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Básico 2 - Final
Básico 2 - Final
Básico 2 - Final
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Apostila de percepção musical
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Básico 2
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01/01/2020
Felipe Guerzoni
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Felipe Guerzoni
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Básico 2
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Felipe Guerzoni
Ear Training: At this point, students should drill on the Rhythmic Dictation exercises in Unit 2
of Music for Ear Training.
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Sight read and practice these exercises slowly at first, being attentive to accuracy of pitch and
rhythm. Be especially careful with the intonation of the leaps; give yourself a starting pitch, and
e po or
check the pitch again at the end, but use the piano (or any instrument) as little as possible.
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ab
on
el
rz
G r
ue
a
til
os
Ap
lip
Fe
Felipe Guerzoni
Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
ada
e po or
i
ab
on
el
rz
G r
ue
a
til
os
Ap
lip
Fe
Felipe Guerzoni
16 Unit 2
Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
Pitch: Introducing Fourths
Preliminary Exercises
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e po or
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G r
ue
a
til
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Ap
lip
Fe
Felipe Guerzoni
Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
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Melodies
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These and all subsequent melodies should be performed in as musical a manner as possible, with
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attention to phrasing, dynamics, and tempo markings. Careful analysis of the melodies will be
helpful. For procedures for preparation and analysis, see Suggestions to the Student, pp. xii–xvi.
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Ap
As you prepare these melodies, stay conscious of scanning visually ahead of where you
lip
are in any exercise, looking for patterns and taking in as much as you can. With these and
most subsequent melodies in this book, full editing (tempo, dynamics, phrasing, and ar-
ticulations) is given. Such markings are as important as the pitches and rhythms, as is the
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expressive quality and style of each melody. Treat these as music, not “just exercises,” as
if you were performing them. As always, steadiness of beat and accuracy of pitch are very
important. Be sure your conducting patterns (including preparatory beat) are in the same
character, dynamic, and tempo as the whole melody. Again, working with a friend, a mirror
for conducting, or an audio or video recorder will be helpful.
Felipe Guerzoni
18 Unit 2
Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
ada
e po or
i
ab
on
el
rz
G r
ue
a
til
os
Ap
lip
Fe
Felipe Guerzoni
Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
ada
e po or
i
ab
on
el
rz
G r
ue
a
til
os
Ap
lip
Fe
Felipe Guerzoni
20 Unit 2
Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
ada
e po or
i
ab
on
el
rz
G r
ue
a
til
os
Ap
lip
Fe
Felipe Guerzoni
Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
da
Duets and Trios
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a
til
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Ap
lip
Fe
Felipe Guerzoni
22 Unit 2
Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
ada
e po or
i
ab
on
el
rz
G r
ue
a
til
os
Ap
lip
Fe
Felipe Guerzoni
Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
ada
e po or
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ab
on
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rz
G r
Ear Training: At this point, students should drill on the Melodic Dictation exercises in Unit 2
ue
a
lip
Fe
Felipe Guerzoni
24 Unit 2
Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
Ap
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Felipe Guerzoni
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Fe a
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Felipe Guerzoni
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Ap
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Fe a
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Felipe Guerzoni
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G r ada
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on
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Ap
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Fe a
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Felipe Guerzoni
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G r ada
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Try this procedure on the following melody:
da
Note that:
1. The key is E ♭ major.
a
2. The tonic triad is spelled E ♭ G B ♭.
3. The tonic triad is located on the first, second, and third lines. Also locate
e o or
higher and lower tones of the triad on the staff.
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G r
4. Find leaps involving members of this triad.
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Section 1. Major keys, treble clef, leaps of a third, fourth, fifth, and
octave within the tonic triad. The quarter note as the beat unit.
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Key signatures in this chapter are limited to four sharps or flats until
Section 6.
3.1
26
Felipe Guerzoni
3.6
3.5
3.4
3.3
3.2
Ap
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Felipe Guerzoni
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27
on
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28
3.9
3.8
3.7
3.11
3.10
Ap
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Fe el
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Felipe Guerzoni
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G r ada
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3.15
3.14
3.13
3.12
Ap
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Fe el
lip p ab
Felipe Guerzoni
e o or
G r ada
ue
rz
29
on
i
3.16
da
3.17
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3.18
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3.19
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3.20
3.21
2
Review the text preceding melody number 2.16.
3
This melody is from a collection in which Brahms set folk songs as vocal solos with
piano accompaniment. Others will be found on later pages of this text.
30
Felipe Guerzoni
3.22
da
3.23
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e o or
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3.24
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G r
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3.25
Ap
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3.26
31
Felipe Guerzoni
32
3.31
3.30
3.29
3.28
3.27
Ap
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Fe el
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Felipe Guerzoni
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3.32
ada
3.33 e o or
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3.34
t
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Ap
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3.35
33
Felipe Guerzoni
34
3.40
3.39
3.38
3.37
3.36
Ap
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Fe el
lip p ab
Felipe Guerzoni
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G r ada
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3.41
ada
3.42
e o or
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G r
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3.43
Ap
Fe
Section 4. The half note and the eighth note as beat units.
3.44
35
Felipe Guerzoni
36
3.48
3.47
3.46
3.45
Ap
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Fe el
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Felipe Guerzoni
e o or
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3.49
da
Section 5. Duets.
The asterisk (*) indicates the original folk song to which a second line
has been added.
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3.50
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3.51
Fe
37
Felipe Guerzoni
38
3.54
3.53
3.52
Ap
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Fe el
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Felipe Guerzoni
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on
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3.56
3.55
Ap
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Fe el
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Felipe Guerzoni
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39
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Felipe Guerzoni
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Básico 2
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Felipe Guerzoni
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Básico 2
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Ação combinada
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