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EAR-TRAINING
and
SIGHT-SINGING
GEORGE
A.
WEDGE
^
/
^o
J'
1
I
http://www.archive.org/details/eartrainingsightOOwedg
EAR-TRAINING AND
SIGHT-SINGING
Applied to Elementary Musical Theory
Practical
By
GEORGE
A.
WEDGE
P"-^
NINTH ISSUE
e
Q
G.
SCHIRMER,
Inc.,
NEW YORK
30094
"r
W^6
Printed in the
S.
A.
To My Mother
PREFACE
in
and
instruct
him how
Each step
is
first,
exercises to be
Section
work; Sections
B and C
and Sight-
reading.
In class-work it has been found practical to use three fiftyminute periods a week, devoting a period to each Section.
Following is the plan of the book, showing the development
of the work and the order in which the factors are taken up.
An Acknowledgement
The author wishes to express his thanks to Dr. Frank
Damrosch for his confidence in this work and his generous attitude
as it was developed in the classes at the Institute of Musical Art;
To Miss Helen W. Whiley, whose cooperation and enthusiasm
in presenting this subject have made the work possible; also, for
writing the exercises for study of the
first fifteen
lessons in Ear-
training;
To
Dr.
Thomas Tapper
To
and
and
for
Melodic Construction.
George A. Wedge.
[v]
TABLE OF CONTENTS
Chapter
I.
General Definitions
Music
is
is
Sound.
dancing, are
of
differ in the
color;
and
medium
the musician
uses sound.
speeding up.
The
Pitch of a sound
The
is
greater
number
of
vibrations,
If
we
the
stretch
pitch.
In
loud or
soft.
Notes.
The
lines,
called a Staff.
assigned to
the
staff.
it
originally
a Gothic
line,
letter
nL
G,
'^
always so
is
':
"
named
This
is
reached.
its
two dots on
either side of the fourth line of the staff. This determines the pitch of that line to be F; the next space above is G,
A,
is
etc.
space below
below
**'"''
J'
The
>
is
D,
etc.
is
Each
and space
^
line
G y
ft
is
named
really
*l
The
one large
The
great staff
eleven-line staff
was
line omitted.
Great Staff.
originally invented to
soprano,
alto, tenor
was
by the use
of lines
staff.
We
extend the
in pitch
than
known as Leger-Lines:
General Definitions
O-Sii:
C D E F G A B
Great Octave
Small Octave
d e
g a b
One-line Octave
Lesson
c d' e
f g a b
c d e f g a* b>
Three-line Octave
Two-line Octave
Section A.
Suggestions for Study:
(1)
Make
line betv\een
c\ C, c, c\ c\ G, g\ g2, g, g^
eS e^ b, h\ h\ B, P, f, F, f^
d,
d\ D, d\ d^ a^ A,
a,
a\ E, e\
e,
Example:
(2)
name and
register
and
name
the pitch
register.
(4)
D, G.
(5)
D,B,E,C,A,G,F.
Section B.
Play c^ and listen to its relation to c^ in
c^ on the piano.
and distance. Name the staff position of c^ (third space,
Play c^ and then c. What is the relation in direction
G-clef).
and distance? Name the staflf position of c. Study c^ and C
in the same way.
Play c. Think the pitch of cS sing it; play it on the piano
Play
direction
Play c^.
Play C.
Think and
Think and
sing c^
sing
c*.
C and
c^
Play
it
on the piano
Play
c^
between
c occurring
and c^
Play
Play
c^
"
/ think c\
"
Think the
c'.
/
Sing c^ think
c'
c^
"
"
c^
think
c.
test
staff.
g, test
staff.
staff.
c-,
C
"
c^
"
Sing
g*;
think
g"
"
Sing
fi;
"
"
G
"
"
f3
Section C.
The
when
in the
vocal range;
staff.
-C
c^
C - c^
C-c2
Play
c^ first
staff.
c c c C-
c-
g^ first
g'
staff,
g'
g'
c^
- c'
- c'
c' - c
c2 - C
C - c
c'
c'
c-
C
c^
g-
G
g-^
- c^
- c*
- c
c2-C
C - c'
c^
g^-g
Place each on the
c^
c^
C-c^
Play
c-
General Defniilion.'
Play
e' first
e*
e^
staff,
e^
- e^
- e
- E
e'-e'
Play c' first each time; think C - c^ - c-C
c' - c
c
c^
Place each on the staff", cc^ - c- - c
c c- c' -
Play
g' first
g^
gi
staff",
g^
g3
C -
c-
- g- - g^
_ g _ G
g^
g2
Play
e^
e^
staff,
ee^
E
e'
Play
f^ first
- g
_ gi
Plav
di first
staff,
staff,
f^
f
f^
f
d^
-d
d- - d^
d3
d2
- d^
(etc.)
first
(etc.)
B - b^ - b^
bi-b -B
- b^ b
b-^-b^-bi
staff, b-
fetc.^
e-
- e
E-
Play b^
g'
gi
e-
e^
-D
g'
rrl
e-
- d
- d^
g'
g'-g -g^
e
- f^
- F
- f
_ f
d^
g^
g^-g-G
- e'^
- E
- e
- e^
- e - e^
- E - e
f f- _
f3
c'
t3 _
G-
- e- e
- e^
- e-
F-
c^
c^
g-
gi_G -g
each time; think
c'
c'
c'
c'
- c -
g -
G-g-gi
e^ first
c'^
C--C-C
C-c-c'
c'
e'^
e^
c^
e^
e'
e-
E
c^
e^
CHAPTER
Measurements
II
'I
of Distances
music,
first
note
is
The
clock-face
is
may
exactness in time
a
a
a
a
a
a
If
If
If
If
If
If
is
on a
is
is
on a
is
is
is
line,
the third
is
on the next
line.
in
it is
note
note
note
note
note
note
Lesson
Section A.
Suggestions for Sttidy:
(1) Write the 8th, 3rd and 5th degrees on the treble or G-staff
from C, G, A, E, B and F.
(2) Write the 8th, 3rd and 5th degrees on the bass or F-staff
from B, D, F, G, E, A and C.
(3) Write the 8th, 3rd and 5th degrees on the Great Staff from
A,
c',
g^
b, i\ d, 3^.
for drill in spacing, i. e., to learn to use the lines and spaces
when a note is on the first line we shall know that the third is
on the next line, the fifth on the second line and the eighth in the fourth space.
The question of the kind of third and fifth, as in scale and interval relation, will
Note.
This
is
be treated
later.
(6]
Measurements of Distances
Learn the name of the 3rd and 5th degrees from every
From D the third
the third is G; the fifth is B.
(4)
From E
pitch.
is
F; the
fifth is
A;
etc.
Section B.
In the foregoing directions the expression "think C" has been
To think sound means to hear it mentally, to listen to it
used.
Most of us can think the tune America without actually singing it, just as we can think the words without
actually saying them. To think sound demands concentration;
and facility in it requires practice; but it may be acquired and it
must be by the serious student. The beginner in ear-training is
always tempted to hum the sound he is trying to think. Singing
has a vital part to play in training the ear, but only as a guide
and not as a final necessity. Use it as a crutch which may be
In practising the
discarded as ability to think sound develops.
with the inner ear.
Note.
refer to Sight-Singing,
which
is
quite a diflferent
matter.
Comparison
(1)
as
If c^ is
and
of
it,
to G.
considered
g^ is similarly
Take
c^
as
then
c^ is 8
because
it is
the 5th.
1.
effect
of each.
is
Play
listen to
Play 8
1;
8 5.
(3) Listen carefully as you play 15 8 5 1; immediately reproduce the sounds mentally; in other words, think them. Study
the following groups in the same way.
18
18;
Measurements of Distances
(7)
(a)
Play
13
5 8.
(d)
Note.
fore singing.
It is
12
27
23
28
25
29
of the
16
20
19
24
15
14
13
18
17
22
the
21
26
30
pitches be-
10
m.
Section C.
Play
Ml
1.
Thinks.
M
-2
"
5.
1.
"
3.
1.
Sing
it.
II
II
II
I*
Test.
Measurements of Distances
Play
Think
5.
Sing
3.
11
Test.
it.
(2) Take C as 1.
Play 13 5 8.
Sing a measure or two of the following songs, and any other
familiar ones.
Decide each time whether the first sound is 1, 3, 5
or
8.
The
(3)
Hymn
Play
Yankee Doodle.
Think 3. Sing
Think 5; sing and test.
Think
1.
Think
13
13
5 8.
13
An
5 8.
3 5 8.
"8
5 8.
Constantly practise
sing
Marseillaise, Dixie,
Then
1,
this,
3.
"
any
and 8
8, in
instant recognition of 1 3 5
In fact, further development
portance.
is
Test
it.
"
"
and
it.
1.
Think and
of the
utmost im-
order.
is
in Sight-Singing.
Practise as outlined in
the
preceding Lesson.
23
24
25
12
-o
"
._
10
"
-<
CHAPTER
III
by a
or beat.
Triple,
pulses.
When
exercising, the
accent.
Though
held longer than the pulse or several tones played upon one pulse.
To
to each pulse.
Rhythm
in
music
is
When
rhythm
is
When
as
Uniform.
the value of a note
is
it is
known
Added Beat.
When
Divided Beat.
is less
known as a
by two or a
it is
multiple of two.
triplet is
one-half subdivision.
e.g.,
|JT3
[13]
14
quintuplet
is
a group
The numeral
group; e.g.,
Modern
second;
a quarter;
as the head.
The
The
cur\^ed line
heavy
line
we
The round
drawn
to the
use symbols
known
o a
^a
To show
played,
same value as
written under the
a sixty-fourth.
is
2 J^jJJ
4
J a half;
is
called a
when
there
known
the stem.
is
beam
is
is
whole;
thirty-
straight,
f'J J J
nothing to be
to the notes.
Whole
Half
J.= J
The curved
The
any
line
J..^J
J)
its
J) }\
a Tie:
in
Eighth
three-fourths:
same
Quarter
J^
stressed
order.
pulse of
A Bar
Two
is
a Measure.
beginning of the
staff,
one above the other, indicate the meter and rhythm. The upper
figure indicates the meter or the number of pulses in a measure.
The lower figure indicates the rhythm or the kind of note which
This is the Metric Signature, or Time-signature.
receives a beat.
Thus
indicates
that
there
are
two beats
in
each
15
Half, quarter
We
Rhythm.
or 4/8.
Lesson
Section A.
Suggestions for Study:
(1)
uniform
|JJ'JJ'<JJoo
(2)
uniform
|c))JtJ/Jic)JJio'(i
Section B.
(1) In training ourselves to determine the meter and hear the
rhythm it is first necessary to maintain an even pulsation or beat.
Count 1-2, 1-2, 1-2, 1-2, and try to keep a steady rate of speed
(tempo)
you do
so.
metronome
is
-2 as
is in
Tap
two
beats.
(3)
Tap
J:
<a)
beat.
J j
J j
13
5 8 5
1,
sing
Ear-Training
16
(2 Two
arid Sight-Singing
beats in a measure.)
/:
beat
U)
J) J)
'b)
<c)
J^
i^ V
J^ ah
;^
J
II
II
II
Also written
J^
/^
CHAPTER
IV
v/
is
the tone C.
Tone
is
staff.
the piano.
If
half-tone
is
the difference in
whole tone
is
two
half-tones.
G to g^ are played on
it will
tance on the
stafif
distance bet\veen
from
all
and B
The
to C,
is
a half-tone.
is
a whole tone.
to F,
in vibration,
and
Either segment
vibrates t^'ice as fast and gives the pitch C, one octave higher.
Next try dividing the string C into thirds, and set the two-thirds or
This gives
tone above
C.
This
fifth
tone
is
the pitch
or the
to the fundamental.
In the same
way
next, a fifth
above A, or E; next, a
fifth
above E, or B.
Tones of
Conversely,
if
is
two-thirds of G, and
C must
now
Key.
two-thirds of C,
117]
and whole-step.
18
related to C.
of C.
is
the
Kev-tone.
Tones arranged as
When
scale.
CDEFGABC,
The
stafT is
composed
of
E and F, B and
half-
C.
in the
E and
will
proper places, as
F, B and C.
between
and
8.
are F,
Keys and
There
scale
is
(7) to
As
may
family are
named
The head
of the
family
is
is
C, and
a tone
is
on the
line,
the
fifth
named
related
of the
is
the Tonic.
When
was found
This
is
the Octave.
If
and are
members
The major
(8).
is
scale.
19
Scales
The
seeking the
to be the nearest
the Dominant.
is
is
is
Dominant
or
which
is
tone,
is
be
the middle tone below, or the Suhmediant.
D, the second, the tone
above the Tonic, is the Supertonic or Second Dominant. B, the
seventh tone, which progresses into, and seems to prepare, the
Tonic, is the Leading-tone.
placed
The
(1)
The
(2)
same
This
letter,
is
of half-tone progressions:
half-tone progression
of another letter.
This
will
is
from a tone
a Diatonic Half-tone.
E to F is diatonic.
a Chromatic Half-tone.
to E'?
is
by an
accidental.
chromatic.
Lesson 4
Section A.
Suggestions for Study:
(1)
G, F,
and
B'?,
20
(2) Write in the treble and bass the following scale-steps in the
keys of C, G and F, using accidentals:
12
4 3 6 5
7 8
878354326578321
8578642316578
143213565782 3 8*
2
The
is
above eight.
line
(4)
15
3 4 3 5 8
1353582878
Section B.
(1)
1,
3, 5
and
8.
Method
of
from C.
(a)
Play
(b)
(c)
1, 3, 5,
Play
it as a test of accuracy.
Represent on staff in both clefs.
Repeat this method with each group. Then sing through the
entire list, as written, reading from the representation on the staff.
(d)
(e)
1 2 3
13
123
1235
12358
1233558
1231358
12313
12353
12351
1235358
and 3 2
123321
1235321
123585321
1321
132135
132151
13215321
15321
18
3 2
21
3 4 5 and 5 4 3
35
3 45
345
345
345
3 8
1
34585
31345
35345
38345
5 6 7 8
5 8
5 6 7 8
5 6 7 8
5678
5 6 7
first
83
567815
56785
585678
535678
5678531
345543
38543
54353
354351
345 83
3458
34518
34513
34515
34581
and 8 7 6 5
5678835
5678538
8385678
5185678
5135678
58765
538765
5187 65
5876531
876531
876535
876538
858765
838765
818765
Note.
12
1,
the
22
23
24
,Si.^i.^
25
26
27
28
"
"
"
1.
go
'
^^^T^
.w
" " O
..
"
o o "
Section C.
(1)
(b)
(c)
(d)
1, 3, 4,
in
5:
(2)
23
(a)
(b)
(c)
(d)
(e)
(g)
(h)
(i)
Play 1, 3, 5, 8.
Play the group.
The listener should sing the group in order to memorize
it, using the syllable la; then he should write down
the numbers from memory, and finally place the
pitches on the staff; use both clefs.
34
25
tempo.
Sing a tone to each beat; also walk a step to each beat.
Sing one tone and tap three beats.
This sound is represented
thus:
J.
Tap
a)
t
c>
1,
2, 3,
J j J
j J J
J-
>
J J J
a>cl(JJio'
Woc)
a)
j j J
J-
d a d
J.
J.
,J
\
o'
/n
b)
/7^
c)
>
-.rj-J to
J-
/T-J
/n
iJ^y
,
J)
7
JTl
In
and
iJJJiJcJJio'
JJ-lo
II
Write
In
^ and
Write
iB
.11
J.
,.
J.
Lesson
>
and
Section A.
Suggestions for Study:
(1) Construct the Major Scale in the treble and bass from
C#, Db, E, Eb, Fii, Gb, Ab, A and B. Use accidentals to bring
the whole and half-steps into their proper places.
(2) Indicate on the staff the following scale-steps in the treble
keys of D, Bb and A: 1 5 3 6 5 4 3 5 8 7 8.
Indicate on the staff the following scale-steps in the bass
in the keys of Eb, E and Ab: 1 4 3 2 6 5 4 3 5 8 7 8.
(4) Indicate on the staff the following scale-steps in the treble
in the keys of B, Db, F^: 8 5 7 8 6 4 3 2 5 7 1.
(5) Arrange the following pitches in the key of A Major, in
four measures of a quarter-note rhythm, the last measure to be an
in the
(3)
added beat
of
one note:
134432327
8 5 8 3 5 7
1.
1.
Section B.
(1)
letters
Play
C.
Sing
1234567
CDEFGABC.
numbers, then
8.
Repeat,
singing
first
the
using
letters.
accidental
dental
clefs.
The
(3)
dictation
(a)
(b)
Sing by numbers.
Dictation: 1. Sing the group of tones played on the
piano, using la, in order to memorize the sound.
2. Think the numbers.
3. Write the pitches on the staff in key of G.
4. After you have written the pitches on the staff, sing
them by number.
=
4^
27
Section C(1)
The
The Study
(a)
(b)
(c)
No.
i *{ i
J J
2
d
t
have
played again.
it
III
r'r
= i
If
ii
1-
i
i
N n M
|.
r'r
1^
28
(2) Exercises
1
in Sight-Singing:
A iT'^
i'''i'rrr
f
i
^'
r
rrf
r 'f
ii'
is
CHAPTER V /
Key-Signatures
We
dentals before these tones each time they recur, they are placed
at the beginning of the
The
the staff
staff.
is
The number
found by dividing the string C into thirds, each new tone is a fifth
from the preceding tone. The tones above C are G, D, A, E, B, F^
and C^.
The
scales built
Each
the right place. These are known as Sharp Keys.
new key adds a sharp, which is the seventh step.
The tones found below C are F, Bb, E'?, Ab, Db
and Gb.
Scales built
Flat Keys.
flat,
place,
which
of these key-tones is
shown upon a
clock-face, placing
new
D2#
the
fiat
key an hour to
at which the
The hour
left.
A3#
sharps or
A
E4J
is
fiats in
Eb
other side,
7ff
61,
gj}
7i>
the signature.
in its signature.
1291
in its sig-
halfway on the
and has three fiats
is
Gb and F# occur at the same place, also D[? and C#, and Cb
and B. If the scale from Gb and F# is played on the piano the
same (piano) keys are used. The same is true of Db and C#,
Cb and B. For every flat key there is a sharp key; thus, Ab is G#,
Eb is D^, F is E^. Conversely, every sharp key has a flat key.
In either case there result keys with double-sharps and double-flats.
This is found to be impracticable on account of the difficulty in
Compositions are seldom written
reading.
The
in
Gb
or
C^
major.
is
placed a
new keys
are constructed.
Each
little
and
in
adding
Fi^,
illustration.
The
etc.
first flat
line of
The
It is
flats
To
in the key-signatures.
signature
is
the
name
tell
of the key.
Lesson 6
Section A.
Suggestions for Study:
(1)
1, 3, 5,
8 of
all
major
scales,
using signatures.
(2)
of the
Name
keys,
jumping
Key-Signatures
31
=3
to different hours.
In this
way
the
number
G; C^, D;
etc.
Section B.
(1)
Review
(2)
using C,
The
(a)
B and
F and G
as
B and
C, page
1.
letters.
(3) Dictation:
(a)
(b)
(c)
8,
S2
^
" "
')
a. S^
^
o =E
tl
..
Section C.
(1)
The
pitches.
(2) Exercises
in Sight-Singing:
5,
Work
Key-Signatures
jjjijjji
I'N-Hrir
^yJr
i
Jj
rrr JJr
i
.i
i
ff
33
('i
iV|-
rix" j
J,
rr
]i
cu
j.
:
::
CHAPTER
VI
we may
demand
progression or resolution.
finished;
The
tones
2, 4,
and
7,
Tones.
In science,
all
all
In music,
Lesson
Section A.
Suggestions for St tidy:
every pitch.
Example
(3)
Make
Make
Example
c
[34]
35
Section B.
(1)
13
13
Play
Play
or satisfying in
we pause on
13
we
that
feel
it
must go
is
first is
When
to 8.
Any other
rest.
The
the opposite.
The second
its effect.
and 8 represent
5 8 7.
Compare the
final
Study
5 8.
tone
is
active
and must
it
7;
pausing on
7,
go:
8 7;
2 3
7;
5 3
recognize 7
5 8
7.
by
its
you
8.
(2)
Study
Play 5 3
Play 5 3
down
to
of the
2nd Step.
1.
2.
If
you pause on
tendency to go
1.
Play 5 3 2 1.
Play 5 3 2 3. This also is a possibility, as 2 may go to either
1 or 3, because both 1 and 3 are rest tones.
However, 2 is most
easily recognized by its downward tendency to 1.
(3)
(a)
bass
clefs, in
later
132171
151
171
13
2 3
15
letter.)
154321711321
113
5 8
17
135323
1538321
1532321
1831321
13
18
1323
113 2317118171
13551
15171
13215113571
13171
1532358
32151
32171
3171
3151
35171
35151
3835171 355171
3855571 358171
53151
53171
5171
513151
513171
58171
538171
517181
57135
58135
57123
13
15
13171
5 8 3 2 3
571
3 5 3 2 3
36
32321
31231
32351
32353
53231
5321
3 2
12
3 2 3
13
2 3 5 8
3532383
3121231
32 12123
5835323 58131
53121
5121321
53235858121
5835321
32358
358323
13 2 17 1
12 17 12
13 5 3 2 17
5 1 7 1
3 5 3 2 3
(4)
5 8 2 8 7 8
3 5 8 2
5 8 3 2 8 7 8
3 5
1215
12
2J.
17
7 1
17
5131323 58328
5812123 58323
58285823
858
83858
35832878
5
15 7 12
12 15
5 7
3532121
3832351
3212158
5 8 7 8
8
8
12
17
1
1
5 3 2 3
17
8 2 8
5 3
12
3 5
The
(a)
(b) Dictated;
sung with
la;
letter;
16
15
17
3^
(5)
The Study
(a)
(b)
Tap
of
the beat.
Sing the rhythm.
in
19
18
^
.
|-
37
r>
..
" o
38
."|J
2
J J
J.J
J.J
.J
J.J
J J J
J.
J J J
J.J
J .J
J.J...
^
J.
J.J...
i
J.
(6)
1
Key
of
27.
2 Key of G
good practice to rewrite each exercise, after memorianother Key and another time-value.
It is also
zing, in
Thus
in 3/8;
in 3/8; 3 in F,
7 in
G,
8 in G, in 3/2.
12
(7) Exercises
in Sight-Singing:
3
XJ
in 3/4;
S9
40
Section C.
Study
(1)
of 6
13
Play
Play
(a)
5 3
1.
Pausing on
6.
6,
you
will
the tendency
feel
to resolve to 5.
Play
5 and feel the activity coming to rest; 6 may always be recognized by its downward tendency to 5.
16
(b)
feel
its
activity
3 5 6 5
5 6 5 8
6 5
65
3 8 5 6 5
5 8 5 6 5
8 7 8
65
5 3
5
(c)
6 5
5 3 5
65
2 1
5 6 5 7 1
3 5 6 5
23
3513565
2
5 6 5 8 _
16
Play 12 3 2 1.
Play 1 4. Pausing on
tendency toward 3.
65
4,
1343
14321
1343143 834321
5 3 43
143171
143121
5 3 5 3 43
143
15
143
3 4 3
15
43
143582
3 5 3
3
(d)
15
16
43
5 8
16571
5 6 5
you
5 3
will
12
143
feel
13
5 7
143
43
5
5
its
downward
8543
8 7 8343
14321
3 4323
43
5 7
4321
12 13 43
12 143
5 3
143
8343
1431
16531
1343565
8343565
5^4365
57143565
5435658
5143165
8165143
165143
3 2 3
43
143 165
We
tones.
upward to 8.
The other three
to
1, 3,
or
5.
active tones
Therefore
it is
is 1,
3 or 5,
can
41
we be
2,
4 and
Study
will
6.
become
positive of
42
Study
(3)
of 4th Step.
4S
Exercises in Sight-Singing:
2
44
CHAPTER
VII
style or manner.
In music it applies
arrangement of the whole and half-steps in the scale. We
commonly use the Major Mode and the Minor Mode; major
meaning greater; minor, lesser.
The Minor Mode is formed by lowering by one half-tone the
third and sixth degrees of the Major.
The general impression of
the minor mode is that it is sad and gloomy, while the major is
This may be somewhat true, yet one of the most sad and
bright.
impressive of funeral marches, the march from Handel's Said, is
in major.
Many of our gay and popular tunes, like the Irish and
Scotch dance-tunes, are in minor.
The Minor Scale is formed by lowering the third and sixth
degrees of the major scale. This brings the half-steps between the
to the
fifth
and
sixth,
major and c minor have the same letters for each degree; the
pitch of the third degree (E in major) is changed to Eb in minor;
The
of the sixth degree (A in major) is changed to Ab in minor.
first, second, fourth, fifth and seventh degrees remain the same.
Rest Tones (13 5 8) are the same in major and minor.
Active Tones (2 4 6 7) are the same in major and minor.
They resolve in the same manner.
Capital letters are used for major, small letters for minor (C
major, c minor).
Each major
and
scale
may
be
^*'
'^
the third
sixth degrees.
Parallel
Lesson 8
iT:
Section A.
Suggestions for Study:
(1)
all
pitches in treble
and bass
46
with major signature. Make them minor by lowering one halftone the third and sixth steps. Example:
(2)
Make
Play
2 in
47
2 will resolve to 1
or 3 in minor as in major.
14 3.
Play 13 4 3
Play
165;4 and 6 resolve the same.
C major and c minor are two expressions or modes of the same
key. The difference between the modes is superficial; the likeness
is fundamental.
(2) (a) Sing each of the following groups first in major and then
Sing each several times, changin minor, lowering the 3rd and 6th.
ing from major to minor and from minor to major, until you realize
the similarity of effect and at the same time the difference in the
color or quality.
As before, use the piano as a test of accuracy.
13565
13531
1234531
1331
15321
1551
3213531
3213543
32131
34351
5312321
5358531
5356538
5878531
1323171
1543431
56534321
5432321
5712343
5653121
1356531
13565
1565
12171
132171
343565
3543171
35828
3565878
5181321
57131
582838
5878531
3154321
3165658
5]^6
5121
5716538
5878543
5828535
1565171
134321
1343231
156538
1713531
1214321
1853123
1856531
8135321
8531231
343565828
321543878
3153131
3156538
5j_21321
57^3121
5171351
571358
515l23
5557131
3457143
3458543
3171323
5343565
8 7 8 5 6 5
8 2 8 5 7
12
in minor, sing
48
for each
Then
sing through
49
Section C.
Study of
(1)
Tap
the
1
Divided Beat:
Then
J J
J J
'2
J J
..
2;
12
represented
physical
movement.
to indicate the
tapping.
Practise the following;
Down
etc.
up
/3 /I
/3/3
.J
;^
.T J^
^^J1
.
*T
,.
50
12
(2)
Rhythm and
Pitch in minor.
3
steps.
The Minor
->:/j
iL'J^
Mode
r^ irr^nr
61
\^^^ irr^
CHAPTER
VIII
Minor Signatures
Minor Keys have no signatures of their own.
Composers, when seeking variety, often repeat a few measures
of a major melody, keeping the same tones and major signature,
but make it minor by lowering the third and sixth steps. For
example
Beethoven
Phrase
la
major
2.
Repetition ol h-hrase
The
seventh step.
called
Relative
6l>
en
Note: C minor and Eb major are not the same keys. They are different
tonalities, having different rest and active tones.
C major and c minor are the
same tonalities, having the same rest and active tones. Only the mode is
changed.
As the major keys were arranged on the clock, the minor keys may be
placed opposite the major keys with the same signatures. The keys of ab, d#
and a^ minor are seldom used. Git minor, the relative of B major, has no
parallel major key.
[52J
53
Minor Signatures
Lesson 9
Section A.
Suggestions for Study:
Write, in the treble and bass, the major scale from all
Make them minor by lowering
pitches with the major signatures.
the third and sixth steps. Under each write the same minor scale
(1)
(2)
a, e,
(3)
1.
(4)
f,
b and
c#, g#,
2 5
15
3 6 5 7 8.
Section B.
(1) Exercises for pitch.
(a)
To be used
for singing
and
dictation,
Sing by numbers.
-o
e-
54
(2) Exercises
(a)
and
by numbers.
Write from memory in minor with proper signatures.
sing in minor
(b)
Note. In dictating melodies with divided beats, first play the melody
through with a simple accompaniment to establish the pulsation and tempo. For
example, Nos. 1 and 3 could be played this way:
No.l
Minor Signatures
No.
If
one note
for
two
2
4
would be outlined
is
55
The rhythm
in Sight-Singing:
Section C.
(1) The Divided Beat in 3/4.
Tap 12 3 and intone the following:
-I
.J
12
J
8
.J
1
JI
Ear-Training
56
ayid Sight-Singing
123
Arm-movements
123
123
Down-right-up
123
]
x^
Down
(b)
12
right
J
3
up,
^n
12n
dowc
right
SI
^^
etc.
np,
etc.
.J-
Minor Signatures
(3) Exercises
1
in Sight-Singing:
57
58
1,1
fTfrrrir
r
|
rrf rrif
rrr
,
i^r/fin f
Lesson 10
Section A.
Suggestions for Study:
(1) Write the following scale-steps in treble,
then in
first in
of major;
major,
then in a
Minor Signatures
59
186534253571.
in
878354326578321.
7864231657
8 5 7 8
(4)
7
Write as above
8 3 4 2 3 5
(5)
(6)
(7)
B major and b
minor:
16
F major and
minor:
14
1.
Write as above
5 3 6 4 2 7
8.
in the bass in
in the treble in
1.
Section B.
(1) All active
tones
may
by a
skip of a
Thus,
Sing
may
171
resolve 7 2
Sing
(3)
13
12
13
15
12
may
resolve 2 7
12 7
12
2 1
3 5
2 7
3 2 7
13
instead of 2
5 3
5 3 2 7
5 5
12
15 12
7 1
5 8
7 1
3 5 5
5 8
in
12
7 1
5^2 7^
1,
12
12
1.
12
12
7 1
3 2 7
7 1
3 2 7
7 1
7
7
13 5
15 1
13 1
15 13
83271
minor.
minor.
1
1.
531721
5831721
551721
58351721
3151721
17121
1721
Thus, 2
3172 1
351721
121
(2)
1,
in
major; then in
60
16
17
20
19
18
tt
o "
o O O
fy
21
M*
Minor Signatures
61
Section C.
(1) Exercises for Dictation
in Major:
(a)
(b)
minor signature.
i J jj
in minor, using
jr^Tj ii
i'^
'.iji j
'
i..| j
'
62
^)'
Q;ir
i^^tr
rr^ r
ii
Kfrrrrtcfrrrr
Minor Signatures
63
CHAPTER IX
Intervals
The
if
fourth etc.
;
0-'
p.
Prime
Lesson
11
intervals formed in a
major
scale,
taking
its
The
There are
tonic
fifths,
as.
the
sixths,
because the tones forming these intervals are the most nearly
title is
always used.
fifth is
scale.
[64]
Intervals
G5
(3)
notes
Section B.
(1)
known
as an
this:
Harmonic
Name
is
Interval.
together. This
the interval.
it
1,
tone,
You have
learned to recognize
practise recognizing
(2)
(3)
(4)
interval:
Afterward, sing 3
(5)
first
and then
1.
Pitch Drill:
letters, in
the
66
1243
243 1
2435
243 1 7 1
17 1243
2 3
1243
1243
17 13 243
13 24321
15 12 3 243
18 17 1243
Write on the
(b)
5 3 2
5 3 2
5 3 2
853 243
1243
8 2 8 1243
43
4358
4321
keys of C,
staff in the
F and
major
and minor.
(6) 4 may resolve 4 2
Sing 13 4 3
13
3,
instead of 4 3.
4 2 3
Or 4 may
resolve 4 2 1.
4 2 1. Sing 13 4 2 3. Sing
(a) Sing in major and minor, using numbers and
the keys of C, F and G.
Sing
13
13
13421.
13
4342
421
142
142
1342171
14 23
13
142
4 2 3 5 8
12 342
12 3 4 2
14342 1
143423
17
letters, in
42171
143421
5 3
143421
1434 2 3
5 8 3 5
4 2
142321
3 5
13 421
8 5 3
35
1423
8 3 5
421
423
83542321
(b)
Write on the
staff in the
and minor.
(7)
Exercises in Sight-Singing:
1
keys of C,
F and
major
67
Intervals
4^''i-v^
j-i
ir^^-iJJJJ
10
f,
^|'"ij
Jjjj jj
'I
'
I'
I'l j.
ijjj
Section C.
The
(1)
Perfect Fifth
Play
this:
Play
Sing
5.
Play
it
this:
Sing
(5).
13
xs-ith
5.
the
fills
3rd.
in the hollow-
Note.
Sth
may
always be found by
first
thinking
13
5.
First play
68
it
as an harmonic interval.
and then
5.
1.
2 4 3 and 4 2 3.
Each may be written
keys and time- values, and used for singing.
Melodies containing
in other
(3) Exercises
in Sight-Singing:
Intervals
Lesson
69
12
Minor Intervals
The title of the Interval determines its Quality. The quality
an interval may be changed by altering the pitch of either tone
one half or one whole step. This alteration of the pitch of either
tone of the interval does not change the number-name of the interval.
E to B is always a 5th, even if the pitch of B is changed
of
to Bb, or
The
to E^.
Perfect and
Major
ment.
Intervals,
70
If
a Major Inten^al
3rds, 6ths
and
is
made one
is
changed to Minor.
7ths.
Note, The terms major and minor, as applied to intervals, have no connection with the same terms as applied to scales, except as they mean greater or
lesser.
Section A.
Suggestions for Study:
(1)
A, G, Bb, F^,
Eb and B major.
(2)
Inter\'als,
notes
Section B.
(1)
The
(a)
Perfect Fourth (5 8)
13
Play
5 8
13
Think
(3 8).
from C.
8.
Think
8.
Sing
it.
Name
it.
Test on
piano.
Write
it
Play
Play
it
on
staff thus:
as an harmonic interval.
13
5 8
from G, F,
(b)
piano
V
Intervals
Write
3 8
on
interval.
stafif.
Sing
it
71
Name
it.
Play
as an harmonic
it
(2)
Pitch Drill:
may
resolve 6 4 3 instead of 6
Sing:
13565
135643
1 35643
1653 1
16431
16432 1
2 1
3565
35643
31653
3 1643
56531
56432 1
51653
5 16432
351653
643
35 1643 5643
1
585643
85643 2
835643
81653
81643
8
1
2785643
27 1643
57 1643
1
5721643
Melodies containing 6
4, for
and
singing:
I'liU
dictation
lIi
^i
'
III
In
li
ii
^1
y^
in the
minor mode,
Section C.
Pitch Drill:
(1)
The
Sing
skip 4 6 5
is
also used.
5 3
8 5
8 3
8 2
6 5
3 8
and Singing:
2,
2 4, 6 4, 4 6.
73
Intervals
^y
j^Jr rrrr
i
'
iii
ii''i
r '^'
i'
T^ 'm
ii
ir
i
'
74
MM
I'
Hill
III
liii
lill^HT
II
Lesson 13
The Up-beat
may begin with
Rhythm in music
the accented or the unaccented pulse of the meter. This corresponds to the rhythm
or kind of foot used in poetry.
If the rhythm begins with the
accented pulse, the effect is
-^ or a trochee. If the rhythm
begins with the unaccented pulse the effect is ^-^
or an
iambus.
will
When
the
Ma-
-Ma-
ry,
quite
ry,
.J
con
tra
.J
ry
pulse in duple
The
When
shades of
night were
fall- log
fast
first
long came
J.
spl-der
and
sat
down be
side
.
her
75
Intervals
(2)
3rd
Minor
Major
2nd
from
6 th
D'7 Ab.C.F,
Bb and Eb.
Perfect 5th
Minor
(3)
Name
(4)
7 th
lines,
syllables:
page
Make rhythmic
outlines of each, as in
Examples
1,
and
74.
Section B.
(1)
(a)
Sing each;
higher
(b)
first
Think
(3),
(8).
5.
Think
5 8.
first
and then
3-
Ear-Training and Sight-Singing
76
Note the
and
fifth
Repeat
(c)
Play
13
Think
due to
its position in
5 8
and
B\>.
from C.
Think 3
3.
the scale.
keys of G, F,
8.
Repeat
(2)
The Up-beat
G, F,
D and B\>.
in 2/4.
Down-up, down-up
2-1, 2-1.
2ijj iJJiJJ
(Arm
starts
Down-up.)
ijii Contrast
with
JiJ
ij
ij
iJn
Intervals
77
JJJ
.J J J
iJ
JJJ
J3.J
JJJ3.J
..
J-
>.
J-
,.
J-
,.
J J3.J3JJJ3i J-
.,
JJJJ.J
J JJ.JJ*QJJ'J
JJJJJ
..
JJ.7J
JJJ
JJJ
The Key
(4)
(a)
J'J
II
J-
J J
J J
.JJJJw'JJ J J
J'
JiJJJJJJiJ
J J
J,J J J
JJJ JJ>J
J J
J JJJJJ J JJJ
J JJJ lgJJJJ
J-
JJJ
JJJ3J
Contrast with
J J
J-
J
J
J J
J J
J J .J
J J
J J
ij
any
of the
of D.
to
groups of numbers in the preceding pages and practise singing them, using the letter-names of the new
key. After singing a group, write it on the staff in
both clefs.
(b)
Sing
85 3 43
83 43
84 3
84 3 5 8
85 65
865
8653
865 7
865 3
1865
86
8 6
2 1
1
23 2
2 17
843
865
5843
8 2
8 2
2 1
843
3 5 8
53 843
53821
82865
843
8 2 843
83 843
8 2 8 2
84
8 2
The
5 1
7 8
3 2
2 1.
18
3, 8
8 2
865
piano.
38 43
35 843
8 3 8 6 5
(a)
84
865
35 865
53 865
5 7 1865
3
5
(5)
5,
83821
8 2
17
15
1
1
13
8 from D.
(b)
Play
(c)
(d)
of the group.
letters,
and
test
on
Section C.
Play the following tones: C, F, G, D, Bb. Call each tone
Play the 3rd
1 and sing the major 3rd and perfect 5th up from it.
for
determine
and 5th harmonically after singing them. Try to
the
5th.
and
yourself the different quality in the sound of the 3rd
(1)
79
Intervals
(2)
(a)
Have one
down-beat
dictated.
(b)
(c)
(d)
(e)
(f)
Decide meter.
Represent the pulses and outline the rhythm.
Write the numbers.
Place on the staff.
After the melody (a) has been played, the melody (a^
should be played. Contrast the two, and then
write
Note.
{a})
The up-beat
is
on the
''
I
rfr; ffai
staff.
easily felt
tf:r[l^-
felt
it is associated with
as the exhalation, breathing; the un-
[-ij
80
Lesson 14
a Perfect Inter\'al or a
smaller,
it
Interrals
81
the major scale of the lower tone, the inter\'al will be either major
If it is one half-tone smaller than a major interval, it
or perfect.
is
called minor;
if
diminished;
inter\-al, it is
or major interval,
it is
augmented.
Compound Meter
Duple, triple and quadruple meters are known as simple meters.
rhythms used in 2 4, 3 4 and 4/4 are made by adding the pulses
or dividing a quarter-note by tv\'o or a multiple of two with the
All
subdivision
meter
is
If
a constant triplet
used.
J-J^fj^
nine-pulse meter
triplets:
desired, the
six-pulse
triplets:
is
All
twelve-pulse meter
into triplets:
recur in 12/8.
j^n r4n
is
is
P^
rhythms used
9/8.
^^ rhythms
used
in
6/8 will
8^
Section A.
Suggestions for Study:
(1)
Augmented 8th
Diminished 5th
Minor 3rd
Diminished 4th
'
from D, A, F,
C and
from C, A, E,
Q and
E.
Augmented 6th
Augmented 4th
Minor 7th
(2)
Diminished 8th
Minor 2nd
Diminished 3rd
Perfect 4th
Augmented 5th
F^.
Minor 6th
Diminished 7th
Note. In the exercises given above the augmented and diminished inIf a given interval
tervals are to be written using the given tone as lower tone.
is to be made augmented or diminished, it is generally made augmented by raising
the higher tone; made diminished by raising the lower tone.
The terms raise and lower are used instead of sharp and flat, as a natural is
also used to raise or lower the pitch of tones.
If the lower
If the higher tone of an interval is raised the inters'al is larger.
tone is raised the interval is smaller.
If
tone
is
iHigher tone
"Higher tone
Lower tone
"Lower tone
'Higher tone
"Higher tone
.Lower tone
"Lower tone
(3)
Name
(4)
the
If
the lower
following intervals:
in length, of 4/4
and 6/8
83
Intervals
Section B.
Play the following:
using the num(b) Sing each, singing the lower tone first
for singimpossible
register
in
a
played
If
ber and letter-names.
(a)
(1)
Name
Study
(2)
Tap
the interval.
of 4/4
Meter:
2^ it!
-3
J J J J
J J J J
<b)
j J J
J j J j
J J J J
(c)
J J J
J J J J
J J J J
left, right,
up.
o
J J
..
(3)
(b)
Write numbers.
(c)
Place on the
f^
|-
Jj
staff.
ji
iM
j-^i-^"i^^^^=^^
84
Section C.
(1)
Tap
Study
of 4/4 Meter,
J J J J
added beat:
arm-movement
down,
left, right, u.
85
Intervals
Lesson
15
Section A.
Suggestions for Study:
(1)
Augmented 2nd
a Major 6th
an Augmented 5th
a Diminished 7th
a Minor 6th
a Perfect 4th
(2)
a Perfect 5th
a Diminished 2nd
a Major 7th
Name
B,A,Bb,
Gb.
Minor 3rd
an Augmented 4th
a Diminished 7th
(3)
from G,
from Cb,
B, G, A,
Eb.
bxy
4y'4
and 6/
86
Section B.
(1)
(a)
(3-5).
13 5 8 from C.
Think 13 3 5. Think
Play
Think
1.
Name
the interval.
Sing 3
5.
3 5.
Sing.
Write on
Test.
staff.
study the
(c)
is,
it,
(d)
(e)
major key.
Think the tones as 3 5. Sing 1. If this
at first, difficult you may play 1, but try to think
and practise constantly until you can do it easily.
3 to 5 in a
Play each.
beat.
87
Intervals
(3)
Section C.
(1)
The Major
(a)
Play
13
Think
Place on
Sixth
5
8;
(5
3).
from C.
staff.
5 8 3;
Name
5 3.
Sing 5
the interval.
3.
Test.
88
Play
13
5 8
from F, G,
D and Bb,
(d)
first,
calling
it
5;
then the
it 3.
If
(2) Exercises
in Sight-Singing:
Intervals
Lesson
The
89
16
Inversion of Intervals
The
interval
The
scale of C.
to
E is a
major 3rd, as
inversion of
to
is
is
to C.
The
interval from
is
The
perfect 4th,
perfect 5th,
6th,
Eb
to
to C.
P.6
P.6
P.4
Mln.8 Maj.8
inverts to a diminished
F, inverts to the aug-
to B.
Aug.
From
Upon
The
The major
to C.
to C.
to C.
C.
7th, Dir to C.
mented
In the
D to C.
the above
Dim.
Dim.
Aug.
may
inversion, a
Major
90
C down
to
be named,
The
the interval
intervals
The
up from 1.
from 8, minor and
down from
internals
to E,
up from
perfect;
it is
For
much easier to
example,
think of it as a minor 6th, the inversion of the major 3rd
than to think in the key of E, etc.
if
8 to
2,
and
are major
a 7th; 8 to
perfect.
a 6th;
3,
Down
etc.
Section A.
Suggestions for Study:
(1)
(2)
<?>.,.
h:..
Il^
I,"
IX
I'm.
;;
Mm>o I^o
[|
hilcrvah
(3)
91
Section C.
(1) Lesson 14 completed the study of the intervals which
are found in combinations of 1 3 5 and 8, with the exception of the
unison 1 to 1, and the perfect octave 1 to 8.
Following
is
when
inverted.
1-1
Perfect prime (L
Major 3rd
1)
+ 3)
5 Perfect 5th (L 5)
3-5
when
Inverted
becomes
- 8 Perfect octave (L
8)
Success in stud^-ing intervals depends upon the ability to conany combination of 1 3 5 8 from any tone. Practice along
struct
beyond
92
positive
knowledge of useful
interv^als,
keys
practice after
(2)
4^''
is
A and B
Exercises in Sight-Singing:
J^rrrr
!'
|i
i
'
93
Intervals
Iji
*"^*^
'
94
Lesson
StafiE
17
of Intervals
is
Staff:
Maj. 2nds.
Maj. 3rds.
Per. 4ths.
Per. 5ths.
Maj.
Maj.
Major
6ths.
7ths.
Scale:
Maj. 2nds.
Maj. 3rds.
Per. 4ths.
Per. 5ths.
Maj. 6ths.
Maj. 7ths.
Others minor.
which is augmented.
All but 7-4, which is diminished.
1-3, 4-6, 5-7.
Others minor.
Others minor.
1-7,4-3.
Staff
Scale
4-7
7-4
Note. These are the only augmented and diminished intervals which
occur on the staff or in the major scale without altering the pitch of tones with
accidentals.
95
Intervals
Aug.
4th
4-7; 6-2.
Aug. 2nd
6-7.
Dim.
5th
7-4; 2-6.
Dim. 7th
7-6.
need resolution.
are
all
Such
Aug. 5th
Dim. 4th
finished
3-7.
l-^.
and do not
sixths.
diminished intervals.
Section A.
Suggestions for Study:
(1)
staff of the
major and
perfect
intervals.
(2)
in the
major
and
perfect intervals.
(3)
staff
of
diminished internals.
(4)
in the
in the
diminished intervals.
(5)
diminished intervals.
(6) Write and resolve the augmented 4th and diminished 5 th in
keys of C, F, G, B and D major.
Write and resolve the augmented 2nd and diminished 7th
in keys of c, a, g and b minor.
Write and resolve the two augmented 4ths and the diminished 5ths in keys of
e, d, f
and
ii^
minor.
in
keys of a,
Aug. 4
Dim.
96
Aug
interv^als in
Aug. 4
Aug. 4
g minor:
Aug, &
rest tones.
Section B.
(1)
Skip
5 4,
Page
92.
4 5:
Play a} as 1. Think 13 5 8; 1 3 1 3 1.
Sing the following.
Write on the staff in keys of A major and a minor.
165 431
13l3l
3154321 1 3 5
354321
13431
153431
5315431 1353451
15431
17634321 534321
15451
15131
3451
5543321
545321
5345671
12345671
1531
J.
(3)
6/8 Meter,
a
J
3
Tap
J.J
3
(b)
Repeat, dividing each pulse into triplets,
six-pulse meter is a compound of a duple meter, each pulse
divided into triplets, compare the following exercises with the above.
Tap the pulse as in 2/4, and intone.
As a
eg
J.
J.
J.
J.
J.
J.
J^J,
duple
meter: down,
up,
puisse
into three.
beats to the
left;
right;
one up, 2
down two
^^ 1'^
3
t^
\^ 5
4
97
Intervals
in these lessons,
For use
J-
J-
J.
J_
J-
J *
J.
J.
2,
..TT.T^iJ-
(4)
J-
.J-
J.
(a)
Outline rhythm
tw^o dots in
a measure:
Number
which
would be outlined
(b)
Note.
will give
a.
XI
e^
ti
"
98
Section C.
1
(a)
6
8
'H'll
I'll
\il
*H
'
2.
^''-
(b)
i|J3
JT2JT:
J-
#
J.
J.
JTJJ
J.
(2)
2,
J.
J.
^
J
J-
-^J
J^
.^.J
..^^j
J-
J^..T:J
-^.J^^J.
0'
0'
0-
Exercises in Sight-Singing:
# # # ^
>
0-
^J
Intnvah
99
100
CHAPTER X ,/
Chords
is
its
three-tone chord
is
a Triad.
four-tone chord
is
a Chord
A
A
A
9'J>
five-tone chord
chord
may
The
2, 4, 6, 2;
the six-chord,
6, 8, 3, 6;
the three-chord,
1, 3, 5,
8, 4;
8;
the
3, 5, 7, 3.
triad.
chord
is
is
an independent
[101]
interval.
102
Lesson
18
Section A.
Suggestions for Study:
As chords are used
Note.
in this
book only
in
broken form
in
melodic
Erect the
(1)
I,
V,
II,
using signatures.
C major
Example
IV
VI
HI
The I, V
(2) Learn the quahty of the chords in a major key.
and IV chords are major; the II, VI and III chords are minor.
scale-degrees
(3) Learn to recite rapidly the numbers of the
which make up the chords. Example: The I chord, 1, 3, 5, 8; the
chord,
5,
7,
2,
5; etc.
(4)
in each
the chord:
Section B.
(1)
Review the
Add
(a)
(b)
arpeggio:
1358; 853
letter,
(2)
the following:
(3)
first
by number, then by
103
Chords
^l^^-
l^\
r^^ rr
JTiJ-jiirrjj.
10
f,
"^
ji^'"
I
J M
\\
II
This
2
is
T".
i^ in
j>j ;^ij.j.
T^
11.
would be outlined
The
figure
8
J)
is
'
'
22
Number
'^*
lame
figure.
Section C.
(1)
1, t^
(a)
J.
1^1
(c)J
Tap
A73.JiiQ3.J3:ji>J->
900 *0000 0't0' 0'
900
*
Arm-movement.
J jl.J^JJ J).J- J
i^J^J
104
Chords
Lesson
The
105
19
third
and
The
sixth degrees.
I
5th,
and
5th,
and
The
^
X
Note.
The
chord
is
III
chord
is
seldom used
II
in
rv
VI
ni
major or minor.
its fifth.
Seventh-Chord,
i.
e.,
106
make them complete, and as the I chord is the keymust give a feeling of rest, we should not kill this
shall follow to
centre and
by adding a seventh.
The seventh-chords built upon V and
V^ and IF are symbols of these chords.
feeling
II
are the
ninth-chord
is
most used.
the V^ chord. This chord is most satisfactory when the root is omitted, ^V^.
upon
\',
Section A.
Suggestions for Study:
Erect the
(1)
I,
V,
II,
IV,
VI and
III chords in
every minor
key.
Learn the
(2)
minor,
quality' of the
and IV,
etc.).
(5)
Each
some chord
Reduce
of the following
in the
key of
major.
to chord-formation
chord in every
(6) Play first the I, then the V, then the I
major key.
Play first the I, then the IV, then the I chord in every
major key.
Play first the I, then the IV, then the V then the I chord
in every major key.
(7)
in
minor.
tonic,
dominant
Chords
107
Section B.
(1)
and Lesson
Add
(2)
18, Section B,
of Lesson
page 102.
16,
the following:
(a)
(b)
1358; 853
arpeggio
1.
first
by
letter,
then by
Note.
sections.
108
"catch" breath between these sections. In memorizing the phrase the mind
should divide it into two sections, as the breath demands in singing. Phrases
which are impossible to remember in one section can be easily retained by
taking a mental catch breath. The mind does not easily retain a passage which
This is the
is longer than that which the average singer can sing in one breath.
foundation of phrasing in music.
Section C.
page 103;
17, Section C,
(3) Exercises
1
in Sight-Singing:
,
Chords
16
*):
109
110
Reading Lesson
music to establish keys and to give accents.
The progression or resolution of one chord into another gives an
accent. The chord upon the unaccented pulse resolves into the
chord upon the accented pulse, making the accent.
Chords are built upon the tones of the key, i. e., the different
pitches found by dividing a string into thirds, and not upon these
pitches arranged in the major scale relationship.
The chords are related and progress to the I chord, as these
tones are related to the key-tone. If we begin with C, the tones
of the
key
in
are:
^
These tones as roots
and arranged in
of chords
III
VI
II
V
I
IV
as they
We
to
any chord.
As
all
chord, and
may
progress
We may
We
If we
first floor to the sixth floor.
jump from the window we move down, going faster and faster
It would be impossible to turn back
until we reach the ground.
at any point. We go from I to any other chord, but all other chords
must progress to a chord nearer the centre of the key.
Chords
111
The V and IV chords are the only chords which may progress
immediately into the I. The other chords will pass through V or
IV before going to I. The III always goes to IV or II before going
toV.
There are many exceptions to these progressions, but the fundamental progressions are most used and should be thoroughly learned
before exceptions are attempted.
CHAPTER XI
Melody
Melody
is
progress
is
As
melody
stepwise or diatonic
up or down a major
may
scale.
All
Fundamentally,
active tones in a
progression 3 4 5
is
poise to a melody.
Next
is
the
smoothest progression.
From
direction.
If
the
jump
In jumping from 5 to
From
is
7, 7 will
of their resolution
resolve to
8.
up from
from 2.
Only one skip
The jump
of a third will be
of a third
may
be made, as 1 3 1.
These are the fundamental laws which govern simple melodic
movement. From these, or by breaking these laws, we learn
to use the more interesting melodic movements.
In literature sentences of different construction are used as
forms in which to express a complete thought. In music there are
similar forms. The smallest form expressing a complete thought
is
a phrase.
lar,
melody
it
is
in
phrase-form may be of any length. When reguA phrase may begin on an accented or
four measures.
[112]
Melody
5, 7
or
or
8,
the meter
is
compound meter,
In a
pulse.
If
2.
or secondary accent.
113
duple or
it
will
is
a Perfect Authentic
Cadence.
melody may
incomplete and
end on either 3 or
also
As a summary: fundamentally,
(1)
3 4 5,
if
(3)
From
tone
but the
a melody
effect is
is
correct:
8765,
cannot be used.
be repeated two or three times.
rest tones jumps of a third are made
5 6 7 8,
(2)
5,
is
may
in
either
direction.
(4)
From
active tones
jumps
of a
third are
made
in
the
with
1,
(6)
A
3,
melody
measure with
(7)
will
or 8,
The melody
preceded by
will
or
2.
Lesson 20
Section A.
Suggestions for Study:
Write a melody in each major key, employing the fundagiven above. Use the following meters: 2/2, 2/4,
laws
mental
Make the rhythm uniform, i. e.,
3/2, 3/4, 3/8, 4/4, 4/2, 6/8, 6/4.
(1)
Use an added
How
If
the meter
is
to write melody.
to be 3/4
must end on the first pulse of the fourth measure. Place 1 and 8
on that pulse. On the pulse preceding, 5, 7 or 2 must be used to
114
first,
6/8
is
manner.
~r^
Section B.
(1)
18, Section B,
Add
(2)
B, page 107.
the following
Unrelated
or
Absolute
Intervals.
Major
and
Minor
Thirds.
.0
(D
(a)
Play each of the intervals of (1) and sing (13) (Major 3rd).
Play the lower tone, sing the upper.
Play the upper tone, sing the lower.
Melody
(3)
/^
115
19, Section B,
(a)
(b)
5 2 7 5.
(c) Hold down the keys and sing, first by letter, then by
number, the root, third, fifth and octave.
(4) Melodies for Dictation and Singing, containing progressions allowed in Lesson 20, Section A, page 113.
1
'/
Section G.
(1)
Review Lesson
19, Section
(1)
and
(2),
page 108.
in the
116
Melody
|^4^J^^J^
iJJ
rlr
fr
^r
lMr
117
^.JU.I
-V[_pr_^ p
CHAPTER
Melody
Irregular
XII
567
tones.
In progressing
resolve.
tone except
7,
up the
an active tone,
the melody
may
it
must
turn at any
which, because of
to proceed to 8.
If it is
scale,
its
In progressing
down and
jump
of
Lesson
21
Section A.
Suggestions for Study:
(1)
4/2, 6/4
Write a melody
in
Rhythm
Melody
i.
e.,
and jumping a
8 7 6 5;
SJcips
up from 6 or
4,
119
5 6 7 8;
7.
Section B.
(1)
16, Section C,
page 92;
18, Section B, page 102; 19, Section B, page 107; and 20, Section
B, page 114.
(2)
Absolute Intervals
Perfect Fifth
(c)
572
527
(4)
5,
5,
135
853
8;
1;
572
527
5,
5,
8531
1358
A:
120
Meluihj
^^kip.s
121
122
^^
hi* *
'
i\;,.:-'^.\^
I
i
.
-j-."7:l
ii
^c:^:n:r
CHAPTER
XIII
Wide
Melody
Any
Skips of
is a wide skip.
made, though a skip beyond an octave is rare.
tervals are
All skips
1
to 7 or 7 to
skip from 3
1 is
up
to 7 or
sound as
Skips
if
in
new
from
is
down
so far
of a chord.
is
no 7th
to 3
in-
in the I chord.
not used, as
is
all
it is
part of
key.
After every wide skip the melody will turn and progress in the
other direction, preferably along the scale.
It
may
continue along
the scale in the same direction for two or three tones, and then
turn.
Wide
made within
wide skip
to
skip
may
skip
7 to 5,
may
The most
and
7.
The only
skips
which
7 to 2.
and a predominance
of scale-
progression.
6758
or 5 6 7 5 3 2
8.
[123]
56752
i-24
The
ear will wait during the passing of three or four tones for
an active tone to
545J
but
Thus:
resolve,
will
ne^er
feel
satisfied
54523 545123
5 6
unless
3 2
it
Lesson 22
Section A.
Suggestions for Study:
(1)
Write a melody
in
Section B.
(1)
Review the
Interv^als of
Lessons
16, Section
C, page 92;
18, Section B, page 102; 19, Section B, page 107; 20, Section B,
page 114; and 21, Section B, page 119.
(2)
4th,
The Minor
Absolute Intervals.
6th.
(a)
(b)
As
play each of
is
Compare the
inters'als of (c)
19, Section B,
page 107;
(b).
and quality.
and determine if it is a
difference in quantity
if it is
3 8 or 5
of Lessons
20, Section B,
8.
21, Section
B, page 119.
(4)
and
/^?
in| andS
Melody
Wide Skips
125
^^
Note.
No.
In outlining the
rh>thm Jff^
and
4*'
Harmonize the
first
tone.
or three playings
it
occur.
Number
from
to 5
tion of 5 6;
to 5,
on
first
1.
126
Section G.
Rhythmic
(l)
drill
for JttI
J75^5
and
in
(a)*
(c)
(d)
J
(f)
(a)
J.;:J553J
6
j"n
.J1J5SJ
./3J553J
/n
ij-jjjj j??5?5
J"7"3
.J^gTTgj
j"n
-^-j.:
J-"
<c)
(e,
i).J
j^
(a)
(b)
(2)
J)
.J57755J
J^./T3Jh
Exercises in Sight-Singing:
Melody
Wide SJcips
127
128
CHAPTER XIV
Consecutive
Melody
Any
same
Skips
direction in a
melody must
5,
8 (I
2,
4,
3 5 (I chord).
From 4 we can
use, theoretically,
4, 6, 8,
or rarely
From
(I
we can
chord), 3, 6,
use,
theoretically,
3,
5,
8,
(VI chord).
keeps the same chord, and chords must change over the bar to
give an accent.
Lesson 23
Section A.
Suggestions for Study:
(1) Write a melody in each major key, employing the meters
and constructions of the previous lessons, adding consecutive skips
in the same direction.
[129]
130
Section B.
Review the
(1)
page 102;
18, Section B,
The Major
Absolute Intervals.
(2)
6th.
etc.
II
o!>o
(c)
(4)
by
1.
^^
A and
in
and
^^^^
^iB-
3
I
,
,
1
I
?^~^^ in
i
in
Melody
Note:
Con seen
rh>thm
s
O
five SJcips
J^^
^
, ,
131
in 4/4 with
4 under
pulse.
in 6 8 with
6 under
pulse.
Section G.
(1)
and
Review rhythmic
22, Section C,
(2) Exercises
drill of
page 126.
in Sight-Singing:
132
Melody
,y
iv
Co n
sccutivc
Skips
133
CHAPTER XV
Minor Melody
We
third
degrees.
which
is
third degree.
melodies.
down
in the
to 6:
The
the lowered
is
[134]
Minor Mclodi/
down
the V.
If it is
skip from
raised
is
is
used
to 7
if
any tone up
form
to 6
8,
135
is
used.
In making a
is
scale, the
always the V.
chord.
4 2
Lesson 24
Section A.
Suggestions for Study:
(1)
six of
Minor Key.
Transpose
the Parallel
up
to
down
7,
If
there are
If
(2)
Construct
the progressions 6
six
7
new melodies
and
in minor.
Use occasionally
8 7 6.
Section B.
(1)
Review the
(2)
Absolute Intervals.
Comparison
of
JMajor and
Minor
Sixths.
(2),
page 124,
136
(b)
(a)
and determine
to be dictated the
melodies.
Section C.
(1)
Rhythmic Study:
-H^
">
^<i
|
J
WJ
lesson.
if it is
8.
Minor Mclndij
(2)
Exercises in Sight-Singiiig:
137
138
Folk-Song
12
CHAPTER XVI
Regular and Irregular Rhythms
Rhythm
is
regular
when
It is irregular
when
Following
quarter-note
n
J
s^
J.
J.
rj
(O^aJ
nn
I J
r-:
i^
JrT^fm
J-
;3;
n^n^ri^
A J
on
first pulse
...
^^
irT^
(;
WU
<1
"/J
first pulse.
[139]
^.
on
140
Following
is
eighth-note rhythm
i^
>
.r7Tf3r7T?3
J
^J
JT^ J""??^
.r7r3 r7T5
J.
on
J.
J)
first pnlse
"
J-7?^
J)
J=9
any other
I
r":^
division
J~T3
141
142
(2)
Intervals in a
Minor Key:
(a)
Rewrite
all
minor key.
Major and
Major
35a
Note.
J~^
J J
triplet,
and
^
-nf5
r
3>
3^
expressed
-,
gv
*
..
3^
fall
U3
all
(a)
Lesson 22,
in
Section C.
-^
Rhythmic Study:
(1)
and
in
^Jinjf^.JTfi .1 -[^H.^^'o
rT^J
JT, mamTTmm o
Jl
J353.J
in
.J
."T:
mt
0000^
II
J-
jTS j'^S.'StS
J-
J-
i.T^
-h
-J
J^
J^^
;3J
4j^|j
|i^''iMi'j,
J'n ^iii
r;. jj
'
I'j
'
'"
'
il
.'"-':JJ5ii:j-r'Tr ''r
i
,;
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l
s:'^
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144
CHAPTER
XVII
Period -Form
Period,
when
regular, consists of
The
first is
When
of parallel construction:
the
first three
Lesson 26
Parallel Construction
Section A.
Suggestions for Study:
(l)
Construct
antecedent phrase
stage.
For each
consequent phrases, one of each
make
three
[145]
146
Section B.
chord.
The
The
1-5,
Perfect 5th,
Perfect 4th, 5 -
8,
chord.
As
is
the same.
occur between
In the V, or
same
intervals
different scale-degrees.
Dominant Chord:
In the IV, or
Subdom. Chord:
from
5th-7th degrees
Minor 3rd, Third to Fifth, from
Major
3rd,
Root
to Third,
7th-2nd degrees
6th, Fifth to Third, from
2nd-7th degrees
Minor 6th, Third to Eighth, from
Major
7th-5th degrees
Perfect 5th, Root to Fifth, from
5th-2nd degrees
Perfect 4th, Fifth to Eighth, from
2nd-5th degrees
All these intervals are co7isonant intervals, or intervals which
As they occur
in the
Period-Form
147
and inactive
if
scale-
the change of
chord
is
recognized as the
is
chord,
its
following ways:
I
chord.
position
is
If
new
the
known
to be
V chord.
as the preceding
interval, therefore
If
(e)
is
known
to be
V chord.
more
to 5, or Root to Fifth.
This
same chord as the preceding
interval, so it could not be from the 1st degree to the 5th, but from
the Root to the Fifth of the V chord, and from the 5th degree to
It is
(f)
interval
is felt
likely to
sound
to be a part of the
the 2nd.
The next
5
up to
interval,
a Perfect 4th,
sound
will
8,
undoubtedly sound
Unless
we
like
realize that
If they are known to be a Perfect 4th, from the 5 th to the 1st (or
Root), and a Minor 6th from the 3rd to the 8th of the V chord {not
of the scale), they are easily placed in the key.
(4)
to 3.
148
(5)
V chord,
In each series
(6)
(c)
the
chord.
(b)
f4-
(a) is in
the
in
the
chord, and
Period-Form
(a)
(b)
Name
149
Decide the meter. (The meter is determined in PeriodForm the same as in Phrase-Form, by the number of pulses in a
Number 1 will be recognized as a period in 2/4 and not as
phrase.
a phrase in 4/4, because of the semi-cadence.)
(c)
(d)
Dictate
first
Section C.
150
(a)
1 J
Period-Form
151
Lesson 27
Contrasting Construction
Period
Phrase
phrase
is
may
in style
is
in Contrasting Construction
different
Section A.
Suggestions for Study:
(1) Write six periods in contrasting construction; each of the
phrases to have three consequent phrases; thus:
antecedent
six
ij>^
rTi
152
(4)
in
a
(5)
Parallel Construction,
tion:
J-
-^.|
J-
>J
2nd
stage,
Period-Form
(a)
153
In these melodies
To
rhythm
outline the
''
'
J.
In No.
'
v_'
''
'-^
^
1,
the
tie
the
'
first
^,'
"
Section C.
(1)
Rhythmic Study:
J.
i^.j.
J J
-n
i^ in
|
-J-
i^
J-
-h
J.
-h
J-
.N
.0
/7i.;^;77?j-
j^
.j-
J^
h.jT^;"72j
-hj.
;>j
.J
J.
/3
.J.
i^
J J
>
..
..
'
154
CHAPTER
XVIII
Figure in music
a pattern,
an idea
from which is developed the complete thought, which makes a
phrase. A figure makes a melody more comprehensive to the
listener, because it permits of uniformity of design.
A figure is used in two ways: (1) In exact repetition when it
is
in
repeated on the same pitches; (2) in exact sequence when it is repeated on different pitches, the interv^al relationship of the tones
remaining unchanged. More than one, or at most two, repetitions
are seldom used at a time. There may be two or three sequences.
is
Lesson 28
Section A.
Suggestions for Study:
(1) Construct six Periods, three parallel, three contrasting;
each antecedent to have three consequent phrases.
Develop each from a figure of one measure, used in exact
sequence and repetition. Thus:
Figure
Note.
Repetition Sequence
of Figure of Figure
Repetition 'Sequence
^
New
In contrasting construction a
It may be similar to the
consequent phrase.
figure
new
of Figure
figure
first figure.
1st
of"
Figure
must be used
for the
(See example.)
Section B.
(1)
i.
Play
F-G
(L
as an harmonic interval.
Name it.
e.,
Dissonant Internals.
Play
it
again and note that the lower tone resolves down, while
is
held
[155]
156
G-F
Play
Name
as an harmonic interval.
it.
Notice that this interval also needs resolution; that the upper
down and the lower is held.
tone resolves
As an harmonic
its
inversion
seventh-chord
is
the
V,
To
2nd
interval is part of
must be part
of
distinguish the
resolves,
(a)
(a)
of the
2nd).
(b)
and
sing 5-4
to 3.
it
(Minor
7th).
it is
it
to 3.
(2)
Make
25, Section B,
(3) Practise
ceding lessons.
(4)
7th.
The
used in section
(b).
Figure
157
(5)
3rci
stage,
and I
J.
(a)
petition
Ji
e J
/3
In analysis of melodies, note the use of a figure in reIn No. 1, measure 1, is a figure; meas-
ure 2
as in example, Section A.
1
mark
figures,
158
Section C.
(1)
Rhythmic Study:
J
rr..
(b)
'
^'^'^
(c)
<(D
J^-
J^
4 d
4
J.
(f)
J)
J.
JJ.
J.
J-
In studying the
J^
Is
felt
as
essa
the last of a group of four sixteenths
triplet
-f\
J'
not as a part of a
Figure
^^ '
'
^r^y
y^V
'*' *
*"
*V^^'
'
*' '' *
159
*"* V^ * *
'
'
*'s*
CHAPTER XIX
Figure.
figure
in
modified
forms.
can be modified by
to the figure:
figure
(1)
Adding tones
Figure
(2)
Changing rhythm,
(a)
Dotting notes.
(b) Contraction
(c)
(3)
Changing the
(4)
(5)
By
in repetition
and sequence.
1160]
Figure
IGl
Lesson 29
Section A.
(1) Suggestions for
Study:
(d)
Construct
tv\-o
periods, as in
Section B.
(1) Continue practice
Lesson 28, Section B, page
(2)
of Absolute
develop as before,
Intervals as
155.
(a);
Thus:
and \^ chords.
outlined in
162
(a)
(3)
(b)
in
size of intervals.
w,
1^.
,^-.--=-
Jn
in
^--
^"-^
,
_
-
..
Figure
(a)
first,
163
then modifi-
cations.
(b)
check
No.
In outlining
after,
^';^
3.
(c)
as
2
this
':
is
rhythm JT^
the
After writing,
Rhythmic Study:
mark
figures,
i^
'
Section C.
(1)
place 2
164
CHAPTER XX
Period -Form (continued)
Parallel Construction
A
the
period
first
parallel construction
is in
two measures
when
period
it is
parallel construction
is in
Lesson 30
Section A.
Suggestions for Study:
making
Thus:
Construct
(2)
the
consequent
phrase
periods,
Thus:
Section B.
(1) Continue practice of Absolute Intervals.
(2) Intervals for Practice in the I and V^ chords in minor.
(a) Review Lesson 25, Section B (2), page 142.
(b) Note the changed position of the Major and Minor 3rd
and 6th in the I chord in minor. The intervals of the
in major
and minor are the same.
"80
''^
"
""S
00 oo
l
rr^
[165]
80.,
166
(3)
in
the
preceding
lesson.
(4)
by sequence and
changing
size of intervals,
Period-Form
Parallel Consiruction
Section G.
(1)
Rhythmic Study:
JJjJ m g
hij
Sequence,
etc.
]G7
168
CHAPTER XXI
Setting
Words
Music
to
form,
relation of this
very
in
music
is
close.
First scan the poem for long and short syllables; then find the
number of long (or accented) syllables in the complete thought.
Each long syllable will occupy an accented pulse in music.
The smallest form in music used to express a complete
a phrase.
is determined by the number of long syllables in
the complete thought of the poem.
If there are four long syllables,
will
the meter
be duple or triple if eight, either a four- or a
thought
is
The meter
six-pulse meter.
The
of feet used in
the poem.
a dactyl
iambus
-w ^^
the music
(^-^
triple.
),
If
triple, is
trochee
would be duple,
first, as in an
will begin
on the up-beat.
"Twinkle, twinkle,
little star,
in the
Note
Each
line
sky."
short syllable.
If this is
the case,
is
we
possible.
[169]
This
170
The poem
phrase
Ut.tt
Twin-kle, twln-Ue,
Bow
star,
vooder
.J
.J
i)
i^
.J
J^
J.
i^
J^
Up
blgb,
Like
W>
>
bove the
world eo
.j
.
.J
J)
J.
dia-mond
J^
J.
La
tbe
sky.
.J
J)
Ji
-h
J.
The melody
or low tones
is
is
The
choice of parallel or
optional.
Lesson 31
Section A.
Suggestions for Study:
(1)
following rhymes:
for musical
setting,
the
Setting Word.t to ^Insic
171
Humpty Dumpty
Make
Section B.
Continue practice of Absolute Intervals.
Intervals for Practice on I and V^ chords,
(1)
(2)
1
(a)
in minor.
172
lA\
JJ-;.\
Note.
_^k
II'
In outlining rhythm
3>
>
'i
III!
/"75^
'I
Ii
"
'
>n
a
9
'^'"te
Review rhythmic
drill
_|
ll
Section C.
(1)
I
|
Setting
Words
to
Music
173
174
Fait -Training
J.--
and Sight-Singing
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