Music for Ear Training 4th Edition - Michael Horvit, Timothy Koozin, Robert Nelson

MUSIC for

EAR TRAINING

Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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MUSIC for

EAR TRAINING fourth edition Michael Horvit

Timothy Koozin

Robert Nelson

Moores School of Music, University of Houston

Software production team Joel Love

Samuel Hunter

Bryan Bilocura

Jaemi Loeb

Timothy Rolls

Timothy Nord

Jill Bays-Purtill

Kristine Woldy

Shanta Childers

Crystal Visco

Software design Timothy Koozin

Australia • Brazil • Japan • Korea • Mexico • Singapore • Spain • United Kingdom • United States



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Music for Ear Training Fourth Edition Michael Horvit, Timothy Koozin, Robert Nelson Publisher: Clark Baxter Assistant Editor: Elizabeth Newell Managing Media Editor: Katie Schooling Marketing Program Manager: Gurpreet Saran Content Project Manager: Rosemary Winfield Art Director: Faith Brosnan

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Contents Getting Started

xvii

What's New in Music for Ear Training, Version 4.0 Suggestions to the Instructor Suggestions to the Student

xvii

xviii xx

Unit 1 intervals, triads, and Scales

1

Major and Minor Seconds: QUiZ no. 1 1 QUiZ no. 2 2 Major and Minor thirds: QUiZ no. 1 3 QUiZ no. 2 4 Perfect and Augmented Fourths: QUiZ no. 1 5 QUiZ no. 2 6 Perfect and Diminished Fifths: QUiZ no. 1 7 QUiZ no. 2 8 All Perfect intervals and tritones: QUiZ no. 1 9 QUiZ no. 2 10 Major and Minor Sixths: QUiZ no. 1 11 QUiZ no. 2 12 Major and Minor Sevenths: QUiZ no. 1 13 QUiZ no. 2 14 All intervals: QUiZ no. 1 15 QUiZ no. 2 16 Major and Minor triads: QUiZ no. 1 17 QUiZ no. 2 18 introducing Diminished triads: QUiZ no. 1 19 QUiZ no. 2 20

v Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.


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introducing Augmented triads: QUiZ no. 1 21 QUiZ no. 2 22 Major and Minor Scales: QUiZ no. 1 23 QUiZ no. 2 24

Unit 2 Rhythmic Dictation: Simple Meters

25

Rhythmic Dictation: QUiZ no. 1 28 QUiZ no. 2 29 QUiZ no. 3 30 Melodic Dictation: Seconds, thirds, and Fourths Preliminary Exercises Melodies

31

31

34

Melodic Dictation: QUiZ no. 1 37 QUiZ no. 2 38 QUiZ no. 3 39 QUiZ no. 4 40

Unit 3 Melodic Dictation: Fifths, Sixths, and Octaves Preliminary Exercises Melodies

41

41

44

Melodic Dictation: QUiZ no. 1 47 QUiZ no. 2 48 QUiZ no. 3 49 QUiZ no. 4 50 Harmonic Dictation: Four-Part Settings of the tonic triad

51

Harmonic Dictation: QUiZ no. 1 53 QUiZ no. 2 54 QUiZ no. 3 55

Unit 4 Rhythmic Dictation: 2:1 Subdivisions of the Beat

56

Rhythmic Dictation: QUiZ no. 1 59 QUiZ no. 2 60 QUiZ no. 3 61 Melodic Dictation: the tonic triad and Dominant Seventh Preliminary Exercises Melodies

vi

62

62

64

Contents Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.


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Melodic Dictation: QUIZ No. 1 68 QUIZ No. 2 69 QUIZ No. 3 70 QUIZ No. 4 71 Harmonic Dictation: The Tonic Triad and Dominant Seventh Basic Progressions

73

73

Phrase-Length Exercises

82

Harmonic Dictation: QUIZ No. 1 85 QUIZ No. 2 86 QUIZ No. 3 87 QUIZ No. 4 88

UNIT 5 Rhythmic Dictation: 4:1 Subdivision of the Beat, Anacruses

89

Rhythmic Dictation: QUIZ No. 1 92 QUIZ No. 2 93 QUIZ No. 3 95 Melodic Dictation: Primary Triads and the Dominant Seventh Preliminary Exercises Melodies

97

97

98

Melodic Dictation: QUIZ No. 1 102 QUIZ No. 2 103 QUIZ No. 3 104 QUIZ No. 4 105 Harmonic Dictation: Primary Triads and the Dominant Seventh; Cadential Tonic Six-Four Basic Progressions 106 Primary triads and the dominant seventh Cadential tonic six-four 108 Phrase-Length Exercises

106

106

110

Harmonic Dictation: QUIZ No. 1 QUIZ No. 2 QUIZ No. 3 QUIZ No. 4

113 114 115 116

UNIT 6 Rhythmic Dictation: Dots and Ties

117

Rhythmic Dictation: QUIZ No. 1 120 QUIZ No. 2 121 QUIZ No. 3 123

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Melodic Dictation: Minor Mode Preliminary Exercises Melodies

125

125

126

Melodic Dictation: QUIZ No. 1 QUIZ No. 2 QUIZ No. 3 QUIZ No. 4

130 131 132 133

Harmonic Dictation: Minor Mode; First Inversion of Triads Basic Progressions 135 Minor mode 135 First inversion of triads Phrase-Length Exercises

135

136 139


UNIT 7 Melodic Dictation: The Supertonic Triad Preliminary Exercises Melodies

149

149

150


154 155 156 158

Harmonic Dictation: The Supertonic Triad; Inversions of V7

160

Basic Progressions 160 Supertonic triad 160 Inversions of V7 162 Phrase-Length Exercises

164


UNIT 8 Rhythmic Dictation: Compound Meter

175

Rhythmic Dictation: QUIZ No. 1 178 QUIZ No. 2 179 QUIZ No. 3 180

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Melodic Dictation: All Diatonic Triads Preliminary Exercises Melodies

181

181

183


186 187 188 190

Harmonic Dictation: All Diatonic Triads Basic Progressions

192

192


197


200 201 202 204

UNIT 9 Rhythmic Dictation: Triplets and Duplets

206

Rhythmic Dictation: QUIZ No. 1 209 QUIZ No. 2 210 QUIZ No. 3 211 Melodic Dictation: Supertonic and Leading Tone Sevenths Preliminary Exercises Melodies

212

212

213

Melodic Dictation: QUIZ No. 1 218 QUIZ No. 2 219 QUIZ No. 3 220 QUIZ No. 4 222 Harmonic Dictation: Supertonic and Leading Tone Sevenths Basic Progressions

224

224


229


233 234 235 237

UNIT 10 Examples from Music Literature

239

1. Johann Sebastian Bach.

Minuet in G

239


Aus meines Herzens Grunde (chorale)


Wir glauben all’ an einen Gott (chorale)

240 240

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4. Ludwig van Beethoven. 5. Friedrich Kuhlau.

Six Variations on Nel cor più non mi sento

Sonatina Op. 88, No. 3, Mvt. III

6. Wolfgang Amadeus Mozart. QUIZ No. 1

String Quintet, K. 581, Mvt. IV

242

Sonata in D Major, Hob. XVI:33, Menuetto con Variazioni 243

244

John Farmer. QUIZ No. 3

241

243

Joseph Haydn. QUIZ No. 2

241

Fair Phyllis (chorale)

244

245

Wolfgang Amadeus Mozart.

String Quartet, K. 80, Mvt. III, Trio

245

UNIT 11 Rhythmic Dictation: Syncopation

246

Rhythmic Dictation: QUIZ No. 1 249 QUIZ No. 2 250 QUIZ No. 3 252 Melodic Dictation: Non-Dominant Seventh Chords Preliminary Exercises Melodies

253

253

254

Melodic Dictation: QUIZ No. 1 258 QUIZ No. 2 259 QUIZ No. 3 260 QUIZ No. 4 262 Harmonic Dictation: Non-Dominant Seventh Chords Basic Progressions

264

264


267


UNIT 12 Melodic Dictation: Scalar Variants, Modal Borrowing, Decorative Chromaticism 276 Preliminary Exercises 276 Scalar variants 276 Modal borrowing 277 Decorative chromaticism Melodies

x

278

281



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Melodic Dictation: QUiZ no. 1 285 QUiZ no. 2 286 QUiZ no. 3 287 QUiZ no. 4 289 Harmonic Dictation: Scalar Variants, Modal Borrowing

290

Basic Progressions 290 Scalar variants 290 Modal borrowing 292 Phrase-Length Exercises

295

Harmonic Dictation: QUiZ no. 1 300 QUiZ no. 2 302 QUiZ no. 3 304 QUiZ no. 4 306

Unit 13 Melodic Dictation: Secondary Dominants Preliminary Exercises Melodies

308

308

310

Melodic Dictation: QUiZ no. 1 314 QUiZ no. 2 315 QUiZ no. 3 317 Harmonic Dictation: Secondary Dominants Basic Progressions

319

319


322


Unit 14 Examples from Music Literature

332


Herr, wie du willst, so shick’s mit mir (chorale)


Jesu, meiner Seelen Wonne (chorale)


Wer nur den lieben Gott läßt walten (chorale)


Minuet in G Minor

5. Edward MacDowell. 7. Frederic Chopin.

German Dance

Valse, Op. 69, no. 1

8. Wolfgang Amadeus Mozart. 9. Joseph Haydn.

10. Ludwig van Beethoven.

332

333

334 334

String Quartet, K. 158, mvt. i

Divertimento in D

332

333

To a Wild Rose, Op. 51, no. 1

6. Carl Maria von Weber.

332

335

336

String Quartet, Op. 18, no. 6, mvt. i

337

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QUiZ no. 1

338

1. Johann Sebastian Bach. 2. Johann Sebastian Bach. QUiZ no. 2

Jesu, meiner Seelen Wonne (chorale) 338 Es woll’ uns Gott genadig sein (chorale) 338

339

1. Ludwig van Beethoven. Romanze from Sonatina in G 2. Frederic Chopin. Prelude, Op. 28, no. 7 339 QUiZ no. 3

339

340

Joseph Haydn.

Divertimento in G, Hob. ii:3

340

Unit 15 Melodic Dictation: Modulation to Closely Related Keys Melodies

341

341

Melodic Dictation: QUiZ no. 1 346 QUiZ no. 2 347 QUiZ no. 3 349 Harmonic Dictation: Modulation to Closely Related Keys Phrase-Length Exercises

350

350


Unit 16 Rhythmic Dictation: Quintuple Meter Preliminary Exercises

361

361

Comprehensive Exercises

362

Rhythmic Dictation: QUiZ no. 1 365 QUiZ no. 2 366 QUiZ no. 3 368 Melodic Dictation: the neapolitan Sixth Chord, Augmented Sixth Chords, and Modulation to Distantly Related Keys 369 Preliminary Exercises Melodies

369

371

Melodic Dictation: QUiZ no. 1 375 QUiZ no. 2 377 QUiZ no. 3 379 Harmonic Dictation: the neapolitan Sixth Chord, Augmented Sixth Chords, Enharmonic Modulation 381 Basic Progressions

381


xii

384



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394


Ach Gott, vom Himmel sieh’ darein (chorale)


Befiehl du deine Wege (chorale)


Ach Gott, wie manches Herzeleid (chorale)


Hilf, Herr Jesu, lass gelingen (chorale)


Bourrée, French Overture

6. Jeremiah Clarke.

Jigg

7. Antonio Diabelli.

Rondino

8. Joseph Haydn.

10. Ludwig van Beethoven. 11. Mikail ivanovich Glinka.

394

399 399

Bagatelle, Op. 119, no. 1

400

Minuet in G Major, WoO 10, no. 2 Waltz, Op. 39, no. 15

13. Joseph Haydn.

Divertimento, Hob. ii:18, mvt. iii, trio

401 402


Quartet, Op. 18, no. 1, mvt. iii

403


Quartet, Op. 18, no. 4, mvt. iii

404


Quartet, Op. 18, no. 4, mvt. iV

405

17. Wolfgang Amadeus Mozart.

Quartet, K. 421, mvt. iii

18. Wolfgang Amadeus Mozart.

Quartet, K. 170, mvt. i

1. 2. 3. 4.

407

409

410

411

Johann Sebastian Bach. Meine Seel’ erhebt den Herren (chorale) Ludwig van Beethoven. Sonata, Op. 14, no. 1, mvt. ii 412 Johannes Brahms. Waltz, Op. 39, no. 15 412 Ludwig van Beethoven. Quartet, Op. 18, no. 2, mvt. iii, trio

QUiZ no. 3 1. 2. 3. 4.

406

Johann Sebastian Bach. Befiehl du deine Wege (chorale) 409 Domenico Scarlatti. Sonata, Longo 83 409 Joseph Haydn. Sonata, Hob. XVi:37, mvt. iii 410 Ludwig van Beethoven. Sonata “Pathetique,” Op. 13, mvt. iii

QUiZ no. 2

400

401

Scherzo in B-flat

1. 2. 3. 4.

396

397

12. Franz Schubert.

QUiZ no. 1

395

398

Sonata, Hob. XVi:27, mvt. iii


394

411

413

414

Johann Sebastian Bach. Jesu, meine Freude (chorale) 414 Robert Schumann. “important Event,” Scenes from Childhood, Op. 15, no. 6 Edvard Grieg. Rigaudon, Op. 40, no. 5, trio 415 Ludwig van Beethoven. Quartet, Op. 18, no. 3, mvt. iii 416

415

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UNIT 18 Rhythmic Dictation: Irregular Meters

417

Rhythmic Dictation: QUIZ No. 1 420 QUIZ No. 2 421 Melodic Dictation: Diatonic Modes

422

Melodic Dictation: QUIZ No. 1 426 QUIZ No. 2 428 Harmonic Dictation: Diatonic Modes

429

Harmonic Dictation: QUIZ No. 1 433 QUIZ No. 2 435

UNIT 19 Rhythmic Dictation: Changing Meters

437

Rhythmic Dictation: QUIZ No. 1 440 QUIZ No. 2 441 Part Music Dictation: Pandiatonicism

442

Part Music Dictation: QUIZ No. 1 450 QUIZ No. 2 453

UNIT 20 Rhythmic Dictation: Syncopation Including Irregular and Mixed Meters

455

Rhythmic Dictation: QUIZ No. 1 458 QUIZ No. 2 459 Melodic Dictation: Extended and Altered Tertian Harmony

461

Melodic Dictation: QUIZ No. 1 465 QUIZ No. 2 467 Harmonic Dictation: Extended and Altered Tertian Harmony

469

Harmonic Dictation: QUIZ No. 1 473 QUIZ No. 2 475

UNIT 21 Melodic Dictation: Exotic Scales

477

Melodic Dictation: QUIZ No. 1 482 QUIZ No. 2 483 Part Music Dictation: Exotic Scales

485

Part Music Dictation: QUIZ No. 1 489 QUIZ No. 2 491

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Unit 22 Melodic Dictation: Quartal Harmony

492

Melodic Dictation: QUiZ no. 1 496 QUiZ no. 2 498 Part Music Dictation: Quartal Harmony

500

Part Music Dictation: QUiZ no. 1 503 QUiZ no. 2 505

Unit 23 Part Music Dictation: Polyharmony and Polytonality

507

Part Music Dictation: QUiZ no. 1 514 QUiZ no. 2 517

Unit 24 Melodic Dictation: interval Music Preliminary Exercises Melodies

520

520

523

Melodic Dictation: QUiZ no. 1 527 QUiZ no. 2 529

Unit 25 Melodic Dictation: Serial Music

531

Melodic Dictation: QUiZ no. 1 QUiZ no. 2

534 535


536

Part 1: Modality, pandiatoniscism, free tertian, jazz 1. Béla Bartók, Evening in the Country 2. igor Stravinsky, Vivo

536

536

537

3. Ernst Bloch, Waves, mm. 71–78

537

4. Claude Debussy, Prelude Viii, mm. 24–28 5. Claude Debussy, Sarabande, mm. 23–29

538 538

6. igor Stravinsky, L’Histoire du Soldat, “Marche Royale”

539

Contents

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QUIZ No. 1

540

1. Carlos Chávez, Prelude No. 2

540

2. Claude Debussy, Rêverie, mm. 51–58

540

3. Igor Stravinsky, L’Histoire du Soldat, Petit Choral 4. Bronislau Kaper, Green Dolphin Street

541

541

Part 2: Scalar and chordal techniques, polytonality

542

1. Béla Bartók, Forty-four Violin Duets, No. 33, Harvest Song 2. Bela Bartók, Sketches, II (See-saw . . . )

542

3. Béla Bartók, Sketches, V (Roumanian Folk Song) 4. John Alden Carpenter, Danza, mm. 193–198 5. Ángel Lasala, Trío No. 1, I, mm. 77–82 QUIZ No. 2

542

543

543

544

545

1. Béla Bartók, Bear Dance

545

Part 3: Interval music, free atonality, and serialism

546

1. Igor Stravinsky, Symphony of Psalms, II

546

2. Béla Bartók, Music for Strings, Percussion, and Celesta, I 3. Arnold Schoenberg, Three Songs

546

4. Luigi Dallapiccola, Goethe Lieder, Mvt. 2 5. Roger Sessions, Sonata for Violin

546

547

6. Arnold Schoenberg, Drei Klavierstück, Op. 11, No. 1

547

7. Anton Webern, Symphony, Op. 21, II, Variationen, Thema QUIZ No. 3

548

549

1. Edgard Varèse, Octandre, I

549

2. Ernst Krenek, Suite for Violoncello Solo

549

3. Luigi Dallapiccola, Quaderno Musicale di Annalibera, I

xvi

546

549



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Getting Started 1. Create your online user account at CengageBrain.com, following the instructions on the card included with your book. Do not lose the access code printed on the card. Only registered users have full access to the Website. 2. Begin your online practice immediately at MusicForEarTraining.com. You can also download the MusicET application to your computer for practice without an Internet connection. Refer to the “Downloads and Help” page at the Website for more information.

What’s New in Music for Ear Training, Version 4.0 •

New streaming audio for all music listening examples, rendered with the highest-quality instrumental timbres sampled from all the principal instruments of the orchestra. Listening exercises at the MusicForEarTraining.com Website are compatible with popular Web browsers for computers and mobile tablets.

•

The dual option of listening either with digital audio online or with the downloadable software application and internal computer sound.

•

No CD drive is needed for off-line listening. The downloadable application replaces and updates content on the third edition CD-ROM, in a format newly optimized for current Windows and Macintosh systems.

•

New Web-based preliminary exercises for intervals, chords, and scales to help students acquire strong listening skills in music fundamentals. Contextual listening examples provide opportunities to hear intervals and chords in musical contexts with scales, melodies, and varied instrumental timbres. An online record tracks the student’s progress.

•

A new unit of music literature examples for twentieth-century techniques, with excerpts for dictation from works by major modern composers including Debussy, Bartok, Stravinsky, Schoenberg, and others.

xvii Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.


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Suggestions to the Instructor Create your online user account as an instructor at CengageBrain.com. Your registration authorizes full access to the Music for Ear Training Website at MusicForEarTraining.com. These listening exercises for dictation with accompanying workbook are intended as supplements to a course in Ear Training. Often, there is not sufficient class time to provide students with the reinforcing experiences necessary to develop the tools to take music dictation with ease, assurance, and fluency. The ability to write down music after hearing it is an extremely important skill that benefits the musician in numerous ways. It enhances one’s aural acuity both as a performer and listener and makes all musical experiences more vivid and comprehensible. This interactive material provides each individual student with the equivalent of a private ear-training tutor. Each student may proceed at his or her own pace. Examples and portions of examples can be listened to as often as necessary for each individual to master the material. Isolated lines in four-part examples and right-hand or left-hand parts in keyboard textures can be selected as listening options. It is important, however, that the student develop the ability to take down dictation accurately within a limited number of replays, possibly four, or other number recommended by the instructor. The Website at MusicForEarTraining.com delivers musical listening examples rendered with the highest-quality orchestral and keyboard sampled sounds while the downloadable software application provides opportunity for the student to work without an Internet connection using computer internal sound. The layout of the workbook is designed in parallel with the listening examples, so that the student can write dictation directly onto the appropriate page. Formatted staves with time and key signatures and bar lines are provided for each example. Answers for all practice dictation examples are immediately available on-screen using either the Web interface or the downloadable application. Answers for the quizzes at the end of each chapter are available only to the teacher in the Instructor’s Edition of the workbook. All of the material in Music for Ear Training is cumulative. Each chapter builds upon those that have preceded it. We have included the following types of material for dictation: 1. Rhythmic exercises are played on a single pitch and provide practice with specific rhythmic problems. 2. Melodic exercises are composed in a musical way and deal with specific scalar, harmonic, and rhythmic material. In most chapters, preliminary as well as full-length exercises are provided. 3. Harmonic exercises are played in four-voice texture, either choral or keyboard. They focus on particular chordal vocabulary. In most chapters, preliminary as well as full-length exercises are provided.

xviii

Suggestions to the Instructor Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.


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4. Quizzes are included in each chapter after the exercises in each of the above topics. 5. Music from the literature. At strategic points throughout Music for Ear Training, chapters containing cumulative examples from the literature in a variety of textures are included. The number of exercises within each unit was dictated by the desire to present both a sufficient number of exercises and a few more challenging exercises for the advanced students. It is, of course, not necessary to do each and every exercise. The instructor may even wish to assign only certain exercises within the quizzes or may wish to mix items from the rhythmic, melodic, and harmonic exercises. The Web-based Unit 1 listening exercises present intervals and chords in musical contexts with scales and melodies. The online record of activity maintained for each student may be useful as a guide in determining when students have acquired a foundation in the aural study of rudiments that will contribute to success in Unit 1 quizzes and the dictations that follow in later units. The downloadable MusicET application also gives the student the opportunity for virtually endless drill with intervals, qualities of triads, and scale types. The student is allowed to determine the range of intervals to hear from a single category—for example, major and minor thirds—up to all intervals. Similarly, the student may elect specific qualities of triads to hear. The practice drills are followed by quizzes that use the formatted sheets in the workbook. Students access the audio for the quizzes using either the Web interface or the downloaded application, as preferred. The interval quizzes are graded by interval type, but each quiz contains a section that is cumulative—that is, all intervals to that point are included and in all possible arrangements. It is not necessary to do Unit 1 in any particular order. Scales can easily precede intervals, for example. Unit 1 should also be considered a resource unit, and students should be encouraged to return to it at any time for review drill, particularly on intervals and triad qualities. New to this edition is Unit 26, Examples from Music Literature, which contains examples of the literature of the twentieth century. These excerpts exemplify the techniques presented in Units 18 through 25. Composers representing a wide variety of styles are included, ranging from Debussy to Stravinsky and Webern. Music for Ear Training may be used conveniently with most of the sight singing texts currently available. It is designed in parallel with Music for Sight Singing by Thomas Benjamin, Michael Horvit, and Robert Nelson, sixth edition (Schirmer Books, 2013), and will work especially smoothly with the presentation of materials in that book. The Instructor’s Edition is laid out parallel to the Student Edition but with the answers to all of the exercises and quizzes included. The Roman numeral analyses provided for the common-practice examples follow the system used in Thomas Benjamin, Michael Horvit, and Robert Nelson, Techniques and Materials of Music, seventh edition (Schirmer, 2008), but instructors should feel free to substitute whatever system they prefer. Lead sheet (jazz) chord symbol

Suggestions to the Instructor

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usage is also far from uniform, and instructors may wish to specify how they want chords analyzed in Unit 20. Some serial melodies in Unit 25 show accidentals on every note; others use the traditional method. Enharmonic equivalents are occasionally indicated parenthetically, as with tritones in Unit 1. In other places, students may notate certain notes enharmonically, and the instructor will need to determine the correctness of these spellings.

Suggestions to the Student The Music for Ear Training Website provides access to the audio and drills that you will use with the workbook. To gain entry, create your online user account at CengageBrain.com. You will need to enter the access code you received on a card included with this book. Simply follow the instructions on the card. After entering your registration information, you will automatically receive an email containing an encoded link that will allow you to gain entry to the Music for Ear Training Website. Clicking on the link in the email message will send you to the site as an authenticated user. You need to complete this process only once. For return visits, you can go directly to the Music for Ear Training Website at MusicForEarTraining.com. The ability to hear and quickly comprehend any piece of music is a skill that is crucial to the musician. Having a “good ear” involves more than just playing or singing in tune. Traditionally, students acquire this skill through the discipline of aural dictation—listening to a musical example and then writing it down. Unfortunately, all too many students approach this facet of their musical studies with trepidation and anxiety. They may assume that only those musicians blessed with perfect pitch can do dictation. In fact, aural comprehension is a skill that can be acquired with diligent, structured practice. Music for Ear Training is designed to give the student an ample number of ear-training practice exercises that can be completed outside the classroom and at the student’s own pace. The exercises are carefully graded to lead from simple isolated problems, such as interval recognition, all the way to the transcription of short pieces from the literature. You can compare your results with the correct solution by clicking on the “Show Answer” button. Four categories of exercises appear throughout Music for Ear Training: •

Rhythmic dictation drills,

•

Preliminary exercises for melodic dictation, which focus on particular musical patterns, and harmonic dictation, which focuses on chord progressions,

•

Melodies and phrase-length harmonic exercises, and

•

Music from the literature.

Exercises in interval, triad, and scale recognition are contained in the first unit. You can return to this unit for review at any time. As a rule, the preliminary exercises introduce a specific item, such as an interval or a chord, and help you to assimilate that item through drill. The

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Suggestions to the Student Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.


15/03/12 10:05 PM

melodies and phrase-length harmonic exercises are cumulative and serve to integrate the new items into the vocabulary previously presented. You can go back and review the interval and triad recognition drills from Unit 1 using the Website or downloaded software at any time. The units containing music from the literature will help you to gauge your progress. You will see how facility with the rhythmic, melodic, and harmonic exercises improves your understanding of the music that is the stuff of your day-to-day activities. Quizzes are included for each unit of the workbook. These quizzes may be given in class or assigned as homework, and your instructor may ask you to submit them. The solutions for these quizzes are available only to your instructor. Since aural dictation is often a new experience, it is easy to become overwhelmed. As an aid, we have incorporated at the beginning of most sets of exercises a number of suggestions and strategies for listening. You will also occasionally find specific suggestions preceding certain exercises. Here is a summary of all those general strategies; they will help you to focus your listening and correctly interpret what you hear. These lists are not intended to exhaust all the possibilities. Your instructor will likely have additional suggestions, and you will discover other useful devices on your own. From time to time, additional suggestions will appear on the screen. These suggestions are intended to help you deal with a particular exercise, but make a note of them because they will come in handy for other exercises as well.

Rudiments Unit 1 provides exercises for intervals, triads, and scales. The Web-based Unit 1 exercises present intervals and chords within musical contexts of scales and melodies. You can track your progress with an online record of your activity. The downloadable MusicET application allows you to control your practice session with a virtually unlimited number of examples. For intervals, you may elect to concentrate on just one size—say, seconds—or you may elect to listen to as broad a range of interval sizes as you wish. There are similar options with triads and scales. Unit 1 is a valuable resource unit, and you should use it for review at any time. For example, the melodic dictation exercises are graded by interval content, and you may wish to review the particular intervals before working on the melodies. Similarly, when seventh chords are introduced, you might wish to review sevenths.

Rhythmic Dictation 1. Define the time signature (how many beats per measure, simple or compound, and so on), and then listen to the complete exercise. 2. How is the meter defined? Do you hear long notes on strong beats and quicker notes on weak beats? Try tapping the beat as you listen to the example.

Suggestions to the Student

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3. What is the most frequently occurring note value? Is it the beat unit or a division of the beat? How many different values are there? 4. Do you hear recurring patterns? Are there instances of any particular rhythmic device such as syncopation? Melodic Dictation 1. Listen to the complete exercise. 2. Establish the key for yourself by listening to either the given scale or the tonic note. (Simply click on the buttons for the scale or the note.) 3. Does the music move by step or by skip? Are the skips large or small? Do consecutive skips arpeggiate a particular chord? 4. What is the shape, or curve, of the melody? It can be helpful to draw a simple graph of its design before writing down the actual pitches. 5. Listen for important structural pitches. These include the first and last pitches, cadential pitches, metric and agogic accents, and the highest and lowest pitches. Try sketching in these pitches first. 6. If you use solfège syllables or scale degree numbers in your singing, then writing these during dictation may also be a helpful strategy. 7. Listen for phrase and cadence structure. What is the form of the melody? Are there interior cadences? Do two phrases form a period? Remember to constantly apply what you have learned in your theory classes. The more you are aware of what is likely to be true, the more you will hear. 8. Do you hear a pattern in the music? This patterning may be rhythmic only, or it may involve both rhythm and pitch. Are patterns repeated or sequenced? Are there recurrences of musical ideas, particularly at the beginning of subsequent phrases? 9. As you listen to a melody, sketch simple symbols to indicate pitches and rhythms; that is, circles for whole and half notes and dots for shorter note values. Allow for proportional distances between note heads to represent values within a measure. Supply precise rhythmic values as a subsequent step, then notate what you hear in final form. 10. An excellent method of enhancing your ability to take melodic dictation is to write down melodies from memory. When taking a break in the practice room or library, think of a tune you already know. It may be a folk, children’s, popular, or patriotic song. Pick a key and jot it down. This will strengthen your ability to get material you clearly have in your mind down on paper.

xxii

Suggestions to the Student Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.


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Harmonic Dictation 1. Listen to the complete exercise. 2. For phrase-length exercises, what kind of cadence(s) do you hear? 3. Chord progressions in the common-practice period follow predictable patterns. If you have identified one chord, consider the finite number of possibilities for chords that might logically follow. If you have identified the cadential chords, try working backwards. 4. Whether listening online or with the downloaded application, the interface allows you to isolate the individual voices. Be sure to use stereo headphones or speakers of good quality, since the online audio relies on stereo separation to isolate voices in some examples. Hearing the lines clearly will help in distinguishing between two chords that are somewhat interchangeable, such as IV and ii6. Examples from Music Literature These exercises present actual pieces of music. It should be possible to transcribe these pieces note-for-note. The following suggestions should prove helpful: 1. Listen to the complete exercise. 2. How would you characterize the texture of the music? Are there clear melodic lines? Most piano textures and ensemble textures will have prominent melodies. Focus on these lines that you will be able to isolate. 3. All examples, even those that are contrapuntal, will have obvious harmonic implications. In more homophonic pieces, the chord structures should be quite clear and easily heard as such. Although you will not be required to supply the Roman numerals, harmonic analysis can be a great aid in hearing the music. 4. What is the structure of the music? Do you clearly hear phrase and cadence? What are the cadence types? Finally, the application will allow you to listen to any one exercise as many times as you wish, and early on in your work, this may be necessary. You should always try, however, to transcribe the music with as few hearings as possible. In most cases, four repetitions should be more than enough. As your skills develop, the number of hearings should decrease. You may elect at any time to see the solution to any of the exercises except for the quizzes. After comparing your solution with that on the screen, you may wish to listen one more time, concentrating on those places where you made mistakes. The workbook provides you with staff paper already formatted with the correct number of measures for each example along with the key, time signatures, and any given pitches. You may find it useful to use scratch paper for your preliminary sketches, using the workbook only to enter your final version. The workbook pages are easily removed when exercises need to be handed in for evaluation by your instructor. Suggestions to the Student

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15/03/12 10:05 PM

Class:

Name: _____________________________________

Professor:

Unit 1 Intervals, Triads, and Scales Use the practice drills online and in the MusicET application to prepare for these quizzes.

Major and Minor Seconds: QUIZ NO. 1 Melodic ascending

1.1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

7.

8.

9.

10.

13. 13. _______

14. 14. _______

15.15. _______

Melodic descending

6.

Harmonic (lower note given)

11.11. _______

12. 12. _______

Cumulative (melodic, both ascending and descending, and harmonic)

16.16. _______

17. 17. _______

18. 18. _______

19. 19. _______

20.20. _______

21.21. _______

22. 22. _______

23. 23. _______

24. 24. _______

25.

1 Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Class:

Name: _____________________________________

Professor:

Major and Minor Seconds: QUIZ NO. 2 Melodic ascending

1.1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5.5. _______

7. 7. _______

8. 8. _______

9. 9. _______

10.10. _______

13. 13. _______

14. 14. _______

15. 15. _______

19. 19. _______

20.20. _______

Melodic descending

6.6. _______

Harmonic (lower note given)

11. 11. _______

12. 12. _______

Cumulative (melodic, both ascending and descending, and harmonic)

16.16. _______

16. _______

21. _______

21.21. _______

2

17. 17. _______

17. _______

22. _______

22. 22. _______

18. 18. _______

18. _______

23. _______

23.23. _______

19. _______

24. _______

24. 24. _______

20. _______

25. _______

25.25. _______

Unit 1 Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Class:

Name: _____________________________________

Professor:

Major and Minor Thirds: QUIZ NO. 1 Thirds only Melodic ascending

1.1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

7. 7. _______

8. 8. _______

9. 9. _______

10.10. _______

12. 12. _______

13. 13. _______

14. 14. _______

15.15. _______

16.16. _______

17. 17. _______

18. 18. _______

19. 19. _______

20.20. _______

21.21. _______

22. 22. _______

23. 23. _______

24. 24. _______

25.25. _______

Melodic descending

6.6. _______

Harmonic

11.11. _______

Cumulative

Intervals, Triads, and Scales 3 Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Class:

Name: _____________________________________

Professor:

Major and Minor Thirds: QUIZ NO. 2 Thirds only Melodic ascending

1.1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

7. 7. _______

8. 8. _______

9. 9. _______

10.10. _______

12. 12. _______

13. 13. _______

14. 14. _______

15.15. _______

16.16. _______

16. _______

17. 17. _______

17. _______

18. 18. _______

18. _______

19. 19. _______

19. _______

20.20. _______

21.21. 21. _______ _______

22. 22. 22. _______ _______

23. 23. 23. _______ _______

24. 24. 24. _______ _______

25.25. 25. _______ _______

Melodic descending

6.6. _______

Harmonic

11.11. _______

Cumulative

4

20. _______


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Class:

Name: _____________________________________

Professor:

Perfect and Augmented Fourths: QUIZ NO. 1 Fourths only Melodic ascending

1. 1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

7. 7. _______

8. 8. _______

9. 9. _______

10.10. _______

12. 12. _______

13. 13. _______

14. 14. _______

15.15. _______

16.16. _______

17. 17. _______

18. 18. _______

19. 19. _______

20.20. _______

21.21. _______

22. 22. _______

23. 23. _______

24. 24. _______

25.25. _______

Melodic descending

6.6. _______

Harmonic

11.11. _______

Cumulative


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Class:

Name: _____________________________________

Professor:

Perfect and Augmented Fourths: QUIZ NO. 2 Fourths only Melodic ascending

1. 1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

7. 7. _______

8. 8. _______

9. 9. _______

10.10. _______

12. 12. _______

13. 13. _______

14. 14. _______

15.15. _______

16.16. _______

17. 17. _______

18. 18. _______

19. 19. _______

20.20. _______

21.21. _______

22. 22. _______

23. 23. _______

24. 24. _______

25.25. _______

Melodic descending

6.6. _______

Harmonic

11.11. _______

Cumulative

6


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Class:

Name: _____________________________________

Professor:

Perfect and Diminished Fifths: QUIZ NO. 1 Fifths only Melodic ascending

1. 1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

7. 7. _______

8. 8. _______

9. 9. _______

10.10. _______

12. 12. _______

13. 13. _______

14. 14. _______

15.15. _______

16.16. _______

17. 17. _______

18. 18. _______

19. 19. _______

20.20. _______

21.21. _______

22. 22. _______

23. 23. _______

24. 24. _______

25.25. _______

Melodic descending

6.6. _______

Harmonic

11.11. _______

Cumulative


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Class:

Name: _____________________________________

Professor:

Perfect and Diminished Fifths: QUIZ NO. 2 Fifths only Melodic ascending

1. 1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

7. 7. _______

8. 8. _______

9. 9. _______

10.10. _______

12. 12. _______

13. 13. _______

14. 14. _______

15.15. _______

16.16. 16. _______ _______

17. 17. 17. _______ _______

18. 18. 18. _______ _______

19. 19. 19. _______ _______

20.20. 20. _______ _______

21.21. 21. _______ _______

22. 22. 22. _______ _______

23. 23. 23. _______ _______

24. 24. 24. _______ _______

25.25. 25. _______ _______

Melodic descending

6.6. _______

Harmonic

11.11. _______

Cumulative

8


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Class:

Name: _____________________________________

Professor:

All Perfect Intervals and Tritones: QUIZ NO. 1 Perfect intervals and tritones only Melodic ascending

1. 1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

7. 7. _______

8. 8. _______

9. 9. _______

10.10. _______

12. 12. _______

13. 13. _______

14. 14. _______

15.15. _______

16.16. _______

17. 17. _______

18. 18. _______

19. 19. _______

20.20. _______

21.21. _______

22. 22. _______

23. 23. _______

24. 24. _______

25.25. _______

Melodic descending

6.6. _______

Harmonic

11.11. _______

Cumulative


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2/25/12 7:41 PM

Class:

Name: _____________________________________

Professor:

All Perfect Intervals and Tritones: QUIZ NO. 2 Perfect intervals and tritones only Melodic ascending

1. 1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

7. 7. _______

8. 8. _______

9. 9. _______

10.10. _______

12. 12. _______

13. 13. _______

14. 14. _______

15.15. _______

16.16. _______

17. 17. _______

18. 18. _______

19. 19. _______

20.20. _______

21.21. _______

22. 22. _______

23. 23. _______

24. 24. _______

25.25. _______

Melodic descending

6.6. _______

Harmonic

11.11. _______

Cumulative

10


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2/25/12 7:41 PM

Class:

Name: _____________________________________

Professor:

Major and Minor Sixths: QUIZ NO. 1 Sixths only Melodic ascending

1. 1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

7. 7. _______

8. 8. _______

9. 9. _______

10.10. _______

12. 12. _______

13. 13. _______

14. 14. _______

15.15. _______

16.16. _______

17. 17. _______

18. 18. _______

19. 19. _______

20.20. _______

21.21. _______

22. 22. _______

23. 23. _______

24. 24. _______

25.25. _______

Melodic descending

6.6. _______

Harmonic

11.11. _______

Cumulative


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2/25/12 7:41 PM

Class:

Name: _____________________________________

Professor:

Major and Minor Sixths: QUIZ NO. 2 Sixths only Melodic ascending

1. 1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

7. 7. _______

8. 8. _______

9. 9. _______

10.10. _______

12. 12. _______

13. 13. _______

14. 14. _______

15.15. _______

16.16. _______

17. 17. _______

18. 18. _______

19. 19. _______

20.20. _______

21.21. _______

22. 22. _______

23. 23. _______

24. 24. _______

25.25. _______

Melodic descending

6.6. _______

Harmonic

11.11. _______

Cumulative

12


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Class:

Name: _____________________________________

Professor:

Major and Minor Sevenths: QUIZ NO. 1 Sevenths only Melodic ascending

1. 1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

7. 7. _______

8. 8. _______

9. 9. _______

10.10. _______

12. 12. _______

13. 13. _______

14. 14. _______

15.15. _______

16.16. _______

17. 17. _______

18. 18. _______

19. 19. _______

20.20. _______

21.21. _______

22. 22. _______

23. 23. _______

24. 24. _______

25.25. _______

Melodic descending

6.6. _______

Harmonic

11.11. _______

Cumulative


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Class:

Name: _____________________________________

Professor:

Major and Minor Sevenths: QUIZ NO. 2 Sevenths only Melodic ascending

1. 1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

7. 7. _______

8. 8. _______

9. 9. _______

10.10. _______

12. 12. _______

13. 13. _______

14. 14. _______

15.15. _______

16.16. _______

17. 17. _______

18. 18. _______

19. 19. _______

20.20. _______

21.21. _______

22. 22. _______

23. 23. _______

24. 24. _______

25.25. _______

Melodic descending

6.6. _______

Harmonic

11.11. _______

Cumulative

14


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Class:

Name: _____________________________________

Professor:

All Intervals: QUIZ NO. 1

1. 1. 1. _______ _______

2. 2. _______ 2. _______

3. 3. _______ 3. _______

4. 4. 4. _______ _______

5. 5. 5. _______ _______

6. _______ 6. 6. _______ _______

7. _______ 7. 7. _______

8. _______ 8. 8. _______

9. _______ 9. 9. _______

10.10. _______

_______ 11.11. 11. _______

11. _______ 11. _______

_______ 12. 12. 12. _______

12. _______ 12. _______

_______ 13. 13. 13. _______

13. _______ 13. _______

_______ 14. 14. 14. _______

14. _______ 14. _______

_______ 15.15. 15. _______

16. 16. _______ _______ 16.16. 16. _______ _______

17. 17. _______ _______ 17. 17. 17. _______ _______

18. 18. _______ _______ 18. 18. 18. _______ _______

19. 19. _______ _______ 19. 19. 19. _______ _______

20. 20. _______ _______ 20.20. 20. _______ _______

21. 21. _______ _______ 21. _______ 21.21. _______

22. 22. _______ _______ 22. _______ 22. 22. _______

23. 23. _______ _______ 23. _______ 23. 23. _______

24. 24. _______ _______ 24. _______ 24. 24. _______

25. 25. _______ _______ 25. _______ 25.25. _______

1. 1. _______ _______

6.6. _______

2. 2. _______ _______

7. 7. _______ _______

3. 3. _______ _______

8. 8. _______ _______

4. 4. _______ _______

9. 9. _______ _______

5. 5. _______ _______

10. _______ 10. 10. _______ _______

15. _______ 15. _______


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Class:

Name: _____________________________________

Professor:

All Intervals: QUIZ NO. 2

1. 1. 1. _______ _______

1. 1. _______ _______

2. 2. _______ 2. _______ _______

2. _______

3. 3. _______ 3. _______ _______

4. 4. 4. _______ _______

5. 5. 5. _______ _______

_______ 6. 6.6. 6. _______ _______

_______ 7. 7. 7. 7. _______ _______

_______ 8. 8. 8. 8. _______ _______

_______ 9. 9. 9. 9. _______ _______

_______ 10. 10.10. 10. _______ _______

6. _______

11. _______

11.11. 11. _______ _______

16. 16. _______ _______

16.16. 16. _______ _______

21. 21. _______ _______

21. _______ _______ 21.21.

16

7. _______

12. _______

12. 12. 12. _______ _______

17. 17. _______ _______

17. 17. 17. _______ _______

22. 22. _______ _______

22. _______ _______ 22. 22.

3. _______

8. _______

13. _______

13. 13. 13. _______ _______

18. 18. _______ _______

18. 18. 18. _______ _______

23. 23. _______ _______

23. _______ _______ 23. 23.

4. 4. _______ _______

9. _______

14. _______

14. 14. 14. _______ _______

19. 19. _______ _______

19. 19. 19. _______ _______

24. 24. _______ _______

24. _______ _______ 24. 24.

5. 5. _______ _______

10. _______

15. _______

15.15. 15. _______ _______

20. 20. _______ _______

20.20. 20. _______ _______

25. 25. _______ _______

25. _______ _______ 25.25.


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Class:

Name: _____________________________________

Professor:

Major and Minor Triads: QUIZ NO. 1

1.1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

6. _______ 6.6. _______

7. _______ 7. 7. _______

8. _______ 8. 8. _______

9. _______ 9. 9. _______

10. _______ 10.10. _______

1. _______

2. _______

3. _______

4. _______

5. _______


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Class:

Name: _____________________________________

Professor:

Major and Minor Triads: QUIZ NO. 2

1.1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

6. _______ 6.6. _______

7. _______ 7. 7. _______

8. _______ 8. 8. _______

9. _______ 9. 9. _______

10. _______ 10.10. _______

1. _______

18

2. _______

3. _______

4. _______

5. _______


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Class:

Name: _____________________________________

Professor:

Introducing Diminished Triads: QUIZ NO. 1

1.1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

6. _______ 6.6. _______

7. _______ 7. 7. _______

8. _______ 8. 8. _______

9. _______ 9. 9. _______

10. _______ 10.10. _______

1. _______

2. _______

3. _______

4. _______

5. _______


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Class:

Name: _____________________________________

Professor:

Introducing Diminished Triads: QUIZ NO. 2

1.1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

6. _______ 6.6. _______

7. _______ 7. 7. _______

8. _______ 8. 8. _______

9. _______ 9. 9. _______

10. _______ 10.10. _______

1. _______

20

2. _______

3. _______

4. _______

5. _______


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Class:

Name: _____________________________________

Professor:

Introducing Augmented Triads: QUIZ NO. 1

1.1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

6. _______ 6.6. _______

7. _______ 7. 7. _______

8. _______ 8. 8. _______

9. _______ 9. 9. _______

10. _______ 10.10. _______

1. _______

2. _______

3. _______

4. _______

5. _______


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Class:

Name: _____________________________________

Professor:

Introducing Augmented Triads: QUIZ NO. 2

1.1. _______

2. 2. _______

3. 3. _______

4. 4. _______

5. 5. _______

6. _______ 6.6. _______

7. _______ 7. 7. _______

8. _______ 8. 8. _______

9. _______ 9. 9. _______

10. _______ 10.10. _______

1. _______

22

2. _______

3. _______

4. _______

5. _______


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Class:

Name: _____________________________________

Professor:

Major and Minor Scales: QUIZ NO. 1

1. 1. 1. 1. 1. 1.1.

2. 2. 2. 2. 2.2.

3. 3. 3. 3. 3. 3.3.

4. 4. 4. 4. 4. 4.4.

5. 5. 5. 5. 5. 5.5.

6. 6. 6. 6. 6.6.

7. 7. 7. 7. 7. 7.7.

8. 8. 8. 8. 8. 8. 8.

9. 9. 9. 9. 9. 9. 9.

10. 10. 10. 10. 10. Intervals, Triads, and Scales 23 Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Class:

Name: _____________________________________

Professor:

Major and Minor Scales: QUIZ NO. 2

1. 1. 1.1.

2. 2. 2.2.

3. 3. 3.3.

4. 4. 4.4.

5. 5. 5.5.

6. 6. 6.6.

7. 7. 7.7.

8. 8. 8.8.

9. 9. 9.9.

10. 10. 10. 24


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Class:

Name: _____________________________________

Professor:

Unit 2 Rhythmic Dictation: Simple Meters The goal of this unit is recognition of basic patterns in simple meters. The beat will be established by count-off clicks and the tempo may be adjusted. Listen first to each exercise while counting or tapping the beat. Which notes correspond to the beat? Which notes combine beats into larger values? Be aware of the number of beats per measure. Where do the longer values typically occur?

1. 1. 1. 1. 1. 1.1.

2. 2. 2. 2.2. 2. 2.

3. 3. 3. 3.3. 3. 3.

4. 4. 4.4. 4. 4. 4.

5. 5.5. 5. 5. 5. 5.

25


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Class:

Name: _____________________________________

Professor:

6.6.

7.7.

8.8.

9.9.

10.

26 Unit 2 Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

11 29812_02_unit2_p025-040.indd 26

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10.

Class:

Name: _____________________________________

Professor:

11

12.

13.

14.

Rhythmic Dictation: Simple Meters 27


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Class:

Name: _____________________________________

Professor:

Rhythmic Dictation: QUIZ NO. 1

1.1.

2.2.

3.3.

4.4.

5.5.


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Class:

Name: _____________________________________

Professor:


1.1.

2.2.

3.3.

4.4.

5.5.

Rhythmic Dictation: Simple Meters 29


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Name: _____________________________________

Professor:


1.1.

2.2.

3.3.

4.4.

5.5.


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Class:

Name: _____________________________________

Professor:

Melodic Dictation: Seconds, Thirds, and Fourths Preliminary Exercises 1.1.

2.2.

3.3.

4.4.

5.5.

6.6.

Melodic Dictation: Seconds, Thirds, and Fourths 31


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Class:

Name: _____________________________________

Professor:

7.7.

8.8.

9.9.

10.

11.

12.

13.


29812_02_unit2_p025-040.indd 32

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Class:

Name: _____________________________________

Professor:

14.

15.

16.

17.

18.



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Class:

Name: _____________________________________

Professor:

Melodies This unit contains melodies that are entirely conjunct (stepwise) in motion as well as melodies containing skips of major or minor thirds and perfect fourths. Click the buttons to hear the provided tonic note and scale. Try first singing the appropriate scale to establish a point of reference. Then listen to the melody. Does the music move by step? Is the direction of the line up or down? What scale fragment occurs? What is the pattern of whole and half steps? Do you hear a skip? Concentrate on that interval. Sing the two notes and “fill in” the missing notes. This will tell you if the skip is a third or a fourth. Finally, write out the melody. If you are uncertain about some of the pitches, leave a blank or indicate alternatives. Listen again, filling in the blanks. When you feel confident you have “solved” the melody, listen one last time. Sing along, using syllables, to check your work.

1. 1.1.

2. 2.2.

3. 3.3.

4. 4.4.

5. 5.5.

6. 6.6.


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Class:

Name: _____________________________________

Professor:

Deliberamente 7.7.

Moderato 8.8.

Cantabile 9.9.

Tempo di Valse 10.



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Class:

Name: _____________________________________

Professor:

Andante 11. Andante 11.

Allegro ma non troppo 12. Allegro ma non troppo 12.

Waltz

In the last two exercises, you will need to determine both the pitch and the rhythmic value of the first note.

13. Waltz 13.

Cantabile 14. Cantabile 14.


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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 1 Allegretto 1.1.

Andante 2.2.

Eroico 3.3.

Allegro 4.4.

Animato 5.5.



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Name:_________________________

Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ Melodic Dictation: QUIZ NO. 2

No. 2

Andante 1. 1.

Moderato 2. 2.

Comodo 3. 3.

Moderato 4. 4.

Giovale 5.


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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 3 Moderato 1.1.

Allegretto 2.2.

Andante 3.3.

Giocoso 4.4.

Waltz 5.5.



29812_02_unit2_p025-040.indd 39

1/7/12 11:42 AM

Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 4 In this quiz you will need to determine both the value and pitch of the initial note.

Lento 1.1.

Andante 2.2.

Cantabile 3.3.

Stately 4.4.

Semplice 5.5.


29812_02_unit2_p025-040.indd 40

1/7/12 11:42 AM

Class:

Name: _____________________________________

Professor:

Unit 3 Melodic Dictation: Fifths, Sixths, and Octaves Preliminary Exercises Preliminary Exercises 1.

2.

3. 3.

4. 4.

5. 5.

6. 6.

7. 7.

41


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Class:

Name: _____________________________________

Professor:

8.8.

9.9.

10.

11

12.

13.

14.


29812_03_unit3_p041-055.indd 42

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Class:

Name: _____________________________________

Professor:

15.

16.

17.

18.

Melodic Dictation: Fifths, Sixths, and Octaves 43


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Class:

Name: _____________________________________

Professor:

Melodies These melodies introduce consecutive skips outlining the tonic triad and also introduce larger skips of fifths, sixths, and octaves. As before, establish the key by singing the scale. You may also wish to sing the tonic triad. Then listen to the melody. Is the motion by step or by skip? Are there consecutive skips Moderato outlining a triad? What is the lowest note? The highest? Isolate the arpeggiation and check with syllables. Moderato Moderato Check the larger skips by isolating the interval and “filling in” the missing notes.

Moderato Moderato Moderato Moderato

1. 1. 1. 1. 1. 1. 1.1.

Marziale Marziale Marziale Marziale Marziale Marziale Marziale

2. 2. 2. 2. 2. 2.2. 2.

Andantino Andantino Andantino Andantino Andantino Andantino Andantino

3. 3. 3. 3. 3.3. 3. 3.

Dolce Dolce Dolce Dolce Dolce Dolce Dolce

4. 4. 4. 4.4. 4. 4. 4.

Cantabile Cantabile Cantabile Cantabile Cantabile Cantabile Cantabile

5. 5.5. 5. 5. 5. 5. 5.


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Class:

Name: _____________________________________

Professor:

Moderato 6.6.

Allegro moderato 7.7.

Grazioso 8.8.

Allegretto 9.9.

Largamente

110. 0.



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Class:

Name: _____________________________________

Professor:

Con moto 11

Con moto

11 Cantabile 12.

Cantabile

12. You will need to determine the first pitch for the last two exercises.

Andante

13.

Andante

13.

Lento ma non troppo 14.

Lento ma non troppo

14.


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Class:

Name: _____________________________________

Professor:


Allegro 2.2.

Lento 3.3.

Moderato 4.4.

Largamente 5.5.



29812_03_unit3_p041-055.indd 47

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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 2 Allegro 1.1.

Cantabile 2.2.

Moderato 3.3.

Vivo 4.4.

Tranquillo 5.5.


29812_03_unit3_p041-055.indd 48

1/7/12 12:02 PM

Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 3 Grazioso 1.1.

Andante 2.2.

Moderato assai 3.3.

Allegro ma non troppo 4.4.

Cantabile 5.5.



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1/7/12 12:02 PM

Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 4 Maestoso 1.1.

Andantino 2.2.

Spiritoso 3.3.

Allegretto 4.4.

Moderato 5.5.


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1/7/12 12:02 PM

Class:

Name: _____________________________________

Professor:

Harmonic Dictation: Four-Part Settings of the Tonic Triad The tonic triad is presented with all the possibilities of soprano-line motion. Since all the chords are in root position, you can easily fill in the bass line. Listen then for the direction of the soprano line. What is the melodic interval from one note to the next? Since the soprano will itself outline the tonic triad it should be easy to work out. Finally, fill in the inner voices, paying particular attention to the rules of part-writing.

1. 1.

2. 2.

3. 3.

4. 4.

Harmonic Dictation: Four-Part Settings of the Tonic Triad 51


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Class:

Name: _____________________________________

Professor:

5. 5.

6. 6.

7. 7.

8. 8.

9. 9.


29812_03_unit3_p041-055.indd 52

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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: QUIZ NO. 1 1. 1.

2. 2.

3. 3.



29812_03_unit3_p041-055.indd 53

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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: QUIZ NO. 2

1.

2. 2.

3.


29812_03_unit3_p041-055.indd 54

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Class:

Name: _____________________________________

Professor:


2. 2.

3. 3.



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Class:

Name: _____________________________________

Professor:

Unit 4 Rhythmic Dictation: 2:1 Subdivisions of the Beat These exercises introduce simple divisions of the beat. As before, listen to the example while you count or tap the beat. Where is the beat divided? Where do multiple beat values occur? Sketch out your solution, then listen again while counting or tapping your solution. How does it compare? Correct any errors.

1. 1. 1. 1. 1. 1.1. 1.

2. 2. 2. 2. 2. 2.2. 2.

3. 3. 3. 3. 3. 3.3. 3.

4. 4. 4. 4. 4. 4. 4. 4.

5. 5. 5. 5. 5. 5. 5. 5.

6. 6. 6. 6. 6. 6. 6. 6.

7. 7. 7. 7. 7. 7. 7. 7.

56


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Class:

Name: _____________________________________

Professor:

8.8. 8. 8. 8.

9. 9.9. 9. 9.

10. 10. 10. 10.

11. 11. 11. 11.

Rhythmic Dictation: 2:1 Subdivisions of the Beat 57


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Class:

Name: _____________________________________

Professor:

12. 12. 12.

13. 13. 13.

14. 14. 14.

15. 15. 15.

16. 16. 16.


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Class:

Name: _____________________________________

Professor:


1.1.

2.2.

3.3.

4.4.

5.5.



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Class:

Name: _____________________________________

Professor:


1.1. 1. 1. 1. 1. 2. 2.2. 2. 2. 2.

3. 3. 3.3. 3. 3.

4. 4. 4. 4.4. 4.

5. 5. 5. 5. 5.5.


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Class:

Name: _____________________________________

Professor:

1.

1. 1. Rhythmic Dictation: QUIZ NO. 3 1. 1. 1. 1.1. 2. 2. 2. 2. 2. 2.2. 2. 3. 3. 3. 3. 3. 3. 3. 3.

4. 4.4. 4. 4. 4. 4. 4. 5. 5.5. 5. 5. 5. 5. 5.



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Class:

Name: _____________________________________

Professor:

Melodic Dictation: The Tonic Triad and Dominant Seventh Preliminary Exercises

1.1. 1. 1. 1. 1. 1.

2.2. 2. 2. 2. 2. 2.

3. 3.3. 3. 3. 3. 3.

4. 4. 4. 4.4. 4. 4.

5. 5. 5. 5.5. 5. 5.

6. 6. 6. 6. 6. 6.6.


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Class:

Name: _____________________________________

Professor:

7.7. 7. 7.

8. 8. 8.8.

9. 9. 9.9.

10. 10. 10.

Melodic Dictation: The Tonic Triad and Dominant Seventh 63


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Class:

Name: _____________________________________

Professor:

Melodies These exercises introduce the dominant seventh chord. As before, first establish the key by singing the scale along with the arpeggiations of the I, V, and V7 chords. Then listen to the example. Where do skips occur? Are there consecutive skips outlining a chord? Which chord is it? What is the lowest note of the arpeggiation? The highest?

Allegretto Allegretto Allegretto Allegretto Allegretto Allegretto

1. 1. 1. 1. 1. 1.1.

Poco Poco animato animato Poco animato Poco Poco animato animato Poco animato

2. 2. 2. 2. 2.2. 2.

Allegro Allegro Allegro Allegro Allegro Allegro

3. 3. 3.3. 3. 3. 3.

Semplice Semplice Semplice Semplice Semplice Semplice

4. 4.4. 4. 4. 4. 4. 64 Unit 4


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Class:

Name: _____________________________________

Professor:

Moderato 5.5. 5. 5. 5.

Moderato Moderato Moderato

Cantabile 6. 6.6. 6. 6.

Cantabile Cantabile Cantabile

Moderato 7. 7. 7. 7.7.


Maestoso 8. 8. 8. 8.8.

Maestoso Maestoso Maestoso

Grazioso 9. 9. 9. 9.9.

Grazioso Grazioso Grazioso



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Class:

Name: _____________________________________

Professor:

Andante Andantecantabile cantabile Andante cantabile Andante cantabile 10. 10. 10. 10.

Giocoso Giocoso Giocoso Giocoso 11. 11. 11. 11.

Minuet Minuet Minuet Minuet 12. 12. 12. 12.

Marziale Marziale Marziale Marziale 13. 13. 13. 13.


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Class:

Name: _____________________________________

Professor:

14. 14. 14. 14.

15. 15. 15. 15.

16. 16. 16. 16.

Andante Andante Andante Andante

Cantabile Cantabile Cantabile Cantabile

Allegro assai Allegro assai Allegro assai Allegro assai



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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 1 Moderato Moderato Moderato 1. 1. 1.1.

Grazioso Grazioso Grazioso 2. 2. 2.2.

With determination With With determination determination 3.3. 3. 3.

Adagietto Adagietto Adagietto 4.4. 4. 4.

Ländler Ländler Ländler 5.5. 5. 5.


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Class:

Name: _____________________________________

Melodic Dictation: Melodic Dictation: QUIZ QUIZ No. No. 2 2 Melodic Dictation: QUIZ NO. 2 Professor:

Semplice Semplice 1.1. 1.

Ben marcato Ben marcato 2.2. 2.

Cantabile Cantabile 3.3. 3.

Giocoso Giocoso 4.4. 4.

Allegro ma non troppo Allegro ma non troppo 5.5. 5.



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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 3 Con moto Con Con moto moto Con moto Con moto Con Con moto moto

1. 1. 1. 1. 1. 1. 1.1.

Allegretto Allegretto Allegretto Allegretto Allegretto Allegretto Allegretto

2. 2. 2. 2. 2. 2. 2.2.

Moderato Moderato Moderato Moderato Moderato Moderato Moderato

3. 3. 3. 3. 3. 3. 3. 3.

Allegro Allegro Allegro Allegro Allegro Allegro Allegro

4. 4. 4. 4. 4. 4. 4. 4.


5. 5. 5. 5. 5. 5. 5. 5.


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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 4

1. 1. 1. 1.1.

2. 2.2. 2. 2.

3. 3.3. 3. 3.

Minuet Minuet Minuet Minuet


Con brio Con brio Con brio Con brio



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Class:

Name: _____________________________________

Professor:

Cantabile 4.4.

Espressivo 5.5.


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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: The Tonic Triad and Dominant Seventh Basic Progressions

1.

2.

3.

4.

Harmonic Dictation: The Tonic Triad and Dominant Seventh 73


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Class:

Name: _____________________________________

Professor:

5. 5. 5. 5. 5.

6. 6. 6. 6. 6.

7. 7. 7. 7. 7.

8. 8. 8. 8. 8.


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Class:

Name: _____________________________________

Professor:

9. 9. 9.9.

10. 10. 10.

11 11 11

12. 12. 12.



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Class:

Name: _____________________________________

Professor:

13. 13. 13. 13.

14. 14. 14. 14.

15. 15. 15. 15.

16. 16. 16. 16.


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Class:

Name: _____________________________________

Professor:

17. 17. 17.

18. 18. 18.

19. 19. 19.

20. 20. 20.



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Class:

Name: _____________________________________

Professor:

21.

22.

23.

24.


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Class:

Name: _____________________________________

Professor:

25. 25. 25. 25.

26. 26. 26. 26.

27. 27. 27. 27.

28. 28. 28. 28.



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Class:

Name: _____________________________________

Professor:

29.

30.

31.

32.


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Name: _____________________________________

Professor:

33.

34.

35.

36.



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Name: _____________________________________

Professor:

Phrase-Length Exercises These exercises present a variety of connections of tonic and dominant. Concentrate on chord pairs. (The basic progressions will provide you a secure point of reference and should be mastered first!) Is the second chord of the pair the same or different? If it is the same, apply the skills acquired in Unit 3. If different, concentrate on the outer voices. Does the bass skip up or down? Fill in the bass line. Does 1. the soprano move in similar or contrary motion? By step or by skip? Fill in the soprano, then complete the inner voices, paying particular attention to the rules of voice leading. With phrase-length exercises, listen for the degree of closure. Does the phrase end on tonic (authentic cadence) or dominant (half ca1. dence)? If the phrase ends with an authentic cadence, is it perfect or imperfect?

1. 1. 1.

2. 2. 2. 2. 2.

3. 3. 3. 3. 3.

4. 4. 4. 4. 4. 82 Unit 4 Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Class: 5.

Name: _____________________________________

Professor: 5.

5. 5. 5.

6. 6. 6. 6. 6.

7. 7. 7. 7. 7.

8. 8. 8. 8. 8.



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Class:

Name: _____________________________________

Professor:

9. 9.9.

10. 10.


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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: QUIZ NO. 1 1.1.

2.2.

3.3.

4.4.

5.5.



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Name: _____________________________________

Professor:


2.2.

3.3.

4.4.

5.5.


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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: QUIZ NO. 3 1.1. 1. 1. 1.

2. 2. 2. 2. 2.

3. 3. 3.3. 3.

4. 4. 4. 4.4.

5. 5. 5. 5.5.



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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: QUIZ NO. 4 1. 1. 1. 1.1.

2. 2. 2. 2.2.

3. 3. 3. 3. 3.

4. 4. 4. 4. 4.

5. 5. 5. 5. 5.


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Class:

Name: _____________________________________

Professor:

Unit 5 Rhythmic Dictation: 4:1 Subdivision of the Beat, Anacruses These exercises introduce subdivisions of the beat. As before, listen to the example while counting or t apping the beat. Where do the subdivisions occur? How many notes are there within a beat? What pattern do you hear?

1. 1. 1. 1.1.

2. 2. 2. 2.2.

3. 3. 3.3. 3.

4. 4.4. 4. 4.

5. 5.5. 5. 5.

89

6. 6. 6. 6.


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5. Class:

Name: _____________________________________

Professor:

6. 6. 7. 7. 7. 7. 7. 7. 7.7.

8. 8. 8. 8. 8. 8.8. 8.

9. 9. 9. 9.9. 9. 9. 9. 10. 10. 10. 10. 10. 10. 10. 11. 11. 11. 11. 11. 11. 11. 12. 12. 12. 12. 12. 12. 12. 90 Unit 5 Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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13. 13. 13.

Class:

Name: _____________________________________

Professor: 13.

13.

14. 14. 14. 14. 14.

15. 15. 15. 15. 15. 16. 16. 16. 16. 16.

Rhythmic Dictation: 4:1 Subdivision of the Beat, Anacruses 91


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Class:

1.

Name: _____________________________________

Professor:

1.

Rhythmic Dictation: QUIZ NO. 1 1. 1. 1.1. 2. 2. 2. 2.2. 2. 3. 3. 3.3. 3. 3. 4. 4.4. 4. 4. 4. 5.5. 5. 5. 5. 5.


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Class:

Name: _____________________________________

1. Professor: 1. Rhythmic Dictation: QUIZ NO. 2 1. 1. 1. 1.1.

2. 2. 2. 2.2. 2. 2.

3. 3.3. 3. 3. 3. 3.



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Class:

Name: _____________________________________

Professor:

4. 4.4.

5. 5.5.


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Class:

Name: _____________________________________

Professor:

Rhythmic Dictation: QUIZ NO. 3 1. 1.1. 1.

2.2. 2. 2.

3. 3. 3. 3.

4.4. 4. 4.



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Class:

Name: _____________________________________

Professor:

5. 5. 5.5.


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Class:

Name: _____________________________________

Professor:

Melodic Dictation: Primary Triads and the Dominant Seventh Preliminary Exercises 1. 1. 1. 1. 1. 1.1.

2. 2. 2. 2. 2.2. 2.

3. 3. 3. 3.3. 3. 3.

4. 4. 4.4. 4. 4. 4.

5. 5.5. 5. 5. 5. 5.

6.6. 6. 6. 6. 6. 6.

Melodic Dictation: Primary Triads and the Dominant Seventh 97


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Name: _____________________________________

Professor:

Melodies These exercises contain patterns implying all the primary triads (I, IV, and V) and the dominant seventh. For each example, establish the key by singing the scale and the arpeggiations of each triad. As you listen, determine whether the line is moving by step or skip. If by step, what is the scale fragment? Focus on the Not too fast framing pitches (lowest and highest of the scale fragment). If by skip, which triad is being arpeggiated? Not too fast Again, concentrate on establishing the lowest and highest notes.

Not too fast Not too fast Not too fast Not too fast

1. 1. 1. 1. 1. 1.1.

Cantabile Cantabile Cantabile Cantabile Cantabile Cantabile

2. 2. 2. 2. 2.2. 2.

Moderato Moderato Moderato Moderato Moderato Moderato

3. 3. 3.3. 3. 3. 3.

4.4. 4. 4. 4. 4. 4.

Andante Andante Andante Andante Andante Andante


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Name: _____________________________________

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Allegro Allegro Allegro 5.5. 5. 5.

Giocoso Giocoso Giocoso 6. 6. 6. 6.

Andantino Andantino Andantino 7. 7. 7. 7.

Allegretto Allegretto Allegretto 8. 8. 8. 8.



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9.9. 9. 9. 9. 9. 9. 9.


10. 10. 10. 10. 10. 10. 10.

Tempo giusto Tempo giusto Tempo giusto Tempo giusto Tempo giusto Tempo giusto Tempo giusto

11. 11. 11. 11. 11. 11. 11.

Animato Animato Animato Animato Animato Animato Animato

12. 12. 12. 12. 12. 12. 12.

Larghetto Larghetto Larghetto Larghetto Larghetto Larghetto Larghetto

13. 13. 13. 13. 13. 13. 13.


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14. 14. 14. 14.

15. 15. 15. 15.

16. 16. 16. 16.

Name: _____________________________________

Allegretto Allegretto Allegretto Allegretto

Leggiero Leggiero Leggiero Leggiero

March March March March



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Name: _____________________________________

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Melodic Dictation: QUIZ No. 1

Melodic Dictation: QUIZ NO. 1 Spiritoso 1. 1.

Grazioso 2. 2.

Ländler 3. 3.

Marziale 4. 4.

Moderato 5. 5.


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Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 2 Waltzer 1.

Moderato 2.

Allegro moderato 3.

Allegro 4.

Allegretto 5.



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Name: _____________________________________

Professor:

Melodic Dictation: QUIZ No. 3 Melodic Dictation: QUIZ NO. 3 Allegretto 1. 1.

Tempo di valse 2. 2.

Semplice 3. 3.

Cantabile 4. 4.

Allegro 5. 5.


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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ No. 4 Melodic Dictation: QUIZ NO. 4 Spiritoso 1. 1.

Allegro ma non troppo 2. 2.

Andantino 3. 3.

Spiritoso 4. 4.

Dolce 5. 5.



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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: Primary Triads and the Dominant Seventh; Cadential Tonic Six-Four Basic Progressions 1. Primary triads and the dominant seventh 1. 1. 1. 1.

2. 2. 2. 2. 2.

3. 3. 3. 3. 3.

4. 4. 4. 4. 4.


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5. Class:

Name: _____________________________________

Professor: 5.

5. 5. 5.

6. 6. 6. 6. 6.

7. 7. 7. 7. 7.

8. 8. 8. 8. 8.

Harmonic Dictation: Primary Triads and the Dominant Seventh; Cadential Tonic Six-Four 107


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Name: _____________________________________

Professor:

9. 9.9.

10. 10.

Cadential tonic six-four

11 11

12. 12.


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Name: _____________________________________

Professor: 13.

13. 13.

14. 14. 14. 14.

15. 15. 15. 15.

16. 16. 16. 16.



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Name: _____________________________________

Professor:

Phrase-Length Exercises These exercises present all the primary triads and introduce the cadential six-four chord. As before, you should drill on the preliminary exercises. Then, listen to each phrase-length exercise, concentrating on the cadential progression. Do you hear an authentic cadence or a half cadence? Establish the goal chord and work backwards. What are the most likely chords to occur at the cadence? Is a dominant preparation (pre-dominant) chord used? A cadential six-four?

1.

2.

3.

4.


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Class:

5.

Name: _____________________________________

Professor: 5.

5. 5. 5.

6. 6. 6. 6.

6.

7. 7. 7. 7. 7.

8. 8.

8. 8. 8.



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Class:

Name: _____________________________________

Professor:

9. 9. 9.9.

10. 10. 10.


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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: QUIZ No. 1


1.1.

2.2.

3.3.

4.4.

5.5.



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Class:

Name: _____________________________________


Professor:


2.2.

3.3.

4.4.

5.5.


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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: QUIZ No. 3 Harmonic Dictation: QUIZ NO. 3 1. 1.

2. 2.

3. 3.

4. 4.

5. 5.



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Name: _____________________________________

Professor:


1.1.

2.2.

3.3.

4.4.

5.5.


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Class:

Name: _____________________________________

Professor:

Unit 6 Rhythmic Dictation: Dots and Ties Listen to each example while counting or tapping the beat. Focus on the division and subdivision of the beat. How many smaller values are contained within a given note? Listen for patterns of long and short note values. Will notes of longer duration require a dot or tie?

1. 1. 1. 1. 1. 1.1. 1.

2. 2. 2. 2. 2. 2.2. 2.

3. 3. 3. 3.3. 3. 3. 3.

4. 4. 4.4. 4. 4. 4. 4.

5. 5. 5.5. 5. 5. 5. 5.

6.6. 6. 6. 6. 6. 6. 6.

7.7. 7. 7. 7. 7. 7. 7.

117


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Name: _____________________________________

Professor:

8.8. 8. 8. 8. 8. 8.

9. 9. 9. 9. 9. 9. 9.

10. 10. 10. 10. 10. 10.

11. 11. 11. 11. 11. 11.

12. 12. 12. 12. 12. 12.


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Name: _____________________________________

Professor:

13. 13. 13.

14. 14. 14.

15. 15. 15.

16. 16. 16.

Rhythmic Dictation: Dots and Ties 119


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Name: _____________________________________

Professor:

Rhythmic Dictation: QUIZ NO. 1 1. 1. 1. 1.1. 1.

2.2. 2. 2.2. 2.

3.3. 3. 3. 3.3.

4.4. 4. 4. 4.4.

5.5. 5. 5. 5.5.


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Class:

Name: _____________________________________

Professor:

Rhythmic Dictation: QUIZ NO. 2 1. 1. 1. 1. 1. 1.1.

2. 2. 2. 2. 2.2. 2.

3. 3. 3.3. 3. 3. 3.



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Name: _____________________________________

Professor:

4. 4. 4. 4.4.

5. 5. 5.5. 5.


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Name: _____________________________________

Professor:


2. 2. 2. 2. 2.2. 2.

3. 3. 3. 3. 3. 3. 3.

4. 4. 4. 4. 4. 4. 4.



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Class:

Name: _____________________________________

Professor:

5.5.


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Class:

Name: _____________________________________

Professor:

Melodic Dictation: Minor Mode 1. Preliminary Exercises 1. 1. 1. 1. 1. 1.1. 2. 2. 2. 2. 2. 2.2. 2. 3. 3. 3. 3. 3.3. 3. 3. 4. 4. 4. 4.4. 4. 4. 4. 5. 5. 5.5. 5. 5. 5. 5. 6. 6.6. 6. 6. 6. 6. 6.

Melodic Dictation: Minor Mode 125


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Name: _____________________________________

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Melodies First, drill on the preliminary exercises. Sing the three minor scale forms, using syllables. Which scale forms do you hear in each melody? Does the melody use only one form throughout or all three forms? What determines which form is used?

1. 1. 1. 1. 1. 1. 1.

2. 2. 2. 2. 2. 2. 2.

3. 3. 3. 3.3. 3. 3.

4. 4. 4. 4. 4. 4.4.


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Name: _____________________________________

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5.5. 5. 5. 5.

6. 6.6. 6. 6.

7. 7. 7.7. 7.

8. 8. 8.8. 8.



Vigoroso Vigoroso Vigoroso Vigoroso

Energico Energico Energico Energico



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9.9. 9. 9. 9.

Dolce Dolce Dolce Dolce

10. 10. 10. 10.

11. 11. 11. 11.

Adagietto Adagietto Adagietto Adagietto

Deciso Deciso Deciso Deciso

12. 12. 12. 12.


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13. 13. 13. 13.

14. 14. 14. 14.

15. 15. 15. 15.

16. 16. 16. 16.

Comodo Comodo Comodo Comodo

Allegro Allegro Allegro Allegro

Espressivo Espressivo Espressivo Espressivo

Con moto Con moto Con moto Con moto



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Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 1 Melancholique 1.1.

Cantabile 2.2.

Buffo 3.3.

Adagietto 4.4.

Valse 5.5.


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Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 2 Adagio 1.1.

Moderato 2.2.

Moderato 3.3.

Allegro 4.4.

Solenne 5.5.



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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 3 Gesangvoll 1. 1.

Andante 2. 2.

Con forza 3. 3.

Grazioso 4. 4.

Geschwind 5. 5.


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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 4 Andante 1.1.

Grazioso 2.2.

Doloroso 3.3.

Con moto 4.4.



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Name: _____________________________________

Professor:

Ben marcato 5.5.


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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: Minor Mode; First Inversion of Triads Basic Progressions Minor mode

1. 1. 1.

2. 2. 2.

3. 3. 3.

4. 4. 4.

Harmonic Dictation: Minor Mode; First Inversion of Triads 135


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Name: _____________________________________

Professor:

5. 5.

6. 6.

First inversion of triads

7. 7.

8. 8.


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Name: _____________________________________

Professor:

9. 9. 9.

10. 10.

11. 11.

12. 12.



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Name: _____________________________________

Professor:

13. 13. 13. 13.

14. 14. 14. 14.

15. 15. 15. 15.

16. 16. 16. 16.


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Name: _____________________________________

Professor:

Phrase-Length Exercises As before, drill first on the preliminary exercises. Concentrate on the outer voices. Does the bass move by step or skip? If by skip, is the leap large (fourth or fifth) or small (third)? Sketch in the bass line; this should tell you where inversions occur. After working out the soprano, fill in the inner voices, paying particular attention to the rules of good part-writing. If the exercise is in the minor mode, what is the quality of the dominant chord? Did you remember to raise the leading tone? 1.

1. 1. 1.1.

2. 2. 2.2. 2.

3. 3. 3. 3. 3.

4. 4. 4. 4. 4.



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Name: _____________________________________

Professor:

5. 5. 5. 5.5.

6. 6. 6. 6.6.

7. 7. 7. 7. 7.

8.8. 8. 8. 8.


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Class:

Name: _____________________________________

Professor:

9. 9. 9.9.

10. 10. 10.

11. 11. 11.



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Class:

Name: _____________________________________

Professor:

12.


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Class:

Name: _____________________________________

Professor:


2.2.

3.3.

4.4.

5.5.



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Class:

Name: _____________________________________

Professor:


2.2.

3.3.

4.4.

5.5.


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Class:

Name: _____________________________________

Professor:


2. 2. 2.2. 2.

3. 3.3. 3. 3.

4.4. 4. 4. 4.



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Class:

Name: _____________________________________

Professor:

5.5.


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Class:

Name: _____________________________________

Professor:


2. 2. 2.2. 2.

3. 3.3. 3. 3.

4.4. 4. 4. 4.



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Class:

Name: _____________________________________

Professor:

5.5.


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Name: _____________________________________

Professor:

Unit 7 Melodic Dictation: The Supertonic Triad Preliminary Exercises 1. 1. 1. 1. 1.1.

2. 2. 2. 2. 2. 2.

3. 3. 3. 3. 3. 3.

4. 4. 4. 4. 4. 4.

5. 5. 5. 5. 5. 5.

6. 6. 6. 6. 6. 6.

149


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Name: _____________________________________

Professor:

Melodies Melodies Melodies Melodies Melodies

Sing the supertonic triad in both modes, using syllables. What is its quality in each mode? Where will Sing the supertonic triad in both modes, using syllables. What is its quality in each mode? Where will Sing the supertonic triad in both modes, using syllables. What is its quality in each mode? Where will the supertonic triad most likely occur? Which chord is most likely to follow? How is the underlying Sing the supertonic triad in both modes, using syllables. What is its quality in each mode? Where will Sing the supertonic triad in both modes, using syllables. What is its quality in each mode? Where will the the supertonic triad most likely occur? Which chord is most likely to follow? How is the underlying Sing the supertonic triad in both modes, using syllables. What is its quality in each mode? Where will the supertonic triad most likely occur? Which chord is most likely to follow? How is the underlying progression expressed melodically? the supertonic triad most likely occur? Which chord is most likely to follow? How is the underlying supertonic triad most likely occur? Which chord is most likely to follow? How is the underlying progresprogression expressed melodically? the supertonic triad most likely occur? Which chord is most likely to follow? How is the underlying progression expressed melodically? progression expressed melodically? sion expressed melodically? progression expressed melodically?

Cantabile Cantabile Cantabile Cantabile Cantabile

1. 1. 1. 1. 1.1.

Andante Andante Andante Andante Andante

2. 2. 2. 2. 2.2.

Valse triste Valse Valse triste triste Valse Valse triste triste

3. 3. 3. 3. 3. 3.

Tempo di Polka Tempo di Polka Tempo di Polka Tempo di Tempo di Polka Polka

4. 4. 4. 4. 4. 4.


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Class:

Name: _____________________________________

Professor:

Leggiero 5.5.

Lively 6.6.

Giocoso 7.7.

Lento 8.8.

Melodic Dictation: The Supertonic Triad 151


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Class:

Name: _____________________________________

Professor:

Allegro moderato 9.9.

Amoroso 10.

Spiritoso 11.

Grave 12.


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Class:

Name: _____________________________________

Professor:

Zart 13.

Allegretto 14.



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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 1 Andantino 1. 1.

Ländler 2. 2.

Grazioso 3. 3.

Allegro 4. 4.

Andante 5. 5.


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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ No. 2 Melodic Dictation: QUIZ NO. 2 Con anima 1.1.

Doloroso 2.2.

Andantino 3.3.

Allegro spiritoso 4.4.

Adagio 5.5.



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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 3 Animato Animato Animato Animato Animato Animato Animato Animato

1. 1. 1. 1. 1. 1. 1. 1.1.

Comodo Comodo Comodo Comodo Comodo Comodo Comodo Comodo

2. 2. 2. 2. 2. 2. 2. 2. 2.

Allegro Allegro Allegro Allegro Allegro Allegro Allegro Allegro

3. 3. 3. 3. 3. 3. 3. 3. 3.

Cantabile Cantabile Cantabile Cantabile Cantabile Cantabile Cantabile Cantabile

4. 4. 4. 4. 4.4. 4. 4. 4.


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Class:

Name: _____________________________________

Professor:

Allegro con brio 5.5.



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Class:

Name: _____________________________________

Professor:

Andante Melodic Dictation: QUIZ NO. 4 Andante Andante Andante Andante Andante Andante

1. 1. 1. 1. 1. 1. 1.1.


2. 2. 2. 2. 2. 2.2. 2.


3. 3. 3. 3. 3.3. 3. 3.

Piacevole Piacevole Piacevole Piacevole Piacevole Piacevole Piacevole

4. 4. 4.4. 4. 4. 4. 4.


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Class:

Name: _____________________________________

Professor:

Passionato 5.5.



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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: The Supertonic Triad; Inversions of V7 Basic Progressions Supertonic triad

1. 1. 1. 1.1.

2. 2. 2.2. 2.

3. 3. 3.3. 3.

4. 4. 4. 4. 4.


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Class:

Name: _____________________________________

Professor:

5. 5.5. 5. 5. 5.

6. 6. 6.6. 6. 6.

7. 7. 7.7. 7. 7.

8. 8. 8. 8.8. 8.

9. 9. 9. 9. 9.9.

Harmonic Dictation: The Supertonic Triad; Inversions of V7 161


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Class:

Name: _____________________________________

Professor:

Inversions of V7 10. 10. 10. 10.

11 11 11 11

12. 12. 12. 12.

13. 13. 13. 13.


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Class:

Name: _____________________________________

Professor:

14.

15.

16.

17.

18.



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Class:

Name: _____________________________________

Professor:

Phrase-Length Exercises These exercises introduce the supertonic triad and present inversions of the V7. As before, concentrate on the bass line. Does it move by step or skip? If by step, in which direction? What harmonic idioms using inversions of the V7 are suggested by the particular sequence of the scale degrees in the bass? As always, master the preliminary exercises before proceeding to the phrase-length exercises.

1.1.

2.2.

3.3.

4.4.


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Class:

Name: _____________________________________

Professor:

5. 5.5. 5.

6. 6.6. 6.

7. 7.7. 7.

8. 8.8. 8.

9. 9. 9. 9.



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Class:

Name: _____________________________________

Professor:

10. 10. 10.

11 11 11

12. 12. 12.


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Class:

Name: _____________________________________

Harmonic Dictation: QUIZ No. 1 Professor:


1.1.

2.2.

3.3.

4.4.



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Class: Harmonic Dictation: QUIZ No. 2

Name: _____________________________________

Professor:

5.5.


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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: QUIZ NO. 2 Harmonic Dictation: QUIZ

No. 2

1.1.

2.2.

3.3.

4.4.



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Class:

Name: _____________________________________

Harmonic Professor: Dictation: QUIZ No. 2 5.5.


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Class:

Name: _____________________________________

Professor:


No. 3

1.1.

2.2.

3.3.

4.4.



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Class:


Name: _____________________________________

5.5.


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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: QUIZ Harmonic Dictation: QUIZ NO. 4

No. 4

1.1.

2.2.

3.3.

4.4.



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Class:


Name: _____________________________________

Professor:

5.5.


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Class:

Name: _____________________________________

Professor:

Unit 8 Rhythmic Dictation: Compound Meter This unit introduces compound meter. Listen to each exercise while counting or tapping the beat. Do you feel the triple division of the beat? Within each beat, are there three equal values or long-short? Are notes within the beat themselves divided? Review the common patterns found in compound meter.

1. 1. 1. 1. 1.1. 1. 1.

2. 2. 2. 2. 2.2. 2. 2.

3. 3. 3. 3. 3. 3. 3. 3.

4. 4. 4. 4. 4.4. 4. 4.

5. 5. 5. 5. 5. 5. 5. 5.

6. 6. 6. 6. 6. 6. 6. 6.

175


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Class:

Name: _____________________________________

7. Professor: 7. 7. 7. 7. 7. 7.7. 7.

8. 8. 8. 8. 8. 8. 8.8. 8.

9. 9. 9. 9.9. 9. 9. 9. 9.

10. 10. 10. 10. 10. 10. 10. 10.


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Class:

Name: _____________________________________

Professor:

11. 11. 11. 11. 11. 11.

12. 12. 12. 12. 12. 12.

13. 13. 13. 13. 13. 13.

14. 14. 14. 14. 14. 14.

15. 15. 15. 15. 15. 15.

16. 16. 16. 16. 16. 16.

Rhythmic Dictation: Compound Meter 177


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Class:

Name: _____________________________________

Professor:


2. 2. 2. 2. 2. 2.2.

3. 3. 3. 3. 3. 3. 3.

4. 4. 4.4. 4. 4. 4.

5. 5. 5. 5. 5. 5. 5.


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Class:

Name: _____________________________________

Professor:

1. Rhythmic Dictation: QUIZ NO. 2 1. 1. 1. 1. 1. 1. 1.1. 2. 2. 2. 2. 2. 2. 2.2. 2.

3. 3. 3. 3. 3.3. 3. 3. 3.

4. 4. 4. 4. 4. 4. 4. 4. 4.

5. 5.5. 5. 5. 5. 5. 5. 5.

Rhythmic Dictation: Compound Meter 179


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Class:

Name: _____________________________________

Professor:

Rhythmic Dictation: QUIZ NO. 3 1. 1. 1. 1. 1.1.

2. 2. 2. 2. 2.2.

3. 3. 3. 3.3. 3.

4. 4. 4.4. 4. 4.

5. 5.5. 5. 5. 5.


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Class:

Name: _____________________________________

Professor:

Melodic Dictation: All Diatonic Triads Preliminary Exercises 1. 1. 1. 1. 1.1.

2. 2. 2. 2.2. 2.

3. 3. 3. 3. 3. 3.

4. 4.4. 4. 4. 4.

5. 5. 5. 5. 5. 5.

6. 6. 6. 6. 6. 6.

Melodic Dictation: All Diatonic Triads 181


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Class:

Name: _____________________________________

Professor:

7. 7. 7. 7. 7. 7.7.

8. 8. 8. 8.8. 8. 8.

9. 9. 9. 9. 9. 9. 9.

10. 10. 10. 10. 10. 10.


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Class:

Name: _____________________________________

Professor:

Melodies Melodies These melodies contain implications of all the diatonic triads. Review the most common progressions These melodies contain implications of all the diatonic triads. Review the most common progressions which use the vi (or VI) and iii (or III) chords. Does the melody outline a chord? What are the framing which use the vi (or VI) and iii (or III) chords. Does the melody outline a chord? What are the framing pitches? The pattern of intervals? pitches? The pattern of intervals?

Grazioso 1.1.

Allegretto 2.2.

Moderato 3.3.

Andante 4.4.

Religioso 5.5.



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Professor: Class:

Name: _____________________________________

Professor:

Allegro, ma non troppo 6.6.

Animato 7.7.

Andantino 8.8.

Flowing 9.9.


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Professor: Class:

Name: _____________________________________

Professor:

Moderato 10.

Andante

(after Mendelssohn)

11.

Gigue

(after J.S. Bach)

12.



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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 1 Tempo di valse 1.1.

Allegretto 2.2.

Moderato 3.3.

Allegro, ma non troppo 4.4.

Lento 5.5.


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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ No. 2 Melodic Dictation: QUIZ NO. 2 Andante 1.1.

Espressivo 2.2.

Giocoso 3.3.

Andante 4.4.

Con anima 5.5.



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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ No. 3 Melodic Dictation: QUIZ No. Melodic Dictation: QUIZ NO. 3 Melodic Dictation: QUIZ No. 3 3 Melodic Dictation: QUIZ No. Melodic Dictation: QUIZ No. 3 3 MelodicModerato Dictation: QUIZ No. 3 Moderato Moderato Moderato Moderato Moderato

1.1. 1. 1. 1. 1. 1.

Giocoso Giocoso Giocoso Giocoso Giocoso Giocoso

2. 2. 2.2. 2. 2. 2.

Menuetto Menuetto Menuetto Menuetto Menuetto Menuetto

3. 3. 3. 3. 3.3. 3.


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Class:

Melodic Dictation: QUIZ No. 3 Melodic Dictation: QUIZ No. 3 Professor: Melodic Dictation: QUIZ No. 3 Melodic Dictation: QUIZ No. 3 Melodic Dictation: QUIZ No. 3 Adagio Adagio 4.4. Adagio 4. Adagio 4. Adagio 4. 4.

5. 5. 5.5. 5. 5.

Name: _____________________________________

Moderato Moderato Moderato Moderato Moderato



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Professor: Professor: Professor: Class:

Melodic Professor: Melodic Dictation: Dictation: QUIZ QUIZ No. No. 4 4

Name: _____________________________________

Melodic Dictation: QUIZ NO. 4 Brightly Brightly Brightly

1. 1.1. 1.

Adagio Adagio Adagio 2. 2. 2.2.


3. 3.3. 3.


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Professor: Class:

Melodic Dictation: QUIZ No. 4

Name: _____________________________________

Professor:

Cantabile 4.4.

Tempo di Valse 5.5.



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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: All Diatonic Triads Basic Progressions 1. 1. 1. 1.1.

2. 2. 2.2. 2.

3. 3.3. 3. 3.

4.4. 4. 4. 4.


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Class:

Name: _____________________________________

Professor: 5.

5. 5. 5.5.

6. 6. 6.6. 6.

7. 7.7. 7. 7.

8.8. 8. 8. 8.

Harmonic Dictation: All Diatonic Triads 193


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Class:

Name: _____________________________________

Professor: 9.

9. 9. 9.9.

10. 10. 10. 10.

11 11 11 11

12. 12. 12. 12.


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Class:

Name: _____________________________________

Professor: 13.

13. 13. 13.

14. 14. 14. 14.

15. 15. 15. 15.

16. 16. 16. 16.



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Class:

Name: _____________________________________

Professor:

17. 17.

18. 18.


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Class:

Name: _____________________________________

Professor:

Phrase-length Exercises Phrase-Length Exercises These exercises present progressions using all the diatonic triads. Review the most common progressions These exercises present progressions using all the diatonic triads. Review the most common progressions containing the vi (or VI) and iii (or III) chords. containing the vi (or VI) and iii (or III) chords.

1.1.

2.2.

3.3.

4.4.



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Class:

Phrase-length Exercises Professor:

Name: _____________________________________

5.5.

6.6.

7.7.

8.8.


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Class:

Phrase-length Exercises

Name: _____________________________________

Professor:

9.9.

10.



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Class:

Name: _____________________________________

Professor:


No. 1

1.1.

2.2.

3.3.

4.4.

5.5.


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Class:

Name: _____________________________________

Professor:


Harmonic Dictation: QUIZ No. 2 1.1.

2.2.

3.3.

4.4.

5.5.



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Class: Professor:


Name: _____________________________________

No. 3

1.1.

2.2.

3.3.

4.4.


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Name: _____________________________________

Professor:

5.5.



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Class:

Name: _____________________________________

Professor:


No. 4

1.1.

2.2.

3.3.

4.4.


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Class:

Name: _____________________________________

Professor:

5.5.



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Class:

Name: _____________________________________

Professor:

Unit 9 Rhythmic Dictation: Triplets and Duplets This unit introduces triplets (in simple meters) and duplets (in compound meters). Listen to each exercise while counting or tapping the beat. Concentrate on those beats where divisions occur. Do you hear two or three notes of even value? Are the beats subdivided? Do you hear even groupings of fours or sixes? Or, do you hear a long-short group? Mentally count the values within the beat. The quarter-eighth note figure and the dotted eighth-sixteenth note figure are frequently confused or mistakenly transcribed. Listen carefully!

1. 1. 1. 1.

2. 2. 2. 2.

3. 3. 3. 3.

4. 4. 4. 4.

5. 5. 5.5.

206


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Name: _____________________________________

Professor:

6.6. 6. 6. 6. 6.

7. 7.7. 7. 7. 7.

8. 8. 8.8. 8. 8. 9. 9. 9.9. 9. 9.

10. 10. 10. 10. 10.

Rhythmic Dictation: Triplets and Duplets 207


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Class:

Name: _____________________________________

Professor:

11. 11.

12. 12.

This example begins with an upbeat.

13. 13.

14. 14.

15. 15.

16.


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Class:

Name: _____________________________________

Professor:

Rhythmic Dictation: QUIZ NO. 1 1. 1. 1. 1. 1.1.

2. 2. 2.2. 2. 2.

3. 3. 3. 3.3. 3.

4. 4.4. 4. 4. 4.

5. 5. 5. 5. 5. 5.



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Class:

Name: _____________________________________

Professor:

Rhythmic Dictation: QUIZ NO. 2 1. 1. 1. 1.

2. 2. 2. 2. 2.

3. 3. 3. 3. 3.

4. 4. 4. 4. 4.

5. 5. 5. 5. 5.


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Class:

Name: _____________________________________

Professor:


2. 2. 2. 2. 2.2. 2.

3. 3. 3.3. 3. 3. 3.

This example begins with an upbeat.

4. 4. 4.4.

5. 5.5. 5.



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Class:

Name: _____________________________________

Professor:

Melodic Dictation: Supertonic and Leading Tone Sevenths Preliminary Exercises

1.1.

2.2.

3.3.

4.4.

5.5.

6.6.

7.7.


29812_09_unit9_p206-238.indd 212

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Class:

Name: _____________________________________

Professor:

Melodies These melodies contain implications of ii7 (iiØ7) and viiO7 (viiØ7). As before, listen for arpeggiations. Do chord sevenths resolve as expected?

1. 1. 1. 1. 1.1.

2. 2. 2. 2. 2.2.

3. 3. 3. 3. 3. 3.

4.4. 4. 4. 4. 4.


Giocoso Giocoso Giocoso Giocoso Giocoso


Risoluto Risoluto Risoluto Risoluto Risoluto

Melodic Dictation: Supertonic and Leading Tone Sevenths 213


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Class:

Name: _____________________________________

Professor:

Teneramente Teneramente Teneramente Teneramente Teneramente Teneramente

5. 5. 5. 5. 5. 5.

6. 6. 6.6. 6. 6. 6.

Lento Lento Lento Lento Lento Lento


7. 7. 7.7. 7. 7.

8. 8. 8. 8. 8.8.



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Class:

Name: _____________________________________

Professor:

9. 9. 9.9. 9. 9.

10. 10. 10. 10. 10.

11. 11. 11. 11. 11.

Grazioso Grazioso Grazioso Grazioso Grazioso

Ruhig Ruhig Ruhig Ruhig Ruhig




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Class:

Name: _____________________________________

Professor:

Risoluto Risoluto Risoluto Risoluto

12. 12. 12. 12.


13. 13. 13. 13.

Dolore Dolore Dolore Dolore

14. 14. 14. 14.

Andante espressivo Andante espressivo Andante espressivo Andante espressivo

15. 15. 15. 15.


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Class:

Name: _____________________________________

Professor:

Spiritoso Spiritoso 16. 16.



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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ No. 1 Melodic Dictation: QUIZ NO. 1 Gesangvoll 1. 1.

Triumphantly 2. 2.

Tempo di Siciliana 3. 3.

Andante

4. 4.

Andante espressivo

5. 5.


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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 2 Maestoso 1. 1.

Cantabile 2. 2.

Allegretto 3. 3.

Andantino 4. 4.

Moderato 5. 5.

Melodic Dictation: Supertonic and Leading Tone Sevenths 219 Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 3 Melodic Dictation: QUIZ

No. 3

Moderato 1.1.

Lively 2.2.

Con moto 3.3.

Cantabile 4.4.


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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ No. 3 Allegro piacevole 5.5.



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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 4 Melodic Dictation: QUIZ

No. 4

Marziale 1. 1.

Moderato 2. 2.

Allegro non troppo 3. 3.

Comodo 4. 4.


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Class: Melodic

Dictation: QUIZ No. 4

Name: _____________________________________

Professor:

Amoroso 5.5.



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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: Supertonic and Leading Tone Sevenths Basic Progressions

1. 1.1.

2. 2.2.

3. 3.3.

4. 4.4.


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Class:

Name: _____________________________________

Professor:

5. 5. 5.5. 5.

6. 6. 6.6. 6.

7.7. 7. 7. 7.

8.8. 8. 8. 8.

Harmonic Dictation: Supertonic and Leading Tone Sevenths 225


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Class:

Name: _____________________________________

Professor:

9.9.

10.

11

12.


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13. 13. 13. 13.

14. 14. 14. 14.

15. 15. 15. 15.

16. 16. 16. 16.



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17. 17. 17. 17.

18. 18. 18. 18.

19. 19. 19. 19.

20. 20. 20. 20.


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Phrase-Length Exercises These exercises contain progressions using ii7 (iiØ7) and viiO7 (viiØ7). As before, listen for the type of cadence. Establish the cadential chords and work backwards. Review the most common progressions involving these chords.

1. 1. 1.1.

2. 2. 2.2.

3. 3. 3.3.



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4. 4. 4.

5. 5.5.

6. 6.6.

7. 7.7.


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8. 8.8. 8.

9. 9.9. 9.

10. 10. 10.

11 11 11



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12.


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Harmonic Harmonic Dictation: Dictation:

Professor:

QUIZ QUIZ No. No. 1 1

Name: _____________________________________


2. 2.2. 2. 2.

3. 3. 3. 3. 3.

4. 4.4. 4. 4.

5. 5. 5. 5. 5.



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2.2.

3.3.

4.4.

5.5.


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Harmonic Dictation: QUIZ No. 3 Harmonic Dictation: QUIZ NO. 3 1.1.

2.2.

3.3.

4.4.



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5.5.


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Harmonic Dictation: QUIZ No. 4 Harmonic Dictation: QUIZ NO. 4

1.1.

2.2.

3.3.

4.4.



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Dictation: QUIZ No. 4

Name: _____________________________________

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5.5.


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Unit 10 Examples from Music Literature These exercises present actual musical examples for you to transcribe. At this point, you should be able to transcribe each excerpt completely. Listen to the example first. What is the texture? What kinds of cadences do you hear? Concentrate on individual lines and then listen harmonically. Isolate any unusual rhythmic patterns.

1. Johann Sebastian Bach. Minuet in G

239


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2. Johann Sebastian Bach. Aus meines Herzens Grunde (chorale)

3. Johann Sebastian Bach. Wir glauben all' an einen Gott (chorale)


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4. Ludwig van Beethoven. Six Variations on Nel cor più non mi sento

Theme Andantino

5. Friedrich Kuhlau. Sonatina Op. 88, No. 3, Mvt. III

Allegro burlesco

Examples from Music Literature 241


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6. Wolfgang Amadeus Mozart. String Quintet, K. 581 Mvt. IV

Allegretto Allegretto


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QUIZ NO. 1 Joseph Haydn. Sonata in D Major, Hob. XVI:33, Menuetto con Variazioni

Tempo di Menuetto



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QUIZ NO. 2 John Farmer. Fair Phyllis (chorale)


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QUIZ NO. 3 Wolfgang Amadeus Mozart. String Quartet, K. 80, Mvt. III, Trio



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Unit 11 Rhythmic Dictation: Syncopation This unit introduces syncopation, the displacement of the accent through the occurrence of longer notes on normally weak beats or parts of beats. As always, first listen to each exercise while counting or tapping the beat. Isolate those places where longer values fall off the beat or occur on weak beats. Does the syncopation occur at the beat level or at the division (or subdivision) level? After writing out your solution, check your work by singing along to spot any errors you may have made.

1.1. 2. Countoff begins on the downbeat of the incomplete measure. 2. 2.

2. 2. 2.2. 3. 3. 3. 3. 3.3. 3. 4. 4. 4. 4.4. 4. 4.

5. 5. 5.5. 5. 5. 5.

246


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6.6. 6. 6. 6. 6. 6. 6. 6. 6.

7. 7. 7.7. 7. 7. 7. 7. 7. 8. 7. 8. 8. 8.8. 8. 8. 8. 8. 9. 8. 9. 9. 9. 9.9. 9. 9. 9. 9.

10. 10. 10. 10. 10. 10. 10. 10. 11. 10. 11. 11. 11. 11. 11. 11. 11. 12. 11. 12. 12. 12. 12. 12. 12. 12. 12.

Rhythmic Dictation: Syncopation 247


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13. 13. 13. 13.

14. 14. 14. 14.


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Rhythmic Dictation: QUIZ NO. 1 1.1. 1. 1.

2. 2. 2. 2. 2.

3. 3. 3. 3.

4.4. 4. 4.

5. 5. 5. 5. 5.



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2. 2. 2. 2. 2.2. 2.

3. 3. 3. 3.3. 3. 3.

4. 4. 4. 4. 4. 4. 4.


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5. 5.5.



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Rhythmic Dictation: QUIZ NO. 3 1. 1. Countoff begins on the downbeat of the incomplete measure.

2. 2. 2.

3. 3. 3.

4. 4. 4.

5. 5. 5.


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Melodic Dictation: Non-Dominant Seventh Chords

Preliminary Exercises Preliminary Exercises Preliminary Exercises Preliminary Preliminary Exercises Exercises 1. 1. 1. 1. 1.

2. 2. 2. 2. 2.

3. 3. 3. 3. 3.

4. 4. 4. 4. 4.

5. 5. 5. 5. 5.

6. 6. 6. 6.

Melodic Dictation: Non-Dominant Seventh Chords 253


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Melodies After drilling on the preliminary exercises, listen for the implications of non-dominant seventh chords in these melodies. Where do arpeggiations of these seventh chords occur? Do you hear the resolution of the seventh? Sketch out the structural line formed by the chord seventh moving to the note of resolution. Do you hear sequence? What is the underlying progression? Try adding Roman numeral analysis.

1. 1. 1.1. 1.

Not Not fast fast Not Not fast fast Not fast

Cantabile Cantabile Cantabile Cantabile Cantabile

2. 2. 2.2. 2.

Giocoso Giocoso Giocoso Giocoso Giocoso

3.3. 3. 3. 3.

Comodo Comodo Comodo Comodo Comodo

4.4. 4. 4. 4.


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5. 5. 5. 5. 5. 5.5.

6. 6. 6. 6. 6. 6. 6.

7. 7. 7. 7. 7. 7. 7.

8.8. 8. 8. 8. 8. 8.

Name: _____________________________________

Marziale Marziale Marziale Marziale Marziale Marziale


Grazioso Grazioso Grazioso Grazioso Grazioso Grazioso

Con brio Con brio Con brio Con brio Con Con brio brio



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9. 9. 9. 9. 9.9.

Name: _____________________________________

Gently Gently Gently Gently Gently


10. 10. 10. 10. 10.


11 11 11 11 11

Lento Lento Lento Lento Lento

12. 12. 12. 12. 12.


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13. 13. 13. 13.

14. 14. 14. 14. 14.

15. 15. 15. 15.

16. 16. 16. 16.

Allegro ma non troppo Allegro Allegro ma ma non non troppo troppo Allegro ma non troppo

Deliberamente Deliberamente Deliberamente Deliberamente


Amoroso Amoroso Amoroso Amoroso



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Melodic Dictation: QUIZ No. 1 Professor:

Melodic Dictation: QUIZ NO. 1 Raggy 1. 1.

Sospirando 2. 2.

Grazioso 3. 3.

Andantino 4. 4.

Moderato 5. 5.


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Melodic Dictation: QUIZ No. 2 Professor:

Melodic Dictation: QUIZ NO. 2 Con forza 1. 1.

Grazioso 2. 2.

Andante espressivo 3. 3.

Ragtime 4. 4.

Amoroso 5. 5.



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No. 3

Cantabile 1. 1.

Sea Shanty Sea chanty

2. 2.

Energico 3. 3.

Largo 4. 4.


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Melodic Dictation: QUIZ No. 3 Giocoso 5. 5.



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No. 4

Moderato 1. 1.

Molto espressivo 2. 2.

Giocoso 3. 3.

Molto cantabile 4. 4.


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Name: _____________________________________

Dictation: QUIZ No. 4 Habanera

5. 5.



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Harmonic Dictation: Non-Dominant Seventh Chords Basic Progressions 1. 1.1.

2.2. 2.

3.3. 3.

4. 4.4. 4.


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5. 5. 5.5.

6. 6.6. 6.

7. 7.7. 7.

8.8. 8. 8.

Harmonic Dictation: Non-Dominant Seventh Chords 265


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9.9.

10.


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Phrase-Length Exercises Focus on the occurrence of seventh chords. In which voice is the seventh? Does it resolve normally? Concentrate as always on the outer voices.

1. 1. 1. 1.1.

2. 2. 2.2. 2.

3. 3.3. 3. 3.

4.4. 4. 4. 4.



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5. Professor: 5. 5.

Name: _____________________________________

5.5.

6. 6. 6.6. 6.

7. 7.7. 7. 7.

8.8. 8. 8. 8.


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horvit_unit11_263 Class: horvit_unit11_263

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9. 9.9.

10. 10.



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2. 2.

3. 3.

4. 4.

5. 5.


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2. 2.

3. 3.

4. 4.

5. 5.



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Harmonic Dictation: QUIZ No. 3 Harmonic Dictation: QUIZ NO. 3 1. 1.

2. 2.

3. 3.

4.4.


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Professor: Harmonic Dictation: QUIZ No. 3


5. 5. 5.



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2.2.

3.3.

4.4.


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5.5.



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Unit 12 Melodic Dictation: Scalar Variants, Modal Borrowing, Decorative Chromaticism

1.

This unit introduces chromatic pitches. Scalar variants derive from alterations to the sixth and seventh scale degrees found in the melodic minor scale. Modal borrowing involves mixtures of major and minor modal inflection. Decorative chromaticism occurs in melodies ornamented with chromatic neighbor or passing tones. After first practicing the Preliminary Exercises, proceed to the melodies. What is the mode? Does the mode change? Where do you hear altered scale degrees or notes not found in the diatonic scale? Sing the scale first to establish a point of reference. Listen for the shape and direction of the line. Do chromatic pitches occur as neighbors or as passing tones?

1.

Preliminary Exercises 1.

Scalar variants 1. 1. 2.1. 1. 2. 2. 2. 2.2. 3. 2. 3. 3. 3.3. 3. 3.

4. 4.4. 4. 4. 4. 5. 4.5. 5. 5. 276 5. 5. 5.


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6.6.

7.7.

8.8.

Modal borrowing

9. 9.9. 9.

10. 10. 10.

11 11 11

12.

Melodic Dictation: Scalar Variants, Modal Borrowing, Decorative Chromaticism 277


13.

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13.

14.

15.

16.

Decorative chromaticism

17.

18.

278 Unit 12

19.


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19.

20.

21.

22.

23.



24.

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24.

25.

26.


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Melodies Cantabile 1.1.

Andante 2.2.

Doloroso 3.3.

Amoroso 4.4.

Grazioso 5.5.



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Andantino 6.6.

Deliberamente 7.7.

Con moto 8.8.

Gioviale 9.9.

Moderato 10.


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Marziale 11.

Con moto 12.

Allegro ma non troppo 13.

Giocoso 14.

Andantino 15.



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Espressivo 16.

Andantino 17.

A la marcia 18.

Andante moderato 19.

Allegretto 20.


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Melodic Dictation: QUIZ NO. 1 Langsam 1. 1.

Moderato 2. 2.

Andante 3. 3.

A la tango 4. 4.

Con anima 5. 5.



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Melodic Dictation: QUIZ NO. 2 Allegro ma non troppo 1.1.

Marcato 2.2.

Allegretto 3.3.

Moderato 4.4.

Giocoso 5.5.


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Melodic Dictation: QUIZ NO. 3 Lento 1.1.

Spiritoso 2.2.

Amabile 3.3.

Con anima 4.4.



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Con amore 5.5.


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Pesante 2.2.

Flowing 3.3.

Marziale 4.4.

Amabile 5.5.



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Harmonic Dictation: Scalar Variants, Modal Borrowing The harmonic possibilities that arise through altered scale degrees in the minor mode (scalar variants) and borrowed inflections of the minor mode while in a major key (modal borrowing) are explored here. Once you feel confident with the basic progressions found in the Preliminary Exercises, proceed to the Phrase-length Exercises. Where do you hear altered chords? To which chord do they resolve? How do the tendency tones resolve? What kind of cadence do you hear? Establish the cadential chords and work backwards. As always, focus on the outer voices and then fill in the inner voices.

1.

Basic Progressions 1. Scalar variants 1. 1.1.

2. 2. 2.2. 2.

3. 3.3. 3. 3.

4.4. 4. 4. 4.

290


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5.5.

6.6.

7.7.

8.8.

Harmonic Dictation: Scalar Variants, Modal Borrowing 291


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9.9.

10.

Modal borrowing

11.

12.


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13.

14.

15.

16.



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Professor:

17.

18.

19.

20.


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Phrase-Length Exercises 1.1. 1. 1.

2. 2. 2.2. 2.

3. 3. 3.3. 3.



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4.4. 4.

5.5. 5.

6.6. 6.

7.7. 7.

8.8. 8.


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9.9.

10.

11



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Professor: 12.

12. 12. 12.

13. 13. 13. 13.


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14.



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1.1. 1. 1. 1.

2. 2.2. 2. 2.

3. 3. 3.3. 3.

4. 4. 4. 4.4.

5. 5. 5. 5. 300 Unit 12 Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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5.5.



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1.1.

2.2.

3.3.

4.4.


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5.5.



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1.1.

2.2.

3.3.

4.4.


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5.5.



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1.1.

2.2.

3.3.

4.4.


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5.5.



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Unit 13 Melodic Dictation: Secondary Dominants For examples of secondary dominant chords in pieces by Bach, Haydn, Chopin, and others, see Unit 14.

1. 1. 1. Preliminary Exercises 1. 1. 1. 1.1. 2. 2. 2. 2. 2. 2.2. 2. 3. 3. 3. 3. 3.3. 3. 3. 4. 4. 4. 4.4. 4. 4. 4. 5. 5. 5.5. 5. 5. 5. 5. 6. 6.6. 6. 6. 6. 6. 6. 7.7. 7. 7. 7. 7. 7. 308 7.


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8. 8. 8.8.

9. 9. 9.9.

10. 10. 10.

MelodicDictation:SecondaryDominants 309


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Melodies Thisunitrequiresanunderstandingofsecondarydominantchords.Anymajororminortriadmaybe precededbyitsowndominant.DrillonthePreliminaryExercisesfirsttofamiliarizeyourselfwiththe mostcommonprogressions.Then,listentoeachmelody,concentratingonoccurrencesofchromaticism. Listen for those altered pitches that sound like leading tones. Which scale degrees are being altered? Listenforthepartialchromaticscalesformedbythestructuralpitches.Youwillfindithelpfultodoa 1. 1. preliminaryRomannumeralanalysis.

1. 1. 1. 1. 1. 1.1.

2. 2. 2. 2. 2. 2.2. 2. 2.

3. 3. 3. 3.3. 3. 3. 3. 3.

4. 4.4. 4. 4. 4. 4. 4. 4. 310 Unit13 Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Class: Professor:

5. 5. 5. 5. 5.5.

6. 6. 6. 6.6. 6.

7. 7. 7. 7. 7.7.

8. 8. 8. 8.8. 8.

Name:_____________________________________

Piacevole Piacevole Piacevole Piacevole Piacevole

Allegretto Allegretto Allegretto Allegretto Allegretto

Adagio Adagio Adagio Adagio Adagio

Grazioso Grazioso Grazioso Grazioso Grazioso



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Class:

Name:_____________________________________

Professor:

Andantino Andantino Andantino Andantino Andantino

9. 9.9. 9. 9. 9.

Allegro ma non troppo Allegro ma non troppo Allegro ma non troppo Allegro ma non troppo Allegro ma non troppo

10. 10. 10. 10. 10.

11. 11. 11. 11. 11.

Gigue Gigue Gigue Gigue Gigue

Siciliano Siciliano Siciliano Siciliano Siciliano

12. 12. 12. 12. 12.

312 Unit13 Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Class: Professor:

13. 13. 13. 13.

14. 14. 14. 14.

Name:_____________________________________

Eroico Eroico Eròico Eroico Eroico




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Class:

Name:_____________________________________

Professor:

Allegretto MelodicDictation:QUIZNO.1 1. 1. 1. 1. 1. 1. 1.1.



2. 2. 2. 2. 2. 2. 2.2.


3. 3. 3. 3. 3.3. 3. 3.

Andante Andante Andante Andante Andante Andante Andante

4. 4. 4.4. 4. 4. 4. 4.

Scorrevole Scorrevole Scorrevole Scorrevole Scorrevole Scorrevole Scorrevole

5. 5. 5.5. 5. 5. 5. 5.


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Class:

Name:_____________________________________

Professor:

Comodo

MelodicDictation:QUIZNO.2 Comodo Comodo 1. 1. 1. 1. 1. 1. 1.1.

2. 2. 2. 2. 2.2. 2. 2.

3. 3. 3.3. 3. 3. 3. 3.

4. 4. 4.4. 4. 4. 4. 4.

Comodo Comodo Comodo Comodo

Deliberamente Deliberamente Deliberamente Deliberamente Deliberamente Deliberamente Deliberamente


Adagietto Adagietto Adagietto Adagietto Adagietto Adagietto Adagietto



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Class:

Name:_____________________________________

Professor:

Moderato Moderato 5.5. 5.


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Class:

Name:_____________________________________

Professor:


Allegretto MelodicDictation:QUIZNO.3 1. 1. 1. 1. 1. 1. 1. 1.1.

2. 2. 2. 2. 2. 2. 2.2. 2.

3. 3. 3. 3. 3. 3. 3. 3. 3.

4. 4. 4. 4.4. 4. 4. 4. 4.

Andantino Andantino Andantino Andantino Andantino Andantino Andantino Andantino

Moderato Moderato Moderato Moderato Moderato Moderato Moderato Moderato

Amabile Amabile Amabile Amabile Amabile Amabile Amabile Amabile



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Class: Professor:

5. 5.5.

Name:_____________________________________

Giocoso Giocoso


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Class:

Name:_____________________________________

Professor:

HarmonicDictation:SecondaryDominants BasicProgressions 1. 1. 1. 1.1.

2. 2. 2.2. 2.

3. 3.3. 3. 3.

4.4. 4. 4. 4.

HarmonicDictation:SecondaryDominants 319


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Class:

Name:_____________________________________

Professor:

5. 5. 5. 5.

6. 6. 6.6.

7. 7. 7.7.

8. 8. 8.8.


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Class:

Name:_____________________________________

Professor:

9. 9. 9. 9.9.

10. 10. 10. 10.

11. 11. 11. 11.

12. 12. 12. 12.



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Name:_____________________________________

Professor:

Phrase-LengthExercises AfteryoufamiliarizeyourselfwiththemostcommonsecondarydominantprogressionsinthePreliminary Exercises,listentoeachphrase-lengthexercise.Wheredoyouhearsecondarydominants?Towhichchorddo theyresolve?Doyouhearachromaticlineinoneofthevoices?Dosecondarydominantsoccurinsequence? Asalways,concentrateontheoutervoicesandthenfillintheinnervoices.ForexamplesofsecondarydominantchordsinpiecesbyBach,Haydn,Chopin,andothers,seeUnit14.

1. 1. 1. 1.1.

2. 2. 2.2. 2.

3. 3.3. 3. 3.

4.4. 4. 4. 4.


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Class:

Name:_____________________________________

Professor:

5.5. 5.

6.6. 6.

7.7. 7.

8.8. 8.



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Class:

Name:_____________________________________

Professor:

9. 9.9.

10. 10.

11. 11.


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Class:

Name:_____________________________________

Professor:

12. 12.

13. 13.

14. 14.



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Class:

Name:_____________________________________

Professor:

HarmonicDictation:QUIZNO.1

1.1. 1. 1. 1.

2. 2.2. 2. 2.

3. 3. 3.3. 3.

4. 4. 4. 4.4.


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Class:

Name:_____________________________________

Professor:

5. 5.



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Class:

Name:_____________________________________

Professor:

HarmonicDictation:QUIZNO.2 1. 1. 1.

2. 2. 2.

3. 3. 3.3.

4. 4. 4.4.


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Class:

Name:_____________________________________

Professor:

5.5. 5.



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Class:

Name:_____________________________________

Professor:

HarmonicDictation:QUIZNO.3 1. 1.1. 1.

2. 2.2. 2.

3. 3.3. 3.


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Class:

Name:_____________________________________

Professor:

4.4.

5.5.



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Class:

Name: _____________________________________

Professor:

Unit 14 Examples from Music Literature These exercises present actual musical examples for you to transcribe. All contain only the melodic and harmonic vocabulary studied so far and you should be able to transcribe each item completely. Listen to the example first. What is the texture? What kinds of cadences do you hear? Concentrate on individual lines and then listen harmonically. Isolate the altered chords. What are their functions? Is there decorative chromaticism?

1. Johann Sebastian Bach. Herr, wie du willst, so shick's mit mir (chorale)

2. Johann Sebastian Bach. Jesu, meiner Seelen Wonne (chorale)

3. Johann Sebastian Bach. Wer nur den lieben Gott läßt walten (chorale)

332


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Name: _____________________________________

Professor:

4. Johann Sebastian Bach. Minuet in G Minor

[Allegretto] [Allegretto]

5. Edward MacDowell. To a Wild Rose, Op. 51, No. 1

With simple tenderness

Examples from Music Literature

333


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Class:

Name: _____________________________________

Professor:

6. Carl Maria von Weber. German Dance


7. Frederic Chopin. Valse, Op. 69, No. 1

Lento Lento


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Class:

Name: _____________________________________

Professor:

8. Wolfgang Amadeus Mozart. String Quartet, K. 158, mvt. I

Allegro Allegro



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Name: _____________________________________

Professor:

9. Joseph Haydn. Divertimento in D

Menuet - Allegretto Menuet - Allegretto


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Class:

Name: _____________________________________

Professor:

10. Ludwig van Beethoven. String Quartet, Op. 18, No. 6, mvt. I

Allegro con brio Allegro con brio


337


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Class:

Name: _____________________________________

Professor:

QUIZ NO. 1 1. Johann Sebastian Bach. Jesu, meiner Seelen Wonne (chorale)

2. Johann Sebastian Bach. Es woll' uns Gott genadig sein (chorale)


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Class:

Name: _____________________________________

Professor:

QUIZ NO. 2 1. Ludwig van Beethoven. Romanze from Sonatina in G

[Moderato] [Moderato]

2. Frederic Chopin. Prelude, Op. 28, No. 7

Andantino Andantino



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Class:

Name: _____________________________________

Professor:

QUIZ NO. 3 Joseph Haydn. Divertimento in G, Hob. II:3

Menuet

Menuet


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Class:

Name: _____________________________________

Professor:

Unit 15 Melodic Dictation: Modulation to Closely Related Keys Melodies These exercises will challenge and develop your awareness of tonal centers. What is the original key? How is it established? Where does the key change? What devices are employed to effect the key change? Is the new key confirmed cadentially? Analyze the melody, using roman numerals. For examples of modulation to closely related keys in pieces by Bach, Diabelli, Haydn, and others, see Unit 17.

1. 1. 1. 1. 1.1. 2. 2. 2. 2. 2. 2.2. 3. 3. 3. 3. 3. 3.3.

4. 4. 4. 4. 4. 4. 4.

5. 5. 5. 5. 5. 5. 5.

Moderato Moderato Moderato Moderato Moderato Moderato Andantino Andantino Andantino Andantino Andantino Andantino Grazioso Grazioso Grazioso Grazioso Grazioso Grazioso


Maestoso Maestoso Maestoso Maestoso Maestoso Maestoso

341


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Class:

Name: _____________________________________

Professor:

6. 6. 6. 6. 6. 6. 6.

Largo Largo Largo Largo Largo Largo

Con spirito Con spirito Con spirito Con Con spirito spirito Con spirito

7. 7. 7. 7. 7. 7. 7.

Calmo Calmo Calmo Calmo Calmo Calmo

8. 8. 8. 8. 8. 8.8.

Allegro Allegro Allegro Allegro Allegro Allegro 9. 9. 9. 9. 9. 9.9.


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Name: _____________________________________

Professor:

10. 10. 10. 10. 10. 10. 10.

11. 11. 11. 11. 11. 11. 11.

12. 12. 12. 12. 12. 12. 12.

13. 13. 13. 13. 13. 13. 13.

Ben marcato Ben marcato Ben marcato Ben marcato Ben marcato Ben Ben marcato marcato


Ritmico Ritmico Ritmico Ritmico Ritmico Ritmico Ritmico


Melodic Dictation: Modulation to Closely Related Keys 343


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Name: _____________________________________

Professor:

Allegro Allegro Allegro Allegro Allegro Allegro

14. 14. 14. 14. 14. 14.

Allegro Allegro Allegro

14. 14. 14. Moderato assai Moderato assai Moderato assai Moderato assai Moderato assai Moderato assai

15. 15. 15. 15. 15. 15.

Moderato assai Moderato Moderato assai assai

15. 15. 15. Andante Andante Andante Andante Andante Andante

16. 16. 16. 16. 16. 16.

Andante Andante Andante

16. 16. 16. Tempo di Minuet Tempo di Minuet Tempo di Minuet Tempo di Minuet Tempo di Minuet Tempo di Minuet

17. 17. 17. 17. 17. 17.

Tempo di Minuet Tempo Tempo di di Minuet Minuet

17. 17. 17.


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Comodo Class: 18. Professor: 18.

18. 18. 18.

Comodo

Name: _____________________________________

Comodo Comodo Comodo



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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 1 Andantino Andantino Andantino Andantino Andantino

1.1. 1. 1. 1. 1.

Allegro Allegro Allegro Allegro Allegro

2. 2.2. 2. 2. 2.

Pesante Pesante Pesante Pesante Pesante

3. 3. 3.3. 3. 3.


4. 4. 4. 4.4. 4.


5. 5. 5. 5. 5.5.


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Name: _____________________________________

Professor:

Doloroso Melodic Dictation: QUIZ NO. 2 1. 1. 1. 1. 1. 1. 1.1.

2. 2. 2. 2. 2. 2.2. 2.

3. 3. 3. 3. 3. 3.3. 3.

4. 4. 4.4. 4. 4. 4. 4.

Doloroso Doloroso Doloroso Doloroso Doloroso Doloroso



Animato Animato Animato Animato Animato Animato Animato



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Class:

Name: _____________________________________

Professor:

Comodo Comodo 5. 5.5.


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Class:

Name: _____________________________________

Professor:


1. 1. 1. 1. 1. 1. 1. 1.

2. 2. 2. 2. 2.2. 2. 2.

3. 3. 3. 3. 3.3. 3. 3. 4. 4. 4. 4. 4. 4.4. 4. 5. 5. 5. 5. 5. 5. 5.5.

Con moto Con moto Con moto Con Con moto moto Con moto Con moto



Andante Andante Andante Andante Andante Andante Andante Presto Presto Presto Presto Presto Presto Presto



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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: Modulation to Closely Related Keys Phrase-Length Exercises How is the first key established? Where does the key change? Is there a pivot chord? Is the new key confirmed cadentially? For examples of modulation to closely related keys in pieces by Bach, Diabelli, Haydn, and others, see Unit 17.

1. 1. 1. 1.1.

2. 2. 2.2. 2.

3. 3.3. 3. 3.

4.4. 4. 4. 4.


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Class:

Name: _____________________________________

Professor:

5.5.

6.6.

7.7.

8.8.

Harmonic Dictation: Modulation to Closely Related Keys 351


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Class:

Name: _____________________________________

Professor:

9.9.

10.

11.

12.


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Class:

Name: _____________________________________

Professor:

13.

14.



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Class:

Name: _____________________________________

Professor:

15. 15. 15.

16. 16. 16.

17. 17. 17.


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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: QUIZ NO. 1 1. 1.1.

2. 2.2.

3. 3.3.

4. 4.4.



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Class:

Name: _____________________________________

Professor:

5.5. 5.


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Class:

Name: _____________________________________

Professor:


2. 2. 2. 2.2.

3. 3. 3. 3. 3.

4. 4. 4. 4. 4.



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Class:

Name: _____________________________________

Professor:

5. 5.5.


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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: QUIZ NO. 3 1. 1.1. 1.

2. 2. 2.2.

3. 3. 3.3.



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Class:

Name: _____________________________________

Professor:

4. 4.4. 4.

5. 5.5. 5.


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Class:

Name: _____________________________________

Professor:

Unit 16 Rhythmic Dictation: Quintuple Meter Listen to each exercise while counting or tapping the beat. Is the organization of beats 3 + 2 or 2 + 3? Does it remain the same throughout or does it vary? Do you feel the pulse at the beat level or do you feel alternations of simple and compound divisions? Try adjusting the tempo. Does the speed of the music affect your perception?

Preliminary Exercises 1. 1. 1. 1. 1. 1. 1. 1. 1.1.

2. 2. 2. 2. 2. 2. 2. 2. 2. 2.

3. 3. 3. 3. 3. 3. 3. 3. 3. 3.

4. 4.4. 4. 4. 4. 4. 4. 4. 4. 5. 5.5. 5. 5. 5. 5. 5. 5. 5.

361


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Name: _____________________________________

Professor:

6.6.

Comprehensive Exercises

7. 7.7. 7. 7. 7.

8. 8.8. 8. 8. 8. 9. 9. 9. 9.9. 9.

10. 10. 10. 10. 10.


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Name: _____________________________________

Professor: 11.

11. 11. 11. 11. 11.

12. 12. 12. 12. 12. 12.

13. 13. 13. 13. 13. 13.

14. 14. 14. 14. 14. 14.

15. 15. 15. 15. 15. 15.

Rhythmic Dictation: Quintuple Meter 363


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16.

Name: _____________________________________

Professor:

16. 16. 16. 16.

17. 17. 17. 17. 17. 18. 18. 18. 18. 18.


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Class:

Name: _____________________________________

Professor:

Rhythmic Dictation: QUIZ NO. 1 1.1. 1. 1. 1. 1. 1. 1. 2.2. 2. 2. 2. 2. 2. 2.

3. 3. 3. 3. 3. 3. 3. 3.

4. 4. 4. 4. 4.4. 4. 4.

5. 5. 5. 5. 5. 5. 5.5.



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Name: _____________________________________

Professor:


1.1. 1. 1. 1.

2.2. 2. 2. 2.

3. 3. 3.3. 3.

4. 4. 4. 4.4.


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Class:

Name: _____________________________________

Professor:

5.5.



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Class:

Name: _____________________________________

Professor:


1.1. 1. 1. 1. 1.

2. 2.2. 2. 2. 2.

3. 3.3. 3. 3. 3.

4. 4. 4. 4.4. 4.

5. 5. 5. 5.5. 5.


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Name: _____________________________________

Professor:

Melodic Dictation: The Neapolitan Sixth Chord, Augmented Sixth Chords, and Modulation to Distantly Related Keys For examples of Neapolitan sixth chords, augmented sixth chords, and modulation to distantly related keys in pieces by Bach, Beethoven, and Schubert, see Unit 17.

Preliminary Exercises 1.1. 1. 1. 1. 1.

2.2. 2. 2. 2. 2.

3. 3.3. 3. 3. 3.

4. 4. 4.4. 4. 4.

5. 5. 5. 5. 5.5.

Melodic Dictation 369


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Name: _____________________________________

Professor:

6. 6.6. 6.

7. 7.7. 7.

8.8. 8. 8.


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Name: _____________________________________

Professor:

Melodies These melodies emphasize the altered scale degrees associated with Neapolitan chords (including b2) and augmented sixth chords (including m4 and b6). Where are altered chords implied? What scale degrees seem most implicative? What structural lines do the altered scale degrees and the notes of resolution form? Are there arpeggiations? Does the melody modulate? Determine the new tonic. How is it established? Is there a logical pivot point or common tone, or does the music shift abruptly into the new key? Andante

1. 1. 1. 1. 1.1.

2. 2. 2. 2.2. 2.

3. 3. 3.3. 3. 3.

4. 4.4. 4. 4. 4.

Andante Andante Andante Andante


Doloroso Doloroso Doloroso Doloroso Doloroso

Marziale Marziale Marziale Marziale Marziale



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Name: _____________________________________

Professor:

Moderato Moderato Moderato Moderato 5. 5. 5. 5.5.

Andantino Andantino Andantino Andantino 6. 6. 6. 6.6.

Allegro marcato Allegro marcato marcato Allegro Allegro marcato 7. 7. 7. 7. 7.

Allegretto Allegretto Allegretto Allegretto 8. 8. 8. 8. 8.


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Name: _____________________________________

Professor:

9.9. 9. 9. 9. 9.

Larghetto Larghetto Larghetto Larghetto Larghetto Larghetto

9.

10. 10. 10. 10. 10.

Giocoso Giocoso Giocoso Giocoso Giocoso Giocoso

10.

11 11 11 11 11


11

12. 12. 12. 12. 12.


12.



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Class: Professor:

13. 13. 13. 13. 13. 13.

Name: _____________________________________

Passionato Passionato Passionato Passionato Passionato Passionato

Grazioso Grazioso Grazioso Grazioso Grazioso Grazioso

14. 14. 14. 14. 14. 14.

Fanfare Fanfare Fanfare Fanfare Fanfare

15. 15. 15. 15. 15. 15.


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Name: _____________________________________

Professor:


1.1. 1. 1. 1. 1.

2. 2.2. 2. 2. 2.

3. 3. 3.3. 3. 3.

4. 4. 4. 4. 4.4.

Serioso Serioso Serioso Serioso Serioso

Espressivo Espressivo Espressivo Espressivo Espressivo

Calmo Calmo Calmo Calmo Calmo

Con amore Con amore Con amore Con Con amore amore



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Class:

Name: _____________________________________

Professor:

Con passione 5.5.


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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 2 Andantino 1.1.

Andantino

1.

Andantino Andantino

1. 1.

Andantino

1. Larghetto 2.

Larghetto

2.2.

Larghetto Larghetto

2. 2.

Larghetto

2. Allegro 3.

Allegro

3.

Allegro Allegro

3. 3.3.

Allegro

3.

Andante 4.

Andante

4.

Andante Andante

4. 4.

Andante

4.4.



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Andantino 5.5.


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1. 1. 1. 1.1.

2. 2.2. 2. 2.

3. 3. 3. 3. 3.



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4. 4. 4. 4.4.

5. 5. 5. 5.5.


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Harmonic Dictation: The Neapolitan Sixth Chord, Augmented Sixth Chords, Enharmonic Modulation Basic Progressions 1. 1. 1. 1.

2. 2. 2. 2.

3. 3. 3. 3.

4. 4. 4. 4.

Harmonic Dictation 381


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Professor:

5. 5.

6. 6.

7.

8.


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9.

10.



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Phrase-Length Exercises Drill on the Preliminary Exercises to establish the most common progressions using altered chords. Then listen to each phrase-length progression. Where do altered chords occur? Which voices have the altered scale degrees? Do the altered pitches resolve as expected? Do the phrases modulate? Concentrate on the way in which altered chords facilitate the modulation. For examples of Neapolitan sixth chords, augmented sixth chords, and modulation to distantly related keys in pieces by Bach, Beethoven, and Schubert, see Unit 17.

1. 1. 1. 1.

2. 2. 2. 2.

3. 3. 3. 3.

4. 4. 4. 4.


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5. 5. 5. 5. 5.

6. 6. 6. 6. 6.

7. 7. 7. 7. 7.



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8.8.

9.9.

10.

11

12.


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13. 13.

14. 14.

15. 15.



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1.


1. 1.

2. 2. 2. 2. 2.

3. 3. 3. 3.

3.

4. 4. 4. 4. 4.


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Name: _____________________________________

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5. 5.



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Professor:

Harmonic Dictation: QUIZ NO. 2 1. 1. 1. 1.

2. 2. 2. 2.

3. 3. 3. 3.


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Name: _____________________________________

Professor:

4. 4.

5. 5.



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Name: _____________________________________

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Harmonic Dictation: QUIZ NO. 3 1. 1. 1.

2. 2. 2.

3. 3. 3.

4. 4. 4.


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Name: _____________________________________

Professor:

5. 5. 5.



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Professor:

Unit 17 Examples from Music Literature These exercises present actual musical examples for you to transcribe. All contain only the melodic and harmonic vocabulary studied so far and you should be able to transcribe each item completely. Listen to the example first. What is the texture? What kinds of cadences do you hear? Concentrate on individual lines and then listen harmonically. Isolate any altered chords. What are their functions? Does the music modulate? How are the keys established?

1. Johann Sebastian Bach. Ach Gott, vom Himmel sieh’ darein (chorale)

2. Johann Sebastian Bach. Befiehl du deine Wege (chorale)

394


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3. Johann Sebastian Bach. Ach Gott, wie manches Herzeleid (chorale)



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4. Johann Sebastian Bach. Hilf, Herr Jesu, lass gelingen (chorale)


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Name: _____________________________________

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5. Johann Sebastian Bach. Bourrée, French Overture



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Name: _____________________________________

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6. Jeremiah Clarke. Jigg

Allegro Allegro Allegro


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Name: _____________________________________

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7. Antonio Diabelli. Rondino

Allegretto

8. Joseph Haydn. Sonata, Hob. XVI:27, mvt. III

Presto



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9. Ludwig van Beethoven. Bagatelle, Op. 119, No. 1


10. Ludwig van Beethoven. Minuet in G Major, WoO 10, No. 2


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11. Mikail Ivanovich Glinka. Waltz, Op. 39, No. 15

Andantino con moto

12. Franz Schubert. Scherzo in B-flat




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13. Joseph Haydn. Divertimento, Hob. II:18, mvt. III, Trio

TRIO (Tempo di Menuet) TRIO (Tempo di Menuet)


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14. Ludwig van Beethoven. Quartet, Op. 18, No. 1, mvt. III

Allegro molto Allegro molto



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Name: _____________________________________

Professor:




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16. Ludwig van Beethoven. Quartet, Op. 18, No. 4, mvt. IV

Allegro Allegro



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17. Wolfgang Amadeus Mozart. Quartet, K. 421, mvt. III

MENUETTO (Allegretto) MENUETTO (Allegretto)


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18. Wolfgang Amadeus Mozart. Quartet, K. 170, mvt. I

Andante Andante



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Name: _____________________________________

Professor:


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Name: _____________________________________

Professor:

QUIZ NO. 1 1. Johann Sebastian Bach. Befiehl du deine Wege (chorale)

2. Domenico Scarlatti. Sonata, Longo 83

Allegro Allegro



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Name: _____________________________________

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3. Joseph Haydn. Sonata, Hob. XVI:37, mvt. III

Presto Presto ma ma non non troppo troppo

4. Ludwig van Beethoven. Sonata “Pathetique,” Op. 13, mvt. III

Allegro


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QUIZ NO. 2 1. Johann Sebastian Bach. Meine Seel’ erhebt den Herren (chorale)



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2. Ludwig van Beethoven. Sonata, Op. 14, No. 1, mvt. II

Maggiore Allegretto Maggiore Allegretto

3. Johannes Brahms. Waltz, Op. 39, No. 15

Tempo giusto Tempo giusto


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4. Ludwig van Beethoven. Quartet, Op. 18, No. 2, mvt. III, Trio

TRIO Allegro TRIO Allegro



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QUIZ NO. 3 1. Johann Sebastian Bach. Jesu, meine Freude (chorale)


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2. Robert Schumann. “Important Event,” Scenes from Childhood, Op. 15, No. 6

3. Edvard Grieg. Rigaudon, Op. 40, No. 5, Trio


415


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Professor:


Allegro Allegro


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Professor:

Unit 18 Rhythmic Dictation: Irregular Meters Listen for the groups of two and three notes. Do they form a regularly recurring pattern? The meter signature itself should suggest the possible groupings. Once you have established this basic grouping, focus on the values within the groups. Are there subdivisions? Syncopations?

1. 1. 1. 1. 1. 1. 1.1.

2. 2. 2. 2. 2. 2.2. 2.

3. 3. 3. 3. 3. 3.3. 3.

4. 4. 4. 4. 4. 4. 4. 4.

5. 5. 5. 5. 5. 5. 5. 5.

417


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6.6.

7.7.

8.8.

9.9.

10.


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11.

12.

13.

14.

Rhythmic Dictation: Irregular Meters 419


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Rhythmic Dictation: QUIZ NO. 1 1.1.

2.2.

3.3.

4.4.

5.5.


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2.2.

3.3.

4.4.

5.5.

Rhythmic Dictation: Irregular Meters 421


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Melodic Dictation: Diatonic Modes Review the church modes, concentrating on the location of the half steps (semitones). Then listen to each melody. Is the mode “major” or “minor”? Is there a whole step or half step from degree 7 to 8? From degree 5 to 6? From degree 1 to 2? Does the melody both begin and end on the tonic? How is tonic established? Try singing the scale to establish the mode. Examples of modal usage in pieces by Bartók and Bloch can be found in Unit 26, Part 1. Moderato bucolico Moderato bucolico Moderato bucolico Moderato bucolico Moderato bucolico Moderato bucolico

1. 1. 1. 1. 1. 1.1.

Misterioso Misterioso Misterioso Misterioso Misterioso Misterioso

2. 2. 2. 2. 2.2. 2.

Tempo di valse Tempo di valse Tempo di valse Tempo di valse Tempo di valse Tempo di valse

3. 3. 3.3. 3. 3. 3.

Andante Andante Andante Andante Andante Andante

4. 4. 4. 4. 4. 4. 4.


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Con forza

5.5.

Cantabile

6.6.

Vigoroso

7.7.

Contempletivo

8.8.

Melodic Dictation: Diatonic Modes 423


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Allegretto

9.9.

Grazioso

10.

Ruhig

11.

Scherzando

12.


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Energico

13.

Andantino

14.



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Melodic Dictation: QUIZ NO. 1 Moderato 1.1.

Marcato 2.2.

Doloroso 3.3.


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Ritmico 4.4.

Amabile 5.5.



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Melodic Dictation: QUIZ NO. 2 Gracieuse

1.1.

Vigoroso

2.2.

Andantino

3.3.

Allegretto

4.4.

Simply

5.5.


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Harmonic Dictation: Diatonic Modes Review the qualities of the triads and seventh chords in each mode. As you listen to the exercises, first establish the mode. Is it “major” or “minor”? What is the quality of the dominant or dominant seventh? What particular progressions most clearly establish the mode? Identify the tonic and the specific mode. A Roman numeral functional analysis for each chord is no longer appropriate. Examples of modal usage in pieces by Bartók and Bloch can be found in Unit 26, Part 1.

1. 1. 1. 1.1.

2. 2. 2.2. 2.

3. 3.3. 3. 3.

Harmonic Dictation: Diatonic Modes 429


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4.4.

5.5.

6.6.

7.7.


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Name: _____________________________________

Professor:

8.8.

9.9.

10.

11.



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12. 12. 12. 12. 12.

13. 13. 13. 13. 13.

14. 14. 14. 14. 14.


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Name: _____________________________________

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2.2.

3.3.

4.4.



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Name: _____________________________________

Professor:

5.5.


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Class:

Name: _____________________________________

Professor:


1.1.

2.2.



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Professor:

3.3.

4.4.

5.5.


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Unit 19 Rhythmic Dictation: Changing Meters How does the pattern in each measure express the particular meter? Do recurring alternations of meters also show a recurring rhythmic pattern? How are cadences established?

1. 1. 1. 1. 1. 1. 1. 1. 1.1. 1. 2. 2. 2. 2. 2. 2. 2. 2. 2.2. 2.

3. 3. 3. 3. 3. 3. 3. 3. 3. 3. 3.

4. 4. 4. 4. 4.4. 4. 4. 4. 4. 4.

5.5. 5. 5. 5. 5. 5. 5. 5. 5. 5.

6.6. 6. 6. 6. 6. 6. 6. 6. 6. 6.

437


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7.7.

8.8.

9.9.

10.

11.

12.


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13.

14.

Rhythmic Dictation: Changing Meters 439


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2.2.

3.3.

4.4.

5.5.


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2.2.

3.3.

4.4.

5.5.

Rhythmic Dictation: Changing Meters 441


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Part Music Dictation: Pandiatonicism Focus on the individual lines. Is the motion conjunct or disjunct? Do you hear repetitions or ostinati, particularly in the lower voice? For an example of pandiatonicism in a piece by Stravinsky, see Unit 26, Part 1, no. 2.

Amabile

1.1.

Semplice

2.2.


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Lent et grave

3.3.

Comodo

4.4.

Part Music Dictation: Pandiatonicism 443


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Modéré

5.5.

Grazioso

6.6.


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Name: _____________________________________

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Andantino

7.7.

Follow Follow the structural lines formed the highest lowest pitches of the patterns found in the upper the structural linesby formed by theand/or highest and/or lowest pitches of the patterns voice. found in the upper voice. Allegro

8.8.



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Follow the structural lines formed by the highest and/or lowest pitches of the patterns found in the upper voice. Semplice

9.9.

Listen for intervallic planing in one or both voices. What interval is being used? Listen for intervallic planing in one or both voices. What interval is being used? Fliessend

10.


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Name: _____________________________________

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Listen for intervallic planing in one or both voices. What interval is being used? Andantino

11.

Allegro moderato

12.



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Name: _____________________________________

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Giocoso

13.

Listen Listen for two textural elements. Focus first on the bass Then line. listen Then to the three toupper voices. What for two textural elements. Focus first online. the bass listen the three technique is being used?

upper voices. What technique is being used? Maestoso

14.


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Name: _____________________________________

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Listen for two textural elements. Focus first on the bass line. Then listen to the three upper voices. What technique is being used? Stately

15.

Brilliante

16.



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Part Music Dictation: QUIZ NO. 1 Piacevole 1.1.

Andante 2.2.


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Giocoso 3.3.

Sostenuto 4.4.



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Fliessend 5.5.


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Name: _____________________________________

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Part Music Dictation: QUIZ NO. 2 Tempo di Valse

1.1.

Allegretto

2.2.



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Berceuse

3.3.

Moderato

4.4.

Moderato

5.5.


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Unit 20 Unit 20 Unit 20

Unit 20 Dictation: Syncopation Including Irregular and Mixed Meters Rhythmic Unit 20 Rhythmic Dictation: Syncopation including irregular and mixed meters Rhythmic Unit 20 Dictation: Syncopation Including Irregular and Mixed Meters Listen for syncopated accents occurring on weak beats or parts of beats. Does the syncopation occur at the

Rhythmic Dictation: Syncopation Including Irregular and Mixed Meters beat level or at the division (or subdivision) level? Listen for uneven patterns ofMixed metrical accent thatatmay Listen forDictation: syncopated accents occurring on weak beats or parts of beats. Does syncopation occur the Rhythmic Syncopation Including Irregular andthe Meters Listen for syncopated accents occurring on weak beats or parts of beats. Does the syncopation occur at suggest irregular or division mixed meters. Recurring beat as 2+3 patterns or 2+2+3of may occur. accent Some that examples beat level or at the (or subdivision) level?patterns Listen such for uneven metrical may Listen for syncopated accents(or occurring on weak beats or parts of beats. Does the syncopation occur the beat level or at the division subdivision) level? Listen for uneven patterns of metrical accent thatatmay also employ triplets in simple meter or duplets in compound meter. suggest irregular or mixed meters. Recurring beat patterns such as 2+3 or 2+2+3 may occur. Some examples the beat level or at the division (or subdivision) level? Listen for uneven patterns of metrical accent that beat level or at the division (or subdivision) level? Listen for uneven patterns of metrical accent that may Listen for for syncopated syncopated accents accents occurring occurring on on weak weak beats beats or or parts parts of of beats. beats. Does Does the the syncopation syncopation occur occur at at the the Listen also employ simple meter or dupletsbeat in compound meter. may suggest irregular or mixed meters. Recurring beat patterns such as 2 + 3 or 2 + 2 + 3 may occur. Some beat level ortriplets at the the division (or subdivision) level? Listen such for uneven patterns of metrical accent that may suggest irregular or in mixed meters. Recurring patterns as 2+3 patterns or 2+2+3of may occur. accent Some that examples beat level or at division (or subdivision) level? Listen for uneven metrical may examples also employ triplets in simple meter or duplets in compound meter. suggest irregular or in mixed meters. Recurring beat patterns such such as 2+3 2+3 or or 2+2+3 2+2+3 may may occur. occur. Some Some examples examples also employ triplets simple meterRecurring or dupletsbeat in compound meter. suggest irregular or mixed meters. patterns as 1. also employ triplets in simple meter or duplets in compound meter. also employ triplets in simple meter or duplets in compound meter.

1. 1. 1.1. 1.

2. 2. 2. 2. 2.2.

3. 3. 3.3. 3. 3.

4. 4.4. 4. 4. 4. 5. 5.5. 5. 5. 5.

455


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Name: _____________________________________

Professor:

6.6.

7.7.

8.8.

9.9.

10.


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Name: _____________________________________

Professor:

11.

12.

13.

14.

Rhythmic Dictation: Syncopation including irregular and mixed meters 457


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Name: _____________________________________

Professor: Rhythmic Dictation: QUIZ NO. 1

Rhythmic Dictation: QUiZ NO. 1 1.1.

2.2.

3.3.

4.4.

5.5.


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Rhythmic Dictation: QUIZ NO. 2 Class:

Name: _____________________________________

Professor:

Rhythmic Dictation: QUiZ NO. 2 1.1.

2.2.

3.3.

Rhythmic Dictation: Syncopation including irregular and mixed meters 459


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Class:

Name: _____________________________________

Professor:

4.4.

5.5.


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Name: _____________________________________

Professor:

Melodic Dictation: Extended Altered Tertian Harmony Melodic Extended andand Altered Tertian Harmony MelodicDictation: Dictation: Extended and Altered Tertian Harmony Melodic Dictation: Extended and Altered Tertian Melodic Dictation: Extended and Altered Tertian Harmony Harmony Melodic Dictation: Extended and Altered Tertian Harmony These exercises are more challenging. Is there a tonal center? How is it established? Isolate the Melodic Extended andIsAltered Tertian TheseDictation: exercises are more challenging. there a tonal center? Harmony How is it established? Isolate the arpeggiations. What is the quality of the chord? What position is it in? Are tall chords implied? Whatthe is These exercises are more challenging. there athere tonalacenter? How it established? Isolate the Isolate arpeggiaThese exercises are challenging. Is center? How it Melodic Extended Tertian arpeggiations. is the quality ofIsand the chord? position is is itHarmony in? chords implied? Whatthe is TheseDictation: exercisesWhat are more more challenging. IsAltered thereWhat a tonal tonal center? HowAreis is tall it established? established? Isolate

1. 1. 1. 1. 1. 1.

quality? Then onquality scalar passages. Is a conventional scale church mode? Or is the arpeggiations. What isofthe the chord? What istall it suggested? in? tall chords implied? What is tions.their What is the quality the chord?of What itposition in?center? Are chords implied? What is their qualThese exercises arefocus more challenging. Isposition there aistonal HowAre it A Isolate their quality? Then focus onquality scalar passages. Is a conventional scale Aestablished? church mode? Or is the arpeggiations. What isirregular? the of the chord? What position is it suggested? in? Areis tall chords implied? What is These exercises are more challenging. Is there a tonal center? How is it established? Isolate the pattern symmetrical or their quality? Then focus on scalar passages. Is a conventional scale suggested? A church mode? Or is the ity? Then focus onThen scalar passages. Isof a conventional scale suggested? A church Or is theOr pattern arpeggiations. What theonquality the chord? What position is it suggested? in? Are tallAmode? chords implied? What is pattern symmetrical oris irregular? their quality? focus scalar passages. Is a conventional scale church mode? is the arpeggiations. What is the quality of the chord? What position is it in? Are tall chords implied? What is These exercises arefocus more challenging. Is there a altered tonal center? How is itinAestablished? Isolate the pattern symmetrical or irregular? symmetrical or irregular? Examples of extended and tertian harmony pieces by Debussy and their quality? Then on scalar passages. Is a conventional scale suggested? church mode? Or is the pattern symmetrical or irregular? their quality? Then focus on scalar passages. Is a conventional scale suggested? A church mode? Or is the arpeggiations. Whatorin isirregular? the of the chord? Carpenter can be found Unitquality 26, Parts 1 and 2. What position is it in? Are tall chords implied? What is pattern symmetrical Giocoso pattern symmetrical or irregular? their quality? Then focus on scalar passages. Is a conventional scale suggested? A church mode? Or is the Giocoso Giocoso pattern symmetrical or irregular? Giocoso Giocoso Giocoso Giocoso

1.1.

2. 2. 2. 2. 2. 2. 2. 2.

3. 3. 3. 3.3. 3. 3.

Andante Andante Andante Andante Andante Andante Andante


3.

4. 4.4. 4. 4. 4. 4.

Allegro brillante Allegro brillante Allegro brillante Allegro brillante Allegro brillante Allegro brillante Allegro brillante

4.

Melodic Dictation: Extended and Altered Tertian Harmony 461 Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Name: _____________________________________

Professor:

Moderato

5.5.

Grazioso

6.6.

Con moto

7.7.

Allegro ma non troppo

8.8.


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Name: _____________________________________

Professor:

Andante

9.9.

With a raggy feel

10.

Andante con moto

11.

Poco lento

12.

melodic Dictation: Extended and Altered Tertian Harmony 463


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Name: _____________________________________

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Risoluto

13.

Comodo

14.


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Class:

Name: _____________________________________

Professor:


melodic Dictation: QUiZ NO. 1 Piacevole 1.1.

Ritmico 2.2.

Amaroso 3.3.

Allegro vivace 4.4.

melodic Dictation: Extended and Altered Tertian Harmony 465


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Class:

Name: _____________________________________

Professor:

Serioso 5.5.


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Class:

Name: _____________________________________

Professor:


1.1.

2.2.

3.3.

4.4.

Melodic Dictation: Extended and Altered Tertian Harmony 467 Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Class:

Name: _____________________________________

Professor:

Tempo di valse

5.5.


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Class:

Name: _____________________________________

Professor:

Harmonic Dictation: Extended and Altered Tertian Harmony These exercises present common, but often nonfunctional, progressions. Chordal extensions, such as the 9th, llth, 13th, or added 6th are included. Focus on the qualities of each chord. Then work out the outer voices. Finally, fill in the inner voices. Chord symbols are now appropriate for analysis and should be placed above the treble staff as in sheet music or lead sheets. Examples of extended and altered tertian harmony in pieces by Debussy and Carpenter can be found in Unit 26, Parts 1 and 2.

1. 1. 1. 1. 1.

2. 2. 2. 2. 2.

3. 3. 3. 3. 3.

4. 4. 4. 4. 4.

Harmonic Dictation: Extended and Altered Tertian Harmony 469 Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Name: _____________________________________

Professor:

5.5.

Several of the chords in the following exercise can be analyzed either as extended and altered dominants or as polychords. (See Unit 23.)

6.6.

7.7.

8.8.


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Name: _____________________________________

Professor:

9.9.

10.

11.

Harmonic Dictation: Extended and Altered Tertian Harmony 471


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Name: _____________________________________

Professor:

12.

13.

14.


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Name: _____________________________________

Professor:


Harmonic Dictation: QUiZ NO. 1

1.1.

2.2.

3.3.

4.4.



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Class:

Name: _____________________________________

Professor:

5.5.


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Name: _____________________________________

Harmonic Dictation: QUIZ NO. 2 Professor:

Harmonic Dictation: QUiZ NO. 2

1.1.

2.2.

3.3.



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Name: _____________________________________

Professor:

4.4.

5.5.


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Class:

Name: _____________________________________

Professor:

Unit 21 Melodic Dictation: Exotic Scales Is there a tonal center? How is it established? What scale is present in each exercise? What are the characteristic intervals of the scale? Are they prominent in the melody? For examples of exotic and artificial scales in pieces by Debussy, Stravinsky, Bartók, Carpenter, and Lasala, see Unit 26, Parts 1 and 2.

1. 1. 1. 1.1.

2. 2. 2.2. 2.

3. 3. 3.3. 3.

4.4. 4. 4. 4.

Inscrutably Inscrutably Inscrutably Inscrutably


Vigoroso Vigoroso Vigoroso Vigoroso

Alla Alla Alla Alla

inglese inglese inglese inglese

477


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Name: _____________________________________

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Moderato

5.5.

Lugubre

6.6.

Allegretto

7.7.

Lentement

8.8.


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Class:

Name: _____________________________________

Professor:

Misterioso

9.9.

Gracieux

10.

Melancholique

11.

Moderato

12.

Gracioso

13.

Melodic Dictation: Exotic Scales 479


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Name: _____________________________________

Professor:

Con spirito

14.

Briskly

15.

Pensivo

16.

Semplice

17.


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Name: _____________________________________

Professor:

Furious

18.

Very slow and sinuously 3

19.



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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 1 Andantino

1.1.

Vif

2.2.

Moderato

3.3. Im Volkston

4.4.

Andante tenebroso

5.5.


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Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 2 Marcato 1.1.

Doucement 2.2.

Semplice 3.3.



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Name: _____________________________________

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Con espressione 4.4.

Con forza 5.5.


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Name: _____________________________________

Professor:

Part Music Dictation: Exotic Scales Is there a tonal center? How is it established? What scale is present in each exercise? Do you hear repetitions of patterns? Ostinati? Imitation? What chord types are present? How are the chords connected? You do not need to provide a harmonic analysis. For examples of exotic and artificial scales in pieces by Debussy, Stravinsky, Bartók, Carpenter, and Lasala, see Unit 26, Parts 1 and 2.

Modéré

1.1.

Lento

2.2.

Grazioso

3.3.

Part Music Dictation: Exotic Scales 485


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Name: _____________________________________

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Assez lentment

4.4.

Comodo

5.5.


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Name: _____________________________________

Professor:

Furioso

6.6.

Semplice

7.7.



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Name: _____________________________________

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Adagio

8.8.

Chorale

9.9.

Allegro moderato

10.


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Class:

Name: _____________________________________

Professor:

Part Music Dictation: QUIZ NO. 1 Andantino 1.1.

Lugubre 2.2.



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Class:

Name: _____________________________________

Professor:

Lebhaft 3.3.


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Class:

Name: _____________________________________

Professor:

Part Music Dictation: QUIZ NO. 2 Scherzando

1.1.

Moderato

2.2.

Tempo di Valse

3.3.



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Name: _____________________________________

Professor:

Unit 22 Melodic Dictation: Quartal Harmony These exercises focus on patterns using fourths and fifths. Is there a tonal center? How is it established? Isolate the scalar fragments. What is the pattern of whole and half step? Are conventional scales suggested? Exotic or symmetrical? For examples of quartal harmony in pieces by Stravinsky and Debussy, see Unit 26, Part 1.

Nicht zu schnell

1.1.

Feierlich

2.2.

Sehr langsam

3.3.

Fanfaro

4.4. 492


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Name: _____________________________________

Professor:

Lento

5.5.

Grazioso

6.6.

Lebhaft

7.7.

Gondellied

8.8.

Melodic Dictation: Quartal Harmony 493


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Name: _____________________________________

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Con fuoco

9.9.

Con forza

10.

Con tristezza

11.


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Name: _____________________________________

Professor:

Intenso

12.

Allegretto

13.

Maestoso

14.

Langsam aber nicht schleppend

15.



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Name: _____________________________________

Professor:


Melodic Dictation: QUIZ NO. 1 Zart 1.1.

Lebhaft 2.2.

Gesangvoll 3.3.

Vivace 4.4.


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Class:

Name: _____________________________________

Professor:

Melancholique 5.5.



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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 2 Con moto

1.1.

Commodo

2.2.

Pesante

3.3.


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Name: _____________________________________

Professor:

Scherzando

4.4.

Giocoso

5.5.



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Class:

Name: _____________________________________

Professor:

Part Music Dictation: Quartal Harmony Is there a tonal center? How is it established? Concentrate on the individual voices. Do major or minor triads occur? Where? How are chords connected? You do not need to provide a harmonic analysis. For examples of quartal harmony in pieces by Stravinsky and Debussy, see Unit 26, Part 1.

Solenne

1.1.

Semplice

2.2.

Lullaby

3.3.


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Name: _____________________________________

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Etwas langsam

4.4.

Allegretto

5.5.

Chorale

6.6.

Moderato

7.7.

Part Music Dictation: Quartal Harmony 501


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Name: _____________________________________

Professor:

Stately Stately

8. 8.8.

What technique is employed in the upper voices?

What technique is employed in the upper voices? What technique is employed in the upper voices? Molto sostenuto Molto sostenuto 9. 9.9.

Breit Breit

10. 10.


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Name: _____________________________________

Professor:

Part Music Dictation: QUIZ NO. 1 Lento 1.1.

Maestoso 2.2.

Comodo 3.3.

Larghetto 4.4.



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Class:

Name: _____________________________________

Professor:

Maestoso 5.5.


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Class:

Name: _____________________________________

Professor:

Part Music Dictation: QUIZ NO. 2 Moderato

1.1.

Con moto

2.2.

Andantino

3.3.

Amabile

4.4.



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Class:

Name: _____________________________________

Professor:

Festivo

5.5.


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Class:

Name: _____________________________________

Professor:

Unit 23 Part Music Dictation: Polyharmony and Polytonality For examples of polyharmony and polytonality by Bartók, see Unit 26, Part 2.

What scale is suggested in each part? What device is employed in the lower voice? WhatAllegretto scale is suggested in each part? What device is employed in the lower voice? What scale is suggested in each part? What device is employed in the lower voice? WhatAllegretto scale is suggested in each part? What device is employed in the lower voice? 1. Allegretto 1. 1.1.

What technique is being employed here?

What technique is being employed here? What technique is being employed here? Presto What technique is being employed here? 2. Presto Presto 2. 2.2.

Is there a tonal center? How is it established? What is the basic chord type? Is there a tonal center? How is it established? What is the basic chord type? 3. 3.3. 3.

Is there a tonal center? How is it established? What is the basic chord type? Con forza Is there a tonal center? How is it established? What is the basic chord type? Con forza Con forza

507


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Name: _____________________________________

Professor:

Commodo

4.4.

Sustained

5.5.


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Name: _____________________________________

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Semplice

6.6.

Allegro

7.7.

Part Music Dictation: Polyharmony and Polytonality 509


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Name: _____________________________________

Professor:

Maestoso

8.8.

Rakishly

9.9.


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Class:

Name: _____________________________________

Professor:

Allegro giocoso

10.

Lentemente

11.



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Class:

Name: _____________________________________

Professor:

12.

13.


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1/17/12 6:55 PM

Class:

Name: _____________________________________

Professor:

14.



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Class:

Name: _____________________________________

Professor:

Part Music Dictation: QUIZ NO. 1 Piacevole 1.1.


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Name: _____________________________________

Professor:

Grave 2.2.

Allegro ma no troppo 3.3.



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Class:

Name: _____________________________________

Professor:

Vivace 4.4.

Allegretto 5.5.


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Class:

Name: _____________________________________

Professor:

Part Music Dictation: QUIZ NO. 2 Moderato

1.1.

Tempo di Tango

2.2.



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Name: _____________________________________

Professor:

Maestoso

3.3.

Doloroso

4.4.


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Class:

Name: _____________________________________

Professor:

Majestically

5.5.



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Class:

Name: _____________________________________

Professor:

Unit 24 Melodic Dictation: Interval Music Preliminary Exercises These exercises will seriously test your ability to hear intervals! Focus on cells of three to four notes. Is there a pattern? Does this pattern recur? What is the interval connecting the recurrences (interval of transposition)? Are there permutations of intervals within the cell? Examples of interval music by Stravinsky, Bartók, Sessions, and Schoenberg can be found in Unit 26, Part 3.

1. 1. 1. 1.1. 1.

2. 2. 2. 2.2. 2.

3. 3. 3. 3.3. 3.

4. 4.4. 4. 4. 4.

520


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Name: _____________________________________

Professor:

5.5.

6.6.

7.7.

8.8.

Melodic Dictation: Interval Music 521


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Name: _____________________________________

Professor:

In these next two examples, listen for the wedge shape.

In these next two examples, listen for the wedge shape.

9.9.

10.


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Name: _____________________________________

Professor:

Melodies Are there obvious sets or cells? Do you hear recurrences or transpositions? Are there permutations of intervals within the cells? Examples of interval music by Stravinsky, Bartók, Sessions, and Schoenberg can be found in Unit 26, Part 3.

1. 1. 1. 1.1. 1.

2. 2. 2. 2. 2.2.

3. 3. 3. 3.3. 3.

4. 4. 4.4. 4. 4.



Gesangvoll Gesangvoll Gesangvoll Gesangvoll Gesangvoll

Scherzando Scherzando Scherzando Scherzando Scherzando



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Name: _____________________________________

Professor:

Alla Marcia

5.5.

Massig

6.6.

Assez vite

7.7.

Feierlich

8.8.


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Name: _____________________________________

Professor:

Andantino

9.9.

Agitato

10.

Deliberamente

11.

Molto con brio

12.



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Name: _____________________________________

Professor:

Scherzando

13.

Sinuously

14.


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Class:

Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 1 Lento 1.1.

Lullaby 2.2.

Heftig 3.3.



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Name: _____________________________________

Professor:

Allegro ma non troppo 4.4.

Lugubre 5.5.


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Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 2 Scherzando

1.1.

Larghetto

2.2.

Strepitoso

3.3.

Agitato

4.4.



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Class:

Name: _____________________________________

Professor:

Moderato

5.5.


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Class:

Name: _____________________________________

Professor:

Unit 25 Melodic Dictation: Serial Music Are there cells or sets within the rows? Are there any “anchors” such as repetition or recurrence of pitches or intervals in the same register to help you “solve” these exercises? Examples of serial music by Schoenberg, Dallapicolla, and Webern can be found in Unit 26, Part 3.

Scherzando

1.1.

Schleppend

2.2.

Avec mouvement

3.3.

Giocoso

4.4.

531


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Name: _____________________________________

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Con forza

5.5.

Sinuously

6.6.

Moderato

7.7.

Freely

8.8.

Animato

9.9.


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Name: _____________________________________

Professor:

Molto lento e calmo

10.

Heftig

11.

Deliberamente

12.

Melodic Dictation: Serial Music 533


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Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 1 Fliessend 1.1.

Allegro 2.2.

Con espressione 3.3.


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Name: _____________________________________

Professor:

Melodic Dictation: QUIZ NO. 2 Con moto

1.1.

Andantino

2.2.

Mässig

3.3.

Melodic Dictation: Serial Music 535


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Name: _____________________________________

Professor:

Unit 26 Examples from Music Literature Part 1: Modality, pandiatoniscism, free tertian, jazz

These exercises present actual music for you to transcribe. All contain only the melodic and harmonic vocabulary studied in Units 18–25 and you should be able to transcribe each item completely. Listen to the example first. What is the texture? Concentrate on individual lines. What is the scale or mode? Then listen harmonically. What kinds of chord structures are employed? Are chords connected traditionally or is some contemporary device such as planing used? Is the music tonal? How is the sense of tonal center established? Are there obvious candences?

1. Béla Bartók, Evening in the Country

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2. Igor Stravinsky, Vivo

3. Ernst Bloch, Waves, mm. 71–78 L'istesso tempo

semplice

dolce


537


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4. Claude Debussy, Prelude VIII, mm. 24–28 Très calme et doucement expressif

5. Claude Debussy, Sarabande, mm. 23–29 Avec une élégance grave et lente

538


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6. Igor Stravinsky, L’Histoire du Soldat, “Marche Royale” M.M. =112 Clarinet

Bassoon

Cornet

but softer than the winds Trombone

Cymbals Bass Drum

Violin

Contrabass


539


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QUIZ NO. 1 1. Carlos Chávez, Prelude No. 2 Vivace

=132

2. Claude Debussy, Rêverie, mm. 51–58 Poco più mosso

540


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3. Igor Stravinsky, L’Histoire du Soldat, Petit Choral Largo (

=54)

Clarinet

Bassoon

Cornet

Trombone

Violin

Contrabass

Moderato

4. Bronislau Kaper, Green Dolphin Street Moderato


541


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Part 2: Scalar and chordal techniques, polytonality 1. Béla Bartók, Forty-four Violin Duets, No. 33, Harvest Song Lento

poco rit.

2. Bela Bartók, Sketches, II (See-saw . . .) Commodo

542

=125


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3. Béla Bartók, Sketches, V (Roumanian Folk Song) Andante

=104

4. John Alden Carpenter, Danza, mm. 193–198 Allegro brioso

marcato

=192

accel. e cresc.

rall. poco


543


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5. Ángel Lasala, Trío No. 1, I, mm. 77–82 Alegre y luminoso

=84

Violin

Cello

Piano

reten.

544


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QUIZ NO. 2 1. Béla Bartók, Bear Dance Allegro vivace

molto marcato


545


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Part 3: Interval music, free atonality, and serialism These exercises will require you to focus on hearing intervals. You may wish to review the interval exercises in Unit 1 and the web-based interval exercises. Listen for recurring motives of three or four notes. Is there evidence of twelve-tone serialism?

1. Igor Stravinsky, Symphony of Psalms, II Tempo

2. Béla Bartók, Music for Strings, Percussion, and Celesta, I Andante tranquillo con sord.

=c.112–116

3. Arnold Schoenberg, Three Songs Etwas langsam ( =76 )

4. Luigi Dallapiccola, Goethe Lieder, Mvt. 2 poco rall.

dolce; sost.

546

più tranquillo ( =54)


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5. RogerSessions,SonataforViolin Tempo moderato, con ampiezza e liberamente ( =c.66 )

poco rit.

6. ArnoldSchoenberg,DreiKlavierstück,Op.11,No.1 Mäßige

rit.

ExamplesfromMusicLiterature 547


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7. Anton Webern, Symphony, Op. 21, II, Variationen, Thema Sehr ruhig ( =c.54) Clarinet

mit Dämpfer

Horns

mit Dämpfer

Harp

1st Violin

* The harmonics ( ) in the Harp sound an octave higher than written.

548


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QUIZ NO. 3 1. Edgard Varèse, Octandre, I Assez lent ( =63–66)

4

5

6

4

2. Ernst Krenek, Suite for Violoncello Solo Andante affettuoso ( =72)

accel.

a tempo

Più lento ( =60 )

3. Luigi Dallapiccola, Quaderno Musicale di Annalibera, I Quasi lento ( =84)

sost.

staccatiss.


549


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Music for Ear Training 4th Edition - Michael Horvit, Timothy Koozin, Robert Nelson

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