Sight Singing - Adler Samuel

S I G H T S I N G I N G
P I T C H o I N T E R V A L o R H Y T H M
S E C O N D EDITION
P M A M 5
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\ i
Samuel Adler
Professor Emeritus
Eastman School o f Music
W . W .N o r t o n & C o m p a n y ^ 7
N e w Y o r k o L o n d o n ;
CONTENTS
P r e f a c e t ot h e S e c o n d E d i t i o n x
INTRODUCTION S i g h t S i n g i n g b y I n t e r v a l a n dR h y t h m 1
M e l o d i c S t u d i e s 1
PREPARATORY EXERCISES 1
NONRHYTHMIC EXERCISES 1
MELODIC EXAMPLES FROM THE LITERATURE 2
SPECIALLY C O M P O S E D MELODIES F O RT H E PRACTICE O F PARTICULAR INTERVALS 2
DUETS AND CANONS 2
R h y t h m i c S t u d i e s 2
A d d i t i o n a l M a t e r i a l f o r S t u d y a n d R e v i e w 3
P A R T O N E
Melodic Studies 5
CHAPTERI S c a l e s a n d T h e i r R e l a t i o n s h i p s 7
L E A R N I N G A B O U T THE RELATIONSHIP O F KEYS 7
S C A L E S A N D
MAJOR SCALES A N D THEIR RELATIVE MINORS 8
I N T E R V A L S
THE RELATIONSHIP BETWEEN MAJOR A N D MINOR SCALES 8
W R I T T E N EXERCISES 9
Identifying Intervals 10
CLASSIFICATION O F INTERVALS 10
TYPES O F INTERVALS 11
ENHARMONIC SPELUNG O F INTERVALS 14
W R I T T E N EXERCISES 1 5
C H A P T E R II S i n g i n g S c a l a r S e c o n d s 17
S C A L A R S E C O N D S
T h e M a j o r S e c o n d 17
EXERCISES 17
V
T h e M i n o r S e c o n d 20
E X E R C I S E S 2 0
S i n g i n g M a j o r a n d M i n o r S c a l e s 2 2
E x e r c i s e s f o rP e r f o r m a n c e 27
C H A P T E R ill T h e P e r f e c t Fifth 32
T H E P E R F E C T E X E R C I S E S 33
F I F T H A N DT H E
T h e P e r f e c t F o u r t h 36
P E R F E C T F O U R T H
E X E R C I S E S 36
M i x i n g P e r f e c t Fifths a n d P e r f e c t F o u r t h s 3 9
Exercises for Performance 40
C H A P T E R IV T h e M a j o r Third 48
T H E T H I R D EXERCISES 48
T h e M i n o r T h i r d 52
M i x i n g M a j o r T h i r d s a n d M i n o r T h i r d s 55
CHAPTER V T h e A l t o a n dT e n o r C l e f s 73
S O M E O T H E R
W r i t t e n E x e r c i s e s 74
C L E F S
PITCH IDENTIFICATION 74
T R A N S C R I B I N G M E L O D I E S 75
E x e r c i s e s f o rP r a c t i c e a n d P e r f o r m a n c e 81
C H A P T E R VI T h eM a j o r Sixth 83
T H E S I X T H EXERCISES 84
T h e M i n o r S i x t h 87
EXERCISES 87
M i x i n g M a j o r S i x t h s a n dM i n o r S i x t h s 90
C H A P T E R VII T h e M i n o r S e v e n t h 105
T H E S E V E N T H EXERCISES 106
T h e M a j o r S e v e n t h 109
E X E R C I S E S 1 1 0
M i x i n g M i n o r S e v e n t h s a n dM a j o r S e v e n t h s 11
vi
C H A P T E R VIII T h e T r i t o n e 130
T H E T R I T O N E A N D E X E R C I S E S 130
E N H A R M O N I C
T h e A u g m e n t e d S e c o n d 134
I N T E R V A L S
T h e A u g m e n t e d S i x t h a n d t h e D i m i n i s h e d S e v e n t h 137
E x e r c i s e s f o r P e r f o r m a n c e 141
C H A P T E R IX M o d a l S c a l e s a n d O t h e r S c a l e s 147
O T H E R S C A L E S
M o d a l S c a l e s 147
O t h e r S c a l e s 152
THE CHROMATIC SCALE i 5 2
THE WHOLE-TONE SCALE 1 5 3
T H E O C T A T O N I C S C A L E 153
S Y N T H E T I C S C A L E S 1 53
E x e r c i s e s f o r P e r f o r m a n c e 157
CHAPTER X C h o r d s a n d S i m u l t a n e i t i e s 162
C H O R D S LIKE-INTER V A L C H O R D S 1 62
DIVERSE-INTERVAL C H O R D S 1 65
PLANING (OR PARALLELING) E X E R C I S E S 1 66
P A R T T W O
Rhythmic Studies 169
CHAPTER XI D e f i n i t i o n o f R h y t h m i c T e r m s 171
L E A R N I N G A B O U T
R H Y T H M T a b l e o f R h y t h m i c Vales 174
C H A P T E R XII S i m p l e D u p l e M e t e r , t h e " T w o - B e a t " 178

S I M P L E EXERCISES 178
( C O M M O N ) M E T E R
S i m p l e Triple M e t e r , t h e " T h r e e - B e a t " 181
S i m p l e Q u a d r u p l e M e t e r , t h e " F o u r - B e a t " 184
S y n c o p a t i o n 188
T h e A n a c r u s i s o r U p b e a t 189
I r r e g u l a r Divisin o f a B e a t i n S i m p l e M e t e r 191
C H A P T E R XIII C o m p o u n d D u p l e M e t e r ( | , ! , i66) 200
C O M P O U N D EXERCISES 200
M E T E R
C o m p o u n d Triple M e t e r ( 1 , 4 , i 6>
9
203
C o m p o u n d Q u a d r u p l e M e t e r (s , 2 1 2
, \i) 206
A d d i t i o n a l C o m p o u n d M e t e r s 209
CHAPTER XIV Q u i n t u p l e M e t e r 214

C O M P O S I T E
M E T E R S
S e p t u p l e M e t e r 2 1 7
EXERCISES 2 1 7
Divisin o f C o m p o u n d M e t e r into Irregular P a t t e r n s 220
E X E R C I S E S 2 2 1
A d d i t i o n a l C o m p o s i t e M e t e r s 2 2 2
E X E R C I S E S 2 2 2
CHAPTER XV M i x e d (Changing) M e t e r s 226

A D D I T I O N A L 2 2 6
R H Y T H M I C
D E V I C E S C o m p l e x D i v i s i o n s o f t h eB e a t 229
P A R T T H R E E
Additional Material for Study and Review 2 3 7
CHAPTER XVI M E L O D I E S F O R R E V I E W F r o m G r e g o r i a n C h a n t t o t h e P r e s e n t D a y
239
C H A P T E R XVII E N S E M B L E P I E C E S F O R R E V I E W
258
A c k n o w l e d g m e n t s 311
viii
PREFACE TO
THE SECOND EDITION
Why a New Edition?

"I should hate y o u for having written such a tough book, but I have to admit it
has completely t u r n e d a r o u n d m y ear s o I can h e a r m u c h better." T h i s q u o t e
f r o m a college s t u d e n t strikes m e as a g r e a t c o m p l i m e n t , f o r i fI can " t u r n
a r o u n d " a student's ear so that h e can h e a r effectively I will have realized m y
fondest hopes for this book.
I t i s n o w o v e r t e n y e a r s s i n c e t h e first e d i t i o n o f t h i s v o l u m e a p p e a r e d , a n d
I a m grateful t othe m a n y colleagues and students w h o have generously taken
t h e time t o s e n d m e t h e i r c o m m e n t s o n t h e t e x t a n d e x e r c i s e s , a s w e l l a s m a n y
r e c o m m e n d e d changes. Happily, those w h o have used the v o l u m e have gener-
ally b e e n gratified w i t h the results.
T h i s isn o t simply another sight singing b o o k but rather a m e t h o d that
m u s t o f necessity b e partially r e m e d i a l . I n m o s t o fthe rest o ft h e W e s t e r n
w o r l d a student w h o studies a ni n s t r u m e n t o rlearns h o w t osing is almost
i m m e d i a t e l y a n d s i m u l t a n e o u s l y i n s t r u c t e d i n solfeggio. S e l d o m d o e s t h a t h a p -
p e n i nthis country, a n d a l t h o u g h o u r instrumental a n d vocal instruction a t
the pre-collegiate level is b ya n d large superior t o that i n o t h e r countries, w e
o f t e n f a i l t o t r a i n o u r s t u d e n t s ' e a r s w h i l e w e t e a c h t h e i r fingers a n d m i n d s . I t
w a s t o c o r r e c t t h i s i m b a l a n c e t h a t Sight Singing: Pitch, Interval, Rhythm w a s c o n -
ceived. T h e b o o k deals systematically w i t h the p r o b l e m s o fsight-reading a n d
dictation, and provides a multitude o fexamples t ob e used for classroom
instruction a n d practice at h o m e . S o m e choral conductors have told m e that
t h e y use b o t h m e l o d i c a n d r h y t h m i c phrases f r o m t h e b o o k as w a r m - u p exer-
cises t o t e a c h i n t e r v a l s a n d d i f f i c u l t r h y t h m s e m p l o y e d i nw o r k s t h e y a r e
p r e p a r i n g f o r p e r f o r m a n c e . T h e c a n o n s t h r o u g h o u t the b o o k have also b e e n
w e l c o m e d b y m a n y teachers, w h o have c o m m e n t e d that their performance
a d d s a n a t m o s p h e r e o f m u s i c a l i t y t o t h e skills classes.
M O R E A l l this has b e e n m o s t gratifying; t h e n w h y c h a n g e a n y t h i n g i f it does n o t n e e d

C O M P R E H E N S I V E f i x i n g ? N o first e d i t i o n i n o u r b u s i n e s s i s a l l t h a t i t c a n b e , a n d a f t e r a d d i n g u p
A P P R O A C H the c o m m e n t s o f the past t e n years I c o n c l u d e d that m a n y i m p o r t a n t aspects
o f t h e first e d i t i o n n e e d e d c h a n g e . F i r s t o f a l l , a m o r e comprehensive
a p p r o a c h was called for, a n d increasing the n u m b e r o f e x a m p l e s f r o m stan-
d a r d literature was certainly i n order.
ix
N E W O V E R A L L I have been convinced that the b o o k should b e organized i n a slightly differ-
O R G A N I Z A T I O N e n t way, e m p h a s i z i n g scales a n d t h e i r c o n s t r u c t i o n i n C h a p t e r I so t h a t a n easy
introduction t othe singing o f major and m i n o r seconds and t h e n major and
m i n o r scales c a n b e m a d e i nC h a p t e r I I . A f t e r that, t h e i n t r o d u c t i o n o f t h e
p e r f e c t fifth a n d p e r f e c t f o u r t h m a d e s e n s e f o r C h a p t e r I I I . C h a p t e r s I V
t h r o u g h V I I n o w present m a j o r a n d m i n o r thirds, sixths, a n d sevenths i n that
o r d e r , b e f o r e t h e m o r e d i f f i c u l t i n t e r v a l s s u c h as t h e t r i t o n e , a u g m e n t e d sec-
ond, a n d other altered intervals are tackled i n Chapter V I I I . I n addition, I felt
that the exclusive use o f o n l y o n e i n t e r v a l per chapter h a d t o b e m o d i f i e d
s o m e w h a t , y e t e a c h c h a p t e r s t i l l g i v e s t h e s t u d e n t a n o p p o r t u n i t y t o concn-
trate o nthe particular interval u n d e r study. I fthe i n s t r u c t o r wishes t o use a
different sequence o f intervals than t h eo n epresented i n this book, s h e
s h o u l d f e e l f r e e t o d o so a n d i t s h o u l d w o r k w e l l e s p e c i a l l y after C h a p t e r I I I .
N E W C H A P T E R Special c a r e h a s been t a k e n t o m a k e the exercises m o r e progressive within

O R G A N I Z A T I O N each chapter i n Part O n e a n d t o a d d m a n } ' m o r e examples f r o m a l l creative
p e r i o d s o f m u s i c l i t e r a t u r e . I t h i n k t h a t a l l o f u s w h o t e a c h t o d a y find t h a t
m a n y o f o u r students d o n o t k n o w e n o u g h literature; b y adding n u m e r o u s
examples f r o m the standard repertoire, I have tried to m a k e the new edition a
m u c h m o r e u s e f u l t o o l i n t o d a y ' s c l a s s r o o m . A t t h e s a m e time, m a n y o f t h e
newly composed, rhythmicized melodies that drill a student o na particular
i n t e r v a l h a v e b e e n r e t a i n e d f r o m t h e first e d i t i o n i n o r d e r t o i n c l u d e a n o t h e r
level o f pitch reading.
New to the Second Edition

Besides i n c l u d i n g a larger n u m b e r o f excerpts f r o m music literature a n d three
sections o fn e w l y c o m p o s e d duets, I offer a b r a n d n e w feature: Part T h r e e ,
w h i c h i n c l u d e s r e v i e w m e l o d i e s , e n s e m b l e pieces, a n d w o r k s f r o m t h e six-
t e e n t h t o the t w e n t i e t h centuries t h a t are to b ep e r f o r m e d w i t h a c c o m p a n i m e n t .
I felt that i t was best t o present the m a j o r i t y o f the twentieth-century
m e l o d i e s f r o m t h e l i t e r a t u r e i n t h e first c h a p t e r o f P a r t T h r e e ( C h a p t e r X V I ) .
After the newly composed, rhythmicized melodies (some reflecting twentieth-
century s o u n d patterns) i n Part O n e a r e mastered, these m o r e difficult
melodies f r o m the literature will b e far easier to c o m p r e h e n d musically a n d t o
perform.
Even t h o u g h I w o u l d like t oemphasize the importance o f reading music
without the help o f an instrument, I have supplied the accompanied melodies
i n the n e w C h a p t e r X V I I s o that students will b e able to h o n e their sight-read-
i n g w i t h a n a c c o m p a n i m e n t asw e l l . F d l i k e t oe n c o u r a g e t h e i n s t r u c t o r t o use
t h e i n s t r u m e n t s specified i n t h e score, a n d also t o consider a c c o m p a n y i n g
(i.e., d o u b l i n g ) t h e p r e - B a r o q u e c h o r u s e s w i t h a n y i n s t r u m e n t s t h a t are avail-
a b l e t ot h e class. A l l t h i s w i l l a d d e x c i t e m e n t a s w e l l a s r e l e v a n c e t ot h e i m p o r -
tant task o f teach i n g sight singing today.
The Melodic Exercises

I n o r d e r t o s t r e a m l i n e t h e p e d a g o g i c a l process, I h a v e clearly d e l i n e a t e d sever-
al types o f exercises f o r practice a n d p e r f o r m a n c e t h a t r e c u r i n e a c h chapter
of Part One.
x
P R E P A R A T O R Y A N D A f t e r t h e P r e p a r a t o r y a n d S o u n d t h e P i t c h a n d S i n g exercises o n t h e specific
N O N R H Y T H M I C i n t e r v a l itself, t h e r e isa section o f N o n r h y t h m i c Exercises t h a t allows t h e stu-
E X E R C I S E S d e n t to practice the interval i n a m e l o d i c context. These s h o u l d b e p e r f o r m e d
i n the f o l l o w i n g m a n n e r : give the o p e n i n g p i t c h o nt h e p i a n o o r a n o t h e r
i n s t r u m e n t a n d t h e n h a v e t h e s t u d e n t o r c l a s s s i n g t h e e n t i r e e x e r c i s e a cappella.
T h e p h r a s e s w i t h i n t h e n o n r h y t h m i c e x e r c i s e s a r e set o f f b y rests, b u t b r e a t h s
m a y b e t a k e n a n y w h e r e as needed.
M E L O D I E S F R O M T H E T h e n e x t type o fexercise consists o f m e l o d i e s f r o m actual m u s i c l i t e r a t u r e

L I T E R A T U R E a l m o s t a l l o f t h e m t o n a l . A l l o f t h e s e m e l o d i e s concntrate o n t h e i n t e r v a l i n
q u e s t i o n b u t also c o n t a i n o t h e r i n t e r v a l s . S o m e o f t h e m e l o d i e s are c o n f l a -
tions, d r a w n f r o m m o r e t h a n one section w i t h i n a piece, t o allow for a m o r e
systematic presentation o fthe intervals u n d e r study aswell asa m o r e logical
e n d i n g to some o f the excerpts. Perhaps it w o u l d b e h e l p f u l for the instructor
to w a r n t h e s t u d e n t o f especially d i f f i c u l t spots, a l t h o u g h I t o o k great pains t o
m i n i m i z e s u c h instances w h e n choosing t h e m a t e r i a l to b e i n c l u d e d w i t h i n this
secon. M e l o d i e s f r o m t h e l i t e r a t u r e s h o u l d s i m p l y b e p e r f o r m e d w e l l b y t h e
s t u d e n t s i n c l a s s , a cappella.
N E W L Y C O M P O S E D T h e last type o f e x e r c i s e c o m p r i s e s n e w l y c o m p o s e d m e l o d i e s w i t h r h y t h m t h a t
M E L O D I E S concntrate o n t h e p a r t i c u l a r i n t e r v a l u n d e r s t u d y . I n t h e s e e x e r c i s e s , o n e o r
m o r e t o n a l centers m a y b e i n o p e r a t i o n , since m a n y c o n t a i n m o d u l a t o r y pat-
terns a n d therefore are necessarily m o r e chromatic. T h e s e exercises are by far
the most challenging ones offered i nPart O n e a n d I therefore have placed
t h e m last a m o n g t h e sets o f e x e r c i s e s f o r e a c h c h a p t e r . T h e y s h o u l d b e prac-
t i c e d c a r e f u l l y a n d s u n g a t first p u r e l y b y i n t e r v a l ; a f t e r s e v e r a l r e p e t i t i o n s ,
w h e n e a c h p i e c e i s i n t e g r a t e d i n t o t h e s t u d e n t ' s m u s i c a l p s y c h e a n d ear, t h e
tonal scheme will become apparent.
A l t h o u g h I have strived t o present t h e various types o f exercises i n a n
order that progresses f r o m easier to m o r e difficult, a n instructor certainly m a y
present t h e m i n a d i f f e r e n t order, o r m a y elect to focus o n s o m e types o f exer-
cises a n d n o t o t h e r s . I n classes w h e r e t h i s b o o k i s u s e d o v e r t h e c o u r s e o f sev-
eral semesters, a ni n s t r u c t o r c o u l d , f o r instance, cover C h a p t e r I a n d t h e pre-
l i m i n a r y a n d n o n r h y t h m i c exercises o f Chapters I It h r o u g h V I I i nthe first
semester, the melodies f r o m the literature i n these chapters i nthe second
semester, the n e w l y composed, r h y t h m i c i z e d melodies i nthe third, a n d the
m o r e d i f f i c u l t i n t e r v a l s , altrnate s c a l e s , a n d c h o r d s ( C h a p t e r s V I I I , I X , a n d
X ) i n t h e f o u r t h semester. O f course, a n y o t h e r c o m b i n a t i o n i salso possible.
I n the end, w h a t isi m p o r t a n t isthat the student master all o f the material, n o
m a t t e r the order i n w h i c h this isdone. T h e ability t o sing all intervals w i t h i n
any musical context, t o n a l o r n o n tonal, isthe goal o f this text.
T H E U S E O F K E Y A w o r d o f explanation about key signatures isi n o r d e r regarding the exercises

S I G N A T U R E S A N D i n P a r t O n e . Since it is t h e practice o f m a n y c o n t e m p o r a r y c o m p o s e r s e s p e -
A C C I D E N T A L S cially since 1 9 5 0 t o f o r e g o the use o f key signatures because o f the c h r o m a t i c
nature o f their music, I have dispensed w i t h using key signatures after Chapter
II except within the music f r o m standard literature, the duets, a n d the canons.
W h i l e I believe that i n c l u d i n g the original key signatures isnecessary w h e n
dealing w i t h music that isalready composed, I felt that i n the exercises i t is
e n o u g h f o r t h e s t u d e n t t o s i g h t - r e a d , c o n c e n t r a t i n g o n t h e i n t e r v a l s per se,
xi
w i t h o u t also h a v i n g to w o r r y a b o u t a key signature, w h i c h suggests o n e particu-
lar tonality w h e r e m o r e t h a n o n e m a y b e i m p l i e d . O fcourse, w h e n dealing
w i t h s p e c i f i c m a j o r a n d m i n o r scales, as i n t h e e x e r c i s e s i n C h a p t e r I I , k e y sig-
natures are used.
I n t h e n o n r h y t h m i c e x e r c i s e s , a l l accidentis a p p l y o n l y t o t h e n o t e s t h a t
t h e y p r e c e d e . I f t h a t p i t c h i s i m m e d i a t e l y r e p e a t e d a n d t h e r e i s n o r e s t t o sep-
r a t e t h e n o t e s , t h e a c c i d e n t a l a p p l i e s t o t h e r e p e a t e d n o t e as w e l l .
A Note about Vocal Ranges

S o m e o f t h e i n s t r u m e n t a l a n d e v e n a f e w o f t h e vocal e x a m p l e s f r o m m u s i c lit-
erature that are i n c l u d e d i n this text have a larger, lower, o r h i g h e r r a n g e t h a n
the student is able t o master. T h i s situation is o f t e n e n c o u n t e r e d i n real-life
p e r f o r m a n c e contexts, w h e n w e are forced to switch octaves i n the m i d d l e o f a
p a s s a g e o r f o r t h e w h o l e p a s s a g e i n o r d e r to p e r f o r m it. T h i s w o u l d certain.-
l y b e t r u e w h e n t h o s e s o p r a n o s w h o h a v e t r o u b l e r e a c h i n g a n F b e l o w m i d d l e
C try t o sing the following excerpt f r o m Brahms's S y m p h o n y N o . 2 (#16,
Chapter X V I ) ; they m a y choose to sing the w h o l e passage u p an octave.
C h o o s i n g exactly w h e r e t o m a k e the octave switch i na passage m u s t o f

n e c e s s i t y b e l e f t u p t o t h e i n d i v i d u a l p e r f o r m e r , b u t t o p r a c t i c e s u c h s h i f t s is, I
t h i n k , a n i m p o r t a n t a c t i v i t y f o r a s i g h t s i n g i n g class. C o m p o s e d melodies
especially the ones students have t o p e r f o r m o n their i n s t r u m e n t s d o n o t
take i n t o consideration the n o r m a l range o f the h u m a n voice; yet teachers fre-
q u e n t l y ask t h e i r students t o sing a m e l o d y f o r r h y t h m i c a n d expressive p u r -
poses before playing it o n their instruments. Such melodic shifting i n the exer-
cises i n t h i s b o o k c a n o c c u r i n t h e f o l l o w i n g w a y :
Original: Mozart, * [
S y m p h o n y N o . 4 0 (trans- s JML
-0
posed), f r o m C h a p t e r IV
m Lr i* a -* * ~ f ~ " ?
i -J

m i
I fJ J
i

i r i
1 0
l h J j j j i iJ Y r n r
r NJ I q ^
xii
Suggested Performance $ P E
1 1 r -rt
i _ F
m 0 ( f - m -p *
tm~F - 0 -=#
i
T h i s k i n d o f o c t a v e shiftng s h o u l d n o t b e n e c e s s a r y f o r m o s t o f t h e e x e r c i s e s ,
but because o f o u r vocal limitations students should b e allowed and even
encouraged t o shift t o a m o r e comfortable octave w h e r e v e r this practice is
needed.
The Canons and Duets

The canons have been retained i n this edition because I feel that i t iso f
utmost importance that students learn t o"hold their o w n " w h e n part singing,
and w h a t better way to practice this t h a n w i t h rather complicated canons f r o m
all creative p e r i o d s o f music? A s far as I a m c o n c e r n e d t h e r e isn o t h i n g better
f o r t h e ear. T h i s was also m y r a t i o n a l e f o r a d d i n g d u e t s t o t h e n e w e d i t i o n .
Some Teach i ng Strategies for Combining

the Melodic and Rhythmic Exercises
I'd like t ou r g e a pedagogically effective use o fParts O n e a n d T w o , w h i c h I
believe m u s t b e used concurrendy. L e t m e o u t l i n e o n e strategy that y o u m a y
find successful:
S U G G E S T E D P A I R I N G S O F M E L O D I C A N D R H Y T H M I C L E S S O N S
Melodic L e s s o n in Part O n e Rhythmic L e s s o n in Part T w o
Chapter I Chapter X I
Chapter I I Chapters X I I and XIII, the Preparatory

Exercises i n each section (except for
Anacrusis and Syncopation)
Chapter III Chapter X I I ,the Preparatory Exercises

for Anacrusis and Syncopation, plus
C h a p t e r s X I I a n d X I I I , t h e first h a l f o f t h e
Regular Exercises i n each section
Chapter I V T h e rest o f Chapters X I I a n d X I I I
Chapters V and V I Chapters X T V and X V , the Preparatory

Exercises i n each section
xlll
Chapter V I I C h a p t e r s X I V a n d X V , t h e first h a l f o f t h e
Regular Exercises
Chapter VIII T h e rest o f Chapters X I V a n d X V a n d

review o f Chapters X I I - X V , the most diffi-
cult exercises
I n Chapters I I a n d I I I , I suggest that particular r h y t h m i c exercises f r o m

Part T w o b e drilled before singing certain melodies f r o m the literature; this
will h e l p w i t h t h e r h y t h m i c p e r f o r m a n c e o f the m e l o d y . I give these references
o n l y as suggestions, since t h e students already m a y b eversed i n these r h y t h m i c
patterns.
I also w o u l d l i k e t o e n c o u r a g e a b i t m o r e c r e a t i v i t y f o r o u r skills classes b y
having the students o rthe instructor c o m b i n e the i n t e r v a l a n d pitch exercises
in Part O n e w i t h the r h y t h m i c exercises i n Part T w o . H e r e are three examples
o f h o w I believe this m a y b e accomplished. A l l three use R e g u l a r R h y t h m i c
Exercise # 8 f r o m C h a p t e r X I I (p. 180):
#8, Chapter XII
b u t t w o use n o n r h y t h m i c m e l o d y # 4 f r o m C h a p t e r I I (p. 24) a n d t h e t h i r d uses

n o n r h y t h m i c m e l o d y #5 f r o m Chapter I I I (p. 35):
# 4 , C h a p t e r II
# 5 , C h a p t e r III
i . . ?
4
A n d here are s o m e possible ways that they c o u l d b e c o m b i n e d ; certain notes

a r e r e p e a t e d t o crate g r e a t e r r h y t h m i c i n t e r e s t :
IfP
| ^ $ cfl; i J JJJJJTI J T ^ J3i p p i n ^ \ j y I I
xiv
0 ^
i
1 i -
0 <
j , i j > | J T l h 3 i j > j ] | r ? i r 7 P | P ] ^ i m ^ r ]
T h i s p r o c e s s c a n b e q u i t e creave o n t h e p a r t o f e i t h e r t h e i n s t r u c t o r o r t h e
student!
Fixed Do Versus Movable Do

I r e m a i n n e u t r a l as t o t h e a d o p t i o n o f a n y specific m e t h o d o fsight singing.
W h i l e I t h i n k t h e " f i x e d do" s y s t e m m a y b e m o r e e a s i l y a p p l i e d t o n o n t o n a l o r
m o d u l a t o r y m a t e r i a l , w a y s c a n b e f o u n d t o u s e t h e " m o v a b l e do" m e t h o d f o r
the same material, simply w i t h certain modifications. T h i s b o o k is n o w m o r e
c o n d u c i v e t o t h o s e i n s t r u c t o r s w h o c h o o s e t o u s e m o v a b l e do, s i n c e I h a v e
a d d e d m a n y t o n a l e x c e r p t s f r o m past centuries. N u m b e r s o rn e u t r a l syllables,
s u c h as " l a , " " t a , " " d a , " " d u , " etc., c e r t a i n l y c a n also w o r k w e l l , a n d t h e s e sylla-
bles s h o u l d b e used w h e n p e r f o r m i n g t h e p u r e l y r h y t h m i c exercises i n P a r t
Two.
H u m m i n g must b ediscouraged because it obscures articulation of melody
as w e l l a s o f r h y t h m a n d i s o f t e n a n e b u l o u s , n o n s p e c i f i c s o u n d b e h i n d w h i c h a
student may hide without being one h u n d r e d percent accurate i n her perfor-
mance of either a melody or rhythm.
Using the Material for Dictation Exercises

I w o u l d l i k e t o stress t h e i m p o r t a n c e o f a d u a l a p p r o a c h t o sight s i n g i n g ,
n a m e l y : actual singing, o f course, b u t also dictation. T h e m e l o d i e s o r r h y t h m s
s h o u l d b e dictated n o t o n l y f r o m t h e p i a n o b u t also f r o m students p l a y i n g vari-
o u s i n s t r u m e n t s . A s is w e l l k n o w n , m a n y p e o p l e a r e a b l e t o h e a r i n t e r v a l s a n d
m e l o d i e s better w h e n played o n a v i o l i n , o b o e , o rs a x o p h o n e t h a n s i m p l y dic-
tated f r o m a piano. Dictation using a variety o f instruments a n d voices is very
h e l p f u l a n d provides a certain relief f r o m the constant use o f the piano. A n y o f
the exercises i n Parts O n e , T w o , or T h r e e can b e used for dictation purposes.
I t is m y s i n c e r e h o p e t h a t t h i s v o l u m e w i l l h e l p s t r e n g t h e n m u s i c a l l i t e r a c y
i n its a p p l i c a t i o n t o all k i n d s o f m u s i c , r e g a r d l e s s o f style o r t o n a l o r g a n i z a t i o n .
F u r t h e r , I h o p e i t w i l l faciltate t h e i n s t r u c t i o n o f t h i s m o s t c r u c i a l s u b j e c t a t a
t i m e w h e n m u s i c m a k i n g , i n a l l its m a n i f e s t a t i o n s , i s p r o l i f e r a t i n g w i l d l y a n d
t h e m u l t i p l i c i t y o f m u s i c a l styles a n d t e c h n i q u e s has b e c o m e a p e r m a n e n t reality.
xv
Acknowledgments
I a m i n d e b t e d t oa great n u m b e r o f people w h o have m a d e it possible for m e
to rewrite the o r i g i n a l text. First o fall, I w i s h t o t h a n k Claire B r o o k , the for-
m e r M u s i c E d i t o r a tW . W . N o r t o n , for h e r e n c o u r a g e m e n t to write a second
edition. N e x t , I a m m o s t grateful t o t h e students a n d colleagues a t t h e
E a s t m a n S c h o o l o fM u s i c a n d the various o t h e r schools a tw h i c h F v e b e e n a
guest f o r the excellent c o m m e n t s a n d suggestions they have so t h o u g h t f u l l y
given t o m e . A special t h a n k s m u s t g o t o the "official" readers o f the m a n u -
script, w h o r e m a i n a n o n y m o u s t om e . T h e i r critique was invaluable a n d t h e i r
guidance m o s t w e l c o m e i n s h a p i n g n e w ideas i n this e d i t i o n . Last, b u t certain-
ly n o t least, m y g r a t i t u d e goes t o m y p r e s e n t e d i t o r a tW . W . N o r t o n , S u z a n n e
L a Plante, w h o was patient, u n t i r i n g , a n d ever soh e l p f u l i n every aspect o f the
revisin. I t w a s a p r i v i l e g e a n d p l e a s u r e t o w o r k w i t h s o m e o n e w h o p o s s e s s e s
such genuine knowledge o f the subject a n d w h o isso t h o r o u g h a n d dedicated
in h a n d l i n g every detail w h i c h h a d t og o i n t o the finishing o fthis second edi-
tion. I c a n n o t t h a n k h e r e n o u g h .
S a m u e l Adler, 1996
xvi
S I G H T S I N G I N G
P I T C H o INTERVAL o RHYTHM
S E C O N D EDITION
INTRODUCTION
Sight Singing by Interval and Rhythm

T h e o b j e c t o f t h e e x e r c i s e s i n t h i s b o o k i s t o l e a r n t o r e a d all m u s i c a t s i g h t .
E a c h chapter i n "Part O n e : M e l o d i c Studies" offers three types o f practice
e x a m p l e s : a s e r i e s o f e x e r c i s e s t h a t concntrate o n l y o n i n t e r v a l l i c r e l a t i o n -
ships, m e l o d i c exercises d r a w n f r o m m u s i c l i t e r a t u r e , a n d n e w l y c o m p o s e d ,
" r h y t h m i c i z e d " m e l o d i e s that focus o n the particular i n t e r v a l u n d e r study. F o r
addional p r a c t i c e , c o l l e c t i o n s o f d u e t s a n d c a n o n s a r e p r e s e n t e d i n c h a p t e r s
r V , V I , V I I , V I I I a n d I X . T h e c h a p t e r s i n " P a r t T w o : R h y t h m i c S t u d i e s " concn-
trate o n m a n y aspects o f r e a d i n g r h y t h m . A n d "Part T h r e e : A d d i t i o n a l
Material f o r Study a n d Review" offers m a n y m o r e exercises f r o m the literature
in addition to some works to b e sung i n parts a n d others to b e p e r f o r m e d w i t h
a c c o m p a n i m e n t . Y o u o r y o u r teacher m a y also use any o fthe m a t e r i a l i n this
b o o k asd i c t a t i o n exercises.
Melodic Studies
T o h e a r a n d s i n g b y i n t e r v a l s u c c e s s f u l l y y o u m u s t b e a b l e t o instany r e c o g -
n i z e a l l p i t c h e s o n , a b o v e , a n d b e l o w t h e staff i n b o t h t h e t r e b l e a n d bass clefs.
E a c h s e t o f m e l o d i c exercises i s p r e c e d e d b y specific directions, w h i c h y o u
s h o u l d f o l l o w v e r y closely.
P R E P A R A T O R Y You should begin b y singing all intervals within the preparatory and other
E X E R C I S E S m e l o d i c exercises i n Part O n e very slowly, striving f o r perfect i n t o n a t i o n .
P r a c t i c e e a c h i n t e r v a l s e p a r a t e l y s o t h a t y o u c a n firmly e s t a b l i s h i t s u n i q u e
characteristics i n y o u r ear a n d b eable t op e r f o r m it w h e n e v e r y o u seeit o n a
p r i n t e d p a g e . L a t e r , w h e n t h e i n t e r v a l l i c r e l a t i o n s h i p s a r e firmly i m p l a n t e d i n
y o u r ear, y o u m a y b e g i n t o s i n g a l l e x e r c i s e s at m u c h faster a n d f r e e r t e m p o s .
N O N R H Y T H M I C T h e n o n r h y t h m i c scalar exercises i n C h a p t e r I I have key signatures because

E X E R C I S E S t h e y are b a s e d o n m a j o r a n d m i n o r scales. Y o u w i l l n o t i c e , h o w e v e r , t h a t f r o m
C h a p t e r I I I o n w a r d n o key signatures are given w i t h i n these exercises; instead,
i n d i v i d u a l n o t e s a r e p r e c e d e d b y accidentis ( w h e r e a p p l i c a b l e ) s o t h a t y o u
w i l l concntrate o n t h e i n t e r v a l per se. A l l accidentis i n t h e n o n r h y t h m i c e x e r -
cises a p p l y o n l y t o t h e n o t e s t h a t t h e y p r e c e d e . I f t h a t p i t c h i s i m m e d i a t e l y
1
r e p e a t e d a n d t h e r e i s n o r e s t t o seprate t h e n o t e s , t h e a c c i d e n t a l a p p l i e s t o
t h e r e p e a t e d n o t e as well. T h e rests i n these exercises are t ob e t a k e n as sug-
gestions f o r p e r f o r m a n c e only.
M E L O D I C E X A M P L E S T h e excerpts f r o m music literature range f r o m the medieval period to the pre-

F R O M T H E sent, a n d will h e l p i n the study a n d p e r f o r m a n c e o f all intervals. L i k e the n o n -
L I T E R A T U R E r h y t h m i c exercises, these examples a r en o t exclusively m a d e u p o f the o n e
interval b e i n g stressed i n the given chapter, b u t they d oc o n t a i n a concentra-
t i o n o f t h a t i n t e r v a l a n d w i l l g r e a t l y h e l p i n c l a r i f y i n g its s o u n d i n y o u r ear.
T h e excerpts f r o m music literature a r em a r k e d w i t h t e m p o indications,
m e t r o n o m e m a r k i n g s , or b o t h . Practice each exercise slowly, a n d t h e n careful-
ly b r i n g i t u p t o t e m p o .
S P E C I A L L Y C O M P O S E D T o w a r d the e n d o f each chapter we have provided melodies that feature a

M E L O D I E S F O R T H E l a r g e n u m b e r o f accidentis. S o m e a r e n o t n e c e s s a r i l v c e n t e r e d a r o u n d o n e
P R A C T I C E OF p a r t i c u l a r k e y b u t c o n t a i n i n t e r v a l l i c p a t t e r n s t h a t relect m o c l u l a t i o n s t o o t h e r
P A R T I C U L A R keys. W h i l e t h e m e l o d i e s all have o n e o rm o r e t o n a l centers, w h i c h w i l l reveal
I N T E R V A L S themselves as y o u m a s t e r these exercises, t h e best w a y t o a p p r o a c h t h e m is
purely by interval. S i n g each exercise slowly, concentrating o n o n e i n t e r v a l at a
time. I n d o i n g this y o u s h o u l d have n o trouble g a i n i n g mastery o f the intervals
contained within these melodies.
D U E T S A N D C A N O N S W e offer duets a t the e n d o f Chapters I V , V I I I , a n d I X to give y o u practice i n

applying intervals b o t h melodically and harmonically. Like the other melodic
examples i n Part One, each duet concentrates o n t h eparticular intervals
u n d e r study but contains other intervals as well. T h o s e i n Chapter I X , o f
course, contain all intervals.
T h e practice o fsinging canons o rr o u n d s dates back m a n y centuries. W e
offer a series o fc a n o n s i nChapters I V , V I , a n d V I I because they p r o v i d e u s
with "instant" polyphony and thus constitute another very important way t o
h a r m o n i c a l l y train o u r ears. M a n y o fthese c a n o n s will challenge y o u t o con-
c e n u a t e o n s i n g i n g a r a t h e r d i f f i c u l t l i n e , a n d asy o u t r y t o p e r f o r m i t perfect-
ly, l i s t e n t o t h e r i c h h a r m o n y t h a t i s c r e a t e d a s t h e r o u n d i s r e a l i z e d b y t h e
additional entrances.
Rhythmic Studies
Since the object o fthis v o l u m e is t o teach y o u t o read all music a t sight, the
ability t o sing every m u s i c a l w o r k u s i n g t h ec o r r e c t n o t a t e d r h y t h m s is as
i m p o r t a n t as p e r f o r m i n g the pitches correctly. T h e r h y t h m i c exercises i n P a r t
T w o s h o u l d b e p r a c t i c e d s l o w l y a t first a n d b r o u g h t u p t o a s p e e d t h a t w i l l s u i t
each exercise. A t various points i n Part O n e , directions are given to practice a
p a r t i c u l a r r h y t h m i c e x e r c i s e o r set o f e x e r c i s e s f r o m P a r t T w o i n o r d e r t o facili-
tate y o u r p e r f o r m a n c e o f t h e r h y t h m f o u n d i n a m e l o d i c excerpt.
W e r e c o m m e n d that the r h y t h m i c exercises i n Part T w o b e studied along
w i t h t h e n o n r h y t h m i c , i n t e r v a l l i c e x e r c i s e s i n P a r t O n e . Y o u m a y altrnate
i n t e r v a l c h a p t e r s w i t h r h y t h m c h a p t e r s , o r y o u m a y crate y o u r o w n p i e c e s
f r o m the "given" notes contained i n the n o n r h y t h m i c exercises, a d d i n g i n y o u r
o w n r h y t h m i c patterns a n d o t h e r types o f a r t i c u l a t i o n , o r d r a w i n g o n those
that are c o n t a i n e d i n the r h y t h m i c exercises. ( T h e preface contains s o m e sug-
gestions o f h o w t oc o m b i n e these t w o musical aspects.) T h i s process will help
y o u better p e r f o r m the examples that are d r a w n f r o m music literature.
Additional Material for Study and Review

T h e m a t e r i a l c o n t a i n e d i n P a r t T h r e e m a y b e u s e d a t a n y time d u r i n g t h e
study o f Parts O n e a n d T w o , w h e n e v e r y o u r instructor feels that these excerpts
w o u l d b e n e f i t y o u r study. O n t h e o t h e r h a n d , t h e y m a y s i m p l y b e used as
review exercises a tthe e n d o f the study o f the intervals a n d r h y t h m s . T h e fifty-
five m e l o d i e s f r o m m u s i c l i t e r a t u r e t h a t a r e c o n t a i n e d i n C h a p t e r X V I s p a n
a b o u t five h u n d r e d y e a r s ; a b o u t h a l f o f t h e m a r e f r o m t h e t w e n t i e t h c e n t u r y . I f
you have thoroughly mastered all o fthe individual intervals covered i n Part
O n e as w e l l as t h e r h y t h m i c exercises i n P a r t T w o , these excerpts s h o u l d n o t
prove too difficult t o handle. A g a i n , each m e l o d y s h o u l d b e carefully prac-
ticed, b e g i n n i n g at a r e d u c e d speed before b r i n g i n g it u p to t e m p o .
T h e material i n C h a p t e r X V I I provides a n o p p o r t u n i t y f o r y o u t o b e
i n v o l v e d i n e n s e m b l e s i n g i n g as w e l l as t o p e r f o r m w i t h i n s t r u m e n t a l a c c o m p a -
n i m e n t . T h e c h o s e n w o r k s are chronologically arranged, b e g i n n i n g w i t h the
sixteenth century and ranging into the twentieth. A t the discretion o f your
instructor, the melodies f r o m this chapter i n Part T h r e e m a y b e introduced a t
any time d u r i n g the sequential study o f individual intervals.
For these sight singing exercises, y o u m a y s o u n d the starting pitch for the
m e l o d i c exercises o n a p i a n o o r a n y o t h e r i n s t r u m e n t . It's best t o m a t c h as
m a n y d i f f e r e n t t i m b r e s as possible, b o t h i n s t r u m e n t a l a n d vocal, so t h a t y o u
w i l l continu t o s h a r p e n y o u r a u r a l p e r c e p t i o n . H o w e v e r , i t i s s t r o n g l y u r g e d
t h a t y o u s o u n d o n l y t h e first p i t c h o f e v e r y e x e r c i s e a n d t h e n s t u d y i t a cappella
( w i t h o u t i n s t r u m e n t s ) . I fy o u d o this w i t h all the exercises i ne a c h chapter
faithfully a n d carefully, y o u s h o u l d eventually b e able to p e r f o r m the exercises
w i t h ease.
3
P A R T O N E
Melodic Studies
CHAPTER I
LEARNING ABOUT
SCALES AND INTERVALS
Scales and Their Relationships

Before w e are able to identify all intervals w e m u s t learn about the structure o f
m a j o r a n d m i n o r s c a l e s , s i n c e t h e t e r m s major a n d minor o c c u r f r e q u e n t l y i n
the designation o f m a n y intervals. W e will seethat these intervals are used t o
b u i l d o u r m a j o r a n d m i n o r scales as w e l l as m a n y o f t h e o t h e r types o f scales
t h a t w e w i l l t r e a t i n C h a p t e r I X . W e w i l l u s e t h e first p o r t i o n o f t h i s c h a p t e r t o
study m a j o r a n d m i n o r scale c o n s t r u c t i o n , t h e k e y s i g n a t u r e f o r e a c h scale,
a n d t h e v a r i o u s r e l a t i o n s h i p s b e t w e e n m a j o r a n d m i n o r scales, a n d d e v o t e t h e
second p o r t i o n o f the chapter t o the spelling a n d notation o f intervals. W e will
p o s t p o n e t h e actual s i n g i n g o f scales u n t i l C h a p t e r I I .
T H E R E L A T I O N S H I P W e w i l l l e a r n s c a l e s q u i c k l y i f w e first t e a c h o u r s e l v e s t o i n s t a n t l y r e c o g n i z e k e y
O F K E Y S signatures. H o w k e y signatures a r erelated c a nb e s h o w n b yt h e "circle o f
fifths" (given below), w h i c h begins a tthe t o p with the key o f C major (with n o
s h a r p s o r fats i n i t s s i g n a t u r e ) a n d contines c l o c k w i s e b y s h o w i n g t h e m a j o r
keys w i t h a g r o w i n g n u m b e r o fsharps a n d counterclockwise b ys h o w i n g t h e
m a j o r k e y s w i t h a g r o w i n g n u m b e r o f fats. R e l a t i v e m i n o r k e y s a r e p l a c e d
inside this circular d i a g r a m , o p p o s i t e t h e i r m a j o r c o u n t e r p a r t s . S t u d y t h e cir-
c l e o f fifths c a r e f u l l y a n d m a s t e r i t s l o g i c a s w e l l a s t h e c o r r e l a t i o n b e t w e e n
m a j o r scales a n d t h e i r r e l a t i v e m i n o r s .
( n o fats)
( n o sharps)
T h e Circle of Fifths
(6 sharps)
(6 fats)
LEARNING A B O U T S C A L E S A N DI N T E R V A L S CHAPTER I 7
M A J O R S C A L E S A N D N o w let u s s t u d y t h e s t r u c t u r e o f m a j o r a n d m i n o r scales. I n t h e d i a g r a m s
T H E I R R E L A T I V E below, r o u n d e d brackets above t h enotes signify w h o l e steps a n d a n g u l a r
M I N O R S brackets b e l o w t h e notes, h a l f steps. A h a l f step is t h e shortest difference
b e t w e e n t w o p i t c h e s i n e i t h e r direcon: A B b o r A A t ; w h i l e a w h o l e s t e p i s
m a d e u p o f t w o h a l f s t e p s i n e i t h e r direcon: A - ( A f ) B o r A - ( A t ) - G .
T h e m a j o r scale isc o n s t r u c t e d i n t h e f o l l o w i n g m a n n e r :
8(D
3 5
T h e r e a r e t h r e e t y p e s o f m i n o r s c a l e , e a c h c o n s t r u c t e d slighy differeny.
1 Natural, Simple, Modal,

o r Pur M i n o r
As t h e m e l o d i c m i n o r ascends, t h e s i x t h a n d s e v e n t h scale degrees a r e

raised; they a r e l o w e r e d again w h e n descending. T h e descending melodic
m i n o r i s l i k e t h e n a t u r a l m i n o r s c a l e . O n a r a r e o c c a s i o n , y o u w i l l find t h e
ascending f o r m o f t h e m e l o d i c m i n o r scale u s e d w h e n descending.
1 1/2 1 1/2
1 2 3 4 5 6 7 8 7 6 5 4 3 2 1
3 Harmonio Minor
T h i s scale ist h e s a m e as t h e n a t u r a l m i n o r , e x c e p t t h a t t h e s e v e n t h d e g r e e
i s r a i s e d b o t h a s c e n d i n g a n d d e s c e n d i n g , creang a n i n t e r v a l o f o n e a n d o n e -
h a l f steps b e t w e e n t h e s i x t h a n d s e v e n t h scale degrees.
T H E R E L A T I O N S H I P E a c h m a j o r scale has a relative m i n o r scale. T h e k e y s i g n a t u r e f o r b o t h t h e

B E T W E E N M A J O R A N D m a j o r scale a n d its r e l a t i v e m i n o r is t h e s a m e , as is t h e c o l l e c t i o n o f n o t e s c o n -
M I N O R S C A L E S t a i n e d w i t h i n each, b u t t h a t is t h e e x t e n t o f t h e r e l a t i o n s h i p . E a c h scale starts
o n a d i f f e r e n t n o t e , f h e r e b y a r r a n g i n g t h e n o t e s i n a d i f f e r e n t o r d e r . T o find
t h e relative m i n o r o f a m a j o r scale, c o u n t d o w n t h r e e h a l f steps ( a m i n o r
third) f r o m the key (tonic) note:
C m a j o r t o A m i n o r ( b o t h h a v e n o s h a r p s o r fats i n t h e k e y s i g n a t u r e ) ,
o D m a j o r to B m i n o r ( b o t h have t w o sharps i n the key signature).
8 CHAPTER I L E A R N I N G A B O U T S C A L E S A N D I N T E R V A L S
C o n v e r s e l y , t o find t h e r e l a t i v e m a j o r o f a m i n o r s c a l e , c o u n t u p t h r e e h a l f
steps ( am i n o r t h i r d ) f r o m the key (tonic) n o t e :
F m i n o r t o A t m a j o r ( b o t h h a v e f o u r fats i n t h e k e y s i g n a t u r e ) ,
E m i n o r to G major (both have one sharp i n the key signature).
H e r e isthe full table o f key signatures:
Major
t ^ l h " u ' i ' W ;|V | ! i ' > , | | ^ H
Relative Minor a e b fl cd gt di - a i
Major F Bb Eb Ab Db Gb Cb
Relative Minor d q c f bb et> ab
W R I T T E N E X E R C I S E S
W r i t e o u t t h e f o l l o w i n g scales b y h a l f a n d w h o l e steps, w i t h o u t u s i n g key signa-

tures.
Example
B minor melodic
1. D minor, melodic 11. A minor, melodic

2. Eb m a j o r 12. Eb m i n o r , harmonic
3. F minor, harmonic 13. G minor, simple
4. A major 14. G major
5. Cl major 15. Db m a j o r
6. Ct minor, simple 16. E major
7. FU m a j o r 17. F m i n o r , melodic
8. C minor, harmonic 18. Bb m i n o r , harmonic
9. D major 19. Bb m a j o r
10. At major 20. Ct major
W r i t e o u t t h e t w e n t y scales a b o v e i n b o t h t h e t r e b l e a n d bass clefs, u s i n g k e y

signatures.
Example
B minor melodic
Example SE^S
B minor melodic o
LEARNING A B O U T S C A L E S A N D I N T E R V A L S CHAPTER I 9
Identifying Intervals
N o w w e will study t h e n o t a t i o n a n d spelling o fall intervals that are contained
w i t h i n t h e octave, asw e l l as t h o s e t h a t a r e b e t w e e n o n e a n d t w o o c t a v e s i n size.
Starting i n the next chapter w e will begin t osing a n d hear all intervals within
the octave separately, o n e b y o n e .
CLASSIFICATION O F A n i n t e r v a l is t h e distance b e t w e e n a n y t w o musical p i t c h e s i n o t h e r words,

I N T E R V A L S t h e difference o r a m o u n t o f aural space between t w o musical tones. I n o u r
western musical system w e divide intervals i n t o t w o groups:
1 those t h a t a r e s m a l l e r t h a n a n octave, o r w i t h i n t h e c h r o m a t i c scale o f

a n octave ( C - C ) ; 1
2 those that are larger t h a n a n octave.
Intervals w i t h i n t h e octave are t h e f o l l o w i n g :
Simultaneously N o t a t e d Successively N o t a t e d
Unisn ( P r i m e ) y9
- W e e o o 1
or
2nd 5
3rd # T
~W> H
Q
# 1
&
*> or or

4th y o &
i - 11 1
'T o 1
v or or

5th y u
6 " o
n
e

*
6th y r M ) ,
f "
-*P o O 1
7th y 3 fcro BQ...

A . 1
V (1
or or
8ve ii
o
or "O" or T T
Intervals larger t h a n a n octave are the f o l l o w i n g :
Simultaneously Notated Successively Notated
9 t h (a 2 n d p l u s a n /
0
octave)
1 0 t h (a 3 r d p l u s a n ~~f r i r 1
octave)
1 1 t h (a 4 t h p l u s a n
octave)
1 2 t h (a 5 t h p l u s a n o
octave)
1 3 t h (a 6 t h p l u s a n
octave)
o- or
o
1 4 t h (a 7 t h p l u s a n
octave)
O or
O
15th ( c o m p o u n d 8ve or
two 8ves)
T Y P E S O F I N T E R V A L S T h e intervals w i t h i n the octave are called unisons, seconds, thirds, fourths,

fifths, sixths, a n d sevenths. T h e s e intervals fall i n t o t w o d i f f e r e n t categories
d e p e n d i n g o n h o w t h e y a r e f o r m e d . T h e i n t e r v a l s w i t h i n t h e first c a t e g o r y a r e
seconds, thirds, sixths, a n d sevenths, w h i c h m a y b e " m a j o r " ( M ) , " m i n o r " ( m ) ,
"diminished" (d), o r "augmented" ( A ) . A n oft-repeated, simple rule f o r
r e m e m b e r i n g t h e classificaon o f t h e s e f o u r i n t e r v a l s i s t h e f o l l o w i n g :
t h e i n t e r v a l ism a j o r i f t h e u p p e r n o t e isi n t h e m a j o r scale o f t h e l o w e r

note;
t h e i n t e r v a l is m i n o r i f t h e u p p e r n o t e is i n t h e m i n o r scale o f t h e l o w e r
note;
the i n t e r v a l isa u g m e n t e d i f the u p p e r n o t e iso n e h a l f step h i g h e r t h a n
the upper note of the major (or perfect) interval:
C u p to E isa m a j o r t h i r d
C u p t o E i isa n a u g m e n t e d third;
o t h e i n t e r v a l is d i m i n i s h e d i f t h e u p p e r n o t e i s o n e h a l f s t e p l o w e r t h a n
the upper note of the m i n o r (or perfect) interval:
C l u p to B isa m i n o r 7 t h
C t u p t o Bb is a d i m i n i s h e d 7 t h .
L E A R N I N G A B O U T S C A L E S A N D I N T E R V A L S CHAPTER I 1 1
T h e r e f o r e , i f w e o r d e r t h e intervals a c c o r d i n g t o h a l f steps f r o m s m a l l t o
large, w e have d i m i n i s h e d (d2, d3, d6, d 7 ) , m i n o r ( m 2 , m 3 , m 6 , m 7 ) , major
(M2, M 3 , M 6 , M 7 ) , a n d then augmented intervals (A2,A 3 , A 6 , A 7 ) .
T h e a b o v e r u l e ish e l p f u l i f t h e s t u d e n t uses i t carefully, b u t i t does h a v e its
limitations; for one thing, it does n o t allow f o r the m i n o r second, for instance,
f r o m C t o Db. W e k n o w t h a t t h e s e c o n d scale d e g r e e i n t h e m i n o r scale, l i k e
t h a t i n t h e m a j o r scale, lies a m a j o r s e c o n d r a t h e r t h a n a m i n o r s e c o n d a b o v e
t h e s c a l e ' s first n o t e . T h e r e f o r e t h e s e c o n d s c a l e d e g r e e i n t h e C - m i n o r s c a l e i s
the note D , n o t D k Calling the interval C - D b a diminished second m i g h t
t h e r e f o r e s e e m l o g i c a l a t first, b u t a s w e c a n s e e i n t h e f o l l o w i n g c h a r t , t h e
d i m i n i s h e d f o r m o f t h e s e c o n d ( w h i c h a c t u a l l y s o u n d s l i k e a unisn) i s o n e
half step t o o small:
Major (M) Minor (m) D i m i n i s h e d (d) A u g m e n t e d (A)

as
C-D C-Db C-Dbb C-D
-X rtE* 9 n 1
j-i bbo 9 L*> i t flo
Ti j- i f r i ^ fe %J d \ fehp ,JIP;
2 half steps or 1 half step a unisn 3 half steps or

1 whole step 1 whole step
a n d a half step
3 r d s
C-E C-Eb C-Etb C-Ef

fl I..., u ,
8 5E " X i m i y
fe
4 half steps o r 3 half s t e p s o r 2 half s t e p s o r 5 half s t e p s o r
2 whole steps 1 whole step 1 whole step 2 whole steps
a n d a half s t e p and a half s t e p
6 t h s
C-A C-Ab C-Atb C-A
v
1J
9 half steps o r
4 whole steps
i 3 S
8 half s t e p s o r
4 whole steps
*
7 half steps or
3 whole steps
3 ) a *
10 half s t e p s or
5 whole steps
>
tf* ||
a n d a half s t e p a n d a half step
7 t h s
C - B C-Bb C-Bbfc C-B*
fe V*
11 half s t e p s or 10 half s t e p s or 9 half s t e p s or 12 half s t e p s o r

5 whole steps 5 whole steps 4 whole steps 6 whole steps
a n d a half s t e p a n d a half step
T h i s chart shows that the d i m i n i s h e d f o r m o fa n i n t e r v a l is t w o h a l f steps
smaller t h a n the m a j o r interval, n o t j u s t o n e h a l f step. O u r C - D b , t h e n , w h i c h
is a h a l f s t e p s m a l l e r t h a n t h e m a j o r s e c o n d , i s a m i n o r s e c o n d .
T h e i n t e r v a l s w i t h i n t h e s e c o n d c a t e g o r y , f o u r t h s , fifths, u n i s o n s , a n d
o c t a v e s , a r e d e s i g n a t e d differeny f r o m t h o s e o f t h e first: t h e y a r e n e v e r c a l l e d
major o r m i n o r but instead a r e considered perfect (P). W i t h t h e perfect
f o u r t h a n d p e r f e c t fifth, t h e u p p e r n o t e i s a l w a y s i n both t h e m a j o r a n d m i n o r
scales o ft h e l o w e r n o t e . I f t h e s e i n t e r v a l s are l o w e r e d o n e h a l f step, t h e y are
designated d i m i n i s h e d (d4, d 5 ) ; i f they are raised a h a l f step, they are consid-
ered augmented (A4, A5):
Perfect (P) Diminished (d) A u g m e n t e d (A)
4ths
C-F C - F b C-F
5 half s t e p s or 4 half s t e p s or 6 half steps or

2 whole steps 2 whole steps 3 w h o l e s t e p s (tritone)
a n d a half step
5ths
C-G C-Gb C-G#
7 half s t e p s or 6 half s t e p s or 8 half s t e p s or

3 whole steps 3 w h o l e s t e p s (tritone) 4 whole steps
a n d a half step
O c t a v e s a n d u n i s o n s ( o r p r i m e s ) a r e a l s o c a l l e d p e r f e c t ( o r "pur"),
diminished, o r augmented. W h i l e perfect octaves a n d unisons a b o u n d i n
W e s t e r n music, a u g m e n t e d a n d d i m i n i s h e d octaves a n d primes are infrequent-
ly e n c o u n t e r e d i n m u s i c b e f o r e 1900. T h e o r e t i c a l l y a n d visuallyespecially
within the notation of twentieth-century scoreswe will sometimes encounter
a u g m e n t e d p r i m e s asw e l l asa u g m e n t e d a n d d i m i n i s h e d octaves. T h e s e inter-
v a l s , o f c o u r s e , sound l i k e m i n o r s e c o n d s , m a j o r s e v e n t h s , o r m i n o r n i n t h s :
Jr bwth Ih V ht V-
fr* Ir V
~ir~ r* Y v^f-
A1 A8 d8 A1 d8 d1
I n f a c t , altrnate ( i . e . , " e n h a r m o n i c " ) s p e l l i n g s f o r t h e s e p a r t i c u l a r a u g -

m e n t e d a n d d i m i n i s h e d intervals are used s ofrequently i n music c o m p o s e d
b e f o r e 1 9 0 0 t h a t w e w i l l n o t s p e n d a l o t o f time i n t h i s t e x t o n t h e m . I n c o n -
t r a s t , a u g m e n t e d a n d d i m i n i s h e d f o u r t h s a n d fifths a r e u s e d s o r e g u l a r l y t h a t
they m u s t b e easily a n d q u i c k l y i d e n t i f i e d .
LEARNING A B O U T S C A L E S A N D I N T E R V A L S CHAPTER I 1 3
E N H A R M O N I C S o m e intervals s o u n d alike b u t appear i n d i f f e r e n t spellings i n musical scores.
S P E L L I N G O F F o r i n s t a n c e , t h e i n t e r v a l s B-C a n d B - D b s o u n d a l i k e b e c a u s e t h e i r t o p n o t e s ,
I N T E R V A L S Ct a n d Db, are actually the s a m e p i t c h i n o u r t e m p e r e d scale.* T h e s e t w o inter-
v a l s , h o w e v e r , crate d i f f e r e n t v i s u a l i m p r e s s i o n s o n t h e p a g e :
and
E v e n t h o u g h t h e s e t w o i n t e r v a l s s o u n d t h e s a m e , w e m u s t l a b e l t h e first a
M 2 s i n c e i t i n v o l v e s t w o a d j a c e n t p i t c h ames ( B , C ) a n d t h e s e c o n d a d 3 s i n c e
i t e m b r a c e s t h r e e a d j a c e n t p i t c h ames ( B , C , D ) . W e c a l i t h e p r a c t i c e o f l a b e l -
ing intervals that s o u n d alike b u t have different spellings the "enharmonic
spelling" of intervals.
T h e e n h a r m o n i c s p e l l i n g o f i n t e r v a l s i s u s e d b y m a n y c o m p o s e r s t o crate
greater u n i t y o f voice leading, such as i n t h e f o l l o w i n g m e l o d y w h e r e sharps
a r e f o u n d i n a s c e n d i n g l i n e s a n d fats i n t h e d e s c e n d i n g l i n e :
o [ M I Z^j
E n h a r m o n i c s p e l l i n g c a n a l s o a c c u r a t e l y d e s i g n a t e t h e h a r m o n i c funcon
o f a p i t c h t oassure its c o r r e c t r e s o l u t i o n , s u c h as t h e f o l l o w i n g i n t e r c h a n g e o f
the augmented sixth with the m i n o r seventh:
- /
- f e Wzz fc b. 1
" t r ^ ^ ^
ft b d ^
1 u U*-i o ^J Ll [Al U
A6 m7
I n examples a a n d b above, the t w o chords d e n o t e d w i t h a n asterisk (*)

s o u n d a l i k e , b u t t h e first f u n c t i o n s a s a n a u g m e n t e d s i x t h c h o r d , w i t h t h e F l
resolving u p to G, a n d the second functions as a d o m i n a n t seventh chord, w i t h
t h e G> r e s o l v i n g d o w n t o F .
* N o n t e m p e r e d i n s t r u m e n t s , s u c h as s t r i n g s a n d e v e n t h e h u m a n v o i c e m a y p e r f o r m C l
a n d Db w i t h a slight t o n a l v a r i a t i o n , b u t f o r m o s t ears a n d f o r o u r early attempts at
sight singing, w e s h o u l d n o t concern ourselves too m u c h w i t h these very small devia-
tions i n pitch.
W R I T T E N E X E R C I S E S
L a b e l e a c h i n t e r v a l a n d i n c l u d e t h e n u m b e r o f h a l f steps.
P 4 (5) M3(4) P5(7)

3 T
O
O
10
^ "4\=P>
v ( 1
r Jal
il
\ 0
/-KM.
0
^
11 12 13 14 15
i 1
ll
; to
o ! 10 l t
16 17 18 19 20
/ 1 0 1
I
I " Li > i
* t e
21 22 23 24 25
o o
26 27 28 29 30
v <F " r 1 0
f r-^rn n
T
vz9 i tti e 1 ^0 1
/ Vi
Fill i n the missing pitch.
1 P4 up 2 m3 down 3 M 7 up 4 d5 down 5 M 2 up 6 M 6 down

y i S-
/_ *-v l
0
70
7 m2l 8 M6' 9 A4' IO P4l 11 m 6 l 12 M7l

L\- t> O
fl ^
11
-
13 P5 14 m6 15 M2. 16 m6 17 P4 18 m7l
u
50 0
If 10
"^J 0 I
LEARNING A B O U T SCALES A N D INTERVALS CHAPTER I 15

19 M3 20 m3 I 21 M6l 22 P5l 23 A4 24 m2
O
9 -f>e-
25 M6 26 m6l 27 P5 | 28 d5 29 A2 t 30 M71
4 _ Th I u l
o
16 CHAPTER I L E A R N I N G A B O U T S C A L E S A N D INTERVALS
C H A P T E R II
SCALAR SECONDS
S i n g i n g S c a l a r S e c o n d s
N o w t h a t w e h a v e s t u d i e d t h e construccin o f b o t h m a j o r a n d m i n o r s c a l e s a n d
their relationships, w e need t o exercise o u r ability t o sing m a j o r a n d m i n o r
seconds, t h e t w o i n t e r v a l s t h a t are u s e d t o c o n s t r u c t these scales.* I n d o i n g s o
w e w i l l g a i n t h e necessary skill t o p e r f o r m a l l m a j o r a n d m i n o r scales as w e l l as
most melodies of the common-practice period (the era i n music history f r o m
the early e i g h t e e n t h c e n t u r y t o the late n i n e t e e n t h century) that s h o w these
scalar relationships.
The Major Second

T h e m a j o r s e c o n d ( M 2 ) isthe distance o f o n e w h o l e step (or t w o h a l f steps)
between two pitches.
P R E P A R A T O R Y E X E R C I S E S
P l a y t h e first p i t c h o f e a c h s e t o f p i t c h e s ( i n d i c a t e d b y r e p e a t m a r k s ) o n t h e
p i a n o o r o n any o t h e r " C " (nontransposing) i n s t r u m e n t a n d t h e n sing the rest
o f t h e pitches w i t h o u t t h e p i a n o o r i n s t r u m e n t . R e p e a t e a c h set several times
u n t i l t h e c h a r a c t e r i s t i c s o u n d o f t h i s i n t e r v a l is w e l l e s t a b l i s h e d i n y o u r ear.
4ii=" # i- " #i-1... # i " # ^ u

ii
:
7 , 8 9 10 11 0 12
*>
\
\ O r\ t ' f TTTE 1
}
I
\ o , i o '-i $ 'r
*Since an augmented second occurs i n b o t h the u p w a r d and d o w n w a r d m o t i o n of the

h a r m o n i c m i n o r scale, h o w e v e r , w e advise t h a t t h e s t u d e n t practice a f e w o f these i n t e r -
vals i n C h a p t e r V I I I ( p p . 1 3 4 - 3 5 ) b e f o r e a t t e m p t i n g t o sing t h e h a r m o n i c m i n o r scale.
S C A L A R S E C O N D S C H A P T E R II 1 7
13 14
oz t :|||:t DZ JE
O t
90 o
S O U N D T H E P I T C H A N D S I N G
Play the notated pitch o n the piano, a n d t h e n sing the given interval above o r
b e l o w t h e n o t e . D o n o t p l a y t h e p i t c h y o u a r e t o s i n g u n t i l after y o u h a v e s u n g
it; t h e p i a n o s h o u l d o n l y b e u s e d t o c h e c k y o u r accuracy. D othese exercises
v e r y s l o w l y a n d d e l i b e r a t e l y a t first, a n d t h e n i n c r e a s e y o u r s p e e d g r a d u a l l y .
P l a y e a c h n o t e , t h e n s i n g a m a j o r s e c o n d above i t .
/ i,
1
1
V J ti I 0 1
P l a y e a c h n o t e , t h e n s i n g a m a j o r s e c o n d below i t .
I O
3 E
Play the given note, then sing the indicated pitch.
M2 up M2 down M2 down M 2 up M 2 up M2 down M2 up M2 down

1
0 / *J vi)
M21 M2 M21 M21 M2 M2 M2 i M2

-J? IK 6
* H r n 9 ^ L . - I ? _.. . > n
n f pe
N O N R H Y T H M I C E X E R C I S E S
P l a y t h e first n o t e o f e a c h e x e r c i s e o n t h e p i a n o , t h e n s i n g t h e e n t i r e e x e r c i s e
w i t h o u t a c c o m p a n i m e n t . D o i t s l o w l y a t first, a n d t h e n i n c r e a s e s p e e d w i t h e a c h
successive r e p e t i t i o n . I f a n exercise is o u t o f y o u r voice range, feel free t o trans-
pose it u p o r d o w n a n octave; b u t b e sure to m a i n t a i n the i n t e n d e d intervals.*
* I n t h e n o n r h y t h m i c e x e r c i s e s , a l l accidentis a p p l y o n l y t o t h e n o t e s t h a t t h e y p r e -
c e d e . I f t h a t p i t c h is i m m e d i a t e l y r e p e a t e d a n d t h e r e is n o r e s t t o seprate t h e n o t e s ,
t h e a c c i d e n t a l a p p l i e s t o t h e r e p e a t e d n o t e as w e l l .
18 C H A P T E R I! S C A L A R S E C O N D S
. * i
. tt* * ft * . % t* tt
* i
S C A L A R S E C O N D S C H A P T E R II 19
1
The Minor Second

T h e m i n o r second (m2) is the smallest interval between two pitches i n t h e
W e s t e r n t o n a l system. I t is the "nearest" interval, o n l y o n e h a l f step away i n
either direction.
A s w i t h t h e p r e v i o u s e x e r c i s e s d r i l l i n g t h e m a j o r s e c o n d , p l a y t h e first p i t c h o n
t h e p i a n o a n d t h e n s i n g t h e g i v e n set o f p i t c h e s . E a c h set i s b r a c k e t e d b y r e p e -
tition m a r k s ; r e p e a t e a c h set several times.
f
1 2 3 4 5 6
f
. O U l t 4 f i
U o
r
t i > i P o H r " ~ ' j _ e " i 4
8 9 1 0 11 1 2
^ o _
t t t
e
I
7
. r
:
n" :
\ O " 1
Play the notated pitch o n the piano, and then sing the given interval above o r
below the note.
P l a y e a c h n o t e , t h e n s i n g a m i n o r s e c o n d above i t .
?0 - o -
20 C H A P T E R II S C A L A R S E C O N D S
P l a y e a c h n o t e , t h e n s i n g a m i n o r s e c o n d below i t .
i t B P i
V * 1
" ''
v
" S o y o
1
1
P l a y t h e n o t e t h a t is g i v e n , t h e n s i n g t h e i n d i c a t e d pitch.
m 2 up m 2 up m2 down m2 down m 2 up
m2 m2 1 m2 m2 m2l
trcr
3 = 331
O
m2 m2 m2 m2 l m2
o Q
9
rrr
w i t h o u t a c c o m p a n i m e n t . Start slowly, a n d t h e n after several repetitions t r y to
increase your speed.
\>m \\0 \> m ^ fti=^ r
i 2
3=*
- k * t u
3
-9+
#
m H # #
? 9
$
--p \ u . \
Singing Major and Minor Scales

W e a r e n o w r e a d y t o s i n g t y p i c a l s c a l a r p a t t e r n s u s i n g t h e s e t w o i n t e r v a l s , first
i n a series o f n o n r h y t h m i c exercises, n e x t i n m e l o d i e s d r a w n f r o m m u s i c litera-
ture. Finally, w e will sight sing melodic patterns featuring the m a j o r a n d m i n o r
second that are a bit m o r e challenging, d u e t ot h e i r m o d u l a t o r y o r s o m e t i m e s
chromatic nature.
w i t h o u t a c c o m p a n i m e n t . Start slowly, a n d t h e n after several repetitions t r y t o
increase y o u r speed.
W h i l e these exercises consist m o s t l y o f m a j o r a n d m i n o r scales, a f e w t h i r d s
22 C H A P T E R 11 S C A L A R S E C O N D S
a n d f o u r t h s occur, b u t these r e t u r n to notes that you've already sung. T h e s e
"discrepancies" add interest to the line a n d present a bit m o r e o f a challenge.
B u t t h i n k a b o u t e a c h i n t e r v a l as y o u s i n g i t ; d o n o t t a k e y o u r k n o w l e d g e o f
these intervallic relationships f o r granted!
M a j o r - S c a l e E x e r c i s e s
S C A L A R S E C O N D S C H A P T E R 11 23
M i n o r - S c a l e E x e r c i s e s
a . N a t u r a l , S i m p l e , o r Pur M i n o r
>
,
m 2
4= _b
_ 9 #
a
m 0 9 _ 9 0
a 0 m 0
0% mW

mm\

m%\
? *
_
0 , _ . _
4=
3
_ 0 , '
7 m m
m m
^ t> , 0 0 ... f ....
| r ' 9 T,
7 1
m
m
-2-4- m
m
7 r
7 . . . . .
4 = ' ' '
*t i * * ' * :
. ^
4=
?
5
0
>, . , . >
m
* * ' * *
0 * m * I
y. m 0 m 0 9 __
b. M e l o d i c M i n o r
c. H a r m o n i c M i n o r
Exercises for Performance
M E L O D I E S F R O M T H E L I T E R A T U R E
S i n g the f o l l o w i n g melodies, w h i c h are t a k e n f r o m vocal asw e l l as i n s t r u m e n -

tal l i t e r a t u r e . T h e s e tunes are m o s t l y based o n m a j o r a n d m i n o r s e c o n d s t h a t
is, w h o l e - a n d h a l f - s t e p m o t i o n a l t h o u g h a l l c o n t a i n a f e w o t h e r i n t e r v a l s .
Sing the melodies v e r y slowly, checking y o u r p i t c h a ttimes w i t h t h e p i a n o b u t
not p l a y i n g a l o n g o n t h e p i a n o w h i l e y o u s i n g .
Y o u m a y wish t opractice certain r h y t h m i c exercises f r o m Part T w o before
a t t e m p t i n g t osing these melodies. F o r melodies 1 ,2, 3 , 4 , a n d 8 w e suggest
particular examples w i t h w h i c h y o u m a y w a r m u p . These directives give a n
idea o fh o w y o u can precede all o fthe melodies i n Part O n e w i t h r h y t h m i c
exercises f r o m Part T w o that f o c u s o n a particular m e t e r or r h y t h m i c pattern.
If t h e rhythmic e x e r c i s e s that a r e suggested b e l o w h a v e a l r e a d y b e e n c o v e r e d ,
simply review t h e m before singing the melodies.
1 Practice n u m b e r s 9-11 o f the Regular R h y t h m i c Exercises i nChapter XII

(p. 183) b e f o r e s i n g i n g this n e x t exercise.
Easter H y m n
Broadly
2 Practice n u m b e r s 5 - 6o fthe Preparatory R h y t h m i c Exercises i n Chapter X I I

(p. 185) b e f o r e s i n g i n g this exercise.
S y m p h o n y N o . 9
Ludwig van Beethoven
Allegro
= 4=
(m ' 4 . i 1 -* m 0 0 0 0 0 J* 0
*
#*
1

r 4 - r - f 1
0
a

0 mM
0 -0
r ~M aa--m
mm
-J- 1
a
" 0 0i
m
_0 o
i
-M
S C A L A R S E C O N D S C H A P T E R 11 2 7
3 Practice n u m b e r s 1 - 5 o f the Regular R h y t h m i c Exercises i n Chapter X I I
(pp. 179-80) before singing this exercise.
S y m p h o n y N o . 1
Johannes Brahms
Allegretto
?=tz
j ^ n i-tfj J JJ i^j J--~J=
4 Practice n u m b e r s 9-11 o f the Regular R h y t h m i c Exercises i nChapter X I I

(p. 180) b e f o r e singing this exercise.
Romeo and Juliet
P y o t r H'yich T c h a i k o v s k y
Stately
te
p0-
f
te
5 Haydn Variations
Brahms
Simply
m m
m
PP
m 6 The Creation
Franz Joseph Haydn
Fast
n i
* ~ t i i m
H = -e
' j
t \-m
* 0 o
J . m* m mm
28 C H A P T E R II S C A L A R S E C O N D S
8 Practice n u m b e r s 1 - 2 o f t h e Regular R h y t h m i c Exercises i n Chapter XIII
(p. 201) b e f o r e s i n g i n g this n e x t exercise.
The Moldau
Bedrich Smetana
Flowing
fe
5
-= #
0 "
r p r 'r r
i r - w -
*
M J ,1 h J NI
i^-l
h y -
r p' p
1
4 J ' m 0
9 S y m p h o n y N o . 7
Beethoven
Slowly
r ir I T c/irr ir efi'cjrr
* *
itv i f ~ f i r cjm r ii
1 0 S y m p h o n y N o . 1
Gustav Mahler
Slowly
11 S y m p h o n y N o . 2
Howard Hanson
Lento
S i
<9 0 0 0 & * #
m
c x ! r f i r r r
90> f^*4nd
S P E C I A L L Y C O M P O S E D M E L O D I E S E M P H A S I Z I N G M A J O R
A N D M I N O R S E C O N D S
H e r e i s a s e t o f e x e r c i s e s t h a t f e a t u r e a g r e a t e r o c c u r r e n c e o f accidentis.
S o m e melodies contain m o d u l a t o r y patterns; others are n o t necessarily cen-
t e r e d a r o u n d a p a r t i c u l a r key. M o s t o f these exercises, however, d ohave t o n a l
centers that will reveal themselves w h e n t h e melodies are mastered; t h e best
way t o approach t h e m , nevertheless, is purely b yinterval. Sing each m e l o d y
slowly, c o n c e n t r a t i n g o n o n e i n t e r v a l a ta t i m e . I n d o i n g so y o u s h o u l d b e able
to master t h e d i f f e r e n t seconds c o n t a i n e d w i t h i n t h e m .
j 1 H
1 l i a
' 1 * J

i j
f
.
J
* -^
s
<> j j J i j j
#tr
i ^ J t J - M i J ^ ^ r ^ r t ' r r r ir ^
2
Flowinff
;
J M f l : T^l 1
-/-W-lr
f j j - -| 1
= r = ^
t i ^ J I J j j X i j ^ J j J J j i J - J H
3
In a relaxed manner
te 6
4 j
te
> r
{
a r t u
4
Rather fast
i
F - 9
- f T r
0 " 4 J U*-*U
>
5
Slowly
J I J J , J I J
r i 1
r
=
1
-* yo \
* a
Happily
7 Pay special attention t o t h e e n h a r m o n i c spelling i n m e a s u r e 4 : A = Bb, w h i c h

will m a k e t h ew h o l e step t o C very easy.
Quite slowly
* 1 i * > i i
i f 1 J
* ^ 4
1
C H A P T E R III
THE PERFECT FIFTH AND
THE PERFECT FOURTH
The P e r f e c t F i f t h
T h e p e r f e c t fifth ( P 5 ) i s o n e o f t h e m o s t i m p o r t a n t i n t e r v a l s i n W e s t e r n m u s i c .
I t s p r o m i n e n c e a n d d i s t i n c t i o n s t e m f r o m t h e f a c t t h a t i t i s t h e first " n e w " n o t e
i n t h e h a r m o n i c s e r i e s a f t e r t h e unisn a n d t h e o c t a v e :
fundamental overtones etc.

Harmortic Series of C _ty.~
P5
P8
T h e w o r d " p e r f e c t " u s e d t o d e s c r i b e t h i s i n t e r v a l (as w e l l a s t h e p e r f e c t f o u r t h ;

see b e l o w ) s t e m s f r o m s e v e r a l p r a c t i c a l a n d h i s t o r i c a l sources. I n t h e e a r l y his-
t o r y o f W e s t e r n p o l y p h o n i c m u s i c , t h e fifth a n d t h e f o u r t h w e r e c o n s i d e r e d
t h e o n l y t r u e c o n s o n a n c e s a s i d e f r o m t h e unisn a n d o c t a v e ; * t h e y w e r e c o n s e -
queny t h e m o s t frequeny u s e d . P r a c t i c a l l y s p e a k i n g , t h e s e i n t e r v a l s a r e
called "perfect" because they r e m a i n constant even i fthe m o d e o f a piece
changes f r o m m a j o r to m i n o r o r vice versa. (As w e l e a r n e d i n C h a p t e r I , this is
n o t t h e case w i t h s e c o n d s , t h i r d s , s i x t h s , a n d s e v e n t h s , w h i c h c h a n g e q u a l i t y
w h e n m o v i n g f r o m the m a j o r to the m i n o r m o d e , o r vice versa.)
T h e p e r f e c t fifth i s m a d e u p o f s e v e n h a l f s t e p s , o r t h r e e w h o l e s t e p s a n d
o n e h a l f step. T u n e this i n t e r v a l w e l l , f o r i n o u r t e m p e r e d scale system, t h e
p e r f e c t fifth h e l p s t o s t a b i l i z e t h e i n t o n a t i o n o f a p i e c e o f m u s i c . W e r e c o g n i z e
t h a t a l l s t r i n g s t u n e t o i t o r t o t h e p e r f e c t f o u r t h , a n d i t is a v e r y u s e f u l i n t e r v a l
f o r t u n i n g v o i c e p a r t s as w e l l .
* T h e n u m e r i c a l r a t i o s t h a t d e f i n e t h e unisn 1 / 1 , t h e o c t a v e 2 / 1 , t h e p e r f e c t fifth 3 / 2 ,
a n d t h e p e r f e c t f o u r t h 4 / 3 a r e a l l b a s e d o n t h e first t h r e e p r i m e n u m b e r s , a f a c t o r t h a t
reflected the a l l - i m p o r t a n t theological concept o f the T r i n i t y d u r i n g the M i d d l e Ages.
32 C H A P T E R III T H E P E R F E C T FIFTH A N D T H E P E R F E C T F O U R T H
P l a y t h e h r s t p i t c h o f e a c h set o f p i t c h e s o n t h e p i a n o , a n d t h e n s i n g t h e rest o f
t h e set w i t h o u t a c c o m p a n i m e n t .
7 8 9 10 11 12
r r + _____
"
O
_T_
I 0.
1 c. 1 1 0 1
I O ___? r
I 1 0
1 + 0
1
1
13 14 15
y 1 1 1 - - -41
A i 0 11 <>
rH 1 4 r ~ H
r"j" i.) "t 'O ~~
o o
16 17
o
I O o
?e1 o ~
1 8
r>r (.o L o u -
% r-\ -r_r M-m-s Tn Til 1 _
f):
"
1
1 /1 I* - y * * 7O \
P l a y e a c h w r i t t e n n o t e o n t h e p i a n o a n d s i n g a p e r f e c t fifth above i t b e f o r e
g o i n g o n t ot h e n e x t note. T h e n g oback to the b e g i n n i n g , play each n o t e a n d
s i n g a p e r f e c t fifth below i t .
_S ICE
o o
--- -ErO- ,O tu: o
3 o
THE PERFECT FIFTH A N D T H E PERFECT F O U R T H C H A P T E R III 3 3

Play the w r i t t e n note a n d sing the appropriate interval.
P5 d o w n P5 up P5 d o w n P5 d o w n P5 up P5 d o w n P5 up P5 d o w n P 5 up P5 up P5 d o w n P5 d o w n
L ~_ n
I- O Tf O - Ul i o Ln o -o ~i ~m H _T_
P5 P5l P5j P5 P5l P5l P5 P5 P5 PSl I P5l P5

/ _r_ t
f t
-W m ' T
-
> ?o i
P5l PSl P5 P5 P5 P5l PSJ i P5l P5 PS P5t P5|
6V
/ ?o o- 1
' A\ nt tt r 0
o T _r_
o -
P5l P5| P5 P5l P5l P5 P5 P5 P5 P5 P5 P5

Y .. fl o i wv
;t V * Hr *' 1
,>o fl0
- 1
^ L. .. ' t 1
P l a y t h e first p i t c h o f e a c h e x e r c i s e o n t h e p i a n o a n d t h e n p e r f o r m t h e r e s t o f
the exercise w i t h o u t a c c o m p a n i m e n t . C h e c k y o u r p i t c h at the e n d . F o l l o w this
p r o c e d u r e for all exercises i n the rest of this chapter.
34 C H A P T E R 111 THE PERFECT FIFTH A N D THE PERFECT FOURTH

4
The Perfect Fourth
T h e p e r f e c t f o u r t h ( P 4 ) i s c o n s t r u c t e d o f five h a l f s t e p s , o r t w o w h o l e s t e p s
a n d o n e h a l f step. I nthe h a r m o n i c series this i n t e r v a l appears just after the
perfect fifth:
fundamental overtones etc.

H a r m o n i c Series of C fy. o
""P8
T h e p e r f e c t f o u r t h i s t h e inversin o f t h e p e r f e c t fifth.
*'Ri_Pf_ATORY E X E R C I S E S
P l a y t h e first p i t c h o f e a c h s e t a n d t h e n s i n g t h e r e s t w i t h o u t a n i n s t r u m e n t a l
accompaniment.
||: U % : | | | g = = l j O
3_C 11= I =11
10
*ll=.o "" = ll t 17X1~ 7O
11 12 13
+ -I t> 0 \ Tn
" I . 0 y O O 'T
\ ?<y kt3 k o / % f X-
t> t>
14 15 16
t> f-
17 18
t O
ty o o o . o o 1>
o 1> 3_r
19
t>
t
t t t
t>
2 0
i * , k
7 o I T X : ~t~rr
E H -?e-
[-t
-f*e-
t
36 C H A P T E R 111 T H E PERFECT FIFTH A N D T H E PERFECT F O U R T H

P l a y t h e w r i t t e n n o t e o n t h e p i a n o a n d s i n g a p e r f e c t f o u r t h below i t . T h e n go
b a c k , p l a y e a c h n o t e a n d s i n g a p e r f e c t f o u r t h above i t .
o
o o
o o o
o
1 X\ 1
><>
** r> 1

> '
S - o
1
' _~_
"
I
1
-9- _9t
_____ *- (m O
o - 1
Play the written note, t h e n sing the appropriate interval.
P4 down P4 down P4 up P4 down P4 up P4 up P4 d o w n P4 up P4 up P4 d o w n P4 down
ZVSL o
O o
o
P4l P4 P4 P4 P4l P4 P4| P4 P4| P4
-i * v
' bM o" iU _ - _ t>
S /*_ T
>ti O
P4l P4| P4 P4 P4| P41 P4 P4i P4i P4l P4|

to
/y o T _r_
TI O
_r_
f<T\
t i
P4 P4| P4 P4l P4l P4 P4 P4| P4l P4l

O _____
_ s rcr O
o
P4l P4| P4 P4 P4t P4l P4 P4 P4| P4l

b-o-
fe: O
t>
t-UC o
4 -'-"
T H E PERFECT FIFTH A N D T H E PERFECT F O U R T H C H A P T E R III 37
2
38 C H A P T E R III T H E PERFECT FIFTH A N D T H E PERFECT F O U R T H

7

i
-fh _ _ # #
l . * *
# c > *
u 8
* ' . ' i ' I I -
Mixing Perfect Fifths and Perfect Fourths
P l a y t h e s t a r t i n g p i t c h f o r e a c h set o n a n i n s t r u m e n t a n d t h e n s i n g e a c h set a t
least t h r e e times.
D
t>- {>-
u n
ICE 11= . l o * " =11
--
6
J_ 9
^- 1 1 = ' ' W l : 0
^ # " " . . =111= =11 tro-
tan
l - la 14 15
1
-
>- o
o ll=... l o =ll
16 17 18
><>
I7TT" TXT
f>-
i | _ _ J f | ' " o ' " t ' _ E _ |
f> [7XT
t>-
19 20
*> _o_
1

ICE =?e- 7 O' {7- {70 CT "O O
CE zxx
ICE f7--
21 22
1: |. < v o ;4 O j
Z
1 -. 1 3
y-, r i 7f
o o 0
>
n o )
* I I - 1 1
" h tan f>- PXT~
- t>-
7 f?_

23
o 1)
- t o t t O" -fe- 7 O
O r <> t Q-
24
lili
t t
O t t T T t O
t t
t
r
t t t
t
t
25
t 7 O
t 9&- t | pt I [Q- t
t t
t O t t t
> t <>
1 V i o l i n Concert
Andante Ludwig van Beethoven
E Z :
_ _
T T
n |i> r J J y , _ t - II
40 C H A P T E R III T H E PERFECT FIFTH A N D T H E PERFECT FOURTH

3 C a n o n
William Byrd
(Quite slowly)
2. i .
fl |, 1
i
L
i
r r ir r
~ F m - j _ i
r 'r r r i r
9
J J 1
t *
J JJ
-l r f
- f H i T f f ^ * n J i
-V j. r" L f i -Lf- * J
3 wis
4 Entr'acte f r o m Carmen
G e o r g e s Bizet
Andantino
L f ir f
T ^ _ A ^
r r^,P.,tf P.,p.y^.,|rprnrMii
l )

5 Israeli Folk S o n g
R a t h e r slowly
FF= I i J r - j J
J
J J
=
n i , i J J
&
r r C J
-H j F=\ | ! i
1 1 j j

^5r
- T T r
= ^
' f -
f> ,
*LZ^
e
1
- --
J 4 ? 1
j I J J J #
= = t &
6 L'Arlsienne Suite N o . 2
Bizet

_
7 J J ^ j 1
J J J J i 'J J J y 3J 7 J 1
v "
0 _
=3=0 0 0 0 J
* # ~

-
1
J-
r j i 1 1
al al
d
S - :
0 0 y J JL- 4m 9 1
J i ' 7
"
8 "Sleepers, W a k e ! " f r o m Cantata N o . 140
Johann Sebastian Bach
Broad
i ' v o m
H s m s 6 O G ...
-
e .
e %
r J p H 1 1
o ' 6 n 1
L ^ J J
o
T H E PERFECT FIFTH A N D T H E PERFECT F O U R T H C H A P T E R III 43

1 0 C a n o n
Paul Hindemith
Brisk
1. 2
, () N i L
T 7 = ^ w 1
?
j - j H -
r i>
^ F r ~ ^ * S S s o *tr__ |J h J
L
B u
~ ~ m ^ __d 0 J
11 Fanfare (Third S y m p h o n y )
Aaron Copland
Stately
ES
3=
1 2 Concert for Orchestra

Bla Bartk
F a s t ( i n 1)
f 4 = =
r i m
*Y~
m
7
- V m 1
pp 1 -1
0 0 3 =
5 = f
?_#
y
-i V 7 7
-i
= F =
44 C H A P T E R 111 T H E PERFECT FIFTH A N D T H E PERFECT FOURTH

SPECIALLY COMPOSED MELODIES EMPHASIZING
P E R F E C T F I F T H S AND P E R F E C T F O U R T H S
T h e s e m e l o d i e s c o n s i s t o f mosy fifths, f o u r t h s , w h o l e s t e p s , a n d h a l f s t e p s s o
that y o u m a y gain further experience i n practicing these intervals. Again, the
t o n a l centers will reveal t h e m s e l v e s asy o u m a s t e r these exercises.
Moderately fast
mi *
*
f = t = f 3
m
r h -
-= 'r L, \>* i y H

* i Y r ^ }0
4 ^ r - 4
V e
A s fast as possible
I . N J
L L 1
0 . 0
r>
7 7 _ -77-
r r r i y u I**#
R a ther slowly
1P 5 = f 70 1 "j^* ^ 1
1 ~
^ i \ H J V
_^= 1
; L m
r r
T V
1.
>
- > \ f 0
-?w
*
/ 7 r ____ ! 1
f
T 1 - 1 , k 1

> : ^ h-r-i
0 * 0 - V ^ M
1 ' | J
c J 1
'0
THE P E R F E C T F I F T H AND T H E P E R F E C T F O U R T H CHAPTER III 4 5

4
L i g h t l y m o v i n g ( i n 1)
r f K - u J
7 7
p -= = i 1
* f
^ 11
ma L 1
- A fcn_ i r i * 7 J L.
i f
1 P r. ^ ^ ^
Deliberately
3 __=
r9 Ti-*
5=
b
r 1 , 1 , 1
^ ! i
6 Practice n u m b e r s 1-3 o f the Regular R h y t h m i c Exercises i n Chapter X V
(pp. 22627) before s i n g i n g this n e x t exercise.
THE PERFECT FIFTH A N D T H E PERFECT F O U R T H C H A P T E R III 47

C H A P T E R I V
THE THIRD
T h e imprtame o f t h e t h i r d i n t o n a l m u s i c c a n n o t b e o v e r e s t i m a t e d b e c a u s e i t
is t h e i n t e r v a l t h a t d e f i n e s t h e m o d a l i r y o f a p i e c e o r m u s i c a l p a s s a g e ; w e
s h o u l d therefore b e especially conscious o fthe difference i n s o u n d between
the major third and the m i n o r third.
W h i l e u n i s o n s , o c t a v e s , p e r f e c t fifths, a n d p e r f e c t f o u r t h s w e r e c o n s i d e r e d
perfect consonances d u r i n g the early history o f Western music, thirds and
s i x t h s (see C h a p t e r V I ) w e r e t e r m e d " i m p e r f e c t c o n s o n a n c e s " * a n d w e r e n o t
o f t e n used as stable c o n s o n a n c e s u n t i l t h e s i x t e e n t h century. T h e t e r m s
" m a j o r " a n d " m i n o r " t o d e s c r i b e t h i r d s (as w e l l as s e c o n d s , s i x t h s , a n d s e v e n t h s )
carne i n t o favor m u c h later, d u r i n g t h e e i g h t e e n t h century, w h e n t h i r d s t o o k
on am o r e primary role i n defining the modality of a musical composition.
I n s o m e f o r e i g n m u s i c a l t e r m i n o l o g i e s m a j o r a n d m i n o r thirds are desig-
n a t e d b y the t e r m s "large t h i r d " a n d "small t h i r d , " respectively. T h e s e t e r m s
might help i n guiding u sh o w t otune each third: the major third should b e
s u n g o n t h e " h i g h " side ( b u t w i t h o u t g o i n g sharp) a n d t h e m i n o r t h i r d o n t h e
" l o w " s i d e ( b u t w i t h o u t g o i n g fat).
T h e M a j o r T h i r d
T h e m a j o r t h i r d ( M 3 ) is c o n s t r u c t e d o f f o u r h a l f steps, o r t w o w h o l e steps, i n
e i t h e r direcon f r o m a g i v e n p i t c h .
PREPARATORY EXERCISES
P l a y t h e first p i t c h o f e a c h s e t o f p i t c h e s o n t h e p i a n o , a n d t h e n s i n g t h e r e s t o f
t h e s e t a cappella, o r w i t h o u t a c c o m p a n i m e n t .
I # . . # ||.. # > 0 # " 1 1 , 1

# " I
* T h i s is pary b e c a u s e t h e n u m e r i c a l r a t i o s t h a t d e f i n e t h i r d s a n d s i x t h s a r e m a d e u p
o f p r i m e n u m b e r s t h a t are larger t h a n t h e t h e o l o g i c a l l y correct 3; f o r instance, a m a j o r
t h i r d is 5 / 4 , a m i n o r t h i r d 6 / 5 .
48 C H A P T E R IV T H E T H I R D
SOUND T H E PITCH AND SING
P l a y e a c h w r i t t e n n o t e o n t h e p i a n o a n d s i n g a m a j o r t h i r d above e a c h o n e .
T h e n g o b a c k t o t h e b e g i n n i n g , p l a y e a c h n o t e a n d s i n g a m a j o r t h i r d below i t .
o 1
1
1
1
^ - T " I
S
/ , 4
* o 1
" I I 1
?0 f 1
:9t
o o
Play the written note a n d sing the appropriate interval.
M 3 up M 3 up M3down M 3 up M 3 up ,M3down M3 down M 3 up M3 down M 3 up
y .. - r , , -
[ti
t
U JO T ^
uo no
T H E T H I R D CHAPTER IV 4 9
M3j M3 M3 M3i M3 M3 M3I M3i M3
9: 50 bi
f " T
0
Jll
M3 M3 M31 M3I M3J M3I M3 M3I M3I M3
o:
o
4
M3 M3 M3l M3 M3 M3 M3l M3 M3l M3t
IM O
O i) 7Q~
M3 M3f M3l M3 M3 M3 M3 M3 M3 M3 M3i M3T

o --
M3l M3i M3l M3 M3 M3t M3 M3 M3 M3t

4>* o .
4 :
*
NONRHYTHMIC EXERCISES
P l a y t h e first n o t e o n l y a n d t h e n p e r f o r m t h e r e s t o f t h e e x e r c i s e w i t h o u t
a c c o m p a n i m e n t . C h e c k y o u r p i t c h a f t e r compleng e a c h e x e r c i s e . F o l l o w t h i s
p r o c e d u r e f o r all exercises i n the rest o f this chapter.
50 CHAPTER IV T H E T H I R D
3
m 4
m ti' * ' , 0-
. . r - *
' *' j t
" *' ' - >. ^ t ^ tf- to IH * ' - ~ .
t , t tf* * tf* >* * " * I * ti* ft* f j tf<

>* * to^
7
m~
f u
T H E T H I R D C H A P T E R IV S1
The Minor Third
T h e m i n o r t h i r d ( m 3 ) is t h e i n t e r v a l o f t h r e e h a l f steps, o r o n e w h o l e step a n d
o n e h a l f s t e p , i n e i t h e r direcon f r o m a g i v e n p i t c h .
accompaniment.
411=.. i # - # - ' " ' # - " i [ o ko #1 i- m
13 14 15 16 17
f 70 f 4 ==to==4
4 *
"-to
JS*o
r
i 70 f ko ?o + L - o " 0 0
18 19
11 >
f1 t i l t i
5
1 1 5T 1 ^ r
1
1* ~ h ^ O "> ^ ^ '
SO 21
k
>4
:
y
1
t9*3
-r*- PO
1
70
1 1

:
7
44 1
U IJ *J ^

U
M I
I
1
" MI
I
#|, ;
t i -
?
* 0
SOUND THE PITCH AND SING
P l a y t h e w r i t t e n n o t e o n t h e p i a n o a n d s i n g a m i n o r t h i r d above i t . T h e n g o
b a c k , p l a y e a c h n o t e a n d s i n g a m i n o r t h i r d below i t .
\J f~m. ti
m " t ~ n o 1
f/TS " E
-ip-ô >o 1 o 1
o
caz
Play the w r i t t e n note, t h e n sing the appropriate interval.
m3 down m3 up m3 up m3 down m3 down m 3 up m3 down

1
y i rao
M ~ f J
V.UJ o \J
m3 m3l m3 m3 m3 m3 m3 I
~\
ti i
' f
1 J O
m31 m3 m3 m3l m31 m3 m3 m3 m3
m3l m3 m3l m3l m3 m3 m3 m31 m31

-rsj n ~. * n ~. r r -
/ t i -/ * -/ o / V-
? y \ qti '
' J O W " W J 1
m3 m31 m31 m31 m31 m3 m31 m31
P l a y t h e first p i t c h o f e a c h e x e r c i s e o n a n i n s t r u m e n t , t h e n s i n g t h e e n t i r e
exercise w i t h o u t accompaniment, beginning slowly and gradually increasing
y o u r speed. R e m e m b e r t h a t t h e rests a r e o n l y suggestions f o rw h e r e t o
breathe.
\
T f >
vvw m - > m
f I >m -

ya
y i
frr\
1
1
1
*
2
i ],w
=
l > . . . . . . ^ [ i
9-- 9+-
* * * \>* # # ^ = I ^ =
rfo /
1 m.,
*
r-
9 0
P#
9~~
6
j9 i b i b ^
- m . u m * 70
* J # B
* ?# ^ i~ V
* * . .
Mixing Major Thirds and Minor Thirds
SOUND T H E PITCH AND SING
Play the w r i t t e n note and t h e n sing the interval that is indicated. B e sure you
t u n e t h e d i f f e r e n t t h i r d s w i t h precisin.
M 3 up M3 up m3 down m 3 up m3 down M 3 up m 3 up m3 down M3 down M 3 up M 3 d o w n

1 _ n ,
H 1 Tl>
frn - J O , ^-v TI
VA) o
~ A T ^ . '
po **
M3l M3 m31 M3t M3 m3l M3 M3l m3j M3

i
/y T^ *-*
?*> ii
o
M3l m3 m3t m3 1 m3l M3t M3l m3 M3f M3

i
L A . ^ I**
S
/ r %^J o
B^J- - i r
1 o
M3 1 m3 l M3t m3 M3 I m3 I m3l M3 M3l m3 1

O
T I O
JO TI
J O l o
M3 m3 1 M3l M3 m3l m3 l M3 M3l m3

6V "0
-ifc y- o
#=^= O J- w
4 ^
T H E THIRD C H A P T E R IV 5 5
Seconds have b e e n added; be careful!
M2 m3l M3 M2 M3 m2 M3 m3 M3l m2 M3 m21 M2

o-
o
5 l
P l a y t h e first p i t c h o n t h e p i a n o a n d t h e n p e r f o r m t h e e x e r c i s e a cappella.
C h e c k t h e a c c u r a c y o f y o u r last p i t c h after e a c h exercise.
r * . I * * 1" .
3
* m
- o i . ^ . * to * ' ' * ' i m . . * . 11
fe*
Cornish Folk S o n g
A n d a n t e J = 72
0
3 #
fe*J
m
J i J 5
ti-
^ i 1 ,
c J r ir J
u r v r LT-
O bella tusa ( T h e S p i n n i n g Wheel)

2
Orlando di Lasso
Gracefidly J = 80
fea -i U JJ
h , , P 1 . 1 , j >
r =r r T r-d

" r r
3 =
9
JMt . - ^ F ,- r y - 1 - _9 ( > J u
$ 1
r r r '* -a % *
T r r ir r r T 1 J
*
r 1
r r
J J IJ J J IJ. > II
THE T H I R D CHAPTER IV 5 7
3 T w o M a c e d o n i a n Folk S o n g s
a
Slowly J = 6 0
te
j A ^ r ^ r J J | : j J
> i . n P r~ r r
tFt
3 J I Q J " P' , E
"=f
r r ^
a^-- 0* $r
HappyJ = 1 2 0
J ' *
4 C h r a l e , S h e e p May S a f e l y Graze
A n d a n t e J =7 2
Fine
5 8 CHAPTER IV T H E T H I R D
m
iJ iJ J iJ. i J ^ J J i J J J "r i r cjr

D.C. al Fine
3
*

JJ"" J~ J
5 S p a n i s h F o l k S o n g , Ya viene la vieja
V e r y fast
h=rr f y - K n i N i ' i . - h i ' ~ T " r v = F - = 7 = i . ~V%P=T

-*^ i =
1
4=^
9\
rr
m 0
-pJ J ; J
g * * * *
JJ0***
l i
-
J4 r
1 1
< il i ' 0 ^ y 0
4
"
1
i^
J
*-=
I *' 'm V *1
: - k r ^ F - 0M *
W
=^
0f

> m '
t= \
#
Thanksgiving Hymn
George J . Elvry
Brightly
j 1 . L K
^ 5=-d^r-p \ = F = f = t = +4- h.J

fe 17
J- M [ i i * J iL J D
r r
-0-^ 0r J J J 11
( i i f
THE T H I R D CHAPTER IV 5 9
7 Magdalena
Johannes Brahms
Poco lento J = 60
H
J
ir r r \gr u p \u
J T J 1 J 0 0
8 The Lamb of God

Traditional Easter Tune
l A 1 1 = = t = p - 1 1 1
# j r
i* h JA
j
1 r
i *
( l V
*
* M-
^
*

<
1 J
v^JjN J
^
__. ^ ^_
"d*1
P
r b / i i i d-T#
E35
i , u m \ p
fe M r m
-=-*--
*a* *
1 ^ *
r
1
i p
" " 1
^
1 J :
-- J 1 > \J 1" m

2 2
4 ^ C
The S w a n of Tuonela
9
J e a n Sibelius
Slowly
. j -m 0Vr0-f 0 m
f=T^=
-p = i
i ^
3
| i
3
i r - F " - r 1
$ r r ' i ;
rfi^
M i J j J J >Jt J JJJJ II
r-i r - i
10 Overture to T h e S c h o o l for Scandal
Samuel Barber
Quietly moving
f>3 :
n I l.J 'r #
11 G / o r y o G o c /
Giovanni Battista Pergolesl
Allegro
^ i k j p | ^> i J p | nTJ~j^
1 2 Practice the r h y t h m s i n L e o n a r d Bemstein's " A m e r i c a " (p. 203) before singing
this n e x t exercise.
North Argentinian Folk D a n c e
Transcribed by Alberto Ginastera
Vivace
j
'r ^ iL/prn
0 -m 0>
1 3 TAie S o r c e r e r ' s Apprentice

Paul Dukas
Vif
35
Jl4LI,J-j
. L L - l V V _J
7 w m I
0 0
1 4 S y m p h o n y N o . 40 n G m i n o r
Wolfgang Amadeus Mozart
-J-A-TJ h i T
r i i ii'M
p
r -1r= i i > J
_ ^ - A J L L
i rf ; J J-si f,
iih i . ri f
*
^ y i h r T h* 0
p 1
fe * t'
a f
f ?
jr
TT -r
JM n
"i ~ -
r
" ~ T i T T - 'i , i i-
I
SPECIALLY COMPOSED MELODIES EMPHASIZING

MAJOR AND MINOR THIRDS
Like a waltz
i 'A > , , = 4 = q 0 1 n-U^ - p
U li J I "
~ J
J J: i J
* * J
J
^ r" ik-
>5_ F |J i # I I i r -
r 1
~ 4 * h J
o
m -0

- j -a
-i * i
0 0- 1
_
0 0 9-0
-V* 0
THE THIRD C H A P T E R IV 6 3
Stately
1 1
p1 J i' h i =4|= b
FC
>: S T T J - - > - Ti
7
> 0 H 1- 7 I J _J
9 f y _f ^p
:
1w
r?r >, r 1
M >
y
7
y J
7 m 7
n J 7
?-i
Stately
r4W
5EEE
-s> -
F
i r * 1m1 "T^T1 ,1 11 1 | _1
7
r u r ^ " T
1
Dancelike
-P ;) 1 'J ' J
fe 4 J n
1

J
to=j J L
1 j 1* U 4=J
^ r ir T ^ U '|J
-J? | | | J ^ / O Ta*
! '
J i i x ~ * i ~ t V
J h J J t J
^ J.irj j |j- J i i r r r ii r r r i r
7
Happily

^
9
4 |)J
hJ 1 l 8to
# g
i JTT
J
s
" iLJ
; J J to J
1 mmmmmmmmm
\ 1 "f f
W t o b J
- J
Practice some "changing m e t e r " Regular R h y t h m i c Exercises i n Chapter X V

f o r instance, Exercise N o s . 3 - 6(p. 2 2 7 ) b e f o r e d o i n g this n e x t exercise.
ly s
Quite SIOM
0 -m
T f
0
n -4r
y

4 . 4 = F +
or : -4-7: 1
T^ Q h4-
4 " t b J
? h;L
~i
> - r r 4" ^ - b.
y
1
p-tm- -#
1 1
1 * * 4-J -4-
1
? j r r 11
;
T H E T H I R D C H A P T E R IV 6 5
D U E T S
H e r e are some duets that emphasize the intervals o fChapters I I t h r o u g h IV.

W o m e n a n d m e n should divide (S + T a n d A + B ) . I f possible, these exercises
s h o u l d b e d o n e a cappella a f t e r o n l y t h e first p i t c h i s g i v e n .
Like a waltz
Sprighy
t
j *- j J>J
j M T5 -O- r J f
P m
r i--
p r\rt
t m
*
LL L ^ = ^ ' 'r- p '
4
Q u i t e s l o w br
-i 1>. 1 4 ^l- - m J
D
v
4 f * i -0--
-0-0 i
* 9
-' r
ti
rr
* 0 * 0 -0-
T~T~f
rr r n
5
Happily moving along
j^LZ.
n
4 ^
J Ti
-i
1
T H E T H I R D C H A P T E R IV 67
7 Bedrich Smetana
Nicely moving
m 8
Fast
* #
1
=fc
9 G e o r g e Frideric Handel
Bright
l % fe J i h i.
fe * * \ t
*
1
- r i:
^
- r H M *
? 1
] J J J J J J
> loo
r
\ 1
$ 1
j< f f r r r II
10
Quietly moving ^
T ^ 1
J 1 H L J fe=^
r * ^ 7< = ^ LL/Jr ' !
I =
-^"hrk- Ti - r - r c
4fl = F t
*

m m
J
*>
i 5
7
1 r 9
l "r - P
7
T h e next two exercises emphasize singing n o t o n l y melodic fifths and fourths
b u t a l s o h a r m o n i c fifths a n d f o u r t h s .
11
Stately
i I i J J J f=F 1-4 )_ L ,J J* 1) 1
. , * ' i
J
H
1
* r f. r
P r
^1 ' t n i r
ni
T i --r 7~jj 4 ?
=rV i r * i
r -1

1
r rrr -f
. m

1 2
Gently flowing
' m i
I T ) . | jtf
i i i i '
i
a
m m i"
m
* -J=4=,
m

i " 3=^1
^b 1 *
m
1 u
1 w
P -f
CANONS
Most of the canons presented i n this a n d subsequent chapters were written o n

n o n - E n g l i s h t e x t s . R a t h e r t h a n risk i n a d e q u a t e o r u n m u s i c a l translacin, w e
h a v e o f t e n c h o s e n t o o m i t t h e t e x t a l t o g e t h e r s o t h a t y o u m a y concntrate o n
the intervallic c o n t e n t a n d p e r f o r m the music accurately. E v e n those c a n o n s
t h a t h a v e b e e n t r a n s l a t e d w o u l d b e n e f i t f r o m p e r f o r m a n c e w i t h n e u t r a l sylla-
b l e s . E a c h c a n o n s h o u l d b e s t u d i e d i n unisn a n d t h e n d i v i d e d u p i n t o p a r t s
o n c e the lines can b e p e r f o r m e d w i t h ease.
T H E T H I R D C H A P T E R IV 6 9
1 Johannes Brahms
4 * 3*
A l l e g r e t t o (4 p a r t s )
2.
0 1
- i i i - i
ar* , i j I J m n n ' # *v *^ 4f
fe " i v j f i* [ j p - y - 7 y y * y I J J J M r
3 J O ' C - s i sirn.
2* 1*
t" s '^ Rebeat three times

Repeat
2 Luigi Cherubini
Happily (3 p a r t s )
1. 2.
J-e = - - ( - 1. J.
-j 0- 0- 1qjf-
1 r
4>
Repeat three times
u 3 Brahms
4 *
Andante espressivo (4 p a r t s )
0 A * f-
#
r r r IIP
E E
_ r ' 1 1 M r T r j
3*
2.
3.
n i - - ^ T T

~ k~^J-
1*
.JL- i 7 ^
- #
^ i J ? 1
j k = J J J JijLi^^
Repeat three times
*4, 3, 2, 1 stop at these f e r m a t a s a t t h e t h i r d repeat.
7 0 CHAPTER IV T H E T H I R D
Andante con moto (4 parts) 4*
1. -O
J J J i l>J J j
3*
O 3.
4
1*
2*
r \ 4.
f l ,h 7~
Repeat three times
5 Anonyrnous, c. 1600
Quiey m o v i n g (4 parts) 4* 3*
2* 1*
#- 00>
:
2 r ir t ii :
Repeat three times
6 A n o n y r n o u s , c. 1600
Rapidly flowing (4 parts) 4* 3*

O 3.
2* 1*
1
i ^ J r r l T i r r ] r r r i
t J J r ' T Repeat three times
7 John Hilton
Q u i t e s l o w l y (3 parts)
1.
fcfc
last t i m e
r.
=f f T*1t J =t= rr~r | V
H
4 = ^ l
w
U i
>
Repeat three times
*4, 3 , 2 , 1 stop at these f e r m a t a s at t h e t h i r d repeat.
Eusebius Mandyczewski
" 2.
' \>0
0
> 2- _ J ^ J Jsf
sP-t 1
L!T r ^-^^
2.
s
r - ^ > i
v j . tf*to J|J 1 ^ r un
# #
^ 4 1
1*
2*
o ~
2* 1*
Repeat twice
* 2 , 1 , t h e fermatas are t h e s t o p p i n g places f o r t h e respective voices t h e second t i m e

through.
7 2 C H A P T E R IV T H E T H I R D
CHAPTER V
SOME OTHER C L E F S
Til A l t o u n e ! Tter&csi" 5 i @ f s
T h r o u g h o u t o u r studies o fintervals u p t othis p o i n t , w e have r e a d m u s i c that
is n o t a t e d o n l y i n t h e t r e b l e a n d bass clefs. H i s t o r i c a l l y , a n u m b e r o f clefs h a v e
been employed i n music written for different instruments, usually to m i n i m i z e
t h e n e e d f o r l e d g e r lines. M a n y o f these clefs are n o l o n g e r i n use, a n d o t h e r s ,
s u c h as t h e s o p r a n o clef, a r e o n l y r a r e l y f o u n d . T w o a d d i t i o n a l clefs, h o w e v e r ,
a r e still f r e q u e n t l y e m p l o y e d . T h e y a r e t h e a l t o clef, i n w h i c h m i d d l e C is
n o t a t e d o n t h e t h i r d l i n e o f t h e staff:
o
o
-1
A |Sy - 69 ^ h- ** = \ i V13 - fe
or
-]
o r J
0: " --t o"
=1 Is
9
-fe
^r-*?-
o rJ
II efe.
J
a n d t h e t e n o r clef, i n w h i c h m i d d l e C isn o t a t e d o n t h e f o u r t h l i n e o f t h e staff.
4 rlt? o r 11|3 n tv n
A = r l
ll r
K
= r 5 >
- etc.
J ^ _ L =! L J L
TT V
T h e s o p r a n o clef, f o u n d t o d a y m o s d y i n o l d e r e d i t i o n s o f Renaissance,
B a r o q u e , a n d C l a s s i c a l p i e c e s , n o t a t e s m i d d l e C o n t h e first l i n e .
etc.
W h i l e we will n o t focus o n the soprano clef i n this text, y o u will w a n t t o b e

a w a r e o fits e x i s t e n c e . I f y o u m e m o r i z e w h e r e m i d d l e C o c e u r s i n these clefs,
y o u s h o u l d b e able t o easily o r g a n i z e w h e r e t h e o t h e r p i t c h e s fall o n t h e staff.
W h y s h o u l d w e s t u d y these clefs? S i m p l y b e c a u s e w e e n c o u n t e r t h e m t o d a y
w i t h s o m e f r e q u e n e y . T h e a l t o c l e f i s u s e d t o ntate m o s t m u s i c f o r v i o l a , a n d
m a y also b e f o u n d i n e i g h t e e n t h - a n d n i n e t e e n t h - c e n t u r y scores n o t a t i n g alto
v o i c e o r a l t o t r o m b o n e . T h e t e n o r c l e f i s o f t e n u s e d t o ntate t h e h i g h e r r e g i s -
t e r o f t h e cello, d o u b l e bass, b a s s o o n , t e n o r t r o m b o n e , a n d i n o l d e r v o c a l
S O M E O T H E R C L E F S CHAPTER V 7 3
s c o r e s t h e t e n o r v o i c e . O f t e n o n e finds a m i x t u r e o f c l e f s i n a m u s i c a l s c o r e
e v e n t o ntate a s i n g l e i n s t r u m e n t ! W e m u s t t h e r e f o r e a t t a i n s o m e m a s t e r y o f
b o t h o f t h e s e clefs. S i g h t s i n g i n g e x e r c i s e s u s i n g t h e a l t o a n d t e n o r clefs w i l l
appear quite f r e q u e n t l y t h r o u g h o u t t h e rest o fthis book. I nthis chapter, w e
feature b o t h written a n d aural exercises t ohelp y o u familiarize yourself with
them.
Written Exercises
P I T C H I D E N T I F I C A T I O N
O n t h e l o w e r staff, w r i t e t h e e q u i v a l e n t n o t e i n e i t h e r t h e t r e b l e o r t h e bass
c l e f , a s i n d i c a t e d . T h e first t w o e x a m p l e s a r e d o n e f o r y o u .
a 1
I \ n o 1
1 J
1
fl ni
'JO 1
1 .1
TT
My s v > 0 v 0
(fT\ ^ f n ^ f<t>
i 2 o 5 J
7^
u
a n
9&
:>>
cv - >:
)
W r i t e o u t t h e s e l i n e s first i n t h e t r e b l e a n d t h e n i n t h e b a s s c l e f .
- ' )
-
p , h - J

I

ri r ii
j
2 = ~J
= = i
7 4 CHAPTER V S O M E O T H E R C L E F S
2
Is i* i n >r -p--1
* J
j
II.) l" >P t J

i j _i*piH
i
1
<>:
J
1

TRANSCRIBING MELODIES
T r a n s c r i b e the f o l l o w i n g m e l o d i e s i n t o the clefs that are indicated.
1 T r a n s c r i b e first i n t o a l t o a n d t h e n i n t o t e n o r c l e f .
1 |J J , = - 6
H | < j r
M
' J J ^ ^ ^ = ^ J J i r r :
|a
As
\\iig =
g l r r r r= _.. l i l iJ I I i T
g ' r
r ' = J
J . : 1 6
1 11
I t*
i 1
&
S O M E O T H E R C L E F S C H A P T E R V 7 5
f f \-m r 'n i- i i" J rrn H
1 3
^ J
'
v J m
J P P- ^ V ^ J - ^ ;
J \
\
4 T r a n s c r i b e i n t o treble clef.
i . r r- r r j f i P ^
1
H I r r 1
u r = ?
iâr. ^ P ^ r r > p i p^ "> f p <Mt? f - w i

1
I3 L- H I ^ -I
7 6 C H A P T E R V S O M E O T H E R C L E F S
5 Transcribe i n t <3 a l t o a n d t h e n t e n o r c l e f .
P ]* ] P
- ^ T - T - H ^ - P -
-=p [ -)9 1
i \ZJ
7
P1
P
f f r
A
^ t> ^
if f f i r r r
ii
r J r M I
- U = * ' -1
\
\
6 T r a n s c r i b e i n t o b a s s a n d t h e n t r e b l e c l e f , as indicated.
-j r
Ai \ s f P F
-lf
\ i9
' r r 1
T
-V-\
p 1 > p p-- P
A%*~ P hm zrz 1
P * Z T ^ P * - t r
1
0
1- 1
AT H*p J 1
S O M E O T H E R C L E F S C H A P T E R V 7 7
7 T r a n s c r i b e i n t o bass clef.
I I
P
y f-
- 1 3
8 T r a n s c r i b e i n t o e i t h e r bass o r t r e b l e clef; y o u m a y w i s h t o s w i t c h b a c k and
forth between the two.
0>
te
te-
zar F3
9 H e r e is a s h o r t e x e r c i s e t h a t uses t h e s o p r a n o clef; t r a n s c r i b e i t i n t o t r e b l e clef.
4M>
7 8 C H A P T E R V S O M E O T H E R C L E F S
_
1> f t P fm mm. m P r ff 1 P P 0 0
m p P r ' k f f =
c
i
[M U r__jp < 0
0 p * - L / L l U
..JIS
1 0 T r a n s c r i b e i n t o t r e b l e o r bass clef; y o u m a y w i s h t o s w i t c h b a c k a n d f o r t h
between the two.
h MjH p f
f - g f f ~ - [
1
^ 1
m-
9
f m f f . !ff\ [-
L ! r j r r r
j ^-ijfad y
1
11 T r a n s c r i b e i n t o t r e b l e c l e f , b a s s c l e f , o r a combinacin o f t h e t w o .
a-
LIIÎI i / T r Y f^r) I p I9 r -p-= 1
< * * i = - !
1
^\p- p p l o
>' *\
* J
i
Ll
I r ) y JL\
- i
SOME OTHER CLEFS CHAPTER V 7 9
1 2 T r a n s c r i b e i n t o t r e b l e clef, bass clef, o r a c o m b i n a t i o n o f t h e t w o .
0-
TyVTT~n /PT
T
vP r
#4
V~W TM-^f-^
- 3 .tJ-m-j ^
1 3 T r a n s c r i b e t h e f o l l o w i n g e x c e r p t f r o m W a g n e r ' s Tristan und Isolde i n t o t r e b l e c l e f .
W e s t - wrts schweift der Blick; ost-wrts s t r e i c h t d a s Schiff. Frisch weht der W i n d der
i fe
Hei-matzu; mein i-rischKind, wo wei-lestdu? Sind's dei-ner Seuf-zer We-hen,
i2_
tm^~P~p
die m i r dieSe - gel bl - h e n ? W e- h e , w e- he, d u WindL
P f
9-0-
F p g r ir p-'
_ a m. m m
-
Weh, ach we-he,mein Kind! I ' -r i -sche M a i d , d u wil-de, min-ni-ge Maid!
Exercises for Practice and Performance
Sing the f o l l o w i n g lines.

1
o . o
o 1
<J o JUt^J te r*3 1
1
2
=1 ,, , U 0
ZAJ
J
" rs o * fl<> rfc a-* 0
\i
: w j
fu ,
3 " t
JO
= 1
4
4 O = n j-r
5 i n ^> , O e JL,
i
T O hrs tr"
4
S i n g t h e f o l l o w i n g m e l o d i e s , s l o w l y a t first a n d t h e n i n c r e a s i n g y o u r s p e e d .
1 Agnus Dei
Georges Bizet
Allegro moderato
i;;r r ir-=-r r__r r n r p

i<" ^
2 Jesu, Prceless Treasure

Moderato ^>
p<
F = ) f =f - F i T ~ f r 1
[ [ p
^ 7 ,
M = H=
r r
1 r
= ^ IQ
4

f7=
\-
<9 o m m 1
lu)
r r r r i r = # o
H= -1 ff
1=H= 4=^ 0-S- 1
S O M E O T H E R C L E F S CHAPTER V 8 1
The Willow Trec
English Folk S o n g
Slowly
j |f3i J ^F i
r^
5
1
3
=#=
j
ir
3 t H h i
^J J
1
i n i
^ 1
B 4 Wandering
American Folk S o n g
Slowly
' 0 * * sr- .
*
f 0 0 0 0 0 0 0
3 H - _ L -1J M
^ L ^ H ^- L^L
' l f f i r ||
*=^= - i / ''
J
11
5
-j 1 \
C H A P T E R VI
THE SIXTH
I
The I V I a j o r Sixth
W e begin this chapter with the m a j o r sixth ( M 6 ) since m a n y people consider it
easier t omaster t h a n the m i n o r sixth; certainly, m a n y W e s t e r n f o l k songs con-
tain this interval rather t h a n the m i n o r sixth.
W i t h the sixth, asw i t h the third, w e m u s t b e conscious o f the m o d e o f the
i n t e r v a l ; h e r e w e e n t e r t h e m a j o r - m i n o r t o n a l system again, i f o n l y by t h e des-
ignacin o f t h e i n t e r v a l s t h e m s e l v e s . W e c a l i t h e " l a r g e " s i x t h m a j o r a n d t h e
"small" sixth m i n o r . R e m e m b e r t h a t the sixth ism a j o r i f the u p p e r n o t e is con-
t a i n e d w i t h i n t h e m a j o r scale o f t h e l o w e r n o t e , a n d m i n o r i f t h e u p p e r n o t e is
c o n t a i n e d w i t h i n t h e m i n o r scale o f t h e l o w e r n o t e .
!
T o m a n y p e o p l e i n t e r v a l s l a r g e r t h a n t h e p e r f e c t fifth a r e m o r e d i f f i c u l t t o
h e a r a n d s i n g . I n s t e a d o f m a k i n g t h e s e a s s u m p t i o n s l e t u s c a r e f u l l y , diligenty,
a n d slowly practice the sixths i n this chapter a n d the sevenths i n the next,
i b e i n g a t t e n t i v e t o t h e i r t o n a l i n d i v i d u a l i t i e s a n d c h a r a c t e r i s t i c s a n d integrang
t h e m into our vocabulary and auditory memory. Quite a n u m b e r o f people
find i t v a l u a b l e t o r e m e m b e r o n e o r m o r e f a v o r i t e t u n e s f r o m t h e c l a s s i c a l o r
p o p u l a r m u s i c r e p e r t o r i e s t h a t promineny f e a t u r e s i x t h s o r s e v e n t h s ; y o u m a y
find s o m e o f these q u o t e d i n t h e n e x t f e w chapters. ( E v e n t h e N B C "cali
t h e m e " is u s e f u l i n r e m e m b e r i n g t h e m a j o r s i x t h . )
i T h e m a j o r s i x t h is c o n s t r u c t e d o f n i n e h a l f steps, o rf o u r w h o l e steps a n d
o n e h a l f s t e p , i n e i t h e r direcon f r o m a g i v e n p i t c h . S i n c e t h i s i s t h e " l a r g e "
sixth, w e m u s t try t o sing i tas " h i g h " as possible w i t h o u t g o i n g sharp. Before
singing the preparatory exercises, y o u m a y w i s h to w a r m u p w i t h the f o l l o w i n g
s c a l a r p a t t e r n s t o g e t t h e i n t e r v a l firmly i n t o y o u r e a r .
0 l t > f
1 1
O / Cl *- o o ti 1
W ti ti f 1 t)
T H E S I X T H CHAPTER VI 8 3
Play t h e hrst p i t c h o f each set o n t h e p i a n o , a n d t h e n sing t h e n e x t p i t c h o r

pitches i n t h e set w i t h o u t i n s t r u m e n t a l a c c o m p a n i m e n t . D o n o t f o r g e t t o
r e p e a t e a c h set u n t i l t h e s o u n d s a r e w e l l i m p l a n t e d i n y o u r ear.
2 3
TT"
||: lâJEfe^^
fe I,-
10 11 12
f
0
+ +
0
0 1 1.,,
1 + 4
0
T-i O 7
= H
i ^ , i
y : O r 0
- P-e> :
0
0
13 14
f u
4) o 33
T T 'O
flo t | - e - o
16,
p o
<>
O |7Q a 7 0
o po o
17
o o
3 T
331
o o tv
o o T3
18
331
P l a y e a c h w r i t t e n n o t e o n t h e p i a n o a n d s i n g a m a j o r s i x t h aboveezch one.
3X 9&-
o 33:
TT o 'O l
1 o
o t> 331 33:

7 0 33Z
35" o O
re
8 4 CHAPTER VI T H E S I X T H
P l a y e a c h w r i t t e n n o t e a n d s i n g a m a j o r s i x t h below i t .
a 2
U xx
Lo I --
TT o offo =r-c [>
O o l f > ;
o_
o o jjo ^ ^ o
o a:
3X
o P-o-
Play the w r i t t e n note a n d sing the appropriate interval.
M6 down M6 down M6 up M6 up M6 down M6 down M6 up M6 down M6 down M6 down M6 up

\>0 PO. O
i
o
TT
M6|
M6 M6l M6 M6| M6 M6 M6 M6J M6l M6
fe
o _ -
O XS3Z
90
O ro-
M6l M6l M6l M6| M6 M6| M 6 j M6\ M 6 J M 6 '

y 0 ^ o
fm i
M> ^
r^ M6 I
M6l M6| M6 M6 M6l M6 M6l M6l M6
M6 O
km* n o o
/ 1 fm VT
f 1 W o
tro
,M6
M6l o M6 M6 M6 M6| M6 M6 M6) M6l
O O
1
o
P l a y t h e first n o t e o n l y a n d t h e n p e r f o r m t h e r e s t o f t h e e x e r c i s e w i t h o u t
accompaniment. Check y o u r pitch after c o m p l e t i n g each exercise.
-J? 1^ * ir* .t - = a>

'-0 1

4 p . ? I' , I' III. I. s .
T H E S I X T H C H A P T E R VI 8 5
2
mm - > * ^ > # P -
- / f a i f * # n i
> L.
fe4
' ' ||
6
13 ^
t I' -
u 7
tt
tu tt
* ? * - 4
4'i* " " ' . ?

^
8 6 C H A P T E R VI T H E SIXTH
T h e M i n o r S i x t h
T h e m i n o r s i x t h ( m 6 ) i s t h e i n t e r v a l o f e i g h t h a l f steps, o rf o u r w h o l e steps,
f r o m a n y p i t c h i n e i t h e r direcon. I t i s t h e " s m a l l " s i x t h , a n d w e recommend
that b e f o r e s i n g i n g t h e p r e p a r a t o r y exercises y o u sing t h e f o l l o w i n g scalar pat-
t e r n s a f e w t i m e s t o g e t t h e i n t e r v a l firmly i n t o y o u r e a r :
o OL
_ix o rzg: 5fe u XX XE XH
xx " o
o
0
a c c o m p a n i m e n t . R e p e a t e a c h set at least o n c e .
III: " , I 3T
9 10 11 12
II- o " =ll

ti
3 -O
13 14
tt" ^
o O po "pTf~
I" fl"
15 16
- o o o po n o
3 =
o O -O-
17
O P" :zn:
o
18
I iza: fe - -
42x1:
ti P ex
T H E SIXTH C H A P T E R VI 8 7
S O U N D T H E P I T C H A N D SING
P l a y t h e w r i t t e n n o t e o n t h e p i a n o a n d s i n g a m i n o r s i x t h above i t .
o TT
tjt rO 1>
?xx
-y l >-
_ - (7 rj ^ -
^<> o ^
o
lo
= f
o I
So
P l a y e a c h n o t e a n d s i n g a m i n o r s i x t h below i t .
_k> bo I U t a j a -
-o-
1
bo ft<> p o o
o
o Q:
P-o-
o o o
o o
t
m6 up m6 up m6 down m6 up m6 up m6 down m6 up m6 down m6 down m6 up

\f O
o o
O
o
m6| m6 m6 ,016! m6 m6l m6 m 6 m6 1 m6

. |2J
5>: * 3GL
*> o:
m6 m6 m6 m6 m6| m 6 m6l m6l m6l m6l

__,
fro o 0 1
8 8 C H A P T E R VI T H E S I X T H
m6l
m6t m6j m6 m6l rn6 m6 m6 m6 m6
-~rsr. o 1 S ^.
* 1 n
0
*. J
m6|
m6l m6t m6l m6J m6t m6 m6 m6 m6 m6l
O o O
m6l m6i m6 m6 m6t m6l m6 n6 m6 m6l

O o
-fe
o t7TT~
TT
y V
-m 7
m Z* 1 = m m : m # #
9-*-
m
5
1 = ^ . *
1
6
II' . II ||

7
I" ' I,.
0
fe J *
2
m~
3 5
M i x i n g M a j o r S i x t h s a n d M i n o r S i x t h s
Be very careful t odistinguish between the two sixths b y feeling the u n i q u e
qualities o f the small o n e ( m 6 ) versus the large o n e ( M 6 ) . A l t h o u g h this sense
o f difference m a y be purely psychological, it will insure g o o d i n t o n a t i o n .
P l a y t h e first p i t c h o f e a c h s e t o n t h e p i a n o ; s i n g t h e o t h e r s a cappella.
3 4 5 6
o
t o
90 C H A P T E R VI T H E S I X T H
Play the w r i t t e n note, t h e n sing the indicated interval.
M6 down m6 down M6 up m6 down m6 up M6 down M6 down m6 up M6 up m6 down M6 up M6 down
?" o s i
M_ '' Jo v
M6 n6l M6 M6| i6l m6i M6 M6l m6 m6 M6

m6t
- r a o " 1 o
r*
i5 te '
m6 M6l m6 rn6j M6l

m6 M6l M6 M6 m6l M6l m6l
o XX
=le=

ex
P<x-
PX3- rxx"
M6l m6i
M6 m6f XX m6t M6 m6f m6 M6J M6 M6 m6
XX O
O pxx X X
--
C h e c k t h e accuracy o f y o u r last p i t c h after e a c h exercise.
3 L. j L -
tt" m l m
4t- n# * * |# II
4
4 ) * * * 1
a i * * 9 + T~mm 1
TM
K 1 -> * $ - " * " " > "* * ?
0
1
4 i * i . *= , 1* : Th 1
4 s" * i* ? * ; '# * h# * 1
i U

q
l
4
* -
V

> * * . #
*
m

m
^
# *
0
, - * #

As i - * > 0 1

m

9+
i tac
tac tac
92 C H A P T E R VI T H E SIXTH
6
tt* T* - f e
i * -
l tk it* =tp^=pf ~ r
' " m ^ " ->
E x e r c i s e s f o r P e r f o r m a n c e
Brausten alie Berge

Johannes Brahms
Briskly
JU Jr ' r ^ p Ir r r ? 1 r ^ - n i
= L j
- i
L

r
J ^>J
f == J. 'I
a 2 Golden Mornings
Traditional English Carol
Andante
4 o 3 i
* 0 - 5
3 Mon Dieu (My God)
Anthoine d e Bertrant
J =98
T. O

i w|
=#= M *
'
r,
r r r ...
m
9 V
|

9
t F
-0
'
^ 1
*f- 0 1 ~ J
L
4 Celui q u i p e n s e pouvoir (Hew h o thinks can have)

Paschal d e L'Estocart
= 88
y o
-> iJ
1 1
-0 ~9 J- 0>
r a
e
Ir o
:
J
f
\\
1\
"
m 5 fiun Mases
Jamaican Folk Song
Q u i t e fast
r
m 3
4 P j j i Jim
6 / Remember
Polish Tango
Slowly
5 D
M m . _ _. - 1-
' W v- : p
~&-r**-- # - m a - o
m w
9 4 C H A P T E R VI T H E S I X T H
i
1 ! j .
=] n i n f *

7 Feldelnsamkelt
Brahms
Slowly
t -W-f 4 -
j J
r - u
tFI=
"11
M-p- -t=J-
i
y g * al
\ uJ ~r1
n J jn =F= -4
#4=
H
^=1
p '
|,l A *^- 1
m 8 Symphony No.40
Slowb T
r - r * r P-"- * Pa=r-
4
/i
i > n r
Q J Q l * ? * a
a 1 1
?
a
1 * ^
4 ^ 4i
B 9 Symphony No.6
0 . 9 k a . y -
^ o 1 J ~ ^ 4 -L- ^ - F - F - r r
ir J
j p-j
L L J
i eee 5
10 Octet inF major
Franz Schubert
Allegro
E >
l J
l
4
m- 0 {^~0 ^ (^~+z
0 - f - f T 1 # < 0 0 - * 0 "
m
p- 1
r 0
- *
11 "Brindisi" from La Travista

Giuseppe Verdi
Allegretto J. = 69
p -p y T T i p

Fine
p 7 7 fe
' p -^r_J Ir
96 CHAPTER VI T H E S I X T H
1 2 Symphony No.5
P y o t r H'yich T c h a i k o v s k y
Andante J =80
1 3 Children's Games
Georges Bizet
Allegro vivo J = 152
-jUrVK v T i ? j)
/
$ * J'L
i. 0 0 # a
2
7
ri i n f - T T - f
| BW
#4*^
d ** d
h ^ 1
1 4 " T o n i g h t " f r o m W e s r Side Story

Leonard Bernstein
Q u i t e fast J = 7 6
i,M . , i

1 r
? -
m - * | i =5 4-
o
S P E C I A L L Y C O M P O S E D M E L O D I E S E M P H A S I Z I N G
M A J O R A N D M I N O R S I X T H S
Fast
2"
Y u ir J
# -
T H E S I X T H CHAPTER VI 9 7
2
Gently rocking
i
ll
7 7 ?
7
i* V
i
Stately
J I J IJ J , i
J~7^- m ; 7#
!> | I J
r r
F *' i 1 > ll
T
7
| ri9 m f i n
o
A %-\
4
Fast
' I \>0
> . ll;
m, ? 4 ,/
9*
31
r u 'r rr f J
ij
3=f
1 / - ] " " " " "

1 * ^ = ^ S-j
\ T o v
C A N O N S
It Must B e
Q u i t e fast (4 voices)
3 p i p p
It must be, It must be, yes, yes, yes, yes. It m u s t be, yes,
3.
m
yes, yes, yes. I t m u s t b e yes, y e s , yes, yes. Get out! Throw h i m out now! Get
4.
?|tJ J J | J J J j f ^ j ~rv
out, get o u t ! I t must be. Yes, yes, yes, yes,yes, yes, yes, yes, yes, yes i t m u s t b e .
Repeat four times, then drop out
2 Cool, Not Lukewarm*

Beethoven
Rather relaxed (3 voices)
t 1 . (B A C H) 2.
**9* f Ir i - \t
\
Repeat three times, then drop out
* A c a n o n w h o s e t e x t i s a p u n o n t h e ame o f t h e c o m p o s e r F r i e d r i c h K u h l a u : hhl
( c o o l ) , nicht ( n o t ) , lau ( l u k e w a r m ) .
f i n Germn, B s i g n i f i e s B t ; H, Bh. W e d o n o t k n o w i f t h e u s e o f t h e n o t e s B b - A - G - B ^
( o r , i n Germn, B - A - C - H ) w a s a n i n t e n t i o n a l a l l u s i o n t o t h e c o m p o s e r ' s ame.
3 An ti- Cherubini*
Friedrich Kuhlau
F a s t (3 voices)
1.
m m 9-*
#
fe s
3.
:j f i I fflt
J i i' TU
h - - ^ T""1 v l 1 ~ J
7 J J
2
= - ] * =5
I 1
fe 0^0 r [ T r Ir =11
Repeat three times
m 4 Welcome to t h e Month of May

Franz Schubert
Gently flowing (3 voices)
2.
5
0) 0
3.
5
Repeat three times
* A c a n o n i n t e n d i n g t o e x t o l t h e v i r t u e s o f lesser c o m p o s e r s , w h o u s e d clear a n d
s i n g a b l e m a t e r i a l , as o p p o s e d t o L u i g i C h e r u b i n i ' s c h r o m a t i c i s m .
T H E S I X T H CHAPTER VI 1 0 1
5 O Lord, How Long (Psalm 13)
Georg Telemann
Q u i t e s l o w l y (2 voices)
0 &
r r ir r
fe

r W 4 "iri P ' V 1 0
r ^ * ii 6 Y '
4 '' L ur
T rT | j
V ir'r r i- n ^ ^ F
ey
T m ^
r r 4= > 1
?-#Pp
9
m j i 1
fe " , =l \ d
m F
second second
time time
JA j V ir r r i" r J
'r ^ IJ J J J
6 Marta
Q u i e t l y m o v i n g (4 voices)
-T-l i - n . - > n
j j i - r = r = F =
fe" <!' ~ J j j -
' r !
A - ve Ma - ri - a, a - v e Ma - r i - a,
A - ve, A - v e Ma - ri - a,
_ * \
' r r ^
"> F F J i f 3
E = 2 = - :
A ve M a - r i - a, M? - ri a, a -
-JhFPi
f 'I'
f F F - p - H
'r
i j r r 1 1
J r Ir #
<
ve, a - ve M a - ri - a, a - ve, a - ve.
7 Dona Nobis Pacem
Attributed t o Mozart
C a l m l y (3 voices)
F =
~d
i
fl -il r L T r p J 1
Do - na n o - bis pa - c e m ,pacem; do na n o - bis
2. .
E S
pa cem. D o - na n o bis pa - cem,
ll 3
r
f

C
$ *
do - na
L
n o -bis
15*-= 1
pa :em. D n na
Zm
r j td o - nra J J lf J
r j i J- i< :
no bis pa - cem, n o - bis pz cem.

Repeat three times
8 A Drinking Song
Robert Schumann
Quite fast (3 voices)
P^ *
- - J 4= r-
i
1* r J
1
*
- * m #
I - J - i
a
>
m ^ 0
Repeat three times
T H E SIXTH CHAPTER VI 1 0 3
f
I
9 Pleni sunt coeli
(2 voices) Josquin Desprez

1.
E r 4 E
r m r J
r r
Pie - n i sunt coe pie - n i sunt

coe li et ter - ra, et ter ra
r r
glo - ri - a , glo - ri - a- tu - a,
=z d *
g ri O
glo n -a- t u - a, glo - ri -a-
( Tn) h.
J . Jr n
lt rrcjr rr ' ^
J v J r i,
o
tu - a-
(Wb repeat)
10 Confide filia
A n o n y r n o u s (sixteenth century)
(4 voices)
i c- i n
<r* j rrj=t J n 1
Con - fi - de fi - l i - a, fi - des t u a t e sal
i n n =
3.
n> i 1 i
y 1 7
i * ?
- J J
vam fe - cit, te sal - v a m fe cit.
1., 2., 3. last e n d i n g
Con - fi - de fi - li - a, c o n - fi - d e fi - l i - a
fi - l i
Repeat four times
104 CHAPTER VI T H E SIXTH

C H A P T E R VII
THE SEVENTH
T h e M i n o r S e v e n t h
T h e m i n o r s e v e n t h ( m 7 ) i s t h e i n t e r v a l o t e n h a l f s t e p s , o r h v e w h o l e s t e p s ,
f r o m a n y p i t c h i n e i t h e r d i r e c t i o n . T h e m i n o r seventh iso f great i m p o r t a n c e
to the entire tonal system because i tisa m e m b e r o fthe d o m i n a n t seventh
c h o r d , w h i c h consists o f o n e m a j o r t h i r d a n d t w o m i n o r thirds:
T h i s c h o r d , a n d t h e r e f o r e t h e i n t e r v a l itself, d e m a n d s r e s o l u t i o n i n a t o n a l
context, w h e r e traditionally all sevenths melodically "settle d o w n " to a sixth:
W e shall s t u d y a n d practice t h e m i n o r s e v e n t h f o r its o w n p a r t i c u l a r s o u n d

characteristic, however, s o that w h e n w e m e e t i ti n n o n t o n a l surroundings
(i.e., i n m a n y m u s i c a l c o m p o s i t i o n s o f t h e t w e n t i e t h c e n t u r y ) i t w i l l p r e s e n t n o
d i f f i c u l t y r e g a r d l e s s o f w h e t h e r o r n o t i t is r e s o l v e d o r w h e t h e r i t is p r e c e d e d
or followed by a n o t h e r m i n o r seventh or a n even m o r e dissonant interval. I n
t h e course o fthese exercises, w e shall b e m a d e aware o fthe m a n y different
combinations o fintervals that m a y b e contained within the m i n o r seventh,
s u c h a s t w o p e r f e c t f o u r t h s , a p e r f e c t fifth a n d a m i n o r t h i r d , a n d s o f o r t h . Y o u
s h o u l d practice these c o m b i n a t i o n s w i t h great care s ot h a t they m a y serve as
guidelines for y o u to " t u n e " the m i n o r seventh well.
T r y this exercise before any o f the others:
o v
q
o o > o > o
o o o 9 t o
o
o o
T H E S E V E N T H CHAPTER VII 1 0 5
P l a y t h e first p i t c h o f e a c h s e t a n d t h e n s i n g t h e r e s t o f t h e s e t a cappella.
R e p e a t e a c h s e t u n t i l i t is m a s t e r e d .
fi
o o -o-
o o
1 0
ka 11 12
irrr
13
4? li. -O
^4
V I > 0
0 |;o = ^ ry
5 1
711 ?C
*J 0
^4
V 1 = O 1
'"-^ 0 n
- O O J V J ,
W "
m
0
** 0
faV 1 n>
/ i 11
1 0
0 0
fti^ ItJJ 0 -

* v
no 1
" n0 " u v
'
106 C H A P T E R VII T H E S E V E N T H
Play the w r i t t e n note o n the piano a n d sing a m i n o r seventh above it.
o une
O i " rrg
-o 5-0- T3"
n
u
k
TT
3 >0
-cr ff _ ^
o
P l a y t h e w r i t t e n n o t e a n d s i n g a m i n o r s e v e n t h >efou> i t .
V " o ff t " -e O ff
" ^
fe j U
3 n ^
o Q
* r r
3 " '(|'
5-0-
<>
' fl P o 9: > fl =q
l, -e
m7 down m7 down m7 up m7 up m7 down m7 up m7 down m7 up m7 down m7 up m7 down mi down

ka.
o
-e-

m7l m7l m7l m7T m7l m7l m7 m7l m7l m7l m7l
la
a
a
a
-o-
T H B S E V E N T H C H A P T E R VII 107
m7l m7 , m7| m7| n7 m7 m7l m7l
m7 O
_Q o <>
o
--
m7| m7 m7 m7 m7l m7l m7 m7t m 7 m7f m7 m7
1
B t " r-w.
^ J O
I m7 m7 m7f m7j n7 m7l m7j m7J m7 m7

o
-9-0-
-9-0-
\>0 0
-9-0- -9-0-
^ ' . . t . t - i
J* ^
II
0-
-) \
' ' - I I '
8 3
I
. * * > * ti 3
4
* 5
tac * ^ i u
7TT fr
\>m 9 * },m 9
1
" =rl
7
T h e M a j o r S e v e n t h
T h e m a j o r s e v e n t h ( M 7 ) is t h e i n t e r v a l o f e l e v e n h a l f s t e p s , o r f i v e w h o l e s t e p s
a n d o n e h a l f s t e p . I t i s t h e i n t e r v a l o f g r e a t e s t tensin w i t h i n t h e o c t a v e . T h e
m a j o r s e v e n t h has c o m e t ob e called " t h e c o n t e m p o r a r y composer's disease"
because it has b e e n u s e d s of r e q u e n t l y i n m u s i c o ft h e t w e n t i e t h century. I t s
use a s a m e l o d i c i n t e r v a l before t h e t w e n t i e t h c e n t u r y was rare a n d always
w i t h i n a m u s i c a l c o n t e x t i n n e e d o f resolution, usually by "settling d o w n " to a
sixth:
le- or le ro
4V
V* o
T H E S E V E N T H C H A P T E R VII 1 0 9
Today, consecutive sevenths, b o t h melodic a n d h a r m o n i c , are commonplace,
c r e a t i n g t h e k i n d o f m u s i c a l tensin t h a t c o m p o s e r s o f t h e p a s t f e w d e c a d e s
have b e e n interested i n conveying. Practice the m a j o r seventh carefully. T h e
n o n r h y t h m i c exercises, aswell ast h e excerpts f r o m m u s i c l i t e r a t u r e , s h o u l d
provide m a n y opportunities to b e c o m e well acquainted with this interval.
P e r h a p s a n o t h e r s h o r t p r e l i m i n a r y e x e r c i s e w i l l h e l p t o firmly e s t a b l i s h
this difficult i n t e r v a l i n y o u r ear:
o t"tt t '
-o- o <> o
o
o TT O un
m o
P l a y t h e first p i t c h o f e a c h s e t , a n d t h e n s i n g t h e r e s t o f t h e s e t . K e e p repeating
e a c h se) u n u i t h e s o u n d s a r e w e l l i m p l a n t e d i n v o u r e a r .
4 5
O
8 10 11 12
E f e
9 ' H :
<> :
|H >:
:
H1 :
l o j | l p o :
:
H1 :
^" ^ J J
o
13 14
O
o o
o O o o o
o
15
o o
331 tu:
16
i** 1
*r\ h*r%
jf_ 1 TIO T S O
1
" i ( u
\ u 1 O T
|U
h
17
o
o iixzrnicr rO-
18
o
o o
o
TTX^ TT ro-
^ :
IPIF
h ~> n ~> . . a 1
i '\ i
X**
_M > !1 ! * ~ <> ~ . _ i
t i A ' 1
1 1
P l a y e a c h w r i t t e n n o t e o n t h e p i a n o a n d s i n g a m a j o r s e v e n t h above i t .

i r
I* o P O
pe- OI pe-
er ~0~ e C>
o
o
o 0 :
po 5> :
||
pe- o
o I _ -o So O ,L O
o fe bxr P^
P l a y e a c h w r i t t e n n o t e a n d s i n g a m a j o r s e v e n t h below i t .
e_
o e ho-
o
o f e -
bo
o o
3
o be
4 b e o.
o
Play the written note a n d sing the appropriate interval.
M7 down M 7 down M7 down M7 up M7 up M7 down M7 down M 7 up M7 down M 7 down M7 down M7 down

O
o 3T
o o
M7l M7 M7 M7| M7 M7 M7i M7l M7t M7 M7
Q O
O 331
fe
M7i M7 M7 M7| M7l M7 M7 M7 M7 M7|
fe
3 f
'
M7J M7 M7| M7l M7 M7 M7 M7J M7
o:
M7| M7I M7l M7 M7t M7 M7i M7| M 7

f M7l M7
Ja-
O
o O
O-
P l a y t h e first n o t e o n l y a n d t h e n p e r f o r m t h e r e s t o f t h e e x e r c i s e without
a c c o m p a n i m e n t . C h e c k y o u r p i t c h after c o m p l e t i n g each exercise.
3
T H E S E V E N T H C H A P T E R VII 113
M i x i n g M i n o r S e v e n t h s a n d M a j o r S e v e n t h s
It is i m p o r t a n t t o r e m e m b e r that there is a "large" (major) a n d a " s m a l l "
( m i n o r ) seventh. Differentiate b e t w e e n t h e m carefully, since pitch suffers
g r e a t l y i f t h e s e o r a n y o t h e r i n t e r v a l s a r e m i s t u n e d ; t h i s is e s p e c i a l l y s o o f t h e
larger ones.
P l a y t h e first p i t c h o f e a c h s e t o n t h e p i a n o ; s i n g t h e o t h e r s a cappella.
y 1 i 1
M
fm 1
1 o 1* V r y ^f 1
1
Vs\) l , O O *J JfAl 1
U Vt> o o
t
ti y o
O
O 0
T|
O
P3=
3 DI
1
~\ n
O D O
fm 1 O ' O 1

v v l } 1 & n O < O O
y 1 1 i
O 1
T T
1
JLzZ O O O 1
4
?t> U3_
-jt K
-- 3E 1* P >0-
4 - l t > o O
O-
331 O O
114 C H A P T E R Vil T H E S E V E N T H
Play the w r i t t e n note, t h e n sing the indicated interval.
M7down m7down m7down M7 up M7down m7up M7down M7up M7down m7up
U . 1 H5T
311 O
O
M7i m71 m7l M7 m7l M7 m7| M7| m7 M7l

O.
bo O
po-
po-
M7J m7 m7| M7 m7| M7 m7 m7| M7 M7 M7

Jo
3T a O O
f
m7i
m7l M7 M7 M7 t] M7 M7 i m7 1 M7 m7 m7i
be
\. to
TI
o r \
ii O
O -.^ t i o
;o
m7l
M7l m7 11 M7 m7 m7i M7 M7 m7 M7l
i 1 ^ -e
i pe i
?e 1? o - 1
M7l m7 m7l M7 M7 m7 m7 M71 m7l m7i M7J

O ie
o
tt"~ O e
pe-
o
M7 m7 M7j M7 m7t m7l m7 M7 M7t m7|

le
fe
e-
>o
C h e c k t h e accuracy o f y o u r last p i t c h after e a c h exercise.

-4 ) : 0 0~ \>0
- # *
0 *
0 y-
/ m 0

%-

U fe 0
<
^ 0 ~ 0 * * I
* > 0- 0
i
S -9-0 V-0 ?- m
\
m
m
m fe --> fe 0 \-0
2 )0
I
0 * *
-
5
fe
0
=fe= * ir-fe
-
* 0-
0 70 0-
i
0 0 9
0 \
a 3
*
# fe
. f t = i r ~b m > -
i t
-4 tt c 0 - -4- tt
0 0
i 9= 0
0
-> - h 0 ,
u 9
-fe
1
A T
^ 0 F tt 1
4

-k* 0 -
i * *
/ m 0 - 4
0 #

0
0
d& 1

0 0 #
1
i P -> m ti*'" 0
fei f -~T*
V 4 - 4

- f e -
%&
tt
- ^
5 2
0 0
- ^ f e
i 0
i
fe=
i

H 0 0 0
- f e 1 fe 4 - fe
6
U r U - ,
y ? * i *- * *m V**
9- T~2B
# *
V : ^ * i > W
i|
___
% JkW 7-# P \f
/ "f~2m > 9 ?* > T~M
1

# #
tt* 0
> ^ ,
3 3^
9
IB tt* tt* ^
.
^ ^* * . > .
g
Polish Folk Song

Happily
4 * I a
j> j j'in j
2 " C o n t e s s a P e r d o n a " f r o m T h e Marriage o f Fgaro
Slowly
r r r i*- 3=B M=
r r t _ Mr r
L a creation du monde
Darius Milhaud
^4
J = 88
H
i i 1 1
r'
w^ 1
|*> i ifn f e r m
L
4f>fe^
{^-f- o 6 e 1
l=ba

s O
bo U
4 S y m p h o n y N o .2
Sergey Rachmaninoff
Allegro m o h o
i ' t y r 1^ ' t ^ r i 'r i r v i ' t P t itp

3 - 1 i 1
J I I I b J I I I I p J 1
Slowly
m c ^ - f e j r i MI
r
r
5 " O trra a d d i o " f r o m A / d a

Giuseppe Verdi
J = 63
^hH L* * *^
P ^ 3
Ll>, k =TT], i mu l f

JJ
-~t \-*
fe - T H
J =fe^=
118 CHAPTER VII T H E S E V E N T H

* 6 "Convulsin, R a g e , T e r r o r " f r o m T h e Creation
Franz Joseph Haydn
m
ff l,J Ji,
y
i .
f- fe
fe
F 1
* 1
1
ff
a 7 Well, Did You E v a h ?
Col P o r t e r
Brightly
îrrrnrrj/wrrr r j
Tempo di Polka
0 0 0
J. J:J] J I J . ? I i J j . .i iJ
8 'I L o v e Y o u " f r o m Mexican Hayride

Porter
Con moto
1 * 9-
9-9- r pi-- p 1
1 P9
fe-1 9 P '
o r
r > r
i
i ^7
#

4>
9 r 9 r- 0
f = P =
# - = #-*
5= 0 5= y *0~~ - y -
0
% ./ \ J %
1 1 3 1, . 0 f h -
r pi
* 1
J tX ===fe^ J * 1
a 9 "Every D a y a Little D e a t h " f r o m A L i t t l e Night Music
Stephen Sondheim
Liltingly
5-: 5
$ 7 ^ ' j ij J J
j ^ I j ^ j . ij J ' j 5
1 0 Youkali (Tango Habanera)

Kurt Weill
Mt. de Tango
r r i 7-
i-Umr ir r i r
-le
t i 3
11 Pastorale from In P r a i s e o f Music

Paul Hlndemith
J. = 6 0
'
- 4 r V ^TT U V\
'0
- f e - 4 i - 4 i tjfl
" f ~ * 77 0
#L J
r*
120 C H A P T E R VII THE SEVENTH

1 2 Concert G r o s s o N o . 1 , F u g u e
Ernest Bloch
Allegro
T *" 1 J ll
- *
i MI
1 3 Enigma Variations
Edward Elgar
Allegro
b J
i,J i J
J irj J ^ i ^ r J
ir r ti
r j r j J i i r ? j n hF
1 4 Wind Quintet
Arnoid Schoenberg
Slowly
X ^
-|9-' (9-
S P E C I A L L Y C O M P O S E D M E L O D I E S E M P H A S I Z I N G
M I N O R A N D M A J O R S E V E N T H S
122 CHAPTER VII T H E S E V E N T H

Quietly, but in 2
5 ; r r ~h f tr b i#
T
l
r r fe
1 1
- * * ^ fe
K J ?
f1" _i 1 j _
te
I -t - T pi
fe : lj
ffe) y y , ]*- te=l

s r '' r > "r
1 1
te te > te te
i . ? ,ii r f r f ,*r ^ f e
Stately
o o
i
CL
4g-^fe *> i
Oh
9
^
F = - ' f e fe:
L
p
->
-- tt ~S 1
J1
t =

* 3 > 4f
^ fe>
^ i
*
fe
1
irfefe

o.
r
fe=
-
6
i fast
9.
# ~m r -
t i
9 : - -i * 1* * f y0
V p <
fe~
1 = r f e
-
- -i -0-
0
0: ^ f feki
s 9 9 L 1 V 1
/
' A * ~* T" fe 0 1
ii <-0 19 -j t fe
>*> 9-0 1*
r r H : m fe^
7 i V f > 9 p 7
' "I
h
1
Rather slowly a n d leisurely
4,1,1
r^
> pfe*- ^ f e -r
$ fe ' j fefe
1
r j j r 4 H> ,1
I. 1 > .1 15 r i . 1 - 1 1 > 1
- -0-
=\=
p (^)
- 1
1 1 1
* \?JJL
i
pfefe ?
, t .

fe i l ,j 1
fe -f** I T .
i
i 1 f t = ^ ^ T f e
Hfe
-1
fe 1 fe fek)
fefe
^ r
ir f r J
f * " T* 1 * > 1
M -1 <-* * ?
J
j fe-? n '1 "
1 2 4 C H A P T E R VII T H E S E V E N T H
C A N O N S
V / V a / a msica
Michael Praetorius
(^)
t
r pr l t r
V i - v a , v i - v a l a m u - si - ca. V i - v a , v i - v a l a m u - si - ca. Vi-va la mu-si-ca.
Repeat three times
a 2 A l l Who Har M u s i c A r e Not Worthy of Hearng It

Johann Staden
fe==^
j
* r "
r r 1
r4=d
m m
=1 *
1 *
X^ 1
-- I - t ~ i 1 K
1
1 1 - -11
\y ' H " I
1i 1
0- 0 < Ll
Repeat seven times
3 Music, T h e Dispeller of Sorrows

Paul Sartorius
6.
o O 0
# o
Repeat four times
a 4 G / o r y to God
Ludwig Gebhardi
J I . J
Glo - ry to God in the high est. Peace-
3.
22
on- earth- and good will, a n dgood will to
4.
ward all m e n . A men.-

Repeat four times
* T h e f e r m a t a s i n t h e s e c a n o n s s i g n i f y t h e s t o p p i n g p l a c e s w h e n t h e first v o i c e h a s s u n g
t h e e n t i r e c a n o n t h e final t i m e .
THE S E V E N T H CHAPTER VII 1 2 5

5 A New Hymn
Giambattista Martini
1. ( S o p r a n o ) 2. (Tenor)
p m
W
1. (Alto) 2. (Bass)
l
1=3
M (^) (^)
. m0 w
m
Z. # -01 m
(^)
I 5 Repeat linee mes
6 Solid Truth
Franz Joseph Haydn
Mr m r n'r rir ^
1
i 1
0 o m'
o 0 0 a 0 ' 0 \1
4F (V (2) (3) (4) (5) (6) Repeat three times
u 7 Lacrimoso
r-
0
i i i 111
-ULr r p
0 m J ' m 0 m -ff00^0
(fo v ? f * ' w
t) (j*) 1
i
o. La - cri - m o so son i o. L a - cri
C^) 3.
P fe fc
mo so, la- e n - m o - so s o n i - o. per - d u - to,
per - d u - to, I - d o l m i - o. La - cri- m o so s o n i
126 C H A P T E R VII T H ES E V E N T H
8 Lullaby
Johannes Brahms
t=s
F5
3^3 i
Repeat three times
A Pretty B i r d S i t s in a Tree
Brahms
4. 3.
(/?N)
(^)
3 -y y0 - - 7 * L
1
1 O )
l L T3
r r 1 * . J
i
J J m J J !
a l
=1 *
_|
* 1
j -
1 0 Parting
Charles Gounod
2.
F F = i
$ * J j T S ! i<si J - 4
JL i i-
=t=^= ^
i=
-|M
>
_ m *
0
fe" >' te
J Y - ' =4=
- 6 M *
Repeat
J
4=^
four times
11 When I Know What You Know

Franz Lachner
S I : i 1
; i i I M ^ " " p

0 I- d
* 7
J f
I _1_ - m 0 -0 I F f
-y$r^v h~ ~2 ' ' m
-eb- "
0 w
*
2
>
-0 I 0-
m
Repeat three times
M 1 2 As t h e D e w A w a k e n s a Wilting Flower
Anonyrnous
4^ feifejrirfeiJ> fefeV^J^ !
Repeat four times
1 3 Hallelujah
Anonyrnous
\ 2
r=f ? -
-6
~ J
rJ
t " jj 0t P h r i i
r.

....
S C-
4
a
Repec
1 4 "wo A l l - l n t e r v a l C a n o n s
Anonyrnous
a
2.
1
J
1
4 f e fe -0
=^F= T Jl 1 1
JL 0 V 0 m m 0 0
0
f F
0 9
*
-0 -J m
3. i
- f
= * = > f -0

0 Y- > 1
1 fe -- o 7 |
fe=
;
fe
Re beat thn >.e times
b
1. 2.
* 0 * 0 a 0 0 *h 0 L *< 1 ^ - - h - F -
^ = -J- =^ v <
1

3.
i *y K * 0 m
4=^
, # -
-0~v-\
* v f e -) 7 i j f e * 0
0
'1 ' l ' J - i "
Repeat three times
1 5 Three Original Canons

a
4.
1 3
> 1 0 ~ f ~ = t = R
fe-*b
"f"** ' fefe

0 0 > ij n 11 > 1
fe^
1 fe*fe - f e j
? l , J

Repeat fo
T H E S E V E N T H C H A P T E R VII 129
C H A P T E R V I I I
T H E T R I T O N E A N D
E N H A R M O N I C I N T E R V A L S
T h e T r i t o n e
T h e a u g m e n t e d f o u r t h ( A 4 ) o r d i m i n i s h e d f i f t h ( c l 5 ) , c a l l e d i h e Intime, is s i x
h a l f steps o r t h r e e w h o l e steps b e t w e e n t w o pitches. U n l i k e all o t h e r intervals,
it inverts o n l y t o itself.
0 i 1
i d5
fv\
Because this interval s o u n d e d a w k w a r d a n d was certainly h a r d to sing, it was

b a n n e d i n m e d i e v a l p l a i n s o n g a n d e a r l y p o l y p h o n i c m u s i c , a n d w a s c a l l e d dia-
bolus in msica, t h e d e v i l i n m u s i c . E v e n i n t h e p e r i o d o f c o m m o n - p r a c t i c e
(roughly f r o m the m i d I700s to about 1900), o n w h i c h m a n y of o u r h a r m o n y
a n d c o u n t e r p o i n t e x e r c i s e s a r e b a s e d , w e find r u l e s a n d p r o h i b i t i o n s c o n c e r n -
i n g this i n t e r v a l . W i t h i n t h e d i a t o n i c system, i ti s a restless i n t e r v a l t h a t i s
always i n n e e d o f r e s o l u t i o n , w h i c h c a n be a c c o m p l i s h e d i n t h e f o l l o w i n g m a n n e r :
A4 d5
l 1 o r - H f e TI1
fe j r s( si c|]A4 a

o
a B -fr# tro
-*
rj fi t o 0 - P 1
y 1 * |: H , S-M d
P l a y t h e first n o t e o f e a c h s e t a n d t h e n s i n g t h e r e s t o f t h e s e t w i t h o u t a c c o m -
paniment.
11=.. # * ^ H i o 1T> =|||> ,.. i O
130 C H A P T E R VIII T H E TRITONE A N D ENHARMONIC INTERVALS

10 11
m TTT
I T II"
S O U N D T H EP I T C H A N D S I N G
P l a y t h e w r i t t e n n o t e o n t h e p i a n o , t h e n s i n g a t r i t o n e above i t . T h e n g o b a c k
t o t h e b e g i n n i n g , p l a y e a c h n o t e , a n d s i n g a t r i t o n e below i t .
1 2
y Y " <y n
* r J " L
f O
Play t h ewritten note o n t h epiano, then sing t h eindicated interval.
d5 down A4up d5down d5down A4up A4up d5up A4up d5down d5down d5down
v
M_ flo 4>
TI J
po f lio
THE TRITONE A N D ENHARMONIC INTERVALS C H A P T E R VIII 1 3 1

A4| d5i A4 d5l d5l A4, A4 I d5 d5i A4 d5
1l i
.. _ _ . _ l o
I.
y
'
o JO ^ uU n t J f
TI > -
A4I A4I d5l d5| A4I A4 d5i d5 d5| A4l A4| d5l
1
-y e C4*
V* J 0
.0
d5l A4I A4J d5i d5| A4 I A4t d5l A4| d5l A4l
9 :
4> P-
P-
I O N R H Y T H M I C E X E R C I S E S
C h e c k t h e accuracy o f y o u r last p i t c h after each exercise.
1 ^ * *
'Y 1
> 1
B i
_ , A
S *0 0 fr* ; * * m M 0
mmm m 0 ~ 0 0 m 0

4
li

? 1 #U^. ? * T^ *
Taf" t
/w > M-*- i* ^t lf- 1|J* 9+ '
> L . ^ #
9--
S P E C I A L L Y C O M P O S E D M E L O D I E S
E M P H A S I Z I N G T H E T R I T O N E
Q u i t e fast (all seprate notes staccato)
? 0 0 ' lbJ=p
B 2
Very slowly
if#
i LP
F \ (> 0
fe
0 0
L . I - - f e ^
f 9
fe
fe iJ- a
T H E TRITONE A N D ENHARMONIC INTERVALS C H A P T E R VIII 1 3 3
m 3
m 4
I n 1, quite fast
K ) P t > i * m
r *r
r - * .i r # 1
L_ 1 ; J ? j i - j
J
r t -Mi
' h \f
u j i> i
r x f e ^ ~ r p f e , fe ^ > 1
|;) 1
1 %
fe-
tffe> J ^"TT^,*
r r r r p % if r '
J J 0 > j
< 11
T h e A u g m e n t e d S e c o n d
T h e a u g m e n t e d s e c o n d (A2) i s m a d e u p o f t h r e e h a l f s t e p s , o r o n e w h o l e s t e p
a n d o n e h a l f s t e p , a n d t h e r e f o r e s o u n d s l i k e a m i n o r t h i r d . I n f a c t , i t is o f t e n
n o t a t e d as a m i n o r third. M a n y e t h n i c repertories, s u c h as B a l k a n , N e a r
Eastern, a n d Jewish, however, feature the a u g m e n t e d second asa n integral
p a r t o t h e i r m e l o d i c v o c a b u l a r y . T w o e x a m p l e s a r e t h e " H u n g a r i a n m a j o r "
scale:
134 C H A P T E R VIII T H E TRITONE A N D E N H A R M O N I C INTERVALS

a n d the " H u n g a r i a n m i n o r " scale ( A h a v a h R a b b a h m o d e , J e w i s h ) :
Harmonically, t h einterval warrants o u r consideration. A s w e have seen i n

C h a p t e r s I a n d I I , t h e h a r m o n i c m i n o r scale contains a n a u g m e n t e d second
b e t w e e n t h e s i x t h a n ds e v e n t h scale degrees; this is b e c a u s e i n c o m m o n h a r -
m o n i c practice t h eleading tone m u s t b e present t o f o r m a major d o m i n a n t -
seventh chord. So concerned were t h e original practitioners o f o u r eigh-
teenth- a n d nineteenth-century h a r m o n i c system that they built strict a d m o n i -
tions into their voice-leading rules about avoiding t h e a u g m e n t e d second b y
all means; they felt t h a t this interval, like t h e tritone, w a s t o o difficult t o per-
f o r m . Today, however, w e c a n n o longer avoid studying this interval since eth-
nic repertories that contain augmented seconds area growing segment o f our
m u s i c a l cene.
Practice these exercises diligently, f o r t h e interval appears h e r e i n ways
that will b e f o u n d i nm u c h o f today's literature.
P l a y t h e first n o t e o f e a c h s e t o n t h e p i a n o , a n d t h e n s i n g t h e n e x t n o t e .
2 3 4 , 5
OI
TXSZ O
o
8 | 9 10
O \m5>
o o o PO-
P O
P l a y t h e n o t a t e d p i t c h , t h e n s i n g a n a u g m e n t e d s e c o n d below i t .
i
po
/'
P l a y t h ert n o t a t e d p i t c h , t h e n s i n g a n a u g m e n t e d s e c o n d above i t .
' O I I
;o I I
T H E TRITONE A N DE N H A R M O N I C INTERVALS CHAPTER VIII 135

frTS
im m
m
I
i ^ ^ 1
i m #
f
c
m
>*
fF
[/ f b i/ f i
#
V ^ > 1
fe p - t - l - ;
*- ir*t . , i -W
2
0 . i,- 1 * *
V 0
8 * 0 > -0->=-- '-
/ * - = m
= h ^ .
K
*
. W
- # * $
-< /V
* -
- 6-*-ry- r i TJ rm
ii
tt* -*Sr0
it
ff#
-
= B
\* }" * w
m

* - 0 . M 0
u _ * 0 li . Ul
3
l 0 -
i 0 i * b U 1 _ 0
f >0 } \>0 m m l
"
JSJL - m. .
m A 1 0M. 1 tfi 0k
1 1 ir
.
i!) t V*- m \>0 ff --r**
#
0 1
TI y * > 0 m TW 0 0 0 mt ^ 11
mt / mw u
4
i
n n:
H < -9
- 1
-rm
P*

0 *
o
tt* ;* wA m
*
mk- n f * * 0 U
Tmr^
m
r#
ft
*
*
n
ft *g-# \
i TV m A ii
A *j'0 r* i -f* m -rm
,__ 1
-i 0 u
m. if \/ * 0 9 0 9 0 ff Ll
~ M ' r0 TM-
S P E C I A L L Y C O M P O S E D M E L O D I E S
E M P H A S I Z I N G T H E A U G M E N T E D S E C O N D
Q u i t e fast
fe.
i i \% i j r
> 1 % i 0 4 -
*-
=1 0
0
fe
=fe= h> fe= 9~9

>
- 1
fe-. J
[
^ 70 1
* fe 1
d f e 9 19

2 L i k e a waltz ( i n 1 )
p*
si 3
Happily
sim.
0 m 0
^ J> = J> ^ ^
4
Slowly
m "1 n
i ffr * *
P
' ^ [ _ ; >j t 13it > f y y i
| :
r r f y |J tJ U"] , ll
T h e A u g m e n t e d S i x t h a n d
t h e D i m i n i s h e d S e v e n t h
O u r study o f intervals w o u l d n o t be complete w i t h o u t a brief discussion o f the
a u g m e n t e d sixth (A6) a n d the d i m i n i s h e d seventh (d7). A l t h o u g h b o t h inter-
v a l s a r e e n h a r m o n i c s p e l l i n g s o f o t h e r i n t e r v a l s , t h e first o f t h e m i n o r s e v e n t h
a n d the second o f the major sixth, their use within augmented sixth a n d
d i m i n i s h e d s e v e n t h c h o r d s , t w o h a r m o n i e s e m p l o y e d frequeny d u r i n g t h e
common-practice period, makes it necessary for us to practice t h e m . Play the
following h a r m o n i c patterns o n the p i a n o a n d n o t e the spellings o f the aug-
m e n t e d sixth c h o r d a n d d i m i n i s h e d seventh chord. M o s t c o m m o n l y used aug-
mented sixth chords and their resolutions:
-jf
\ - | \\
4- -
^
1
m
t) o *x> o 8 H
or or
V i *
V :
r t "
6
*> -f&-
s o 1> " < > -
\ o o o L
ty p i y- O Ll
A6 i 6
li V A6 i f
(Italian) (also in (Germn) ( i n m i n o r
minor) only)
T H E TRITONE AND ENHARMONIC INTERVALS C H A P T E R VIII 1 3 7

h f t - - - i
-tr* B or
y- 14^- or
JO k_li] o o
L <> k_aA
A6 o o A6 i|
(French) (also in Doubly (n Major
minor) augmented only)
C o m m o n h a r m o n i c a n d m e l o d i c uses o f the d i m i n i s h e d seventh c h o r d :
d7
97 8 P o Mfe#
Id?-
fer d7
8 ferfe
fe
^g_J_ g
T h e intervals o fa n augmented sixth and a diminished seventh a r e most

i m p o r t a n t visually a n d psychologically, for they d e t e r m i n e u p w a r d o r d o w n -
w a r d m o v e m e n t i n t o n a l m u s i c : t h e s h a r p e d p i t c h (es) m u s t m o v e u p w a r d
w h i l e t h e f l a t t e d p i t c h (es) m u s t m o v e d o w n w a r d . C o n t e m p o r a r y c o m p o s e r s
use t h e s e i n t e r v a l s s i m p l y t o c l a r i f y t h e m o v e m e n t o f a p a r t i c u l a r set o f p i t c h e s ,
not necessarily because o f h a r m o n i c considerations.
I n a c t u a l m u s i c l i t e r a t u r e w e find v e r y f e w i n s t a n c e s o f m e l o d i c a l l y n o t a t e d
a u g m e n t e d sixths, b u t h a r m o n i c a l l y n o t a t e d a u g m e n t e d sixths a r e i n a b u n -
d a n c e . T h e m e l o d i c a l l y n o t a t e d d i m i n i s h e d s e v e n t h i s frequeny u s e d .
' ,
u * . * ' $'
9 9+ 9*-
m
m m ^
138 CHAPTER VIII T H E TRITONE A N D ENHARMONIC INTERVALS

4
^. p+ 9 , 1 a ll m
i. f 1 , > H
/ , I 1 1
~ tf ti _ r
P k
-_k#
?# - i * 1 ^ i ; ! r H
1 1
TT ^0 1*
?
l m
b# '
SPECIALLY COMPOSED MELODIES EMPHASIZING T H E

AUGMENTED SIXTH AND DIMINISHED SEVENTH
Slowly
fi 1 v ^ \>P m ra zXl 1
\\ ** ^ " " " l U tt* *
J ) i tJ|JJttff rj i
i/ 7#
7
- f up - L4 = W
. - i r ^ . .
r Ir f
'
T H E T R I T O N E A N D E N H A R M O N I C I N T E R V A L S C H A P T E R VIII 1 3 9
Moderately slow quarters
fe fe fe
10 *
fe^
4 m ) - f V f e -

I U >
0 0
1 fe L
fe V k m T * - -
K > f e j i i i i j n
JL_4
r
_J R
f ~>0 0 m
H. J 'l " 1 1
^
- 4 ^ f e ^ ^
4 M 9
0 } ~>p " * - ' 1
1 ?
1 J 1 \
V r r
<
J
r ' "
3
Like awaltz, but i n 3
fe> 1*1 1"

-p-= m
i
' i M~ fe
1
J fe i 4
n
* - H f tf ] #
r j - . * - -r-ti fe
m - - i i
- n [ j
r i" 1
J
T*
H 4
W i t h g o o d spirit, rather fast
f 0 5 *J# _ U
i f e H ^ ~ ~
I - ^ ^ f e t f e . 1
^ J - 1 1
i L - H ~ r ~ ^ f e ~ ~ ^
fe
#
- | | f e ^ f e 4 * r
# d

1
fr
*
-#
" l ^ - f e 2 - b H

T 7
b . J r J ' 7 7
1 '
140 C H A P T E R VIII T H E T R I T O N E AND ENHARMONIC INTERVALS

a 1 S y m p h o n y N o . 5
Andante con moto
2 S y m p h o n y N o . 4
Gustav Mahler
Quite slowly
;
fe
4
i
e
^ i *
|
* *

~ :
71 tu r
feii
r r it * f e i m
1
T
_ iy. r r i i
- 3 f e - w f e -4
^+
3 * tt
LT
fea r tr i
m r 0 M , 0 0
JJl'r r*
Very slowly
r * J r r r r r y r ir 2z:
3 R i c e r c a r e f r o m The Musical Offerng

-|9 O r o
|t> i h & , 9 \f \ \&V S> -f * ~>0 m
4 - 5 - f e f e p - t p
= f e
l P f e ^ ] ^ r t f e i f e | f e
lJ fe?f^^
THE T R I T O N E AND ENHARMONIC INTERVALS C H A P T E R VIII 141

'Mara" f r o m West Side Story
Leonard Bernstein
Moderato con anima 3' , 3-
5
s> f>w r r r r i | | J
'r'"r' p | I | J J J
P r r ? H
f f e f Y p i [ - r f j r P i r r r f ^
5 Violin Concert
Jean Sibelius
3
-6M *
i h , 1 1 = F 0 h J ~ - b J ii f
fe) * 4 . - f ~ H d

fe
u
d i f e 4 = V ^
s 0
'
L J J1 ~i i "i i r I r h i ^ T= t = h
- ^ f e f e - * - - J. 9 fe r - [ Y i-
J 1* J ^ N J t
ferifr/iferjifefe
6 P i a n o Concert N o . 2 4 , K . 4 9 1
*-
= r *
i> V - #
0 T fe *~T0=-
/ \> f J 7 :=: ~~T~~^ fe*~~
l> , V . 1 i* r fe i r r =
7 = H
' \> + r r *
J - J - ^ 1
fe
R
1 7 7
P' 1
M 1

142 C H A P T E R VIII T H ETRITONE AND ENHARMONIC INTERVALS

I
7 Was sol d e r Zom (What m a t t e r s t h e anger)

Hugo Wolf
i
Very slowly
~ r - r
7PJ Jl,.
:
r t r i " T I ^ ' " i *
-fe " *
7
C 7 'J' J |* *
J ^ J
J
1gl 1 | S
#
w" w
M 1 - ' ^ ' L J i
# T " f M
^pJ J -l
^ M
8 C e l l o Concert
Frederick Delius
C o n m o l t o tranquillo
^ r - # f
- H [_[J u T 1 1 P 1
'' r P r Q_r r r P ^ 1
.r
i , B
y i ' f c = t r
I T P v L-fc
ir rr,-/! U J i n ^ - i
ll7)
$ r en L J i u r -*}--
riji * J ^ * J J p r i j
R rr; T T 1J J " ^ 1
i ? = 1
; : r S c E ^ ^ H
\ 4 J . 4 ] 7 7
D U E T S
1
J. = 6 0
* j J * i
E= r_fe i
* i * * 7 7
i fe
>|"t" 1 ^= fe~1

= =
4i
fe 11
'
f 1
c
THE T R I T O N E AND ENHARMONIC INTERVALS C H A P T E R VIII 143

fe
T 7
B
*f ''U fe
144 C H A P T E R VIII T H E T R I T O N E AND E N H A R M O N I C INTERVALS

T H E T R I T O N E AND E N H A R M O N I C I N T E R V A L S C H A P T E R VIII 145
J. = 56
m 1 j JJJ j)i ^* r-i fe .
J H t -
fe*
a' - i # t
fe _/trrr frrf fefe
0 11 i [ M J i - - 3 - ^ IÎJ Jl~d 1
4=p L_ fefe ^ 1 0

J
' y G fe
146 C H A P T E R VIII T H E T R I T O N E AND ENHARMONIC INTERVALS
C H A P T E R I X
O T H E R S C A L E S
Modal Scales and Other Scales

N o w that w e have considered all t h eintervals that appear w i t h i n m a j o r a n d
m i n o r scales, as w e l l a s t h e t r i t o n e a n d s o m e e n h a r m o n i c i n t e r v a l s , w e c a n
t u r n o u r a t t e n t i o n t o a f e w o t h e r scales. T h e s e s c a l e s m o d a l , c h r o m a t i c ,
w h o l e - t o n e , a n d o c t a t o n i c , a s w e l l a s f o l k a n d synthec* s c a l a r c o n f i g u r a -
t i o n s h a v e c o m e i n t o use w i t h increased f r e q u e n c y w i t h i n t h e last h u n d r e d
years o r s o . M e l o d i e s based o n m o d a l scales h a v e b e e n c o m p o s e d f o rh u n -
dreds o f years, b u t since the B a r o q u e p e r i o d t h e y have n o t b e e n a p r e d o m i -
n a n t p a r t o f t h e W e s t e r n classical r e p e r t o r y . W i t h t h e d a w n i n g o f t h e t w e n t i e t h
century, however, w e have seen a revival o finterest i n m o d a l writing, especially
in impressionisticmusic. Similarly, with the g r o w i n g interest i n folk music, eth-
n i c scales o f a l l types h a v e c o m e i n t o t h e c o n s c i o u s n e s s o f W e s t e r n c o m p o s e r s .
B e c a u s e t h e s e v a r i o u s scales a r e a m a j o r fact o f l i f e i n m u c h o f t h e m u s i c t h a t
i s curreny h e a r d , w e w i l l t r e a t t h e m o n e b y o n e i n t h i s c h a p t e r .
Modal Scales
SCALE CONSTRUCTION A N D NONRHYTHMIC EXERCISES
P l a y t h e first n o t e o f e a c h s c a l e o r n o n r h y t h m i c e x e r c i s e o n a n i n s t r u m e n t ,
t h e n sing t h e rest o f t h e exercise. C h e c k t h e notes after y o u have repeated the
exercise at least t h r e e times.
D o r i a n
-SZZ- O
o o O
o o
o
* B y synthetic w e m e a n scalar c o n f i g u r a t i o n s m a d e u p by composers, consisting o f n o n -

traditional patterns that suit the composer's particular purpose.
OTHER SCALES CHAPTER IX 147

2*
0 & W 0
} K4 \
1
frr\ n / ' >1 I1
V4J i " 1 1
y . 1 1,. .1!,. . j . j U ^ - U ^ . H
U 0 " p o U 0
*-, t i *- f i -*->
j
1
P*-
Vx * T*l >*>
1
1
t (
o y ^ '*- O 11
* Y o u m a y b e g i n a m o d a l , s y n t h e t i c , o r a n o t h e r type o f scale o n a n y p i t c h , b u t y o u m u s t ,
o f course, b e c a r e f u l t o use t h e p r e s c r i b e d p a t t e r n o f h a l f a n d w h o l e steps o f t h e partic-
u l a r scale.
148 CHAPTER IX OTHER SCALES

Lydian
17 11 o 11
M r J <
T
l<)
fk\ li O " TT tt "
0
t i f t> #-
J o it 1
T " tj
4
I
* ~ J f * * tt* > :
f - t f * i.
S - 4 * - J _5 ff* ? 8 ' ^ #
M i x o l y d i a n
o:
o 331 o
o o
t>: j fe~t" Ti
tt" i
TI
-*& n ii ._

3 !
1
-e
3
WTT f > - i > l i . K , a 0i

*,
\+
T~ 0'
^ * 'N f e = ^ " l l
J 0
|*
5
i
/ * - ^ . * -70 . *
j
70 ' 0 f
1 m
0 m ^ = #
<r V0

A e o l i a n (Natural M i n o r )
O
O TT o
2
n\ \><* ^" l?o [;<

O PgL 7TT
+ rm *
~rs3r- ~ 1 - m j . 1._ ^ - I
....
_ .. _ f y ut :i
. * ^ ^ r
L o c r i a n
o
* > 3T o <> O
3T O
317
o fl" O
o or
1
[>. * g
* 'U
3
> 1
4
F ' ' ' . . ' 7 l f e f e f e
1 5 0 C H A P T E R IX O T H E R S C A L E S
MODAL SCALE COMBINATIONS
T h e f o l l o w i n g exercises w i l l test y o u r k n o w l e d g e o f t h e e x a c t m a k e u p o f t h e
d i f f e r e n t m o d a l scales as y o u m o d u l a t e f r o m o n e scale t o a n o t h e r . S i n g t h e
first t w o e x e r c i s e s c a r e f u l l y a n d t h e n f o l l o w t h e d i r e c t i o n s f o r c r e a t i n g o t h e r
c o m b i n a t i o n s o f scales.
1. S t a r t i n g o n t h e p i t c h D , s i n g a m a j o r scale u p , a n d t h e n a p h r y g i a n scale
d o w n ( a n d vice versa).
fe* 5 P-0-
9+-
I
2. S t a r t i n g o n t h e p i t c h C , s i n g a m e l o d i c m i n o r s c a l e u p , a n d t h e n a m i x o l y d i a n
scale d o w n ( a n d vice versa).
N o w practice i n a similar manner:
3. Starting o nthe pitch E , sing a l y d i a n scale u p , t h e n a d o n a n scale d o w n .

4. Starting o nthe pitch A , sing a l o c r i a n scale u p , t h e n a n a e o l i a n scale d o w n .
5. Starting o nthe pitch Eb, sing a m a j o r scale u p , t h e n a m i x o l y d i a n scale d o w n .
6. Starting o nthe pitch F l , sing a h a r m o n i c m i n o r scale u p , t h e n a p h r y g i a n
scale d o w n .
N o w make u p your o w n combinations.
SPECIALLY COMPOSED MELODIES

EMPHASIZING MODAL S C A L E S
1 Phrygian
- fe " I , I ' ] " ]

? J J
, r
J
*w~-
if
*
-
=FT=t= *fe
T i l 4
J fe
i
- J ml Jm V T 1
^~*>
rJ- fe 0 i*P
L
01
1
0
3 m

2 Lydian
-0
fe
fe j j
3 Mixolydian

r f e fe n\n -=7
h ~r W ^ - i
* ^ '' - * >
> i L=
r i w t ^ ei

- ~} -T3H=3 ^ H r ] fe; i
fe-fe-^l

*
fe
4 Locrian
i 4 fe n J
r fe
J ;
i i r - , i 1 i > fi" r * . 1 1 1
J f * J ?
T J y7
J = # f e
~ d * * 4 J
J J ; r
fey=
1 -I
fefe i i * - i f e J 1
fe
Other Scales
R e p e a t e a c h o f t h e f o l l o w i n g s c a l e s a t l e a s t t h r e e t i m e s , s l o w l y a t first a n d t h e n
increasing your speed.
THE CHROMATIC SCALE

T H E W H O L E - T O N E S C A L E
-#FS
o
i - n
t r " *
< i &

" ' -
M I *
* rO
'
o i--,
P 1

o
1
T H E OCTATONIC SCALE
T h i s scale has t h e s a m e i n t e r v a l l i c r e l a t i o n s h i p u p w a r d t h a t i tdoes d o w n w a r d ,

b u t i t c a n " m o d u l a t e " b e t w e e n i t s t w o v e r s i o n s : 1) w h o l e s t e p , h a l f s t e p , w h o l e
s t e p , h a l f s t e p , e t c . , a n d 2) h a l f s t e p , w h o l e s t e p , h a l f s t e p , w h o l e s t e p , e t c .
o o o
o
o f;o n o f,o |?o \]o
S Y N T H E T I C S C A L E S
Sing these patterns purely b yinterval.D o n o t rely o nsecond guessing!
r/r\ o 1
1
1
vuj
f j2 O "
r>

o ^ <1
o o 1
||0 o flo ^ >

ro ; o " tt" " i "^ ^
rr
. t>o IjO 1 ? " [90 t|Q t l Q j^;

o tzxn pe&e-
p>-> pe-
3 331 O jt" ^j" tt-tt O"

0
>JJ>
O >< O O êijO i r
o e ' !">
L r O I
A. DO 1
0 " 1 ^ 0 1 O
f ^ " O 1I

6
L f 5 " q o
i o " br H 1
' o 1 -% 1 o *-> 1
11 5 n 1
fr fl O <-> L 1
1
.f fl f
- g y Q tt0 o f e o o ^ >o b o ftq M ,

L <> l l
<r>: TTl h U j-v O 'r | o o " - o b o b o j- o Tfl "rTI"! 4

^ o P A*bo tf*-* /AJ.. - Q . U J p < >
1
o "o a
~ l on o -
10
o o p o - ti" tt p o -
o pe o -
11
- p o -
^ tt" ti" \ - O \K>
12
t> | ; o g o ^ || b p - ^ f e
3
^ lo o 0
r&-
o p o -
SPECIALLY C O M P O S E D MELODIES EMPHASIZING

WHOLE-TONE, OCTATONIC, AND FOLK SCALES
W h o l e - T o n e S c a l e
1
_^fe
fe i H N A ' 1
0
( f e f e m

* = 5 r f e f e f e f e
1
v ZP' 1 1 - i
l~ r llf tr ferdh
- f f e f e J
4
>
- * "1 1
i T
"
fe
4* - W f e d 1

EIGHT F O L K S O N G S B A S E D ON
MODAL AND OTHER S C A L E S
1 K a s o n - T a r t a r M e l o d y (Mixolydian)
m w m
9
f
49 49
9 2 S o u t h e r n U .S .F o l k S o n g (Dorian)
5^1 fe
Pi' i u n II
3 Irish Folk S o n g (Aeolian)
* fe
fe
? J I J J" LT r r
4 Personent Hodie (Aeolian)
A=fe:
f EE=3E
71 O
Y-

5 G r e e k H y m n (Phrygian)
fe
f p r PT 5
6 Down in That Valley (Phrygian)
f w
I
T h e s e folk tunes a r e related t o traditional m o d a l melorlie' b u tdiffer i n o n eo r

t w o i n t e r v a l s b e c a u s e o t h e o r a l e t l u i i c m u s i c a l u a d i t i o n s i i o m w h i c h t h e y a r e
developed.
7 Polish F o l k S o n g (Folk Scale)
# #
sur V J
- J
J J-'J J F-= F
fe
cae; J iJDI i li i.J i

-0 is
-t f F* F "Fa - #
=-rH - j j 1
1
1
r Pr r i
* 8 A r m e n i a n F o l k S o n g (Folk Scale)
3
m
atta
fe
JfeT^J A J f l j |j>J J A T T ^ ^ F P

OTHER SCALES C H A P T E R IX 1 5 9
CHAPTER X
C H O R D S
Chords and Simultaneities

N o w that w e h a v e m a s t e f e d a l l o u ri n t e r v a l s a n d scales, l e t u s s i n g s o m e o f
these intervals i n s i m u l t a n e o u s c o m b i n a t i o n s . U s u a l l y w e t h i n k o f c h o r d s as
stacked thirds, b u t i n t h et w e n t i e t h c e n t u r y composers have e x p e r i m e n t e d
with some w o n d e r f u l chordal structures that are based o nall o f the intervals
we have studied. I no r d e r t o g e ty o u r ears a c c u s t o m e d t o these sounds, study
t h e e x e r c i s e s i n t h i s c h a p t e r c a r e f u l l y , r e p e a t i n g e a c h o n e a s m a n y times a s
n e e d e d . W e s u g g e s t t h a t as a class y o u s i n g t h e series o fs i n g l e p i t c h e s t h a t p r e -
cedes each succession o f chords before y o u a t t e m p t t o sing the actual simul-
taneities.
LIKE-INTERVAL CHORDS
S i n g each succession o f c h o r d s a t t h e pitches that are given, t h e n select t h r e e

a d d i t i o n a l s t a r t i n g pitches a n d s i n g t h e t r a n s p o s e d series.
M a j o r T h i r d s
1
4
-o r O
o O
O
C l a s s s i n g s : first t h e w o m e n , t h e n t h e m e n , t h e n t o g e t h e r . F i n a l l y , m i x u p t h e
parts between m e n a n d w o m e n .
162 CHAPTER X CHORDS

Minor Thirds
o TT
p>o-
4 . !" ^
Class sings:
Perfect Fourths
1
pe :
pe 1
T / \ : T n 1
17= /
J-SJ. -i -i"-w 1
*3
Class sings:
A i bo ~ 1 i i o bo
n [** ^ o ^ k o 3 H -e
/ BH - O
i
41 o ?O : 1 1
-700 j^f e- e s - 1
fe4
^ o
+ >
o u o
Perfect Fifths
-e-
o
Class sings:
ir -o- K> o h-e o

o -e-
-o- -?o o
t e e
-o- e "XI"
o e i tXT > o o o
b o o o
T r i t o n e s
I o
--
CHORDS CHAPTER X 163

Class sings:
o bo b
o o
I 33= >o -po- ->- o
=s =U=
O
O =o= -po-
33=
33=
o 33=
o
M a j o r S e v e n t h s
lo " Q b o
o
3f o:: o
o
be ^
Class sings:
DIVERSE-INTERVAL C H O R D S
I n t h e f o l l o w i n g p a i r e d e x e r c i s e s , first s i n g e a c h c h o r d a s a b r o k e n c h o r d
( c a l l e d a n arpeggio)that is, each n o t e separately f r o m t h e b o t t o m u p a n d
t h e n f r o m t h e t o p d o w n , as i n E x a m p l e l a . T h e n as a class, s i n g t h e s e s a m e
c h o r d s a s h a r m o n i c s i m u l t a n e i t i e s , p r o g r e s s i n g direcy f r o m o n e c h o r d t o
another (Example Ib).
efe.
-m 0
> \>h 'fe fe fiu fe i fe fe ti }ti P

2
-9+ 9*- -9*9 9< -9- 90- ete.

ro-
fe~" ^ fe
4 = 7*hrt~r
#
fe \h b>
^ % 9 0
- * t r -
- p * ftt it y>t t u r 4
fe H \t b,
3
efe.
fe=^
i b; ,ftj 999*>
1 \ t ih ' ; ^ ? ^ t - f e j j .is i 1 ^ ^ 11
Sing these chords very slowly:
p iu 'U 1 J kJ F 9 ' g II
<
1
9
*
fi
i
<
"fe ' 'J \^
*=fe
-
f fe
1 i
?
LL ! f
PLANING (OR P A R A L L E L I N G ) EXERCISES
C h o o s e a n yo fthe chords that a r e given above a n d p e r f o r m t h e m i nt h e fol-

l o w i n g t w o ways:
S 1 S i n g t h ec h o r d u p a n d d o w n as a na r p e g g i o a n dt h e n transpose i tu p a step,
p e r f o r m i n g i t i n t h e sam w a y . K e e p t r a n s p o s i n g t h e c h o r d u p a s t e p e a c h time.
166 CHAPTER X CHORDS

2 S i n g t h e c h o r d u p a n d d o w n as a n a r p e g g i o a n d t h e n s e q u e n c e i t u p o r d o w n
a h a l f step, a third, o r any o t h e r i n t e r v a l that y o u o r y o u r i n s t r u c t o r chooses.
Because o f vocal limitations, y o u m i g h t stop transposing at the interval o f a
t h i r d i n b o t h d i r e c t i o n s s i n c e t h e c o m p a s s o f t h e c h o r d s is s o l a r g e .
3 A s a class, c h o o s e a n y of t h e c h o r d s g i v e n a b o v e a n d p e r f o r m t h e m b v b u i l d i n g
the chord f r o m the b o t t o m up and t h e n holding it before sequencing it up or
d o w n a h a l f step, a w h o l e step, a t h i r d , etc.
etc.
etc.

P A R T T W O
Rhythmic Studies
C H A P T E R XI
LEARNING ABOUT
RHYTHM
Definition of Rhythmic Terms

M u s i c , l i k e d a n c e , i s basicay a t e m p o r a l a r t . T h a t m e a n s i t i s d e p e n d e n t t o a
g r e a t e x t e n t o n t h e dimensin o f t i m e , t h r o u g h w h i c h i t p a s s e s . T h e w a y w e
organize music w i t h i n a t e m p o r a l , rather t h a n spatial, f r a m e w o r k is called
rhythm. T h e w o r d c o m e s f r o m t h e G r e e k rhythmos, m e a n i n g f l o w o r connuity.
Plato said, " R h y t h m is o r d e r e d m o v e m e n t . " S o m e o t h e r standard d i c t i o n a r y
definitions m a y h e l p us f u r t h e r to u n d e r s t a n d this i m p o r t a n t concept:
R h y t h m i s t h e organizaon o f p i t c h e s i n r e c o g n i z a b l e p a t t e r n s .
R h y t h m is a " p e r i o d i c q u a l i t y " t h e r e g u l a r a n d i r r e g u l a r o f a l l m u s i c a l
movement.
R h y t h m i n t h e broadest sense ist h e o r g a n i z a t i o n o f d u r a t i o n .
O n e i s o l a t e d , n o n r e p e a t e d s o u n d c a n n o t consttute a r h y t h m ; h o w e v e r , i t
can b e c o m e a u n i t o fa r h y t h m i c phrase. I fthis single u n i t is c o m b i n e d w i t h
o t h e r s o f e q u a l d u r a t i o n , i t b e c o m e s a pulse o r a beat.
T h e o r g a n i z a t i o n o f pulses i n t o g r o u p s o rt w o s , t h r e e s , f o u r s , etc., is c a l l e d
meter. M e t e r i s a c h i e v e d b y p l a c i n g a stress o r a n accent o n t h e first p u l s e o f e a c h
pattern. W h a t w e m e a n by a m u s i c a l accent is any k i n d o f emphasis o n a beat
o r p i t c h t h a t m a k e s i tstressed o r m o r e p r o n o u n c e d t h a n the rest o ft h e pat-
tern. W i t h o u t s o m e k i n d o f accents, w h e t h e r regular o r irregular, notes
b e c o m e s i m p l y a " m o n o t o n o u s s e r i e s o f p u l s e - g r o u p s , " a s P a u l Crestn p u t s i t .
T h e r e a r ethree basic ways o f achieving the f e e l i n g o f accent i n a pulse
grouping, notwithstanding the natural tendency t ogroup irregular o r regular
sounds i n t o patterns o f twos a n d threes (for example, the ticking o f a clock or
a h a m m e r i n g outside o u r d o o r ) . T h e y are:
1 . Dynamic accentperforming a note louder than the others:
Overture t o The Magic Flute

LEARNING A B O U T R H Y T H M CHAPTER XI1 7 1

2 . Agogic accentmaking a note longer than t h e others:
S y m p h o n y No. 9
Ludwig Van Beethoven
A l l e g r o assai i
g * n T T T 7 T m r r i r c : r r i r r
3 . Tonic. or pitch accenthaving o n e note higher than t h e others:
Flix Mendelssohn
Allegro vivace
T h e r e are o t h e r ways o f achieving accentuation, f o r instance by h a r m o n i c

or textural weighti.e., h a r m o n i z i n g o n e note with a greater dissonance o r
w i t h g r e a t e r d e n s i t y o f t e x t u r e t h a n t h e o t h e r s . T h i s i s c a l l e d e i t h e r harmonic
accent o r weight accent. A n o t h e r a c c e n t i s c a l l e d t h e embellishment accent b e c a u s e
it is t h e e m b e l l i s h m e n t o r t h e o r n a m e n t a t i o n t h a t calis a t t e n t i o n t ot h e partic-
ular note.
Franz Joseph Haydn
Menuetl o
1
r-Bfc- r -i*
l'l =rr^# t 4 t1 t
l
i) - =r5
fe" \> i 1 '7 1 7^ 7^ 7

9 * *
f */
1 *
9 t . l > , tt > i> > . > > *
v\, k % RFFF
/
- 1 f - 4 -
T h e m e t r i c g r o u p s o f b e a t s , w i t h t h e first b e a t a c c e n t e d s t r o n g l y o r s o m e -
times a l m o s t i m p e r c e p t i b l y b y a n y o f t h e a b o v e m e a n s , a r e c a l l e d measures.
T h e s e a r e s e p a r a t e d f r o m e a c h o t h e r b y barlines. A measure o r a bar m a y b e
called t h e distance between two barlines.
T h e speed w i t h w h i c h t h e beats o c c u r o rare p e r f o r m e d i n music is called
tempo. A t t b e b e g i n n i n g o f a p i e c e o f m u s i c , w e m a y find a v e r b a l d e s c r i p t i o n o f
the speed o r t e m p o a t w h i c h i tis t o b e p e r f o r m e d , o r a precise m e t r o n o m e
m a r k i n g . T h e m e t r o n o m e m a r k i n g indicates h o wm a n y pulses o rbeats are t o
occur w i t h i n every m i n u t e o f a particular m o v e m e n t o rpassage. F o r e x a m p l e ,
the i n d i c a t i o n J = 4 8 m e a n s that t h e piece is t o b e played slowly, f o r o n l y 4 8
beats ( i n this case 4 8 q u a r t e r n o t e s ) s h o u l d o c c u r i n t h e c o u r s e o fa m i n u t e .
O n t h e o t h e r h a n d , a passage m a r k e d J = 1 3 8 w i l l b e p l a y e d fast, s i n c e 1 3 8
172 CHAPTER XI LEARNING A B O U T R H Y T H M

q u a r t e r n o t e s m u s t b e fitted i n t o 6 0 s e c o n d s . T h e m a r k i n g J = 6 0 c a n b e t e s t e d
w i t h o u t a m e t r o n o m e , for the u n i t specified (here a quarter note) will have a
d u r a t i o n o f one second a n d m a y b eregulated by a watch.
I n o l d e r m u s i c , t h e c h a r a c t e r o f t h e m u s i c a n d its n o t a t i o n d e t e r m i n e t h e
tempo. As for t e m p o indication by verbal description, we m u s t rely o n o u r o w n
perception o fthe music a n d h o w t o achieve greatest clarity o f performance.
W e suggest that i f t h e r e is n om e t r o n o m e m a r k i n g , y o u g a u g e y o u r speed o n
t h e s m a l l e s t u n i t s o f n o t a t i o n a n d calclate a t w h a t s p e e d t h e s e f a s t n o t e s
w o u l d b e m o s t clearly defined. Similarly, i n a slow piece, the small units m u s t
n o t sound rushed, yet must convey the feeling of m o v e m e n t and "inner beat"
t h a t is s o n e c e s s a r y i n g i v i n g a s l o w w o r k c l a r i t y , i n t e n s i t y , a n d v i t a l i t y .
I n t h eH a y d n example, t e m p o m u s t b e d e t e r m i n e d b y the speed w i t h
w h i c h the sixteenth notes can b e p e r f o r m e d w i t h clarity. O t h e r w i s e , the w o r k
t a k e s o n a franc q u a l i t y .
Haydn
Vivace assai
I n the B a c h excerpt, the thirty-second notes m u s t b e the measuring r o d .

A l t h o u g h the piece bears a slow m a r k i n g , Adagio, the eighth notes must b e
steady a n d n o t drag. Yet the thirty-second notes m u s t n o t b e p l a y e d s ofast t h a t
t h e y g i v e a n y k i n d o f franc f e e l i n g t o t h i s n o b l e a n d r a t h e r p a s t o r a l p i e c e .
"Aria Duetto" from C a n t a t a No. 140

violino piccolo
Soprano
Organo fbez.
LEARNING A B O U T R H Y T H M C H A P T E R X I1 7 3
T a b l e o f R h y t h m i c Vales
You should firmly i m p l a n t t h i s t a b l e o f r h y t h m i c vales i n y o u r m i n d s o t h a t
i l i o n w i l l b e ; ( u n e s e c o n d n a l u r e durnti t l i e c o u r s e o
iis s i u d y .
Rests Notes
W h o l e
Half
Quarter
i
J
Eighth
1 I r
Sixteenth
m s 1=1 f 1 J j J J r
Thirty-second
l i i \ i i i \ J J J J J . ' F
Sixty-fourth
Whole = 2 half = 4 quarter = 8 eighth = 16 sixteenth = 32 thirty-second = 64 sixty-fourth notes
174 CHAPTER XI LEARNING A B O U T R H Y T H M

A d o t f o l l o w i n g a n y n o t e e l o n g a t e s i t b y one-halfof i t s o w n valu.
Rests Notes
zzzzz o
0 +J
m J. J . J
m J. J+ J>
m I Jl
J l .
m J
Less frequently, w e e n c o u n t e r a n o t e f o l l o w e d by t w o dots, w h i c h elongate
t h e n o t e b y h a l f t h e valu o f t h e n o t e p l u s h a l f t h e valu o f t h e first d o t . T h e s e
a r e t h e m o s t f r e q u e n d y e n c o u n t e r e d d o u b l e - d o t t e d n o t e vales:
Rests Notes
o + J +J
m 1 . J J J>
m J.. . J J > . J l
= J ! . - J > . J l . J
NONMEASURED RHYTHMIC EXERCISES

W e u s e a r h y t h m i c o r t i m e s i g n a t u r e t o indcate t o t h e p e r f o r m e r h o w t h e
p i e c e is r h y t h m i c a l l y o r g a n i z e d . T h e t i m e s i g n a t u r e is u s u a l l y c o n s t r u c t e d o f
two n u m b e r s . T h e u p p e r n u m b e r signifies the n u m b e r o f beats i n a single
m e a s u r e ; t h el o w e r n u m b e r tells t h e u n i t o f m e a s u r e m e n t . T h e signature
4 indicates that there are three quarter notes i na measure, w h i l e l signifies
t h a t s e v e n e i g h t h n o t e s m a k e u p t h e m e a s u r e . F o r o u r first e x e r c i s e s , o n l y t h e
u n i t m e a s u r e m e n t ( l o w e r n u m b e r ) isconsidered, s o that 4 will m e a n a q u a r t e r
n o t e gets a beat, o r g a n e i g h t h n o t e , a n d s o f o r t h .
LEARNING A B O U T R H Y T H M CHAPTER XI 1 7 5
I n the following exercises:
a. S e t a m e t r o n o m e o n 6 0 a n d l e t e a c h b a s i c u n i t e q u a l o n e " c l i c k " o f t h e
m e t r o n o m e ; t h e n p e r f o r m the exercises. ( I f n o m e t r o n o m e is available,
use a w a t c h o r clap a steady pulse e q u a l to a u n i t n o t e per second.)
b. I n t h e c l a s s r o o m , o n e h a l f o f t h e class m a y clap a steady b e a t w h i l e the
o t h e r half p e r f o r m s the exercises.
c. I f a m e t r o n o m e s e t t i n g o f 6 0 ( o r o n e u n i t p e r s e c o n d ) i s t o o f a s t , b e g i n
by selecting a slower t e m p o a n d gradually w o r k u p to 6 0 and, eventually,
fas ter.
d. R e p e a t each exercise at least t h r e e times.
e . U s e t h e s y l l a b l e " t a " o r " d o o , " s o t h a t t h e articulaon o f e a c h n o t e i s
v e r y clear.
J = 60
, J J J JJJ J JJ J J JJJJJ J J J. o II
, !o J J. J. JJ JJJJ J. JJ J JJJJ J J II
3 J J J J J J J J J J J J J J J J J - J- 0 J J J J II
< i J. J. J. JJ J. J J J. J J J J J J J . J J J J II
S J J J. J J J J J. J J o J J J. J J J J J II
e J J J. J J J J J J J J . J J J o J J J . J J J J J J II
W i t h rests (clap h a n d s f o r t h e rests).
, i .i:*: J:Ji.:J J J J - J J J . J J J - J J J J I
a J J. i JJ J. J ' o J *J J J- J J. o II
176 CHAPTER XI L E A R N I N G A B O U T R H Y T H M
9
X
4 O J JJJJ J - JiJJiJ i J II
i * J J * J J J *.J J - J J J iJ J. J * J * J J II
J = 60
1 2 J J o o o- J J JJJJ
I JJJJo J J J JJJ J J J o JJ
o
JJ J- o * J J J J J. J J J JJJJ I
I * J i J J i J J J J. J J J J J J
. J. J J J " J J J J. J J J " J J J
^ = 60
. 8
x
m n J J n j> J J> r n n J I J n j
7s / 3 J > j > ^ m n M > J J J J J J T J>J j m
. r a ' ^ ' i i ' j n j j ~ n J r j j J>
20 88
X
J J>J /3J^j j ; m j r mi j JÔT
LEARNING A B O U T R H Y T H M CHAPTER XI1 7 7

C H A P T E R XII
S I M P L E (COMMON)
METER
Simple Duple Meter, t h e "Itoo-Beat"

2
Measures i nd u p l e m e t e r c o n t a i n t w o beats. T h e m o s t c o m m o n l y used t w o -

beat meters are 1 , 1 , 8 , a n d o fthese, w e will p r o b a b l y e n c o u n t e r \m o r e fre-
q u e n d y t h a n the others. Practice all three i n order to familiarize yourself with
b o t h t h e s m a l l e r a n d l a r g e r r h y t h m i c vales.
R e p e a t e a c h e x e r c i s e s e v e r a l times, a l w a y s c o n d u c t i n g t h e " t w o - b e a t " p a t t e r n
u n t i l i t feels n a t u r a l . T h e n p r o c e e d t o t h e r e g u l a r d u p l e - m e t e r exercises. F o r
b o t h preparatory a n d regular exercises, b e g i n rather slowly, a p p r o x i m a t e l y
J = 6 0 , J = 6 0 , o r J> = 6 0 ( t h e b a s i c u n i t = 6 0 ) , i n c r e a s i n g t h e s p e e d e a c h t i m e
y o u c o m p l e t e a n exercise u n t i l y o u r e a c h a n e v e n t u a l s p e e d o f J = 120, J = 120,
o r J> = 1 2 0 ( t h e b a s i c u n i t = 1 2 0 ) .
J IJ J II
J J IJ J IJ J IJ J
J IJ J IJ J II
J J IJ J J II
178 C H A P T E R XII S I M P L E ( C O M M O N ) M E T E R
J J IJ IJ J IJ IJ J IJ II
J J IJ IJ J IJ IJ J J II
J IJ J J J J IJ J II
8 J IJ J IJ J IJ IJ J IJ IJ J IJ J II
j JI u u n u u J u JI u II
10 J l J IJ J IJ1J IJ J IJlJ IJ J IJ II
AinunIJIJ IJIJ uJ unIJIJ U n u n
12 J77J IJ J l l J J IJTU IJ1J IJ JJ IJ77J IJ J IJ II
REGULAR EXERCISES
A l l exercises s h o u l d b e conducted w h i l e they are p e r f o r m e d .
T h e r e are two quarter notes t oeach beat. R e m e m b e r that J = J J, J J = J J J J,

j = n .
j JIIJ u JIIJ J u u J u n u u jiij J u II

j J IJIJ u J I I J I J u j u u rju J IJIJ u II
S I M P L E ( C O M M O N ) M E T E R C H A P T E R XII 1 7 9
JJIJ]JIJ]JJIJJIJ] IJ]JIJJIJilJJ]IJ]7JIJ lJIJJ]||
m\U IJJÎJ J]|J JJIJJÎJ J IJTJJIJ j hjijjiijn
JJJ]|JIJ]JIJJJI'J)J]|JJ]|JJIJMJJI^J3IJ3JIJll
Sixteenth notes are n o t difficult i f y o u r e m e m b e r t h a t J = J J J J a n d J = TJ3 o r
JJ1MJ J IJJSlJ i IJEJJIJJJ>'IJJJ IJJ]JIJ JJIJJ3M

JJ.MJ JJI\WJIJ3JMJ j hJ>jj|jJ3Jj|j bjîrjj |
^JIIJJ bJ3J]IJ333JIJ3JJJbJ.MI-
J i I J M W r j i j i IJ?J>IJJ3.BSIJ3SJJIJ3JJ333IJJ3J33?I
JJ3'J3I/JJT|JJ3JMJ J H I
I n the next f o u r exercises the h a l f note receives o n e beat; J = J J, o = J J,
j =sm.
J J IJ J J lo IJ J J IJ J IJ. J lo IJ J II
J J JJ IJ. J IJ J IJ. J IJ J J IJ J J IJ J JJ IJ. MI
JJJJJ IJJJJ IJJJJJJ IJ JJJJJ IJ JJJIJ JJTJIJJJJ IJ J*ll
JJBJI JJJJJ l*JJJJIJJJJJ*'IJ JJJ IJJJJJIJJJJOJJIJJJ lo II
S i n c e t h ee i g h t h n o t e gets o n eb e a t i n these n e x t four exercises, y o u will
encounter thirty-second notes simply because o f t h e smaller t i m e vales.
These must n o t b efeared! J J = fffl, J> = . F U I , J l = J l .
13 n \m\n KMJ~J \sm\n IJÎI
14 n ini IJ73IJ1 lira\I^\JW\n n
15 j \n \m m
H b~ I fffl ^ j fcw ^ R |q i i j=?^ M i
1 65 8 p#9 I a? 0 00 \ 0000000 0000 00 \ 0000 \ 00 0 l l
Simple Triple Meter, t h e "Three-Beat"
M e a s u r e s i nt r i p l e m e t e r c o n t a i n t h r e e beats: 1 , 1 , 8 , a n d ie ( t h e last is relative-

ly r a r e ) . T h e m o s t c o m m o n l y u s e d o fthese signatures is | ; t h e r e f o r e m o s t o f
o u r e x e r c i s e s a r e i n t h a t m e t e r . H o w e v e r , y o u s h o u l d a l s o pracce t h e o t h e r
f o u r time s i g n a t u r e s c a r e f u l l y s o t h a t y o u b e c o m e a c c u s t o m e d t o t h e i r v i s u a l
a s p e c t s a s w e l l a s b o t h t h e l a r g e r a n d s m a l l e r r h y t h m i c vales t h e y c o n t a i n .
R e p e a t each exercise several times, always c o n d u c t i n g t h e "three-beat" pattern,
until they a r e a l lcompletely mastered. T h e n proceed t o t h e regular triple-
m e t e r exercises. O n c e again, b e g i n each exercise slowly ( t h ebasic u n i t = 6 0 )
a n d gradually increase t h espeed s othat each c a nb e p e r f o r m e d eventually a ta
m u c h faster t e m p o ( t h e basic u n i t =1 0 0 ) .
J J J JJJ JJJ
J J J IJ. J J J II
S I M P L E ( C O M M O N ) M E T E R C H A P T E R XII1 8 1
J. IJ J J IJ. IJ J J I I
J J IJ J IJ J J IJ. II
J J IJ J J IJ J IJ. II
JJJ IJ J IJ J J IJ JII
J. IJ J IJ J J IJ J J I I
J J J l I J J J l I J J J I J JII
JJJJIJJ/JIJJJJIJJJJIJJ*ll
JJJIIJJJJ IJJJJ \nu\\
mninninm u J I/JJJ uJJJ IJTJIUu. II
j. j)j \ m j)U J J u. in u J I . u J. j>u. II
j. u J . j ) U J J sj. s>n IJTTJJ u. J^J I J J II
REGULAR EXERCISES
All exercises s h o u l d b ec o n d u c t e d while they are p e r f o r m e d .
A q u a r t e r n o t e receives o n e beat; J. = J J J, J = J J, J = A J = .
J J J IJ J IJ J J IJ J IJ J J IJ J J IJ J IJ * * ||
j J IJ J i I I I
JJIJJIJJHJJMJJJ.il
JJ IJ J J IJ J IJ J * IJ J IJJJ IJJ* II
I o * - \ o ^ 0< I J IJJJ IJ i\\
jJnu J IJ/JJ uJ IJ/JJ IJJJ u j j u JII
JJJ* liJJ.IJIJi IJ J IJ.J>J l / J J * I J J I J J Jll
J J J J J I J J J * I J . / J J I J J J J I J J I J J J J J I J J J I J J J J * I
JJ3JW IJJJJ)?* I J J JJ31 JJJJJ IJ3JJJ IJ333JJJIJJJJJ31J J JII

I n t h e f o l l o w i n g f o u r exercises t h e h a l f n o t e gets o n e beat; J = J J, J = J J J J .
J J J JJ IJ J - IJ J. J IJ J J I" J J
10 JJ-JJL - IJJJ*JJ JJ" JJ IJJ" J IJJJJ l o J II
11 JJ- IJJJJ.J JJJJJ IJJJ -JJJJJJU.JJ JJJJJJJ IJJJJ I
12 4, o J J J J U J J J J J * i JJJJ I J J J J J J J M J J. J IJ J J J J J J J
JJJJJJJJ I - II
T h e e i g h t h n o t e receives a beat i n the n e x t f o u r exercises. D o n o t b e i n t i m i d a t -
ed b y t h en u m b e r o f black notes; r e m e m b e r that f o u r thirty-second notes
e q u a l o n e e i g h t h n o t e , J> = J~~i~, S> = J7 .
13 m u. i n ^ i H i \ri \ m I/TTI h n n
14 j J>II i ^ j ^ u y n n y f f i n n \ n - > n
15
16 O 0 0 0 0 0
E v e n m o r e black notes result w h e n t h e s i x t e e n t h n o t e receives o n e beat, as i n

t h e n e x t s e t o f f o u r e x e r c i s e s ; J$ = J) = ,
17 ft J ^ I J 1 |J^7 IJ53 I JTJ' IJ3? i n ? II
18 ftjiijîjiiîjsij) inji/nn
19 J1>I ?JJ1 1 >l jffl I/III
20
m \m\nw
Simple Quadruple Meter, t h e "Four-Beat"
4 y
M e a s u r e s i n q u a d r u p l e m e t e r c o n t a i n f o u r b e a t s : 1 , I , g, 1 T h e m o s t c o m -
m o n l y u s e d o f t h e s e , \, w i l l c o m p r i s e t h e b u l k o f o u r e x e r c i s e s , i n c l u d i n g a l l o f
184 C H A P T E R XII SIMPLE ( C O M M O N ) M E T E R

t h e p r e p a r a t o r y e x e r c i s e s . H o w e v e r , | a n d i 6 a r e q u i t e c o m m o n time s i g n a t u r e s
4
today, a n d 2 was a p o p u l a r signature i n the Renaissance a n d B a r o q u e periods

a n d is s t i l l u s e d t o d a y . T h e r e f o r e , s t u d y t h e m a l l c a r e f u l l y i n o r d e r t o a c c u s t o m
y o u r s e l f t o t h e v i s u a l a s p e c t s o f l a r g e r a n d s m a l l e r r h y t h m i c vales i n e a c h
signature.
F o l l o w the same directions as those given f o r the duple- a n d triple-meter exer-
cises: r e p e a t e a c h e x e r c i s e u n t i l m a s t e r e d , a n d p e r f o r m i t (as w e l l a s t h e r e g u -
l a r q u a d r u p l e e x e r c i s e s ) s l o w l y a t first ( t h e b a s i c u n i t = 6 0 ) , e v e n t u a l l y r e a c h -
i n g a faster t e m p o ( t h e basic u n i t = 100).
IJ J J J
o
J J IJ J J J J J IJ J
tJ J J IJ J IJ J J IJ
4 4 o J IJ J J IJ J J IJ J
JJJJ J IJ J J J I J J J IJ J
J J IJ J J J IJ J J IJ J J IJ. i
J IJ J J IJ J J J J J IJ. J
IJ. J J IJ J J J IJ J J J IJ J.
IJJJ J J J1IJ J1J J. IJ. J IJ Jl/JJ IJ
10 i j J J u. J u J J n u J J J J u. J u J j II
,, 1 J J J J * JJ I J J J J * IJTJJJJ IJ J J II
. I J J J J * IJ J J J J * IJJJ J J J IJ. J IJ J J J 7 7 J L II
REGULAR EXERCISES
A q u a r t e r n o t e g e t s o n e b e a t i n t h e first e i g h t e x e r c i s e s .
, IJJ* JJJ IJJJJ JJ**J IJ JJJJJ IJJJJ IJJJJ* J IJ. * l l
,1 J J l*JJJ IJJJ IJ *J IJJJJ IJJJ*J IJJJJ*J IJJ Jll
3 i J. J IJ JJ IJJJ * 7
J IJJJ IJTJJ*J IJJJJ J I J . Jll
. I J J U J J J IJ J33JJ J J IJJJUJJ33J IJJJJJ^JJJIJJIJ*- II
.IJ'J3J'J3IJJM J J J J J J J IJ. J IJ35J* * J II
elJ*JJ* I J E * Jffli JI^J* J * IJ J J ^ I J ^ J J II

7
4
JJ1JJ IJJJJJJ1J IJJ3JJ1JJ IJ5SJ J3SJ~JI
^JJJ^JJJ u j i j j i i j ^ j m r j w i
. I J J J U 3 I J . J IJUJ33J J>" J I J J J1IJ1JJ. J>IJJ JJ3J1I
JlJJ* flJfifmJJJIJlJJJJ I J ^ J J l*J33JJJJII
4 4
I n t h e n e x t eight exercises u s i n g 8a n d i6, study t h e measures w i t h t h e greatest
a b u n d a n c e o f black notes before a t t e m p t i n g t h ee n t i r e exercise; this way, these
thirty-second a n dsixty-fourth notes will n o tsurprise y o u o ri m p e d e y o u r per-
f o r m a n c e ; J l c a n equal J^jl J .
JItiln tiimn wjHjmn IJJ1J3>IJIJIIJ3]>

10
n^titin Wttitintitii J IJIJJJ u mim
11 JS.S Jl i J3 J11 Jl . K J ? i JJ" Jl JJ i YJI JS J I J* JJ J -
12 J^JJV.MJH.S.N'IJE r / l M B J ^ J ' l S J ' l W J I J l J -
13 JTfJ IJ333J1 I ^ S l J l S l J H IJJIJ^JIJJIIJIJ^

14
15 J H I J U I ^ ^ I J J I J I I j ^ f f l j ] l / S f J iJ^J)?
16 JIJ) J> IJTOIJ J5 JlIJ3 J3 J I ?* I J) J> IJJ 7
I n t h e n e x t f o u r exercises t h e h a l f n o t e receives o n e beat a n d t h e bracketed

w h o l e n o t e i s h e l d f o r f o u r b e a t s : oti = J J J J .
17 O. J J J J. J o J J
18 J O o o J JJJ J IJJJJ- IJJJ J. J IJ JJJ. J

19 JJJJJJ JJ O JJJ J JJ IJJJJ- IMI
20 JJJ- JJJ - IJ J J JJJIJJ7J* JJJJJ J . / I J J J. J

JJJJUJ JJJJJ IJ. JJ J. J IJJJ " II
S I M P L E ( C O M M O N ) M E T E R CHAPTER XII 1 8 7
Syncopation
S y n c o p a t i o n , w h i c h literally m e a n s " c u t t i n g u p , " can b e described as a situa-
ton i n w h i c h t h e m e t r i c a c c e n t o c c u r s o n t h e n o r m a l l y w e a k b e a t i n s t e a d o f
coinciding w i t h the regular metric p a t t e m o f accentuation. I t m a y b e called a
displacement, a n d i n these situations it is i m p o r t a n t t onote that syncopation
results w h e n the pitches fail to fall o n the beat w i t h f r e q u e n c y a n d consistency.
Syncopaon o b s c u r e s t h e b a s i c b e a t , a n d i n s o m e n i n e t e e n t h - a n d t w e n t i e t h -
c e n t u r y pieces it even has a b l u r r i n g effect o n the r h y t h m . S y n c o p a t i o n can b e
a c c o m p l i s h e d by:
1 . t y i n g o v e r t h e s t r o n g b e a t ( w h i c h i n f a n d f i s t h e first b e a t a n d i n \ t h e
first a n d t h i r d b e a t s o f a m e a s u r e ) :
i J J IJ J IJ J IJ M o, J J |J>J J)|J)J J)|J
! J J JJJ JJ. J J I or J J JJJ)J J>JJJ>J J>J
i J JJJ J JJJ J J I . JJJJ IJ>J J>J>J JJIJJ J

2. p l a c i n g a rest o n t h e s t r o n g b e a t :
I JJUJUJIJJUJI rJJ>hJ J|JJhJJ)fJi
1 J J J U j m j J U J l orJJJ3I'J>*^JDIJ'JJDIJJt
i JJJJIU*JIU*JI*Jl J'J?JJIJ'JMJ.J)JJIo
3. p l a c i n g a n a c c e n t o n t h e w e a k beat:
IJJ IJJ IJJ i * J i o, J>J j > i j ) j i>\nn
i J J J I J J J IJJ IJJJI JJJJIJJJIJIJJJIJ.
I JJ* J IJJ JJ UJJM JJ JJJJUJ J IJJfJ
The Anacrusis or Upbeat
P i e c e s o r p h r a s e s m a y b e g i n o n b e a t s o t h e r t h a n t h e first b e a t o f a m e a s u r e . I f
this h a p p e n s , it is c u s t o m a r y t o balance t h e i n c o m p l e t e m e a s u r e a t the begin-
n i n g o f the piece o r phrase w i t h a similarly i n c o m p l e t e measure a t the e n d o f
t h a t p i e c e o r p h r a s e . T h e p r e l i m i n a r y n o t e o r n o t e s a r e c a l l e d anacrusis o r
upbeat(s).
anacrusis compensation
nn\i
(upbeat) 1 2 3
j u j j u j j u i
3 1 2 3 1 2 3 1 2 3 1 2
i
anacrusis i
compensation
n n \n j n
(upbeat) 1 2&3&
in J i j u . n
& 3 & 1 2
I l
EXERCISES IN SIMPLE METER WITH

UPBEATS AND SYNCOPATION
Two quarter notes to the measure.
J u J IJ>I J u J uy J \n J u J I u J u
J J \i / J l IJ J b / J l I J T T J lf] j l IJ J b J)i
JllJ J J J I J J I I J I S - ' J I J I J l J J l J 3 S b J T J I J . >|J

7
7
/Jlj/JlJl I ' JU1JJ3] Jl IJ 1^11 /JJUJIJ IJl *
T h r e e quarter notes to the measure.
J J J bAJl/JIJ J ^ i J l J J IJ333J JJJJUJIJ J i

J I J J ' J J J J JIJ1J.JJ1IJ1JJJ.J7J171IJEJÎJIIJIJ
JJJJJIJJ^JJjJlJJ^bjjJJIJJJJiJJj^JlIJJ IJJ
J*JlJlJ*b/JJJjlJjJJI*J*b/>J*IJ JIJ333JJJIJH
Four quarter notes to the measure.
. I J J J I J J J J T J J I J J J J J / J / J J I J J J I JJJ JJJJJJ J J J u J I I
,. I J J J J J JJJJJ* J J JJJJJ J J J J J J J i J ^ J J J J I J J J J J j :m J JJ J J i i
i j . J J J J J J J J J JJJ J J J J J * I J J J J J J J i J J J J J J J J J JJ JJ J * i
I J J J J * J J J J J J J J J J J JJJ.JJ 4J33JJJI J J J J I
7 7 7
Two eighth notes to the measure.
13i J> IJ~J I? J^J^ \fi ti \i \HT\n IJ? ? JI.M
M i JI^ÎJUJIJS.J] JJJI^S|JUJ1IJJ^SIJ) I
iJM>kti \tiiitiîytifijn \ JffiH\j>i\
T h r e e eighth notes to the measure.
,71J>I Jj^ J S I / J I S I J53ISJS J ?JN J3 JyJ I J S M . S J J J Jl
,a I J J J J J Jl J . J S J ^ I / J J J J S S J ^ J J J J J S I J J I J J ? I
, J JJJIJJllJJvJJ^JJJJIJ.jlJJiJl^LSjlIjfJSlJ? ?l
.i J ? J J J J 3 J ? J J M J J M J J J I / T J / J J J I J ? J
7 J J I / T J ? Jl
7
Four eighth notes to the measure.
I J333J1H IJ353 Jjffl1.533I J3S.9.S Ij* J .MI

J31 j~y3iJ33|jr3i J33? ? J31J>?ji3i jr^jiijâ? J>J>? i > ? ^ 711
?j> \ E t i ^ \ ^ ^ n . \ n n \ E ^ t i t i M ^ t i ^ \
I r r e g u l a r Divisin o f a B e a t i n S i m p l e Meter
U p t o t h i s p o i n t , w e h a v e d i v i d e d e a c h b e a t i n t o t w o o r a mltiple o f t w o e q u a l
parts:
o . J J
J
n
etc.
By Three
JJJ half-note triplet

O
SIMPLE ( C O M M O N ) M E T E R C H A P T E R XII 1 9 1
less f r e q u e n t l y :
sixteenth-note triplet
thirty-second-note triplet
By Five J =
J J J "3 sixteenth-note quintuplet
5
JJJ eighth-note quintuplet
J J J nuarter-note quintuplet
J.
7
By Seven sixteenth-note septuplei
JJJJ J eighth-note septuplet
JJJJJ quarter-note septuplet
T h e a b o v e a r e t h e m o s t frequeny e n c o u n t e r e d i r r e g u l a r d i v i s i o n s a n d a r e
featured i n the f o l l o w i n g exercises. F u r t h e r irregular subdivisions will b e intro-
duced in Chapter XV.
P r a c t i c e e a c h e x e r c i s e m a n y t i m e s . I n o r d e r t o a c h i e v e c l a r i t y a n d e v e n n e s s , say
a l o u d the n u m b e r s that reflect the subdivisions. D o n o t c o n d u c t these exercis-
es, b u t set a m e t r o n o m e a n d c l a p a t a b o u t 5 0 f o r t h e b a s i c u n i t . W h e n a r e s t
o c c u r s i n a n y i r r e g u l a r divisin o f t h e b e a t , s a y t h e n u m b e r s f o r t h e s o u n d e d
n o t e s , a n d b e s i l e n t f o r t h e rests, o r clap d u r i n g t h e rest:
-3-
etc.
1 2 1 3 2 3
(clap) (clap) (clap)
, J J J T 3 m m n
1 1 1 2 3 1 2 3 1 2 3 1 2
n
1 2
m
1 2 3 1
m
2 3 1
J J II 1
j
1
n rh rh
1 2 1 2 3 1 2 3 1
j J
1
VVi V
1 2 3 1 2
j j
3 1
rn
1 2 3 1 2
.5J J J J JJJ-H J H JTD JT3 J J J J J
4 4 JJJJ J JJJJJJJ. JJJJ
. J J J J J J J J T J J J J J71J J J J Jo
J J J JTJ J 7
J J~n 7
Jl JTJ j j i j 7 i
7 m O * j ~ n r^j TV n~i r n ^ n
iJJJJ *J J J J J J J J i i J J M *
JJllJJJiJlJ JJJJ JI J I J J
10 IJJJJ JTTTJ JTTTJ JJ JTJTJ JTTTJ
i J J nm J JJ J T J J m T O l O T J3SJDJ] J J
12 I J J JJTTJJJJTJJJJJJJJJJJJJJ JTTJJJJJTJJJJ
. 1 o J JTTTJ JJJ JJJ J JJJJJJJJJ7TJJTJJJJTJJJ

R e m e m b e r : i f y o u are u s i n g syllables t op e r f o r m t h e i r r e g u l a r divisions, clap
t h e rests; i f y o u a r e c l a p p i n g t h e n o t e s , recite a syllable w h e n e v e r t h e r e isa rest.
14 i JJJITWNTT)JTO?mnjJJT^JJII
3 '
J * J * J * J J J * J J J U J J * J J J J JJJJII
j 1 r ~i r
X
15 4
16 IJ J m m J imm j j j j JTJTJTI JTJTJTJII
17 4 J J JJJJJJJ JJJJJJJ J J JJJJJ J lJ J J J J S JJJI
18 i JJJTJJJJTJTTJJTOJI/TJTOJTJTJJJ II
19 J J J J J J * J' J J J J * J J J r J J J J * J J J * II
44 J J J 7 J J J J J J J J J J J J J J 7 J J J J J J J J J J J J J I I
X 7 7
20
i J i J i J i rrm-> rm rn^nrrrrn n
-6 1
21
22 ! J * J * J * JTTJ-J rm m->nJ~H~TJTJ" II i
REGULAR EXERCISES
Practice each exercise m a n y times until the subdivisions are absolutely even.
T h e g r e a t e r t h e subdivisin o f t h e b e a t e s p e c i a l l y t h e s e p t u p l e t t h e s l o w e r
the practice t e m p o s h o u l d be. I n these exercises, i tm a y h e l p t o p e r f o r m the
triplets, quadruplets, a n d septuplets b y saying t h e n u m b e r s themselves i n
o r d e r t o assure greater evenness. C o n d u c t all o fthese beat patterns u s i n g the
c o n d u c t i n g patterns pictured o n previous pages.
T w o q u a r t e r n o t e s t t h e m e a s u r e .
j j j j IJTJJ u /IJu j IJTJJTJ u JTJ u *
J T J J J J I J J J ] I J J J * I J J J J I J JTJ IJTJJTJ I J J I J *
j J jfjj u J IJTJ I J J J J I J J T'H u J

JU I u J i i j t j j j i j f j j II
Three quarter notes to the measure.
JJJ IJ JJJJ IJ * J J J I J J JJJUTJJ J IJJJJ IJ J *
JTJJ J J J IJ J i IJ JTJJJ IJ. J J I J J J J J J J IJ ti

Pracce t h r e e c o u n t s o v e r t h e c o u r s e o f t w o b e a t s b e f o r e a t t e m p t i n g t h e n e x t
six exercises.
J J IJ J J J I J J J J J I J J J J IJ. J J IJ J J
Jjj J J J J J J J J IJ J J J J J IJ J J J I J J J J IJ J J
F o u r q u a r t e r notes t othe measure.
J J J J IJJIJ J uJ Tu u J IIJIJIJ i
10 Tu IJ J J J J U J J J J J I J J J J IJHJTJ IJ J
11 J J J J J J ul u J J J J u J J J J J J T J J J rj -
12 JJJJJJJJJJJ J T J j j TA JTJTJ J IJJJ ufe-

Practice five counts over the course o ft w o beats; i n t h e n e x t twelve exercises
the q u a r t e r o r h a l f n o t e receives o n e beat.
13 J J IJTJTJ IJ J l/TJTJ IJ JTJIJTJJIJTJTJ IJ. i
,JJTJ1 ijtjtlJTIJ IJTJJJ IJ JIJTJJJ IJJJJIJJ Jl JTJTJ
15 JJ J IJJJJ IJJJJ IJJJJJ iJJJJJ IJ
,ai J T J T J I J J J J U J J J j I J J J J J J I J T J T J U J J J J J IJ. J
17 JJJ I J J J J J I J T J T J J IJ J T J J J IJJ. J J J J T J J I J J T J J J I J *
18 J J J J J lJ J J J J - I J T J J J J J I J T J T J J I J J J T J T J J T J J I J J *
19 JJJ JJIJ JJJJJ IJ JJJJJIJJJJJJJIJJJJJJJJ
20 O JJJ UJJJJJ J IJ J JJJJJ UJJJJJ UJJJJJJJIJ J -
21 I J J J J J T J J J T J T J I J J J J J J I J J J T J J J I J J . J T J T J IJ. *
22 I J . J I JJJJJJJ? I J T J J J J T J J J I J J JTJJJ b J J J J J J J T J J J J J I J J
l o o IJ J J J J J I J J J J J J J J J IJ J J J T J J l o J J J J J J l o . -
A J J J. JI JJ JJJJ J IJJJJ JJJ JJJ I JJJ JJJJ JJJ i JJJJ IJJJ- - -
N o w practice seven notes over the course o f o n e beat.
25 jjjji/nfej IJTJJIJ fmu J
ae i J J J J i J J i nm nm i j r s nm i JJJTJJIJJ
S J J JJJJ UJJJJJ IJTJTJ J J J J J J J IJ JJJ JJJ IJ
3 3
28 JTJTJTJTJTIJJTJJJJTJTJJIJTJTJJIJJTJJJJIJ J o
T h r e e beats to a measure, w i t h five o r seven notes o c c u r r i n g over the course o f

two beats.
29 J J 1 JTJTJ JJ IJ. J J J J IJJTJJTJJ IJTJJJJIJ JJJTJTJIJ i
iJJJlJJJJjJJjl^
31 J J. JIJJJJJJJIJJJJJJJJJJIJJJJJJJJJIJJJJJJJJJJL.
-3'3i i 7 I I 7"
JJJJJJJIJJJJJJJJJJJU JJJJJJJIJ J J o
33 ij3lJJ^J3J>IJraT3^lJJllJ3j^JSI>^
3 3 - 3 3-
34 JSLM JJCT1 JJJJJJJ J I J J ^
B e f o r e a t t e m p t i n g t h e last six exercises w i t h f o u r beats t oe a c h m e a s u r e , r e v i e w
practicing five, six,a n d seven counts over t h ecourse o f o n e a n d t h e n t w o
beats.
3 JJJJ IJMJTJJTJTJIJJTJJJI^ J II
3 3 5 5 7 7 3 3
JJTJJTJJIJJJTJJTJJIIJTJT^ J J Ul
j JJJJJJJUJJJ JJ JJIJJJ JJJJJJJ JJIJ JJ"JJ JJJ JJJ Jll J
1M | | | 11 1 | 1 | 1 1 11111 n
| 1 1 ! 1 ! 1 | 1 i 1
0 0 i0 |9 0 !,
i n i III 1 I MI
m 0 \ 000m00000000i a 0 & t> 9 S 3 1a a o 11
A JJTJIJ^JJIJOTJ.^JOTJJJJS^
A J J I JJJ u JJI J>J J i j T j J i ^ i j t mtm\mwfl >
1 9 8 CHAPTER XII S I M P L E ( C O M M O N ) M E T E R
C H A P T E R XIII
COMPOUND METER
I t h a s b e e n s a i d t h a t m u s i c is " e i t h e r s o n g o r d a n c e " ( P l a t o ) . T h e r e a r e m a n y
d a n c e s i n w h i c h e a c h b e a t is d i v i d e d i n t o t h r e e r a t h e r t h a n t w o s u b b e a t s o r
units ^gigue, taranteiia, saltareila, etc.). I n s i m p l e r h y t h m , these w o u l d be
n o t a t e d as t r i p l e t s . I n o r d e r t o crate a m o r e i n d i v i d u a l i s t i c , r e g u l a r t r i p l e f e e l -
i n g w i t h i n e a c h b e a t , w e u s e compound meters, w h i c h w e r e d e v e l o p e d m a n y c e n -
turies ago. W e arrive at c o m p o u n d m e t e r s by m u l t i p l y m g the u p p e r n u m b e r i n
simple m e t e r signatures by t h r e e a n d the l o w e r n u m b e r by t w o : \ (simple)
becomes (compound); 4 (simple) becomes \ (compound); 4 (simple) becomes
8 ( c o m p o u n d ) . W h e n c o m p o u n d meters are f o u n d i n slow music, f o r instance
2
a largo i n , f , time, t h e e i g h t h , q u a r t e r , o r h a l f n o t e g e t s a b e a t , y e t t h e
g r o u p i n g will still have a t r i p l e feel.
S i m p l e ( c o m m o n ) a n d c o m p o u n d m e t e r s c o n d u c t e d i n 2:
J J or
1 2
becomes J. J. or rn rn
1 2 1 2
7,8,9
-*- 4,5,6
1,2,3
I J1 J2 J3 or
OR
1 2 3
nnn
0 becomes 8 j . -
- 1 1
1 2 3
oorr
1
mmm
23
COMPOUND METER C H A P T E R XIII 199

I JJJJ or J]J]J]J] becomes % J. J. J. J. or JUJHJJ3JU

1234 1 2 3 4 1 2 3 4 1 2 3 4
Ss ii mm pi ll ae r l y , compound simple compound simple compound

i becomes f 2 becomes | becomes 12
| becomes ig becomes i6 i becomes }
6
C o m p o u n d D u p l e M e t e r ( j j ,4, i 6 )
Practice each exercise several times, initially at J . = 50, later u p to J . = 100,

always c o n d u c t i n g t h e p a t t e r n w h i l e p e r f o r m i n g . B e sure t h a t each accented
beat contains three equal counts.
J. IJ. J. IJ. J. IJ
m m J. u. u. * II
ti J. u. J. i m J.
j. i m J. u. m u. J.
m \m J. i m m u. J. n
ti m u. J. u. m \m j. u. n
200 C H A P T E R XIII COMPOUND METER
j. j. \m m u. J. i m J. u. m n
j. u. J. u. m \m J. \ m r n 11
j. j. u j> J. i m J J> u. m II
j. j i> hi> J J. i m m u J> J. II
JJ J J> IJ7T3 J. IJTTSJ J> i m J. II
UTTJJ J i m i/m J J n
REGULAR EXERCISES
P r a c t i c e e a c h e x e r c i s e s l o w l y a t first ( t h e b a s i c u n i t J - = 5 0 ) , i n c r e a s i n g t h e
s p e e d g r a d u a l l y u n t i l e a c h o n e c a n b e p e r f o r m e d a t a fast, steady t e m p o ( t h e
basic u n i t J . = 1 0 0 ) .
C o n d u c t t h e first s i x t e e n e x e r c i s e s i n t w o . I n E x e r c i s e s 1 - 1 4 e a c h b e a t c o n t a i n s
three eighth notes, i n Exercise 15 three quarter notes, a n d i n Exercise 16,
6
w h i c h i s i n j 6 (J>. J>. = J T 3 J 5 3 ) , t h e b e a t c o n t a i n s t h r e e s i x t e e n t h n o t e s . F o r
this last exercise, r e m e m b e r also t h a t I T 3 c o u l d b e J J J J J J .
J T J J . h J ] J I J T ^ J T I J J. I J T J J . IJ. J T J h J J J . IJ. J H I
j j)/3 i \n * j J U T T J J I J J J. \n > j J I J J > J T J I I
/=3 u JJ .m/TEj. IJ J ^ J T T ^ I 7 j n\m jn
j~n J. u j r ~ n I J T J J J * u~n J JIJJ j~nn
jsirnrnuj j Jinjnjj~ranû JJ>II

COMPOUND METER C H A P T E R XIII 2 0 1
a I J^J J J2IJT3] JTJ l / T ^ m i IJ~rajT3 h J l J773II
7 jT3>7jT];>7i|j J J T I I J T ] J l ] | j n 7 j ] | j r
||
. | 7 J)7 J 7 ] |7 | rj]7 J)7 | l J J J)|irjY J T ] | Jl 7 7^7 ||
J U J^jJbJJ J I J ^ J l ^ J ^ J U J ^ J T I J J ^ J I J J J J H
H i i RI n i j N- n r 7 J
7' 71
r n r m r n i 7 7 F ! R I
, I J . J J J J J J i>hJ J J J J U J ~ 3 J \iJ J J J J T J J I S J ' I J T I J Jll
JjTJ'J j^ljT3jl]IJ^miJT3]JjlhJT3J]'h>JJ>ll
J J J J I J ^ J . IJ. J J I J T J J T I Q I J JjTJbJjJ. I J J M I
n i ji] in i JJ T Ji3 I Sj^jm\jjmiw\ J J J E I Jra J I I

7
J. J. I J J J J J J J IJ. J J J J . JIJJTinjJ^ J I J J J J J J . I I
1^ ,
T h e f o l l o w i n g t h r e e e x e r c i s e s e m p l o y hemiola, a r h y t h m i c t e c h n i q u e i n v o l v i n g
t i m e vales i n t h e relaonship 3 : 2 . F o r i n s t a n c e , t h r e e h a l f n o t e s o c c u r i n t h e
space o f t w o d o t t e d h a l f n o t e s i n 4 w i t h i n o n e m e a s u r e a n d i n 4 spread o v e r
t w o m e a s u r e s : | J . J . = ( | ) J J J o r 4 J- U - = J J J . J J II .
17 ^J J T J I " J J J I J J J J IJ133'JllJ53]. J U I J J J I I
18
j \ b > r I J . J U [ rj7jTj |j>j jTfj |XJ33J33D.SIÎJT3 *II
IJ J J J. J U J J J J I J J_J>J. J I J J J J J IJ. J E J J J J J J * I I
T h e use o f h e m i o l a obscures the r h y t h m i c regularity o f c o m p o u n d meters b y
switching three t o t w o a n d vice versa. H e m i o l a patterns a r e especially preva-
lent i n certain genres o f music f r o m t h eRenaissance period, a n d have been
used extensively i n music composed f r o m t h e eighteenth century onward.
H e r e a r e t w o examples f r o m t h eliterature t o practice; i n these excerpts y o u
can feel the r h y t h m i c shifts very strongly, a factor t h a t w i l l e x p l a i n the practice
o f the h e m i o l a better t h a n words ever will.
Symphony No. 3
Johannes Brahms
1 23 4 5 6 1 2 3 4 5 6 123 4 5 6
I 1I i I iI I
J J i J J I J J*JJIJ.JUJ>IJ J*JJIJ.JJJJ. IJ J U J J k
" A m e r i c a " f r o m West Side Story
Leonard Bernstein
could b e spelled:
m m I I JJ J I8/T3 r n \ r n r n etc.
C o m p o u n d T r i p l e M e t e r ( , \, , i ) ;
Practice each exercise several times, always c o n d u c t i n g t h e p a t t e r n w h i l e per-

f o r m i n g . Be sure that each beat contains three equal counts.
J IJ i IJ. J. I I
J. J. IJ. J IJ. J. J. IJ. J II
J J J IJ. J. IJ J. IJ J. J. I I
Al 1 I J . J . U. 11 U. 1 IJ- J- I I
. u. J T J J . IJ. J. J. IJ. J T J J . IJ.. .J. n
. I J . J J73U. m i u. J. I J U J . i\\
7 1 J . J. J. I J T J J . J T 3 I J . J I E J T J IJ. J. I I
. J. IJ. J. J. U T J J T J J . IJT?JJ.JTTI
. J.IJ. J . I J . J . J . I J T ] J . J . I J . J T J J . I J . J . J ^ ] I J 1 ] J ] ] J I 3 I J . J.ll
10 jnrrnn}\i i I J U J . J T 3 I J . J. J. IJ. J E I J E I J . J. I I
11 J. J U J U I J E J U J . IJ^J.JTJ'IJTJJE'J. IJIHJTJJ.II
12 n m i j i i i j n j m i J>I J J E J E J E S i m m r m j> j i J E J. n
REGULAR EXERCISES
P r a c t i c e e a c h e x e r c i s e s l o w l y a t first ( t h e b a s i c u n i t J . = 5 0 ) , i n c r e a s i n g t h e
b a s i c u n i t J. = 1 0 0 ) .
JEJ. JE IJJ. JEIJEJ)"J. IJ.JEJ. lE'JEJEIJ. J.ll
J J J J V U I J J > " J J JU 1* J T J I J T J J T J J J>IJ. J. J Jll

rj77 rjjTjijT] E ^ J E I J J J j > j r j r j 7 j r j | jm
J. J E j j> | j. ryj jT531 j> j 7 J_JTT3 I ryj 7 j ^ ryj | yj 7 7 jj.
JS 1 n " JJJ U 1 J E J 1 JT3 rm n >1 J E J T E j)
, J I J J J E J T J I J E J J J E I J E J J ' E I J J E E J E I J * 7 7
, gj^jETJjESIJSEjEJjEJJJEf^
, i ijJ J. J. J JEJ. J J J J J E E 1 1 JE ^ J J Jj J3E J J J . IJ. *
. J E J " J J J J JTJ ID i J) J J. J J J . J3ESIJ J JCTJL IJ J J . *

7
, j^jraiJl]jnJJllj1E3JJ^JE3IJTOJ7]i
JJJ. J. J ^JJJJjE J I J ' ^ JJJJ7TJJ J^ J IJEJ J J .

I n t h e n e x t t h r e e exercises a d o t t e d h a l f n o t e gets t h e beat.
Ai I J J J J J H |*J J. J . J J J J J JJJJJJ . 0
J J E JJ J E E J E IJJ. J J . i J J J J J J J J J J IJJJ--
s l E E E J J J J J J I J E J J J J J J J J l*JJJ.JJ*J U J J J J J .

I n t h e n e x t t h r e e exercises a d o t t e d e i g h t h n o t e gets t h e beat.
A nimifiinn n^jimi] IJ^ J^?IJJ?M'-II

7
v A J.? ? 7 J ? i JJjIjJfJJJ? I J T J J S I E ? J T / B 1 ? A J I Jf] II
J I ? JJ ? J I JfJUJ J T J E J T J ? JJ I JTJ J T I J J T J I J K ? JJ.B II 1
2 l
C o m p o u n d Q u a d r u p l e M e t e r ( g , i, l i )
Practice each exercise several times, always c o n d u c t i n g the p a t t e r n w h i l e per-

f o r m i n g . B e sure that each beat contains three equal counts.
T h e d o t t e d q u a r t e r n o t e g e t s t h e b e a t : J- = J T J . T h e r e a r e f o u r J. n o t e s t o t h e
m e a s u r e ; J. J. = J. J . J . J . .
, J. J. J. J. IJ. J. I J J. J. I. I I
a i J. I J J J IJ J J IJ i I I
3 f J J J IJJJ. I J J J J IJ J J lo- I I
4 f J. J J I J J J J IJ J J IJ 1 IJ J J IJ - I I
. f JTJJ. J. J. I J T J J . J. IJTJJ. J. J I J J T J J . I I
a f J. J. J. J T J I J . J T J J . J. I J J. J T J J . I J J. J T J II
, W J J T J J J T J I J T J J T J J . J I J J T J J T J J . IJ. J. J J J J T J I I

I
I
| . f f J . J. J. I J T J J J . J. IJ. / T J J T T J J T J I J . J. J . I I
I . ff J. J. J . I J T J J . J. J. IJ. J T J J T J J . IJ. J . J T J I I
' ' .ff 1 J. J. IJ. J T J J T J J J . IJ5TJJ. J T J J T J J I J JJ. - I I

ff JJJ J J T J J J U J J J J J E J JJ IJJJ J>jmJ3J3 A O T A I JJ'II
J M J7J3JCTIJTJ1JOTJJ J JIJTJJTJJJTJEJJ
J J J J. WJJJ J- I
REGULAR EXERCISES
Practice e a c h exercise slowly a t first ( t h e basic u n i t J. = 5 0 ) , i n c r e a s i n g t h e

b a s i c u n i t J. = 1 0 0 ) .
, ffJ J J J J J U J J J J J JIJTJ.JTJJ JJ. I J JJJJJ. I I
, ff o J . JJJ. JJ J JJJ IJ. J J . J J IJ. JJ * J JJ J J J. II
3 ff J. JJJ. J T J J ~ J T J J I J T J J . iJlJ JbJ"JJ>JJTJjJlll
4 W J3^-05JJm3J3333h-T3J3J' J D J ^ I J T 3 I I
. f JE^Jl^J^hJ^JE^JJjTJ^JjJ^JJJJTJJJEÎI

I n t h e n e x t eleven exercises, s o m e t i m e s t h e d o t t e d q u a r t e r n o t e , s o m e t i m e s
the dotted half note, a n d sometimes the dotted eighth note becomes the unit
2
of measure: J . J . 1 J. ; \ i i i i ; } J>. J>. J>. J>. .
6 4 JJJ JJJJJJJ- !J.JJJJJJJJJ!J.J.JJJJJ. I
, ljfflj^jT3Jf IOTJJ.ÎJMJJÎET'JJ.
8 ff J J T J IJ JfJJJJTJ-'JJ I J J J T J J T J J J T J I J E T J J T J J J I I
ff 7 ^ J 1 ^ E J J I 3 I J J J J J E J J J J I J ? T J J 3 J J 7 J J J J I J J J T J - I
10 f J. I iji J ^ J J J h JJJJTJ-'JJljTJ^JJE-'JhJJJE-'JJII
. f f J J J J J*J*J *I*JJ*J JJJHJJIJ. J>J*iJJJJ*J
12
13 ff J IJTJEJJTJJJTJbJJJ J . J J J 7 J E I T J J T J M J J - I JTJJJ-"
14 f ^J iJ J j J h JTJJ JTSJ J J IJTJS J E S T J J J I J J J J J -
15 1 j^jTTOJJiMSrM
J T J T S J ) J) II
16 ff jTJJJJJjES^ljTJ^JJJJjTJjTJ53!J7JtEJ>JJ JMSJJbM- I I

A d d i t i o n a l C o m p o u n d M e t e r s
I n music f r o m all creative periods there a r e examples o f w o r k s that are w r i t t e n
w i t h six, n i n e , o r twelve beats p e r m e a s u r e . T h e s e g r o u p i n g s a r e n o t a t e d w i t h
the same c o m p o u n d meters that w e have studied i n t h e earlier part o f this
chapter, b u t r a t h e r t h a n falling i n t o patterns o f 2, 3, a n d 4 a n d r e g a r d i n g a
d o t t e d n o t e a s t h e b e a t ( | J- J ) , t h e y a r e c o n d u c t e d i n 6 , 9 , a n d 1 2 a n d t h e r e b y
c o n s i d e r t h e f o r m e r s u b - b e a t n o t e valu ( J T J J T J ) a s t h e b e a t valu ( J ) . I n
o r d e r t o b e c o m e familiar w i t h t h e n e w c o n d u c t i n g patterns f o r these meters,
d o the f o l l o w i n g exercises carefully.
SIX BEATS T O T H E M E A S U R E
6, 6, 6
8' 4'16
Practice e a c h o f t h e f o l l o w i n g exercises s l o w l y ( t h e basic u n i t J = 60, J = 60,

J5 = 6 0 ) , t h e n i n c r e a s e y o u r s p e e d g r a d u a l l y t o a b o u t 1 0 0 f o r t h e b a s i c u n i t .
C o n d u c t each exercise w i t h t h e "six" p a t t e r n p r i n t e d above. N e v e r g e t so fast
t h a t the beat is f o r c e d i n t o a " t w o " p a t t e r n . S t a r t i n g w i t h these exercises a n d
c o n t i n u i n g u n t i l t h e e n d o f t h e c h a p t e r , t h e b a s i c u n i t s o f b e a t , J , J , o r J>, a r e
m i x e d . B e careful, therefore, t o l o o k a t the t i m e signature f o r each exercise t o
m a k e c e r t a i n w h i c h r h y t h m i c valu g e t s a b e a t .
j. I J JJ T J u J J U T J J J u j m II
U J J J J J I J J J J J * I J J J J J * I J J J J J . J J U J J J J . J L 11
i j J ^ Q j j j j ] 7 bj"] JJJJJJ5ESJ J I J T J S J T J U T J J > II
S J J I J J J J J I J J J J T J J J li J J J . J3J3SIJJJJJ. J U . * I I
ufifif] i j f f l nfi i j ! n M R n i mnn i i J n

, is^j^j^n^\rr} mi}i>JW^^\^n-i\\ J
s I J J J JIJ7JJJJTJJ]J U J JJJJ IJJJJJJJJIJ. J u l l
i% j f f l jl l . ^ W M l JTJHE l J O T J V S l ffljl ll
10 J l ^ j J j M j M h J l J J j ^ ^ ^ S J J J J J l J T i T J I J . ill
11
MI hi M n i nv M r m R T R F H - m n n
0 \0 0 0 0 0 0 0 0 1 0 1 0 0 0 0 0 0 0 0 0 I I
ijni-mjTlijTjTJijT] > ijfjijmiJ7f]_jîi

F o r a d d i t i o n a l practice, u s e t h e r e g u l a r exercises o n pages 2 0 1 - 2 0 2 a n d
p e r f o r m ( c o n d u c t ) t h e m i n six r a t h e r t h a n i n t w o . I n o t h e r words, d o these
exercises i n slow m o t i o n .
NINE BEATS T O T H E M E A S U R E
9
/ /
8'16' 4 //r
3 2 1 4 5 6
Practice e a c h e x e r c i s e s l o w l y ( t h e b a s i c u n i t J> = 6 0 , J = 6 0 , J ) = 6 0 ) , t h e n
increase s p e e d g r a d u a l l y ( t o a b o u t 1 0 0 f o r t h e b a s i c u n i t ) , conducng e a c h
exercise w i t h t h e " n i n e " p a t t e r n p r i n t e d a b o v e . N e v e r get s o fast t h a t t h e b e a t
is f o r c e d into a "three" pattern.
JTJJTJ^JJJ IJ I J T J J O T I J T J J J T U J I IJTJJTSJ'II
I J S J ^ S ^ I . S J ' J T J T J J J T J I S ? J ^ J T S JJ^J) I I R

J IJJ J J J J J E E J I J J J\DJiJJU U J J J J J JU
J T J 7 j J J J 17 7 ji j> j J J J J | J T J J C T S E I JTJTJ J E J
fe JSjf J j f i JV j J ^ ^ i JJJEliJjibJ J T 3 i J id J J J>7
J J J JJJ* I J J J J J J J J I J J J J J J J J J I E J J E J J J J J
7 iJIJTJJ^^hJjTJ^lJj^JEEEJlME/EJ
8 Afi) j j ^ f j j ^ f f l j s i flfffljs? i JTJ J f f l E
JJEJEJJTJJEJ IJJEJfJEJJJJJIJJEEJJ^JJi
10 E " E i J I E ?J)JT33 ? J3E > h E ' J J T J I J T J JT3 J
11 J. I M J E C T I J J T J J W IJ.JJ3JTJ3J333JIJJ>J
12 j T J E ^ J J ^ m J I J i T T O ^ ^ J . ^ l O T . J JJTJJ
F o r a d d i t i o n a l practice, u s e t h e regular exercises o n pages 2 0 4 - 2 0 6 a n d
perform (conduct) t h e m i n nine rather than i n three.

TWELVE BEATS T O T H E M E A S U R E
112
1 11
12,12,12 \
8 16' 4 10
6 5 4 3 7 8 9
Practice each exercise slowly ( t h e basic u n i t J = 6 0 , J = 6 0 , J = 6 0 ) , t h e n

increase speed g r a d u a l l y ( t o a b o u t 100 f o r t h e basic u n i t ) , c o n d u c t i n g each
exercise w i t h t h e " t w e l v e " p a t t e r n p r i n t e d a b o v e . N e v e r get so fast t h a t t h e b e a t
is f o r c e d into a "four" pattern.
, ff J. J. J J 1 I J J J J J T J J . I J J J J J J. I J T J J J J J J J J I I
ff J J J J . J J T I J J J I J ^ J T J T J J J J I . J J J J I J . J J J J J J I I
ff j. n i B f i i m n m \ r n n n $ f t n n \
JTflJJJJJJJJJ^J J J T 1 1
u J T / J J i o n FHn ?\m J j m m
W ' / w
B j i j r J J ^ j r n i j T J j r r ||
I n this m e t e r J J J J = J. a n d J J J J J = J- ; i n o t h e r w o r d s , 4 o r 5 q u a r t e r n o t e s
fit i n t o t h e s p a c e o f 3 .
ff J J J J J J J J JJ. J J J J J J J J J J J J J J IJJJ JJJ J- -hJJ JJJJJ I I
, ff J J J T J J J m i J. J j > n j > i J J J J J J J T J . I TOJJTJ JJ. II

rjn r j n 1-3-1
i J ^ J B I J I ^ J J O T
-3~"-3-
9 ff. JJ JTJJJJ'hJ^JJJJJJTJJJJTJiJ>J^'U. J J JJJJJ JJJ I I
10 JJEJ/JH ? mffi] IJ 3 T J 3 S T J J M J I J J J J J. J ^ I I
11 ff J M J 7 J J J 7 bJJJ^J JJ3 I M T E J J S M ^ I J J T S S I J J . I I
12 ff o J jJJ^'^JJJJTJTEJJJJIJJjJJJjjJj- j J JJJ JTJJ JTJII

F o r a d d i t i o n a l practice, use t h e r e g u l a r exercises o n pages 2 0 7 - 2 0 8 a n d
p e r f o r m (conduct) t h e m i n twelve rather than i n four.

CHAPTER XIV
COMPOSITE METERS
All meters practiced thus far, b o t h simple a n d c o m p o u n d , have a certain

a m o u n t o f s v m m e t r v w i t h i n a g i v e n m e a s u r e : e a c h b e a t w i t h i n a m e a s u r e is o f
e q u a l d u r a t i o n . I n composte 0 1 c o m p l e x c o m p o u n d metis, o n e u r m o r e
beats w i t h i n a m e a s u r e are e l o n g a t e d .
Q u i n t u p l e M e t e r : l, \\,\
3,4,5 or 4,5
1,2 1,2,3
I is m a d e u p o f t w o p l u s t h r e e e i g h t h n o t e s ( i n i g o r \ , s u b s t i t u t e s i x t e e n t h s o r
q u a r t e r s f o r e i g h t h n o t e s ; i n r a r e i n s t a n c e s o n e w i l l find t h e s i g n a t u r e 1 ) a n d i s
conducted i n two, with o n e short a n d o n e elongated beat t o each measure.
U s u a l l y t h e c o m p o s e r i n d i c a t e s w h a t divisin o f t h e m e a s u r e s s h e d e s i r e s ,
w h e t h e r 2 + 3 o r 3 + 2 ; s o m e m e a s u r e s m a y b e a m b i g u o u s as t o t h e i r divisin.
S p e c i a l attenon m u s t b e p a i d t o a s s u r i n g t h a t a l l e i g h t h , q u a r t e r , o r s i x t e e n t h
notes w i t h i n a measure o f composite m e t e r a r e absolutely equal, so that
I J T J T J does n o t sound like J J J T J .
P e r f o r m t h e s e e x e r c i s e s s l o w l y a n d c a r e f u l l y , c o n d u c t i n g e a c h o n e as y o u g o
t h r o u g h it. | will look like J l J T J o r J T J J J ; I will be notated J J J J J o r J J J J J ;
a n d i6 w i l l l o o k l i k e J l J T J o r J T J J l . R e p e a t e a c h u n t i l i t feels n a t u r a l
b e f o r e y o u p r o c e e d t o t h e r e g u l a r e x e r c i s e s . I t w i l l b e h e l p f u l a t first i f y o u
a c c e n t t h e first n o t e i n e a c h g r o u p s l i g h t l y w h e n y o u p r a c t i c e t h e s e e x e r c i s e s .
(>) (>) (>) (>) etc.
nr JT Jl J T J I J T J J T IJ~3 J T J I J II I I
214 CHAPTER XIV COMPOSITE METERS <
(=) (>) (>)
J. J IJ J. IJ. J
, C h l n I J J ififruffi) ij) j> I I
j. j ~ ]u m \ m J u J. u~n t > i II
J J J J u J J j J j j j j J II
. ^ = Is I 1 I I 1=1 | IS r - l | r===
0 01 0 \0 0 0- \0 0 0 0 0
6 M I * # 0
Al J IJ J IJ J IJ J J IJ~J J J IJ J f J I I
. J J f J IJ JJ IJ J J IJJ J IJ JTJ IJ J J I
REGULAR E X E R C I S E S
Practice e a c h exercise slowly, b e g i n n i n g a t 1 0 0 f o r t h e basic u n i t . T h e n

increase t h e speed g r a d u a l l y u n t i l i t reaches a b o u t 156 f o r t h e basic u n i t . B e
certain that all units, w h e t h e r quarter, eighth, o r sixteenth, r e m a i n equal
t h r o u g h o u t each exercise.
T h e e i g h t h n o t e gets a beat.
(>) (>) (>)(>)

JTJJ IJ JTJ IJ. JJlJTJJ IJ J T J U J J T IJ J IJ * I I
(>) (>)
J T J J IJ J JIJTJJJ IJ J ' IJJ J T IJ J IJJJJ'IJ J " l l
J ^ J T h J J J IJ J IJ ->JJIJJTJiJU. J J T E J J U J. I I
COMPOSITE METERS CHAPTER XIV 2 1 5
jJjJfJl'jJjTJlJ J JIJTJIJTJIJJJ. JT]J I J ^ J H I
l J JTJTJJJJ J J IJJTJÎJTJJJ/JJ.
0 I J J IJJJ ' I I
I JtOT JfJ^31JT3 JTf53 J333J TJ31J53533 JJIJ'TJJ JfJ531 J T J J J I -h ^ 7 i
rJTJIJJJTJITJ J IJI]J333hJ]JTIJ J JJJJ J J b J>*ll
1J. J J J J J . I J J J J J J J J J J . J T J J J IJ J Jl JTJ] I J J J T J I J. M
T h e q u a r t e r n o t e gets a beat.
I J J J J J J J JJUJJiJIJ JJJ IJJJ J IJJJ. JIJ. J IJJill
SJJJJJJIJ J JIJJJJJJIJ. JJIJ]JJJ.JIJJ.JJ]IJ. J |JJiJ*||
I JJJJJJJ I J J J. I J J J J J J I J T J J J J I J J J J J J I J ^
I JJJJ JJJ J J JJJJJjfjJiJJJJJJJIJ J JJJJJJJjJIJJJ JJJJJ-II

T h e s i x t e e n t h n o t e gets a beat.
h J J J J i ? n ? J J J ^ ? J I J J J J J J J J J I J J J J J J J J J I / ] J J II
216 CHAPTER XIV COMPOSITE METERS

15
16
B e f o r e p r o c e e d i n g t o t h e n e x t section, d o these exercises again slowly. I n s t e a d

o f conducting each measure i n two, beat each eighth, quarter, o r sixteenth
n o t e as a seprate b e a t , as i f t h e t e m p o w e r e m a r k e d J = 6 0 , J = 6 0 , o r . f i = 6 0 .
T o c o n d u c t t h e s e m e a s u r e s , c o m b i n e t h e t w o - a n d t h r e e - b e a t conducng p a t -
terns that y o u already know:
or
M a k e beats o n e a n d t h r e e o f the 2 + 3 p a t t e r n , a n d beats o n e a n d f o u r o f

t h e 3 + 2 p a t t e r n , m o r e p r o n o u n c e d t h a n t h e rest.
7
S e p t u p l e M e t e r : I ,i 6 , 1
l is m a d e u p o f t w o p l u s t w o p l u s t h r e e e i g h t h n o t e s ( s u b s t i t u t e s i x t e e n t h s o r
q u a r t e r s f o r e i g h t h s i n 16 o r 4 ) a n d i s c o n d u c t e d i n t h r e e , w i t h t w o e q u a l b e a t s
a n d o n e e l o n g a t e d beat. T h r e e c o m b i n a t i o n s are possible: 2 + 2 + 3, 3 + 2 + 2 ,
a n d 2 + 3 + 2 . O n c e a g a i n , p a y cise a t t e n t i o n t o t h e l e n g t h o f t h e b e a t s , s o
that t h e durations o fall sixteenths, eighths, o r quarters are absolutely equal
P e r f o r m t h e s e e x e r c i s e s s l o w l y a n d c a r e f u l l y , c o n d u c t i n g e a c h o n e as y o u g o
t h r o u g h it. R e p e a t each u n t i l i t feels c o m f o r t a b l e b e f o r e y o u p r o c e e d t o t h e
r e g u l a r exercises.

, 2 J T J J J J J I J I J T J J J IJJ J J J J J J T J J I J J IJJJTT'H
, f i 1 f u. J J u J. J u. J J I J J J. I I
3 IG nmn
7
I J J J T J J I J J J J J \ m J J IJ/JJJJ IJJJJJJII
. 2J. JlJJ IJJJ Jl IJ J J. I J T J J I J IJ J. Jl I J I J T J J I I
5 -I J J J J J- I J J J J J - IJ * J m w o 0 0 ! 0 J J d- S
e i J J J I ^ J i J J I J J J3 I J J J J J J I J J J J IJJ33J31J J J I I
7 2J J. J IJJJ J J IJJJJJ IJ J J J J J J J IJJJJ JTJ I I
8 2 J J J J IJJJJ IJJJJJJ IJJJJ IJJJJJ IJTJJIJII
REGULAR EXERCISES
Practice each exercise slowly, b e g i n n i n g a t 100 f o r t h e basic u n i t . T h e n

increase t h e s p e e d g r a d u a l l y u n t i l y o u r e a c h a b o u t 1 5 6 f o r t h e basic u n i t . B e
certain that all units, w h e t h e r quarters, eighths, o r sixteenths, r e m a i n equal
T h e e i g h t h n o t e gets a beat.
, 2 JJJJ J IJJJJJ IJJ JJJ IJJJJJ IjJJ'JjJIJ JJJJ II
, 2 J J 'Jl IJTJJ JIJJJJJJJJ J J IJJJJ J hJJJJJ IJ J J. II

, 2JJ. J ] | J J J J 1 ^ I J JJlJ IJJJJ M J J ' J J J J I J T J J J IJTJill
I J T JEEJ"jjjJjJjTijijTrjiJ J JTJJJTJJJJJII
AiJ'JJIJJ'JJ I J ' J T J J i ^ J E b E J J I ^ J J l l J JJ. II
6 i J J J J T J I JTJ.K-<JIJ7JJ J
, 2 JJJJjJ J. JJJ.J3J'JUJJJJjJJbJjJ J J J J ' J J T J U J. J]ll
s 2 JEmUJlJJjJlBSIJ J J J ' I J ' J T J J T J J J T J E I J T J J ' J T J I I

T h e q u a r t e r n o t e gets a beat.
.JJ*JJ*JJJJJ JJJIJ*J*J*JJJJJJJJJJ JJJJJ J J J II
10 l J JJJJJ J J J J J JJJi IJJJJ JJJIJjtiJJJJJJIJJJiJJJ II
. I J J JJJ J J IJJJJ.JJJJJJ.JJJiJJJ.JJJJJJJJ]jtjJJII
l J i J * J J JJJJ j t J J J J J J J J IJ J. J I J j J J J J J J JJJ J J J J J J J. I I
T h e s i x t e e n t h n o t e gets a beat.
J J J T I J J J JII

14 & j 7 ?J ?7 j j / ? JJ? i^^tîJ^ i ? J f j
>?7 J^JIJJ'JUI
15 ie 7
7
IJJ ? n n \m J L J J J J J T J I J T S J l J~J
JTJ7JJJI.T]JJ i / u
5 _____
Ibir J7I7JJJ hJJJJTJIJJJTJl^^fljJ

1JJJJ 17 J 1
. T ; 1!
O n c e again, g o back a n d d o t h e above sixteen exercises i n a slow t e m p o w i t h
the J , J, o r e q u a l l i n g ca. 60. Y o u will have t o c o n d u c t a q u a d r u p l e plus a
triple pattern, a triple plus a quadruple pattern, o r a duple plus a triple plus a
d u p l e pattern. I n these v a r i e d patterns, y o u accentuate e i t h e r beats o n e a n d
fve: J J J J J T J ; b e a t s o n e a n d f o u r : J T J J J J J ; o r b e a t s o n e , t h r e e , a n d s i x :
1 5 1 4
J J J T J JTJ.
Divisin o f C o m p o u n d M e t e r s
i n t o I r r e g u l a r P a t t e r n s
A s w e h a v e a l r e a d y s e e n i n t h e case o f l o r 4 m e t e r , c o m p o s e r s o f t e n d i v i d e
m e a s u r e s i n t o s o m e w h a t i r r e g u l a r p a t t e r n s i n o r d e r t o crate n e w a c c e n t u a -
tions w i t h i n a n established r h y t h m . T h e m o s t familiar e x a m p l e o f this practice
is t h e hemiola ( d i s c u s s e d o n p a g e s 2 0 2 - 2 0 3 ) :
J J J J J J is o f t e n d i v i d e d J J^j) J (actually J ) ;
J is o f t e n d i v i d e d ^ J J J J (actually 2)
T h e i o r 4 m e a s u r e m a y a p p e a r i n s e v e r a l configuraons, a n d u s u a l l y t h e c o m -
p o s e r specifies h o w i t is t o b e "felt" a n d c o n d u c t e d i f i t deviates f r o m t h e
n o r m . H e m a y place accents at certain p o i n t s , o r b a r t h e e i g h t h notes, o r p u t

" i n 4" at the b e g i n n i n g o f the phrase. C o n d u c t i n g will b e c o m e a b i t m o r e c o m -
p l e x i n t h e s e s i t u a t i o n s , s i n c e o n e o f t h e b e a t s m u s t b e e l o n g a t e d . H e r e is t h e
w a y i t is u s u a l l y d o n e :
Conductas I JJ JJ JJ JU 111= JTJ JJ JJ JJ l 11 JJ JJJ JT Jl = 111 JJ JJ JJJ JJ , I

:
:
: :
2 +2 +2 +3 3 +2 +2 +2 2 +3 +2 +2 2 +2 +3 +2
t t t t
elongated elongated elongated elongated
4th beat Istbeat 2 n d beat 3rd beat
REGULAR EXERCISES
Practice each o f t h e f o u r p a t t e r n s above separately u n t i l each o n e feels n a t u r -

al. T h e n go o n to t h e f o l l o w i n g exercises, w h i c h feature , 4 , 8 , a n d \ m e t e r s i n
regular and irregular accentuations within the measure. Measures which
divide i n t o f o r i s h o u l d be c o n d u c t e d i n 3, m a k i n g sure t h e e i g h t h notes o r
q u a r t e r n o t e s r e m a i n c o n s t a n t . T o assist y o u i n g e t t i n g s t a r t e d , t r i p l e s u b d i v i -
s i o n s o t h e m e a s u r e h a v e b e e n a d d e c l i n p a r e n t h e s e s t o t h e first t w o e x e r c i s e s .
I n exercises 7-10, h i n t s a b o u t h o w to c o n d u c t the i r r e g u l a r subdivisions have
been placed above the notes.
JTJJ. 1(3)J J J IJJ J. KDJJJJJJIJ JJ JKDJ J Jll
J. IJJJ. KDJJJ KDJ JJJ IJJJJ IJJJJ. JKDJJ Jll
J JJ JU J J IJJ J JIJJ J J I J J J JJJIJ J * I I
4 4 J JJJJ J JJJJ J J J J JJ. JIJJ JJJJJJJ J J i I I
JJJJJJ JJJJJ J JJJTfJj^J IJ J JJJJ J JJJJ J JJJ. J Jll
JJJJJJIJ J J J J J-JJJ IJJ Jll JJJ J J IJJJJ J IJ. - I!

1
(in 3) in 4
JTJJ JJJTJEJJ JJJJJJJ JTJJ UJJJJJ JJJJJ JJJJJ II

(m3) (4) (3) (4) (3)
8 J. J. J JhJJi JJJ IJJJ'JJJJJ IJJJJ JJ'U J. JJJJU JJ. t I I

(4) (3) (4) (3)
J. J IJ. iJJJJJ IJ JJ J J J J IJJJ- J J J IJ. JJJJ JU. - - II

(3) (4)
10 JJJJ J J J liJJJJJ. IJJJ. J J UJJJJJ- I I

N o w y o u are o nyour o w n . Figure o u t the divisions o f each measure before y o u
a t t e m p t t o p e r f o r m t h e exercises.
1 J T J J J J J I J J J J J T J J JTJJ JJJJJJJJJJJJ IJJJJ JTJJI

JJ JJJ J JTJ I J JJJJ JJJ IJJi JJJJJ IJ. J JJJJhJ J. i- I I
9 ! !! |
1 1 1
l ! I I l l i i i ! v ! i ! ! I i ! I i
O 0 0 0 0 O o- o- o- i 0) a * ' o o 0 0 o -
12 1 o * m o-
JJJ. J J IJJ J JJ. I J J J J J J - l l
A d d i t i o n a l C o m p o s i t e M e t e r s
O t h e r composite meters w i t h elongated beats m a y b e e n c o u n t e r e d i n configu-
r a t i o n s o f m e a s u r e s i n %, f , re ; ^ ,4 , 16 ; a n d V , V , \e P r a c t i c e t h e g i v e n p a t -
terns carefully, t h e n d o t h e exercises u s i n g these r h y t h m i c patterns, always
k e e p i n g t h e q u a r t e r , e i g h t h , a n d s i x t e e n t h vales e q u a l .
BASIC PATTERNS
C o n d u c t | , 4 , a n d ie i n 3.
JJJ JJJJJ I I J W J J I ! J T J E J E
(in 3) (in 4) (in 3)
>4j (in 4)
1 J J J J !(^)JJJJJ.0J! JJJjJJJJ II Mm \ JJJJJjJ li J J J J O I o
C o n d u c t 8 i n 4
ff J J J J J J J J J J IIJTJ J J J J J J J I J J J J J J J J J J I J J J J J J J J J J 11

C o n d u c t V i n 4.
1 2 3 4
B J T J J J J T J J T J I I J T J T T J T T J T J II J T J J T T J T J T T I I J T T J T T J T T J J I I
REGULAR EXERCISES
C o n d u c t 1,8, a n d g i n e i t h e r 3 o r 4 , w i t h e l o n g a t e d b e a t s . S o m e o f t h e s e w i l l
altrnate b e t w e e n \ a n d 1 , \ a n d 8, o r | a n d V , s t r e s s i n g q u a r t e r n o t e s o n t h e
one hand, eighth notes o nt h e other.
C o n d u c t % i n 3: 3 + 3 + 2; 2 + 3 + 3; 3 + 2 + 3.
, I J . J. J J J. J IJJ JTJ J. IJ. JTJTJ IJ J. JT'IJTJJTJill
, I J T ' J J J T T I J . J. J ' I J T J T T J T T I J J. J T J J J J J J J I J T J J J > I I
3 1 JTJJ J IJ J. JTJiJTTJJOTJTJIJ J J. I J T T J T T J T T IJ. J. J I I
1 ( ) J J J J J J T T J T T J T I J T J . J. I J J J J IT'JTJTTIJTJTTJTII
5 % UiJ^m IJ J1J. I J J J J J J J J C T J JJ 17 J] J. JJ h J J J Jl i
e M) JJT JTJ |JJJJJJUjjjjj | JJJ^JJJ | JIJJJJJII JTJJ JJ IJJ JJTJ 11
7 i ^^JjJQiJj^^JXl | JU^j] | >J3JJJ5jj.jj7jj7Jj | j J)j JJ J J J J J 7 J > 7 ! |
a 1(1) J J J J J I J T J I ' J I J J . JTJT IJJJ J J J J h J JTJJ I J J T J J J J J IJ. i 11

C o n d u c t ^ i n 4: 3 + 2 + 2 + 3; 3 + 2 + 3 + 2 ; 3 + 3 + 2 + 2; 2 + 2 + 3 + 3.
9 f J. JJJ. JT I JTJ JTJ JT JT I JT JTJ JT JTJ IJ. J J J. I J J J . JJJ II

10 ff J J J U J T J J J I J J. J J J J J J J J T J J I J J J. J. I J J J J J J J J I J. * - I I
ff J j ^ - | J j j 7 j J ] 7 j 5 | J J J JJT'JjTJJJIJJTJJJTJII
12 ff J IJ. JJ J. JJ I JTJJJJJJ J I J T JJ j] JJJ I J T J J J T . 9 JJJ I J T J JJ. JII
13 ff JTJ J JJJ IJ J. 7 JJ JTJ IJ J J J J JI J M J 3 J J Jl I J T J J J J J J i II
to i i i i i n n
H" ~=~
3 ! 1
1 1
n n i n 1
M II
l 8 m - I 0 0- m 0- 0 d- 0 0 m- I mj>0-- I # J # ^ I I
C o n d u c t V i n 4: 3 + 2 + 3 + 3 ; 2 + 3+ 3 + 3 ; 3 + 3+ 2 + 3 ; 3+ 3+ 3+ 2 .
15 J T J . J I J T J J . IJTJTJJ. JTJ IJ J J J JTJTJJJJ JTJ J JTJ II
16 9 J J J J J J J J J. J T J J J JTJJJ JTJ! J T J T T J J JJTJ IJ. J J. J. II
17 g J E J J ' JTiJ T J E J J ' IJEJTJ JT J I J ' JJ1JTJJ 11
18 B J1JTJTJ^7|JTJ7J1JTJJTJ!JJTJJ^JCT
19 9 J J J J J J U J. J J J J J J J J J J JTUJJ J J L J J J J J J J J. I I
9 JTJ JTJJ J JJ I J T J T J J T J J J IJ J J J J ' J J I JJJJJ J J J J II

1
]
T h e r e a r e o c c a s i o n s w h e n i< t i m e signatures will occur. T h e r e f o r e ,
practice t h e n e x t seven exercises t o a c c u s t o m y o u r s e l f t o t h e s m a l l e r n o t e val-
" u e s . C o n d u c t i n 3 o r 4 , as a b o v e .
C o n d u c t i 6 i n 3.
8
] & IJ> J>IJ-J3-J331J>J> J~-J,J3-?J>J. IJ33J-^ I I

(in 3)
V
(inj) '^ (4) (3) 3
i " ' -y B
22
23 I JfiJEJffl IJ) JlJ) IJHJ31 jfflJ3J)I?J3J) J317JW II

C o n d u c t 18 i n 4 .
24
25 i JE'?JJ33lj7j)7jlSIMfilJBiiBfinlfifilBiM
C o n d u c t IJ i n 4.
26 lo JT3?J7J^JTJJJS? .937J? I j U f f i J ^ ? > I J ^ J ^ X I I -
27 ft J3 JTTJS? J ? I J33?>J33J3l JJTJ JRJJfltni IJ3 J T J I J T O J II

CHAPTER XV
ADDITIONAL RHYTHMIC
DEVICES
M i x e d ( C h a n g i n g ) M e t e r s
I n previous chapters, we have seen h o w composers have tried t o free t h e m -
silu-.N i i i i i i ( h e " t v r a u n v o l l h e l i a r l i i u " b \ s n c h m e a n s as s y n c o p a t i o n , s h i h i n g
a c c e n t u a t i o n , h e m i o l a , a n d o t h e r d e v i c e s . W i t h t h e e x c e p t i o n o i s o l a t e d
f a m o u s examples, i t was n o t u n t i l t h e e n d o f t h e n i n e t e e n t h c e n t u r y a n d t h e
b e g i n n i n g o f the t w e n t i e t h that m i x e d o r c h a n g i n g meters w e r e used extensively.
T h e popularity o f folk music a n d r h y t h m i c speech elements have contributed to
m i x e d m e t e r s ' f r e q u e n t use i n c o n c e r t m u s i c i n t h e t w e n t i e t h century.
T h i s c h a p t e r p r e s e n t s m i x e d m e t e r s as t h e y a r e f r e q u e n t l y u s e d i n m u s i c o f
today. U n l e s s o t h e r w i s e specified, t h e basic u n i t r e m a i n s constant, even t h o u g h
the n u m b e r o f units i n each measure changes. I n the sequence o f measures
m a r k e d 4 4 4 4 4 , the quarter note remains constant i n each measure, while the
sequence 8 8 8 8 8 8 , the e i g h t h n o t e is the constant factor. W h e n measures o f
e i g h t h - n o t e u n i t s a r e m i x e d w i t h h i g h e r - v a l u e u n i t s , i t is b e s t t o f e e l t h e s m a l l -
est u n i t a s t h e c o n s t a n t f a c t o r ; f o r i n s t a n c e , i n t h e s e q u e n c e 4 8 8 4 4 8 , t h e
e i g h t h n o t e s h o u l d b e e s t a b l i s h e d as t h e c o m m o n u n i t .
REGULAR EXERCISES
Practice each exercise slowly, c o n d u c t i n g w h i l e p e r f o r m i n g . T h e n try t o

increase speed, never reaching a t e m p o that w o u l d m a k e the smallest units
seem rushed. B e certain t h r o u g h o u t these exercises that the e i g h t h n o t e
remains constant.
T h e q u a r t e r n o t e gets t h e beat.
, I J J J J I1JJ I I J J U J J J J J J J J j j U l J 11J. II
. U J J I f J J I i J J l i J J I i J J J l U J J U J J J l f *JUJ.*II
226 CHAPTER X V ADDITIONAL RHYTHMIC DEVICES
a ! J J JJfJ J I I J J J 1 J JIIJ J J !t * J J J 1 1 J JJiJ JII
.IJJTIIJJTJJJTT JJJJJ iiJJI'Jujitmiuiii
5 1 J J I 1 J J I J . JJxJTJ 13 J JIJJ 11J Jll JJJJJ. J U *ll
e 1JJJI1JJ J l l JTJTJJJ 11 J J J J J J J JTJ 11 JJ JJI1JM

T h e e i g h t h n o t e gets t h e beat.
7 I J J T J I J T J J T J I ^ J J J 1 J T J I J . J JlJ J I J T J I S ' J J I I
a i JTJ] J. IJ. JTJ llJTJJ 11 JTJ IIJJ J I8J J J J IIJT JIIJTTH
. iJTTJIlJTJIlJJIIJTJJJJIIJJ lJ. I1JJI8JTTJ. ilJTTJlJTJII
8J. J I I J JI1J. I I JJJ JTJ J J J J J . I1J. I1JJI8J. J. lJJll
JJ 11 JTJ IIJTJJ I8JTTTJJJTTJTJT IIJTTT li JTJ ! Jll
- 8 ~ J " ' J J I I J T J ^ I 8 J T J J I I J IJTJTJI#^J. I I J T J ' I I J . ' I I
I JTJ JTJ 11 JT JTJ 11 JTJ JJJ 11 JJJJJ I JJ JTJ I i JTJ J J J J J . i JTJ * II
8J J. I I J J IJ J I I J J liJTT I I J . J. I8J J. li JTJ J IIJ.JII
ADDITIONAL RHYTHMIC DEVICES CHAPTER X V2 2 7

JTJJ J J J I 1 J J J T J I J T J J J I 8 J . J JîlJTJJJ IIJ JlJ JJTJll
JJJ I S J J T J I S J T J J J N S ' J J J J J J I S J T J J I 8 J J J J I 8 J J L N I
(in 3)
A JTJ J T JTJ I IJ] JTJJJJ11J J J J J J 18 J U J J 11J J JJJ| JJ .18JJJII
. 8 J ^ J J I 8 J 7 J J ' I 2 J J J 7 J J J I 8 J J J 7 J J I 2 J J . JJIIJJJ7JI8J.JII
9 J J J J J T J J J I 8 J JJJ I I J J T J J J I S ' J J I 8 J 5 J T J I 2 J J 3 J J J I8J.JJJII
20 JJJIJJJJJJJJ8JJj7jlJJ.IJJJI8JJJ)JI2JJJJJI8J>ll
M i x e d q u a r t e r s a n d e i g h t h s as t h e basic u n i t o f a m e a s u r e ; m a k e c e r t a i n t h a t
the e i g h t h n o t e s stay c o n s t a n t t h r o u g h t h e m e t e r changes.
21 J J J J llJTJJTIJJJJJTJJJIIJJUIlJTJJJItJJ IJ. I I
22 JTJJTJIIJJJ18JTJJTJIIJJJJIJJJTJIUJJ IJJ. I J > I I
23 JJJI8JJJJTJJJI2JJJJIIJJJJTJJJIIJJJTJI1JJ JJMII
Mixed quarters a n d half notes.
Slow
24 JJJJ !JJJJJJ IgJ J J I f J J J J J J IIJJJJJIJ. -II

T h e e i g h t h n o t e as t h e b a s i c u n i t .
25 J J J J J I J J J T J I I J J \l J J J J J J J ll J J J J J 18 J. J Jll J T J J J IJ. J I I

M i x e d quarters and eighths.
26 IJJJJJJlJTjTJllJJI'jJJ^ Jll
M i x e d s i x t e e n t h s a n d e i g h t h s as b a s i c u n i t s .
27 h J3 J33L5 J)Ji J J.9J1 ie ? J JJ J) I & J3JJ3 18 J T J I & ? J3 J331S JJ 1

7
M i x e d quarters and eighths.
28 UJIfJJITJJJJJIUJ IIJ. J l JJJJJI JJJJJ 12 J J J J J J 11 JJJ II
C o m p l e x D i v i s i o n s o f t h e B e a t
T h u s far, w e have d i v i d e d t h e i n d i v i d u a l beats i n t o triplets, q u a d r u p l e t s , q u i n -
tuplets, sextuplets, septuplets, a n d others. N o w w e will practice situations
w h e r e a different n u m b e r o f notes replaces the n o r m a l n u m b e r o f notes over
m o r e t h a n one beat o r a w h o l e measure.
N o r m a l Divisin Different Divisions

-4:3-
Examples \ a J J 1 J ^ o u r u a i
q " t e r s i n t h e space o f t h r e e
5:3- ^*
J JT J \ ' J J^j JJJ five quarters i n t h e space o f t h r e e
, 5:4 , *
\ J J J JJlJJ J J J fiye
quarters i n t h e space o f f o u r
r-4:3-i
JTJJTJ i J T J JTJJ
f o u r eighths i n the space o f three
These examples a b o u n d , especially i n twentieth-century music. Practice t h
e
exercises slowly a n d carefully, once again g i v i n g special a t t e n t i o n t o evenIK'SS
i n all t h e c o m p l e x divisions o f t h e b e a t o r beats.
' 4 5
* S o m e t i m e s t h e d e s i g n a t i o n is s i m p l y or r a t h e r t h a n a r a t i o . I t is less
specific, b u t still signifies t h e s a m e i d e a t h a t o f h a v i n g f o u r o r five n o t e s i n t h e space
o f the n o r m a l n u m b e r o f notes.
ADDITIONAL RHYTHMIC DEVICES CHAPTER X V 2 2 9

REGULAR EXERCISES
T h e first t h r e e exercises are i n 4 .

-5:4
1 4 o JJJ J J J J IJJJJJ IJ JJ UJJJJJ IJ J IJ. *ll

7:4 1 ' 5:4
i JJJJ J J J J J J J I J J J J J I J J J . JlJTTTlJ J I J T J T J J I I
tjtjWJJTJ I J J J J J IJTJJUJJ IJ J J T J T I J J J J J I I
T h e n e x t three exercises are i n 4 .
i 4:3 ' i 4:3 ' ' 5:3 '
Q I I | | k ' | I I II I I I\ l i l ll i l i i I \ ' S ! 1 1 1 1
11
1
4 4 # # ' 0 I & 0 0 ' *~ 0 & & 0 * .0 0 * * 0 ii
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-4:3 1 ' 5:3-
J J J IJ J J J IJJJJJ IJ J J JJIJJTJTT1JJJ JJJJ IJ Jll -
T h e n e x t three exercises are i n g.
JJJ'JJIJTJJTTJIJTJJ^
J J J J I J T J T J J J T J T T J J J m J J J T I J J ' J J J J O T 3 J J IJ. I I
JJJJJJIJTJJJJJJI J J J J J J J T J J \ m m \ s m i m \ JJJJ J I I
N o w t o t h e m o s t d i f f i c u l t e x a m p l e s : o n e i n l , a n o t h e r i n \ , a n d t h e final o n e i n .
5 3 10:6 j , 5
? nm JJJJJJJ J J J J J J J J J u j i j j j j j j u j j j O T j j j 11
2 J J J J J J J J J J J J 1 JJJJ J J J 1 J J J JJJJ 1 J T J J J J J J J T J J 1 Til 11

5:3 4:3 5:3 4:3 7:6
12 i JTJTJJJJJJIJJJDJ JÎJJJJJTJTJ IJ^J J J J J J I J T J T J T J I J JIJ^J I I

THIRTY-FOUR DUETS
T h e t o p l i n e o f these duets s h o u l d b e s u n g o r s p o k e n o n a c o n v e n i e n t syllable

similar t o those used i n previous chapters ("la," "ta," "doo," "loo," "da," etc.).
T h e b o t t o m part s h o u l d b e tapped o r clapped. T h e s e duets m a y b e p e r f o r m e d
b y t w o p e o p l e o r t w o p a r t s o f a class, b u t t h e y s h o u l d a l s o b e p r a c t i c e d a n d p e r -
f o r m e d by a single individual d o i n g b o t h parts simultaneously.
, ? t J J T J~J i- J J T i j y i J j - r J T i J J J i i
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. n i ~ i n is., . h n k
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ADDITIONAL RHYTHMIC DEVICES CHAPTER X V 233

HTlJ - M j J^Trt J J 7 J 7 J^7 7 / ^ 7 ^ 7 i
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r j r r / r r / r c i m i r ' c r r c-p r torrrjxr-r/rcr 11
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7 c 7 r 7 r t s i ; g ' g ? 7 p*7 yccrcr^ccr ^ ?iif77pp7 P ' 1
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234 CHAPTER XV ADDITIONAL RHYTHMICDEVICES
J j. J J J J . JU? JTJT- ^|JT3TJ>JJ
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J T J 7 T J J"3 | J T J J T ^ J T J J ~ T J . J T .
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r_j s
r _ j u r r r r r_j* r j i r - r r r r
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A - I h J J h l sJi i J h J T J J J, T T J J > T3 J J J
*r r r r r f r r r r r 17 r
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JTJJT] j j J ]j - r J l J T ,J 7
r r r r p 7 i-
JJ]JT] J S-JJJTJJTJ J J J J i7 JIJTJJTI
r r pjxr-rr-r
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r i
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7 p 7 p p 7 7 p r r p 71
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fc
r pr r 1 4 8
r r * ^ 7 p-rrj^p 7 r_r T F T T CJ T~ rj
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JJ]J-'|3 J JTJ^Jl? JJJJJJJJJJJJIfi J^J)JJ7i.

J J l s J J 3 3 3 J 3 ] i 7 j 7 3 J 3 3 3 3 3 J 3 ] i f i J J J ]
r/7 p 7P7 Mpcr.rr/rrrrp 7 r r r r r 7 r 7 p ^ T T T
|8 ! | |5 i
5 4:3

PART THREE
Additional Material
For S t u d y
A n d R e v i e w
CHAPTER XVI
MELODIES FOR REVIEW
F r o m G r e g o r i a n C h a n t t o t h e P r e s e n t D a y
T h e a i m o f t h i s b o o k is t o h e l p p r e p a r e t h e s t u d e n t t o s i n g a t s i g h t a n y p i e c e o f
m u s i c r e g a r d l e s s o f i t s s t y l e o r t h e c r e a t i v e e r a i n w h i c h i t w a s c o m p o s e d . I t is
t h e r e f o r e i m p o r t a n t l o p r a c t i c e e v e n i n t e r v a l 1>\ i l s e l l a n d t h e n i n c o m b i n a -
d o n w i t h o t h e r i n t e r v a l s so t h a t t h e p e c u l i a r i t i e s a n d i n d i v i d u a l i t i e s o f each
w i l l b e firmly i m p l a n t e d i n t h e s t u d e n t ' s e a r i n p r e p a r a t i o n f o r e v e r y m u s i c a l
e v e n t u a l i t y . I n this t e x t w e also e x a m i n e n u m e r o u s scales a n d scalar p a t t e r n s
t h a t a p p e a r i n t h e m u s i c o f t o d a y as w e l l as i n m u s i c o f p a s t c e n t u r i e s .
T o g e t h e r w i t h the r h y t h m i c studies, w h i c h s h o u l d be c o n d u c t e d alongside the
m e l o d i c ones, we are n o w well prepared to tackle all musical m a t e r i a l w i t h
knowledge and courage.
T o this e n d we p r e s e n t h e r e a large n u m b e r o f passages f r o m m u s i c l i t e r a -
t u r e , g r a d e d f r o m easy t o m o r e d i f f i c u l t , f o r p r a c t i c e a n d review. M a s t e r e a c h
m e l o d y slowly, t h e n t r y i t u p to t e m p o . W e e n c o u r a g e t h e i n s t r u c t o r to use
t h e s e p a s s a g e s f o r d i c t a t i o n p u r p o s e s as w e l l .
S i n g unto the Lord
Henry Purcell
Allegro
^ 3*f > m
"r r J
' J m J 0>
_ p ^ 3 | - _ J = l 4 - i k_ L
_%e.fd.-,
t
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* I n t h i s e x e r c i s e a n d i n n u m b e r s 2, 4, 6, a n d 7 i n t h i s c h a p t e r , t h e b r o k e n slurs are n o t
i n t h e o r i g i n a l scores b u t are g i v e n as p e r f o r m a n c e suggestions o n l y . I n E x e r c i s e 5, t h e
slurs i n d i c a t e n o t e s o r i g i n a l l y s u n g t o g e t h e r o n a s i n g l e syllable.
MELODIES FOR REVIEW CHAPTER XVI 239

My Thoughts A r e Wing'd with Hope
John Dowland
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4 Italian D a n c e M e l o d y
From Chorearum molliorum Collectanae ( p r i n t e d in A n t w e r p 1 5 8 3 )
,rH 1 fj m -i 0
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240 CHAPTER XVI MELODIES F O R REVIEW
Antiphon, Gloria tib Trinitas
Anonyrnous
0 0-
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6 R e c i t a t i v e , Amor tu s e i
Benedetto Marcello
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H e i n r i c h Schtz
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MELODIES F O RREVIEW CHAPTERXVI 2 4 1

" C h e f a r o " f r o m Orfeo e d E u r i d i c e
Christoph Willibald v o n Gluck
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9 Cantata No.56
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242 CHAPTER XVI MELODIES FOR REVIEW
11 Cantata N o . 11
Bach
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5 BF y v. d II
12 Cantata No. 104

Bach
iM F i V -J J
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L a r g h e t t o Jj = 9 2
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Beethoven
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Johannes Brahms
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Maurice Ravel
J = 120
MELODIES FOR REVIEW CHAPTER XVI 2 4 5

2 0 "The People That W a l k e d in Darkness" from Messiah
George Frideric Handel
L a r g h e t t o J = 72
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American Square Dance
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American Spiritual
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Robert Schumann
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7 1 L i . f f * , i f e j f ,
J 1 ." 1 f*f*^~~ jt ll i =feî

w 1 ,J 0
fef
w
4r "
0
! i 7
== =
0
T> fc
fe r
s *y *
y r
ftf~ > i
1 ^
7
=^=%

Ich grolle nicht
2 6
Schumann
J = 60
0 0 0 mm
LULJ Ir~ r f e r p i f e = ^ . . J - t j > m
5 0' 00 1
m 2 7 Du Ring an meinem Finger
Schumann
J = 80
9--
j, j Q J1IJ % JjiJ- J J U P #
j . j o JTJI -^Lirir' 'r P ' r j ' J j f e ^ |J 7
_p J 1 ^
5-^ J m \ 0 j j --5 y 1
$ ' r
m m
/ i
J 1
fiJ
i
2 8 String Quartet
Claude Debussy
Andantino
II
"l( 0 \}\K fe- 1 i J- 1+-
m m
M M

* * 1 0 Jl i fe-,i

| I
m-^m
fe*r fer=^ 1 1 -fefe_. b _ # L J =

Mrs. White's Nothing
2 9
Dowland
^_ j ^f* e
Happih
i 1 * * > J > 1 rfr^~~
fe#= i
-fe* J *
T ?
r j ? 0

H=
^4-t-^fe^
5 fe*y , f e >fe^^fefeJ-
-- > , J > >
T *r j
* *
rfe|
19 P
fe
-sV-
~* m
30 S y m p h o n y in D Minor
Cesar Franck
Allegretto
=s=
i - * fe
Mfe^
pllPlib 22 2Z

Mv-J f * -*fe7 x
7
r r ' b u
Y* J
J i

-T^- * 1

3 1 Symphony No. 2
Gustav Mahler
Quietly moving
r
r r T T t n fe* m>
molto rit.
= f e * tT F l J m VZT~ h* L-fiJ 0 *t a 0 i 1 J # / 74
_-_
- f e f e V i f e ? 2 _ f e j fe i:
fe i '< r " t -
Very slowly
-i 1 1 i f e ^ fe5=
zst
V 0 0 > 1 |~
3 2 Intermezzo, f r o m l/anessa
Samuel Barber
W i t h q u i e t m o t i o n J = 60
*4 fe fe
f e f - * *
3 3
Symphony No. 2
Walter Pistn
M o d e r a t o J. = 6 6
Mfe fe7- r--zg T T
2SO CHAPTER XVI MELODIES FOR REVIEW

3 4 Symphony No. 6
Pyotr ll'yich Tchaikovsky
A l l e g r o c o n gr a z i a J = 1 4 4
cy. ; h r -- 5 - f
i 1
= 1f e ** p
i ** i
1
3 3
f m * f e f ~ f i t f e f
feft-fes^
_j
3 4 4
-Ji, J
-4LJ r r 1
i + r H f e
m j
;
f
J V f e . i f T " ? l f e
-15*-; f J
< J fe
r f *
fB f fmb ii ' J lr * * ~fe . > > 1
r P 17 feffe- 1 ^ ' 1 ' M p ' ^ l l
3 5 The Cage
C h a r l e s Ivs
fe K N a j Y =
^ V f e fe Nl J * . h h - h J 7 r r n r r u J Y
;w
p
J L"^p ; h v
fe^^H_ji
fe fe
fe r n Y " 1 1 1 h K . N . h K K k l k I I
fe
j j
p% P P 1 f e
3 6 Symphonic Metamorphosis
Paul Hindemith
J . 80
Jr 2 o =feU _ | 1 I P 1 =rq
-y y- i fe,.
M
7
L = ^ 1
y - =a= - ^ ^ ^ ^ r ^ = - f e
) fe
^ - i T " fe= ^ H
^ r " * i > - i
^ * TA
fe

3 7 Dance o f t h e Nursemaids, from Petrushka
Igor S t r a v i n s k y
Lively
> ji T' P t f f|' | f L r f f f L r | r i* r p r ? ? r i f f f f e i

3 8 Polavoli
Irving F i n e
fe.
J ^ 120

0 0
1-J * 1
-*=
-<a> i fet P H % ^
?
i -
ln J . 3 *
* 0 =F4=
J M
0 S^V * 1
11 1. **-=i ]
o
3 9 Concert for Orchestra

Bla Bartk
Can 10 J = 1 0 8
V0 0
r n
- I f e (3\ ' m\>P i rr-an
=fe J J
--7?-
ii 4 * 1 fe
fe-F-
4 0 Ma this der Maler

Hindemith
4 1
Serenade
B e n j a n nin B r i t t e n
Alia marcia
igi>ir^rir^rirrrr>f f e ^ . i f ^ r r " F J - T - J - 1 fel

u feT '
r
1 J|
J - ^ l
5

4 2 String Quartet No. 4
Arnold Schoenberg

Fast til o
^ J *
II?) A
4 5 4
n
f
Dr^.
* f - -# m> 74
^f1*f *^fe
1-
i
1
43 'Elegy" from Serenade

Britten
Slowly
4 4 / Hear an Army
Barber
Allegro
' * J b J 1
^ M ;
^ 7
r p L- ^ f e $ q*
fe
9
L ) \ b* f r r ' f f ~ l * 1
y r Q
LJ 1
r
4 - ti
4 5 T/?e Queen's F a c e on the Summery Coin

Barber
- i fe I ? . n *sl - KI rn
ti? ==
i >u fe

m 7
r - J -
1 1 L j L J S L
" rr J * - * - ^ ^ <sJ j
7
4 T u r l f a p i i U n i i
fe A fe;J^ ^ bJ 4 f e 1

4 6 Over the Breast of Sprng
Hindemith
Slow
3 ^ 5
fe 7
47 'Vor der Passion" from Das Marienleben

Hindemith
V e r y s l o w l y (J = J t h r o u g h o u t )
j M P ^'Vfe-
mf
"if
TT TW-Tm
F pbrv v "
1
J J * n h 1
* r i ' P ' j
r p
48 >\ S e a Dirge
Ivs
I n a slow swaying way
' 7
r ir P fe J r c iwi
;) p 0 v v - ) - < 53
M tfe
531
C(0 o t J 1 l -
P ' 1
fe 0 ,
4 9 In t h e Beginning
Aaron Copland
Slowly
fe-4p=^=i==tfe 1ii
E ^ E 3 E T ^ T ^ - J - - F ^ - U * L ^
^ f e j E p
t ^ f b l
F f #
i - fein
u
i
* f e
* \
tt
| F * P F 1'* - y j ^ i b* J. b
h *f
# '
4 r r r f J J I J
' ^ f'r'r ' r J
^ ' iir*r'T r u J l!t
2S4 CHAPTER XVI MELODIES FOR REVIEW

>
r~- >* f-(4-: > :* f -hr~ 1 1 i f e "

1 f e \^ t|J T1
i i
f t - p r
fet?" i fî 1
^ 4 A s L
fe * f ~ ^
5 0 Black Beads
David Di Chiera
M P = : e t y . >m 0
; i | h n ^
J 1 1 r 4 '
= * M f e
- 1 r f e Kj fe 1
1 fe tpMJ J fe 1
fe ' ' j f e ^ i f e
51 Lost Content
Bartk
p i u mosso
3i
lfe 4 J
i J
J

i
\ %
\ ^ _ ii-ja gm *
3 n S v > fe
0 0
" S - r
0-4-4
1*
rV
= f f e
J = 92
9-0-
y , rail.
fe~f = * f P p , :^ 4 -H- iffe" r
fe Pf , ?
= + ^ ^ ^ L J I fe^-
i
IJ J- = 3
- # m > _Q r-
*

v 4 * 1
5 " ! J % Ls 7 4 4 p * II
fe= i f e ' L
V

5 2 Cantata No. 1
Antn W e b e r n
3*
Si m
5 3 Symphony No.3
Roy Harris
Con moto J = 84
f-F-V-r-
^* r r r rr * fir
> - r r*
7 4
r ?
> . f f ? 7 r m 1 0 ,. - f
/ I r / J
r rr / ?
7
= t f e J 1

9 r
1 * b
1
i
f H f
^ r-
, 7
>
I
- 1
-m 1
l9
J t
> 1
H=
**f - | ^
1 "
4
5 4
Symphony No. 4
Pistn
T J 1
- / f 1 r
J J 1
f #
1
O
1
1

5 5 Symphony No.1
Elliott Crter
J = 44
fet; h | | , ^ F f AL J i o
^ f e i | I J . - t ^ l J
J
J
fe fefe
0 il ^ 1 !^ - i 1 : 11 1 1 F"7 1 i ^ î
JFMf-^-T m-Hj-t* # a * .0 a} - - t - is> 1
n f it H) ' ~r-*r
1
1 -P
1 1
T 1F f * w | /
1
1 * \
- v-\) i ri , r
rit.
i
- # :
= , K * 1 - f e - > - 1
p 2-_2i 1 ** * * 1

- - -

CHAPTER XVII
ENSEMBLE PIECES
FOR REVIEW
T h i s chapter contains s o m e pieces f r o m m u s i c literature that s h o u l d be per-

f o r m e d i n class. T h e y a r e c h r o n o l o g i c a l l y a r r a n g e d a n d s p a n t h e s i x t e e n t h
t h r o v i f f h t w p n t i c t h r c n r u r i c s T h e c h o r a ! w o r k s i n a v b e s u n g a rafrpella or with
a c c o n i p a m n i c i i t . T h e b u l o s o n g s a n a r e c i t a t i v e s s h o u l d a l l b e a c c o m p a n i e d as
specified o n the score, w i t h p i a n o o r strings; however, o t h e r i n s t r u m e n t s o r the
p i a n o m a y substitute i f n o string players are available.
W e suggest t h a t t h e i n s t r u c t o r select these pieces f o r p e r f o r m a n c e at a n y
time d u r i n g t h e s i g h t s i n g i n g c o u r s e . M a n y o f t h e s e l e c t i o n s e m p h a s i z e o n e
p a r t i c u l a r set o f i n t e r v a l s w h i l e o t h e r s d e m a n d a b r o a d e r i n t e r v a l l i c v o c a b u -
lary. A s a n e x a m p l e o f t h e f o r m e r w e m i g h t cite t h e recitative f r o m H a y d n ' s
Creation, w h i c h is c e r t a i n l y a fine c h o i c e f o r p r a c t i c i n g t h i r d s i n c o n t e x t .
1 Credo, from Missa Quinti Toni

O r l a n d o di L a s s o
Pa - trem o - mni - po - t e n - tem, fa - cto-rem coe - li et ter - rae, vi - si-

J
258 CHAPTER XVII E N S E M B L E P I E C E S FOR REVIEW

stum, Fi li - u m De - i u- ni-ge-ni - t u m
li - u m De u - ni ge - n i - t u m . Et ex Pa - tre na
LL J J J J J j ^ j ) J A r
ferP
Fi - li - urn De - i u - ni-ge - ni - t u m .Et ex Pa- tre na - t u m a n -
15 De - u m de De - o, _
f e J - J f e J J . . - i
De - u m de De
tum an - te o - m m - a sae cu - la.
j fej J
f - l FC==
V V !
fe
te o - mni - a cu - la.
ve - r u m de De - o ve
^ J
/ 1
i,! V , N p Nr
ve - r u m de De - o ro.
rum de De - o ve Ge ni - t u m , non fa
ro.
-J i . JL A f e i
3 rum de De - o ve i ' M .M 1
i
Ge - ni - tum, non fa - ctum
con sub-stan - ti - a - l e m Pa
25
k 5 f e
ctum, fa
lem Pa tri: perquem o mni - a
con - sub- stan - t i - a
, J J> J> J> A J J

J .
J J J - -J> J> J
O: | L , m ^
. / ^ i' r r p p ' ^ r r r -
con sub - stan - t i - a - l e m Pa - tri: per quem o - m m - a fa
ENSEMBLE PIECES FOR REVIEW CHAPTER XVII 2 5 9

Et pro - pter no stram sa
sunt. p r o p - ter no
cta sunt. Qui pro pter nos ho mi - nes
fe LA A A
sunt. Qui pro pter nos ho - m i - nes, et pro - pter no - stram
lu - tein de - scen dit de coe -

35
tefe EE
f P=f'
UJ lu
V tem de - scen
f
dit
f e
de coe
de scen dit- de_ coe
J
^ 3 o
sa - lu - tem de - scen dit de
40 L
lis.
fe 1
fe u de
i- Spi
i
n
Et in - car - na - tus est
lis. de, Spi - ri - tu
_8_
J i fe J J-
J- J> J-
r- p
lis. de Spi
Et
8
1
San -
P
cto
rf ex-
f r r r - =f=f
Vi - gi - ne: Et
fe L
fi - xus e - ti - a m p r o n o - bis: sub Pon-ti - o Pi - l a - to, pas - sus, et se-pul-tus est
J J h fe i J J J>J> J> J> J J i> i>
fi -
F
xus
f P P [i i r r P f r p p i p p p p f
260 CHAPTER XVII ENSEMBLE PIECES FOR REVIEW

ter - ti - a di se - c u n - d u m Scri-
Et re-sur-re - xit ter-ti - a di - e ,,

e se - cun d u m
di - e, se - c u n - d u m Scri
7
i
B - ^ T ' P I P[r
Se - c u n - dum Scri-ptu
p t u - ras. Et a - scen - d i t Et
j r r i i i i-1 i j
- i i J
P ^ j J
r f P P P ' r 1
7 P P T P P 1 f
f p p f
Scri-ptu-ras, Et a - scen - d i t fa c o e ^ a d d e x fc _ ^ p a . t r i s E t . t e .
p t u - ras. E t a - scen - d i t i k k.
y
j5 J J. J U J . ^ fe ^ J > A . , J J J>J>. h
b -
ras. Et a - scen - dit Et i - te-
- te - r u m v e n - t u - rus est g5
i I-, h h K K J J | I J J J | J J I | I i I I I
"r l ]
' r t 'ffe f / | ^ ^^ r
rum ven tu - rus est c u m glo - ri a j u - di - ca - re vi - vos
rum ven - tu - rus est
cu - j u s re - gni n o n e - rit fi
m o r - tu - os: cu - jus re - gni n o n e - rit fi nis. E t i n S p i -ri-t u m

e - rit fi
fe JTi J
a t a ' w t ' i m i t ' f e '

e t - v i - v i - fi - c a n - tem: q u i e x Pa - tre, Fi - li - o - q u e p r o - ce - dit. Q u i cum P a -
qui ex Pa - tre, Fi - li - o - que p r o - ce dit.
, j f e i J>J> J
1 c r r r j j f e f 1 M f e
V'\, v p fm
i ,, * i^ r
/ 1
* ) : i P P ' P P r " f 1
'

Pa - t r e et Fi - li - o si - mu ad - o - r a - tur,
75
J>i h J' h J V l J i
r
~ * ' p p "~p p T f e r
~ T " r p p prr
et Fi - l i - o s i - mu a d - o - ra c o n - g l o - ri - fi - c a - t u r :
Qui cum Pa - tre et Fi - l i - o si - m u ! a d - o - r a - t u r , et
^ 5 L
^-- r l<
ppr PP ' f r ^ f e 1
' 1
=r*
Qui c u m Pa- tre et Fi - li - o si-mu ad- o - ra - tur
qui-
qui l o - c u - tus est per Pro-phe tas.

80
l]
j ii__
rtri\
p J
J
i *
i i J J J
J i
r. ^ r t - v ^ ^ ^
PTTP '
qui lo - cu - tus est per
p' r r ^ r r r r ' . ' ' M i
Pro - phe Et
1
u - nam
1
san - c t a m ca - t h o - l i - c a m e t
qui lo - cu - tus est per Pro - phe
1
S S S S K \ s s S
4? * _ , a> * - *> <9 >
ffff per Pro - phe

r p p PP p ^
lo - cu - tus est
E c - e l e - si - a m .
L''l. . K|
i> i J> J - J > l J> J> s9s
P PPPPP P P T to - li - c a m Ec-cle-si- am. C o n - fi - t e - o r u - n u m ba-pti- sma i n re-mis-si - o - n e m

a - pos
p p p p p P
pee - ca - to rum. Et ex - spe- cto re - sur - r e - cti - o

J -
r
P
n e m m o r - tu - o -
p r
rum.
j W > i l J> J > i J J J) h j J
p^^_rzfepzfcfe
^ 90 v e n
" t " - ri sae-cu-li. sae-cu - l i , sae-cu-li. A
Et vi- tam v e n - tu - ri sae-cu-li, sae-cu-li, sae-cu-li, sae-cu-li. A - m e n .
IMl
1
f P P r P P fep T ' p p r r

2 T w o Motets
Claudio Monteverdi
Lauda, Sion, Salvatorem
J Q | 1 i |i
3
^ y f e 2 = -~ i fej. .
= t = n J > *
Lau - da, Si - or i, Sal - V i - to re n, lau - d a ducem et pa
- sto - rem
JO T = ^

c
m $ = = = = 1<s* 1J . R a
*
Ls u - - d.i, Si 0 i - o - rem, lau - da
n, Sal - v.
" ffe * fe
>i f
Lau - da, Si - on, Sal - va-to -
9 m mT-mt <r~
in hym - nis et can - ti cis, in hym - nis et can - ti-cis.
Or-
ducem et pa sto - rem in hym - nis et can - ti cis. Quantum potes tan tum
fl 1 tt' m
rem, lau - da ducem et pa-sto - rem in hym - nis etcan - ti-

a m_
* L mm i , , , ,
-m0a
J = ^ f e 3 f e ^
i i J i
Quantum po-tes tantum au - de, qui de,
omni lau
- a ma-jor
& f e } ^ = t = F 1 \~ * -
"ef a
' j J 'j ' I | "
J
* J V* TJ J r ~
au - de, qui a ma-jor o - mni lau - le, o - mni lau - de, qui - a
m
1
r v r r m f f
- r M ^ - t* r F -
S c j s < Quantum potes tantum au - de, qui - a major
ENSEMBLE PIECES FOR REVIEW C H A P T E R XVII 263

I qui - a ma- or o - mni lau - de, nec lauda-re suf
5
r
T
ma-jor o mni lau - de, nec l a u d a - re suf - ficis n e c lauda re suf - - fi
i zz: fe
o-mnilaude, qui - a major o - mni lau - de, neclauda - re suf- fi -
j a u .
2 Z
3Z
CIS. Bo - ne pa - stor, pa - nis ve - re.
-1. * - i
cis. Bo ne pa stor pa nis ve re, Je su no - stri mi - se-
a a f -fi>
cis. Bo - ne pa - stor pa - nis ve - re, je - su, no - stri mi - se-
3 32 3fer3
stri mi -se - re re, Tu ce, nos tu - e

>
-J t*2
r *
r ' - ==
re re, Tu nos pas - ce, nos tu - e re, Tu nos
35.,f r-' r r'r 0
re - re, Tu nos pas - ce, nos tu - e re, Tu nos
J..J
fe
re, Tu nos bo- ne fac vi - de re m ter-ra, i n trra vi - ven - ti- um.
H- 1
iU I1

' 1
0 r 1 J-
KJ
bo - na fac vi - de in ter-ra vi - ven um.
J2
i
bo - na fac vi - de - re in ter - ra vi - ven ti - um.
2 6 4 CHAPTER XVII E N S E M B L E P I E C E S F O R R E V I E W
E g o sum p a s t o r bonus
go sum pastor bo us, E - go sum pa - stor bo-
fefe mf~
go sum pastor bo us,
(3Z
E - go sum pa-stor
* i f e - f e > * - . 1 = 1
fi? J
us,
* ,
* 4
su m pa-stor bo -
1 1

*) b L
us,
,
qui
cog -
E - go sum
fea
pa-st or bo
i W i J 3 J J
- us,qui pas
J
- co
cog - nos - co
i ( -S '
mP
1
r i = > = * =
bo us, qui pas co o - ves
cog nos co o - ves
3
7j
pas
nos
co
co
o
o
ves
ves
me - as
me - as
TT
et
et
pro o - vi bus
cog-nos-cuntme
i me
me
is,
ae,
o ves me as et pro o - vi-bus me

o ves me as et cognos cunt me me
fe-
me as, qui pas co o-ves me as et

me as, cog - nos co o-ves me as et
ENSEMBLE PIECES FORREVIEW C H A P T E R XVII 265

fe 5
"o - vi -Lus me is po - no a - | ni-mam me am, a - ni -
et cog-nos - c n e m e me ae, et cognos-cunt me me ae, et cog-
I f is, et pro | o - vibus

1
me- is
-mr
po - no a - ni
ae, et cog - nos cunt me me- ae, et cognos-cunt
f r a r' f f p ' r f r i *
pro o - vibus me - is po - no a - ni-mam me - am, a -

cog-nos - cunt me me - ae, et cognos-cunt me me - ae, et
J J .
i mam me am. Al
ri
le-lu - a,
-rj-
Al le-lu ja, Al le-lu
nos - cunt me.
mam me am. Al le-lu ja. Al - le-lu - ja, Al

me me ae.
he nimam me - am. Al - le - lu - ja, Al -

i
le-lu - ja, Al - le-lu -

cognos - cunt me.
F#*=F=F
y - * i
t
a 1
j J p -
C ~
fe
pfi*
F M
ja, Al -le - lu - ja, Al - le -lu - ja, Al - l e - lu -
1 r 11 1 ja.
J' j^ *! -*-6 e TI J r. fe
1 er ^1
S> 1
ja, Al - le-lu - ja, Al le -lu - a, A l - le- Ja,-H Al-le - lu - ja.
le-lu -
lu -
p
f* Ff
3
ja, Al - le-lu-ja, Al - l e - l u - ja, 4

Al - - le - lu - ja.

Cntate Domino (Psalm 96)
Dietrich B u x t e h u d e
ADAGIO
s|*TTirYPT
w
p f W
" | r |
' - ?ir- ' J|
Sfc-nt e - r a t i n p t i n - c i - p i - o t mine, et Inane,
r 7
i; ''y ^
et nuncet sem
Sane
G*% - lo.
Ha 1 Sk-ut
Wie e - r a t i n p n n - c i - p i - o et mine,
4Xtc*trwmJj-ie-gi>merWil%md keut', et
vK&\heu', undkeufvrui immer.
Sane - to. Sle-ut e -rat in prin-ei - pi - o et none, et none, et none et sem

St4 - tu Wie eswmrwmJn-tos-irimderWiaund keut; und Meta', undkeut'und
m to.
m
Sie-nt e - n t inprin-ci- p i - o et nnne,et nnne, et nune,et nuncet amper,
si*. me ettcmrvom.An^xvsx.derWttundheu,\atdkeut\ vndheut'jundAetiundimmer.
ii'i J T "
4 t
per/
A* > ; - = i
7
g - J - *
et in
t&yid in
-MW*>P m* - m =
rV
Y f f f $ $f f p \ r r r r r f r r f f r f "
,Jai M H
- a - = t = = = r r r r l
et in e-eu-La, s* - cu - lo -
dttr t und in ul - te S - K*- .
i , J 1 J 1h J - J r j - p s - 1J r ; r j J i
L f r p r Ft=
j r r 4 =l r r c ' r r r

et in
mtftl tftf
i M B-en-u.sa-ca-lo -
sas-eu-U, rum. A - men.
a l - le B - urig-kcit..
non. A - - - - men, A -
M r
men,A
r
men >
J4. - - - 7H*fH A
t - 1f%*Stt A
f ttttSPt,,
li i i r J i t li j.J .' 1
P A N * j '
sae'-'cu-la ste - cu - lo -
mi . le -wig- keit,.
A
A
m m men, et in
" J ' ^ r
s e - c u - l a sae-en- lo
nal
me, I M m mi - le X - wig- keit,.
268 C H A P T E R XVII ENSEMBLE PIECES FOR REVIEW

230
ENSEMBLE PIECES FOR REVIEW CHAPTER XVII 269

D i d o ' s L a m e n t , f r o m Dido and A e n e a s
Henry Purcell
1
DIDO
i *m m L m *
h> i h k t * i r r
1
E=y> P ^p r p J
dark ness shades me, On thy bo - som let me
Thy hand, Be-lin - da
iy. 11,
~--^t-^== 11
'o- u
o
1.9 8 7 6
H 1 l
= ! a a
n j I 1
T i
tH^J -J- 1 ^
1 -\rr
* -D-S 1
(<* KK~* R1K r n Y

1
res t; More I W O l Id, but De ath in- vades me; Death is n o w a v rel- c o r n e
i 1
1
6 Je e
7
(
5 6 5 6 7 6
1
Xtrt- -r
f
Je 1
6
1 r
i.

V

Recitativo, from Cantata N o . 140
Br&ut ck ii - b e a u c a m i i d i r in. & - wig-kei T e r - iran,

bride, thou whom I long- to see for - ev - e r at my side!
Dich w i l l ich auf mein Herz, auf

m
me i - nen A r m g l e i c h -
W i t h - in my h e a r t of hearts art thou se - c u r e by
w i e e i n S i e- g e l set - zen, und dein be - trb tes Attg-' e r

ties that naught can s e v - e r , where I may cher ish thee f o r
ENSEMBLE PIECES FORREVIEW CHAPTER XVII 273

v \ r i ? >p p p p a j> i i . t . .n
Schmerz, den dn er - d n l - d e n mus - s e n ; auf mei-ner L i n - k e n sollst du
way with pain and g r i e f and s a d - n e s s . F o r b e t - t e r or for w o r s e to

6 "Quia fecit mihi magna," from Magnficat
Bach
Basso solo
Organo
Continuo
Fi ff r j ff F P f - y i Jl h l . =
* r r r y * P 1 J l t .
Qui-a fe - cit mi-hi ma-gna,
i r m ^ n\ 1 r i 3 J 1 1
1
M , t t
J
Ul
qui-a fe-cit mi-hi ma-gna, qui po-
m
gna,qui po - tens est. et san-ctumno . men e - IUS, et san-

2 7 6 CHAPTER XVII ENSEMBLE PIECES FOR REVIEW
Wie wunderbarlich ist d o c h d i e s e Strasse!
Bach
S i n g these f o u r versions of the s a m e c h r a l e ; it is interesting h o w B a c h ' s slight

changes alter the overall effect.
Wie wun-der - bar - lich ist doch die - se Stra fe' der gu - te Hir - te lei - det fr die
" i ? 1
$ r * f r T
'7 i j ^ J i i
a
f < . I * i" 1 *
Ach, gro - sser Kb - nig, gross zu al - len Zei - ten, wie kann ich g'nug-sam die - se Treu' aus -
I I
Schaa fe; die Schuld be zahlt der Her re, der Ge rech te, fr sei - ne Knech - te!
brei - ten? Kein's Men - schen Her - ze mag in - dess aus - den - ken, was dir zu schen - ken.

"In Splendour bright," f r o m The Creation
8
Franz Joseph Haydn
A n d a n t e . = so
|:|
r f i f -f
* i
1
* -J +=R=
. A .0-
0 -p 0
>l 1 1L
&
4=
* *
UREL.
Insplendourbright is ris-ingnowthesunîiiddartshis
A giant prond and glad To run his measur'd

Piu A d a g i o . J =6o. a t e m p o
course. With soft-er beams and mild - er
o i
O i > r
r
1i ,J " J Q7 |p
Allegro.
light,steps on the s i l - v e r moon through si - lent night;
ra-diantorbs a - d o r n s . Andthesonsof God an-noun-ced the fourth
Srgnr C/torws

9 "Rast," from Winterreise
Franz Schubert
Massig (Moderato)
merk ich erst,wie md ichbin,da ich zurRuhmich le - ge; d a s Wan-dernhielt mich
m
\- P~
r # r = 1 '
T
-- * i -?= ^ V1 J4 h i r
=

mun-ter hi n au rirtba -rem JJ i.

^-
Die F - e fr
P nJ-Rast,
n.
es
^
We - g( ugennichtnac

i - NT
' ^ *
- -0-
>
%
r-f- 1i rlf
a-
V
(leise)(P)
(stark)
war
ra,r zu kalt zum Ste-hen;
Ste-hen der Rk-ken fiihl-te kei - ne Last, der
LPl'I \ %&=\
4%BJi3L__4 h ^ q
^ ese.
a as
a * i: * J * 3 * i
?

(f)
Sturm half fort mich we - hen.

w
V-r ^ f" 1 V ' M
ei - nesK ihlers en-gemHaushab Ob-dach ic h ge - fun - den; c

i' JU>
och mei'ne Glied
-j'-th ~ i a y i v a
m*\> i \ * t
i) -d s
PP- 3
-**rrr , 7 ~ Y ~ !
r "p r 1
'p r 7
E
r r
itrjl i i aU?* r ^ T

*
>
1
, F r r"
. . JPL
wild uhd so ver . we-gen, fhlst in der StiU

Still erst dei - nen "Wurra

10 An die Entfernte
Schubert
Langsam.
Singstimme. S E l - y P P P l r - P - f c
So hab'ich wirk.lich dich ver
i
Pianoforte.
9fl i *
t r i J- J J ^ J J
lo.ren? Bist du, o Scho.ne, mir ent.floh'n, bist du, o Scho.ne, mir ent. floh'n? Noch
SE
7
f" ~ r7
klingt inden gewohnten Oh . ren ein je . des Wort, e i n - je . derTon.
i 8
was langsamer.
MU
wie des Wandrers Blick am Mor . gen
p 1
ver . ge
T - T p p
. bens in die L f . te
<
^ - g
dringt,
=8.
PP
3
2 8 2 C H A P T E R XVII ENSEMBLE PIECES FOR REVIEW

Geschwinder.
V 5
m-n W
in demblauenRaum ver.bor . gen, hui-h . berihmdie Ler.che singt: so drin . get angstlich hin und
01:
i
cresc.
f 5
/Tv W i e o b e n
E f e *
wie. der durch Feld und Uusch undWald mein Bliek; dieh ru.fen al
1 : - - -
3S -...fj ! 9 :
5* ' :
Si/
r f ii
P P P T
7 komm, Ge.lieb.te, mir zu .
Lie.der; o komm, G e . l i e b . t e , mir zu . riick,
I
i
7"
>j
O /7N /-S ^
> S-i jll Q .o. - H f-= r-sr-*f-= f =p^fl
a _ _i_ Z_X* t _ =fl
=t=fj
M i
PP ppp-*
3T
O
-O-
TT TT

11 Three Recitatives from Elijah
Flix M e n d e l s s o h n
"Ye People, Rend Your Hearts"
Obadiah.
Yo peo-pie, rend your hearts, Rend your hearts, and not yonr
5
PIANO
~T5~
thffgh th.
/ l
fob

*

J
*
.
i i v-*
) 7
4
crear. s
i i -
1
/, jt

|r- -
' *
*
v-=
J y
r iji
P 'T P yP P f F'iJ'jPE P Ipptpp p r'-O p p

WOl'd of God. I thore-fore say to ye, Forsake your idols, roturn to God; for Ho is
slow to anger, and raer-ci-ful, and kind, and gracious, and re-penteth Him of tho e - v i l .
5i1 =
I S:

"Now Cherith's Brook"
(The Angel.) L i v Ll_U v

Alto Solo.
Vow Cherith's brook is dri-ed
pt=
up,

E - li-jah , -
7
A-rise and depart,

and
i f - i
J e 1
M i
PIANO.
y 0-
- 7
^ (
r
*
m i i*
0
_
1
gettheeto Ze - repath; thither a - bid; For theLordhath euniuianded a widovp womanthereto sus-
' > j I I =
f
Andante.
.tain thee-, And the b a r . re of meal shall not waste, neither shall tlie mise of oil
3^
a R ecit
jttecii. Tempo
fail, un-lil the day that the Lord sendeth rain. ijp_oa the earth.
i 3: 1:
cresc.
-v>-
T r

"Lift Thine Eyes"
T h e parts c a n also be s u n g o r d o u b l e d by three m a l e voices: t e n o r 1, t e n o r 2

(or b a r i t o n e ) , a n d bass.
A n d a n t e , J ) =ioo. -
Soprano I .
Lift thine eyes, 0 lift thine eyes to the moun - tains, whence
Soprano I I .
Lift thine eyes, 0
mm lift thine eyes
V
to the. moun - tains, whence
Alto.
Lf j. 11 11 i 1
J>
1
4 iun - tains, Lence
com - eth,whence com-eth,whence com - eth help. Thy help
i
com - elh, whence com-eth, whence com - eth help. Thy help com -
i JlJ>.J J)
1
;
eth, com - eth
com-eth,whence
4 i J' 4 4, 1
com-8th,'whence com-eth
0
help. Thy help eom - eth

cresc.
He hath said, thy foot shall not be m o v - ed. Thy Keepcr will ne - ver
cresc. 1 1 1 t pp.
M * J '> I J . J> I J > - 4 - h l . J i l J ]! *
He hath said, thy fool shall not be mov-ed. Thy
cresc.
5
0*
He hath said, thy foot shall not bo mov-cd. Thy
(fi/n.
slnm - ber, never,will never slum - her, never slum - ber.
f dim.
Kerper will never slnm - ber, nev-<?r, will never slnm ber.
cresc. f dim.
*P #
Keeper w i l l never slum - ber, nev-er,will never slum-ber, w i l l ne - ver slum - ber.
& ]
-r
Lift thine eyes, 0 lift thine eyes to the mountnins, whence cometh,whence com-eth,whence
p , ' =
Lift thine eyes, O lift thine eyes to the mountaius, whence cometb, whence com-eth,whence
Lift thine eyes, 0 lift thine eyes to the mountuins whence com-eth, whence

m 12 "Du Ring an meinem Finger," from Frauenliebe und L e b e n
Robert Schumann
ich dr . ckediclifronuu an die Lip . pen, dich f r o n i n i an die Lip-pen, a n das
LLT H 1-
f 1 f

fe
Her . zeuiein. Ich hatt' Uin aus _ pe _ tru - uet, der Kind_heit fried _ lieli sth_nen Trauni, ich
faiid alleiu inich,ver.lo. reu ini i _ den,un_end.li.chenRaum Du Ring -

aninei _ nem
r ? f c ^ F = F - - 7 n - ^
Piu . per, da h a s t d u n i i e h er s t be . l e h r t , liast iuei . n e m B l i c k er - sclilos _ sen des
H F T T - I J + ^ P^-+ T ~ } \ 1 f v ': x ^ i r"1~
r r r r r r
-y.i, J * J
x.tq,
f-
_
3 * i i
*\ -
288 CHAPTER XVI! ENSEMBLE PIECES FOR REVIEW

Nach und nach rascher.
L e . heus uu.end _ luchen, tie - fenWertli, Ich will ihnidie_ nen,iliui le ben, ihm
au. _ge_lio . reu gauz, hin sel . berniichge _heuund fin _ den verklart niich,und
ritard.
0 0 0 0
I 0 0 '0W
\ , J r j 0 $ 0 0 t i t i lm* 0* 0* m0 fif
f I $
ritard.
I fin .den verklart uiichin sei _ nemGlanz.Du Ring

p - u J>J
auiuei.neui Fiu . ger, mein gol . de.nesRiu . ge.
le i n, ich dr . cke dich fromm an die Lip . . pen, dich fromm an die Lip-peu, an das

m 13 "Ich wandte mich," from V i e r ernste Gesnge
Johannes Brahms
Andante.
3
W^ Ich wand - - te mich und
7 j r:
T f
a m m
he an al - le, die Un-recht lei - den un - - ter der Son - ne;
7 \V K7
3
f f f i f > r i r OES

a , m
^ p P i r r P
h
^
de-rer, die Un - recht lit - ten und hat - ten keinen Trb-ster, und die ih-nen
Q3 5
1 i3S f f m i
Un - recht tten wa - ren zu mach-tig, dafi sie kei - - nen.
keinen Tro - ster ha - - - ben konnten. Da lob - te ich die To

nicht ist,
s ist bes-ser ais al - le bei - de, und des
sostenuto poco a joco
P
-m- \
_ __
e - s :hieht.
f
C\
azm.
-^rHhr f -
5 , ^
j7
- 1 ^-6- 1 L^J 1<-6 L
z:
1*5 ir. z 77
2 9 2 CHAPTER XVII ENSEMBLE PIECES FOR REVIEW

B -\ t\ V i l l a n e l l e des petits canards
Emmanuel Chabrier
Allegretto con moto P

K
Voice fe
lis
i
PIANO< 2?P PP
rres simplement et tres rythm
Com - me de bonscampagnards!
ENSEMBLE PIECES FORREVIEW CHAPTER XVII 2 9 3

p .
* - i .i n n - tt >
Bar_bo_teurs et f r _ t i l . l a r d s , H e u . r e u x d e t r o u b l e r l' ;au e l ai - r 3, US
T^-*
P
p = "*%.
' 1
<
J E E J ^ T 7 j l Jl U - | H J - ^
vont, l e s pe - tits c a . n a r d s , lis semblentun peu j o - b a r d s ,
* f
1 ^ Z T J ^ E/
^4
- o y
Mais ils sont leur af.fai-re, C o m - me de bonscampagnards!.

PP . >
fj J l
Ji J ' M K J n fi I p " J ' p l f ! |i P ^ I P ^
trembleuneherbe l . g e - r e , lis vont . l e s pe . tits c a n a r d s , Marchant par
groupes p a r s , D'une a l l u . r e r . g u . l i e . r e , C o m m e de hons campagnards!
_L in un
m
r
iP p ^ 'ppipila]i J
D a n s l e b e a u v e r t d ' . pinards De l ' h u . m i . de c r e s s o n
if
mere, l i s VOnf les pe_tits canards, E l q u o i q u ' u n peu g-og'uenards,

UP l i s ' sont d ' h u m e u r de _ b o n . n a i . r e C o m . me de bons campag-nards!
Fai . sant, en c e r c l e s b a . v a r d s , Un vrai
3J:
I
b r u i t de p . tau . d i e . re lis vont, l e s pe . tits ca.nards,
4=*H ui > h
J.
LL '
CP "f i-

Do.dus, lus . trset gaillards, Ilssontg-ais l e u r ma - n i - r e
4m
*p*f~

espresstvo
Com.me de bons campag-nards!

lf
P E E *
f dim. PP
m
IEEESE
3
_ et n a . sil - lards, Cha.cun a . vec
r
pp e dim/sempre
m P leggierisaimo
PPP
8
j! J> J . _ [ J Jl J ' | J l
7 7 P I f T - ^ S
sa com_me re, l i s vont, ils vont, ils vont, l e s pe-
J t^ 1
fe
m i
r-P "7
semprepp
f aliarg. al f i ne
.tits ca.nards, C o m _ me de bons

c a m _p a _ g-nards!
m
f allarg. fine

O 1
p nJV> =zz_zzzzz: I ,
ENSEMBLE P I E C E S F O RREVIEW CHAPTER XVII 297

a -j 5 Zur Ruh', zur Ruh
Hugo Wolf
Sehr langsam
(Very slowly)

Zur Ruh, zur Ruh ihr m - d e n Glie-der! schlieBt

To rest, to rest, ye limos day - mea - ry! ye
lein, fort ist die E r - de; a c h t mufi es sei: dafi Licht

sein,
lone, earth soon w i l l van-ish; night must come on, my night
ein weniff belebter, sehr i n n i g

( r a t h e r faster, very jervently)
mir wer - de,

to han - ish,
1 5fe

nern Mch - te! hin zu dem Glanz der tief sten
tn - ter - n a l ! on to the realma of MigM e -
TO g-esteig-ertem Ausdruck
A
(with more intense expression)
I Nach - te. Fort aus dem Raum der Er den-schmer- zen,durch

/er - no: f a r from the woe of Eartk dis - treas - ing-, i n
4 4.
p cresc. .
^ r r "f
ENSEMBLE PIECES FORREVIEW CHAPTER XVI! 299

m -jQ Beherzigung
Wolf
Ziemllch gemessen q/ 1
K
r5i
bing-licheaScbwTuiken,
u>g-lidiesSdnr&nken, 'wei-bisches
wei-bisches Zs, Z - gen, ngst-licHesKla
n g s t - l i c h e s K l a - gen wen-det keinE-lend,
keu
caresuUtfordaun its, m o m a n - l v v l a i n . -ing, A * - w< r a - f r a i n - i n r madeus but comards.
Al-leu Ge-wal-ten xumTnrbssicher-hal - ten,

Powtrtzfor rc-sist - mm - mersich

1 7 L a Mort des amants
Claude Debussy
Andante
Voice
Nous a.u.
Andante
m
PIANO< PP
7
dim.
^ jJ M J I i _ r ^rji i
_ rons des l i t s p l e i n s d o d e u r s l_ ge . r e s , D e s divansprofonds
W J
eommedes tom.
,
w r
pp
l a
r

molto dim.
j
^ ' v fr,h i , J J'> J J> J J' i
E . co _ s e s pournoussous d e s cieux plus beaux.
I
tm.
^ 1

r
Usant
j i jo jJ J> J Jj
l'envi l e u r s c h a . l e u r s d e r n i _ res,Nosdeuxcceursserontdeux
vastesflambeaux, Qui r e . f l e . c h i - ront l e u r s doubles l u . m i . res
.jaP n ^
DansiosdeuxespritSjCes m/roirs j u .meau
te

m
r r
4}
+
up
ere
do
changerons un e _ clair u_ni _ que, Commeunlongsan.
fe
JT
I
molto dim.
z*t
JJOCO r i .
Sfe4 _Ez=E
V i J
1
>" u -- 1
molto dim. t
UnAiii^ r = f
q l i ? 1
- 1
bj
^ U n p o c o p i me>sso
Un p o c o pi m o s s o Et plus
f
semprepp \^
304 CHAPTER XVII E N S E M B L E PIECES F O R R E V I E W

18 ' L a s s e r ' s j e t z t g u t s e i n , " f r o m Der Rosenkavalier
Richard Strauss
Agitated
Barn
Ich sag' I h m sp
tell you la
stad. Da sieht Er, wer i c h bin und werich nicht bin!

hang. You'll know now whai I airi and xohdt T am not/
3 0 6 C H A P T E R XVII ENSEMBLE PIECES FOR REVIEW

September
19
C h a r l e s Ivs
A n d i n Sep-tem-ber, F a l - cons, a s - t o r s , - m e r - l i n s s p a r - r o v ^ h a w k s ; D e - c o y birds- that-lure your game

11 l.h.
Presto or as fast as possible "
mp
* u s e b o t h pedis t h r o u g h o u t
V . .
2\ '
A r - blasts a n d - j a v - e - lins; . All birds t h e _ best to fly And
3
r* f~- r- r~- ^ Q .
L J Lj -J mf

In a Sentimental Mood
Duke Ellington
308 C H A P T E R XVII E N S E M B L E PIECES F O R R E V I E W

Gm Gb7 F
Rose pet-alsseem t o fall Its all like a orean to cali you mine
25 Db Bbm7 C7
Ebm Ab7
r p F " tF p
Myhearts a light-er thing since you made this night a thing di-vine_ In A Sen-ti-men-tal
29 Dm F+ F G7 Gm Bb+ Bb C7
M ff |i |T I J -p JL.J J J J p pE
Mood Imwith-in aworld so hea-vcn-ly. For I ne - ver dreamt t h a t
33 Dm D7 Gm Gb7 I F
~"2"
youd be lov-ing sen - t i- men - t a l m e I nA Sen - t i - m e n - t a l me

Sight Singing - Adler Samuel

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Sight Singing - Adler Samuel

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S I G H T S I N G I N G

Eastman School o f Music

Exercises for Performance 40

PLANING (OR PARALLELING) E X E R C I S E S 1 66

Rhythmic Studies 169

C H A P T E R XII S i m p l e D u p l e M e t e r , t h e " T w o - B e a t " 178

S i m p l e Q u a d r u p l e M e t e r , t h e " F o u r - B e a t " 184

CHAPTER XIV Q u i n t u p l e M e t e r 214

CHAPTER XV M i x e d (Changing) M e t e r s 226

Additional Material for Study and Review 2 3 7

Why a New Edition?

M O R E A l l this has b e e n m o s t gratifying; t h e n w h y c h a n g e a n y t h i n g i f it does n o t n e e d

N E W C H A P T E R Special c a r e h a s been t a k e n t o m a k e the exercises m o r e progressive within

New to the Second Edition

The Melodic Exercises

M E L O D I E S F R O M T H E T h e n e x t type o fexercise consists o f m e l o d i e s f r o m actual m u s i c l i t e r a t u r e

T H E U S E O F K E Y A w o r d o f explanation about key signatures isi n o r d e r regarding the exercises

A Note about Vocal Ranges

C h o o s i n g exactly w h e r e t o m a k e the octave switch i na passage m u s t o f

The Canons and Duets

Some Teach i ng Strategies for Combining

Melodic L e s s o n in Part O n e Rhythmic L e s s o n in Part T w o

Chapter I I Chapters X I I and XIII, the Preparatory

Chapter III Chapter X I I ,the Preparatory Exercises

Chapter I V T h e rest o f Chapters X I I a n d X I I I

Chapters V and V I Chapters X T V and X V , the Preparatory

Chapter VIII T h e rest o f Chapters X I V a n d X V a n d

I n Chapters I I a n d I I I , I suggest that particular r h y t h m i c exercises f r o m

#8, Chapter XII

b u t t w o use n o n r h y t h m i c m e l o d y # 4 f r o m C h a p t e r I I (p. 24) a n d t h e t h i r d uses

A n d here are s o m e possible ways that they c o u l d b e c o m b i n e d ; certain notes

Fixed Do Versus Movable Do

Using the Material for Dictation Exercises

Sight Singing by Interval and Rhythm

N O N R H Y T H M I C T h e n o n r h y t h m i c scalar exercises i n C h a p t e r I I have key signatures because

M E L O D I C E X A M P L E S T h e excerpts f r o m music literature range f r o m the medieval period to the pre-

S P E C I A L L Y C O M P O S E D T o w a r d the e n d o f each chapter we have provided melodies that feature a

D U E T S A N D C A N O N S W e offer duets a t the e n d o f Chapters I V , V I I I , a n d I X to give y o u practice i n

Additional Material for Study and Review

Scales and Their Relationships

1 Natural, Simple, Modal,

As t h e m e l o d i c m i n o r ascends, t h e s i x t h a n d s e v e n t h scale degrees a r e

T H E R E L A T I O N S H I P E a c h m a j o r scale has a relative m i n o r scale. T h e k e y s i g n a t u r e f o r b o t h t h e

H e r e isthe full table o f key signatures:

Relative Minor d q c f bb et> ab

W r i t e o u t t h e f o l l o w i n g scales b y h a l f a n d w h o l e steps, w i t h o u t u s i n g key signa-

1. D minor, melodic 11. A minor, melodic

W r i t e o u t t h e t w e n t y scales a b o v e i n b o t h t h e t r e b l e a n d bass clefs, u s i n g k e y

CLASSIFICATION O F A n i n t e r v a l is t h e distance b e t w e e n a n y t w o musical p i t c h e s i n o t h e r words,

1 those t h a t a r e s m a l l e r t h a n a n octave, o r w i t h i n t h e c h r o m a t i c scale o f

2 those that are larger t h a n a n octave.

Intervals w i t h i n t h e octave are t h e f o l l o w i n g :

7th y 3 fcro BQ...

Simultaneously Notated Successively Notated

T Y P E S O F I N T E R V A L S T h e intervals w i t h i n the octave are called unisons, seconds, thirds, fourths,

t h e i n t e r v a l ism a j o r i f t h e u p p e r n o t e isi n t h e m a j o r scale o f t h e l o w e r

Major (M) Minor (m) D i m i n i s h e d (d) A u g m e n t e d (A)

C-D C-Db C-Dbb C-D

2 half steps or 1 half step a unisn 3 half steps or

C-E C-Eb C-Etb C-Ef

C-A C-Ab C-Atb C-A

a n d a half s t e p a n d a half step

C - B C-Bb C-Bbfc C-B*