Music for Sight Singing Eighth Edition Robert W. Ottman. Nancy Rogers
Lars Edlund Estudos e leituras de melodias atonaisFull description
Descrição completa
Lars Edlund Estudos e leituras de melodias atonaisDescripción completa
Descrição: Music for Sight Singing
Music for Sight Singing Eighth Edition Robert W. Ottman. Nancy Rogers
Solfeo_muy buenoFull description
Music for Sight SingingDescripción completa
Learn how to sing melodies by sight alone. It doesn't take nothing more than following along with these simple exercises. Something to do at any and all times.Descripción completa
Descripción: Sight Singing Adler
Sight Singing AdlerDescription complète
Sight Singing AdlerDescrição completa
Great work to practice your sight singing and even sight reading. Work hard and become the best you can be.Descripción completa
Sight Singing Adler
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 <-c1 &P* bu fl 1 ud <*a1 " (1)
i
*
i
i
for drill in spacing, i. e., to learn to use the lines and spaces of the staff so that when a note is on the first line we shall know that the third is on the next line, the fifth on the second line and the eighth in the fourth space. The question of the kind of third and fifth, as in scale and interval relation, will be treated later.
NOTE.
This
is
[61
Measurements of Distances
Learn the name of the 3rd and 5th degrees from every
(4)
From E
pitch. is
F; the
fifth is
the third
A;
is
G; the
fifth is
From
B.
D
the third
etc.
Section B. In the foregoing directions the expression "think C" has been To think sound means to hear it mentally, to listen to it with the inner ear. Most of us can think the tune America withused.
out actually singing it, just as we can think the words without actually saying them. To think sound demands concentration; and facility in it requires practice; but it may be acquired and it must be by the serious student. The beginner in ear-training is always tempted to hum the sound he is trying to think. Singing has a vital part to play in training the ear, but only as a guide and not as a final necessity. Use it as a crutch which may be discarded as ability to think sound develops. In practising the work as outlined it may at first be necessary to sing the exercises, but do not neglect constantly to make the effort to think sound. The above does not
NOTE.
refer to Sight-Singing,
which
is
quite a different
matter.
Comparison of a given tone with the 5th tone above
(1)
as
C
it,
to G. If
c1
is
considered
and g is similarly the Take c 1 as 1. 1
1
,
then c 2 is 8 because
it is
the 8th tone above,
5th.
1 1 1 Play 1 8 1 (c c c ). 1 1 Play 1 8 5 (c c* g ). Play these two groups several times and compare the
effect
of each.
complete and finished. As a contrast, 1 8 5 is unsatisfactory. Stopping on 5, we expect another tone. and observe that the addition of 8 completes and Play 1
8
1
is
1858
finishes the group.
Play 1 5 and compare with 1 8. Repeat, and determine the difference of pitch and the difference in distance between the tones. Play
1
8.
listen to
(2)
Play 8
1
;
85.
Play several times and compare.
Ear-Training and Sight-Singing
585
1; immediately re(3) Listen carefully as you play 1 produce the sounds mentally; in other words, think them. Study the following groups in the same way.
18518; 18581; 15151; 15158; 85851;
8585
8;
Play Play Play Play
(4)
Think Think Think Think
8.
5. 5.
158.
Play
(5)
85185
1.
think a sound which
8.
1.
Think Think
8.
Sing 8 and
test.
and
test.
8.
1.
Sing
1
Sing 5. Test on the piano Sing 5 and test.
5. 5.
Note the distance from
may
1
to 5.
Try to
be placed between find this sound on the ;
piano.
You have probably
1 played the tone e which is the third tone above c and is therefore called 3. Play 1358. Compare this with 158. Play each several times. After some study, think the sounds in each group. Which group has the more pleasing sound? ,
1
,
Play
851
"1851 "1558 " " "
Compare with
85158 15851 85158
"8158
" "
" " " "
8531
"18531 "13558 "8531358 "1358531 "8531358 "81358
Note that the addition of 3 to any combination of 1, 5 and 8 and beautifies the effect of the whole group by filling in the space between 1 and 5, which alone is hard and hollow. (6) Study the following groups as indicated: (a) Play each group, (b) Think it. (c) Write on the softens
staff in
both
1358 8531
85358 85351 13531 1353531
clefs.
8535351 1335581 8553318 358535 3135358 3585851
31358531 58531 531358 5353131 5858531 5158531
5351531 51535158 5113358
These groups should be practised daily. Vary the practice by singing the groups instead of playing them, but always think the sound first.
Measurements of Distances
(7)
Exercises in Sight-Singing, to be practised as follows:
(a)
1358.
Play
(b) Read exercise through mentally, thinking, first, number-name and sound, next the letter-name and sound. (c) Sing, with number and letter-names. (d)
NOTE. fore singing.
Test with piano. most important always to think the sound Use the piano only to test.
It is
of the pitches be-
o10 e-
15
14
O O 'Q O
_
A 20
'
o ~ |O Q
o
O
O
26
O
"
18
"^o
^
o
24
25
O 30
29
28
27
^-
o ~
23
22
21
" -o
-
12
17
16
-
11
^
^-
'
-o-
13
T
the
TT
D 4
3
2
1
10
12
15
14
13
" "
16
"
" I
18
17 ..
22
27
-
i
23
..
24
k
20
19
-o-
y
28
"
I-
..
25
29
T" 21
"
"
-^-
I
I-
|
26
30
i
Ear-Training and Sight-Singing
10
10
10
10
12
11
12
11
u
+
13
^
13
12
Section G. in (1) These groups should also be practised, using G as 1, which case B is 3 and D is 5. Also take F as 1, A as 3 and C as 5. Test. Think 5. Sing it. Play 1. o
i
i
r
l
4
o
It
<
f
l
It
>
" '
Measurements of Distances
Play "
Think
5.
"
3.
C as
3.
Test.
Sing it. " "
5
11
"
(2) Play 1358. Sing a measure or two of the following songs, and any other familiar ones. Decide each time whether the first sound is 1, 3, 5 or 8.
Take
1.
America, Star-Spangled Banner, Annie Laurie, Old Black Joe, Hymn of the Republic, Glory, Glory, Hallelujah, The Marseillaise, Dixie, Yankee Doodle. Think 1358. Think 3. Sing it. (3) Play 1. Test it.
Swanee River, Battle
Think
1358. 1358.
Constantly practise sing
1358.
Then
Think
5; sing
"8 this,
1, 3.
5
and "
"
test.
"
1. Think and any order. 3 5 and 8 is of the utmost im-
taking any sound as
and
An
8, in
instant recognition of 1 In fact, further development portance.
is hindered until one has reached some degree of proficiency in this step. (4) Exercises in Sight-Singing. Practise as outlined in the preceding Lesson.
A F.I
45
23
10
13
* 16
15
14
19
18
17
4 *j
20
23
22
21
24
25
Ear- Training and Sight-Singing
12
B
12 O.i '
^
'
3
"
"
I
"
45
^
I"
I
I
6
"
10
12
13
*>
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
J
J
d
mjiijjij
beats in a measure.)
j
II <*>0dlo 'b>
(e
1358531, sing
I
J
J J 'O0'o
I
*.
I
'
II d J J oI -"^
I
O
I
o
'
o
,J J I
I
,J J
,
J .
lljljl i
J
Ear-Training and Sight-Singing
16
(2 Two
bi
/
,J.ifc.t.
<)
J> J>
w j -
MI
j
N *
'
in
I
,
msasnre.)
lv
>,,.*;
J
h
n n I
j^
..
I
I
-h 1
I
j
J
i
Jt *
I
j (I
.
.1
;
..
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CHAPTER
IV
Keys and Scales Tone
is
a term applied to pitch; for example, the pitch C, or
the tone C.
Tone is also applied to the distance from one pitch to the next upon the staff. There are two kinds of tone, the half-tone or semitone and the whole tone. 1 A half-tone is the difference in pitch between sounds made by playing any the piano. whole tone is two half-tones.
two adjacent keys on
A
G
the successive pitches on the staff from to g2 are played on the piano, it will be found that they are represented by the white keys of the piano. The only white keys which come together, withIf
out black keys between, are E and F, B and C; therefore, the distance on the staff from E to F, and B to C, is a half-tone. The distance between all other successive pitches is a whole tone. A Key is a family of seven related tones. These tones are all derived from one tone, the head of the family, called the Key-tone. If a vibrating string gives the pitch C, and we wish to find a tone most nearly related in vibration, but differing in pitch, we would first
divide the string into halves
and
set either half in vibration.
Either segment
and gives the pitch C, one octave higher. Next try dividing the string C into thirds, and set the two-thirds or longer segment into vibration. This gives the pitch G or the This fifth tone is the most nearly related fifth tone above C. In the same way tone, differing in pitch, to the fundamental. vibrates twice as fast
the next nearest related tone will be two-thirds of G, or a fifth is D; the next, a fifth above D, which is A; the
above G, which
next, a fifth
above A, or E; next, a
fifth
above E, or B. Tones of
C
D
Key.
G
two-thirds of C, two-thirds of G, and Conversely, must be two-thirds of a tone a fifth below, or the tone F. We if
now have
is
seven different pitches 1
all
derived from C, and therefore
Also called half -step and whole-step.
[17]
Ear-Training and Sight-Singing
18
related to C.
These pitches constitute the Key of C.
C
is
the
Key-tone. s
When
4
a
the seven pitches are arranged in the progressive order, Numbers are they form a Major Scale.
CDEFGABC,
used to designate scale-steps, the key- tone being 1, the next 2, etc., to the eighth tone, which is a duplicate of the first. The staff is composed of whole tones and half-tones, the halftones between E and F, B and C. As the Major Scale of C and the pitches of the staff are the same, the major scale must be composed of whole and half-tones, the half-tones between 3 and 4, 7 and 8. The major scale may be constructed from any pitch. If the major scale is constructed from any pitch but C, accidentals will have to be used to bring the half-steps in the proper places, as the only half-steps on the staff are between E and F, B and C. There are five accidentals used : A Sharp (ft), which raises the pitch one half-tone. A Flat (b), which lowers the pitch one half-tone. A Double Sharp (X), which raises the pitch one whole tone. A Double Flat (bb), which lowers the pitch one whole tone. A Natural (10, which restores a note to its staff pitch.
we
a major scale on G, the pitches are G, 1; A, 2; B, 3;C, 4;D, 5;E, 6; F, 7;G, 8. Now, in a major scale, the half-tones must occur between 3 and 4, 7 and 8. There is a half-tone on the staff from B (3) to C (4) but from F (7) to G (8) is a whole tone. Hence, it is necessary to If
start
;
raise the pitch of between 7 and 8.
F
to F#, in order that the half-tone shall
fall
^T j *>
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
so^ 5 ^
F, the fourth tone, which is on the second line below, must be the If A, the sixth tone, is Dominant below, or the Subdominant.
placed midway between the Tonic and Subdominant, it will be the middle tone below, or the Submediant. D, the second, the tone above the Tonic, is the Supertonic or Second Dominant. B, the
seventh tone, which progresses into, and seems to prepare, the is the Leading-tone. There are two kinds of half-tone progressions (1) The half-tone progression from a tone of one letter to a tone This is a Diatonic Half-tone. E to F is diatonic. of another letter. (2) The half-tone progression from one tone to another of the same letter, the pitch having been changed by an accidental. This is a Chromatic Half-tone. E to Eb is chromatic. Tonic,
:
Section A.
LESSON 4
Suggestions for Study: (1) Construct in the treble
G, F,
and bass the Major Scales of C, Bb, using accidentals to establish the whole and halfthe proper places.
D and
steps in
Ear-Training and Sight-Singing
Write in the treble and bass the following scale-steps G and F, using accidentals:
The line under a figure indicates that the scale-step over a figure indicates that the scale-step is below one.
*NoTE.
The
line
(3) >-'
(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)
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
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o e
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12
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Ear-Training and Sight-Singing
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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 .
!<*>
1, 2, 3,
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Memorize, ana write
I
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and sing the following:
In
3 *
and
3
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tl U \ H
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Write la
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Write
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tad
ii
LESSON 5 Section A. Suggestions for Study: (1) Construct the Major Scale in the treble and bass from C#, Db, E, Eb, F#, Gb, Ab, A and B. Use accidentals to bring the whole and half-steps into their proper places. (2) Indicate on the staff the following scale-steps in the treble in the keys of D, Bb and A: 1 (3) Indicate on the staff the following scale-steps in the bass in the keys of Eb, E and Ab: 1 4 3 2 6 5 4 3 5 8 7 8. (4) Indicate on the staff the following scale-steps in the treble in the keys of B, Db, F#: 8 5 7 8 6 4 3 2 5 1 1. (5) Arrange the following pitches in the key of A Major, in four measures of a quarter-note rhythm, the last measure to be an
5365435878.
added beat
of
one note:
1344323271. 8583571.
Ear-Training and Sight-Singing
26
Section B. (1)
letters
Play C.
12345678.
Sing
Repeat, singing the from G, first using the scale Sing
CDEFGABC.
numbers, then
letters.
is required? Why? Always name the acciwhen you call that tone by its letter-name. (2) Turn to the groups of numbers on page 20, Lesson 4, Section B, and sing by letter-name, using G as 1. Write in both
What
accidental
dental
clefs.
(3)
The
following exercises are for singing
and
for practice in
dictation : (a)
Sing by numbers. Sing the group of tones played on the piano, using la, in order to memorize the sound. 2. Think the numbers. 3. Write the pitches on the staff in key of G.
(b) Dictation: 1.
4.
After you have written the pitches on the
123
them by number.
0*1
10
4
12
11
13
14
15
17
16
O
-H 1
18
"
o~-~n mm
O B"
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staff,
sing
Keys and Scales
27
5 f\
^^_ f\
^^
C
Section
(1) The Study of 2/4 with Pitches. The following exercises are for practice (a) Have someone play the melody
in dictation :
several times until
can remember it. Test your memory of the melody by singing
(b)
and tapping the
it,
you
using
la,
beat.
Analyze the rhythm. Each melody is a phrase. Represent the note-values without pitches. Example:
(c)
No.
1
would be represented thus: I
T^iitgj
Analyze the pitch. Write the numbers. Represent on the staff. Sometimes you can vary this practice by writing the exercise in a different key and note-value, and by writing it on the bass staff. Notes. After singing the melody as indicated in Step B, above, make it a habit to think sound. Never hum the melody. If your memory of it fails, (d) (e)
have
it
played again.
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7
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Ear-Training and Sight-Singing
28
If you cannot find someone to dictate these melodies to you, memorize them by singing them several times, using la. Then and pitch, and proceed as indicated above, analyzing the rhythm
representing on the staff. (2) Exercises in Sight-Singing:
I
2
$ JjljJUIIjJJUJJNJJIJ.-4^4JJJIJJJlp
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CHAPTER V Key-Signatures
We
have found that, in writing music in any key but C, there are tones which must be altered by accidentals in order to produce the correct form of the major scale. Instead of writing the accidentals before these tones each time they recur, they are placed at the beginning of the staff.
m r
The the staff
ir
r
ir
accidental, or group of accidentals, at the beginning of
the Key-Signature. of sharps or flats denotes the Key. In the series of the major scale tonics constructed on the tones is called
The number
found by dividing the string C into thirds, each new tone is a fifth from the preceding tone. The tones above C are G, D, A, E, B, F#
and C#.
The
scales built upon these tones as key-tones, use of sharps to bring the half-steps into the require the right place. These are known as Sharp Keys. Each new key adds a sharp, which is the seventh step.
The
and is
C
are F, Bb, Eb, Ab, Db these tones as key-tones upon to into the right place, flats bring half-steps require are known as Flat Keys. Each new key adds a flat, which
and Gb.
tones found below Scales built
the fourth step.
The most comprehensive arrangement
of these key-tones is
shown upon a
clock-face, placing at twelve o'clock, each new sharp key an hour to the right,
C
and each new
A3#
flat
key an hour to
The hour at which the occurs key gives the number of the
left.
sharps or flats in the signature. is at three o'clock (halfway),
A
and has three sharps in its signature; Eb is halfway on the other side, and has three flats in its signature. 291
Ear-Training and Sight- Singing
80
Gb and Fft occur at the same place, also Db and Cft, and Cb and B. If the scale from Gb and Fft is played on the piano the same (piano) keys are used. The same is true of Db and Cft, Cb and B. For every flat key there is a sharp key; thus, Ab is Gft, Eb is Dft, F is Eft. Conversely, every sharp key has a flat key. In either case there result keys with double-sharps and double-flats. This is found to be impracticable on account of the difficulty in Compositions are seldom written in Gb or Cft major. accidentals used in a key-signature are arranged in the order in which they occur as the new keys are constructed. Each reading.
The
accidental
and
in
adding
a
is
placed a
little
to the right of the preceding accidental
on the placed on the
definite position
Fft,
which
is
staff.
The
fifth line
first
sharp key
of the treble
is
G,
and fourth
next key is D, adding Cft, placed in the third and second space of bass; the next key is A, adding Gft, placed in the space above treble and fourth space of bass. Each succeeding key adds a sharp. The sharps are arranged as in the line of the bass; the
space of treble
illustration.
The
key is F, adding Bb, which is placed on the third the treble and second line of the bass; next Bb, adding Eb, The flats are arranged as in the illustration.
first flat
line of etc.
It is necessary to learn the
names and number of sharps or flats
To
in the key-s'gnatures. tell the key from the signatures, the last sharp in the signature is the seventh of the key. If the last sharp is Aft,
the key is B. The name of the next to the last is the name of the key.
flat in
the
signature
LESSON 6 Section A. Suggestions for Study: (1) Write in the treble
and bass the
1, 3, 5,
8 of all major
scales,
using signatures. (2) Study the position of the keys upon the clock-face; then, looking at the clock, recite the keys in order. Name keys, jumping
31
Key-Signatures
to different hours.
signature will
In this
become
way
the
number
of sharps or flats in the
familiar.
Learn to recite the sharps in the order in which they occur: G#, D#, A#, E# and B#. Learn to recite the flats: Bb, Eb, Ab, Db, Gb, Cb and Fb. (4) Learn to determine quickly the key from the signature. Make each sharp the last of a signature and recite the pitch one (3)
F#,
Q,
half-tone higher, as: F#,
G; C#, D;
etc.
Section B. (1)
Review
letters, (2)
using C,
The (a)
B and C, page 8, C, page 20, singing numbers and
exercises of Lesson 2, Sections
also Lesson 4, Sections
B and
F and G
as
1.
following exercises are for singing
Sing by numbers and
and
dictation:
letters.
(3) Dictation: (a)
Sing the group of tones played on the piano.
(b)
Think the tones and numbers. Write the pitches on the staff.
(c)
o
10
m lo |
10
i
Ear-Training and Sight-Singing
11
o
10
Section C.
Study of 3/4 with
(1)
pitches.
following exercises are for practice in dictation. Work according to directions given in Lesson 5, Section C, page 27.
The
3
2
1
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rr
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J
IT
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J
JJQJ
^ '^
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r
[-
(2) Exercises
in Sight-Singing: 2
1
jjijj
*
ijj
ijji"ii'irr
if 'rr irr i'*
irrr M
in
1
i^
Key-Signatures
M rTI in
r
10
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TM
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r
13
14
15
r
irr
16
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IM
17
19
20
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i
CHAPTER
VI
Rest and Active Tones In every scale there are certain degrees upon which stop and feel at rest, and others which seem to the ear to progression or resolution. If
we may demand
a melody ends upon the first or the eighth degrees, it is if it ends upon the third or the fifth, it is finished,
finished;
though giving the impression of an upward or questioning inflection. to end a melody upon the seventh degree, and the ear demands
Try
that the eighth follow; upon the sixth degree, upon the fourth degree, and the third
follow;
and the fifth must must follow. The
second degree seems to progress either to the third or the first. The tones 1, 3, 5 and 8, upon which a melody may end, are Rest Tones or Inactive Tones. The tones 2, 4, 6 and 7, which demand resolution, are Active Tones.
all
In science, all active particles seek the nearest rest. In music, Active Tones seek, or resolve to, the nearest Rest Tones.
LESSON
7
Section A. Suggestions for Study: (1) Learn the Rest Tones in every key,
Example: D, F#,
every pitch. (2)
Make
A and
i.
e.,
1, 3, 5, 8,
from
D; Eb, G, Bb, Eb.
each of the following tones the 7th of a scale;
and name the key to which each belongs: B, G#, D#, F#, A#, C#, E#, E, D, A, C, G, F, B#.
resolve them,
Example ?tr~ :
7
c (3)
Make
r
each of the following the 6th of a scale; resolve,
and name key: A, Eb, E, Bb, F#, C, B, F, C#, G, D#, G#, D, Ab. Example: (4)
Make
each of the following the 4th of a scale; resolve,
and name key: F, D, G, C, Ab, Cb, A, E, Eb, Gb, B, Db, Bb, Fb. Example
:
Rest and Active Tones
35
Section B. (1)
Activity and Rest:
Play Play
of the 7th Step.
13587.
Compare the
we pause on
7
we
its effect.
feel
that
it
The
first is
the opposite.
When
with the second.
effect of the first
or satisfying in
final
Study
1358. The second
must go
is
to 8.
135
and 8 represent rest. Any other tone is active and must Play the following, progress (resolve) to one of the rest tones. pausing on 7, and then carry it forward to where you feel it should go: 8 7;
1
2 3 2 1 7;
You may always
5 3
1
5 8
7;
recognize 7
by
7.
its
strong tendency to resolve
to 8. (2)
Study of the 2nd Step.
Play Play
down
to
531. 532.
If
you pause on
2
you
will feel its
tendency to go
1.
Play 5321. Play 5323. This also is a possibility, as 2 may go to either 1 or 3, because both 1 and 3 are rest tones. However, 2 is most easily recognized by its downward tendency to 1. Sing the following. (6) Place on the staff, treble and C, F, G. (These tones on staff may be referred to later and sung by number and letter.) (3)
ance that the tone of resolution tone in question is 2, 4 or 6.
is 1,
41
3 or 5, can
we be
sure that the
For this reason it is good practice continually to review the groups which contain only 1, 3, 5 and 8. Make it a daily habit to sing 1 3 5 8, in order that you may become positive in your determination of 1, 3, 5 and 8. Thus you will solve the next question, because at the 7,
2,
4 and
(2) Exercises for
Study
same time you
will
positive of
Singing and Dictation:
of the 6th Step.
10
12
13
14
15
16
17
18
19
become
6.
20
22
21
rr
24
23
26
27
25
28
29
*
Ear-Training and Sight-Singing
Study of 4th Step.
o 10
12
11
" O o
O " O
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ti
13
O " O
1
o
I
O " O
I
16
y
o
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1
17
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18
20
19
"
..
o
11
22
'
21
"
o o
o
..
'
24
23
25
26
27
28
29
30
31
_
^"
.. o " o
_
Melodies for Singing and Dictation:
(3) 1
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Rest and Active Tones
43
Ear-Training and Sight-Singing
44
ri *
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CHAPTER
VII
The Minor Mode The term Mode means
style or
manner.
In music
it
applies
and half-steps in the scale. We the Mode use and the Minor Mode; major commonly Major lesser. meaning greater; minor, The Minor Mode is formed by lowering by one half-tone the third and sixth degrees of the Major. The general impression of the minor mode is that it is sad and gloomy, while the major is This may be somewhat true, yet one of the most sad and bright. impressive of funeral marches, the march from Handel's Said, is in major. Many of our gay and popular tunes, like the Irish and to the
arrangement of the whole
Scotch dance-tunes, are in minor.
The Minor degrees of the
Scale
major
is
formed by lowering the third and sixth This brings the half-steps between the
scale.
fifth and sixth, seventh and eighth degrees. C and minor have for each c the same letters the major degree; pitch of the third degree (E in major) is changed to Eb in minor; of the sixth degree (A in major) is changed to Ab in minor. The first, second, fourth, fifth and seventh degrees remain the same. Rest Tones (1358) are the same in major and minor. Active Tones (2467) are the same in major and minor. They resolve in the same manner. Capital letters are used for major, small letters for minor (C
second and third,
major, c minor).
Each major and
scale
may
be
made minor by
lowering the third
sixth degrees.
Major and minor scales with the same Tonic are Major and Minor Scales.
Parallel
LESSON 8 Section A. Suggestions for Study: (1) Write the major scale from [451
all
pitches in treble
and bass
Ear-Training and Sight-Singing
46
with major signature. Make them minor by lowering one halftone the third and sixth steps. Example:
(2)
Make
the following major melodies minor.
r
if
F-E-
i
i
'
J
J
j
(3) Complete the following, the second measure with an added beat on accented pulse, the third measure with a divided beat. (The first measure shows the meter and rhythmic unit.) Review Chapter III for Added and Divided Beats.
J J j j j
JT3 j
j
J
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n
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i
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a
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II
Section B. (1)
Minor Mode:
(a)
The minor scale of c is derived from the major C by lowering the 3rd and 6th steps.
2345678
Sing: 1 the 3rd and 6th.
The
in
C;
sing
it
scale of
again, lowering
result is c minor.
87654321,
Sing: Practise the scale,
first in C, then in c. major, then in minor, ascending and The minor can be clearly understood
first in
descending from any pitch. only by constantly comparing it with the major mode of the same name. Thus, C major and c minor, and G major and g minor; F major and f minor; etc. (b)
Sing 1 3 5 8 in the 3rd.
C
major;
make
it
minor by lowering
Sing 8 5 3 1 in the same way. Play 1 3 1 7 1 in major; make it minor by lowering the 3rd. Pause on 7. It will resolve as in major.
The Minor Mode
Play
1
3
1
2 in major
and minor.
47
2 will resolve to 1
or 3 in minor as in major.
1343 13565
143. Play 165;4 and 6 resolve the same. Play C major and c minor are two expressions or modes of the same key. The difference between the modes is superficial the likeness is fundamental. (2) (a) Sing each of the following groups first in major and then in minor, lowering the 3rd and 6th. Sing each several times, changing from major to minor and from minor to major, until you realize the similarity of effect and at the same time the difference in the color or quality. As before, use the piano as a test of accuracy. ;
13531
Ear-Training and Sight-Singing
48
___
Change the mode
for each
Then
group several times.
sing through
the entire series in minor. C minor IC.i (
I
V
..
10
I
"
.
G
o''"o
18
ol
I
.
^j
W
O "
13
o
I
minor o.i
.1
-
12
17 L
4
I
*
11
16
&
3
2
o
"
14
20
19
'"'o|
15
21
"|MO |o"tfo
2
|g
3
:j=S=g
I
3 10
O
O
12
11
14
A
1/11
15
"
"
A
Q
o
I
1
13
16
"
11
A
^ 17
L
O.
L_.
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20
"S
The Minor Mode
49
12
14
18
17
Section G. Study of (1)
Tap
the 1
2
Divided Beat: and intone the following:
Then
divide the beat, tapping
f1
d
,J J
J .J J
| J
1
a
2:
/3/3./3/3..H/3.J12 I
2
I
J
I
I
The meter or regular pulsation is always physical and may be represented by movement of the arm or foot. All rhythms, i. e., subdivisions, are mental
and should be thought, not indicated by
physical movement. A 2
Learn the arm-movements down-up |i T beat.
to indicate the
Repeat the above, using the arm-movements instead of
For Practice in Singing and Dictation: Rhythm and Pitch in minor. (2)
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nr
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J.
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ftr^-i
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J'l
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...
II
J.
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After writing, rewrite in a different note-value. (3) Exercises
(a)
(b)
in Sight-Singing:
Sing each exercise in Major, using numbers and letters. Repeat, making it minor by lowering the 3rd and 6th steps.
The Minor Mode
51
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t
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ij
j rrri rr^^- uJflJ? LT '" U
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TQJ
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rrri gU If
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rT
T
ff Cf
LT u 10
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f; '
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Mn
CHAPTER
VIII
Minor Signatures Minor Keys have no signatures of their own. Composers, when seeking variety, often repeat a few measures of a major melody, keeping the same tones and major signature, but make it minor by lowering the third and sixth steps. For example
:
Beethoven
i
1
Phrase in major
Repetition ol Phrase
i
made minor by lowering C
Composers, when writing an entire composition in minor, borrow a major signature, which lowers the third and sixth steps of the major key. This saves the labor of writing accidentals before
The signature for the minor key is borrowed from the major key of the same name as the third step of the minor scale. As the borrowed signature lowers ! ol '" not only the third and sixth steps but ^ubo " these tones.
I
HP *
i
also the seventh step of the major, it always be necessary to raise the
will
seventh step.
Major and minor keys with the same signature are Relative Major and Minor keys. C
NOTE:
C
called
minor and Eb major are not the same keys. They are different and c minor are the C Only the mode is
tonalities, haying different rest and active tones. major same tonalities, having the same rest and active tones.
changed.
As the major keys were arranged on the clock, the minor keys may be placed opposite the major keys with the same signatures. The keys of at>, d# and a# minor are seldom used. G# minor, the relative of B major, has no parallel
major key.
[52]
Minor Signatures
53
LESSON 9 Section A. Suggestions for Study: (1) Write, in the treble
and
bass, the
major scale from
all
pitches with the major signatures. Make them minor by lowering the third and sixth steps. Under each write the same minor scale
with the borrowed signature.
Raise the seventh step.
ra"
V Place the following scale-steps in treble and bass in keys of f# minor, using borrowed signatures: Place the following scale-steps in treble and bass in keys of
(2) a, e,
1356578.
b and (3)
d and g minor, using borrowed
c#, g#,
signatures:
856543
251. Place the following scale-steps in treble and bass in keys of
(4) f,
bb and eb minor, using borrowed signatures:
1536578.
Section B. (1) Exercises for pitch. (a)
To be
used for singing and dictation,
Sing by numbers.
1 1
'
J'
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,.
I
I
Ear-Training and Sight-Singing
[
O " O
10
(2)
11
Exercises for Dictation and Memorizing: After writing in major, alter to minor with accidentals
(a)
and sing (b)
it
minor by numbers. Write from memory in minor with proper signatures.
in
Minor Signatures
under the dot. of No.
1
If
one note for two
would be outlined
pulses, tie the dots. *
4
After the rhythmic outline
is
55
The rhythm
*
made, write the numbers of the
pitches in the usual way. (3) Exercises in Sight-Singing:
I-
n r
1
^ IIP
iifw
L^T
~ U
*-J r LJ
*
ir f iJ
LJ
r
r
Mf
i
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10 ,
if
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Section C. (1) The Divided Beat in 3/4. Tap 123 and intone the following: