A New Approach to Sight Singing @ FOURTHEDITION XN @N ZN BN GZSNS4S * en Cot ( ( ( ‘ tae a ihe i Wg. TEES a ( SSContents Preface to the Fourth Edition ix pooner CHAPTER-ONE-Mt~Melodies—--1- acetate et eae aia Section 3 Section 28 Section I 49 Section IV 75 CHAPTER TWO & Duets 105 SectionI 106 Section 113 Section 124 Section IV 138 CHAPTER THREE ® Sing and Play 141 SectionI 1420 - Section. 156 Section 180 SectionIV 201 CHAPTER FOUR # Themes and Variations (Unaccompanied) 234 Section] 235 woroorSection Th 241: Section TI 248 t Section IV. 254 CHAPTER FIVE & Melodies from the Literature 260 Section! 261 Section 272 Section II 281 Section IV 288 Supplementary Exercises 299 Parti: Elementary and Intermediate 1 300 . Part II: Intermediate II and Advanced 314 APPENDIX ONE 2 Glossary of Terms | 325 APPENDIX TWO kt Some Frequently Used Musical Signs. 329exon eariaervataries, Colleges, and Universes. Preface to the About This Book This book consists of a coordinated body of musical materials specifically composed for the study of sight singing, as well as a new chapter of melodies from the standard classical and folk repertories, A mastery of sight singing is essential to the per- former, the scholar, the composer, the teacher—to any musician or intelligent amateur. In an ideal world, instrumental and vocal students would be taught to sing at sight from the beginning of their training, but in reality very few receive such instruc- tion. Training in sight singing often lags behind training in performance and academic studies. Courses in sight singing, therefore, have become an essential part of the curricula of secondary schools, While most current texts offer only melodies from the literature, not created specifically for peda~ gogical purposes, A New Approach to Sight Singing has consisted of music newly composed to provide gradéd material-for sight singing classes. Exetcises ‘written for classroom use formed the basis for previ- ‘ous editions of this book. Drawing on the experience of four decades of teaching as well as on valuable comments from other users of the book, for this edi- tion we have written riew material, ‘efined some of the exercises, deleted some others, and added a completely new chapter. Melodies from the Literature Prompted by our own teaching experience and the much appreciated suggestions of many colleagues, we have added a new Chapter Five, “Melodies from the” sto tHe “fourth eition. While “the chapters carried over from previous editions are en- Fourth Edition firely our own material, this new chapter provides melodies from the standard repertory, together with {folk material: Stady of these melodies will enable stu- dents to make the transfer of leaning from exercises to the music with which they will be working dur- ing their professional lives: The melodies in Chapter Five were chosen to represent a wide variety of mu- sical styles, both vocal and instrumental. A few have been adapted for sight singing purposes. Thé level of difficulty of each section within Chapter Five com responds to the comparable level within the other chapters, Attributions are given for each melody. Organization of the Book ore fouirtir edition’ consists"of five ‘chaptersas wel as supplementary exercises, two appendices, and a newly added page of “warm-ups” at the beginning of Chapter One. Chapter One contains unaccompa- nied melodies and is the core of the book. Chapter ‘Two presents vocal duets, Chapter Three contains melodies with piano accompaniment, including ac- companied variation sets. Chapter Four presents un- accompaniéd themes and ‘Variations. The new Chapter Five offers melodies from the literature, drawn from both the written and oral traditions. The supplementary exercises’ contain specific drills in scales and chords, chromatic notes of all kinds, and advanced thythniie problems. Appendix Lis a glossary of musical terms used in the text, which in- cludes most terms in current use. Appendix Il ex- plains some frequently used musical signs, In each chapter there are four sections: Section I is at the elementary level, Sections If and I, interme- diate, and Section TV, advanced. Assuming two class ~~ meetings"a'week, ‘each section comespords to” one semester’s work, about thirty class hours. The mate- ixof each section is graded progressively. The unit ‘ork is the Section. Section I materials in each of ive chapters make up a coordinated body of ex- ‘es to be used concurrently, sufficient for one se- ter. The same applies to Sections II, I, and IV. ‘ypical Class Beginning stuclents start with the first section of «chapter. A freshman class hour might begin «singing a group of melodies from Chapter One, ion I. The class could then turn to the duets of pter Two, again using Section T; the unaccompa- (melodies of Chapter Three, Section I; one of the ation sets in Chapter Four, Section I; or melodies. 1 the literature, Chapter Five, Section I. Much of class time will probably be devoted to singing dies, which comprise over half of the book. But tuent use of Chapters Two, Three, Four, and Five 1s up different approaches to the subject, offers a rable change of pace within the class hour, and shows how skills acquired in one area may be lied to other musical situations. ace in the Curriculum iw Approach: fo Sight Singing is so organized that it 7 be adapted to’ different programs of study. \g escentilly diatonic, Sections {and II may readily integrated with the study of diatonic harmony counterpoint, while Sections III and IV may be rdinated with the study of chromatic harmony. ‘This book offers a large body of materials and seis no expectation that all willbe used by every rractor. Rather, we offer as generous a number of ices as is practical. Each instructor will stress se aspects of sight singing that seem appropriate « particular class of aspiring musicians at a partic € school, drawing upon the various materials in several chapters in the way that seems most ap- sable to the teaching situation. spic Headings an aid to organizing the course, the specific tech- Preface to the Fourth Eaition nical problems introduced in Chapter One aré iden- tified by brief headings, each followed by a short group of melodies that focuses on the topic at hand, Immediately after, there is a longer group of melodies combining, all topics introduced up to that point. The Five Chapters A brief summary of each chapter will give an overview of the book's organization: ‘The melodies in Chapter One, Seciton T intro- duce technical problems progressively: while the first tunes are simple and quite short, later ones gradually increase in length and complexity. These melodies are diatonic, emphasizing fundamental ‘pects of tonality Stepwise motion, Sips Based OH 16> ‘miliar chord outlines, and basic rhythmic patterns’ are presented here, A group of modal melodies con- cludes this section. ‘The melodies of Section U,, while largely diaton- ic, introduce a few chromatic notes, as well as sim- ple modulation to the dominant or relative major, together with some Jarger skips and slightly more complex rhythms, Section II includes more chromaticism and-ad- ditional modulations. Melodies are longer, phrase structizes more complex, and rhythms more’ di- ‘verse. Chapter One, Section IV offers more challeng- ing exetcises in tonality as well as in rhythm, meter, angphrasing; dynamics, phrase structure, and mu- sical interpretation are on a more sophisticated level. ‘The section concludes with material based on twen- tieth-century idioms. Treble, alto, and bass clefs are found in all sections; the tenor clef is introduced in Section IV, : : “the purpose of Chapter TWo-Duets; ow aebeoneae | velop skill in ensemble singing. Students not only. « sing their own part but also listen to another, sung’. -* by a different voice. The duets may also be given as*'.> prepared assignments; many colleagues have found... ‘them useful for class dictation. Experience has strengthened our conviction that - the piano is esgeitial in developing musicianship: Chapter Three affords opportunities fo develop’ that's: misicianship by playing one part while singing a: ‘other. In doing so the student improves the Ability hear, while also developing good intonatior and \ aac4 eeooreen"Fhemes-and—Variations/'-Chapter-Fout,-offers = in the selection of-examples fromthe literattew-rneeremny ui Preface to the Fourth Edition sharpening rhythmic skills, “Sing and Play” also of- fers an effective way to study the relationship be- tween harmony and tielody. “This chapter now includes variation sets with plano accompaniment. While the instructor may ask some students to per- form “Sing and Play” exercises at sight, these will ‘most often be given as homework, We recommend an assignment from Chapter Two every week. relatively extended céipositions, which may be sung entirely by one student or divided among several, Because the character of the music changes from one variation to another, the student is stimulated to’ think about matters of musical interpretation. Jn response to suggestions from colleagues ‘oughout the country and in accordance with our own desire to add this dimensiog to the book, we have prepared Chapter Five, which includes melodies, from the standard repertory and from the folk music of many cultures, Used in:tandem with the other chapters, these melodies provide a transition from ‘our exercises to traditional literature, Written origi- nally for instruments or voice, the melodies in this new chapter offer a rich diversity of musical styles. Additional Uses of This Book _ The Supplementary. Exercises provide,an assortment,..__justify.the,effort of of drills in intervallic relationships, skips of all kinds, intonation, and rhythm. Part of the Supplementary Exercises is to be used with Sections I and Il of the five chapters, while Patt IT is to be used with Sections Ill and IV. ‘This book has been used int a number of ways, includirig classroom dictation. The duets have been proven particularly valuable for that purpose. Those wishing to find a way of developing hearing skilis outside ‘the classroom may consult Leo Kraft's AS. New Appronch to Ear Training.” An excellent way for students to continue work on their own is to-write down melodies that they know or have heard re- cently, or to which they have access through record- ings. Its also quite valuable to play familiar music by.ear on the piano or another instrument. ‘New York: W,W. Norton, 1967, Acknowledgments We take this opportunity to express our appreciation and thanks to the many generation of Queens College students whose responses to our book have helped shape our thinking and who have taught us so much, ‘We are also grateful for suggestions from colleagues both on our own campus and beyond it, especially We are especially indebted to Professor John. Castellini, our patient and devoted editor, who con- ‘tinuously labored with our manuscript and helped. define its final form. Many of our basic ideas con- cerning music and music theory were gained during our years, as. students and colleagues of the late Karol Rathaus. To him, then, we qwe a special debt of gratitude. Beyond that, the widespread favorable reaction, to the first three editions has encouraged us to con- tinue our search for as many approaches to sight singing as we can create. Evéryone can lear to sing and to enjoy singing. No matter what kind of voice one possesses, compe- tenée in singing can be achieved by consistent prac- tice, The satisfaction thus gained will more than singing is not an end in itself: it opens the door to musical experiences of many kinds. The ability to sing melodies‘at sight is also one of the necessary skilld that a good musician must possess. Music does not live on paper. To bring it to life there must be an instrument that can sing, an ear that can heat, sd a muscl mind that can sng and hen inthe i Tence of thought. Berkowitz / Fontrier / Kraft ‘Queens College 1996 expended, To be sure,sight__..A New Approach to _ Sight Singing % FOURTHEDITIONN 4@N @2N@NBZNEYW| i | } \ {~~ A.New Approach.to... Sight Singing @ FOURTHEDITIONN 2N@ZNBAZNRAZ2NBS Sol Berkowitz prj ojmuic Gabriel Fontrier prsesr tnerins op music Leo Kraft Professor Emeritus of Music ‘The Aaron Copland School of Music at Quéens College of the City University of New York: toe ae — 7 eeACKNOWLEDGMENTS «Bagatelle, Op. 6 No, 6 fp 298 Use by pemnisson of Boosey & ms - Boosey tr Howie, Ine, fie, Peter and the Wol (pp. 282, 298% Copytigh © 1997, 1940 ‘new by G, Shey, ne (ASCAP)Usoughoat the Une Site, mada, act Menlca. Intemational Copyright Sacred. AU Rights Served. Reprinted by Permission. bere Tamyfiwed Nigh (p27): Used by permin of Belmont ale Publishers, Pace Palade, CA90272 ‘kovieh Symphony No.3, 1p 297: Copytigh ©1927 Renewed) rd Mexico. Intemational Copy:ight Secure All RightsReserved. ticiiReprinted by Petlonescoence iene Soot ‘Straws, Dox Juan p20). By permisdion of G Sehne, ne, ‘Shave, The Fiebid(p. 295: By permission of G Ser oe Stravinsky, Petruhka (pp. 777, 28,2551 © Copyright 1712 by Takes te San (London) Lid: Copylght Renewed. New Vesien © Copyright 1948 by Haves te Son Londen) Lid Copyright Renewed, Ue by, elton of Boosey te Hawk, ne. sky, The Rit of Spring ip. 287, 298% © Copyright 1932, 1801 by ‘Hawhes & Son (London) Lid, Used by pemaion of Boorey Paw, re. Sehinmes, le, (ASCAE) throughout the United Sates, Cando, Shavinehy, Lite Soldat (p. 2925 By pension of & Schima ie i ‘A Copyright 61957;1986-1976-4960 bp W7.W-Norton de Companyin: Copyright ©1988 y Sol Beskowtt=—h - 7° Gabriel Fontes, and Leo Kraft c Allsights reserved 1a Printed in the United States of America i ee ‘The text ofthis book is compote in Palatino with the display Set ig eletca i ‘ Mul typography and composition by David Budimen, Willow Graphics, Woodstown, Now Jersey = ‘ Book design by Anidy Zatis Library of Congress Cataloging-ic+Publicaton Data Berkowitz, Sl Anew approach to sight singing / Sol Berkowits, GabrietFonties, Leo Kealtdihved. " ; Pp. on. 3 ISHN 0-393-96508-6 (pblo) t 4, Sightsinging. 1. Frontiet,Cabriel, Ul. Kraft, Le, 1MIT870.BAB5NS "1997 ‘ 783090320 9651968 ‘W.W.Norton & Company, in, 500 ith Avenue, New York, NLY. 10110 Iitp:/ / wre wnorton com WW. Norton & Company Lid, 10 Coptic Steet, Londony WIA PU.@ CHAPTER ONE Melodies Before singing a melody (or performing music of ‘Tempo can be established and meter defined by any sort) it is necessary to understand thoroughly the student if he beats time as a conductor does. the system of music notation we use today. The five-. Standard condticting patterns should be used con- line staff with the clef signs, time signatures, tempo _sistently. § time may be conducted in. six or in two. indications, and expression markings constitute a _beats; and time in separate beats or in three or musical code, all the elements of which must be de- four beats respectively. Tempo, and often the charac- coded simultaneously in order to transform what ter of a melody, will serve the student in determin- "has been set down on paper inio masi "ing how fo conduct compound imekers Establish the Key Singing Melodies Without Texts ‘The melodies in Section Tare tonal. Each is writien ina It is advisable to sing some’ definite syllable for specific key and the student must establish that keybe- every note the better to control quality and intona- fore attempting to sing, The tonic note of the key tion: In many foreign countries solfeggio (the applica- (rather than the first note of the melody) should be __tion of the sol-fa syllables to the degrees of the scalé) played on the piano or the pitch pipe and sungby the is ‘used in sight singing, This practice is officially student, Then the scale of the key should be sung, as- ‘sanctioned by foreign national conservatoties. In our cending and descending, after which an arpeggiocon-; country, however, several, methods of singing sisting of tonic, 3rd, 5th, and octave may be sung to’ melodies without texts are in common use. These establish further a feeling for the tonality of the melody, may be summarized as follows: ie Rixéd Do Establish the Tempo In the fixed Do system, our notes, C, D, E, BG, A, and B, ate called Do, Re, Mi; Fa, Sol, La, and Ti. in Next it is necessary to take cognizance of the tempo _ singing a melody, the name for each note is sung (rate of speed) and the meter (number of beats to the without regard to any accidental, Countries which measure). Many different tempo indications have been .......use-this.technique have been quite successful. with ‘used in this book to familiarize the student with most jt, pethaps becauise of the rigorous early training of the terms in common use. Itis important that the which their students receive. singer know the meaning of these tempo markings all of which are to be found in the Glossary (page 325). Movable Do ‘The time signature denotes meter. Simple me- In the movable Do system, Do always represents fers (duple, triple, and quadruple) are indicated by . the tonic or figst degree of the scale, regardless of signatures having a 2,3,-or 4s the upper numeral, _Key. Aceidentals are accounted for by changing the or by the signs ¢ (corresponding tof meter) or ¢(alla “syllables. The ascending chromatic scale reads as fol- ‘neve, comesponding to § meter). Regular compound - lows: Do, Di, Re, Ri, Mi, Fe, Fi, Sol, Si, La, Li, Ti, Do. meters (§, §, and {) are combinations of simple me- ‘The descending chromatic scale reads as follows: fers within one meastire, Do, Ti, Te, La, Le, Sol, Se, Fa, Mi, Me, Re, Ra, Do.4 accordingly. The purpose of this system is to asize the relationship between the degrees of ale, and to develop a feeling for tonality even ‘the tonal center shifts. Methods umbers (1, 2, 3, ete) may be used instead of les (Do, Re, Mi, etc.), The application is the as in the movable Do system except that there umeral change for chromatic tones. ne syllable, such as 1a, may be used for all 's, Thus the singer does not have to translate tch names into syllables or numbers. musician is expected to know the system in ton use wherever he may be; therefore, the stu- hould mastet more than one of these techniques. asing Wdent-is urged Wravaia roteto=ttote binging “~~ crore you start to aig, we suggest that our fo make a genuine effort to grasp an entire e as a musical entity. To guide and encourage rocess of looking ahead, slurs and articulation ings have been placed over the phrases of melody. These indications define the phrase ‘ure and serve asa guide to breathing. sical Values acticing the singing of melodies, as in practicing, 4 ‘Warne-ups ‘Chapter One /) Melos other musical values will be acquired in due course, But melodies do not exist without rhythm; they also have nuances of dynamics and tempo, and climaxes, These qualities are an integral part of the music. It is possible to improve one’s musicianship while learn- ing the technique of sight singing by thinking about musical values with the first melody in thé book. As an aid to intelligent and sensitive performance we have included dynamics, expression, and articulation markings throughout the book. The eye should be trained to observe them; the mind to implement them, Prepare to Sing Clearly, there is muuch to do, and itis suggested that the sttident “make haste slowly.” The first melodies should be studied carefully in order'to develop good musical habits. The student should sing a melody several times, sf necessary, until ease and fluency_ate achieved. * Look at the melody quickly (scan it): where are the high and low points? * Look for dynamic marks and articulation. * Sing an arpeggio that fits the range of the melody. ‘Sing one or more of the following warm-ups in the key and tempo of the exeicise. « It is helpful to beat time as you sing, using stan- ", dard conducting pattems. Hereare some suggested warm-ups: Ce OeMELODIES ma SECTION | To be used with Section I of alk other chapters The first melodies emphasize the basic aspects of enough to be grasped at a glance, However, the di- tonality. They are designed to include easily recog- versity of rhythms, keys, modes, tempos, dynamics, nizable scale and chordal patterns. These diatonic and clefs should provide a variety of musical experi. melodies are based‘on both major and minor modes... ences. The alto clef is introduced in exercise 33b; the ‘The phrases are usually symmetrical and short minor mode in 47; compound meter § in 55 SS @ WM The first eight melodies are based entizely on stepwise motion. The largest range is a single oc- fave, Note values include o Jd JJ. All of these melodies begin with the root of the tonic triad. Each of the first eight melodies is in one phrase. 1. Andante f 2. Allegretto 3. Allegro nf 4, “Andante cattabileSee eae ~ Chapter One / Melodies ¥@ WS Lachof the next four melodies is built in wo phrases. Scan the melody for the peak of each phrase, Con motoOE 7 Section I BE BE INE The pattem of two short phrases and orie longer one's found in the next three melodies. \A3. allegeetto, BE HE RE The following nine melodies introduce skips in thie tonic triad, 16. Altegro A f 17.” Andante con moto c 4 18. Vionce A i; mf f 19. Allegretto eee ae fChapter One / Melodies 20. Altegro moderato f P f 21. Allegro con brio f i P 22, Allegro molto 23. Allegro |. Allegretto Se Mf SB YW the shythm J.) is included in the next five melodies, '5. Allegro moderato fo SSS fe Fee mf Allegro= 28. Andante ) oo 29. Andante i ao — 1 pgs 30. Allegro 9 BL. Vivace f ® 32. Andante cantabileee 8 Chapter One / Melodies SME Thesamemelody is weiten with three different lefs. 33a. Moderato 83c. Moderato MM if “WL Thenext ten melodies are written using the alto cle. 34. Andante Re‘Section _. 38. Modéré a 39, Largo 2 40. Vivace ‘— i i i L\ 41. Larghetto P mf. 43, Andante P i : Mo oe dim. op “mf10 : Chapter One / Melodie /48.. Aidante mp f 45, Moderato con moto td atempo PP. 2.46. Allegro con spirito WW We ThuceCminor cals, NatuPal 6 oS woe ‘ Is Se ae! ‘Melodies in which the major and minor mades are compared may be found in Supplementary Bxercises, p. 301ff. ReeStem tga ert cempe seein pram eccrine emnnen rman cennagpeturemntn Section : rae BN ME Thenext seven melodies are built on minor scales. 47. Andante eer gee mp 48, Alege ira i | | fd | 49, Andantino P 50. Allegro f ii 51. Allegro moderato P 52. Andantei bree as Chapter One / Melodies AR BE Skipsin the tonic minor triad are found in the next four melodies. 54. Andante wae Ss $ fH The same melody is notated in three different meters. $592. ModeratoSection 13 Bob. Attegro P 959. Larghetto noe Oe ‘i 8 MM Thenex aren ime Observe the diferences between two version fhe same S60." Andantino a ee = ’ | \ mf i : 61, Andantino i | Ss i j mp Vie2. ategetto : f : ' 68: Alegretto” f 64. attegro14 is ‘Chapter One / Meloes eG P 66. _.Con anima 81H BT Rests are included in some melodies from this point on 58. Allegro moderatoSection T 15 71. Andantino (in one) ae ee PP roe re Eee re P ¥ 72, Allegro 82ST Thenextfourmelodies begin with the Sth ofthe tonic tind | CS 73. Allegro | 7A. Larghettg a | mf Saecees ‘P. tess TB“ Andante ope en ain16 Chapter One / Melodies 76. Andante pastorale * (ae SS See Qos POE pee Hee Peete ame ;—H Sheet WS HH Thenedt three melodies begin withthe Sed of the tonic triad 72. Allegro aaa ao ra 78. Andantino Pa sfSeths itis cg =] ct BSS & F € : & ¥ & ? f i ; Soe ese ERY “aeideetle F 7 t e 80,Section 81, Frisch ind munter mf sa BR ‘Thenextfour melodies begin with 4 upbeats. 82. Allegro moderato 83. Andantino f 84, ‘Tempo di menetto 7; = £ (B85, Atiantino P concaima 7‘ 18 _ © Chapter One_/ Melaties ‘ . 87; Andante ‘ ( |. Larghetto 93._Allegro energico] | | ] | Section 1 19 94. Allegro ears P mf 95. Allegro eS P mf om © J 96. Andante sostenuto prpoeere eetan nee ae ee scorers P mf P = =20 au Chapter One / Melodies 100. Moderato mp f Andante con moto 108. Selierzando Sie : ge ea eles Trae Fanaa a, : 104. Tempo di menuetto mf 105. Con moto——— roct ay 2 Ci Bb Eb HE | ‘Section : : 21 106. Allegro ae Sea ‘ eee P f 107. Assez tent P 108. Allegro deciso IL, “Allegro deciso f22 Chapter One / Melodies 112. Larghetto BE HME Thenext five melodies include skips in the V chord, in both major and mino#, 113. Wifet léger cis iene P a UA. vifet léger t . P { aor a -.j section ; 23 118. Largo 120. Avecenouvement af F ? 121. Allegro giocoso f 122. Allegro moderato 123. Risoluto P eresc.pocoapoco ~ oo ane ae24 Chapter One / Melodies 124, Moderato a a f ' fe 125. Animate 26. Ben ritmtico i i f an > ma 27. ‘Adagietto ae _pinatagiow oaSection 25 IX BL section concludes with a group of melodie based on these four modes; Micolydian = eS Aeolian (Natural Minor) Phrygian 129. Moderato (Dorian) P 130, Andante (Dorian) mf 131, Andante con moto (transposed Dorian) 132, Lento (Piuygian) oF ? mip P 133. Andante con moto (Phrygian) ea a26 Chapter One / Melodies: 134. Moderato con moto (Phrygian) A AO ORSection 3 i 27 139. Moving forward (Acolian) P 140. Lento (Aeolian)MELODIES # SECTION II To be used with Section M1 of all other chapters ‘These melodies contain simple modulations, more each melody ia clearly defined. Some phrases are complex rhythms, and diatonic skips in a variety of longer; some are less symmetvical; syncopations are contexts. AS in Melodies, Section I, the tonality of introduced; and the vocal range is extended. 8% W The next six melodies introduce skips in the V? chord, in both major and minoz. 142, AndanteSeton ‘ 29 148. Con moto = f 100 rit. i GP P96 f i) 150. Allegro — mp : ese. mf seeped B Le SANA meme reenonnrinranypen rien toeggecteetgini nt tne poche : 2 aif f P 152. Con moto30 ___Chapter One / Meoiies 153. Ballando Keay ( RE -BThenox five melo initio ess equally used motors DE Ganag. ( cada | 154, Andante cantabite e ti ‘ PSection IL i 31 i 5 5 158, Andante con moto | | - SEE SE EISEN EME T Feeley 4 BE 14 BE Tiiplets are included inthe next three melodies. 159. Maestoso i ‘i Pe | I | } i i L. i i i i i iChapter One / Melodies 162. Andante mip ope tee & SBS SEE 163. Ziemich schimelt aels F656. poco a poco a tempo P 373. - Allegro84 Chapter One / Melodies 377. Con anima 378. Lively S79. Allegretto ? cresc. 380. AMlegretto > 381, LivelySection IV : 85 382. Adagio 383. Andante E. A 384, Larghetto mf espr. nf rp I = . 385. Waltz (in‘one) Few s wae _ 2s86 is Chapter One / Melodies 386. Andante con moto © 388. Lanter| fou i i 87 390. Etwas gedehnt P poco cresc- nf ? nip mf P SS 2 eS 391. Allegro”88 394, Arietta—Andante 395. With movement poco rall. 396, AndanteSection TV 89 397. | With gusto af 399, Lento ed espressivo sig eennne ogg oe P orese. > nf =P 400. Ailegro piacevole ‘mp ee 8 HE BW Thenext four melodies include changing meters. 401, Allegro90 Chapter One / Melodies 402. ° Langeam 403. Lebhaftiasuaeaceea » ‘Section TV 91 406, Allegretto Se T | : | i | i | | ! P / t i i 407. Andantino espressivo : =a F ? 408. Allegro moderato = i a ae sh am 409. “ies vifet détaché 1 = | Foe az au mf mB Cua Fine uy : Sterne sPeerpieds po ogeaae { pee terete. ieee es + | a a 4 i q : | eases eee aH92 7 Chapter One / Melodies 410. Allegro F con catore 411. Maestoso 412. Larghetto 4 EsSection 1V : 93, 44. “Lebhaft und foohitich94 418. Allegro piacevole poco rall. 422. Slow Bines &Section IV : 95 423. Allegretto96 7 . 427. Tempo di marcia ey 81 Majorand minor modes are combined in the next seven melodies. 428, Allegro con spirito F 429.” Allegretto gedehnt wie zuvor gedehnt P434, Tempo al minuetto fy A =)436. vir D=2) f 437, Andantinio P 438. Massig und 2art| i section ‘ 99 440. Con moto vet Sith ae n eerernr rere encontraron nnn Henearteman ceed 442. Lively Petar tf Tecconda voltap y | 443. Spititeso a a Be ee ee a ee 2 ee Ee a ee a ee ee100 Z Chapter One /- Metodies 444. Allegro gioviale paar hearty p= Prrese. molto 445. Lebhaft und stark auritcKhaltenr>, _*%Zeltmsass i. if 446, “Andante espressivo 447. ANtegro‘Section IV 101 448, Allegro giocoso | canto a 449. Vivo 2 a a Pewbito ia a 8 | : | is 450. Allegro marcato a ae z ? 451. Andante aa aes |_ Chapter One / Melodies 452. Allegro moderato f 453. Andante 454. Moderato mf BE BLT Octatonte scales have eight notes arranged in a pattem of alternating whole steps and half steps. : ‘Two octatonic scales:Section IV 103 456. Flowing ain, 457. “Andante espressivo Allegretto gioviale- — 7 Chapter One / Melodies 461. Allegro con brio eo $$.