MELODIES ~ SECTION I

To be used with Section I of all other chapters

TIle first melodies in this book emphasize the basic as-
pects of tonality. TIley are designed to include easily
recognizable scale and chordal patterns. These diatonic
melodies are based on both major and minor modes.
The phrases are usually symmetrical and short
enough to be understood at a glance. However, the
diversity of rhythms, keys, modes, tempos, dynam-
ics, and clefs should provide a variety of musical
experiences. TIle treble, bass, and alto clefs are intro-
duced in this section. You should conduct all exer-
cises (see p. 2).

~ ~ ~ The first melodies are based entirely on stepwise motion. The largest range is a single octave.
Note values include 0 d J n.
(Additional practice in these rhythms may be found in exercises
1-7 in Chapter Two.)
All of these melodies begin with the tonic of the key. Students are encouraged to hear the
harmonic implications of the melodies throughout the text. The following melody and several
others in Chapter One model roman numeral harmonizations, which you should play at the
piano in block chords. (If you have limited keyboard skills, even playing just the root of the
appropriate triad in the bass will provide a harmonic reference point.) Harmonizing other
melodic exercises (including the duets) as well as transposing this type of exercise are both
recommended.

1. Moderato
c, I ii 6 v

41 J j I" Ij J I II IJ
I

j IJ j IJJJJI~ II
2. Andante

r IF fUr.. 41
3. Allegretto

p
5
6 ------------"----- Chapter One / Melodies

~ W11 ~ Conduct cut time in 2. For additional cut time practice, see rhythm exercise 20 and beyond in
Chapter T'4'o.

4. Allegro

5. Andante cantabile

6. Moderato

'»n9 roo
mf
J I;) (Q. IFfi IJ J J IGaJ

,un rm J IF J IJ J J IJ J r IJ J J GJJg) dl
7. Allegro

,U# f J_
p
F IJ ®Ii. IJ WI J F IJfu}t II
8. Largo

p .
II
9. Andantino

tho I IT r I r r Ir rEI r Er I IT r I r r r I IT EIrE r Ir- II

mf
Section I 7

10. Allegretto "

11. Moderato

~J:I J
mp
n f .n I r Eft I [F c; J J] U t'1 ~ II

~ ~ ~ Each of the next four melodies is built in two phrases. Scan the melody for the peak of each phrase.

12. Can mota

II

13. Allegro

II

14. Allegro

4 ~'I! I J JUDIf J J IJ iDJ]1ro Ipijl

f .
J J J ILira. II
15. Allegro deciso
8 ---------------=----~ Chapter One / Melodies

~ ~ ~ The pattern of two short phrases and one longer one is found in the next four melodies.
_,
16. Allegretto

17. Allegro

'~I'Irr;lffr
f
IF_ IrrrclccCIEEEFIJ
f II
18. Andante

19. Andante can mota

~ ~ ~ The following eleven melodies introduce skips in the tonic triad.

20. Allegro

21. Andante can mota

II
p
paz

Section I
--------------
9

22. Vivace

23. Allegretto

24. Allegro moderato

25. Allegro can brio

26. Allegro malta

4Uipn n In 1] In n If J 1M 1;81J Ira D 1m II

27. Allegro

~: I~$
p
m Im~IF«ii?F? Irn ICrf If r ifiuf II
f
28. Cantabile

p ---~
10 ---------------'---------
Chapter One / Melodies

29. Allegretto

'~~~!!1fTi
14TaTr· la# Ie Fr IJ Bo. II
30. Allegro moderato

'~I J lJltJ la J Ir la DIF] IJ r Ir- Ime (L1f]Jr-

p

'~J:DltJlaalj .. II ~

~ ~ ~ The rhythm J.• ~ is included in the next five melodies. See rhythm exercises 9, 13, and 22 in
Chapter Two.

31. Allegro

32. Allegro moderato

33. Vivace

34. Andante
SectionI
--------------------------------------------------
11

35. Andante
.I
G: I V V7 I IV I V7 ii 6 V I

'UijifIlIJiJ IJ~ ~f"PIFlf IJirJI.. II

~ ~ ~

~ ~ ~ Three C-minor scales.

,
Natural

~lll1
0 e I) e II e II e Ij
e u 0 0

,
-& -&

Harmonic

~lll1
.1 e ., ~e II
~e ., e II
-& 0 e e 0 -&

,~'.
Melodic

-& 0 e II e !qu ~e II ~e f,e, e II e 0 -&

Melodies in which the major and minor modes are compared may be found in Supplementary Exercises, p. 385.

~ ~ ~ The following melodies introduce the minor mode. For users of moveable do, minor mode
melodies incorporate the syllable me (pronounced "may") for the third scale degree, and use le
or la for the sixth scale degree and te ("tay") or ti for the seventh scale degree, depending on the
musical situation.

36. Andante

IFFTIJrrlrrrlOJ]. II

37. Allegro

tl: ~I,I E~f It~ r Ir LrLrr IfEElrr- II

f
12 Chapter One / Melodies

38. Allegro

, Ui
f
nnt; n r:zm· ;rfiiJ I I #J D I J J IJ II
~ ~ ~ The following melodies gradually introduce rests, especially to show phrasing and to indicate
appropriate places to breathe.

39. Lento

~ ~ ~ The following two melodies contain ascending and descending forms of the melodic minor
scale. Note that the sixth and seventh scale degrees are raised as the music ascends to tonic, but
not when the scale descends from tonic to the seventh and sixth scale degrees.

40. Andantino

41. Allegro moderato

42. Allegretto
__________________________
Section I 13

43. Moderato cantabi~

'~I
J J a IJ~JJ IJ JJ
mp
al1TfI;JIT3JTh a IJ H I
IH mf mp~

'~J IJ J a
* J IJ f J IF f J la J a I;,] * I

,~Jfii J f J I all:) J a IJ a J I J * J IJ J J I;J II

p~~.

44. Allegro

1
! qQ l;g 14 4 Ir Ia ® If J 14 fir- IaIr:
,~ a lEa~ I
'~J n IoEd 14 ~ IW Ie 4 If 4 1QJ;;Qj) II
45. Vivace

46. Andante cantabile -

14 ----------------------------------------~--~===
Chapter One / Melodies

Alto Clef

The alto clef can be visualized in relation to the grand staff. The five lines of the alto clef are, in fact, the same
as the five middle lines of the grand staff. Thinking of the alto clef in this way ensures not only identifying the
correct note but also placing that note in the correct octave.

For the alto clef, think of the top line as g above middle c, the middle line as middle c, and the bottom line as f
bellow middle c. These additional reference points will make the entire clef easier to master.

F ,J II
A good way to practice your facility with the alto clef (and later with the tenor clef) is to play melodies on
the piano. This reinforces the correct "placement" of the notes of these clefs.
Another useful trick is to remember that every note is either a line note or a space note. This remains con-
stant in every clef. For example, the d above middle c is a space note, and the e above middle c is a line note, in
all seven clefs!This is helpful when you are h-ying to "see" a familiar note in an unfamiliar clef.

~ ~ ~ Below, the same melody is written in three different clefs.

47a. Moderato

47b. Moderato
Section I
---------------
15

47c. Moderato .I

~ ~ ~ The next ten melodies are notated in the alto clef.

48. Andante

49. Largo

liBI,~I
p
J;rwrrt
cresco mf
I~
dim. p
II

50. Allegretto

52. Madere

mf p
16 ______________ Chapter One
_o____ __ / Melodies

55. Larghett~ ~ ~

IIB~ltiifF e f Ie rtr j IPlcrr-tf IfF EriE Ctr j I

p --==== mf

liB~Iti ami pi EE ea II
56. Allegro ~

IIB~II(iiitR luf:LIIC" wel@{flue LJlaw~· II

mf dim. p

~ ~ ~ The next three melodies should be sung as if notated in the treble, alto, and bass clefs in tum, in-
serting the needed key signature for each clef. They should also be played at the piano in the
register appropriate to each clef. (This exercise can be repeated with any other melodies.)
 Section I
17

rmfr r 1-IT r l;j f I r J J I r f J I r F J IJ. jJJ I~.

.r.

. 6; FMai~O(fmF * Iffilf?J1 r r InC!1 E Ltl[tiJl F E IIT II

f llII Ill! Ill!
18 Chapter One / Melodies

~ ~ ~
_,
Skips in the tonic minor triad are found in the next four minor melodies.

64. Andante

65. Allegro ~ ~ ~

IlK#.ti ~'r L I r
f
r
P
cr
lIre r CE I L I f-]I
f
G Ir ~cr Ir IfF II
P

66. Allegretto _______

. 9 ~~ ~~
t1:~I)~i Ef#JiICJ=f I -WE ~""r Ig#JiIO-ffif
. 9 '~~6i~
Elf II
mf'

~ ~ ~ The next six melodies include additional rhythmic divisions of the beat in simple meters.
Review rhythm exercises 17-23 in Chapter Two before singing these examples. If needed, draw a
box around each beat to help train your eye to see the relationship between the beat and the
rhythm. Conduct all exercises!
S~ect~ion~I 19
20 Chapter One / Melodies

~ ~ ~ The next thirteen melodies introduce compound meter (Y). In compound meters, a dotted rhyth-
mic value (clotted eighth, or dotted sixteenth, etc.) gets the beat, and each beat divides into three
parts. Review the basic divisions with rhythm exercises 39-52 in Chapter Two before singing
these melodies. Make sure you understand the relationship between the beat and its divisions.
Mark your music with boxes if needed.

74. Andantino

75. Andantino

76. Allegretto

77. Allegretto

78. Allegro

liB ~I~
p
crill I(cuol C~ol mf
caePI Hapl (rrcrrl F ProII
79. Allegro

liB" ~ EfFPI (@Ol (~ol cae PIcrapl CUrErI F ProII

p mf
 -----~-

Section I 21

80. Moderato Ji'

c: I 16 IV I IV 16 vL~ I IV6 16 IV V t=~ I

,g45·1~.I@Jj:gslIJ@. II
p

81. A dagietto

IIBI,~g
mp
rp. ltir- IOOc;fRr' IJ~r IE~.~. II
82. Animato

9: ~.~g r' ID IC" J. Ir 0r 0IC" l' IrE PIr- r' IErr FEr I
f.~·

9\""fil lEE rc Er IHi r- Ifire U ICDr' l' II

~ ~ ~ The next four melodies introduce the dotted eighth-sixteenth rhythm in g time. See rhythm exer-
cises 50-52 in Chapter Two.

84.

w'
Con anima

9:ln#Ug 1E£j gltEffrrlE ElfUlr' ~. II

p
22 ~~~/M~~
-------------------''----------

85. Con anima

:P~
p
Eil· -'ltiFt riFt Fgrqr Ie Wok t· II
86. Andante

88. Andante cantabile

'»1 rEF 1fT If] ltV

e: I iv i V I iv i V

p
t J t Irqr Ifir 1(1513¥·

'~La 1:l1 IFf CINr

i IV I IV i V i

t £ ifJ] If· Jl:lI#J~}JJ;J II

rlfit rm * It1WTfct f~
89. Allegro

IlKI,~i J frilfc £ - II
f p f p
Section I
----------------
23

~---
90. Andantino (in ont;)

liBI)~IJji Ir F fiE
~ Paf -;l'
t f Bf rl' f Bf'
~
liBI)~t J r IErE I f" Pfir f J 11 EEI:l J :l Id r I J. II
f p

91. Allegro

~ ~ ~ The next five melodies begin with the 5th of the tonic triad.

92. Allegro

93. Larghetto

71:II~F I@mmmI~P~uiillir t II
94. Playful

4iJW J~~J~~f!J~eJ'l
4QE95@Jfflcni!1i
<:': J JJJJI1fl)~J§'liOJ1JJJ
~ p mf~
'II
24 ____________ Chapter One / Melodies
_!___-

95. Andante pastorale

_____..,,,,__ __
'ti~!mCUlrufflIJ§JJJIKct:fi mCUI~~fEErl
,U tfr- r m r IEft r ~ 'II
96. Espressivo
c: i iv i iv i V

'~I'I,!:l ~ IJ JilDI:l ~I) n;nIJ nJJU i1nl;J.

P~~q~~~

'~I'HJJ I~) ~IJtliJl ~) JUJJnIH) IJJ.)I J lJl;. II

.-1'
11!J
i iv i

:_____/
VI

~
iv V

~
====-P
i

~ ~ ~ The next four melodies begin with the 3rd of the tonic triad.

97.
c#: i iv i V i iv V

'ti~#I~l!
)J Jil~ J dnd) t3 g)g5
iv V i

J I~ #J J II
98. Allegro

t1:I#~i}OEtI@IEiMl1J~ IttPI@ IEiDlnJ II

 - - -----r-;:

Section I
----------------
25

101. Andante

'~"I'~
E~:I IV I V I V I

J]# mrw fj 13 J] m I]. jj J, JfiJ51 jl

~ f

102. Frisch und munter

 Chapter One / Melodies
26 --------------~-_____:__-

~ ~ ~ The next four melodies begin with

.I
J upbeats. For additional drill with upbeats, see rhythm
exercises 53-56 in Chapter Two.

f[ifUirn f1F@¥ * f mlr r rc I frl=====-C r [ill

103. Allegro moderato

th"I
p cresco mf p
104. Andantino

,~!
105.

J JJ
Tempo di minueito

f
J t I#F t tlJ * P~
IJ'-.: IJ'-.: I§ J. I; 0 ~ I
'~J
::0-

* }FlfJDltJ ; 10f~FIf * II
106. Andantino

p con calma

~ ~ ~ The next eight melodies contain skips in the IV chord, in both major and minor. The IV serves a
pre-dominant function and is typically major in a major key and minor in a minor key.

107. Andante
D: I IV V I V I IV V I

,Un I{Vii r F IllnW;

p
IJ fJ2ij J F Ill@)IJ. II

108. Andante

'~I d: i iv V i V i iv V i

iJ1J) r p
F IllniRlli) lJ"1fir J F IllJ55Bln. II .
 ------~

~Sech~·on~I -- 27

109. Allegro ,

711# i rf[tl
f
tree Imr:rii7m~1 rlrrl fEftl rEfcCElr 111
110. Allegro

2: ~f
f
tfft Itree Iilirrmtc?r ~I@ Ic1fc IrUCj) £ II

111. Larghetto

liBI, gp tP€:1t I[j7r IiCilfi ~Iwvr Irum I

liB I, eo-I ffi-Q·~n· II
112. Larghetto

IIB~lg
p
tP€:1tlw Ut IOO¢ ~Iwvrl@nl
IIB~.[0-: Eh-tiE' r} II
113. Allegro

'~g IiirIJ mrmlJJ· IPI] mftEiFN.II

p
mf

114. Allegro

,U ftU
P
_IJ mrmlJJ. Ipl]
mf
mEiWi II
 - --_
28 -----------____:____--
Chapter One / Melodies

115. Valse .. ~ . .. ~

~: ~~~! amEn! L L I r r r I LEI 1_ L r I rJitr- * 61

p . ~

~: ~~I, ETcEft (fE p cfWt j iJ5Uuff-

-======.
ttl mf
6nm * II
I
116. Moderate

117. Moderato

n (IC" moi) a~
118. Andante con moto

IIB#n! Dr
p.
Err- Dr ~
fl
IIB#uM rlf1fftt aiL} E IE" ~f IC" •
=====-p
* II
119. Scherzando

120. Tempo di menuetto

Section I 29

121. Can mota .I

~:I~IJ1If·pE iF r F IF pm (fE H IF r F Ff I
71 l l W· pEl F r F IF pn~ (If PEl F r J I PAr II
lH
mf
122. Allegro

liB ~~~j J J F~IF r F~I~EFqFCIFrEEnl EF~ 11 Gf~OI ~FFqFCIrrEfEl1l

~,-;~~~~~

P f
123. Allegro deciso , r--

fh I J If" bEef lEE C If" PEl PEl C" ELL! lEE E lE"O E! I J lEI
f __ ----
~: ~ f" bEEf IF E C I r 0 t:F1 r U If" bra IE" &lC; IE (Ell II
124. Langsam

..~~
126. Allegro deciso
~.. . ~ f'- ~§R. .. ~- .
i jtsf1= IC[CEtrt±C I rfJ-[trCJ-C 1355¥;Eti:LEII
~:~'I,~
• . ~ ~-

\
30 Chapter One / Melodies

i' f EEfIF%J r:r @r flf4 'Eff I F-tl 91

--------------~---

Larghetto ."

ti ¢
p
F~ * IE f~ * *

'ti~ tIft ~filFf * nl:l ~d53fH.

cresco
*f p:..._..-'
* II

~ ~ ~ The next eight melodies include skips of the V chord, in both major and minor. The V chord
serves a dominant function, and is most often a major chord in a minor key. Which scale step is
altered to create the major V chord in the minor mode?
128. Vif et Leger

F: I V I I V I V I

imfP rlp':l.
,~ I@ U IJ I J IfJ
~.
a
J 1@!]I:l J II
129. Vifet Leger
f: i' Vii V i V

, ~IVi
mf
P r Ij~:l .
18 a IJ IEfJ I~jJ
~.
J Iat] l:l J II
130. Andante

131. Andante __ ---_

Section I
--------------
31

,unf Iurn r lEU r laf

134. Minuetto
eco (1) r.~
f 1~==EflfS:
~
_________
/t ~ -~
If = nr--:-rrn* f I
mf p mf mp cresco mf mf
, # r-~
If r f Ir1Jt If rnr IJ II
eco
ElF r liF r IF = rJlEJij
.>:
Un
p cresco mf = p

135. Minuetto
,
f f~
eco ~
I UE r IEtE r la f ILt'=~EfI(a If = -PiriE
ft>
t fI
mf p mf mp cresco mf mf
eco r-~ r:

'EFE r liE r I#C= rJltfB1lf mf r f 100 If F r IJ II

p cresco ==---=- p '

136. Largo

m IJ.~nlrn· par
~:lb#1mp t IGr IJ· pCFIF7Br t p(I
mf

~:Ib#h r I pal ErnJ J. II

137. Miissig

'U##IImf :rpJm IfEu ifjJ r· IDe Ifn]. II

138. Avec mouuement
32 Chapter One / Melodies
------------~--

140. Allegro moderato

, ~'I'~~ i;G5TfTi7J * IJ~) ! IJ §5i01 J r iFl

'~b'hlJJl M~! II
141. Risoluio

142. Stately

deiacn« ~

liB I,~i E E ErE c E r lEE ErE f FnE I r : E rqa ric F U#t rF I

liB I,~
mf
EF r F E cqc r IE F r F E f F#r Ie r E r #c C r ; I[ r F! n J II
143. Moderato

144. Animato

, ti##U ~}Jl5f'WfR ! (liJiD ~?ilil t lf3D331t- ,~

, ti##U F1 ! (If- m I* ~Jl II
Section I
------------------
33

145. Ben ritmico

'~llb~Jf PI@Prl rfrBJl~Jj IJ ~P I~~It F(J IijJ II

'ti
146. Adagietto

I~
mp
@fi @E 3 J I Qj :01J. ~J @fi @I ~

'ti J CJ' F JJ It]

piu adagio

JJ J nil ;)5JII
s->:

148. Asseg lent

IIB~nlfj ,plfJ ljC;@Wp) IfC1.M ~l&g@. II

~ ~ ~ The next eight melodies contain skips in the ii chord, in both major and minor. The ii chord is the
most common pre-dominant chord in classical tonal music and is generally voiced in first inver-
sion (ii"). It is minor in a major key, and diminished in a minor key.

149. Moderato

C: I ii 6 . VIii 6 V I V

, 2 >n J J I~ 3 J Ii 3 IP J ~ ~ Gil J J F I&M~l fi I ~

~ ~

'n I ii 6

J J IJ)J J IJ
V

~.
I

329 l EFI~
~ ~
IV ii 6

J J I~
V7

£J!!j
I

>
t ~ II
34 Ch~apte_rO_ne~/M_elo_dies

150. Moderato
C: 1 _, ii 06 Viii 06 V i V

'~bl/!>D:l :lIJ> J J IJ> J ID:l

>-
* IJ1]I:lqJ~F
mp
IttdIDJlJ * ]ill <c:»:

~ ~
i ii 06 V i iv ii06 V7 i

:l1i!JJ J l:l J J I:J * tJ"i@@ J J I~~)

'~I'IL,@~ * * II
dim. mp ~ >

151. Allegro

liB i rf@IffirrI
f
rt;m£r I ~ilr@_b
. p cresco f
II

153. Allegretto

154. Allegretto
Section I
---------------
35

155. Semplice
.iI'
d: i ii 06 V i

,~~ill Err IPn mp

Pu I~f@ ill IrTr 'I
ii 06 V VI V i iv V7 i

,~r1:1Itr I(&r~F ~ I(fJrfr I EEEt r II

156. Deliberatamente

157. Cantabile

158. Valse

2: ~I,~! r
p
..
r If';PJ Is r r IpiJ
..~
Is
..
far r r Ir rm'
mrIs r r Iqr Is r riC" mEIr r r IFir II
~ ~

~·,nm3r Ir
..~--;----

2:
36 ____________ Chapter
__2__ One
__ / Melodies

~ ~ ~ The next eight melodies introduce skips in the V7 chord, in both major and minor .
.I

159. Andante

160. Andante

'~~k~
f: i y7 i Y i y7 i

~l/ar IJp3flJ fflIJTr- IPOJlq~ - II

161. Langsam

162. Allegretto

163. Andante

164. Can mota

,ti!m;TrTif' Pf IJJ r Wff VOir Pf I~ alI; 851

,Ljj]]e:rlr
--========= f
f a 13r nf lj'pijJ p
f a IJ fiD· II
SectionI
--------------------------------------------------
37

165. Slowly

166. Slowly
A:I ii6 y7 I

'ti## i @f
mp
'mFrFr ,piHJJr '~Uaa ~)1
y7 I y7 I IY I y7 I

, ti## cr::Er E1It I~ Im~ JW IfEll J® II

cresco mf mp

~ ~ ~ The next six melodies include skips of the vii" chord, in major and minor. vii is typically dimin-
ished in both major and minor keys, has a dominant function, and is frequently found in first in-
version. Note that the three notes of the vii" chord are the same as the upper three notes of the
y7 chord. y7 can also be used to harmonize the notes of the vii" triad, and is the more typical
harmonization. Because of the typically restricted uses of the vii" chord-often passing between
I and r6-all six subsequent melodies are harmonized.

167. Moderato

I vii 06 16 IY I y7 I

'ti B'
mf
r r IFff IJf3 Incu In
p cresco
r 111 f Itt ill * * II
mf
---
38 ~Cha~pte~rO~ne~/M~elo~dies

168. Moderato
_,

'I tT-r c laF IFJ~J~In~

~1!
g: i

p
r ~ ir
IOFF 1m ~
vii 06

ILtcrnlr
i6 Y7

mf
£
i

p
£
iv

mf
Y

£ * !

i vii 06 i6 iv i y7 i

,~ eU c IEfF IJ1iJ Iffc{r

mf
Iff- F In
p cresco
f ItF#t~} * * II
mf

169. Swaying

D: I IY I Y

'~HgJ]J r mp
PAr- aIr 100 J.~ dE IE~ OJ J J 'I

,~~
m tu IW Uri J. ] E
I vii 06 I6 IY I Y7 I

J OJ J IJ J ] 3. II
cresco mf

170. Swaying

d: i iv Y

,~~J13 E#@r- mp
aIr I{dJ J.~ JE IE~ OJ J J 'I

,~m JJj
i vii 06 i6 iv i y7 i

cresco
I tV [}j mf
IE. ] J J OJ J IJ J J J. II
Section I
-------------------
39

171. Allegro
f: i

'~"~IBr
'~I'.~
f5(3h I ffB?J
mp
iv i iio6

I fa
mf
y7

qr] IV J J J * II

172. Cheerful
c. y7 I y7 16 y7 I viio6 16

liB! rF116nIFF1lr *.EfIE r 41ctt t IE r 41f 1 fI

mf p mf
1~ 1~ ii~Y I. ii~ y7 I

liBr- 0 rr Iff f I OQdf 1 E I t E f ILf E tiE r 4 Ir * * II

p mf

~ ~ ~ The next eight melodies contain skips in the vi chord, in both major and minor. The vi chord,
minor in major keys and major in minor keys, frequently precedes pre-dominant chords or oc-
curs after the dominant chord in a deceptive cadence.

173. Animato
40 Ch~apte_r On_____:_eI_Me_______:_:_lodies

174. Animato
legato
~ I i ii06 ~ V7 i VI ii06 V7 S i

~'I! ! .It J IJ fa I td_J I). ~JJI J J J IjJJ. 11 ;aJ]fl j J I

mf '-:J
mp
~ q~ mf
VI iv V7 i ii 6 V7 i

~~"I! W J 10 J IJJ) IJ W 1,,!Rffr J~ til

175. Andante

176. Andante

177. Brisk

~ ub 9pml J J J IJffir ttl r r 4 I~ 4 ~ I f(J]D t J I

~ ###1 FA 14 ~ 4 IF7pl J t i[@A If ~ ~ 14 4 4 IJ * * II
piJ J J Itffir * * Ir f 4 I~
178. Brisk

~ # I 4 ~ If]]D J JI

~ u FA 14 ~ 4 IfVI J J J!!29 If ~ ~ 14 4#4 IJ t t II

Section I
-----------------
41

179. Moderato
~ " ~ ,,;;--,
~I'!
acrE la-crE ICfUalr r ~ IEriJe ILrE!F I
mp cresco mf mp mp

~ I §'
~'TaElla ~ ~ IEIElc1lr ~ II
cresco mf jO

180. Marziale
deiache

th'V i ClC'ff 01 g[;e J In J J CEE eIrlrqr; (1 I

mf mp cresco f

:h'I,~af;r OFIgf':;e ~ In J J rqr Pi lij l";r ~ II

mf mp cresco f
~ ~ ~