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 6399PREFACE
‘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