A New Approach to Sight Singing @ FOURTHEDITION N Z2N@NkZN4ZSRGNA New Approach to Sight Singing @ FOURTHEDITION NSN Z2BNZNKA2NZNGBZR Sol Berkowitz rojsore music Gabriel FOntrien reir eneriusof music LEO Kraft Pros émerius of Music ‘The Aaron Copland School of Music at ‘Queens College of the City University of New York Bet W.W.NORTON & COMPANY — New York /London‘ACKNOWLEDGMENTS Barth, Bagatelle, Op. 6, No. 6p. 298): Used by permision of Boosey & Hawkes le Prokofiey, LietenentKije Suite (p, 280,286, 289. Used by permision ‘of Boosey dc Hawkes nc Prokofey, Peter end the Wolf (pp. 28, 288: Copyright © 1837, 1940 (ere we) by G Schirmer Ine (ASCAP) throughout the United States, Canada, and Mexico Itemtional Copyright Secured. All Rights Reserved Reprinted by Persson. Schoenberg, Drunefigred Nigh (p. 297: Used by permission of Belmont Masi Publishers, Peific Palisades, CA 0272 Shostakovich Symphony No.1 1p. 297: Copyright © 1927 (Renewed) by G. Schirmer, Ine. (ASCAF) throughout the United States, Canad, and Mexico. Interational Copyright Secured. All Rights Reserved. Reprinted by Permission i Strzue, Don Juan (281: By permission of GSchirmes, Ie. ‘Stavinky, The Febind(p. 298 By permission of G, Schirmer, nc ‘Stain, Petra (pp. 27,288,289 © Copyright 1912 by Hawkes ‘Son (London) Led Copyright Renewed. New Version © Copyright 1948 by Havhes& Son (London) Lid; Copyright Renewed. Used by ermision of Boosey & Haws, Ie. ‘Stravinaly, The Rite of Spring (pp. 287,298 © Copyright 1912, 1921 by wkes d Sen (London) Lid. Used by persion of Boosey de Hawes le Stavinaky, Histor du Soldat (p. 290 By permislonf. Schemes ne Copyright © 1997, 1986, 1976, 1960 by W. W. Norton & Company, Inc. Copyright © 1988 by Sol Berkowitz, Gabriel Fontrer, and Leo Kraft All eights reserved Printed in the United States of America ‘The text ofthis book is composed in Palatino withthe display set in Helvetica Music typography and composition by David Budmen, Willow Graphics, Woodstown, New Jersey Book design by Andy Zutis Library of Congress Cataloging in-Publicaton Data ‘Berkowitz, Sol ‘Anew approach to sight singing / Sol Berkowitz, Gabriel Fontrier, Leo Kraft—4th ed pon. ISBN 0-393-96508-8 (pbk) 1. Sightsinging, 1. Frontier, Gabriel. 1. Kraft, Leo. MTB70 BARNS "1997 78304234200 9631963 \W.W. Norton & Company, Inc, 500 ith Avenue, New York, NL. 10110 Intp://wewwwnorton.com W.W, Norton & Company Ltd, 10 Coptic Stret, London, WC1A 1PU 4567890 ba ca ts bs Od Od oe oe ee Oe ee bt LdTo John Castellini, our teacher, our good friend and colleague, our editor, this book is affectionately dedicated.Contents Preface to the Fourth Edition ix CHAPTER ONE Section 1 Section It Section I Section IV CHAPTER TWO Section I Section II Section IL Section IV m Melodies 1 3 28 49 5 m Duets 105 106 13 wa 133 CHAPTER THREE ®@ Sing and Play 141 Section 1 Section It Section It Section IV uaz 156 180 21 CHAPTER FOUR ™ Themes and Variations (Unaccompanied) 234 Section I Section I Section I Section IV CHAPTER FIVE Section I Section I Section II Section IV 235 241 248 254 Melodies from the Literature 260 261 2m 281 288 Supplementary Exercises 299 Part I: Elementary and Intermediate! 300 Part Il: Intermediate [I and Advanced 314 APPENDIX ONE ® Glossary of Terms 325 APPENDIX TWO ® Some Frequently Used Musical Signs 329Preface to the Fourth Edition 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 fcik 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, conservatories, colleges, and universities. 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 graded material for sight singing classes. Exercises 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 new material, refined 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 Literature,” to the fourth edition. While the chapters carried over from previous editions are en- tirely our own material, this new chapter provides melodies from the standard repertory, together with folk material. Study of these melodies will enable stu- dents to make the transfer of learning 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. The level of difficulty of each section within Chapter Five cor responds to the comparable level within the other chapters. Attributions are given for each melody. Organization of the Book ‘The fourth edition consists of five chapters, as well 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- accompanied 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 rhythmic problems. Appendix I is a glossary of musical terms used in the text, which in- cludes most terms in current use. Appendix II ex- plains some frequently used musical signs. In each chapter there are four sections: Section I is at the elementary level, Sections II and Il, interme- diate, and Section IV, advanced. Assuming two class meetings a week, each section corresponds to one semester's work, about thirty class hours. The mate- ixx tial of each section is graded progressively. The unit of work is the Section. Section I materials in each of the five chapters make up a coordinated body of ex- ercises to be used concurrently, sufficient for one se~ ‘ester. The same applies to Sections II, II, and IV. ATypical Class Beginning students start with the first section of each chapter. A freshman class hour might begin with singing a group of melodies from Chapter One, Section I The class could then turn to the duets of Chapter Two, again using Section I; the unaccompa- nied melodies of Chapter Three, Section I; one of the variation sets in Chapter Four, Section I; or melodies from the literature, Chapter Five, Section I, Much of the class time will probably be devoted to singing melodies, which comprise over half of the book. But frequent use of Chapters Two, Three, Four, and Five ‘opens up different approaches to the subject, offers a desirable change of pace within the class hour, and also shows how skills acquired in one area may be applied to other musical situations. Place in the Curriculum ANew Approach to Sight Singing is so organized that it may be adapted to different programs of study. Being essentially diatonic, Sections I and I may readily be integrated with the study of diatonic harmony and counterpoint, while Sections III and IV may be coordinated with the study of chromatic harmony. This book offers a large body of materials and there is no expectation that all will be used by every instructor. Rather, we offer as generous a number of choices as is practical. Each instructor will stress those aspects of sight singing that seem appropriate toa particular class of aspiring musicians at a partic- ular school, drawing upon the various materials in the several chapters in the way that seems mast ap- plicable to the teaching situation. Topic Headings As an aid to organizing the course, the specific tech- Preface to the Fourth Edition nical problems introduced in Chapter One are iden- tified by brief headings, each followed by a short ‘group of melodies that focuses on the topic at hand. Immediately after, there isa 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, Section 1 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 as- pects of tonality. Stepwise motion, skips based on fa- miliar chord outlines, and basic rhythmic patterns are presented here. A group of modal melodies con- cludes this section, ‘The melodies of Section II, while largely diaton- ic, introduce a few chromatic notes, as well as sim- ple modulation to the dominant or relative major, together with some larger skips and slightly more complex rhythms. Section Ill includes more chromaticism and ad- ditional modulations. Melodies are longer, phrase structures more complex, and rhythms more di- verse. Chapter One, Section IV offers more challeng- ing exercises in tonality as well as in rhythm, meter, and phrasing: 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 ali sections; the tenor clef is introduced in Section IV. ‘The purpose of Chapter Two, “Duets,” is to de- 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 essential in developing musicianship. Chapter Three affords opportunities to develop that musicianship by playing one part while singing an- other. In doing so the student improves the ability to hear, while also developing good intonation and Wo to ts os ts os es be ta a aaa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 melody. This chapter now includes variation sets with piano 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. “Themes and Variations,” Chapter Four, offers relatively extended compositions, 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 throughout the country and in accordance with our ‘own desire to add this dimension 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- rally for instruments o: 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 of drills in intervallic relationships, skips of all kinds, intonation, and rhythm. Part I of the Supplementary Exercises is to be used with Sections I and II of the five chapters, while Part II is to be used with Sections II] and IV. This book has been used in a number of ways, including classroom dictation. The duets have been proven particularly valuable for that purpose. Those wishing to find a way of developing hearing skills outside the classroom may consult Leo Kraft’s A New Approach 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. It is 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 in the selection of examples from the literature. 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 owe 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. Everyone can leam to sing and to enjoy singing. ‘No matter what kind of voice one possesses, compe- tence in singing can be achieved by consistent prac- tice. The satisfaction thus gained will more than justify the effort of time expended. To be sure, sight 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 skills 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 hear, and a musical mind that can sing and hear in the si- lence of thought. Berkowitz / Fontrier / Kraft Queens College 1996A New Approach to Sight Singing @ FOURTHEDITIONN Z2NAZNBNAZNGBR@ CHAPTER ONE & Melodies Before singing a melody (or performing music of any sort) it is necessary to understand thoroughly the system of music notation we use today. The five- line staff with the clef signs, time signatures, tempo indications, and expression markings constitute a musical code, all the elements of witich must be de- coded simultaneously in order to transform what has been set down on paper into music. Establish the Key ‘The melodies in Section I are tonal. Each is written in a specific key and the student must establish that key be- fore attempting to sing. The tonic note of the key (rather than the first note of the melody) should be played on the piano or the pitch pipe and sung by the student. Then the scale of the key should be sung, as- cending and descending, after which an arpeggio con- sisting of tonic, 3rd, 5th, and octave may be sung to establish further a feeling for the tonality of the melody. Establish the Tempo ‘Next it is necessary to take cognizance of the tempo (rate of speed) and the meter (number of beats to the measure). Many different tempo indications have been used in this book to familiarize the student with most of the terms in common use. It is important that the ‘singer know’ the meaning of these tempo markings, all of which are to be found in the Glossary (page 325). The time signature denotes meter. Simple me- ters (duple, triple, and quadruple) are indicated by signatures having a 2, 3, or 4 as the upper numeral, or by the signs ¢ (corresponding to meter) or ¢ (ala breve, corresponding to § meter). Regular compound meters (8, 8, and %) are combinations of simple me- ters within one measure. ‘Tempo can be established and meter defined by the student if he beats time as a conductor does. Standard conducting pattems should be used con- sistently. § time may be conducted in six or in two beats; | and time in separate beats or in three or four beats respectively. Tempo, and often the charac- ter of a melody, will serve the student in determin- ing how to conduct compound meters. Singing Melodies Without Texts It is advisable to sing some definite syllable for every note the better to control quality and intona- tion. In many foreign countries solfggio (the applica- tion of the sol-fa syllables to the degrees of the scale) is used in sight singing. This practice is officially sanctioned by foreign national conservatories. In our country, however, several methods of singing melodies without texts are in common use. These may be summarized as follows: Fixed Do In the fixed Do system, our notes, C, D, E, FG, A, and B, are called Do, Re, Mi, Fa, Sol, La, and Ti. In singing a melody, the name for each note is sung without regard to any accidental. Countries which use this technique have been quite successful with it, pethaps because of the rigorous early training which their students receive. Movable Do In the movable Do system, Do always represents the tonic or first degree of the scale, regardless of key. Accidentals are accounted for by changing the syllables. The ascending chromatic scale reads as fol- lows: Do, Di, Re, Ri, Mi, Fa, Fi, Sol, Si, La, Li, Ti, Do ‘The descending chromatic scale reads as follows: Do, Ti, Te, La, Le, Sol, Se, Fa, Mi, Me, Re, Ra, Do. 1When a melody modulates, the new tonic is called Do, and the other notes of the scale are re- named accordingly. The purpose of this system is to emphasize the relationship between the degrees of the scale, and to develop a feeling for tonality even when the tonal center shifts Other Methods Numbers (1, 2, 3, etc.) may be used instead of syllables (Do, Re, Mi, etc. The application is the same as in the movable Do system except that there isno numeral change for chromatic tones. One syllable, such as la, may be used for all pitches. Thus the singer does not have to translate the pitch names into syllables or numbers. ‘A musician is expected to know the system in common use wherever he may be; therefore, the stu- dent should master more than one of these techniques, Phrasing The student is urged to avoid note-to-note singing and to make a genuine effort to grasp an entire phrase as a musical entity. To guide and encourage this process of looking ahead, slurs and articulation markings have been placed over the phrases of every melody. These indications define the phrase structure and serve as a guide to breathing. Musical Values In practicing the singing of melodies, as in practicing Warm-ups Chapter One / Melodies an instrument, the beginner may be tempted to con- centrate on producing the correct pitch, hoping that 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 the 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 much to do, and itis suggested that the student “make haste slowly.” The first melodies should bbe studied carefully in order to develop good musical habits, The student should sing a melody several times, if necessary, until ease and fluency are achieved. Before you start to sing, we suggest that you: * 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 exercise. « It is helpful to beat time as you sing, using stan- dard conducting patterns. Here are some suggested warm-ups: ep bcd Le LD ED LD LD dd dD LD Ld bed bd bd bs bd bd bt tLXK MELODIES » SECTION | To be used with Section I of all 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 59c. SMB The first eight melodies are based entirely on stepwise motion. The largest range is a single oc- tave. Note values include o d J J. 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 mf 4. Andante cantabile4 Chapter One /- Melodies 7.. Andantino > @~. .. SS mf 8. Allegretto = ee P u@ ® SX @_ 8 Eachof the next four melodies is builtin two phrases. Scan the melody for the peak of each phrase. 9. Con moto f ps 10. Allegro aoe f LL. Allegro f 12. Allegro deciso f J J J J J j ] j ] ] J ] ] ] J J ] J JSection I 5 SNR The pattern of two short phrases and one longer one is found in the next three melodies. 13, Allegretto p——_ ~~ 14, Allegro 15. Andante f BN @ & The following nine melodies introduce skips in the tonic triad. 16. Allegro f 17. Andante con moto f P 18. Vivace mf f 19. ‘Allegretto — >,6 Chapter One / Melodies 20. Allegro moderato f ie f 21. Allegro con brio f ? 22. Allegro molto P f 24. Allegretto mf RH % Theshythm 4d is included in the nex five melodies. 25. Allegro moderato J d a ] ] ] ] ] ] 3 ] ] j ] ] j ] ] J27. Vivace 29. Andante 31. Vivace f 32, Andante cantabile8 Chapter One / Melodies SWS Thesame melody is written with three different clefs. 33a. Moderato 33b. Moderato 33c. Moderato 34. Andante YN Thenest ten melodies are written using the alto clef P trese, af dim. P 36. Allegretto P 37. Allegro con spirito f toe te be bs oe a i a i i a10 Chapter One _/ Melodies 44. Andante f 45. Moderato con moto rall. 7S =i tee, aero mp P a tempo PP 46, Allegro con spirito tO Pp fo IS 25 WM SN Three C-minor scales. Natural e SSS SSS = Harmonic : = = Melodic “4 bo = = ‘Melodies in which the major and minor modes are compared may be found in Supplementary Exercises, p. 301ff. a 4mSection 11 SS @ = ® Thenext seven melodies are built on minor scales. 51. Allegro moderato12 Chapter One / Melodies § % ®& Skips in the tonic minor triad are found in the next four melodies. 54. Andante = f 55. Allegro S > y 3 56. Allegretto af 57. Moderato oe i rete uae 58. Allegretto 4 1 ne Baad SSS a nn i Ta > 59a. Moderato om a ‘The same melody is notated in three different meters.Section 1 13 3¥ @ 8 Thenext eight melodies are in {| time. Observe the differences between two versions of the same melody, given in different modes. 60. Andantino mf 61. Andantino 62. Allegretto 63. Allegretto14 Chapter One / Melodies ® af 66. Con anima B ——S SST 67. Con anima 38) @ Rests are included in some melodies from this point on. 68, Allegro moderato ate f \ 69. Andante cantabile bok i i a a i kkSection! 15 71. Andantino (in one) af P PP Fe tf P 72. Allegro R -% BW Thenext four melodies begin with the 5th of the tonic triad. 73, Allegro mf16 Chapter One / Melodies 76. Andante pastorale S88 Thenext three melodies begin with the 3rd ofthe tonic triad 77. Allegro 7 78. Andanting f P f Gy 79. Allegro con spirito f 80. Andante mf Ss ee ae a Po ce ce a i a i a a a i |Section 1 7 81. Frisch und munter a ? NB BW The next fourmelodies begin with J upbeats 82. Allegro moderato a ear if —P 83. Andantino oS SS _ f ay 84, Tempo di menuetto wa NS ? f P concalma = @% S& Thenext ten melodies include skips in the IV chord, in both major and minor.18 Chapter One / Meiodies 87. Andante 89. Allegro 92. Allegro energico f P tf 93, Allegro energico f P f bak ke a a ituSection 1 19 94. Allegro 96. Andaxte sostenuto 98. Moderato 99. Valse20 102. 103. Moderato f Andante con moto Scherzando 3. Con moto Chapter One_/ Melodies | | Po UUs UHHYHUoHUNuUvow vtSection I — 21 106. Allegro 107. Assez lent P 108. Allegro deciso 109. Langsam f mf P 110. Andante con moto o P espressivo M11, Allegro deciso f22 Chapter One _/ Melodies 112. Larghetto eee f P SW _N Thenext five melodies include skips in the V chord, in both major and minor. 113. Vifet léger f ." Pp NS M4. Vifet léger Pca ca ce Gs Gd oe ee oe oo Oe a119. Allegro moderato 120. Avec mouvement af f P 121. Allegro giocoso yg f 122. Allegro moderato SS 123. Risoluto P cresc.pocoapoco . oo a f24 124. Moderato —S 125. Animato f — 126. Ben ritmico Chapter One / MelodiesSection 25 X_N Section I concludes with a group of melodies based on these four modes. Mixolydian ae Phrygian Aeolian (Natural Minor) ee no) ane 129, Moderato (Dorian) an —~ ( 130.) Andante (Dorian) mf yom) 131,/ Andante con moto (transposed Dorian) 133. Andante con moto Phrygian) Oe f26 ‘Chapter One / Melodies 134. Moderato con moto (Phrygian) a 2 $$$ sp 135, Allegro (transposed Phrygian) f > ff 136. | Miissig (Mixolydian) fe \ 137, Allegro non troppo (Mixolydian) 4 P 138, Vivement (transposed Mixolydian) La Ls ky ts bs oe be he oe he hh hhSection 1 27 139. Moving forward (Aeolian) P (140. Lento (Aeolian) P P— Pp mp— PP—" P 141. Andante sostenuto (transposed Aeolian) a a rall, 5 Are Tes P dim. RasMELODIES = SECTION II To be used with Section II of all other chapters These melodies contain simple modulations, more each melody is clearly defined. Some phrases are complex rhythms, and diatonic skips in a variety of longer; some are less symmetrical; syncopations are contexts. As in Melodies, Section I, the tonality of introduced; and the vocal range is extended. 8 @_& The next six melodies introduce skips in the V7 chord, in both major and minor. 142. Andante P f a 143. Andante P : f ane 144. Andante con moto uf 145. Langsam « FJ 146. Allegretto 147. Andante ba cs ts to to oe bs te te et bh hdSection I 29 148. Con moto 151, Andantino 152. Con moto30 Chapter One / Melodies 153. Ballando D3p Bae | ey ® HW The next five melodies introduce less frequently used meters: #8, 1 and §. 154. Andante cantabile P 155. Doux et expressif PP _ mf 156. Larghetto P -P B PP 157. Pastorale poe ce oe oe Oe ok a aSection I 31 158. Andante con moto mf Si BE Triplets are included in the next three melodies. 159. Maestoso a —_ 160. Largo P 3 3 3 161. Andante con moto32 Chapter One / Melodies 162. Andante oF pee 163. Ziemlich schnell FSC. poco a poco =. f 8 B_®W Skips ofall diatonic intervals up to an octave are included from this point on. 164. Andante con moto f P f P te ral. na a tempo. eases! f 165. Lentement aa po ce oe oe a ikSection Il 33 38 @ = ®W Ties are included in many of the melodies from this point on. 167. Allegretto “Ta. x oe P een ee 168. Andante ping34 Chapter One / Melodies 171. Allegro 172. Alla marcia mf f 173. Andante PS Sila 38H ® The next six melodies begin with upbeats 2) or JJ. th 174, Allegro marziale fSection I. 35 175. Andante pastorale P = mp crese. mf pees dim. P 176. Allegro — mf eee f 177. Con moto36 SS %_& Syncopations are introduced in the next six melodies, 180. Allegro f “_? 181. Sustained Pesempre 182. Gaio vai f Chapter One / Melodies 184. LivelySection I. 37 186. Andante 187. Andantino (in one) 188, Andante 190. Allegretto38 Chapter One /- Melodies 191. Allegro 192. Valse (in one) 193. Andantino grazioso ta Se ee F = EES segs ot gr get « Pe Se Pe Ze & @ & Thenext four melodies include chromatic neighbor notes. 194. Andante f 195. Andante coe ok ca i a a es i i a iSection II 39 196. Andantino piacevole 197. Moderato Lf. > 198. Missig und zart 199. Lively f40 Chapter One / Melodies 200. Moderato con moto 201. Allegretto P sb. ooae BM NW The next four melodies, in the minor mode, move through the relative major. Before singing, find the point where that motion begins. 203, Allegro OS eS f P aneSection I 41 204. Allegro moderato 206. Andantino GU Sen a one 207. Andante42 Chapter One / Melodies 208. Waltz tempo 209. Allegro moderato S pesante J : 2 mf i P S&S Thenext three melodies include chromatic passing notes. 210. Moderato con moto bee co we oe es oe i es a i a i iSection a3 1. Andante con moto 212, Allegro non troppo af Tf a 213. Lilting 214. Ben ritmico44 Chapter One / Melodies 215. Maestoso f = Ses If 216. Animé P with expression cresc. mf P 219. Andante con moto mf PSection I 45 The next three melodies, in the major mode, move through the dominant. 20. Allegretto grazioso mf : - ft 221. Fanfare 222. Allegro assai P estaccato46 Chapter One / Melodies 223. Allegro e ben marcato f f 224, Allegro gioviale —> z 225. Andantino f 226. Allegro moderato fe _ ae ene eee eee Fane : ° we pit forte Pus ooo ll |Section It 47 D.C.al Fine P subito 227. Minuet 228. Modéré 229, Allegro gioviale nf i mf P48 230. 232. 233. Alllegro lunatic f Scherzando ese se Chapter One_/ Melodies aap D.C. al FineMELODIES # SECTION Ill To be used with Section III of all other chapters Chromatic alterations are used with increasing sity of rhythms, intervals, phrase structures, and frequency in melodies of this section. Some indicate musical styles. modulation; some are factors in secondary dom- ‘The material of Section III can readily be corre- inant harmonies; others are melodic embellishments. _lated with the study of chromatic harmony. Within these melodies there is an increasing diver- BNW SE Skips larger than one octave are found in the next four melodies. BBA. Allegro =~ —, f Pos P f 235, Allegro moderato f ——__*? 236. Andante con moto a = 237, Allegro deciso 4950 Chapter One _/ Melodies 238. Allegro con brio Rie2t hole * dietiset rion, ce oie ete ero A af = =——s zm 239. Andante ed espressivo 240. Largo e mesto Pop ta te ta ta a at a ta a kk ka a | |Section HI 51 243. Mit Kraft roe = 244, Allegro gioviale nf 245, Valse (in one) aH a ee ee Pf) 246. Allegro grazioso52 Chapter One / Melodies SH ® skips to chromatic notes are introduced in the next five melodies. 247. Allegro moderato f 248. Andante mosso P yp yp TS : oo 249. Tempo di valse P EP 250. Larghetto af Pp Sete eh aeet 251. Moderato —_—_—- >; — athe = Pp cresc. f P ‘cresc. f P subito Ra“@e Po ce ce ce a i a a a a a aSection I 53 252. Gavotte 255. Allegretto54 256. Andante con moto Chapter One / Melodies ether 257. Fast 258. Sostenuto ed espressivo P = Ee ere — eS ores. os a Fie? ree ; mf —_ i = Sas 259. Allegretto crese. f263. Etwas langsam und zart56 Chapter One / Melodies 264. Allegro deciso Ti presse a : ose et P pip 265. Briskly ‘maf staccato eresc. poco a poco fF SB _® Secondary dominants are outlined in the next five melodies. 266. Energetic 4 = & Se oa =" a ss Ea 267. Andante con moto Da ca te a i a a a ai a aSection IM 57 269. Sehr rasch ee a a Pe mf P ee... cresc. f 270. Allegretto f P58 Chapter One / Melodies 273. Ziemlich bewegt 274, Allegretto SS @ = W The meters§ and are introduced in the ext five melodies. 275. Allegro f 276. Andantino of f ? bo cs a i i i a a a | iSection 1 59 278. Slowly and simply 279. Moderate60 Chapter One / Melodies 282. Lilting (22 SSeS 283. Andantino amabile - = f = — ea F 3 perdendostSection II 61 284. Lebhaft oT Ee f 285. Allegretto 286. Animé et trés expressif an, “ee 2 mf 2 287. Allegro assai f62 Chapter One / Melodies 288. Presto alla Tarantella P detached cresc. poco a poco tf - P fs oa ——— SR a 289. Cheerful S . A oe f = | 290. Assez lent mf Dl Ae peer e a4] 291. Medium bounce f pee cia i i a i i i aSection II 63 292. Andante espressivo mt rail. a tempo 293. Rather slowly dim. 294. Vif et léger 295. Modéré et doucement64 Chapter One / Melodies Si -% NS Thenext four melodies, in the major mode, include the flatted sixth scale degree. 296. Andante f P f 297. Andantino mf P ~ mf 298. Waltz a Pp 299. Andante semplice > ——_* 300. Quasi presto bo ke ke i ekSection II 65 301. Allegro giocoso 302. Allegretto oS yi 303. Alla Tarantella f ; PP P 304. Allegro gioviale f 305. Andante ben ritmico ‘mf pesante f . Deke 666 Chapter One / Melodies BW BW Thedominant ninth chord, in both major and minor, is outlined in the next four melodies. 306. Andante 307. Larghetto nf 308. Andantino 309. Adagio ed espressivo ob mf = f bos MOUs UuNUooYeuUuwYY YLSection It 67 311. Allegretto scherzoso68 Chapter One / Melodies 315. Ballando all. mf aa, ae a tempo 316. Allegretto e leggiero crese. al fine Sf 318. Lento assai Ps UKHO YeuouuUuUuUuHoHYuuUYuoUuoUY |Section I 69 319. Fast 320. Allegretto crese. mf dim. P 321. Il pit presto possibile 322, Valse70 Chapter One / Melodies 323. Alla marcia a fee = casa & 325. Allegro molto of oF * one f 326. Animated to co ces to oo oe Od ts i a a a aSection Ill 71 327. Allegretto — mp = a mf 328. Lively > 329. Vifet gai mf detached 23.572 330. 332. Etwas langsam und zart Alllegro assai S staccato Chapter One / Melodies cso os) os bd bd oe oe oS te a a Ok aSection I 73 333. Massig und ausdrucksvoll 334, Allegro non troppo as Nie ee el ee eran iS Se 336. Energetic74 Chapter One _/ Melodies 337. Largo con affetto —> — > Baal tel Ted es bs bs bs te es ks tk kaMELODIES « SECTION IV To be used with Section IV of all other chapters ‘The melodies in this section present challenging problems of intonation, rhythm, and phrase struc- ture. The tenor clef is introduced at the beginning of the section. Modulation to remote Keys, the use of augmented and diminished intervals, a more inten- sified chromaticism, modal idioms, and complex syncopation offer the advanced student both chal- lenge and stimulus. The concluding melodies of this section intro- duce twentieth-century idioms. Sf -% S The next nine melodies are written using the tenor clef. 339. Allegro mf 340. Moderato PN 341. Largo Gresc. f 342. Andante76 Chapter One / Melodies 343. Allegro 344. Sostenuto 345. Presto f ee = = # ? E eee ae Hl 346. Allegro deciso i 347. Allegretto ba ts bd Ld oo Oe oo od a { | } 7 iSection IV 77 348. Lento 349. Minuet 350. Tempo di valzer 351. Avec mouvement P > my P cresc. poco a poco Sa aes cece COMee78 Chapter One / Melodies 352. Con spirito mf Seelt 353. Lento p= 5 [Peer ste =] 354. Con moto P af 355. Allegretto giocoso at Ly bs bs bs be ts be os kd a aSection IV 79 356. Lento a 357. Valse brillante (in one) mf 358. Molto adagio 359. Slow and expressive80 Chapter One _/ Melodies 360. Andante misterioso 361. Sostenuto ed espressivo mf dim. poco a poco 362. Andantino e leggiero Lae RS ie mp mf Pp 363. Moderato con moto 364. Langsam und ausarucksvoil a P ip» VMuUUuUUYYUYUUHYUU ssoSection IV. 81 365. Allegro energico 366. Allegro assai B81 BW The fatted supertonic scale degree is introduced in the next five melodies. 368, Andante aS82 Chapter One _/ Melodies 369. Allegro + ; 370. Langsam ot - pete ge DS Sapte eee pepe le f CoS i : of 25a8eer Sif = 4 371. Allegro Pp t oe f P sub. 372. Langsam mf zuriickhalten__-> a tempo P 373. Allegro fee ce oe ee i a i a i a af 374, Moderato e pomposo a eee f 3 376. Allegretto nf84 Chapter One / Melodies 377. Con anima rall, 378. Lively : 379. Allegretto : A = —= : Gee See eae eben ery P oF cresce. So v mf 380. Allegretto on 381. Lively Poa to ke oe oe oe ke ke i i iSection IV 85 382. Adagio 383. Andante nf dim. P 384. Larghetto - ~~ oe SS 385. Waltz (in one) mf86 Chapter One / Melodies BH Seal 387. Free and easy fe a as ow er ean ea al 388. Liindler mf a ¢ Pe 389. Valse brillante ) | | foe ke oe ce a aSection IV. 87 390. Etwas gedehnt 391. Allegro f pint cresc. SF 392. Allegro deciso 2 SF detached =~ — 393. Andantino88 Chapter One / Melodies 394, Arietta—Andante cresc~ rall, , Tempo f dim, P a= poco cresc. Sap 395. With movement o poco rall. 396. Andante bo ko te i i i iSection IV 89 397. With gusto nf 398, Grave 399. Lento ed espressivo a by ~ ? ona af aan ar 400. Allegro piacevole mf P WERE Thenext four melodies include changing meters. 401. Allegro90 Chapter One / Melodies 402. Langsam tae TY og ee aT ip BES SS ee 404. Piacevole 405. Allegro energico toe co cs bs ee ta i aSection IV 91 406. Allegretto 407. Andantino espressivo ake mf 408, Allegro moderato 409. Tres vif et détaché . fp mf D.C. al Fine92 410. Allegro Chapter One / Melodies fo to a es i a teSection IV 93 414. Lebhaft und frohlich f P ° cresc. 415. Allegro con brio 416. Allegretto P PP PPP 417. Presto leggiero P sempre94 Chapter One / Melodies 418. Allegro piacevole 419. Lento poco rall. af 420. Moderato e mesto 421. Largo espressivo tte LEE pagg O27 Pleat Pde Tee Hie. F dim, Cd 422. Slow Blues Ss Pe ened. S; l foe co ce ce a a i a a a a a aSection IV 95 423, Allegretto f "a 424. Mazurka—Risoluto a ae mp 425. Largo P oe mf dim. — Pp 426. Allegro6 Chapter One / Melodies 427. Tempo di marcia P 3 iene eS ey BWW Major and minor modes are combined in the next seven melodies. 428. Allegro con spirito tf. ~ Pp emcee 7 429. Allegretto <=. P f 430. With well-marked rhythm ie gedelnt wie zuvor f P f ca 7 jee pe Oe OO Oe ss rr ee oe ee97 Section IV 432. Allegro 433. Allegro non tanto af i f 434. Tempo di minuetto Zo. f P a tempo98 Chapter One / Melodies 436. vif(=2) = ee aa 437. Andantino 438. Maissig und zart te cs bs ts os oe oo bt te seSection IV 99 440. Con moto 441. With spirit 442. Lively vu —* f laseconda voltap 443. Spiritoso100 Chapter One / Melodies 444. Allegro gioviale f Prcresc, molto Oe, FS el ——=s r 445. Lebhaft und stark f im Zeitmass — zuriickhalten > P Ff 446. Andante espressivo mp eS riten. opp ere 447. Allegro == ta ws te bs oe be oe Oe aSection IV. 101 448. Allegro giocoso calando St . P subito 450. Allegro marcato f P o 451, Andante - ae102 Chapter One / Melodies 452. Allegro moderato f 453. Andante nf te ore. mf 4 454. Moderato mf §_-%_®W Octatonic scales have eight notes arranged in a pattern of alternating whole steps and half steps. ‘Two octatonic scales: — - & @ ® Thenext four melodies are based on octatonic scales. 455. Andante con moto Peco co ok i a a a aSection IV 103 Sens dim. P pP——___ 2 457. Andante espressivo FY 458. Allegretto gioviale ao tte eornre mee 459. Allegrettorm MM MMM TNT HMMA HIT ITT IIT! | Chapter One / Melodies ee d 461. Allegro con br 104% CHAPTERTWO & Duets ‘The experience of singing one part while listening to another develops that sense of independence so es- sential to a good ensemble performer. Hearing the ‘harmonic and contrapuntal relation between your melodic line and another will help maintain correct, intonation and rhythmic precision. For additional practice, it is useful to play one part at the piano while singing the other. These duets may also be used for dictation. 105buETS » SECTION I ko bo bs oe oe he ee aSection 107 6. “Andante 10. Allegro f108 Chapter Two / Duets Tl. Allegretto oo Ss ae 12. Andante C af 13. Allegretto P P 14. Moderato con moto is f 15, Andante —— - = == a P bo co ke te a a a iSection 1 109 16. Andante cantabile 17, Larghetto P P 18. Allegro moderato 19. Allegretto110 21. Allegro con spirito bs f 22. Moderato con moto mf mf 23, Allegro giocoso Chapter Two / Duets foe cs a i i i a a a a