Eartraining and Sight Singing

LIBRARY UNIVERSITY Or CALIFORNIA

SAN DIEGO

To

My

Mother

pfi********^^

EAR-TRAINING AND SIGHT-SINGING Applied to Elementary Musical Theory

A

Practical

and Coordinated Course

For Schools and Private Study

By

I

WEDGE

GEORGE

A.

SCHIRMER,

Inc.,

t

G.

Copyright, 1921, by G. Schirmer, Inc.

3 | 5

NEW YORK

Printed in U.

30094

S.

A.

ANALYTICAL TABLE OF CONTENTS !

ANALYTICAL TABLE OF CONTENTS ChaptCT

Cont.

PREFACE in

The purpose of this book is to present the Elements of Music a direct and concise manner; to show as simply as possible the

reason for these things; to give the pupil material for practice instruct him how to use this material.

and

Each step is presented in three ways: first, exercises to be written; second, exercises for dictation to be used in Ear-training; third, exercises for Sight-reading. of each Lesson contains the exercises for written Section

A

work; Sections

B and C

the exercises for Ear-training and Sight-

reading.

In class-work it has been found practical to use three fiftyminute periods a week, devoting a period to each Section. Following is the plan of the book, showing the development of the work and the order in which the factors are taken up.

AN ACKNOWLEDGEMENT The author wishes Damrosch as it was developed

to

express

for his confidence in this

in

his

thanks to Dr. Frank

work and

his generous attitude

in the classes at the Institute of

Musical Art;

To Miss Helen W. Whiley, whose cooperation and enthusiasm presenting this subject have made the work possible; also, for

writing the exercises for study of the

first fifteen

lessons in Ear-

training;

To

Thomas Tapper

for reviewing the manuscript and for and valuable suggestions in the arrangement of the material To Dr. Percy Goetchius' excellent book, "Melody-Writing,"

Dr.

;

for the order of presentation of the points in

Melodic Construction.

GEORGE A. WEDGE.

[v]

TABLE OF CONTENTS PAGE

CHAPTER

I.

General Definitions

1

CHAPTER

II.

Measurement

6

CHAPTER

III.

Meter and Rhythm

13

CHAPTER IV.

Keys and

17

CHAPTER V.

Key-Signatures

29

CHAPTER VI.

Rest and Active Tones

34

CHAPTER VII.

The Minor Mode

45

CHAPTER VIII.

Minor Signatures

52

CHAPTER IX.

Intervals

64

CHAPTER X.

Chords

CHAPTER XI.

Melody

of Distances

Scales

101

Regular Scale-Line and Narrow 112

Skips

CHAPTER XII.

Melody Irregular row Skips

Scale-Line

and Nar118

CHAPTER XIII.

Melody

Wide Skips

123

CHAPTER XIV.

Melody

Consecutive Skips

129

CHAPTER XV.

Minor Melody

134

CHAPTER XVI.

Regular and Irregular Rhythms

139

CHAPTER XVII.

Period-Form

145

CHAPTER XVIII. Figure

Exact Repetition and Sequence

CHAPTER XIX.

Modified,

Figure

Repetition

and

Se-

160

quence

CHAPTER XX.

CHAPTER XXI.

Period-Form (continued) Parallel Construction by Sequence and Inversion Setting

155

Words

to Music

fvi]

165

169

EAR-TRAINING AND SIGHT-SINGING CHAPTER

I

General Definitions

Music is an Art, the medium of which is Sound. All art-forms, such as painting, sculpture, architecture and dancing, are means of self-expression. They differ in the medium of expression. uses sound.

The

painter uses lines and color; the musician

Musical Sound or Tone differs from noise in that it has a and fixed number of vibrations per second. Tone possesses four properties Pitch, Duration, Quality and Quantity. Noise is generally lacking in one or more of these properties. There are certain noises which, by their constant repetition, approximate sound; such as those made by a motor or trolley car when regular

speeding up. The Pitch of a sound

is

determined by the number of vibra-

The

greater the number of vibrations, the higher the pitch: the fewer, the lower the pitch. If we stretch a rubber band and use a ruler as a movable bridge, we are able, by tions per second.

plucking the band, to

make sounds

The

of different pitches.

greater the distance from the ruler to the fixed end of the band, the slower the vibrations and the lower the pitch the shorter the ;

distance, the faster the vibrations

and the higher the

pitch.

In

a piano the longer strings produce the lower sounds. The Duration of a sound is the length of time the vibrations continue.

The Quality or Color of a sound is determined by the instrument which produces the sound. It is quality which tells us whether, the tone is that of a voice, violin or piano. The Quantity of a sound is determined by the volume; if it loud or soft. Musical tones are represented upon paper by Notes. notes are placed upon five parallel, equidistant, horizontal is

The lines,

Each line and space represents a definite pitch called a Staff. assigned to it by a key-letter called a Clef, placed at the beginning of and F. the staff. Only two clefs are commonly used, the

G

1

Ear-Training and Sight-Singing

The G-Clef which was t

originally

a Gothic

letter

G,

is

always so - n

f\

placed as to circle around the second

line,

fL. xCp

A

D

D

r

'

If

-.

which determines the pitch of that line to be G; the next space above is A; the next line above is B etc. The space below G is F, the line below that is E, etc. Each successive line and space is ;

named

in alphabetic order until the eighth degree is reached.

a duplication of the first sound and has the same name. The F-Clef, which was a Gothic letter F, is placed with its two dots on either side of the fourth line of the staff. This determines the pitch of that line to be F; the next space above is G,

This

is

the next line K P

is

i!

A,

etc.

The space below F below

p

is

D,

etc.

is

Each

E, the next line

and space

line

is

named

in alphabetic order until the eighth is reached. In piano music there are two Staves used together, with the G-Clef on the upper, which is commonly called the treble staff, and

the F-Clef on the lower, commonly called the bass staff. This is really one large staff of eleven lines with the middle line omitted.

The

The

great staff

eleven-line staff

was

for the four voices

was known as the

originally invented to

Great Staff.

accommodate the tones

soprano, alto, tenor and bass. The center line which all the voices could sing, and the lines

had the pitch C above and below included the sounds within the range of the The eleven lines as a unit group were difficult to read: voices. therefore the middle line, C,

was

later omitted, leaving five lines

above and below. Music requires the use of tones higher and lower the degrees of the

by the use

of lines

staff.

We

extend the

known as Leger-Lines:

in pitch

than

staff for these pitches

..fa

For convenience in determining the location or register of tones and in learning the names of the lines and spaces, we divide the Great Staff into octave groups, thus:

General Definitions

Ear-Training and Sight-Singing

3 Play c

c*

and c

Think and sing c 1

.

1

1 Play c \ "

C

"

/

c

"

.

Think the c occurring between

Test with the piano.

.

think c8

1 Play c "

C

.

"

1

c3

1 Sing c

;

/ think

c.

c2

" c3 / think c8 test on the piano; place on the " c " 1 ,

staff.

c

"

Sing g

1 ;

" "

Sing

f

1 ;

C

think g, test on the piano; place on the " 8

staff.

g 1 g

G

think F, test on the piano; place on the

staff.

Section C.

The following exercises are to be sung when in the vocal range; otherwise they are to be mentally determined and tested. 1 Play c

first

each time; think c 2 - c 1 c - c c - c2

- c8 c - c8 c3 - c

c-C

cl

C-c

1

C - c1

C-c

2

1

Place each on the

Play c

2

first

staff.

c2

-c c - c2

c1

c-C

c2

Place each on the

staff.

C-c C-c

1

first

;

-C

- c8 - c3 8 c c

-C C-c

3

2

each time think g 1 - g 2 l g -g Place each on the staff, g 1 - G 1

1

each time; think c - c 1 2

c

Play g

c2

General Definitions

1 Play e

first

each time; think e l - e 2

e'-e Place each on the

staff,

e1

-

E

e'-e 1 1 Play c

first

each time; think

c-C-c

C - c - c1 c - c -C 1

c c8 2

1

Place each on the

staff,

-c 1 2 c c c

c1 - c1

C-c-c c1 -

Play g

1

first

1

C -c

1

3

G-g'-g

-G

1

g*-g g*-g -g e - E -c

- e8 Play e first each time; think e 1 e e Place each on the staff, e 8 - e 1 e* - e 8

Play

f

1

- e3 -E -e - e1 E e e1 e1 - E - e

each time; think

Place each on the

staff,

e 8 - e3 - e 1

e e2 Ee3

2

F - f - f8 l

fi_f _p 8 * f - f 8 f - f f

f

d 1 - d8 d -D Place each on the staff, d1 - d d 8 - d 1 (etc.) Place a first each time; think A - a 1 - a 2 a - a -A Place each on the staff, a 2 - a 1 - a a8 - a2 - a x (etc.) 1 Play d

first

each time; think

D

d d8 d' 1

1

1

1 Play b

first

each time; think

B - b - b8 1

b -b -B b8 - b1 - b l

Place each on the

staff,

b'-b 8 -^

1

1

1

first

- c1

3 l g - g -g 8 1 g* g g

gi-G -g 1

-c-C

8

gs_gi_gi

G-g -g

C c2

g-G-g

g -g -G 2 1 g g - g 1

staff,

c1

- c1

c8 - c

each time; think g1 - g 8 - g8

Place each on the

c

1

- c1 - c* - c*

(etc.)

e 1 - e8

e e1 e

E e1 e*

CHAPTER Measurements

I.I

of Distances

In measuring distance with a rule, we count from zero. In when measuring the distance on the staff from one note to another, the first note is counted as one and each line and space up to the next note as a degree. This is necejssary, because each tone is one of the series of seven pitches. To find the distance between E on the first line of the treble and B on the third line, E is on the next line is three; A in the one; F in the next space is two; next space is four; and B on the third line is five. music,

G

The

clock-face is divided into five-minute periods so that

may be the more readily determined. For the same reason we learn the relative position on the staff of the third, fifth and eighth tones from a line and a space.

exactness in time

a a If a If a If a If a If If

it is

note note note note note note

is

is

is is

is

is

on a line, the third is on the next line. in a space, the third is in the next space. on a line, the fifth is on the second line. in a the fifth is in the second space. space, on a line, the eighth is in the fourth space. in a space, the eighth is on the fourth line.

If the position of the third, fifth and eighth tones is known, easy to place the second, fourth, sixth and seventh tones.

LESSON

2

Section A. Suggestions for Study:

Write the 8th, 3rd and 5th degrees on the treble or G-staff from C, G, A, E, B and F. (2) Write the 8th, 3rd and 5th degrees on the bass or F-staff from B, D, F, G, E, A and C. (3) Write the 8th, 3rd and 5th degrees on the Great Staff from A

14

o

^

^^

15

r

ft

c 0.1 2

1

n

7

6

10

= 12

11

M

16

15

19

23

^2

I

13

17

20

24

21

^

TT

D F.I

10

25

^

CHAPTER

III

Meter and Rhythm Meter or Time

in

music

is

the regular pulsation which

is

made

by a

feeling of stress or accent followed by a period of relaxation or non -accent. If we are walking and a band plays we immediately

keep time with the pulse of the music. There are three fundamental meters in music Duple, having an accented followed by an unaccented pulse :

or beat. Triple,

having an accented followed by two unaccented

pulses.

Quadruple, having an accented followed

by

three unaccented

pulses.

These three meters correspond somewhat to our breathing. As we breathe, the inhalation corresponds to the unaccented pulse in music, the exhalation to the accented pulse. When exercising, the periods occupied in inhaling and exhaling are of approximately equal

This corresponds to duple meter. When we are relaxed is from twice to three times as long as the inhalation. This corresponds to triple or quadruple meter. It will be seen that, in each of these, the breathing begins with the unaccented beat, or up-beat. This accounts for the fact that it is more natural to begin a composition on the up-beat. Music generally ends on an duration.

or asleep the exhalation

accent.

Though this regular pulsation does not vary, there are tones held longer than the pulse or several tones played upon one pulse. To accomplish this a definite mathematical value must be assigned to each pulse. Rhythm

in

music

is

the arrangement of tones of different value

within the meter.

When rhythm

is

When as

notes of equal value are used throughout a phrase the Uniform. the value of a note is greater than one pulse, it is known

Added Beat.

When the value of a note is less than one pulse, it is known as a Divided Beat. Divisions of note- values are generally by two or a multiple of two.

A

triplet is

a group of 3 equal notes of the same value as the The numeral 3 is written under the group;

one-half subdivision. e.g.,

Ear-Training and Sight-Singing

14

A

quintuplet is

a group of 5 equal notes The numeral 5

of the

the one-fourth subdivision.

group; e.g.,

Modern

J a

half; j

second;

j/JW notation employs the following notes: o a whole; a quarter; J* an eighth; ^ a sixteenth; J\ a thirty-

a

J{

The curved

The round

sixty-fourth.

The

as the head.

heavy

part of the note

drawn to the head of the note attached to the stem is the hook. line

line

connecting the stems of notes

line

same value as

written under the

is

is

is

A

a beam

called

is

known

the stem.

:

straight,

/'J J J

To show we

passage of time in music when there is nothing to be use symbols known as Rests, which correspond in value

played, to the notes. "

" I

l|

A

*

I

Whole

Half

I

Quarter

T

Eighth

Dot after a note increases

three-fourths:

J. a

J>

?

I

I

J

I

^^1

Sixteenth Thirty-second Sixty-fourth

its

value one-half; a double dot,

J-J

The curved

line connecting the heads of two notes of the of which is not to be restruck, is called second the same pitch,

a Tie:

J

The in

any

J>

stressed

order.

and relaxed pulses

of

a meter

may

be arranged

A Bar is drawn across the staff to show the accented

pulse of the meter.

The group

which forms the meter

Two figures,

is

of stressed

and relaxed pulses

a Measure.

placed after the clef at the beginning of the

staff,

one above the other, indicate the meter and rhythm. The upper figure indicates the meter or the number of pulses in a measure. The lower figure indicates the rhythm or the kind of note which receives a beat. This is the Metric Signature, or Time-signature.

Thus

2 indicates

that there

are

two beats

measure, and that a quarter-note receives one beat.

in

each

Meter and Rhythm

Half, quarter

15

and eighth-notes are commonly used as units of have 2/2, 2/4 or 2/8; 3/2, 3/4 or 3/8; 4/2, 4/4

We may

Rhythm. or 4/8.

LESSON 3 Section A. Suggestions for Study: (1) Write four measures of 2/2, 2/4, 2/8, uniform in the first three measures and with

**

|JJJJ

note) in the fourth measure.

making the rhythm an added beat (one

Write four measures of 3/2, 3/4, 3/8, making the rhythm (2) uniform in the first three measures and with an added beat (one

|JJj>c)JJiJjJ

note) in the fourth measure.

n

Section B. In training ourselves to determine the meter and hear the rhythm necessary to maintain an even pulsation or beat. Count 1-2, 1-2, 1-2, 1-2, and try to keep a steady rate of speed (tempo). Walk at a steady tempo, a step to a beat, counting 1-2 as (1)

it is first

A

you do so.

metronome is invaluable as a test and a help in this as the piano is in the practice of pitch. practice, just the beat 1-2, 1-2, with a pencil, using the syllable (2) Tap Tap the beat la; intone quarter-note values (sing on one pitch). and intone half-note values; hold the tone until you have tapped two

beats.

the beat and, using the pitches of the following exercises: values the note(3)

Tap

3

Two

(

i.e.,

j



beats in a metsnre. ) b..t

I

J J

.

J J

.

JJlJ

I



i

(2 Two

*

J J

i

J

J J j j J

.

I

i

J J

(d,

J

I



I

2

3

4

b

6

7

In the same way, if a scale is constructed from F, the pitches are F, 1; G, 2; A, 3; B, 4; C, 5; D, 6; E, 7; F, 8. In a major scale the half-steps must lie between 3 and 4, 7 and 8. From A (3) to B This (4) is a whole tone, so the pitch of B must be lowered to Bb. leaves a whole tone from Bb (4) to C (5), as is needed from 4 to 5.

Keys and

There scale

is

is

19

Scales

a half-tone on the staff from E (7) to F (8). The major constructed in the same manner from every pitch.

Besides numbers, names may be applied to the tones of the As scale-tones are tones of a Key-family and are related

scale.

members

to the head of the family, or Key-tone, so the named as they are related to the head.

of the

family are

_The head of the C family eighth tone from the Tonic different tones of a key, the related tone differing in pitch.

C, and is named thej Tonic. I The the Octave. When seeking the fifth was found to be the nearest This is the Dominant, is

is

?' -fc

placed on the staff midway between C and G, it is E or the third, which is the Mediant or middle tone. As C is on the line, the fifth or Dominant is on the second line above; If

a tone

is

'

,

Si

.

tnc-'

(4)

Learn the terms applied to scale-steps. Learn the names of the pitches of 1, 3, (Example:

keys.

The 5th

of

is

5, 8, of

D is A; the 3rd of Bb

is

D;

above eight.

the above etc.)

Arrange the following pitches in the key of C in four measures, using a half -note as the rhythm; the rhythm uniform for the first three measures; an added beat in the fourth measure; (5)

set the proper metric signature after the clef:

1534358 1353582878 Section B. (1)

Sections of the Scale between

1, 3,

5

and

8.

Method

of

practising the following: (a) Play 1, 3, 5, 8 from C. (b)

Think the sound

of the first group.

Sing by number, next by letter. as a of accuracy. it test (d) Play on staff in both clefs. (e) Represent this method with each group. Then sing through the Repeat entire list, as written, reading from the representation on the staff. (c)

it, first

1 2 3

123 1235

1231358 12313 12353

12358 1233558

1235358

13

12351

and 3 2

1

123321 1235321 123585321

1321

132135 132151 13215321 15321 18321

v'-

Keys and Scales

:

3 4 5 and

35

345

34531 34538 3451

34-5

1

5

34581

543

34583

3458 34518 34513

34

:

31345 -

3534.5

345543 385T43

5 8 5

,:

54353 35435

i

38345

5 6 7 8 and 8 7 6 5

5678 15 56785 5678 56781 585678 5 $7813 535678 56783 5678531 5 8

.;;.,/

5678835 5678538 8385678 5185678 5 1 35678

876535 876538 858765 5 8 ? 65 31 838765 876531 81876 5 58 765

538765 518765

These groups should be practised daily, using C, as first tlay; F, as 1, the next day; and G, as 1, the day after. (2) Exercises

NOTE.

Read

in Sight-Singing:

exercise mentally before singing.

10

1,

the

Ear-Training and Sight-Singing

28

27

F.I

O.I

Section G. After some practice, study the groups of Section the following manner, using, for example, 1, 3, 4, 5: (a) Sound C on the piano; think and sing 1, 3, 5, 8. (1)

(b) (c)

(d)

B

in

Think and sing 1, 3, 4, 5, by number and letter-name. Sound G; call it 1. Think 1, 3, 5, 8. Think 1, 3, 4, 5; sing and test on piano. Sound F; call it 1. Think 1, 3, 5, 8. Think 1, 3, 4, 5; sing, and test on piano.

Keys and

Scales

23

Practise these groups as follows:

(2)

(a)

(b) (c)

(d) (e)

Sound the key-note. Think 1, 3, 5, 8; sing it. Recite the numbers of the group; try Sing the numbers; test on piano. Recite and sing letter-names.

to think the sounds.

These groups should also be used for dictation. Have someone help you by playing them on the piano. They should be dictated as follows: (f)

(g)

(h)

Play 1, 3, 5, 8. Play the group. The listener should sing the group in order to memorize it, using the syllable la; then he should write down the numbers from memory, and finally place the pitches on the staff; use both clefs.

(i)

Compare what was written with what was played. If there is a mistake, sing the correct and incorrect versions several times until you realize the error.

12345 Cxi

| ^

o e

I

o

" -

I

"

8

9

12

-y'

" o

I

o

I

6

-JT 10

13

.r

10

Ear-Training and Sight-Singing

24-

00 i

o

o

I '

o "

\ '

" " o

I '

o o "

I '

^

o

* I '

10

'I 12

11

13

r*i

10

"^ O-

=_*__,

Keys and

Scales

(3) Study 3/4 meter exactly as you studied 2/4. Count 1, 2, 3; 1, 2, 3; 1, 2, 3; 1, 2, 3, maintaining a steady

tempo. Sing a tone to each beat; also walk a step to each beat. Sing one tone and tap three beats. This sound is represented thus:

).

Tap / (b> ]

*lMO .

Jn j.j j I.TC.QJ J3iji j ij^jij j i. ..*.' u

j ij

J

J3iJ7.J3.i4

Indicate

j

Contrast with

(Arm

starts Down-up.)

3

i

Down-up, down-up

j

j

j j^.^^.j ^.J"

in 3/4.

(down-right-up) (up-down-right)

Intervals

77

Intone the rhythm and beat the meter.

JJJJJJ.J J >J J j J J3.J

J

J ij

J'

(4)

ii

Contrast with .

j j lj

j

JJ J J]JJJ J

-

JJJJ3.J JJ3.J J J j.jjj -J3J3J3.JJ J jj;J3.J J J3.J3J9J]

.

JiJ

J J

J

jij j j J j.J J J J.J J3.J

J

J

J3.QJ

J J

of D.

In beginning the study of a new key turn to any of the groups of numbers in the preceding pages and practise singing them, using the letter-names of the new After singing a group, write

both

For practice of the new skips 8 6 Think 1358. Play d .

8565

it

on the

staff in

84

3,8 2

1.

clefs.

1

Sing

J J

J10.J J

key.

(b)

J.

J J3.J3J3J3

The Key

(a)

J-

J3.JJJ

JJJ3J J J3J jjj .J3J3J3J JJJ3.J

J J J

5,

Ear-Training and Sight-Singing

78

V

.

D |

n

79

Intervals

Phrases for Dictation:

(2)

(a)

Have one

of the melodies beginning

on the down-beat

dictated.

Decide meter.

(b)

Represent the pulses and outline the rhythm. (d) Write the numbers. (e) Place on the staff. 1 (f) After the melody (a) has been played, the melody (a ) should be played. Contrast the two, and then (c)

write (a 1 ) on the

The up-beat

NOTE.

is

breathing; the accented pulse being accented pulse as the inhalation.

j

j

j

I

j-j

n

u

staff.

and recognized when

easily felt

I

j

felt

I

i

i

j

it is associated with as the exhalation, breathing; the un-

i

i

I

Ij

j

ij

n

I

j

|=p|

j-j

*~W

j

JJ

I"

m

\J

=tt

(3) Exercises

in Sight-Singing:

i

1

"JIJJ/jlj

^

Ear-Training and Sight-Singing

8C

2 f^i

t*

y

j

J

'JJJ

rc

J

rr . r

u

r

9

10

g

r

r

j

jj

j

j

u

LESSON 14

Diminished and Augmented Intervals If

a Perfect Interval or a Minor Interval is made one half-tone There are diminished it becomes a Diminished Interval.

smaller,

primes, 2nds, 3rds, 4ths, Sths, 6ths, 7ths and octaves. If a Perfect Interval or a Major Interval is made one half-tone There are augmented larger, it becomes an Augmented Interval. primes, 2nds, 3rds, 4ths, Sths, 6ths, 7ths and octaves. To name an interval, regard the lower tone as the Tonic of a major scale. The number of degrees from the lower tone to the

higher gives the size of the interval.

If

the upper tone agrees with

81

Intervals

the major scale of the lower tone, the interval will be either major or perfect. If it is one half-tone smaller than a major interval, it is called minor; if one half-tone smaller than the perfect or minor interval, it is diminished; if one half-tone larger than the perfect

or major interval,

it is

augmented.

Compound Meter Duple, triple and quadruple meters are known as simple meters. rhythms used in 2/4, 3/4 and 4/4 are made by adding the pulses or dividing a quarter-note by two or a multiple of two with the exceptional subdivision into three or five. If a constant triplet All

subdivision is desired, the

A six-pulse

meter

is

Compound Meters are

used.

a duple meter, each pulse divided into

triplets:

List of

Rhythms: 3

j

In|_J

J

J-

J.

J

j.

J"

J

J

In

J>J

_ /T"3

j""T"3

j

J-

A

nine-pulse meter

triplets:

A

jL

-1L

ji.

is

All

twelve-pulse meter

into triplets:

recur in 12/8.

a

is

triple meter,

each pulse divided into

rhythms used

in 6/8 will recur in 9/8.

a quadruple meter, each pulse divided

r4n rTH rrn rnn

A11

rhythms used

in

6/8 will

Ear-Training and Sight-Singing

Section A. Suggestions for Study: (1)

(2)

Erect (using accidentals) an Augmented 8th Diminished 5th Minor 3rd Diminished 4th Augmented 6th Augmented 4th Minor 7th

from D, A, F,

C and

E.

Erect (using* accidentals) a Diminished 8th

Minor 2nd Diminished 3rd Perfect 4th

from C, A, E, C# and F#.

Augmented 5th Minor 6th Diminished 7th

s

In the exercises given above the augmented and diminished inIf a given interval tervals are to be written using the given tone as lower tone. is to be made augmented or diminished, it is generally made augmented by raising the higher tone; made diminished by raising the lower tone. The terms raise and lower are used instead of sharp and flat, as a natural is also used to raise or lower the pitch of tones. If the lower If the higher tone of an interval is raised the interval is larger. tone is raised the interval is smaller.

NOTE.

^Higher tone

'Higher tone

Lower tone

"Lower tone

If the higher tone is lowered, the interval becomes smaller, tone is lowered, the interval is larger.

(3)

"Higher tone

"Higher tone

.Lower tone

7Lower tone

Name rt

If

the lower

the following intervals: |

Write examples four measures in length, of 4/4 and 6/8 meters, using added and divided beats. The rhythms may be copied from a composition. (4)

Intervals

83

Section B. Play the following: Sing each, singing the lower tone first using the number and letter-names. If played in a register impossible for singing, think the separate sounds. (1)

(a)

(b)

(c)

3

Name

the interval.

Ear-Training and Sight-Singing

7

85

Intervals

10 J

r r

f

f

i^pJE 12

11

if 13

i

rj

[j'if

j

i

14

>g J 15

16

rr

ir

17

18

j ij

r

ir

i

j j

i

20

19

r

if

^

M

j

i

u BJ

LESSON

j j j

ij

^^7

15

Section A. Suggestions for Study: (1)

Erect, using accidentals, an

Augmented 2nd a Major 6th an Augmented 5th a Diminished 7th a Minor 6th a Perfect 4th

(2)

Minor 3rd an Augmented 4th

Erect, using accidentals, a

a Diminished a Perfect a Diminished a Major (3)

from G, B,A, Bt, Gb.

Name

7th

5th

2nd

from Cb, B, G, A, Eb.

7th

the following intervals:

Write examples, four measures in length, of 4/4 and 6/8 meters, using an added beat and a divided beat. (4)

Ear-Training and Sight-Singing

86

Section B.

The Minor Third

(1)

(a)

Play

(3-5).

1358 from C.

Think Think

1335.

Name

the interval.

Think 3

5.

Test.

Sing.

Write on

Sing 3 5.

1.

staff.

1358

from G, F, D and Bb, and Play minor 3rd in each key as outlined above. (b)

Play the following:

.g>

B

8

3 to 5 in (c)

(d)

(e)

Play each.

"

first,

Each

it 5.

calling it 3; then the of these minor 3rds is

a major key. Think the tones as 3

is,

at

it,

and practise

i

I

1

1|

Sing each; the lower tone higher tone, calling

I

I

study the

5.

Sing

If

1.

this

you may play 1, but try to think constantly until you can do it easily.

first, difficult

Play the following notes: E, A, B, F#, D. Call each Think 3 1. Place on the staff. Name. in turn 3. Think 3 5. Place on the staff and name. In each of the following groups play the open note, think and sing the black note.

1

(2) 4/4 meter, divided beat. In the following exercises intone the rhythm and tap the beat.

j

j

j

j

(b>

J

J

J

J

jj/3/3iijjj en

/D

J

J

J. <

J

J

J

,

J

J

j

^

JJliJJJ/3

-^JIJ

/3J"3id

j

ijjnn J

>

j

,/3/3J J ,/3/JJ j /jj /j j nj

i

J

.J ,J

/3J /3J J

J

o j

j n

J

II

Intervals

87

Melodies for Dictation and Singing:

(3)

J-ft

I

SP-FR

|

J J J

|

rj

J

IJ3J

iri>

10

Section C. (1)

The Major

(a)

Play

Sixth (5 3).

1358 from C.

ThinkS Place on

8;

staff.

5 8 3; 5 3. Sing 5 3. Name the interval.

Test.

Ear-Training and Sight-Singing

88

1358

from F, G, D and Bb, and study the major 6th in each key as outlined above.

Play

(b)

Play the following:

o ffp

the lower tone first, calling it 5; then the tone, calling it 3. higher 5 6th is to upper 3, decide the key of each. If each (c) Play again. Sing the keynote (8) of each 6th.

Sing each;

(d)

Play the following notes: G, C, D, A, F. in turn 5.

(2) Exercises

j j j

Think

Call each

Place on the staff and name.

5 3.

in Sight-Singing:

JTryji; rrrr^

|

'7J

J

i Weber 3

r r

&

J* IfJJJJI^JJJ

I

II

J

l

dj II

r

r r

^n

r

ir

rr

p

j

Njj.Njj-r

89

Intervals

LESSON 16

The

Inversion of Intervals

Intervals are inverted

by placing the lower tone one octave

higher.

The interval C to E is a major 3rd, as E is the 3rd step of the The inversion of C to E is E to C. The interval from E to C is a minor 6th, for C# (not C) is the 6th step of E. In the

scale of C.

C to D, inverts to a minor 7th, D to C. C to F, inverts to a perfect 5th, F to C. The perfect 4th, C to inverts to a perfect 4th, G to C. The major G, perfect 5th, C a minor to inverts to 6th, A, 3rd, A to C. The major 7th, C to minor B inverts to a to C. The minor 3rd, C to Eb, 2nd, B,

same manner the major 2nd,

The

inverts to a major 6th,

1UJ.8 Min.

7th,

MJ.2

Eb

Mto.7 P.4

to C.

P.6

P.6

P.4

M.J.8 Min.9 M.j.7 Mln.2 Mln.8

The augmented 2nd, from C to D#, D# to C. The diminished 5th, B to

mented

4th,

F

MJ.

inverts to a diminished

F, inverts to the aug-

to B.

Aug. 2

Dim. 7

Dim. 6

Aug. 4

From the above may be made the following table: Upon inversion, a Major Interval becomes Minor. a Perfect Interval remains Perfect. an Augmented Interval becomes Diminished. " a 2nd becomes a 7th. a 3rd becomes a 6th. a 4th becomes a 5th. NOTE. Both of these tables read from either side. a minor 7th; a minor 7th becomes a major 2nd, etc.

A

major 2nd becomes

Ear-Training and Sight-Singing

90

Inversion of intervals saves time in naming intervals. For example, if the interval C down to E be named, it is much easier to

think of it as a minor 6th, the inversion of the major 3rd C to E, than to think in the key of E, etc. The intervals down from 8 are the inversions of the intervals

up from 1. The intervals up from 1 are major and perfect. Down from 8, minor and perfect; 8 to 2, a 7th; 8 to 3, a 6th; etc. Section A. Suggestions for Study: (1) Learn the table of Inversions. (2)

name the

Invert and

TO H..

y *U

I '

^p

I '

^ c.

following:

" I

It..

*

IJ* *"

I,

" I

1 I

fr"

"1 "

"'

1 I

I

o

xy

I

o 8

I

l"

\^

"

I

Section B. For practice of the skips 52, 25. Think 1358. (1) Play Bb. Sing

8258 3258 1251 3251 531251 51251 53251

85828 8528 86528 15321 1521 5121 521

5658258 5651251 8535523 3254358 1356523

15251 85258 35251 35258 (2) 4/4 meter.

Up-beat.

Arm-movement

Tap the beat and intone the rhythm. J JJ.JJJJ.J J J ,o nContrastwithJ.J Jj.jjjj.J JJKJH "J.JJJJ.J JJJJJJ.J.M (b>jjjj.J jjJjjj.o'H -

JJ.JE3JJ.J JJ.O-)JJ3JJ.J JJJJ.Jjm o 1/73/73 J J*

4

J-

/73

ij.

&

J-

J-

.J

e

-rT3J^.J73J^./73J ^

?

J-

e

J

JJ>J.

(2) Exercises

J J>J

1

.i

H

.J73JT3

iJTlJij

i.

^J.

.j

in Sight-Singing:

i

-O-

^ ft

u

" '

r

\

IT"

'I

J

rt

p

I4i^ ^-^ '

s ff3

'

'.

rnrr

iffr iri'tr/ir

S

99

Intervals

?M

p r

Pif

r

j

**t

rff

ii

r

r

i[-~r ir j?p

n'

l?r

^^

if 10

.

r

y r

yl J'U

r

^

PiQrr^'

M ^r pj^j^

19

Pir^'

-f

1^

^'

8

Ear-Training and Sight-Singing

100

20 7

j.

CHAPTER X Chords

A

Chord

one above the other be sounded at the same time. The tone upon which the chord is built is the Root of the chord. The next tone is the third, the next the fifth, the next the Each tone is named from seventh, the next the ninth* of the chord. is

three, four or five tones placed

in thirds; all the tones to

its

interval-relationship to the root of the chord. three-tone chord is a Triad. four-tone chord is a Chord

A

A

of the Seventh (seventh-chord). ft

"

""Uoot

1

~~

'

j

i

Triad. Chord of the 7'h. Chord of the

9'J>

A five-tone chord is a Chord of the Ninth. A chord may be built upon each tone of a key. A chord is named from the degree of the scale which the root

its root.

If

Chord

or Tonic Chord;

(I),

Dominant Chord;

is

the if

is used as degree of the scale, it is a One the fifth degree, a Five Chord (V), or

first

etc.

Roman numerals

are used as symbols of chords.

Most chords

are triads with a duplication one octave higher of one of the tones, generally the root. The tonic chord is 1, 3, 5, 8; the dominant chord, 5, 7, 2, 5; the subdominant chord, 4, 6, 8, 4; the two-chord

2, 4, 6, 2;

the six-chord,

1 i

6, 8, 3, 6;

the three-chord,

_

" v

n

rv

3, 5, 7, 3.

vi

m

rvn)

v7

The I, V and IV chords consist of a major 3rd and a perfect 5th from the root. These chords are major chords. The II, VI and III chords consist of a minor 3rd and a perfect 5th from the root. These chords are minor chords. The VII chord consists of a minor 3rd and a diminished 5th from the root. As this chord upon seven is imperfect, i. e., the only chord with a diminished 5th, and is included in and used as the seventh-chord built upon the dominant, it is not considered, by most theorists, as an independent triad.

A

chord

is

major or minor according to the

*In this connection the 9th

is

an independent [101]

interval.

size of its third.

Ear-Training and Sight-Singing

102

LESSON 18 Section A. Suggestions for Study: NOTE. As chords are used

in this

book only

in

broken form in melodic

construction, not as in four-part chord-writing, these exercises are to be written in the treble, in close position.

Erect the

(1)

I,

V,

II,

IV, VI, III chords in every major key,

using signatures. C major Example:

|

|

in a major key. The I, V VI and III chords are minor. (3) Learn to recite rapidly the numbers of the scale-degrees which make up the chords. Example: The I chord, 1, 3, 5, 8; the (2)

Learn the quality of the chords

and IV chords are major; the

V

chord, (4)

II,

5, 7, 2, 5; etc.

Reduce the tones

in

each measure to thirds and

name

the chord:

1

Section B. (1)

Review the

Add

intervals of Lesson 16, Section C, page 92.

the following:

g (2)

(a)

(b)

arpeggio:

Play the tonic chord of every major key. Hold down the keys (of the chord) and sing as an

1358; 8531.

(c)

Hold down the keys and sing, and octave.

first

by number, then by

letter, the root, third, fifth (3)

Melodies for Dictation and Sight-Singing: 2

Chords

103

.

IJ.

it

.

In outlining the rhythm j

This 2

is

JUjgT^TT^I

lJ*'lUJJ.

10

S

I

H

write a 2 under the dot.

J^ in

the only combination of two notes on a pulse in 6/8.

would be outlined

The

figure

j

*

*i

,S i

J>

is easily

*i i

lv-*"

Number

*

recognized as a limping or lame

figure.

Section C. (1) It

t*

Practice of the up-beat in 6/8 meter.

Tap

Arm-movement.

the beat and intone rhythm. ,

j.

J.NJEJ.NJ.

.

Sight-Singing:

r

^

i

'ij

j^

.-

Ear-Training and Sight-Singing

104

m

i.m

if

i

..

i

m

E.

German

i=fc

A.S. Sullivan

E

if

p

in;

nm

ILU

L4j" ip

k

i

-n

iCj

f if

12

=g=f?=

13

14 >

JJ1

Jtl Ir

u

j

^ j j

i

Mendelssohn 15

r J \



f.

7

8

7578

7

6

A

6

4

3

LESSON 21 Section A. Suggestions for Study:

each major key, using 3/2, 3/4, 3/8, 4 4, 4/2, Rhythm uniform, in the same manner as in the preceding lesson, but forcing the active scale-degrees in (1)

Write a melody

in

6/4 and 6/8 meters.

[118]

Melody

Irregular Scale-Line

the wrong direction,

8765;

i.

119

5678;

e.,

and jumping a

and Narrow Skips

using the progressions 345; up from 6 or 4, and down from

third

7.

Section B.

Review the Intervals

of Lessons 16, Section C, page 92; Section B, page 107; and 20, Section 18, Section B, page 102; 19, (1)

B, page 114. (2) Absolute Intervals

:

Perfect Fifth

and Perfect Fourth.

Play each of the intervals of (a) and sing 1 5 Play the lower tone, sing the upper. Play the upper tone, sing the lower. (b) Play each of the intervals of (b) and sing 5 8 Play the lower tone, sing the upper. (a)

(Perf. 5th).

(Perf. 4th).

Play the upper tone, sing the lower. (c) Play each of the intervals, of (c) and determine if it is a perfect 5th or a perfect 4th, testing if it is 1 5 or 5 8. (3) (a) Review the chords of Lessons 18, Section B, page 102;

page 107; and 20, Section B, page 115. (b) Play the Dominant Chord, followed by the in Chord, every Major key. 19, Section B,

'

Major key

i (c)

ij

i'

fi

I

5 |

Sing in every key, with numbers and letter-names:

5725, 1358; 5275, 8531;

(4)

Tonic

5725, 8531 5275, 1358

Melodies for Dictation and Singing, containing progres-

sions allowed in Lesson 21, Section

A: 2

1

[/[

EJ

u

n*

r if r

i

ir

rr

Ear-Training and Sight-Singing

120

TI M

fl

tt

n

j

.

1

1

rr irr irrr

rir

j |J

JJ^J

10

UJ-*^TJJJ J- M-^JN MJJJ.

H

ip if QJ-

i

Section C.

Rhythmic

(1)

J

Drill.

1771 m{

J

.j"3

i

.

,

.

J

n

J773

J

J

.j (r>

J



j.

n

tji

/"I

J

J

J-

iJJ

J

i

J-

iJ

J

J

j (a)

-n

Beat the meter; think the rhythm, then intone the

rhythm. (b)

Walk

the meter, then intone the rhythm.

Melody

(2) Exercises

Irregular Scale-Line

in Sight-Singing:

i

Pf

J ft

D

r ft

it

3

..Hir

r

ir

rfri

and Narrow Skips

121

122

Ear-Training and Sight-Singing

CHAPTER

XIII

Wide Skips

Melody

is a wide skip. Skips of all inis a an octave rare. made, though skip beyond All skips must be between tones of a chord. The jump from 1 to 7 or 7 to 1 is not good, as there is no 7th in the I chord. The skip from 3 up to 7 or from 7 down to 3 is not used, as it is part of the III chord, which is so far from the key-centre that these skips sound as if in a new key.

Any

skip larger than a third

tervals are

After every wide skip the melody will turn and progress in the other direction, preferably along the scale. It may continue along the scale in the same direction for two or three tones, and then turn.

Wide

skips are better

made

within the measure, and not

over the bar. In jumping to active tones it is better to jump from above to 7, and from below to 6 or 4, so that the melody will turn after the wide If a wide skip leap and at the same time resolve the active tones. is made to 7 from below, or to 6 or 4 from above, the melody may turn and leave the active tone unresolved, as the necessity for turning after a wide skip counteracts the demand for resolution of the active tone.

and

A

wide skip

to

any tone except the progressions given above (17 and 3

The

may

be made in either direction from a

natural direction in which to

the direction of their resolution.

from 6 and 4 are

A

skip

be made down from

7 to 5,

A slap may

All skips

7).

active tones is in

up from

7

and down

correct.

may

sound well are

jump from

rest tone,

and

7.

The only

skips

which

7 to 2.

be made up from 4 or 6 to any tone.

The most

beautiful melodies possess skips of a third, an occasional wide skip, repeated tones and a predominance of scaleprogression.

The resolution of active tones may be deferred, as long as they are resolved after three or four tones. We may progress if it is followed by 3, 2 3 or 1 2 3. Also 5 or or 5 6 7 5 3 2 8.

6758

r

123

]

545 567528,

Ear-Training and Sight-Singing

124

The

ear will wait during the passing of three or four tones for resolve, but will never feel satisfied unless it

an active tone to

eventually does resolve.

Thus:

JjJjiJjJjjiJjJjjj JJ

J

ii

g>

[

riJJfJrriJJpj rrpi

66768667628 6676321

6463 64623 646123

LESSON 22 Section A. Suggestions for Study: (1)

in each major key in the same manner and use an occasional wide skip.

Write a melody

is in previous lessons

Section B. (1)

Review the Intervals

18, Section B,

page 102;

of Lessons 16, Section C, page 92;

19, Section

B, page 107; 20, Section B,

page 114; and 21, Section B, page 119. (2)

Absolute Intervals.

The Minor

6th.

Play each of the intervals of (a) and sing 3 8 (minor 6th). Play the lower tone, sing the upper. Play the upper tone, sing the lower. (b) As the minor 6th is often confused with the perfect 4th, play each of the intervals of (a) followed by the perfect 4th in the same key, as outlined in (b). Sing 3 8 (minor 6th), 5 8 (perfect 4th). Compare the difference in quantity and quality. (c) Play each of the intervals of (c) and determine if it is a (a)

minor 6th or perfect 4th, testing if it is 3 8 or 5 8. (3) Review the chords of Lessons 18, Section B, page 102; 19, Section B, page 107; 20, Section B, page 115; and 21, Section B, page 119. (4) Melodies for Dictation and Singing, containing progressions allowed in Lesson 22, Section

A

and JJ53

ln

f

and

f

Wide Skips

Melody

JN& V J5./T1

J

-

.

J

J

J

J9iJ^

J

J9J.

J

(2) Exercises in Sight-Singing:

^i^i?^

i

g)Mr

-!

i_uf

r

S; ^

j

i

N

^

^

i

r3lr j

j^j

N

^

r^

r

^^

Ear-Training and Sight-Singing

144

^ j

j

jjJ

j,i

kij

j^

J

sf

p

\

J)

r

(i

icjj-

"^!P '-{j-"

r

T

J J

^?

m i11 12

CHAPTER XVII Period-Form

A

phrase in music corresponds to a simple sentence in English. In English we often use a compound sentence, which is in reality two sentences, one qualifying the other, each expressing a thought. In music a Period corresponds to this form. Period, when regular, consists of two phrases, each usually four measures long. The first is the Antecedent Phrase, the second

A

the Consequent Phrase. A period begins as any phrase, but the antecedent phrase ends with some tone of the V-chord, 5, 7 or 2, instead of 1 or 8. This gives the effect of being incomplete, and makes a Semi-Cadence. The consequent phrase ends with 1 or 8, a Perfect Authentic Cadence. A Period is in Parallel Construction when at least the first

measure of the antecedent and that of the consequent phraseare alike. There are three stages of parallel construction: (1) When the first three measures of the consequent phrase are like the first three measures of the antecedent phrase, the cadence alone being changed. (2) When the first two measures of the antecedent and the

consequent phrase are the same. (3) When the first measure of the antecedent the first measure of the consequent phrase.

is

the same as

LESSON 26 Parallel Construction

Section A. Suggestions for Study:

For each (l) Construct six periods in parallel construction. antecedent phrase make three consequent phrases, one of each stage.

(See model below.)

Ear-Training and Sight-Singing

146

Section B.

Review the Absolute Intervals of the preceding lessons. Continue the study of intervals m minor as outlined in Lesson 25, Section B, page 142. (3) The intervals used in a key have been between the tones 1358, which is the Tonic Chord. The Major 3rd, 1-3, from the Root to the Third of the chord. The Minor 3rd, 3-5, from the Third to the Fifth of the chord. The Major 6th, 5-3, from the Fifth to the Third of the chord. The Minor 6th, 3-8, from the Third to the Eighth of the (1) (2)

chord.

The The

Perfect 5th, 1 - 5, from the Root to the Fifth of the chord. Perfect 4th, 5-8, from the Fifth to the Eighth of the

chord.

Harmonic, and most Melodic Intervals, are parts of a chord

and sound

in relation to the

Since the

content

is

I,

V

Root of the chord.

and IV chords are major chords,

their interval

the same.

As these chords are used in composition, the same intervals occur between different scale-degrees. In the V, or Dominant Chord: 3rd, Root to Third, from 5th-7th degrees Minor 3rd, Third to Fifth, from 7th-2nd degrees

Major

6th, Fifth to Third, from 2nd-7th degrees Minor 6th, Third to Eighth, from

Major

In the IV, or Subdom. Chord:

from the 4th-6th degrees

from the 6th-8th degrees from the lst-6th degrees from the 6th-4th degrees

7th-5th degrees Perfect 5th, Root to Fifth, from

from the 4th-8th degrees

5th-2nd degrees Perfect 4th, Fifth to Eighth, from

from the lst-4th degrees

2nd-5th degrees All these intervals are consonant intervals, or intervals which

are complete and do not need resolution. As they occur in the I chord there is no question as to their position in the key. As different chords are used and four or five intervals occur in a chord, other than the I chord, there is a danger, because of their consonant

Period-Form

147

quality, of losing the feeling of the active

degrees, or the key-centre.

and

This cannot happen

inactive

scale-

the change of chord is recognized and the position of the intervals in' the chord For example, in this series the first three intervals, a is known. Major 3rd, 1 3, a Perfect 5th, 1 5, a Minor 6th, 3 8, are known to be in the I (tonic) chord, as music generally begins with the I chord. if

8

The next interval might be heard in the following ways: If the new (a) As a Major 3rd, but not in the I chord. chord is recognized as the V chord, its position is known to be from the 5th to the 7th degree of the scale. (b) If the scale-degrees 5 and 7 are recognized, it is known to be a Major 3rd and a part of the V chord. (c) The 7th degree might be recognized as the upper tone of a Major third, so the interval is from the 5th to the 7th degree and in the

V chord.

The next interval might be heard: (d) As a Perfect 5th and in the same chord as from the 5th degree to the 2nd. the scale-degrees 5 and 2 are heard, it

the preceding

interval, therefore If

(e)

a Perfect 5th in the

is

known

to be

V chord.

more

This likely to sound I to 5, or Root to Fifth. be a part of the same chord as the preceding interval, so it could not be from the 1st degree to the 5th, but from the Root to the Fifth of the V chord, and from the 5th degree to (0 It

is

interval is felt to

the 2nd.

The next

interval,

a Perfect 4th,

will

undoubtedly sound

like

the next, a Minor 6th, 3 up to 8. Unless we realize that these intervals are in the same chord as the two preceding and sound in relation to the root of that chord, the key-centre is lost. 5

to

up

1

;

If they are known to be a Perfect 4th, from the 5th to the 1st (or chord (not Root), and a Minor 6th from the 3rd to the 8th of the of the scale), they are easily placed in the key.

V

The last interval is heard as a Major 3rd in a different chord. As only the I chord can follow the V chord, the interval must be from

1

(4)

to 3.

Learn the positions of the intervals in major chords, i. e., major 3rd from Root, Third, etc.

Ear-Training and Sight-Singing

148

(5)

V chord,

Learn the position in the scale of the intervals i. e., Major 3rd from 5 to. 7, etc.

In each series the I chord. (6)

(c)

(b)

(a) is in

(c)

the

I

chord, (b) the

(b)

(a)

(c)

V

in the

chord, and

(a)

5 (b)

(a)

to)

(a) Practise (a)

(b)

as before,

(b)

(c)

(a)



-n

-n

-

J

j.

J

j J

Ear-Training and Sight-Singing

150

(a>

J 4

Period-Form

151

LESSON 27 Contrasting Construction

A phrase

Contrasting Construction when the Consequent from the Antecedent. Though the consequent be different, it will always be related to the antecedent

Period

Phrase

is

may

in style

is in

different

and general construction.

Section A. Suggestions for Study: six

(1) Write six periods in contrasting construction; each of the antecedent phrases to have three consequent phrases; thus:

Ear-Training and Sight-Singing

152

(4)

Play the

I-VM

IV

chords in every major key, as outlined.

7

I

and Singing. 2nd stage, and Contrasting Construe-

(5) Melodies for Dictation

Parallel Construction, tion:

|

J-

J>.|

J>J

J-

IJ

r

IJ.

U '

5

17

ir_B=igp

ILtf

eriffPlr:

L r

i

r

a }

*r

**

(a)

in

Ear-Training and Sight-Singing

162

Play the l-V-l chords

(a)

(3)

V7

I

(b)

in

every minor key.

I

Sing these chords in arpeggio form using number and letter-names.

(4)

Melodies for Dictation and Singing. Parallel and conFigures in sequence and repetition, modiadding tones and changing size of intervals.

trasting constructions.

by

fied

fta

i

r

j

j

r|--J

i

1

r

~^

8

jp

.g

ir

h

ir

J j

Modified Repetition and Sequence

Figure

In melodic analysis determine figure

(a)

first,

163

then modifi-

cations.

In outlining rhythm

(b)

check

No.

after,

as this

J7"3

and a

place 2 under dot

the only figure of two uneven notes.

is I

3.

2>

2

4

After writing,

(c)

mark

sequence and repetitions.

figures,

Section C. Rhythmic Study:

(1)

JJ