

Q o

«»

U'

1

o o

XE

pti

-O-

"WVW

-O-

llM

n L

IV

11

30E

jiu &^^^

IV

^

2

«W

and F major.

»

tl

1

D

DCC

I

m°.

1F=^ ""

8ttu 8

I

O H "

g

i;i|"

«

||-°-

''"^

»^"S^QBE

re XT

f^^

V

IV

31:

^P.

JQl.

8 " "

I|

ZSSL

TT

8

^

xx:

*

^

TT TF (3)

Exercises for Melodic Dictation (a)

Play the

I,

IV, III, Test. (b)

(c)

(d) (e)

V^, I2,

I

V^,

and Sight-Singing:

Eb major; the V^, I in c minor; the VI, Eb major. Read each exercise mentally.

chords of I,

in

Play each melody, determine where the modulation occurs, and study its effect. Play the antecedent phrase twice; sing from memory to la. Sing mentally the number-names, then the letter-names. Sing both aloud. Practise the consequent phrase in the same way. Play the entire period and sing from memory.

I

ADVANCED EAR-TRAINING AND SIGHT-SINGING Transpose to the keys of D, C, and F major. Have the melodies dictated as outlined on page

(f)

(g)

^

^^ ^

HJJJrjijMr'Tirr

n

V

v^

I

El,

I

IV

19.

Jmj.j^j nj

I.

rv''i»

193

V''

i

jm I

C minor

a pJ yj

I

>

^

I

k

^

'

-a

JMOjJ JJlJ'Jftp —F^^ ^n,

— t

~

V

a

y

J'r^

r-

# s^i^h

^

«S

I

f

I

^

I

^ l

J ^"TH ~~i~a~~

p

r

^'

^pJ

I

JIJ

^

I

"!

^p

^

r

I

1^

I

W

i^

^^ ^ ^^

iir

i)J

pr-^f pf t'rJ

II

i

J'

^^ P

jf

II

c^' e££JJ

I

^ i-

^J

i

f

P"

^'

•'^

i

I

~i

^

«^^^^s

^"1-

^

I I

If

|iii.rniri|

p

J^J3?jj i

1

^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

194

^

\^-f-U^ i'M'T r^ j-'ir^jpi'f^

IS

=3

Section C.

Rhythmic

(i)

(a)

Practise, using the

the

(1)

I 4

J

Syncopations in 3/4 meter.

Drill.

J

rhythm

J

arm movement

to Indicate the meter,

and

sln|

to la on a major scale.

,ji

r3

,J)J

J

J)J

J.

II

J-

II

(2)

J)

J?33 J~7^l___yS^ 1

I

<4)

^rj

<5)

(6)

(7)

(8)

(9)

I

J)

J

J3J333i;i

^J^>J)J ;3J513iJ iJ J r3_;^ iJT_/nr3 ir] ^,2 ;ij?s,;iji3ir33ir^j^.raiJ J) J J3iJ J353.J ^,J :>r J3,nj

o^

Practise the following Chord Successions:

(2)

(a)

(b) (c)

(d) (e)

Note.

Sing each exercise mentally. Test for pitch: Sing the number-, then the letter-names. Sing to la, thinking the number- and the letter-names. Sing from memory. Sing from dictation. In modulating, keep the chords

common

to each key in mind.

J

i

I!

ill ^

•

^n "11

ADVANCED EAR-TRAINING AND SIGHT-SINGING

105

^3^ jJ pF

^l"''!'

vj

V

I

IpJ- J

I

JiJ i^^r

\^Y

^

ipj.

J

jJ

I

-^T

l

*^

Wj c minor.

I^S

jij

pf

ipj. J

I

[Tf

li^r

[T^^

Ijj

J^J

nl

rv.

^l;'l,

jj

ji\^

pr |;TYU-ij^p)f-!j)J.j

J

I

JiJ.

J

V'^Et major.

^^

i>j

pr

i

^ iJu.^ iTJ^TT^ii^^

IV%.

IV.

^h'-i,

jjj i^rrJ^j.

liu j

lj)iji)J

J ij)jgj'f

ijji'j.

J

I

J;

J

frrjfJoJ

VJ,

4''''i'i[

J J-

piPf ig lJjJ.U>

i

piiJ)| J)j

l

njk

nlnj

fi'

J

1

JMfrJj' j

I

j

J.

ji,J.UMi'nJ.^

plO^Lju- JJ. I

p

l

Pp

J^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

196

Ei>

Sing the following chord successions to the rhythm of

(f)

K^ major

IV,

I,

iv„ El>

iv^, h,

Y\ i

I2,

IV,

I,

:

ir, VI,

IV,

I,

I2,

v^

i

V„

to the

I;

rhythm

of 2:

Eb major

v^ oV^

VI, I

i

v^

II,

I,

VI,

A!>

major

IV,

iv„

I2,

I,

IF,

Et>

maj

V2,

11^, A!,

.

maj.

vL

vi, i Et>

c minor

I,

ii,

major

IVi, IVj„

VL

V],

i

minor

c

major

il

major

IV, IV^,

oV,

I2,

I

Kb major I2,

v^

'ivuuiL

i

Eb major

V7,

l'.

Sing the exercises for pitch and key of El? major.

(g)

(3)

v„

on page 188

drill

in

the key

Exercises for Sight-Singing:

^hi^

[J

^

criff

i

^h PS^\^

\

l

I

f

i-J^ 1^^

CJ

I

f

rr

^

'CJ^

i

I

cj .J^

^ \

Mozart

''

I^\\

rEirjia^r^' p-

JT3

1

j:73

s^

4^'#'r

J .p J-73 p

^^

i

J

1

If ^'CJ"

^

J,

i

I

I

p

Fr

i

J'

g

j,n ^

p

^ ^

-Ji.

^ Beethoven

ADVANCED EAR-TRAINING AND SIOIIT-SINCING

«^

te

d'

*

197

Beethorea

m

i

1

«=*

^-»

'

4

^''•1'

Pf

p

i

f

r

i

r'p icr^ricr^M[j.rj-jiijj | Sailor Song

m

Richter

4^'#LE£r^frirlni^^r!j;^j n.

J.

J

Hj ;;CT

jiJj'J

i

Ji'j-

ijii^'r'

I

J

ici/Cc;

i'^TlJ

1

^

i^'

'^^j.jj

l

r'

'

^

ir

i^

p^ Abt

—

#j

ADVANCED EAR-TRAINING AND SIGHT-SINGING

198

if^'

ll>'#

i^j

J

J

-TO

°

I

I

r-p

^

^

"

l^' J

Ij-

N

^

^^s ^^

^^Sl-^»JMJ

ip

J'

l

^-

I

i

f

1

J

1

^

g=Fg-F .*!*!'

J J.^

J- J

I

—w> p^«f

o

'—ef

-^ J J.^ J J>J'JJ>^ J. '

Schubert

^:n=g

i

J. * 3 a rat t

p

\fi-

p

l^h

jir^iJT] jj

n

ij

M g j-^^m i

I

\^' F i

«—

^M ^J^ ^ ^'

i

11

iE

'

c'j^

i

rj'r

ADVANCED EAR-TRAINING AND SIGHT-SINGING

199

Brahms

Lesson

21

In a melody, skips are made to and from the lowered 6th degree in the V' chord. The scale-line, or skips in the V^ and qV' or I chord, should follow

i V^k Section A.

Construct periods in the key of A major, modulating to the relative (i) minor key and back. Employ the meter and rhythms given on page 194, and skips in the V^ chord. Section B. (i)

Practise thf following Chord Successions: (a)

(b)

(c)

Play the entire exercise, listening to the character of the chords. Pause after the last chord in A, and think the modulatory chords to the next key; pause after the last chord in f:^, and think the chords in the next key; pause after the last chord in E and D, and think the modulatory chords to the next keys. Sing the number-names of the soprano as you play the chords.

id)

Read the

(e)

Have each

entire exercise mentally. exercise dictated as outlined

Note. In taking dictation the chords afterward.

it is

good practice to take the numbers and pitches of the soprano

^ m^ nm 3

4

4

3

3

ij 4 i i

v'*iii' -j

r

r

I

v7

I

fi

rr

yj

on page 161.

I

4

6

3

i

S

3

2

rf rr

r

r

^

f i

f

J

Ev7

14

p

iw

I

V AVJ

n

Ii

DV^

r r

I

AV^

I

f

r

m

T

J

rr

first,

— ADVANCED EAR-TRAINING AND SIGHT-SINGING

200

Practise the following Intervals:

(2)

In the V' chord there will be a minor 9th from the root to the 9th of the chord, the 5th to the lowered 6th degree of the scale; a diminished 7th from the 3rd to the 9th of the chord, the 7th to the lowered 6th degree of the scale; an augmented 2nd from the 9th to the 3rd of the chord, the lowered 6th to the 7th degree of the scale; and the inversions of these intervals. (a)

(b) (c)

(d)

Play the I, V^ oV, oVj, Vj and I chords in A major. Think the sound of the intervals. Play the intervals, determining their sound in relation to the root of the chord and the key-centre. Sing the intervals. Transpose the intervals to

G

and

B

I

t

%

» " "

-o

&-o

4^"^

—o-

t

^iiQ

8

""^ui|»^.""°*""

IV^

II

o" U * f^

ho |:^=t

jto

major.

i

|"i

^k

:«n:

»g=ff -»

ADVANCED EAR-TRAINING AND SIGIIT-SINGING |»)|t

..

a

^^^^^^

TT

Exercises for Melodic Dictation

(3)

The

8

„ „_^.tf»8 » „

|t„

i|8

8

ks.

O 8 *a=|

H

11

o"

it°

(a)

Play the

A (b)

(c)

(d) (e) (f)

I,

V^

-o

—o—or

and Sight-Singing: A major to f^ minor.

chords of A, V^ I, of f# minor, VI, IV, each exercise mentally, noting

I

last five

V^

oV^,

where

I

of

the

modulations occur. Play the antecedent phrase twice. Sing from memory to la. Sing mentally the number-, then the letter-names. Sing both aloud. Practise the consequent phrase in the same way. Play the entire period and sing from memory. Transpose to the keys of A, G, F, B, B\? major. Have the melodies dictated as outlined on page 19.

IV

I

V^

Il^jl

J^

iJ I

4¥^N p^ f

i^

i

pp

^

I'lVi

i"i

J

i

,j'j

j>

j,j

i i

l

I

fTf^

pJii:^rriri j^n ^/r^r i

i.-jj

i,

i'r

M

-I

I

-' i

r

i

^Pr

J>p

^P ^m

j

j

^

V

U

AIIil»

'!^^

fH

I

^^

^¥

The

Read

major.

11

ll°

melodies modulate from from i^ minor to A major. first five

201

r

iTiiJ-'J

pN j.^

'

ADVANCED EAR-TRAINING AND SIGHT-SINGING

202

rr\jrT]^\rri !T\jij]^jm

rii

i^

^^^

I I

^N^ j¥

,1

|>*iV^-'

^n:

^

^ ^"a^ ^^ I

8 #—Tl

^

4^7*f

4¥

lLr"uJj

i

J

J.

I

jn

F^

'

i

r,j.

prJ>ji|j

-^'^

I

J.

ipf

rJ^ rriJ> \

^

i^r

r

JJ^ ^

}

p^i

ir^j

ip^

\

^'J

J-

I

i

crJ>i

^^

'

pic/J TpiJ.J.j

[jirp^

^

\

i

g

irp

Section C. Absolute Intervals. Is a minor 9th in the major scale from 5-b6; In the minor scale from 5-6; in the V' chord. To sing a minor 9th, think a minor 2nd and sing the upper tone an octave higher. (i)

There

(a)

(b)

Play any tone on the piano and sing a minor 9th up, using first the number-, then the letter-names. Play any tone on the piano and sing a minor 9th down, using first the number-, then the letter-names.

ADVANCED EAR-TRAINING AND SIGHT-SINGING (2)

Rhythmic (a)

Drill.

Syncopations

203

in 4/4.

Practise using the arm movement to indicate the meter, and sing the rhythm to la on a major scale.

(Df J

ADVANCED EAR-TRAINING AND SIGHT-SINGING

204

ma

J

j_ji^

p i^'j.

f

^^

f \^

li

Or

J

t^

i

f3=^

£ major.

p^'

j

^^

Mr

oV*k

ijjj^jii'i'^^ nl»,.

oV^

U^^

nit

Vg

A major.

JJfP

J

L

V^ft minor

i

^

«

^ i|JJ^

V A major. ''*

I

i

.L'

'

p

i^-'ii

>V2^ o'a

II

ii.

1^

h-^

ii

I

^^"^

J

jHijJ-

ii

A major.

|jj)4

"••

^-

j.

i

^5

jiJ^r"

V.'

jij

U.

jiJ'^-

n^ Emajor_

i

J. I

IV.

n^v.

*l

jJ'f

j.ij^^- ij-ij

1

.1.

^^

i-i'^'T 1.

;u

l

^i. Illk

iiJ"

N-

J

-'^i

I

JDFJNCED EAR-TRAINING AND SIGHT-SINGING

^

^^^^

q-TT P

V A major.

M #

hr-

^

l-l

Ii

S

4.iiJ^-i)iJ-jj~ j.i^'"i

i

^

^-Jf

rv A major.

vjfi minor.

^¥

205

J.j)j

j.j>^^rur '^

i

i 1

j.jJ'^'

^^

Vjl

(e)

Sing the following chord successions, A major

ber-names A

VL

(i)

:

I,

VI,

VL

|

r

I

VL

A major (2)

V^

Ii,

ii,

iiL E

I2,

by

HJ^, Ii

Vl, V«,

D maj. I—

VL

—

VL

I

A maj.

major

then by num-

letter-,

E

f# minor

major

ii, 115,

I^,

first

I,

major

VI, IlL, I2, A major

V^

I

r

I

i

fjjmin.

ir, iiL, i^, oV^, D major

i.

i,ix,ivLi2,vLii iiL,i2,oV;,i vLil vLil vLv,„i,ii3VoV',i A

major

ivLi2,iiLv,v«,L (f)

(4)

sing the exercises for pitch and key A major.

drill

on page 188

In the

key of

Exercises for Sight-Singing:

m

^

?

I

II

1

ii

1

Schumann

^^p

r

^»T^

II

206

ADVANCED EAR-TRAINING AND SIGHT-SINGING

^^^m ^^ i

I

u^

ii

o^j

i

iiirriii'

l

l

^

in Lu

^

'^j'

\

• J.

'

nm\m n

^ irT^i^i

M"Cl;l^i^ ^P

f

ji

J

I

;^

,

^ w

u

i

f-T'P

l

f^

iQ[^

.n?

i

I

-nip

I'cjj

I

«

J7F

I

^

l^

I

-ni ^

\

\

<^'[MJtoir

I

Oj

i

qj

3

JT]

e^

rrj^

I

i!LJJ-Uf;

ii\

jihi

I

||

Bach

^

rri

—

.ni |Jj^ i^jJtj-^H^

4 Ll/ ^ir

*

*-i^-=

\l\

jp S=F

^"p ig/r

|J

l

i

'

Ji

ILJJUf^-

pp^pp^^

i»f??3

fh»

rrYfTjc;

i

r

^p

i

^

r

^cJ

'

— ADVANCED EAR-TRAINING AND SIGHT-SINGING

«^

m

a

i

LLrJ

i

^aa/iaffl^ ^ P

•

^

J^r rrrr'r^'T^'^

^

rfrr^ii^

rrt

'n

"~"

i

l!1j

^ft [^

^^Vr ^' trT^

^

m'

^'^

—•

——

s

•

'

tp

"

207

Bach

^JiJ i

^

'^

ir*

I

''^^ '"^'t^^f

—i

E;

ri

—

ADVANCED EAR-TRAINING AND SIGHT-SINGING

208

Lesson

22

Modulations to keys other than the next related keys are known

as Extraneous

Modulations.

Extraneous modulations may be made by passing through the next related major and minor keys in the cycle of keys. There must be at least two chords In Exercise i of Section B (i) the in each key to establish the modulations. modulations are from Ab to Eb, then to Bb, going back to Ab through c minor. In Exercise 3 from Ab to f minor, Eb to g minor, Bb, Eb, and back to AbIn a melody, skips are made to and from the raised 4th and lowered 6th degrees in the lll^^ chord. The scale-line, or skips in the IF, V^ or I2 chord, should follow.

Section A.

Construct periods in the key of Ab major, making extraneous modulathrough the next related keys. Employ the meter and rhythms given on

(i)

tions

Use the

page 203.

lll^\,

chord.

Section B. Practise the following Chord Successions:

(i)

Play the entire exercise, listening to the character of the chords. Pause after each modulation and think the progression into the new

(a)

(b)

Test. key. Sing the number-names of the soprano as you play the chords. Read the entire exercise mentally. Have each exercise dictated as outlined on page 161.

(c)

(d) (e)

Note.

Go

pulse are in the

through the exercise after it is written and see that the soprano and chords on the accented as those on the preceding unaccented pulse.

same key

ADVANCED EAR-TRAINING AND SIGHT-SINGING

^m m 354

847

72

3

J

±

J=J:

fT f JJi llj J i*^ 'ir rr r^f rYr f

I

Vi

I

vj

I

EtVg''

V?

I

4

5

y. iiA_j rV r r

r

^^'^''i>

m 6

'

BtV'' V''

I

3

6

J

J ^

'

r

CoV^v/ v/

^^ m UU ^m ^ 8

3

2

J

J

J

i rrr i.''i>

i

I,

i

rt

^^^^ ^

m

1?^

i^u

(2)

f^

^

Atll

V''

1.

^

^^

rrr

m r

r

^

i

^

^

J44 ± ^

n} f

-v^i.''i>

^ J

V'

sM ff

m

I

7

rrf

r

f

VI

209

^

^

ff r

-r

^

r

iM f

Practise the following Intervals:

In the 11^^ chord there will be an augmented 6th from the 5th to the 3rd of the chord, the lowered 6th to the raised 4th of the scale; a diminished 3rd from the 3rd to the 5th of the chord, the raised 4th to the lowered 6th degree of the scale. (a)

(b)

Play the I, II^^ lll^, II^^, V^ and I chords in Ab major. Think the sound of the intervals. Play the intervals determining their sound in relation to the root of the chord and the key-centre.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

210

Sing the intervals. Transpose the intervals to

(c)

(d)

^ 1

*'

b

*i

o bo

-ho

Db and Bb

major.

po

*'

* "

«*

^h"

^H

11

^

3i:

n

ft..o|8

fS=f

o "

i.„iK°.

O bo

^

pit IllH P 11 liH git

n^b|,^a_^°

!' ,t» l

n "^^8

g

^

g

o

11

<^

11

II

-e-

1'°

11

^

ho

L

..=^

II

^^

"

^...

o O

po o

,K°.

o

c

|^

,

^

^—lY o

jOC

^—PTT—o—o—^^=yF :-o l^-*-*

(3)

Exercises for Melodic Dictation (a)

(b)

(c)

(d)

(e) (f)

(g)

(h)

Play the

I,

V^,

I,

11^^^,^ I2,

and Sight-Singing:

V^

I

chords of

Ab

major.

Read each

melody mentally, noting where each modulation occurs and the skips from \>6 to :^4 and ^^ to b6. In each melody sing the last four or live notes in the key before the modulation, then the first few in the new key; first to la^ thinking the number-names, then singing the number-names. Repeat several times. For example, Melody i. Sing the second measure and the first three notes in the third; after repeating, begin with the dfcj, and sing to the cadence. In each melody take the skips \}6 to #4 and ±j:4 to b6, and sing the 4th and 6th degrees without alteration, then in the altered form. Play the antecedent phrase twice. Sing from memory to la. Sing mentally the number-, then the letter-names. Sing both aloud. Practise the consequent phrase in the same way. Play the entire period and sing from memory.

Transpose to the keys of A, Bb, B, C, G and F major. Have melodies dictated as outlined on page 19.

Note. While the tune is being played, relax and listen, allowing it to make an impression on the mind. not stop to analyze, or the context of the entire tune is lost. Analyze after it is memorized. In these tunes in compound meter, divide each phrase into two sections.

Do

ADVANCED EAR-TRAINING AND SIGHT-SINGING

211

Figure 2

Figure 1

^^^^PS V

IV7

I

I

V,I El.vJ

I

Partial Seq. to Fig.

Mod. Sequence

EH ^I'i)-

vj

I

pi

J.

II. Ai,v7

n^»||i,

^r.Hi)'r

u^h

iji'i' 'I

I

mte

,r?f^ii

r

^^j.i,p--j.p^^^

\,\\.

T uj

I

V

'l

Tg^ig

^

Krrj^n

\\

'i

3

nlm,

ri

iiHii

I

I

I'

i

^

1,

I

Vj

B!.V^

I

I,

^^

M-

j^i'^

^j^,i

1

'^

^=^:^ i

[^

^ ^\'\}

3

'

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r

|«

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r

i-r

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l

l

i

p

r

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r

i

1

i

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i

n

#

|

fefe ^-

^

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i

ll

%

jj:^^

N^ r-'^

[_[;

^fes5^-.-^-Tr:5=— =Jip!-E=t±s^==_=4=

ADVANCED EAR-TRAINING AND SIGHT-SINGING

212

Bfe

P ^fhm

i

«

LJlI

't^

sg

!>

I

«t=3«

c)'

I/'

f^

jM]J,7J^MJ

s=^ S

'

-

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^

rj

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t

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9^

i

J

i

,

m^

i

iJ^J

^]

i,J7J

b'T^'L/

,

t-^r' '^Erc/

I

i

i

Section C. Absolute Intervals.

(i)

There are augmented 6ths in the major scale from \?6-i^4., b^-y, 4-^2: minor scale from 6-tr4, b^-y; in the II J^?? ^'t ^nd VJ chords. An augmented 6th sounds the same as a minor 7th, and is sung up and down as the minor 7th. There are diminished 3rds in the major scale from ^4-b6, 7-b2, The diminished 3rd sounds the same as a 1^2-4; in the minor scale, ^^^-6, 7-b2. major 2nd and is sung up and down as the major 2nd. in the

(a)

Sing an augmented 6th up and a diminished 3rd down from the following pitches, using first the number-, then the letter-names. Sing each, first as b6-:jt4) determining the key of which it is a part and resolve it to the perfect 8th from 5-5; then as b2-7, determining the key and resolving it to the perfect 8th from 1-8.

(b)

Sing a diminished 3rd up and an augmented 6th down from the following pitches, using first the number-, then the letter-names. Sing each, first as i^4-\?6, then as 7-b2, determining the key and resolving each to the perfect prime 5 and i respectively.

# (2)

f Rhythmic

(a)

* Drill.

^

t

3x:

jt"

ii"

1

f

Syncopations in 3/4 and 4/4.

Practise using the arm movement to Indicate the meter and sing the rhythm to la in a major scale.

ADVANCED EAR-TRAINING AND SIGHT-SINGING (l)l

J)

J

J).

213

214

f'l'^

ADVANCED EAR-TRAINING AND SIGHT-SINGING ;;J

r

nO-j

i

g

jijijijJ

ri'i^

v

^^=i^^=T=-v^--—fr=^S-r

— =i^— "^^-^^^

^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

jj rTM-i

^\\)^

^

^

I

'-i'^

At

ii.

P

*

tat

l

i'^

^'

r^r

'

i

nil,

II^Hl,

rp

r

^

''^'^

''^

'

215

-^i^

'

^"i i

^

1

(e)

Sing the following chord successions, names, then to la. A'7

major

c min.

B\>

first

by

letter-,

i,iiLinitJ2,vi,ii,ii5, g min.

Ai>

oV^I VLI v],ii,ivj,i2,vM. Gl> maj.

v^

I

al>

min. |

oV^

I

(2)

r

1

v^vLIl,IIi, oV^

i

vl

major

m''n.

e'»

Db

major

maj.

I,I„I^„vu,I^..,v^I v^I

bs minor | I"

Cl»

mnj.

I

oV^I vLi VI,IILv^I vLii,vi,i v^I

As major

E^ maj.

F

C major

d minor

mai.

-I

(I)

then by number-

ii

f

minor

Al>

major

r

IVl,v^I iii,iii,,,v\l

Always visualize on the entire chord before starting to sing it. This is difhcult and requires slow and painstaking practice. These exercises should be worked two or three times a day until they can be thought and sung with ease.

Think the

staff.

(f)

(3)

Sing the exercises for pitch and key Ab major.

drill

on page i88

Exercises for Sight-Singing:

L\h'y

JMi:i

\

i

>j

i

p

^j'^

in the

key of

ADVANCED EAR-TR/JINING AND SIGHT-SINGING

216

m^^ M

^S ^\^-

^ ^JU iL

t

;]j Jl

p

/]j| j-3

p

i

^^^^p^g ^'"

^

ii^JiiJ^*

1''

i

r

1^

n

r

*!^

U ii

i i

'^b^ 1*^

rtjif

^^ ^''i>

[•

vp

[d

Bach

,

n i't

p-

p

iJ

N^p

nn n;^^^ i

T""^

J[^

J

jiij^r * ^ '

n^iJUii^

i^jii^ji7^rn

|

'

i'^rji

i

*^

,j,i'''Q^TO jji.a

aii-"QLL;

,i

«::*

J

J

c^

iJ-^ji/'jj^^

i

j.^,i;. ii

*

Mozart

M

g

*

I

*

a^s

^ ipnj^'TP^

3

^r

lii^'r

J-^i^

''p

^

i

^'^

f

pitH'-toi

1^^ r'cfif

if

^

l

ADVANCED EAR-TRAINING AND SIGHT-SINGING l|il''|l

s

fe*:

^MQL/n^f

J

ii|

^Jiii

^^

.^

^

LPr

i

4

i

^''I'^ii

^lJ^ mJ^J.

r^J^jJ^ r

f''i>

^ * E^

i

ii«

J.

te <

i'*_f M:a=M

i j_Jff

"''•

!

J

Ill

y

i

'I

np

J

i

iJ

^ J

^

f

U'^

u'^lr i

^

^

f

^

Brahms

?

J^u

'^r'cirr ji

m

r ^J

II

J

r'Cf^^'^'''

i

p't ^ j j

r'ljij rlij

JMJ^

I

r

<

^^''^

i

p

^f i^jj^a

P^

«S

'I.''

i

l

ciLr^ irrr'i^iJi^

fe

f

J'

a

i

j/iKLJT^ LMJT^ir (^

f

217

>

^p

i

>

i

t

f

^J

r[

^

>

;

M

i

^j

jJ

J^i'

218

ADVANCED EAR-TRAINING AND SIGHT-SINGING

If

}

,

ADVANCED EAR-TRAINING AND SIGHT-SINGING

rMn »3 ^

>%

» it

^

^ nn 5 4

w

3

8

4

5

?^ I

BVJ

ii

f p

^

i

IiFJtV^

#^ -Miy

fi^

^g

I

5

2

j:

i

? I

BVJ

^

4=^

1

i

^ ^

IcfoV^

I

EV/

I

^ ^ ^ ^ ^^ frr

r

i

^

rrr fff

i rp

5 ff r p r ff ff ?r

^

^

i

lii

f

^^ Ma W ^ ^^ in

)>% i i (2)

6

^

i

^ ^^ 4a

^^^"#0

8

f

h^AH iii

7

i

1^ LA

c

IV''

7

219

^^

j-i -j-i

^

iby

^ f#

"FT

^

gj

f

.

fff r

fp

Practise the following Intervals:

In the II^sj, chord there will be a double diminished 5th from the root to the 5th of the chord, the raised 2nd to the lowered 6th degree of the scale; a double augmented 4th from the 5th to the root of the chord, the lowered 6th to the raised 2nd degree of the scale. (a)

(b)

Play the I, III^, II2V, III^^^,, V^ and I chords in E major. Think the sound of the intervals. Play the intervals, determining their sound in relation to the root of the chord and the key-centre.

ADVANCED EJR-TRJINING AND SIGHT-SINGING

220

Sing the intervals. Transpose the intervals to

(c)

(d)

«m

^ *

us

m

xx:

-®

lO

or

—o- ^ «

**

F and

D

major.

^"^

o

<»

:

:jj^

-o-

DEx:

ti^

-a-

jj:»:

t]

TJ-

31:


8

^

x*i :&:

O" ^B=^

XT

^

O XO tiQ i

8

3C

«»

X

'

» »"

3i: II Bit

:§:

»|»C

«*

8

tl B fall

<1

tj

n

-ctQ-

ti

tt

n

—o—O— B

-^J

]\jai

—x<*o- ^ it» il"

-o

^~

3r: b

«*** «1

j|

Exercises for Melodic Dictation:

(3)

(a)

(b)

Note.

Play the I, VI, IV, IVJ, I2, 11^,,,, I^, V#, I, chords of E major. Read each exercise mentally, noting where each modulation occurs

and the skips in the IIJ^,, chord. In each melody sing the last four or five notes in the key before the modulation; then the first few in the new key; first to la, thinking the number-names, then singing the number-names. Sometimes a measure may apparently belong to either the preceding or the following key.

but the context generally determines which key. In Melody 1, the first measure in the second phrase could be they chord in either c# mmor or E major. But as the next measure is undoubtedly the I chord in cff mmor, it is the V chord of the same key. (c)

(d)

(e) (f)

(g)

In each melody take the skips in the IIJ^, chord, i.e., #4 to b6, #2 to b6, #2 to #4 to b6, and contrast them with the unaltered form of the chord. Play the antecedent phrase twice. Sing from memory to la; sing mentally the number-, then the letter-names. Sing both aloud. Practise the other phrases in the same way. Transpose to the keys of A, B, C, and F major. Have the melody dictated as outlined on page 87.

G

Note. ^° Reduce to chord-lines, scale-lines, single, wide and ^^^ *° remember each pitch. consecutive leaps. ^\k Make use of the figures, sequences.

Fi^rei

Figure Z

I

VI

IV

Mod. Sequence

i^H^

h

v

I

cji

ir

Mod. Figure 1

ADVANCED EAR-TRAINING AND SIGIIT-SINGING Fig. 2

m [;j»^

u.

^hh

^ ij:

P

\

^"'i"*

J

#l&

J^^^

u

al

l|

i

J

-i

i'

^r-"Mp

I

j>^,j

^j

J

i

J^*^

'^ I

J

iiJm

^J'J.J

f

r JH' If

ni^cix^ir

^V» .l_/raip

j¥<

(

.fi|.

^j

<§¥* ijj^j

J

I

J,

i

p

i

J.

^

J

r^Nr'cT

' 1

N-

^

i

(^

Il?«»

J,

V''

ji

I

|

^¥»iiJ.p^rrnprT ^Pr^-^ "

^

h

Ellll,

I

p,

r

1

J

^Mf ^j^N^-TJ H^

J.

l^jj

l

i

AV

^i^'

«

J

^Pr

^

Sequence

-^,

^iS2 J.

l-^

CJ-

^"I'S'^

i

I

I

ua

[-

i

civ

I

Mod. and. Inv.

I

^ r

J

i

.Jl^

i

r

p' ^ !

I

i

i^

J

J

p

cj

oV?

i

jjj I

J.

^

p

r

t

i

j^J

i

^

p

i

r XM

J

p

i^

ijj^^

"^i^

J?]

ij

I

p'i^'i^'^^^^

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'i-iuUJrj c« III

'

221

^ "^^ I

iiJ_J7j.j

i

;ip iiOi

i

^iJVriiJ'

ADVANCED EAR-TRAINING AND SIGHT-SINGING

222

J

\

J ^

""

i_^

i

tt"

"

p

r

'

^ 1

^

1

r

"*"~j^ * I

e^

Section C. Absohite Intervals.

(i)

double diminished 5th in the major scale from :ff2-b6; in is a The double diminished 5th sounds the same as a the IlLj, and V^^ chords. There is a double perfect 4th, and is sung up and down as the perfect 4th. augmented 4th in the major scale from \?G-^z. The double augmented 4th sounds the same as a perfect 5th, and is sung up and down as the perfect 5th.

There

(a)

Sing a double diminished 5th up and a double augmented 4th down from the following pitches, using first the number-, then the letter-

names.

jf

(b)

W

[Xe:

(2)

"

I

o

I

Rhythmic

^

|yo

5

^

Drill.

»

MO

«»-

ZXXL

^

3x:

IF

Syncopations in 6/8 meter.

Practise using the

rhythm (1)^

W^

*»

Sing a double augmented 4th up and a double diminished 5th down from the following pitches, using first the number-, then the letternames.

Vo

(a)

i^

to la

on

arm movement a

major

scale.

to indicate the meter

and sing the

ADVANCED EAR-TRAINING AND SIGHT-SINGING

223

Practise the following Chord Successions:

(3)

Sing each exercise mentally. Test for pitch. Practise in a slow tempo. Sing the letter-, then the number-names. Sing to la, thinking the number- and letter-names. Sing from dictation. Have someone read the chord symbols to you, and sing the letter- and number-names without reference to the written exercises. Visualize the chord before singing. Use the piano for testing pitch. Never play the first note of the arpeggio

(a)

(b) (c)

(d)

until

you have

tried to sing

it.

r

i

rJ'j.

I

|J>J

p

^^

i

iv^8.

1

III

1

III

iii

1

1

1

1

ii

'

'!'''"jj..i' 'i iii,j. ^

3:,'? « 7

1%

Nppr

i

ri|f

1

|

j

|

||'

ii''^'j

iiii.i

|

a

I

1

j

[If

i|

iiJ'

I

ij 1

1

I

j'"'

"'"

'

II

ih 'prir |

iB»«V:

|

ip

^

1

^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

224

A

li

i'jj.ij-jJ jjf rp

^-'

juj.

i

i

r

i

VI'

iJJ^J'

i

i;j^,

II!

jjji ^iiji^ij. ijjJr^'' J'j4.'J'i'^^^' i

i

^

nlii,.

P^

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L

i

i

j

i

jj Jr

J'

ij

jj .iiJ ^

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j^Ji

I

^^^

^

i,n.\p^

% ^"1

^

Ii.

^\iu. \Mi'*''-

ii.

i&

^^ i

^'I^JJ-

m '

^jJ^J

^^

^' '

i^4j.

— ADVANCED EAR-TRAINING AND SIGHT-SINGING

^% n

r

^

m

M=K

w

r

V_

c|l

225

j-j^

^'1

r

EV! (e)

Sing the following chord successions,

by

first

letter-,

E major |

names, then to Cfmaj.

d# min.

v^

oVM

I

/^;

g# min.

G major

e min.

E

l__l ,_ VI, I

I,VI, I^, l2,Vt,

(i)

then by number

B major I

I

V^,

E

major

Ii,

major

fft

1

i,iiLii.Vi2,oVM

(2)

b min.

A maj.

v^

VL

cjf

E

min.

maj.

I

1

IVJ, I2,VI, Ii VJ,

1

II^v^I.

Fj(

r

min.

I

1

oVM

D

I

maj.

I-

vu

major

|,

oV',i III

v^

I

I

I

v^

I

iiL

I2,

v^

I.

Exercises for Sight-Singing:

(4)

l^i^

I2,

Mii^

J

^^ ^\h

y

j,j

p

p

ij

yj^.n^

I

\

I

J

j>

^-^

N

r^

^

f

.J^j

J'>J

^ 1

'^

^

p

i

irijJ'f^iJ'^fg ;,

I

J

JT

j

rj]ji^\^^

^^ lMj.JlJlp.vjg

Pr

l

i

i

j^f

JT]

i

Wullner'

^^i3

« ^—m

p.^plpji^

J

rrjji

^m ^^

K3E

ADVANCED EAR-TRAINING AND SIGHT-SINGING

226

m

I ^TPlf

i^F

^

«^JU J'JjiJS

(I'^UjjI^JTJ

#

*

V Jh] > ^ j^J^HJl^J I

^ ^'

1

d

ji

1Ud

ji I

|j ^-

^il V ^v ^ij.^^jj

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wa9 ^

J,

|

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\

'

j.

j.

j^ff

i^ipj

^ ^

^^i

i

-

iM^J^i

r p

eg

T'

^

ll

^

Verdi

u

J'J J

Jm

^ ^

* ^

-^M J

^jj^g

[

i

.!-

j>j7j

I

^;j

J

•-#

^^^^^^^ ^

A " g jl

J

i

I

'

-•

^1

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j

i

j.

I

~j

1^^

'

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i

•'

yp n^

I

fJ- \rpf^'h^-

i

l

^.

--^

^

J

I

tf

^ ^ ^^

ADVANCED EAR-TRAINING AND

S 4¥<

^

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,

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^i-

'

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i.

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j

^

^

^

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I

p

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^

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^

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i'

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^

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f

* ^ li^

rfrrrrrrT

^

^

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J,

7

m_nTJ^JJjJJJj jM/?TT777g

JJ^^A^^^m "^TjJLy iji

¥»

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X^

n h^'^srmy^ j|^

•

^

227 Handel

%'~[

^-

SIGIIT-SINGING

l^^^iJJ^

/T^

^"rrr i Bach

^ S ^^^^si

^^bP^^^

J^vii satzrzsM JJJinJT^hrrrnrfi J^J i

i

i

i

ADVANCED EAR-TRAINING AND SIGHT-SINGING

228

aa

cjj^r

^m

^^^

pr^

^»^j_ji,j>ij,r*pr

ii

j;j;j.

^¥»j ^^''^i^*

l

i

J

JiJ>J

i

^

J^

rirfn rrrl i

r

^1/

^B

m^jjlur TOTJUuj.JiJJ.i

JJJr.J'

rrr

I

n^

-

pj

LL:

^

^

J

JJ

U

'

i

"

Lesson 24 Instead of passing through each successive key in the circle of keys when modulating to a remote key, the process may be shortened by making the I chord of any major key the V chord of a minor key, i.e., the I of C major becomes the V of f minor, thus covering four harmonic degrees. Also the I of a minor key may be the IV\} of a major key, i.e., the I of f minor may be treated as the IVb of C major. This process of modulation is known as the Modulatory Stride.

i

*

i EE

CI fV^ The

distance

may

also

^^ f I

c

m

S00 s

31:

^

h

I

be shortened by substituting the

I

^

minor key when the major

is

expected, or the reverse.

of the parallel

-3 3BE

I

rA^p

:^ V"

I

In a melody the raised ist degree of the scale may be used as a passing- tone between the 1st and 2nd degrees. Skips may be made to and from the raised Ist degree in the Vlj chord. The scale-line, or skips in the V^ chord, should folio w.

i VI^I

ADVANCED EAR-TRAINING AND

SIGllT-SINCrNG

229

Section A.

Construct double periods

(i)

make extraneous modulations.

in the

key of

D

major, using the Stride to altered chords of the Employ the meter and rhythms

Use the VIJ and

preceding Lessons as a basis for the melody. given on page 222.

the

Section B. Practise the following Chord Successions:

(l)

Play the entire exercise, listening to the character of the chords. Pause before each modulation, and think the progression into the

(a)

(b)

new

key.

In Exercise (l), first phrase, instead of resolving the V chord of G in the second measure to chord of G major, g minor is substituted, thus covering four degrees in the circle of keys. In the second phrase, the I of g minor sounds like the IV followed by the V of d minor, while the resolution of the V is made in D major.

Note.

the

I

Sing the number-names of the soprano as you play the chords. Read each exercise mentally. Have each exercise dictated as outlined on page 161.

(c)

(d) (e)

3

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ADVANCED EAR-TRAINING AND SIGH T-SINGING

230

1A4 S

^ M

^^ f

^

I

J

ri

J

^

^ ^^ ^^ f

ri

i ^

1

^

Practise the following Intervals: (2) In the VI5 chord there will be a major 3rd from the root to the 3rd of the chord, the 6th to the raised ist degree of the scale; a minor 3rd from the 3rd to the 5th of the chord, the raised 1st to the 3rd degree of the scale; a diminished 5th from the 3rd to the 7th of the chord, the raised ist to the 5th degree of the scale; a minor 6th from the 3rd to the 8th of the chord, the raised 1st to the 6th degree of the scale; a major 6th from the 5th to the 3rd of the chord, the 3rd to the raised ist degree of the scale; an augmented 4th from the 7th to the 3rd of the chord, the 5th to the raised 1st degree of the scale. (a) Play the I, VI[#, V2, I chords in major. Think the sound of the

D

intervals. (b)

Play the intervals, determining their sound the chord and the key-centre.

(c)

Sing the intervals. Transpose the intervals to

(d)

E

and

C

in relation to the root of

major.

1

s

S

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=8=fB=

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k*^"

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Exercises for Melodic Dictation: Play the I, VIJ#, V^, I chords of major. Read each exercise mentally, noting where the modulations occur and the skips in the Vi; chord.

(a)

(b)

D

In each melody sing the last four or five notes in the key before the modulation, then the first few in the new key, first to la, thinking the number-names, then singing the number-names.

'^^^ Stride is used in Melody 1 at the beginning of the third phrase which starts with the I ^°T^A chord of A major, which is transformed to the V chord of d minor. Again, in the last phrase, second measure, the I chord of g minor resolves as the IV into the I of D major.

m

ADVANCED EAR-TRAINING AND SIGIIT-SINGING Sing the skips In the the raised prime.

(c)

V'lJ

chord,

Do

tlie

first in

231

the unaltered form, then with skips In the other altered

same with the

chords.

Play the antecedent phrase twice. Sing from memory to la; sing mentally the number-, then the letter-names. Sing both aloud. Practise the other phrases the same way. Transpose to the keys of A, B, C, G, E and F major. Have the melody dictated as outlined on page 87.

(d)

(e) (f)

(g)

Make

Note.

m

use of the parallel construction in memorizing the double periods.

=:

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Fig. a Mod.

Seq.

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1 ADVANCED EAR-TRAINING AND SIGHT-SINGING

232

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Section C.

Rhythmic

(i)

(a)

Syncopations in 6/8 meter.

Drill.

Practise using the arm movement to indicate the meter and sing the rhythm to la on a major scale.

J>m

J)/T3 J J J)J)J iJ3J j~ij_/r] ,JOT_JT] ijn^J5r3,j)j J) J_^J13133 J) J__^j53533 J~J^J~3^ J~T2

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ADVANCED EAR-TRAINING AND SIGHT-SINGING (2)

233

Practise the follozving Chord Successions: Sing each exercise mentally. Test for pitch. (b) Sing the letter-, then the number-names. (c) Sing to la, thinking the number- and letter-names. (a)

Sing from dictation.

(d)

IS m

4

m ^^ ^M

5E VI..

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ADVANCED EAR-TRAINING AND SIGHT-SINGING

234

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Sing the following chord successions,

first

by

letter-,

D

names,

then A

to

la:

major -I

Yl,

Ii, III,, I2,

VI,

I,

VI,

D major

I,

(2)

VIJ,,

I

Bt>

V^

I,

g

f

min.

D

mm.

major

1

VI,

I,

VII«, VI,

h

major

i,vn«,vLoV^,i,iil,„vLi

major

11^, II2V, ^^m^, h, oVl, I

major 1

D

h,oV\i. Ai>

(i)

d min. r

then by number-

major

C major

VI, Ii 11^, 111,,,, I2 IVJ,

G

maj.

c

minor

v„i vi,h,iii,h,v\i e min.

D major

i'

VI, i,vii„vi, (f)

ix'

v^ I iv„ h, iii,vi, 1! lv^

iv,h,ui,„v\vi,i.

Exercises for pitch and key drill. Sing in all keys to number- and letter-names. Think the sound of the entire chord, (i) 3rd of I, R of III,, 7th of IIJs, 3rd of V^ 5th of V„ 3rd of I, 3rdofVi;, 5thofV^ RofI, 3rd of I V„ 7th of V^ 3rd of L

ADVANCED EAR-TRAINING AND SIGHT-SINGING (2)

R

of

R (3)

I, 3rd of Vr, 3rd of VIJ, 5th of of 115, 3rd of Ii;«, 5th of IIJs,,

V^

R

7th of

of V,

235

V^

3rd of

R of oV^ R

I

of

I.

Exercises for Sight-Singing:

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d-

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ADVANCED EAR-TRAINING AND SIGHT-SINGING

236

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p

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ADVANCED EAR-TRAINING AND SIGHT-SINGING

4^"

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ADVANCED EAR-TRAINING AND SIGHT-SINGING

238

^h [uF^i^Wo^i^t^^^^rht^ Lesson

25

In a melody a note which is retained by a tie, or is repeated from the preceding pulse and resolves diatonically down, rarely up, is a suspension. This tone is felt to be a part of the chord on the preceding pulse and to stand in place

of the tone into which

it

^

resolves.

!

J-rJ J^j

J

T=y

may

be used as a passing-tone between the 6th and the 7th degrees, or the 7th and 6th degrees. Skips may be made to and from the raised 6th degree in the VI^jj chord. The raised 6th degree is always chord. The scale-line, or skips in the used with the raised ist degree in the

The

raised 6th degree of the scale

W

V

chord, should follow.

^

— ^iH~tp^

J ^J—^

P VI'

Section A. (l)

Construct double periods

in the

key

of

E

major, using the Stride to skips in the Vlgj chord.

make extraneous modulations. Use suspensions and Employ the meter and rhythms given on page 232. Section B. (l)

Practise the following Chord Successions: (a)

(b)

Play the entire exercise, listening to the character of the chords. Pause before each modulation and think the progression into the

new (c)

(d) (e)

key.

Sing the number-names of the soprano as you play the chords. Read each exercise mentally. Have each exercise dictated as outlined on page 161.

^ ^# rr ^ nh'i

1 I

vl

lav/

3

4

2

rr

u IV

T f 1

4

P ^ E y V/

3

2

3

2

ff

11

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ADVANCED EAR-TRAINING AND SIGHT-SINGING

$m^PF .

i

Ll

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i^ rr r^ ^ J

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1

i

^ n rr i_i .v'^ii'i

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w J

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i^

l^

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r

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r=f i

?

T

i ff r ^

^^

^ r

f

^m TT i

J

i

*^

J

^

M

J

f=T

Practise the following Intervals:

In the VI#^ chord, there will be a minor 3rd from the root to the 3rd of the chord, the raised 6th to the raised ist degree of the scale; a diminished 5th from the root to the 5th of the chord, the raised 6th to the 3rd degree of the scale; a diminished 7th from the root to the 7th of the chord, the raised 6th to the 5th degree of the scale; and the inversions of these intervals. (a)

(b)

(c)

(d)

Pla7 the I, VI\ VIJ, Vljjf, VI, I chords in E major. Think the sound of the intervals. Play the intervals, determining their sound in relation to the root of the chord and the key-centre. Sing the intervals. Transpose the intervals to

F and

D major.

Note. If there is trouble in hearing the intervals formed by the altered tones, contrast the intervals formed by the same scale steps unaltered.

^Q O

" " O ^ i/ h „iin..°" i"'if"'^^"ii""^::;: \

i

H

them with

O O «n O —^-®-X-«-

ADVANCED EAR-TRAINING AND SIGHT-SINGING

240

m

^

ZSSl

g ^xttU H o o o o or -

!

«*

^

O

g

x«*

«^

^

O o "^

331

3r:

— 1% xn

3J

TT

33: xn x i% 3e'«i

U'^U 8

""TV-

o "" 8

_o_

"ft^°^J^u'

u

3i:

in n'i"i|'ii.^

mill

Exercises for Melodic Dictation: Play the I, VIJ^, VJ, I, lll^^, V, I chords in E major. Read each exercise mentally, noting where the modulations occur and the

(3)

(a)

use of the Vl-ij chord. In each melody sing the last four or five notes in the key before the modulation, then the first few in the new key, first to la, thinking the number-names, then singing the number-names. Sing the skips in the VI^jj chord, first in the unaltered form, then with the raised 6th and 1st degrees. Do the same with the skips in the other altered chords. Note the suspensions and sing the two tones that make the suspension, first without the tie, i.e., placing the second tone on the accent, then as written. Contrast several times until the effect is mentally grasped. Play the antecedent phrase twice. Sing from memory to la, sing mentally the number-, then the letter-names. Sing both aloud. Practise the other phrases in the same way. Transpose to the keys of A, D, G, C and F major. Have the melody dictated as outlined on page 87.

(b)

(c)

(d)

(e)

(f)

(g) (h)

Note. In these 6/8 syncopations, keep the pulse clearly in mind beat the meter, using the arm movements, down, up.

Figure

m *^

f^f^

As you read or think the tunc,

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VI'

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Sequence ''\h

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ADVANCED EAR-TRAINING AND SIGHT-SINGING

242 Section C. (i)

Drill. The tie in 2/4 and 3/4 meter. Practise using the arm movement to indicate the meter, and sing the rhythm to la in a major scale.

Rhythmic (a)

Note.

In singing a tied note over the bar, a slight crescendo

given on the note, so as to preserve the metric accent.

r75J

<1)

n n

(2)

<4)

(5)

I

.

«

made up

is

J^^J

-^^^J

J

^imm

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to the note, and a pressure

j

II

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i,

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i)

,

J.

1

J.

J

<6)

(7)

<8)

J)jy315 J___,.f311 (2)

1

/73 J^_/J3 J__^J?51 J7^ 1

Practise the following Chord Successions: (a)

(b) (c)

(d)

Note.

Sing Sing Sing Sing Work

each exercise mentally at a slow tempo. the letter-, then the number-names. to la, thinking the number- and the letter-names.

from dictation.

carefully for correct intonation.

il'i'iM TirTcjjj

i

iTi|

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ADVANCED E^R-TRJINING AND SIGIIT-SINGING

IMi^jjf

n3j

jjyi

if?jj

i

i

ij

243

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I;,

^^i

i

jiJ ^ '^''^Jj

'

dV

ii

'

f^

nljii,.

'VJ'"J' tV '*

jJ^^

i

I

i,P?V7l{;„

A

\

%}

nit

iJPi'i^

^\

j^U 'UfJ U^

^

^-^'

^1

yi\

j

'i'"^,i[riini^i^jj ii.nji'iTj^i j >.injiTL!^, If

F

V

i

ADVANCED EAR-TRAINING AND SIGHT-SINGING

244

V7

DtvJ

^fi^

I

m^^ 4J

{rJ4«

Q hJ I

i|J>

'

n;

w

vZ.

j ,3i'^T^u

i^;u

i

|Ji i

i

-U^

i

iJ^J^i

1

^^^

btVJ

^^

i

J

_

i|

,ji,g

FIV

v^

nItHi>

(FM.<jTuj., a

I

n ni^

i^j J

i

V^.

i^j

I

^ji

I,

E njt

Ii

jJifHi-^Jj

jjAinjj jJcJT^^

i

i

v7-

I. (e)

^^^

^^ ^^

j^'^^^

Sing the following chord successions, E

names, then to e

V^

I,

VI

111,

G ma jor

I2,

E

Vi

Ii

letter-,

major

oV^

then by numberB

minor

I, III, I2,

major

V„

ll

(2)

I,

1

maj.

VI, Ii oV, I E major

VI VII,,, VI,

A

d min. I

vi,ii iil«„i2 vi,ii E major

I

'llL, III,,, I2,

D

gmin.

by

f#

VI, VIJ,, VJ,

G major

minor

a min.

la: (i) I,

first

major

r

IILIIk,v^I oV^i IIL,vI,I„V3^VII,„vLI

iv„i„ii,v,VM. (3)

Exercises for Sight-Singing:

—^-==-— — — nn ,^^^-

^^^^==-^-f-]

I

major

-

-==

"

ADVANCED EAR-TRAINING AND SIGHT-SINGING

^^,^ ^

\

m

M^11^^^

r'c^c;

P

ft'^^

j,

^

J?

^

^

^ i

'l-J^^^^

I

/rHr' ^f^lj^

^ LE

* -TO^J?^^TJ^i^i]3^ yi ^^ '^ti ^rte-i E^ i

Or

¥rrrrrc;£;'^ijl^

j

^^

IJ

\r^^

rTr^c/r

p

Bach

TT]

J

245

^L;

l

hc^g

^jjj

B

i'^i-^^^

liJ^J

j

7•JJ

r

g

Bach

i

i."

J

^

/-J

I

jtrr

JJJjJ

J

1

1

^Ip

rhjfi

i>

^

,^ipr

J

ADVANCED EAR-TRAINING AND SIGHT-SINGING

246

Bach

^h

i

j j j

r-

1

r^r' c/r

r

i

i

i

^

r'

C=s:3W n r

.

I

/^

JU[ricH
^

r

IVtr^ ^

m ^^

*k

ijjj

it^

^

l^-i^jtf

*

t^^

^m

*

iJ

J

r

^=#=F

u

''f

^'

r r

1

lip

I

^

t^JjtJJ

^ 1

c/r

l;

I

j:^u.>j ^^J^^ jJi

nrrr i

r

r

i

''p

^ ^

^

i»^

iJtfJiiJ^^ir

^[tff [J

^Lf[f

'

r

i

W

^

I"^

^

^^

Bach

P^J ^

^ s

ADVANCED EAR-TRAINING AND SIGHT-SINGING oa

,.

f^kf-

llff-f

f-

,rr«

(•

r

247 •(•

ADVANCED EAR-TRAINING AND SIGHT-SINGING

248

In all modulations it is best to have common tones. Jn Exercise Modulations. first phrase, after the cadence in B, the next chord is the I of (i), B Section I, In Exercise 3 there is well, because of the common tone B. sounds This G. In Exercise 2 there is a repetia repetition in b minor of the first three chords. tion in minor of the first two chords, then an abrupt modulation to C major, keeping the same soprano, then a modulation back to B, through e minor, using major, making the Stride. In Exercise 4 there is an abrupt modulation to the 1st degree of B the 6th of D; then a modulation to b minor and a cadence in

D

B

major.

a

A Diminished Seventh-Chord is a seventh-chord, all the tones of which are minor third apart. In each major key, there are two: qV chord, and IVL

the

#!»

chord:

T'\il

li

^il i

0*

The diminished seventh-chord

may

be spelled in four or

five

is most useful ways and resolved as

oV^ C maj.&cmin. II^HK

Mmaj.

Vl7|t|Dtmaj.

*#

in

modulating, as each chord Il^ij, N\\^ or IV^i, chord.

a qV',

^}^

^ maj.&amm.

Ii;##Fmaj. VI^#,j

Btmaj.

f%=^ ^\ ifa

11

oV% Ftmaj.&fUmin. l\^^ D maj. VI^#|f

G

IV^jll,

b min.

maj.

E\,

Il^if^

^"^ G^

a

iV^ll, al.

mm.

Section A.

Construct double periods in the key of B major, using cadential and sequential modulations to remote keys. Use suspensions and skips in the diminished seventh-chords. Embellish the tones of the chord by jumping from Employ the the lower to the upper, or from the upper to the lower neighbors. meter and rhythms given on page 242. (i)

Sectior B. (i)

Practise the following Chord Successions: Play the entire exercise, listening to the character of the chords. Pause before each modulation, and think the progression into the (b) (a)

new (c)

(d) (e)

key.

Sing the number-names of the soprano as you play the chords. Read each exercise mentally. Have each exercise dictated as outlined on page 161.

Note. In taking down the chord symbols, do not try to analyze the keys. of the chords as you hear them, and determine the keys from the soprano.

Write down the symbols

ADVANCED EAR-TRAINING AND SIGIIT-SINGING 8

7

8

3

^

rr rr

nk i

i I

r

V

3

4

3

6

5

7

^ m ^?T^ ^ 11 i ^ f£ r

i=*i

^ r

2

T

^

'

^r

GI

I

V

?

Ir

lev/

I

BV^

I

I

V^

^ ^ ^ M ^ ^ ^ rr r ^ n^ 11 1± il 1± 3|^ ^ W ^ ^ tf

^fid

r

-lU

gitib

^

^^ m^

ff ? 11 li 11 rf rr rr

^Mrr a

^

(2)

249

}i

f=f

I

J

J

rr

^ »

iij

R^ ^

n M di $

i

f I

i

¥ i f

^^

^m

gi

f

a

g f1

ri

uj

j

rr

j I

^

r

1

rf r i

i f

Practise the following Intervals: (a)

(b)

(c)

(d)

Play the I, V^, I chords in B major. Think the sound of the intervals. Play the intervals, determining their sound in relation to the root of the chord and the key-centre. Sing the intervals. Transpose the intervals to

C

and

A

major.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

250

XT :s:xF

»'»

^'"^"^.c^»|l.|^^^

m

H

^hririH^ » ""

o o o

^^

^jr

xr

ZSSl

*^

^ f>

" "" '""^'-"«^^» " ^

8x^8

It

"^

a= XE

O Op " " .. o o o o .. o O M O :: 8 o ^o " bo ^ -o-x-o- o ^ o

^

—

cr

-©—o- rc o o I o o

Exercises for Melodic Dictation:

(3)

(a)

Read each I, VII3, VJ, I, lll^^, I2, Vj., I chords in B major. exercise mentally, noting where the modulations occur and how

Play the

they are made. In Melody i, the end of the second phrase is an authentic cadence in F^ major; major without any introduction, the next phrase begins with the tonic chord of Melody sharp. In tone F 4, the first section of the but keeping the common section a sequence of this figure second the major, in figure G third phrase is a in E major.

D

(b)

(c)

(d)

(e) (f)

(g)

Note.

In each melody, sing the last four or five notes in the key before the modulation, then the first few in the new key, first to la, thinking the number-names, then singing the number-names. Where the modulations are made in sequence, sing the entire figure. Note the suspensions and the neighboring notes. Play the antecedent phrase twice. Sing from memory to la. Sing mentally the number-, then the letter-names. Sing both aloud. Practise the other phrases in the same way. Transpose to the keys of A, G and C major. Have the melody dictated as outlined on page 87. In these abrupt modulations, determine the number-name of the pitch

Figure

IV

F}}V/

first,

then the letter-

Sequence

ADVANCED EAR-TRAINING AND

St%^ |

I

c

•

H^r^^r.rV

B

I

ii\

I4

I2

251

Sequence

Part. Figure I

SIGIIT-SINGING

U ^ irm

\

nji,

^

I.

2

^m

J

<»^

¥iirr

^ ^^^ "r

h:

#

^^

at=M

1^^

-Ir^

1tf=^

^

r-fft

^

i»

yAiiJHcjTJ'Tr'ir^iiicj'cJ' ir

y

^ ^ ^11

gjtif

ft^ k^C^ r

^p

i

a ^i^'^ii

ii

11

ft%

f¥^

jHpr &cr

i&rr

*p

LE^

i^r-J

i,

J

Jj j-?m |

1

)1

^^

S

I

Liir i^f

ij>r

^

Jh^^

i-^J^^d^ iJiCi'

rj- iij-

g

'^ttr3.|Ji?: j ^j

n^Ty

jH.,n?^oij^j;3.

i

i

^

fe^

PT

ir

j^

^j^ i^f

i

jt

I^J.

CIf^J

j.T

l

I

-*

p

eLTCiCf

^ cjTc^^j ^

Ji^LJP

i

i

fi^

r^fc

ir

^

i

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iJIJ^L^J^I

ADVANCED EAR-TRAINING AND SIGHT-SINGING

252

^ riairiJiy^ ^¥h^h^f^ (l)

Rhythmic (a)

Drill.

The

Practise, using the

rhythm

to la

tie in

^

i^^^' j)

J

'

4/4 meter.

arm movement

on a major

to indicate the meter.

Sing the

scale.

(Df 4 J (2)

J

(3)

J

<4)

J

(6)

(6)

J

(7)

J

(8)

J.

II

« II

II

It

It

f^

jm^

It

a

(2)

Practise the following Chord Successions: (a)

(b) (c)

(d)

Sing Sing Sing Sing

each exercise mentally. the letter-, then the number-names. to la, thinking the number- and the letter-names.

from

dictation.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

253

P^^^j^J^Hj^ viIj,

mi^T^TT^^Tr^jJLL

i'

ij

i

jJ

'

I

I^Jj

I

254

m

ADVANCED EAR-TRAINING AND SIGHT-SINGING jJJ.-'J-'JJij

i

a'Oj

jjJ.

I

jjtJ.

^

Itt*^^^u

I

4iAJj

uw

'JJij

i

tzac

'^^"

\jk^'^^'''^'^\:>u

J

v

c

^''^''

ii

^

I

^jJi ^-^r7riiJj\j i

^jJii-J-'iLirn^Jy

i

G

V

0*1

i»^

ft^%^

^1

i

B L

Is^h

(e)

rxir^

|j.^ ^Ih-

^jjJ- [i[;Jjj

i^jj.-rpj jy ijjj. ^jj,j

Sing the following chord successions,

by

first

then by number-

letter-,

B major

g# min. I

names, then to C maj

K

.

I—

1

v^

I F-''

— 'I

I

m-'inr

vL

c

I

II^,„ VJ,

I,

VII,„ V^,

1

V^

I

A

I,

G

major

(2)

"

ii^„ i„ VI,

I

Bb mai

V^

I

G

V^

I

major

i,vi,vij„vLi i,vii,„vLi B major

e min.

[

maj.

1-

B major

iv,„i2,vM.

minor

VL

I

I

r

r I,

I,

B major

iv,„i„vM

vii^,

(i)

maj'^r

"I

I,

la:

II

I

VL

1

I

r

iv,„ i„ VI,

I.

J

»

ADVANCED EAR-TRAINING AND

SIGIIT-SINGING

255

Exercises for Sight-Singing:

(3)

^ar

[ji^

/^

r

rj

i

r

^.

ttJJ'yj^JUJ»*drir

SteT

^%

#

'^^it

-

r

V

r

jj

i

I

r ^r

^

^

r r

i

jy J^ «^>J

I

i

^^

s

"t:

i'"'r

«-

yAi

* j^JJ

ctumj l

^l

|J

j.-3-f^3ij.

^^^-| J ^^_J__.d-

p

[

*

[jiTLEj-i^-

I

j-iJ

ii^.iir

s

I

i

i'^

1^"ii^

f^^ H

^

rr

^\W~1^- J EgfflTM'

a

Mozart

r> m F

1

Ufrr

Ti^

I

r

]iW

i^

i^r-

l

1^^^'^

"

-

I

"

f^ ^^ "

ir rj^

r

T

rj^r/

^^

pTOiJ^JJ

I^^r^

^%isr I

r

r

C;'^

^/i"JJJJJJi

^^

a

it

^u

f

r

i

i

<..

f

^

iP^^-Wr

—

P

^ r

I

^

^^

Bach

J|i < M^f,j ..-^

nm^i^-

y P

I

ADVANCED EAR-TRAINING AND SIGHT-SINGING

256

t

^^

^*^

Y^'

J-

s

#

Prestissimo

i

"H

I

J..

J

I

J.,

\

Ji^!j!j

ji

!

J.

iJ^

g

3

\

I

Dvorak

^aw

^-1

ii

^i^

» 4

J^J>

^m m!W .JTJ

4%^^ « FiRf ?

i

^^

m mm

ttn

J

^iii^

i^.P ^-

1

a^f

^<9-

^ r

r

frLii^

i

P^ii ^i

irf*

S

^i

JDVANCED EAR-TRAINING AND SIGHT-SINGING

^

1.

m

I

[iirifrr^r

/r

rjif

v'l.

I'c

r

I

f r

^

^ht

^h

*

Be

^h

jiJ,

iii]^

('

i

^^r

j

i

II

I

^

|

4'""f

'

i

r

i ^

-

1^

-

rr

r"

BH

I

i

I

i»l

|

JjJj.;)ij

ir r

^

-

'^^

IV

I

r-^N

J -

i

Mr

p

fH-'

l

I"

fr^r'

iM'f

p

^^^

J-

i i

« f ''!^

|

1

VI

I

J

i

1

r^^-J

i

i'^L^^

££; »

'

i

1 I

p p #

,1

Jm

^

I

H^

l

l

Am

fpl

r

Handel

^^'

-

r'T ip''^'^^ FI

V

fe^ r i

jj i-ijjj

}

I

r

I

j

i

iT"

i

nj

^

ILlji^

i

^

^

»

i»-

^Yrffrrrr

m

ic

257

ir ,

'[UJ"!

I

I

Brahms

n

li

-

I

IJ. ;)j

jjiJ

jj,i

IJ

r

J J

11

j)j

^

I

ADVANCED EAR-TRAINING AND SIGHT-SINGING

258

Lesson 27

When on the

a tone

first

on the

last half of the pulse

half of the next pulse,

*

generally a short note.

it

repeated, anticipating the tone An Anticipation is

f 7

'

p

Is

an Anticipation.

is

p

The lowered 2nd degree of the scale is used as a chromatic passing-tone from the 2nd degree to the ist degree of the scale. Skips may be made to and from the lowered 2nd degree in the Y\v, chord. Scale-line, or skips in the I chord,

^

should follow.

?

Section A. (i)

Construct double periods In the key of F major, using cadential and to remote keys. Use anticipations, suspensions and Employ the meter and rhythms given on page 252.

sequential modulations skips in the \\^ chord.

Section B. (i)

Practise the follozving Chord Successions: (a)

(b)

Play the entire exercise, listening to the character of the chords. Pause before each modulation and think the progression into the

new (c) (e)

key.

Sing the number-names of t,he soprano as you play the chords, Have each exercise dictated as outlined on page 161.

3 4 2

1

3

4

2

» f^^ u &

n

r

Til

^ m ? H mrr 3 4 4

s

5

7

2

1

3

T

I

mm ^ U u n ^ ^ ^^^ H' ^ ^ ^ ^ s m s^ All f

^m I

IV V^

s

Dt

I

'1

mi

I

J

I

i

^ I

IV V^

fefc

i p^ I

M I

1

i :^^ r ftf

bbV^V^

I

rr

F V^ V^ V^

5^

I

ft

^JV

tij,j

^i

jj

— ADVANCED EAR-TRAINING AND SIGHT-SINGING

^ ^rr ^^ m ^ rr ffr

r

nm

Ul fe n Wr f=f ^ w^ ^ ^ e^ TTT 5^ ^ ^ ^

m #

^

TT

rr

J i

y%

f

tfrr

i

i f

259

J

I

i

r r r

P

^

^

rrr

f f=t $

J

^r

^ rTI

i

Practise the follozuing Intervals:

(2)

In the Va^ chord, there will be a major 3rd, from the 5th to the 7th of the chord, the lowered 2nd to the 4th degree of the scale; an augmented 4th from the 5th to the root of the chord, the lowered 2nd to the 5th degree of the scale; an augmented 6th from the 5th to the 3rd of the chord, the lowered 2nd to the 7th degree of the scale.

Play the

(a)

I,

F

V2, Nl^, I chords in

major.

Think the sound

of the

intervals. (b)

Play the intervals, determining their sound of the chord and the key-centre.

(c)

Sing the intervals. Transpose the intervals to

(d)

^^GO

E and G

in relation to the root

major.

.,€i

t*

"

i-

w

^

^18

j|o

^B I

»

<»

g lBE "O

It

'o-

pj

tt

*1

ffXT f

-o

;;

..

—^

XE

Ho "XJ

—O

o"

o

.,

o-

o> »

o

3CE

O

«i

:»:

o

TZ

MO V

^

"^c- r..^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

260

Exercises for Melodic Dictation:

(3)

(a)

Play the

(b)

and anticipations. In each melody sing the

I, VJ, I,_ IIl^^, lll^^„ I2, VI, VI, I chords in F major, and read the exercises mentally, noting the modulations, suspensions

last four or five notes in the

key before the

modulation, then the first few in the new key, first to the number-names, then singing the number-names.

la,

thinking

(c)

Sing the tones which make the suspension, first without the suspension, then as written. Practise the anticipation in the same way.

(d)

Play the antecedent phrase twice. Sing from memory to la. Sing mentally the number-names, then the letter-names. Sing both aloud.

Practise the other phrases in the

Transpose to the keys of B, A, E,

(g)

is

same way. D and G major. outlined on page 87.

(e) (f)

Have each melody

dictated as

Note. Divide the phrases into two sections. a complete thought and must be grasped as such.

Figure

Have

the entire phrase dictated, because the phrase

ADVANCED EAR-TRAINING <|^ r

f

^

I

r

J.

^

^

'^'

— —f-«Q—

f&

,

^

U^^

T'piiJ

p;!l

1

,

p

^

^''^

r*^ ^ j^

i

^

iji'^'t'tTp^

rTH^'-i

.pi^JTrai'^r

4 ,

261

iir^r^gH^tr^^^^^

^'itLrtd''^^

M^jjJ

4^^f•far Q

i

r-J'.i

i

NO SFCIIT-SINCINC

plJ

r"

r^^J^cJ

*•

f

p ^

/I

''^

r-&

i^'

r^^' ^-i

^'^f

0' \fmL^

—

1

[

—

.

• ^

^

— »

1

'

,

'

ADVANCED EAR-TRAINING AND SIGHT-SINGING

262

Section C.

Rhythmic

(i)

(a)

The

Drill.

tie in

rhythm

to la

on

6/8 meter.

arm movement

Practise, using the

a

major

to indicate the meter.

Sing the

scale.

Note.

Use the arm movement two pulses to a measure. The mind subdivides each pulse into tripIn singing make the metric pulse clear to the listener bv pressure on the tied note. This effect can also be made on the violin by an added pressure of the bow. On the piano this is not possible, but the pianist will tind that his playing is much more rhythmic, therefore interesting, if he makes the effect lets.

mentally

(1)

^m

J.

^

tJ J J J

rn

J

J"7?33J

(6)

,^3533,

4:

J

I

j^i/Tsssj

7m

(2)

J

J-

J3,j.

.m

^j

J3J

J:

J^lTj}

J3J

\S7S7^J

Practise the following Chord Successions: (a)

(b) (c)

(d)

Sing Sing Sing Sing

each exercise mentally. the letter-, then the number-names. to la, thinking the number-, and the letter-names.

from dictation.

CtofJ- ijffl'^-j^Jii-Ji. loir

AV

J

J35333Jn[3__iJT333J

J) J. .

7J3333J-

J)

J^,J33333r33

(7)

(8)

.J33333J

d

V

i

l

iitj

ADVANCED EAR-TRAINING AND SIGIIT-SINGING

ifhpn[sjj

r

[1^ rr^ ^u U'r r-^u .

I \

BtV'

F Ulh

263

If-

V7

oV^t

f^nixfj, uJ^rt^iCiriijirPT-^ l

IV..

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j^J

pT'^j,

I

J

j^ pT'^j.

pT-^j.

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I

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rtf

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f

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^^ ^^ S F

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V,'

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i

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I

1

ADVANCED EAR-TRAINING AND SIGHT-SINGING

264

pr^TciT'i

^

i'

i

i'i

[i

I i

'TiXi

vjk

Sing the following chord successions,

(e)

by

first

letter-,

F major

names, then to Gmaj

v^ Dt>

E

.

I,

Yl,

H^^,,, I^, ^V^, I

I, 11,^,,,

I

^1

I

V\

F major

I

I

1

I

1

i,vu iiiyivia v^

I

V^

I

—— I

v^

I

I

v^

I

i

i,vii,„nvLi

(2)

F major I

1

iv„i2,v„i.

Exercises for Sight-Singing:

(3)

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1

1

^

s

"'

^»

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^^U^ it-^

i

jJTJ J^^J J

/JJjH 1^-^

i

J

j

p Bach

^^\\l^

*m ±^

=»!

^'1^

^'''' i

H

^''W

\\-

rr''P

J.

jJ J rr

r

I.J

r

jij

r

"

' I

'^

l^-'i

ij

r

J

ri'

'

'^'

J

i |

^

^'

w

p- (TT

J

I

mP

f

J,

^J

J J. i)J

-^

r

'^

I^J:^

^

I

j^

J

^^ i

r''

i

[' i

H ^

^)

^'^^

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(ir

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j. j^j

i

I

F major

i,oVn, i,oV:,i,i, oV^,i,vLi,ii,V,vM. bl> min. F major G maj. A maj. Bb maj.

I

i,vL,i

|^''li'

(i)

C major

major Z

I

la:

major

then by numberD maj. Bb maj

^'

r

r

p^

ii

J

i^-U

'

^

i

i-J:^^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

265 Wullner

^^SK

^j

J-

iii^

j

i

r-

^CT

pr

W^

:zi

m ij^ j^ [jj-mui^L,ujji

4»iMi

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i^^ 4/"Jj3

i

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f^^ u

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1

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''

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r'^'^B

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k

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e

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ADVANCED EAR-TRAINING AND SIGHT-SINGING

266

;N'J

» m ^j--iii

n,

^.t^P

ff f '

prprrpirPJ

r-fy n

.irT. pr-r4^-^

i

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,

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f

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rT^rpiipiiJMrp^p

^

rf,f i

i

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^r Vi''i,

[_^cVJ

ii-py^pi^fip-

i

^

i

|

rrri yr'^r^pirT, t.tV

V"

p

!>«•

ffiT^f

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i

ni f'^pn-i^ i

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pir

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Lesson 28 Abrupt modulations to remote keys may be made

at any point by a chromatic be in any part, but is best in the soprano or the bass. This is known as Chromatic Modulation. In Exercise 2 of Section B (i), first phrase, the chromatic inflection is in the bass; in the second phrase, in the soprano. Chromatic modulation is one form of Sequential Modula-

progression.

tion.

The chromatic

progression

may

ADVJNCED EAR-TRAINING AND SIGIIT-SINGINC

267

Abrupt modulations may also be made by enharmonically changing the This Is known as Enharmonic Modulation. In Exercise i the pitch of a tone. pitch Ab, the fifth of the key of Db major, becomes G#, the 7th degree of a minor. In a melody, skips may be made to and from the lowered 2nd degree of the Scale-line or skips in the scale in the II;,!, chord with the lowered 6th degree. V^ chord should

follow.

nti,

Section A.

Construct double periods in the key of C major, using chromatic and (i) enharmonic modulations to remote keys. Use anticipations, suspensions and Employ the meter and rhythms given on page 262. skips In the IIi,i, chord. Note. The chromatic inflection in a melody mav often be either a modulation or an altered tone in the key, the modulation being determined by the harmonization.

Section B. Practise the following Chord Successions:

(i)

(a)

(b)

Play the entire exercise, listening to the character of the chords. Pause before each modulation and think the progression Into the

new (c)

(d)

key.

Sing the number-names of the soprano as you play the chords. Have each exercise dictated as outlined on page 161.

Note. In Exercise 1, fifth measure, you hear that the A? has become G#, because A\> could not be the 7th degree of the scale. In Exercises 2 and 3 the key of C? could have been used in the place of B.

^m^ f

n^

m^

«

I

vj

Ii f V''

r

r

16

^ U-

^ I

DtV'

^ rr bLu ^ p^ I

a

vj'

I

C II J

dd ^m

7

^

rr

^g i

^ m

5

1

V V

^ I

ADVANCED EAR-TRAINING AND SIGHT-SINGING

268

^ Wm ^ mM ^ m ^U

i

J^

J iJ

J

I

^

i

m

.a

ilA

J

^

f^ ^

y-w

?

J

M

T

^^

.u

fi

^ J

^^

r

ff

^ W

J

I

J

J

^

Practise the following Intervals:

(2)

In the III,!, chord there will be a major 3rd from the root to the 3rd of the chord, the lowered 2nd to the 4th degree of the scale; a perfect 5th from the root to the 5th of the chord, the lowered 2nd to the lowered 6th degree of the scale; and the inversions of these intervals.

Play the

(a)

I,

IV,

II,

V2 and

IIi,;,,

Think the sound of the

Play the intervals, determining their sound of the chord and the key-centre.

(c)

Sing the intervals. Transpose the intervals to F,

o

ol^ffPt

^^

^

j|ii

..

«

o

y

o

jo

[

*^

^

»

.mill

B

31:

jto ly-rr

-W

H b»

if

chords in the key of

(b)

(d)

fe

I

D

and

,.

31:

..

>

major.

B

in relation to the root

major.

3x: "O" \>U

°

^.g.

"

gSF^

" "

[;» [;»

"^^ 'ji»°.

^

3X1

35:

O

C

intervals.

XT

^

?^?=S^ •cr

^ 31:

o "

O

«

__

**

1

ADVANCED EAR-TRAINING AND SIGIIT-SINGING

269

Exercises for Melodic Dictation:

(3)

I, V^, I, IIi,, IIi,i„ V21,, I chords in the key of C major, and read the exercises mentally, noting the modulations, suspensions

(a)

Play the

(b)

In each melody sing the last few notes in the key before the modulation, then the first few In the new key, first to la, thinking the number-names, then singing the number-names.

(c)

Sing the tones which make the suspension, first without the suspenPractise the anticipation in the same way. sion, then as written.

(d)

Play the antecedent phrase twice, sing from memory to la. mentally the number-names, then use the letter-names. both aloud.

and anticipations.

(e)

Practise the other phrases in the

(f)

Transpose to other major keys.

(g)

*

Have each melody Figare

same way.

dictated as outlined on page 87.

Sing Sing

ADVANCED EAR-TRAINING AND SIGHT-SINGING

270

P

hiQ

\

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JU]j''j

i

u.:is^

^^^^^^ |J

|

otii

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^^

=^

. .b

^

[

4

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i

rpi jJj.^Jjj;jj i

i

;.ijj

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rujun

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i

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itJ

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i

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p

jtJ

^

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M

|JM^^^J-

^JT} M W

^ri'

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9

Section C. (i)

Rhythmic (a)

tl)

J.

(2)

I

(3)

^

<4)

Drill.

Review.

Rhythms from Bach.

Practise using the arm movement to indicate the meter. rhythm to la on a major scale.

J)|J^

s^ J^__/7^ JS^

j??3

iH ,

^^

j^ J^iJ?3

1 J)

Sing the

ninh JTT3

JT^ J^

JS^

I

.1

ADVANCED EAR-TRAINING AND SIGHT-SINGING

271

<5)

<6)

n n

;3irsj_rsj

j^j

n

» .553/^

7^.J5Sr3

J

-> II

^

J^_^J533 J353 J333 J333 J

J

1

IT^r^JSl

JT3iJ-JJ

J J

«

'

jr3J331

,

;^ J333J

^

Practise the following Chord Successions:

(2)

(a)

(b) {c)

(d)

)i

J

II

Sing Sing Sing Sing

^

h j

each exercise mentally. the letter-, then the number-names. to

la,

thinking the number- and the letter-names,

from dictation.

jTJg^

^

^^4?=*

^5ES

^m

p

vi;

ii.j_J^4a

jj^j^-i^j. ijj^cxrTcr;j,

Ij

F

ii-

^

i^

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^'

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k^' ^-[SS G V/.

i

I

V/.

Ci/it'^'

I

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I

Cc;

j>jjJ^i^ili. c

\&

g)jJtfJiNU/|J^^j. 'j)jJTJd^Tj^^ liiJ^^-^LlT iv^Hjiiiti}t.

"

ADVANCED EAR-TRAINING AND SIGHT-SINGING

272

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m

P

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^

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Gt oV^k

^S

^—

-

Fjl

fcjnj

E« oV^k

ji i

J'i^^

||

E oV^.

Dl,

^^

oV^k

ITir

^

izat

C

J IV^j}.

r

II,t>i,.

rTrrJjiJ

oV%.

ADVANCED EAR-TRAINING AND SIGHT-SINGING (e)

Sing the following chord successions,

first

C

by

letter-,

major

names, then to 1

B

(i)

I

maj.

1^—

I,IV,IIi,„Vl,I„VL,I VI,

C major

b min I

v^

la:

then by numberE

Dtnaj.

I

273

C major

I

I

1

VJ, Dt»

F# maj.

m;xi.

I

I

maj

.

!

I

V\, C

I

maj.

I

v^I,I„II,,„I2,v^I. Bl»

maj.

C

(2)

I,III„I„II,,„I„oV^I' 'ov:' 'ov;^ C major

d min.

maj. .| I

oV^

(3)

VI, I VI, I

VL,

I,

IV, ii.,„

I„v^

I.

Exercises for Sight-Singing:

.mi 4i:,K

oV:,i

1

i"/

i

^^ji,j^J v^ ff i

r tJr'^rrtirhr^ir^r^rru

r

r.%^r

i

[;

rltorTi

Lirir^i^r^r irffrrrrrLLm

#i

ADVANCED EAR-TRAINING AND SIGHT-SINGING

27 4r

^

P

if

ti

^J

"'

'

tf

P ^m

^

Brahms

^m

p

*

^'-i,

M

^

# #

-

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g ?F

rj.

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bJ ,

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f ^i|J

^

^

^W=^

^

S»-S-

F

^ r

I

I

P J I

L K

I

'l

J

u

T3

tei

^

trmi

^

^ ^

-f5>-^

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rr

^^

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w

IM rirrr

-

pg

' l

^

^

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!?P' i

l

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^g

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JDrjNCED EAR-TRAINING AND

l^'l'

l

p

J

•

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d

I

JJ

^ '^ui

VH

if H^

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\

^-Jtf-»

d

m

Brahms

^

^

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TTTT-rrrr

^^

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J

|

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p

-

^^

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ijp

» [

1^

^^ ^

^-y

I

l»

^

f i

m P vtr-m

r;-

^rinrr V

rfT

r

y

r

,

^

I

275

fp

^

.'n

SICf/T-SINGINC

1^

I

f

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Brahms itr

r » k

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Lesson 29 In a melody, skips are often made from above to the lower neighbor of a tone, An entire arpeggio may be or from below to the upper neighbor of a tone. embellished in this way, as the Bb chord in the sixth measure of Melody 3, Section B (3). The neighbor generally resolves immediately to the tone, though it may jump to the other neighbor before resolving, as in the first measure of

Melody

3,

oVji,

Section

B

(3).

be made to and from the lowered 2nd degree of the scale in the chord with the lowered 6th degree. Scale-line or skips in the V^ chord

Skips

may

should follow.

m 0^%

ADVANCED EAR-TRAINING AND SIGHT-SINGING

276

Section A.

D

major, using all types of moduConstruct double periods in the key of anticipations, suspensions and Use keys. related and remote next lations to jumping to the neighbors. Emby Embellish tones chord. the in skips qV^i, rhythms given on pages 270-271. and meter the ploy (i)

Section B. (i)

Practise the following Chord Successions:

Play the entire exercise, listening to the character of the chords. Pause before each modulation and think the progression Into the

(a)

(b)

new

key.

Sing the number-names of the soprano as you play the cnords. Have each exercise dictated as outlined on page 161.

(c)

(d)

8

7

^M

r^

^ m I

Vj

W ^m

I,F„v9

,

J

im

\

V^=J^x l

8

5

iJ ^^

7

2

J

j

i PP f^ r^ rr u 1

VA.

l

.

I

DtoV? yj

I

I

I

ll

^ ^

i^ i ^

f=

iiBi,v^

^ f?

rr r^

^

^

D V^ V7

^

J:

T^

r

1J

d

^^

r

^

$

(2)

J

5

m ^ m ^^

i

I

s^

^ ^

6

^i ^ ^^ rr

^

¥

rr

s

^ ^ ^

J=4

f^

rr

T

m r

Practise the following Intervals:

The same (a)

intervals will be found in the qV^,, chord as In the

Play the

D

I,

major.

IV,

IIi,

IIi,„

11^,^

chord.

oV^, Vl,^ and I chords in the of the Intervals.

Think the sound

key of

J

ADVANCED EAR-TRAINING AND SIGHT-SINGING Play the Intervals, determining their sound of the chord and the key-centre.

(b)

277

in relation to the root

_

Sing the intervals. Transpose the intervals to other major keys.

(c)

(a)

„ 8b8

yii „

o|.o

°

H "

3X

ol'o

°.j)° B)j8t|i.8

DO,.. .r K o [?o „

1.

11

i

O

»»

" r

o^ Vj jl

°

11

g(,g

^^^ g

o PO PO -O-

1^

" »

„

ti

it

3x:

^

8

ol'B

te b8 ti

«»

^^^— ^-» 311

u

o»j,..^

ho "

^^

XT

•^

Exercises for Melodic Dictation:

(3)

Play the

11^,,, I2, V^ and I chords in the key of exercise mentally, noting the modulations, suspensions, anticipations and neighboring tones.

(a)

D (b)

(c)

(d)

(e) (f)

(g)

I,

major.

Ii,

IV,

Read each

Sing the last few notes in the key before the modulation, then the first few in the new key, first to la, thinking the number-names, then singing the number-names. Sing the measures which have skips in the IIi,^ chord. Contrast the altered and unaltered forms of this arpeggio. Play the antecedent phrase twice, sing from memory to la; sing mentally the number-, then the letter-names. Sing both aloud. Practise the other phrases in the same way. Transpose to other major keys. Have each melody dictated as outlined on page 87.

1 'i

V],

n }^

,JQ

I

n

^5 jjJ^^

..n;.n

N- J^Jj 1

GV

V

V^

I

u't^

f-r^fpS^ :ti:

U

li^v/

I

— ADVANCED EAR-TRAINING AND SIGHT-SINGING

278

'^"1

Ih

r^

J

I

^

W^^ijr-^^^icJ^

jJi

J ^r^i^J^j

i

i,

j^^r

j/i'jjjNi-7JJ^Jjjj

^

jt

17

^j_j

;3ii

fe=f:^ #-«

k

P.J MH^

.

i

j.

^'^r''^

^^

^^J

,'mi^nj.i

i^C^^^3i|J-^,jj

1

1

J

'"mj

im

j ,ijj,in'^ i

rai£/JiJJ'

^j

i

'i

i-

u'jj

^

w^m ^^

i^

^

i'i|j

-'jjj

^

m^^f s ^^^ 1^^

jij^^j

*f "

r^^^

i

i

|,

-1»->r

ii|

j"i.^

"snpr

ttr7

tfp

Jl

ADVANCED EAR-TRAINING AND SIGIIT-SINGING a

*

279

I

[j"c;Jji^JJ--^i^ 'rr[g^:jir i

m

Section C.

Rhythmic

(i)

Drill.

Regular

Practise using the

(a)

rhythm

Rhythm

In 9/8 meter.

arm movement

to indicate the meter.

Sing the

on a major scale. In 9/8 meter use the same arm movement meter, and mentally subdivide each pulse into triplets. All of

to la

as for triple

the rhythmic figures used in 6/8 are found in 9/8 meter.

(!)§

8

J

j>j

rn

J.

(3)

J.

J.

(4>

J

(5)

J.

(6)

J.

(7;

J.

(2;

J J.

i)j

J-

;),/T3 ,J:

J)/T3,J

y

n

m

J.

J

J J), J.

mm mm

i)J

J)

J.

J.

J) J.

m J J J J

J

(2)

Practise the following Chord Successions: (a)

(b) (c)

(d)

Sing Sing Sing Sing

each exercise mentally. the letter-, then the number-names. to la, thinking the number- and the letter-names.

from dictation.

Note. Sing the chords that are enharmonically changed, with both spellings and resolutions. larefully for correct intonation, as these exercises serve no purpose unless sung perfectly in tune.

Worl

ADVANCED EAR-TRAINING AND SIGHT-SINGING

280

^

Uj

j

JJri^Jj^ jjj^^r i^i^ j4>n

i^jj

|

^

.v't.

I"" jJJ^^r

i

^Jj

UU^"^

^

i

-^-ij

ij^Ji'^r

^

i!-^

EII^Jj.

oV^k

<^^JJJ^Jr ^J|J^J^l^^

l

'

u^JJi^'r

i

Aj

> i

^P >^^

^PJM^JJJJ'|| oV^t.

<^^ii

l

j^^L^'f

i

^^u

GHI^j|„.

yii ''^yi

^

i

kJ

r

i

^r^clT

^

^c^kj

kj

^r~^V

i

av

(|\ Ji J-i^rrf

|i

bV

ife^

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^

^^

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V\i

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V

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'u JJi D

ul^\,.

{''jjji^ijij.

(e)

Sing the following chord successions,

by

first

D

iilmh [yix,iBb maj

.

ov:, I

(3)

D

in,„

F major 1

I

ber-names,thento/a; D major F major

then by num-

letter-,

major

1

1

(i) I,oV^,oV?^,oVii.i„VLl,VIl8« oV^, I, Il23», I2

(2)

D

Db maj

major

i,iiL,oV^,i,vF,vi;«,ov:,i

.

Ivii

Gl*

maj

n

.

i.

major

I2,

v^

I.

Exercises for Sight-Singing:

min^i 4^ "TO:, ^R==^

'

•«

PTOJ:rmj

i

mi

jjjjiJiJ^vj»i^

ADVANCED EAR-TRAINING AND SfGHT-SINGING

282

^i

tfj^JOTQWJJij. jjjjj^j r [mr;^^^^ii^J i

JTTH

J.

^^

jTJ^Jrp

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r

»

rj' -^«-

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p

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P

I

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j

3=5:

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JTJlrr^'M'

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I

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r

P

i

t

>>)•

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i

^

n^ ifrP"

1>»*

'

ADVANCED EAR-TRAINING AND SIGHT-SINGING

V r

h^^

^p^p

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w

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283

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ADVANCED EAR-TRAINING AND SIGHT-SINGING

284

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\j.

.JJ.M

*m p *ift

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fr

p^

« gf MS

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32

y «g

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Cowen «-^

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Lesson 30 Abrupt modulations may be made to any key by retaining and using as a pivot a tone common to both keys. This is known as Pivotal Modulation. In Exercise i, Section B (i), the ist degree of c minor becomes the 4th of major; the 3rd degree of major becomes the 5th of E major. In Exercise 2 the C in the soprano, the 8th degree in c minor, becomes the leading-tone of Db; the Db in the soprano, the 1st degree of Db, enharmonically changes to C# and becomes the 7th degree of d minor. In minor the 6th degree is raised in the ascending form of the melodic scale,

G

G

and

Is

harmonized by the

IIi,,

IIJ, IVi,

or IVJ chords.

I^'i'

i

ijl

ii^a

hi

i

IV^Ij

Section A. (i) Construct double periods in c minor, using pivotal and all other types of modulation to next related and remote keys. Use anticipations, suspensions,

and skips In chords embellished by jumping to the neighbors. meter and rhythms given on page 279.

Employ

the

Practise the following Chord Successions: Play the entire exercise, listening to the character of the chords

and

Section B. (i)

(a)

modulations.

ADVANCED EAR-TRAINING AND SIGHT-SINGING (b)

Pause before each modulation and think the progression into the

(c)

Sing the number-names of the soprano as you play the chords. Have each exercise dictated as outlined on page i6i.

new (d)

3 I. ,

key.

3

3

2

^ J J

J

J

I

febt sM & I

rr

^

ri

sfeet

W

i.J=^

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ft

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f

r

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^ ^ r^^ rr

^f

i

y=i

(2)

285

ii ^ r

rr 4J

^

^ rr ^^rr ^ ^ n^ ^

^

i

^

Practise the following Intervals: (a)

Play the I, IVi,, II„, V^ and I chords the sound of the intervals.

in the

key of c minor.

Think

[

^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

286

Play the intervals, determining their sound in relation to the root of the chord and the key-centre. Note the altered intervals resulting from the melodic form of the scale.

(b)

(c)

Sing the intervals.

(d)

Transpose the intervals to other minor keys.

± m

Uq q

«i

«*

^

bo

I,.,

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.."

.

-0--0-

^h

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-

TJ-

XT

-o-

T^

o^..^8^a oi;;

o

xr

..o^»^o o

oi|.°

i

Exercises for Melodic Dictation:

Play the

(a)

I,

V^,

Read each

I,

IV,

IIj,

V^ and

I

chords in the key of c minor. and embel-

exercise mentally, noting the modulations

lishments. (b)

(c)

(d) (e) (f)

^h)\

Sing the last few notes in the key before the modulation, then the first few in the new key, first to la, thinking the number-names, then singing the number-names. Play the antecedent phrase twice, sing from memory to la. Sing mentally the number-, then the letter-names. Sing both aloud. Practise the other phrases in the same way. Transpose to other minor keys. Have each melody dictated as outlined on page 87.

r

}J I,

n

r

? f

•

J/

[7

v*"

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c IV

ADVANCED EAR-TRAINING AND SIGHT-SINGING

V

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V.

287

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r'n-^JJ

" '

P

I

pii

J>f

i^^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

288

^h

Drill. Irregular Rhythm in 9/8 meter. Practise using the arm movement to indicate the meter. rhythm to /a, on a major scale.

i

j^^.ll

Rhythmic

(l)

(a)

a>t 8

VTir-tJ-^^l^llJJJi|JJJIjJ'JiJ'y

I"

m

J.

ij

/n

J> J-

Sing the

I

(2)

(3)

(4)

(5)

(6)

/TTJ

J.

'y

(2)

n

J

^j"tSTj-

Ji

J

^J

J.

j:t^_J"TJ .J35353J-

/n

J

J)

ijn

J-

^

J-

'J-

J

i-i^

J>

/n

Practise the following Chord Successions: (a)

(b) (c)

(d)

Sing Sing Sing Sing

each exercise mentally. the letter, then the number-names. to la, thinking the number- and letter-names. from dictation.

li-

jrfJ-

J

ADVANCED EAR-TRAINING AND SIGHT-SINGING iJ>^ pJ >U_4^i.

i-fi

jjj

i

289

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VI.

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f.

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p

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nil,

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ADVANCED EAR-TRAINING AND SIGHT-SINGING

290

j)j.

k^

I

jj- -JT]

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\j^_

I

jij-^

i

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l

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ll

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j'll J.

l"U]

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J.

^J^'^^

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^'''^^J

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a

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l?o.

V^

Gl,

'^4.

3

J. "4^

ci.

'

i^''^

J-

P^J''

l

4:J.

c nV:

(e)

Sing the following chord successions, c

names, then to f

E I

I

maj. 1

oVU (3)

(i)

I,

by letter-, then by number-

III,VL

Ii,

Dl>

iiL iiL i„ III,, c minor D maj.

maj

V^

III^,V, I

c minor

c minor

minor

0^,

la:

first minor

v^

I.'

(2)

i,

Iv^ iiL

I

.

D

maj.

V[,

I

E*?

maj.

Ivi,

III,, i2,oV^'

il

r

oVl,i ii;,vLi.

Exercises for Sight-Singing:

^'jP^j.ni^^

'''

'iU

d'

^

fa

.

lvi,r A

^^

maj

ADVANCED EAR-TRAINING AND SIGHT-SINGING

ihk-

—

-^ 1

I

K ^.

1

^

fl

ji^JifJ J

In

J

—

J

, r-

1

r

Tr

T'

291

T

n

\

ADVANCED EAR-TRAINING AND SIGHT-SINGING

292

h

rff i[Tv

^''

J-

'•

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r

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i

j.^-

^i"

A

V

^r

^'^r

pJ ^ftf^^i^-'T-

r

i

^

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i

i

|

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1^'

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P

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^^

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n-

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rt

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^i ijj ^j'f j_;3

<^i.

^'

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i

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pJ

J

j^

vi-

i

J-

\

n^\^'>2 OTir ^

^

^,,^

,

fiJJjW^ltt l

Ui

ZjE

pj

^

^

ZIX

^

^ Spohr

^p- m^ \

^

MI^ JJ J^^

ADVANCED EAR-TRJINING AND SIGHT-SINGING

*a

m ^

fei

r^^tr

^¥i «r

pf

i

[£ir

^[x!r'^-^^j;j |i.i^'^'^ iiJ^'^ i

i

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n^

p

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i lU

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^=fcg=r:±piM=ac=

^

^

r

p

293

h|.P^^

M

Wiillner i

ajj^j'

c^^=_g±zcarr=

i

-i.

1^;=:

ADVANCED EAR-TRAINING AND SIGHT-SINGING

294 Section B.

/

Practise the following Chord Successions:

(i)

Piay the entire

(a)

exercise, listening to the character of the chords and modulations. Pause before each modulation and think the progression Into the

(b)

new

key.

Sing the number-names of the soprano as you play the chords. Have each exercise dictated as outlined on page i6i.

(c)

(d)

544 365

56

^m n 8

i r

r

f

I

I

8

*=^=

i

a^ J

IFoV^tv/

J

I

I

1,

8

^^j-j-

oV®

I

r

^ ^^

f=^

7

^m rff

.u

77'="

e

Vj

I,

7

J:

^

F

v-^

J J

^^ ^^ J

^^

J

±

J

J

j

i r ff

A^

J J

i

U

'y'i

Jx

^

^ ^^ ^^ f

5

W ^ ^^

4

J

i

j

ia

6

i

IffoV^vJ

7

f^

5

i

^ PW

i

oV^

7

n^ V

it

tip

ii

i

J

tj 7-^ ^

^

:i

8

1

^

i r=f

ff i f J

J I'P

lip

I'f

i

WWW

m

m

r

i f

ADVANCED EAR-TRAINING AND SIGHT-SINGING Practise the Jollozving Intervals:

(2)

(a)

(b)

4^

Play the I, IV, IIi, Y\ and I chords in the key of e minor. Think the sound of the intervals. Play the intervals, determining their sound in relation to the root of the chords and the key-centre.

(c)

Sing the intervals.

(d)

Transpose the intervals to other minor keys.

^

oiUt^tefc^

" H

^

.

3X1

^

i[ti

ita

" " ^ =5^ 1^"*

(3)

295

r.

It

*^;;

It

^

^\^

^

I

f"

ft

zr

o #p4 =EX=: II

..11

rcr

xc

XC no

IXE

i

"

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g *^

"

33: i^

XT XT

* o cP it"

«:

18

II"

lliQ

iifi

n

»8

if^^ TF «° "

'„

i

Exercises for Melodic Dictation: (a)

(b)

(c)

(d) (e) (f)

Play the I, IVt,, Hit,, I2, V'^ and I chords in the key of e minor. Read each exercise mentally, noting the modulations and embellishments. Sing the last few notes in the key before the modulation, then the first few in the new key, first to la, thinking the number-names, then singing the number-names. Play the antecedent phrase twice. Sing from memory to la. Sing mentally the number-names, then use the letter-names. Sing both aloud. Practise the other phrases in the same way. Transpose to other minor keys. Have each melody dictated as outlined on page 87.

i,ji>jj I

Ativ/l,

pi-r

V^

MMr

r

pir ^lu^^

CIVt L

yyj.

^^j

i

ADVANCED EAR-TRAINING AND SIGHT-SINGING

296

D|,I

il\j

Ii

M

IV

^irn

if

IV

r

Ti|

cvj'

Ii

^'^

w

l^^

i

HJ

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I '

I

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V

rv

I

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prprii^'ir

i^

irrra^.^i"i *

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p I

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KIM

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i

^

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J

4*

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p"ffi'^iJ'iTOcr!!ri*'riiWtf^jjPi|jjj.^^i

r

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ADVANCED EAR-TRAINING AND SIGHT-SINGING

^

j-i

tjjjW^'

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r

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^

tfp

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^

297

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ii ^ W^fiJ^liJ^J

Section C.

Rhythmic

(i)

(a)

Drill. Regular Rhythm in 12/8 meter. Practise using the arm movement to indicate the meter. rhythm to la on a major scale. In 12/8 meter use the

movement

as for quadruple

pulse into triplets. in 12/8 meter.

J

J>J.

<3)

J

J

}J72JT2

<4)

J

(6)

JT3 /T3J-

jn

•

J

/T3J.

J

J»J

rr: (2)

J

meter and mentally subdivide each

All the rhythmic figures used in 6/8 are found

JT2 J)

J.

J)J

J)

JT3 i/T3JT3J JTHrJ.

J)j1j

J)

.

J)j

J)

,j

J)J

J.

j:t^

J.

(a)

(c)

(d)

Sing Sing Sing Sing

J

Jj/ts^JIJ'

each exercise mentally. the letter-names, then use the number-names. to la, thinking the number- and letter-names.

from dictation.

J>J~J?5

/71 J^^J

Practise the following Chord Successions: (b)

Sing the

same arm

ADVANCED EAR-TRAINING AND SIGHT-SINGING

298

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m

JMj

r

j.ij^j^-j jij.

1

m i^^5

4

VI.

MM

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it

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i.

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ti^i^^^^

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ADVANCED EAR-TRAINING AND SIGHT-SINGING

4*

J.

^

299

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p¥

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^

39C

-:

Bi

L

i^g. |jjg i

eoV: (e)

Sing the following chord successions,

first

by

letter-,

C

then by numbermaj.

-I

names, thento/^; e

V,

I,

oV^,

(3)

e

in,

1

2,

I.

III,,

(2)

VL

Exercises for Sight-Singing:

M^^

I,VI,in,l2, II2^,VI,

minor

iiL, VI,

I,

(i)

MLmJL

W

minor

V^,

FS maj.

I,II3^oV^I oV^, I.

I

I

I

Vl, I

I,

III,,

VL

I

maj. 1

I

VL, D

c3 minor

v[,

G

A!> mai.

I

maj.

ov:, I

»

ADVANCED EAR-TRAINING AND SIGHT-SINGING

300

jVri!r i^ ^ ''*?n rc:j-iir. ii

i

i

'r

rVc!tfrr'^-?^

i|,¥«-^J j .L.i^ j jjj.iji^j.

^m

^=±

j.^ rr r

yi*»/j ]jj3Jj3

^^

r"[ xj

i

:

JJ^^'^'^^j)^ !

^3

t

^i7^r"

i

j^

3jj^

j

rj

Bach

*»'-g

^^ ^

^^

m ^^'"

J.

«

^h''

^

^^^

t|j-

-

H'-^

J j^^'

t-

r

I

J.

n^J

^ r

~'^

^a^s3 :=)1 "ir^li

|.'.-7j..

J.

J ^^j^j

^

jj

i^

^

J ±=±

p Hi p.

T^-

IJ

'

-L,-^'

^r'

I

o-

||

r j)iJ. J.

/at

r^JJJJ.

-h—

'^^

-I

j

^ ^

J

^r^

^^ ^"

"^

^

NJjtJ^tt^i

HP

J

u- -

i

^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

^i"''

#

^^ni^J.

J.

^^'-

J

itJ.

>j

.

j

j ip

J.

«^

«

J. J

^

ij u-

J'lr-^Jjgj.

^

^^JJ.

•'

^

1

J71|

i

j

^ ^

d

/j^/j,|jt Jl

y i-'

vv

>•

J

j>

i

—

*:

i

j.J j^r'T

j.jj,j.

^ ^ ^^S

2


u-

^ ^^5 ^^

^

Ztl

1^

#

4'

r

^

u-^^j^i'j-jiif j.j.

^^ ^^''

>-

pj. Ji.J^IJ. J

J.^JJ"--

>-r-i

(^^'

J

U-

301

zat

-

V

^y p ii''jjj|jij:jJj

^

J.

jiJ^^j

^ p

^

p

i

ny

li.i.

I

f-

W.

i^^j^ [irr ^'f ^^p

Jiinij.

|^j:-J]j^j.J"?JrJH ^jjir:i

Mackenzie

ja

i

^

I

-

V

v^p

jjJJ'i:^,J^^i

^"r pLirr rp -^^ J^j^^^Mr plLt^^^p i

ADVANCED EAR-TRAINING AND SIGHT-SINGING

302 A

a

Handel nanaei

.

^M,y

J

j)irrrr

Jy JMr-Tfr pw^i'

J^j

m

Fii

^^ r

f

rpr

r p

1 ) ^^if

i

p

i

^^ P

'iTp

i

;rp

ii

i

i

prpJ'Jli-

't

r"p^
i*H*

\r

w

i

j.

P[^f^

r

^

^r:^i,i^JJ]

j^r pv ;uj^'tf

*

p'

u-

PfPJT] f

i-

i^

r

^

JTMrpr^ r f^'^

f

p

^

^P

^««ff

^1-

V

r

pr pr ph'^J

r

pr pr^^^-^

^^

^J'

^ Handel

Lesson 32

A

composition often divides into sections which vary in length from a phrase to a double period or a series of phrases. These sections are known as Parts. When two of these parts are used, the second answering and a complement of the first part, the form is known as a Two-Part Song-Form. The parts of a Twopart Song-form may be of any length, though rarely shorter than a period, and more often a double period. The cadence at the end of the first part of a

I

ADVANCED EAR-TRAINING AND SIGHT-SINGING

303

song-form beginning in major will be a perfect authentic cadence in the key, or heavy cadence in the key of the dominant; if beginning in minor, it will be an authentic cadence in the relative key. a

Parti

Part

II

«

J^^ lj.JJi j

i#

l

^^

The Two-part Song-form resembles and is hard to distinguish from the contrasting double period, the difference being that the cadence at the end of a part is heavier than that at the end of the first period. Many hymn-tunes and popular songs are written in this form. In minor the 4th degree is raised in the

and IVl^ chords.

Illn^

i^m M ali

The 4th degree

is

.nd IV5, chords.

Tvll

raised in conjunction with the 6th in the

|[-'l,j)|

|

y ni„

[by

l

l]|^ll

Ijl^H

II^i,, IIJi,,

IVji,

II

j

n\

rf\

ivt,

Section A.

Construct Two-part Song-forms in and remote keys. Use meter and rhythms given on page 297. (i)

tions to next related

f

minor, using all types of modulaembellishments, and employ the

all

Section B. (l)

Practise the following Chord Successions: (a)

Play the entire exercise, listening to the character of the chords and

(b)

' modulations. Pause before each modulation and think the progression into the

new (c)

(d)

key.

Sing the number-names of the soprano as you play the chords. Have each exercise dictated as outlined on page 161.

fimiv

iDtvJv?

IGtV^v/

1

BvJ i^cvj

I

I

f

vj

^

r

ADVANCED EAR-TRAINING AND SIGHT-SINGING

304

m^ m ^ ^^ ^ 8

8

8

7

^

5^

^

^

r

r

.U-i

T

'ni'i>

li

r

r

jj

J-

J

^j^

r'

I

n^ v^

^^ ^

^y

iJ=i

^^^

a

^

J

ItJ

p

g "

I'f

i^ m

J.

t

^

^ t-^

f

W ^ t

m

i

rrf r

i=^

j=,t

n

r^

¥

i-

^^ WtW ^

i :^

J

Ji

J

i

5t

^

^ ^^ AJA

S3

i

J.

^^

Practise the following Intervals:

(2)

(a)

(b)

(c)

(d)

Play the I, IV#„, IIJn, V^ and I chords in the key of f minor. Think the sound of the intervals. Play the intervals, determining their sound in relation to the root of the chords and the key-centre, Sing the intervals. Transpose the intervals to other minor keys.

m^

tjU

tl^

*^

i

o"

l\

«—o„ o

tjo

-«- Qii

>

j,i.v

:;»""".. I

)f.>l'l>

11

•

8l|«°

'I

'lt' l'.'

^, ° 31 » 3X ^o

°

o o-

„„^

fe

3E

»-e-

"bo

P'o

—

,

^ :,^8 H "||^ 8 ^S »

ADVANCED EAR-TRAINING AND SIGHT-SINGING

305

Exercises for Melodic Dictation: Play the I, IVi,, IVji,, IIJi,, I2, V^ and I chords in the key of f minor. Read each exercise mentally, noting the modulations and embellishments.

(3)

(a)

Sing the last few notes in the key before the modulation, then the first few in the new key, first to la, thinking the number-names, then singing the number-names. Play the antecedent phrase twice. Sing from memory to la. Sing mentally the number-names, then use the letter-names. Sing

(b)

(c)

both aloud. Practise the other phrases in the same way. Transpose to other minor keys. Have each melody dictated as outlined on page 87.

(d) (e) (f)

v^

I2

\'^'\>

p I,

(^i''i>

f

'1'^

l|^''i>

i.''i>

1'^

J

U'j

n^

I

iJ >j fV

I

j>J

I

^j^

I

I

JTjg J IV

j)J7^J-

I

v7

Btv^

I

>,j.

VI

J J''7 Ju.

y

r

||J.

^

J

i>r ^p^r

p r

p

f

i

J-

V

i

^S

^ l-P

^p

ciir^ "^ ^i^

c!:/

*riiJ>rT"r^J^rii-''

ih.Naxj3ii^iiii ji r

f

hJkJ^j.

JbJ^ ip

iJ^J>iiJ^pitfJ pi^r"P''r7iiJ'ff!

^ff

ip r p r

II

m^f

v7

^

I

^

h. r-

-^'^^

^-^''-

'

ADVANCED EAR-TRAINING AND SIGHT-SINGING

306

fefe

u^r^T

jj^p p i

*

^

kk H^i^H^

"^1>^

111

>J.-'

hJ

*

J

.

U-

I

li

p-

p-

c£fj

i-

J||JJ ii i

l

^-

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lip

^p

j1juJJ"Jj

I

t'"''^

j,^'-

riiJY"gi r *r'ir

,^

fe i>

>

J

pf

|,j.

pnj)p-

i

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j^j

^J^^

l

pJbiM

pi^f'

j.

-i'

i i

ir

^ri->J

^

r'

J. Tjijj

ij

^^rth^

^j^jyJJ^#ui|!4jd

v^r"f''^"riii^

^^^'^l>

Kj

'

i

i

^'i

j

^^

f

I

p^r

'T

J

LorJt

^Cicj^j.

^

pr i

f

I

p

^

^

^^L '^p

i

f

^''ju

^

J'^•^^l'"rr rhp^lJ>p•hp|,J>p^

J^jiJ.

J

j,J. IJ

JJJ^^JJ

Section C. (l)

Drill. Irregular Rhythm in 12/8 meter. Practise using the arm movement to indicate the meter. rhythm to la on a major scale.

Rhythmic (a)

Sing the

n

p

ADVANCED EAR-TRAINING AND SIGHT-SINGING

—n

Largo (Dl|

J)

Ti

ij:

I

.^i^j nj^j

(2)

(3)

J)

.j:

j:

(4)

J)

i/

7n r

j~2

J

J.

J.

J

J.

jr—Jl

m

juj^j rsij^j rsijnj

J3^j

3

"^^7-

MI.

T2

^ /—n

I

307

J

n

/ T3

Sr—n

JTl

/

J

J>

(2)

;— Bach

J. J.

J

J.

js^n

J

I.

3] "T3 7~:

xj

—

in J.

JT

J

J

J

J

J.

Practise the following Chord Successions: (a)

(b) (c)

(d)

|ii'ihf

Sing Sing Sing Sing

,1.

each exercise mentally. the letter-, then the number-names. to

la,

from

J

thinking the number- and letter-names. dictation.

pi'

I

i

I

Ij. ^1

h'

'1^1

i

I

J.

j

'' ii^

^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

308

fe

i I

y. i

^5

'^'

'"

^-

DtVi

li-

P ^

^=5 ^P^^^^ d

mfe

c

,)

i

iJ

U- iiJ^r^^M- i

1,4.

v/.

p^rp

i

''-'-

-1.

p^rp U.

I'-l

1-1-

i

J.

i^j.

i

i|j.

g.

i "

[^

iJ

>r

^^ii"i-

^^

ii-

^^ ?

ZE

AtL ^^'•'-^

J.

nit.

nl-

^ * w=^

^5

mi

^j.

^1^

V/.

i|J-^'^^'ii|J-

i

iiJ.

^^'i,''

U- i^''"J'^^-^

^.

JSCZ

nl-

J.

oV^.

J^T^' J.j

ij.

i

i

j.^jJ'^

c n^

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f'^J-i- U^J^'^^^M-a

l

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^^^

d n'

f'l'

jti-^^^'"^'^'V-|i-

iM-ttJ.

i

^T^'ij -hJ. y.iiJ' -''^r^' i

i

En;

v.^

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i^J-ii^'

i^J.|Jll>i^>

l

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h

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i^j. ^j,

Ii.

Ml

'

— ADVANCED EAR-TRAINING AND SIGHT-SINGING

<§^''|''

'I

I

\i

J-^^^r^'

i

^i-

^J.

i

^J-

prp

J

nlh

$S

kfe izi

^

^1-

J.

II

J

J'rPr"^

rf'

rf

n(

fei'T

..

—

J^r

7f

.-

i

J-

309

^J-

^

^

h7r-'ti-h-i^^^^=t^^=

ADVANCED EAR-TRAINING AND SIGHT-SINGING

310

4^''!'

J'*^

jj^^^r

I

¥

|7

^w

Ills-

(e)

ir

:^

^'T Pf

i^J

^».

Sing the following chord successions, f

first

minor

Ei»

f

(i)

la:

I,

minor

oV^ f

oV^ C

g minor

El>

maj. 1

I

V^

(3)

4^"

h,

III,,, VI, I. (2) f minor Al> major

I

V^

1

I,

oV^

oV^I

vi, I

min.

bt>

1

v^

maj.

oV, Bl>

I

v^

VI,

III,,

v^

I.

Exercises for Sight-Singing:

-'U[::iirh^>\iI^^U

4'"

('

ft

J?^.-T],JdU'

':xn:£f^EjJ"^' ^^ r"r

l

^

'

J'

l

^Ji^rjlr^ ^'^'

"^'i^^

--vi^'cir

I

maj.

1

I

Ii

I, III,

oV^ F

maj.

I

111,

b min.

maj.

1

oV^, I

minor

3x:

then by numberC

maj.

I

1

oV^,I

I

letter-,

D?

maj.

1

names, then to

by

Pr- J

ADVANCED EAR-TRAINING AND SIGHT-SINGING

p

-

^ V j^

y

[_Q7^[T.r

r

I

J'lJ

-^cdlrJ^ij j-i^jg-^Jj

l^ii

4*" -i^Tjpj: jirJ- jjJj. J] j_j >

pr'i^'^

'r

i

p

p"r

^^

j.jJJ.:

i

p

^^ ji^'-T^^j. ;^

'lr

I

311

P

[ifT'm^fiJ ^P^i7;jJiJ]

4^1

jin-^j'[;jQ^;jjT:iij:;gw

i

jij

j/J3^^^

^

Bach

1

|^''

#

i

>w-

''i."r

h |^''|-

r f

jJ ^"f

I'p^J

^-

J

p r

pUJ

k.

p

CI;

1

fr ^ccr

Y^'

r p ^'T

^t-'lr

'>lUf P

J; J>

i

J.

J-

'

I

^

^

J.

|))J

p

'^^ iJJjpj i

yyp^J-

^-

^ ^ p

Kz:

pfp

"r^npr

J)jj|jMr-

pj

J

p

r

f

i

J

1

p r

p

U^ f

^

[/

I

I

J-

r*

4^''i.

r f^y

^-i

Pr

[7

1

J

pifp

pj py i

i

p

i

^^

'^

•

p

\f»^

p^^ p^^'"^'^

» ^ J^ r"

4i''uiiJ']r>r rr piJ- rw-^^p piji.ii _

1

twr -fn-^

J-

^^-^ P^-^U Y

FtS

V

Tf

^^pr^

J>_JOTr pr

p

ADVANCED EAR-TRAINING AND SIGHT-SINGING

312

Gasparini

4n ^vi

^

r*

i

^

V : iJ'itJ

>r

p

l

r~r

p

f

I

r-

>

^

ADVANCED EAR-TRAINING AND SIGHT-SINGING

«m

r

*w

y

^i.'i>

^i

I

'l l'

*

^

M

i

r frfr

!¥ V

^^'''^

j

s^

rf ,.p g

J. i-

>^

|

^

i

p

a

,,

i

r-

p'

^

?E^E5

circrf j.

p

r^^

^-

[QfcXrc^N

r'

i

pT

mt't

^

r

^^

r^pH^Jf

Ccjrr-

f

s

^^J^JJ

lit

r

^

p

^

^^

^^

^rnVr/ir Viji

•-^

irri|,ii

Lesson

313

r

i

uT^Tj

33

When

three parts are used, the composition is known as a Three-Part SongForm. In the Three-part Song-form the third part is always an exact or modified repetition of the first part. This is the most common construction in all art forms. The aria da capo, most songs and short piano pieces are written in this form. The cadence at the end of the first part is the same as in the two-part song-form; the cadence at the end of the second part is generally a perfect authentic cadence in the key of the dominant or dominant harmony in the key; the cadence at the end of the third part is a perfect authentic cadence in the key.

Parti

Partn

^^t

cjQjiJ^p'iiO[^irL Part HI

In minor the 2nd degree

is

lowered in the

II.,,

11^

and qV^ chords,

k m # ni.

n^t

v^i.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

314 Section A.

Construct Three-part Song-forms in c# minor, using all types of moduand remote keys. Use all embellishments, and employ the meter and rhythms given on page 307. (i)

lations to next related

Section B. Practise the following Chord Successions: Play the entire exercise, listening to the character of the chords

(l)

(a)

(b)

new

key.

Sing the number-names of the soprano as you play the chords. Have each exercise dictated as outlined on page 161.

(c)

(d)

322

565 542

3^

Ill

ff

i

^r

?^^ I

rVji

V,

r

v/v

714342357

3

f

f

^M

^

so:

lEnJ V

i

I

^ W

^^

ILL f

W

^

ii ^

^ ^ft

*

|

rr

i £

iU

rr rr

w

t

E±

m i

r

J.

i

rr

8

i |J .U

icjv^v^

i

r¥

J

avJi, vj ifjv^v

fefe^

^^

and

modulations. Pause before each modulation and think the progression into the

ff*f

r

^

r

aJ

r

^ M4 1^ m

^

ADVANCED EAR-TRAINING AND SIGHT-SINGING Practise the following Intervals:

(2)

Play the I, IV, IIn,, V^ and I chords in the key of c^ minor. Think the sound of the intervals. Play the intervals, determining their sound In relation to the root

(a)

(b)

of the chords and the key-centre. Sing the intervals. Transpose the intervals to other minor keys.

(c)

(d)

am

H o

tl

-TTT

"

:^g

A ^^

m

S

u

3B^ a

ii» it^

^"* it^

»0 8

o 8 U xy

«»

"

:.

e

H-^8

,.

TT

n 2XC

^11

O

^^ s

f>

f*

33-

^s

its it" t

H..OO g|^ |S|8 »„)

^t||tt|j

j

o

Mt>

^l

acii^'Trr

jOl.

^^

U o

^ «^

»° a »u

;;

«-

jd:

$m

(3)

315

)

31:

«i

1»

«!

^

»

o

^§r-^

" b «.i j^ «j

^o

31:

vt>

o

*

xi> 3:ji

*» acit

" »

jjo Xtl t^^TT

*^

11

II

«» j[

o_ ito tto

**

;;

ilu

„<€»

"

gf> its

p:

j|*i»r:^

11 ;t

jjo

jjS

^^

o H"

It

g

DOC £c:

Exercises for Melodic Dictation: (a)

(b)

(c)

(d) (e) (f)

Read minor. Play the I, IV, Iljt, I„V^ and I chords In the key of embellishmodulations and the noting each exercise mentally, c:{:j:

ments. Sing the last few notes in the key before the modulation, then the first few in the new key, first to la, thinking the number-names, then singing the number-names. Play the antecedent phrase twice. Sing from memory to la. Sing mentally the number-names, then use the letter-names. Sing

both aloud. Practise the other phrases in the same way. Transpose to other minor keys. Have each melody dictated as outlined on page 87.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

316

Sequence

Figure

V

c|

V7v^

V

I

I

Modified Repetition

^%

i^Fm-

yj

i

iir

Cjl

vj V^

v^

V^

I

hk vvJ> c« IV

piV

I

A ^^

P tt

fe

«

f

*

rf

yJ.

J

P'

a'

M » »

I

IV

i^

Kz:

i

mr

i

I

prr-Tf

i'

*-#-»

|j>-rn

pr

r

V

/

,j

I

p

yJu

I

jnj^j ji^j

i

-'''*

v^

a

I»

£

pr' r

r

VI

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INTERVALS Lesson

OOs:^o^:gOCT

prioo^o, oogr^o^ .

J|armonj> A

Practical Application of Music Theory Including the Study of Melody Harmonization, Broken Chords and Arpeggios, Transposition, Modulation

By

and Improvisation

GEORGE

MUSIC THEORY

is

WEDGE

A.

become equipped musician, and

a study which has

essential to the fully

which, In consequence, most pupils take up as a part of

their

proper musical education.

It

is

generally

followed as a separate subject from the pupil's chosen

instrument or particular

very few realize

field;

its far-

reaching application and value.

This book

is

pupils of piano theoretic point

an endeavor to show the teachers and

how

to apply, at the keyboard, each

and to give Price

exercises for practice.

$2.50 (In U. S. A.)

OB. ^cfjirmer,

3 Cast 43rb Street A

686

JOOOO^^^

Mt. Ji^eb)

gork

PLEASE DO NOT REMOVE

CARDS OR SUPS FROM THIS POCKET UNIVERSITY OF TORONTO LIBRARY

MT

35

W^

Wedge, George Anson Advanced eax-training and sight-singing

Music

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