Sight Singing and Ear-Training in Major/Minor Tonality Lars Edlund [AB NORDISKA MUSIKFORLAGET EDITION WILHELM HANSEN STOCKHOLM.Lars Edlund- MODUS VETUS Sight Singing and Ear-Training in Major/Minor Tonality Translation revised by Alan Stout, Professor at Northwestern University, Evanston, Illinois AB NORDISKA MUSIKFORLAGET EDITION WILHELM HANSEN STOCKHOLM ‘Witbelm Hansen, Masik-Forag 1.8 W. Chester Lt ‘Kabenharn London dion Withelm Hansen Prank. M [Norsk Musikolag A'S ‘Oxo kon Wiel Han Chester Mai New York ne. 3: Magaamuse‘Baton In, NMS 6399PREFACE ‘This textbook offers exercises in eartraining. Although primarily intended to be used in schools which specialize in music it also can be used in elementary schools, high schools, and junior colleges. Applicants for admission 10 colleges and conservatories will find the easier exercises helpful when preparing for entrance ‘examinations in ear-training. (This applies chiefly to the sections fon Melody Reading and Rhythmic Exercises). Many of the exercises aso can be used for private study, even though ths book 's not always decisive in their use or adaptation. The teachers and teaching assistants should complement and vary any material which is necesary for comprehensive use ‘The chief goal of ear.ruining is to develop complete familiarity ‘with the melodic, rhythmic, and harmonic sense of musical tones, [A book on this subject should contain material on all these separate aspects, but the studies of each aspect should be cultva- ted simultaneously throughout the course. The intimate connec- tion of this entire subject with practical music-making should be ‘obvious, however, its importance cannot be stressed sufficiently, If ‘ear-tcaning is taught in a comprehensive way, it will be a highly integated type of training which will include elements from several other branches of mmisical theory-melody writing, hharmony, counterpoint, and the elements of musical form, These are combined into one category for this subject: Ear-raining, The book is divided into four sections: I. Melody Reading Exercises TL. Rhythm Exercises IL, Figured Bass Exercises IV. Keyboard Harmony Exercises Once again it must be stressed that, as far as possible, ll these sspects should be studied simultaneously. (The introduction o the Melody Reading Exercises gives further reason why this is true.) ‘The index on page 6 gives some general suggestions how this can be accomplished. ‘The purpose of each section of the book is explained at its outset and instructions are given for practical methods to be followed, ‘All work must be approached in a practical manner in order for this book to be regarded as an exercise in musical craftsmanship, MODUS VETUS - “the old way”. Since the textbook on freetonal melody reading was entitled Modus Novus (1963), Modus Verus seemed an appropriate title for a textbook on practical music- ‘making in major/minor tonality. One might say that ths is a book published two centuries too late! Major/minor tonality has lost‘most of is basic meaning a a structural principe in contemporary music. Yet it is sill necessary for us to study this subject ‘methodically. As long as Bach, Mozart, and Beethoven are played ‘nd mean so much to us, we are obliged 10 study their “vocabulary”. In designing certain parts of the Melody Reading section, the author has been stimulated greatly by the works of the Danish composer, Jorgen Jersild, on the teaching of solfege (I), a debt ‘which I gratefully acknowledge I also wish to express my sincere thanks to Eva Eklund, my colleague at the Royal Academy of Music in Stockholm, who has examined my manuscript critically Lars Edlund yin Mody and hyth reading (Wie Hansen -G.Sshimer, New York)CONTENTS owe Correlation of various sections for simultaneous study 6 MELODY READING EXERCISES: Ineedaction 7 Chapter I From the tonic to the major third . a 11 From the major third tothe tonic . 10 IIL From the tonic to the minor third . IV From the minor third to the tonic . V Major and minor in the sameexample... 18 VIMajor third with neighboringtones ..... 20 VII Minor third with neighboring tones . VIII Summary onintervals ...... IX A. Major and minor thirds. .. B. Diminished triads .. X Five-tone scale in major with neigh- boring tones . XI Five-tone scale in minor with neigh- boring tones ... XII Arpeggiated cadences XIIIThe majorscale .. XIV The minor scale . . 80 XV Melodies not in major/minor tonali +93 XVI The dominant seventh chord. 104 XVII The dominant ninth chord . . 121 ‘The dominant ninth chord with a low- ered ninth and the root omitted (a dimi- nished seventh chord). Secondary se- venth chords. Diminished third in con- junction with the Neapolitan sixth chord. RHYTM EXERCISES...... eee FIGURED BASS EXERCISES .. sevens 180 KEYBOARDHARMONY EXERCISES . 193 HARMONIC EXERCISES IN CONNECTION WITH THE MELODIES SUGGESTED METHOD. . 09 Source of melodies in Melody Reading ENOICiS€S 6... ee eeeeeseeseeeees ses 205 Key to Figured Bass Exercises ........++++. 208Suggestions for general correlation of Melody Reading, Rhytm, and Keyboard Harmony Exercises.) Melody Reading Exercises Rhythm Exercises Keyboard Harmony Exercises (or aural tests in chords and dictation) Chap. 1-1 Series I — 11 Example 1 — es . m-w i :v » V-VI + 3n15 . Ww-Xxn » vt . xl = vil aon . xIV-XxV » Vu Sig. 2) . XVI » Vill > a2 » XVI ik x 22 45 }) Work with the Figured Bass Exercises should be done gradually at a pace suited to the student,MELODY READING EXERCISES ‘This section comprises the largest part of the book. The material hhas been designed primarily to develop a feeling for tonality. If tonal relations in melodies are to be understood properly, more is required than a mere facility in singing isolated melodic intervals. ‘The student therefore should study the Keyboard Harmony Exercises, page 193, and the Figuted Bass Exercises, page 180, at the same time as the Melody Reading Exercises. For those students who cannot play the piano at all, these exercises may be used at exercises in earctraining (see the introduction to each section). The Rhythm Exercises, page 166, should also be studied simultaneously ‘The table on page 6 gives suggestions for ways in which the various sections may be studied simultaneously. These cortelations can and should be applied somewhat differently by different students. The Melody Reading examples can be used for dictation, although they are intended primarily for singing, In the later chapters of this section some melodies are hard to sing not oly because of thei dificult intervals and complctedshythns but aso becsse of their wide ranges or because they are inherently instrmental Even s0 they sil shouldbe sung whenever posible, Ifthe range i too great octaves may be transposed. These melodies at least can te tied for dictation, Although most of the melodies are veal in character, the author has not resticted himself only to such melodies ‘The melodies lo can supply material for harmonic exercises, consisting of basis aural harmonic analysis with practice in key. board harmony. On page 203 ae suggestions for further we The sources ofthese melodies ae gen on page 205. Melodies not liste there have been composed by the author.I. From the tonic to the major third Any given note can be treated as the tonic Tonal material ee. = Begin on each degtee ofthe chromatic scale and sing upwards to the major third, naming the notes Choose several melaes im this chapter for harmonic practice ike the method on page 203. ‘Melodies: 2 7 Copyright © 1967 by Nordiska Musikflaget, Stockholm English version Copyright © 1974by Nordiska Musikflaget, Stockholm, Sweden10 II. From the major third to the tonic Any given note can be treated as a major third Begin om each degree ofthe chromati scale and sing downwatds tothe major thd, naming the notes Choose several melodies inthis chapter for harmonic practice like the method on poge 203. Melodies:2 ‘The following examples begin on the second degree of the major scale. The sim here is to eat any given note asthe second degree of the scale, Practice each example in two ways: (1) Determine the key and play its tonic. Then sing the example, (2) Play the first note and determine the tonie yourself - inthis Work through examples 16.24 in this way. ease a major second downwards, Then sing the example 16 7III, From the tonic to the minor third Tonal material = Begin on each degree ofthe chromatic sale and sing upwards to the minor third, naming the notes. ‘Choose several melodies in this chapter for harmonic practice like the method on page 203. Melodies’:17 IV. From the minor third to the tonic Any given note can be treated as a minor third Tonal material = = ‘Begin on each degree of the chromatic scale and sing downwards to the minor third, naming the notes, Melodies :7 “The following examples begin on the second degree ofthe minor scale, Practice each example according to the instructions on page 12. ‘Choose several melodies inthis chapter for harmonic practice like the method on page 203.V. Major and minor in the same example ‘Tonal material That which was ued previous. Choose several melodies inthis chapter fr harmonic practice hike the method on page 203. la 1b20 14 VI. Major third with neighboring tones Rising and falling leadingtone Dont forget to choose several melodies for harmonic practic lke che method on page 23 “The mor third, the interval from the fist tothe third degrees of text both these half steps havea stong leading tendency to the the major scale, has half step on either side of its notes. One leads tonic and to the thitd respectively. The note below the tonic is upwards ftom below to the tonic of the scale, and one leds usally called the leading tone ofthe sale. So we are working now downwards from above from the fourth to the third. In thiscon- with the following group of notes: SS The F (cubdominant) and the B (leading tone) in this example were harmonized. Sing and play the following harmonizations in each form a melodic digession from a starting point - E and C various major keys, paying close attention to the leading tones in respectively, to which they return. The tendency ofthese “chang. both voice and piano. ing” notes would be more obvious ifthe above notes in the groupSlow tempo (4 = about 60) aa about 100) Faster tempo (4 1 owe vor Note: In the faster example certain notes have not been harmonized. They act as so-alled passing tones between two chord tones, thus ‘vinga more flowing movement to the rhythm, 3 t wit In Example 3 the dominant seventh (V?) is included. This means that both the subdominant, which falls, and the lesding tone, ‘which rises, are found in the chord, stil further emphasizing the tendency of the chord to move towards the tonic, Regarding the 13 in Ex. 4, refer to Keyboard Harmony Exercise No. 10. 4 Excercise: Play V7 (in different keys) and sing the subdominant and the leading tones, Try to find the B and the F in the V7 chord without repeating these notes once the entire chord has been played,Melodies: ’1) a 14 ‘Aus mei-nen Tri-nen sprie - Ben viel_-blG - hen-de Blu-men her - vor (1) Regarding lt msodie which donot begin on the tonic, athe nsrtions in Chapter I, age 12.24Jo non voglio f - la-re, Ne fi- le - 1d maipiu; Ches’hoggiunpar de-scar - pe Non me Phai com - pre tu, me Mhaggio ben guada-gaa te d'andar_ in su in ye A gil; Di su, di git, di qua, di fk Come meglio me par. ve mi par Le as savch ofthe previous chordal material as possible wih the subdominant txad (IV) and its inversions (IVS and 1V$) with the cadetial 1 chord (f-V) and also the dominant seventh chord (with its inversions (V8, V8 and V4).26 VII. Minor third with neighboring tones Tonal material: Exer The interval F-Eb in the above example does not have the same (1) Sing and name these nots in various minor keys. downward-eading tendency as it has in a major key. Yet the F (2) Pay, also starting on many different tones, the hazmonizations does have a strong downward tendency when given the function of in Chapter VI, page 21, in minor, observing the accidentals in 1 dominant seventh. parentheses. Sing the appropriate melodies! ise: Melodies: 22729 27 28 29: Use the chordal material in Keyboard Harmony Exercises Nos, 1-15 (possibly also Nos. 16:25) in as many ways as possible.30 VIII. Summary on intervals (On the bass of the tonal material used so far, we can clasify the intervals encountered as follows: SECOND ‘Major second (a diatonic *) whole step): = Minor second (a diatonic half step) THIRD Major thied (2 diatonic whole steps): Minor third (1 4 1/2 or 1/2 41 diatonic steps): = = = SS SS (0) A dtonk sept the dtnace between two neighboring tones with dierent ter names with oF without aceonFOURTH Perfect fourth (1 1 1/2 oF 1/201 + Lor 1 «1/241 diatonic steps) BL = Diminished fourth (1/2 1+ 1/2 diatonic steps): = a Exercise: ‘The following exereise can be used to memorize the intervals. Write a chromatic scale Write the above intervals upwards and dawnoards from each note inthis chromatic scale. A good knowledge of intervals implies quick recognition of any interval in the printed music and an ability to sing at sight. This ‘exercise i often applied only to isolated intervals, But itis by n0 means certain that skill in singing isolated intervals guarantees good sight reading of complete melodies. There are several reasons for this: 1}. A melody is much more than a mechanical succession of larger and smaller intervals. When we read a literary text, we grasp syllables and whole words at a single glance, we see them as nits, shapes, The same fechnique shouldbe applied to reading ‘music. Here the shapes are made up of melodic motives and phrases. But vital fo the reading of major/minor melodies isthe ability to see and feel the tonal quality of such shapes and (0 spot those notes which are “magnetic”, thereby giving the ‘other notes dreetion and function. 2) In major/minor tonality each interval always has some kind of {onal quality. The same interval can hae several different tonal meanings, the response evoked being entirely different in different contexts 3 In isolated intervalic exercises we ignore rhythm, which plays a great but sublle part in a melody. Rhythm also strongly influences our response to an interval. One reason for this is that shythm often is related closely to the harmonic develop. rent of a melody. 4) A good command of isolated intervals (the ability to “hear” them mentally and to sing them from the printed page) is therefore only one requirement for good sight reading. This command is important, but itis ot enough in itself, Jn actual practice there ts constant interplay between this knowledge and 1 perception of the tonal and rhythmic shapes and sequences.32 Note: THE INTERVAL EXERCISE USING THE NOTES OF THE CHROMATIC SCALE, WHICH WAS RECOMMENDED ON THE PREVIOUS PAC The preceeding chapters and exercises have stressed the importance of being able to determine the key in each example and thus identify the function of any given note in that key: Whether it is the tonic, the Teading tone, the major third, the For example, take the note D. It may be the: (1) Keynote or tonic fst degree ofthe sale): (2) Leading tone (seventh degree of the scale): (3) Major third: (4) Minor tir: (6) Dominant seventh of the key, which i also the subdominant (fourth degre of the scale): SHOULD BE REPEATED WITH EACH NEW INTERVAL YOU ENCOUNTER IN THE MUSIC BELOW. second, ec. These terms inthe mental picture we form ofa note, lays must have definite meaning, depending on the position of ‘the note in relation to the tonic and other important notes, Any ‘given note implies either potential movement of rest ®33 IX. A. Major and minor triads B. Diminished triads A Since the triad is emphasized greatly inthe following chapters, it s 19 - 27 are in second inversion (the fifth ofthe chord is the lowest presented here in a special section which should be prepared care- note). The term location refers to the highest note of the chord fully. The tsiads in Nos. 1-9 are shown in root position (the root Thus Nos. 1 - 9 have fifth location, 10 - 19 have octave location, ‘of the chord Is the lowest note in the chord). Nos. 10 - 18 arein and 19 - 27 have thied location. No. 28 isin root postion and first inversion (dhe third of the chord isthe lowest note) and Nos. third location, et. Excercise: Describe position and location for triads in Nos. 29 - 40. 1 2 3 4 5 6 7 8 9 4 3 20 5 2 23 Be = a ne 5