Progressive Sight Singing Carol Krueger

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Progressive Sight Singing
Second Edition
Carol Krueger
New York Oxford

OXFORD UNIVERSITY PRESS
2011
1
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Library of Congress Cataloging-in-Publication Data
Krueger, Carol J.
Progressive sight singing / Carol Krueger.-2nd ed.
p.cm.
. ISBN 978-0-19-538604-2 (paper (spiral)) 1. Sight-singing. !. Title.
J
MT870.K87 2011
783'.0423--dc22
2010014743 l
J
]
Printing number: 9 8 7 6 5 4
Printed in the United States of Arnerica

on acid-free paper
1
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Contents
Preface for the Instructor xv

Preface for the Srudenr xix
An Introduction to the Music Literacy Process xxi
Strategies for Successful Sight Singing xxv
Building Musicianship and Independence xxvii
Part I Rhythmic Reading

1 Simple Mecer-Quarcer Note= Beat Unic; Undivided Beat 3
1.1 Building Aural/Oral Skills 3
Beat, Tempo, Meter, Duple Meter, Tripie Meter, Quadruple Meter, Rhythm
1.2 Symbolic Association 4
Score Notation, Whole Note/Rest, HalfNote!Rest, Quarter Note/Resti
Meter Signaturei Bar Lines, Double Bar Line
1.3 Rhythm Patterns 6
1.4 Exercises 7
Canon, Retrograde Canoni Anacrusis, Bracket
2 Simple Meter-Quarter Note = Beat Unic; Divided Beat 11

Macro Beat, Micro Beat, Simple Meter, Compound Meter, Motives
Eighth Note!Rest, Head, Flag, Beam, Motive
2.4 Exercises 14
Common Time
3 Simple Meter-Quarter Note = Beat Unic; Slur, Tie, and Excension Doe 19
Tie, Bind, Extension Dot/Augmentation Dot, S/utj Legatoi Phrase
3 .4 Exercises 21
4 Terms and Symbols 25

4.1 Symbolic Association: Performance Markings 25
lnterruptions in the Beat: Breath Mark, Fermata, Tenuto, Caesurai General Pause;
Tempo Markings: Adagio, Andantei Moderato, Allegrettoi A!legroi Metronomei M.M.;
V
J
vi PROGRESSIVE SIGHT SINGING
l
Changes in Tempo: Ritardando, Ritenuto, Accelerando1 A Tempo, Poco1 Por:o a Poco;
Dynamic Markings: Pianissimo, Piano1 Mezzo Piano, Mezzo Forte, Forte, Fortissimo;
Changes in Tempo: Crescendo, Decrescendo, Diminuendo;
l
Articulation: Staccato, Accent;
4 .2
Technical Terms: Repeat Sign1 First and Second Endings
Exercises 29 l
5 Compound Meter-Dotted Quarter = Beat Unir; Divided Beats
34 ]
Simple Meter, Duple Simple, Tripie Simple, Quadruple Simple, Compound Meter, Duple Compound,
Tripie Compound, Quadruple Compound
Compound Meter Signature1 Motives
5 .4 Exercises 37
6 Simple Meter-Quarter Note= Beat Unir; Borrowed Division 42

Natural Division, Borrowed Division1 Triplet1 Duplet
6.2
6.3
Symbolic Association
Cross-Rhythms, Motives
Rhythm Patterns 43
42
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6 .4 Exercises 44
7 Simple Meter-Quarter Note= Beat Unir; Syncopation 49

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7.1
7.2
Building Aural/Oral Skills
Symbolic Association 49
49
Syncopation, Dynamic Accent, Agogic Accent, Motives

J
7.4 Exercises 52 ]
8 Simple Meter-Quarter Note= Beat Unir; Subdivided Beats
56
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Beat Subdivision
Cross-Rhythms, Motives, Dup!et, Triplet, Quadruplet 1
8 .4 Exercises 59
9 More Terms and Symbols 64

9.1 Symbolic Association: Performance Markings 64
Tempo Markings: Largo, Lento, Vivacei Presto;
Changes in Tempo: Rallentando, Rubato, Con Moto, Meno Mosso;
Character Terms: Cantabile1 Doke, Maestosoi Con Brio, Agitato;
Dynamics: S/orzando, Sfr>rzando-pianoi Forte-piano;
Articulation: Marcato;
j
Other Terms: Subito, PiU, Mo/to;
Technical Terms: Da Capo, Dai Segno1 Sign, Fine, Coda
9 .2 Exercises 67
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CONTENTS - PART I vii
10 Simple Meter-Quarter Note= Beat Unit; More Rhythms with Borrowed Beat Division 72
10 .2 Symbolic Association 72
10.4 Exercises 74
11 Simple Meter-Quarter Note = Beat Unit; More Rhythms with Syncopations 79

Single, Tied, Double and Tripie Syncopation
11.4 Exercises 81
12 Simple Meter-Quarter Note = Beat Unit; More Rhythms with Subdivided Beats 86
12.4 Exercises 88
13 Simple Meter-HalfNote = Beat Unit 92

Alia Breve, Cut Time, Doub!e Whole Note/Rest
13 .3 Exercises 94
14 Simple Meter-Eighth Note = Beat Unit 100

14.3 Exercises 102
15 Compound Meter-Dotted Quarter = Beat Unit; More Rhythms 107

Submetrical Syncopation
15 .4 Exercises 109
16 Compound Meter-Dotted HalfNote = Beat Unit 115

16 .2 Rhythm Patterns 116
16 .3 Exercises 116
17 Compound Meter-Dotted Eighth Note = Beat Unit 121

17.2 Rhyrhm Patterns 122
17.3 Exercises 122
viii PROGRESSIVE SIGHT SINGING
18 Simple Meter-Irregular Division ofBeat

126
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Triplets, Quintuplets, Sextuplets, Septuplets, Measured Tremo/o
18.3 Rhythm Patterns and Exercises: Quarter Note= Beat Unit 127 1
18.4 Exercises: Other Simple Meters 131
19 Compound Meter-Irregular Division ofBeat 133

19.l Building Aural/Oral Skills 133
Dup!ets, Quadruplets, Quintuplets1 Septuplets l
19.3 Rhythm Patterns and Exercises: Dotted Quarter Note= Beat Unit 134
19 .4 Exercises: Other Compound Meters 13 7
1
20 Hemiola and Cross-Rhythms 139
20.1 Symbolic Association: Hemiola, 2:3, 3:2 139
Remio/a, Superduplet, Supertriplet
20.2 Exercises: Hemiola, 2:3, 3:2 140
20.3 Symbolic Association: 3:4, 4:3, 2:5
Superquadruplet
20.4 Exercises: 3:4, 4:3, 2:5 144
143
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21 Asymmetrical Meters 147
Asymmetrica! Meter, Composite Meter, Quintuple, Septuple
21.2 Rhythm Patterns and Exercises: Beat Constant 148 ]
21.3 Rhythm Patterns and Exercises: Beat Division Constant 149
22 Mixed Meters 15 7
Division Constant1 Beat Constant
22 .2 Exercises 15 8
Part II Melodie Reading

1 Tonic Pencachord in Major Mode; Simple Meters, Undivided Beat 167
1.1 Building Aural/Oral Skills: Diatonic Steps 167
Pentachord Sca!e, Interva!s1 Tonic Triad, Tertian1 Root, Third, Fifth, Chord, Harmony1 Arpeggio
1.2 Symbolic Association: Diatonic Steps 168
Score Notation, Staff, Line Note1 Space Note1 Second, Fourth1 Tonic Keynote, Intervals
1.3 Tonal and Melodie Patterns: Diatonic Steps 169
1.4 Exercises: Diatonic Steps 171
1.5 Building Aural/Oral Skills: Tonic Triad 173
1.6 Symbolic Association: Tonic Triad 174
Tonic Triad, Tertian, Root, Third, Fifth, Chord, Arpeggio
J
CONTENTS - PART II ix
1.7 Tonal and Melodie Patterns: Diatonic Steps, Tonic Triad 174
Tonic Triad, Tertian, Root, Thirdi Fifth, Chr>rd, Arpeggio
1.8 Exercises: Diatonic Steps, Tonic Triad 177
Cle/Signs, Treb/e Clef, Bass Clef, Musical Alphabet, Key Signature, Hocket
2 Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Undivided Beat 181
2.1 Building Aural/Oral Skills: Diatonic Steps 181
Majr>r Sca!e, Diatonic, Non-diatonic, Pentachord Major Scale, Intervals Jrom Tonic, Interva!s o/ a Third, Scale Degrees,
Unison, Prime
2.2 Symbolic Assoeiation: Diatonic Steps 183
Supertonic, Mediant, Subdominant, Dominant1 Submediant, Leading Tone
2.3 Tonal and Melodie Patterns: Diatonic Steps 184
2.4 Exercises: Diatonic Steps 185
Ledger Lines, Hocket
2.5 Building Aural/Oral Skills: Diatonic Steps, Tonic Triad 187
Half Step1 Semi-tone, Whole Step, lnverted Tonic Triads, Intervals o/a Fourth
2.6 Symbolic Association: Diatonie Steps, Tonic Triad 188
Majr>r Key Signature, Harmonic Triad, Melodie Triad, lnversions o/Triad: Root1 First1 Second
2.7 Tonal and Melodie Patterns: Diatonie Steps, Tonic Triad 190
2.8 Exercises: Diatonie Steps, Tonie Triad 191
3 Diatonic Steps and Tonic Triad in the Natural Minar Scale; Simple Meters,
Undivided Beat 197
3.1 Building Aural/Oral Skills: Diatonic Steps, Tonie Triad 197
Natural Minor Scale, Tonic Triad, Intervals from Tonic, lntervals ofa Third, lntervals o/ a Fourth
3.2 Symbolic Association: Diatonic Steps, Tonic Triad 199
Minor Key Signatures, Subtonic
3.3 Tonal and Melodie Patterns: Diatonic Steps, Tonie Triad 201
3.4 Exercises: Diatonie Steps, Tonic Triad 203
4 Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Divided Beat 206
4.1 Integrating Rhythm and Tonal Skills: Major Mode 206
Major Scale1 Quality and Quantity of Intervals From Tonic, Perfect
4.2 Symbolie Association: Major Mode 207
Leading Tone1 Subtonic
4.3 Melodie Patterns: Major Mode 208
4.4 Exercises: Major Mode 209
5 Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Dotted Quarter Notes 216
5 .1 Integrating Rhythm and Tonal Skills: Major Mode 216
Major and MinfJY Thirds, Perfect and Augmented Fourths in the Major Scale1 Triads Built on Bach Scale Degree
5.2 Symbolic Assoeiation: Major Mode 218
Tritones, Augmented Fourths1 Major Triadi Minor Triadi Diminished Triad, Motive, Sequence, Phrase, Melodie Cadence,
Progressive Cadence, Terminal Cadence1 Through-Composed
5.3 Melodie Patterns: Major Mode 220
5.4 Exercises: Major Mode 220
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X PROGRESSIVE SIGHT SINGING
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6 Natural Minar Scale; Simple Meters, Eighth and Dotted Quarter Notes
6.1 Building Aural/Oral Skills: Natural Minar Scale 226
226
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lntervals from Tonic; Major and Minor Thirds, Perfect and Augmented Fourths, Triads Bui!t on Bach Scale Degree;
6.2
6.3
Major, Minor, and Diminished Triads
Symbolie Assoeiation: Natural Minar Seale 228
Tonal and Melodie Patterns: Natural Minar Seale 230
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6.4 Exercises: Natural Minar Scale 231
7 Harmonic and Melodie Minar Scales; Simple Meters, Eighth and Dotted Quarter Notes 235
7.1 Building Aural/Oral Skills: Harmonie Minar Seale 235
Harmonic Minrw Sca!e, Augmented Second, Harmonic Minor Pentachord, Intervals from Tonic; Major and Minor Thirds,
Perfect and Augmented Fourths, Triads Built on Bach Scale Degree, Augmented Triad
7.2 Symbolie Association: Harmonie Minar Scale 237
Accidenta!, Sharp Sign, Natural Sign, Augmented Triad
7.3 Tonal and Melodie Patterns: Harmonie Minar Seale 239
7.4 Exercises: Harmonie Minar Seale 240
7.5 Building Aural/Oral Skills: Melodie Minar Seale 243 j
Melodie Minor Scale, Melodie Minor Pentachord, lntervals from Tonic; Major and Minor Thirds, Perfect and Augmented Fourths
7.6 Symbolie Assoeiation: Melodie Minar Seale 245
7.7 Tonal and Melodie Patterns: Melodie Minar Seale 247
7.8 Exereises: Melodie Minar Seale 248
7.9 Exereises: Intervals in Tonie Triad (i) and Mediant Major Triad (III)/Relative Major 250
8 Major and Minar Modes; Compound Meters-Dotted Quarter ~ Beat Unit 252
8.1 Integrating Rhythm and Tonal Skills: Major Mede 252
8.2
8.3
Symbolie Assoeiation: Major Mede 253
Melodie Patterns: Major Mede 254
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8.4 Exercises: Major Mede 255
8.5
8.6
Inregrating Rhythm and Tonal Skills: Minar Mede 260
Symbolie Assoeiation: Minar Mede 261
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8.7 Melodie Patterns: Minar Mede 263
8.8 Exercises: Minar Mede 264
8.9 Exercises: Intervals in Tonie Triad (i) and the Mediant Triad (III)/Relative Major 269
9 I and V 7 in Major Mode; Simple and Compound Meters 270

9.1 Building Aural/Oral Skills: Dominant Triad, Major Mede 270
Chromatic Scale, Ascending and Descending Intervals Moving Out from the Tonic in the Major Scale, Dominant Triad1 First
Inversion Triads Built on Bach Degree o/ the Major Scale
9.2 Symbolie Association: Dominant Triad, Major Mede 271
Chord Tone1 Neighbor Tone1 Passing Tone, Terminal Cadence, Progressive Cadence1 Authentic Cadence, Half Cadence
9 .3 Tonal Patterns: Dominant Triad, Major Mede 272
9.4 Exercises: Dominant Triad, Major Mede, Simple Meters 274
9.5 Building Aural/Oral Skills: Dominant Seventh Chord, Major Mede 278
Dominant Seventh Chord1 Third Inversion1 Second Inversion Triads Built on Bach Degree of the Major Scale
9 .6 Symbolie Association: Dominant Seventh Chord, Major Mede 280
9.7 Tonal Patterns: Dominant Seventh Chord, Major Mede 281
9 .8 Exercises: Dominant Seventh Chotd, Major Mede, Simple Meters 282
9.9 Exereises: Dominant and Dominant Sevenrh, Major Mede, Compound Meters 288
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CONTENTS • PART II xi
10 i and V7 in Minar Mode; Simple and Compound Meters 294

10.1 Building Aural/Oral Skills: Dominant Triad, Minar Mode 294
Ascending and Descending Intervals Moving Out /rom the Tonic in the Natural Minor Scale, Dominant Triad in Minor, First
lnversion Triads Built on Bach Degree o/ the Minar Scales
10.2 Symbolie Assoeiation: Dominant Triad, Minar Mode 295
10.3 Tonal Patterns: Dominant Triad, Minar Mode 296
10.4 Exercises: Dominant Triad, Minar Mode, Simple Meters 298
10.5 Building Aural/Oral Skills: Dominant Seventh Chord, Minar Mode 303
Dominant Seventh Chord, Third Inversion, Second lnversion Triads Built on Bach Degree o/ the Minor Sca!e
10.6 Symbolie Assoeiation: Dominant Seventh Chord, Minar Mode 304
1O.7 Tonal Patterns: Dominant Seventh Chord, Minar Mode 306
10.8 Exereises: Dominant Seventh Chord, Minar Mode, Simple Meters 307
10.9 Exercises: Dominant and Dominant Seventh, Minar Mode, Compound Meters 314
11 I and V7 in Major Mode; Other Rhythms in Simple Meters 318

11.1 Integrating Rhythm and Tonal Skills: Major Mode 318
Chromatic Intervals
11.2 Symbolie Association 319
11.3 Melodie Patterns and Exercises: Triplets, Tonie Only 320
11.4 Melodie Patterns and Exercises: Syncopation, Tonie Only 323
11.5 Melodie Patterns and Exereises: Subdivided Beat, Tonie Only 326
11.6 Exereises: Combined Rhythms, Tonie Only 330
11.7 Exereises: Combined Rhythms, Tonie and Dominant 333
12 i and V 7 in Minar Mode; Other Rhythms in Simple Meters 338

12.1 Integrating Rhythm and Tonal Skills: Minar Mode 338
12.2 Symbolie Assoeiation 339
12.3 Melodie Patterns and Exercises: Triplets, Tonie Only 340
12.4 Melodie Patterns and Exercises: Syneopation, Tonie Only 342
12.5 Melodie Patterns and Exercises: Subdivided Beat, Tonie Only 344
12.6 Exereises: Combined Rhythms, Tonie Only 347
12.7 Exercises: Combined Rhythms, Tonie and Dominant 349
13 I and V 7 in Major and Minar Modes; HalfNote = Beat Unit 354

13.1 Integrating Rhythm and Tonal Skills: Major and Minar Modes 354
13.2 Symbolie Assoeiation 355
13.3 Melodie Patterns and Exercises: Major Mode, Tonie Only 355
13.4 Exercises: Major Mode, Tonie and Dominant 359
13.5 Melodie Patterns and Exereises: Minar Mode, Tonie Only 362
13.6 Exercises: Minar Mode, Tonic and Dominant 364
14 I and V7 in Major and Minar Modes; Eighth Note= Beat Unit 368
Ascending and Descending Chromatic Intervals Moving Out from Tonic
14.3 Melodie Patterns and Exereises: Major Mode, Tonie Only 369
14.4 Exercises: Major Mode, Tonie and Dominant 372
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xii PROGRESSIVE SIGHT SINGING
1
14.5 Melodie Patterns and Exercises: Minar Mode, Tonie Only
375
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15 I and V7 in Major and Minar; Compound Meters-More Rhythms 379
Majotj Minor, Augmented and Diminished Triads
15.2
15.3
Symbolic Association 380
Melodie Patterns and Exercises: Major Mode, Tonie Only 381 l
15.4 Exercises: Major Mode, Tonic and Dominant 387
15.5 Melodie Patterns and Exercises: Minar Mode, Tonie Only 392
16 The Moveable C Clefs 399

C Clefs: Soprano, Mezzo-Sopranoi Alto, Tenotj Baritone
16.2 Exercises: Major and Minar Modes, Tonie and Dominant 400
17 I, IV and V7 in Major Mode; Simple and Compound Meters 408

17.1 Building Aural/Oral Skills: Subdominant Triad, Major Mode 408
Subdominant Triad in Major
17.3 Tonal Patterns: Subdominant Triad, Major Mode 41 O
17.4 Exercises: I, IV, V7 , Major Mode, Simple Meters 411
17.5 Exercises: I, IV, V7 , Major Mode, Compound Meters 430
_]
18 i, iv and V7 in Minar Mode; Simple and Compound Meters 436
18.1 Building Aural/Oral Skills: Subdominant Triad, Minar Mode
Subdominant Triad in Minor
436
]
18.3 Tonal Patterns: Subdominant Triad, Minar Mode 438
18.4 Exercises: i, iv, IV, and V7 , Minar Mode, Simple Meters 439
18.5 Exercises: i, iv, IV, and V7 , Minar Mode, Compound Meters 448
19 Other Diatonic Triads and Seventh Chords in Major and Minar Modes 451
19 .1 Building Aural/Oral Skills: Diatonie Triads and Seventh Chords in Major Mode 451
Diatonic Seventh Chords, Major Seventh Chord, Minor Seventh Chord, Major-Minor Seventh Chord, Fully Diminished Seventh
Chorei, Half Diminished Seventh Chord
1
19.3 Tonal Patterns: ii, iii, vi, viiº, Major Mode 452
19.4 Exercises: ii, iii, vi, viiº, Major Mode 453
19 .5 Building Aural/Oral Skills: Diatonie Triads and Seventh Chords in Minar Mode 462
Diatonic Seventh Chords in Minor Mode
19.7 Tonal Patterns: iiº, III, VI, VII, Minar Mode 463 J
19.8 Exercises: iiº, III, VI, VII, Minar Mode 464
1
CONTENTS - PART II xiii
20 Chromatic Alterations: Nonharmonic Tones 469

20.l Building Aural/Oral Skills 469
Chromaticism, Nonharmonic Tones, Neighbor Tones, Passing Tones, Appoggiaturas, Escape Tones, Incomplete Neighbon
20.3 Tonal Patterns 470
Major Mode: t4, J,7, H, t2, t3
Minar Mode: t4, f3
20.4 Exercises 471
21 Chromatic Alterations: Secondary Dominants 481

Commonly Altered Chords
Tonicization, Secondary Dominants
21.3 Tonal Patterns and Exercises: Raised Fourth Scale Degree, Major Mode 482
21.4 Tonal Patterns and Exercises: Raised Fourth Scale Degree, Minar Mode 485
21.5 Tonal Patterns and Exercises: Lowered Seventh Scale Degree, Major Mode 487
21.6 Tonal Patterns and Exercises: Raised Tonic, Major Mode 489
21.7 Tonal Patterns and Exercises: Raised Second Scale Degree, Major Mode 492
21.8 Tonal Patterns and Exercises: Raised Third Scale Degree, Minar Mode 493
21.9 Exercises: Secondary Dominants and Nonharmonic Tones 494
22 Chromatic Alterations: Modulation 498

Modulation, Closely Related Keys, Change of Mode, Distantly Related Keysi Neapolitan Triad
22.2 Exercises: Modulation to the Dominant 499
22.3 Exercises: Modulation to Closely Related Keys 505
22.4 Exercises: Modulation to Remate Keys 513
23 Chromatic Alterations: Modal Mixture and Neapolitan Sixth 516

Modal Mixture, Para/lei Scales, Neapolitan Triad
23.2 Symbolic Association · 517
Change o/ Mode
23.3 Tonal Patterns: Modal Mixture 517
23.4 Exercises: Modal Mixture 518
23.5 Exercises: Neapolitan Triad 520
24 Modes 524
24.1 Symbolic Association: Diatonic Seven-Tone Scales 524
Medieval Modes, Church Modes1 Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian, C!assification of Modes
24.2 Exercises 526
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xiv PROGRESSIVE SIGHT SINGING
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Appendices
A Rhythm Reading Systems 5 37
Overview ofSystems 537
Gordon Syllables 537
Takadimi Syllables 538
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McHose and Tibbs Syllables 5 3 9
Kodály-Based Syllables 540
Rhythm Syllable Charts
Gordon Syllables 542
541 l
Takadimi Syllab/es 544
McHose and Tibbs Syllables 546
Kodály-Based Syllables 548
B Tonal Reading Systems 549

Solmization 549
Moveable Do 549
Numbers 551
Fixed Do 551
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Letter Names 551
Hand Signs 551
Tonal Ladder 5 53 l
C Dictation
Rhythm 554
554 l
Simple Meter 554
Compound Meter 5 55 ]
Tonal 555
Melodie 556
]
D Conducting Patterns 557
Basic Patterns 557
Asymmetrical Patterns 5 57
E Glossary ofForeign Terms 558

1
Index 560
Preface for the Instructor
Progressive Sight Singing, Second Edition, is designed to help studems develop rhythmic
and melodie reading skills in aura! skills classes. Whether students are novices and need
basic instruction or have considerable background in music, they will find in this text the
information they need to read with accuracy and fluency. Through carefully paced
instruction and exercises, the text introduces concepts in a sequential manner and limits
explanations to the essemials, thereby increasing the likelihood of students' success in
attaining requisite aura! skills.
The material in this text is a symhesis of my formal education and my experiences
teaching musicianship skills to studems of various leveis and orientations: singers and
instrumentalists; music education, performance, composition, and conducting majors;
and middle and high school chorai and theory studems. The skill level of the majority of
the studems I encoumered was surprisingly weak. Those who had prior knowledge and
skills were missing crucial elements and were not truly independem musicians. To
address these needs, I developed materiais based on learning theory concepts that would
facilitate the developmem of independem, literate musicians. The first edition of this
book was successfully class tested ata number of institutions nationwide prior to publi-
cation. It was very gratifying to see how many schools and institutions adopted it and to
hear about the improvemems in student success rates.
New to This Edition

The second edition expands and rebalances the topic coverage to make the book ideal not
only for the first two semesters of aura! skills but for the complete four-semester course
sequence. This edition gradually introduces studems to more advanced concepts in
melodie reading; the book now encompasses C clefs, additional diatonic triads and sev-
enth chords, nonharmonic tones, secondary dominants, modulation, modal mixture, and
Neapolitan sixth chords. Duets and multivoice harmony exercises further enhance aura!
and reading skills. The popular in-text CD from the first edition has been expanded to
include more of the rhythm and tonal patterns imroduced in the book. Those included
on the CD are now marked in the text with an icon (shown here) and the appropriate TracksA
track number. A new companion website (www.oup.corn/us/krueger) expands on the i-4 V
pedagogy underlying the book and offers teaching tips, solutions to the exercises, flash
cards, and a plethora of additional exercises that can be used for testing or further drill.
~~~ft . !~~~~-~~-"~'''"~--~····---~-~----·····~-------·~-~--~---~---···--·~~~-·-········"·'''''·'~~~--
The book is divided into rwo sections: Part I presems rhythmic exercises only, and Part
II presents melodie exercises. The rwo sections are designed to be used concurrently over
a four-semester course sequence. The separate presentation of rhythm and melody allows
each to be studied at a pace that suits the abilities and backgrounds of a particular class
or course schedule.
XV
l
xvi PROGRESSIVE SIGHT SINGING
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Chapters follow this sequence: Building Aural/Oral Skills, Symbolic Association,
Pattems, and Exercises. These sections reflect the literacy process incorporated in the
book, a process based on the pedagogy of learning sound before sight before theory. This
l
process is briefly outlined in the Musie Literacy Process that follows the prefaces.

Each skill or concept is introduced through the ear and voice by imitating patterns, the
basie unit of meaning in music. Pare II also contains vocal-pitch exercises (intervals,
scales, chords, and so on) designed to develop the abiliry to hear the tones as scale degrees
in relation to the conic pitch and tonic chord tones (Reference Tones).
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Symbolic Association
Sounds leamed by rote in the first section are translated into musical symbols. Some of
the early chapters in Pare II also contain staff-familiarization exercises to aid in connect-
ing the ear to the eye.
Patterns
Tonal and rhythm patterns prepare the ear and eye for reading the "new" element or skill.
Melodie patterns are included when a "new" rhythm element is integrated into a tonal ele-
ment.
Exercises
Concepts and skills are presented through graded, newly composed exercises as well as
excerpts from folk and classical literature.
Features
A structure that reinforces skill-building
1
Only one new element is added per chapter. The element first appears in its simplest
form, then previously learned elements are gradually integrated, providing constant rein-
forcement of learned skills. ]
Flexibility that allows instructors to use whichever tonal and rhythm
reading systems they prefer
Instructors may use the Gordon, Takadimi, McHose-Tibbs, or Kodály rhythm syllables
]
ora neutral syllable like "da" for reading rhythms. An overview of the basic rhythm sys-
tems can be found in Appendix A. The moveable do system of solfege syllables, tonal
scale-degree numbers, and tonal and note names, ora neutral syllable such as "doo" may
_J
be used for tonal and melodie reading. Scale degree numbers and do-based and la-based
solfege syllables are included in the chapters that focus on minar keys. A description of
basic tonal systems can be found in Appendix B. Any tonal or rhythm system can be used
successfully if that system is used consistently and incorporates the music literacy peda-
gogy presented in this book.
Ample and varied exercises

Many of the rhythm exercises are eight measures in length; consequently, multiple exer-
cises with the sarne meter signature can be performed simultaneously. The rhythm exer-
cises can also be performed as canons or retrograde canons. To further enhance J
independence, the text includes two-part exercises that can be performed individually,
with two students, or with the entire class.
j
PREFACE FOR THE INSTRUCTOR xvii
Melodie exercises use multiple key signatures. Although reading in one key may be
quicker at first, using a variety of key signatures from the beginning yields the most flu-
ent reading skill. A number of melodie canons and ensemble exercises are included in
each chapter to aid in the development of part-singing skills.
Bach chapter includes ample exercises for classroom study and individual practice
outside of class.
Patterns and exercises can be used as dictation exercises

There is a strong positive correlation between sight singing and dictation; improvement
in one area will positively affect the other. Using a variety of instruments, with the dif-
ferent timbres this offers, can aid further in the development of dictation skills. Appen-
dix C provides a dictation method that will assist students until their musical memory
skills have been developed; the ultimate goal is to develop students' proficiency to such
a leve! that the system is no longer needed.
~To.~~~~t~!:::_~ç:~-·--·--·····-····~······--~···--···~····--··--~····=·"""'""''""''"'"'"~'""'"'·""''"·-··-·-·····
facilitate independent study and drill outside the classroom, many of the tonal and
rhythm patterns introduced in the book are available in mp3 format on the accompany-
ing CD, prepared by John Moody. For easy reference, each pattern included on the CD
has an icon with the corresponding track number next to its appearance in the book.
Detailed strategies for approaching the exercises in the book are included in the front
matter under "Strategies for Successful Sight Singing."
Students should listen to each pattern while following along in the book, then echo
the pattern while singing ar chanting on appropriate syllables. After sufficient practice,
students should listen to each pattern without reading from the book, and then echo the
pattern using syllables.
Companion Website
'"'=·'""'-""'-'=--=,,..--='"'·-""-"=""o:=-....,o-;--"""'~'""'~===·=='-"-=""~-=•"""·=~-==•-o:·;>'-"'=--'"-""'-~"'·""'°"''""'~""-"'-"""'""'.:.,~"~""-"""~-=~c="-"'''""'-""°"'"'''='-'"=--''""="--"'---''--"~""'"'~"'""'"='
New to this edition, a companion website at www.oup.com/us/krueger expands on the

pedagogy underlying the book and offers solutions to the exercises, flash cards, additional
exercises, and teaching tips.
Vocal-Pitch Exercises
Vocal-pitch exercises (intervals, scales, chords, and so on) are designed to aid in the devel-
opment of tonal vocabulary skills. Consistent practice is necessary to master the abiliry
to hear the tones as scale degrees in relation to the tonic pitch and tonic chord tones (Ref-
erence Tones). The exercises, written in solfege syllables, are located in a master list on
the companion website. Please note that pitches below the tonic are shown by a subscript
prime on the syllable (so and the octave above the tonic and all subsequent pitches
1
),
above the octave are shown by a superscript prime on the syllable (do'). The exercises
should also be sung using a variety of rhythm patterns to facilitate aural/oral preparation
before visually integrating tonal and rhythm patterns in symbolic notation.
Graphs ofVocal-Pitch Exercises

To visually aid in the development of tonal vocabulary skills, the companion website also
includes graphs depicting the appropriate tonal sequence for Major, Minar, and Other
Scales and Modes. Please notice that whole and half steps are represented spatially, and
l
xviii PROGRESSIVE S!GHT SINGING
background or letter colors are frequently used to indicate quality (major, minar, aug-
menred, and diminished). The graphs may be used on individual studenr computers or
in the classroom setting via a LCD projector or an overhead projector (graphs printed via
l
a calor printer on overhead transparencies). Consistem practice is necessary to master
these skills.
l
~~~~_<>~!:.~~~:.~:~,~,,-~,~-~,=~-~~~~-~·~~~~-~~=~--~~~~--~~~~~-~
A completed work of this type depends greatly upon the assistance and encouragement
given by many. My deepest thanks and appreciation go to the following reviewers of
the manuscript for their insightful criticai assessmenrs and most helpful suggestions:
Stephen Blumberg, California State University, Sacramento; Jennifer Capaldo, Long-
wood University; Jason Haney, James Madison University; Elisabeth Hoegberg, Uni-
versity ofindianapolis; Kenneth Langer, Norrhern Essex Community College; Charles
Leinberger, University of Texas at El Paso; Shafer Mahoney, Hunrer College; Cindy
Moyer, Humboldt State University; Raina Murnak, University of Miami; Tiffany
Nicely, SUNY Fredonia; Laila O'Sullivan, University of North Texas; Jeffrey Pappas,
Marshall University; S. Alexander Reed, University ofFlorida; Adam Ricci, University
of North Carolina at Greensboro; Stacie Rossow, Florida Atlantic University; Philip
Stoecker, Hofstra University; James Wiznerowicz, Virgínia Commonwealth University;
and Mark Zanter, Marshall University.
I also wish to acknowledge the following teachers, who used the book as a text in its
formative stages and gave me encouragement and invaluable feedback: James Ewing,
J
University of Miami; Stacie Rossow, Florida Atlantic University; Anna Ryan, Emporia
State University; William Powell, Auburn University; and Karen Taylor and Christine
Freeman, Indiana University-Purdue University, Fort Wayne. The author is particularly
J
grateful to Robert Gower, Associate Professor of Music Theory at the University of
Miami, for guiding me through the advanced chapters in Part II. Further, I extend my
gratitude to John Moody, Spartanburg High School, Spartanburg, South Carolina, for
J
providing many suggestions and recording the rhythm and tonal patterns.
In addition, I am deeply thankfuI for the students in my sight singing classes and
choirs who, over the years, have ali conrributed to the experiences that formed the basis J
of this book. They provided a setting in which many of the principies and strategies con-
tained in this book could be tested and made suggestions for improving the manuscript.
I owe an immense debt of gratitude to Jan Beatty of Oxford University Press for her
initial interest in the book and for her patient and encouraging guidance throughout the
writing process. -The production staff at Oxford University Press, in particular produc-
tion editor Jennifer Bosserr, contributed greatly to the clarity, organization, and appear-
ance of the book. Finally--and most importantly-a special thanks to my husband, Jim,
and daughter and son-in-law, Hillary and Kris Ridgley, for their unwavering support
and patience, without which this book could not have been written. _J
J
The ultimate goal of an aura! skills curriculum is to produce a musician who can look at
a musical score and hear it in his or her mind without playing or singing ir out loud. This
phenomenon is often referred to as "inner hearing," "aura! imagery," or "audiation." Con-
versely, a musician should be able to hear music and envision it as it would appear on the
printed page. ln short, we should be able to "hear with our eyes and see with our ears."
Singing melodies "at sight" (notes into sound) and writing dictation (sound into notes)
are crucial to developing interna! musical perception. These skills are also a means for
measuring one's progress toward achieving the ultimate goal. This text will provide you
with the training to develop your reading ability.
Reading melodies and writing dictation with accuracy and fluency are skills that
demand practice and concentration. The amount of practice time required to achieve pro-
ficiency varies from one srudent to another. Short, daily practice sessions are far more
beneficial than occasional marathon sessions. Ample material is provided in each chap-
ter for the determined student to achieve accurate and fluent reading. Learning strategies
that will aid in developing your reading skills are found in the book's front matter. The
retention of these skills is dependent upon their imrnediate and continued use in practi-
cal application. It is essential that you apply your reading and aura! skills during the
early stages oflearning solo (voice or instrument) and ensemble (choros, band, or orches-
tra) li terature.
The use of tonal and rhythm syllables is highly recommended as they provide a link
between the aura! and visual domains. Any tonal or rhythm system can be used success-
fully if that system is utilized consistently and incorporares the music literacy pedagogy
presented in this book. An overview of the basic rhythm and tonal systems can be found
in Appendices A and B, respectively. Your instructor will select the appropriate tonal
and rhythm systems for you and your classmates.
The book is divided into two sections that should be used concurrently: Part I pre-
sents rhythmic exercises, while Part II presents melodie exercises. The separate presen-
tation of rhythm and melody allows each to be srudied at a pace that suits your abilities
and background. Bach chapter is organized to reflect the literacy proi:ess incorporated in
the book. The process is based on learning sound before sight before theory and is briefly
outlined in the Music Literacy Process that follows this preface. Study the process and
notice how it relates to the chapter headings below.
Building Aural/Oral Skills: Bach skill or concept is introduced through the ear and voice
by imitating patterns, the basic unit of meaning in music. Part II also contains vocal-
pitch exercises (intervals, scales, chords, and so on) designed to develop the ability to
hear the tones as scale degrees in relation to the tonic pitch and tonic chord tones (Ref-
erence Tones).
Symbolic Association: Sounds learned by rote in the first section are translated into
music symbols. Chapters in Part II: Melodie Reading also contain staff-familiarization
exercises to aid in connecting the ear to the eye.
xix
XX PROGRESSIVE SIGHT SINGING
l
Patterns: Tonal and rhythm patterns prepare the ear and eye for reading the "new" ele-
ment or skill. Melodie patterns are included when a "new" rhythm element is inregrated
into a tonal element. To facilitate independent study and drill outside of the classroom,
many of the tonal and rhythm patterns introduced in the book are available in mp3
formar on the accompanying CD.
Exercises: Concepts and skills are presented through graded, newly composed exercises
and excerpts from folk and classical literature. Bach chapter conrains ample material for
classroom study and individual practice outside of class. l
Usingthe CD
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"-='•°"''"-""·'"'""-'="""""""'-·"~"'"~==.,-.-=: ..o~>...,._._,,.""'""~'-=~c-~c,,-.;,,.~==='
Many of the tonal and rhythm patterns introduced in the text are available in mp3 for-
mar on the accompanying CD. For easy reference, each pattern included on the CD has
an icon with the corresponding track number next to its appearance in the book.
Listen to each partem while following along in the text; echo the partem while
singing or chanring on appropriate syllables designated by your instructor. Afrer suffi-
cienr practice, listen to each partem without reading from the text and then echo the
pattern using syllables.
Companion Website
<7-'-0-.=--.0...-=rO'::.:"'="-';""°=:--·.r.°":::.,o:_=-,=-'>.,..-='<"-='="-"""7""'-='··~--""°="°~'·=:00c==..:;,_·='o=--'''°'''"'="'-'"'='"=->r-""-',,,,_-"'.,_'-==:~c.:~.,,,-..;,:,c.,_,.=-'-"'"'''-',,.-"'='='-"'~'"'°-==""-==
A companion website at www.oup.com/us/krueger contains additional exercises, flash l

cards, a master list of vocal pitch exercises, and graphs of the vocal pitch exercises. The
vocal pitch exercises are wricten in solfege syllables and are designed to aid in the devel-
opmenr of tonal vocabulary skills. Consistent practice is necessary to master the abiliry 1
to hear the tones as scale degrees in relation to the tonic pitch and tonic chord tones (Ref-
erence Tones). Please note that pitches below the tonic are shown by a subscript prime
on the syllable (so 1), and the octave above the tonic and ali subsequent pitches above the
octave are shown by a superscript prime on the syllable (do'). Graphs depicting the var-
ious vocal pitch exercises serve as a visual aid and can easily be used on a personal com-
puter ar princed in hard copy form. Please notice that whole and half steps are
represenred spatially, and background ar leccer colors are frequently used to indicate
qualiry (major, minar, augmented, diminished).
]
_]
_j
An Introduction to
the Music Literacy Process
Musical skills are learned in much the sarne order as language skills; first we hear and
perform, then we read and write. The ear must be trained through hearing and imitat-
ing patterns (Phase 1: aural/oral skill development) prior to training the eye (Phase 2:
symbolic association). The pattern is the basic unit of meaning in music, not individual
pitches or durations. ln other words, patterns are to music what words are to language.
Tonal and rhythm patterns should be learned separately at first and then integrated into
melodie patterns (Phase 3).
Phase 1-Reading Readiness or Preparation (Aural/Oral):

Process Centers on Rote Learning (Imitation)
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The use of tonal and rhythm syllables is highly recommended as they give names to the
sounds (see Appendices A and B for rhythm and tonal systems). To maintain the associ-
ation of tonal syllables and rhythm syllables with musical sound, tonal syllables should
be sung and rhythm syllables should be chanted. Ali patterns should be learned by rote
using the following two-step process.
Naming Sounds
Tonal Procedure Rhythm Procedure

Listen while your instructor sings a Listen while your instructor chants a
tonal pattern with tonal syllables, then rhythm pattern with rhythm syllables;
echo the pattern with tonal syllables echo the pattern with rhythm syllables
while using hand signs. while silently tapping the beat or
conducting.
Patterns should be reviewed regularly. Words Üke scale, chord, perfect fourth, and other
terms should also be associated with their sounds.
Identification of Pattern Syllables
Tonal Procedure Rhythm Procedure

1. Listen while your instructor sings a Listen while your instructor chants a
tonal pattern using a neutral syllable, rhythm pattern using a neutral
then echo the pattern with tonal syllable, then echo the pattern with
syllables while using hand signs rhythm syllables while silently tapping
(sound to name). the beat or conducting (sound to
2. Using a tonal ladder or only hand name).
signs, 1 your instructor will indicate a
typical tonal pattern; now sing the
pattern using tonal syllables (name to
sound).
1 See Appendix B for hand signs and tonal ladder.
xxi
l
xxii PROGRESSIVE SIGHT SINGING
l
Phase 2-Symbolic Association: Visual Representation of
Pitch and Rhythm
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During this phase, you will be shown a symbolic representation of the tonal and rhythm
patterns learned during the "reading readiness" phase. The patterns sung or chanted pre-
viously by rote should now be sung following written notation. During the initial stages
of reading, silently tap the beat, conduct, or use hand signs with one hand and, if neces-
sary, track with the other hand. Focus on reading groups of notes (patterns) rather than a
series of individual notes. The farther ahead one reads, the better one's reading skills will
be. Flash cards will facilitate this process if each card is shown briefly and then hidden. Do
l
not write the syllables by the notes or you will learn to read only syllables and not nota-
tion. ln addition to reading, you should also compose and take dictation using these tonal
and rhythm patterns. A shorthand method for dictation is found in Appendix C.
Phase 3-Integrating Tonal and Rhythm Patterns

"''""=''-=---~'!'""'°~'"°=<-.='O'."""·=:-"c,.-..====-~-----:-c""''='='°"-':"'""'~:=""=-"'C=<==~..-,..~,"''c"~="-='=,,,.-"'--""-·;·'=-'""·"'~"=-="=,,,.,-"""'-'-"="'=·=·=='"''"'""·~~"--,,,
ln Phase 3, the goal is to simultaneously be aware of tonality and meter and to read with
comprehension. Using the following multistep process will greatly aid in the develop-
ment of accurate melodie reading. l
Melodie Reading
Reading Readiness
1. Listen as your instructor sings melodie patterns with tonal syllables and then
echo with tonal syllables using hand signs, tapping the beat, or conducting.
2. Frequently practice singing known vocal-pitch exercises (scales, intervals, etc.)
J
on tonal syllables by rote while integrating a variety of known rhythm patterns.
Silently tap the beat, maintaining the down/up kinesthetic feeling of the beat
while integrating the hand signs minus the vertical pitch leveis. Exarnple: Sing
l
the extended major scale integrating a dotted quarter-eighth pattern by rote.
EXAMPLE 1
'~li J. Jil. JJeJ. JJ. pi r· p•·~ Jj J. JJ. JJ. Jü 11

3. Read the rhythm and integrate known vocal-pitch exercises by rote. Exarnple:
Read the following rhythm exercise and integrate the additive pentachord scale
(do,-re; do, re, mi; do, re, mi, fa, mi, re, do; do, re, mi, fa, so, fa; mi, re, do) by rote.
;>=. (j J. j)J n 1J 'I J>B n 1J J n 1J n n J 11

EXAMPLE
*
~: 1 !~
J. :fiJ
• •~ IJ 'I ln iS IJ ~ J J1 1J ~ t1 J li
4. Read tonal exercises and integrate known rhythm patterns by rote. Exarnple:
Read the following tonal exercise and integrate a quarter note--two repeated
eighth note pattern. Repeat the pitches on the eighth notes.
'~1'1. • il • il • • • il
• il
• • • • • • • 11
AN INTRODUCTION TO THE MUSIC LITERACY PROCESS xxiii
EXAMPLE
li
Reading
1. Using tonal syllables, hand signs, and/or silently tapping the beat, read melodie
patterns.
2. Read melodie exercises utilizing tonal syllables, hand signs, silently tapping the
beat, or eondueting.
Suggestion: To train the eye, write the first letter of each tonal syllable on a
separate sheet of paper. Work for speed! ·
Dictation
1. Listen as your instruetor sings short melodie patterns on a neutral syllable and
then notate using the short hand dictation method outlined in Appendix C.
Foeus on only one element (rhythm or tonal) at a time.
1
l
1
l'
J
___ , ..
~· l
Strategies for Successful Sight Singing
1. Examine and analyze all musical elements prior to reading.

Pitch
• Determine the key. Does the melody begin on the tonic or another pitch?
0 Scan the melody and locate ali reference tones (lst, 3rd, and 5th scale degrees); if nec-
essary circle them. Remember to relate ali of the other pitches to these reference
tones.
0 Scan the melody again for skips and determine the interval and tonal syllables.
• What tonal pattern is in the first measure ... the sixth measure? Are there any
repeated patterns, motives, sequences, or pitches? What is the tonal syllable of the
accidental?
Rhythm
0 Determine the tempo (speed ofbeat) and the meter (simple or compound). What is
the beat unit ... the beat division ... the beat subdivision?
0 Scan the line for rhythm patterns. What rhythm pattem is in the third measure ... the
fifth measure ... the last measure? Are there any repeated pattems? Is that a tie ora
slur?
Phrases
• Phrases have been marked in some of the exercises to serve as a guide for breathing. ln
exercises without phrase markings, determine and mark appropriate places to breathe.
• Analyze phrase structure and cadence types.
Harmony
• Analyze the underlying harmonies implied by the melodie line. Look for chord tones
and nonharmonic tones.
0 Train the eye to look for musical markings: dynamic, expression, and articulation.
Do not move from the inquiry period to the reading until all the concepts
have been reviewed.
2. Always establish tonality prior to reading.

0 Play the tonic note of the key on the piano ora pitch pipe. Sing the scale of the key
and the tonic chord arpeggio that fits the range of the melody. If necessary, transpose
the melody into a key that provides a more comfortable range. Transposition will not
presem a problem for students using the Moveable Do method.
• Find and sing the first note of the melody.
3. Prepare and condition the ear, body, and mind prior to reading.
0 Sing vocal-pitch exercises that use the pitch skill(s) found in the exercise.
• Sing a scale or other vocal-pitch exercises integrating the rhythm patterns found in
the exercise. For example, sing the scale using a dotted quarter-eighth pattern.
xxv
xxvi PROGRESSIVE SIGHT SINGING
4. Always establish meter prior to reading.

• Set a tempo that is appropriate for your current skill level.
• Establish an interna! feeling of the pulse by walking in place, silently tapping the
1
beat using large arm movements or conducting for one to rwo measures before read-
ing. Occasionally use a metronome.
• Feel the division of the beat (down-up principie). Focus on the rhythm patterns in
relation to the micro and macro beat. The beat should always be inaudible.
5. Silently read the exercise (audiation). 1
Prior to reading, silently read the exercise, preferably using hand signs, tapping the beat,
or conducting.
6. Sing ali exercises a cappella.
To achieve independence, ali exercises should be sung without accompaniment.
1 '
Tonal Only
' - - - -
-
1
'
Melody
' - - '
- ........
Rhythm Only
•
1 '
W\...J\...J UUUU' UWWUUl..Jl..J'

l
7. Perform exercises from beginning to end.
0
Do not stop to correct pitches or rhythms. Always keep a steady beat!
l
• After the initial reading, return and drill the trouble spots.
• If necessary chant only the rhythm and then sing only the pitches. Do not sing
repeated notes/one note per beat.
8. Sing phrases as a musical entity rather than a series of individual notes.

Look ahead. The farther ahead one reads the more accurate, fluent, and musical one's J
sight singing will be.
9. Do not write the tonal or rhythm syllables in the music.

Tonal and rhythm syllables should never be spelled out and read as symbols.
10. After accurately singing an exercise on tonal syllables, repeat the

exercise:
0
at a faster tempo;
0 silently singing the even-numbered measures, or ali the eighth notes, or all the mis,
1
or the second phrase;
• singing aloud until given an appropriate signal, at which time reading should be
silent (audiation). After another appropriate signal, resume singing aloud; or
• on a neutral syllable, using hand signs, tapping the beat, or conducting. Symbolic
systems should be discarded when one has developed the ability to recall the pitch
and/or duration relationship.
Skill follows drill. Skills can be mastered only by consistent practice.

Brief, but frequent, practice sessions are more beneficial
than occasional marathon sessions.
Practice with a partner.

Building Musicianship and Independence
Audiation, aura! skills, dictation skills, and musical memory skills must be included
throughout the learning process. Following are some suggested activities to aid in build-
ing these skills.
Audiation Skills (lnner Hearing)

"Silent singing" can be a useful too! for developing audiation, the ability to think musi-
cal sounds without externai voicing. The following activities may be used to develop
audiation skills:
• Sing a scale and designate specific tonal syllables to be sung silently. Example: Sing
the major scale; silently singre in the ascending scale and/a in the descending scale.
• When given an appropriate signal by your instructor, stop singing or chanting aloud
but continue to read the exercise silently. After another appropriate signal, resume
singing or chanting aloud. For example, during practice sessions silently sing or chant
the first, third, and seventh measures, or silently sing or chant ali of the eighth notes,
or silently sing ali the mi's, or silently sing the third phrase.
Aural Skills: Error Recognition

Your instructor should intentionally include tonal and/or rhythmic errors in the play-
ing, singing, or chanting of a notated melody or rhythm. At first you should indicate
whether the example was correct or incorrect. After this skill is mastered, you should
indicate which measures were incorrect and then finally identify the exact nature of each
discrepancy. To enhance independence, work with a partner; one student sings the exer-
cise while the other student works on his/her errar detection skills. Exchange tasks.
Musical Memory Skills

Musical memory skills are essencial for dictation. The following activities may be used
to develop musical memory:
• Using only hand signs or the tonal ladder, the instructor ora student partner shows
a 3- to 5-note tonal pattern; then, you should sing the pattern back using tonal syl-
lables. When the tonal patterns have been mastered, progress to two-bar and four-bar
melodies.
• The instructor sings a melody or chants a four-bar rhythm using a neutral syllable.
Sing the melody or chant the rhythm with tonal/rhythm syllables in canon one mea-
sure !ater.
• The first student sings a single pitch on tonal syllables or chants a two-beat rhythm
pattern with rhythm syllables. Without missing a beat, the second student repeats
the first pitch or rhythm pattern and adds another pitch/rhythm. Then a third stu-
dent repeats the first two pitches/rhythms and adds another pitch/rhythm. Continue
until a student misses a pattern. Remember: It is important that parameters be estab-
lished that reflect the tone-ser or rhythm-pattern knowledge.
xxvii
xxviii PROGRESSIVE SIGHT SINGING
1
• Divide the class into groups. Bach group forms a line, one person behind rhe orher.
The insrructor will hand the last person in each line a card containing a short rhythm 1
partem. The student taps the partem on the back of rhe srudent in front of them.
This process continues until ir reaches the srudent ar rhe front of the line who rhen
writes or chants the partem. This acriviry can be clone as a competitive game.
• A four-measure melodie or rhythmic phrase is written on the board and read by the
class or an individual. One measure is erased and rhen the phrase is read aloud again,
including the erased measure. Anorher measure is erased, until nothing remains on 1
rhe board and everything is committed to memory. Gradually increase the length
from four-bar to eight-bar phrases, and so on.
Dictation Skills
The purpose of dictation is to produce a listener who can hear musical patterns. Dicta-
tion skills are directly related to rhe development of musical memory, inner hearing
(audiation), and reading and writing skills. Rhythm and tonal should once again be
taught separately and then combined. Initial dictation exercises should be based on
familiar 3- to 5-note tonal patterns and 3- to 4-beat rhythm patterns. Using the short-
hand method outlined in Appendix C can facilitate the leaming process.
l
i i
PART I
Rhythmic Reading
3 3 3 3 3
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1on: 4 voices
(2] Samuel Webbe (1740-181
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Chapter 1
Simple Meter
Q!arter Note = Beat Unit;
Undivided Beat
1.1. Building Aural/Oral Skills

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Beat
The steady, underlying pulse of the music is the beat.
To develop an internai feeling of the pulse, one must feel the space (distance) between the
beats. Beat should always be inaudible-silent.
• Singing a familiar song, (a) walk in place to the beat, shifting weight back and forth or
side to side in a continuous, flowing manner, or (b) tap the beat (silently tap the thighs
with one or both hands, using large arm movements that start from the shoulder). Feel
the down-up motion of the hand on each beat. Note: Clapping will not internalize beat
because it doesn't involve changinglshifting body weight. Clapping, however, is a good way to
check the accuracy of ensemble performance.
Tempo
The speed of the beat (fast, moderate, and slow) is the tempo.
0 Sing "Hot Cross Buns" or another familiar melody at a moderate tempo, then at a fast
tempo, and finally at a slow tempo.
Meter
An organization or grouping of rhythmic pulses by means of regular accents (strong and weak
beats) is called meter.
Duple
Duple meter has an accented-unaccented (strong-weak) beat pattern: 1 1
Hot cross buns, Hot cross buns.
Meter: 1 1 1 1
• Practice performing the beat using tap-touch (silently rouch the finger tips of both
hands together) or two taps (one strong, one weak) while listening to or singing a
variety of songs in duple meter. Suggested songs: "Old Joe Clark" and "Tidy-0."
• Practice singing each of the suggested songs while conducting the two-beat pattern.
Tripie
Tripie meter has a strong-weak-weak beat pattern: 1 1 1 1 1
Rock - a bye ba by, in the tree top.

Meter: 1 1 1 1 1 1 1 1
3
l
4 PART 1. RHYTHMIC READ!NG
0 Practice petfotming the beat using tap-touch-touch while listening to or singing a

variety of songs in tripie meter. Suggested songs: "Lavender's Blue" and "O, How
Lovely."
• Practice singing each of the suggested songs while conducting the three-beat pattern.
Quadruple
Quadruple meter, a strong-weak-semistrong-weak beat pattern, is a combination of rwo duple
meters with a lesser accent on the third beat: 1 1 1 1 1 1 1 1
Tufo - kle, twin - kle, lit - tle star. - - - How I won - der what you are. - - -
Meter: 111111111111 1 1 1 1
• Practice performing the beat using tap-touch-out (tap in air just above the
thighs)-touch while listening to or singing a variety of songs in quadruple meter.
Suggested songs: "Hymn to]oy," "FréreJacques," and "Yankee Doodle."
• Practice singing each of the suggested songs while conducting the four-beat patrern.
Rhythm
Rhythm is defined as longer and shorter sounds and silences (duration) rhar overlay the steady
beat.
• Chant the rhythm of familiar songs on a neutral syllable while your instructor overlays
l
the steady beat. Suggested songs:'"Happy Birthday" and "London Bridge."
• After chanting the rhythm to a familiar song, half of the class should chant the rhythm
while the other half claps the beat; repeat with the two groups exchanging their tasks.
Now chant the rhythm while walking to the beat.
Reading Readiness Rhythm Patterns

• Listen as your instructor chants a variety of rhythm patterns on rhythm syllables; echo
each pattern while (a) quietly tapping the beat, (b) conducting, or (e) using the appro-
priate metric motion (tap-touch). 1 Focus on the rhythm pattern in relation to the beat
and meter pattern. See Appendix A for a description of Beat Function Syllables (Gor-
don or Takadimi) and Time Value Syllables (Kodály).
Reading Readiness Aural Skills

0 Listen as your instructor demonstrares two short rhythm patterns on a neutral syllable.
Determine if the patterns were the sarne, different, or similar.
0 Listen as your instructor sings a song and then determine the meter of the song. Use the
tap-touch movements to help you determine the meter.
0
Listen as your instructor demonstrares two short examples and determine which exam-
ple has a faster tempo .
~:~:~~r~!>~!~.~.-~~-~C>.~i-~~!~~-------~----------~------~---------- ---------------- · ----------

.score Notation
The visual representation of music is called score notation. lts maio purpose is to indicate pitch
and the duration of each tone.
Notes
The written symbols for sound in music are notes.
1 Note to instructors: The rhythm patterns are found in Section 1.3. These patterns should be taught by rote
using the two-step process oudined in the Musical Literacy Process section of the Preface.
J
CHAPTER !. UNDIVIDED BEAT, QUARTER NOTE = BEAT UNIT 5
Types of notes
WholeNote HalfNote Quarter Note

Takadimi Rhythm Syllables ta ta ta (Beat Function System)
Parts of a note
~ stem Stems are attached to the note head and extend
up on the right or down on the left.
~ head Note heads are oval in shape.
Note heads are open for whole notes and half notes
and solid for quarter notes.
Rests
The written symbols for silence in music are rests.
Types of rests
Whole Rest HalfRest Quarter Rest
0 Identify the type of note or rest.
1. 2. 3. 4. 5. 6. 7. 8.
Meter Signature
A meter signature is used to designate rhe pattern (duple, tripie, quadruple) in which a steady
succession of rhythmic pulses is organized. ln simple meter the top number indicates the
number of beats per pattern and the bottom number indicates the kind of note that receives
one beat.
2 -7 two beats in each pattern 3 -7 three beats in each pattern

4 -7 the quarter note is the beat unit 4 -7 the quarter note is the beat unit
Vertical lines called bar fines are used to organize the basic beat patterns. One complete partem
is termed a measure and is enclosed between two bar lines. A double bar line is used to indicate
the end of a section or the composition.
li I 1~1 1i1 11
<-----measure------'> bar tine 1' double bar line 1'
6 • PART L RHYTHMIC READING
A 1.3. Rhythm Patterns

Tracks
1-4 V ..
"··---=~~~-~~--~-~-~----~·--·-~,~~·--~--~-~------~~--~"-""-~---·-~--------,,---------~----"~- --~~-,---==
0 Determine the meter, ser an appropriate tempo, and then establish meter by silently
tapping or conducting the beat for one measure.
• Using the rhythm syllables designated by your instructor (see Appendix A for a descrip-
tion of beat function syllables and time value syllables), chant the written notation of
each of the rhythm patterns below. Focus on the rhythm pattern in relation to the beat
and meter. Always silently tap the beat with the dominant hand or conduct, and if
necessary, track the notes on the score with the other hand.
1i J J J J 1j j li j j 1J J J J li J J j 1J J J J li j J J 1J J J J li
AL A2. A3. A4.
li 0 1 J J J J li j j le li
AS. A6. A7. AS.
li J J J 1° li 0 1 J J j li 0 lj J J li
A9. AlO. AlL A12.
J li j J J J J li j
1 J j 1 J li J j 1 J J J li
A13. A14. AIS. A16.
A17. A18- A19. A20.
A2L A22. A23. A24.
1~ J J J 1~ J J li J ~ J 1j
A2S. A26. A27. A28.
li j - lj j li j
A29. A30. A3L A32.
li e - li j j li j J J 1 - li J ~ J ~ 1 - li
A33. A34. A3S. A36.
1i ~ J j 1J J - li J ~ ~ J1- j li - j 1 li j ~ J 1j J ~ li
A37. A38. A39. A40.
CHAPTER 1. UNDIVIDED BEAT, QUARTER NOTE = BEAT UN!T 7
1.4. Exercises
0 Determine the meter and then scan each exercise for rhythm patterns.
• Determine the phrasing and mark it.
• Set an appropriate tempo, establish meter by tapping the beat or conducting for one
measure, then chant the exercise on rhythm syllables from beginning to end without
breaking the tempo. Always silently tap the beat with the dominam hand, and if nec-
essary, track the notes on the score with the other hand.
• Remember to hold every note for the correct number ofbeats. A note ends exactly when
the next note or rest begins.
• After the initial reading, isolate problematic patterns or measure(s) and practice them
more slowly. Then perform the problematic pattern/measure(s) and the previous
measure/pattern. After the patterns/measures have been chanted accurately, read and
chant the exercise again.
Q After the exercise has been chanted accurately, repeat the exercise first at a faster tempo
and then chant on a neutral syllable. Always silently tap the beat or conduct.
0 Occasionally use a metronome to check for steadiness of tempo.
J li
3.
11
4' 1 fJt JJ 1 J J 1 J t J J 1J J J J 1J ~ J J 1J J J 1 J~ JJ ° 1 li
6' 1 fJJJ~ 1 JJ J 1 JJJ~ 1 J JJ JJJ~

1 1 J J 1 JJJ~ ° 1 li
s. 1 fJ - J li
8 PART 1. RHYTHMIC READING
l
The symbol in measures two and four has two meanings. ln Example 1 the symbol is a
whole-note rest, and in Example 2 the symbol signifies a whole-measure rest in any meter.
l
EXAMPLE 1 EXAMPLE2
li! J J J 1 - 11
1
9. 1 fe - - - 11
1
10. 1! J J 1J J t lt J J 1 1J - J 1J - 1J t 1J J J 1
1J J lt J J 1 lt J J 1J J lt J 1J t J li
11.
1i J J 1J 1J J 1J t lt J 1 - 1J
1J t - 1J J 1J lt J 1J 1J t 1J 11
The exercises can be performed as a two-, three-, or four-part ensemble by simultaneously per-
forming exercises with the sarne meter signature and sarne number of measures, or they can also
be performed as a canon or retrograde canon (also known as a crab canon). ln a canon, two or more
voices perform identical rhythms; each voice enters at a constant time interval (one measure,
two beats, etc.) after the previous voice has begun. ln a retrograde canon, one voice enters with
the last note and reads backward; simultaneously the second voice enters at the beginning.
Meter Changes
Changes in meter can produce a unique effect, because stressed beats occur at irregular inter-
vals. When the meter changes within an exercise, stress the appropriate beats for each meter.
12.
1i J J 1J 1! J J 1J J J 1f J J J 1e :! J J J 1J J 11
13.
1f J t J t 1J J 1! J t J 1J J 1i J t 1J 1! J J 1J t J li
14.
1! J t J 1J J 1i J J 1J 1! J J 1J t J lf J J J 1J J J 1
1! J J 1i J 1~ J J 1f J J J 1! J t J li J 1! J t J lf J J J 11 j
j
CHAPTER 1. UNDIVIDED BEAT, QUARTER NOTE = BEAT UNIT 9
Anacrusis
Compositions sometimes begin with an incomplete measure called an anacrusis. The notes that
complete the initial measure appear at the end of the composition. Measure numbering begins
with the first complete measure. An anacrusis is also known as an upbeat or pickup. Sing
familiar songs that begin with an anacrusis. Suggested songs: "The Star-Spangled Banner,"
"O Come Ali Ye Faithful," and "We Wish You a Merry Christmas."
11
16' 1 !J J J 1 ~ J j 1 1 J t J 1J li
lS. 1 i J 1 j I~ I~ 11
19. 1 fj 11
Two-Part Exercises
Divide the class into two groups or team up with another student to perform these exercises.
The exercises can also be performed individually, with two srudents, or with the entire class
in the following manner:
Tap one part and chant the other part on rhythm syllables;
0
• Tap each part with a different hand;

• U sing two different keys on the piano, play each part with a different hand;
° Chant one parr on rhythm syllables and play the orher part on the piano.
'J Notice that when two parts share the sarne staff, the stems of the upper voice point
upward while the stems of the lower voice point downward.

• Notice that when two staves are used, the staves are connected to the left side by a bracket.
20 • 1 f o
f' f'
1 o
f' f'
i
1 J 1o
f' f' li Iºf' 11
21. 1 f ~ r~ r ~ 1 J ~ J 1 ~ r~ r 1 r li I~ J ~ J I~ r ~ r Ir 11
22. 1 iJ
t I~ J li r I~ 1t
f'
1J t 1t J
t r r r r
1t 11
l
10 PART !. RHYTHMIC READING
l
23
• 1 !i 1i~ ~ ~
1 ii li ~ J 1 ~ ir ~ ir ~ J ~ i ~ ~
1 1 1 1 ~ t li l
24. 1 i JJ 1 d t J J J J J d d t J t J t J t J d d J J d d li
1 1 1 1 1 1 1
l
1 rrr trtr trtr 1 1 1 1 trtr 1 rr 1
2S. [i ~ J J 1 =~ 1 J 1 ~ J J _J
1 1 ~ J 1 ~ J 1 ~ J li
"· [! ~ J ~ J 1: ~ ~ ~
J J J J Jí J J J
1 1; 1 ~ ~ ~ ~ ~ ~ ~ J : J i: J
1 1 li
"· [: J ~ ~ 1 J; J 1 ~ J ~ j ~ i~ J ~ J ~ J ~ J ~ ~ J ~
1 1 1 1 li
]
2
J
~ [! ~ J ~ J ~ J ~ J ~ J ~ J ~ J ~ J ~ J ~ J ~ J ~ J i~ J .~ J
1 1 1 1 1 1; Jí J li j
Dictation Skills
Dictation skills are directly related to the development of musical memory, audiation, and
reading and writing skills. Using a shorthand method can facilitate the learning process. See
Appendix C for detailed information.
J
• Listen as your instructor or student partner plays or chants a neutral syllable rhythm
pattern from Section 1.3, and then notate the rhythm. As your skills improve, gradu-
ally increase the length of each dictation exercise. All or part of each exercise in Section
1.4 can be used for dictation. i
1
)
Chapter 2
Simple Meter
~arter Note = Beat Unit;
Divided Beat

...
"-"""=·""·=·"'·=--.:--"'""'=·-=-c-.;:-."==~="'""~"'""==..,,..~ =..,,.. .
-=='"'"~''=-""'"=..c,·:~""-='"'".:o-·~""''="'""='-"""""=---="'""'""""'""='''"""""',,..="~~='"''"-~-""'=:.:::.=,.~-="
Beat
Beats can be divided into smaller groups of twos (down-up motion of each beat).
• Alternate chanting the macro beats and micro beats on a neutral syllable or the rhythm
syllables advocated by your instructor. Feel, see, and hear that there is only one sound
for a macro beat and two sounds for the micro beat.
Macro Beat Micro Beat
Takadimi Syllables ta ta di
i i i i
• White your instructor claps the micro beat, sing a familiar song and tap the beat. Feel
the down-up motion of each beat. Suggested songs: "It Ain't Gonna Rain" and "Polly-
Wolly Doodle."
Meter
Meter as indicated by a meter signature is identified as "simple" or "compound" according to
rhe micro beat (divided beat). The beat is usually divided into two equal parts in simple meter
and three equal parts in compound meter.
Compound meter will be discussed in detail in Chapter 5.
• Sing a vatiety of songs in simple meters. Divide the class into two groups. One group
should sing and tap the beat while the other group uses the metric motions (tap-touch)
and chants the micro beat using rhythm syllables. Feel, see, and hear that there are two
sounds on each beat, one on the down motion and one on the up motion. Suggested
songs: "Down in the Valley," "Old Joe Clark," "This Old Man," "She's Like the Swal-
low," "Scarborough Fair," "Ali the Pretty Little Horses," and "Simple Gifts." Repeat
with the two groups exchanging their tasks.
Hot Cross Buns Hot Cross Buns

Macro Beat 1 1 1 1 1 1 1 1
Micro Beat J, 1' J, 1' J, 1' J, 1' J, 1' J, 1' J, 1' J, 1'
One a pen ny, Two a pen - ny, Hot Cross Buns
Macro Beat 1 1 1 1 1 1 1 1
MicroBeat J, 1' J, 1' J, 1' J, 1' J, 1' J, 1' J, 1' J, 1'
11
l
Rhythm
Rhythm is defined as longer and shorter sounds and silences (duration).
• Sing a variety of songs in simple meters. Divide the class into rwo groups: half of the
class should chant the rhythm on a neutral syllable while the other half claps the beat;
repeat with the two groups exchanging their tasks. Suggested songs: "Deck the Halls,"
"Skip to My Lou," and "Do Lord."
Rhythm Patterns (Motives)

A pattern or motive is a minimal rhythm unit that adds to the unity and variety of music. )
• Sing "Hot Cross Buns" and rap the rhythm. Notice that the first rhythmic partem is
repeated twice. This rhythm pattern helps to unify the melody.
rhythmic patteml rhythmic patteml repeated exactly

l
Hot Cross Buns Hot Cross Buns
Macro Beat 1 1 1 1 1 1 1 1
Micro Beat .j, 1' .j, 1' .j, 1' .j, 1' .j, 1' .j, 1' .j, 1' .j, 1'
new rhythmic pattem2 rhythmic patteml repeated exactly
One a pen - ny, Two a pen - ny, Hot Cross Buns
Macro Beat 1 1 1 1 1 1 1 1
Micro Beat .j, 1' .j, 1' .j, 1' .j, 1' .j, 1' .j, 1' .j, 1' .j, 1'
1
• Sing a known song and rap the rhythm. Now analyze the rhythm patterns. Suggested
songs: "Skip to My Lou," "Silent Night," and "Drunken Sailor." The aura! and visual
recognition of patterns (motives) is essential in developing sight-singing skills.

J
e Listen as your instructor chants a variety of rhythm patterns; echo each pattern
while (a) quietly tapping the beat, (b) conducting, or (c) using the appropriate
metric motion (tap-touch). 1 Focus on the rhythm partem in relation to the beat
and meter pattern.
Reading Readiness Aural Skills J

G Listen as your instructor demonstrares two short rhythm patterns on a neutral syllable.
0
Determine if the patterns were the sarne, different, or similar.
Listen as your instructor demonstrares two short examples and determine which exam- J
ple has a slower tempo.
0 Walk in place to the beat while your instructor chants macro bears or micro bears on a
neutral syllable. Raise one hand when you hear macro beats and two hands when you
hear micro beats .
.~.:.~.:.~~r~~.~.~~~..~~~~~.~~!~C>~~···~=~·····~····~·····~·"·~········=~·~····==~~········
Notes and Rests
EighthNote Eighth Notes Eighth Rest
H flag
H stem
H head
n H
Hstem
beam
H head
Beams are used to connect
groups of eighth notes
1
Note to instructors: The thythm patterns are found in Secdon 2.3. These patterns should be taught by rote
using the two-step process outlined in the Musical Literacy Process section of the Preface.
CHAPTER 2. DIVIDED BEAT, QUARTER NOTE = BEAT UNJT 13
The macro beat is represented by quarter notes, and the micro beat is represented by eighth notes.
MacroBeat MicroBeat
i
ni
Rhythm Motives
A motive is a minimal rhythm unit that adds to the unity and variety of music.
• Sing "Polly-Wolly Doodle" while tapping the rhythm. Analyze the rhythm patterns in
the song.
rhythm patternl rhythm pattern2
" D 1r r J D 1r r J D 1U U U U J.
Oh, 1 went down South for to see my Sal, Sing Pol-ly-wol-ly doo-dle all the
1
day
. . . . - - - - - rhythm patternl repeatly exactly - - - + ~---- variation on rhythm pattem2 - - - - - .
tü 8 My
1J J J
Sal - ly am
8
a
1J J J J 1rrrrun1 J
spun - ky gal, Sing Pol - ly- wol- ly doo-dle all the day.
li
5-8.,,
A
Tracks
• Using rhythm syllables, chant the written notation of each of the rhythm patterns.
Always conduct or silently tap the beat with the dominam hand, and if necessary, track
the notes on the score with the other hand.
AI.
11
nnnn nnnn 11
A2.
11
J .J li
nJ nJ li
A3. A4. AS. A6.
A7. A8. A9. AIO.
1t J
All.
nnJ nJJn 11
Al2.
11 J
Al3. Al4.
li
Al5.
.o li J
A16.
n n 11~ n n n ~ n11
Al7.
11
AIS.
1 t .ti'! .ti'! .ti 'f .ti 'f .ti 'f .ti 'f
A19.
11
A20.
nJ 11 n .ti n J J .ti J n
A21.
'f 11
A22.
'f 11
l
14 · PARTI. RHYTHMIC READ!NG
1
(Continued)
1 ~ J
A23.
Ji 'I Ji 'I 11
A24.
Ji 'I J Ji 'I 11
A25.
Ji 'f Ji 'f J 11 n
A26.
)l 'I Ji 'f 11
1
1
i
1 t Ji Ji Ji Ji
'f
A27.
'f 'f 'I 11
A28.
J 'f Ji J n 11
A29.
J J 'f Ji n 11 J J J
A30.
'f Ji 11
1~ 'f
A31.
)l o J li
A32.
'f )l J 'f )l li
A33.
o 'f )l J li J
A34.
'f )l 'f )l li
1 f )l 'I )l 'f J 'f Ji 11 )l 'f J 'f )l J li J )l 'f 'f )l J li J 'f )l )l 'f J li
A35. A36. A37. A38.
2.4. Exercises
Remember to:
• chant each exercise on rhythm syllables from beginning to end without breaking the tempo;
e perform these exercises as a canon, or retrogade canon;
0 perform exercises with the sarne meter signature and sarne number of measures as a
two-, three-, ar four-part ensemble;
e practice your dictation skills.
Eighth Notes
1.
1
fn nnn J J J J nnJ J J 1 1 1
J nn 1
1
n n j j n n n n n n 1 1 1
j j 11
2· 1 tJ n J J j j J J n J 1 1 1 j j
1 n J J J 1 J J j ', J J J n 1 J J j ',1
3. 1
fn J n J 1
J ~ J ~ 1
n J n J 1
n ~ n ~ 1
1
J n J n 1~ n ~ n J n J n 1~ J ~ J 1 1
1 J n n J J ~ n J n J ~ J ~ J j 1 1 1 11
4. 1 ~J n J J n n J ~ n J j J n J n J J 1 1 1 1 1 1
1 n~ n J J J J nJ j n J Jn J j 1 1 1 1 1 11
CHAPTER 2. DIVIDED BEAT, QUARTER NOTE = BEAT UNIT 15
Common Time
The symbol C signifies common time and is the equivalent of the meter signature ! ,The sym-
bol e is not an abbreviation for common time; it is a relic from a system of notation used dur-
ing the Middle Ages. During this time the geometrically "perfect" circle stood for tripie meter,
the number three representing the "perfection" of the Holy Trinity. An "imperfect" half-circle
stood for duple or quadruple meter.
s. 1e J Jn J 1J t n J 1J J - 1J J n J 1
1j t n :J J J J 1J t t n 1J J o J 11
6· le J 1J n J n 1J t J t. 1j t J 1J n J n 1
1n t n t 1J n J n 1n n t J 1J n J n 1
1t n t n 1j t J 1J n J n 1j t 11
7. 1e n 1n J J n 1n J t n 1J J j 1j t n 1
1n J J n 1n n j 1j t n 1J n .J
1 º J J o lj t o 1J j o 10 j li
Eighth Rests
• Maintain a steady beat and use rhythm syllables.
s. li h'I h'I h'I h'I 1n h'I h'I h'I

n J n J 1n h'I o h'I 1 1
1h '! h '! h '! h '! 1n n h '! h '!

1n J n J 1h J h J 11 '! "f
9. 1e J n n J 1h h h h 1J h n h J n h h 1
'! '! '! '! '! '! : '! '!
:J n n h 1J h h n 1J n n J 1h h h h 11
'! '! '! '! '! '! '!
10. 1~ J o J 1h o h 1J o J 1h h J 1 '! '! '! '!
1J J o 1h h o 1J J o 1o h )2 li
'! '! '! '!
]
l
11. 1en n n n l .b .b .b .b 1n n J 'f 'f 'f 'f 'f .b 1J J nJ1 l
1n n J J 1 .b .b n n J J J 'I 'f 1 'f .b 1 n J J 11
12. I~ J D D 1J 'f .b 1J D J 1J 'f .b 1 1
1J 7 .b J 1J 7 .b D 1D J J iO J li 1
13. 1f J 'f .b J J 1J n n .b
~ 1 'f J 'f .b 1J J n:
1J J .b 'f n 1.b 'f n J .b 1n J 'f 'f .b J 1 nn J 11
14 • 1i 'f .b n 1 J J 1J 'f .b 1J J 1J 1'f .b n 1

1J .b 'f 1.b 'f 'f .b 1J 1'f .bn :.b .b J :1 'f 'f :
15. 1f .b n 1 J n n J 1J 'f .b n J n .b .b 1J
1 .b n 1 'f 'f 'f
1J 'f .bJ 'f .b1.b'f .b'f J J 1J 'f .bn 1n n J .b1J J n n 1 'f
1J 'f .b n 1.b 'f .b 'f .b 'f 'f .b 1.b 'f .b 'f .b 'f 'f .b 1J J n n 1J 'f :1
16• : ~ .b 1J J 1J 'f .b 1J n 1J 'f .b 1Jl 'f .b 'f .b 'f 1 nJ 'f .b 1

1.b 'f .b 'f .b 'f 1J 'f .b 1J 'f Jl n 1J 'f .b J 1Jl 'f .b 'f .b 'f 1J 'f 11
11· 1~ J J n 1- 'f .b 1J 'f .b n n 1 'f .b 'f .b 1

1J 'f .b 1 n J 'f .b 1J 'f Jl .b : n 'f J J 11
- - - - - ------
- CHAPTER 2. DIVIDED BEAT, QUARTER NOTE = BEAT UN!T 17
18• 1i Jl 'f Jl 7 1D J 1Jl 7 D 1J 7 Jl

1! n n n 1j 'f .ti 1n .ti 'f 'f .ti 1 n J J 11
19 · 1t J .ti 'f J n 1J n .ti 'f .ti 'f 1! J n .ti 'f 1J .ti 'f .ti 'f 1
1t J J 'f .ti J 1n n J 'f .ti 1! .ti 'f .ti 'f 'f .ti 1J 'f .ti .ti 'f 11
2 º· 1t J n n J 1J J J .ti 1! j J 1J n 'f .ti 1i J n 1J 'f .ti 1

'f
1i J j 1 n J J 1i J n 1.ti 'f .ti 'f 1i J .ti '! n 1.ti '/ .ti '/ .ti '/ 11
Two-Part Exercises
0 Do not write the rhythm syllables in the music.
21. 1e J J n J 1 n n J J 1J J n J 1 n J J
rur i i i UUiUi Ui iLJi
1J J
i U i
n J 1
ii
n J
i i
n J 1J J
ii U i
n J 1J
iU i
n J
U i
11
22. 1§ d J 1J J J 1t n t 1- n 1
t LJ t t LJ t r i i t t
1J t t 1J t n 1J t 1J J 11
t LJ i t r t t LJ t LJ ~
23. 1§ )l 1J J J 1J '1 )l 1J J J 1J "1 )l 1

'1 i u i i t t i t u i t t
1J d 1J J J 1J t t rJ J J '1
li
i LJ LJ r '1
D i i '1
D
Ir '1
18 · · · PART L RHYTHMIC READING
1
24. 1e J
1
n n n n
J tJ n J J J n J
J J n
r 'lpur t r t r r 'lpur ur 1
1
1
1 1 1 1 1
1J t J n J n J n J J J n J1 1 11
D u ru t u tr
1 1
r '1 D ru r '1
!n t n n
1
2s.
1 1
J Ji
1
'1 '1 Ji
'1 .b 1
d .b '1
1
t Ut t Ut 'ID'ID'ID 1 'ID !
1J '1 .b J l 'I .b J '1 .b 1J J t 1J .b J '1 li 1
'lpr 'lpr 'lpr t r r t ur
"· [! ~ ~ ~ ~ I~ ~ ~ ~ I~ ~ ~ ~ I~ ~ ~ J 1 :
[~ ~ ~ ~ I~ ~ ~ J I~ ~ ~ ~ !~ n ~ J li 1
J
"· [: ~ ~ ~ I~ ~ ~ I~ J ~ I~ ~ I~ ~ ~ 1 1
1
,~ [! ~, ~. ~ ;~I~ ~; ~J I~, ~~~ ~ I~ ~ J, ~I~ ~ ~ ~. 1

[~ ~; ~~ I~ ~~ ~ I~, ~; ~~ I~, ~ ~ li
Chapter 3
Simple Meter
Q!arter Note = Beat Unit;
Slur, Tie, and Extension Dot
==--.,._,,=,,..""'=-'====~=7·"=""'"'"=-"'-'""""'º"""""""="~"'""='"°'""°'"=',._~,""""'':.=>o!=,--~,,.-~'"'··~""-""""'"~=""'-""""•'~""7=--"'"""'·="""""~º-·-·"'-'·~~"'-·=·=""~"""'..=.'..~-~:.-;

Listen as your instructor chants a variety of rhythm patterns on rhythm syllables; echo
each pattern on the rhythm syllables while (a) quiet!y tapping the beat, (b) conducting, or
(e) using the appropriate metric motion (tap-touch). 1
.~.·~,~~~Y~~-~~!~--~-~~~~S~~!!~~---····"······=-=·~---~····=~-~-----·~··=·--·~···-~·-···,····
The duration of a pitch may be extended by the notational symbols of the tie and the exten-
sion dot.
'Tie
The tie (bind) is a curved line that connects two or more consecutive notes of the sarne pitch.
The second note is not articulated, and the result is one sustained unbroken sound that lasts
the combined duration of both notes. Ties are often used to notate a duration that extends
over a bar line.
1. 2.
j ______
Extension Dot
An extension dot (also called augmentation dot) is written to the right of a note head and increases
the duration of a note by half of its original value. The extension dot eliminares the necessity
of writing the tie and the extra note value it represents. Extension dots are not used to extend
a duration over a bar line.
1. 2.
o· J= j __ J
Extension dots are sometimes added to rests. Dotted rests are seldom used in simple meter. How-
ever, they are common in compound meter. Compound meter will be discussed in Chapter 5.
4.
-· = - - 5,
... =
-
6.
~- = "1
1Note to instructors: The rhythm patterns are found in Secdon 3.3. These patterns should be taught by rote
using the two~step process outlined in the Musical Literacy Process secdon of the Preface.
19
1

1
The Tie Versus the Slur
A tie is identical ín appearance to a slur. While a tie connects two or more consecutive notes
1
on the sarne pitch, a slur connects (a) two or more notes on different pitches, or (b) noncon-
secutive notes on the sarne pitch.
Tie Slur l
J___.,J_J 1 J__ _J_J (-a) 1 J__ _J_J
(b-)
A slur indicates (a) that the notes are to be performed legato (in a smooth and connected
manner), (b) that the notes are to be sung to a single syllable, or (e) a phrase (a complete
musical statement).
(')
1
11
Sweet - ly flow thou gen - tle stream on whose banks fresh beau - ties beam. 1
AI. A2. A3. A4.

J
1t J J J. .ti 1 J. .ti J. .ti 1 n J J. .ti 1 n n J. .ti 1 l
AS. A6. A7. AS.
]
J- nJ li J J_n n 1 n J_n J 11nJ_nn11
A9. AIO. Ali. A12.
J
.ti J li J .ti o li J J .ti 110 J .ti li
Al3. A14. AIS. A16.
.ti .ti 'I .ti 'I li J .ti 'I .ti 'I .ti li J .ti 'I .ti J li J .ti J .ti 'I li 1
A17. AIS. A19. A20.
j
lf)l'l)l'IJ )l li J .ti 'I J )l li J 'I .ti J Ji li 'I Ji n J. .ti li
A21. A22. A23. A24.
1
lf J 'I J J li J 'I j li J 'I n J li J 'I n n 1

A2S. A26. A27. A28.
1
1
- ----------- - - · - · - -
CHAPTER 3. SLUR, TIE, AND EXTENSION DOT 21
(Continued)
A29. A30. A31. A32.
A33. A34. A35. A36.
1! J
A37.
'i n 1 t·
A38.
.ti j 1 n
A39.
t· .ti 1 'i
A40.
.ti J 'i 1
3.4. Exercises
'> Remember to perform these exercises as a canon, retrograde canon, or as a two-, three-,
or four-part ensemble.
"' Remember to use these exercises to practice your dictation skills.
t. 1
1 ej j j 4j - 1
1 j j j W j L\J ~ j j4j ~ J,.=J) Lµ. li
2• 1! j j4j j j 1j~j 1j ~ j_=J) - 1j j J4j j4j ~ 1
1j t J4j - 1- j4j j t 1j j=J) J4j J4j j j li
3· 1! j j j 1J 1j_j 1J 1~ j J,-=J) j 1. - 1J li
4• 1t U j jJ) t J4j j~j 1U j jJ). {JJ j J)· L1j JJ 11
5· 1t j n 1j_n 1J ..b 1n J 1J---..b 1n n 1j J4n=--J 1

1J .ti 1n n 1j J--=JA j 1 L .ti :n J=l--n jy 11
6. it j j~n J=+) t n jiJ .ti n n iN j~1

1j j_n J0J t õ J0n n J .ti :)J. 11
22 PART !. RHYTHMIC READ!NG
~~ ~~
1· 1! J J~n 1J n 1J Jin 1J ~ '! Ji1J J0J n J 1J JiJ 1J :1
s. 1t J JiJi'I J4.J '! JiJ~n 1Ji'I Ji'I J J~) ~ ~ JJ4J J J 1Ji 'I Ji'I J ~
i,j '! JiJ---in J J 1n J~Ji'I J 1Ji'I Ji'I J~Ji'I 1Ji'I Ji'I J n 1'I JiJJ~J 11
1
10. 1 !J l
ID -1
l
J
1
. 1
12· 1t ~ 'I JiJi'I Ji'I 1n J '! JiJ :J ·1 J '! 1J n J 1J '! Ji'I Ji'I 1J J Ji'I Ji'I 1
1J JiJ '1Ji1Ji'1Ji'IJ Ji1J • 1J Jinn1J ~· Ji1Ji'IJi'IJ 11
CHAPTER 3. SLUR, TIE, AND EXTENSION DOT · 23
,--.._.,
Or 1
11
15 · 1~ J 1J )l l J) J J 1J )l J
1fü J 1J .ti J0J .ti J 1n J n 1j 11
16· 1t J 1J. Ji n n.=i-J J J '! Ji 1J. .ti n J
íJ· '! .ti 1n n J .ti 1n n J J.=i-n n J J 1J 1
Two-Part Exercises
1
24 · PART L RHYTHMIC READING · ·· ·
l
19. fJ J. )l d d ~ J J. )l o J::;=:1
DJ u r· p-ir E
1 1 1 1 1
'1 r~r '1 D--.U r r·

1
~J 1
;lftr JI n~, ~i ;jl ~fj r]filr u r 11 1
'°·[:is t 1
~ is t ! ~ I~ J ~ CJ
1
[~ ~ I~ ~i;f : ~ I~ ii-~ ~ J il -J
1
"·[:~:!j j lf J~~;if jJ;~J J,~I •~

[~ , ~~;~ , ~~~; ~~;[~' ~;~ li -~
_J
1
Chapter 4
Terms and Symbols
i.!,:~.~~!:~!~:,.~~~~~:~~tio~;.!~E~~.S~,~!:::~~~~~~~~~"~~~,~~~~~"""
Composers usually include instructions or markings to guide the performer(s). These markings
usually include beat interruption, tempo, dynamics, and articulation.
Interruptions in the Beat

A variety of symbols may be used to indicate an interruption of the beat.
Interruptions in the Beat

breath mark short pause; usually an indication of phrasing ar breathing
Jermata placed over a note or rest to indicate that it is to be lengthened or
prolonged to abour twice its value; also called a pause or hold
tenuto ten. placed over a note to indicate a hold of shorcer duration dian a fermata
caesura li indicares silence
General Pause G.P. indicares a silence of significant length
• Using rhythm syllables, chant the following rhyrhm patterns. Remember ro observe ali
markings.
1i J
1.
nJ J 1J 'I .tin1 11n
ten.
J n J '
iJ 2.
7 .b li
JG.P. J n .o7
1i J J n J=tJ // J n1 11J .b n
3. 4.
1
1 li
Tempo Markings
Beats in music can move at different speeds. The speed of beat is indicated by a tempo marking
written above the staff at the beginning of the composition. Tempo is usually indicated by
Italian terms: however, French, German, and English terms may also be used.
TempoTerms
Slow Moderate Fast
Adagio Andante Moderato Allegretto Allegro
slow, at ease walking speed moderaee speed moderaeely fase, fase, quick, lively
light and cheerful
0 Sing a major scale or a familiar song using each of the indicated tempo markings.
Tempo may be indicated precisely by a metronome, a mechanical apparatus that can be adjusted
to sound any numberof beats per minute. For example a metronome marking ofM.M. j = 60 indi"
cates that the tempo of the music is sixty half-note beats per minute, or one per second.
25
26 PART 1. RHYTHMIC READ!NG
l
The initials M.M. stand for "Maelzel's Metronome." Johann Nepomuk Maelzel (1772-1838)
patented the apparatus as a metronome in 1816; however, the metronome was invented around
1812 by Dietrich Nikolaus Winl<ler (e. 1780-1826). 1
l
Tempo can change either suddenly or gradually in music.
Gradual Changes in Tempo Other Terms for Tempo

ritardando or ritenuto (rit.) a tempo
• gradually decrease tempo • return to previous tempo
accelerando (accel.) poco
• gradually increase tempo • little
poco a poco
• little by little
• Using rhythm syllables, chant the following rhythm patterns. Observe ali markings.
li n 1.
nJ rit.
J
1 ~tempoJ IJ J 11
1
J
2.
nnJ aceei. 1 ~tempfl J J li
li J 3.
..b J
poco rit.
IJ 1~tempoo j 11J
4. ..b QPºf]c,1.I J Ja tempoIJ J - li J
Dynamics
Dynamics are the degrees of loudness ar intensity ín musical sound.
1. Music can be louder or sofrer. Dynamics are indicated mainly through the following Italian
terms and abbreviations.
Dynamic Markings
Soft Loud
J
PP pianissimo very soft softer mf mezzo-forte moderately loud
p piano soft
t f forte loud -i
mp mezzo-piano moderately soft louCl.er ff fortíssimo very loud
0 Sing a major scale ar a familiar song incorporating a variety of dynamic levels.

• Using thythm syllables, chant the following thythm patterns. Observe ali markings.
J
li ;p n t n iJ p
t IJ
mp
J ll~f [JJ n iJ
f .ff
o j li
1. 2.
1~ fj D ljp D ll~p t .ffD 1J

PP
t D
mf li
3. 4.
1Don Michael Randel, ed., The New Harvard Dictionary of Mtnic (Cambridge, MA: The Belknap Press of
Harvard University Press, 1986), 489.
1
CHAPTER 4. TERMS AND SYMBOLS 27
2. Dynamics can change gradually.
Gradual Changes in Dynamics Dynamic Spectrum

cre.rc. crescend-0 gradually louder
, decre.rc.
dim.
decrescendc
diminuendo
gradually sofrer
g'tadually softer
- )J' -
11 mp
mJJff2 mf mp p )J' ~
0 Sing a major scale incorporating a crescendo as the scale ascends anda decrescendo/diminu-
endo as the scale descends.
!.
OJ
PP
2.
ff
nn 1;·~Jl=J=J==1:
Articulation
The act of attacking and releasing notes is called articulation.
· Articulation- ·
. legara leg. smooth and connected style; a slur is often used co show li!gato groups of
notes (See Chapcer 3, page 20 for more information.)
· staccato stacc. or J derached manner; opposite of legara; índicared by a dor above or below the
note head
accent > or- a sudden srrong stress; symbol is placed above or below rhe note head
o Sing a major scale using the indicated articulation.
J r 1cr r J IQ J 11
• Using rhythm syllables, chant the following rhythm patterns. Observe all markings.
li i 1.
~ n J 1j J
>
J li J 2.
'I )l J
> n1n .o j
> li
11n ~ 3.
J n ii- Jl n J li~
4.
~ J J==tn J >
j
> li
:t J 5.
~
J n J 1i J n J li i-6.
)l J J 1J.
~
JJJ J
28 PARTI. RHYTHMIC READING
Technical Terms
Repeatsign
A repeat sign is made up of a double bar preceded by two dots.
REPEAT SIGN AT THE END OF A MEASURE
Repeat the music preceding the sign. Upon reaching the repeat sign the second time, continue
on to the next measure.
li
REPETITION OF A SECTION WITHIN A COMPOSITION
Notice that the section to be repeated is enclosed by double bars, the first with dots to the
right of the double bar and the second with dots to the left of the double bar. Upon reaching
the repeat sign the second time, continue on to the next measure.
li l
REPEAT SIGN WITHIN A MEASURE
Repeat the music preceding the sign. Upon reaching the repeat sign the second time, continue
on to the next measure.
1J· .bn··1J H :11HJ 1J·

H
J------i-r 11
First and second endings
The first ending indicates a repeat to the beginning ora return to a previous repeat sign. Dur- _]
ing the repetition, the music of the first ending is skipped, and the piece continues with the
second ending.
REPEAT TO THE BEGINNING
_]
11
RETURN TO A PREVIOUS REPEAT SIGN
11
MULTIPLE ENDINGS
2.
:li J
11
1
,
1
4.2. Exercises
~ Remember to observe all dynamic, articulation, tempo, and notation markings.
Allegro
1. \e J J j 11 ~ J l :J J J I~ 11 ~ J l il - 1J l J i lj j :li
Moderato
2. it J n J l 1n n 1 1J i n l 1n J n 1
11:1 t o o lt o J l 1J :11
Alleg~
3. 1e J n n J=f) t n h 'f li: J J_J

!":',
fJ t J h 1h 'f h 'f J J0j 10 n .J 11

Andante
4
• 1 t ~ t J t 1nJ ~ t 1
J JinJ~==-1) 'fhn n 1
1. ~
1J l J 1n Ji 'f n J :J t :11 J G.P. .J 11

ten.
Adagio
s. 1 e J J n n 11 t J 1n J ~ 'f Ji 1n n J Ji 1
1. ~
in ~ 'f Ji J 11: n ~ 'f Ji J 1n n J 'f :11 J n J 11

Andante
6. 1~ fJ .o J 1.D J h 11' 'f pJ J 1.D J. 'f 1
li: J J 'f h rJ1
h J :110 J h 1J 11
f p f
1
1
30 · PART 1. RHYTHMIC READING

l
Allegretto
7. I! pj fl 'f )l 1fl j )l 'f l'I )l [ ] j0j t [] 1

~ ~ p
in J )l 1)l 'f o o 1)l

PP
'f t
mp
j 1j j li
Moderato
s. li j j j lj
f
1
n j~n n 11:J 'f .ti
mf
j 1j j j :11 n j j 11
l
1
J=80
l
10. 1 i ppj j
cresc.
j j 1
n j
f
j 1'1 .ti j j n n
decresc.
1
j j n: ]
- 1n j J .ti 1j j j 11:' 11
mf ~==== ===-- p --==== ====--
J=120
11. 1 !j n n lj t n 1J )l o 1J )l j
1J lj D D lj t .D lj j
:1
rit. a tempo rit. _]
J=60
12. 1 !j D 1J )l j in D j~j t
rit.
j
a tempo
1
li: j j 1D j 'f
)l :li j j_n 1D j
11
J=l04
13· 1t J J J n 1n n J '! .ti 1n J_n J :11 ~ '!
accel. a tempo
~ '! ~ '! ~ '! 1
1J J ~ i J n J 1j '! .ti
rit.
n 1n J 1 11
t;
J=88
14• 1 n i=tJ f J n 1n '! J .b ~ '! ll:~f J J~

l"7'I
i.D n J .ti :11 J J .ti J 1~ '!

decresc. PP
'! ~ '! J i=tJ n
rit.
j 11
Moderato r...
15. 1f p e 1Jff j ~ lj
PP
J n cresc.
1D J mfJ .b 1
in J J
> > ~ 1J .b
decresc.
n ~
p
'! .b8-D nt.
n J J 11
Allegro
16. 1! J .b J lj J 1~;. J
11·;- a tempo '! .b J
r... r.-,
1J D
rit.
J :11 'I .b D a tempo
D 1J D J lt· 11
Moderat:-o =---==-------
17. 11 ~~: D D 1J J '! .b 1J D J--=:Jl :JI
1~.r .ti .o :J Ji '! J--- 1J .ti J 1n J J~ 1

Allegretto 1.
1s. 1~ .ti
P
'! .ti '! n 1.ti '! n .ti '! : J .ti
cresc.
n 1.ti '! .ti '!
f
J :11
2. r.-,
1fJ ~· .b I J 1
.b D 1J '! .b D 1fJ li
P cresc.
J=t20 1.
19.ltj~ ld J J 1n .D J .b ld >
j 1
2. (';',
1n .D .D J lj >
J J in n J .b 1j
li
j 11
J=ss-------~
2 º· 1t .b 1J .b n J4J nn J 1j ~ '! ~ 11: l .b J J 1
p --~~~~~~f-
1.D .D J . '! ~ :JI pJ J .D .D 1J J j 1J '! li
Two-Part Exercises
l
J
:11
l
1
1
- - - - - - - -
, CHAPTER 4, TERMS AND SYMBOLS 33
Adagio 1_
~. [: ~ i~ h iJ t-J ~ :~ ~ li 1 n ~ l'J J '.

2,
~ 5 Ct
~b ~ I~ 8 lj d li
1
: h h
PP
J=120 ~
~[!1, t LO nb d:I~--=======
p
h~ h~ h~ hlB nIT li f =====-
lt 3~ ~J ~' 'hl~~' hp, li f PP

Chapter 5 1
Compound Meter
Dotted ~arter = Beat Unit;
Divided Beats
?:,1,~..!J.~.~~'!,~E-g,~:1:~~l2~~~~!~~''"'~'"' '''"' ,,,,,,,,,,,,,,,~ ,,,_,,,,,.,

Beat
Beats can be divided into smaller groups of two ar three equal parts.
• Quietly tap rhe beat using a circular arm movement or a down-up-up movement.
Alternate chanting the beat (dotted quarter) and the divided beat (three eighth notes)
using rhythm syllables. Feel, see, and hear that there are three sounds (ta-ki-da) on a
beat for three eighth notes and only one sound (ta) for a dotted quarter note,
Beat (Macro) Division of Beat (Micro)
J ]
1
Takadimi Syllables ta ta ki da
Meter
Meter is described as simp!e if the beat divides into two equal parts and compound if the beat
divides into three equal parts. As with simple meters, compound meters may be dup!e, tripie,
ar quadruple with the sarne patterns of accented and unaccented beats.
• Perform each of the six types of meters in the following manner:
• Tap the beat with one hand and the divided beat with the other hand.
• Tap the beat and chant the divided beat using rhythm syllables.
• Chant the beat using rhythm syllables and tap the divided beat.
Duple Simple Duple Compound

1 2 1 2
Beat 1 1 1 1
Beat Division 1 1
Tripie Simple Tripie Compound

1 2 3 1 2 3
Beat 1 1 1 1 1 1
Beat Division 1 1 1 1
Quadruple Simple Quadruple Compound

1 2 3 4 1 2 3 4
Beat 1 1 1 1 1 1 1 1
Beat Division 1
34
CHAPTER 5. DIVIDED BEAT, DOTTED QUARTER. BEAT UNIT 35

• Listen as your instructor chants a variery of rhyrhm patterns using rhythm syllables;
echo each pattern while (a) quietly tapping the beat, (b) conducting, or (e) using the
appropriate metric motion. 1
Z:.~:.~.~r~~~~~.~...~~~~~~~Ê.~~~····=·············~······.. ·····~······~·····.,·····~····~····
Compound Meter Signature
ln compound meter, the beat is a dotted note that divides into three equal parts. Because there
isn't a number that corresponds to a dotted note, the bottom number of a compound meter sig-
nature indicates the rhythmic value of the division of the beat, not the rhythmic value of the beat
as in simple meter.
g
eighth note is the division unir J. = beat unit
The top number of a compound meter signature indicares the number of divisions in each
measure. The upper number is usually 6, 9, 12, or another multiple of three.
To determine the number of beats in each measure, divide the top number by three.
g six divisions in each measure 2 beats per measure

Memorize that g, R, and Wmeter signature are duple, tripie, and quadruple patterns, respecrively.
Duple compound* g six divisions in each measure 2 beats per measure
eighth note is the division unir J. = 1 beat
Tripie compound ~ nine divisions in each measure 3 beats per measure
·eighrh- note is-rhe-division unit J. = 1 beat
Quadruple compound f twelve divisions in each measure 4 beats per measure
eighth note is the division unit J. = 1 beat
*~ is the most common compound meter signature.
• Following are excetpts of songs in compound meter. Divide the class into two groups. One
group should sing and tap the meter while the other group sings and taps the divided beat.
Duple compound ·
~ ~··
~ ~ 1 J ~ 3
p
i JJ J 1 ••
1
1 J J
'
J J J 3 li
Oh, dear, what can the mat - ter be, Dear, dear, what can lhe mat - ter be?
Tripie compound
~ ~ 1'!. ~ r r 1
•
r· J. 1 J ~J J ••
1
r·
Beau - ti fui dream er, wake - un to me,
~ ~ 1 ·i. r r r t r •
J
J J J 1
J. ..._., J. li
Star - light and dew drops are wait ing for thee;
Quadruple compound
~~Wp Ir pJ l J J l J- l [ 1
:E). ~
He shall feed His flock like a shep herd.
lNote to instructors: The rhythm patterns are found in Section 5.3. These patterns should be taught by rote
using the two-step process outlined in the Musical Literacy Process section of the preface.
1

1
Rhythm Motives
Rhythms may be organized into patterns or motives that add to the unity and variety of music.
• Sing "Row, Row, Row Your Boat" and tap the rhythm. Notice that there are three dif-
ferent rhythm patterns with the second rhythm pattern repeated at the end. This
repeated rhythm pattern helps to unify the melody.
rhythm patteml rhythm pattem2
tM J. Row,
J. IJ J1 J. 1
J J1 J J1 J.
gent ly
1
stream,
t·
row, row your boat down the
rhythm pattem3 rhythm pattem2 repeated exactly
tr r r J J J J J JJJ J
Mer - ri - ly, mer - ri - ly,
1
mer - ri - ly, mer - ri - ly,

1 J Jl J Ji J.
Life is but a
1
dream.
t· li
• Sing a known song in compound meter and rap the rhythm. Analyze the rhythm patterns 1
in the song. Suggested songs: "Home on the Range," "Looby Loo," "Lavender's Blue,"
"Bonavist' Harbour," "l's the B'y," "Drink to Me Only with Thine Eyes," "I Saw Three
Ships," "It Carne upon a Midnight Clear," and "Bring a Torch, Jeannette, Isabella." 1
J
I~ J J li J J J J J J li J J J J :1J J J li
1
AI. A2. A3. A4.
I~ J ~- li~- J li J J J J li~- J J J li
A5. A6. A7. AS.
1~ J~J J J~J J li J )l J )l li J )l J J J li J J J J )l li
A9. AIO. Ali. A12.
1~ J J~J J J~J li )l J )l J li )l J J J J li J J J )l J li
A13. A14. A15. A16.
1~ J .b J 11J J .b 11.b J J 11J )l J li

A17. AIS. A19. A20.
1
1~ J J J J ' J li J J J ' n li J )l J
' J li J )l ' n li
A21. A22. A23. A24.
CHAPTER 5. DIVIDED BEAT, DOTTED QUARTER = BEAT UNIT • 37
(Continued)
1§ J '! J J J J 1 'I n JJJ1J '! J J Ji 1 'I n Ji J

A25. A26. A27. A28.
1§ J. J '! J li J. '! D li J '! J J. 1 'I D J. li

A29. A30. A31. A32.
1§ J J J n '! i:n '! J J J li J )l o '!

11º '! J )l li
A33. A34. A35. A36.
J li
A37. A38. A39. A40.
5 .4. Exercises
t)Remember to perform these exercises as a canon, retrograde canon, oras a two-, three-,
or four-part ensemble,
• Maintain a sready bear and use rhythm syllables.
J.io4
1. 1§ J. J. 1J J J J J J 1J )l J J J 1J. J.
1J. J J J 1J J J J J J 1J. J J J 1J. J. 11
Allegretto
J.i20
3· m J. 1m m J. :J ~ · 1J. J. J. 1~ · J. ~ · 1
1g J. J. J. 1J.
1J. ~· J. 1J.~J 1J. mm 1J. ~· m :J. ~· m 1J_J. :11

11
Allegretto
4. li J mm iJ. J. t· m iJ. mm J. iJ t· m 1
1m J. J lt· m t· m 1J. m J. m 1J J :11
1J m m 1J. J. t· m 1J. J. m m 1J. J. J 11

l
38 · PART L RHYTHMIC READING ·
l
J.=104
1~ J Ji J Ji 1m J Ji 1J Ji m 1J ~ · :J Ji m 1m J Ji 1
1
s.
1. 2. 1
1J )l J J J 1J J :li J J )l 1J )l J J J 1J J J J J J 1
1J )l J 1J )l J )l 1J J J J )l 1J
nt.
J )l :J li
:J JiJ 1JiJ J '1JiJ JiJ :J J J JiJ 1JiJ J J J 1 1
1J ~· :Ji J J J J 1J J J Ji J 11' J J J J 1J J li 1
J.=104 r.-, J
s. 1~ J Jim JiJ 1m J hJiJ 1J ~· 1J Jim J h1 JiJ J JiJ 1J ~· 1
r.-,
1pJ m J Ji 1pJ mm 1J ~· 1pJ m JiJ 1J hJiJ JiJ :
Allegro
9· 1~JiJ I7J 1JiJ ~ n 10o1J ~ n 1PJ PJ 1w J. 1

1. 2.
1JiJ PJ 1r;J J 1r;J J 1J JiJiJ 1r;J J Ji1J ~ n :11m J 11

----------
CHAPTER 5. DIVIDED BEAT, DOTTED QUARTER = BEAT UNIT · · 39
Moderato
1º· 1~pl 1!7J m 1Q Q

m
1m J '1J m 1J
"
n 'I 1
n 'I J J J 1J
1 t· 1J J J J 1 n 'I J J J 1J h n 'I 1
:J t' 1df J J J h 1J J J ~ 'I ~ 1~ 'I ~ J J J 1J li
J.=104
11· 1e n 1PJ PJ PJ 1J ~ · 'I n 1 l m m1'I n J 'I n 1mlD PJ 1

1J t· 'I n 1J hJ hm :J J 'I n 1J hm J h1[IJ [IJ [IJ 1
1J t· 'ln1J 'lnm1J hmJ h1lJJlJJlJJ1J t· 'ln1m1 'l'I 11
Allegretto
12 • 1~ fi2 J J h 1i2 J m 1w w 1J ~ · 1pJ h i2 J 1J h ITI 1

1r;J r;J 1J J. 1J2 J J h 1J2 J J J J 1J 'I J r;J 1J li
f
J.=120
13 • 1~ PPh 1J""""J-J Jcresc. h 1J J J J J J 1J h J h 1J t mph li: J2 J ; t 1

l m 1J
1m J2J 1'1 mf t h:11m Jcresc.h1m m 1J hJ h1J
mp
t 11
Allegro
14. ie o im h'I 'I h'I 'l 1m fJ ~'I 'l 1m 'I 'I ~'I 'I ~1m J h'I 'I 1'1
:m r:;J o 1J T r:;J 1m 'I n n 1m J2J n 1
'I '1
1m h 'I 'I h 'I 'I 1m J2 J h 'I 'I 1m 'I 'I ~ '! '! ~ 1m J 11
40 · PARTI. RHYTHMIC READING ·
Moderato
1~pJlegato1J·~m J Ji1J ~· cresc.

J 1J~m PJ 1J ~· mj'
J 1J m 1
1
15•
1
1rn J=fJ ~· rn 1J
dim.
J~rn 1J hJ-==tJ { mprn 1
1J JiJ Jim 1J 'JP 1m J~m 1J ~· PP
J 1J~rn PJ 1J 11
Allegretto
16· 1~ Ji 1J '! J '! 1J Ji J .ti=1 n '1 n '! 1.4J .4J 1J '! J '! 1J ~ Ji 1
1J '! J '! 1JlJ hJ=tO '!O'! 10 OI~ Jl~ h1J~J li
Moderato _ _ _ _ __ 1
11.
111 J:4m J Jim J 1J JihJ
legato
.rfD. 1J JiJ Jim J 1m J JiJ 1 1
1
J
J.=104 --·-- 1
. 1s. 111 J=:tíJ J m 1J Jim J lJ 1 ~ Jlim J 1JiJ rtn. 1

--- ---:---. ~ ~
1
11i hl J Jlr;J JlJ I~ r;J Jl~ I~ JlJ r;J J I~ r;J Jl~ 1

1
l1i J J J J J J J J 1~ J )l J J J J=t~-J J J J 1J li .
1
-------------------
CHAPTER 5. DIVIDED BEAT, DOTTED QUARTER = BEAT UNIT 41
Two-Part Exercises
Allegretto
19· l 9 j JJ 1 J J) J J) j J J J. t.
1 j JJ 1 J. J JJ
J. 1
8
r· t· r· r· t· r· r· r r r r r r r·
1J
1
t· r·
m
r·
1J hJ.
1
1·
m
r·
1J. t·
1
m
w w r·t·J.
1
J.
r·
m J
r·~· 1
r· 11
J.= 120
20• g j,. . . ,J__,J j J J J. J) J j J J j J J J) J J.
i u ; u ; u r· r· ; u ; u
1 1 1 1 1
r·
1j J J J) J J J) J) J j J J j J J 1J li
L:.J r r i r r·
1 1
r· r l2..J r i r
J.=88
2
1. li fui~: r· fufuir fu rfui~: r fufuifur tu.ri
1 ~: J. ~: J.'i~: tLf lu ~: ~: r· ~: J.-=ilu tu r· 1 li
Modera to
n. [: ~ l l 1 ~ ~ l ~ ~ l ~ ~ l ~ J~ ~ 1 1 n ~ ~n 1
f.n ~.i iI~ ~~~ I~, '. ~ I~~ ~n1~, ili
Allegretto
n [: ~ l ~ ~J 1 J ~ j l 1~ ~· ~ l ~ ~ J ~ -~ :::, 1
t : ~l~J ~J ~I~ ~~. ~ l~/~J ~~J li J

Chapter 6
Simple Meter
.,.,
~arter Note Beat Unit;
Borrowed Division 1

""'"'~"'"~'''-"'"'·~="~"'"·=~=--,~~==--=='~"'-"""·'""===":---===·~":::7~~"~''"''~""-=-~=-""'-'--..:r==='-'"'==-=""·"=---="---=·""= ·'º"'-'=~":"-''"""==·::=>"''""'~"''"""'
Beat-Borrowed Division
The beat in simple meters usually divides into two equal parts (downbeat-upbeat), and the beat in
compound meter usually divides into thtee equal parts (circular or down-up-up motion). Either
meter can borrow the other meter's beat division fur use on a temporary basis. Remember to use the
rhythm syllables advocated by your instructor.
Beat Divided into Two Equal Parts Beat Divided into Three Equal Parts
Natural Division Borrowed Division
Beat
Beat Division
1 Beat
Beat Division
1 J
Takadimi ta di ta ki da
• Tap the beat, chanring the beat divided into three (triplet). Feel, see, and hear that there
are three sounds anda circular or down-up-up motion on a beat for triplet eighth notes.
• Tap the beat, chanting the beat divided into two (duplet). Feel, see, and hear that there
are two sounds and a down-up morion on the beat for duplet eighth notes.
• Alternate between chanting triplet and duplet eighth notes.

J
• Listen as your instructor chants a vatiety of rhythm patterns on rhythm syllables; echo
each pattern while (a) quietly tapping the beat, (b) conducring, or (c) using the appro-
priate metric motion, 1 1
~:~:-..~I~~~!~c ~~~~~~~-~~.-~ ---~-,,------"-~-~------- -----~---------~-,,~--"-----~- _J

Beat-Borrowed Division
In simple meter, the borrowed division is the triplet, which divides the beat into three. The
numeral 3 is placed over the figure to indicate this borrowed division.
1
Beat Divided into Two Equal Parts Beat Divided into Three Equal Parts
Natural Division Borrowed Division
3
n m
1
ta - di ta-lci-da
1Note to instructors: The rhyrhm patterns are found in Secdon 6.3. These patterns should be taught by rote
using the two-step process outlined in the Musical Literacy Process section of the Preface.
42
CHAPTER 6. BORROWED BEAT DIVISION, QUARTER NOTE = BEAT UNIT 43
· Rhythm
. Rhythms may be organized into cross-rhythms, where two different beat divisions occur
simultaneously.
• Divide the class into two groups. One group should tap the beat, chanting the beat
divided into three (triplet), while the other group taps the beat, chanting the beat
divided into two (duplet). Feel, see, and hear that. there are three sounds (ta-ki-da) and
a circular or down-up-up motion on a beat for triplet eighth notes, and two sounds .
(ta-di) and a down-up motion on the beat for dupler eighth notes. Exchange tasks.
• Rhythms may be organized into patterns or motives. Sing "Heavenly Sunshine" and tap
the beat or conduct. Analyze the rhythm patterns in the song. Feel, see, and hear the
difference between the tripler and the duplet eighth-nore patterns.
3 3 3
J J J 1J J f J3 1J J J JJ J
•
1 1
Heav-en - ly sun - shine, heav-en - ly sun - shine, Flood-ing my soul with glo- ry di -
@ u
vine;-- Heav~n-ly
3
J • J J J J--w ~ J J J J IJ
-j
1
3
sun - shine, heav-en- ly sun - shine,

1
•
J âo
!e - lu - jah! Je-sus is Hal -
1 1
J li
mine.
• Sing "Juanita," a Spanish folk song, and tap the beat or conduct. Analyze the rhythm
patterns in the song.
3
@~ ! J
--1
Ni
•
ta!
4 J # Ir
Jua ni
r
ta!
~ 1 JJ
Ask thy soul
r· p
if
1
D r
~
we should part;
3
@~ •~ •~ 4J~ Ir r ~ 1
J J J J 1 J li
Ni ta! Jua ni ta! Lean thou on my heart.
TracksA
16-1s9
3 3 3 3
rnj
3 3
1tmmmm 1 j
AI. A2. A3.
:1rnJ
A4.
li
3 3
A5. A6. A7. AS.

mmJ :1
(Continued)
A9. AIO. AI!. Al2.
Al3. Al4. AIS. Al6.

3 3 3 3 3 3 3 3 3 3
1 tm~
Al7.
J m
m 1 m~ mm 1 ~ m~ m 1 mm~
AIS. Al9. A20.
11
1
3 3 3 3 3 3 3 3
li
A21.
mmn n n n mm mn n m n mn m 11
A22.
11
A23.
11
A24.
11
A25. A26. A27. A28. l

A29. A30. A31. A32.
l
3 3 3 3 3 3
1 ~m7 hm mh7 m 7hmn 7 J2m7 h 1

11 11 11 11
A33. A34. A35. A36.
J
6.4. Exercises
0 Perform these exercises as a canon, retrograde canon, or as a two-, three-, ar four-part
ensemble.
J
0 Remember to practice your dictation skills.
1
1
mJ mmj mJ J j j
3 3 3 3 3 3
1
J J mm 1
J J 1
•: J 11 1
' 1 1
1 JJ mJ 3
1 j j
'
1 mJ J J
3
1 J mj J J J m J J j
3 '
1
3
1 11
- - - - - -----
CHAPTER 6. BORROWED BEAT DIVISION, QUARTER NOTE = BEAT UNIT · 45
Adag~io- - - i, - - - - - - - - ,- - - - - - ;,---___
3 3 3
2 ·1~J JJJJ 1J J J 1JJJJ JJJ1j t 1

3 3 3
1J J J J J 1J J J 1J J J J J J J J J 1J :li
3 3 3 3 3
3· lf j J J 1J mJ J 1j J J 1mmj 1J J J m1J J t m1
3 1. 2. 3 3 3 3
1J J m J 1j j :11 J m J J 1j t m 1J m m J 1
3 3 3 3
1j j 1j J m 1J J m m 1j m J 1J J .J 11
Allegro 3 3 3 3 3
4
• 1~i t m1i t t 1mt m1J 1i t m1t mt 1
3 3 3 3 3 3 3
1mmm1J 11:i mt 1i mm:11i t m1

3 3 3 3
1J 1i J J J i 1J J J t i 1J J J t J J J 1J li
Moderato
J=88
3 3
6. lf mfJ J n J in J j 1J J mJ 1mJ j 1Jf p

n n J 1J n j 1
3 3 3 3 3 3
1•J mmJ 1J mj 1J J ~ nn 1J mj 1J J mm 1
f ~
1J n Pj 1mfJ n n J 1mmj 1mpJ mmJ 1n n j 11

3 3 3 3
l
46 PARTI. RHYTHMIC READING ···· ··
1
lf n n j m 1j j m j 1n n j n 1j m J
3 3 3
1
1.
mf PP
l
1j j m j 1m j n j 1j j n j 1n j m j
3 3 3
11:n n j m 1j n j j 1m m j j :11 n n J
3 1. 3 3 2.
mp(p)
11
j"104 3 3 3
s. 1i J> 1J> 'f J> 'f 1j J> 'f 1m j=f j '! J> 1m m 1J> '! '! J> 11: n n1
3 1. 3 12. 3 3
1J> '! '! J> 1n n 1j m 1m j=tj '! J> :11m m 1j '! 11

Moderato
3 3 3
9• m 1J> J> j n 1m n m j--J) ~ l'I J> 'd

1t 4-z J> '! j '! '!
3 3 3 3 3
@ n m 0J ~ J> J> 1n m n m 1j m J> J> 11 '! '! 'f '!
Moderato
n 1 J> m 1n m n j--J)
3 3
10.
1f 'f ~ J> j 'I '! J> j 'f ~
3 3 3 3
-1fJ m n Dl1) '! J> '! J> 1m n m n 1j n 'f J> '! J> 11
Andante
_I
1
------------
CHAPTER 6. BORROWED BEAT DIVISION, QUARTER NOTE • BEAT UNIT 47
3 3 3 3
14.
1f 'I hn 1j j mj=tmj 'I @ 1j mm~ 'I ~
3 3 3 3 3
~ m j j=1IJ]j 'I .tfJ 1j_m j ~ 11

J=n 3 3 3 3 3
15 · 1! DJ 1J h DJ 1j m 1i j j=t DJ j 1~ J J J 1
3 3 3 3
lfj j jJJj=1jJJj ~ jJJ1!J J)jJJ1

3 3 3 3 3
ljJJj jJJ1fJ ~ jJJ1j_jJJj jJJ1!j li

J=96 3 3
16. 1ih 1j n 1j m 1j
m j-=tiJ 'I h 1! J h n 1j 'I h1
3 3 3 3
lf j mm j=tm j~j hi! j m j j n j---tiJ 'I

1
'I h1
3 3 3 3
1
j n m J=t J h ! m m J f J h J m 1! j
1
1
'I 1
1
1
1
'I 11
Two-Part Exercises
48 . PART !. RHYTHMIC READING
Allegro
Andante 3
J 1 J J J J~ ~
D r LJ
1J- --=tJ li
LJ LJ r
j=88
3 3 3
w.[:~I~~~ \I~ mriJ~l~~~~rlJJ: ~I

3 3 3
[~ m~~I~ J: ~I~ ~~ J~I~ mJ li

J=104
21.[:~ I~ ~~ l~â;~l~~â;I~ J : ~.
[~~ ~~â; º~~ ~~ ~ :li 1
1
--------------------
Chapter 7
Simple Meter
Syncopation
•·'-'~-=-·--,,,o::.':"-'"'.!.'='""~-c:.~-:.,~>:OC":;"''"'·"·"<:C.-;-.,-.,·,~':'=º'-"-~'°'="'='~=o:'.:O.O'""''-==-"-..,""""~º~'-~~-"-"'~"º"''°c~·=~·.c·.'>'."'.'<..-,,;"''~"'""'~7'~"'-=--"•""-''"='"--''~='"-'=-=~~c'="'==''·'~":'

• Listen as yout instructot chants a vatiety of rhythm patterns on rhythm syllables; echo
each pattern while (a) quietly tapping the beat, (b) conducting, ot (e) using the appto-
ptiate mettic motion (tap-touch). 1
Syncopation
Syncopation is the "momentary contradiction of the prevailing meter." 2 When an accent is
placed on a unstressed beat or unstressed beat division, a syncopation occurs. For a syncopation
to occur, it is essential that the prevailing meter is maintained.
Types of Syncopation
Accent on an unstressed beat
A note that is louder than nearby notes is a dynamic accent.
DYNAMIC ACCENT ON AN UNSTRESSED BEAT
Simple Duple Simple Tripie Simple Quadruple
Parti
Part II
• Divide the class into two groups. One group should quietly tap and chant the beat,
accenting the unstressed beat as indicated in the fitst measute of Patt I, while the othet
group taps the beat and chants the beat division, accenting the beat of the tradicional
simple duple meter as indicated in Patt II. Exchange tasks. Repeat using simple tripie
and simple quadruple meter.
• For examples see Chaptet 4, exercises 1 and 2.
Following a rest or tied note ending on a beat
An accent is also pecceived on a note that follows a rest (Example 1) ot a tied note
(Example 2) that ends on a beat. The syncopated notes ate indicated with an astetisk (*).
EXAMPLE 1 EXAMPLE 2
I~ li li
* •
1Note to instructors: The rhychm patterns are found in Secrion 7 .3.
2Don Michael Randel, ed., The New Harvard Dictionary o/ Music (Cambridge, MA: The Belknap Press
of Harvard U niversity Press, 1986), 827.
49
0 Perform each example shown.

• For examples see Chaprer 3, exercises 1, 2, 3, 4, and 5.
AGOGIC AccENT
An agogic accent (or durational accent) is when a weak beat extends over a strong beat.
l
,
• Sing "My Lord, What a Morning" while rapping the beat or conducting. An asterisk (*)
indicares the agogic accent.
~ Ü@ e •
*
j
* *
j .. *
1
J J J J 1 1 •
1
J 1
J J
1
My Lord, what a mom ing. My Lord, what a mom - ing.
• For examples see Chapter 4, exercises 4 and 15.

Accent on an unstressed beat division
J-~
Part 1
l
Part II !I
0 Perform each measure of syncopation in Part 1.
J
• Divide rhe class into two groups. One group should rap and chant the division of the
beat, as indicated in the firsr measure of Part I, while the other group taps the division
of rhe beat, accenting the first in each group as indicated in Part II. Feel, see, and hear
rhe unexpected accent on the upbeat. Exchange tasks. Repeat using the division of the
l
beat indicated in rhe second and then in rhe third measure.
• Sing "I Gave My Lave a Cherry" while tapping or conducting the beat.
* *
e i1I J l fi pJ J1 J J J1 li B A pr D1r r J.
Rhythm Motives
• Sing the round "I Gota Letter" (Exarnple 1) and the spiritual "Nobody Knows the Trou-
ble I've Seen" (Exarnple 2) while rapping the bear or conducting. Analyze the rhythmic
motives and !acate the syncopated notes. Norice that the point of syncopation occurs on
J
the beat division and is not articulared through conducting and/or rapping the beat.
EXAMPLE 1
;>: i D r D E
~
J r il!
1
r 1 !!
li
I got a let - ter this mom .'

1Il' * o yes,
9: D • 1
D (
~
j 1
il!
1 r .r 1 !!
1 :1
li
I got a let - ter this mom - '
1Il' * o yes.
CHAPTER 7. SYNCOPATION, QUARTER NOTE= BEAT UNIT · 51
EXAMPLE 2
No-bod - y knows the trou-ble I've seen, No-bod - y knows but Je - sus.
li
No-bod - y knows the trou-ble I've seen, Glo - ry Hal - le - Ju - jah!
1 i )l J )l J J li J J )l J )l li j )l J )l li )l J J) j
Al. A2. A3. A4.
AS. A6. A7. AS.
A9. AIO. Ali. Al2.
1 t Ji J Ji n n n n Ji J
11 h Ji J Ji t
11 n nt 11 Ji J h 11
A13. A14. AlS. A16.
1 ~ J )l J )l li )l J )l J li )l J )l o o li )l J )l li
A17. A18. A19. A20.
A21. A22. A23. A24.
1 ~ )l J )l )l '! li )l J )l '! )l li )l '! )l J )l li '!

)l )l J )l li
A25. A26. A27. A28.
:i )l J )l J. h J. )l )l J h )l J )l t' h
11 11 11 t' )l )l J h 11
A29. A30. A31. A32.

1
52 · PART 1. RHYTHMIC READING
1
(Continued)
1i J Ji J Ji J 1 t Ji J Ji J 1 n Ji J Ji n 1 t Ji J Ji n 1
1
A33. A34. A35. A36.

1
1
A37. A38. A39. A40.
7.4. Exercises
0 Perform these exercises as a canon, retrograde canon, or as a two-, three-, or four-part
ensemble.
0 These exercises can be used to practice dictation skills.
Moderato
1. li n n nvn 1n.vn Jii Jl10 n Jii Ji:Jid )lJ J :li

1
1Ji J Ji n n 1n n Ji d Ji 1J J Ji J Ji 1Ji i Ji j 11 ]
J
1. 2.
1J J Ji J Ji 1n J t J :11 Ji J Ji n n 1j t J 1n n Ji J Ji 1
1n J t J 1J J Ji J Ji 1n J t J 1J n Ji J Ji 1Ji J Ji j 11
1
4· J. JiJ J 1Jii JiJ n 1J J Jii Ji1n J t n 1JiJ JiJ. Ji1

li 1ef' cresc.
1~ J )l )l J Jl 1J t f J Jl 1)l i )l j :~ )l J J 1J t )l J Jl 1
:n J J. Ji1 J J t n 1J J J. Ji1 JiJ Jin n :J n Jii Ji1PPJ J j 11

decresc.
CHAPTER 7. SYNCOPATION, QUARTER NOTE= BEAT UNIT 53
Adagio
s. 1~ J ; ~ n 1J Ji J Jl 1n n ~ =t J ~ J 1Ji J Ji n 1n J J 1
1Ji J Ji ~=tn j 1J ;_n 1Ji J Ji J 1n n n~
+n n J 1J ;_n 1J J n=tn n J 1J· 11

Moderato
6• li fJiJ Ji1n n 1J J 1j 1Jp Ji1n n 1J ~ 1JiJ Ji1n

f
n1
1J ~ 1pJi J Ji 1n J=tJ ~ 1Jf Ji 1Ji J Ji 1n J 1j 11
Allegro
1· 1~ Ji 1J Ji i Ji 1J Ji n 1Ji i Ji n 1fj
mp cresc,
'! Ji 1J h
decresc.
n 1
1Ji J Ji n 1jmp 'f Ji 1Ji
PP
J Ji n 1.J 'f
mp>
Ji :J Ji J Ji 1
J J_n 1n fJ
1cresc. 'f Ji 1J J O=tn J n 1j 'f
11
s. :~;, 1Ji i Ji n 1Ji 'f Ji J Ji 1J n Ji 'f 1J Ji J 1n n J=1

+J .ti J Ji ~ 'f Ji 1Ji i Ji J=t n .tiaccel.i .ti 1Ji 'I Ji J Ji 1Ji J Ji J t1 'f 11
Moderato
9· 1t ; 1J Ji J J 1n J J 'f Ji 1Ji J Ji J J 1n J J 'f ~1 J n Ji J Ji 1

1J 'f JiJiJ Ji1n J J 'f ~1n n JiJ Ji1J ~ }l Ji1n Ji'I JiJ Ji1
1n n JiJ Ji1n J J 'f mpJi1J JiJiJ Ji1n J J 'f fJi: JiJ JiJiJ Ji: n J J 'f 11
l
54 · · • PARTI. RHYTHMIC READING
1
Allegro
lO. 1i P)l 1J) i )l J 'I Jl 1)l 'I )l 'I )l i Jl 1J

PP
'I )l J Jl 1)l 'I )l 'I J
mf
'I
f
Jl 1 1
1Ji i li J 'I Ji 1J Ji i Ji n 1Ji 'I Ji 'I Ji i Ji 1Ji 'I Ji 'I J

pp accel.
'I 1 1
11· n
1t 'I flimarcato 1 J J Ji J Ji 1i i i n 1Ji i Ji i i 1 1
1J '1Jin1j JiJ Ji1J '1Jin1j JiJ Ji1J '1Jin1 1
·~ ~ f
1Ji i Ji n J 1i i i n 1Ji J Ji n n 1i i 1 J
1
12·1tJl1J J JiJ Ji1nJ J '1Ji1!J Jin1JiJ Jin1
l
1t Jl J Jl 1D J=4!·Jl i Jl J==t.O Jl i Jl 1
J
1t J Ji J 'I Ji 1! Ji J Ji n 1t Ji J Ji J Ji 1! j 'I 11 ]
j=84
13• 1i 'I )l 1)l 'I )l 'I )l J Jl 1J ~ )l J Jl 1! j 'I Jl1JlJ )l'I Jl1
lt)l J )l l!J )l .o lt)l J )l 1! 'I )l J li _J
CHAPTER 7. SYNCOPATION, QUARTER NOTE= BEAT UNIT · 55
Two-Part Exercises
Allegro
14• 1! )l 1J J o 1 J )l J 1' 1 o J J 1j '1 1' 1

D D r Dr r· r U U Dr DU
11' J 1' J 1j '1 1' 1J J 0 1j '1 11
r· D r D LJ LJ U r 1
D r D '1
Moderato
15• 1f J. 1' ,J 1' n J J. 1' ,J

11' J 11' J 1' ,J 1
ur prpr r uur prpr r u 1
1''1 1''1 1'J 1' n n 1''1 1''1 11'J 1'1''1 1''1 1''1 JlJ J21''1 1
1
Dr DU U '1 D '1 D Dr D U U Dr D1U r r U
1 1 1
1J. 1' J J n n 1' J 1' 1J. 1' J J n 1' J J2 J 11

1 1
U r Dr D r· Dr r U r Dr D r r r
[! ~I~~ ~~~; ~;1~~ ~~~/ ~1~;~;~~ ~~1~; ~;~ :~I

17
[~ ~ ~ ~ ~ ~ ~ J ~ ~ : ~ i~ ~ ~ ~ ~ ; ~ ; ~ ~ ~ ~
1 1 ' : li
l
Chapter 8
Simple Meter
~arter Note= Beat Unit;
Subdivided Beats
~-:!.:~~-~~!~~.~~~~~<?E~-~.~~!1~···· ···~·~··· ·····~········~········· ······~··········

Beat Division and Subdivision
ln simple meter, the beat division (down-up motion) itself can be subdivided into two equal
parts.
Beat Divided Beat Subdivided Beat
J J J J j j j
J,. J,. t J,. t
Takadimi Syllables ta ta di ta ka di mi
0
Tap the beat, chanting the beat on rhythm syllables, then switch to the divided beat,
and finally to the subdivided beat. Feel, see, and hear that there is one sound on the
beat, two sounds (one on the downbeat and one on the upbeat) in the divided beat, and
four sounds (two on the down motion and two on the up motion) in the subdivided
beat.
• Divide the class into two groups. One group taps the beat and chants the beat division
while the other group taps the beat and chants the beat subdivision. Exchange tasks.

priate metric motion (tap-touch).'
,1
Rhythm
Rhythms may be organized into patterns or motives.
• Perform the following rhythm patterns containing beat division and beat subdivision
using rhythm syllables. Treat each pattern as its own entity rather than reading note-to-
note.
1. ~
J,.
JJJ
t
2. n
J,.
J
t
3. J
J,.
n
t
5. J.
J,.
1Note to instructors: The rhythm patterns are found in Section 8.3.
56
CHAPTER 8. SUBDIVIDED BEATS, QUARTER NOTE • BEAT UNIT 57
• Portions of songs are presented that include beat division and beat subdivision. Analyze
the rhythm patterns and then sing each of the songs while (a) tapping the beat, (b) tap-
ping the beat division, (e) tapping the beat subdivision, and/or conducting. Feel, hear,
and see the divided and subdivided beats. Other suggested songs: "Clementine,"
"Working on the Railroad," "This Old Man," "Blue-Tail Fly," "Cedar Swamp,"
"Drunken Sailor," "How Many Miles to Babylon?," and "Shoo, Fly."
1. Paw Paw Patch
t# t J j J Where, oh, where

J
'
is
bj r~
d o
pre- ty lit - tle Su - sie,
1
m
Where, oh, where
A
is
J J •--i j •F
pret-ty lit - tle Su - sie?
J
t# J j J j
Where, oh, where is
bj r~
d
pret-ty lit - tle Su - sie,

o 1 rf
Way down yon-der in the paw
Jj --i
• JJ j
paw patch.
J li
2. Skip to My Lou
tk i J JJJJJ 1
n r 1 J j • J5j '
1 J j r
Fly's in the but- ter-milk, Shoo fly shoo, Fly's in the but- ter-milk, Shoo fly shoo,
tk J JJJJJ 1
o r 1 J J5 r j - 1 J
'
J
Fly's in the but - ter- milk, Shoo fly shoo, Skip to my Lou my dar ling.
3. Battle Hymn ofthe Republic
t kbi,k 1 J J.
Mine
1
eyes
j J.
have seen
j J.
the glo
J J7J EJ lJ J J. j
ry of the
1
com - ing of the Lord, He is

1
t kbf,k J.
trarn
j J.•
- ling out
j ••
=E
the vin
j f.
tage where
]
the
1
J.
grapes
j r .~
of wrath
j J
are stored;
Rhyrhms may also be organized inro cross-rhyrhms where rwo or three differenr beat divisions
occur simultaneously.
• Divide rhe class into three groups. The firsr group taps the beat and chants the divided
beat-beat divided into two (duplet); the second group taps the beat and chants the bor-
rowed divided beat-beat divided inro three (triplet); and the third group taps the beat
and chants the subdivided beat-beat divided into four (quadruplet). Feel, see, and hear
that there are two sounds anda down-up motion on rhe beat for the divided beat, three
sounds and a circular motion on a beat for the borrowed beat division, and four sounds
and a down-up motion on the beat for the subdivided beat. Exchange tasks.
58 PART 1. RHYTHMIC READING ·· ·
Tracks A 8.3. Rhythm Patterns

22-24 V ··~·=·~~~~-··~·.-~.---·····~~·-··-·~-····-·~·~-···-··~~"~····-·---·~~-·~-~=·~··-~-.---···-····-·~~ ..
li JmJ JmJ 11J JmJ lm11J JmlmJ 11.Jm.fffl.ffflJ li
AI. A2. A3. A4.
AS. A6. A7. AS.
A9. AIO. Ali. A12.
Al3. Al4. AIS. Al6.

1
A17. AIS. Al9. A20. 1
j
A21. A22. A23. A24.
A2S. A26. A27. A28.
A29, A30. A31. A32.
A33. A34. A3S. A36.
A37. A38. A39. A40.

CHAPTER 8. SUBDIVIDED BEATS, QUARTER NOTE = BEAT UNIT 59
8.4. Exercises
• Maintain a steady pulse and use rhythm syllables.
" Remember to perform these exercises as a canon, retrograde canon, or as a two-, three-,
or four-part ensemble.
e ~emember to practice your dictation skills.
l. 1tJ JjjjJ Jjjj1J J J J 1JjjjJ JjjjJ 1J J J J 1

1J J J j j j J j j j 1J J j j j J J 1tm J j j j J J 1tm J J J li
Adagio
2. J J 1J n Im 1J Imn 1ImJ
1 ~ mp t 1J n 1J Imim 1
1n tmn 1Jjjjn t 1J Jjjj 1J J Jjjj 1n mim 1
1J J j j J t 1J J 1J n J j j j 1J j j j n J j j j 1J .J 1
Allegro ·
3.
1t ;(p) J J j j j J 1J t JjjjJ 1JjjjJ t Jjjj1J J J
1. 2.
1J J j j j J J 1JjJjt J j j j t 1J J j j j J t :li J j j j J J
11 t
mf
nt 11 t Jjjjt :i nt Jjjj1J t n jjjj1
11 t mn 1Imt n m1n i t Im1n Imi i 11
Andante
mp
1J t J
f
1J J2n 1n JjjjJ 1J
poco a poco rit.
1
Allegretto
s. 1t J n J. J) 1J t Jj j j t 1J Jj j j J. J) 1J t Jj j j t
1J. J)JjJjJ=tn t Jjjjt 1J J~n Jjjj1Jjjjt nt
1J JJ j j J. J) 1JJ j j t J t 1J n J. J) 1Jj j j t n J 11
1
J=to4
6• I~ mp
J)'I JWJ lj 7 J)IJ)'I JmJ)'I lj 'I J)IJ) 7 J)'I Jm1D J 'I J)I 1
in tmn iJjjjJ)'I J)'I IJ)'I J Jjjj1n J J=tJ '! J)n 1 1
1Im J 'I J) 1J) 'I J) 'I n 1Im J 'I J) 1lffl n lffl 1n J) 'I J) '! 11 1
J=t20 l
1· 1i J) 1J) 'I 'I J) 1J J j j J j j j 1n J j j j 11: J 'I J) 1 J
n n
1. 2.
1J) 'I J j j j 1J j j j 1J) 'I 'I J) 1 J j j j :11 n J) 11 j

Andante
s. itJ J
legato
mJ 1n Jjjjj 1J n m JjJj 1tn n j
1
__ I
1J Jjjjn J 1Jjjjn Jjjjn 1J m J m 1n J j
n m Jjjj 1JTI n
1
1J JjjjJTI J 1m Jjjjj 1J j
1
1J mtmm nmnm J nimm:nJ j 11

1 1
1
- - - - - --------
J=96
9· 1~ J !TI !TI 1j
marca to
J J J J 1J J J J J J J J J 1j .õl 1
1JJJJru m :J t m 1JJJJru n 1m n J
1J ru J J J J 1j J J J J 1J J J J J m 1j J JJ
1J J J J n m 1J t m 1J J J J m m 1J J J J n J 1
Moderato
1n JJ J J 1J t 1fJ JJ J J 1J n
decresc.
.rn 1J J J J rn 1J mp
J 11
Andante
11· lt~f J rnJ 1n JJJJj 1J n rTIJ 1JJJJn J t
1
Imrnn rn rnJ t Im rnn rnim rnrnJ t 1 1 1
1
1J J JJJrn J 1rn JJJJ j 1J n rn J J JJ1rn n

poco a poco rit.
j 1
J=96
12• 1~.b
P
1J .arn1n J '! .b1n TnJJJJ1n
PP
J '!
P
.b1
1J tJJ n 1
n J nJJJJ 1n J '! ~ 1J J nJ n 1
1n nn n i=;::::=i:::=; (.\
J '! .b 1J fJ J J J J 1J
p
1J J J J J '! 11
1

l
Allegro
13· 1t n 11 m Jn 11 rnJ rn1roJ ~ n 1

m 1roJ ~
1
1rnm Imm :rnJ ~ n 1m rnimrn1m l l li

Moderato
14. 11 J J n 1J~H J 1J D 1.D J inn 1.D J 1
1J
1 jJjjj1J
1 jJ 1
1J J. j 1
1J nJ 1
1J J. j 1h
1 JJ 1
11 1
J=to4 1
1s. lt J D J D 1n J j 1J J D D 1J D j
mJ' 1
1J nnJ 1nJ j 1n n J:JJjjj 1D n j l

1J n n n J n j 11
n 1
nnJjjj 1n Oj 11
poco a poco accel.
1
1
Adagio
1
16. 1~ J nJ 1nJmJ 1J nJ 1nm J 1J J n:J '! .tin 1
1n n n 1J
1
'! .tin 1J nJ 1nrnJ 1J nrn 1

J
1tn nJ 1J nn 1J .tin n nn tn rnJ '!
1 1 11
J=96
17. 1
1t J J Jj j j n 1
J Jj j j j 1§ J. n Jj j j 1n n J 1
11 J J j j j 1J. j J 1§ J. n J j :J j J J J 11
Two-Part Exercises
Andante
1s. 1 ~ Jm 1J n Jm Jmn Jm 1J nm 1J~u r.tm 1

u ~u r r 1
~r ~u r
1° n ° 1J J .J J J J1J n .J J JJ1d 11
rrrrr rrrr u u rrrrru rrrrrr
19. lf J. JiJmn 1J rnt rnt 1.Frnt .a'I J 1
1 J d
~u r r ~u r r t ru t ru t 66Cf '1 rrr
1J nJ n1JWJ .!mJ 1J. JiJmn 1J J d 11
@r @r r ur u ~U r r 6W'U r r
Allegro
m. I: ~ J ; ; ~ l ; i I ;J ;J
= l 1~ l ; ; ~ l ; i 1~ r: 1
1 ~ ll ~ l ; ; ~ l Jl ; ll :
1 1; l ll ~ l ; 1 ~l;l; li
J=88
'1. J:~1:~~~l~~~~j~h~~h~l~J m;nl

[~~~ ~I~ nh~~ nh~j~~~~I~ h~~ hll
Chapter 9
More Terms and Symbols

l
2:.!,;,ê2'.~~~!i!:,,~~.~?~~,~~~~~!:!:2~~E~~r~~i,:~:,~,it:~.~~~~~·········'"~"""'''~
Performance Instructions: Effective musical communication requires an in-depth knowledge of
the meaning of musical terms and symbols and the ability to apply them.
Tempo
The speed of the beat is the tempo,
Additional tempo markings:
Additional Tempo Terms

VerySlow Very Fast
Largo Lento Vivace Presto
• Very slow • Slow • Lively • Very quick
. Tempo Marking Spectrum

Very Slow Slow Moderate Fast Very Fast
Largo Adagio Moderato A!legro Presto
Lento Andante A!legretto Vivace
1
• Sing a major scale or a familiar song using each of the tempo markings presented.
The tempo can change either suddenly or gradually in music,
Gradual Changes in Tempo Other Terms for Tempo

ra/lentando (rali,) con moto
• to gradually decrease tempo • with motion
rubato meno mosso
• to make the tempo flexible by accelerating • less modon
or slowing down the tempo
Vivace
1. 1 t .ti J .ti n con moto

J 1!ffi nJJ rali.
1.b J
a tempo
!ffi n !ffi J
.ti .ti J .ti 1rali. 11 1
Largo
3 3
2· 1 f J.
rubato
.b J 1 J.
menomosso
.b J mmJ 11
64
1
CHAPTER 9. MORE TERMS AND SYMBOLS 65
Character Terms
Character terms are used to express a definite mood ar idea.
Character Terms
cantabile dolce maestoso con brio agitato
• in a singing style • sweetly • majestic • with spirit • agitated
Dynamics
Dynamics are the degrees of loudness or intensity in musical sound.
Other Dynamic Marks

sfz orsf iforzandfJ or sforzato a sudden, srrong, forced (often loud) accent
sfp sforzando-piano a sudden (often loud) accenr followed immediarely by sofr
IP forte piano loud, immediately soft
• Sing a major scale ora familiar song incorporating different dynamic leveis. See the
following example.
•~
• J J e
@ijll IF IJ JJ li
~ ~
li j 1 1.J
~
ifz .IP efp .IP efz
• Using rhythm syllables, chant the following rhythm patterns. Observe ali markings .
1. lf PPJ .b .b ifZJ .b 1J ~ .b J .b1J .b J j j j J=tJ .b J J2 J li

ifz f.f ifz
3 3 3 3
2. I~ pJ J JJJ lj J J J 1J J J J J J J rJ li
'.IP f p vP
Articulation
The act of attacking and releasing notes is called articulation.
Articulation
marcaro marcato srressed, marked, emphasized
legaro leg. smooth and connected style
staccaro stacr:. or J detached manner; opposire of legato; indicated by a dot
above or below the note head
accent > or- a sudden strong sttess; symbol is placed above or below
the note head
0
Sing a major scale using the indicated articulation.
*r #tt ~ marca top - I~..

1
Ji •=I 1J. •f1 J 1J Ji J 1J.9)
~:...__;__..--
lf7f 11
1
3 3
lJTI [TJ J::d)

3 3
1.
lf ~ ~arcafTI 1 mJ 11
l
2. 1
1
~j
marcato
.b j
>
.b 1j ~ ~ ~
1
o j lj .b J .b 1º o j
li
Terms Used with Other Terms
Used with Other Terms

subito poro meno mo/to pib
• suddenly • !ittle • less • much •more
Example: subito f Example: poco cresc. Example: meno rubato Example: mo/to rit. Example: pit~ lento
Technical Terms
Musical repeat devices are technical terms that are frequently encountered. -,
· Additional Devices for Musical Repeats
DaCapo D.C. • Italian, "from the head" Fini fine • Italian,"end" (FEE-nay)
• a repeat from the beginning • indicares where the composition
ends after a D.C. or D.S.
. Dai Segno D.S. • Italian, "from the sigo" Goda -$- - • Italian, "tail"
. Sign l!I • indicares a repeat from the sign • concluding portion of a

composition ·
1. Da capo ai fine
Fine
_j
1J .b~Jm1J J J J 1J .brnrn1J J J J 1J .bm m 1J J J J 1:
D.C. ai Fine
2. Dai segno ai fine

3 3 3 3 3 3
1~J mJ 1mmm 1J mm 1J
3
m1J
Fine D.S. ai Fine
1
CHAPTER 9. MORE TERMS AND SYMBOLS • 67
3. Da capo ai coda
I§ J .tia n n n 1J .tiim 1J •J mm n n n 1
1 1 1
1
J rnrn n n n •1 J nn nnn J nn 1.J. 11
1 1 1
D.C. al Goda
4. Dai segno ai coda

3 3 ~ 33 33 3 3 •
lf J mJ m1J J .J ·1J J mm mm.J mnmn nn.J :

1 1 1
n n J J .J n n J J .J mJ m J J .J
• 3 3
1J J 1 1J J 1 1J 1 11
D.S. al Goda
9.2. Exercises
• Remember to practice your dictation skills.
Vivace
1. le J J
mf
nn IJ
1J n J J 1.J
mf rali.
11
Maestoso
Lento
3· le J .DJ ~ .b1DJ LJJ 1Jmn J ~~:li~ ~ J

ma reato
n1
68 · PART L RHYTHMIC READING
l
Adagio
4• 1!.ti 1~i==;=j=;:=::;Jjn Jjjj1i i , .ti1Jjjjn J 1j 7 .b 1 1
f p ~ ff
1J nn Jjjj 1J J , .ti 1m n JjJj 1j 7 li

Presto
S. I! f lí]mo[D D I~ ~ 7 ; 1P I?ocof]J I~ J }Tem: 1

li J j j D fn 1~ ~ , .b li j j j D J H 1~ ~ ' 11 1
PP ff
Adagio rubato
~
n
1
6• 1eJ J J .b1.bJ )lj 1J

J .b1J .b.bJ .b1
~ -===== 7
p ]
1n J J jJ
Fine
11.PPb J .ti J J j 1n J J J j 1J j , .ti 1
D.S. ai Fine
1
Cantabile J = 88 ,
7.
1! J n n 1J .ti n 1J j j j n J 1J .b J 1 -1
]
(.'\
1J m n 1J m J J j j 1J m n 1J n n J . 1
molto rali. Fine
1
atempo
D.C. ai Fine
J
J=l04 -$-
8· J -ImJ Im1J .tiJ , .ti1Imn Imn 1J
1t p ~
~i , p.ti1
:.bJ .tiimn 1Imn
agitato
J , .ti1.bJ .tiimn :n n
mf
J ,
D. C. ai Goda
.ti11 1
jimt Jmt 1Imimn

p-
n 1J JmJ Im1J
~
~i i 1
j
J
-------------
CHAPTER 9. MORE TERMS AND SYMBOLS 69
Cantabile J = 120
3 3 l'S 3
9. I~ J )l J 1J J J J J J J 1J J J 1J t J J J 1
3 3 • 3
1J )l J 1J J J J J 1J )l J J J 1J J J J J 1
3 3
1J Ji n 1n J J J J 1J Ji n 1J J J J J 1
•
1Jconmoto )l J 1J J J J J J J 1J
3 3
)l J 1J J J j
molto rali.
3 (.'\
D.S. ai eoda
li
Andante rnbato 3 , 3 3 ,
lO. 1~ J )l J 1J J J J J 1J )l J 1J J J J J J J 1
3 3 -$: 3 3
1j J J J 1J J J J J 1J J J J J 1J J J j li
D.e. ai eoda
.3 3 3 , 3 3
J J J J J J 1J J J J J 1J
1Jmenomosso )l J J J 1J J J J J li
ll. 1
Moderato
~ c~bÍo n 1n
Ji Ji '! '! Ji 1n J Ji 1J J • 'f Ji 1
1 )l J Ji n 1J Ji J 1 .ti J
D.e. ai eoda
• Ji n 1n J· J 11
Allegro
l'S
12. 1~ dolce
J J. 1J J J J )l 1J J rJ
1
)l J J J 1
1J J J J J J 1J J li J J J J J J 1J )l )l J li
Fine D.S. a/Fine
Maestoso
1J JFine. li
li
D.C. ai Fine
70 PART !. RHYTHMIC READING ·
Vivace
.b m 1J .b J .b m 1J J m1
'
14• 1~ m 1J
marca to
J J .b 1J J
1. 12.
1J
legato
.bDJ J .b1m J .bm 1m m J .b:11J J 11
Allegretto
Two-Part Exercises
Allegretto
16· 1~ f '1 '1 ~· 1f ::J '1 J 1.ti '1 '1 '1 n 11 n .ti '1 '1 1
'1 u D ~ '1 u ~· r '1 r ~· r· ~ D
1. ~
1.ti
r·
'1
7
~
r D
li l7
u '1 .ti .ti
'1 '1
7
u
7
:Ili: 1' l
r· r
n 1ti '1
? ?
U
f
'1
? ?
U
11
D.C. ai Fine
Allegro
"·[:~I~ ~~~I~ ~~~i~~~I~~ ~··11 Fine
[~ ~ ~J ~I~ ~ ~J ~I~ ~~ ~ I~, ;~:·11 D.C. ai Fine

· CHAPTER 9. MORE TERMS AND SYMBOLS · 71
1 -
[f ~ ~~I~ ~~n 1:J h~~l~J ~~~J J

D.S. ai Fine
i
1
·'
Chapter 10
Simple Meter
~arter Note == Beat Unit;
More Rhythms with
Borrowed Beat Division
.~Q:~.;~-~!!~-~~~º-~~E~~2E.~-~-~iE~---~~·····----~-~-"----"' -~'"·-· ·-------~ .... l

• Divide the class into two groups. The first group taps the beat and chants the borrowed beat
(triplet); the second group taps the beat and chants the first rhythm pattern found in Section
10.2 that follows. Exchange tasks. Repeat using each of the patterns in Section 10.2.
each pattern while (a) quietly tapping the beat, (b) conducting, ar (e) using the appro-
priate metric motion (tap-touch). 1
10.2. Symbolic Association

CC.:<.>--0=,,__,,,=···"'"-"'-"'-~~'"-""";'°'"'"''-'""=·=='"''°'"''°""°·"°·""-'-"'·""·'·"·~"°''°"°'~~~-''='·"''"==,-.·,~c-"-'""°"''"''''"-""'"'""-=~:.~-·:·· ;.,,-,;::"°:..:.:_~.·-·;:.,,.-c=c ''-'-'-'·"'~""'"-"~"'~"-'''-""'~"""''':•.-=::=..
• Divide the class into two groups. The first group taps the beat and chants the borrowed
beat (triplet); the second group taps the beat and reads (chant using rhythm syllables)
the first of the seven patterns listed. Exchange tasks. Repeat until ali seven patterns
have been read and chanted by each group.
Triplet Notes and Rests

3 3 3
n
3 3
1. J__ J J J
ta ki da
2. 'I
.J, ki da
3. n
ta ki
'I 4. •
ta
1
'I
da
5. 'I
.J,
'I
da
Tied Triplets and Quarter/Eighth Triplet Combinations

3 3 3 3
1. J'-'J J
ta da
= J )l
ta da
2. J J__,J
ta-ki -
= )l J
ta ki
1Note to instructors: The rhythm patterns are found in Secdon 10.3.
72
CHAPTER 10. MORE RHYTHMS WITH BORROWED BEAT DIVISION 73
3 3 3 3 3
li J~m J J li J J~mJ li J J J~m J~m J~m 1 11
Al. A2. A3. A4.
,---3---, ,--- 3---, ,---3---, ,---3---,
1i J 'I
A5.
n J J li J J 'I n J li J J J 'I n 1 'I n J J
A6. A7. AS.
J li
r--3---, r-3---, 3 r--3---, r-3---, r-3-,
I§ 'I
A9.
n n n '1nnm n n n '1nn'In 11
AIO.
11
All.
'I
11
A12.
11
r - 3---, r - 3---, r-- 3---, r - 3---,
1t J
A13.
n 'I J J J J 11
A14.
n 'I J J J J11
A15.
n 'I 1 n A16.
'I JJ J 1
r-3---, 3 r-3-, r-3-, r-3-, r-31 r-3-, r-3---, r--3---,
n 'I m n n 'I n n n 'I n n

1§A17. 'I
11
AIS.
'I
11
A19.
'I 'I
1A20. nn n 'I
1
A21. A22. A23. A24.
3 3 3 3 3 ,---3---, 3 ,---3---, 3 ,---3---, 3 ,---3---,
1§ I7J
A25.
mo 11m I7J n 110n'Io11n o n 1
A26.
'I
A27. A2S.
'I 'I
r - 3---, r - 3---, r - 3---, r - 3---,
1i J 'I 'I )2 J J li J J 'I 'I )2 J li J J J 'I 'I h1 'I 'I )2 J J J li

A29. A30. A31. A32.
A33. A34. A35. A36.
A37. A3S. A39. A40.

1
74 · PART !. RHYTHMIC READING
l
10.4. Exercises
1
• Maintain a steady pulse and use rhythm syllables.
0
Remember to practice your dictation skills ..
0
These exercises can be performed as a canon, retrograde canon, oras a two-, three-, or 1
four-part ensemble.
Lento 3 3 3 3 3 3
1. itJ~mJ J 1mmJ J=1mJ J m:J~mj

3 3 3 3 3 3
1J J~mJ 1J J~mm:J J~mJ 1mmj 11

Con brio
3 3 3
2• 1~ J_J J J J 1J ~ J=tJ J J J=J J J 1J ~ J-=1 l

3 3 3 3 3 -$-
f J J J J J J J 1J ~ J=tJ J J J J J J J J 1J ~ J 1 l
3 3 r - 3---, 3 r - 3---, r - 3----,
1J J J J J=tJ J J J 1J J J '! '! n n J 1J '! n J J

r - 3-----i 3 r - 3-----i r - 3-----i
1j '! o 1J_J J J '! o 1j '! o 1J D.C. ai Goda

li ]
-$- 3 ,---- 3----, 3 ,---- 3----, -. ·1
lj J==tJ J J J '! O 1J_J J J '! O 1J

3 3 , - -3----, 3 ,--- 3----, 3
1j_J J J 1J J J J '! n 1J J J '! n J J J 1J 11

Cantabile
3 3 3 3 3
3. itJ~mn n 1 mJ~mJ iJ~mn J=rmn J '! Ji

3 3 r-3---, 3 r--3---,
1
1
iJ~m n n 4m n J n 1J~m n n 1j j FiJI '! '!
1
3 3 3 3 3
1
J J~m J=1m n n m iJ~m J J=1m n j
r--3---, 3 r---3---, 3 r---3--,
1J J n n iJ~m J n iJ~m n n 1j j Fine1

'! '! '!
D.C. ai
-------
CHAPTER 10. MORE RHYTHMS WITH BORROWED BEAT DIVJSION 75
Allegro
3 r-3---, 3 r-3--, r-3---, r-3---, 3 r--3--i
4. 1i J J m n '! 1J m n '! J 1n '! J n '! J=rm n "1 j .

~ r-31 r--3---, 3 r-3---, 3 r-3----i r-3---, -$-
:~ n'!J n'! 1J mn'!J J J mn'! 1J n'!j 1 1
Vivace ,---- 3 -----, 3 3 ,---- 3 -----, !/S 3
s. 1! J n '! J J J 1J · J J J n '! 1J ~ J J J 1J 1
r - 3---, 3 r - 3-----, 3 r - 3---, r - 3-----,
1 J n '! J=tJ J J n '! J=tJ J J n '! n '! 1J J J Fine11

r - 3---, r-- 3---, r-- 3---, 3 r-- 3---, r - 3----,
iJ ~ n '! iJ ~ n '! in '! J J J '! n lj '! n 1

r-- 3----, r-- 3---, r-- 3---, 3 r-- 3---,
1J ~ n '! 1J ~ n '! 1'I n J J J n '! 1J J J 1 D.S. ai Fine
Largo 3 3 3 3 A
6· 1t J o J n :J o j 1J J o o 1J n j i
3 3 3
1n n J Q 1J J Q J 1n n J n 1J Q J J 1
o o o
3 3 3 3
1J n J 10 j 1J n J 1n n j
D.C. a/Coda
1
ilt 3 3 3 3 3
1nnJ 01J noJ 100J n:J onJ 11

l
76 · PARTI. RHYTHMIC READING
l
Con brio
r - 3 ---, r-31 3 3 r-3---,
1· 1t J n '! J '! n 1J r;J J 1J J r;J J 1'I n J n J 1
1
r-31 3 r-3---, 3 r-3---,
1J '! n J r;J 1J n '! J 1J J r;J J 1n J '! n J 11

3 ,---3--., 3 ,--- 3--.,
s.1~J nJ 1JJJJ 'l'l.b1J JJJn1J 'l'l.b1

~ 3 ,---3--., 3 3
1J n J J J 1n J '! '! .b 1J J J J J 1J J J J . 11 Fine

,---- 3-----, ,---- 3-----, 3 3 ,---- 3 -----,
lj '! '! .b1J ~ 'l'l.b1JJJnJJJ1J 'l'l.b1 1

,---3--., 3 3 ,--- 3 -----,
1J 'l'l.bJJJ1J ~ '! .b 1n J J J n l7 '! .b J 1

D.S. ai Fine
1
J=96 1
r-3--, 3 r-3-, 3 r-3-, 3 r-3---, 3
rn J .bJ
131
9· 1t '! '! .b1J 1J .bm J .bJ=tm J '! 'l .b1J J m J=j

1
3 r-3---, r-3---, 3 r-3--, r-3---, r-3--, 3 3
4m J .bJ .bJ=tm J J '! '! .b1J J .bJ J .b1m m J 11 1
Cantabile 1
r--3----, 131 3 r-3-, 3 r--3-----, 13-, 131 .1
1 º· 1i '! '! .b 1J .b J 1J J J .b J 1m J 1J '! '! .b :.b J .b J

3 131 131 r-3----, 3 3 r-3-, 3
1J rn 1.b J .b J 1J '! '! .b 1m m 1J .b J :J m :J 11

J
J=88
,----3----, ,---3---, ,--3-, 3 ,----3-, 3 ,-3----,
ll. 1i '! 'f .b 1J .b .b J 1J J J J 1J .b J J J rJ 1

'! '! .b 1
,----3-, ,---- 3----, 3 ,----3-, 3
1.b J J .b 1J J J J 1.b J J J J 1J 11
· CHAPTER 10. MORE RHYTHMS WITH BORROWED BEAT DIVISION 77
Moderato
3 3 3 3
12·1~J 1J'IJJ J'IJ1j J 1J '/ J n J '/ J 1j J

r-3--, r-3--, 3 r-3--, 3 ,-3-, 3 ,-3-,
1JlJ JlJ J==tJJJJlJ J=={J ~ .rn 1)l J J '/ J )l J

3 ,--3--, ,-3---,
J J J 1)l J J )l J 1J Fiji
r - 3---, r - 3---,
J 1J )l [ ] J )l 1j J li
D.S. ai Fine
3 3 3 ,---- 3 -..., 3 3 ,---- 3 -...,
13. 1t J J o o 1J J ~ m 1~ J n '/ m 1J m n '/ 1

3 r-3---, 3 r-3---, 3 r-3-, r-3---,
11 J_mJ 'ln 1J_mJ 'ln 1 ~J mJ Ji 1J Jlj

,--3--, ,--3--, 3 3 3 3
1;JlJ JlJ 1J JJJ1~J ~ JJJ1J'IJJ J'IJI

3 3 r-3--, r-3---, 3 3
m m
131
1t J J 1Jl J J Ji Ji J J J J 1i J .rn 1j 11
Two-Part Exercises
3 3 3 ,-3--, ,--3--,
14.
1~ rm 1Jwwr 1wrt rm 1Jwr'! n·wwwr
J~m J J 1J J '! '! Jl 1
3 3 3 3 3 3 3
r---3--, r-3--, r-3---, r-3---, 3
1J2 J )l J J 1J J h J h 1J J J J J l,J li
r r r r rr r r r r pr r p rr r
3 3 L3_J L3_J
1

1
J=SS
r- 3-----, r- 3----, r- 3-----, r 3-,
Ji JlJ 1Jl 'I J m I

3
16. I~ "/ "/ Ji1J. )l "I "/ Ji Ji "I )l "1 "/ "/ Ji J.
r 1
WUW"ID"IDWWUW '1Dr "/"/D
1 1 1
3 3 3 3 3 L_ 3_J
3 3 3 3 3
1
1 JTI n JTI "I Ji "/ Ji J J J rn
1 1 n JTI "I Ji J 1 11
r· D "/ "/ D D '1 D "/ "/ "/ D r

L__3__J L_3__J
D Dr D "/ r
L3_! 1
l7.[:~ ~ ~ l~'J ~-~ri;~~ l~'J J ~: 1 1 1

]
1
[~:1~,J ~ 1~ ~-ôri; ~'] ~ 1% ~ J li
J=76
l&[:~i11~~~,1b~~~,1~j l~f ~,1~] I~ 1~ 11

: 1
1
[ri;~ D~JrlJ~ D~ 1i ~D~ I~ :li

--- ---
Chapter 11
Simple Meter
1 Q!arter Note = Beat Unit;
More Rhythms with Syncopations
""==.,·=='-~"'"'""-"'°"°"'º'~:--=='°'-º"'==··=c=--~"'"'=<:=..:..=='~-,,~··oo><""-"..,,.-_.,=.,.,=:...=>-=,,.,==o.•,,""""'"""~·~"''"·"°-=--"""~"-="""'"·"'"='-'="-"'>'~'"'·''"'""o...'"-'""-"-'

• Divide the class into two gtoups. The first group taps the beat and chants a divided-beat syn-
copation pattern; the second group taps the beat and chants the first rhythrn pattern found in
Section 11.2 that follows. Exchange tasks. Repeat using each of the patterns in Section 11.2.
each partem while (a) quietly tapping the beat, (b) conducting, or (e) using the appro-

»~==~"'""=·"''"'""'~~,,,,,-,o;;.c~""'-"'"".:.".=--"==•<=~""~-=-.-:-co="-"""'-'"=··''°''""'==<"'""~"'"'~==::-""'"""~"'''""'·"=~"-=~-·=~•'-"·"-""'"""'-=·'"'"'-::::=-_,.._.,,,~,,,.,_._-":"='"-'~
• Divide the class into two groups. The first group taps the beat and chants the divided
beat (micro); the second group taps the beat and reads (chant using rhythm syllables)
the first pattern listed that follows. Exchange tasks. Repeat until ali eight patterns have
been read and chanted by each group.
Single Syncopation
Ll)l J )l 5. l )l j
ta di di ta di
Tied Syncopation
2. l '! 6. ~ J_)l J
t di di ta t di di
Two Syncopations in Succession

'! 7. ~ )l J J )l
ta di j ta df di di
Three Syncopations in Succession

)l 8. i )l J
ta t - di ta di di di di
1Note to instructors: The rhythm patterns are found in Section 11.3.
79
1

1
1
lf j j_)l j )l :1j º~)l j li 11J_)l j )l 11J )l~)l j li 1

AI. A2. A3. A4.
1
1f j '! j )l j 1 'I j )l j j li j j '! j )l li t '! j )l t li

AS. A6. A?. AS.
1t j n li j '! 1 n j li j '! 1 li j '! n j 11 j li j '! j 1

A9. AIO. AI!. A12.
A13. A14. AIS. A16.
n
1
1~ j '! j li 1 'I j li j 11 li j '! 11 j li j '! 1

AI?. AIS. A19. A20.
1~
A21.
)l '! '! )l n li
A22.
j )l '! '! )l li f )l 'I '! )l 'I j li 1 e )l j '! )l 'I '! li 1
A23. A24.
I~ li J j li j )l J 11tn
j )l J li j )l J j
li
1
A2S. A26. A27. A28.
lf )l J J li 11J )l )l J li )l J t· )l li t· )l )l J li 1
A29. A30. A31. A32.
1f j )l j j li 11 )l j j )l j li )l '! '! j )l j li )l j '! '! )l j li

A33. A34. A35. A36.
1
lf )l j j j li 11 )l '! '! j j li 11 )l j '! '! j li 11 )l j j '! '! li 11

A37. A38. A39. A40.
CHAPTER 11. MORE RHYTHMS WITH SYNCOPATIONS ' 81
11.4. Exercises
0 Remember to practice your dictation skills.
" These exercises can be performed as a canon, retrograde canon, or as a two-, three-, or
four-part ensemble.
Andante
. 1. 1e J J J) J J) 1 n J_J) J J) 1n n J) l J) 1J) l J) J ~ 1
11: J_J) J .b n 1n .b d .b J 1J J .b l .b 1.b d .b .J :11
2· 1t .b l .b J J=t.b i .b n J 1.b i .b n n 1J j ~ 1
1J J_.bJ .b1n J_.bJ .b1n n .bl .b1n J j 11
3· 1t J. .b n n 1J '! d .b J 1J .b n n 1'! d .b j
1J J .b l .b 1 n J ~ J 1J n .b l .b 1J n .J Fine
11
1J .b ~ J .b 1J ~ '! d .b 1n J J n 1J ~ '! J .b 1
1J .b ~ J .b 1'I J .b n J 1J .b ~ J .b 1'I J .b j
D.C. ai Fine
1:
l 1. 1 2.
4• 1~J 'l.b'l.b1.bJ 'ln1J~.bi .b1j ~ :11J ~ J 1J .bJ '11
~
1J '! .b '! .b=f .b l .b J 1j ~ 1.b l .b .b '! 1J ~ J 1.b l '! .b '! 1
~
1J ~ J=f.bl '! n 1J ~ J=f.bi '! .b'f 1j ~ 11J .b'f .b1J~i2J
D.C. ai Cada
'! 1
82 ·· ·· PART !. RHYTHMIC READING ··
Allegro
1. 2.
s. 1i )l 7 )l 7 1)l i )l 1)li 7 1)l 7 )l 7 1)l i )l :il 7 J )l 1

1J 7 )l [7 .J )l [7 )l 7 )l 1)l J 7 [7 )l 7 )l 1J li
Allegretto
lh 7 7JlJ Jl1D J J 7pJl1J hh 7 7 Jl1J ~ h 77 Jl1J ~ h 77 Jl1 1
1 n~ Ji77Ji 1nJ J 7~J JiJi77Ji 1nJ J 'IJi1Ji'l'IJiJ Ji nJ J '1 1 .

1
rlt.
1
1
Allegro
1· 1§ Ji i 7 n :i
'f Ji J 1J Ji n
i Ji J '1Ji 'I Ji n 1Ji J J 1l 'f 'f '! 1 .
1J Ji n 1Ji 7 Ji J li Ji i Ji Ji 1Ji 7 Ji Ji 1~ Ji i Ji 1
'f
Fine
'! 'f 'f
1
17 i )l J=} )l )l i Ji 1)l )l
'f Jl 1)l i )l ~ :)l )l
'! Ji 1
'! '! 'f '! '!
1
D.C. a/Fine
Moderato 1
s. 1t Ji :J Ji n J 1Ji J~Ji J 7 Ji 1J Ji J~Ji n 1Ji J J '! Ji 1

1J n Ji i· 1J 7 Ji i- Ji 1n J J '! Ji 1J n hl 1
1J ~ Jii Ji 1nJi7Jii- :nJ J. Ji 1J nJ ~ 1 1
1Ji J J n 1J Ji J '! Ji 1Ji J Ji J Ji 1Ji J J 7 li

CHAPTER 1 !. MORE RHYTHMS WITH SYNCOPATIONS · ·· 83
Con brio
9· : i )l 1i· )l J 'f Jl 1)l 'f )l 'f )l i- 1J '! )l J Jl 1)l 'f )l '! J

~
1)l 'f )l 'f )l 'f ~ 1)l 'f )l 'f J. 'f 1J '! )l 'f ~ )l :)l i- J
D.S. ai Cada
J 'f Jl 1)l J )l J Jl )l
1 'f )l 'f J '! li
Cantabile
10. 1 ! )l 1 )l J
1 )l J J Ji 1n J 'f Ji 11i J. I Fine I
'f J )l o
1 J 'f
D.C. ai Fine
li
Moderato
11 · 1t 'f Ji n 1Ji i i Ji n 1i J 'f Ji n 1Ji J i Ji J 1J 'f Ji n 1

1J Jii i Ji1i i '1Jin1J J Jii Ji:i i '1Jin1
1Ji i i Ji J=1J Ji n 1J Ji Ji i· 11i i i Ji J=1j 11
'f
J=l08
12· i i Ji 1n i i Ji 1Ji i i i Jl=1Ji i Ji i

1t Ji 1Ji i 'f 'f .t> 1
1Ji i i i Ji 1n Ji i i Ji 1n i i .t> 1Ji i Ji i 'f 'f 11

J=72
13• lf.b 1.bJ J J .b1iJ 'f .b1~J .DO 1.bJ O liJ 'f .b1
1~ .D J J .D 1i J 'f .D 1~ J .D n 1i .D J .D 1t n J J 'f 11
Presto
14· 1~ J Ji n 1.D 'f 'f .D J 1t .D J n J=f J ~ J .D 1~ .D J J .D 1 1
1i J ~ 1~ .D J J 1f J ~ )l J .D :J .D J J Ji 1J ~ li
Two-Part Exercises
Allegro
1~ .D 1li J )l J-:=t )l J )l o 1)l J. o 1J

1
15. '1 .D 1
Dr Dr Dr D'ID'lr U'/Dr Dr '1

1
11> J J )l IJ '1 )l 11> J. J=fJ

'1 '1 D ~ li 1
J=72 J
16• 1f J. 1> 1> J. 11> J 1> n J 1h J. J. .D 1h J 1> d
Dr Dr D r r Dr D r· DDr D r r Dr 1
IJ. JlJlJ. 11>J J J .b1JiJ. J. ll11>J ~D f.J li 1

Dr Dr D r· DDr r DDr D r·
1
CHAPTER 11. MORE RHYTHMS WITH SYNCOPATIONS · 85
J=l20
. . [! ~I~~, ;~; p;1;~ p~~! p;1~;~;~;, ~1~; p;~~ p~I

Chapter 12
Simple Meter
1
/i
More Rhythms with Subdivided Beats

=e-,..=--=:.::.==---,,.-_,,'=---~· ""'º'='"'""="'=·.,,,,,-=-=>:.~'='"'-=:-=~::..="'=~=~'"='"'-"'--c"~'==="'·<;-'::.·:"==--"""°''"-:-""'.o:::.=.-="'"'--'""'="'="''=""'=•=

• Divide the class into two groups. The first group taps the beat and chants the division of
the beat (eighths); the second group taps the beat and chants the first rhythm pattern
found in Section 12.2. Exchange tasks. Repeat using each of the patterns in Section 12.2.
priate metric motion (tap-touch). 1 1

,.·=-'-"'°"'~=="-'""'='""-""'"=-==--"""=c"'~--==--"1>=·==·==""'::."'-""=--"""='-~=':0=::.~"°"--=--=~=o---="'='""''~-""'"~·==~,,-.,,-~,.--~=---"""-"°""·""'"""-=-~=-==:==
J
beat (micro); the second group reads the rhythm patterns on rhythm syllables while tap-
ping the beat or conducting. Exchange tasks. Repeat until all of rhe patrerns have been
read and chanted by each group.
Sixteenth Notes and Rests Dotted Notes
a. J
ta
Jj j j
t ka-di-mi
e. n7j
ta-ka i mi
a. J.
ta t
fj
di-mi
b. J 7ffl f. J 7j b. J. j i' )
ta t ka-di-mi ta i mi ta ími t mi
e. JTI fji g. JJ j e. fl
ta-ka i
ta-ka-di ta-ka i ta-ka i mi
d. J
ta
n
di-mi t
i n
di-mi
1Note to instruccors: The rhythm patterns are found in Section 12.3.
86
CHAPTER 12. MORE RHYTHMS WITH SUBDIVIDED BEATS 87
AI. A2. A3. A4.
AS. A6. A7. A8.
A9. AlO. All. A12.
A13. A14. A15. A16.
A17. A18. A19. A20.
A21. A22. A23. A24.
A25. A26. A27. A28.
lf JmJl mn. 1 mn. Jmn. 1:n· rnn. Jm 1 n. Jmn. Ll 1

A29. A30. A31. A32.
A33. A34. A35. A36.
A37. A38. A39. A40.

1

l
12.4. Exercises l
0
Remember to practice your dictation skills.
~ Perform these exercises as a canon, retrograde canon, or as a two-, three-, or four-part
ensemble. l
Andante
1. li J J~JmJ iJ n lffiJ=tlffin JmJ in ImJ J 1

1 J J~J j j j J 1 nn Jj j j J 1 nJn Jj j j 1 n J J 11
J=88
2· 1~ j_J j J j 1n J 7m1J 7 m n=tJ j J j n J HI

mf
1J li J j j j 1J 7 m n 1J Ji~J j J j 1n Jj j j J 1
1j_JjJjiO~Jjjj 7 m 1 o~Jjjjn 17 .mo J

(."\
:J li n=tJ j j j n J 1J Ji~J j J j 1n J J 11 nt.
Allegro
3· 1~ J )l~J j j j 1D J 17 rn D 7 rn 1D J li
Fine
J
:Ji'I Ji'I 7m 1cJ 'I Ji 1 o~JjjjC 17 mli'I Ji'I 1 1
1J Ji~J j j j 17 m .o J=fJ j J j 7m7m1.0 J

1
1
)l 'I li 'I n l7 m J 'I .Ji=t J j j j n J j j j 1n li 'I li 'I :1 J
D.C. al Fine
-- ----------- --- --------------
J=72
4. li n 1J .rnn '! n 1J mrnn 4 imn J '! n1.rn'I n'I nn 1
~
iJ~imm m 1n m J '! n Jmn'I n'I m :7mm J 'l 11n1
1
Fine
1
rnn J '! n 1n '! nJmrn 4 Jmn J '! n:Jm'I nn J :
iJ~m n'I m 4 m n'I J '! n 1Jmn'I mm 1imn'I n'I J 1
D.S. al Fine
Allegretto
s. 1~ JJJJ!J '! !J '! 1JJJJ!JJ J 1f1J !JJ '! !J 1!J '! !J '! '! !J 1
1
rn m '! n 1
m rn J :JJJJn '! n '!
1
JJJJrn J 1 1
'!
Fine
li .ti 1
1JIJ n JIJ 1n J '! .ti 1JIJ JJ J J.o 1n JJ j J=1
4J J H J J j 1n J H J J j 1J_ J H J J J J 1j '! li
D.e. al Fine
Lento
1· li Q1J ITIJmJn1n J ~ Q1ITIJ ~ Q1DJ J ~ Q1

1JJJJJ ~ Q 1m J ~ Q 1J rn JJJ Jm 1n J ~ 11
s. :i )1ITI.tiJ .tim1Jmn J '!' )1m .tiJ .tiJm1mn J '!' )1

1rnm nJ n 1
imn J '!' )
1JJJ nJ nrn 1
mn J '!'
11
90 . · PART L RHYTHMIC READING ·
Vivace
9. lej .rn.çnn 1j ~ m .Ffn1J ~ ,m:rnJtnn j=1

1. ~
-itJ ~ ,m j n 10n n j ~ ,m m10n lm: 10n J

1 1 1 11 11
J=96
10. n. n. n 1J j n n. n.
11 •
j 1 1
1J j n j
1
'f li
p 1
1n. n li 1n. n li 1j n.
'f
•
'f
p
'f
•
'f
p
1J j 1n j 'f li 1
•
1j n. j 1n. j 1; n. jnJ n 1m n. j :
.
n. n. 1n jJJJn 1n· n. jJJJ1n·
~
1j • p ~
m ~ 11
Vivace
11. 1f j j m n 1j n'jJ
1 ~j n. n. 1 j 1 !J n j J, j 11 j J J J 11
1
Allegro J
Two-Part Exercises
J=60
13. 11~1J n~n=n1rnm,Jm1J n n 1J ". }1

7 766/CJ/r r U r 766/CJ/6U 766f U r
1J ~m:tm1" ..ti..ti" LJ" 1J n :tffl1J ". 11
~ 661 r r 6f " " 6f " D 7661 U r 766! r ".
Moderato
14. m rn 1J J ,J I" .LJ t " .LJ t 1m t n" J 1

i J. .LJ
u u r r u..tutr r r bl" bl" r t w" b[r
1
1
1J 11 J n. 1mt .LJ" J 1J. nmrn 1J J ,.) 1

6Uf r 6Uf r t w" b[r uu r r 61.JLJ! r r
1
1
"·[:~~;;~1~,J~,ll~~l~~l~l l6:1
[~;;;;~j~l~~;;1~\~;l~l~J~ li
Largo
~ [! ~I ~~~~I ~~~~! ~ h~~ h~! ~ nrnm; nl

[~~~~~~!~ nn~'. hn~I~:;~~~!~ h~~ hjl
Chapter 13
Simple Meter
HalfNote Beat Unit
___
"'-""'="""'"""'~·c~=""'"""""-"'"-'"""-=.'~"-"='"""''·'"~-""""==-"-"'·='="'-'~°"'_'_"""-'··-c=<"""'""''~""'""'""'=··_.._.., ,_=,,_.-"<""'=-"'"'=~"-'"'"-"'-~··"'-'"''~"'-~""""'~"''--,,--""·'"·"·"--.~•·'-'"'='""'=•==--""
Meter Signature
ln previous chapters, the quattet note or the dotted quarter note represented the beat. The half
note can also be used to represent the beat. Duple simple meter is often called alia breve or cut
time and may be represented by the symbol for Common Time with a vertical line drawn
through it.
1. Duple Simple (Alia breve) 2. Tripie Simple 3. Quadruple Simple

~ or 2 -+ two beats per measure 3 -+ three beats per measure 4 -+ four beats per measure
2 -+ half note equals beat unit 2 -+ half note equals beat unit 2 -+. half note equals beat unit
~ d d
Notation
Beat (Macro) Divided Beat (Micro) Subdivided Beat Borrowed Beat
3
d J J J JJJ J J J
1
ta ta di ta ka di mi ta ki da
Notice that there ate three new rhythmic symbols. A dotted whole note is used to fill three
beats (Sa) anda double whole note/double whole rest (lc) fills four beats of sound/silence. 1
J
1. Beat/Long Notes 2. Divided/Subdivided 3. Syncopation 5. Extension Dot
a. d a. JJ a. J d J a. o'
b. o b. mJ
Combination
4. Triplet b. d· J
Double Whole 3
Note Rest
e. llOll 1 b. JJJ J JJ a. JJJ e. J. Ji

• Read and perform each of the patterns (la-Se) while (a) quietly tapping the beat,
(b) conducting, or (e) using the appropriate metric motion (tap-touch).
92
CHAPTER 13. HALF NOTE = BEAT UNIT 93
Comparison of Simple Meters

• Tap and chant each of the following equivalem patterns using rhythm syllables.
1 $j j li j - lle li - li
AI. A2. A3. A4.
1 ~J J J J J J li j J J j li j j J J li J J j J J li
AS. A6. A7. A8.
1 ~j t J j li J J t J j li j
A9. AIO. Ali. Al2.
1~ j_J J J J li J J j~J J j li j j -· J li J t J J JJ li
A13. A14. AIS. A16.
1~ J j J J J j li j J j t j li J - J J J j li j t j J j li
A17. A!8. A19. A20.
r-3-, r-3---i r-3-, r-3-, r-3---i r-3---i
1~ j J J J J J J j li j~J J J j t J J li j J t J J J j li j t J J J t j il
A21. A22. A23. A24.
A2S. A26. A27. A28.
A29. A30. A31. A32.
A33. A34. A3S. A36.

1

1
(Continued)
A37. A38. A39. A40.

l
j 111~1 li • li
A41. A42. A43. A44.
13.3. Exercises
Allegro
Adagio 1
l
1
4· [$ J J J [J J J I[: j_J J [J J J J 1J J [ 0 :[I J J [ 0 li 1
' f PP cresc. f P
1
___ J
Modera to
S. / ~ 0 J J /J t J t J J [ 0 - J [1~I / J Jt J t J / .1
J J [1~1
2
[ 0 - J [ 0 J J 1J t J t J - :ll j t J t :/1 J
6· [~J J J [e JJ1JJj JJ[a tJ1J Jj /a tJ[J JJJJ1a· :li

mj'(p)
[J~J~J=fe tJ[J JJJ[a tJ[J JtJ~[a tJ[J ~~J~[a· li

f p f
CHAPTER 13. HALF NOTE = BEAT UNIT · . 95
Vivace
7· 1 ~J J J
1 0 J
1 J 0 1 J J J J ~ J :J J J t J t t J 1
1 J J t J J J t J J ~ J t
1 J ~ J J J J
1 J 1e' t li
Andante
s. 12 J 1j J J J t J t 1j J J 1j
1 t J 1j J J J j J4 j 1 t J 1j JJ1
1 j t J Jj J J
1 1 t J t 1 j t J JJj
1 1 J t J ~ 1J j J4 .J t :1
9· 1 ª J J
1 J J J J j 1 J J=tJ -
1.
t J J j 1
~
J j J 1
li: j t J J=}J J J j J 1J J J J J j 1 J j :li J J j ~ li
lO. 1 ~j 1 J j J j j J
1 JJ j J J J j
1 - j 1 j j J .J J 1
1 J J J J J J=tJ J J • J J 1 J J J J 1 ª. li
Allegretto ,....-----...__
ll. 1 ªj J j J J J j 1 ~ J Jj 1 t J J 1j J t J 1t j J J J 1
1 j J - J J J j 1 t J~ j J j J J j 1 t J J 1 J J::. li
Adagio ,_ 3 , , _3 , ,--3-,
lZ. 12 J J 1JJJJ 1 J t J J J J J J 1J J J J J J J 1J J J 1°
1 1 li
rit.
j

1
r-3--, r--3--, r-31 r--3---, r--3---,
8 ~ lJ J J J J J={J J J j ~ J J 1j J J ~ J J Ue ~ ~
D.C. ai Cada
li
-$- r-3---, r-3--, r-3---, r-31 1. 2.
li:~ ~ J jj) ~ ~=tJ J J j J ~9 ~ J J j :li J~ JJ~ Jj li

L _ 3_J L__ 3_J L__ 3_J
1
r-3--i r-31 13-, r--3---, r-3---,
14' 1~ j J J j J J J 1j j J 0 1 j j J j J J [J J J J J J J J j 1
1
r--3-----, r-3-i r-3---i r-31
1 Jj J~J J J j 1j J j J j J 1° j J J 1j j J j J j li J.
Allegro 1
r-3---, r-3--, r-3-, r-3---, r-3---,
lS. 1 ~ J j J [j J J J 1j J j 1° 1 j J j 1J J J" j 1J j J4 J J J j 11
1
Andante 1
1
16• ~
1 j J J J J 1J J J 1j J J J J 1° rit.
. li
Fine
J J 1J J J J J J
a tempo
1
JJJJj
1 1 j ~ J 1j_J J J J 1J J~J J J J 1'I m m 'f 1
j
1 j j J
1 J 1J J J J J J 1J J J J J J J J 1J J j li
D.C. ai Fine 1
Presto
- - - - -------- -------- -----
CHAPTER 13. HALF NOTE = BEAT UNIT · 97
J=88
1s. 1~ ~ J n J 1J J n J j 1j ~ J n J J J 1j j t J n J 1
1J J j mJ J J 1a ~ J n J :J J J j J 1n J J J j n J 1a li
J=120
19• ª
1 J 1j J n J J J J 1J n j t J 1J J J J J n J J 1J n j ~ J 1
% ~
lj J J J n 1J j J J n lj J J j la t J 1
1j J J j 1J n J J J J J J 1J J J n 1a t li
D.S. al Coda
~
1J J J n 1J J J J j t J 1j J n J J J J 1J n j t 11
J=60
20.
1~ j_J n J J J J J J 1n J j j ~ n 1J ~ ~ n n J t n 1
1J ~ J ~ ~ n J ~ 11: J n J J J n 1n J j j t n 1
1. ~
1n ~ n ~ ~ n n J 1J n n J j ~ n :11 J n n J j j 11
Modera to
21. ª
1 J 1J j J J n 1J J J J J~ n J J 1J. .b j ~ J 1J n J. .b 1
1J J J J J J J=tJ ~ n J n 1j J. .bJ J=tJ JJJj t .b 1
1J J J. Jl1J J j t J 1J. )lJ J J J J. .b1a t J=j
+J JJJJ j n 1J J j ~ J 1J j J J. .b 1n J j t 11
98 PARTI. RHYTHMIC READING ·
1
Vivace
l
1
Andamn~t•------
23. 1 ~J JJ..bJJ1JnJJJnj lj JJJJJnJJJ11a11 _li

----------------Fine
1J J J j J 1J. .bJ J j J=f J J J. .bJ j J 1j J J J J J J j 1 1
1J n J. .b J J 1J. .b J J J nj 1j n J j J n 1 1 ~1 1
D.C. ai Fine
1
d=104 1
24 • 1~ J 1J J J. .bJ. Jl1 j J J j ~ J 1j J. )lJ J J. Jl1 j J J j ~ J1
l
1J j J n J J J 1J j J JJ JJ J n 1j J J j ~ J 1J J J. JlJ. h : 1
1Jj Jj JJ4j ~JJj J1J.Jlj j ~J1J JJj J1ImJ.JljJj---i l

tJ J J JJ. .bj ~ J 1J n n J J=f JJJJJ. .bJ J J=f J n J J j ~ 11 1
Allegro
1
25 • 1ª7 m 1J J j 1J J j 7 m 1J J J j J 1J. Jl J J 7 m1
1J j n J. h 1n J j 7 J J J 1J J j 1n J j 11
1
1
Allegro ,-3-----,
26
•
1
1 ~~ 01 j j j 1
1
1
12 J j J 1j J J J 1 J ª
,---3----,
J J. .b 1 1
1J J j 7 m :2 j_J J J J 1~ j J J j J J J 12 j 7 m 1
1J ª n J. .ti 1J J J J J J j-=+2.J 7 m 1Jª n n J 11
· CHAPTER 13. HALF NOTE= BEAT UNIT 99
Two-Part Exercises
d=104
27. 1 ~J d 1 ~ J d 1J d J IJ J J J J
r r r rr r r º r r r r
i ~· 1 J i r i r 1º J J n 1
J d
11
1
1 1 r U r
Lento
28, 1 ªu r u r
d d J.
1
)li d d J J J d
r u r u rrrr º
1 J J JJ J
r r r u u r r·
1 O•
D
1
1 J ~ ~ J
~ r
n J
r ·~ · ~ r
1 J
r r
J J J J J
1 11·
1 J J J
r r r r
1 º
1 r
11
Allegro
29. [: ~ J ~ ~l~l~l~l ~l~l~

1 1 J 1 ~ll l J 1
[~ J ~1
~l~l ~~1
~~~l~l1
~l~l~ li
d=88
r-31 r-3---, r-3---, r-3---, r-31
'°· [: ~ JJl~n ~n ~~Tn J J ~ JJI~ J h~ ~n I~ JJ~n ~ JJ 1
r - 3--, r-3---, r - 3-----, r - 3-----,
[~ f;~ ~H l~n ~ ~ J J l~n ~n ~ J ]fn J li

1
Chapter 14 l
Simple Meter
Eighth Note Beat Unit
-,
.
''""~''O'C.O"-=~·,..---~"""'-"""''"=•""·~=-~ .,.-:==·"""'"=~·.-,,.=•='°"'~"''"-'"'-''"'="'"-'--,,:;--·::o"'"~-'="'=·''-"'·""''°=""'º'.'.='·"'-,.··=""'"·'·•,~-·"-'"'°'·~""-='°'"'=.-,~=-:::="-==oo~'<!=""°'"'""""='°".:.=
Meter Signature
ln previous chapters, the quarter note, dotted quarter note, and half note each represented the
beat. The eighth note can also be used to represem the beat.
- Duple Simple Tripie Simple Quadruple Simple

2-.two beats per measure 3-tthree beats per measure 4-tfour bears per measure
8-teighth note equals beat unit 8-teighth note equals bear unir 8-teighth note equals beat unir
Notation
Beat (Macro) Divided Beat (Micro) Subdivided Beat Borrowed Beat
n .rm
1
J j j
1
3
J
ta ta di ta ka di mi ta ki da
Notice that the subdivision of the beat is represented by a new rhythmic symbol, a thirty-second note.
Comparison of Simple Meters

• Chant each of the following equivalem patterns using rhythm syllables while tapping
the beat ar conducting. Focus on beats within the metric grid rather than on the
flags/beams on the notes.
Quarter note = beat unit
li
Eighth note = beat unit
j ~ j J j J li
1
100
CHAPTER 14. EIGHTH NOTE = BEAT UNIT 101
Half note = beat unít
Is li )l 1J li )l l 'I )l
'f li
AI. A2.
I~ )l )l )l )l lj li J )l )l 1)l )l J li
A3. A4.
1~ J )l 1L____ li li )l 'f
)l 1J li
AS. A6.
I~ li nn li 11n n li li li )l )l_.ô )l li )l. )1 )l )l

li
A7. AS. A9. AIO.
AI!. Al2. A13. Al4.

3 3 3 3 3 3
1~ li
AIS.
J j j J 11n li
Al6.
m li 11m n m li ::Ji~JTI m li 1
Al7. AIS.
Al9. A20. A21. A22.
A23. A24. A2S. A26.
A27. A2S. A29. A30.
A31. A32. A33. A34.

1
102 ·· • PART !. RHYTHMJC READING

1
14.3. Exercises
l
~
Adagio
... u .
r:"I --,
1. 1sp li 1p 7 1p 7 1J 1p li 17 ~ 17 ~ 1J li
Moderato
1
Allegretto
J>= 116
4. 1 ~ li li n n
1li 7 li li n .a 7 n 1li 7 J 1
1li li M li 1li M li li 1M li li ô 1J J 11
)=72
5.
I~~ a li 1li õ õ 1li 7 p 1li J
1li atempo
a li 1ª li li 1ª 7 a 1J 11
Andante
6. I~ mfJ li 1ª a li li 1J J==+J 7 a 1
rJ
1
M 1li a a Jl=tli 7 M 7 1J J 11
1
CHAPTER 14. EIGHTH NOTE = BEAT UNIT . 103
Allegro
1· 1~; 1~ , ~ , ~ , ~ , 1n ~, ~, ~ , 1n .b n .b 1n ), n .b 1
1.b .b 'f .b 1~ , ~ , n .b 1~ , ~ , ~ , ~ , 1J 'f .
Fine
11.b 1
1.b .b n .b 1, ~, ~, ~, ~ 1n n .b , Jl 1.b .b n n 1
1.b , ) n , ) 1.b .n .b , ) 1n n .b , ) 1.b n .b 1
D.C. ai Fine
Lento
s. 1~ ) 1J J j J 1 J 7 )l 1J J j j j li: J 7 ) 1
1. ~
1) ; ) ; M iJ ; ) 1.b ) ; ) ; 1J J j j j :li J ; li
Jl=96
9• 1~)1.b· )n.b1J ,Ji1n),n.b1J ,):J J 1.b· Jih,Jl1

n .b 1n n .b , Jl: Ji. Jl n .b 1J , Jl 1.b n ) tt , Ji 1
1.b .b
1n n .b , ) 1J J 1.b· ) .b , ) :n n .b .b 1n n .b , 11
Moderato
lO. I~) 1.b Lô 1.EJ nn 1.b )l. )l 1M .b lf ) 1

1 Jl ; ô ; ) ô1 ) ; ' .) ', .b Jl. ) 1M ) ' '
1 1
11
Vivace
Andante
~
12.
1~ Ji Ji hJi h1J J 1Ji. hhJi h1n Ji J 1Ji. hJ 1hJi hn Ji 1
~
1Ji. 11 J 1h Ji h J 1Ji. h Ji Ji 1n n Ji n 1Ji. h Ji Ji 1
~
1n J3 Ji J3 Ji 1: J3 Ji J3 J3 Ji h 1n n Ji Ji 1Ji Ji h Ji h 1J J 11
D.S. ai Cada
Ji=88
~ ~
13 ·l~Jl .1Ji JJ j1J Jl 1J JJJ1Jl 'I Jl 1J J H1Jl JJ j:·
1J J J J 1)l 'f )l 1j J j !"J 1J )l 1J j J 1)l 'f )l li
D.S. a/Cada
iJr---=JJ=J=J 11 J j n 1J 11 J j n 1J J J J J 1J 11
' 1 '
Moderato
14' 1~ }3 1/_J_j_J 7 J31 Q 7j J j 1)l 7 h ~ 1Q 7 )l 7 h 1 1
1j J j )l 7 }3 1)l j J j !"J 1j 7 j 7 j J j 1j 7 j 7 )l 7 li _]
1
Largo 3 3 3 3
15• 1~ J J J J 1Ji Ji J J J 1Ji. J3 n 1Ji J J J J J J 1 1
' 3 3
1J FJ 1)l EJ J J J 1FJ FJ J J J 1)l J li 1
1
CHAPTER 14. EIGHTH NOTE = BEAT UNIT ' 105
Allegro
16• 1~ ) 1.b j JJJ.b j JJJ1.a .b .b 7) 1Jffl .a Jffl .a 1.b J 7) 1

1.b· ) j JJJn 1j JJ Jn .ti , ) 1.ti .ln n 1j JJJn .ti , ) 1
1.b .õ jJJJ.b 1.õ .b .õ jJJJ1.b jJJJ.b JJJJ1J. 7 )1
1.b .b~.õ j J J J1j JJJn .ti , ) 1.b· ) j JJJn 1Jm .a .ti , 11
Adagio
17. 1~ .ti 1.ti rn rn 1n rn j J J J 1.ti 'I .ti 1.ti j s J J1 m

1.a m Jm:Ji, )m 1Ji. )m ',m jJJJm .ti, hrn,, 1
1.b· ) rn 1fiJ j JJJfiJ 1.ti , ) fiJ 1m j JJJfiJ 1n .Ji 11

Presto
1s. 1~ .b LI LI LI 1.b Li J 1.õ LI LI j J J J1.a n .õl r
1.ti .o .o .o 1j J. j J 1.D n .o j J J J1.u n .J 11

Two-Part Exercises
Largo
1~ J ~ j 1J j ~ ~ 1J J j J ~ ~ 1J.
r rrrr1
19.
r rrrr r r rr r r r rr
1J j ~ ~ 11 j j ~ ~ 11 J J j ~ ~ ~ 1J.
r rrr rrrrr rrrrr r r r r 11
106 · · · PART 1. RHYTHMIC READING ·
J>= 132
"· [: ~,. . . .,.~B:

_,. B;J i l~;;i; ~i l~J;~; ~; ~ ~I~ JJJJJ: n I~ B:l~ B:J 1 :
[:i~j ~~nti~i~ ~; n:~, ~l~iiii i~ n llJ
Lento
Chapter 15
Compound Meter
Dotted ~arter = Beat Unit;
More Rhythms
.,.=.,,,-.o,.="""''"'''°"""'-"'~=o""'"'"'--c==-":"~-='"°="-"'-"-"~"'"'"=="'-~=·==='"'""'"·"''"''"'=·'""'"'-'"'="""'==-"'="'-"-"=~º="'---""""-"''"'"=::.:c.e=='"-"'-""="'-'"·'='""
Subdivided and Borrowed Beat in Compound Meter

• Divide the class into two groups. The first group taps the beat and chants the division
of beat (eighths); the second group taps the beat and chants the subdivided beat.
Exchange tasks. Repeat with (a) one group chanting divided beat and the other group
chanting borrowed beat, and (b) one group chanting subdivided beat, and the other
chanting borrowed beat. Exchange tasks.
Beat (Macro) Divided Beat (Micro) Subdivided Beat Borrowed Beat (Duplet*)
2
J J J
ta ta ki da ta va ki di da 1na ta di
*A dupler is a two-nore group resulting from irregular division of a compound beat; borrowed from simple meter.
Reading Readiness Rbythm Patterns
• Listen as your instructor chants a variety of rhythm patterns using rhythm syllables;
echo each pattern while (a) quietly tapping the beat, (b) conducting, or (c) using the
appropriate metric motion (tap--touch). 1

"'-"~,,~•-"'-'= ~~=="-'='='="="..0:"'~=-.-c:".?<"°''O."°'='~C:<.::y=<==:,C",;;:;:~=~:""',--"''°"''°"''-""'"-""'="-""'°'°~~>=;,•~""'-"'~·-~=~~=-"-""-""'="·"'"'''°'"'·.,--=·"'-"°"-"-"~',r.;_,.-o.~"-:-.>::•'C'<..:-;~-1
beat (micro); the second group reads the rhythm patterns using rhythm syllables while
tapping the beat or conducting. Exchange tasks. Repeat until ali of the patterns have
been read and chanted by each group.
1. Subdivided Beat 2. Ties/Extension 3. Submetrical 5. Subdivided
Dot Syncopation Triplets
3
a.Jjjjjj a.J~h J •. JJ j J •. J JjjJ
3
b.J hJ b. J. j J b.J ]J j b.JjjJ J

3
e. J J h e. J J~h 4. Duplet c.J J Jjj
d.hJ J d. J J. j a.n
2
d.mmm 3 3 3
lNote to instructors: The rhythm patterns are found in Section 15.3.
107
1§ J Jl J j j j j j 1 Ji J Jj j j Jj J 11 JJJ nJ 1: J n J Jl J 1:
A!. A2. A3. A4.
1 §J J n J. 1J Ji J Jn 11 n J J J J J 1 Ji J n J J 1 · 1
AS. A6. A7. AS.
1 g jJjJ Dm jJjJ li JD]JrnDm li JjjjjjJm lID :1 JJJjJjJ JjjJjJ li

A9. AIO. Ali. A12. 1
-,
A13. A14. AIS. A16.
_)
Al7. AIS. A19. AZO.

1
A21. A22. A23. A24.
-,
2 2 2 2 2
1g J.
A2S.
n J. 11m
A26.
n J. 11n
A27.
mn 11JlJ
A2S.
n J Jl11 J
1"'"""'==3,.., 3 3 3 =3=-i--
:§ J Jj j J Jl J li J J JJj J Jl li Jj j J J J J J li J Jj j J JJj J J li 1
A29. A30. A31. A32.

1
A33. A34. A3S. A36. _I
A37. A3S. A39. A40.
1
CHAPTER 15. DOTTED QUARTER = BEAT UNIT; MORE RHYTHMS 109
15.4. Exercises
Allegretto
l. 1§J J J J j j j j j 1J J J J. 1J .b J J j j j j 1J J J J
1J j j j J j .b J 1J j j j j j J J J 1J .b J j j j j j 1J J li
J.=88
2 ·1~J .b1JHJ1J I~ .b1.bJ 1JHJ1J lt fJ1
1J n J 1.b J :J J J J J J 1J 1J .b 1J H J 1J.~J. li
Andante con moto
3• 1§ J J h.bJ 1J J hJ. 1.b'I .b.b'I !J1JJjjjjJ. 1.b'I 'I .b'I .b1hJ J J 1

•
1.b'I .b'I .b.b1nJ J n......J......J 1.b'I .b.b'I n1nJ nJ 1.b'I .bnJ J 1
1.b 'I .b J
•li J .b J J h 1J j j j j j J
• •
1.b J J J h 1.b 'I .b J li

D.C. ai Coda
J.=96
4• 1§lJiJ J .b1 IDJ t h1 hJ hJ .b1 J J JjJ 1JjjjJ lJiJ .b'I .bJITJ 1 j
1.b J J J J J J 1.ti 'In J 1 n J J n J J-=tJ t· 1J :a J J n J~

Fine
+J. t· 1n J J J J J J J-=tJ J J t n 1J J J J :a J-=1J :a J J :1 D.C. ai Fine

110 .·..· PART 1. RHYTHMIC READING · ·
Allegretto
s. 1~ m 1IJTI J Ju J h1J· t· m 1J JjjjIJTI m 1IJTI J. { 1

1J J hJ .bJJJJJ 1r;J J .bhJ J 1J. t· m 1nJ nJ .bJ. 1
1J, hJ .bJ, n 1o nJ J J n 1J. t· m 1nJ hJ J nJ. 1
1J j j j J J n rn 1J. t· rn 1n J J n J DJ :n J J. 11
Andante con moto
~
6• 1~ J h J J~h J 1J. j J J. 1J. j J J .b 1fj J J J. ·1 J .b J. j J : 1
1J hJ J. 1J. jJ J J h1J .bJ. 1J JJJJJ Jjjj1J. jJ J hJ 1 l

1J. j J J .b 1J J h J. jJ-J. . .J. J. j J 1J. J j j J. :J. j J J .b : J
1J. j J J-n-J !J J j j j rn 1n J J j j j J 1J n J J .b 1J .b J. 11
D.S.al Goda
Presto ~
7. 1~ J J h J Jvh 1J l j J h J 1Jl, .b J .b 1J l j J. 1J .b fj J h 1
~
1J l j)l, .b:hJ J J l jlJ JjjjJ h1.b, .b!J, h1J hJ l jl
1J fj
D.S. a/Goda
r
.b , .b 1J l j J. J-J-.j J n J 1fj J n J. 1J l j J J J 1
1J h J J fj 1.b ' .b J .b 1J l j J. 1.b ' .b fj ' fj 1J l j J. li
-------------------- -----
CHAPTER 15. DOTTED QUARTER = BEAT UNIT; MORE RHYTHMS 111
J.= 104
s. 1~ .b1J .bill hl j1J hJ. , , .b1J hJ hl j.bJ 1J "f, .b1
1h, hITJh, h1J .bJ. 7 7 .b1hl j.rnJ hJ h1.bJ J. 7 7 .b1
1nl jh, n, n 1J nJ. , , .ti 1nJ. jJjjjjjhJ. j1.bJ~J-~J 11
Allegretto
1J H J JJ j J 1J .b JJ j J 1J J J JJ j J 1JJ j J J.
11 J j J J .b 1J 7 J J J j J :J , n J J j J 1n , n J. 1
•1J n J.
D.C. ai Coda
1J J j J J 7 n 1J J j J J n 1J n J.
7 1
Andante con moto
1JJ J J j .fj 7 7 .fj 7 7 1JJ J J j J. J j j J. J j j 1
J.=96
ll. 1~ J""'"""]..,. . ,jJ J .b 1h J h J ]J j 1r;J J ]J j 1.b J J. 1J ]J j J .b 1

1r;J J JJ j 1J J :a J JJ j 1J n J. 1rn JJ j J 1J .b J JJ j 1
1rm Jn j1J J nJIJJ 1J .b.bJ 1nJ JIJJ 1m Jn j 1nJ nJ. 11
1
112 , PARTI. RHYTHMIC READING
1
J.=72 1
12. 1~n1 J J. j J h J 1J JJ j J n 1J JJ j n J h 1J J. jJ n1
1.b,,JJ. j1J,JJJJj1J,nJJ. j1JJJjJ n1
1J J J j J J. j 1n J n 1J j J 1J J. j J .b 1J JJ j J n1
1J , n .b , , 1n , n J n 1J J. j .b , , 1J J J j J 1
Adagio
13.
111 n J. j J .b~ n J n J .b 1n J. j J .b~ J n .b J 1 1
1n J J j J J J n J J j J .b 1n J J j J .b~ J n .b J 1
.b 1H J. j H 1 J j .b J J. 11 1
Allegretto
2
l
14• 1~ .DJ J .b1m J. 1.DJ J .b1n J. 1hl JJ jJ 1J hJ JJ jJ 1
2 2 2
1.bJ n 1r;J J. 1J. n 1J. jJ J. 1J. J.

~
jJ 1n J. 1
1
1
2 2
J n J n 1J j J j J 1J j J 1n n
- 1
1J , 1J ' J J. :1
Andante con moto
3 3
15• 1~ .b 1J~J==j=""""jJ J .b 1J J J J. 1J J J j j J .b 1J J J J. 1
3 3 3
:J j j J J J .b 1J J J J. 1J J J j j J J j j J 1.b J J . li Fine
3 3 3 3 3 3
1m1J JJJJ J m1J J J J m1J J J JJJJ J 1J. ~ m1

1J J j j J J , J=t .b , , J j j J J=t m J J , J 1.b m .b J
l"""'-==i:3="""' 3 3 3
1
D.C. ai Fine
·· CHAPTER 15. DOTTED QUARTER = BEAT UNIT; MORE RHYTHMS 113
Adagio
3 ' 3 3
1J j j J J J 1J J j j J JJ j 1J J J j j )l J 1J J J j j J li
J.=72
17. 1~ J .ti J h J 1J j J .ti J 1~ J J h J .ti n J J 1r;J J .ti h J J 1
r----=::ií::=3l""""I 3
1wJ J 1~J JjjJ .ti J 1J J JjjJ h 1~J
2 2
l1i J J j j J li J J j J J li 1~ J 1~ O D 1~ J 1
Two-Part Exercises
Moderato
18. 1~ j J J j j j j j j 1j h J j h J 1J j J j j J j j j 1j h J j h J 1
r· r r r r r r r r· r r Dr D 1
1J J J .b J 1h J h J J j J 1J J J .U J J J J D J. li 1
r· r· r r r r r r r Dr r r r r· 1
J.=60
19' 1~ J. 1J )) J J J 1J h J J.
1J j J J. 1JJ j J J. 1
D r r· r D rr rrur r r- / r r· r r / r
1J .b 11 J n 1J J J .b J 1J. J J J 1.h J 11
r· r D u r u r r r D r r· r r r
114 · • · • • • PART L RHYTHMIC READING
Andante con moto
w.[:~~~~l~/~JJ;\17%~~~ ~l~/~lllll1 ·
1
[~J ~~ /\i~l/l ~ ni 1~ l ~7~~1~ l~~J !I

Allegro maestoso
"· [: ~ I~ , l ; l ~-%~ I'. ; : ; ~ ; I~ , l ; l ~l ~ ~ I'. ~ ~ ; I

1
e:;; ~ :;; ~ 1 , l '. ; '. : 1 ~ , ~ ~~ ~ ~

l;l l I '. li ·•
J
1
1
Chapter 16
Compound Meter
Dotted HalfNote Beat Unit
1_ 6:.~,:~~I~~~~!:~~~~-?,~~!!~?-~--,,--~-~-,,,"-- .,,,,.,,,,. ,,,,.,,"·"'''~------,,---~~---~-
Meter Signature
In previous chapters, dotted quarter note represented the beat in compound meter. The dotted
half note can also be used to represem the beat.
Duple compound six divisions in each measure two beats per measure
quarrer note is the division unit ~ J J J_. 1 beat
Tripie compound nine divisions in each measure three beats per measure
quarter note is rhe division unir ~ J J J J.tbeat
1i J J J J. fourJ. beacs
Quadruple compound twelve divisions in each measure per measure
quarter note is the division unir • 1 beat
Notation ofDotted Half/Note = Beat Unit

,--2-,
J j j j j J J J J J j j
. 1 1 1 1
ta ta ki da ta va ki di da ma ta di
*A duplet is a two~note group resulting from irregular division of a compound beat; borrowed from simple meter.
Comparison of Compound Meters

• Chant each of the following equivalent exercises using rhythm syllables while tapping
the beat or conducting.
Duple compound
DOTTED QUARTER NOTE = BEAT UN!T
~ J. J J J 1 J )l J.
JF=!'J::;::J:::;::::JJ-j 1 j J j J j J 1J li
DoTTED HALF NOTE = BEAT UNIT
li
Tripie compound
DOTTED QUARTER NOTE = BEAT UN!T
115
DOTTED HALF NOTE = BEAT UN!T
1~ J J J J li J J J J li j J J li J J j li
Al. A2. A3. A4.
1
1~ J ~ J J J J li ~ J J J ~ J li ~ J J J J ~ li ~ ~ J J ~ J li 1
AS. A6. A7. A8.
J J J JJJJJJ J n J JJJJJJ J J .o J .o J JJJJJJJ J n

1
1~ 1 11 1 11
A9. A!O. Ali. A12.
j
A13. A14. A15. A16.
j
A17. A18. A19. A20.
,--2, 121 ,-2--, ,-2--, 1
1~ J J J li J J J J J li j J J J li J J J j li
A21. A22. A23. A24. 1
3 3 3 3 3 3
~ JJJJ
1
A25.
mJ mJ J j
11
A26.
J Jj JJ
11
A27.
m J mJ mJ11
A28.
m11
j
1
16.3. Exercises
1
Allegretto
i. I~ J J 1J J J . J 1J J J j J 1J J J J.
mp 1
1J ~ J J J J 1~ J J j ~ 1J ~ J J ~ ~ 1J ~ ~ J li
p f p
1
- - - - - - - - -
CHAPTER 16. DOTTED HALF NOTE = BEAT UNIT 117
Moderato
2• 1~~1d.J.Jd.J.J1.Jj .Jj 1J tt~1.J.J.Jdj 1J tt~ldj .J.J.J1

1~ d t ~ d t 1J t t ~ 1d j d t ~ 1.J .J .J d j 1J t t ~ 1d j J li
Andante
3· 1~.J .J 1.J .J .J .JJJJJJ1j .J .JJJJ.J 1J ~ .J .J 1

p ~
1.J n .J .J n .J 1.J J J J J J J=tJ t .J .J 1n .J cresc.

mf
.J n .J n1
1j nJ-=tJ
f
t .J .J 1.J .JJJJj n1j
decresc.
nn.J n1J
p
t 11
Adagio
4• 1~ J1,_..--;J-1.J~n;;::;:-;-.J.J-;--.J~.J-1.J-:--."7--;1u--;.J-.:JS.-,__J=p. JJJ 1.J n .J .J. Nl

1.JJJJJJj .J 1J .J=1J1.J n.J .J .J .J :.J .JJJJ.J. .b.J-:
~· .J .J .J 1.J .J J J J .J n .J 1.J. .b.J .J. .b.J 1.J J J J J J n .J n 1J 11
Allegro
s. 1~ n 1.J j .J j .J .J n 1.J .J. .b J_ j '

n 1.J .J .J .J j .J j 1
mf mp
1.J .J J J J .J .J. .b .J .J n 1J J t t mf
n 1
1.J .J. .b .J .J. .b .J .J n 1.J j .J j .J .J. .b 1J J t 11
l
118 PART 1. RHYTHMIC READING "
1
Lento
6• l1{ mpJ J. J J J J 1 e' e' 1J:"J.

mf
J JJJJ J 1J )lJ )lJ J J J J~ 1
1
+l· -· J J J JiJ
~
JiJ 1J JiJ JiJ J JJJiJ JiJ 1J J J JiJ JiJ 1e· -· JIT1
~
11ffi J Im J JiJ JiJ J J J 1h· -· mpJTJ 1J J J JiJ JiJ 1~· 11

1
Vivace
Moderato
s. 111 j J ~ ~ ~ j J ~ ~ ~ 1JJTIJJJJJJJJJ. J. 1~ Jm~ ,rmJJTIJJJJTITI1

,2, ,-2-, ,2, ,2,
1J J J 0 • li J ; ; ; ; J 1J ~ ~ ~ ~ ~ ~ J 1J ~ ~ ~ ; ; J li
nu ac~~.
Presto
'
9• 1~ ;. )l JJ ~ ~ 1;. )l JJ ~ J1J )l JJJJJJJ1J )l JJ 1; . )l JJ ~ J1;. )l J)l J)l J1
'
1J.rm J mJ 1J JiJ J 1;. JiJ J~ ~ 1;. JiJ J~ J1J JiJ JiJ JiJ 1nJ nJ 11
Allegro 3 3 3 3 3 3
io. 1! l~~ªt) J J J Jm1 j IDj mJ J m1 J J - m1; ~ ~ ; ~ ~ ; J m1

1. 3 2.
1e' - m:li J ; ~ ~ ; ~ ~ 1J ~ J ~ J 1legato

J J J )lJ J Ji1
3 3 3 3 3
[e· - m1j mj mJ J m1J ~ ~; ~ ~; J m:a· -· li

CHAPTER 16. DOTTED HALF NOTE • BEAT UNIT . 119
Two-Part Exercises
11. ~ mf
~-~'----t-9-'_'~~---++-.----.~.~.~><>'-----~~-!--+-+-H---------____,
p-==:::
1
_I
1
Chapter 17
Compound Meter
Dotted Eighth Note Beat Unit
~2,:"~;,~[~~~!~~~"~~"?"~~~~º':~""·····~··· ···=~-·~········-··········=·····~-·······"-·~"'
Meter Signature
In previous chapters, the dotted quarter note and dotted half note represented the beat in
compound meter. The dotted eighth note can also be used to represent the beat.
Duple compound six divisions in each measure two bears per measure
)l,
sixteenth note is the division unit Jl. = 1 beat
Triple compound nine divisions in each measure three beats per measure
sixreenth note is the division unit
)l, )l,
Jl. = 1 beac
Quadruple compound twelve divisions in each measúre
)l, )l, )'J. four bears per measure
sixceenth note is the division unir Jl. = 1 beac
Notation ofDotted Eighth Note= Beat Unit

- 2
----
----
----
---
)l. J J j ~~~~~~ t==j
1 1 1 1
ta ta ki da ta va ki di da ma ta di
* A duplet is a two-note group resulting from irregular division of a compound beat; borrowed from simple meter.
Comparison of Compound Meters
Chant each of the following equivalent exercises using rhythm syllable while tapping rhe beat
or conducting.
Duple compound
DOTTED HALF NOTE = BEAT UNIT
~ J J J J ld J J""'""J.. ,. J. ,. .JJ.,. . ,J 1J JlJ JlJ JlJ lo· li

DOTTED QUARTER NOTE = BEAT UNIT
~J J J J 1J JlJJJJJj1J j J JJ j J 1J li
DOTTED E!GHTH NOTE = BEAT UNIT
1\ jl. J J j in JjjJJJ1J j J JJ ~ J 1J li
Tripie compound
DOTTED HALF NOTE= BEAT UNIT
DOTTED QUARTER NOTE = BEAT UNIT
121
122 · PART 1. RHYTHMIC READING ·
DOTTED E!GHTH NOTE = BEAT UNIT
l
1
l 1~ J j j )l. li )l. J J j li J j )l. li )l. D li

AI. A2. A3. A4. 1
1
1& i 7
j J j j 11
117 wi 7 j 117
li
w w 7 117 7 )1 i 7 j li 1.
A5. A6. A7. AS.
A9. AIO. AI!. Al2.

1
1
A13. Al4. Al5. Al6.
AI?. AIS. Al9. A20.

1 .
A21. A22. A23. A24.

3 3 3 3 3 3
11~ m j J JJJ j JJ J J n
11 11 n j J J J J j JJJJj JJJJJJ11
11 _J
A25. A26. A27. A2S.
17.3. Exercises
Ji.=116
1.
l 1~ J J j J j j 1P· ;b.
~
1 J j j J j 1l
p , cresc.
IJ
1
j J j iJcresc. j j J j j iJ j j J j j 1P· )2.
~
li
p 1
1
· CHAPTER 17. DOTTED EIGHTH NOTE. BEAT UNIT 123
Allegretto
2. 1ni ~ :J). m 1n n :Q , n 1n , n 1h. , , ~ 1n h. 1

1n n 1J). , , Jl 1Q , n 1n , n 1J). m 1n h 1
mf
Andante
3· 1& n1h· 7· 1jJJJJJ7· 1h· ,.a1jJJjJJ.m 1nn1jJJJJJn 1

P PP P
1n .i .i .i .i .i .i 1m m 1h. , n 1J). 7· :.i .i .i .i .i .i 7· 1.b· , 1

~ p "
Adagio
4• 1& h. rn .i .i .i .i .i .i 1j JJJJ j JJJJ j JJJJ 1J). 7· j JJJJ 1

" ~ "
1J J J j JJJJJ J J 1J). 7· j JJJJ 1j J h j h J n~=i=J=iJ 1
mf
1h. 7· jJJJJ 1nJ J jJJJJJj J n1rm hJ htm 1m h. h. 1

" f
Moderato
s. 11~
Ll J) . .W h· 1rTI jJJJJJJjj jJJJJJ1fflfflLlLl1 J. J. 1
~ ~
1rnnrnn 1,.n7 n,.n7 n1 jJJJJJJl,,jJJJJJJl,,1 umJl,,nmJl,,11

p D.e. al Fine
Vivace Count one beat per measure
6· 111Jl 1jJ. j1~l2 1jJJjJJ1~l2 1~l2 1jJ. j1Jl, Jl1

mp PP
---
---
1.i.i.i.i.i.i1Jl, Jl1j JJJJ1Jl, Jl1j hJ 1Jl, Jl1j J h1h o/ )li mp
124 PART !. RHYTHMIC RBADING
1Ji· n j JJJJJ1Ji. JJ j J j JJJJJ1JJ j J n n 1~· JJ j J :1

efZ PP
Allegro
8· 1/li JFJi5JEJEJ 1)l. j j j j1j j j j j ' j J j j 1j j j j ' j j j j 1n

' Jm 1
if
1)l. J=j=J=j 1J=J=.=j j j J j 1j J. j j J J J Jl1 Li 1 j J J J (li. li

if efZ
Adagio
2 2
9. I& mph 1Ji._n 1m m 1Ji. a 1m a 1Ji. , , h 1

J
. 2 . 2
11:m Jrn 1m Jrn 1JJ jJ JJ jJ :h· n :11m n 1h· 1
.
~ f
]
~~.
10.
1mJi h 1Ji. Ji. Ji. n 1m m m n 1Ji. n Ji. 1J. , . n : n J
1& Ji. n n 1& h JJJJJ JJJ11\ Ji. n n 1& jJJJ jjJJJ j1 & Ji. JJ JJ 1 J
D.S. ai Cada
1& m m 1Ji. ,. 1Ji. Ji. 1n j JJ J 1Ji. j J J J J 1Ji. j

• 3 3
rit.
1
_j
Two-Part Exercises
Presto
11 ·l1~.Jjj.Jjj1.J j.J j1.Jjj.Jjj1.J jll}I

!ir r t r t (' t r (' t r r t r t (' t r D. 1
1J). .J j j 1J). .J j j 1J. ~ J J j j :{ j j { j j li

rrrr 1rrrr-1r rr rrr r
- - - - - - -
CHAPTER 17. DOTTED EIGHTH NOTE= BEAT UN!T 125
Andanteconmo~to_RC~F~---;;;~;;-Raa-19=;-,
'"[:m IBiJ}l lliZ iL' ll. j J;;ir ~I

~n 1erJl Q1/FitQi1:rr~n J iTI
[f JJ:4i51fJJ%;i1L l lf l 41n l~ ~ 1
JJ
D.C. ai Fine
Chapter 18 l
Simple Meter
Irregular Division of Beat
1

=='"°"'"""""·==""·""=-c.;,--"•====•"-=--""'"""'"'°'"""''=-_,,...=..-====..,_""'-~•==""~"'-"="=="="'="'"'~-==-=="'"'--=--"==·c=..,,-.=;•.,-==
l
priate metric motion tap-touch). 1
,!~~~ ~.~tT,:~~~!~~~~!<;>,~~~~~~~'''°~''"'"~"=•••~•"''''~~-•''·''-'~"~'-~---~ - -~~~~

Irregular Division of the Beat -1
In simple meter, the regular division of the beat is two with further division also by two (four,
eight, sixteen, etc.). Occasionally the beat is divided into three, five, six, seven, or another num-
ber of parts. This is known as irregular division of the beat.
l
Beat Division in Simple Meters
Beat Beat Irregular Beat Irregular Irregular Irregular
Unit Division Division (3)* Subdivision Division (5) Division (6) Division (7)
3 5 6 7
j J J J J J J J J J J J J J J JJJJJJ JJJJJJJ 1
3 5 6 7
J n rn 3
J j j j J j j j j Jjjjjj Jjjjjjj
5 6 7
]
)l
ta
M J j j j J J J j J J J J jJJJJJ jJJJJJJ
ta di ta ki da ta ka di mi taka~miti ta va ki di dama ta va ki di dama ti J
* The irregular division of a beat into three equal parts is also known as brJrrfJWed beat.
• Read and perform each of the above irregular beat divisions while (a) quietly tapping
the beat, (b) conducting, or (e) using the appropriate metric motion (tap-touch).
• A sextuplet may be performed in three ways. The accents should be virtually inaudible,
as they are used only to denote the groupings. Read and perform each of the sextuplet
patterns below while (a) quietly tapping the beat, (b) conducting, or (e) using the
1
appropriate metric motion (tap-touch).
i
1 Note to instructors: The rhythm patterns are found in Section 18.3.
126
CHAPTER 18. IRREGULAR BEAT DIVISION, S!MPLE METER 127
1. Six Equally Stressed Notes 2. Simple Division Note Grouping 3, Compound Division Note Grouping
,,.1.
(two groups of three notes each) (two groups oftwo notes each)
Beat Beat Beat

_) __
Beat Division lf.
BeatDivision i ...·· j ·---~
6 I
,,, \ \,
f \ 6 1
,/ :\,
I \ ,
1
1 I
\
1
/ 1
1 I
'6'
I
1
1
\
I
\
Sextuplet Jj j j j j
>
Sextuplet Jj ) Jj
> -->
J Sextuplet ~
>
i'jjjjj > >
Using this grouping when a sextuplet Using this grouping when a sextuplet
appears next to notes with simple division. , appears next to notes with compound division.
i n Jj j j j j
6
11
3
l J J J Jj j j
6
j j li
Measured Tremolo
The division of the beat is frequently notated by a measured tremo/o. The rhythmic value of the ·
note indicates the duration of the tremolo, the arabic numeral indicares the number of divi-
sions, and the number of slashes represents the number of beams.
Measured Tremolo Notation

BU Triplet Quadruple! Quíntuplet Sextuplet Septuplet
3 3 4 5 5 6 6 7 7
J j =J J J f =JTIJ f =JJJJJ f = JJJJJJ f = JJJJJJJ

3 3 4 5 5 6 6 7 7
J=m J=Jm i=Jjjjj J= Jjjjjj J= JJjjjjj

3 3 4 5 5 6 6 7 7
Ji=m J>=rm Jl= j JJJJ Jl= jJJJJJ Jl= jJJJJJJ

• Read and perform each of the above tremolo patterns while (a) quietly tapping the beat,
(b) conducting, or (e) using the appropriate metric motion (tap--touch).
Track A !.~~~~~I1:~~.!:~~~~!~~~.~;:e;.:,~!~~::,~~~~:..~?~~'.".~~~!..!!~}!_.
4s V
Rhythm Patterns: Quintuplets
5 5 5
JJjjjJ J 11n JjjjJD n 11n n JJJJJn 11
AI. A2. A3. A4.
A5. A6. A7. AS.

Exercises: Quintuplets
Andante
5 5
1. lf J JjjjjJ J IJ ~ JjjjjJ
mf cresc.
5 5
i-J ~ J Jjjjj1J JiJjjjjn 1j

decresc. mp
Allegretto
5 3 3 5 3
2• 1~J 1J JiJjjjJ1J Jim1mJjjjjm1J ~ J 1J Jin 1
~ ~
1Jj j j j
5
m m 1J ~
3 3
J 1J li Jj j j J1Jj j j j
mp
5 5
m n 1J ~
3
11
Adagio
3. lf pn 1rn.Jmn JJjjj 1rnJ

5
~ n mmJjjjjfn 1JmJ ~ n 1
1
5
5 5 5 5 5 5 5
1.mJmmm1~J ~ n1~J~n1.emJm.mn1~j 11 1
l
3 3 5 3 5
1tliJ llfJ J~mm1JJjjjj_Ji,1J J~mim1~JjjjjJ ,1

Fine
3 3 5 3 5 5 3 5
lf J J~illJm1t ffiJjjjjlf ffiJjjjjJjjjjffilJjjjjj_)l, li

D.C. ai Fine
Two-Part Exercise
3 5
J 11
rr rrrrrrrrrr r r 5
r .r. .--=r=r r
CHAPTER 18. IRREGULAR BEAT DIVISION, SIMPLE METER 129
Track A Rhythm Patterns: Sextuplets

49 V
6 6 6 6
1 ! J J JjjjjjJ li J JjjjjjJ J 11 n JJJJJJn n 1 n n JJJJJjn 11
Cl. C2. C3. C4.
C5. C6. C7. C8.
·Exercises: Sextuplets
• The accents on the sextuplets indicate note groupings and should be virtually
inaudible.
Moderato
Allegretto
3 6 3 6 '3 3 6 3
2. I~ mf
J m JJJJJJ1m JJJJJJJ iJp mm iJJJJJJm J
>->->- >->->- >->->
1n
,---3---,
'f
3 6
hl iJiJ2J1'fniJiJiJm1 J m
,---3--, 6 3
mf
3 6
iJiJiJ1 m iJiJJJJ 11
3 6
• Be sure to select the appropriate note grouping for each sextuplet.
JJJJDJ JJJJDJ 1JJJJJJJJJJn m 1JJJJJJJJJj J

6 . 3 6
1 11
J~84
m JJJJJ 1J n JJJJJJ 1J n m 1JJJJJJin JJJ J J

3 5 6 3 6 3 5
4. 1~ J J1 11
Fine
:i JJJJJm 1J JJJJJn 1J JJJJJJJJ1J JJJJJJJJJ j

5 3 6 5 6
D.C. ai Fine
Two-Part Exercise
Moderato
'· [! ~ m IJ ~ lm"n 1~ ;i iiI~ ~ iJiiI 5
[~ 2iil;;ll~1;JJJJ;JlJJ1; ;i~i;ii;i;i~l; li
Track A Rhythm Patterns: Septuplets
V
50
l
1 n JJJJJJJJJ n 1 n n JJJJJJJJJ
7 7 7 7
1 i JJ JJJJJJJJ 1 J JJJJJJJJ J 11
E!. E2. E3. E4. _j

7 7 3 7 33 33 7 3
1 i JmmJJJJJJJJJm11 JmJJJJJJJJmJm11 mJJJJJJJmm11 mmJJJJJJJm11

. ES. 1
E6. E7. E8.
Exercises: Septuplets
__]
J
1
.i
Largo
nj n jJJJ! 1n j t j 1J .,bj jJJJ1

7 7
2• lej lij j 1J
p ~
7 7 7
1 n1j Jm 1n Jj. n n j j t j 1j n j ! e n j 1
p
1 li
Adagio
3 3 3 7 3
3. 1 i l J ..b l l
~dolce
1 1 j. ..b: : 1n: n: n 1
J t l
PP
1
3 6 3 5 7
1J ..b j j 11 j ..b n 1 1
n 1 J 11
CHAPTER 18, IRREGULAR BEAT DIVIS!ON, SIMPLE METER · · 131
J=60
n l 1n nl 1n l rn 1t j t n t n:
3 3 3 5 5
4.
1
~ j '!
1
j 1
legato
n n n
3 6 3 ' 7 '
1
1 1 l 1 li j 1~ j ma reato
1 1
1 li .J
n t .o j n nt nt
3 6 3 6 7
1 tJ legato
1
l 1l 1
'! t 1~ j 1.J. 11
Two-Part Exercise
Allegro
5
l. l~j j j j j lj jJJJjJJJ1j - j 1J j j j lj j j jJJJJ1

f ~
3 3 5 3 5
1j j ~ j IlTI 1j j j j j j j 1j - j 1j JJJJj j j j JJJJ1j j j j li

f m
Moderato
,--- 3-----, ,--- 3-, 6
2• l~J
dolce ·
1J jjjj jjjljJJJJJJ jJJJJ le - j
marcat~
1
:J J JljJJJJ ..b1jJJJJJJj jJJJnj 1j nj - j

mp
1
6 6 6 7
ljJJJJJJ jJJJJJj=tjJJJJJJ J jJJJJJJ1e· li

-~============= f
-i
)b72 7 % 3 6
n n n mn In m5 J) Jj JJJJJJ) 1 h: fJ) .m n JJJJJJ1

1
s. 1~ 1;, J) ;, 1 1
• 7
n~ nJJJJn J J J Ju h J ~ ~ ~ ~ ~ J n J)~
1
1 1 h J).
•
1 1 J) 1
w7
1 11
5 1
1 n1 1 n.rm n, 1 nJJJJJ n1 1 nJJJJJJJ:n1 , n.rm

~p 1
p
1
p p -=:::::.
D.S.
11
ai Fine 1
1
Chapter 19
Compound Meter
Irregular Division of Beat

r~.:c·,-=,=-"·"'-~.:.,·"''"='=·""""·~"'°"'="":"""-~='·'·'""~-~..,.~---=·-~"''~="'=''°''"~=.oc.:.'...--::-=c=-~,-_,-""'-"''=.-co-_-o.:,:'"---=·~=c:'-".:o."'-=-"'''''"°'·"-.=.c.='-'=""'·=~~=="'"""·~'°'

0 Listen as your instructor chants a variety of rhythm patterns on rhythm syllables; echo
.!.~:.~.:-~1'~-~?-~i-~--~~~-~~-~~~~~~------··- ~~-- ---·-·-·- ·--~-- ..------------ ,,,,,,,...~--"''''

Irregular Division of the Beat
In compound meter the regular division of the beat is usually three or six equal parts,
The irregular division of the beat is two, four, five, and seven parts.
Beat Division in Compound Meters

Beat Beat Irregular Irregular Irregular Beat Irregular
Unit Division Division (2)* Division (4) Division (5) Subdivision Division (7)
2 4 5 7
J J J J J J J J J J J J J J J JJJJJJ JJJJJJJ
2 4 5 7 .
J J J J n J J J J J J J J J JJJJJJ JJJJJ:JJ
2 4 5 7
li.
ta
Jj J
ta ki da
n
ta di
J J J J J J JJ J
ta ka di mi ta ka di mi ti
jJJJJJ
ta va ki di dama
-
----
--
~~~~~~~
--
---
ta va ki di dama ti
* The irregular dÍvision of a beat into two equal parts is also known as borrowed beat.
• Read and perform each of the above patterns while (a) quiet!y tapping the beat,
(b) conducting, or (e) using the appropriate metric motion (tap-touch),
1Note .to instructors: The rhythm patterns are found in Section 19.3.
133
1
134 , PART L RHYTHMIC READING ·

1
19.3. Rhythm Patterns and Exercises-Dotted Quarter

Note= Beat Unit 1
Rhythm Patterns: Duplets and Quadruplets

Track
51
A
V 2 4 2 4
l
1~ ITI D 1 J J J J J J J 1 JJJJJJD li JJJJJJJ J J J li 1
AL A2, . A3. A4,
AS, A6. A7. A8.

1
Exercise: Duplets and Quadruplets
PP 1
Andante
3.1110.bJ 1hJhJJhhJhJhJ1.bJ n
2 4
JJJJO
2
1
J
legato
22 22 4 4 22 17'.
1J ~· J;J.bJ 1n '1 marcato

Jimm n Jin:on:o 1n .bmm 1J ~·
1
'1 'l
rali.
11
CHAPTER 19. IRREGULAR BEAT DIVISION, COMPOUND METER 135
Allegretto 4
4• 1~ .J J J J. 1J j J J. 1.J J J .J J J J 1J
r· r r r r r·
4
4
r r r r r ~ r·
4
u 2
r·
2
IJ.-.J j j j j j IJ.------.ü
r r r r· t r r·
2
u 2
r· r r r r r-
4
1J. .J j j j j j 1J. 1.J j j j j j J. li

rrrrrr u 2
r r r r r·4
rrrr 4
Track . . . Rhythm Patterns: Quintuplets

52 V
5 5 5 5
1~ .J. .J J J J J 11.J J J .J JJ J J11.J J) .J J J J J li J) .J .J J J J J li

Bl. B2. B3. B4.
5 5 5 5 2
1~ .J. j J .J J JJJ11.J J. j .J JJJJ11.J j j j j j .J JJJJ11.J J J JJD li

B5. B6. B7. BS.
Exercises: Quintuplets
Allegro
n :i
5
'f ~ 'f ~ 'f 1

cresc. f Fine PP D.S. al Fine
° Count one beat per measure.

Moderato
5
2. 1~ .J J J 1.J. 1.J J J J J 1.J. Fine

11.J J j J
5
1.J j J J j 1.J J j J 11 J j J 1.J J j J 1.J J J J J li

D.C. al Fine
1

1
Track A Rhythm Patterns: Septuplets

53 V 1
1§J. J J J J J J J 1 m JJJJJJJ1 J li JJJ JJJ J1: li J JJJJ JJJ1

7 7 7 7
Cl. C2. C3. C4.
7 7 7
1§rJJ JJJJJJJ1 J J. j JJJJJJJ1 JJJJJJJJJJJJJ1 n JJJJJJ 1

2 7
J
C5. C6. C7. C8.
j
Exercises: Septuplets 1
J.=72 1
i. 1§ mfJ ITI . 1m JJJJJJ1ITI JJJJJJJ1J ~· 1J hJ jJ 1 ·

7 r.-,
:J JJ JJh J íJ 1J )l J j J :J ~· 1J )l J j J 1J J J J J JJ J li
· CHAPTER 19. IRREGULAR BEAT DIVISION, COMPOUND METER 137
Allegretto
2. ~
1 h J. j 1..b j rn jjjjjj 1..b j J J n h J J 1J. t· h J. j 1
~ ~
m n J J J J m m JJJJJ J. t· nJ. j m m Jjjjjj

1
2 4
1
5
1
f
1 1
m m j j j j j j j J. ~· nJ. j Jj j j j j n J J J J J. J.
1
7
1
p
1
2 4
1
:::>-
11
pr pr '1 r p ~ r- ~·
2 4
1J j JD J J J J 1J J J J J J J j J j j j 1~ J j ~ ~: li
r p r· r· r urrurr r r r
• Mark the location of each beat.

Allegretto
r:--:-4-i r 2---i , r-4-i
l. 1~ J j j j 1j j j j 1j j j j j j
legato
J. J.
1
'!/ '!/
j
1 J J JJJ j J j j :
........................ r---2---i r--4------i 121 ' J2J r--4----, r":'i.
1j J J J JJj . j 1 j j j j j j :~· ~· 1 t j j j j j 1j j JJ li
ma reato
l
138 · · • PART 1. RHYTHMIC READING ··.
• Count one beat per measure.

Moderato 1
3. [:!; I~ ~~ !h j ~I~,~ n I~-/~ I~ í ll ll l 1

·1
~· lj lh-rn 17117 I~ /~ 1Pr I~ li

J J
Allegro
h J j JJJJ1m )l. '1.b· n 1.b·

----
---
1& ~ ~ ~ ~ ~ ~ j J h 1j
4
-
4• Jj j j 1 1
f p
4 2
1J j j ~ ~ ~ ~ ~ ~ 1.b· , , !J 1.b· J J h 1.b· J j j j 1a Ji. 11 1
mf rit.
1
Jl. ~ 104 5
s. 1ffi JJ j J 1!fJ j JJJJJ!fJ

~
!J J h 1, fj JíJ ' ~
fj J j j j j 1 1
:Ji.
mf
i J j J n J j j n JJJ JJJ
j J J J J J fJl 1 1
J
1,nJJJ ,n~~~~~~J1·r m'f. w 17· JJjj)l. JJjJ1

7 2 4 ' -
1
~ ~
5
1rTI j JJj JJ J JJJj JJJ JJ1, fj JJJ ' fj J j j j j 1.b· JJ )l. li '! _!
PP
1
1
Chapter 20
Hemiola and Cross- Rhythms

20.1. Symbolic Association: Hemiola, 2:3, 3:2
='-".:;'"•=,-~=.~,,-..:..'"ol=··=-=--'-OC'-"=:,-_,,.===~•=-"=."==·-=··=~.:.=::.·-"'>"-=,,--""'--==:;;-..;;;,.===='<'i="'"'-"'="""-'-"''"'---'C.:::."°==:<"~''--_.,,,==">
Hemiola
Hemiola is a type of syncopation that results in a temporary shift in meter from simple to com-
pound ar vice versa. For example, the accents in a measure with six eighth notes shift from two
groups of three eighth notes (compound duple) to three groups of two eighth notes (simple
tripie) or vice versa. Hemiola also results if a compound pattern (quarter/eighth) is superim-
posed on simple meter. Chant one part and tap the other part.
Three notes in the space of two beats Two-beat pattern in the space of three beat:s
>- >-
J. J J )JJ )! li
w li
Notice that the division of the measure is changed rather than the division of the beat (duplet
uu uu
and triplet).
The hemiola pattern is most often three half notes in the time of two ! measures (one beat to
a ! measure). Chant one part and tap the other part.
Two notes in the space of three beats
J. = 1 beat
li
Superduplet
A superduplet is a cross-rhythm composed of two notes of equal value in the space of three beats.
This figure is often referred to as "two against three" and may be notated in severa! different
ways. Notice that the second version has the sarne visual appearance as a coinmon pattern in
compound meter. Chant one part and tap the other part.
Superduplet
J.
r r li
Supertriplet
A supertriplet is a cross-rhythm composed of three notes of equal value in the space of two beats.
This figure is often referred to as "three against two" and may be notated in severa! different ways.
Think triplet eighth notes when performing this pattern. Chant one part and tap the other part.
Supertriplet
~·1 J3~~3J
r r li
139
l
1
20.2. Exercises: Hemiola, 2:3, 3:2
1
Superduplet
1
Allegro r - 2 ---, r - 2 ---,
2· 1~ J J 1n n J 1J J 1.bJ .bn 1j j 1.bJ .bJ 1j j 1n J J 11 1
,--2---,
3· 1~ J 1J n J 1J .b n 1j j 1J t J 1J Jm n 1J Jj Jm 1
1
,-- 2 ---, ,-- 2 ---, ,-- 2 ---, ,-- 2 ---, -1

:j j 1J t J 1J Jj n 1j j 1.b J .b rn 1j j 1j j 1j 1
1
Adagio 3 .--2-----,
4· 1t .b 1J .b.OJjJj1.bJ .bJ m 1J .brnm 1j j '! .b1

3 ,--2-----,
1J n.OJjjj1.bJ nJ m1J nm rn1j j '! .b1 1

,--- 2-----, 3 3 , - -2-----,
1J rnn n 1 J~j~jjj j 1J .bm n 1m j j 1 1

1~i=::;::j~jj j j 1m j j 1J rn n n 1j j '! 1
.---2---, 3 .---2----, .--- 2---,
Supertriplet
J=96 3 3 3 3 ,---- 3-----, ,---- 3-----,
1
s. 1i J J J [IJ 1j 1J~J J~J J~J 1j 1J J J 1J J J 1
1
3 3 ,--- 3-----, r - 3---, ,---- 3---...,
1J J J J 1j 1J J J J 1J .b .b J 1J J J 1J t li 1
Andante 3 . -3---, r - - 3----,
6· 1t n 1J .b J .o 1J n J m 1J J J J JJ 1j t .o 1 1
3 r - - 3-----, r--3-i r--3----i
1DJ J J J D 1J .b J D 1J J J J J J 1j J li 1
CHAPTER 20. HEMIOLA AND CROSS-RHYTHMS · 141
.-3-----.
1· 1i Ji 1Ji J Ji 1n J n 1J J J 1J '1 Ji 1J n :rn n 1rn n 1
3 ,--- 3---, 3 . - 3----,
1J Jm1nm1J J J 1mn1J '1Ji1J n1mn1J J J 1J '111

J-92
- 3 3 3 r--3---; .-3--, .-3--. 3
s. 1~ J J J 1J n J J J 1J J J J J J 1J Ji Ji J J '1 J1
,--- 3-----, 3 .-- 3---, 3 .--- 3-----, 3 ,--- 3----i
1J J J ·m1J '1 Ji'f '1 Ji1r;JJ J J 1Ji'f I7J '1 Ji1J J J :i

Hemiola
Andante con brio
9· 1~ j J 1J J J 1j J=1 J j 1j J=1 J J n 1j J=1 J j 1

lj J=1J J Ji1j J=1J J Ji1j J=1J J Ji1j J 1J ~ J/
1J ~ J-=tJ J. Ji1j J 1n ~ n 1n J Ji1J ~ J-=tJ J Ji1J 11
Allegro maestoso
1º· 1~
1.
m m1J J J :J Jim 1J J J :IJJ J Ji1 J J J 1J Jj JJ Ji1
12. 1 2 2
1J J J :11J J :11J Jjm1J Jjn 1J J J 1J Jjn 1J J J 1J 11

Allegretto
11 ·1~n 1J JJjjJ Jjjj1J J n 1J JjjjJ JJjj1

1J J n 1J J n 1J Ji J J J 1J J n :J J 11
142 PART 1. RHYTHMIC READING ··
1
Two-Part Exercises
12· 1 iJ
m .---
Moderato 3
1J J J 1J J J 1J '
m 1n
n
3------, r-3----,
1J J J 1J J J 1J
3
.--3-----, .-- 3-----,
11
1
ur wwrDrDur r r r r r r ur
3 3 L..J..:...J L..J....:...J
1
J=72 1
~ J. Ju hn 1n J hn 1T l
2 2
13.
1 1
Y l J. 1
hJ
1
J J-=tJ J
rr r rrr
1
1 r-r 1 r u r r ur Dr Du u r r 11 1
Allegretto
1
l4. [: ~ l ~~~ l ~ 1 J/ 1 ~ l ~~~ J ~ 1 J' ~ 1

-1
[~ ~ ~ J p 1~ ~ / ~j~ ~ l ~ ~ J I~ J ~- li 1
~ I~ J ~ ~ l ~ J p 12 ll ?/ i~ l ~ J ~ l I~ : ~1 1
B. [:
1
2 2
_ J
1
CHAPTER 20. HEMIOLA AND CROSS-RHYTHMS 143
20.3. Symbolic Association: 3:4, 4:3, 2:5

.
="-.,,,-"""'"""'"''="==--==.,,-"'-"'=-=-~oo""'"'~"-=-7-oz=~'':.o..-=-..,="="'•·=·"'=c::.~ ..,.,..~..,=-==-'°'~""'=="'"""'==--"-~""~"'=·==='""'""-""·"=~-~-=--"''==""
Less Common Cross-Rhythms

While the cross -rhythms "two againsr three" and "three against two" appear frequently in music, cross
-rhythms such as "three against four," "four againsc three," and "two against five" are fàr less frequent.
Less Common Cross-Rhythms

.
1. Four Against Three 2. Three Against Four

• ln this cross-rhythm, four notes are performed • ln this cross-rhythm, three notes are per-
in the space of three beats. formed in the space of four beats.
• The common denominator is twelve; feel the • The common denominator is twelve; feel the
underlying pulse of the sixteenth note (a). underlying pulse of the triplet(a).
• Tap the beat while chanting the rhyrhm patterns • Tap the beat while chanting the rhythm pat-
in a, b, ande on rhythm syllables. terns in a, b, ande on rhythm syllables.
• Notice' that there are three ways to notate • Notice that there are four ways 'to norate
"four against three" (e, d, e). "three against four" (e, d, e).
a.~ Jjjj JjjjJjjj li 3 3 3 3
i i i a.
1 immm
i i
m11
i
~ J. jn n. li
,-3-, ,-3--,
b.
i i i b. t J .hJ J j) J li
i i,-3-, i,-3--, i
e. ~ J. j~nê'n.
li e. t J~.hJ~J .J\-J li
i i4 i i i 3 i i
'
~ J J J li '
d. J
i i i d. t j j j
li
i i i i
e.·~ j). j). j). j).
li e. 1i J.-.hJ~J .J\-J.
i i i i' i' i' i' li
• A superquadruplet is a cross-rhythm composed
f. 1i j
j j
of four notes of equal value in the space of
three beats.
i' i' i' i' li
.
3. Two Againsr Five
,-2--,
a. J .ílJ
Ili J,--_.íloJ e. J J
l~iii ii i i i i i li~ i i i i i li
• ln this cross-rhythm, two notes are performed in the space of five beats.
• Tap the beat while chanting the rhyrhm patterns in a, b, and e ori rhythm syllables.
• Notice ~hat t_here are two ways to notate rwo against five".
1
144 PART !. RHYTHMIC READING ' -1

20.4. Exercises: 5:4, 4:5, 2:5 -i
Four Against Three
Moderato
-1
1. 1~~ 1J J J J n n. 1J J 'f .ti :n n n. 1J J 'f .b 1
--4-~ -1
1J. j n n. 1J J 'f .ti 1J J J J 1j 'f :1
Allegro r---4----, 1.
2· 1~ JJ. 11: J. .ti 1ffl 1Im n. n. 1n n n 1J J J J 1J ~ n. :11

nn n
2.
1 1
1ffln n 1J ~ IJ. 1J. .tin 11fflnn 1j 11
1
Allegretto .-2-----,
3. 1! dp J 1J. .b J 1j j 1J. .b n :n J J J J n. 1J 1
-4-----.
1j J 1J. .ti n 1n n n 1n JJ J JJJ. :J J J J 1J 11 1
Andante
n n n. 1J J J J 1
~4~
4.
1! J J o 1 1J. j o J. j 1
uurrrrbU' bU'bU' r r r r r r J
1J j .rJ .rJ IJ IJ J J 1
u r r r r r r r ru r r r r Í ' I bf er r '1 bf 1
iJi :r.h'I· ,h'I· ll1J j.rJn. IJ J4J J IJ

1
CJ '1 CJ '1 CJ '1 rrrru u r r rrrrru r 1
Three Against Four 1
J=88 3 3 3 ,3-, 3 .-3-. 3
s. 1e m 1J. JJ.bJ .ti1n n m J=tj ~ m 1.tiJ m J .tim 1 1
,----- 3------, 3 r- 3---, r-31 r--3-.,
1j j j 1j ~ m 1J .ti .ti J J J 1j j j :J 1
1
CHAPTER 20. HEMIOLA AND CROSS-RHYTHMS . 145
Allegretto
6. i wrn 1J. j J m J. j J JJJJJJ1J. j J m JJ j J JJj JJJ 1
,---- 3-----..,
1.DJ J. t· m 1J. .bJ .bJ J. 1j j j 1m J. t· m1

1J. jJ JJ jJ J. jJ rn 1.bJ .bJ JJJJJJJJJJJJ1J t· 11
Allegro 3 3 r--3----, ' 3 3
1· 1i fj j 1J m J m1j j j 1j j 1pJ J J n 1J m J m1
r - 3-----, r - 3----. ' 3 3 r - - 3----,
1J J J J J J 1j j 1j j 1m m n n 1j j j 1 a li
f
Moderato
. [:~~~ml~h~~~~I~ ~~Jhl~~h~~~!
~pJ~J J. I~ //J. I~~~~ ~I~ li J/
Two Against Five
Vivace r - 2-----, 1. 2.
1º· 1~ j 11: pJ j 1j n J J 1j j 1j t j :li j '--2--'
j
,----- 2 ----,
1j t
p
j 1J. .tin J J 1.bJ .tin J n 1j j 1J 11
.---2-----,
11• 1 ~ J Ji n J Ji
~
1 j ~ J Jl j j 1 nj n 1 j j :j ~ j. Jl
~
1
1
.--2 -----, r:"\. -1

1
nnj J Ji Jij Jlj Jij Ji nnj nn
1 1 1
j j 1
j J 11
-1
Andante r-2-----. 3
u [: ~~~~J hl~ JJ~~I~ J~PJ hl~~~:i I~ Jn~~Jnl 1
2 2
1
1
1
J
1
_)
Chapter 21
Asymmetrical Meters !- ;

<=,.,=-::o.=c='""='•"'-''""-="'"-..,.._,""~'~""-=::-'-"'"~._,,_,.,,,.,c""~=---"'·=--.:-.="'="-=-""'""="==="-==''-'==c=,=.o·-'-"'''""-""-=="'--='-"'""""'·""''"°""..,..."=_,,,..,-"".="==o..""-'"'"-"•=""""
Asymmetrical or Composite Meter

Such unusual meters as quintuple (five beats) ar septuple (seven beats) ate actually cambinatian
af groups af twa and three beats within a measure. This produces an irregular accent partem
that is often indicated by accents or a dotted line within a measure.
Bear Unir Constant

2+3 3+2
• Read and perform each af the~patterns while quietly tapping the beat ar canducting.
Notice that the beat remains constant.
Asymmetrical Meters: Combining Simple and Compound Beat Units

Asymmetrical meters can also combine simple and compound beat units. When this occurs,
the division unit rather than the beat unir remains constant. Notice that beams will usually
make the groupings visible, ar the time signature may indicate the grouping.
Division Unir Consrant

a. Duple
~mn §+~nm
i' i i i'
b.Triple
~mnn s+~+s nmn ~nnm

i' i i i i' i i i i'
c.Triple
~ {D{Df ~+§+~ mnm

i' . i i' ~ ffJ{D
• Read and perform each af the abave duple and tripie patterns while (a) quietly tapping
the beat, (b) canducting, ar (e) using the apprapriate metric matian (tap--tauch).
147
1
21.2. Rhythm Patterns and Exercises: Beat Constant

""'''==•''-'-"''"º'-"',,-·'==...,,=o."<C":"";""'""=~=''~-,,,-_~_.,.:;:.:cc·'°""'"''="'-'-~-"-~...-=""-"''"·""'='~-""'"'"",,-·°"'---'~"""'-"=-"'·'==oo·"'''=-·"':"-''-''-"=-·:c~-'""·-•"'"'''=~;~~·-';""-'"-""o"'.::.>
1
Al. A2. A3. A4.
11 J JJ:J nJ 11J. JinJ :J J11J J:J nJ ~11J J n:~nnJ 1

A5. A6. A7. AS.
Exercises
Andante
1. 1
i n :J J J n :J n n J t :n n n J :J
J 1 1 1
1Ji'I n :Jl'I n n lt n :t n n 1J n :J n n 1J-fJ 11

Allegro maestoso
2. li J n ;J J JJJ n 1
n n :rn J JJJru :J 'f Ji:
iJ JJJJn in J ;J 'f Jl1!7"Jn :I7"JJJJJn 1
1n n :J 'f Jl 1tn n :m J JJJ n n 1 J :J 11
Adagio
3. li J J ':J n :J Im1J IJJ:J Im1J m:J Jm1

Im1J
1
J t m :n .rn J t rn:n m :J n ;J Im:J=fJ 1 1
Vivace
4. li J J n :J n 1J n n :J Jm1J n Jm:n Jm1J J n :J 1
1
J t n :t n Ji'I Jl'f Ji:Jl'I Ji J mm :imm J n n :J
1
'f 'f
1 1 11
1
CHAPTER 21. ASYMMETRICAL METERS . 149
Largo
s. 11 J j j :j n n 1Im rn n .Em: j n n 1J t j :
1Ji'I 'I Ji'I Ji1jJJJ'I !JJi'I 'I Ji:j 'I Ji'I Ji1- j j--+j ~ n1
1t rn t tn :t n n 1J j j :j n n 1e : J li
Andante con brio
6.
11 j nn:j n j n Imn j--+j m j m 1j t j~ 1
1j t Ji'I 'I Ji1JjTJJi'I Ji'I :m t m ~ 1j t n:t .o~ .01

ljJJJ.Oj=tj .OJ lj .O.O:j n j .01° :J li
Tracks
56-58
o 21.3. Rhythm Patterns and Exercises: Beat Division Constant
=~=-=·'-"'""·~-~'-'·'=·"'""'---.,,.=---
Rhythm Patterns
··--·~·..:.=.,-::T==,,,-===o':.'"""-'==::-:co::"=":-==..--=:c~====:;--"''='---:-"'==~"-~··::::o....
-,-==·"'"-'"-"'==..c=~
1§ j J J j li j 'I J n li j )l D li )l j j li
AI. A2. A3. A4.
[§D j. li j j 'I J li j j )l 11D )l J

li
AS. A6. A7. AS.
A9. AIO. Ali. A12.
A13. A14. AIS. A16.
AI?. AIS. A19. A20.

(Continued)
A21. A22. A23. A24.
A25. A26. A27. A28.
1~n mm 11nJ h.DJ 11JmmJmJ1DJJmJjjjJ11

A29. A30. A31. A32.
Exercises
1. I§ m J 1J hn 1J n 1m J 1hJ n 1J hJ 1m n 1J J 1
1J hn 1m J 1J hJ 1J n 1m n 1hJ J 1J hn 1J J 11
2. I§ m J 1w J 1w n 1J n 1J hJ 1hJ n 1hJ 7h1m J 1

1n7n 1J h7h1m7h1J· 7h1mJ 1hJ h71WJ 1J J 11
1
1
4. 1§ n J 1J
m 1n J h1J J h1n m 1J hJ 1n hJ 1J J ==- > Fine
1
1
1J rn 1n J h1J m 1n J 1n J h1J ~ J 1J J h: J m :1
D.C. al Fine
CHAPTER 21. ASYMMETRICAL METERS ·• · 151
Jl=208
6· 1§ m J 1m n 1J J ll1n J. 1J ..tin 1J '..b1J m 1J J 11

j) =128
1· 1§J-J-J J 1J j J J 1J j J n 1J .ti J 1J nJn 1

1nJ nn 1J. JJJn 1nJ. jD 1J. jJ n :J ..bJ :J. ~J n 1
1J J J J 1n J J J 1J J n n 1J. j J J :n J J J 11
Jl=184
s. l3$2 J.,..,.J__,j,......,J J 1J . b J 1J J j J J J J 1J. JJ j 1

1J .ti ' n 1J J J J j :1 J j J J 1J J. j J 11
Jl= 144
9. 1§ m n 1J ..tim 1J JJ jJ
1nJ J J :J7J m 1n, hJ 1
1, n .D1JJJJJ J 1J jJ' n1JJ jJ J 1nJ n.Fn1
:J J J J 1J ' J m 1J J J ' n 1J. jJ ' n 1JJ j J J 11
152 . · PART L RHYTHMIC READING
J>= 116
10. 1§ J J. j J J J=tJ J J JJ j 1J 'f )l 1J J J J 'f õ1 1
11 J j J J j 1J 1 J j J 1)l J J J J 1J n J 1 1
1
J> =116
ll. 1§ )l 1J J J 1J J J j 1J )l J J 1J )l J ~
1J j J m n 1J h rn rn 11J j J n n 1J h J 1 1
J>= 184 1
12.
1án J-J-J n 1rnJ nJ rn 1n J jJ rn 1J J jJ J 1 1
1m J h m 1m JJ j J m 1n J JJ j m 1J J ~ 11 _]
J> = 128
1
13.
1§nnJJJ 1J J JJJ 1J nJ h 1J J J
J
1rn n J j J 1J n J j J 1n m J n J 1m m J 1
_]
J>=208
14.
1á J JJJJn m 1J JJJJrn m 1n n J n n :n J h J 1
1n m nJ n 1rnm J JJJJ 1n JJJJJJn 1m rnJ 11 _ ]
1
J> =144
1s. 1~ 1J hn J n1JJ j J n J JJ 1m J J J n1J ~

m m 1
1h J n n J 11 J j J n n J 1J J J J n J 1J ~ 1
CHAPTER 21. ASYMMETRICAL METERS . 153
):184
16. 1 ~1~1s n 1IJJ J .bn 1IJJ Jm rn 1rn IDJ n 1J ~ .brn 1

1J .bJ jJn 1JnJJ .bn 1J jJhJJn 1J ~ .bn 1
1J n J n J n n 1J .b JJ j J n 1J .b m rn 1JJ j J J. ~ 1
1J nJ hJ nn lJJ jJ mm lJ J .bJTI :.bJ J_.b11
):116
17.
13+§+3 IJJ n J .b 1IJJ n J 1 3+~+2 J .bJIJJ n 1JIJJ m J 1
1 2+~+3 n IDJ J .b:n nJ nJ 13+§+3 IJJ n J .b 1rn n J 11
):208
1s. 1 2+~+3.b 1 nrnm 1 rnrn nJ n J 1

~- m 1m m JIJJ 1
1n J .bJ 1nnJ J J Jjj 1n J JjjjJ .b 1J J_J li

J>= 116
19.
12+282+3 Jj 1J rnJ m 1mn mJJJ 1J J 'f .bJDJ 1n nnJ 1
irnn m J Jjj1J J 'f .bJJ Jjj:n nnJ Jjj1J~J ~ ~ li
)> = 144
20.
1wn 1J .bn J n 1m n J .bn 1J .bJ m n 1J .bJ~J n 1
1IJJnrDJn 1JJjJn.bJ n J .bnJ n 1IJJnJ 11 1
154 ·· PART !. RHYTHMIC READING · ·
Changing Meters with Unequal Beats

Allegro moderato
-1
21. 1§J J J J 1§J h J J J 1§J h J 1§J J J J
1
1§ J
1
D 1gJ h J h 1§J
1 1
J J J [g J J li -1
Andante
22. 1§J h J h 1§J h J 1§ h J J J J 1§ h J J 1
1§J J J J h 1§ J J J J 1§J h J J J 1§ h J J 11 1
1
Allegretto
23· 1§J j J J 1J J j J J 1J h J 1J j j j J J •1
1§J nJJ jJ 1J nJ h 11 J j J J n 1J J J J 11
Allegro maestoso
24. I§ n J h 1n J lá n J hn 1
J J JJJ I§ n J j J1
1§ n J H J J H 1§n J j J 1§ n H J H J li
Adagio
2s. 1 ~1~1s n 1J h J h n 1J J h n I§ J h n 1 ~ J { n 1 _J
1~ J j J J h J J J 1§J h n 1§J j J J J J 1~ J h J 1
Allegro
26.1gITI1J ITI1§J DJ h1DJ m1~J hJ JJJ1

1~ 1 S 1 ~ J h J J J J J 1 ~ J J J 1§ J J J J J 1~ J h J li
CHAPTER 21. ASYMMETRICAL METERS . . . 155
Andante con brio
27. 1 n J) J J J) n J) J ~
§ J) 1 1 J) ~ J) J J J) J) J
1 1 m J. ~ li:
:s'~'s n J J) J § n J) J 1 ~ li ~ J J J J) J
1 §n J J
1 11
Two-Part Exercises
Allegretto
28. l§J ) l o 1J nJo n J Jj o J )l J

r r r r r r rr 1
r rr r 1
r r r r
1J j J .D 1J )l J 1 J. j J J Jj J 1
)l J li
LJ
Jl=184
29. á n J. J J J. n n J. n J J J J J
1
r r Duu C' tr rl.bfr r ur l.bfr Dr

1 1 1 1
1 J J. n 1 J J. J 1 J J. J 1 J J JJJ 11
uDr rurrrrrul.6/urrul.6/Dr r
Allegro moderato
~- [: ~ l ~ ~ I~\ J ~ ~ n I~ ~ n :i 1~ ~l~ ~ 1
~l ~~ ~l~Z~~l~~/l~ I~~ li
156 ·· · · PART 1. RHYTHMIC READING
'
).ws 1
'1.[:~~l~~~~l~~~~l~l~~l~~~I ;
[~: ~~17~~7~~~~1~Jh~Jh~~
!
[~7~~7~~ ~ l~J h~J h~ ~ 1~7~~ li j
1
1
. 1
1
------ - - - - - - - - - - - - - - - ---------------
Chapter 22
Mixed Meters
22.1 Symbolic Association

..
"1"•.,,,,,.,;=.,..--='"..>'-'"''"°'=.r--Y=.>""=-""~~'"'-""'-"'""'-''.O..-.= ~""-'='"-~~-'C"-=-..z,.:=.=;~>.==o-"'''c=-"'-='-'"'""'''''"··'.-.==>~-="'-~"'"='=-"""=~~=~'""""-~""""-""""-=-=="·''
When simple and compound metets ate mixed, eithet the beat ot the division of the beat
remains constant. The equivalence (j) = j) or J = J. ) is shown at the point of the change.
Division Constant
The speed of the eighth note remains constant throughout. Consequently, the beats are of
unequal length. Tap the eighth note or use a metronome set to the eighth note to ensure the
steadiness of the division as the meter changes. When conducting, you will speed up when
moving from compound to simple meter and slow down when moving from simple to com-
pound meter.
li=)
1~ J nn 1g J
li= 1 1 1 1 1
Beat Constant
The quarter note in simple meter equals the dotted quarter note in compound meter. Conse-
quently, the speed of the eighth note changes. Use a metronome to set the beat, conduct, or tap
the beat to keep the beat constant while chanting the rhythm using rhythm syllables. When
the beat remains constant, your conducting will maintain a steady pulse.
Mixed meter may also include symmetrical and asymmetrical meters.
li=)!
1gJ )lJJJl§J Jl
)! = 1
n 11 n n 1 ~J Jl n n 11
1 1 1
157
22.2 Exercises
Division Constant
Normally the equivalence must be shown at the point of change; however, for these exercises
the equivalence is shown at the beginnings.
),=),
i. 1! J O J 1[1 [l [l 1§ d J J d J J 1J Jl J JJ
1i J n n 1J. Jl n 1g J. J j j J J J 1J Jl J. 11
),=),
2· 1gJ........., . . ,jJ J Jl1JJ JjjJ nJ 1in J n 1J J n 1
·1g J J J j j J J J 1J J. j J Jl 1i J. Jl n 1J 11
),= )i
3· n J n 1g J. j J J Jl 1i J.
1g J-1-J-j J j j j J 1i Jl n 1
1gJJ j J J J J 1i J n n 1g J J. j J n J 1i J
1
Jl J. 11
_J
),=),
4. li n J j j j 1J nn n J :n J J J n
1gJ J J J 1
1
. J
1 i rn n 1J J j n g n J n J J J 1J n J. 11
1
_J
),=),
s. 1g J'...,J::::;J=ij J n J J 1i n o :J j j j o '
Jl 1J J. j
1g Jl '! nJ n n Jl n J J :i Jl m 1Jl J 11
1 '! '! '!
CHAPTER 22. MIXED METERS . 159
Ji=Ji
6. li no J , Ji 1m o no 1 ~ J. JJjJ Ji 1J JjjjJ. Jjj 1
li nnn, n 1 ~ J JjjjfJJ li n nrn.Fm 1 ~ rn J. 11
J=J
7. J J j 1J J J J 1~ J o J 1J. .b J
Iª J > > >
1ª j J j J 11J J j J J 1~ J. )lo 1J J J :1
J=J
8· l~JlJ Jl01J OJ lªJ i J JJJJ1J OJ J [JJ 1
1~ J o o 1ª J o J J o J 1~ J. Ji o 1ª J J j j 11
J=J
9. 1$ j j 1J J J J li J J o J 1J. )lo J
> > > >
I$ J J lj J J 1i J n n J lj j :1
J=J
1
º· 1ª J J JJ J J J J 1J n JJ J J J J 1i J P P J 1P lffl P P 1
1ªJ. JlJJJJJ J 1J. JinJ J. Ji1iJ nnn1J. JiOJ 11
J=J
11· 1i J n J J 1~ J n J J lJ J J J 1i J.
Jin J 1~ i· Ji[J J JJ J JJ J 1
1i n n n n 1ª J J i· Ji J J 1i J. Ji J n 1ª i· Ji J J J 1
160 · · PART !. RHYTHMIC READING
l
Ji=Ji
12· li J. Ji1J '1 Ji1~ i Ji[lJ li J J 1~ i Ji1i nn li J J n li nJ 11
Ji=Ji
13· 1$ t n n J J J 1t J n J 1i n J J 1~ J Ji J Ji 1
1$ n J '1 Ji n 1i t n n 1~ J t Ji 1~ J ~ n J j 11 1
'
Beat Remains Constant

Normally the equivalence must be shown ar the point of change; however, for these exercises -1
the equivalence is shown at the beginnings.
14• l~=n 1J n 1J J 1J J 1rhrh1~ J m 1J Jim 1J J 1J li l

J=J. 3
1
1i J D 1J )l 1J J J J I~ J J J J 1
)l 1J
15. '1
J
1J J j j J )l 1J J J J J. j rJ j J J j J 11 1
1
J=J.
16· 1~ d--J-J i J j J 1i )l i J j J 1i [ l [ l 1i i J
J.=J
J Ji J nJ m J
2
11.
1
~ m 1 1
~- n 11J n n1Jmn J 1
3 3
I~ J J J J J 1J )l J J J J 1i J J J J J J J 1j li
CHAPTER 22. MIXED METERS · 161
J=J. 3
18. 1! Ji j Ji n 1J Ji m 1~ JJ j J j nJ Ji j 1gJ ~ Ji 1o n n1'I
1i j j j j !TI 1gJ ~ Jl 1~ /J j J j h J )l j 1r;J h 'I h J li

J. =J
19. 1g ., . . J,j j J J J J 1J J j J j J J 1! J Ji
J..--. n 1.0 n j
1gj nJJ J J J 1j Ji j 'I J 1! n j J J J n 1J 12 j 11
J=J.
20·1!Jl 10 j HjJJJ1~j J J J jJ J JJJ1gJ t Ji:
1J j J j Ji 1i Ji j Ji 1gJ j J j Ji 1~ m rJJ J JJJ1i j 'I 11
J=J
21· 1ª J j j j 1j j j j j 1! J Ji n 1Ji j Ji n 1
1ª j j J Ji j j 1! n n n 1ª j n n j j 1! rn m j 11
J=J
22· 1ª j j j j 1j j J Ji j 1t j n J Ji 1n j .o j 1
J. =J=J
23. 1§ j Ji J j J lj nJJ I! J Ji n 1.0 j nn 1
1g/J Jjj/J jJ lj J J J lªj j j j lj J j j li
162 - PART L RHYTHM!C READING
d=J. =J
24• Iª J J j 1J J J J j 1g J J J J 1H J J J j J 1 1
1i J J J n 1J j n 1gJ .ti J J J 1.b J J 11

1
Symrnetrical and Asymrnetrical Meters
Ji=Ji
25 • 1i .ti 1J .ti 1n J ' 1§ J..........
J . . .,J J 1J J J J n 1
J.=J
1gJ J J .b J 1J J J J .b J ' 1i J .b 1J 7 li 1
J.=J 1
26·1gJ J J 1JJ jJ J .ti1J' J J J 1iJ JJJJ1m J '1

Ji=Ji
1§ n J .ti 1 n J j J 1gJ J J J .ti J 1J 11 _ I
Ji=)i 3 1
27. 1~ n 1J .ti n rn 1J J J J ,n 1! J .ti n 1J ~ m 1 1
l
J. =J 3
1gJ j J J J J 1J .b J '1!J .b J J J 1J li
Ji=Ji J.=J 1
2s. 1§J .tiJ .tin 1J nnJ nn 1gJ .tiJ 'iiJ JJJJ 1

1
J=J. Ji=Ji
1
_I
3
1J m 1gJ j J .ti J '1 §J .ti J .ti n 1J n n J n J 1

CHAPTER 22. MIXED METERS 163
Two-Part Exercises
J:J,
29. i 11 o JJ. J n n J JJ. g1-J-jJ Ji J J JJ j ..J Ji
u u
1
1
i i
1
i i li' i i'1
l.U i' i 1
i i
J.=J J:J, J.=J J=J.
li 0 0 f?lI 1§ f.J jJ ~· hJ li f?f?0 lI 1§ ~-.JJ-j~: li
Ji=Ji
30.
1
§ n
i 1
i'
J j
i'
JJ jJn
i
n io o J n
i i u i
1
J. J.
i' ! i i' ! i i 1 1 1
Ji=Ji Ji=Ji
§ JJ j J J n J n n J n J. n i Ji J Ji n J 1 r
1
1
r· r· r r er / r r 1
r r r r 1 1
1
.j
. 1
_I
1
'
1
1;,•mio
,'
i' - ,l 1,, - ' 1· 1
·,'
'
i 1 i 1
PART II
Melodie Reading
Lmn-D=t1Jl.[l_J JJ_1J=ill-J-nn+L-F'n_•-.L-
l__j_ll~D-D-~==="'m~3,,_.,.J__,,,J=-=t<~m_o_J_.
1
p=r r IF F F?ff Er r 11· -r f F lf tflC

non; 4 voices
( ]
l [l] [2] [3 J 4
Samuel Webbe(l740-181
~b=1=~f
1 =r= .,i~E~ F J MdJ J j g -13 d' j j_=: -
non: 3 vote'-:'.;-;
1
.1
l
.1
.1
l
1
1
J
1
'
. 1
Chapter 1
Tonic Pentachord in
Major Mode; •·
Simple Meters,Undivided Beat
1.1. Building Aural/Oral Skills: Diatonic Steps
«===--""="-""'-°'=-='=-"'·•=-~-""-"""-"'"'~"-'-=-""~=~'=·==·º'-'='=·,;::,,_-;.-t~<.="'·~=='='"'-"'"~~"='-""-'"""•=•~c.-=~=::.:=-,,,::c~~=-"'º-T"""-'-"'"'-""~=-=='=~~c~=-=o:<
Reading Readiness Tonal Patterns

°' Listen as your instructor sings a variety of tonal patterns; echo each pattern. See Appen-
dix B for a description of tonal reading systems and hand signs. The use of hand signs,
tapping the beat, or conducting is highly recommended. 1
• Sing each of the following drills daily.
Pentaçhord sça/e
• Sing the ascending and descending pentachord (five-note) scale using tonal syllables.
Start on various tonics and always maintain an even pulse.
• Soltege: do-re- mi-fa- so-fa-mi- re-do
• Numbers: 1 - 2 - 3 - 4 - 5 -4 - 3 - 2 - 1
• Sing the ascending and descending additive pentachord scale using tonal syllables.
Start on various tonics and always maintain an even pulse.
Additive Pentachord Scale-Ascending
so
fa fa
mi mi mi mi
re re re re re re
do do do do do do do
Additive Pentachord Scale-Descending

5 5 5 5 5 5 5
4 4 4 4 4 4
3 3 3 3
2 2
lntervals
An interval is the distance in pitch between two tones; all intervals are identified numerically
by counting both of the tones and the pitches spanned by the two tones.
• Sing the ascending intervals from the tonic and the descending intervals from the fifth
scale degree. Verbally label the quantity of each interval prior to singing the interval.
Begin to recognize these intervals by sound.
• Soltege: Second: do - re - do; Third: domi -do; Fourth: do - fa-do; Fifth: do - so -do;
Second: so - fa - so; Third: so - mi - so; Fourth: so - re - so; Fifth: so - do - so
• Numbers: Second: 1-2 -1; Third: 1- 3 -1; Fourth: 1-4-1; Fifth: 1- 5 -1;
Se~ond: 5 -4- 5; Third: 5 - 3 - 5; Fourth: 5 - 2 - 5; Fifth: 5 - 1 - 5
• Sing the intervals of a third ascending from the tonic and descending from the fifth
scale degree. Begin to recognize these intervals by sound.
!Note to instruccors: The tonal patterns are found in Section 1.3 and should be taught by rote using the two-step
process outlined in the Musical Literacy Process section of the Preface.
167
168 PART II. MELODIC READING
PREPARATION EXERCISE
0 Solfege: do - re - mi - do - mi; re - mi - fa - re - fa; mi - fa - so - mi - so; so - fa - mi - so -
mi; fa - mi - re - fa - re; mi - re - do - mi - do
• Numbers: 1 - 2 - 3 - 1 - 3; 2 - 3 -4- 2 -4; 3 -4- 5 - 3 - 5; 5 -4- 3 - 5 - 3;
4 - 3 - 2 -4 - 2; 3 - 2 - 1 - 3 - 1
THIRDSONLY
~ Solfege: do - mi; re - fa; mi - so; so - mi; fa - re; mi - do
0 Numbers: 1 - 3; 2 -4; 3 - 5; 5 - 3; 4- 2; 3 - 1
Tonictriad
A tonic triadis a combination of three tones arranged in thirds (tertian) and built on the home
tone or keynote; the lowest note is called the root, the middle note is called the third, and the
top note is called the fifth of the triad.
• Sing the tonic triad as a chord (tones are sounded simultaneously, creating harmony-the
vertical aspect of music) and as an arpeggio (notes of a chord sung one at a time). 1
0 Solfüge: do - mi - so - mi - do
• Numbers: 1 - 3 - 5 - 3 - 1
0 Listen as your instructor sings on a neutral syllable or plays cwo tonal patterns and then
determine if the patterns were the sarne or different.
• Sing the tonal syllables indicated by your instructor either via hand signs or rhe tonal ladder. 2
0 Listen as your instructor sings a known tonal pattern on a neutral syllable, then notate
the pattern using the tonal syllable or scale-degree numbers in graphic form to illustrate
the tonal contour of the pattern.
Solfege Numbers
m 3
r r 2 2
d d 1 1
.!~_:~-~x!!1-~.?.!l~--~~-~~-~~~;~~~.:E_~~;~~~:,-~l~2-~-~-'"-·- ------·-····--··---···--··-··-· ...

Score Notation
The visual representation of music is called score notation. Its main purpose is to indicate the
pitch and duradon of each tone.
Notation of Pitch
Pitch is notated on a staff, which consists of five parallel horizontal lines and four intervening spaces.
The lines and spaces are numbered from the bottom to the top, from lower to higher pitch.
4 S 3
4 Higher Pitches
2 3 2
Lower Pitches --
Canon: 4 voices
[1] 3 [2] [3] [4] English (adapted)
1. '#9JJJJJIJ t Ir rrrJ Ir ~ lf rrrr lf Cf!@ JJJJ IJ t li

3 3 3
...---------.. French Canadian
2. r 1 ~ 1r r r 1r ~
1r
~
º u 1r r r 11
Polish
Allegretto Dutch
4. ?: ~ 1 ·i. i r----r--1r-r-p r 1C r 1r r O :11

mf' (p) 3
3
mp 3 3 3
16 r e r r Ir r Ffr
cresc. 3 3 3
:11
Canon: 3 voices
[1] English (adapted)
6. :J: ~l·i.~ " r r pr r

D1 ur ~ 1~ r r~ r r 1vr vr r ·1 . 1
[2] .J
9: ~l·i.~ vf vf r 1D f D r ~ 1r r r 1D r o r f '1
9: ~l·i.b [r] r 1D r Df ' f f 1F r r er r r 1P r D r r 11
Allegro Polish
7. ! #i l
mp
J J1 1p r Jí 1A J 1J 1f FP 1P r D 1u r JJ mf
! # ( [ D 1p
f
r ) 1f J A 1Dr--..,..-h1-p-r-J-D-1;-J-8 :l
mf'
li
--------------------- - -
CHAPTER 11. MAJOR I AND V 7 , OTHER RHYTHMS 335
Allegro Swedish
s. @&
1
' a6Ufu1fü
f
u Ir êffiao/âiur= u1fü- u1f?l?17 1
Canon: 3 voices
[1] /":', [2] French
9. ti=~ i eu lt 1c:r r ' 1e u tr 1r± t '1 r r r r r c..r 1r er r '1
Alia Mar::;;ciª::---------- 16th-Century English
10. ti=•ttn•; iiO

mf
e r 1r ea 1[:; criJ1r i :11~1
1
Allegro English (adapted)
11· @~ 11 ~ r r r 111 J J5 J J 1n w aoJ n a 1iJ 1r fil

@itt]] FJ f] 1J1 J Ji ;1 lf D O IP ) tuJ
@~11 rn J :5 a 1 1; w J ; J 1m n ] 11 1a J n1 .r1 1
Andante French

{.',
r r~ r 1r r t- '
{.',
r r r 1r r : r 1
Allegro non troppo (Note the la-do-mi intervals.)
------ WilliamBoyce (1710-1779)
14. t~i. "w~1p

mf
ur r1 1r J. jJ ~ ;f[ J 1r uir cS?t y fll
Canon: 5 voices [2] Latin Canon, Pamme/ia, 1609
tin <, ,i-J J 1.n na

[1]
n no 1.0 r~wrlr t___ JSJ

[3]
1s. w w IJ
t #11
00
J J J J 1~ J J. Jí 1i"J J
'
J.
w
Jl I J. J) ~ J lj - li
Andante Greek
16. ;t=~i. !zj_r_r_r_o--~.

~ 3 $~ ·
fJ 1~· ~ VBJr
1- IZ ~ 1
~r
l;;iõol
1E:; c-J lSJJ1
pp 3 cresc.
~=~ 1 ·rr ~rx P ~J

~ dim. =:::;J
n 1J P ~~
PP ~
Ei3--º-1r·-p-cf}J cresc. 3
j
J t; iJ ;!Sitr ~ir P df 1T t 1 J
mj' dim. PP
Danish
_]
:11(1 r r r r?g
mj' 3 3
1
CHAPTER 11. MAJOR 1 AND V7 , OTHER RHYTHMS 337
"
(Note: do-la interval)
- -- - George Frideric Handel (1685-1759), Chaconne
' • •
19.
~
:
1
.
'
- - 1
' 1 1
Presto Frédéric Duvemoy (1765-1838), Methode pour le Cor

' A A A /\ A A
20. .
~ ' ' 3
- -
3 l.,,J ' ' - ' '
"-A A /\ A A
~~
• ::; - ::; • ::; "' ' Fine
, A li A A A A li -
~ - -
A A A_.4 .
-~ ' ' ::; ' ' - D.C. al Fine

'
Chapter 12
i and V 7 in Minar
Mode; Other Rhythms
in Simple Meters l
12.1. Integrating Rhythm and Tonal Skills: Minor Modes

~~''''''''"'-='~"'~·.c·.=:~"'-=o=:c.."'-"'<==-"""'~''"'"---'"=-""=""'-''"'""--=°"==.z=:"'''"--'""'"'~"'-""'"-""'==-=.=-~-"""'--~"-=""·=·""'-''=~-"'==~:.:-•=:=.:=,'"-="'"""'''"-=>

e Listen as your instructor sings a variety of melodie patterns in minor; echo each
pattern. 1
Integrate rhythm
• Sing each of the following drills daily, integrating a variety of rhythm patterns; select J
from the rhythm patterns below or create your own.
Rhythm Pattems
A. 3 C. E.
l J J J J liJJJJn lifJl n1 ]
J
1
,__ J
Natural, harmonic, and melodie minor scales

• Using tonal syllables, sing the extended, additive, and pentachord scales in each of the
three forms of the minar scales integrating a variety of rhythm patterns.
I ntervals in three forms of the minor scales
0 Using tonal syllables, sing the ascending and descending intervals from the tonic and
the intervals moving out from the tonic in each of the three forms of the minar scales
• Using tonal syllables, sing the intervals of a third in each of the three forms of the minar
scales integrating a variety of rhythm patterns.
• Using tonal syllables, sing the intervals of a fourth in each of the three forms of the
minar scales integrating a variety of rhythm patterns.
1Note to instructors: The melodie patterns are found in Section 12.3-triplets, 12.4-syncopation, and
12.5-sixteenth notes.
338
CHAPTER 12. MINOR i AND V7 • OTHER RHYTHMS 339
Root and inverted triads built on each scale degree of the minor scales
0 Using tonal syllables, sing the root-position, first-inversion, and second-inversion triads as
melodie triads in each of the three forms of the minar scales. Repeat integrating a variety of
rhythm patterns.
Harmony
• Using tonal syllables, sing the succession of pitches in the i-V7 chord progressions inte-
grating a variety of rhythm patterns.
Chromatic intervals
• Verbally label the quantity and quality of each ascending and descending chromatic
interval prior ro singing the interval on tonal syllables.
• Using tonal syllables, sing the chromatic intervals integrating a variety of rhythm patterns.

'=~-~--""-"""'-~"'"==..::"=-<=<-~--==-~""""'-"""""'-=""'===-~'"'"""'"""'"'===·::o"'~==""'-'-"><=."·-:c=---,,:"'".===
Chromatic Intervals
• Determine the quantity and quality of each interval and then sing the interval.
'# •· • 11. • 11. li· 11. #• 11. • 1 • " 11. •· 11. li" 11. " 11. • li
1. 2. 3. 4. 5. 6. 7. 8. 9._ 10.
'# • " 11.11. 12.

~. 11.
13.
b...
11.
14.
•
11.
15.
ll" 11.
16.
~
11. • 11. b. 11.
17. 18. 19._
. 11. 20.
-,,
li
Minor Scales
• Determine the form (natural, harmonic, melodie) of each scale and then sing the scales.
!._ _ _ _ _ _ _ _ __ Se ale
• •
• " • " #• • • • " • " • li
"
2. _ _ _ _ _ _ _ _ __ Scale
,,.. • '<j i!
" " ~·
1
(1•
• li
""" ~,,
1
• " • " •· " • " •
3._ _ _ _ _ _ _ _ __ Scale
. .
• " • " • • • • " • " • -
Root and Inverted Triads Built on Each Scale Degree of the Minor Scales
0 Determine the Roman numeral, quality, and inversion of each melodie triad and then
sing the triads .
9: " " " • " li· • • " • 1 .. " • " li • • • • • li • •

• " •· " • li
1. 2. 3. 4. 5.
• • •
• li•· •
•
• • 11 •
•• • • 11 • • •
. • 11 • • • • li
6. _ _ 7. _ _ 8. _ _ 9. _ _ 10. _ _
Dominant and Dominant Seventh Chords

0 Determine the missing Roman numerals, quality, and inversions and then sing the suc-
cession of pitches.
@~li1J • ~· ••• 11 •• ~· ...... 11- •• ~· .. 1 ... ~· •• li •••• ~. li • •• 'i· •li· ••• 'i· 11
!. _ _ 2. _ _ 3. _ _ 4. _ _ 5. _ _ 6. _ _ 7. _ _
1
1
Melodie Patterns
3 3
3
@# ! J J J J J
AI.
1 r
A2.
JJ• 1
J
1
li J J J • J IU
A3.
1
A4.
3 3
r r rr
3
A5. A6. A7. A8.
3 3
J ll[LJ J J
1
li F • J J J li J r r • J li
1
1
A9. AIO. Ali. A12. 3
Al3. 3
r 11r eu r 3 3 1
A14. A15. A!6.
3 3 3
;w1. 1
11DJJ J rJJ11J f11t0r
A17. · 3 A18. A19. A20. 3
3 3 3
!m rn li F w r r
3
?: ~l·i. J j J J li J •~
3
J• ~
11 BJ . li -j
A22. 3 A24.
A21. A23.
mr m r JJ J J wr
3 3
#
tJg ;
3 3 3
@ t J w JJ 1u 11 w 1 •
1 ili li
A25. A26. A27. A28. 3
- - - - - - - · - - ----
• CHAPTER 12. MINOR; AND V,· OTHER RHYTHMS · · 341
Exercises
• Do NOT write tonal ar rhythm syllables in the music
3
1. ' &hi. tJ J jJJ J 1J J J IJ J J J J J IJ J J

' &l·i. J J JJ J w i J r J lijr w 3
r 11
2. ?=&tr r r 1r er r r 3
r F 1r Erj • f' 3
r ,,
:>= & r r r 1r r r; r r 1r 3
r IF r- :J r
1
3
11
3. ;>: &h !r Ir r 1r r 1 r •r r r IF r r
3
e e F rr •
;>:&li ~ 1C
3
1
IF r e 9r 3
•r lf' li
3
4. ;>: •11 t J l11fJ] r ~ r ltLJ r ~
3 3
3
r E:f ~) r(11) r
;>: •11 r ~
3
Ir r ~ UJIJ ,, 1
~ aJ 1r r J t[k 1r
3
J 11
3
s. @b '
1
! ; ~j 11 w 1J. J1 Q 1 r D Jp J J u
r r; 1:
3
@&i. r 'W 1nfj J O cJ

3
1 r D O 1J 'Al nJ 1J 11
3 3 3 3
6. @& ! J J J 1J J J J J 1 ~
o
J J J IF J J JJ 1
~&J J wJJ1J J J l;l ;J .; 1w w
4 Jp 1J 11
1
1. ; #11# " J u. ~Ji w J 1r r3 J J1 1r w r d a1v

3
~ J
; #11# J. Ji J J 1 r J p r 1r ~ r r wr 3
1t JJ~J w 11 1
Allegro con fnoco (M.M. J =e. 152) Antonín Dvolák (1841-1904), Symphony No. 5, Op. 95
3
s. ; ~ (j J J. .w 1>J. JiJ u l fl u. u J • >

w
> ..
w 1J
>
t·J uJJWr J u ]'1 ~ 11 -·
.ff
12.4. Melodie Patterns and Exercises: Syncopation,

Tonic Only
,-.,,_,,,,_..,,,="=-'"""'°'"'"=='"·"'·"'"'"'='°''"'-O~-"°'""''"·=~.".<OC"':C.'=.,-_,,=_,,,'°"=~~-""""'-'"'-'"'°-'---'"'"=·K<.=.7"--7.""·""-"'-=::"'-""'-==::::<T'-'=""~~=::o.~:;:-::o:.,·;.;,°'=·~'"'"'-"'"''°''-='-'""'"'°''"'-..,,.,.""'O'"~
1
Melodie Patterns
j
;
1
&' 1mw J5 J r 1 r r p r p !IJ w ;1 w ;1 11 w J1 J J1 r 1

AI. A2. A3. A4.
J
?: •# 11 1p r Pr r 1Pr Pr r 1 P r pr r 1 r Dr Dr 1
A5. A6. A?. A8. l
'# i l J l r J li J J1 J Jl J 1Ali.r p r p r lA12.
i Dr
--k-
jJ
r
J li l
A9. AIO.
i
pr pr 1 r pr pF 1 r r p
li ~l
;t: & i
r 1
p1r p j p r li
,, ,,
A13. A14. A15. A16.
t ~I· ! r p J p li J l J
AI?. A18.
.. -lo\
li~,'
A19.
r r li p
AZO.
li
1
• f1 J li 1
; ~11#• i r lr •p J li J Jl J •ti J li J J1 J Jl• J llJ l#J •p r li

A21. A22. A23. A24.
9: .# !J •~l r· 1r p J. li p f r li J nJi J. li
A25. A26. A27. A28.
CHAPTER 12. MINOR i AND V 7 • OTHER RHYTHMS · 343
(Continued)
9: ~h. :t l• p •· 1 r li D •·1
,J li Jl' r· •=ti r· li D f{ 9(
-r r li
A29. A30. A31. A32.
Exercises
1. '#"hJ JJ J 111 w J1 J J Ir ~ r lpr Dr J

'ü p r p J J 1J1 J ;1 J J 1Jí J Jí nJ' J Ji ll J l J 11
2. 9: 111111#11 :t r IP
r pr r 1 f' 1 r 1p r p r r 1r r ~ r 1
9: 13111 li o r p F r I " ~ r 1p r p r r 1r .. J r 11
li 1
J ll ..~ h 11@ Ir ~ .. llp r p r r 1

3. 9: 1 ! J Ir o 1
~):.
, r f e --J 'D r p f r 1r r r j .. ir 1f'
1 'I 1
1r p r p 1r E
!'- •
! r p r p IF r
9: 111 11 f
4.
t "
1
;oi-
1
1
p r p IC -- l..
1
9: •11# li
1
J o 1J p J p 1nr e ...r r 11
s. li v :t ;::t r
!I :1-1
Jl ~- ;i
':1
1w J '
r 1P r :1
P ,,.
,.1
~ i.. j
·'
r
6. ?= ! v 1r 2 r v 1r· P e ; 1r r p l r D r 1 11D 1
?=r D IP 1 r D t; if r µ r v 1D r llp p li 1
7. 'çl> j w 1l J l J. l IJ J 1l r l .. p lp r p -· p 1 ~
1
1
~ çl> A Jl •~ ,p 1l ]! .=I . l lj fi ~w #Jl 1#Jl w .-ti J li

\ \
ü • • 1
Canon: 2 voices
[!]
r
s. 9= • ; D r P1 o r 1D r P 1r [ZJ
1D r P 1t; r 1D r ;:. 1r
Canadian
11
9. 'ç; õ Allegre::::tto:..---------
f(mp)
r r Ir r o 1A r?JJ. 1 :11n
mf
r 1p r
Hungarian
p 1
,çm 1Ju ; 1; tJi JCTJ1 J l 1J J w J 1Ji J - J1 li

dim. p
Andante (Note the intervals in the III chord.) American Spiritual
10. 9= &'i.
1
~!'íl 1r· D u 1]? ;ig 1r D nm. ;ig 1r· D Cil l
1
~=~i.t.fJ Ji d lf
i,......-
D FfiJ fi;J
cresc.
1f' P Cr IPF (EIJ
1
9=~hi.~· f~-r-l_F'_p-(J--Tp ji~. li
12.5. Melodie Patterns and Exercises: Subdivided Beat,

Tonic Only
1>'-~'-'"'''°'''"-'"""'-""'"'-"-:<.0\'=·-·='~'"'c=-:"'-o'"'-"·"'"'''"-~"'='"'''·'"'"~"''""·""'-º'º"'"'"'"·=""-"-":~o"°.'''-'"-"='··=,-,..-;o,==-'·"'-•-.,,:.,=.""·"-"-""""'·"'""'"'"'°""·'"'''7~<''""""""·:.-.:".'-''-'"'"'-""'°'""·"'-"'""-"-''"-~"'""
Melodie Patterns
AI. A2. A3. A4.

(Continued)
' # ~ J ) JJj r li F ( j Ef F li f EU F iJ j Jli R ;i F f E rf li

AS. A6. A7. AS.
A9. AlO. All. A12.
A13. A14. A15. A16.
9: # ~ (/J
A17.
•
1
r r 11
A18.
b;p
d
r ee J r 11
A19.
11
A20.
r u eu r 11
9= ~ 1 u r r :r 11 r' .r"r- r o r 11 r r· / r· ;",.ê 11

!'-
+=
tt :·
~ -- ~
lt
f-
r
~
A21. A22. A23. A24.
:i;I ~
i J i] f ] ~ li J: j f ] h F li J. j J J J. j 11 r i J w J
-1 •
~ ~ 'i. 11
A25. A26. A27. A28.
A29. A30. A31. A32.
A33. A34. A35. A36.
A37. A38. A39. A40.
Exercises
~~li ! J J• j J J r J rd• f f
• IJ J JUnJ
1. J 1 1 1 I&;.
1
~ ~I· •~] j JnJ J J Jj r J j J ~J 11•

-j
li
• oJ
1j 1 1
IJ 1 J
1
1
2. @~ 1'!.k t n1w ElffJ~J 1;nn Rc©J íOIJ qJ ~J ;n1n w 't ®1 1
@~1>1) J El!fJ~J lf/ag r rgfjplJ r r rgffllfipJ 't 11 1
~ n 1
1
11
4. ti= ~i.i.& tr D r r ~ r 1r c- ; e- : r 1r P r r
J 1A
?= ~i.i.& [ ; EJ J r 1c- 1 r ' r 1r t ; r Q 1J ~a r 11
5. t ~l>i. t J j ~ JJJ J 1J. j J. j J 't Ji 1J. j J. ) J ~JJ ' J J. j 1

@~i.i. J f1R r &@ 1J 't Ji i aJ U J. aJ. 3qJ 1qJ· JJ J 11
Allegro leggiero l'S French Canadian
•· ~tjifü i J~ID J ]:! llê]'ID l ftl 5fl

~ J J1J1 't fft 1O E r 1F ríl 1r r r F } fií 1D JJ;] j
------
@J J Eif1D J 7fJ _11af11r r crçFILJ ufr1r r f]lt 1 j
Fine p D. S. ai Fine
1
CHAPTER 12. MINOR i AND V 7 • OTHER RHYTHMS 347
Expressivo Polish
Moderato French Canadian
ma reato
legato legato
a-----
Adagio English
,..---__
lO. ?= ~ 9
p
J u r Ar 1F p
p
u 1
tf t t 1 t t ; e J r· 1 11
1. *u!r Ji i 1 J #J nJ IJ
1
$
J
* # J.
J) J J p • 1
1
p J J 1 r 3r ~r I"
1 11
p F p 1J. j A •·f a 1•
J 1 'I J lf
li'·
) o J. a 1
Jl' r • ::1 1•P' J
'I
Ji 1J· J r IJ r ( 1
~
11J1 J 11
3. ?= & 9 E; 1U C" i C" ! 1f r LJ 1r r r O u· 1r $ U 1

D
?=& C- ; e· ; C- ; Ir· p E g lc rJ r r 9C#f 1f 11

Ir ~ r ,rrr1
1
'
J l~J uJ
r 11
s. 2= ~1. ~ r r ; r r 1r r [ 1 eJ 1r· p r 1r ~ p1
?: ~" r- : r- : r 1r r r r r rir r o r P 1r c- ur 11
1
6. ,- 1 wnr Q1iJ 1Jf3 JJJJJ i ;11J nww nar 1J1J ;1~ i ;11 J
,- UUP J Jí1f1f1J1J J1IJ nu Miia 1w nJ nd 11 l
J
]
]
:.......------
Maestoso Welsh
' 1
8. '~"e J-----Q1 J J 1J ~
~
Jri1 1C[ã f
3 3
tr IQ JQ .11 Fine
1
1 ~ 1 • C_if_r_r_r-1r-;n==-J1 1w=:cn r r 1- ~-7 1

~ ~ 3 3 1 ~
3
D. C. ai Fine
Canon: 3 voices (Note the modulation to the relative rninor.)
9. '# ~ [!]
J 1 r J w 1J
, [2]
j j 1J J •
1
r."\
ld
,j
Ir ur."\ ,
English
1
•
'#A J J J ld J IJ J J 11• J J IJ J nJ u J
CHAPTER 12. MINOR i AND V7 • OTHER RHYTHMS .- 349
i- ,m
~ ~ J J J 1J. o J J nJ 1J r 1w r u iwr r
3 3
@- w r r lg r r r rir
3 3
r r ~ 1J. ar
3
W Ir
3
li
~~.:?.~~~~~i.!l:~,=-,~~~~~1:1~~,~L~~~!~.!<?!1i~,~~!1~,-12,<;>!:ii~~?.~---~~·
Larghetto J = 88 Greek
1. 2=~; ff1r u 1U u 1ro/701@D ir u 1n a 1FLJ 11

Allegro Spanish
2. @~ 1 ' i FfJ J A 1Dr p 1r J J 11. )í 1J J A 1Dr p 1

@~i.Er cJ Ir· D1Q J UJ. p#JJ J) IJ u2Jw j f1
@~"] J A lp r p Ir; Uf( pfíljJ J1 IJGJJ ' li
Moderato American
Andante é;French
1J J J Ir QJ I~ 1
3
' ~1, ~ r- w
cresc.
iw J w i n J 1J r - 1p J J J1JD
mf li dim.
11
p
~ 11
1

1
Moderato Syrian
5. @#11# "ws mp
a J wJ 1o J s J Ja w1 19 j ;i Jn 'I pn 1
'#11# (j fJ dJ J ~ J f n 1fJ dj J JJ
PP
fJ 12 j J m li
1
Allegretto English
6. ?=& ifW r Ll?1r· ülF r CjJr• ~I 1
1llf
?=&f u Lt Ir J CJ T( Uit t ~ r r IÊ]3) 00 1
1
Canon: 3 voices
[1] , [2] Hebrew
# " J J J J J J J J J J J J J J IJJJ jJJJJ

1
1
7. ' 1
]
d r r ' 1[ê 61 u
1
@ü J 3 I nA li J i J J J li
Moderato (Note the intervals in the III chord.) English
J
s. ti= &·1.&
1
9 !D 1r rg 116 fTJ QJ 1J. ;1 w. IlJ J1fi31 1
ti=k 1'1.&~· P cr Cl ir· Dtr 1r tu 1c u e ÇJ 11u 1 .1
?=kl>1,&l. f?j Ir J J EJ 1r r er e; 1,J 1Drr

1
li
~=3~
[1] r.-, [2] JohnAlcock(1715-1806)
1
r r 1r pr 1r J 1- r r 1F r r 1~r r u1
0
9. ti= •# " J J 1r
2: •11 C" oT 1[f u u r 1r u r
l r 1A j nj 1p r p r li
1
CHAPTER 12. MINOR i AND V 7 • OTHER RHYTHMS 351
Allegro J = 132 French Canadian
---------
JJ10 etrrl
1r flw 11
Norwegian
11. ?: ~11 1 (j a· ; r
Maestoso --------
1r ; r it ~ 1r r r f E' ; 1
e- ;
1r r 1 r er 1r t r; r f 1r e·; J o 1
~
t li
Maestoso
12. ?=&~Or
mf
r I[ ry mf
?:&f ;cur 1@i r
f.f
1ifitr 11
Modera to French Canadian
Largo African American
14. ?: ~11 i Gu 1r r 1r~r riZrr r 1r r r r 1r- r r r ;a

.. r...
~
~·
:>:luJ. ,p I~•· 1 a C'
lf ti ."i IJ ~
Fine
l 1ª l
:>: •n ~
r e ± 1r s 1a C' ---- l 1ª
r l 1 f t, i~
~·
r 1r J
D.C. a/Fine
w· l ebi 1«p J Ji 1cJ o· iF

Andante (Note lhe interval from lhe sevenlh to third scale degrees) English
16. ?: 1,11 ;
expressivo
fir t ; 1eWf tlf1
:>: •ttiE[ U r)?r( pqf r C:: U 1E OJDatJ 1f : r C~ §t' P~I
:>: •1111~ 1' rf; r r 1' rr; r r 1«E f r • r r Tr 1
--..d
Allegro molto moderato Franz Schubert (1791-1828), Op. 90, No. 1
17• @~"" "1ãffTr é·~: 1r· f f Q 11r iA r 1

Dr 1
1u1
@~",·t t r e· 11r .. ir r ;11r 9F1r [:ir.. 11
Leise Robert Schumann (1810-1856), Dichterliebe, Op. 48, No. 5
r r ~ lf
Vivace Georg Philip Teleman (1681-1767), Six Canons Mélodiewc, TWV 40: 123
19. ~: t1 Elf ar f r tti ti r ô? aqttd J ~ J ~ ~ f ttt

& (j 1 1 1 o 1
'1 : -. . ..-.
?:& Q J J f r r ta f ta [? íl f r j't Çq alr r r rf f ttj
~ 5
1 1 1

Largo (Note: Interval in III chord.) Arcangelo Corelli (1653-1713), Trio Sonata, Op. 3, No.4
~
" .:.... -
20.
•
/\ u
-
- - - 1
r-.. -- r-..
-
'
~
. - .
-. ' •
~
.
' 1
:
'
.
1 1 "I
~
u ... .... - ,..-_ Â':.. -~-
~
"
- - .._,
'
- 1
1
~
'
1
'
1
'
1
:
L .
I' 1 1 1
1 1 ' "'
Chapter 13 1
I and V 7 in Major 1
.....
,,,-.
and Minor Modes; ]''
HalfNote Beat Unit
13.1. Integrating Rhythm and Tonal Skills: Major and Minor

Modes 1

Listen as your instructor sings a variety of melodie patterns in major ar minar modes; echo
each pattern. 1
lntegrate rhythm 1
• Sing each of the following drills daily, integrating a variety of rhythm patterns; select
from the rhythm patterns that follow or create your own.
Rhythm Pattems
J
A. e. r-3---i E.
1
$J J J 1 $J JJJ l~J JJJJ 1
B. D. F.
~J J I~ J J I~ J
Notice thar while the notation will look different, the sound will be the sarne as when the beat
is represented by the quarter note. 1
Scales
0
Sing the basic and additive chromatic, major, and minar scales integrating a variety of
rhythm patterns.
lntervals
• Sing each of the following intervals in the specified scales using tonal syllables. Prior to
singing each interval, verbally label the quantity and quality of each interval.
1Note to instructors: The melodie patterns are found in Section 13.3-major and 13.5-minor.
354
CHAPTER 13. HALP NOTE = BEAT UNIT, TONIC AND DOMINANT 355
Major Scale Three Forms of Minar Scale

0
Ascending and descending intervals 0
Ascending and descending intervals
from tonic from tonic
0
Intervals moving out from tonic Ô' lntervals moving out from tonic
0 Intervals of a third 0 Intervals of a third
0
Inrervals of a fourth e Intervals of a fourth
• Using tonal syllables, sing each of the preceding inrervals integrating a variety of
rhythm patterns.
• Sing the ascending and descending chromatic intervals using tonal syllables. Prior to
singing each inrerval, verbally label the quality and quantity of each interval.
• Using tonal syllables, sing each of the preceding inrervals integrating a variety of
rhythm patterns.
Root and ínverted tríads
0 Using tonal syllables, sing the root-position, first-inversion, and second-inversion tri-
ads as melodie triads built on each scale degree in the major scale and each of the three
forms of the minar scales. Repeat inregrating a variety of rhythm patterns.
Harmony
• Using tonal syllables, sing the tonic-dominant seventh chord progressions in major and
minar. Repeat inregrating a variety of rhythm patterns .
.~.?=:~:..~~~!?,~~~~.~~~~-~~~~~<?~~·---··-··-~'"---~-·-'"·-~-~=·=·=~"'''~-~-· ··-·······--··
• Sing the extended major and minar scales by rote integrating each of the following
rhythm exercises.
1. ~ j JJ j IJ J j lj JJJJ IJ JJJ lj JJ j IJ J o li
do re mi fa
1 2 3 4
2. ~Jj Jj JJlj J 11
,-3-, ,-3-, ,-3-,

3. J J j u IJ JJj IJ j JIJJJj IJ J J J u 11
13.3. Melodie Patterns and Exercises: Major Mode, Tonic Only

~,,.~~''""""'"""===-'=""'=·~"""'=="''··"'~'·===""-""'="'=io.=r=.=-=""'~""='=""~'""""""'~',..'''""''""""'-"'"'""""'''-,~~'"'"'-"'"''"'"'"-.=:...,,-,-=,,,-""""'""'"-~""'''""===
Melodie Patterns
,J'
'ü il J r 11 r F " 1 r r 11
F f
,J
11 r "
1 r "
1 r li
AI. A2. A3. A4.
,~ ,.
r rr r" f J t f
' j
ar ~ f " f ,J li j 1 1
~ 11
1
tJ
il J t J J J j li
AS. A6. A7. AS.
356 ' PART II. MELODIC READING
(Continued)
?= ~ Mr rrrr 1 r r r .r 1r * r * rr 1 r J r r
1
A9. AlO. All. A12. -1

:i= ~ l r· r rr r 1 r r r · rr r 1 r rrrrr 1 r· r rr r 1
A13. A14. A15. A16.
A17. A18. A19. A20.

1
9= &i.1. ~ r r r· r r 1 r r r v r 1r r r r r r rr r r r r
11
1
A21. A22. A23. A24.
-1
Exercises
1. * ~# ~ r f' r lo ,J 1j ,J j 1j o 1j j J 1j j j 1e J1 O• li l
9= &i. ~
1
2. J r r 1r r r 1r r r 1v - r 1r r r 1r r r 1r r r 1º · 11
_J
Canon: 4 voices
Adagio Alfred Edward Moffat (1866-1950)
3. *~ft# !ll
[1]
J-1- J J
~
1,J r 1r r;;i:J
~
Ar r 1r·
00
J 1A p1 r· 11
J
1
4. ?= 1# ~
r .. r
1
r Ir ~ rr r .. r I"
1r
•
1
1 ~ F 1
1
?=ln r rrr ~-~

1 ~ ~ r r 1r F r - F 1
1a· 11
1
s. * rr ü tt Jf 1r rFrF1r J r 1rFrJ r 1J J ~ J1J JJ J 1r J J 1° · li 1

CHAPTER 13. HALF NOTE = BEAT UNIT, TONIC AND DOMINANT · · · 357

~ ~ ~
[3]
rn r.'I
6. ?: ~i. ~ r r r r J 1 r r r r r 1 r r r r r 11
Jacques Arcadelt (?1507-1568), Chanson (adapted)
'· @& ~ AfífI ,J J 1.. ,i v ir v r±te - JGJ J J J 1.. J ,f1

@&7 j J J J Jl, - ,J íF r r r º:SJ ,Jj ,J 1 1 ~ rj J JJ n. I li
s. ?: •u 11. 11, r r r r rrrr r r r ~ r r r rrr

1 1 1 1 1 1
9.
#r r r r'ªr j
9: •1111. ~ J a IJ rr - 1 1
•
1 r·
?= .#~. r ~ r r Ir r ... r· j ,J IJ J
# 1 r 1
Canon: 3 voices Thomas Ravenscroft (c. 1582-c. 1635), Pammelia, 1609

(l] [2] [3] [4] [5] [6] [7] [8] [9]
10. @i# Q rrr 1 e rr r 1

11
1 O• 1 J J JJ IJ J J J Jj 1 a· 1 j ,J j 1 O• li
i r.- 3 ----, r- 3 -----, r- 3 -----,
11. @ 11' J j rr r 1 j 1 a 1 r r r f' r 1 j 1 r r j J ,l l Jj 1 e li

Canon: 4 voices
[l] [2] (3] - - . . . . . _ (4] English
'i:. l 1 ......-,--- r--i ,--- r-i -....._ ,----f' ,--- 3----,
12. @&'1.~b ~' ~· 4u JJ?· J ir rrrrr1r ~i. 11
'3----i '3----i
13.
11
9= •11 111 2r r rJ 1 ,J 1 r ~ r f" r J rr r r ~ r r rrr
1 1 1 1 1 º 11
14. @&i.1.~ ~ A J J J 1 w w J J 1 J r .. 1 r p
r
j r
i-
,------ 3 ---, ,---3----,
~
J J IJ J J J r r 1
r j ... 11
l
1
Allegro [Note intervals in vi chord] Ludwig van Beethoven (1770-1827), Leonora Overture, Op. 72, No.3
1s. 9:~, PPJf Flf') lf1 J' J· 1J J- lfcft 1t} lff- J 1J J - 11 1
l
1
Canon: 4 voices
[!] [2] Lowell Mason (1792-1872)
(."\
16. ~ & lll J ;J J J1 1!J J J J J 1J A r • 1J 3 J J J J 1

CJ
-! ~
~brrrrr
-
r 1r r r r íF J J J 1j
[4]
'-".
n J J 1J ; J ' 11 j ;
.
1
'
Canon: 3 voices
[1] [2]
Traditional l
r r p ir r r
(."\
17. i.l:
./ bl' ~l 1r r • F Iª 1r· )i J •~ Ir . r r 1
=I
J
1
(."\ [3] (."\

,,
i.l: &I' r r r la 1r· Dr
J IJ r • • Ir r la 11
1
1
l
Canon: 2 voices
-! 1 [1]
, Anonymous J
18. @b'1, lll J J. Jl; J 1j J J 1J.

1
)i J ; 1J J 1J. Ji J J
(."\ ' [2]
l
J J 1J Ji w J 1j. r 1J r 1J r
J
1 J r 1J r 1J r 1J r 1J Jí J r 11. 11
1
Canon: 3 voices Vocal Companion (1810-1812)

w (."\ [2]
19. 9: •u ~' r 1r Dr r 1r Dr r 1r r r r 1r- r Ir· Dr r r r 1

[3]
]
~ Ir·
CHAPTER 13. HALF NOTE = BEAT UNIT, TONIC AND DOMINANT · 359
J =60 Johann Jeep (e. 1581-1644)
Josquin des Prez (ca. 1456-1521)
21.
t~ j •• o
1
IF 1
o
•• i- r· r iA J J w r 1
fr A r •• 1
- - o
1
fU j J ,] j 1 f'. r ,J
w 1 r r v ~ r1u v r .. 11
13.4. Exercises: Major Mode, Tonic and Dominant

°"''°'''"°="".:-=;=:-"='''C',''c.«/'~.ct==<o:<"O""-'==~~""''°"'=':=="'""-"'"''="'"-=~'O'~=-,.-,"'c'C'=~;--"='<0..'===;-..="'''-""'"--"'=·"''==-...,,_,.='-"''"'="-=°"°""'""c'C~~
Canoa: 4 voices Moritz Hauptmann (1792-1868)

[1]
'"" [4] '-"'
1. @~i.1.~ ~í j v·
1 rvr 1 J -
1 11
Canoa: 3 voices
[lJ '-" l21 Antonio Caldara (1670-1736)
2. t ~# a a J r ,J J r a a J J j J J J a a J
11' Jr 1 1 1 1 1 1
@~# a J J J J J T 1[~ u r ur ur r rI 1 1- 1- 1 11
Canoa: 6 voices Thomas Ravenscroft (e. 1582-c. 1635), Pamme!ia, 1609

[1] [2]
. r r 1r... '
[3]
urr
rr 1r· J r
3. ;i: ~j, ~ j • •
1
J1 1
r;
..
1
[4] [5] [6]
pr r r r r r r r
9: ~I· r 1 1r 1 - 11
Allegro spiritoso Franz Joseph Haydn (1732-1809), Symphony No. 104 (London)
360 PART II. MELODIC READING • ·
r PJ
Canon: 6 voices Philip Hayes (1738-1797)
:! j IJ. J1W l[f 77 Ir· p

[5] f.'. [6] f.'.
J21J ,i 1w. ;1 w * 1r rJ}J.. 11

Allegretto Giovanni Battista Martini (1706-1784), Gavotte for Cello
. .
r n iJ
>
6. 9=11'r r 1r r
,,.....-~
t?t t r 1r' r u 1F r1 w rr 1
9:(1 'Éff t t IF r
>
~
r 1r r r r 0
>
1d j
11
Moderato (Note intervals in:_:.:vi_=::ch=ord"--)-----.:A.:.::::rthur Sullivan (1842-1900), Yeoman ofthe Guard
1. 9= 1# ~'Fã r rl r 1r r r 1r rlªIª 1- * &l u r Ül

9= 1n r e; r r 1r u r r 1r r u 1r u u r 1r r r rV r r [21
......------.._
9= 1n Fr1 ríf} r u 1r Q ü 1r s r urp i * 1r r * 1r r * 1
Allegretto (Note intervals in vi chord)

------. Welsh
s. 9= 1ª111 11, w- TE f' r r 1 r r r 1 v J r 1 F 1F f' F

1
9= 1n#1 r r' r 1r J w 1r r F1r r r 1r If f' 11

r r J
Alia Hornpipe George Frideric Handel (1685-1759), Water Music, HWV 349
_]
9. @~~srw 1~J JJa1;r JJJJ1Jr JJIJfl] ffil
mf -=:::::::: f
@~ r íl r r r r 1r nJ r1-=====
r 1r nr r r r 1r· fr J J 1J r J 11 J 11
mf
CHAPTER 13. HALF NOTE• BEAT UN!T, TONIC AND DOMINANT . 361
Lively (M.M. J= e. 120) Robert Schumann (1810-1856), Symphony, Op. 97, No. 3
Henry Purcell (e. 1659-1695), Excerpts from "An Evening Hymn"

Moderato (Note intervals in vi chordl
11. '# ~ .e:: 1J j r I '" l0 r r r r ffJ Fu. J .! l

1F e
@#§. j rR. a IF' r r·]ra fr lf')º t1F .. Ir r· fl

@~? J J r·ll'e J Tª - 1ee=r r 1°·nr ur r ft f5J
@# f D J. Pw. P1J PJ. J'w. J11J?J1f 7 1J ,! r 1r u J n
@r: f Jfp J. ;'J. J11i?J'rf8,J ,J rnr tr J]J:;. 11
Allegro Ludwig van Beethoven (l 77G--1827)
12. ' # ~; j
p
u J r i]t" i a J r f j 1 ]f' r IJ J j i31 e
@#). f- a a r r ffi. f 1) a r iô f r o 1 w 1
'# J r PJ 1r J :li J m1r mr m1f" rn 1

j
~· 2. 3 3 3 3
'# r ttJr P.11v * 4"11 J r J. '1( j?rFJ r i)r· * li

3
3
f p
-
Presto Georg Philipp Telemann (1681-1767), Der getreue Music-Meister, 1728 (adapted)
13.
- "~ ' ' '
• mp
1 ' 1 r inf 7f p-
" ~ '
• -
mp 1 7f 1 - - .,,-.,, mf
... ~
-·
p
-" ~ ' ' -

• mp 1 7f 1 - . -.., .. .., - 7f 1 -
" ~
• - ......
-,/ 7'J
mp
- u .. ~··T
.. 7f - -
13.5. Melodie Patterns and Exercises: Minor Mode, Tonic Only
"~=-""'''-~""º'º=-'":."-'"-""'-"""""'.r_,.,~.--~==c.·~'-'~""""-"'="'"-"~:~="""""o==~-""""~'''"',_.."""-""'".:."'="'"""'~-""'··=·~-"'-='-'·"-_.,..._,,."-~="-~"-··'~--~:'"~~"'""""'-"--==,.--""~·=""=·==•~~
Melodie Patterns
?= 1 ~ v r r r r r f" r r r v r 11 11 r~r F r llJ j " 1 r li

Al. A2. A3. A4.
j ' ,.
J o
1
11J • 1
1
o llj ~ • J •
1 1
li J r I"
1 1
1
tJ
li
AS. A6. A7. AS.
,--3--,
@~ ~ J ,] J j
r li j J ~J #J j li j #J J J o llJ J ~
•
r ,J li
A9. AIO. All. A12.
Exercises
I'" ..
•
1. ~:.
~ 1
z~
"
1
F 1 1
1..
1 F r I" 1 r I= ê ir - ~
;1:. #~ tt~ ~ 9~ E~
ir r F r 1[' r F ....
1
I"· 11
' j
@#11 j
IJ J j j IJ
2.
ªJ j o l .J
r J J J 1
@#11
J j ,l 1r· J j l ,l ~ . J
-i
13
#J u
11
1
--------
CHAPTER 13. HALF NOTE = BEAT UNIT, TONIC AND DOMINANT 363
3. 9: &1>1, H~ Ô•
F r r I"1 r F [' 1f - r ir r r r
- • 1!r 9r
G
;>: &l'i. r F r 1f' [' Ir [' 1

l2
1 11
Canon: 4 voices
[1] [2] [3] [4]
(.', (.', (.', r.-, English
4. @&i.1, ~l
J J J j 1J F j IJ j J J lj J 1
@&1·1, j IJ .. j IJ j 11
J J J J lj
Cl
1 J 1
Canon: 4 voices
[1] [2] !':', [3] [4] Traditional
(.',' -e'~~~-(.',' (.',
s. tt= &i.i.& •1i r r r r 1r .J 1r r r r 1 1 F 1r r r 1J r r r 1º 11
[1] [2] [3] [4] [5]
@&1'1,~ ~' r-_r r J J u ~J 1,] J 1~ j J J 1J j - li

6. 1
- ----------
Andante German
1· 2= &i.1, 2r - r r 1J ~w J r 1r r JJ J 1F r r r 1r' r O
v= &i.i. rr r Pcy· J ~1:. '
J J 1[" r 1r r r rJ
;>: &hff. i
r r 1J r r -1x. 11
1 Ir F Ir r
r-- 3-----, r-- 3-----,

10. ti= ~ ~ r r r v r r 1r r r f' r r 1r
, - - 3-----,
,--3-----, ,--- 3-----,
ti=~r rrrr1r r· r ir r r nJ J 1 nJ j j a 11
Lento French
IQ J IJ J J J IJ J] -
1
1
Allegro energico Henry Purcell (1659-1695), Dido and Aeneas (adapted)

,.. _,.
12. t~ 2 j IJ J J J •~ IF r 1r eJ p J
f *
t~ r j J '
o J J lj
*
J IJ
•
1 J. }l 1J
* * 11
13.6. Exercises:. Minor Mode, Tonic and Dominant
i. :>= 1nn ~r
r r r r 1r r r r f' 1r r r r r r 1r .. • 1
i
. .1
ti= •n 1 r r r r 11r r r r r r r r' r r r r r 1 1 1

jln a
11
Canon: 3 voices
.J
[3]
[1] [2]
!":"\
2. ?= ~1'1,~ ~l
!":"\
" ~ir j
!":"\
.. .. 1r - r F ir r r r 1- r
p
French
11
1 IF IC r 1
1 1 1 1
Canon: 6 voices
3. t ~I· «ll
[1]
r r F
[2]
Ir
j 1
[3]
j
li"
j
[4]
jJ o
1
[S]
lt J j nJ Ir
[6]
=I
<i
16th-Century
*
li
Allegro leggiero French

-.....__
~
4. ?= &h1, ~' JJJ •
p 1
"
1 f Ir r ]j ~ JP f 1" f 1
" ijw 1
91
PP
?: &l'i. 7 •1 ijJ 1.J

r lj - Ir r • 1f'. J Ir r f r 1
~
mf
1
'
J J Ir ijw J 1J J 3J li
f r 1J
~
?= &i.i.E? f lf
mp
f
5. ;i: 1 j I ". r r l•r r r ~

r j j 1f'. r r rf I ª. r
;i: 1 f{
ª ~
1
r r 1r f f' r
'" 1
la •r r 1f'. I!
1 1
!!:2
li
Canon: 3 voices
6. * 'i' 1
&'
[1]
j J j 1 r - 1
[2]
r rr r rr 1
Latin
~ &I· ;j JJ J J Ir - iJ [3]
J J iJ f J J J Ir j
!':",
iJ - li
Ritmico J =80
-:!_ _ ::;:::_ French
1. @11, w 1J ,w J r 1r r r1 1r J r ,w &J. :11

mf
~li: LJ
f
r
1 f' 1r U r U 1r r 1f @J F
mf
W;J r 1W JJ :li
Gaily Burgundian
?= •tt 1 11J J ~-
fy J4 J~ I "
1 rf "
1 7F ~ «:'.:
r
'
1
;>= •n 1 11J J a= cy fj
r
'
J I"
1
;j --- IW 11
366 PART II. MELODIC READING 1
Forza French
9. [' 1 f' p ll fif p IF

fll - p J. Jr :J. en
l IJ.3~•· Ir--- f' íl
1
)?11· p •. Jl ô
1
1 :J. 11
Adagio Arcangelo Corelli (1653-1713), Trio Sonata, Op. 3, No. 10
10. 9: •1111• ~ [' 1... I"· IF F F r Ir

....._
a l
•ª r
1.J
9: •11 11 • •• J 1
li"
:j j l u., j 1 ;j J .w 1 ..
1
•ª
John Bennett (?1570-?1614), "Weep, O Mine Eyes"
J
'
J
11.
' ' 1
]
• . ... 77· 1/t ... . 1
' ' ' ' '' ' ' . 1

. _J
1
' ' ' 1

" 1 '
: '
' ' '
J
' ' ' '
- -
• ' 1
' (*l
- - - - - - • " ..,.
• ?J " ~..,.
'*
'O'
• ' ' ' ' '

1 1 ' ' 1
"': " " • '

~
1
*(Note: di =picardy third, which raises the third of the expected minar triad to a major triact:
Presto (Note the do-si interval.) Arcangelo Corelli (1653-1713), Sonata, IV, Op. 1 (adapted)
li
J
' '
12. V
• 1 tt• 1 1 ' 1 1 - tt• 1 1 1
li
- .,,. -
• 1 tt• - Q
"<! <J: ~ r
li -
~ r 1 ' - 1
li - - -
·~ '- - !" - ~
-r 7t -- ~-
-
, li - '
1 1 tt• 1 1
li - - -
,, ---=~- 7t
~
tt• - 1 r - ~-
1
Chapter 14
I and V 7 in Major and Minar Modes; 1
EighthNote = Beat Unit

14.1. Integrating Rhythm and Tonal Skills:
~·=~,~~j~~!;l1:~.~i22~-~-~'!~.s__ .··~-=~--·~·~~---~.~.--·~--~·-··---~~"·-~·--·~"'
Listen as your instructor sings a variety of melodie patterns in major or minar medes; echo
each pattern.1
Integrate rhythms
• Sing each of the following drills daily, integrating a variety of rhythm patterns; select
from the rhythm patterns that follow or create your own.
A. e.
Rhythm Pattems
3 E.
l
i .h .n li .h J J J 1i j J J J .h 1
B. D. F.
iJ j li J J j li J j_Fi 1
Notice that while the notation will look different, the sound will be the sarne as when the beat J
is represented by the quarter note.
1
Scales 1
. )
0 Sing the basic and additive chromatic, major, and minar scales integrating a variety of
rhythm patterns.
Chromatíc intervals
• Verbally label the quality and quantity of the ascending and descending intervals in
the chromatic scale prior to singing the interval on tonal syllables. Repeat integrating
a vatiety of rhythm patterns.
• Verbally label the quality and quantity of the ascending and descending intervals
moving out from the tonic in the chromatic scale prior to singing the interval on tonal
syllables. Repeat integrating a variety of rhythm patterns.
1
• Solfege
Prime: do - do; Al: do - di; m2: do - ti,; M2: do - re; M2: do - te,; A2: do - ri;
m3: do - la,; M3: do - mi; M3: do- le,; P4: do - fa; P4: do - so,; A4: do - fi; A4: do
- se,; P5: do- so; P5: do-fa,; A5: do- si; m6: domi,; M6: do - la; M6: do - me,;
A6: do-li; m7: do- te,; M7: do- ti; M7: do- ta,; P8: do-do, -do-do, - do
1Note to instructors: The melodie patterns are found in Section 14.3-major and 14.5-minor.
368
CHAPTER 14. EIGHTH NOTE = BEAT UNIT, TONIC AND DOMINANT 369
o Numbers
Prime: 1- 1; Al: 1- #1; m2: 1- 7,; M2: 1 -2; M2: 1->7,; A2: 1 - #2; m3: 1-6,;
M3: l-3;M3: 1->6,;P4: l-4;P4: l-5,;A4: 1-#4;A4: 1->5,;P5: l-5;P5:
1 -4,; A5: 1 - #5; m6: 1 - 3,; M6: do-la; M6: 1->3,; A6: 1 - #6; m7: 1- 2,; M7:
l-7;M7: l-,Z,;P8: l-l'-1-1,-1
Root and inverted triads

0 Using tonal syllables, sing the root-position, first-inversion, and second-inversion triads
built on each scale degree in the major scale and each of the three forms of the minar
scales as melodie triads, integrating a variety of rhythm patterns.
Harmony
0
Sing the tonic-dominant seventh chord progressions in major and minar integrating a
variety of rhythm patterns.

.. ..
=~""''"''"-"·'"..,.'""=="='-'~"-''"'"'=..,..._,,"""'-'"~'==--•=<,,,.= ----""'c;:c"'"'"~"'--·""""'"..,·=~"'~-~~===·<"' -"'=-""""""°"""'""""-"""~"'-~-''°""''~=-=~•=-""o=-.=.
• Sing the extended major and minar scales by rote integrating each of the following
rhythm exercises.
1. ~ J Jj J jjjjlJ 11
2. ~ J. j J 1 J. J j j IJ. j J 1 J J. j J 1 JJ j J 1 JJ j J li
3 3
J h IJ h JJ 1 Jr--Ji=:::í:j=lj ~~=í=j=rj. .,J 1n 11 1
14.3. Melodie Patterns and Exercises: Major Mode,Tonic Only

r:-.·.::='"'=·'~"'"-"·''~"""='=~;=""'·"'~='-""'-'="·~·=-=...,='"-"'"=""="'"'""=·'-='~'=-·..::'C-'"'-"--c-::-=;..o·•=-·=---"-""'"'·'°·"'"'"'""'''°''·'=-,~-~'--"-.,.'="'"'-"'"=-'"'"""-"""-'::.-""'"'"'~'=m"='"'"""'-"'
Melodie Patterns
?= •u ap p p p li p D p p 1r p p li p p r li
Al. A2. A3. A4.
rd. ( " li
AS. A6. A?. AS.
li
A9. AIO. All. A12.
.1
1
(Continued)
A13. A14. AIS. Al6.
*a ~i.:. J1 JJJh rrr llj J

AI 7. 3
11
AIS.
3
1
' ;ij ;1 11 , wj aJi JJJ tj ~ ;1
A19.
3
11
AZO.
l p 11
~: ~ s[ f r l e '1 li r fJ [ r f
- '
V li E r Er r i li ( r ; li !
A21. A22. A23. A24.
,, • ,, ,, r ,,
11r â ç z:j li['
1
• Ed llf :! a li
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1
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CHAPTER 14. EIGHTH NOTE = BEAT UNIT, TONIC AND DOMINANT 371
6. ;>: •11#• ~ > 1P P a u 1p· i o 1 P 1P P u e 1p· Ji Ji 1 >1

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CHAPTER 14. EJGHTH NOTE = BEAT UNIT, TONIC AND DOMINANT 373
3.
Allegro
'~ 1 ·1. *c® lf' ro iu 1 1rJ&w 1rn 16{?Ff1 ne Italian
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iw ~ Y 1
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8.
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· CHAPTER 14. EIGHTH NOTE = BEAT UNIT, TONIC AND DOMINANT 375
14.5. Melodie Patterns and Exercises:

.,,. ~~-~in~:.!!.~~:.:!~~i5_9~1r --·~·~=~~=·~·~=~···=·~=·~~~·=··~~··~··=
Melodie Patterns
O li
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AS. A6. A7. AS.
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A9.
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CHAPTER 14. EJGHTH NOTE = BEAT UNJT, TONIC AND DOMINANT 377
9. ~:
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14.6. Exercises: Minor Mode, Tonic and Dominant
Andante Lento Swedish

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378 PART II. MELODIC READING •
1
Lento Czech (adapted)

1
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(Jl = 80)
n lf=1 o· D. lp
Adagio Ludwig van Beethoven (1770-1827), Symphony, Op. 55, No. 3, "Eroica" (adapted)
7. :i=•11ttu aJ. j u tffi 1

i Ir ) i 1
J!P sotto voce
9=•11#• r Or t 1F D 10 Q 4t E] 1J
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1
Chapter 15
I and V 7 in Major
and Minar; Compound
Meters More Rhythms
15.1. Integrating Rhythm and Tonal Skills: Major and Minor
Modes
e Listen as your instructor sings a variety of melodie patterns in major or minor modes;
echo each pattern.1
Integrate rhythms
• Sing each of the following drills daily integrating a variety of rhythm patterns; select
from the patterns that follow.
Rhythm Patterns
A. D. H. 3
~ J n J ~ J. j J ~ J Jj j J
B. E. 1. 3
~ J n1 ~ J J. j 1 ~ J J Jj j
e. F. J. 3
~ Jj J J ~ j J j J ~ Jj j J J 1
G.
~ J JJ j 1
Scales
• Using tonal syllables, sing the basic and additive chromatic, major, and minor scales
Intervals
• Using tonal syllables, sing each of the following intervals integrating a variety of
rhythm patterns.
' Ascending and descending intervals from the tonic in the major and minar scales.
1Note to instruccors: The melodie patterns are found in Section 15.3-major and 15.5-minor.
379
1
0 lntervals moving out from the tonic in the major and minar scales.
0 Intervals of a third and fourth in the major and minor scales.
0
Ascending and descending intervals in the chromatic scale.
0
Intervals moving out from the tonic in the chromatic scale.
Triads
• Using tonal syllables, sing the root-position, first-inversion, and second-inversion triads
l
built on each scale degree in the major and minor scales integrating a variety of rhythm
patterns.
• Using tonal syllables sing each of the four types of triads (major, minor, augmented,
and diminished) built on the tonic triad in root position, first inversion and second
inversion.

mi1_31 ffiil_3I me1-b31 me1-b31
do'-11 do'-1 1 do'-11 do'-11 do'-1 1 do'-1 1 do'-1 1 dol.1 1
so-5 si-#5 so-5 se-bS so-5 si-#5 so-5 se-b5 so-5 si-#5 so-5 se-b5 ]
mi-3 mi-3 me-b3 me-b3 mi-3 mi-3 me-b3 me-b3
do-1 do-1 do-1 do-!
M A' m d' M, A.' m, d'

6 M, A'
6 m, d,'
4 4 4 4
0 P~actice building the major, minor, augmented, and diminished triads on each scale
degree of the major scale.
J
EXAMPLES
Triads Built on the Second Scale Degree
• Solfege: m: re- fa- la; M: re - fi -la; A+: re- fi -li; d 0 : te -fa-le
• Numbers: m: 2 -4- 6; M: 2-#4-6; A+: 2-#4-# 6; dº: 2-4->6
Triads Built on the Fifth Scale Degree
]
~ Solfege: M: so - ti - re; A+: so - ti - ri; m: so - te - re; dº: so - te - ra
• Numbers: M: 5 - 7 - 2; A+: 5 - 7 - #2; m: 5 ->7 - 2; d 0 : 5 ->7 ->2
Harmony
• Using tonal syllables, sing the tonic-dominant seventh chord progressions in major and
minor modes. Repeat integrating a variety of rhythm patterns.

=·-"'-~~-==,,.--"""''""'''''""''""""'=="'-''"'':.~=·.,.,=,.=-'"·'--,,.""-=<'~"'-"'~=""'".,,,.._,_.~~-~-__,"'="""'-"'°"'"''~-=~-""""='~"'='~"~"'==""'=~:.·===,-~~''''''""'=",.=·'-==
Integrate Rhythm
1
0 Sing the extended major and minor scales by rote integrating each of the following
rhythm exercises.
1. )lJJjJIJ 11
1
CHAPTER 15. COMPOUND METERS, TONIC AND DOMINANT 381
2. gJ J. j J J H IJ )! J JJ j IJ J. j J J H lrJ J 11
3 3 3
3. gJ. J J Jj j IJ Jj j J )! J IJ j j J J J )! 1)! J J li
Major, Minar, Augmented, and Diminished Triads
Root Position First lnversion Second Inversion
;. M
•tA ij
m
~~.
dº
li i
M
#Í
A
~i
m
~ki
dº
li!
M
1!
A
li!
m
~ h!
dº
li
0 Determine the quality and position of each triad and then sing the triad using tonal sylla-
bles.
... b...
9:. •
• li~. • • li~ • • li
11 • li·
1. 2. 3. 4.
;· 5.
•
~· li •
6.
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7.
li• • li Cf1)•
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b...
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• li h· I·· li
9. 10. 11. 12.
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Melodie Patterns
li
AI. A4.
li
AS. A6. A7. AS.
(Continued)
A9. AIO. Ali. A12.
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r1 118
j J J
1
Jl 11 !J J J -1z J •J l•i .ij ;._ >l) ~ ;1
w r
A21. A22. A23. A24.
Exercises
i. 9: *11 gr ~ r r r r er F 1LJ r r f D 1U rJ r p 1u F r r·
9: •u ~ r r j j r l r F r r r r r r ( CJ u r ;
1 1 j Ji 1j j j j j r r li
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1
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Canon: 4 voices
[1] [2] [3] [4] 13th-Century French
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Canon: 4 voices
[1] [2]
[ ] Thomas Ravenscroft (e. 1582-c. 1635), Pamme!ia, 1609
3
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Miissig German
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9:111#1 Fr r; lc 8 I~ 1ú E Dr J li
Gemiichlich German
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Canon: 3 voices Old English Street Cry
[3] (.\
1
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J
p Ir C' d.. r J
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Canon: 4 voices
[1] [2] [3]
Thomas Ravenscroft (e. 1582--c. 1635), Pamme/ia, 1609
[4] J
@uEr~ e r1 r r ;r r r i J J J J. J IJ J. j -i J J li
11.
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1 1; J jJ J p r Q F' 1 11
22. @~i. g1 3 J a w ;1 IJ J J j J. i 3 J a w ;1 u j J a J 1
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386 - PART II. MELODIC READING
J j ,.
3
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25. 1
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Vivo (Note lhe do-la interval.) Sea Chanty
27. @~ , u;1 q ;1 J
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Miissig bewegt German

1. l 2.
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Allegretto con moto CJ. = 63) Engelbert Humperdinck (1854-1921), Hansel and Gretei
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· CHAPTER 15. COMPOUND METERS, TONIC AND DOMINANT 387

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9: lft r n r r r 1e f f r Ü 1E r J f r U 1E r } l li
Allegretto German
2. @1 ~ ff3 J J 1f JJ 1Er}?rt g 1; J J 1w J • 1Er U 1J 11

Andantino English
3. ~:lft 1 • mJ·lw (fJ IJ J J J ll1w EIJ IITTf ru r mJ

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Swedish
Allegretto
1. 2.
4. @~ 1 ·1.~ ~ llr r aco- 1[ r 5

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5.
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English
1tr r r rrr;1E[J7· 11
Canon: 4 voices William Bradbury (1816-1868)
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f? r·
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9: ~~J%I[( ~ 61
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Canoa: 3 voices
-! 1 [1] /':', ' [2]
English
8. @~ 'i. ~ Ji 1J ~ J J 3 J 1J J J i J p 1J J J J J J 1 j j
~ - /':',
p lf r r r r r J J IJ J J J J J j 11
1 ~ '
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Andantino English
9. ~= 111 ~ ;fi[w J r p r r FD 1 p7í1 J J r p rr

1 FD pl
~ ~ ~
ti= 111 r E; r o 1Er 1 J J J

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English
!i· :t [ li lrJJ
Allegretto::....------
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' ~ 1 ·1.~ ( ~ • [~ 1- :11
cresc.
Allegretto_ __ Austrian
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Moderato German
12. @~~jf p [ :r ll JH jf D t :r 1w. JD M

'~ J J) J j J IJ. J w hJ
--- J1 i :$1
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English
Allegretto
.. r p .. ...
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1r •-- l J J Ir
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English
ase· ;
Allegretto English
15. ?=&h u rrrr 10' fRr UíF : r j p 1F'11 íl

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p lÜ? wM j
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p lF.~4 li
Lebhaft German
16. :i=•u#• ~ Aff p w w lu r Prir1r 'J wr Pr:rTfr ~ i1

í P r iErr ~ ru r P w w 1~ r P r1 r 1F P , 11
11
;i= 1D •
Vivace Dutch
11. ~& 1 'i.~ ~ ~ lQJl' p lJ. J il JfJ ~ lQJ r fl

~&"1,~{ r1 (J 3 l[J J?[ t Jíf r; (J 3 1( J D li
18· ;i: &

------
Gracefully
li e p r Ji r ü. lr:1 F v lt ; fr·
1
English
;i: & C7J. r r r r r 8 fl p r p r· r D p1 F 1

~
o/ 11
19. ;i= &1'

------
Allegretto
ug1P ; r r ! r r i7 g1f ; r r t r r ?ft fl

1 1
English
390 . PART II. MELODIC READING
1
Moderato English
Animato English 1
21. @b ~ ~ y y 61J nJ ;w±If y j pTffi mn •1
@~PJ y y Q1J J JQJ±J tJJl!J)· IJ J9JJJ 1J lfJ11 1
@~ F~ ti 1EU j il J®1tj y y j1 1j ~. Jfj ] 1J J li = J

~
. 1
, Italian 1
rQ· Ea 1CEFr· ~· 16! pcri fi?r· $• :t1l!J?r

Moderato con grazm ; 1
22. :>=111 íl y 1 J
?=111 gy a~ r 1C ~· ; Ir r-JFJ IY 61r F'; IE ?]17· 1
?= 111 Y ff qr 1E f ! Ir r· }JJ 1( 1f PIErJ l(Bp Y Y li 1
English
~ :t;,lf-1] Q11
.._, • j
~
t
W.A. Mozart (1756-1791), Six German Dances, K. 509
24. #tt#• ybl i J J J J JiJ J J Jj j JJ J J J )l 1 1 'I Jl i J 3.; J j J J 1 ;t1 1
4 #11#• J J J• J w a Jl a J w
1
1 1 1 w 3a 1 J J a ;i 1 i nr 1 P 1
~ #n#• J p ! J J J p i b! !I JJ .1 JIJ J J J3 J j J J JJ J>

1 1 1 li
Vivace J.S. Bach (1685-1750), B Minar Mass, BWV 232, "Gloria"
Larghetto e mezzo piano George Frideric Handel (1685-1750), Messiah, HWV 56, "Pastoral Symphony"
26 • 9= wJJf1 r- r 1ra r r· @ 1E' a r r··r p1cn r !J r r p1

(mp)
9 r p E U r· @ 1F jr r· r D r· -1 r· f f g r Ji 1
=
9=r J1r pr J1r1r w r Dr· IE'lf r·a J ur IE'tr r pJ 11

Schentando Georg Philipp Telemann (1681-1787), Six Canons Melodieux, TWV 40: 118-123 (adapted)
21. t #11 ~ t) r1Fj J J ffl 1f J JJ Jl I J J ~ J J1 1J J 3 f J ~ 1
@#11 ~ J J ij J ;J J 9 1 :1ITJ 1 Fj J 1f3 J ErJ 1r i 11

Allegro lgnace Joseph Pleyel (1757-1831), Grand Duetsfor Violin and Viola, Op. 69, No. 1
- "~ '
28.
• p
1 - - '--' • - .- ........ ,. -
: " ' - ..... • •

~
' ' 1
392 PART II, MELODIC READING
~ ~ ~
. '
.
1
. " ' - .:.

-- .:.
'
' ' 1
- 1
1
Adagio Franz Joseph Haydn (1732-1809), Symphony No. 31
-
~
29. 1
• '
p 3
'
:
a
' • ' ' '
' - 3
' - - '
:
1 1 1 '
15.5. Melodie Patterns and Exercises: Minor Mode,

Tonic Only
,._-=.,,"'=~c·.:=-"'='"~~""·"'=;--"-=··,,-=-.<:"'"'~·~~~~·;:-;"'-""'"~~"'=~~-"'""-"''-'""""'-"---C·=:o~~·-o·~::-=="""'""-::"'°'""~''--='""~-"'=·'-''='"'''':"'":"c..cc· ~·"''-"""~"'°''-""=""'"""'-"-'"'·"'=='-""""'-='°'='
Melodie Patterns
AI. A2. A3. A4.
A5. A6. A?. AS.
~ ~ gJ. jJ J. j J li i j J J. #j J llJ J. ] i l ) li J J. j J#J. j li 1
A9. AIO. Ali. A12.
A13. A14. AIS. A16.

Exercises
i. @& ~ ; J JJ J J ;1 ;1 J J J JJ J J J1e 11r r ttr p J.

1 1 1
@& E .• r r r J p f J J J J1 J J J J J J J1 #J.
1 1 1 J. 11
2. 9: &1· 1 .~ ~ Car P f CI r C f r r E1 U f F (11r r r f' *

1 1 1 P 1
9= &1· 1,& er r u r r 1E r u p r l 9t :1 r p 111r- 1 r r 11
Allegretto English
3. @# u)lQ J J fJJ lnnYJ) ;0fJJ J i11hnJl) ~

,~---h J J JsJ QJh J J J J Ol;fJ_:w, I;) J_J li
~
ir
Moderato Welsh
4• 9= & '& f f Dr pr 1( Ef er u F WF f 1íl; r per f1 J11

0..
9= & ( p tu r [ r p- 6 r r p r ir fJ r cJ r p [p i 11
s. ~# 11
11 r rr r
@## J. j JJ J 1~• • • 11
9: #11## ~ i j •~
--
Expressive
IÊ?r r .. 7?;J
,~
French
:11
6.
p cresc. r D
'I 1a •
1 p dim.
y
Fine
9: •tt 11 # f r
_.?'
E cresc. r p .. ;w
,~ y 1t.---- 1J •=i r D 1•·---- ?
1
li
dim. cresc. dim. D.e. a/Fine
l
t
Allegretto English (adapted)
7. ~I, gJ. J J e· • • J. j J J •t1 IJ P r ~ r"

1
• J 1
p
1
•f:
@~h •• •
r • ;t j
- J F'
j J I• 1
( J• j t
1 j 1
1
Alleg".::.:ro:.....--------- English (adapted)
s. :1= •11 11
mf'
r ~ r p 1r / r ~ J' 1[ :t r
gP 1
l'I '-1 ~
p 1r· ;F• r e e
w1 = 1
?= •u f P r p 1[' ;Ll J@fi j J J

11
Ji lc· y[) li
9. @# ~ J )i J.
1 JJ 1J JJ J f ~ 1 ttr •r r (•)r r
3
3
@# [' .. J 3 J J l#J j
~
r 1J J • IJ
1
J 1
• 11
nu. ; a. 1 ir '"l•
r' 1
J11r4 4 f).il
. il • ~- •
~I.
ir P e r 1 u f'.lr Ji + J
1 4 l li
11. @u ~ 6 r / r 0 r : r :r •p r· r : r e ~· 1 1r /! J J. a i
lc
@# ur •p e ijf' rr 1 ~· 1§ r : r f J. j 1J #)' J. li
Bien lié (Smoothly) French Canadian
12. ?: ~ ~ f/rTTlr1~r· 1
mp
r:FTTlf1 2
'f 1@J r p E@
1 fl
15.6. Exercises: Minor Mode, Tonic and Dominant

Animato Italian
1. @~i.1.~ gpJf[[r liJ 1 lj ~J J 1fPi±J lfJ 1 lj ~J1?J J JÍI

p
@~ 1 ·i.k iw J J 1J J J 1J J JTf7 r 1f rr r r
cresc. mj' J
I' 1; J J 1fl1 1J 11
d1m. P
1
Allegretto English
r 1r f r •r 11·
1 r 1•.
1 li
Moderato Spanish
3. ;i: • ~ 'I 'I p er; 11f j J J nJ J 1~· r r e ~J 11i j J J uJ J 1

;i: 1 rr 'I 1f D D r 1p r-r 1E p p r 1D Fr·
;i:• eDDr 1p •Pr· 10p P r 1p r 2 r· 11
English
Andantin.~o- - - - - - - - - - - -
4. ?: ~ ~ p 1r
mf
ºr P1r r :; 1e r r ; r 1r· ttd1 J1~1
1
396 • PART II. MELODIC READING
Largo English
1
l
---;---._ . • h- ,..__ 1
~= ~ r r 'I 1r .t r eu r u r 1 HJ 11 r u 111.r i 11
f p =====--
Moderato English
@#11~ li -nJtf
1
6. jJ J Jil#J @) j [ fiJ p lpp Jilf. j) J Jil j

p pp-------
l
@#11 jQ) jCT
#
)lJ p Ir·
·--
Dj píW rn 1flr
cresc.
~
PIJ fiJ p 1 _]
.
@•11#pp Y plf J1 l jJ 1J h i.
Larghetto espressivo
~
jJ IJ Ji#J. nJ J IJ~J1
"
Y
English
11 ]
J
JC31C' ; r 1
1 1r-?t 1 'I
.1
D1f P r : r 1r J·
cresc. J
--:--.~--------- ~
9:,i,l~f
- ~1.
.rrr·-r - r~
r['
1-
------r;·-
:t:J j li .J
dim. p dim. PP
Allegre-~tto'......------ English J
8. ;>=#li h IF' :r C' EJ 1r· iJ •r &Ir· r· 1ll?J hfir C rf1 f
:>=. n o 1f' ! f r o 1t ~: r ( ; r f' ; r .J. llj ; 1r· = r li 1 1
•
------------- ---------,
Moderato Polish
9.
f mf rit. p atempo
Allegro assai Georg Philipp Telemann (1681-1787), Six Canons Melodieux, TWV 40: 118-123 (adapted)
r r j e a1 p 1J J ~ r r r r r r r p
-... 'ir 'ir
11. 2: 111#1 ~ 1 1 1 'f 1 1 1 1
51: 111#1 r r r f r @t fc r ' ~l:r e QJ f J1J J '

1E 1 1 1 1 1 li

Adagio Frédéric Duvemoy (1765-1838), Methode pour !e Cor
, Jj ~ - ~
'
12.
1 ' ' ' 1 r
" - -
'O ~·~ ~ 1 li 11 -, .
,
" ::;---.
- ' ' '
• - r 1 1 r
,. .
Jj
_____.. -, • "::___/ ~
1
.
" .. • . .
D C a/Cada
"
...............
- . - - .
'º
~
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' ~
.
"
l 1 ' l 1 r 1
"
'O . _,,_, . _,,_, . _,,_, _,,_ _,,_
Larghetto
~~~ ~~ i_i_
Bartolomeo Campagnoli (1751-1827), Duas l
-
:
/-~L-';., - _-._ •,;..
' .
13.
p
r
con espressione
1 ,
PP
J
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-
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1
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1
_ _I
Chapter 16
I· , The Moveable C Clefs

..
,,,,..,,,..-.,,=""-"'=-.,,===·=-'"'-"-"'º~'-=""""""""'·'"'"''-"""•~,,,-~-.s:~:-.:..<c,-.,,,_,.~=:..:.-.:.=<""=-'-"""'-'-'·=~=- ==·•=>"-""·""=~·..,,,,-~-,,.·=·=:~:,,_.,,-._..,~="""'-""'"-"'"'"·'""-"C-"'''"-'''''""''""
Notation in the C Clefs

The C clefs were commonly used in notation prior to the middle of the eighteenth cenmry.
Composers gradually abandoned ali but the alto and tenor clek The tenor clef is frequently
used to notate the higher register of the trombone, bassoon, cello, and double bass, while the
alto clef is used to notate music for the viola. A musician must be proficient at teading all
of the C clefs in arder to perform and study the music in older editions as well as current
compositions.
The C clef can appear in five different locations, known as soprano, mezzo-soprano, alto, tenor,
and batitone, respectively. Bach clef identifies the position of the pitch C4 , or middle C.
Moveable C Clefs
Soprano Mezzo-Soprano 1 Alto 1 Tenor 1 Baritone
llllH • llllR • 1111!. li

middle e = first line middle e = second line middle e = third line middle e = fourth line middle e = fifth line
Key Signatures in the C Clefs

Notice that the key signature patterns for C clefs are rhe sarne as for the treble and bass clefs,
except for the sharp keys in the tenor clef, where rhe partem is up a fifth, down a fourth.
Sharps Flars
' #3##11111 li Treble Clef

li
li Alto Clef li
li Tenor Clef
li Bass Clef li
Comparisons of Clefs
• Transcribe the following melodies into the indicated C clef. Notice that the use of C
clefs can minimize the need for ledger lines. Practice singing each melody using tonal
syllables.
399
1. Bass Clef to Alto Clef

, .. . - ._ ~ f ~· ._ -a-
:
'
··- L
'
2. Treble Clef to Tenor Clef

, ~ ~
··~
• - #' - -.; # ~ #' -.; - •
- .._ .... n- " -1
1
1
'
l
.~~:~:~~x~:.:~~_:~~~~I~"~"~~~~_i~0!.!:'!0~~~!~!~f11~-~?:~~12~~~n~~!.
Most students are probably unfamiliar with moveable C clefs; consequently, no additional
tonal ar rhythmic materials are included in the exercises in this chapter.
l
.. 1f' ' IJ
Guillaume d' Amiens (ca. 1284), Rondeau
l
1. 111
11
! ,J ..~ Ir r Ir ..~ IJ
r IJ
1
n I,] j 1
l
1
Ili 11 .,:::j J IJ IJ
r Ir
,J I,] ..~ IJ J IJ 11
* J
Adagio W. A. Mozart (1756-1791), The Magic Flute, K. 620
2. l K 11 ! -
1
1['
r
1r
r
1r É-J 1F r r 1f r Ir (!• ir
j IJ 11
1
W. A. Mozart (1756-1791), Twelve Duets, K. 487
3. l K l·~~I· ! r r 1F r .. I* U ti".... IC uu1r r 1t:r .. r I*

1 1 u ~·Ir
"4 li
Menuetto W. A. Mozart (1756-1791), String Quartel, K. 168
4. Ili~ 1. ! Q 1r
(j) o 1 tJ f o J .. 1
IP 7 •ti 'I p7 1J
*
Q 1
1191· r 0 1 tJ J J J J IP 7 . ~ 'I J1 'I IJ :11

- - - - - - - - --------
CHAPTER 16. MOVEABLE C CLEFS ·· 401
Trio Franz Joseph Haydn (1732-1809), String Quartet, Op. 33, No. 2
s. 1 ~ #n• ! J 1ij·j J 1rp ir 1r Efãit * J 1J?p ir 1f pi r 1ü@fr1 r * 11

p
Allegro W. A. Mozart (1756-1791), Don Giovanni, K. 527
Allegro > W. A. Mozart (1756-1791), Eine Kleine Nachtmusik, K. 525
1. 111 11 i f i D f i D 1[ r f [ f * 1r i Pr 'I P 1f f r r~
f 1
111 11 pi rTUllrr- ífilEJr· fEJICir· p1}r li

Largo
Andante (J = 88) Franz Joseph Haydn (1732-1809), The Creation (adapted)
9. llRe Jff f f 1Jp Jífj F Q-1J$J Jíf E;tfO-}· J Ir ~ r IF li

(Note do-la interval) Giuseppe Verdi (1813-1901), Rigoletto
10. 111 1.~~h g J J 1 r f' tf p e r J 1f J

\
1
'
J J·
•·-·
l:J f1 H
~
1
Jl
l
r· 1r p er 1 1w.
~
11
~ J. S. Bach (1685-1750), Notebookfor Anna Magda/ena
11. 11R 1• 1 J r r 1r r J 1r r r 1u u r 1J r r 1r r J 1r u m1J 11

Ziemlich schnell Franz Schubert (1797-1828), Winterreise, Op. 89, No. 4, "Erstarrung"
-i
1
Presto Georg Philipp Telemann (1681-1767), Six Canons Melodieux, TWV 40: 121
<ffr <ffr <ffr
r r r•r r r r r
1 1 1 rr r 1 r r r r•r r r r r
1 1 1
1
A A <ffr
J j J J J 1 J r 1 r •r 1 v 11
1
j
Allegretto Ludwig van Beethoven (1770 -1827), Piano Sonata, Op. 14, No. 1
14.
115 ! ff7ikf
11 I~~ #Jê~ Ir Íf e B~ I~~ r J l
-=------. 1. 2.
]
115 11
r r r ir E ---
j 1 r ~ J :li( F cy 11
1
Gavotte II J. S. Bach (1685-1750), Cello Suite, No. 5, BWV 1011
15. 11; i. ~ ~ •* r r r !'-

e r r 1r ·-
r r r r r; r r1 ]
1
•· 11
. 1
1
W. A. Mozart (1756-1791), Symphonie Concertante, K. 510
16. 111 i D1f Ú 1ú (J IE; iJ l(S"U 1f

11
• lt 1fJ t; l[t iJ Ir 'I D 1 1
ef p
llR 11 • r t; 18 tt lf E; 1Q u Ir E; 1tt t; llr D Ir D li 1
f
CHAPTER 16. MOVEABLE C CLEFS 403
Allegro J. S. Bach (1685-1750), Brandenburg Concerto No. 2, BWV 1047
Allegretto Alexander Porfirevich Borodin (1833-1887), Jn the Steppes o/Central Asia
1s. llR1 iê r r 10 rír?~c f J 1( r rOf fi '

cantabile, espressivo
3
.r FE F ~J J J 1F1 J 1F9 J 11
3
Frédéric Chopin (1810-1849), Mazurka
19. li! 11 1 ~ JIID e r r r 1JJF r J n 1A w n 1rJ

3
li! 1 1 n e r r r !.rlr r J o 1A r F r i f](

3
li
Poco sostenuto
...-------....
Antonín Dvorák (1841-1904), Symphony, Op. 95, No. 5 ("New World")
20. llR 11#11 !@ r f' t171SJ 1 l 1D• r

r
-1 tz:J E4- 1• = 1
p 3
llR 11#1% ~ Q? F J J o 1 J J ,J IJ 11
Ludwig van Beethoven (1770-1827), Symphony, Op. 67, No. 5

Allegro
2i. llK I· " aJ r an qnr· QJF m rlitJ

1
3 3 3
w
3
® âf1 3
E& m w u rJV
3
llR l·J @1 üRt3

3
ti2J Eí}JD3 3
11
Arie J. S. Bach (1685-1750), Peasant Cantata, BWV 212
Allegro W. A. Mozart (1756-1791), Horn Concerto in D Major, K. 412/514
23. 11stt• "w ira rrrr 1r ~ w w 10 éFJD 10 * & 1 1
é r D 1D r G fl r F t t 1r
1
11s 11 • r J 1 rt r 11
J
F5ij1 r frEfjir ~ - 1 !! E1f rf' 1F' -r rv 1F' -r rv 1

Andante Charles Gounod (1818 -1893), Faust
]
24. lE " 1 1
3
Maestoso ]
11er-v 1111" Jfil 1r-r rTr 1,J (B 1r-r'rê11r @) 1r 11
dolce
1
Allegro J. S. Bach (1685-1750), Fugue in G Minor, BWV 578

1
25. l E I>~ (j j r r· p 1d J J J1H J 1d ] J J E b! Q 1

•--
l
.\
l E i.~ j
J• J j j 11
r • •· "
1
E LJF r r
Mennetto (Allegretto) W. A. Mozart (1756-1791), String Quartel, K. 421
t±J
1
26
• 113 ~ 2 )· J1 Q JnJ i@ r r r f w O r r r l
1 1 1 1
1
7
1
115 ~ W D 1J J J 1i J Q J 1J J nJ -1 W ~ li
· CHAPTBR 16. MOVBABLE C CLEFS 405
Allegro Franz Joseph Haydn (1732-1809), Piano Trio No. 1
21.
1 ~~ ~t__l_!!] 16] bl f 1'i r-r r •r r 1rr U Q 1
llB~ ~ 16] tr f 1r 11
n r ijr r lf C f r r ~ 11
Andante maestoso Charles Dancla (1817 -1907), Air Varié on a Theme by Paccini, Op. 89, No. 1
2s. llil· "f @/i lt±bJ * lf'

p molto cantabile
l R i. r n 1 ri f E' ] 1 f
3 3 ====--
Vivace Georg Philipp Telemann (1681-1767), Six Canons Melodieux, TWV 40: 123
29 • llB~~" (j n IJ ;4J8D@P IJ @Dl31J J JI* n* a;1 J
llB~b 1' n J J p1fJ@l?ót?mtt7IHJdPJ !3JJ@t?I

llB~~I· l 1 WJp f fíllWJWJJj]JtJ l'I .rp ffi IJ
1 1 li
Allegro W. A. Mozart (1756-1791), Horn Concerto in Major, K. 412/514
30. l R 11 •~ u41 1 D q J 41 1ti q f l 1E f j [t 1 1J. 3J j J1 1

11; 11 •~ u~ p
w ;1 1 q r ~ 1e *j et 1 1
t? cm z 11
Allegro W. A. Mozart (1756-1791), Horn Concerto No. 2, K. 417, "Waldhorn"
31. D J a j 1n r ü 1o J F?r r 1r p J l· 1
l R 1.~ !i l· 1
p
11R i.b iJ J tl j 1n r r ü 1e r 1 r ; r 1r j ] ; 11
-r
1
Allegro Johannes Brahms (1833-1897), Cello Sonata, Op.38, No. !(III)

3 3 3
r J. J ..=F J J J J J
3
32. llS 1 (j
r J
F
J JJ JJ J
'e
1
3 3
3
~ ~3 ~
llS 1
tLJ r-;D F ic rJ- J .. ~Jp~; J l*J -
-i
11
3 3 *
Allegro con brio
. .. ..
Ludwig van Beethoven (1770-1827), Piano Concerto, Op. 15, No. 1
. .
33. m !
'
.
! - !
'
•
p sf
' ' ' ! ! . . p
'
1 1 1 '
.. .. .. ..
1
-·- .:. . .:. .

]
.sf. ' ' ' sf ' . . ' '
' 1 1 1 1
1 1 1 1
Andante Henry Purcell (1659-1695) Dido and Aeneas . ]

, 1
'
- '
_...---._
34.
~
'
p ' 1 • 1
' 1
"
., •
~
J
li;) pl
- • - J
- 1 '
' '
' 1 ' 1
,. 1
' ~ - '
~ 1 ' 1 . • 1
1
Lively rJ =e. 92) Robert Schumann (1810--1856), Symphony, Op. 120, No. 4
J
' ' ' '
35.
~ • ~
• ' '
f~
1
li<\ 1
' ' sf ' ' > 1
' • • 1 ' 1 1
" • ' >
f
CHAPTER 16. MOVEABLE C CLEFS 407
Arie J. S. Bach (1685-1750), Peasant Cantata, BWV 212

,
36.
'
. .
li;) -
• 11if legato
- '
,P
-
"
:
' 1 ' ' ' 1 ' '
- '- ~ - - - - - - - - ---
•
llJ
:
"~
' '
- ~
'
'
'
legat~
.1- - -- - -- --
IL
~. 11if
: " " -
' ' ' 1 '
37.
,
Andante nn poco Allegretto
-
George Frideric Handel (1685-1759), Water Mu.sic Suite No. 1, HWV 348
- - - -
• ' ' '
---- ----
1
p
[li
~
-
- -- - -
-~-
-- ~
'
-
1
• - ... . l...-=
-
.
.. IL IL ,._~
'IL (b)4-
'
.a_
Frédéric Duvemoy (1765-1838), Méthode pourle Cor, "Polonaise"

, ,..... -
1
'
38.
•
'
mf
r .
'
. -
:'-IL IL ~
r
' .
-. -
'
mf
....... - .......
, 1
-
-. - -
• r '-J r -.... ' ' r
Ji
' ' - '
- ""'"-l ' '

Chapter 17 1
I, IV, and V 7 in Major Mode; 1
Simple and Compound Meters

17 .1. Building Aural/Oral Skills: Subdomiant Triad,
"·"~-~~~ ºJ:""~.~.~:."'""·''''~''"''''''''''·'·''~''"~·-~"-"'"='···~··"·······~~ ·····~·····'·''·''·'"'""'"'
0 Listen as your instructor sings a variety of tonal patterns in major; echo each pattern. 1
Scales
• Using tonal syllables, sing the basic and additive chromatic, major, and minar scales
integtating a variety of rhythm patterns.
Intervals
• Using tonal syllables, sing each of the following intervals, integrating a variety of
thythm patterns.
• Ascending and descending intervals from the tonic in the major and minar scales.
G Intervals moving out from the tonic in the major and minor scales.
• Intervals of a third and fourth in the major and minar scales.

]
0 Ascending and descending intervals in the chromatic scale.
0
Intervals moving out from rhe tonic in the chromatic scale.
Major, minor, augmented, and diminished triads
0 Sing each of the four types of triads in root position, first inversion, and second inversion.
Build the triads on various scale degrees. ]
Harmony
The subdominant triad (IV) lies between the stability of the tonic triad and the momentum of the
dominant triad. Since you already know where mi/3 and so/S are,fa/4 and la/6 are right next doar.
• Using tonal syllables, sing the succession of pitches in the following chord progressions,
ti (7)
la (6)
so (5) so (5) so (5) so (5) so (5)
fa (4) fa (4) 1
mi (3) mi (3) mi (3)

re(2) re (2) re (2)
do (1) do (1) do (1) do (1) do (1) do (1) do (1) do (1) do (1)
ti, (7,) ti,(7~ 1
1~ (6,) la1(6~
so1.(5)
f~ (4,)
1 IV V 1 I IV, v, I 1 IV,
4
v, 4
I
1Note to instructors: The tonal patterns are found in Section 17 .3.
408
CHAPTER 17. MAJOR!, IV, AND V, 409
17 .2. Symbolic Association

"''-'"=~"-"'''-~'=~·>::...~·o~-o,··.::c-,,•~:c'"""-~""-"'"'=c-=o::=c=<:,.-,"~"'-"""'°""'·"·"''--,_-."'..,,-~=o:==o·:.o.:=c:--"'='·c"c=o="''°-''''"~""''"''"-""""'~=°'·~" ""~""'º=,-..:..C<~'-'"'"'·"""·'""-='"°'~~.o::c-...;~:"'-'
Subdominant Triad (IV)

• The root (subdominant) and third (submediant) of the subdominant triad are active
tones, but the fifth (tonic) is a stable tone.

.li.
• •
9: ~ • • • li· • 11 • li
Solfége fa la do la do fa do fa la
Scale # 4 6 1 6 1 4 1 4 6
Triad# Root Third Fifth Third Fifth Tonie Fifth Tonie Third
• Melodically do (1) and mi (3) representa tonic fi.mction,/a (4) and la (6) represent the
subdominant function (dominant preparation), and re (2), so (5), and ti (7) represent the
dominant function.
9:.
• • !- .. ! .. • • li
Solfége do mi fa la re so ti
' Scale# 1 3 4 6 2 5 7
Function Tonie Subdominant Dominant
• Examine the melodies that follow and label (a) chord (CT), neighbor (NT), and passing
(PT) tones; (b) I, IV, and V chords; and (e) types of cadences-authentic, half, or plagal
(IV-!). Sing each melody using tonal syllables.
>
@#11 ~ J lj 1• IJ • Ir ::j
r ..~ IJ ..~ 1J
• IJ J
1. 1 1A
> > > > >-
>
- ..
>
j j
@#tt ~ IJ J J IJ J J IJ J Ir
>
> > r 1J
>
IJ > •~ J 1J >
11
, ,
2. cJ IJ J J fJIJ r r 1u r u r 11 Ô•
L"'
~II" r r LJ 1
Major, Minar, Augmented, and Diminished Triads

• Determine the quality and position of each triad and then sing the triad using tonal
syllables.
@#11 • .. • • ~·
11 .. 9• 11 • .. li• 11 • • li • 11·
1•• li
1. 2. 3. 4. 5.
1
• ~. • .lL
•
9: ~li ~. 11.
• ~. li I• li· • li· I• • li 1
6. 7. 8. 9. 10.
17.3. Tonal Patterns: Subdominant Triad, Major Mode

Track
106
o
@~
'"'='-=~==•:==~·"-~===c....,,,.=•"'=~=·::"~==~"'='-'"="'~''=-'"=·.,-_,,.,,_..,,,,,,,,.,,...._,......,,,.,..-=----=----"""'=~.o"'.,,-...--~oor=--""""=·"º""""-'"'"=""'"=''"""'=
Tonic-Subdominant Chord Tones (Root Position)
li. • li. • li. li

• -,, • • -,, • • -,, • -,, • • •
AI. A2. A3. A4.
@~ • • • • • li. • • • • • • • li
• 11 • • • 11 •
AS. A6. A7. A8.
Track
107
o
~: ·~ • • •
Tonic-Subdominant Chord Tones (First Inversion)
.. • li·
.. • • • li·
..
• •
,,
11 • •
.. • li
Bl. B2. B3. B4. -1
9: •11 • • .. li· • • • . li· • • . • li·
.. . • li
• • •
1
BS. B6. B7. B8.
Track
108
o
@#
Tonic-Subdominant Chord Tones (Second Inversion)
.. .. li .. .. .. .. .. .
J
• • • • • • 11. • • li· • • li l
Cl. C2. C3. C4.
@# • • .. .. .. .. .. • • . .. li· .. .. • • li
• • 11 • • • 11 • • •
cs. C6. C7. C8.
Tracks
109-110
o Tonic-Subdominant-Dominant Chord Tones
• ..li
'): ~i.i. .. .. .. li .. .. .. .. ..
• • •
• • • • 11 •
• • li
:i: ~i.1.
D!.
.. • • • .. li ..
D2.
• •
. •
D3.
li .. .. •
" • .. li ..
D4.
• . .. li
" " "
DS. D6. D7. D8.
· CHAPTER 17. MAJOR!, IV, AND V7 . 411
(Conrinued)
• • •
• li • • • li •
• • • • • li • • • • • •
D9. DIO. D!!. DIZ.
• • • li • • • • •• 11. • • •
7
& 11 • • li li •• 11 • •••• • li
D13. D14. D15. D16.
17.4. Exercises: 1, IV, V 7 , Major Mode, Simple Meters

"-"'--=~--"'-""=<-""""""'"-..,,,""'"'"'""..,,,..~=---'~~~=,,,.,,=-=--:o.,.=----==~.:.:;:_-.="'=°"'=="'"'==-"""="-=~=~==-==--"-""='=~-'-""""""':==-"""'='·'"'·~"'"~"'="-"C"'
Simple Rhythms
1. @e J J J J J J J J j 1 1 J j 1 J J J 1J J J J 1J iJ IJ J J j :J
1 J li
2. 9= 1# " rr rr r r r r rr r rrJ r r r rr rJ rrr rJ r

1 1 1 1 1 1 1 11
3. @~1i1, " r r r r r r r J r r J r J J J r r· r r r J r r r r
1 1 1 1 1 1 1 11
-------
Moderato Italian
4. ?= ~ " Q r rr r rr Q r r r r r ft
F 1 1 1E J 1 C 1 1 C li
p
Canon: 4 voices Thomas Tallis (1505-1585)

[1] [3]
(.'., ' [2]
s. 9= 1 "r r r r r 1r r r r 1r r r r r r= '""'r
1 r - 1 1
(.'., ' [4]
?= 1 r r r r 1r r t r ir r r r 1r F F
/":"\
li
Canon: 4 voices Samuel Webbe (1740-1816)

[1] [2] ' [3]
6.
1
@~ '1.~ ! J d J 1r r r 1r r r 1v ' J 1; J w 1J w J 1J J J 1J w 1
e! j j
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1
1J
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1J j
1 '
J I" J 1J J J 1J
[4]
J
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r 1F r F 1d. '
li
s. @~i.i.~~ e J J J J 1J J J 1J r Fr 1J J ,J 1J r Fr 1FJ J J1A J J1º li 1
]
9. tJ: ~i.1. 9r r r 1r r 1r * r 1r r r 1F r r 1r r 1r r 1f' 11
1
10. @" r r r J 1r ~ r 1J a J r 1r * r 1J J w J 1w J w 1J J 1 J 1 11 0 1
11. ?: • 9v r 1r r 1r r r 1r * r 1r J r 1r r 1r r 1r- 11 1
]
12. ?: •ij " r r J r u ww1
r * r 1r J J r 1r ~ r 1r r r r 1r r * r 1r J r 11
_J
13. @~ 1·1. 9r r r 1r r 1J 1J r r 1r r 1r 1r r r 1v r 1r 11 J
14. @~ ll aw J a1r r r r 1v ,J 1r J r r 1r r J r 1v r J 1J r J a1Jw ,J 11 J
Andante German ]
1s. 9:" flf r J J 1J
p
íl fíCrTilr' *6f FFF1Ê}) ~J 11 _J
Allegro Mexican 1
16. @#11# 9J 1A J 1J r J 1J rar J J 1r r r 1r r 1J 1J * :11
J
@#11#11:* IF F r IF r J IJ r tr Ü Ir J Ir ; 1J 2fJ * li
J
Allegro German
17. @#ij#• 9 n ir w r ir J r 1r·ar JJJ w J ir r w :J_Jj 11

CHAPTER 17. MAJOR !, IV, AND V7 • .· 413
Allegro §________ 'f:- German

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1s. t): " •

!
mf
4 r r 1r r 4 r 1r r r r 1r * r r 1
?:f r r e; 1r Pt E r 1r r r r -1 '· 11
Andantino Eng!ish
r Ir r ir r J lJf r r r~
I":"\ ---
19. ?: &hi. (j J
p
1 f' r r r 1r r
r r r 1r r r r 1r· r 1r r
~: b1'i. r r 1r r r r 1r r r r 1
mj'
?:& ·i.{ r-; w--11 r r r Ir r r1

1
r 1r r r r]·· 11
mp
Canon: 4 voices
~ [l] r.'I [2] 17th-Century English
20. ~ wu " J 1J J J 1J J J 1w J w w 1J ~ J 1J n w w
! ti (";'\ [3]
~ 11 J J J B Ir J J J J IJ * J IJ J J J IJ J ~ 1
(";'\ [4]
~ Üft w w w J 1J * J 1r J r 1r J r 1r r r r 1r * 11
21. ?: & !
Moderato
__mf'
[fff r u r 1 r r r ]r r r r r
---
J J 1
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----------
1
English
;i:~ r J J 1r r r 1r c1 1r r r r Ir r r
?:bf r u?D n 1J r r 1" r r r n 1& T 11
Allegretto French Canadian
22. ~ & " 3~

mj' (p)
f J J 1w1 O Jg 1f 1 r J 1~ J rj3J :11
1
@~11:(j J w Ir r rD 1JCF w r u J I5?.J =11

cresc. (dim.)
Allegro moderato
mf(p)
American, Kentucky
-i
23. @#n#• :t n :w J r IF r
,.--..._
JJ 1
1
@#11#• I w w w 1 r J?tJ QIJ J J J IJ._J) ~ li -i

Canon: 3 voices Apollonian Harmony
# [1] r:"I [2] r:"I ~ 1
r- - r J 1r r
- [3,l
24. @ü# i J_ O 1J J 1 1~ __ r J 1J ___ ! li

]
Canon: 3 voices
[1] r:"I [2] English
2s.
1
@~ ·i. " J J 1 r r J 1r· ~ n n fJ J 1w n s w1w w w w 1
J 1r 1
-1
i= 1
@~'ti J nJ r:"I
1u u u r 1J n u r 1w w JO r u n n w 11
[3] ' r:"I
J
Maestoso ~rman
l
26. 9= • :a n 5 r 1J ? r tfP u?R· 1 r 1r ~ r 1 ~ =11 r r
]
?:• fV r 1F" it 1n 5 r 1J ?r 1tfU D?fr ~ 11 J
Thomas Tallis (1505-1585), "If Ye Love Me"
21. @~ J~ (j a 1J A 1J J w w 1r---:i 1~ JfJ 1v r J Jnn 1
@~ w 1~ r1 w 1r· J =1 J J J w 1w .J Ern w 11 J
Canon: 3 voices
[1] [2] Antonio Caldara (1670-1736) J
2s. ~1 :~;f 1r r 1r P 1r 1r ~ 1Fr Ir rA 1
~ r:"I
P17
-;;:;.. [3] ---
9: b'i J r 1w r1t ~ 1r IF li 1
CHAPTER 17. MAJOR 1, IV, AND V 7 . 415
Maestoso Gennan
29. @(j tffl f9 j p iJ tr J * tf!9 p IJ J J w IJ ~ :li 1
~ p~~~~c====::;::::::--
@}f] 1J. l J J 1w. ID Jl 1J J r AIJ ~ f .r-a

p cresc. ..___.
1
@w wJ w P 1w n J 1cn 9 fn-1a- J- ~-w-1w

p
* 11
Modera to W. A. Mozart (1756-1791), The Magic Flute
31
· @# " U 1r r*r 1r r * B 1d J * J l7 * @1r r rl
@# r· or r 1r J .P1 J f lfll: J J * J 1r r * r 1r * r PJ
*#~r f @E
- - - -
r r 1r· off irª· lD

1.
* u:11J 2.
~ 11
Allegretto English
' 1
Allegretto English
33. ~ ~ 1 ·1) "y J J J 1n J r J 1Fr w w w w 1 p 1Jcr r tiJ

@~i.i.~frr f II J r r 1r uB 1f}
f
J ~ 1r fJ ~ 1
1
l
@~i.1.~ a r J IJJJ 1JO r n 1DT· flf J r r Ir @GJ li
34.
Moderato
9: 1 9r1F r
mf dolce
r 1r· r 1r r r 1u Gr r r 1r r r 1r fflr r P1 ~
?: 1f r r 1r r r 1r r]Tu arr r r 1r r r 1e; r dl 11 J
English
Andantino 1. l2. J
J
3s.
-! '
@~ 9; ; 11: J J J 1J J ; ; 1J J J 1 r r r :li J r r 1
f.'\• f.'\•
~ f 1
@~ r r r 1r J J u. l w 1J J 'w 1J. ;1 J 1r' r J 1;. ;d u 11 J

mp lightly
Carl Groos, 1812

J
1
1
~ li
1
Allegro moderato English
J
37. @~e - ~ mff] n J J IJ J5W {íJ n J J 1nflr· Clf& J fJJ
@~m. ~· ;1r w r J 1uur z;1rnw riJ
1
@~Tf ?· píf LJ J A IJ flJ plJ. J1J. plJ. J1 J.

mp lighrty
'! 11
1
---------
CHAPTER 17. MAJOR 1, IV, AND V7 417

Andante un poco adagio
'
W A Mozart (1756-1791) Bastien Ulfd Bastienne .
,
' 1
' 1 1 ri '1 ·, ~
' ' ' ' 1
38.
• r r lJ 1 r ""'-J ' ' ....... 1 r .. 1 '
lf 1 1 L...J
.... '
.... ..... '
:
Josquin d' Ascanio (fl. 1500), "ln te Domine11

~ 1
' '
39.
• 1
fr ~
f 1
LJ r rr t ~ur~
J J _,J_. ))J 1 1 J J 1 1 1 1 1 J
:
' "-1 ' 1 '
r
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1 J J
r r _,J_. j)
í
J ri
rrr
J 1
r
J.
r
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u e-
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Allegro ma non troppo Giacomo Puccini (1858-1924), Messa di Gloria

,
' -
40.
• p ' - ..,. -
-
<T
- . - ..,. -.J . - -
,
•
- ' '
'
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•• - • - .,_
- • .., .
'
418 PART II. MELODIC READING .
Complex Rhythms
1. ?: b1. ; J? r p 1D r P 1P r P 1r v r p 1r r
1 1p r J1 1J 11
1
2. @u aJ J r J?1 J J J 1J?J ffiJJJ ~ J 1ffiJ
1
J?J 1;1 r J 1J J ;,J 1J 11
1
-1
Moderato Polish
3. ?: b i pr DB 1Vr p E:J
mf(p)
1r u t; r u t; p r pU 1 1 li 1
Allegretto
4. @#11#1 ; )? q )? 1j Ir 7i
PP l
@#11#111: Jíf P 1r J 1J1
~
Jl 1 N 1fi
p
J> I• J IJ
~
] :li ]
-i
]
J
• 1
1
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Andante English
6. @#11 a;1Tf J
p
J J? u fJ. Jfíf1 r r 1p). ' f1 _J
7. 9: i eJ
Ritmico:...-----
1 Ji j @}· r 1 C' pr p 1
,. .
1
----------
r 'I''
1 E
American Cowboy
~ •
~ 1
1
j j ] li
CHAPTER 17. MAJOR 1, IV, AND V 7 419
Presto W.A. Mozart (1756-1791), String Quartet No. 4, K. 157
s. ;.: i t1 Q t1 Q r p tr
1 1 ;, 1 J J1r 1 er r n D r w
D 1 1 1 1
;>: úA a A 1 1 )l r p1p r )l 1 )l r 01~ r D1Dr p J * :li 1
Canon: 3 voices
~ [l] t7'I [2] William Hayes (1707-1777)
9• @ " r pr P r 1 w 1 pr pr w 1 trrJ 1 J ~ J - 1 1 J -
!. u t7'I. ~ \. \, \, ~ ,,,
- ~
~ J JJ J 1 r 1 •P J J' rr 1 jl J ifl rr r•J 1 J J 1 11
10. ;>: 1ª e r as r r eVr tç; r r r r 1c;J r r f µ 1 1 1
;.: 111 r r eo r r r v ecJ· r r tç; 1r e~ r

3
1 1
3
11
Menuetto W. A. Mozart (1756-1791), String Quartet No. 10, K. 170
12. 11;
11
! r 1J
3
w J 1 r73 u
1 a 1w * 11: * r r
llK 11
W Ü 3 J :li ~ J p1 1 [J f'
Mennetto W. A. Mozart (1756-1791) (adapted)
13. ?= :t t1 r r c:J r r IU J J IJ J 1n
1
rr 1;1 rr
1
?=fflr F lf' r 1ú rr 1Pr rr 10 J J IJ j li
Andante------- Czech
14. ?= 1 :t tJ?c r; r 1; D r j 1 l!i@ Err r i r.----

=~ 1 D
]
3 ~ F
~
?=i~ ·
~
1 l!i r r rrrr 1r r r err ii D f IF 1

3
3
,. .
?= 1 !i r r r r r F 1r r r Er r li D 1 1r 1 11
3
3
Canon: 2 voices
[1] [2] Johannes Brahms (1833 1897)
15. ' ~ i ~ ~ J ~ ~ y J1y ~ l i y ~ l J l ~ # 4 ~ Ji y if l l Jl l j

1
1
1 1 l 41 1
' ~ t • t.,j•t.. t"' it

- - r .-~ '!- >
~ •1 . ,- J
. ,- -~ ,- 1
1
· r• L· ,e *
.E .t.. t.. t.. r r
- 't -, 1
'! qt1 11-
Moderato Austrian
16. ?=~"1. j fl O l&lf IOf r r ICfl 1Cf F l; lêf Ü I 1

~ ]
?= ~'·i. q r e; 1e r r 1a r t; 1g r t; 1a r [J
cresc.
1r
nif
7r 11
Andante German
11. ' ~ " jJf-J-A==--r-tJ---1J-1-frJ j rf[.n r tr 1J i frJ

1 j
1 1 1 1
'~ Ófr ffi ~

1@rr
i..,--
m
rit.
1tfn
a tempo
d tr 1J frJ 1
i
·
i li
_I
1
CHAPTER 17. MAJOR !, IV, AND V, · 421
Vivo
....-------.-..
English
1s. ;>:•11 1;
11
! 1w1 t; 1u1 cJ 1co cJ lt:J ? u il[j aj 1
;>:111tt1l/) Ú 1U; cJ 1if ti}tP ~ r IÜ]'p7 i fi1
;>: 111111 t u E:J IW y ;i 1Er u [ r u 1e!
PP
Êf r f 1Ll D li
W. A. Mozart (1756-1791), Symphonie Concertante, No. 4, K. 267
19. ;>: •11 i f Utr 1U Cl 1tr U 1C r 1F rrfl 1CJ LJ 1J1 U 1r r 1

;>:lft ElfElfl(J u IUfUfltr r IU E; jrlf r IU (J Ir r li
Allegro Polish
Andante English
21. ;>: ~l·i.~ :t t1ff

p~M
r 1r U1 r f?rr n 1r r ui J,. r 1r r r 1rj
s
;>:~i.1.~1 r:1r r· ~1r f771r· m1r r D1J r· pir r r 1r 1
Norwegian
Allegretto 1.
22. @~ :t p1r 1 r
2.
a 1Eq @E 1 e- ; fl 1D ,. f:11
1
@rPJ ,. li I a J. Jo 1r- A ,. >m aJ. J tJl
@~Br C1ur r 1õi ,. ífEJc-1A1J3 ' 1

German
Lustig - - - - - - - - - - . . .
]!rgr u 1na a :si nfJ ;,ry; a 1n tJJ

Allegretto Danish
24. @#~# 1 w j w
p
@#11# 1iJ ÕlJ i hW: r1 1r e; 10 tW

cresc.
i
f
fil@ LJ71
*#ªtti a n 1;1iSJ3 i filEJ

dim.
u 1.na w J 1f1 @; i 11
Canon: 2 voices Georg Philipp Telemann (1681-1767)
rn ut 1w w Ja 1 ~
[l] [2] ? ~
2s. @# " i Jí n ilJ J w ; J1 n -s u u 1

@#rgrgJ jJ11iJJ ihJ \ipOrrcg-1
@# 0 A J aJ 1w i Ji 1:a a J 1B u w a 1ª 11
Allegretto English
26. :>:•~ 1;1fi r1 1u 01n ITD. 11If]a 111 uiu Ül

mj' ~ --------'=----
;>:ln]( ;1If aa ll:J uiu illr- ;11P o lp r J 1w.10 1
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f
IP p 1 Fme
:>:•11F;u 10 fltJ. mf';úJ. as IJ1uIrrr11r· J 1 a&~~

1
· CHAPTER 17. MAJOR!, IV, AND V, 423
Presto ma non troppo Franz Joseph Haydn (1732-1809), Sonata
27. 11;1.~ i ;1uº 1tn 1au 1n )lllJº 1mµ it-,n 144 14 ~ 11

ff
Allegro con brio Ludwig van Beethoven (1770-1827), Violin Sonata, Op. 30, No. 2
28. l R I·~& e J. j 1t e: J J3 u~ E o. J.. ~ 1~ 8 J' i'--11 J,___,,ifJ

11; 1.~& w u w. ' u 1r O 1J o J o 1w. li
Andante cantabile Franz Joseph Haydn (1732-1809), String Quartet, Op. 3, No. 5
Adagio (Jl =76) Felix Mendelssohn (1809-1847), Symphony, Op. 56, No. 3
30. ~ uun i r Q 1p1 pTO Jg 1tJ r ·1 r a 1ft P 1o @ 1

p cantabile P
1 uun J ]! 1J A 1m r u t? 1m r 1r D 1JJt5 1 1
~ ~resc. ~ ~ ~
j
Allegretto
-..__;
--====== if :=: ::::====
~üu# D BJ Ir
p
o IQ n l i ! i ] 10LO1J p
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J=108 American
31. e>=& i O-r-1r_J_1r-r7It B Ir d IU t; IF ü * 1
e>=&11:r u 10 r o1r r 1r Efi uur 10 r it -

1~: r r1
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1pw Jfij r r 1r t; IP r?rt :11

1
J=66 American
32. 4~li# i ~ g?51r; O IA. ?flífl 1

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IJ ~i
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l
4~## ~ ' p1f; m IA_. 7Aíf a 0 ![}7JJ 11

Vivace Franz Joseph Haydn (1732-1809), Mass in B-flat Major (adapted)
1
r r J
J
, 1 r--i 1 1
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1
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Andante cantabile Franz Joseph Haydn (1732-1809), String Quartel
1
,
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-
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---.
pizz.
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pizz. '
1
· CHAPTER 17. MAJOR!, IV, AND V, · 425
, li ~ - - '
•
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Lento Danish
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tJ ;j e
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1
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~ J J r J r r r r r 12 r4 1.. 1rw 1r 4
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1
11. #11 llí J J t j 1 J J ~ J J JJJ J j 1 1 j ~ j HI
~ #11 r J ~ w 1 J J t J J 1 w J J JJw JJ 1 J w 11
CHAPTER 17. MAJOR!, IV, AND V7 · . 427
12. 9= & •1' r m v r r t; ~ or r cJ r r r; r ~ r lr

'I 1 1 1 1
9= & 'I v r r r P Pr r r;
r v v1'I r 'I 1r r 'I 1r 'I r 11
Allegro English
13. 9: #3 ~' 1· Cff

2=-j,,~
r~ rI~ ~ (~
..i
1· 1 1•
~ J-1 J 1J J li
~----- mj' Fine
9= •tt rCff r r r r ê]?r r7ff 1 r r r r r r --- r 1 11

D.C. ai Fine
J=76 French
14. t& 2- t jW J F1A ÜiJ t J'fF FFTI l!{DJIJ E JJ'.QJ

t ~ ~ j í? r r Af EiEr n 1F u fJ JJIV nr 1t P5 li
p
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Canon: 3 voices
[1] [2] [3] Thomas Ravenscroft (e. 1582--e. 1635), Pammelia, 1609
r ir r r r
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15.
i.:j:
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1
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1 F F F Ir F F F 1J J j r
9: & r r r F F \Â r r r r '
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r 11
1
16. ;>: •ttM 11, o* f cJ e t; r r r r r f' v U- r tf r 1 1 1
9= •11tt e: r cJ r r r· p r r r cJ F EJ r r 1 1 1 11
Canon: 3 voices Thomas Ravenscroft (e. 1582--e. 1635), Pammelia, 1609

[1] [2]
~&li ~ IQ J J IJ Jd
F 1r
1
F
[3]
J= 1 IJ. J1 J F r- 1
1 ~ ,,
1
- 11
J= 44 Leonhard Lechner (1553-1606), "Kyrie"
1s. 9: •11 ~- r
mf (mp)
r rr
1 r 1r r r 1 * fih' vC' P r r r 6P r 1 :11
?: •n ~ f tD r r rr rr rr rrr fj - r r r r f' r v
1 1 1 1 1 1
?: •11-r PDr ~ r r r r· P r r r r r * Gr r r r r DD:? 1 1 1 1 11

p mf
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19. ?: &1· 1,& ~ f'

r.'I
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r
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u; r u t r iffil JJB w or 1r' f u1 t 1

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20. 11R1i
> >-----..... > ~
llK i. f E r E t · 1r f B r r 1~CU JJJD P, r U li

rf
Franz Joseph Haydn (1732-1809), Symphony No. 104 (London Symphony)
Allegro
1.
ll:f ;J IGLJ
~. j
1tJ E Jr S 1 r li
Moderato alia breve Nikolay Rimsky-Korakov (1844-1906), String Quartel, Op. 12
p
J Ir o r F Ir A J 1
PP
j. r
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CHAPTER 17. MAJORI,IV,ANDV, 429

d=e. 80 Orlando di Lasso (e. 1530-1594), "Tu exsurgens"
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Allegro Franz Joseph Haydn (1732-1809), Symphony No. 104 (adapted)
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17.5. Exercises: I, IV, V 7 , Major Mode, Compound Meters

==·=·""''.::"'-"•=-'""'="""""'--=---=~...-__,"'".=~="""''-"~==-·='·'~"-":=~..:.'C.><=:..""°''=•"·"'-''"'"'.:°''.:~~"'-"-~-'"',,...-""'--,.=-'"'=..<.--=-.=""-"·""''·""'-'~··::o.'°"''"=":'"==='----=.:c==---.:i
Simple Rhythms
l
1
?=#1111# flt
f
Y t:EJ 1f-Utr; 1f' 1r 'Ü r IF DrJlf· t li
~ • J
~,
2.
Allegretto
~~ ~ fij 1J J1r?Jrr n J1J J r?l11. J J J 1 ar 1J J1r fü. 1

French Canadian
)IJ. e1J n;,, fW panr flr ~Fllª , 11

p mp p --- 1
@~ J JJ w l
...______.,. • . f
Allegro French J
Scherzando English
1
4• ;>: •11#• íf D F r Õ} 1r D r D 1r D f J J'Tf D F iJ
gD D1 D
11 •
:>= •11 1lJ?f fir r ;, D Jt f[ r rn r fJ JÍ D 1 w P 1 D 1
:>=#11tt1f DC v1F fDJíFfr D1f µ}
f
fjr Pr
marcato
p fF?r 11 1
1
CHAPTER 17. MAJOR 1, IV, AND V 7 431
Munter Hans Georg Niigeli ( 1 773-1836)
5. 4-11 ~ J.6 J J1j [? '1 1J. J J J 1J J J J i IJ~J J J1j i? '1 1

mj' -------------
@#11 J J w IJ.~u .114ut J) J aw 1J JD 411± J) J a

w.
~FmeP
D
----:-----
@#n g j J1 J J 1
f )
r p j Rt 4Uf J j iJ ) J. g.1 1 li
---------- D. C. ai Fine
Allegretto English
6. 9:~ gJrp p r p 1r p J J1 1r Pr P1rft pífPCCF1

mf
9: &1 ~ r D1F p F p Et ~ 1r DF V 1r ~ r p 1F DF p 1
?:&?ê fiF P e r r 1C o r p ir p r P 1r::::=:-r 11
Andantino English
s. 9:&i.i.&& gmp ;1íf Dr p IC)z ílf p F p Ir v S J/lfD r p]

9:&i.1i&&Hf 6f v J :n1?J 7flfJ11Fir Pir pSJ'Ê r i1
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~ ~
1
Er r";
1 1 •
J' " 11
l
-,
Allegretto English
l
11. @#11# §i g j p J. J ;1 IJ fi J Jrr; ] j [ )J J J j Jí j ]l
1 1
mf ~
_)
@#11M7 J1 J 311. J11r· r J1 1p r r p1J p J RIJ J'5J1

J
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# .
@#11 J Jl J )J l J- g; 1J Ji J ;1 u. r J1 1r·~tB 1J D 11 J
Scherzando English J
12. 9:•11 11 • m JJ1( r; Er; lc r r r r; 1c rJ Er; ID rfü rT1
1
9: •1111• t t t r r ; 1e r i'~ r fJ r r r e r r 1D r:::::::.1 11 J
Lento grazioso English (adapted)
_)
-!_~~I ~~
13. @~ § J D J'J lf&i) l·(J@14 lfJJJ. IJ PP r IJJf( 1
@~ w~.
1
u@ 1rJJJJ 1J<_J, 4 1r;g9. 11

CHAPTER 17. MAJOR 1, IV, AND V, 433
Allegretto English
14. ?= ~1,,, gft íf p E r J 1r f JJ fi D F P 1C F Gr f jl

2: ~ 1 ':. Ff r ( ÊJ 1F 17 J í e r r e r1 f 1D Fr li
Romanze Ludwig van Beethoven (1770-1827), Sonatina in G
1s. llR 11 !i ( eJ 1J J1 PJ J J 1J J1 E e ; IJ Jii1 J J J 1
111 ~ w y ( e1 1J ;1 r J J 1r p r r1 1J D; J J 1J ;, 11
Complex Rhythms
Scherzando English
J
,...-....
1. @MP Tf D r r J• IJ ]f J JJ] J J J io J f n 1
tE
mp
cresc.
,, •
1 J F p 1·
1
mf
i? J n lc r • j F t ~ ir·
-r 11
Briskly English
2. ti= ~1, uJ- D

p
ti= ~1, J-P r

cresc.
- f
Greek
p IE rj ~·
mf
1ff r 1r f r r q r lc r FI( 11
dim. PP
Moderato Spanish Californian

----..:__
4. @~ ~ J J J 1;1 J J 1; J J J a1J 1EV 1r r 1 1J j ~ fü. 1
$& 6 J 1J J J 1J J J JJfJ. 1r f r 1J J J 1J. ZD1 y 'I 1f rn
@& J J J IJ. IJ. 1l2J J J1g. 1r f r 1f J J 1J. }J1 'I j 11
---------------
Animato French
s. ti= 111 ;,~ p : r r r 1 r JD ;ô?· r r er; r ;p 1 íl

li 1 1 1
ti= 111 r· ; r E: r3 1r : r r r; 1r
Andantino German
6. @# ~ fP7 j J ~ a w]J. * ;; fê :1 ( r ; rr- * fJ J

@# r ;; J J J Ir D r r r Ir .. / ~ e r 1 1;;. * 11 J
J
J
j
Vivo English
s.
~
fir p1PJ r J 1i&a :11 ti u r PJ
@~ ~ J/1fi fJJ 1J 1
D
f
1
J
@~?· 1Rt p{r1 r e1l&D pIFu c:U ir u ElJl
@~ ~w. 1J~r fíDl p11rw}D. 11 mf
· CHAPTER 17. MAJOR !, IV, AND V 7 435
English
Largo grazioossco~-----::--=:----rr===========--~I
=--- E e· e·
9. 7 1
.,.. ------
· &'i. i bi r- ; r
i e=:r
1 1 - e 1
r·~ .- r= 1"·=--------=" :11:
• :::i--1• 1~
t;;
Ê ._;;j.,..
J=_._ ·~
11.
1
!: "~ .::
;>: &i.:. Kf; r r#? f fí.-Q-r ~F-P-1r-r---:;J:--:r~·-u-r-1e-·~---r-·-r0,

1
/ -,;a:f
n
Allegretto English
10. @#11# gJJf j] J J J 1e: r?r riIT íl 3 J. j J 1J J áf1
@u3# Ê ; r e r 1 1r r}?r E; 1ErJ J J J 1f J Jf ;-, 1
@#3# ...
J J J J p 1- 1
p - fi· ,. r J - J 1J
(.'.,
1 J
1
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fT2------
Miissig Gennan
11. ?:&1' y r r IE r; lc r ffr f[r; 1C r r lj u fTt til

2: & 1
'; r flf ü F r Tlf p r r : e [ ; eEEr r E r
1 1 1 1 1 li
Allegro non troppo Irish

~
12. ' & g$ 1 J. a w ; J J Ir r r f] J 1J. J J r J J1
mp
'
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1.
----------
j J J j :li
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2.
j J. h J . li p~ r J f p IF
Fme
i ft pl
@&fr J r mf
p ICE' D pra r ; r r1 1e r Jd a
poco rit. a tempo
li
D.S. a/Fine
Chapter 18
i, iv and V 7 in Minar Mode;

Simple and Compound Meters l
18.1. Building Aural/Oral Skills: Subdominant Triad, -1

MinorMode
e11 Listen as your instructor sings a variety of tonal patterns in minar; echo each pattern.1
Scales
0
Using tonal syllables, sing the basic and additive chromatic, major, and minar scales
l
Intervals
• Using tonal syllables, sing each of the following intervals integrating a variety of
rhythm patterns.
e Ascending and descending intervals from the tonic in the major and minor scales.
" lntervals moving out from the tonic in the major and minar scales.
Intervals of a third and fourth in the major and minor scales.
Ascending and descending intervals in the chromatic scale.
0
~ lntervals moving out from the tonic in the chromatic scale.

J
Harmony
The subdominant triad (iv) lies between the stability of the tonic triad and the momentum of
the dominam triad. Notice that the root and third of the subdominant chord are right next
J
door to the third and fifrh of the tonic chord.
• Using tonal syllables, sing the succession of pitches in the tonic-subdominant chord
progressions. Repeat integrating a variety of rhythm patterns.
J
!e ~6) fa
so (5) mi
me ~3) do
so (5) mi
me~)do
fa (4) re
so (5) mi
me~)do
fa (4) re
J
do (l)la do (!)la do (l)la do (!)la do (!)la do (l)la do (l)la
!~ (16,) f~ !~ (16,) f~
f~ (4,) ~
iv i iv6 i 1
Note to instructors: The patterns are found in Section 18.3.

1
436
CHAPTER 18. MINOR, i, iv, AND V7 437
• Using tonal syllables sing the succession of pitches in the following tonie-subdomi-
nant--dominant chord progressions. Repeat integrating a variety of rhythm patterns.

ti (7) si
le ~6) fa
so (5) mi so (5) mi so (5) mi so (5) mi so (5)mi
fa (4) re fa (4) re
mell C>J) do me C>J) do me ü3)do
do(!) la do(!) la do(!) la do (1) la do (1) la do (1) la do (1) la
ti1 (7~ si1
tii (7J si,
l~ ~6J f~ l~ ~6J f~
s~ (5J mi1
Íl\ (4,) re,
iv V iv6 v, iv6
4
V,
4

.,,-_.,..,.-,,,,.,,,,..,,=..,,,~.,,==»o.o-="''·~"'"''-'='='-~""~-""-"~'=·=·''~-"'"-"'-'',·''""""'-""°,:;·"'""""-"°'"~""'''""°='""~·"""·'""""'-'·"'=''°".:.."""'''""•·""-~""'=:,,·,,.,~ . ,,.=.c·~o:~,·.-.,:..."'=-'~"'"'"""-'"'~'·"""''"""·''·"'"
Subdominant Triad (iv)
• The root (subdominant) and third (submediant) of the subdominant triad are active
tones, but the fifth (tonic) is a stable tone.
• Sing each of the following melodie ttiads on tonal syllables.
't): ~I· •
Root Position
• • li•
First Inversion
•
. 11 •
.
Second Inversion
~
li
Do Based Solfége fa le do le do fa do fa le
· La based Solfége re fa la fa la re la re fa
Numbers 4 b6 1 b6 1 4 1 4 ,6
0
The subdominant triad (sixth scale degree is the third of the triad) is most often minar,
although it can be major (raised sixth scale degree in melodie minor).
• Sing each of the triads melodieally using tonal syllables.
,, ~li
i.l:
1 1 111 H 11
Function Tonie Subdontinant Subdontinant Dominant

I iv IV V
minor Major
0
Melodieally do (1) la and me (J,3) do represent a tonic function, fa (4) re and le C•6) fa
represent the subdominant function (dominam preparation), and re (2) ti, so (5) mi, and
ti (7) si represem the dominant function.
Tonic Function Subdominant Function Dominant Function
> ~~
"l:
• • !- • !. • I• 1:
Do Based Solfége do me fa le re so ti
La based Solfége la do re a ti nti si
Numbers 1 b3 4 ,6 2 5 #7
1
1
• Examine the melodies that follow and label (a) chord (CT), neighbor (NT), and passing
(PT) tones; (b) i, iv, and V chords; and (e) types of cadences--authentic, ha!f, or plagal
(iv-i). Sing each melody using tonal syllables.
-----:---
~ t t Ir T
German (adapted)
1. ?= &i.i.& 1•1ur
6
· J'~ r r r. :::e= r r ~ 1 w _-.
1 f: E t= f:
Cj
~·
91 &h1,&1· p
r e 1f?rr 41~r sr r r 1r [' ?Ir- 11
American
2· ~" J1 r r r r D r· -:J 1
fP r· 3J t 1 w 1l Jgcl. 1
~
f' F. p 1
11
~ 1# r J J J J r r J J J r r J r J J r r J J J r J r
11 11 11
AI. A2. AJ. A4.
~ #11 J J J w J w r J J w J J J w J J J J r J r z r J r
11 11 11 11
AS. A6. A7. AS.
~~~k O Tonic-Subdominant Chord Tones (First lnversion)
9= & 1 ·1.~ r r r r rr r r r r J r r r r r r r r r r r J r 1
11 11 11
Bl. B2. B3. B4.
9= &1·i.& rrrJr rrrrrr rJ rrrr r r r r r

11 11 11 11
BS. B6. B7. BS.

·· CHAPTER 18. MINOR, i, iv, AND V7 439
(Continued)
T;~~k O Tonic-Subdominant Chord Tones (Second lnversion)
@# J J J J r r 1 r r J J r r 1 J r J r J J 1 J J r r w 1
Cl. C2. C3. CA.
@# J J r r J r 1 r J J r J r 1 r J r r J 1 r r J J J :a 1
C5. C6. C7. C8.
1 i~~: 5 O Tonic-Subdominant-Dominant Chord Tones
9= R1' J J r J J 1 r J r •r r 1 r r r •r r 1 J r r •r r 1
Dl. D2. D3. D4.
?= &1• -w J ~• ,,~ #•l J 1 J ~• -r J 1" 1 J -r J r J -J 1 -r J r r #•l ,;~ 1

D5. D6. D7. D8.
9= ~ 1 • r r r r •r r 1 r rr r •r r 1 r J r r •r r 1 r r r r •r r 1
D9. D!O. Dll. D12.
?= &i. r r J J w#J J 1 J r J r #J J 1 r J r J J #J ; 1 r r r r r r
Dl3. D14. D15. D16.
T;~~ O Raised Subdominant-Major IV
,#11# J Jcq)J J#J J J l JCq)J J J#J#J J llJ#j JqJ J J li; JcqlJ J#J#J J li
E!. E2. E3. E4.
:! # # '
@ J#J 0 qJ #J J 1 r11 )r r •r r .i J 1 J#J J qJ ; J 1u 0#J J#J ; J 1
11
E5. E6. E?. E8.
Simple Rhythms
i. 91 &h 1, e J F r r 1.. 1r r f F 1ª 1F9C j E 1" 1f F r F 1.. 11

2. ~ & F r r j 1r
(j ,J 1r ~ F 1j J j J 1.J J F 1J J F J 1.! t J Iª li
3. 9= •11#1 " r e r r 1r r r 1r r r r 1r r r 1r r r 1r r r r 1r r r 1r r .J 11
4.
1
? 9 a J r 1r J 1r *r 1r r r 1r r r 1r r 1r #r 1 r 11
s. ~ & " w a J J u J J 1J r r r 1r J J 1r r J J 1r J J 1J#r r r 111v r 11 -1

6. ?= •11tt1# 9 J r r 1r v 1r r "r 1r r r 1r *r 1J r r l"r r r 1r 11 -1
7. ~ &i.i.~& " r r 11J w 1r· * 1r J wJ 1J * 1J a wJ u J w1J J J~J 1-cr 11 1
s. 9 &i.1.& 9 r
1
r r 1r r r 1r * r 1r J r ir 1 r 1.J r 1r
r 1 11 1
9. ~ & ., J J 1J J r J 1.J * J 1r r r J 1J * J 1r11r r r 1J r J a 1J J 11 l

Moderato maestoso
J
10.~#9J1www1rrrlr JIJ J1.J rlrrJ1Jwa1
mf
J
~ #] t 1JQ J J J lfJ J] J J 1r FJ 1J J JÔ li
1
Canon: 4 voices
[1] (";', [2] ~ r., English
u. 5)1 b i F 1 r IJ J tr
#J 16 1F r r1 B~ cy 1 J
[3J..- (";', [4] /'7',
?= & r 1 r r 1r P1 r 1(- 1r a 1J a 1J 11 J
Plaintively
J
12. ~ bi.1.bb " J/ qo
. r a 1ljJ
"
* aAr rj)
.
1J;:a .
r a---1
n a 1~w
1
~&"i.~d@ ;1 r w 1T 1 ~ a 1I r l?f 11
Allegro
J
13. ?= 111 11 1 9r 1r e; e; 1r r r 1r r r 1r * F 1
?= •tt 11 1 r e ; e; r r r r r r r 1r ttr 1r
1 1 1 11
CHAPTER 18. MINOR, i, iv, AND V 7 441
Andantino Polish
~
14. 511 ~ n &u r r 1r õi 1u u er 1r u r

p mf
u
1f tt r r1
51: ~ EJ O r r 1r E:J r 1UU r r 1E; O r r 1r]]5 f li
mf :::=-- rit.
w
n n n 1a n r 'I P1c1 cJ o u 10
~ ~ ~
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Allegretto J. S. Bach (1685-1750), Gavotte in G Minar
16. 11s i.& "p J J 1r n J A 1&a Ff r] 1t9 ~ J a LJ 1

11s1.&WJ ffJ J ir A J ;I; 1ffJ rfrJ 1tJ V J.3tj 11
Alleg~ro _ _ __ Spanish
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Allegro
Canon: 3 voices
English
[1]
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~b]
[2]
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1J lj ;I #J~
1 ~ --=-1-J_,m=- 1~ ,....---
L ]j Ala 11
J. o·
1
Canon: 3 voices John Hilton (1599-1657)

1

Adagio W. A. Mozart (1756--1791), Missa Brevis in D, K. 65
l
l
Complex Rhythms
l
1. '~ J JJ1 J
(j
3
j 1 E!êF r Qr br 1 J r J ldJ r r UJ 1 J
~]
3 3 3 3
~~ j j fj J J 1J J J IJJJJ ~.. J r 1 ttE rJ

3
r 11
1
.J
Romanian
r r A rtr ff_p_r_· n-ij3J

1 1
mp
1
mf
----=-1 :11
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mp
1t j e; r, 1R· P r· 10 t.r~ :1
Energico Polish
5. ~#i :bl J1 J J IJ
1 f Fp
JD j 1 1F r Ir JJr
~#ll:W f DIr ?J l~J J IJ "'3 Ili f l
1
Ir J IJ J]J :11
Allegretto French
9. ~& 1'1.~~i.1. i Â J J lf Ji) 1J flF' J1íf r O IQ 2J8

~& 1 ·1.~&i.1.7 1J }J. J1Jr : r r lf w 1r r r ;J
~ &i.1.~&i.fr· p==1 rr r 0 1r- 1 G r
1 1J JJ 11
10. 2=•1 "º r rr uir r:w 1ifOr1u n

Commodo
p
1w. Tu j
Russian
ai
Maestoso Polish
1
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rali. .f.f ··1

j
Allegro moderato Hebrew
12. ;~ ;m~Q lp J Ji 18 Õ ijJ j IQ J J ldJ JJ) I @ 1
;~i!_W 16w nlJJ#Jaw n1n a}j~ Bn aD 1 1 1

j J
Broadly Russian ]
13. ; ~ :t:; j u J
----
n u n 1r u 1J fi 1imiJJ1 :t t ~
------ 3 3 ,.--...
J. j 1 J
n ir t]V Qti DJ nn 1:tt ~ 9
3 3 ,...-..._
;~r E"Jt 1r l
;~7 E"Jt 1r n ir r Cf1r· 91i dn fS 1:t J iJ§ 1 1
_j
3 3
Andante Greek
15. *~ i ;1w LJ) , pOO n 1J w sJ#ü 1iD11@ @8

*&l 'pFJ S 1J JJ]#I] , @f]i. jl@, ~
*na , Jlílf[flJ , @D 11 a ri ag_;1@3 i?J
& 1 1
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--------
& aJ. j Jí aJ. j
----------- American
16. ;i: 111111# (j QJ r r r r r r 1e; r rj r r 1r r r r CJ 1

;>=1##1#iJ rJr-· 1úc1r~lifP-t fir r r u 1i?J ~fl
t>=1#tt1 11 Dr· r· D1u u~r ffU u·u r 1u r?Q· r=1
. ---.,_ -----
;i: 111 11 1# u u u F 1 V r V r V 1L r r u 1a "CJ r li
,...,
rwCi 1 tr Vr V[t Frn roc:gnEfr 1[Üfi Ci ti]

Canon: 5 voices [ZJ Thomas Ravenscroft (e. 1582-c. 1635), Pammelia, 1609
17. 91 (j ff
[SJ--=-----
2=í uu B?r
[4]
1au r D1r o1 1r r ttr1u tr r 11

~ /\ . Allegro
3 3
Franz Joseph Haydn (1732-1809), Sonatina
3
18.
~ 1 1
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George Frideric Handel (1685-1795), Sonata for Flute and Continuo (adapted)
' •
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Moderato Russian
J
1r r r r1
sn * 11 ..1
CHAPTER 18. MINOR, i, iv, AND V 7 . 447
Canon: 3 voices Thomas Brewer (1611-c. 1660-70)
Presto Franz Joseph Haydn (1732-1809), Symphony No. 45 (adapted)
6. 111 1. 11, J t J J r Ir
1 ~ ~ J 1J J.#J. .J I.;~
j JJ J J 1
113 j. ! J ! J iJ" J ? J iJ ' J i; 11

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Adagio Arcangelo Corelli (1653-1713), Trio Sonata, Op. 3, No. 7
,
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7.
1
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:
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448 PART II. MBLODIC RBADING
18.5. Exercises: i, iv, IV, and V 7 Minor Mode,

=~~,~-~~~!:~~i:_~L~~~:E!-.,,~~~--~-~~~~~-'"-----~-~-~~~---~-~--~~-~~--~~
Vivo English
----
~ 1 !i Ji =1 J J JCQ r r ~-
F Jl ir~r JY
\,
2.
~-t F f r J 11 J?ta 11
Andant,'.:-e-~--- Portugese
3. ?: •11 11 1 !i j 11: r v e r ttr 1r Dr P 1r p r r 3 ~1_p_J_J_f'~:11

? 1 1#tt111: r or r; 1r D r v 1r p r r 3 1p J = J f':11
12.
?: •11ttfJ Ji1E2f 1w ttffr J1[LJ 1 w
er; 1J3J 11
Canon: 2 voices
[l]
s. :i: b1. np r o r u r r o r v r P r cJ r r
1 1 1 1 D r P1
21 b'' r or U r 1r D E u r 1•r vr r1 1F' ~ 11

Moderato Spanish
6. ~ b1'i. u1/ 35 w ;, r p J 6J 1- JIJ Ji.r P 1J riJ Fll

1
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~ b''1. a-P-r_t_IJ_fü w--;1 1J J1 1fS] i li
CHAPTER 18. MINOR, i, iv, AND V7 449
Canon: 3 voices Franz Schubert (1797-1828)

rn ~
i - - ' '
1. ~ up1tJw;w11FJww DlrFrrfrlAJJJ hl
'.'.! , ,C3J
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Langsam German
r
10. ;i= •#
11
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mf_
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English
Moderato
1
Andantino Moroccan
12. @# Ma1J p J ffl 1J ;1 l J 1i JJ J J JTJ 1 J? fTr J> fí1J 1
p dolce
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, A Ü 1
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1
Chapter 19
.. \.
--{.'-
Other Diatonic Triads and Seventh

Chords in Major and Minar Modes
19.1. Building Aural/Oral Skills: Diatonic Traids and Seventh
·=~~~~~E~~.!~.~~~E~~-~~-~~-~~-~,--~·,.,,.~··=··~~--,~-~····~~--·"···~·~"··=
0 Listen as your instructor sings a variety of tonal patterns in major; echo each pattern. 1
Pentachords
• Review the pentachord triads in root position (Chapter 5, p. 217).
• Sing the ascending intervals followed by the descending triad in each pentachord.
EXAMPLE
Ascending: do--re-do--mi-do-fa-do--so--mi-do; re-mi-re--fa-re--so--rela-fa-re; etc.
• Sing the descending intervals followed by the ascending triad in each pentachord.
EXAMPLE
Ascending: so--fa-so--mi-so--re--so--do--mi-so; la-so--la-fa-la-mi-la-re--fa-la; etc.
Diatoníc seventh chords
If another third is placed on top of the fifth of a tertian triad, the result is a four-note chord called
a seventh chord because the interval between this added note and the root is a major, minar, ar
diminished seventh. ln major keys, there are five qualities of seventh chords: (a) major seventh
chord (major triad + major seventh above the root), (b) minar seventh chord (minar triad + minar
seventh above the root), (e) "major-minar" seventh chord (major triad + minar seventh above the
root, also referred to as a dominant seventh chord), and two varieties of diminished seventh chords;
(d) ful!y diminished seventh chorei, 0 7 (diminished triad + diminished seventh interval above the root)
and (e) halfdiminished seventh chorei, 07 (diminished triad + minar seventh above the root).
• Verbally label the roman numeral and quality of each chord prior to singing the chord
melodically on tonal syllables. Below each chord is the commonly used narne and symbol.
Ia' (6 1) le1 (1.6')

so1 (5 1)
fa' (41) fa 1 (41) fa 1 (41)
mi1 (3 1) nli1 (3 1)
re1 (21) re1(21) re1 (21) re1 (2 1)
do 1 (1 1) do 1 (1 1) do1 (1 1) do1 (1 1)
ti (7) ti (7) ti (7) ti (7) ti (7)
la (6) Ia (6) Ia (6)
so (5) so (5) so (5)
fa (4) fa (4)
mi (3) mi (3)
re (2)
do (1)
I, Ü7 Üi7 IV, 1, vi, vii~,

...
Vil 7
Triad Major minor minor Major Major minor dim. dim
7lh: M7 m7 m7 M7 Mm7 m7 m7 d7
Narne: M7 m7 m7 M7 M7 m7 '7 º7
(dom 7'h) (half-dim. (fully-dim.
7'h) 7'h)
451
}"2~2. ~r~~~ ~~~~ª~~~:,~!!~()~~,~:~:E-th_~()r?s~-~~jo_:~~~~-

Diatonic Seventh Chords
All of the diatonic seventh chords are shown in below.
• Sing each of the chords melodically using tonal syllables and familarize yourself with
the sounds of these chords. l
o bl
~I o 1 li 1
v,
1
vil~
li
1, ii 7 iii7 IV 7 vi, 7 viiº7
M7 m7 m7 M7 Mm7 m7 •7 "7
(dom. 7th) (half-dim. 7th) (fully tlim. 7th)
• Determine the Roman numeral (N) and quality (Q = M, Mm, m, d•, dº) of each
seventh chord and then sing the chords using tonal syllables.
!. _ __
- - - -- li ... • • •
11 •
2. 3.
11 •
4.
• • • li .,,.
•
5.
- - li - - - •
6.
... ... • • li
7.
.~2:z~!?,~~-.!1~~-~-~-=-~~~-=,,!!·5-~i,~~~"~-~g~-~~i~:-~.?,~-=~-~-----~~~--~--------"-·
Supertonic Chord Tones 1
• • • •
AI.
• •
A2.
• • • 11 •
A3.
• • • 11-
A4.
• • -• li ]
AS.
• •
• • li·
A6.
•
-• • 11.
A?.
•
•
-• 11.
AS.
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]
A9.
• ... • • 11.
AIO.
... • • • 11 • •
Ali.
... • • • 11.
A12.
-• -•
Track" Mediant Chord Tones
118
... ... ... ... • • • ... ... • ...
9: •11 • • • li • •
li • •
Bl.
9: •11 • • • • •
B2.
• •
B3.
• • •
B4.
• • J
BS.
li·
B6.
• • li·
B7.
• li·
B8.
- • li
:i: ## • • • • •
B9.
li·
BIO.
•
- • • li·
Bll.
• • • • li·
B12.
•
•
-• 1
Track
11 9
A
V Submediant
. Chord Tones
9: ~ • • • • • • 11 • • • • • • • • • • j
Cl. C2.
11 •
C3.
• • 11 •
C4.
- • li
1
CHAPTER 19. DIATONIC TRIADS AND SEVENTH CHORDS 453
(Continued)
. .. .._ .. . .._ .IL. ... ..
•
li.
• li
C5. C6. C7. cs.
o.): & •
• • • • 1• • • • • 1• • • • • 1·
1 • • • • li
Track
120
o C9.
Leading Tone Chord Tones

ClO. C11. C12.
@&li • • • • • 1• • • • • li· • • • • 1 • • • • • li
D!. D2. D3. D4.
@&I' • • li· • • li· • • • • • li· • • li

...D5. • • • D6.
• • ...
D7. DS.
• •
@&I' • • •
D9.
. • • li· • . • • • li· • . • . ... li ... .. • . •
DIO. Dll. D12.
• li
19.4. Exercises: ii, iii, vi, viiº Major Mode
.. ..
º""-:..=.."'="=·-:-:·_·,,.,.,-'-"'~"""'-':O""°""--"'="""-"-"'='"'=-'-"""'""'""~-"'-""--=--·==-"'"-""''-" """""""'·~·"'"""": ~_,.'".,..~=·-·""'''"~''·"'""'='·"'"-"'"""""'""'"'""'"º'"~'~"''·=="'-~'-"'·=--~"~"'"'"'"'<"'"-""="'co-=~
Intervals in Diatonic Triads

Andante German
Allegro ma non troppo Ludwig van Beethoven (1770-1827), Violin Concerto, Op. 61
Menuetto (Allegro molto) Franz Schubert (1797-1828), Symphony, No.5, D. 485
3. f 1
? IJ' ? 1Jo lt_D 1wn 1rJ?f lf@ IW 11

Andante maestoso
4. llK 1.k& " Q8 J S H 1d Jj QJ J R J fJ iJ Jj Qj

111 1.b~ A 11 w ra u J w QJ w w w w a u. JlJ 11
1

1
Menuetto Franz Joseph Haydn (1732-1809), Sonatina (adapted)
5. •J= •11 ! r r [lj 1r r rir 3

r r 1r r * 1r r [f! 1eJ r 1w r r 1w * 11
3
Meuuetto Franz Joseph Haydn (1732-1809), Divertimento in C Major

l
3 - 3
6. erj r r; 1r erj r r3 1r ffiiJ]u

3 3 3 3
1
=; l
J 3 rJ J 1.r J~J J 1rJ J j J J IJ
- 3
;t 11
1
7.
Andante sostenuto
J IJ J J * IÂ r IJ-
W.A. Mozart (1756-1791), Coronation Mass, K.317, "Agnus Dei"
J
1
• 'I
D ]
p
p r r 1rrc;r i J1 '1JJ~JJ. i@IJ 11 l

Allegretto Franz Joseph Haydn (1732-1809), Symphony, No. !O ]
8. lj J~
~ j l IJ J J J j J IJ ~·
J 4119 1
1
1~ ,. @) I~ J JJJJIJ
r 1 1
~·
11 l
Allegro Franz Joseph Haydn (1732-1809), Violin Sonata, No.6 (adapted)
]
9. ?= li f3 é1 t 1D 4 J O t t t 1t ê] J 1f3 t1 r 1
i 1 i
f p J
t>=ffi J i 1rTr trJ IF' T 1ffl ffl 1ffl [911J *. li
i
f J
Presto Franz Joseph Haydn (1732-1809), Symphony, No.11
J
J
·· CHAPTER 19. DIATONIC TRIADS AND SEVENTH CHORDS 455
Vivo French
11. ?= •11 11 • ~ r- Ri r5 1MJ. r· e r; ffJ Jí J Ji 1MJ. r· r r1 1
?=•~1111. J~J b!f p r P r D1r--.i o r r; tr· J. J 11 1
?= 1#111 ~J. J.0J f f r; 1M r· J. J p Il ]'· li
Larghetto Ludwig van Beethoven (1770-1827), "Adelaide"
13. ?= ~ (j J r r r r1
1r- o er 0 1c; r r r 1
1- 1- r 11
Allegretto Spanish
14. ti g;'1 f[?J1[ fJ 1.tJ J JJ l'I ~@ F r 1J J 1

IJ JJ J] :li
t #1 'I ;1 IJ J J 1Ji d 1J J J 1D r 1f JJ 1h J 1J J1 :li 1 QJI

~ #:[J J 1 f J J 1fj) 1 Q w r J 3 1f J J 1f ~ ~JJ
1 1 11
Allegretto Ludwig van Beethoven (1770-1827), Symphony, No. 6, Op. 68
1s. @#11#•~~. 1g a tu· 1w. J P 1r·-r ;11

1
l
@#11#1 J=J1J t~IJ '~· IQ 'I ~Ir· r J11J. J J tq1J 11
1
Poco allegro ma maestoso ( J = 120) CésarFranck (1822-1890), Psaim 150
16. v: •# tmfr 1r· pr p1r r D1r r D1Q , p1r or D1--=:::

r r 1rrr D1r ~ 11
Allegretto grazioso (quasi andantino) Johannes Brahms (1833-1897), Symphony, No. 2, Op.73
> >
11· 115 1- !- F· r- ·±f
p
~ 1
·-r •~ lz 11• J J
~
1
l
rriolJ J J J 1
1J li J
Camille Saint-Sa~ns (1835-1921), Henry VIII J
18. @~ 1 ·i. 9 @ 1J.
. f ~
)l J 10 o 1rr® 1o'Q!w1 i1p 1 ]
@~i.i. J'.:__./w Q lf l@J u'@p IJ. iJ 1;'.:__./w ~
O lfPiTI 1 J
@~l·i. LJ 'QJJ. J i 1J IJ J Q lf l@J IJ. y li J
----- ~
Jules Massenet (1842-1912), "Chant Provençal"
Andante sostenuto
Larghetto (.)l =e. 92) Ludwig van Beethoven (1770-1827), Symphony, No. 2, Op.36
20. @uun 11 BJ ir· 1p1lp ir· 1@ lfP 1&fj1nJJJ]1(frr~r1p' '11

pcresc. cresc. j
1
· CHAPTER 19. DIATONIC TRIADS AND SEVENTH CHORDS · 457
Etwas bewegter Johannes Brahms (1833-1897), German Requiem, Op.45 (II), "Denn alies Fleisch"
Allegro di molto Franz Joseph Haydn (1732-1809), String Quartet, Op.20, No. 4
1.
22. llB 11 ~ ~ ~ ~ 1 LJJ IJ rT lf' rfcJlr * * ILL~ ILJJ.

-------
-------~
11s,1 iD lf J 1w * * :1!2tl~ u® lf' ir r J 1tn u, * 11

Larghetto amoroso Modest Petrovich Mussorgsky (1839-1881), Boris Godounoff
23. 9: &" uJ. m 1r J Ji& 1r r- r r r 1pr r ~@ 1r=~ i'cii 1

~~~ ~·~
p colla voce -==:::::: ::::=>-
9: &1' 0 4RJ 1r~ 1@ r pr â lfr tó JJ.11:D

1
11
-=:::::: --<
Allegro moderato Franz Schubert (1797-1828), Piano Trio in E-flat, Op.100, D. 929
24. 11e i.~& 1µ 14 4 4 1J

sempre p
~
scherzando
ífi1 1Q f 1J t 1r17E? 1Lj ~
w
•
u a a 11
'......__..:; ô
11
Moderato Camille Saint-Saens (1835-1921), Romance for Horn, Op. 36
25
• @1eílJii1PJ 1J J P'~ 1["f 1rD
D1J. IJ * J
• • • 1 ______,
p--=::::: ::::=-
'#1 ~ Q1) IQJ IJ- =J. =D=1f" =1ffTTr 1fflAf 1f· dim.
@~9
--=:::
lf7E:t lf 78 1fCB 109 IJ lf" Ir * * li PP
Lento Ludwig van Beethoven (1770-1827), String Quartet, No. 16, Op. 135
1
Andante con moto Antonfn Dvolák(l 841-1904), Gypsy Songs, Op.55, No.! (adapted)
i r 0 1r 0 1p r l 1J ~ 1r n 1D r ;1 1w
9: ~
1
21. 1 1
p
,. mezzavoce
l
2:~r r icrrr1r- D ir 1 1r p Ir r 1,J 1J ~ :11
f p
12. ====~-
?:~rir r r 1r p 1r
-==: f
u Ir r dim.
:J f J IJ
1r·
.PP
11• ~ 11
Allegro Ludwig van Beethoven (1770-1827), Violin Concerto, Op.61
~ p4,1 u,J' J,1 J ;1Dl 1J ;iJJJ 1U'u1; aJ j)i ;11 J ;,trJ 1

J
28. @#11
f.f-V V V V V V
l
@## J ;,ffJ 1u1u1v 3u J 101EEi1EEJ EEi 1
V V
_]
J
Allegretto Camille Saint-Sa~ns (1835-1921), Clarinet Sonata, Op.167
J
29. @~ w~J. ~· J---l1r· ?J ~- J@ 1r~· ~ ffi] 1
J
@~ ~ 1r) t1J f.-;:r pfJ 1· 1· l!!_). 1 i 11
J
a J 1F p F p 1
Allegro W. A. Mozart (1756-1791), String Quariet, No.17, K.458
30. ?: ~ 1 '1,~~ ~p1 j o õ?j 1f p r p 1k· :3 j
?: ~i.1,~~ B l' j B r j 1f p r p 1k· ; ; fr J 1f pr i li

J
_]
cJ = 54)
a1J'Oir nIJ 'tfLJS 1
Dolce, sonorous and expressive Maurice Ravel (1875-1937), "Pavane pour une infante défunte"
31. 9:#11 (j r-0:0 ltD DJ'1r-u
9:•11 J - 1~ r r 1r~an 1r r r r 1w~nJ91w r J w 1J - 11 . !

1
- - - - - ------------------
Allegretto W. A. Mozart (1756-1791), String Quartet, No.20, K.499
32. l R •• 11i @' fJh Jf( 81 J J J J 1J. f)IJ J J J1J QI J J J J 1J Q1

llR#I J J J J IJ r ~ 4J0j ILJ §lhJ'p,f IJ) ÜIJ JJ 4JJIJ li
Allegro Gioacchino Rossini (1792-1868), Ballet Music from William Tell
33. ?: •11 ! ;1 u 11: r p e; r 1 D cJ lf f F r F f 1
?: •11 f f f r [ f 1f' p CJ 1f' D cJ 1 E r ffl cJ r 1 ~ :li

Intervals Involving Diatonic Seventh Chords
Franz Schubert (1797-1828), Waltz
34. @&1·1.1• ! w 3 1.r: o .r 3 0 1J n j

.
lfl Pi
~ -
r r 1 -
@~1·1,~ r u r A 8 1 E r 1 r r J A 8 Q
1 1.J 11
Andante W. A. Mozart (1756-1791), The Magic Flute, K. 620
3s. ?: #i Cf 1r r Er Cf ILJ Cij 1L/ C' f ILJ tf 1Er Cf E r r r I
?:# U Pi~IC' !e· flU p, 1~ , gflU 6rrr1U cJ ltr.: ErqJ 1

• r.'I ,.. • ~. • t:- .,.. -,:. ~
?:•D P' 1~ 'a1c .tl~rt1t> r Sllf' :crr;1r bt D 'I 11
Andante con moto Felix Mendelssohn (1809-1847), "Im Grunen," Op. 59, No.!
36. 51: •11 11 1 11 lillJ

v
1r· J J1a;J 1r·~r pr P1r·~o eo 1r· ~ r , r· 1 P
;i: •@ 1
11
r pr pF p1F' ' r 1r D r D r D 1r· Tifpr D 1n·
cresc. p cresc.
J. 1
?: •11
11
1 r r D r. D 1rCO r $ 1f" r· =1 r p r Pr p 1r· -r
dim. p
11
Andantino Robert Franz (1815-1892), "Liebchen ist da!"
37. ?=~l·i.i~ lf FffElJ lf FffD 1J@l!i1

?=~l·Q ~ clfir
3
i pJJ i' ft1@r ,. ~1rrã
3 3
i' f1
ti=~l·i.~ ,. ~ IG b{ fJ r IE b{ f rrr 1* i fft * 11
3 3 3
Andante Ludwig van Beethoven (1770-1827), "Das Blumchen Wunderhold"

Í:_ ~ ~ ~
@ i p1aa1 u n1nn1 J. ;11 n » 1ncJ1uu1 ~ i :11 uµ 1w 'I 11
l""I l""I h.'.j 112.
38.
p f p
Allegro vivace Nikolay Rimsky-Korsakov (1844-1908), Trombone Concerto (adapted)
m1f i m r Ji 0 39 ·1
3 3
3
llR h~
3
39. t j ÔJ 1f p1J J lfJJ * 9
e r; ir r 11
1
P D ' J
'I
3
f
Andante
-J Jj IJ
W. A. Mozart (1756-1791), Don Giovanni, K. 527
@~i.h u 1J. Jl r· D Ir j Jl•

1
40. ~l J 'I J1 J j
1
@~1·1, J J * u IQ f p u
--1
'I
IQ r * ti 1f. D ..1 p1
@~1·1, J= J * ~--l bl I" IF
~
o e J. ª IJ ~
* 11 _J
Larghetto George Frideric Handel (1685-1759), Flute Sonata, Op.l, No.7, HWV 365
J
41. @e J_J J J] r JJ ~ j 1i ni i J s 1J_J J J] r - iJ J J1
_]
@(íl; iJ j nu. j]. Jg11 J. jJVJ. wJ. jlJ. gJ. Jj J. JJ * li

Allegro con spirito ~·Mozart (1756-1791), T~riage of Figaro, K~2
42. - 1r r P1r r - 1 - ILC ir v 1

,,....--
- 1r r 1r r 1f" r - li IDt
Andante W. A. Mozart (1756--1791), Don Giovanni, K. 527
43. @~ 1 ·1. ~' u IJ. )ir. DIr J JjjjlJ 'f Jd 'f J11J J ~ u llfr 'f UI 1
@~ 1 ·1. CJ!r ~ uir· Dw. p1J w ~-~w1" 1r m;w. nu ~ ~ 11
Ensemble (Sing and Play) Henry Purcell (1659-1695), Rondo
- --
Moderato
~
' ' - - '

- - -
44.
p
1 1
'
' ' - '
-
:
p - 1 1 1
Andante Johannes Brahms (1833-1897), Romance, Op. 118, No. 5

,
45.
.. espressivo ' 1 1 - ' ' •
:
:J- - - - ·-
'
, li ~ -
' 1
-• -
1 1 .
W. A. Mozart (1756--1791), Symphonie Concertante, No. 3, K. 267
' '
'
46.
.. f ' ' 1
' 1
'
li ~
' '
.. ,~
..-
'--.!
._ '!' ~ '!' • • 71 ..- - 1
: " '
1 1
I
1
, li ~ - ~ ~
' '
. ' ' 1 1 1
" ~
. -~ • • e-
"
:
~ 1 1 1
1 1
1
19.5. Building Aural/Oral Skills: Diatonic Triads and Seventh

Chords in Minor Mode
" Listen as your instructor sings a variety of tonal patterns in minor; echo each pattern. 1
Pentaçhords
Notice that in the ascending form of the melodie minar scale degrees number 6 and 7 produce
diminished triads (viº and viiº); in the descending form of the scale, >6 and >7 produce major
---.,
triads (VI and VII).
• Review the pentachord triads in root position. See Chapter 6, p. 228 and Chapter 7,
p. 235, p. 236, 239 and 244.
• Sing the ascending intervals followed by the descending triad in each pentachord.
EXAMPLll J
Ascending: la-ti-la-do-la-re-la-mi-do-la; ti-do-ti-re-ti-mi-ti-fa-re-ti; etc.
• Sing the descending intervals followed by the descending triad in each pentachord.
EXAMPLll
Ascending: mi-re-mi-do-mi-ti-mi-la-do-mi; fa-mi-fa-re-fa-do-fa-ti-re-fa; etc.
DiatonkSeventh Chords
Notice that in the ascending form of the melodie minar scale, degrees number 6 and 7 pro-
]
duce half-diminished and fully diminished chords respectively (vi•7 and vii 0 7); in the descend-
ing form of the scale, >6 and >7 produce major seventh chords (VI7 and VII7).
• Verbally label the Roman numeral and quality of each chord prior to singing the chord
]
le1(1.61)fa1 le1(1.6 1)fa'

so1(5 1)mi1 so1(5 1)mi1
fa1(41)re1 fa1(41)re1 fa1(41)re'
me1(1.3 1)do' me'(i.3 1)do1 me1(1.3 1)do1 me'(l.3 1)do'
re1(21)ti' re' (21)ti1 re1(21)ti 1 re1(21)ti1
do1(1 1)la' do 1(1 1)la1 do1(1 1)la1 do1(1 1)la1 do 1(1 1)la1
te(i.?)so te(l.7)so ti(7)si te(l.7)so ti(7)si
le(i.6)fa le(i.6)fa la(6)fi le(i.6)fa la(6)fi
so(5)mi so(5)mi so(5)mi
fa(4)re fa(4)re fa(4)re
me (i.3)do me (l.3)do
re(2)ti
do(l)la
i,
..•
li 7 III, iv7 IV7 v, VI, ..
VI 7 VII7
...
Vil 7
minor half-dim. Major minor minar Mm Major half-dim. Major dim.

J
(dom 7'h)
19.6. Symbolic Association: Diatonic Seventh Chords,

J
MinorMode
Diatonic Seventh Chords

The diatonic seventh chords for the three forms of the minar scale are shown on the next page.
• Sing each of the chords melodically using tonal syllables and familiarize yourself with
the sounds of these chords.
lNote to instructors: The tonal patterns are found in Secrion 19.6.

CHAPTER 19. DIATONIC TRIADS AND SBVENTH CHORDS 463
li li
i,
...
11 7 m, iv 7 IV7 V7 . Vl 7 yif:l 7 VII 7 viiº 7
minor half--dim. Major minor minor Mm Major half--dim. Major dim.
(dom. 7th)
• Determine the Roman numeral (N) and quality(Q = M, Mm, m, d•, dº) of each sevenrh
chord and then sing the chords using tonal syllables.
!. _ _
li ••• 1 • • • •
•
2. _ _
• • • • 1 ••••
3. _ __ 4. _ __ 5. _ __ 6.
-.- .
7. _ __
T;;~k O 19.7. Tonal Patterns: iiº, III, VI, VII, Minor Mode
s:;~;toni~"'Zl:~d=To~:·;-·· ····=·=-=~~-="=~=~-=~~-·"==~-=-~~-·=·===~~==
'&h ..... . • •
• • 1• •
• •
• • 1 • • • • • • li
AI. A2. A3. A4.
• • • • 11. • • • • 11. • •
•
• • • • li
\I •
• "
A5. A6. A7. AS.
•
• • • • 11. • • • • 11. • • • • • 11. • • • • •
A9. AIO. Ali. Al2.
Track
122 V
A Mediam Chord Tones
._ ._ ._ ._
• • • •
Bl. B2. B3. B4.
9: & • • • • • li· • • • • li· • • • • li· • • • • li

B5. B6. B7. B8.
;>: & • • • • li· • • • • li· • • • • li· • • • li

• +
B9. BIO. Bll. Bl2.
T;;~k O Submediant Chord Tones
9: &"1,& • • • • • • • • • • • • •
• • •
• • • li
Cl.
•
._ .•• C2.
•
. ._
• •
C3.
._
• • •
C4.
• •
._
•
C5. C6. C7. C8.
5)1 &hi.& • • • • • 11 • • • • • li • • • • • • • • li
C9. CIO. Cll. Cl2.
19.8. Exercises: iiº, III, VI, VII, Minor Mode

1
Intervals in the Diatonic Triads
W. A. Mozart (1756--1791), Symphonie Concertante, No. K. 364
1.
Andante
'): ! DJJ 1! 1 fUttr p1Jf 1 1t 1

~
or r 1r 1 pfil l
~ IJ j li
Grave e cantabile Franz Joseph Haydn (1732-1809), Seven Last Words of Christ, Op. 51, No. 2
2. 1 j: r lt~ J - IJ@ J @I
Ji IJJJ)J - 11
Non troppo vivace, con fuoco Franz Schubert (1797-1828), Schwanengesang, Op. 23, No. 5, D. 957, ''Aufenthalt"
3. ?:&ir LJIJ ~Ir ~Jlr ~ IC rr1F' Dlr r IC*I

'): ~ r r:· r: 1r p 1r r- r~ 1-r p, ,1G
j j e: ,~ 1e~ j D1r a 1r 11
J. =c.108 Camille Saint-Saens (1835-1921), Henry Vlll
4. ;>:~i. er=r p 1r Dé!LJ 1r Dr P1ft t Oy 1r·=r p 1m•r 11v1

ff
;>: &1i fTr r t:r 1a r r r ;y 1r - r n 1p r r l 1J Dr P1
;>: &1i r J1 r p 1f@ j n1r p r l 1J J1 J p 1[ 8 r D1p r 11

Allegro Ludwig van Beethoven (1770-1827), Piano Sonata, Op. 13, No. 8, "Rondo"
s. ;>: ~ 11i tf#Ff f 1tf r f? r r 1f' Ü 1&'q á 1

41 tf 1f Dr- ) 1r
;>: ~ BC? f1 1t ae ã 1r ~ ~ ü 1Q a1r-r f] 1t ae ã 1r li

--------·--------
Allegro W. A. Mozart (1756-1791), Violin Sonata, K.304
6. '~ ~' .n 1r e 1J a 1~J w J 1r· u1J r r 1J iJ 1J J r r u 11 Fine
,~,b~AfJIJ ,,pJJJJIJ ,JijJJjijJJjjJJJ1r *li

D.C. al Fine
Allegro con brio (J = 144) Ludwig van Beethoven (1770-1827), Piano Concerto, No.3, Op.37
7. '&h1.~ e j j 1r· pJ ~ 1~ 'I },~ 'I jilJ ~ - 1J r 1f ~ r J 1~ y # 1 ~ 'I 411

p . . ef
'&hi.~ J * - lfcn I@ j J 10) iO r f lf.fffi 1m J y1~ li

p ef ef
Andante melanconico (J =72) Georges Bizet (1836-1875), ''Adieux de l'hotesse arabe"
s. '&i.1.; LJ IF U Ir O 11AJjD IJ
p
' &h1, JJ~ JJ 1 'I 11

cresc. molto f
Allegro Johannes Brahms (1833-1897), String Quintei, Op.34
9· 115 ~& 1 ' f r j f Yj 1f r J f j j J 1f r ! ~ Yj 1f Yj f rj 1

115 ~&I> t yf JJJj 1Oi tJj 1p 'I
p 'I lp 'I
p 'I )i 1 'I )1 'I li
PP
Moderato Gabriel Fauré (1845-1924), Requiem, Op.48
10. ?:& 2 r'::__Fp 1r r 1r· P rir r 1r r· D1r f 1..

p
?: & - rTJF f 1r f C 1f r tr r F r 1ª 1f V 1-a li

Vivace Giuseppe Verdi (1813-1901), Othello
@u n~ ~ 4 , * P r4 , * 4# J J # J J # J J
1
Pr tr 1
11. 1 1 1 1P , 1
*,
" p
i;#
r4 #a
1
::j - > >
~ ~ 4~ 1. .1. . Ji 0 3
1 .1. j ' i i0f , 1. . 3 0 3 J J 0 3 l
1 1 1 1
.....
# > > > >
@ ; J J J J J J. J. #J. !~ J. J 1h. . J. nO. J. J. 1 1! 1 l
> 11
· ' ' f 1tf/' .ff mf
Andante moderato Johannes Brahms (1833-1897), Gennan Requiem, Op.45 (III), "Herr, lebre doch mich"
12. ?= ~ 11, r - r r r r - r r r r r r r v· r r - r r v
1 1 1 1 1 1 1 1
)
?= b r r r 1r r 1s r r r 1F f 1~ r r r 1r· r 1r - 11 1
Largo e pianissimo sempre Antonio Vivaldi (1678-1741), Four Seasons, Op.8, "Spring" l
13. l Kt.& ! p=J J lfr f' lnLJ r 1@' f' lf r J 1J.
11
lJ lf-.! J 1
l
l Hi.& F'Gtr rJ lf'· Ir J J lr'frlr #J J lgzj s li 1
Allegro assai Georg Philipp Telemann (1681-1767), Six Canons Melodieux, Sonata VI, TWV 40
J
14. @b ~ Dq u 8 w 1lµ 1w , 1; J uJJ wj rn 1JJJ J1r rr a1
1 J
l
~b J '1DJ IJ 8J llnJ lfD 18 J IJ 8J lfJiJ IJ ' li l
Adagio Johann Sebastian Bach (1685-1750), Harpsichord Concerto ''After A. Marcello," BWV 974
1s. ?= • 1 u c:l cJ 1r * 1t1 a u 1r ~ 1cJ u u 1r *1

?= f W t1 g· 1r YbY E6 O"1 r Y6ÜtrfJ1 F Y UJ7 r j íJ l•r r li
CHAPTER 19. DIATONIC TRIAOS ANO SEVENTH CHOROS 467
Vivace Georg Philipp Telemann (1681-1767), Sonata II, Six Canons Melodieux, TWV 40
16. @~ ~ pm
11
® l'I ID 1c r; 1iJ J 1
1J ;1 lgfJ 1füJ l'I
@~i. ttinJ IJ 'I !J JJJJIJJ~J 1 JJJ:1(ttjd)@J1r rw1r Eff]ll'I 111

1
'--' ~
Intervals Involving Diatonic Seventh Chords

Largo George Frideric Handel (1685-1759), Rinaldo, HWV 7 (adapted)
17. @~ 9* r Ir n IA J Ir J J l#j J I* J J11 J Q) 1
@~ * r· D 1 f' 11
Prelnde J. S. Bach (1685-1750), Cello Suite II, BWV 1008
18. 11ai. n r~Q1#@3Jr~481tlir:1@D1@JQ_fl 1
llRl tDJ r· ; QJ j leFB f r C; iJ JJIJlD r· ;@] lJ)

1
11
Andante con moto Franz Schubert (1797-1828), "Der Abend," Op.118, N o.2, D. 221
19. @~ ujfl fi/!r 1Q:J r J11fzJJ E:Y!r 1tfü r- 1 w 1Ef?u 1
@~ J J J DJ Ir J1 * 'I 1f-[Jr) 1u J DJ 1J * 1 'I 1

Allegro lgnace Joseph Pleyel (1757-1831), Duets for Two Violins, Op.8
,
' ' ' ' ' ' '
20.
• f .P ' 1
} 1 r 1
.P
1
' 1
'
'
•• f' ' ' ' - -

f
.
~
.P
,
. ' ' ' '
• ' 1 - ' .....

' ' '
'• - ": .. . ": .

* ~ ~
--....... ·~ ~
. ": ~
*
Grave
-
J. S. Bach (1685-1750), Prelude in G Minar (adapted)
1
' '
21.
• 1 1 ' ' 1
: ' * ' -
~
' 1
J 1
' ' '
• "
... li-
1
...
'
t ...
" -
: - li- * - • -· " 1
Andantino (J = 76) Josef Gabriel Rheinberger (1839-1901), Messe in F Minar, Op. 158
, 1
' ' ' '
22.
• 1
p
- ' ' '
-=::: >- ' 1
,, p • - ]
mf
1
J
' ' '
-,
• "'ff ' ' ' 1 ' ' 1
1
' ' '
]
,,
,
1 '
.. ... ?7 1 1
'
---
1
f- ' 1
1 '
' ' '
•• '
>-
- - ' 1 - -~
-... f
'
1
Chapter 20
Chromatic Alterations:
Nonharmonic Tones
=-'-___..'""'""-'"·~"""-=-=-"-'-"'""'==-""'"·""~·,.=-::=-_,,,,,,._.,,~~="'""'""=·-"'-""~"'=~'='"'~-~"'"~""=·'"~·'"'""'·=,,_-º"'"'-'''""""""'"'"'~-,==""""''""·'"·""'-"'''''""'"'·""'>''"'=~""'"""""==~=-=..""""

e Listen as your instructor sings a variety of tonal patterns; echo each pattern.1
Scale
• Sing the basic and additive chromatic scales integrating a vatiety of rhythm patterns.
Chromatic intervals
EXERCISE 1:
• Solfege
Ascending: do, ti 1, do; re, di, re; mi, ri, mi; fa, mi, fa; so, fi, so; la, si, la; ti, li, ti; do 1
Decending: do 1, ra 1, do 1; ti, do 1, ti; la, te, la; so, le, so; fa, se, fa; mi, fa, mi; re, me,
re; do, ra, do; ti" do, ti 1; do
o Numbers
Ascending: 1, 7,, 1; 2, #1, 2; 3, #2, 3; 4, 3, 4; 5, #4, 5; 6, #5, 6; 7, #6, 7; 1'
Descending: 1 1, ~2 , l; 7, 1 1, 7; 6, ~7, 6; 5, ~6, 5; 4, ~5, 4; 3, 4, 3; 2, ~3, 2; 1, ~2, l; 7 11
1
1, 71, 1
EXERCISE 2:
• Solfege
do, ti, di, re; re, di, ri, mi; mi, ri, fa, fi; fa, mi, fi, so; so, fi, si, la; la, si, li, ti; ti, li,
do 1, di 1; do 1
o Numbers
1, 7,,#l,2;2,#1,#2, 3; 3,#2,4,#4;4,3,#4,5; 5,#4,#5,6; 6,#5,#6, 7;7,#6,
1 1, #1 1; 1 1
EXERCISE 3:
• Solfege
do 1, la, li, ti; ti, so, si, la; la, fa, fi, so; so, mi, fa, fi; fa, re, ri, mi; mi, do, di, re; re,
ti 1, do, di; do
• Numbers
1 1, 6, #6, 7; 7, 5, #5, 6; 6, 4, #4, 5; 5, 3, 4, #4; 4, 2, #2, 3; 3, 1, #1, 2; 2, 71' 1, #1; 1
.~~:-~~..~~~~~!iE,,~.~.~.~~~~1~2.~.. ~····· ..~...,.. .......... . ,,,,,.............,.......... ·····=·

Chromaticism
Chromaticism refers to the use of pitches of the chromatic scale in addition to or instead of
the pitches in the diatonic scale of a particular key. These chromatically altered tones may be
used as altered chords and nonharmonic tones - neighbor tones (CNT), passing tones (CPT),
appoggiaturas (CAPP), and escape tones (BT). Ali of these nonharmonic tones are nonessential
chromatics, as they are part of the surface detail rather than the structure of the composition.
Altered chords will be explored in the next chapter.
lNote to instructors: The tonal pacterns are found in secrion 20.3.
469
1

1
EXAMPLE 1
CNT
•u r
1
r I" 1u r 1r
1
CPT CNT CNT CPT
Ir r •u r r r r1 r!r E1r
1 er 1 f" 11
EXAMPLE 2
CAPP APP CAPP CAPP
45 ~i.i. !J nna wJPlJ ,i

Appoggiaturas and escape tones are sometimes referred to as incomplete neighbors (IN), because
the first note of the neighbor tone is missing. Notice that in measure 2 the first F is missing
and the neighbor tone is thus incomplete. ]
_!
@#11 • • • li· •· !• • • li· • !• • li. • • • li ]

•
A!.
•· A2. A3.
•· A4.
•·
]
@#n • li· •· li • !• • • ~· • • li
• • • •· I• • • •
•·
1·1
• • •·
AS. A6. A7. A8.
Track A Lowered Seventh Scale Degree, Major Mode

12s V
?= ~l·t ~ • • j,. 11· • 1 • j.. 11· • 1 • j.. • 9· • • j,.
• • • li,
1•
Bl.
li• • I··
1
B2. B3.
'
1
B4.
1
.... ~ 1'1.~,_ -. • I·· 11•

,.. - • • 11• • 1 • • li· • • li • • I·· • •
li J
BS. B6. B7. B8.
Track A Raised Tonic Scale Degree, Major Mode

J
126 V
t~ # •- 1• • • 1• li. • • 1• !• li. • . •· • li • •· !• li
Cl. C2. C3. C4.
CHAPTER 20. CHROMATICISM: NONHARMONIC TONES 471
(Continued)
~~;k O Raised Second Scale Degree, Major Mode
9: ~ • • li· • • 11 • • li· 11 • • 11 • • • li· • • 11 • • li· • • • li

Dl. 02. 03. 04.
~~~k O Lowered Third Scale Degree, Major Mode
$~ '1, 1
•
fil.
• ~. • li
il
• li • •
il
~. • • li • • •
E4.
~. • • li
~~~k O Raised Sixth Scale Degree, Major Mode
$#11 • • • ft· • li • li· f1· •

•
11- #• • • • • li • li· • • • • •
n n ro. F4.
~~~k O Raised Fourth Scale Degree, Minor Mode

~): 1 • • li· • li. #• 11· • 11 • • • #• 11· • li • #· • • • • li
O
01. 02. 03. 04.
~~~k Raised Third Scale Degree, Minor Mode
$ #• • • •· • li· •· ~· • • li • • • • •·
• li •
• • #• • • li
Hl. H2. H3. H4.
20.4. Exercises
Raised Fourth Scale Degree, Major Mode
-J
Lento ed espressivo Ludwig van Beethoven (177G-1827), "An die fome Geliebte," Op. 98, No. 1
1. $~\." ! F--r r· 1 D E ;j=• IF f,· 'I J 1J"~ •1 F IJ- 1· J

D
-=== :::::=--
- 3 ]J
p
~ ~l·i.7 11J 1,J9 1J J E --fl

J Ir o J 11
Minuetto W. A. Mozart (1756-1791), Minuetto

>
2. 9: •11 !r ( r ~-
;J
--i •
Ir d 1 1
I!
Ir ÉJ
• r I!
1 10 r r
p
9: ## r r r e-r 10 11 11•·
1 p Ir -i
j o E • I•1 ~ :11
*
1
Moderato Jacques Offenbach (1819-1880), Tales ofHojfman, ''Entracte"
3. 4 9J. 1
&'1,
p
jj i A i~ IJ..
1 AI J. i 19 J4 r i 6;J 1 JJ 1
-1
1
4r &1·1, 1 [@ 1J n D J. D J n O J. n1 1 1 1 i 1
1
rall.
A ir· i J J J J i) 1 J. j IJ - IJ 11
1
f
Canon: 3 voices 1
[1] ~ HenryHarrington(l727-1816)
4. ?= & 2 rrD!r • 1 r r r 9r r 1 1G 1 e~ f 1f' r JS ]

~ .
?= & a r rD F 1 1- t Qv r]' 1- ~ F 1 r r r ir r· p1e ]
J
[3]
> > > > > i t:'I
~):
l
&
r ó
>
1
Ir F 1 F
o
1
1
WWW
1.J
>
,J
>
[0 li
]
Allegro W. A. Mozart (1756--1791), Piano Sonata, No. 3, K. 281
.--. ~ ~ . ~ ,,....r íL" ~ ,,-. ]
s. ;>= 11, F f 1 f g U 1':r a F 1ê r r r Q @ F ? é1t 1 F E1
?
1
tmr o [t a 1 1~r n a r1 ln f ]'21r 1J li
J
J
Allegretto lgnace Joseph Pleyel (1757-1831), Duets, Op. 46
6. 4~1, fJ? er r et r r;
11, 1 1 (f f' a tJ J trJ J
1
03
1 r. e 1
1
~-----~
l
4 DtJ tJ B Dj
1
&'
sf sf
1
J :1(J JeJ nw J 13 li
_I
1
Raised Tonic Scale Degree, Major Mode

Allegro _ _ __ British
1. 9= 13 fi r r r P if] t f 1r pr
g
11if
plr· :J ~1
9: ti Ef ( Hf P r PW:' ~ P 1f 1
tr r r P 1<10r r Íi
J li
dim. p
J.=63 Hector Berlioz (1803-1869), "La mort d'Ophelie," H. 92
s. ' çi. r~ ;1
p
1
I~
'çi. LJJ r r J •P r ~P r p r r e"r ·
·- · ' 11 •
P 1 1P ' ' * ' 1 1 P 1 1
Andante Polish
9. ?= ç !
p
r uu r ur
ar u A r e& a r e; r c1 r u r
1 1 1 1 1 1 1 1
9= ç r u u r u r cJ r e; r r c!t a r u r u r u r
1 1 1 1 1 1 1 11
cresc. rall.
Canon: 6 voices
aw
Andante W. A. Mozart (1756--1791)
11. llR 1.~ 2 e;-- 1

\:.!
[4] _ _ __
ª
[2]
Iºt r r 1 'ir
,.
1
\,:./
IF f'
IRI·~+ f' D[i] [6]
: -
le
\,:./ f J J IJ J J 1 5l :11
\,:./
li
Allegretto W. A. Mozart (1756--1791), Symphony, No. 41, K. 551
12. ~ & ~ r ~r 1,&)r J w 1Jl'I }J'I 41'1 1J l'I 1Fr 1~r &r JJl'I Jl'i l'I 1
p
Raised Second Scale Degree, Major Mode

Andante Franz Schubert (1797-1828), Mass in E-flat Major
13. ?: &i.1, ~' F r J r 1l F r F 1F U r n 1

--< ::::=-
r· p~ ~ 1ê
1
-~
Ur f:
F 1
~: &'i.1
F9P r -=:::::::
r 1r::::::=--c<rr r u 1J f f r 1r 11
Allegro Polish
14. 111 11 i~ttm1Pu1J1 J m1ffr ll:pfP 18 J I~ r p1f7?J :li

mf f ~)
Canon: 3 voices
Anonyrnous
----~r.'I r.'I r.'I
efur r IAt (ff' Pr r 1rD

[1] [2] [3] -----
15. ;>:& 1@f r 1urw li

mf mp cresc. f
Franz Schubert (1797-1828), Mass in E-flat Major
16. ~& 1 '1, 1N@J. B J IJ 3JJ ::J lft.-J iJp lffl @· ffil
~&i.i. r:-m 1w11A@J:l @Iro J J a!9· * 'I -· 11
W. A. Mozart (1756-1791), Sonata No. 17, K. 570

Allegretto
Raised Fifth Scale Degree, Major Mode

Vivace Franz Joseph Haydn (1732-1809), String Quartet, Op. 74, No. 1 (IV)
a· ~ Si~
18. f):j Jl
1 ;;µ
IJLEJ
.
10----u IE; ( r IJLtJ Ir J
;;;µ .
V 1
Allegretto W. A. Mozart (1756-1791), Piano Sonata in B-flat Major, K. anh. 136 (III), (adapted)
19. 7):#11
11
! t 1~1if 1r«r] ILJt t IFSJ& 1J ~ IJ t IJ 48E9 * li
f .P cresc. f if .P f .P
Andante con moto Franz Schubert (1797-1828), Symphony in C Major, ''The Great" (II)
Allegro molto W. A. Mozart (1756-1791), Symphony, No. 40, K. 550
Maestoso poco lento César Franck (1822-1890), Morceau Syrnphonique
*~ LJ@]
Largo con espressione Ludwig van Beethoven (1770-1827), Piano Trio in G Major, Op. 1, No. 2 (II)
23. 11 lffflJ 1 IJ
.P
*~ rf6rrrJ#JJJ@1@J&JJJjJJbi?1m ar 1g9.QJ IJ li
1

1
Raised Second Scale Degree, Major Mode

Andantino Gioacchino Rossini (1792-1868), Semiramide, "Overture" 1
24. ;>= 111 11 1 g

p
r· tr r r r ! 1 'í 'I
~
1 •· e:r• r• 'r l "0 p 'I 'I
l
~G ; 1 r #p ~r3) 1 frrrf ff 11 1
Franz Schubert (1797-1828), Eight Ecossaises, No. 3, D. 229
2s. @# ; r
P.P
u
staccato
1r r 1J 11J J 1r cioJ 1w 1J J 1J (~)w 1.q w J 1w 1
1
@# r 1r r 1r rn)r 1r nu 1r ººr 1r J J 1r 11r 1r w 1J ~ :11

1
Raised Sixth Scale Degree, Major Mode

l
Andante Franz Joseph Haydn (1732-1809), Sonata in D Major, No. 51 (adapted)
]
26. 111 11 "j J IW * QIW etl2J1J18J * lj .J iJ ~ @I
f p p ]
eí07 ~ 1c1 dr
3 3
111 1• r ffi91 'I p1iJJ iJJ 0011 0:r; 1v 11 J

f 3 3 mf
Allegro molto Ludwig van Beethoven (1770-1827), Violin Sonata, No. 4 ]

27. ;>= ~ 11, w
p
r
1 r r 11J 1r r 1fU 1
rJ =r 1fr r •r 1r r Pr 1@ r
cresc. ef ::----=--- J
?=~ t t r r 1r7F) r rill 16fJ 1fC! 1em rffr ir 11
p ~ f 1
Allegretto Ludwig van Beethoven (1770-1827), String Quartet, Op. 74, No. 10 (IV)
J
J
1
Raised Fourth Scale Degree, Minor Mode
Moderato
dim.
Canon: 3 voices
Anonymous
3 º· 9=9[t]JJ w r 1Vf t 1r r Dlr· r@n u 1r- Pr ir- pD

99J. Wri t; 1r
[3l------
tt 1r 2ri r 1E8 tY a 1r r r 1r u u 1
ir fítrc:F 1Fttr r Ir r·llITT 'Ir 1r * a1r r F1r·•pr 1P r 11
1
Moderato Dutch
31. 9=•~ (j a·tr f'Jlf' :F' rr;.r 11rrr t 't' W§C:;r:1ril

p cresc.
~= •u í· ; 8
mf
AD 1J~8 u fr 1~ r r r [J r
cresc. 3 3 dim.
tTu ~ - 11
1
*~ n ;w J u J 3J?IJ J r uirl
Andante England
1
33. ü 1 Ji J nJ J JJ f J 1 @:I
l
*i J r a J 8tfJJ ~ f J wau
mp~~~~~~~~~~
# J JJ J 1 J. j J d nJ J o J 1
* a t r J nlf5 J s r r w r n a
# J w j1 1 J w 1 1 11 l
1
Raised Third Scale Degree, Minor Mode

Andante non tanto Pyotr Ilyich Tchaikovsky (1840-1893), The Queen of Spades, Op. 68 l
34. * &i.i.~&" e Ji 1gji@ LJ 1J J1 J ' Ji 1gjJ ijtd 1r· p r ' p 1 ]
*&i.i.~&l·f'~crr;IEJr ,;wJ1~jJJJaJ hJ. J-u 11 l

Henry Purcell (1659-1695), Dido andAeneas, "Thy Hand, Belinda" (adapted)
J
*&li ~ J' :r F IF ijF 1r· pJ h#•·l Jrj:. -·
1
j D 1-· D
35. 1 1
r d
1
*&I• : r 1· Ri r--- j =
-j
J l1111 j
1
10 i li J
Lowered Seventh Scale Degree Major Mode
J = 108 Robert Schumann (1810-1856), Kinderscenen, Op. 15, No. 8
J
36. *'I•~ =j ;1·~'fJJ
= I= _ f._J 'j ]~ 1,~(___!_9
i<lif' j, i ;r--~ ;~ 'j
i{111
p LJ~ ~ J
p espressivo
i J1 1oo 1J1 ;; Ji 1~ J 1~ i li J
J
*r
Allegro W. A. Mozart (1756-1791), Piano Concerto in G Major, K. 453 (!)
37. #"
p
~
1 r IQ r - IF r F 1~rr r -
j J@ 1O ~ J r7 r J 1é F r r ~J O 1W 11
CHAPTER 20. CHROMATICISM' NONHARMONIC TONES 479
Animato Robert Schumann (1810--1856), "Abegg" Variations, Op. l, (Var 2)
38. 111 i. 9f 17 1ir

mp
r 1•r r ~rm fF7 1r r J 1w1,J
cresc. d1m.
w1w J ~J 1w J w 1i w
poco rit.
11
Ziemlich langsam Franz Schubert (1797-1828), "Lob derTranen", Op. 13, No. 2, D. 711
39. ~! (}18J ; a10w J. a1I1GC3Bf, 6J18J ~n1

PP
3 3 3 3
t@ ta1r p@leJ J
3
w. a1r· D r t 1r (~tlêJ 1J.
3
D aw 1
Lowered Sixth Scale Degree Major Mode
Carl Maria von Weber (1786-1826), Der Freischütz, Op. 77
Allegretto r.-
40. ;i=•c~r Mcgrcrr1r r * 1yr QEUftt1F r ~ 1

;i= • f ~ ur r r r1 1c~)f r E r O r 1r g r e r r êJ r 1
f
Lowered Third Scale Degree Major Mode
Ruhig [Calmly]
. Hugo Wolf (1860--1903), "Grablied"
41. 4~ e J
f
1 r 'I J1 J J
p
1 r j -
.
t~J'IJJJ J:·IJ J * J •
1 11.J l J J u ~ li
PP
Frédéric Chopin (1810--1849), Prelude, Op. 28, No. 4

Largo CJ = 69)
42. 4J i ,1, f1 r· 1
•
1
1 ~·
1
r 1r· ~r 1J r 1J
4i3J. 1>J l J A J J J J 1J JgJ. sw 'I ~ ~ li
1
1
Moderato Franz Joseph Haydn (1732-1809), Symphony, No. 100 (III)

,...--____
43. ;i: ~hi.~ ~ f f r r1 t ar F J J(~)Gb 1 w ra ,,J 'iJ
F 1 w
• •
1
1• •
1~ *
1
&1
l
t r QJ] I~ J U tJ 1t 11
Lowered Second Scale Degree Major Mode

l
Allegro non troppo César Franck (1822-1890), Symphony in D Minor (adapted)
l
44. ] 1f7?t 1f r ] 1f r 1 1Qf v 1-~ i.-
1
1 1f r 7t 1fr rô
f' 1• ''F
1 r±f-- 1
P 1r ?f) 11
l
, li
Larghetto
....... -
(./l = e 92)
- ....=::
-
Ludwig Van Beethoven (1770-1827), Symphony, No. 2, Op. 36
-
45.
~
li
"'./
p
.
•/
~
- . '
' '
cresc.
"
if ::>- p
~
1 1 r
.
' '
-
p
-_:,..-
cresc. - if -
:::>-- p -
J
Andante Ignace Joseph Pleyel (1757-1831), Six Duets, (adapted)
.
:
'
---- . - ~ .
j
46.
p dolce ' -
-
'
- -' - ~
:
p dolce -
: ' '
J
p "'----" - 1
- .. .
cresc.
:
~ ' ' - . •
' p cresc. '

~
-
Chapter 21
Secondary Dominants
="'"-"'""'-""·º"'·""-"'··""'•"·'"'-~:.'>'c';:=~'"°''"-'°"'"º·""~"''<'="'y;,""'.''-"•""·'-""-·.=.".:-/""''"-""'""'"OO::~·o-,,."-'"~"=·•,_-,,.,=.,.-'°"~"''°''"--,,-''=·"""'~"'"''"'~~"·~.,..-,=.c=:--'··"-''"'~"''--'-=~""CC~=.c..'<O=·-c=-o.-·.o:.

o Listen as your instructor sings a variety of tonal patterns; echo each pattern. 1
• Chords built on each degree of rhe diaronic scale can be chromarically altered to change
the quality of the chord. Below are the mosr commonly altered chords. Sing each pair
using tonal syllables. Establish the tonic (do/li/a) prior to singing each pair.
1. Commonly Altered Chords-Major Mode

(a) (b) (e) (d) (e)
ti (7)
--ti (7) ti (7)
te ~7)
la (6) la (6)
si (#5)
so (5) so (5) so (5)
fi (#4) fi (#4)
fa (4) fa (4)
mi (3) mi (3) mi (3) mi (3) mi (3) mi (3)
ri (#2)
re (2) re (2) re (2)
di (#1)
do (1) do (1) do (1)
d1 (71) ti1 (71)
la, (6,) la, (6,)
f---------------
vi VI viiº VII F dom 7 ii II iii III
(V/ii) (V/iii) (V,/IV) (VM (V/vi)
2. Commonly Altered Chords-Minor Mode

(a) (b) (e)
do 1 (1 1) la
1
do 1 (l 1) la1
la (6) fi la (6) fi
le ~6) fa !e ~6) fa
so (S) mi so (5) mi
fi (#4) ri
fa (4) re fa (4) re fa (4) re
mi (3) di
me (03) do
re (2) ti re (71) d,
do (1) la do(!) la
i I iiº II iv IV
(V/iv) <VM (V/VII)
1Note to instructors: The tonal patterns are found at rhe beginning_ of each section of this chapter.
481

=~'"'°"'"""'°"==:===--°""""="'"'-'·"""··-···--'='C"'"-~-~''"'==~==,.====.,,-~co~"'-='"-="-="'==e-"o<"-"'""""'="""_.,,.,,,_.,_,,...,.,.."-""..,,_'~''""'"""''""'="""'
Secondary Dominant
Chromatically altered chord tones may imply tonicization - any major ar minar diatonic triad other
than the tonic heard temporarily as new tonic. This new tonic is often preceeded by its own domi-
nant (secondary dominant). l
• The following are tonicized chords that may be encountered in traditional harmony.
Sing each using tonal syllables. Establish the tonic of the original key (do/li/a) prior to
singing each pair. 1
.1
1. Secondary Dominants-Major Mode

(a) (b) (e) (d) (e)
- V/ii ii V/iii ili V'flV IV VN
.
V V/vi vi
' HJ: • tt ..... - ... ,. -

- '
,, • ff...
Common
•
Rare
r
- Common
"
Common
-
Common
]
1
2. Secondary Dominants-Minor Mode
VfilI (a) III V/iv (b) iv VN (e) V VNI (d) VI V/VII (e) VII J
' ..- ...
, " . -
.J
1
1 l"'"-o. ~ - - ~
-,, • 1
" - •1
Common Common Common Less Common Common
21.3. Tonal Patterns and Exercises: Raised Fourth Scale ]

~~~k o Degree, Major Mode
;:~~;;~;er:;"=~-~~---~---=~=~~~--~'"--~--~--~-=---~=-~·----~~----~~-~--
t
1
#11
• • • •·
• 11-
•·
• • J li • • • I• • li· • •
•·
• li
J
AI. A2. A3. A4.
AS.
• •
• liA6.• • •·
• • • li • •
A7.
.•· . li· AS.
•
•· • • • li ]
Exercises Polish l
Adagio
~
1. r r r r r ~r
1 1 f' 1·
f
1 rF r . _J
1
t ~1·1.~1 rf
.............
1--==r
1
,.
1 r Ir 7 -f r
p
rr
rit.
1F A 11
· CHAPTER 21. CHROMATICISM: SECONDARY DOMINANTS · 483
Vivace Thomas Morley (1557-1602), "Now is lhe Month ofMaying"
3· @i11tt e !f 1J J r r 1f' r J 1r· p r •r 1F F [fit t F i J

@i@#ftQ ti it t r r 11 11:r1r r r •r m· , r1
@i11#it r r f Ff ~ Gitlf' llfP tJ r Ir· Pt ffJ :li
Andante British
,,-...
4. ;i: ~1'1, ~ r 1r r r 1r r r 1J r r 1r r 1r r r 1J r r 1r r· 1P1r r 1
;i: ~ 1 '1. r r r 1r r r 1J r r 1r a1r r r 1J r r 1r r E1t 11

Moderato German
s. @#n ; n 1n J w 1w i n 1J w w w w 1 'I Jl 1w. j w. o1

mf~
g
---------- --------------
@#« !J ~ 1 j 11J J J J 1J r o
1 J JJ1J 1
@1f:J 'I j(9); 1 F9 i J J 1 i J) J J J J

1 IJ j li
~ P--~~--
English
Moderato John Dowland (1562-1626)
J IJ ~ f5J 1
11 1
Piii adagio Felix Mendelssohn (1797-1828), Elijah, "Cast Thy Burden Upon The Lord"
1
s. @& '!."JDIJurJ1: 1Jrrdu 1n1Jurª1
.P.P cresc.
~ ~
@&i.1. w w JJ 1
p
J r r mu w au w J J J. 1 r
r
cresc.
@&1>1, r r J 11J 1;· r 1r .J j r 1r r 1j J ,J 1J li

d1m. p
Canon: 3 voices John Hilton (1599-1657)

rn ' ~
9. @#e J®r· pIC J Jq?J w-1f5d. •Plg [j J)[J. 6f1
[21-----=--
@# f ppJ. 1.nA11r- Dr willn1 plr J rJrS'

@# [F ar r j rJ
1 Jn 1 n r· 1 pF J IJ J J J ]l r. li
Etwas lebhaft Franz Schubert (1797-1828), "Die Forelle", Op. 32, D. 550
10. @& 'i.~& i

1
!' 1r r r r 1r J yJ1 Jcr e; 1J 1 1r : r r 1r a 1
1 1
J. i
1
J
j
@ Bl er 1
!I"
1u r Ff 1r d 1u r Lrr 1r p 1u t1 1
j , • '
&'il& i Jl E
1
@&i.1.~& r n 1a t; 1r p'1 bf1 g;;r w1r J t; 1r * 11

CHAPTER 21. CHROMATICISM: SECONDARY DOMINANTS 485
21.4. Tonal Patterns and Exercises: Raised Fourth Scale

Degree, Minor Mode
Track A ~--""~~--~""'="~~'"=""·~~"~~~~~~~~-~~~·o···-o=~-=~----~---~~-~~-"'~"-'~
V
*
133 Tonal Patterns
# • • • #• • li· li· • • • li • • • li· • li· • • li· • li

AI. A2. A3. A4.
li. • • • li. • #• • li· li

• • • #• • • #• • • •
A5. A6. A?. AS.
Exercises
Moderato English (adapted)
11
Mãssig geschwind German (adapted)
2. ti=~ "n r r r r 1 1 u r ~ G e; e; rf11·

1 :111Cílf
cresc.
r rr1
Polish
r
li
Langsam Gennan (adapted)
..--- 1f r r F Ê .. ~ I~ ~----J (55

?: çl·1~J ~ 1- r ~
*
;i: ~hi. •·
1 D r ~cr 1F Gf 9~ _,. 1r r r F" j]] ~ li
;J
Andante Polish
s. t i f5 B
&
p
1 J 0 IJ f J Q1J 1:: rr 1r li 1 li 1
@~l ~ lji A 1J Q 1J a~#3
J J J J o1 1f -=-; 1 J
p -------~cresc.
1;5 J] 1PJ fJ IJ nil f?jlJ 1 1

1
Adagio Hungarian
r 1r J v r 1J]J;J - 1=n r r 1r r r r 1fr B - 1

-~---- -~--:-----
;>: ~i.1. ~ J.7r
1
6.
p
l
;>:&i.1. fr r r 1r r r r 1r)QJ - 1J9r r 1r J r r 1JW - 1 dim. P ]
Allegro maestoso, alia mareia Felix Mendelssohn (1809-1847), Sechs Lieder, Op. 88, No. 5, "Deutschland"
]
J
]
1
Adagio e dolce Johannes Brahms (1833-1897), "Immer leiser wird mein Schlummer"
'
Jl li
CHAPTER 21. CHROMATICISM' SECONDARY DOMINANTS . 487
21.5. Tonal Patterns and Exercises: Lowered Seventh Scale
Tt;~k o Degree, Major Mode

T~~~·;~;;;:;··=·-~~~~,=~~~-~~---~---~~--~=--=~·=----=---~=---~--~-=--~--~--
9: ~ 1 ·1i~ • • • j.. • • • 11 • • • h· • • 11 • • • j.. • • li· • h· • 9• • li
AI. A2. A3. A4.
Exercises
Allegro British
1. 4 w- 1
2
P
1r r ttr n u J?J Jill r o ~a J T :i 1
cresc.
4r r Elt f J IJ 3 l j- 1J
dim.
• 1
p
1·
1
11
2.
-----.
9= ~1. " n 1
Allegretto
r n 1r J J @1 rw w
--
s aon 1r w J n 1
w w n1
----
German
;i:~ 1·FV t11r w J nw * * Ufí[t t~t 1ffr Efíf t t úJ

?=~"~t Dlr J ; A Ir l?J 6fr ; B h}J ~ 11
Mãssig
--------- German
3. *~~;JJ JJIJJEa IJ J J J J ILJ

mf
fm
*~ t1 o J ~~
11
1

1
Frõhlich Gerrnan
4. ~=•11tu1r PL';r-:1r * r 1r p a&ir r ~ u 1r pr· 1il 1 1 1
-1
~ • ~(~~
t>= '11
.!""!
n D v 1r
.
u cr 1r r ~ r 1r· pu cr 1r
p ~ r 1r- pu u 1
~ ~· ~ !-(~)~
~: Wft r * t1 1e p r· i1J
'
1
1H D [[ r 1r p o
• • .
u 1r * li
Allegretto British
s. ;>= &1' 1
mf
tYJ r u u tr 1tr E?t âTI1 u r tr 1i2fr e]
?=~1,15 u u r rçriu· Eír aiu n n. r 1 1r r w *1
?=~ 11 ü E';C:J l; 1E; E?r au u r ti ll/ Err Ef1
p
?=~1,-p t:i u li 1biftr @JuAJ mf

C' ;Ir JD li
Allegro British
Allegro Henry Purcell (1658-1695)
1. ?=~1,g~r· I~· :11fPF plttbff)1
;>=~li t rc~ir
mp
tu 1tu J p1c&
mf
cu 1c u EU 1~. mp
11
·· CHAPTER 21. CHROMATICISMo SECONDARY DOMINANTS 489
Andante British
11
Canon: 3 voices Anonymous

[1] [2]
.. ----
~r f' !ij)r IF r 13 " i~r
..
_?'
9. @&I'!, ! [' r Ir 1 1
1 1 r 1
J-
[3]
@&i.1, 3 ..~ ?D 1 [' J IJ J J 1;J J r I]. 11
Canon: 3 voices W. A. Mozart (1756-1791)

[2]
[1]
r
[3]
r • " ..
10. ?= ln (j
r· r
""" Ir r r tf 1r 1
F 1
Ir 1
r r 1
~ ""'
9=1q f r 1 ~r r eJ• " r
1 1 ..
1
r r ªr =
- 11
Canon: 3 voices Ludwig van Beethoven (1770-1827)

[1]
11. @# " r- r r 1 1 ol
r· r r r 1 T
0
1 r---= r ? 1 r:-
~
- ~ @qJ IJ,~1;.J J !J IJ J JjJ4 d· Qg J JJJ tJ

.
@#r 1
[3]
t #) * r FJ v r J J J J3fe Jj v r r· D
1 1 1 1 1 1 11
~~~k o 21.6. Tonal Patterns and Exercises: Raised Tonic, Major Mode
Tu~;;;:;~;;::······~···-·~··~······"'''"''''''''·''''' ,.......
~······~·'"'' '"'''''" ·~·········~~~·······
@& .. .. • li• • li. • .. li• • li.. • li· • • • 11.. • • li• • 9• li

AI. A2. A3. A4.
@& .. • .. #· • li .. • li• .. {#)• • li • • li· • li .. • #· •

A5.
• A6. A7. AS.
1
Exercises
Andante Henry Purcell (1658-1695) 1
@~~f r IJ flB r r F
1.
p l
@~s w w ir J 1 r A 1 r ~r l
1
Andante German
1
2• ?= 1tt e
p
t rfIB!r f r F j·
J ~ 1r F f F 1r Ef :li
J
------
9: •11 C If C F r If ~ t mrifS 1f r (~)r r IJ f? li -i
~
-
cresc. 1
Moderato Hungarian
3. @~ 1 ·1. "w.-Ji l J lp r 1lf 16 l pd»J l IJi J prg 1

mf
]
@~"i. w~ i Ji w m1;, J Dr r 1r- J> J. ;1 1i ; .:' w ~
cresc. f l
@~"1.i1: J. ---- }1 J1 J 1J J1 J jJ 1w:- l 1il1F' 1f D] ?( _J
p cresc.
@~ 1 ·i. 6
mf
l r· nu. v r-1r- l J ;, ll
dim.
w l J ~ :11 J
---
-ª
Andantino Friedrich Kücken (1810-1882)
4. ?=1# 2H IO r ffD.
mp
i n 10 r a u. n 1cJ
~~
i w 1
1
1
J U;J fl 1b J •u 1r· ; r A 1
- - - - ------ ----- -
CHAPTBR 21. CHROMATICISM: SECONDARY DOMINANTS ·. 491
Andante Spanish
s. t &I'!. (j jfJ Jj J
p
l7J r n1 w?J :11..--
~
mp
u mJ 1w w. ] a~n
.
1
t 1
&'!.
6-n n n iJ 1,i -J
cresc.
~
IJ> >J
___.--,.---._ t:'\
. >
Ir
~>
f' 1filtJr
dim.
DJ - p
11
1
Allegro 19th-Century English
6. ?=I i WrafU IU U l(J f9rr ~ p%f E; IU dr IU rifü 1 ~l

1 mf p cresc. mf
9i1LJ LJ IU [f l[J EFrr 'PIª u 1tr u l[j C'JTr English

J li
Andantino
1.
1. t>=~i.1.~J,Uif r r cr r 1r r r ÜJfr r er r 1r r1J :11

! 1tr3 C f 1LCJ Ef'; 1tr; CcJ 1
t>= ~1· 1.~ Cr; [ j 1ffi J C
?=~1·i.&E7f p!E2f er; 1r r r R tffê3 r r u1r r fü 11

mf
Miissig Franz Schubert (1797-1828), "Der Jüngling auf dem Hügel," Op. 8, No. !, D. 702
s. ~ D1r· D
(j
PP
aa1[' J 'I D1 uDu· D1 V *
~r· w 'D1 0 aa 0 1w ~
1
l
?= •n · · · 11- • li • • • ft· • li • • • • #· • li • • li· • • li
AI. A2. A3. A4.
-1
51= •n • • " li• • li· • #• " • li· • " ft• • li· • #• • li -1
"
AS. A6. A7. AS.
1
Exercises
1. 1c+ 11r r Ir e r r r Ir or
r
- 1
?= •n r r r r4- r 1r r ttr r 1r r r r r r 1r f r 11 l
Andante Polish
]
2. v~ 1. ! ;+]). J 1ra ~w::=J 1w. 11 rn u a 3 w 1w: -; r ~a 1
IQ J J JJ .J
1
* li
.~
J
m (J = 144)
Allegro con grazia Pyotr Ilyich Tchaikovsky (1840-1893), Symphony, Op. 74, No. 6 (II)
3. 51:# i t~ lff r l~f EEfU 1fr r 1
11
--=== j
3 .ff
J
CHAPTER 21. CHROMATICISM' SECONDARY DOMINANTS 493
21.8. Tonal Patterns and Exercises: Raised Third Scale
T{;~k e Degree, Minor Mode

~~:~~=;:~::::;==~.-,,,,-,,,,,,,,,,,,,,,,,,,~,,,,=·-·=-··'~~--·'''·"·'"''""''~·····"''''"'"''''···~·-=•••=•••
~~ • • • • li. • • • • li· • • • • li· • • • li

AI.
•· B2.
•· C3.
•· D4.
•·
Exercises
Preludio-Adagio Arcangelo Corelli (1653-1713), Trio Sonata, Op. 2, No. 4
r· p E ...,.J Ir
1. ?=. !r 1
r #r lf D f r lf'
?=. J J ~ J IJ f'
f' r 1 1;
•· •r 1 11
Teueroso (J = 66) Jacobus Gallus (1550-1591), "Regem natum"
2. ~~ •lí j ,J
1 r J rnr r r J2JJ J 1
o
~~ - j r w 1r p J J IJ 1• Ir J J 1n J 11J
1
1J n
1
~~ J ~ J J J J 1• 1·1 r J
1 •1 i~u r9 1
11r I1" - 11
Thomas Mudd (formerly attributed to Thomas Weelkes), "Let Tby Merciful Ears" (adapted)
~ ~l'i.~ l11J ~
3. lí J. r I"1 r r r Ir ~--
:J r r l9J ur p1
~ ~1·1,~
r r lij Ir 1• r D IC r " l 1iA 1 r 1.. 11
1
21.9. Exercises: Secondary Dominants and

-1
Nonharmonic Tones
Andante Felix Mendelssohn (1797-1828), T\velve Songs, Op. 8, No. 1 "Minnelied im Mai"
i. ~ ~ 1 '!. § l
p
:J J J 1F p J. IJ J J D1 p;J 1l 35 J )5 1 r p J.l
~~ 1 '1,qga ili l1il?J i i IF jd»J D1r Df Ir y j llfp f-111
·r P· 11'
Allegro non troppo W. A. Mozart (1756-1791), Exsultate Jubilate, K. 165, "Alleluia"
2. ?= ~ 1 • ; i· D 1 ou r r
1 1 f D, 1 fTU 1 ou an 1 1 w ~ 1
9=~ 1• f DIÜ U lf ~r 1•Q 'leetf IÕ ti ILJ D IJ J li

Allegretto Gabriel Fauré (1845-1924), "Le papillon et la Fluer," Op. 1 No. 1
E
cresc.
C f r f 1r r ; ic e J 1F 1
~): ' I· ~ '1 e r e r r ir r r r r ; ir D, t J 1r 'I

rali. f
Vivace Richard Wagner (1813-1883), Lohengrin, Third Act "Prelude"
· CHAPTER 21. CHROMATICISM: SECONDARY DOMINANTS · 495
Andante British
s. ,~11## e J--lpn J 1l 1.,r1 ij). i IJ p J LJ ILJ ffl r· pl

p cresc. mf
,~11#1f t) F cJ li J J]D. p?ff A dim.

F u IJ no p
F
7llf
%f 1(A?J i 15 J J r CJ IJP
dim.
ff; 11
German
.
Moderato
6. ,~XJ.3J .l J IJ. JlQ ~ . F IJ. ll[f tJ

p cresc. mf
'~r r r r 1r· fr fr
1
P r1" r T r ir-
p 1
1
P fl
•
ir· Jip;J 1Ç[J J IJ. ;1RJ. 11
cresc.
1 •
mf
r f'
Tempo di Mareia Guillaume Vilbre, "Heavenward" (1865)
7. 9: ~1·1, e ef1)J ]f)J 11 J [ :r ~ 1C')C'i f'JC' JI rclf 0 J. j J. JI

f
9: ~l·i. ef 1) J. 1 i aJ J J [ ! r ~ 1r' 1
r r 1 e±r o 1 cu r 1 w
3
1 t r·,.G E' ~(.rr.i

~ - ,.1 ·,. •. ~ · ·e· ti
,.ex ·
mf >
?=~i. 1 ,; Cir C'JltU"Utr!iecrrr rgtJfLlfíP 1 r- 1r 11

ln Liindler tempo Johannes Brahms (1833-1897), Liebeslieder Walzer, Op. 52, No. 5
, . '
8.
• p 1 1 1 ir-= 1 1 1
:
' . ...- ~
- ::;,.
' p ' 1 1 1 '

1
George Frideric Handel, (1685-1750), Courante

, 1 -
- 1 1\ 1 n 1
1
9.
•
:
" "' T "'
~
- 7
-·
·~ 1
- ~
li
-
1
L -
~w
- l
r l
l
10.
, 1
Presto
p
-- .
-
.
-
Ludwig van Beethoven (1770--1827), Piano Trio, Op. 1, No. 1
-~ "----' - ..
1
: . . .
p
' r ' r ' .
, ~ -
J
1
• ---- ~
~ - ~ ~ _;;
:
.
'
' r ' . r
Allegretto Arcangelo Corelli (1653-1713), Minuet

J 1
-
11.
• 1 - ~ .. 1
- -,J
- 1
-
..
p
- -
-
1 ~ ~
.. ,
' ' '
T
p
:;;; ~ ..... 1 <:/ T 1
, 1
' J
....... .. .. .. 1
f - ......... - ' 1
1 ....
• ......... ....... ...... ..
f
?f·
_]
CHAPTER 21. CHROMATIC!SM: SECONDARY DOMINANTS 497
Moderato grazioso
J2-
- .
Johannes Brahms ( 1833-1897), "Von elder Art"
. .
12.
:
: ' .
' -
.
1
:::::=-- -==::::::: :::=-
~
' 1
" " 1
' 1
:
~
- ._ . . -
' 1
' ' ' ' ' '

:
'
poco cresc. 1
' '
1 1
13.
.
•
"
Andantino
- 1
(J = 96)
,.- ~
-- 1
-
Jacques Féréol Mazas (1782-1849), Violin Duas, Op. 39, No. 1
1
,.- --
- 1
~
-
:::::>--
--
..
"
p
-+
~-
'-....::'
- . -- . '-....::' -
>- -=::::::: :::::>-- f
. -----· j
Chapter 22
Modulation
~~:1. ,~I~,?o!ic~~~~~~~~tl-,,~~-,~-~---~~-~'~""~~·~~~"'"~~~,-~
l
While tonicization is a temporary shift to a new tonic, modulation tends to be a clearer estab-
lishment of the new tonic. The line between modulation and tonicization is not always clearly
defined, and the aura! perception may differ from person to person. One listener may find that
the tonicization is strong enough to make a convincing modulation, while another listener
may not. This is frequently the case in VN. The secondary dominam may visually appear to
be a modulation to the dominam key: however, it may sound like a half cadence or an imme-
diate return to the original tonic for some listeners. This isn't a case of right or wrong: rather,
it is just the interpretation of different listeners. Modulation to keys other than the dominam --i
are usually more convincing.
Modulation can be either closely or distantly related to the original tonic.

elosely related keys
Closely related keys differ by no more than one flat or sharp. This definition includes the relative
major or minar key where the sarne key signature is shared by both keys. Modulations berween
relative keys are common, especially from minar to relative major. The term modulation is not
used with parallel keys, since the keynote or tonic is unchanged. It is referred to as a change ofmode. J
• There are always five keys closely related to the starting key. The most common
modulations are those to the dominant, relative major, and relative minor.
_]
Subdominant Main Key Dominant
Relative of Subdominant Rela tive of Main Key Relative of Dominant
• The keys that are closely related to C major and C minar are shown below.
Keys Closely Related to C Major

_J
;>: ••
•• li~ 0
11 • 11 •
•• li
a minar F Major d minar G Major e minor
(relative minor of C) (subdominant) (relative minor ofF) dominant (relative minor of G)
Keys Closely Related to C Minor

0 i. o _J
&"é li &1'1)
0
li li &h li &1' '1
1
EbMajor
(relative major of e)
fminor
(subdominant)
Aj, Major
(relative major of f)
g minar
(dominant)
BbMajor
(relative major of g) j
Distantly related or remofe keys
Key relationships other than rhose above are known as distantly related or remate keys. For
example, a modulation from C major to D major would be classified as distantly related and
could be described as a modulation to the dominam of the dominant. A modulation from C
to Eb major is a modulation to the relative major of the parallel minar. Modulations to remate
keys tend to be more abrupt, as there are few pitches in common.
498
- - -------- -------------- -
CHAPTER 22. CHROMATICISM: MODULATION 499
22.2. Exercises: Modulation to the Dominant

ln a melodie line it is almost impossible to determine conclusively how a particular chromatic
pitch functions. ln some cases several interpretations might be possible: however, this will not
impact how the pitch is sung.
J. S. Bach (1685-1750), Chorale 253, "Heilig, heilig"
1.
~ tJ- 1f f r· P1r r1rrr
~ t:\ t:\
t:\
• t:\
llF r I" 1
1
(g)•
1 F I" 1
rr F Ir
- 1
Andante Johannes Brahms (1833-1897), German Requiem, Op. 45
2. r 1r- r 1ft rl 1tF r J1~ 0 l•r ~ r 1fl rr 1filr 1r ~ - 1

Adagio Franz Joseph Haydn (1732-1809), String Quartet, Op. 54, No. 2
Alessandro Scarlatti (1660-1725), Tigrane, "All' Acquisto di Gloria"
4. 9= &1'i.&& ~ ú f F 1f U CJ !r r F 1Ul f !f B LJ 1J iJ A 1,
9=& 1·1.&&i a EJ1tr

11
i p1Uu u 1tr tr r 1r 0r 1r r 9rM ~ 1
11 11
Ludwig van Beethoven (1770-1827), Piano Trio, Op. 97
5.
mf.. . .
1 ur r P r~w rn. 1
1n
..J J1
t &•
1
P. f' r r r r 1
11
1 1w a~ 1- · t 1t • t 1· r 3 11
J. S. Bach (1685-1750), Chorale 53, "Was fürchst du, Feind Herodes, sehr"
6. 9= & 9 r r r 1r
~ r----- t:\
D r 1 r r 1r·
..
1e
•
rl
•· (R)= "· r 11
1 t: Y 1 r
1·
1v 11
Adagio (J=44) Gabriel Fauré (1845-1924), Requiem, Op. 48, No. 4, "Pie Jesu"
1. @#11 " J~ jJ. :Mu. J-,l 1

p dolce e tranquillo
vDJ J u. JD
Do J J 1w.)D. 1 1 'I
1! JQ. J1m;f 1.n DJ 11JD 1fiiJJ J 1J. nW4 11

5
1
@#n w w
p
Allegro W. A. Mozart (1756-1791), Symphony No. 40, K. 550 (Ili, Menuetto) 1

1
@b '~JIW rdr@Wl~~~lr r1rLJtJlr~t1J

1
s. r1
f
$~i.~r-
" '
D~n
~
1w ~n~n u, 13 ~ 13• r' J 1.~ ij~ 4 1~w· -g~a
·~ ·(~)~ ~.
u ~ 11 ·J 1
Andante Ludwig van Beethoven (1770-1827), Piano Sonata in G Major, Op. 14, No. 2 (II)
ô 'I ô 'I ô 'I no

1 'I 1P 'I P 'I r ~PJ 1 l
. 1
. h. 9 fi .
1P 'I P 'I r 1v 'I P 'I ô 'I 'I 'I 11 1
cresc. ef cresc. if P
Allegro W. A. Mozart (1756-1791), Serenade in C Minor for Eight Winds, K. 388 (IV)
J
10. l R i.&~ i ; 11l2-fl1qgD1Q;g1qj]ilJJO1l2-fl1 eb5JO &1c:fl1 r 'I :li 1
p -.____:
11s 1.&~ 11: p1r ijw 14@P 1r w l9J. Ji 1 i2E 1â2.-9 1!1 m. u 1
11 J
1
1
Andante Mikhail Ivanovich Glinka (1804-1857), Symphony on Two Russian Themes
11. @i A o 1.w
f :.:.:::=- p
1
mf
@J o ~====
cy
f
J 5ni Do ~ ±ef dim.
il 5 ! a JJ
11
P ~
li
Allegro ma non troppo Antonín Dvofák, (1841-1904), Symphony, No. 8, Op. 88 (IV)
12. 111 111111 i )1'1 i1, ir =1Efo~ 1;[9m1ww 108 :11

mp fo p ~ ~p
l R •'@ 11 11: J J ! LJi 1V r· tp 1Jq 1J~~ 1Grn)A 1J. 't :li

-=
1
fo --=::::: --=: f ::::=-- P PP
Allegro maestoso W. A. Mozart (1756-1791), Mass in C Major, "Credo"
~ 1r uu r ;-----.
1r 1r rru C IF
~===f
;-----.
* * 1'1 Du r rr1
p
1#r r r r r
f
u
====-
1r r 1r r
mf
w r- ; 1r 't l lJ 1
Ludwig van Beethoven (1770-1827), String Quartet, Op. 18, No. 2

Trio
~ ~ ~ ~
14. 9: #11#1 ! J r- 1t t [j1 t t rS-1 r * * 1•r 1r r r cr1 r r U1 r r 11
1
.fp .fp
Adagio Felix Mendelssohn (1809-1847), "Ruhenthal", Op. 59, No. 5
Presto ma no troppo Franz Joseph Haydn (1732-1809), Piano Sonata, H. XVI: 37 (adapted)
16. ?=~ti,.~ i D1rtJ 1011ffü 1rLJ ir· f p1úü&1r ~u1r 1

't 11
Lieblich J = 69 Franz Schubert (1797-1828), "Heidenrõslein", Op. 3, No. 3, D. 257
11. ~~"1. i nn
p
1J1J)J 1n n lrD 't 1n n 1/0JiJ iu 0 1
~ ~ 1 ·i. Wr 1rFF~fiIJ#Ja1 cresc.
EJr 1a n 1ta11 Efu 11 n
rit. a tempo
w 11
Andante W. A. Mozart (1756-1791), String Quartet, No. 10, K. 170
1s. ê~~+::J~.
llR; J1 1+====+A 1~7 \ lf il p ILp r ~ 1
~
---
!" 11
Frisch, doch nicht zu schnell Franz Schubert (1797-1828), "Der Alpenjliger," Op. 13, No. 3, D. 524
19. @&li j
mf
FÊJ J c:LJ lp-M AfW l WJti~· J J11J J1 J fl
@&fll;J J~r· J l~W h~I
@&E)
f
j11J1c:U1F??J ;11J lw J w 1J
mf
w 1113 ;1w íl
@&p==Jl'w 4Jr J J i J 3=1 ~·
1
6Jr J J i J Th.
f
~ 11
Mãssig Franz Schubert (1797-1828), Die schOne Mallerin, Op. 25, No. 9, D. 795, "Des Müllers Blumen"
20. @#utt gpD1Ct .

--::t
D3 1o4' r D1Ct - R . 1r "
- -- :1 ::J
r 'a 1
@# 11 tt Er1 D1 10; r p lf? r @1 1•ft r r- -
t_##- ~ ~ 2,1<
~ li r· ili IBJ ru Ir J J' Ir· ili IS:J FWI• 1
J
r,.,
J !I
Allegro Franz Joseph Haydn (1732-1809), Sonata in C Major
21. ~= g; vrr j 1r tJ r ~ 1r PW 1tu r 1 1r vjJ; 1EU r 1 1

;i= er f [8 1~- W1 1r D•r a1(LJ •r g 1.EJ JdJj c•r r r f f 1
?=UJ Oj 10J ftrfrrr [JE ry 1r r [JCry 1tG r , 11
p
Allegro George Frideric Handel (1685-1759), Israel in Egypt, 'Thou Shalt Bring Them ln" (adapted)
22. ?: •11 11 1 ~ Etr 1CU 1[' 1 - 1EU 1Cr; 1[' 1'I '1 D1f f r r 1r · r r r 1
f tf subitop
?:## 11 1 f r r r 1J J J j IJ J v~ lf if f IE' U l'I (j IC'lr·-1

PP p
?: •# 11 ts; r 1r 1a3 1r- r r r 1e r r 1J

-
r
p
e; r
1 1 1 1e r r 1
?:## 11 # cu '1 1r ürJ 1üo; '1 l'I '1 p 1C'IC ür r r; lg J IJ. li
mp p
~-----"'D=ietnc:::'
ch:..:_Bu:::=xt_ehude (1637-1707), ln dulci jubilo
f
ª ~ n :-:---., ~ ~
?:~ r 1r FFFIª r 1rFrfFr1r rQ1- r? 11
Etwas geschwind Franz Schubert (1797-1828), "Der Rattenfanger;' D. 255
24. $## ~j i Jfp

;> J a 1ew J J J r J u 1r Dr J 1J. ;lT) kl
~ #tt J J J J1J. ;11rr:_Jp J. ; 1 IJ. 11r(!u 1,J J,J J U.J ~ ~J
~ ü#W J J w J oJ 1ciJ J J w L !14,10nJ J ; J ] J J 1J. ;1; 11

Andante W. A. Mozart (1756-1791), The Magic Flute, Act II, No. 9
25. ~ ~ ~j ,J
sotto voce
r

Nicht schnell Robert Schumann (1810-1856), Albumfllr die Jugend, Op. 68, No. 3, ''Trfillerliedchen"
. - - - --...
" ' ' '
26.
• T 1 1 1 1 1 1 1 1 1 1 1 '
:
~
- -:.. - ..- - . ~ ~
, ' '
'
' ' '
. -
" '
' '
• ,,,~
l ~
- ~ - 1
--.__:
:
' ' - '
1
' 1 T ' l ' T 1 1 1 1 ....
. " ' '
, -, ,
• 1 1 ' -, T 1 1 1 ' 1 1 1
']
:
- - e;. - - -- -- ..- ~
' ' 1 1 1 1 ....

Andante lgnace Joseph Pleyel (1757-1831), Six Duets, Op. 8 (adapted)
'
• ' - 'J
27.
• - ~ '--..__! ":.__.../ 1 ' -'--- '---' . >~
: - ... - . ]
'
-
- 1
" '
'
' '
- ~ - ~ ~
. -·' -
'--"-' -,/
:
. ... . ... - ~ ~
'
.
"
_...., -
- 1-'""""
- ,....,...., -
• ~
~--..--..
7 • - ,_
.... - J
- " - ··- --- - - ll
. - ..
:
' ~ 1
CHAPTER 22. CHROMATICISM' MODULATION 505
Robert Schumann (1810-1856), Symphony No. 4, Op. 120 (adapted)

Zie~lJ ~. ,..--------_LJ ~ . ~ ,.--::;-
2& ?•, ~ ff 1D, vfE1i, 1 ff 1j, vi1I, 1 u1Ri 181
p espressivo
3
9,1,f?! ~fl[!1111tílJ;i 9 li 3
Henry Purcell (1659-1685), Nunc dimittis
J 1
' 1
~' 1
' ' ' 1
' 1 1 1 1 1
29. _
r r -
,.
• ~ "I 1 ~ 1 1 1 1 "I 1 1 1 - ~·
~
1 _J_. , ~ ,J ,J ,J J 1 1 1 1 J ,J J J - ,J 1
:
' 1 ' ' ' 1 1 1 1
Pavana William Byrd (1843-1623), "The Earle of Salisbury"

~
' ' ' '

30.
' 1
"
: -· - -- - " - • • fl-.
• n
-
' ' ' '
J
- '
• ' ' 1 r -
: - ~ . .. •
' '
.
- '
' '
Molto vivace A Franz Joseph Haydn (1732-1809), Sonata in E Minar, H. XVI: 34
1. v:~ 1Jl lijF li@

~
'I
~
blf r? f I·~ r 1r·~· ,----~
:r r IV i P1
-
i f~e1
i :11
Larghetto cJ =40) Giovanni Bononcini (1670-1747), "Deh piú a me non v'ascondete"
2. @~ 1 ·1i& i ~
p
o J J J J 1fJ Qj J J i
do Ice
bJ 1ãJ E; F i &u 1
-=::::::
@~ 1 ·1i& r~, r r; E Q J. 3 ltRJ

dim.
n e E! F O IJ 11
Con fuoco Robert Schumann (1810-1856), "Hauptmann's Weib"
3.
>
l
---~· # a
1 F .r 11
w
I
]
Ziemlich Iangsam Franz Schubert (1797-1828), Schwanengesang, No. l, D. 957, "Liebesbotschaft" -i
4. @#ir cgr E bf IE 6f D 'I 1
.PP
1f n f n Ir r; p i 1 )
@ü w ILI:! [jJ IUf r 1f)j tn IJ nJ J J li ,]

PocoAdagio Antonín Dvorák (1841-1904), Symphony No. 7 in D Minar, Op.70 (II) J
5. llKi. e f'_ Dr J lf&?J
p ./egato
[email protected]
J Jj lfJ J J 'I h1r· D
-------- p
1
li
--==::::::=:
r 1
1
Ili 1· f'1 ( [? J i @;J J J j 1 J J J ~ li J
p dim.
1
Cantabile George Philipp Telemann (1681-1767), Six Canons Melodieux, Sonata V, TWV 40
6.
v . 1-tr
1 tr r 11
1 r ar 1r r 1~ J r 1 J
~ li 1
CHAPTER 22. CHROMATICISM: MODULAT!ON 507
Gigue George Frideric Handel (1685-1750), Suite No. 4 in E Minar, HWV 429
1. @# WplF pQrl J.1ffiJ. iijiiJilt11SJfJJiifiltcJQJr· ·l'1pl
@# ttf EEJ J. i 9 JI J J1;)1J. i i ;11 J J11,JJ Jj Jn3 J JI iJJ ffl J.~J 11

Allegro ;nergico <J. =72) Gabriel Fauré (1845-1924), Quatre Melodies, Op. 39, ~
8. 9= uw t 1 ec1 r p 1er· p. 1tI1 r- 61 1& r 1 1i o i J. 31

f ~
-------- >.
9: r-r V E f e; J1 r· r p 1J 1J1 1
- Allegro moderato
1
f
F 1
Antonin Dvolák (1841-1904), Piano Trio in G Minar, Op. 26
9.
dolce
o 1Pl J?íJ 1 Cc r r1 eerJl
@&i. 1 rcn J J íl 5 w:-
fz
1
J1 J j J 1J. j J f fJ.
f
J
1 li
Henry Purcell (c. 1659-1695), King Arthur, Act V, Symphony
10. 2=&i.i. q' r

p
r- P1r r r· Plr J r vir rrrr1r r r· P1r· o-r· P1r sr DI" 1
Molto vivace, ma un poco piu lento Robert Schumann (1810-1856), Symphony, No. 1, Op. 38 (ill), "Spring" (adapted)
> ~
11. @#11; * Jli

dolce p ~
1J fTFl7r1trr~rr1r· PIF ir r 1ílrrr1 f·11r 1w 1 :::::>- 5
1
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Langsam Robert Schumann (1810-1856), Dichterliebe, Op. 48, No. 4, "Wenn ich in deine Augen sch"
12. ?= &'' ! i pu u lJ r l 1 l 1 w. a nu J *
1 i D 1 r· ; u eu 1
p
f>:& 1·~P u 151r- Pir * J iu an 1w ~ r 18a n11

?: &I' J i ) JJ ijj li
CJ
1
rit.
1
Heinrich Schütz (1585 1672), Historia der Gebert Jesu Christi, SWV 435
1
13• @~ ~ Ffr J r J 1J r j Fr r fr f1 r J 1j f' 1'f' 1r !! 1e - li
Tempo di Menuetto Antonin Dvofák (1841-1904), Slavonic Dance, Op. 46, No. 4 l
14. @~ 1 · ~ \]!PJJlílJ IJ JJi:JIJJ 1iflfi&1Efr1.J 1Q?lffl1LJ * li 1
.P~ > ~ S- fo ::=- dim. p
Scherzando, Allegretto Franz Joseph Haydn (1732-1809), String Quartet, Op. 33, No. 3 (II)
1
1
s. 9:~= mezza
~• 1n =-
voce
. ~ r~ r 1n
1t• . - .1tr;;
F F r 1
r.P· r· r· 1•±1:
F~ 10 -- tt.J 1
·
1
9: r : r 1ar 110 if
r 1r r 1f] r 1f
.P if
n a 1~J J 1,J li l
Presto Franz Joseph Haydn (1732-1809), Piano Sonata, No. 52
J
16. @~ I·li j l 1n n 1l !j
.P
~
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n
1;1 .~j 1 fJ 11 fJ 1 fJ 1;;j fJ IJ
1!. ~
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iJ 18 n.. IJP iJ 10 n IJP iJ IJ ~ ~
1 11 1
Franz Joseph Haydn (1732-1809), Sonatina, H. XVI• 1
17. 9:~1> lí r lfr J)J JIr J~EFUIEtffffJiJIMrcgr15lJJJ1J li l

Allegretto Frédéric Chopin (1810-1849), Mazurka, Op. 59, No. 2 J
18. @~ * w: ª' 1n u w 1a w. ;, 1#J1 wR 1* r-oc j u. au w-1 J
@~ u 14 w:Gi1W?r u-------14 w:s;&i1#J J1
"---'
* 11 1
Mlissiges Zeitmass Richard Wagner (1813-1883), Die Walkure, WWV 86B, Act II
J
1
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Largo George Frideric Handel (1685-1750), Semeie, HWV 58, Act II, No. 36
20. t>: b e F ( gr i P 1F r r; ~F i D 1f D tf 'I P1 r P Q:r ~ 1 'I

Adagio
F F 11
Johann Strauss Jr. (1825-1899), Die Fledennaus
mcJ n ri3 ô!
Moderato
mn 10 ip n ip ;1 J t
1.
21. @~ 1 1 li 1 1 1
@m cJ n i]5J'J :ltr· 1@ o•a- 100 1-05 er QiJ. li

Andante sostenuto Felix Mendelssohn (1809-1847), Elijah, Op. 70, Bass Arioso
--.. ----...
22. t): b ~ * Fr r
r 1F F F f lF F F r F F 1F F F r r !F F r r r r 1
p -=::: ::::::=-
?: b r r r 1J r r r r r 1r<f f rit 9r r rttr r 1pr~r r 1r 11

9
Allegro molto Franz Schubert (1797-1828), Symphony, No. 5, D. 485 (III)
23. ; bi. 1w 1w
f
r 1r n1 J u 1 J Ei 1r Dff.J 1;p nfJ 1w ~ 1
w w w 11
p.fp .fp f
w
t J r
bi. F1 fJ J J J 1J J ~ J1 J J 1! J J 1d J J ;J J 1
1 1 12
t b1' d J J r F1't t#t ir

1
11
cresc.
1
1
1 J 1,J 1~
r ~ I~ 1fJ * F 1F * J 1F F F :F * li
Lãndler tempo Johannes Brahms (1833-1897), Liebeslieder Wa/zer, Op. 52, No. 4
Allegro cJ = 100) Ludwig van Beethoven (1770-1827), String Quartet, Op. 18, No. 3 (III)
25.
-1
Tempo di menuetto Franz Joseph Haydn (1732-1809), Trio Sonata in F# Minor

;
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26.
• n *'ff•' - n *'ff•' -
: " ' ' - ' ' '
'
,
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,
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)
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f . C". +-:.. '
dim.
....-----.-_ . ;;- ~
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cresc.
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J
:
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CHAPTER 22. CHROMATICISM' MODULATION 511
Largo Franz Joseph Haydn (1732-1809), String Quartel, Op.74, No. 3 (II)
28.
J
" '
-
' p"'
------- ----
..-----::-----... "' ~-~
fi
:
-~ -
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J
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fo
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,
Giacomo Carissimi (1605-1674), "O Felix Anima"
'
29.
- -· - - - -
' ~ -...__::: ...· ....... -· .... ..,. .., ..., ... ?:t
,,. ... -· ...·
: - - '
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-.1' -.1 ?J_.,,. ... ~·

' 11· 71 :& #'d :& d ~ 71 ...
: "
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--
Henry Purcell (e. 1659-1695), Bourrée
30.
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-
Allegretto
-
1
-
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' - 1
mf I
:
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l
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-
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J. S. Bach (1685-1750), Little Notebookfor Anna Magda/ena Bach, Minuet in D Minor

~
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31.
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Andantino Robert Franz (1815-1892) "Marie", Op. 18

, ~
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32.
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:
p
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-
-,,
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::::=--
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CHAPTER 22. CHROMATICISM: MODULATION · 513
22.4. Exercises: Modulation to Remote Keys

c.·c=·'-""""'-'-""''"·'="000.=.,,:.-<::.==-..:.-=•''°''~~-:--=-==·-~·=--======;:;;-~"'~="'-''"-°"º"°'"'=='=:;,,_-,."--,c"='"'-="·""'"'~-=.:-~.-.,;.=="'c-.-,;c:.~'=="-""'"·"'
Franz Schubert (1797-1828), "Abendlied der Fürstin
i. @& g; l@J UJ 1;.____..~J J J11J ;CU IJ i ~ ;10J Ua 1

PP
@& ua wJ11J 1l04Jlu i ~ JIJ Jd rir @4dtJld J>UJ 1

@&d i ~ l 1w._J&oê J 1(~)JJJFRr a1w._J j J IJ l D J 1
@& J 8 J ' J) 1J J J l 1r .; J. a
J 1d )i 0 J 1&J 'í * li
Langsam Franz Schubert (1797-1828), "Sehnsucht;' Op. 8, No. 2, D. 516
2. 9: wm@lj w.VP31 r~cu VfJ ;1@r r J.-w 1w. cu J.3i pl

p
9: 9 pr p r· lEY 1i.J 05 J JffIJíl 1J. &C!tJ i.J. _J JJn.;i 11
Andante Johannes Brahms (1833-1897), Gennan Requiem, Op. 45, (VI)

~.a - ~ ~ ~P- (~)~
3. 9: &i.i. " r u 1F & r·
• l'-r
P1
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1r o r 1 •11 r - 1-
11
*r 1
...........
?=ln# B r r 1r r r r 1 e l10 1.J Fjf r r r 1r ' - li
Miissig geschwind Franz Schubert (1797-1828), "Jiigers Liebeslied'', Op. 96, No. 2, D. 909
4. @#n g; 11w ;1J ;11w ,w ;11m QJ 1J. J i I*· ~ llJ t'r ip 1

4
@#n 1ifj J w 1iJ' 11) &J J f J;~ 1~r·~r 'í 1*. ~ P 1r P r P 1
::: mf
@#11 r p j p Ir p F p IF'-F i lt· ~ J1 1r Ji;JJ IEtf r p 1

@#11mJ3J1w. w '! 1J1
J1 J J11r ;J J11FTI Etf 1r~r 11
Allegro moderato Ludwig van Beethoven (1770-1827), "Hoffnung," Op. 82, No. 1 . . '
@~ "w n w fJ 1Fiw ' 1D~JJ~aJa18 w- u n J~r 1r-fiJ JJ 1 .

i
1
s.
p 3
@~ J iêtãlr ~ - 1w nvJ]1J w- ir nnoc:U1mrw j1.m1

-- poco nt.
3
a tempo
l
@~ r v 1&rf u fJ1.J J11,J. J'r r&r r 1'F 1
u r rbr r 11.J p
t - 11
1
Ziemlich langsam Ludwig van Beethoven (1770-1827), "Mignon," Op. 75, No. 1
]
6. @#11# i w t a1J. J1 1n r ; 1f ~ J 1w. an 1n ~·; 1r D 1 ]
f ef p
@#11# f1r- 1 n 1ar e t 1u a- 1tg tJt 1!ffPf'O 1'ir , 11 ]

f p
_J
Vivace Richard Wagner (1813-1883), Defliegende Holliinder, WWV 63
7. :>= •11 ~i fE 1r o r 1r r- p 1r r u 1r eor r r P 1 l

-====ff sempref
;>: .# r ?J:
1r
>
r· p lf p f p 1~ ~1~· p lf p 1 ~·
p1
J
qn.
1
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?= •11
bp 1bf
~r r ~r 1br qr 9r r .. 1 r v fft 11
ff p dolce
8.
11
;i: •ft •11
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~ ülr
mJ'
!ffl º'
ü 1[ Ji 1 I@:#' 41 1J Ji 1p1 llp 1r D1
J'
Franz Schubert (1797-1828), Piano Sonata in B, D. 575
:>= •# 11 •n <9)r p 1J b 1l?p 41J @If-3f 3f 1p piô 1~f 1ô~p ô 1

1 1
fp .P
?=•11
11
•n ~r 111 ô p D1ijrªP ~4 1 1ijr·ap ?41 1ijp P4 1ijp ~J1 11p
1
i ê1
dim.
9: •11 11 •n l#lf Ji 1Ü'1 ti' 41 1J Ji 1f-0 llp 1r n1r ~ 1i b1ftp #11J li

f
Ensemble (Play and Sing)
Adagio Franz Schubert (1797-1828), Mass in A-flat, D. 678, ''Agnus Dei"
, 1 ' ' . ' '
9.
•
1 '
' ' 1 ' ' r r
-
~ ~
A
1 '
' -
,; 1 1
-
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J. 1 ' '
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:::::==-- f
1 '
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1
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::::::=-- ·- •v'
f
,
1 '
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1
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1
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f
Chapter 23
Chromatic Alterations: Modal 1
Mixture and Neapolitan Sixth
~?~:~.~~~!~~~,~~.~~l~:~~~~~~''''""~'"''""''"~~···--···~'-······ ·~~··~''""
0 Listen as your instructor sings a variety of tonal patterns; echo each pattern. 1
Vocal- Pitch Exercises

Modal mixture
Modal Mixture Diatonic scales can be chromatically altered to change the quality (mode) of
the scale. Each major scale has a parai/e/ minor scale and vice versa. Notice that parallel scales
share the sarne tonic. Parallel keys have signatures that differ by three accidentals. Remember
that triads can be altered. Sing each of the scales and triads using tonal syllables.
b. Parallel d. Parallel e. Natural f. Parallel h. Parallel

a. Major Minar e.Major Minar Minar Major g. Minar Major
Scale Se ale Triad Triad Scale Scale Triad Triad
do' (8') do' (8') do' (8') la' do' (8') la'
ti (7) ti (7) si
te (j,7) te (j,7) so
la (6) la (6) fi
so(5) so
le
(5)
(j,6)
so (5) so (5) so
le
(5)
(j,6)
mi
fa
so (5) mi so (5) (mi) so (5) mi
J
fa (4) fa (4) fa (4) re fa (4) re
mi (3) mi (3) mi (3) di mi (3) di
_J
me (j,3) me (j,3) me (j,3) do me (j,3) do
re (2) re (2) re (2) ri re (2) ti
do (!) do (!) do (!) do (!) do (!) la do (!) la do (!) la do (!) la
N eapolitan Triad
J
The Neapolitan triad, symbolized N ar µr, is a major triad built on the lowered second scale
degree. Practice singing melodically the tonic to supertonic triads and tonic to lowered super-
tonic triads (root position) in major and minar modes. Notice that one accidenral is required
to spell the chord in minar, and two are required in a major key. Listen for the change in
quality (mode) between the ii and µr.
1
Note to instructors: The tonal patterns are found in section 23.3.
516
CHAPTER 23. MODAL MIXTURE AND NEAPOLITAN SIXTH 517
a. Major b.Major e. Mínor d.Minor e. Minor

(solfege) (numbers) ("do" based) ("la" based) (numbers)
la 6 6
le >6 le le fa fa >6
so so 5 5 so so mi mi 5 5
fa fa 4 4 fa fa re re 4 4
mi mi 3 3
me me do do >3 >3
re 2 re ti 2
ra ,2 ra te >2
do do 1 do do la la 1 1
I ii I ,u I ii I >II ii µr ii ,u ii ,u
23.2 Symbolic Association

'-"'"-''~"'-'='"'""·='--"""".,_"""'"''°""'·'-""""'·="'-"=""·="',,-""""'"-""-'"'"'·'"""º'"'·"''""''"-'"·"~~~-'-~""'-''""'~"'-""º·""-"~"°·'"'"-"'-"'''-::'~'"":. ~··""''-'-""'~"--·""-''·''="·""c~·c""'-"·"''"'<·"'"'""'~'"°''°'""
Change of Mode or Modal Shift

Chromatically altered chord tones may also indicate a borrowed chord - a change of mode
from major to minar or the reverse.
@~ ! J.
1 1
.. 1ra J. ;1 IJ
F 10 J.
Jl 1J. 1,;P li
D 1
Neapolitan Triad
Notice that the Neapo!itan triad, symbofüed N or i,II, is a major triad built on the lowered sec-
ond scale degree. One accidental is required to spell the Neapolitan triad in minor, and rwo are
required in a major key. lt commonly appears in first inversion (N6) and is referred to as
"Neapolitan sixth chord." The chord functions the sarne as the ii chord and most often occurs in
a predominam role in harmony. ln melodie writing it is rare to find ali three pitches (Exercise 1,
3, 8, and 11); far more common is the use of only one or rwo notes, one of which is the >2.
@~ .. • I·• • .. li .. • i. .. • .. li .. • i... • .. li• • i. ... .. li .. i. .. .. . .. li

AI. A2. A3. A4. A5.
~~~k O Tonal Patterns: Minar to Major Mode
. • #• • li. #• .. • li. .. #• .. • li· .. #• .. • li. #• • • •

Bl. B2. B3. B4. B5.
1
1
23.4 Exercises: Modal Mixture

Allegro vivace assai W. A. Mozart (1756-1791), Thamos, King of Egypt, K. 345
1. 9= ~ "
p
r fr 1r r o1f1 v 1~o rl 1J rwt 1tv an 1
2=~ r frTt 1r r o1n v 1~0 fl 1f1 rl ff 1r ~ 11
Andante Edward Elgar (1756-1791), Enigma Variations, Op. 36
2. '~ "1
p
iJ ~J 1~ f fl 1~ nfj> 1* r n
>
n1~ Ap 1~ u A1,; * 11
legato e molto sostenuto
W
-=::::::::: .P.P cresc. dim.
Lebendig Robert Schumann (1810-1856), Dichterliebe, Op. 48, No. 15
3. ,~11#•~p1r pr plr· r p1J J1r pll * n1w1cu1f1r DI

mf
'~~#• r Dr ;11 r * p1J p"ir 'I D1 ~r r p1J p9r D1~r *•p 1élg'F pr o1
cresc.
,~11#•r r Plr pr P1r ~ plr Pr plJ. r 4,1; ;J J''IJ. * 11

f p
4. ?11
Allegro assai
ri'
nrl[ , !*LJ3lJ lc ' ft , (íE rf t t
Franz Schubert (1797-1828), String Quartel, Op. 161, No. 15, D. 887
r
9= •11 [ P't rW -=::::::
'I ~ ~ 4~ 4 ~~ bJ JJt fl -=:::::::
fz
i
p
fl :::::=-
1 i i
cresc.
i i
9=•111 :::
r1 f1Pf r·e1 F ILJ f êrj ,; IE r f r r r lp li
i
::::::=--
r:;_
i
. . • .
decresc. pp
~
Andante W. A. Mozart (1756-1791), Serenade in C Minor for Eight Wínds, K. 388
1tTt 1f1 t1r-----r;1é r )n

=li r )
l 2.
•P i 1 E r) h 1 i 'I 11
, CHAPTER 23, MODAL MIXTURE AND NEAPOLITAN SIXTH . 519
Sostenuto Felix Mendelssohn (1809-1847), Six Lieder, Op. 57, No. 2, «Hirtenlied"
Langsam cJ = 74) Robert Schumann (1810-1856), "Fünf Stücke im Volkston;• Op. 102, No. 2
1. 9:~ i 6f1à 1r1r 16f

p
1[) 1rU 1Q r 11& 1·1.~ F1 ~
?:&1>i.&1t'ITITfr l@F r 1r1c r f Er r r r l Lf DI

~
1~ 1r r F 1 u eld 1
~ ,,.--._~'!:. ,,.---,,.~~ ~
9: &1'1,& u F 1i V
A
-<::
t= fl.
~ 1~
>-
•·
.r F
........_
r
1 Ê ê
< :::::-. 3 3
?:&1·i.& tlr li& 6f7) 1W 1údf) 1r'Tt 1u r

p PP
11
520 PART II. MELOD!C READ!NG

Riehard Farrant ( ca 1530-1581) "Cal! to Rememberance
'
.._ .........
J 1
9.
• 1
---- ... "'?
: - -
1
'
1
- '
~ ' - ' ' ' 1 '
:
- ---- ' - ~
' '
• A Picardy third is the use of a major chord ar the end of the section which is either
'
-
modal ot in a minar key.
Allegro W. A. Mozart (1756--1791), Cosifan tutte, K. 588, Act !, Scene II
1· ?=:1 rq ir ? r lt J J Jtw t 1Er •r l•f f f 1fíili J

__ j
'j
_I
Allegro
W. A. Mozart (1756--1791), The Magic Flute, K. 620, Act !, No. 1
r ir r
1 ~ ~ r v r 11r r
1 1 ~ ~ r 1 r 0
vµc~>r 'I p 1 J
~ 1J li
J
1
3.
j
Ir r r r r p
CHAPTER 23. MODAL MIXTURE AND .NEAPOLITAN SIXTH 521
Ziemlich Iangsam Johannes Brahms (1833-1897), Sieben Lieder, Op. 62, No. 6, ''Es geht ein Weihen"
4. ' u" f Iêr r1r 1EiF r f fil r J J 1D ~ r 1r1f'r ~r 1r r n r 1

pmeuavoce ~
' u 7 * Ar r J r •r r r J n w ~ f Jf r r r r J
----=====-- 1
espress. cresc.
1
'u fa
>
r •r 1 rir'I f =====:==1h~- p
11
Allegro Franz Schubert (1797-1828), Sonatine for Violin and Piano, D. 385 (IV)
s. 'U11 i LJtJ 1EflP lf

p
trfH lf) IL~dfiJJJ@ 1(2!)
P.P
t :li
Johannes Brahms (1833-1897), Piano Concerto, Op. 83, No. 2 (II) (adapted)
""
nJ 1~ J r *
1 1
li
Andante con moto Jacques Féréo!Mazas (1782-1849), Violin Duas, Op. 70, No. 5
A A
J
~)~)
::t 't 1Lk 't d e 91
J w 1rI~
.F J
A A
J ,,~ . ~ I~ IJ 11
Ziemlich lebhaft (J =72) Robert Schumann (1810-1856), "Des Sangers Fluch," Op. 139, No. 1
s. 9:111 eJ1f· Dr r lfJ

f
~ JQJ. lJ
Etwas schneller
rir f iC' Pr r lf r r 1
9=•111· PfTlJ rf]dJ f 10 * JifFr r ffl

1 11 nJUf JJ
9:•uf?r f rffr J g. ;~ ~ J5r· pQJ I* ~jJJ 1@
9:##jdJ * Jif' Dj J D J F' Dl11J )j #n lf~Er fJ IJ * * li
Allegro Johannes Brahms (1833-1897), Piano Sonata, Op. 2, N_o. 2 (adapted)
9. p §' 'I 1•~ J. J. 11• 'I 'I 1f t•p~

;J 'I 1
J1 'I 'I 11
'-._:
ff ben marcato
Nicht zu langsam Franz Schubert (1782-1849), "Am See", D. 124
10. ;i: &h1, M y 1r DJ D1 1 t r r D 1&r J r r r1 1[ !ijz; r ' u 1

;i: &hi. r DJ D1 1
'
r r r o 1r p ·r
1
D 1Ê
,..~.
F r; 1r 'I ~ 11
O IF li 'I 1
p Ir p .. ]J1 1
cresc. p
~ u11tt•11 ~ 'I 9f f11 r u f JJ ~ G~ IJ J1 J 'I 'I li
Mãssig Franz Schubert (1782-1849), Die SchOne Müllerin, Op. 25, D. 795 "Der Milller und der Bach"
12. ~- 115n11'7J1. flt} en , ;~;1. t!

J i11JJ
~Fme
, r1f n 1y qJ1. Ji IA1)J w w ii 1r·Af

D.C. al Fine
---------
CHAPTER 23. MODAL MIXTURE AND NEAPOLITAN SIXTH 523
Ludwig van Beethoven (1770--1827), Seven Variations on "God Save the King," Var. 5
Con espressione
1 ,,....--- 3 3 -----.._ • 3 ~.~
13.
• p
'
,- - . ~·
~
:
3
_,.. 1 1 -'
- - - 3 3 -
-
3 3 3 3 3
3
3
, 1 '
3
,
3
------ 3 3
,
'
.
•
:
4-
• . - - PP
........_ 1
·'·
~·
'"'• ~
' - 3 - 3 3 1 1
3
3 3
Largo e spiccato J. S. Bach (1685-1750), Organ Concerto in D Minor, BWV 596, afterVivaldi Concerto, Op. 3, No. 11
1 1 t":\
14. .
• ' '
- - t":\
,,
-- .... ,,/
Allegro W. A. Mozart (1756-1791), Clarinet Quintet, K. 581 (IV), (adapted)
J
' • 1
• • 1
•
15.
1 1 1 1 '
p I p
. I p
~-
~
:
' ' '
J
. • •
• '-'-"-" ~ - ~ ";" v: • "! "! ~ ' ' 1 1

. ' ' 1 1
I p
:
___, L
--- ' .
' 1 1 ' '
• • ' ' ' ' .
~~
~ J
I p
,,,------;.. ~ ~
: -: '
' '
1
Chapter 24 1
Modes • ~.
l
For many centuries before the development of the major-minor tonal system in the seventeenth
century, most Western music was based on modes, diatonic seven-tone scales known variously
as the medieval modes or church modes. During the twentieth century composers one again turned
to modes. Modes are also prevalent in folk tunes. Notice the arrangements of the whole and
half steps; most of these scales feature a subtonic rather than a leading tone.
1. The modes can be found by playing a 2. Modes can be transposed to begin on any
white-note scale starting on each of the pitch. Notice the relation of the tonic of
white keys on the keyboard. Sing each of the mode to the key signature. Sing each
the modes. of the modes starting on C.
a. /onian (w-w-h-w-w-w-h) Major scale a. lonian
'· ..
do re mi
1234567
fa
•
so
b. Dorian (w-h-w-w-w-h-w)
• • • •
la ti do
1
11 • • •
do
1
b. Dorian
re
2
mi
3
•
fa
4
•
so
5
• •
la
6
ti
7
do
1
11 l
J
•
• • • • • • • •
'·re
•
mi
2345671
•
fa so la
e. Phrygian (h-w-w-w-h-w-w)
ti do
• • •
re
2
11
e. Phrygian
re
2
mi
•
3
•
fa
4
• • • • •
so
5
la
6
ti
7
do
1
•
re
2
11
]
]
'·,_
re
2
•
mi
3
fa
4
•
so
5
•
d. Lydian (w-w-w-h-w-w-h)
• •
la
6
•
ti
7
do
1
re
2
11
.
mi
3
fa
4
so
5
la
6
ti
7
do
1
...
re
2
mi
3
li
J
• • • • • li • • • • •
fa so la ti do re mi fa
/
11
J
,.
fa so la ti do re mi fa
4 5 6 7 1 2 3 4 4 5 6 7 1 2 3 4
e. Mixo!ydian (w-w-h-w-w-h-w) e. Mixolydian
•
• • • • • • 11 • • • • •
•
11
so la ti do re mi fa so
'. . . . . . . .
so la ti do re mi fa so
5 6 7 1 2 3 4 5 5 6 7 1 2 3 4 5
f Aeo!ian (w-h-w-w-h-w-w) Natural minor scale f Aeo!ian
• •
la ti do re mi fa so la
11
la
•
ti
•
do
•
re
•
mi fa so la
li J
67123456 1 2 3 4 5 6
.
6 7
g. Locrian (h-w-w-h-w-w-w) Rarely used g. Locrian
• • •
• • •
11 • • • • • 11
do re mi fa so la ti ti do re mi fa so la ti _J
1 2 3 4 5 6 7 7 1 2 3 4 5 6 7
524
1
CHAPTER 24. MODES 525
Classification as Major or Minar

Modes are classified as either major or minor, based on the interval formed by the first and
third pitches of the mode. Compare each of the major modes and minor modes. 1
Major Modes Minor Modes

1. Notice the difference between the major 2. Notice the difference between the natural
scale (Ionian mode) and the Lydian and minar seale (Aeolian mode) and the
Mixolydian modes. Like the major scale, Dorian and Phrygian modes. Like the nat-
the Lydian mode has a leading tone, while ural minar scale, the minar modes have a
the Mixolydian mode has a subtonic. Sing subtonic. Sing each mode.
each mode.
a. lon10n---Major Scale a. Aeo!ian---Natural Minar Scale
9:. • " , ~I· • "

•do " • " • " •la "ti do• re" mi• fa" so la
11
•1:
11
re mi fa so la ti do "la" baseei
1 2 3 4 5 6 7 1 Numbers 1 2 ,3 4 5 6 ,1 1
"do" based do re me fa so le te do
b. Lydian-Major Scale with Raised Fourth Scale
Degree b. Dorian---Natural Minar Scale with a
Raised Fourth Scale Degree
•):.
., • " 9: ~li • "
•do re" mi• li•fi so• la" ti
do
11
•la "ti do• re• mi• fa" so la 11
"la 11 based
1 2 3 j4 5 6 7 1 Numbers 1 2 ,3 4 5 6 ,1 1
"do 11 based do re me fa so le te do
e. MiXo(yd1Czn-Major Scale with Lowered e. Phrygian-Natural Minor Scale with a
Seventh Scale Degree Lowered Second Scale Degree
9:. ij· " ~1:
., ~I· • "
•do re" • " • "
mi fa so la te do
11
•la i.te.. do• re" mi• fa" so la 11
"la" based
1 2 3 4 5 6 ,1 1 Numbers 1 ,2 ,3 4 5 ,6 ,1 1
"do 11 based do ra me fa so le te do
Minor scales and minor modes
e Listen as your instructor plays or sings minar scales and minar medes.
Determine the type of scale or mode.
a. Natura! Minor (Aeolian) Harmonic Minor Melodie Minor Dorian Phrygian
b. Natural Minor (Aeolian) Harmonic Minor Melodie Minor Dorian Phrygian
e. Natural Minor (Aeolian) Harmonic Minor Melodie Minor Dorian Phrygian
d. Natural Minor (Aeolian) Harmonic Minor Melodie Minor Dorian Phrygian
Major scale and major modes
0
Listen as your instructor plays or sings a major scale and major medes.
Determine the type of scale or mode.
a. Major (Ionian) Lydian Mixolydian e. Major (Ionian) Lydian Mixolydian
b. Major (Ionian) Lydian Mixolydian d. Major (Ionian) Lydian Mixolydian
lRemember, rhe Locrian mede is rarely used; consequently, it will not be addressed in this text.
l
l
24.2 Exercises
1
"Yankee Doodle" in Seven Modes
Ionian
a. @e J J J J J J J g J J J J J J J J J J IJ J JJ J gJ J J J
1 1 1 1 1 1 li l
Dorian
b. @ J J J J J J JJ J J J J
(j 1 1 1 j J J J J J J J J J J JJ J
1 1 1 1 j j li
1
Phrygian l
e. ~ (j J J J J IJ J J J IJ J J J IJ j IJ J J J j J J J J J J J IJ
1 1 J li
Mixolyd~ian
J
e.
Aeolian
t" ln r J r J J J J J r J1
1 1 r f JJ JJ J J J J
1 1 JJ Jf 1 1 1 11 J
f.
Locrian
t" J+r r r r J J r r t
w 1d w JJrr rrr
1 1 wJw J J
1 1 d 1; 1 11
l
g. @" ri r r r r r J r r r r riJ FFr r r r r r d J J J r
1 1 1 1 1 1 17 11
J
"Kommt zum grüne Wald!" in Transposed Modes ·-i
J
J
J
J
Aeolian
f. 9:~ 1 ·1, cJfJ7rr1r·Prr1rrf71r· ~@ff rcr1fPfr;1rru{frJ til

Locrian
g. 9:~i.1,~~ "J@7 r r IF'PF r IC r frlf' ~ @ff r Cflft'fEr1r r EtjQ ~li

"Joy to the World" in Major Modes
:~nian ,#11 i fêJ1J JIJ J tJ. Jf pIr· Pt' ffl} A 1Fjfi IEJ ff1
'ü117.Tn@;:s1J n1n wêfl nJ 1,r p1ijfi uJ 1d 11
~ydian ,~ft i RiJ1J #JIJ ]1). Jf pIr· @fr· ffliA l!jjp IEJ Õ]
@#11ljtqgg ;m1J .n1n w@· j;,r P1;§j.n uJ lJ 1
Mixolydian ;:.:;
e. f
@~# i @b1J J>IJ ] 1). J1 pl1r· @fr· @iA 1fjfl1 t]f UI
@~# f.tomg 1:s1J n1n wW· j;,r p1fj;J uJ Jj 11
"Joy to the World" in Minor Modes
Aeolian ---..
•· @~ i fU1J llJ fl). J1 pIr· @fr· f @GA 1ijy IEJ fr1

@~Th1JDw:S1J n1nwmw. ffi;,r p1ij;JuJ1j 11
:orian@ ~ i RJ 1J. J>u J G. Jfi( p1r· @rr· @5iA 1t j fi 1uijfi1
1
@~fülJD ;;µ1J n1n wW· ffl},r ijP 1rjn u J n1

l
-1
:.hrygi~~ i fif 1J lu ~DJ. 1tp Pir· Rtr @57n 1t jn 1u ii1 l

l
@~i.Inw1n1J. n1~nwmw. if},r p1fjJ11a~r10 11
1
Moderato American
l
1
Giocoso Polish J
6. ?=~ 9wr r Ir r J;J wr r r 1r r ITT I~ ?1 ]
mp
;i= ~ r u J 1u r r 1v· 1G r 1r r r 1u r fJJ 1r01 l

2: ~
--- r 1r r r 1o r r3L 11
r r r 1r1 r r 1r- 1rr J
Allegretto Scottish
l
'· @#1tM4 l!iJ ;1J J1IMJ pJ J J1l§J J1J1J IMJ JiJ.~J· 1
~
J
@#n ui ;d ;11 ~ J J J J _J p1li fr pJ bl e J ;1J.-:J J11li r p m 1
_]
@#n Mr pJ _J p1u11r pJ p1Mf'F pJ _J 1§ r p11r .P1 Mr JlJ _J PI J
@#11 §] l J bu)] J1Gw J J )l IM J b fSJ Jí 1li r r r r ;, 1 J
@#tt irw Jil:a JílÍJ ~ J J )IM J pJ.J pIU 9r p j llR J ]1J. li
1
-'
--------
CHAPTER 24. MODES · 529
Allegretto Scottish
s. 9= •tt 11 mDíEL- u r e; 1 r e r?- l 1E: r r r r bf 167]7 r f1 11
9=•1111Ê r r E: r ~ 1c rFr Q71E r; r

9 n1p r-p 11
Andante English; Appalachian
9. @~a w~FF Ir" r r1

r?Tr r p r 1r· J J pi( 6fD
@~ f J J r: cy · r~ r r r· J .
1 J ~J JJ 11
10. 9:
Moderato
2ff f r 1br r r r 1r f f r 1bf11 f f r 1br r f)q ar English; Appalachian
J; ~I ~1~j
9=~ u Er rfiC• t 1r· p r· ; 1Er t] " 1r· pEr LJ 1r 11 ,Í.
Moderato
o
11
Jacob Obrecht (1430--1505), "Tsaat een meskin," Instrumental Canzona
12. @tJ J ;J J lrrrrr r iur r 9p1rrafiJ J n1w 1

~Jlr;n#J 1
@Ih r n fJ iJ Jj 1J i p~r r g J 1J. J Ih J J 11J11 J ~ - li
a
Lento Medieval
13. 9: ~ r 1r r r 1r r Jr * t 1 ar u 1 r 1tr Crr li

Adagio lcelandic
14. t ~1, t J q--J-J-Of )o

.. ?i
\--
• - r • • .~ r
_, l 1
~r
_, 1 -! ) 1 )
---- t
t ~1, J-- J J~
1
ra TJ. ~ 1gw J n r1 tJ. ~ li
Gaelic
J. =72 - - - - - - - - -
r EIP r r p ID r 1 • lq
1
~ ,e_ ~ l
?=r D r D IF p Ê E IE rJ r p lc r j ~ 11
Tempo giusto Hungarian (Bart6k) j
16. 'ttn t ;g: 1A mft J 1D JiJ ft ~ 1f f r p 111 J 3J * 1 l

'un ücr rn 1~ 1Q_m w w q 1;,u._J 11 l
Leonel Power (1370-1385-1445), "Mater, ora filium"
J-72
l
17. ' 2,]~ 1 J.
l
,EJ-~U F
Guillaume Dufay (1379?-1474), "Lamentatio sanctae Matris" l
1s. ?= 2 r- r r r 1 1r r r 1u~F" P1r Dui
- * 1r~1 l
r r bC'
1
J
J.=60 Estienne Grossin (fl. 1418-1421), "Va t'ent, souspier"
1
J
";J·I
20.·n r lf DC 1·-·11 r r
º r-
-------- 1
~
iJ• r ]'
F 1E 1~
1
-
Juan Encina (1469-<:. 1530), "Congoxa mas;• Villancico
r
a
1
....__
1
j
?= •n r r r r r Ef r 1r r r 1 r 1r u p r p I" 11
Un peu cédé. Molto rubato Claude Debussy (1862-1918), "Lisle Joyeuse"
21. ' ttntt uJ J. 3 1J nJ. a1J J J 1i J J 1J J. j 1J. J. i J J. j 1 J

p f mp
'Ug# EJ. 1J J. ]qJ J j 1J J ~ 1( f J 1Ji 'I '! li

~===mf
CHAPTER 24. MODES · 531
22. ;i: ~1.

Adagio
"pf_r_r_r-1-r -a i
16 p r p 1r cw
American
1t1 '~
---v
'I
ir r r .---.
c r .F r e; 1 1 v 1
Andante
---- English; Appalachian
23. @# 1w-1 J pr r 1 J ri w®. P r rffi. J 1
@ü J J J J J l;J J J J J J IJ A J J IJ. li
J.=72 _ _ _ _ CapeBretonian
24. ;i: ~ 1 ·1,~ ~ A r r D1p J=- w ft íf r P1Pr 1 r1

9:~ 1 ·i.~f r F r IC f F Jr1] J e EJ lf --r li
Richard Coeur-de-Lion (1157-1199), "Ja nuns bons pris" Trouvere Ballade
2s. @! r r r 1r r r 1g J D1J * 1r r r l@r r 1r r r 1J :11 3 3
@r r F1
Fr F1
r @J 1U W t 1
F r LJ 1
J W1J J li
J.=80 Sea Shanty
q, J ~·J .. .. IF
26. @M w- ) IJ JLl Jí
e f: j f r D1
@· 1
1
;1 J J· IJ •'] r p1r ,p J
1
D 1; ; l 1
Allegretto ~ 13th-Century
27. ?:ir~F" 1F f r r 1r r r 1~, fl

p mp ,.-;:::
;i:f
~
r r A•·· :11 f r r r 1r r r· 1r r r r 1F r r ff 1
mf cresc.
r r r * 1r r r r 1r]), r1? r r o··· 1

;i: f f f r r 1 1
decresc. p
Maurice Ravel (1875-1937), String Quartet in F Major
2s. ?= b 1 ar ca r n
3
1 w A v· 1 tu ir n
3
w A 1
J J J J 1 .. 11
Andante Nikolay Rimsky-Korsakov, (1844-1908), The Wondrous Book
29. ?= t r 1v r r 1! A r 1r r 1t r r r 1! v r 1J J r 1r r 1r·
1
2= ~ r r r u r r u ,J r r ar r v r a 1r r r
1
r r bu 1 1t 1 11
ru
Canadian
30. t~ !wíl J 1J w J 1w Jj r 1r rr 1J J ~rir· JJ

mf
t~l r rr1 r 1 r· f ti wJJ

P r 1r r J 1 a aJn 11
---- -
Medieval
.----. ~
Ir ~ lf
.~ IF r r :V F 1
cresc.
mf mp
r ir.. J fiJ.
nt.
11
1
~
-3 t@ IU
J
Allegro con spirito Sea Shanty
32. t i 4----
PP
J Jj J J 1~ ~
p
j J JJlfg [J J
t!p J J j J J 1F9 E r 10 mf
i ~ 1
p •1
J 11
J
· CHAPTER 24. MODES 533
Nova Scotian
33. ?=i@lr
mf
ur r IC r ffr lf@rqrrrlOQ l~I
?=? r rl E ÍÍciJ ti 1E&i 1r[F7 r r r r 1fJ7T
111P rit. a tempo
1f7I11
11lf
9lr; lr 1t iLJ lf1E1i1u1rr rrr lg 6U 1il?p li

rtt. a tempo
Andante ~wedish
1A r 1fJ J 1
j l
~p~
l[J
cresc.
j 1
:- "
~ #11 ÉJ r 1 p? 1r J J 1r a J IJ J
d~ ~
w ra IJ 11
Allegretto British
35. ?= çl> ~ tJ 1j n [ : 1rR a 1F u trrr

p
;i= çl· f1 O 1r p tJ3U [-----: 1r r cresc.

r 1r-----r r---.
11
?=çiq U fRr 11lf

t]1J A [ ! 1r?t fr IF' p Õl;p li
dim.
Moderato English; Appalachian
36. ~ b 1mpw 1J w Jr ir 1J w J w ff 1J J r CiiP·

11
----,
i
Allegretto English; Appalachian

1
l
Moderato English; Appalachian
38. @f 2J-1 r 11r

mp cresc. m~
1
@#J . ra 1
i ou dim.
ill -.rí u J =-1J 1
1
-·1
mp
J
l
1 1 1 ]
'I 'I •JllJ 1
• 1 ~) 1
• •
@J- ;J J /'Ji:'. J
'I Jl. J
1
] J J J J Jl 1
'I
hl
• • li
]
Larghetto Nikolay Rimsky-Korsakov, (1844-1908), The Tsar's Bride, "Haste Thee, Mother Mine"
40. @&~í] J ; wJlf le4gJJjJ;1Jj JjQ ]

p
@& 9 r a J a slff
w 1" 4 ] il J J JJ JJ J u 11
J
]
J.1& a 1attpr w(p r1wnu? 1n u a e; 1

[3~
J
[1] [2]
41. ?=&"e
?= &" t b! U A f (a e; F' p1E7J J 1 f' Ur-1 U U E 1 W

Canon: 3 voices Thomas Ravenscroft (e. 1582-c. 1635), Pa11vne/ia, 1609

# [1]
42. ~ #~ i ,]
w-r;o J j
J IJ J J lJ - 11
43.
School of Notre Dame (e. 1225), "Domino fidelium-Domino," Motel
...
-
• ' j"" ~
V V
' j""
: ' '
' 1 1 1 1 ' 1
' ' ' - •

' 1 - ~
~
:
- '
1 1 1
' '
Guillaume Dufay (1397?-1474), "Mon chier amy;• Ballade

~~
' '
44.
., .. •• . - .., •• •• ... . •
...
1
- ...-.. - ~· ,._ ,._

: - -
' 1 1 r '
. - ' r-- -
• -.... . - .,.., ...... . v'
f>-• H~· a· e· t:_· ~· ,._. H.. · a·

:
'
-,
Josquin Desprez (ca. 1440-1521), "Tu pauperum refugium" (adapted)

1
j
' ' ' 1. ' '
45.
• -
r r r r - - r r r· p . _r )r
~ ~ J~ '~ ...I Jl
1 1
~
j j J J J J - j J j 1 1 j
: 1
~
' ' 1 1 ' ' 1 ' 1
j
~
- ' ' ' ' 1 1
~ 1
J _..I ~
r . r r1Jr ;r i i
j 1
:& • ... e,;
r rr i u-_ u-
:
1 • J 1
1 ' 1 ,- ' - ' ' 1

- 1
46.
. '
-
William Holbome (fl. 1597), "Since Bonny-boots was Dead
1
'
~
- 1 ' ' 1 -
f
' - ' ' 1
'
_,
~
f
- 1 '
1
- 1 ' 1
' J
1
·~ ..,.. ...... " 7:t 7:t e-

J
,
' ' ' ' ' '
~
,,hf ' ' 1 ' ' r ]
'- - • 1 1
' '
. mf' ' 1 ' '-- . 1
' ' ' '

l
'
e- e-
" ~
mf
~ 1
1
J
'
. __ )
1
Appendix A
Rhythm
Reading Systems
Numerous rhythm syllable systems are available to aid in the study of rhythm.' Depending
upon the system, syllables are based on beat functions, time values of notes, position of notes
in a measure, ora combination of these. The syllables provide a link between aural/oral vocal-
ization and visual identification.
Regardless of the system used, the macro beat should be monitored by (a) silently tapping
the thighs with one or both hands, using large arm movements that start from the shoulder(s);
(b) silently tapping the macro beat in one hand and the micro beat in the other hand; (c) walk-
ing in place to the macro beat while silently tapping the micro beat; or (d) conducting.
Gordon Rhythm Syllables2

""·";'""'-,..,--"="'-··""'=··:=.,,,,,,,._,,.."=-'"~'"'"''~--="""="'"''"==:o:..:·.~~-"''°-=:;"'°·º-~'·"=·:==.."o.-'"'-"='·"'·"'''<>"-""•'-~~-~-="':="''"'-"==-- o-~·"'""""-"'"'~'"'°'''·~""="'="=·=·"=
Developed by Edwin Gordon, James Froseth, and Albert Blaser, the system is based on beat
function: a different syllable is assigned at the beat (du) and division leve! (simple meter-<lu,
de; compound meter-<lu, da, di). Notice that this is not true at the subdivision levei; the
sarne syllable (ta) occurs in more than one location within a beat (see Figure 1). Within sim-
ple or compound meters, the sarne syllables are used regardless of notation. Specific syllables
for common rhythm patterns are shown in Chart A. Note that the originating syllable is sus-
tained for notes of more than one pulse or notes elongated by a tie or extension dor.
Figure 1. Overview of Gordon Rhythm Syllables
Simple Meter Compound Meter

Beat Beat Borrowed Beat Beat Beat Borrowed Beat
Unit Division Beat Subdivision Unit Division Beat Subdi vision
J
J J J J J J J j j j J J J J J J J j j j j j
J n J J J
J
J J J j J. J j j .r-1 J j J Jj j
)l .F'j J j j j J J J )l. J J j .r==i j J J j J J
du du de du da di du ta de ta du du da di du de du ta da ta di ta
The Gordon system does distinguish between usual meters and unusual meters (see Figure 2)
by substiruting the consonam "b" for the consonant "d" at the division leve!. The subdivision
level still uses "ta" in more than one location within a beat. Note that in unusual meters, one
must switch from one division type (du-be) to another (du-ba-bi) and vice versa.
1A history of rhythm systems can be found in Edwin E. Gordon's Learning Sequences in Mrtsic (Chicago: GIA
Publications, 1997), 69-83.
2 Eric Bluestine, The \Veiy1 Children Learn Mmic (Chicago: GIA Publications, 1995), 97-101; Gordon, 82-83.
537
538 PROGRESS!VE S!GHT S!NG!NG
Figure 2. Gordon Syllables for Unusual Meters
2+3 3+2
~ J J J -1
du du du du 1
J J J J J J J J J J
du be du ba bi du ba bi du be
J j J j J j j J j j J J J j J j J j J j
du ta be ta du ta ba ta bi ta du ta ba ta bi ta du ta be ta
Takadimi Rhythm Syllables3

=-·'=~o~=..-=o:..oc~~,_--_-...,._==•:oc1"''-"'°""=-='"~"'"'"''"'"-"'=,-,."""""~~=""'°-"""·'::"'~~-"""=='=.;:~~':::~='""""'='·+-"-==.:<==....,-=--=""'""..,,,._"'"~"'-=·"'=~""=''""'---r.=~"'=
Richard Hoffman, William Peito, and John White developed the Takadimi Rhythm System
to teach basic rhythm skills to college-level srudents who Jack the requisite skills. Specific syl-
lables are assigned to a location within a beat (see Figure 3). ln simple meters, "ta" is used for
any attack on the beat, the division of the beat is "ta-di," and the subdivision of beat is
"ta-ka-di-mi." ln compound meters, the attack on the beat is once again "ta," the beat divi-
sion is "ta-ki-<la," and the beat subdivision is "ta-va-ki-<li-da-ma." Note that within an
individual beat division the initial consonant changes but the vowel sound remains the sarne l
(simple meter: ta-ka, di-mi; compound meter: ta-va, ki-<li, da-ma). Note that syllables are _J
also provided for irregular divisions within the two types of meter.
Figure 3. Overview ofTakadimi Rhythm Syllables
Simple Meter ]
Beat Beat Borrowed Beat Irregular Irregular Irregular
Unit Division Beat Subdivision Division (5) Division (6) Division (7)
j J J J J
3
J J J J J J J J J J
5
JJJJJJ
'
JJJJJJJ
7
J
5
' 7
J n J J J J J J j J J j J j JJj ~ Jj JJJjJJj
3 5
' 7
)l ;=====, J j j j J j J j J J J J j j JJJJ JJJJJJJ

ta ta di ta ki da ta ka di mi ta ka di mi ti ta va ki di da ma ta va ki di da ma ti
l
Compound Meter
Beat
Unit
Beat
Division
Borrowed
Beat
Irregular
Division (4)
Irregular
Division (5)
Beat
Subdivision
Irregular
Division (7) J
f'7 fT'Tl fJjjl
7
J J J J J JJJJJ JJJJJJJ
J. J J J .r--1
4
J J J J J J J JJ
5
J JJJJj J JJJJJj
7
.1
5 4 7
)l. J J j .r==i J J J j J j j J j jJJJJJ JJJJJJJ

ta ta ki da ta di ta ka di mi ta ka di mi ti ta va ki di da ma ta va ki di dama ti
3 Richard M. Hoffman, William L. Pelto, and John W. White, "Takadimi: A Beat-Oriented System of Rhythm
Pedagogy,"journal o/ Music Theory Pedagogy, 10 (1996): 7-30.
APPENDIX A. RHYTHM READING SYSTEMS 539
Specific syllables for common rhythm patterns are shown in Chart B. The authors recommend
muting the nonarticulated syllables (shown in parentheses) in complex rhythms with tied pat-
terns and rests to improve performance accuracy.4 The Takadimi Rhythm System can also be
used with unusual meters (see Figure 4) by switching berween duple division syllables (ta-<li)
and tripie division syllables (ta-ki-<la).
Figure 4. Takadimi Rhythm Syllables for Unusual Meters

2+3 3+2
~ J J J
ta ta ta ta
J J J J J J J J J J
ta di ta ki da ta ki da ta di
J J J
ta
j J J J J j j J j J J J j J J J j
ka di mi tava ki di da ma ta va ki di da ma ta ka di mi
~c~~~?~~-~~~_!~~~!-~X:~-~~~~~~~~~:-~~---~~·-······~--~---······-·--·~----~-.,
Developed by Irvine McHose and Ruth Tibbs for conservatory students at the Eastman School
ofMusic, the system combines metric counting and rhythm syllables. Any note occurring on
the beat is articulated with that beat's ordinal number; syllables are assigned to the division
(simple meter-te; compound meter-la, li), subdivision (ta for both simple and compound
meters), and borrowed division (simple meter-la, li; compound meter-te) of the beat (see
Figure 5). The sound of the rhythm will always be associated with the sarne syllables; however,
the visual represenration of the rhythm will change depending on the beat unit. Specific syl-
lables for common rhythm patterns are shown in Chart C. Notice that the originating sylla-
ble is sustained for notes of more than one pulse ar notes elongated by a tie or extension dor.
No provision is made for distinguishing between usual meters and unusual meters. This sys-
tem requires "the presence and formal understanding of meter before the syllables can be
_applied, thus limiting application in aura! contexts."6
Figure 5. Overview ofMcHose and Tibbs Rhythm Syllables

Unit Division Beat Subdivision Unit Division Beat Subdivision
j j j JfJ j J J J J j j j r'1 j JJ JJJ

2
j n j J J j J J j J j J J rl j j JJJj
)l F'j j J j j J j J )l. j J j .r==i j JJJ JJ
1 2 te 3 Ia li 4 ta te ta 1 2 la li 3 te 4talatalita
4 Ibid., 19.
' Allen McHose and Ruth 1íbbs. Sight.Singing Mam1al, 3rd ed. (New York: Appleton-Cennuy-Crofts, 1957), 6-9.
6 Hoffman, Pelto, and White, 11.
540 PROGRESSIVE SIGHT SINGING
Kodály Rhythm Syllables

..
"·"'·"''""--:.."~""·=""'""''""""'"'="--~~,,,.=->ro-=-~=<=oo=~-'"·~""'=-'-'""''"'""-~..-"-==º~"'""""""''""""'===~_. _-,c=<'""~-=<c·=.-c'="'··"'"'"""''"'"'""===-==""-..,="""'=~-"-~=
The syllables in this system are based on those devised by Hungarian composer and pedagogue
Zoltán Kodály, as well as the French Galin-Paris-Cheve system. ln this system, syllables are
assigned to specific notational values. Notice that the sound of the rhythm will always be asso-
ciated with the sarne syllables; however, the visual representation of the rhythm will change
depending on the beat unit (see Figure 6). Beat function is not addressed; if it were, then a
macro beat followed by a micro beat would be "ta ti" not "ti ti."7
Figure 6: Overview of Kodály-Based Syllables

Unit Division Beat Subdivision Unit Division Beat Subdivision
J
j J J J J J J J J J J J J J J J J JJJJJ
J n J J J J J J j J J J J .11 Jj J j Jj ]
2
Ji .Fl J J j j J J J jl . J J j F"j j j JJJJ

ta ti ti tri o la ti ka ti ka ta ti ti ti ti ti ti ka ti ka ti ka 1
Specific syllables for common rhythm patterns are shown in Chart D. Note that the vowel
sound varies for elongated notes (toh, too) and that the vowel sound is pulsed on extension
dots and tied notes. As soon as skills ate sufficiently developed, the originating syllable should
be sustained. The system lacks a ptovision for distinguishing between usual meters and
unusual meters.
]
]
]
7 Gordon, 77.
APPENDIXA. RHYTHM READING SYSTEMS 541
Chart A: Gordon Rhythm Syllables (Beat Function Syllables)
1. Simple Meter J
= Beat Unit (downMup motion for beat)
Notes and Rests 'Ties and Extension Does Syncopation
A. o K. j o s. )l J )l
du (sustain vowel sound) du (sustain vowel sound)
J. 1' J,'J'J.1',J; 1' du de de
B.
(du)
- L. J j T.
+
'1
t
J
t
)l
J. du (sustain vowel sound)
1' J. 1' J. 1' J. 1' du de de
- + t t
e.
·n. j
j
du
J. 1' J.
t
1'
(du)
J. 1' J. 1'
M.
N.
j
du
J
--- (sustain vowel sound)
J u.
v.
)l
du
+
)l
~
(de)
t
J
+
)l
de
t
'1
du (du) du (sustain vowel sound)
J. 1' J. 1' du de (*)
E. n
du de
o. J....__...,J J
+ t + t
du de Triplets
J. 1' J. 1' J. 1' (circular motion for beat)
F. }'! I P. J )l w.
3
du
c7 du de
JJJ di
J. J. 1' J. 1' du da
J.
}'! j
------ j 3
I
G.
(du) de
J. 1'
Q.
du
~
ta
X.
'1
ldu) da
n di
J. 1'
H.
Jrn
du·ta-de-ta
R. J j Y.
n
3
'1
du ta (di)
J. 1' J. 1' du da
1. m
du-ta·de
z.
J.
j
3
'1 J
J. 1' du (da) di
J.
rn
du de.ta
J. 1'
(muted syllable) =
* = snap or a11diate
audiate J.
,
1
..

1
Gordon Rhythm Syllables

1
II. Compound Meter J. = Beat Unit III. Simple Meter J = BeatUnit IV. Simple Meter Jl = Beat Unit
A. J A. l~I A. j l
du (sustain lowel sound) du (sustain vowel soun~ du (sustain vowel soundl
J. J. i J.iJ.i i J. i J.iJ.i i
1
B. J t· B. o B. J t
du (shh) du (sustain vowel sound) du (du)
J. J. J. 1' J. i J. i J. i J. i J. i 1
e. J
du
J
da
J
di
e. j
du (shh)
- e. )l
du
"1
(shh) 1
J. J. i J. i J. i J. i
D. J
du
/!
di
D.
du
J
de
J J J D. J
du
J
de
J J ]
J. J. i J. i
E. )'; J E. J t t J E. ) 7 7 ) ]
du da du (*) (du) de du (*) (du) de
J. J. 1' J. t J. 1' J. t
F. J J J J J J F. J JJJJ JJJ F. j JJJj JJJ J
du ta de ta di ta du ta de ta du de ta ta
J. J. t J. t ]
G. J
du
J.
J J
ta de
J J
di ta
G. J
du
J.
nn
de ta du
t J.
ta de
t
J G. j
du
J.
J Jta du
de
t
mJ.
ta de
t
]
H. J
du
J J J
de ta di
H. O•
du
H. J
du
. 1
j
J. J. i J. t J. t J. t J. t J. t
I. J
du
j
ta
J
di
I. J
du
J
de
1. J
du de
j
J
J. J. t J. t J. t J. t
J. J J. j J. J )l J. J j j
du de ta du ta du ta
J. J. t J. t
K. JJ j J K. J j J K. J J j J
du ta ta di du de de du de de
3 3 1
L. J JJ j L. L.
J J J J J J
du de ta ta du da di du da di
J. J. J.
Chart B: Takadimi Rhythm Syllables (Beat Function)
I. Simple Meter J = Beat Unit (down~up motion for beat)

Notes and Rests Ties and Extension Dots Syncopation
ta (sustain vowel sound) ta (sustain vowel sound) ta di di
.J, t .J, t .J, t .J, t .J, t t
B.
(silence)
- L. j j T. '1
(ta)
j
di
)l
di
ta (sustain vowel sound)
.J, t .J, t .J, t .J, t .J, t t
-
e.
D.
j
ta
.J,
J
t .J,
~
t
(silence)
.J, t .J, t
M.
N.
-----
j
ta
J
(sustain vowel sound)
j u.
V.
)l
ta
.J,
Ji j
~
(di)
t
)l
di
t
'1
ta (silence) ta (sustain vowel sound) ta di (di)
.J, t .J, t .J, t t
E. n
ta di
o.
------
j
ta
j
(ta)
J
di Triplets
.J, t .J, t .J, t (circular motion for beat)
3
F. j) I P. J Ji w.
JJJ
ta ta di ta ki da
.J, t .J, t .J, t .J,
------
3
G. I j) Q. J ~ j X.
'1 n
di ta (di) mi (ta) ki da
.J, t .J, t .J,
3
H. ff.Fj R. J j Y.
n '1
ta ka di mi ta mi ta ki (da)
.J, t .J, t .J,
I. m
ta ka di
z. j
ta
3
'1
(ki)
J
da
.J, t .J,
J.
rn
ta
.J,
di mi
t
(muted syllable) = audiate
Takadimi Rhythm Syllables

1
II. Compound Meter J.=Beat III. Simple Meter J = Beat IV. Simple Meter )l = Beat
l
A. Jta (sustain vowel sound)
A. l~I
A. j
1
J, t J, t J, t J, t J, t J, t J, t J, t J, t J, t l
B. J
ta
t·
(silence)
B. o
B. J
t í
J, J, J, t J, t J, t J, t J, t J, t 1
e. J
ta ki
J J
da
e. j
ta
-
(silence)
e. j)
ta
'1
(silence) l
J, J, t J, t J, t J, t
D. J
ta da
)'J D. J
ta
J
di ta
J J
di
D. J
ta di
j
ta
J
di
j · 1
)! t t ~ ) ]
E. J E. J J E. 7 7
ta ki ta di
J,
ta
J, t J,
di
t J, t J, t -)
F. J j j j j j F. J JJJJ JJJ F. j JJJj JJJ
ta
J,
va ki di da ma ta ka di mi ta ka di mi
J, t J, t
taka
J,
ka di mi
di
t
mi ta
J, t .J
G. J j
ta
J,
va
J
ki
J
da
j
ma
G. J
ta
J,
nn
di mi ta ka di
t J, t
J G. j
ta
J,
JJ
di mi
t
m
ta ka di
J, t
J
H. J
ta
J
ki
j
di
J
da
H. O•

H. Jta - (sustain vowel sound)
J
J, J, t J, t J, t J, t J, t J, t
1. J j J 1. J J 1. J j J
ta di da ta di ta di
J
J. J
ta
l
ki ma
j J. J. j) J. J j
ta mi ta mi )
J, J, t J, t
K. JJ j J K. J j J K. J J j
ta va di da ta di di ta di di
3 3
J 1J j
L.
ta
L.
Jta kiJ daJ L.
J j j
ki di ma ta ki da
Chart C: McHose and. Tibbs Rhythm Syllables (Beat Function)
I. Simple Meter J = Beat Unir (downRup motion for beat)

1 (sustain vowel sound) 1 (sustain vowel sound) 1 te te
.j, t .j, t .j, t .j, t .j, t t
B. - L. J j T. '1 J )l
(silence) 1 (sustain vowel sound) te te
.j, t .j, t .j, t .j, t .j, t t
-
e.
D.
1
.j,
J
j
t .j,
t
t
(silence)
.j, t .j, t
M.
N.
j
1
J
------ (sustain vowel sound)
J u.
V.
1
)l
.j,
)l
~
J
t
)l
te
t
'1
1 (silence) 1 (sustain vowel sound) 1 te
.j, t .j, t .j, t t
n
E.
F.
1
.j,
/! i
te
t
o.
P.
------
J
J
1
.j, t
J
.j, t
J
te
)l
Triplets
(circular motion for beat)
3
w.
1 (silence) 1 te 1
J J
la
J li
.j, t .j, t .j, t .j,
G. i
.j,
/!
te
t
Q. J
1 ------
.j,
J j
t
ta
X.
'1
.j,
n
3
la le
H.
Jm R. J j Y.
n
3
'1
ltateta 1 ta 1 la
.j, t .j, t .j,
I. m
·1 tate
z. j
3
'1 J
1 li
.j, t .j,
J.
In
1 te ta
.j, t
546 PROGRESSIVE SIGHT SINGING 1
McHose and Tibbs Rhythm Syllables

1
II. Compound Meter J.,,,Beat III. Simple Meter J = Beat IV. Simple Meter Jl = Beat
A. J A. l~I A. j l
1 (sustain vowel sound) 1 (sustain vowel sound) 1 (sustain vowel sound)
J. t J. t J. t J. t J. t J. t J. t J. t J. t J. t
B. J ~· B. o B. J ~
1
J.
(silence)
J.
1 (sustain vowel sound)
J. t J. t
1
J. t J. t
(silence)
J. t J. t
-1
e. J
1
J la
Jli
e. j
1
-
(silence)
e. f!
1
'1
(silence) 1
D. J j) D. J J J J D. J J J J ·1
1 li 1 te 2 te 1 ta 2 te
J. J. t J. t
E. )l J E. J ~ ~ J E. } ~ ~ ) 1
1 la 1 te 1 te
J. J. t J. t J.
j JJJj JJJ
t J. t
J
F. J J J J J J F. J JJJJ JJJ F.
1
J.
ta la ta li ta 1
J.
ta te
t
ta 2 ta te ta 1
J.
ta te
t
ta 2 ta te ta ]
G. J
1
J J
ta la
J J
li ta
G. J
1
nnJ
te ta 2 ta te
G. j
1 te
j J
ta
m 2 ta te J
H. J
1
J J J
la ta li
H. O•

H. J
_J
J. J. t J. t J. t J. t J. t J. t
1. J
1
j J
ta li
1. J 1
J
te
1. J
1
j
te
1
J.
J. J
J. t
f!
J. t J. t J. t
J
J. J j J. J. J j
1
J.
la ta 1
J. t
ta 1
J. t
ta
J
K. j J j J K. J j J K. j J j
1 ta ta li 1 te te 1 te te
3 3
J JJ j
L.
1 la ta ta
L.
J J J
1 la li
L.
J
1
JJ
la li
APPENDIXA. RHYTHM READING SYSTEMS 547
Chart D: Kodály-Based Rhythm Syllables (Time Value)
I. Simple Meter J= Beat Unit (down-up motion for beat)

A. o K. J o s. j) J )l
toh (sustain vowel) too (oh) ti ta ti
.j. t .j. t .j. t .j. t .j. t t
B. - L. J J T. I J j)
(toh) ta (oo) (ti) ta ti
.j. t .j. t .j. t .j. t .j. t t
e. J - M. J J u. j) ~ )l
too (too) too (ah) ti (ta) ti
.j. t .j. t .j. t .j. t .j. t t
D. J ~ N. J V. j) J I
ta (shh) too ti ta (*)
.j. t .j. t .j. t t
E. n
ti ti
o. J
ta------ J
(i)
J
ti Triplets
(circular modon for beat)
.j. t .j. t .j. t
3
F. jl I P. J }! w.
J J J
ti (*) ta ti tri - o - la
.j.
.j. t .j. t .j. t
-----
3
G. I
( )
Ji
ti
Q. j
ti
J j
(i) ka
X.
I n
(tri) - o - la
t .j.
.j. .j. t
n
3
H.
JW R. J j Y.
I
ti-ka-ti--ka ti ka tri o - (la)
t .j.
.j. .j. t
J. m
ti-ka ti
z. j
3
'1
tri - (o) - Ia
J
.j. t .j.
J.
[Jj (muted syllab!e) ,;. audiate
ti ti-ka
.j. t
548 PROGRESSIVE S!GHT S!NGING
Kodály-Based Rhythm Syllables

1
1
II. Compound Meter J.=Beat III. Simple Meter J = Beat IV. Simple Meter ./l = Beat
A. J A. l~I A. j 1
too (sustain vowel sound) toh (sustain vowel sound) toh (sustain vowel sound)
.J, t .J, t .J, t .J, t .J, t .J, t .J, t .J, t .J, t .J, t
l
B. J
ta (shh)
t· B.
too
o B. J
too (too)
t
.J, .J, .J, t .J, t .J, t .J, i .J, t .J, t 1
e. J J J e. j - e. )! '1
ti
.J,
ti ti ta
.J, t
(shh)
.J, i
ta
.J, t
(shh)
.J, t
l
D. J )l D. J J J J D. J j J j
1
ta ti ti ti ti ti ti ti
.J, .J, t .J, t .J, t
E. Ji J E. J t t J E. ~ ~ ~ ~ l
ti ta ti (*) (ti) ti ti (*) (ti) ti
.J, .J, t .J, t .J, i .J, i
]
F. J j j j j j F. J JJJJ JJJ F. j JJJj JJJ
tl-ka-ti-ka-tl- ka tl-ka-ti-ka ti-ka-ti-ka tl-ka-ti-ka ti-ka·ti·ka
.J, .J, t .J, i .J, t .J, t J
G. J j
ti • ka
.J,
J
ti
J j
ti - ka
G. J
ti
.J,
nn
ti-kati-ka ti
t .J, t
J G. j
ti
.J, i
j J
ti - ka ti • ka ti
.J,
m i
]
H. J
ti
J j J
ti • ka ti
H. O•
toh oh oh
H. J
too (sustain vowel sound)
J
.J, .J, t .J, i .J, i .J, t .J, t .J, t
_J
1. Jti (i) - ka
j J
ti
1. J
ta (i) ti
J 1. J
ta (i)
j
ti
.J, t t .J, i
.J, .J, i .J,
J
J. J
ti
l
ti (i)
j
ka
J. J
ti (i) ka
)! J. J
ti (i)
j
ka
.J, .J, t .J, t _J
K. JJ j J K. J j J K. J. J j
ka ti ka ti ti ta ti ti ta ti 1
.J, .J, t .J, t .J, t .J, t
3 3
J JJ j
L. L.
J J J
L.
J j j
ti ka ti ka tri-o-la tri-o-la
Appendix B
Solmization
Solmization is a system for teaching music reading in which pitches are designated through
syllables rather than letter names. The earliest system of solmization to survive into modem
use is associated with Guido d'Arezzo (e. 995-1050), a Benedictine monk, choir master, and
music theorist. Guidonian solmization is based on the text and tune of the eighth-century
hymn "Ut queant laxis." The syllables sung to the six initial tones of the first six tines of the
hymn are ut, re, mi,fa, sol, and la. Around 1600 the syllable si was added and ut was changed
to do. Eventually extra syllables were added for chromatically altered notes, and the syllable ti
was substituted for si, so that the seven basic syllables begin with seven different consonants.
The terms solftge, tonic sol-fa, andfasola ali refer to this sarne basic system of music reading.
Currently solmization is applied in two different ways, m1JVeable do and fixed do.
The Moveable-Do System

...,-.-,..._-..,_=-•-
~.,,,,- ..,-_..,"'"" ~·~c.· ,,.,-~""'"' ...-,,~.~·-"""~'"''""'"'·=·~-"'".-"""""""·'"":e.:..- o•.-,,-~,.-·.-".,--=~'-~'""'--·"'"~·,-·_. ''~'"""'"''"-""~·.:.-;-==-···--,,,~.,.-~o~o:":"-· ~-"=~ .-~ -··"'-'""""'"-~""·'~~'-'"'''--.,,.'~'
The syllables do, re, mi,fa, so, la, and ti are assigned to the degrees of the major scale. Do always
represents the tonic or first degree of the major scale,fa the fourth or subdominant, so the fifth
or dominant of the scale, and so on.
Major Scale
.. 1 ..
@. do
• •
re mi
..
la
•
so
..
la
•
ti do do
•
ti
..
la
• • • • •
so la mi re do
11
When a melody modulates, the new tonic becomes do. For example: A selection begins in D
major, so the tonic note "D" is called do. A modulation changes the tonal center to A major,
therefore the tonic note "A" will now be called do. This method aids rhe study of harmony, as
the relationship between scale degrees is emphasized. To be successful, students must master
the ascending and descending syllables. This method fosters the development of vocal tone
because the syllables use pure vowels.
Altered pitches are accounted for by changing the syllables. The ascending chromatic scale
is do, di, re, ri, mi,fa,fi, so, si, la, li, ti, do. The descending chromatic scale is do, ti, te, la, !e, so,
se, /a, mi, me, re, ra, do.
Chromatic Scale
t •#• •#• • ·li· •I•

do di re ri mi fa fi so si
·D· • .. .. • b·
la li ti do
1
do ti
• i.- . . .. .. ...
~
te la le so se fa mi me re ra do
~ ~ 11
ln the moveable-do system, the minar mode can be treated in two ways:
Moveable do with /a-based minor

ln this system the syllable changes to correspond to the tonality. For exarnple: la is the resting
tone in minar ar Aeolian mode, re in Dorian, mi in Phrygian, fa in Lydian, so in Mixolydian,
549
550 PROGRESSIVE S!GHT SINGING
and ti in Locrian. The la-based-minor approach allows inexperienced singers to sing in

tonalities other than major without knowledge of chromatic syllables, notation, or music
1
theory. It is the "only tonal syllable system based on syntax." 1
Natural Minor Seale

l
la
•ti do• •
re
• • • •
mi fa so la
•
la
• • • •
• •
so fa mi re do ti
..
la
li
Harmonic Minor Seale
la
•ti do• re
• •
mi fa si
•
la la si
•
fa
•
mi
•
re
• •
do ti
.
la
11
Melodie Minor Seale

l
la
•ti do• •
re mi fi si
•
la la so fa
• • • •
mi re do ti
..
la
11
]
Moveable do with do-based minor
ln do-based minar, the resting tone is always do. To be successful in any tonality other than
]
major, students must have mastered the chromatic syllables and have adequate knowledge of
notation and music theory. For example: the mode will require me, le, and te in place of mi, la,
and ti, respectively. Many teachers believe this method fosters an understanding of tonality
relationships, chord structure, and part writing.
.J
Natural Minor J
do
• • •
•re me• fa• so• le te do
1·
do
• • • • •
te le
•
so fa me re
.
do
li
Harmonie Minor
do
• • • •
re me fa so
.
Ie
~·
ti
•
do
1 •
do
~· • • • •
ti le
• so fa me re
.
do
11
J
Melodie Minor 1
do
•re me• • •
fa so la ti
•
do do te le
• • • •
so me fa re
.
do
li J
1 Eric Bluestine, The Ways Children Leam Music (Chicago: GIA Publications, Inc., 1964), 92.
APPENDIX B. TONAL READING SYSTEMS 551
Numbers
The numbers 1, 2, 3, and so forth, are assigned to the degrees of the scale in the sarne manner
as the moveable-do system except that there is no numeral change for chromatic tones. The
numbet method gives instant results because every student knows the ascending and descend-
ing numbers; however, skipping numbers while counting backwards often results in confu-
sion. The method also inhibits tone production and accutate accidentals. To be successful,
students must acquire thorough aural/oral knowledge of intervals.
'· • • • •
il il
•2 •3 il
il
• il
• • • 11
4 5 6 7 7 6 5 4 3 2
!~:~-~!){~~::!?«:~sr~~~-~~--~--~-------~------~~---~-~~--------------~--~----~~-~----~
The syllables do, re, mi,fa, so, la, and ti are assigned to the notes C, D, E, F, G, A, and B respec-
tively. The syllables are not changed for chromatic tones. To be successful, students must
acquire a thorough aural/oral knowledge of intervals.
'~li .., ti
•do re• mi•
il
fa
• • •
so la ti
1 •
ti
il
la
•
so
il
fa
• • • ..,
mi re do ti
li
Letter N ames
The letters A, B, C, D, E, F, and G are used for the appropriate pitch name. Note names
altered by a sharp are pronounced ace, beas(t), cease, dease, eas(t),jeas(t), andjeese. The flats are
pronounced us, bess, cess, des(k), es(t),/es(t), andjes(t). To be successful, students must have a
thorough aural/oral knowledge of intervals.
tê# • • il • il • il • 1
• il
• il
• il
• • 11
D E Feas(t) G A B Cease D D Cease B A G Feas(t) E D
Hand Signs
ç.==='C''-""""°"'"~·"""·'·~,~·-='·"''""'°""''--~-'='· '~c.o..c-.~.o".-,...:o-:-.-.:.·~c:.·.·--;=·,,,,.~,-.-.,,,.c,=.=.oc.:.:e='"''"~'"·~.:.-~:..c.-..:.oo"'"'-="-'"~"'-··="'-"'~-"~"''"'=-~".,,.-·"·"""'=·-"'·'""~"'="''"'=·o.'c--,..,_,,~,,_,_,.~,
The use of hand signs as a kind of notation can be traced back to the Guidonian Hand
ancient Hebrews and Egyptians. During the eleventh century, the
Guidonian hand-a pedagogical <levice where each of the solmization
syllables (ui, re, mi,fa, sol, and la) was assigned to one of the joints of
the left hand,-was employed to aid music reading. Thete is no evi-
dence that Guido d'Arezzo invented it.
ln England during the nineteenth century, Sarah Glover designed
hand signs to be used in association with the tonic so!fa system.
Glover's hand signs and "moveable do" system were embraced and
populatized by John Curwen (1816-1880), an English churchman and
influential educator. The work of Glover and Curwen greatly influ-
enced Zoltán Kodály (1882-1967), who integrated the use of hand
signs into his methodology.
Hand signs are concrete and provide singers with a kinesthetic experience as well as a
visualization in space of the high-low pitch relationship between notes. While the hand signs
can be frustrating at first, they appear to establish memory of pitch patterns more securely
than if they are not used. Signs are made in front of the body using the dominant hand. The
hand signs are illustrated as the person making them with his right hand sees them. Hand
signs can also be employed when using numbers.
Sharps
(#) ~do'
Flats
&> l
l
~la
~· SI ~e
~so
~fi
~mi
vfa l
~ri ~me 1
~re _J
~di ~a
~do
APPENDJX B. TONAL READJNG SYSTEMS 553
Tonal Ladder
mi1
re1
do 1
ti
la
so
fa
mi
re
do
f11i
Appendix C -1
l
Dictation /,;
Dictation skills are directly related to the development of musical memory, inner hearing
(audiation), and reading and writing skills. Rhythm and tonal should once again be taught
separately and then combined. Initial dictations should be based on familiar three- to five-note
l
tonal parrerns and three- to four-beat rhythm patterns. Using the shorthand method outlined
next can facilitate the learning process while musical memory skills are developed. The ulti-
mate goal is to develop the student's levei of proficiency to such a degree that the system is no
longer needed.
Rhythm
l
'º=?0'';-"'=.. ""'=""""--"'~""""'"'=~""""~===,,,,.,.._,_=-,,,=·=..,,,~-==~,=='='~"''·=·-=·;,.=,=--===.:...-=="'=-===".====""'··=·-"'""=·-"'·==
Rhythm Procedure: Write with one hand and quietly tap the beat with the other hand. Fol-
lowing the down/up motion of each beat can be an aid in determining the rhythm. Isolate ]
each beat and mark the appropriate shorthand. If the rhythm on a particular beat or two can-
not be determined, continue to move forward focusing on the ensuing beats. On the second
playing, readdress the missing beats.
Example:
]
R
Rhythm Shorthand
+ ~ ]
-------
1 1 1
11 3
Rhythm Transcription
fJ j J JiJ5~ J J JJ j li
Rhythm Shorthand: Lines representing the beats are drawn in each measure. Notes with a
duration longer than one beat are tied together for the appropriate duration; rests are repre-
sented by an uppercase "R"; a triplet is represented by a three; a syncopation by an "S" anda
bracket; a double subdivision of a beat by a single slash, a quadruple subdivision of a beat by
J
a double slash, and so forth. Suggested symbols for various rhythmic patterns follow.
Simple Meters l
~°"''-=~·-~-=•'~·"',..=."=·==--"°'·=>-=-=.::,~=~="-'<'.::::..-==·=--'-'=~~--==·.==·,======•:."====-~"'='""-==...,-,"~~~~"-""'~=o'-~"''-''°''°'"
4
]
R'
3
R
Shorthand
~~~ ~~~
1
~
1
~
i +1 rn
J= Beat Unit
rr1
J'i = Beat Unit
,,_,
J= BeatUnit
554
APPENDIX C. DICTATION 555
5
s 6 s 7
Shorthand
..._...,
1 . + R+ +R 1 1 1 1 ~ ~ i i·
J= BeatUnit .
J'i = Beat Unit
--- -
J= Beat Unit
Compound Meters
o;~·o::'"-="'•=,.,=-"""'=~~~,--"""'"-"'""""~·o,~""""'"-"'""'-~~.,,.c="="---"""'_,__""'"=""'""·=•~•'"'.-"'''""'"''"'"""-""'=·~•--;;=,.o.,,..m,.,.,=·""·""·'~°"'-""•~"'~"'::c.-<::.='·="'"-"-=º'"'"'"'·""··;.-.,,=:
3 4
R
Shorthand
J. = Beat Unit
1 1 1 1 1 1 1
~
1 1 1 1
~
1 1
~~
1 1 1
~~
1 1
-----
1 1 1 1 1 1
J = BeatUnit
~ = Beat Unit
5 6 8
R 2 3
Shorthand
1 1 1 ~ oi' oi' 1 oi' 1 ~ 1 :!' 1
~
:!' 1 1 1 1 1 1 1 1 1 1
2 3
J. = Beat Unit
2 3
J = Beat Unit
V
2 3
J'i. = Beat Unit
Tonal
Tonal Procedure: Write the first letter of each tonal syllable. If a particular pitch ar two can-
not be determined, draw a question mark and then continue to move forward focusing on the
ensuing pitches. On the second playing, readdress the missing pitch(es). Translate the tonal
syllables into notation by using note heads to indicate the pitches on the staff.
Tonal Syllables
Tonal Notation
,- d
• .
m
• •
d
• . li & • .
m
•
m
.. ..
•
d
li
Melodie
Melodie Procedure: When taking melodie dietation (simultaneous tonal and rhythmie dic-
tation), write the first letter of each tonal syllable above the beat lines and mark the appropri-
ate rhythm shorthand on the beat lines.
Tonal Syllables d r m f f m f s f m r d d
l
Rhythm Shorthand 1
Melodie Transcription ,J 11
Duting the beginning stages of melodie dietation, it may be helpful to give the students a 1
score with the bar lines indieated and certain notes and/or rhythms filled in.
J
'" First playing: Focus on only the rhythm or tonal; preferably your strongest element.
* Second playing: Focus on the other element.
·•· Thitd playing: Readdress missing rhythms or pitches. ]
* Sttive to wtite the tonal syllable above its corresponding beat line.
_]
J
1
.J
J
Appendix D
Conducting Patterns
Basic Patterns
One Pattern Two Pattern
Legato Marca to Legato Marcato
Three Pattern Four Pattern

Legato Marcato Legato Marcat-o
3 2
Five Pattern Seven Pattern
3+2 2+ 3 4 + 3 (2 + 2 + 3) 3+4(3+2+2)
Five Pattern-Division of Beat Seven Pattern-Division ofBeat
"'i! "'••
o
~ ~
"
.!< t
.s .,,~
45 45
3
12 3 12 12 34 12 3 45 1 23 45
3+2 2+3 2 + 2 +3 2 +3+2 3 +2 +2
557
Appendix E
'1
Glossary
of Foreign Terms
Aber (Ger.) but Energico (It.) energetic
l
Accelerando (accel.) (It.) gradually faster Espressione (It.) with expression
Adagio (It.) slower than Andante, faster than Largo Et (Fr.) and
Agitato (It.) agitate Etwas beweglich (Ger.) some, a little movement
AI (It.) to; used with other words, e.g. ai Fine (to the end) and emotion
Alia (It.) in the style or manner of Expressivo (It.) expressive
Alia breve (It.), indicated by the meter signature: ~;
the equivalent of 2/2 Feierlich (Ger.) solemn, festive
Allegretto (It.) slower than Allegro Fine (It.) the end
Allegro (It.) quick tempo; cheerful Fliessand (Ger.) flowing
Amoroso (It.) loving, amorous Forte (/) (It.) loud
Animato (It.) animated Fortíssimo !jf) (It.) very loud
Andante (It.) moderate tempo Forza (It.) force, strength, power
Andantino (It.) slightly faster than Andante Frisch (Ger.) freshly
A niente (It.) to nothing, e.g. to ppp Frô1ich (Ger.) joyous, happy
Appassionato (lt) passionate Fuoco, con (It.) with fire
Assai (It.) much, very much
A tempo (It.) return to the previous tempo Gai (Fr.) lively, merry
Gavotte (Fr.) a French dance generally in common time,
Bewegt (Ger.) agitated strongly accented
Bien (Fr.) well, good Gehend (Ger.) a walking pace (Andante)
Brio (It.) vigor, spirit Geschwind (Ger.) quick
Cantabile (It.) in singing style

Cédé (Fr.) to give up; to make over
Getragen (Ger.) sustained
Giacoso (It.) playful
Giusto (It.) exact, steady
J
Cada(~) (It.) closing section of a composition Grazia (It.) grace
Commodo (It.) quiet, calm Grazioso (It.) graceful
Con (It.) with
Crescendo (cresc.) (It.) increasing in volume of sound Heiter (Ger.) cheerful
Hurtig (Ger.) quick, swiftly
Da capo (D.C.) (It.) return to the beginning
Dai segno (D.S.) (It.) repeat from the sign Immer (Ger.) always
Decrescendo (ckcresc.) (It.) decreasing in volume of sound; Innig (Ger.) ardent, sincerely
synonymous with diminuendo
Delicato (It.) delicate Klagend (Ger.) plaintive
Diminuendo (dim.) (It.) decreasing in volume of sound; Kriiftig (Ger.) strong, powerful, robust
synonymous with decrescendo
_J
1
Dolce (It.) sweetly Liindler (Ger.) a dance of Austria and southern Germany
in a slow3/4 meter; the dance was eventually
E ben (It.) and well superseded by the waltz.
E, ed (It.) and Langsam (Ger.) slow
En allant (Fr.) with movement, flowing Larghetto (It.) slightly fuster than Largo
558
APPEND!X E. GLOSSARY OF FOREIGN TERMS 559
Largo (It.) slow and broad Semplice (It.) simple

Lebendig (Ger.) lively Sempre (It.) always, conrinuously
Lebhaft (Ger.) lively, animated Sentimento (It.) sentimental
Legato (It.) smooth or connected manner Segno (It.) (l'S) Sign
Leggiero (It.) light, delicate Sforzando (sfz, sf) (It.) sudden strong accent
Leicht (Ger.) easy, light Solmization, solfége (Fr.), solfeggio (It.) system for
Lento (It.) slow, but faster than Adagio teaching music reading in which pitches are
Lié (Fr.) smoothly designated by syllables rather than letter nunes
Lüstig (Ger.) happy, gay Sostenuto (Ir.) sustained
Spiccato (It.) detached
Ma (It.) but Spirito (It.) spirit, energy
Maestoso (It.) majestic, stately Spiritoso (It.) with spirit, energetic
Malinconico (It.) sad, melancholy Staccato (It.) detached manner; indicated by a dor over
Marcato (It.) marked, emphasized or under each note
Mareia (It.) march Subito (sub.) (It.) suddenly
Massig (Ger.) moderate tempo
Massiges Zeitmass (Ger.) moderate time Tanto (It.) so much
Meno (It.) less Tempo (It.) relative speed of the pulse
Mesto (It.) sad, mournful Chart of Relative Tempos
Mosso (It.) motion Term M.M.
Mezzo forte (mf) (Ir.) medium loud
Grave 40
Mezzo piano (mp) (It.) medium soft
Largo
Mit (Ger.) with
Larghetto
Moderato (It.) at a moderate speed
Lento
Mo/to (It.) much, lively
Adagio 60
Moto (It.) motion
Adagietto
Munter (Gr.) lively
Andante 72
Nicht (Ger.) not Andantino
Non (It.) not Moderato 90
Allegretto
Piano (p) (It.) soft Allegro 120
Pianíssimo (pp) (It.) very soft Presto 140
Piil (It.) more Prestissimo
Poco (It.) little Tenebroso (It.) dark
Poco a poco (It.) little by little, gradually Tenuto (ten.) (It.) sustain, held out
Presto (It.) fast, rapid (faster than Allegro) Troppo (It.) too, too much
Rallantando (rall.) (It.) gradually slower Un (Ir. and Fr.) a

Rasch (Ger.) fast Und (Ger.) and
Ritardando (rit.) (It.) gradually slower
Ritenuto (riten.) (It.) held back Vivace (Ir.) lively, quickly
Rítmico (It.) rhythmically Vivo (Ir.) lively, animared
Romanze (Ger.) ballad
Rubato (It.) freely with respect to tempo Waltzer (Ger.) walrz
Ruhig (Ger.) quiet, calm Wie (Ger.) as
Scherzando (Ir.) playful, lively Ziemlich (Ger.) fairly

Schnell (Ger.) fast Zu (Ger.) not
Index
A Subdivision of, 56-63, 86-91, Clefsigns, 177, 399-407 Duple compound meter, 34-5, 115,
A tempo, 26 92, 100, 107, 115, 121, Bass Clef, 177 121
Aeolian mode, 524-5 126, 133,326-30, 344-7, C Clefs, 399-407 Duple simple meter, 3, 34, 49, 92,
Accelerando, 26 Values Treble Clef, 177 100, 107,
Accent Dotted eighth, 121-5 Coda, 66-7 Duplet, 42-3, 57, 107, 115, 121,
Dynamic, 49 Dotted half, 115-120 Common time, 15 133-5
Mark, 27, 65 Dotted quarter, 34-41, Composite Meter, 147 Dynamic accent, 49
Mecdc, 3, 34 107-14,252-69,288-93, Compound meter, 11, 34-5, 42, Dynamic markings, 26-7, 65
Agogic, 50 314-17,379-98,430-5, 107-14 1
Accidental, 237 448-50 E
Con brio, 65
Adagio, 25 Eighth note, 100-6, 368-79 Eighth note, 12, 14-5
Con moto, 64
Agitato, 65
Alia breve, 92
Alto Oef, 399
Half note, 92-99, 355-67,
425-9,446-7
Quarter note, 3-33, 42-91,
Conducdng patterns, 557
Crescendo, 27
Cross-rhythms, 43, 57-8, 139,
Eighth note beat unir, 100--6,
368-78
Eighth rest, 12, 15-8
Escape tone, 469-70
l
Anacrusis, 9 167-251,274-8,282-7, 143-6
Andante, 25 298-303, 307-13, Extension dot, 19, 92, 107
Curwen,John, 551
Allegretto, 25 411-425, 439-46 Cut time, 92
Allegro, 25 Bind, 19
F
F clef, 177
Appoggiatura, 439-70 Blaser, Albert, 537 D Fermata, 25
Arpeggio, 168, 173, 174
Articulation, 27, 65
Asymmetrical Meter, 147-56, 162
Borrowed division, 42-8, 58, 72-8,
92, 100, 107, 115, 121,
126, 133
Da Capo, 66-7
Dal Segno, 66--7
Decrescendo, 27
Fifthoftriad, 168, 174
Fine, 66-7 )
First and Second Ending, 28
Audiation skills, xxix Bracket, 9 Diaconic, 181 First inversion of triad, see Triads.
Augmentation dot, 19, 92, 107 Breath mark, 25
Augmented intervals, 216, 218,
226,235,236-7,238 e
Dictation, xxx
Melodie, 556
Rhythmic, 5 54-5
Fixed do syllable system,
Flag, 12
Foreign Terms, 558-9
]
Augmented triad, 237, 239, 380, Cadence
Tonal, 555 Forte, 26
381 Authentic, 272, 409
Aural skills, xxix
Authentic cadence, 272, 409
Half, 272, 272
Melodie, 219
Diminished interval, 236, 237, 238,
239
Diminished seventh chord, 451-3,
Forte-piano, 65
Fortissimo, 26
Fourths
]
Pinga!, 409, 438
462-3 Augmented, 216, 226
B Progressive, 272
Diminished triad, in major scale, 188, 216--7,
Bar line, 5 Terminal, 272
in major scale, 217, 219, 380 218-9, 1
Baritone Clef, 399 Cae.rttra, 25 . _I
in minor scale, 227, 230, 237, in minor scale, 199, 226--7, 229,
Bass def, 177 Canon,8, 179
239 236-7,238,245,246,262
Beam, 12 Crab canon, 8
in chromatic scale, 380, 381 French Galin-Paris-Cheve System,
Cantabfle, 65
l
Beat,
540
Definition, 3, 34 e Clefs, 399-407 Diminuendo, 27
Froseth,James, 537
Interruptions, 25 Changing Meter, 8 Do-based minor syllable system,
Macro, 11, 13, 34, 42, 92, 100, Character Terms, 65 550
G
107, 115, 121 Chord(s), tee also Triads Dolce, 65 1
G clef, 177 !
Micro, 11, 13, 34, 42, 92, 100, Chord tones, 271, 280, 409, 438 Dominant,
107, 115, 121 Defined, 168, 173, 174 scale degree, 183, 200, 207
General pause, 25
Glover, Sarah, 5 51
J
Beat unit(s) Diatonic seventh chords, 451-68 rriad, 270-8, 294--302
Gordon, Edwin, 537,
Asymmetrical, 147-56 Dominant/Dominant seventh, seventh chord, 279-93, 303-17,
Gordon Rhythm Syllables, 537-8,
Borrowed division of, 42-8, 58, 279,280,303-4,305,320, 320,340 541-2
72-8,92, 100, 107, 115, 344 Dorianmode, 524--5 Guidod'Arezzo, 549, 551
121, 126, 133,320-2, Chromatic, Dotted eighth note beat unit, 121-5
340-2 Altemtions, 469-80, 481-98, Dotted half note beat unit, 115-20 H
Division of, 11-8, 34-5, 42-3, 498-515,516-23 Dotted quarter note beat unit, Half cadence, 272, 409
56-8,92, 100, 107, 126, lnte"'81s, 319, 320, 339, 368-9 34-41, 107-14, 252-69, Half note, 5
133, 206-51 Scale,270,279,294 288-93,314-17,379-98 Half note beat unit, 92-9, 355-67
Irregular division Chromatidsm Double bar line, 5 Half rest, 5
Simple Meter, 126-32 Defioed, 469 Double whole note, 92 Half step, 187
Compound Meter, 133-38 Church modes, 524--36 Double whole rest, 92 Handsigns, 551-2
560
INDEX 561
Harmonic triad, 189, 190, 201 Major scale, 181, 183, 187, 206 Pentachords in minar sca!es, 198, Quarter note, 5
Harmonic minar scale, 235-43, Pentachords in major scale, 167, 228,235-6,244 Quarter rest, 5
261, 339 182,217 Minar rriad, 198, 201, 219, 230, Rhythm, 3, 12
Harmony, 168 Major criad, 168, 173, 174, 189, 239 Sixteenth note, 56
Hemiola, 139, 141 219,230,239 Mixolydian Mode, 524-5 Sixteenth resr, 86
Hocket, 180, 187, 195 Marca/o, 65 M.M.,26 Slur, 20
Hoffman, Richard, 538 McHose, Irvine, 539 Modera/o, 25 Space note, 168
McHose-Tibbs Rhythm Syllables, Modal Mixture (borrowing), 516, Staff, 168
1 539,545-6 518-20 Stern, 5, 12
Interval(s) Measure, 5 Modes, 524-36 Tie, 19
Definition, 167 Measured tremolo, 127 Aeolian, 524-5 Triplets, 42-3, 58, 72, 92, 100,
in major scale, 182, 183, 184, Mediant, 183, 200 Dorian, 524-5 127
188, 189,206,208,216-7, Medieval medes, 524-5 Ionian, 524-5 Wbole note, 5
218-9 Melodie cadence, 219 Locrian, 524-5 Wbole rest, 5, 8
in minor scales, 198, 199, 200, Lydian, 524-5 Note
Melodie dictation, 556
208,226-7,229-30, Mi;x.:olydian, 524-5 Definition, 4, 168
Melodie minar scale, 243-9, 261,
236-7,238-9,244-5,246, Phrygian, 524-5 Line notes, 168
339
262,294 Modulation, 498-515 Pitch names, 178, 185
Melodie triad, 189, 190, 201
in chromatie scale, 319-20, 339, Closely Related, 498 Space notes, 168
Meno mo.sso, 64
368-9 Distantly Related, 498 Note head, 5, 12
Meter
Interval quality Mo/to, 66 Numbers tonal system, 551
Augmented, 216, 226, 235,
Alia lmve, 92
Asymmetrical, 147-56, 162 Motives,
236-7, 238
Beat Unit Constant, 147, Melodie, 219 o
Diminished, 217, 219, 227, 230 Rhythm, 13, 36, 43, 50, 56 Octave, 182, 183, 198, 200, 206
Major/minar intervals, 206 148-9
Division Unit Constant, 147, Moveable do syllable system,
Perfect, 206 549-50 p
Interval quantity 149-56
Musical alphabet, 178 Parallel minar scale, 516
in major scale, 167, 169, 182 Quintuple Asymmetrical, 147
Musical memory skills, xxix Passing tone, 271, 280, 409, 438,
in minor scales, 198, 200, 208 Septuple Asymmetrical, 147
469
in pentachord scale, 169 Changing, 8
N Pelto, William, 538
Inversion Common time, 15
Natural sign, 23 7 Pentachord scale, 167
of tonic triad, Compound, 11, 34-6, 42,
Natural minor scale, 197-205, Perfect intervals,
major: 188, 189-90 107-14 Fifth, 206
226-34, 261, 339
minar: 198, 201 Definition, 3, 34
Neighboring tone, 271, 280, 409, Fourth, 206
of dominant seventh, Duple simple, 3, 34, 92, 100,
438,469-70 Octave, 182, 183
of triad types, 107 Neopolitan Triad, 516-17, 520-22 Unison, 182
Ionian mode, 524-5 Duple compound, 34-5, 115, Nondiatonic notes, 181 Phrase,20,219,272
121 Nonharmonic cones Progressive, 219, 272
K Mixed, 157-63 Appoggiaturas, 469-70 Terminal, 219, 272
Key signature, Beat Constant, 157, 160-2 Escape tone, 469-70 Phrygian mode, 524-5
e Clefs, 399-407 Division Constant, 157, Incomplete Neighbor, 470 Piano, 26
Definition, 178 158-60 Neighboring tone, 271, 280, Piani.s.simo, 26
Major keys, 178, 188--9, 253 Triple simple, 3, 34, 92, 100 409,438,469-70 Pilt, 66
Minor keys, 199, 262 Triple compound, 34-5, 115, Passing tone, 271, 280, 409, 38, Pick-up, 9
Kodály rhythm syllables, 540, 121 469-70 Pitch, 138
548-9 Quadruple simple, 4, 34, 92, Notation of musical sounds Pitch names, 178, 185
Kodály, Zoltán, 540, 548-9 100 Articulation, 27, 65-6 Plagal cadence, 409, 438
Quadruple compound, 34, Barline, 5 Poco à poco, 26
L
115, 121 Beam, 12 Presto, 64
La-based minar syllable system,
Signature, 5, 35, 92, 100, 115, Beat interruptions, 25 Prime, 182, 198, 200, 206
549-50
l.Argo, 64 121 Clef signs, 177
Simple, 3, 11, 34, 42, 92, 100, Dotted notes, 19, 92, 107 Q
Leading tone, 183, 200, 207
Ledger lines, 18 5 107 Double bar, 5 Quadruple simple, 3, 34, 49, 92,
Legato, 20, 27, 65 Values, .see Beat Unit Values Double whole note, 92 100
Lento, 64 Metronome, 25-26 Double whole rest, 92 Quadruplecompound, 34, 115, 121
Letter name tonal system, 5 51 Mezzo forte, 26 Dynamics, 26, 65 Quadruplet, 57, 126-7, 133, 134-5
Line note, 168 Mezzo piano, 26 Eighth note, 12 Quality of interval,
Lydian mode, 524-5 Mezzo-Soptano Clef, 399 Eighth rest, 12 Augmented, 216, 226, 235,
Locrian mode, 524-5 Minor key signatures, 199, 262 Extension dor, 19, 92, 107 236-7, 238
Minor scales Flag, 12 Diminished, 217, 219, 227, 230
M Harmonic minar, 235-43, 261, Ledger line, 185 Major/minor, 206
Maelzel,Johann N., 26 339 Half note, 5 Perfect, 206
Maestoso, 65 Melodie minar, 243-9, 261, 339 Half rest, 5 Quantity of interval,
Major key signature, 178, 188--9, Natural, 197-205, 226-34, 261, Head, 5, 12 in major scale, 167, 169, 182
253 339 Line note, 168 in minor scales, 198, 200, 208
Major/minar intervals, 206 Parallel minor, 516 Pitch, 168 Quatter note, 5
562 INDEX
Quarter note beat unit, 3-33, in minor scales, 198, 228, T Dominant triad,
42-91, 167-251,274-8, 235-6,244 Takadimi rhydun syllables, 538--9, in major, 270--8
282-7,302-7,307-13 Scale degree names 543-4 in minar, 294-302
Quarter note beat values, 3-33, in major, 183, 189, 207 Tempo, Dominant seventh chord
42-91 in minar, 200, 228, 245 Definition, 3 in major, 279-93, 320
Quarter rest, 5 Score noration, 4, 138 Terms, 25-6, 64 in minar, 303-317, 340 l
Quintuplets, 126-8, 133, 135-6 Second inversion of triads, see Triads Tenor def, 399 Harmonic triad, 189, 190 1
Secondary Dominant, 481-497 Ten11to, 25 Inversions of triads,

R Tonic triad, 188, 189, 190,
-i
Semirone, 187 Terms,
R.allentando, 64 Septuplet, 126-7, 130-1, 133, Articulation, 27, 65-6 198,201,208
Reference tones, xviii 136-7 Beat interruption, 25 Major scale triads, 271, 272,
Repeat sign, 28 Sequence, 219 Character, 65 279,280
Retrograde canon, 8 Seventh chord, Dynamic, 26, 65 Minor scales triads, 227, 230,
Rhythm, Diatonic, 451-2, 466-7 Foreign, 558-9 237,239,263,295,296,
Cross-rhythms, 43, 57-8, 139, Fully Diminished, 451-2, 462-3 Technical, 28, 66-7 304,305
143-6 Tempo, 25-6, 64 Dominant ttiad,
HalfDiminished, 451-2, 462-3
Definition, 4, 12 Used with other terms, 66 Major, 270,
Dominant, 279, 280, 303-4,
Division, 11-8, 34-5, 42-3, Tertian, 168, 173 Minor, 294, 295,
305,320,340
56-8,92, 100,107,126, Tetrachord, 187 Dominant sevenrh chord,
Sextupler, 126-7, 129-30
133, 206-51 Thfrd(s), Major, 279, 280, 320 1
Sforzando, 65
Dotted quarter note value, in major scale, 182, 216, 218 Minor, 303-4, 305, 340
Sforzando-piano, 65
34-41, 107-14 Sluup Sign, 237 in minor scale, 198-9, 227, 229, Melodie triad, 189, 190
Eighth beat values, 100--6
Sign, 66 236,238,245,246,262 Subdominant triad, l
Half beat values, 92-9
Simplemeter, 3, 11, 34, 42, 100, of triad, 168, 174 Major, 408-35 1
Quarter beat values, 3-3 3,
107 Thlrd inversion of chords, .see Minor, 436-50
42-91, 167-251 Dominant Seventh Chord Tonicized ttiads, 482, 498
Sixteenth note, 56
Subdivision, 56-8, 86--91, 92,
100, 107,115, 126, 133
Superduplet, 139, 140
Sixteenth rest, 86
Slur, 20
Solfüge, 549
Titird ofTtiad, 168, 174
Through-composed, 219
'Tibbs, Ruth, 539
Triad tone names, 168, 173, 174
Types of triads:
Augmented, 237, 239, 380, 381,
J
Superttiplet, 139, 140--1 Tie, 19 409-10
Solmization,
Syncopation, 49-50, 79-85, 92, Tímesignature, 5, 35, 92, 100, Diminished, 217, 219, 227, 230,
Moveable do syscem, 549
107 115 237,239,380,381,409-10
Fixed do system, 549, 551 J
Triplets, 42-3, 58, 72, 92, 100, Tonal dictation, 555 Major, 219, 227, 230, 237, 239,
Soprano Clef, 399
107, 127 Tonal ladder, 553 380, 381, 409-10
Space note, 168
Rhythm Dictation, 558-9 Tonal syllable systems, Minor, 219, 227, 230, 237, 239,
Rhythm Syllable Systems
Gordon, 537-8, 542-3
Staccato, 27, 65
Staff, 168
Fixed do, 551
Letter names, 5 51
380, 381, 409-10
Triple compound meter, 34-5, 115,
]
Scem, 5, 12
Kodály, 540, 547-8 Moveable do, 549-50 121
Subdominant, Triple simple meter, 3, 34, 49, 92,
McHose-Tibbs, 539, 545-6 Numbers, 551
Takadimi, 538-9, 543-4
Rhythmic motive, 13, 36, 43, 50--1,
56-7
scale degree, 183, 200
triad, 408-450. 440-54
S11bito, 66
Tonic scale degree, 183, 189, 200
Tonic keynote, 168, 169, 173
Tonic triad, 168, 169, 173
100
Triplecs, 42-3, 58, 72, 92, 100,
107, 127,321-2,340-2
J
Ritardando, 26 Submediant, 183, 200 in major scale,168, 173, 174, Tritone, 216, 218, 219, 229-30,
Riten11to, 26 Submetrical syncopation, 107 238,246
Root position of conic criad, Subtonic, 200
188, 189,190,208
in minar scales, 198, 201, 208 _I
inmajor, 168, 174, 188, 189, Supertonic, 183, 200 Tonicized triads, 482, 498 u
208 Superduplet, 139, 140 Treble clef, 177 Unison, 182
in minor, 198, 201, 208 Superquadruplet, 143, 144 Triad(s) Upbeat, 9
R11bato, 64 Supertriplet 139, 140-1 Built on major scale,
Syllable systems, Root position, 217, 219, 254 V
s for pitch First inversion, 271, 272, 320 Values, .see Beat Unir Values
Scale(s) Fixed do, 551 Second inversion, 279, 280, Vivace, 64
Chromatie, 270, 279, 294, 307
Major, 181, 183, 206, 207, 216
Letter names, 5 51
Moveable do, 549-50
320
Combined, 279, 280, 320, 342
w J
Numbers, 551 Whice,John, 538
Harmonie minar, 235-43, 261, Built on minar scales(s),
Whole measure rest, 8
339 for rhythm Root position, 227, 230, 237,
Whole note, 5 1
Melodie minor, 243-9, 261, 339 Gordon, 537-8, 541-2 239,263 Whole step, 187
Natural minar, 197-205, 207, Kodály, 540, 548-9 First inversion, 295, 296
Whole rest, 5, 8
226-34, 261, 339 McHose-Tibbs, 539, 545-6 Second inversion, 308, 304
Winkler, Dietrich N., 26
Pentachord, 167 Takadimi, 538-9, 543-4 Combine<!, 339-40
Pentachords, Syncopation, 49-50, 79, 85, 92, Define<!, 168, 173, 174, 189,
inmajorscale, 182, 217 107,323-5,342-4 217

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... . . [_ ....

Progressive Sight Singing

". - ' "-.-, - [:

New York Oxford

Copyright© 2011, 2007 by Oxford University Press, Inc.

Oxford is a registered trademark of Oxford University Press

Ali rights reserved. No part of this publication may be reproduced,

Printed in the United States of Arnerica

Preface for the Instructor xv

Part I Rhythmic Reading

2 Simple Meter-Quarter Note = Beat Unic; Divided Beat 11

4 Terms and Symbols 25

6 Simple Meter-Quarter Note= Beat Unir; Borrowed Division 42

7 Simple Meter-Quarter Note= Beat Unir; Syncopation 49

Syncopation, Dynamic Accent, Agogic Accent, Motives

9 More Terms and Symbols 64

11 Simple Meter-Quarter Note = Beat Unit; More Rhythms with Syncopations 79

13 Simple Meter-HalfNote = Beat Unit 92

14 Simple Meter-Eighth Note = Beat Unit 100

15 Compound Meter-Dotted Quarter = Beat Unit; More Rhythms 107

16 Compound Meter-Dotted HalfNote = Beat Unit 115

17 Compound Meter-Dotted Eighth Note = Beat Unit 121

18 Simple Meter-Irregular Division ofBeat

19 Compound Meter-Irregular Division ofBeat 133

Part II Melodie Reading

9 I and V 7 in Major Mode; Simple and Compound Meters 270

10 i and V7 in Minar Mode; Simple and Compound Meters 294

11 I and V7 in Major Mode; Other Rhythms in Simple Meters 318

12 i and V 7 in Minar Mode; Other Rhythms in Simple Meters 338

13 I and V 7 in Major and Minar Modes; HalfNote = Beat Unit 354

16 The Moveable C Clefs 399

17 I, IV and V7 in Major Mode; Simple and Compound Meters 408

20 Chromatic Alterations: Nonharmonic Tones 469

21 Chromatic Alterations: Secondary Dominants 481

22 Chromatic Alterations: Modulation 498

23 Chromatic Alterations: Modal Mixture and Neapolitan Sixth 516

B Tonal Reading Systems 549

E Glossary ofForeign Terms 558

New to This Edition

Building Aural/Oral Skills

Ample and varied exercises

Patterns and exercises can be used as dictation exercises

New to this edition, a companion website at www.oup.com/us/krueger expands on the

Graphs ofVocal-Pitch Exercises

A companion website at www.oup.com/us/krueger contains additional exercises, flash l

Phase 1-Reading Readiness or Preparation (Aural/Oral):

Tonal Procedure Rhythm Procedure

Tonal Procedure Rhythm Procedure

1 See Appendix B for hand signs and tonal ladder.

Phase 3-Integrating Tonal and Rhythm Patterns

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;>=. (j J. j)J n 1J 'I J>B n 1J J n 1J n n J 11

1. Examine and analyze all musical elements prior to reading.

2. Always establish tonality prior to reading.

4. Always establish meter prior to reading.

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