Sight Singing and Ear-Training in Major/Minor Tonality Lars Edlund [AB NORDISKA MUSIKFORLAGET EDITION WILHELM HANSEN STOCKHOLM.Lars Edlund- MODUS VETUS Sight Singing and Ear-Training in Major/Minor Tonality Translation revised by Alan Stout, Professor at Northwestern University, Evanston, Illinois AB NORDISKA MUSIKFORLAGET EDITION WILHELM HANSEN STOCKHOLM ‘Witbelm Hansen, Masik-Forag 1.8 W. Chester Lt ‘Kabenharn London dion Withelm Hansen Prank. M [Norsk Musikolag A'S ‘Oxo kon Wiel Han Chester Mai New York ne. 3: Magaamuse‘Baton In, NMS 6399PREFACE ‘This textbook offers exercises in eartraining. Although primarily intended to be used in schools which specialize in music it also can be used in elementary schools, high schools, and junior colleges. Applicants for admission 10 colleges and conservatories will find the easier exercises helpful when preparing for entrance ‘examinations in ear-training. (This applies chiefly to the sections fon Melody Reading and Rhythmic Exercises). Many of the exercises aso can be used for private study, even though ths book 's not always decisive in their use or adaptation. The teachers and teaching assistants should complement and vary any material which is necesary for comprehensive use ‘The chief goal of ear.ruining is to develop complete familiarity ‘with the melodic, rhythmic, and harmonic sense of musical tones, [A book on this subject should contain material on all these separate aspects, but the studies of each aspect should be cultva- ted simultaneously throughout the course. The intimate connec- tion of this entire subject with practical music-making should be ‘obvious, however, its importance cannot be stressed sufficiently, If ‘ear-tcaning is taught in a comprehensive way, it will be a highly integated type of training which will include elements from several other branches of mmisical theory-melody writing, hharmony, counterpoint, and the elements of musical form, These are combined into one category for this subject: Ear-raining, The book is divided into four sections: I. Melody Reading Exercises TL. Rhythm Exercises IL, Figured Bass Exercises IV. Keyboard Harmony Exercises Once again it must be stressed that, as far as possible, ll these sspects should be studied simultaneously. (The introduction o the Melody Reading Exercises gives further reason why this is true.) ‘The index on page 6 gives some general suggestions how this can be accomplished. ‘The purpose of each section of the book is explained at its outset and instructions are given for practical methods to be followed, ‘All work must be approached in a practical manner in order for this book to be regarded as an exercise in musical craftsmanship, MODUS VETUS - “the old way”. Since the textbook on freetonal melody reading was entitled Modus Novus (1963), Modus Verus seemed an appropriate title for a textbook on practical music- ‘making in major/minor tonality. One might say that ths is a book published two centuries too late! Major/minor tonality has lost‘most of is basic meaning a a structural principe in contemporary music. Yet it is sill necessary for us to study this subject ‘methodically. As long as Bach, Mozart, and Beethoven are played ‘nd mean so much to us, we are obliged 10 study their “vocabulary”. In designing certain parts of the Melody Reading section, the author has been stimulated greatly by the works of the Danish composer, Jorgen Jersild, on the teaching of solfege (I), a debt ‘which I gratefully acknowledge I also wish to express my sincere thanks to Eva Eklund, my colleague at the Royal Academy of Music in Stockholm, who has examined my manuscript critically Lars Edlund yin Mody and hyth reading (Wie Hansen -G.Sshimer, New York)CONTENTS owe Correlation of various sections for simultaneous study 6 MELODY READING EXERCISES: Ineedaction 7 Chapter I From the tonic to the major third . a 11 From the major third tothe tonic . 10 IIL From the tonic to the minor third . IV From the minor third to the tonic . V Major and minor in the sameexample... 18 VIMajor third with neighboringtones ..... 20 VII Minor third with neighboring tones . VIII Summary onintervals ...... IX A. Major and minor thirds. .. B. Diminished triads .. X Five-tone scale in major with neigh- boring tones . XI Five-tone scale in minor with neigh- boring tones ... XII Arpeggiated cadences XIIIThe majorscale .. XIV The minor scale . . 80 XV Melodies not in major/minor tonali +93 XVI The dominant seventh chord. 104 XVII The dominant ninth chord . . 121 ‘The dominant ninth chord with a low- ered ninth and the root omitted (a dimi- nished seventh chord). Secondary se- venth chords. Diminished third in con- junction with the Neapolitan sixth chord. RHYTM EXERCISES...... eee FIGURED BASS EXERCISES .. sevens 180 KEYBOARDHARMONY EXERCISES . 193 HARMONIC EXERCISES IN CONNECTION WITH THE MELODIES SUGGESTED METHOD. . 09 Source of melodies in Melody Reading ENOICiS€S 6... ee eeeeeseeseeeees ses 205 Key to Figured Bass Exercises ........++++. 208Suggestions for general correlation of Melody Reading, Rhytm, and Keyboard Harmony Exercises.) Melody Reading Exercises Rhythm Exercises Keyboard Harmony Exercises (or aural tests in chords and dictation) Chap. 1-1 Series I — 11 Example 1 — es . m-w i :v » V-VI + 3n15 . Ww-Xxn » vt . xl = vil aon . xIV-XxV » Vu Sig. 2) . XVI » Vill > a2 » XVI ik x 22 45 }) Work with the Figured Bass Exercises should be done gradually at a pace suited to the student,MELODY READING EXERCISES ‘This section comprises the largest part of the book. The material hhas been designed primarily to develop a feeling for tonality. If tonal relations in melodies are to be understood properly, more is required than a mere facility in singing isolated melodic intervals. ‘The student therefore should study the Keyboard Harmony Exercises, page 193, and the Figuted Bass Exercises, page 180, at the same time as the Melody Reading Exercises. For those students who cannot play the piano at all, these exercises may be used at exercises in earctraining (see the introduction to each section). The Rhythm Exercises, page 166, should also be studied simultaneously ‘The table on page 6 gives suggestions for ways in which the various sections may be studied simultaneously. These cortelations can and should be applied somewhat differently by different students. The Melody Reading examples can be used for dictation, although they are intended primarily for singing, In the later chapters of this section some melodies are hard to sing not oly because of thei dificult intervals and complctedshythns but aso becsse of their wide ranges or because they are inherently instrmental Even s0 they sil shouldbe sung whenever posible, Ifthe range i too great octaves may be transposed. These melodies at least can te tied for dictation, Although most of the melodies are veal in character, the author has not resticted himself only to such melodies ‘The melodies lo can supply material for harmonic exercises, consisting of basis aural harmonic analysis with practice in key. board harmony. On page 203 ae suggestions for further we The sources ofthese melodies ae gen on page 205. Melodies not liste there have been composed by the author.I. From the tonic to the major third Any given note can be treated as the tonic Tonal material ee. = Begin on each degtee ofthe chromatic scale and sing upwards to the major third, naming the notes Choose several melaes im this chapter for harmonic practice ike the method on page 203. ‘Melodies: 2 7 Copyright © 1967 by Nordiska Musikflaget, Stockholm English version Copyright © 1974by Nordiska Musikflaget, Stockholm, Sweden10 II. From the major third to the tonic Any given note can be treated as a major third Begin om each degree ofthe chromati scale and sing downwatds tothe major thd, naming the notes Choose several melodies inthis chapter for harmonic practice like the method on poge 203. Melodies:2 ‘The following examples begin on the second degree of the major scale. The sim here is to eat any given note asthe second degree of the scale, Practice each example in two ways: (1) Determine the key and play its tonic. Then sing the example, (2) Play the first note and determine the tonie yourself - inthis Work through examples 16.24 in this way. ease a major second downwards, Then sing the example 16 7III, From the tonic to the minor third Tonal material = Begin on each degree ofthe chromatic sale and sing upwards to the minor third, naming the notes. ‘Choose several melodies in this chapter for harmonic practice like the method on page 203. Melodies’:17 IV. From the minor third to the tonic Any given note can be treated as a minor third Tonal material = = ‘Begin on each degree of the chromatic scale and sing downwards to the minor third, naming the notes, Melodies :7 “The following examples begin on the second degree ofthe minor scale, Practice each example according to the instructions on page 12. ‘Choose several melodies inthis chapter for harmonic practice like the method on page 203.V. Major and minor in the same example ‘Tonal material That which was ued previous. Choose several melodies inthis chapter fr harmonic practice hike the method on page 203. la 1b20 14 VI. Major third with neighboring tones Rising and falling leadingtone Dont forget to choose several melodies for harmonic practic lke che method on page 23 “The mor third, the interval from the fist tothe third degrees of text both these half steps havea stong leading tendency to the the major scale, has half step on either side of its notes. One leads tonic and to the thitd respectively. The note below the tonic is upwards ftom below to the tonic of the scale, and one leds usally called the leading tone ofthe sale. So we are working now downwards from above from the fourth to the third. In thiscon- with the following group of notes: SS The F (cubdominant) and the B (leading tone) in this example were harmonized. Sing and play the following harmonizations in each form a melodic digession from a starting point - E and C various major keys, paying close attention to the leading tones in respectively, to which they return. The tendency ofthese “chang. both voice and piano. ing” notes would be more obvious ifthe above notes in the groupSlow tempo (4 = about 60) aa about 100) Faster tempo (4 1 owe vor Note: In the faster example certain notes have not been harmonized. They act as so-alled passing tones between two chord tones, thus ‘vinga more flowing movement to the rhythm, 3 t wit In Example 3 the dominant seventh (V?) is included. This means that both the subdominant, which falls, and the lesding tone, ‘which rises, are found in the chord, stil further emphasizing the tendency of the chord to move towards the tonic, Regarding the 13 in Ex. 4, refer to Keyboard Harmony Exercise No. 10. 4 Excercise: Play V7 (in different keys) and sing the subdominant and the leading tones, Try to find the B and the F in the V7 chord without repeating these notes once the entire chord has been played,Melodies: ’1) a 14 ‘Aus mei-nen Tri-nen sprie - Ben viel_-blG - hen-de Blu-men her - vor (1) Regarding lt msodie which donot begin on the tonic, athe nsrtions in Chapter I, age 12.24Jo non voglio f - la-re, Ne fi- le - 1d maipiu; Ches’hoggiunpar de-scar - pe Non me Phai com - pre tu, me Mhaggio ben guada-gaa te d'andar_ in su in ye A gil; Di su, di git, di qua, di fk Come meglio me par. ve mi par Le as savch ofthe previous chordal material as possible wih the subdominant txad (IV) and its inversions (IVS and 1V$) with the cadetial 1 chord (f-V) and also the dominant seventh chord (with its inversions (V8, V8 and V4).26 VII. Minor third with neighboring tones Tonal material: Exer The interval F-Eb in the above example does not have the same (1) Sing and name these nots in various minor keys. downward-eading tendency as it has in a major key. Yet the F (2) Pay, also starting on many different tones, the hazmonizations does have a strong downward tendency when given the function of in Chapter VI, page 21, in minor, observing the accidentals in 1 dominant seventh. parentheses. Sing the appropriate melodies! ise: Melodies: 22729 27 28 29: Use the chordal material in Keyboard Harmony Exercises Nos, 1-15 (possibly also Nos. 16:25) in as many ways as possible.30 VIII. Summary on intervals (On the bass of the tonal material used so far, we can clasify the intervals encountered as follows: SECOND ‘Major second (a diatonic *) whole step): = Minor second (a diatonic half step) THIRD Major thied (2 diatonic whole steps): Minor third (1 4 1/2 or 1/2 41 diatonic steps): = = = SS SS (0) A dtonk sept the dtnace between two neighboring tones with dierent ter names with oF without aceonFOURTH Perfect fourth (1 1 1/2 oF 1/201 + Lor 1 «1/241 diatonic steps) BL = Diminished fourth (1/2 1+ 1/2 diatonic steps): = a Exercise: ‘The following exereise can be used to memorize the intervals. Write a chromatic scale Write the above intervals upwards and dawnoards from each note inthis chromatic scale. A good knowledge of intervals implies quick recognition of any interval in the printed music and an ability to sing at sight. This ‘exercise i often applied only to isolated intervals, But itis by n0 means certain that skill in singing isolated intervals guarantees good sight reading of complete melodies. There are several reasons for this: 1}. A melody is much more than a mechanical succession of larger and smaller intervals. When we read a literary text, we grasp syllables and whole words at a single glance, we see them as nits, shapes, The same fechnique shouldbe applied to reading ‘music. Here the shapes are made up of melodic motives and phrases. But vital fo the reading of major/minor melodies isthe ability to see and feel the tonal quality of such shapes and (0 spot those notes which are “magnetic”, thereby giving the ‘other notes dreetion and function. 2) In major/minor tonality each interval always has some kind of {onal quality. The same interval can hae several different tonal meanings, the response evoked being entirely different in different contexts 3 In isolated intervalic exercises we ignore rhythm, which plays a great but sublle part in a melody. Rhythm also strongly influences our response to an interval. One reason for this is that shythm often is related closely to the harmonic develop. rent of a melody. 4) A good command of isolated intervals (the ability to “hear” them mentally and to sing them from the printed page) is therefore only one requirement for good sight reading. This command is important, but itis ot enough in itself, Jn actual practice there ts constant interplay between this knowledge and 1 perception of the tonal and rhythmic shapes and sequences.32 Note: THE INTERVAL EXERCISE USING THE NOTES OF THE CHROMATIC SCALE, WHICH WAS RECOMMENDED ON THE PREVIOUS PAC The preceeding chapters and exercises have stressed the importance of being able to determine the key in each example and thus identify the function of any given note in that key: Whether it is the tonic, the Teading tone, the major third, the For example, take the note D. It may be the: (1) Keynote or tonic fst degree ofthe sale): (2) Leading tone (seventh degree of the scale): (3) Major third: (4) Minor tir: (6) Dominant seventh of the key, which i also the subdominant (fourth degre of the scale): SHOULD BE REPEATED WITH EACH NEW INTERVAL YOU ENCOUNTER IN THE MUSIC BELOW. second, ec. These terms inthe mental picture we form ofa note, lays must have definite meaning, depending on the position of ‘the note in relation to the tonic and other important notes, Any ‘given note implies either potential movement of rest ®33 IX. A. Major and minor triads B. Diminished triads A Since the triad is emphasized greatly inthe following chapters, it s 19 - 27 are in second inversion (the fifth ofthe chord is the lowest presented here in a special section which should be prepared care- note). The term location refers to the highest note of the chord fully. The tsiads in Nos. 1-9 are shown in root position (the root Thus Nos. 1 - 9 have fifth location, 10 - 19 have octave location, ‘of the chord Is the lowest note in the chord). Nos. 10 - 18 arein and 19 - 27 have thied location. No. 28 isin root postion and first inversion (dhe third of the chord isthe lowest note) and Nos. third location, et. Excercise: Describe position and location for triads in Nos. 29 - 40. 1 2 3 4 5 6 7 8 9 4 3 20 5 2 23 Be = a ne 5a4 28 29 30 32 33 34 35 36 Excercise: The triads on page 33 should be practiced as outlined in Nos. 1 $ below: 1) Play the triads on the piano. Sing the notes of each triad by name while the tones are still sounding onthe piano. Check by playing the tonic alone. 2) Practice singing the thied ofeach triad in the same way. 3) Do the same with the fifth ofeach triad, 4) Write the notation of triads 1 - 40 on a separate sheet of paper: (1) € major, (2) E minor, (3) C minor, tc. Close the text book. Play only the tonic in each triad and then sing the com- plete triad by naming the notes, The tonic of the triad is easy to determine if the chord isin root position: That is, when the bass note and the tonic are identical. Determining the tonic in the inversions will take peshaps a litle longer. A visual aid: ‘The tonic is the top note in the inter val of a foucth, 5) The following mumbers show the intervals used in the trad on ‘the next page, determined from the toni. The arrows indicate direction of movement. a 173/5 ©) 5N3N1 2 ans by 175\3 a sNv73 DEVE! Play triads 1 - 40 in tum, Sing each triad, naming the notes, according to (a) above. Check afterwards by playing (a). Then ‘do the same with (b) through (). In addition, the following exercises are recommended 6) Play any note on the piano. Sing major and minor triads according to (a) - (f) in (5) above by naming the notes, begin ing each of the triads on the note you have played. This is a rather difficult exercise but a very effective one, The result of this exercise stating from the note Fis shown on page 35,35 a b c d oe = 5 = i SS a8 b © d Minor x= +E + j Se 7) Notate broken major and minor triads as shown in (2)-(f) _notes after you have played only the first note of each triad, above, but change the tonic for each triad. Sing the name of the Check your work on the piano! B. B, The diminished triad consists of two minor thirds, the interval between the upper and lower notes forming a diminished fifth. According to major/minor tonal coaventions, a diminished interval is a dissonance which must be resolved to consonance. we look at the diminished triad formed on the seventh degree of the major scale (the leading tone), we find that the interval between the outside notes, the dimished fifth, is formed from the two “tendency tones” we have discussed previously. The customary resolution of this chord is therefore: vu t [Notice that this diminished triad consists of the three upper intervals found in an ordinary dominant seventh f= Therefore in its harmonic function the diminished tind is « dominant seventh with the tonic let out, ora so-called imperfect dominant. The omitted tonic is symbolized by the zer0 following the function symbol inthe figured bass. The imperfect dominant is perhaps most ‘commonly used in second inversion - that i, with the fifth of the V? chord a its bass note: See Keyboard Harmony Exercises, No, 14, for additional ‘work, we ws vis36 Exercise: The diminished triads below can be practiced in the following way: 1) Determine the omitted V root foreach triad, together with the key to which it customarily resolves. 2) Sing the triads and their common resolutions to tonic major, naming the notes, asin the folowing example 8 2 Downwatds v l= Sing ob di c ¢ re od (if you like, you can play the roots of the dominant seventh and the tonic chords with the left hand on the piano. Then the harmosic context will become much clearer.) (@) Sing the triads in the same way asin (2), but with resolution to (onic minor. 1 2 3 4 5 l= 6 7 8 9 10 SSS SS 1 2 B 4 5 SSS = SSS 16 Tv 18 19 wo $ SS SS SSS =jX. Five-tone scale in major with neighboring tones Tonal material 1 1% vo “ty I 5) Nelenborng tne - leo cae auxilry tone when it goes back to the > Sonal note a om *) Pasng tone - ves by step and pases between two harmonic tones, 2) The C here can be called an accented pasing tone or a sppogsatrs toa8 “The unifying fector inthis group of notes is the major txiad, or the fest, third, and fifth degrees ofthe seal: ———— es 1) ) a ) ) 3) Melodies: Molto adagio — cresc. ff ——— pDa Da Do - mine, picem, Domi da pacem, cs 39 © = bus most sis, Do -misne, in di pacem, Domi - ne, in di-e --~bus ost ~~ ris.a Drei Sonnen sah ich am Himmel steh’s, hab lang und fest. sie angesehn. 22 anf espress.42 Allegro scherzoso (J = 112) >| te - 24 25 Lento maestoso 4 =54 26 Pilee cae —_ FF a SS43 Examples 27 - 36 contain chromticaly altered notes within the span of five consecutive tones. The raising ofthe fourth degree of the scale is one of the most common alterations. This augmented fourth may be 2 fast neighbouring tone, such asthe A in melody No. 27 But this alteration also can acquire greater importance by functioning asthe leading tone to the dominant key. In such cases it then is heard as a new tonie of shorter or longer duration. This is known as a transitory (or passing) modulation. (Refer to Keyboard Harmony Exercise No, 26 and those immediately following) When a definite key change takes place, we speak of fim modulation. As a rule, raised notes act as leading tones to the note a half step above The lowered note which we notice chiefly at the moment is the Datted sixth (submediant), It has a tendency to go downwards tothe filth degree ofthe scale, the dominant, See examples Nos. 28 and 29. (Rete sso to Keybourd Harmony Exercise No. 26.) 27 Teh grol - le niche, und wenn das Herz auch bricht, Menuetto grazioso 31 = ~~ —4 Menuetto Trio Ti pat - ti, cor mio ca - ro, Mi las - stim pian - -Va + ma - 10 BE osen = gal cunt = pa -- 0 La - ni - ma sen -4 te Non ti par-tir dame Deh, cor mio ca - 10, Per le na fl In examples Nos. 35 and 36 we encountered alterations of the frst and fifth degrees ofthe scale, Presumably they caused no difficulty since the melodic movement proceeds step-wise, The following examples use difficult leaps in approaching the augmented frst and second degrees ofthe scale. Always try to imagine the note of resolution (the goal ofthe augmented note) before singing the chromaticaly altered note,46 Inexample No, 37 therefore, and then and : Ee first think Ifyou find examples Nos, 37 and 38 too difficult, leave them for the time being and retum to them ater. B. kannst es nicht be-greisfen, wie ich wei-nenkana; ta der teuch -ten Per - len tun = ge-woha -te Zier feu - dig hell er - rit - tern in dem Aw - ge mir! Adagio molto (J ~s4) e 38 : = : gp ? crese. of ff ‘You may study example No. 38 (and similar examples) in the following ways (1 Sing the ehythm on one fone with a steady eight note pulse (2 Sing the tones of che melody in equal time values and in any comfortable octave. Slowly! (9) Sing the melody as notated, but without the teil (4) Play the melody on an instrument with the tills, accents, dynamics, ete. 39 Hie und-da ise an den Bau - men man-ches bun-te Blatt za seh’n,47 XI. Five-tone scale in minor with neighboring tones ‘Two important exercises: 1) Play and sing the minor versions of the harmonizations in Chapter X, page 37, 2) Practice minor triads carefully in the same way as you practiced major triads in Chapter IX, pages 33 and 34 Tonal material:48 Som stiimman up - pi himme-len $4 kd hon ling tar till site rum, sh Ming tar jag till dig, minil- la vin, var tim~- me och var stund, Var tim me ar somen mh-oad ling, var_mA- mad som ett as Si ling - tar jag till «dig, min ll - ba vin, fast’ fag dig ald - rig Ap ~ pel-lon nau Le doux ai - gneau, Ap - pel - lon nau, Ap ~ pel-loncc nau, Le doux ai - gnena, si haut quill nous a = peLi-mu, i-mu, li = ma, Gud lat so-len ski - na O-ver ber - gen de bli, G- ver kul-lor-na sma som i sko-gen skall gh om somma ren, 1634 Si git en dag in fri vir tid och kommer te - ke men, och in en att med Her - wens rid el jor den sin - es ned Adagio 26: : z Bin = ge-schla-fen auf dee Lau - er oben ist’ deroal - te Rit - ter, dri - ben ge- hen Re - gen-schau-er und der Wald rauscht durch das Git- ter.3234 Was ver-meid ich denn die We - ge, wo die arden Wandser — geha, sen hdbn? su -che suche mir versteck- te Ste - ge durch ver-schnei -te mit versteck - te Ste- ge durch verschnei - te Fel-sen - hihn, durch Fel - sen - hdbn? — 41 Use the chordal material in Keyboard Harmony Exercises Not, 1-25 in as many ways ax possible. Inthe following meladies the lower neighboring tone of the tonic lies a whole step below. Therefore if Dis the tonic, we have: SSS SS This is the central group of notes in one of the old church modes - the Dorian plagal or Hypodorian (church mode Ul) Later several examples of diatonic melodies which are not govemed by the tonal cadences and therefore are not related to major/minor tonality will ‘be found, But first here are some simple examples inthe Dorian mode OE Ss a ‘Varl- dens Frill - sa - re, kom his, re = na jung -frun mo- der as,33 — + ¥ + + = — qq = oF SSS dl yen bed shun = dee ~ Hig, Her - re Je su, - des dig. 43 Porlin oss Gud, i nid, frid i va-m — da-gaey ty in-gen a ph jorde- rik, som o- frid kan Or-ta = ga, u-tandu, Gud, al ~ 44 © Kis td som unset ix, dig han €) mvir-kerbli- va nar, s s x ress ‘ & 2 re 2S 7 v ¥ v Vi skt- da upp i wron ll dig, ir 50> Kens jos fr - dal - jer ig, 3 times) a Si times) GE Rass rs Ky-d-e ++ deeison, Chii-we ee + + devison = (2 times)36 Some old French carols 46 Je me suis le - vé par un ma ti - net Quelan- be pre - mait Son blanc mante let. Chantons no let, n0-let, no ~ let, chantons no - let en- co - re, Al ~ tons, suivons, les Ma - ges, Qui char- gés de pee ~ sents Vont rend -re leurs hom-ma - ges A ce di - vin. en ~ fant. Mais. le meil - leur Est gulls don-nent leur coeur Un cocur ar - dent Est tou ce qu’il at - tend. Or vous tremous-sez, pasteur de Ju dé - Estes - vous las - sez i-quet-te ne - te =e. Chan-tez par - mi le pre - au Nau-let, nau-let, nau-let, nau37 (Chan-tez par - mi le pre -au Naw-let, nau-let, nau-let, nau Naw-let, nau-let,nau-let nav, 49 de Dieu Voici le jour de le nais-san- ce du fils En signe de té-jou - i san - ce dans ce saint lev, Chantons un aie mé-lo- di- eux quel -- - que can-ti- que Quiphi-se aumo - narque des ciewx Par sa dou- ce mu-si - - - que ‘The tonality of the church modes is made up largely of certain typical melodic formulas which reveal much more about the mode in question than merely the arrangement of the notes. Notice the typical Hypodorian melodic formula in Examples Nos. 42 4. ‘The use of formulas is called the modal system. (Modus, plur. modi, i used, as is known, as an identification forthe church scales.) Many folksongs are modal. (See Chapter XV). ‘Contemporary composes ofien have used church or folksong modes. Here ae afew examples from the works of Igor Stravinsky J-80 50 rer dans not{re) chau - mit - xe ks ma ci euse, ai ~ ders38 d-0 a =a 51 Un beau cu - ban blew, un bea tu - ban rouge raz am Un mu - ban rouge comme mes joucs (4-120) 52 dans Daig - ne simable méx(e), __daigne ent - rer a chaumiés(e), daig - ne nous ai- Tenor solo renor solo der lesboucles dé - fair(e), lesboucl(es) du marié- Daigne dé&-mé - ler les bouel’ du bouclé ~ En - tre Mére dans la chau-miér(e)daig-ne nous si- der les boucles a defair(e). (J 80) 53 Et vous pére et mb = re be nis - sez votre en - fant "VF the rhythm is too difficult to sing at first, sing notes of equal length until you can sing the shythm as given, Return to this example when you can master the exercises in Rhythm Exercises, ‘on page 176,qui Sap ~ pro che é-rement toute mu--fail- le reaver - sant molto cant.ma nonf —_. 56 Pantabile SS hee60 XII. Arpeggiated cadences The following exercises are based on arpeggios (broken chords) belonging to the cadential material. Practice inthe following way: 1) Read through each example and determine on what chords itis based. Play these chords on the piano (right hand only) while you sing the example. In Example No. I therefore, the following chords are played: in Example No. 2, these are played: 1 ws 1 1 rg ve I 2) Sing the examples without using the piano, Always try to hear the chord notes sounding together as harmonic enties, 3) Practice the major examples in minor and vice-versa, 1 *) Refer to Keyboard Harmony Exerc No. 18662 XIII. The major scale Tonal material: ete v >see?” = = Tt ‘The stepwise movement from the dominant degsee of the scale upwards to the tonic, forming a perfect fourth (5 1, see group of notes above), should be practiced first by using the following simple harmonic execcse Exercise: Pay and sing this chord in all major keys, naming the notes ! vi u ‘The group of notes given isa trad This trad contains two new intervals. The With the tonic doubled atthe top terval formed by the third of the chord nd the tonic above (34 1)isa minor sixth OS 1 [If the triad is putin second inversion (with the Fifth a the lowest note) ‘or into open position:“6 then the interval ofa major sixth formed from the ith ofthe ta uptoits thie. (5 7 3) Excercise: itis most important to practice the sixth in open positions of the tid. Pay the trad in Chapter IX, part A, page 33, onthe piano Singand name the notes of the major and minor sats of each rad that reel from the allowing progesionss) 5.73. «) 3.7 1 yaNs a 1N3 Be sure to rea and sing upwards and downwards, beginning with all the notes in the chromatic seale (see Chapter VIII, page 31), the new intervals which you have encountered in Chapters X - XIII: Perfect fifth, diminished fifth, major sixth, and minor sith. Melodies Allegro non troppo ma con brio poco fAndante cantabileThad a little nutteee, nothing would it bear, bor a sil- ver out-meg, and a golden pear, The King of Spain's daugh - ter came t0 vi sit me, and all for the sake of my litt Je mut - tree Fin Jling-ling liebt cin Mad - chen, die hat ei -nen An-dern er wile; det And'-re liebe “ci-ne And’ - re, und hat sich mit die - fer ver ~ mihi Andante larghetto 15 ‘Their sound is gone out, their sound is gone out in-to_all_Tands. into all lands.66 Allegro vivace 16 Cp P Allegretto Violoneell 17 > ———*f P —=s Violin L f gf Allegretto PrestoVivace assai 23 Allegrooa Allegro 26 ft 27 And Oh! i was a 1 saw a ship a sailing, @ - sailing on the la = den with pretty things for me There was com-fts in the ca din and ‘The sails were made of sa - tin, and the mast was made of gold apples in the hold. Vin = den drat, skeppet_ far. = bort till fj - ran tand, sj = mans - gos sens = a,‘ - la van ste © sOr~ jan - de ph strand, Ne, fifingt’. Vare jag ser, gj min - sta nymf ger 8 = gat 10,6. ci gus och ler en Klack = lapp av ca sko. Fj) vis sar mig en tick er - ire sin fot. i sprin get —_blyg, Vad ser jag? Toffeln lig - ger = dir, fr ~~ «su tan ver = yg. Brisk and happy 2 30 31 Det bod- de en fa alle So -der un- der 0, hon ha - de en dot + ter som kal la~ des Mal - fred, Den Sjon han gror —aldrig.32 Jungicu Mar - jo hon skul- le at af -ton-sing-en gin- ga. Tiden girs migling, Si sick hon den vi-gen it ber - get Ig. Herren Gud vet sorgen den ar tung. 33 Och l= a Ka- rin thin te pi ko. ~~ —ungens gtd. Lento Hon tjin-te dir si Hin-ge uti tol, he - ae a. Us thro = sen Allegretto CAS Se 34 dp ip Allegro teneramente 35 sempre p e dolceAllegro con brio 36 Allegro moderato & = Andante 40: As when! the dove la - ments, ber Tove, Allon. the na ked sprayn 43 Adagio molto espressivo 44 =— P —>P <=> Andante, ——— 45 P ~~ Mein teu - rer Heiland, a8 dich fa - gen, ‘la dich fra - gen, teu-rerB Hei - land, laB dich fra - gen, laB dich fa - gen, teuter He-land, ia8 dich fragen: Poco andante PP. 47 — hit = ft, komgladthi - tit, link och, Kom sladt late, skyn- dom pi, skyn dom pl, fie kor smi Kom hit och vil) och kép, shir, de blom - mor vir - en sks - rast biel Kom, valet gar eg ——— be -4 svi, jag har des - ta quar, debs = = ta quar. Poco allegretto. 49 Fa gela pi gre - nen sn = geri ka gill. Blom - man pa re = nen Blic = kar = ka salle, Men alle -se - dan dig jag sig har for = and = rats all min _ hig. p —= He - lh da-gen jag be - ~~ gen set och hor blow dig. In several of these exercises you may notice that it i easy to use the parallel triads of the major key (submediant,supertonic, mediant), ‘This may be practioed in Keyboard Harmony Exercite No. 38. It also may be meaningful to do this exercise in connection with the ‘harmonization of melodies in that chapter.Rectatives often provide excellent practice in reading a melody ‘The ability to read the Bach reitative below (and by reading we mean as always, not only the ability to hear it in your head, but also to sing it) depends on one’s proficiency in reading the hatmo- ‘ic progessions. To a great extent the following melodies contain the notes of the chords indicated by the figured bas: symbols These numbers, written below the bass note, are a musical shor hhand to indicate the desired interval(s) above the given bass note ‘Thus the examples also provide practical Higured bass exercises using chords in conjunction with the Figured Bass Exercises begin- ring on page 179. If you have difficulty in finding the right note, 5 ‘you always should find the broken chord of which the "dificult interval usualy forms 2 part (se the inserted notes in parentheses inthe first recitative), ‘A good method for singing ectatives is as follows: (1) Pay the figured base patt and sing each eho notes, while the piano is stil sounding naming the (2) Play the figured bass part and sing the recitaive with or without the text, (@) Sing the rectative without help fiom the piano. I student cannot play the piano, the igure bass pat should be played by the teacher or some other person 50 Und er kam 20 sei-nen Jiingern, Die Schaar a-ber und der O-ber - hauptmann und fand sie schlafend, tund die Diener dee Judea nahmen Jesum. vund sprach zu ihnen:bin Da ging hin der Zwalfen ei - ner, 2a den Ho- hen pries-tern und sprach die Stadt Ei - nem, und sprecht 2 mit Na-men Ju - das T-scha- si ihm: Der Mei = ster bt dit ich will bei dir die © - stern” Evangelist: 53 mit mei-nen Jin = gern, Je - sas mit th-nen zu ci-nem Ho- fe, der biel! Gethse - ma-ne, und Jesus sprch zu sei ~ nen Jn - gern: Set - zet euch hier, bis | a ich dort-hin ge - he 6 ————————" © ¢ ¢78 Evangelist Re- de vollen - der °, sprach erm sive Jin - gern: Thr wis set, da nach zwei- en Ta -gen = O-stern wird, und des Menschen Sohn wird ud - ber-ant-wor- tet werden, i- get wer - de.9 Evangelist: Pitarus 55 este Da sprich Pi - le ! So bist du den - noch ein Evangelist: Jesus Je -sus ant -wor-te-- rez: Du sagst's, ich bin cin K8-nig. bin da-2u ge-bo-ren und in die Welt kommen, dal ich die Wabrheit zeu - gen soll. oe — : z 3 v . 4 Wer aus der Wahrheit ist80 XIV. The minor scale ‘Tonal material minor The relative minor of C majoris sy. A minor SSF “Those notes ofthe minor scale which lie between the tonic and the fifth (145) differ only from the corresponding part of the major scale sn the lowered thied. The other part, from 541, i more complex because the sixth and seventh degrees are variable, aocounting fr the diferent pitch sequences ofthe natural, harmonic, and melodie minor sales. Harmonie minor scale Melodie minor seal: Natural minor scale Gometimesealed Aestian: se oS 4181 a Se = = From the note d: = veo 7 All seales are specific patterns of tones. They are foundations of total musical ideas - general basis for compositions. Melodies rarely confine themselves toa fixed scale pattern. To explain their differences we may examine them as follows: Let us begin with the natura minor scale: foo In a perfect cadence in a minor however, the third of the dominant is raised to gf in order to giv the feeling ofthe leading tone rising to the tonic a If we arrange this particular group of notes into scale form, the result will be a harmonic minor scale. As you can see, this scale has fan augmented second between the sixth and seventh degrees, or the submediant (which tends to fall) and the leading tone (which tends to rise), In traditional Western melodies this augmented interval oRen has been considered difficult to sing and pethaps also ugly to hear, and therefore it has been avoided. Even today it sounds somewhat exotic, a in ths excerpt from Geroges Bizet’ opera, Carmen:82 The augmented second does occur in several East European and non-European types of scales (See Chapter XV). In major/minor tonality it is common for the natural sixth and seventh degrees to For example, in Catl Nielsen's song “Limelin Rose" bbe used in downward movement (stressing the direction towards ‘the dominant) and the raised sixth and seventh degrees tobe used in upward movement (stressing the direction towards the tonic). Se, der var en gang en © Kon - = gy mangen Skat han ald - te sin, The results what we call the melodic minor scale ‘he harmonization of the movement Se1 with the raised sixth and seventh degrees can be waitte tke this 1 owe ovis 4 ‘The Dorian Key belongs to the medieval system of church modes - the tonal material of the scale and the Dorian melodies themselves. a subject not theoretically (rested in this book (1). Here we shall The Dorian repertoire used is monophonic, In modal polyphony. restrict ourselves to a few observations ona typical Dorian melody however, ditional factors apply. taken fiom plainsong in order to illustrate the difference between = os —. == a SS ee ad oy SS Ro. = te coe 7 Ode OP etna bespla = rant ju ~~ =~ stom: ap-pe-ri-a - - -tur ter (0) Chapter XV however does contain some melodie mater for practice in mandy raaing (2) The sigan (quia) i performance practice sign. The tne \havates + somewhat lenthened tone and ws shor and some83, ———+ SSS SS 55 ESS SS SS et get = mi- net sal - ete oem Some observations: 1) The tonie (usually called the inalis)is 3) Tonally, the c is a very important note (ste the word 2) Both the raised and the lowered sixths, b& and bP occur.In desuper) and in tum is related closely to the fifth below, f. cach instance the lowered sixth, bb, appears as a note filling _Melodically, the ¢ plays a more important role than the high & to the dominant a, The raised sixth, bY, appears (o nse as 2 (the tonic), which here is only a "neighbering tone” to the c link between the dominant a and the leading tone c The melody therefore encompasses a range of ct , rather than ata? . Melodies: Allegro con brio 2 ftAllegretto (Polska) 11 p—_=— 12 oven AdagioEtwas langsam 16 Bis oe Ket-he © war mit mir aus der Stadt ge - 20 - gen Massig 17 5 Non metk’ ich erst, wie mid’ ich bin, da ich zurRuh mich — le ~ ges Ro-sa lil-la tal-te ll sin Bro - der si. Under linden Hvad_—sporde du fr nytt up-pi tin - get i - gir Sd sent om en af- toms t= der86 Andante 20 Hertig Hil -le-brand han si- der pa fi-ka Grefvens gird U- ti lunden. Och a 4-KaGrefvens dot-ter for honom w-te sti. Den jag hafver tingat i min ungdom. Allegro appassionato 1g SS SSS espress. crese. He trusted in God thathe would de i-verhim; let him de - li-verbim, if he delight in him 23 Och hie da lil-la batsman Hvad jag au si-ger dig. Och ville du nu spe - la gull vie - ning med mig? —-«dDe_—sspe-la- de, de spe-la - de gull - rarning,Jag gack mig ut en midsom-mar- dag, di grédan och Gr - ter-na_geor. Det vac wi a-de-la-konun-ga -baen, de lof - de by: "Og har He. Pe- der!” Biv hjem- me i ar! da ved, vad jeg i min Ung-dom er spaad.” men So- en deager_ un der. Ro-si lil-la gen -te pi Ko - sungens gird = med a tanoch med dyed. Och deren te hon th nda ie I vin = nen vil, I vin= nen vil ba = de Ro = sor och Til ~ jor.a Och Wal-le-mo ban sad- la- de gin-gar-en gh U-ti léndom, Si red han sig till jungfru Hil - debrands gird. For detta var mig timat i min ungdom. 28 Det var den fil - a Ka - rin som —tjen- te pi Konung- ens gird. Hon tien - te bland de lil - jor och bland de ro - sor sin Sarabande ~ ra 29: Moderato 30 P ——— Allegretto (J 31 tfDet lig-ger ex slo i O- ster-tik, Dee lig-ger si val be - bun- det Med sil-wer och det x5 - da gull, eda gull, Med mar - mot-ste-nar upp - mu - rat1 Allegro vivace Om al a berg och © da-ke vo- ro vin- da guld, Alle vat-ten vo - re vindt ust vin: Allt - sammans vill) jag va = ga for dig win Hla vin, Om du vor all- aki = re -stan min,92 seo rie ke How Det bod - de en fw pa Tros te Mal- fred; Den sor- gen gror ald - iy, ha - deen dot - ter som het hie det dig. Sjun-gerjag, sk hor, du mig; Grk- cer ag, \sw In several ofthese exercises it may be easy to exchange the parallel chords of major and minor keys. This may be practiced in Keyboard Harmony Exercises Nos, 38 and 39. It also may be helpful to work with these exereise in connection with melodie harmonization, since velodies. Examples Nos. 26 32 (.37)as well as 40 -43 in the Keyboard Harmony Exercises will we now have completed the chapter provide an even greater variety for harmonization.93 XV. Melodies not in major/minor tonality This chapter deals with a number of melodies whose tonality in many cases is not major/minor. Most of the examples ae in some type of mode (see pages 57 and 82). In reading almost any melody one must be aware of tonality as well asthe intervals. The same applies here. The student therefore is advised not to sing using the “one intorval ata time” principle, “He must imagine whole shapes. It is now, jst as before, a question ‘of melodic studies, not intervalic exercises, Before singing melo: dy, the student is advised to determine the tonic, This wil make it easier for him to become aware of the special types of tonality encountered here Otherwise the metodies are stated without comment. A perceptive teacher wil be able to find numerous examples illustrating the ‘eatment of diferent tonal systems and types of scales. Sources of the melodies canbe found on page 204 cide May - en - zeit o + ne Uk dem Phan © > ne wi = der - streit, “Sein wol - ge - an, few - den sieht man eit ban uns al plim-leia bay + ku = mer pelu = ne wi - der Lich «te = den den Dorch das hel - gel * sind fen fen, gras sie schon uf ge - drun - gen und det walt oma nig-vald un - get- zalt ———— + ¥ a? = 7 ist der = schale Taser ward mit demd-n0Da Capo al Fine1. U-a ma- ti- nada Fes -ca, vaig sor- tir per’ na ca - car, —no’n tro-bo perdi ni 2. Si nou-na po-bra pa - sto- ra que'nguarda-va el be- sta Ja Pen tro-bo a-dor-mi - 3. Detant bo-ni-que-t2 qu’e-r2 no la’n go so des-per = tae, ne eu Ilo un pom de 2 ’ 2 wat Th pera po-der-li i ~ el eis fa Sovmduncan-yari-3,Stmti-sa Vamécy'm 0 = ca sm to-cabe'mto- ca io “bas yal-pit le nivaig t= me 1698 19 Lal lachan, jot- ft on ys - ti oll, kun mi- a ai-na lau lan Tau - lol- la ni mi-na pie - net su - rut sy - di-me-ni poh jaan san. pai La - lul- a ni mi-nd pie - net su- rot sy di-me-ni poh -jaan pai - aan. 2 a 20:Loo. Yea them whaurthe hea - ther grows, 26 tothe knowes, a Cathe ewes them whaur the burn - ie rows = my bon = nie dear - ie. ey’ - nin? sang, sound ing Clu den's thro the ba = aes Cle den” side, att, thou hase stowo my : y woods a mang; 1, Hark, the ma 2 We'll’ gaedown by 3. Fair andlove - ly as thou then a-fanld - in’ Jet us gang, my_—_bon - aie o'er the waves that sweet - ly glide tothe moon sae T can die, but can - na part, my —_ bon nie101 29 Alemen Ah - tje, dat gaik - viek - sak gen gol fa ~ mon gaikver -alt ley dat Ie ai niu un-ne juh-ko na-to, may gul dat gaik-viek-sak jic-l- tal - la jagichtja- ta, ¥o- lo, vo - lo, vo-l0, vo - lo, vo-lo, vo - lo, vo-lo, ¥0- lo, vo-lo, yo = Io, v0-lo,vo - lo. 30.102 dain vill tae -k - key 31 Fa taher de, Asma ~ her dey fie ochlamm «ill mej? FA = a - her -de, fi - a= her -de fit - ta di ma fin = na saf-tige gels Wr dina fir all tid skall du om till mej du gar,103104 XVI. The dominant seventh chord We have stressed previously the importance of focusing attention on whole groups of notes or shapes when reading melodies, These Shapes have generally consisted of triads. ‘Now study the melodic line in the following excerpt from the St. Matthew Passion by J'S. Bach. by Wahslich, ich sa-ge euch: —Ti-ner un-ter euch wird mich ver = ra ob ob * ‘ sb mo ea a ah ‘As you st, the melody is govemed by two Vchords:In the fst the chords of which the sevenths are part - that i, think ofthe var the V? on eb and inthe second the V7 on c (inspite of the V7 chordsin all f bar 1 and bar 2 respectively. In earlier exercises fact thatthe figured bass has ane, which simply means the chord we experienced “finding out way about” within the tind (Chapter is used in fst inversion). You wil find it much easier to sing dhe 1X). Here are some similar Exercises using the W” chord tminorsevenths of the melody €-r 49 and cord? ifyou can hear A 7 8 9 10 1 te 13 fo aie € q105 B Exercises: 1) Play the above V7 chords and thee resolutions. (Refer to page 38) 2) Play the chords with resolutions, but let each chord sound while you sing it, naming the notes. The chords should be sung from the bottom up, starting with the tonic. The chords notated in open position are to be sung as if they were in clae position. Chord No.12 therefore is sung: Note: In this chapter all the resolutions of the V" chords have been ‘notated with the major tonic. However you should practice re a nr solutions to the minor tonic in the same ways, 3) Play the bass note (root) of each chord, Sing the chord. Sing the chords and their resolutions, naming the notes, beginning with the note you have played. 4) From the bass notes notated in Section B, sing the notes ofthe V7 chords and their solutions aftr fist playing them on the piano, 5) Think of the notes below as sevenths in various V7 chords, Pay them on the piano and sing the V" chords from the note downwards Name the notes. Finish with the tonic in the key of resolution, 1 2 3 4 5 6 2 8 9 10 ’ ©106 Using the V7 chord, here are some special exercises forthe following intervals: 1. Minor seventh 11. Augmented fourth (tritone) IIL, Major sixth (it has alteady been introduced in conjunction with the trad, but here it has a different harmonic function) I. Minor seventh 1) Sing the minor seventh from the root ofthe VTchord upwards (8) ffom the sevenths of the above chords after fist playing to the seventh, naming the notes, ‘only the seventh on the piano. If you find it difficult to sing (@) from the chords notated in A, page 108, ater fest playing the minor seventh downwards immediatly, first think of the ‘only the tonic on the piano descending V7 chord a6 2 whole, (6) from the bass notes notated in B, page 105. ‘Sing the minor seventh from the seventh of the ‘V7 chord downwards to the root SSS] b stands for a V'chord in fist inver- enor son wih the root omitied-The bass noe is thus the third of he" chord, conta strong leading tone tendencies (ee the arrows in example) From this thir (e) upto the ninth ofthe V? (ab) diminished seventh and. theel stormed, which explains the figure bass notation “diminished seveath which follows © cb db. This chord, which consis of three minor thirds, has & very marked tendency to resolve 0 the triad Exercises: 1) Ply again the seventh chords in B, Chapter XVI, page 105. While the chords are sounding, ing the appropiate dimished seventh, begining withthe third of the V" chotd, Also sing thelr eslutions. No.1 in B, page 105, wil be performed in this manner Sing Pray 2) Sing, naming the notes, the diminished sevenths with their rsolutios the following notes as starting tones: (also to minor triads) as in the musical example b) above using 3 1 2 4 5 6 7 8 9 10 i 12 ; SSS! A == SSS SS aS125 (3) The notes below are to be regarded as diminished sevenths (lowered ninth in 2 V® chord). Sing, naming the notes, diminished sevenths downward, as wel as their resolutions according to the method outlined below. 1 2003 4.05 6 7 8 9 0 Mn 2 B (Name the notes!) 4) Use the notes in A and sing diminished sevenths with their resolutions inthe following way: (Name the notes!) (3) Use the notes in 8 and sing diminished sevenths with their resolutions inthe following way: (Name the notes!) In some cases it may be dificult to. see the tonality in an arpeggiated diminished seventh chord (a) if the notes extend beyond the basic chord (if the thied of the V" isthe lowest note). (b) if there are big leaps within the notes ofthe chord, Examples: ®) b126 Te onal aly ofa chord is desved fom lear eng of he onc, and knowing whe ttn ite lon of notes treo apart Bt the dmined seven chovd ths on ‘Sciuted dan te hd fo dtm on aly. Te fe Ove chord can be lose afore: when te chid I reg ded, sn») here ways ccs at aunt sand ee ob ef. Ta tp note nts neal ed the WY chorea tes. Te tone href sa major td below Gn hs at 5th sane venga fo etople 6), ea aan Sing Puy: Secondary seventh chords AIL intervals are not obtained from the V7 dominant seventh chord has these characteristics: 4) it lacks a diminished fifth, with its strong tendency to resolve. 1) the seventh can be major. 6) its third may be minor. chord, A non mented second is somewhat harder to find here because of the chotd’s open position, To stabilize your intonation when prac ticing melodies like a) and b) (and exercises 4 and 5 on page 125), you ae alowed to play the omitted tonie on the piano. ‘These socalled secondary seventh chords can be formed on al degees of the scale except the fifth and seventh, whose sevenths axe always dominant, V7 and V3 respectively, Toot ww Secondary seventh chords and melodies characterized by their sevenths are usually sequential and the tonics of the cords fall in a wow wot series of fifths. Study the following excerpt from J.S. Bach's Inve: tion in D minor:a7 ‘Study only the melodies and then compare them withthe outlined type of harmonic progression as found in the previous C major hharmonic progression. Even ifthe secondary sevenths are not pto- example. ‘inent in the Bach excerpt, the basis of this example isthe same128 Once your ear has absorbed the harmonic progression, itis not usual: Another way of comprehending the sevenths in the melody is to ly difficult to sing sevenths in this kind of melodic context, hear them withthe mising thirds in the Key. The diminished third ‘The diminished third often occurs in a melody in conjunction with the Neapolitan sixth chord (1°). Its definite leading tone tendency towards the tonic makes it easy to sing. 1 ue? vet Exercises sing the melody in the above example in a number of keys. Name the notes! Ply only the bass notes on the piano, Melodies Bie Ge - rechten See-len sind in Got-tes Hand, und kei Etwas langsam ne Qual rah - - ret sie an. —s Dec Reif hat ei - nen weis-sen Schein mir i - - ber'sHaupt ge-streu - etLarghetto How beau ti -fal are the Allegro ‘And — with Andante larghetto For be - hold! and gross darkness the fect of them his steipes people, that preach the gos -p le- si -son Darkness shall and gross 1 of co - ver the earth darkness the people 129Courante Ter -flie - fe, mein Her-ze, in Flu - ten der ah - renAllegro. moderato Af de morka tan - kar e-vigt pli - gas jag, - vigt pl - gas jag, Jesus 4 Wabrlich, ich sa ge dir: In die - ser Nacht, OC 6 %, By fe he der Hahn ——witst du mich dreimal_vercleug-nen.‘Was be-kiim-mert ihr das Weib? Sie hat cin gut Werk anmie ge- tan! — Ihr ha -bet al - leveit ——— Ac =~ me beieuch, mich a ber habt ihe niche al-lezeit, Daf sie dies Was-ser 7 ’ yo. rn hat auf meinen Leib gegos-sen, hat siege- tan, da man mich be-gra - ben wid. ° ? eb oh Evangelist: 16 Darnach bat Pi = k= eum — Jo-seph von A ~ ri-ma- thi -a, — 6 3 ¥133 (doch heim = Tich aus Furcht vor den Ju = den,) rmiichte ab -neh -menden Leichnam Je su. Und Pi = la-tus ertau- be-te es. Be ~ bam es steht der Helland an- ge -bun-den. Gel Belung, Thr Hen - ker,—. h, SS Ss ae i 2S = = = = = > a ci 4° in ihe habe cin Herz, das mu der = Mar ter - stv - le gleich tind C= . [SS] SSS Ez | noch viel hit - ter sein, Er = - - barme euch, hal tet cin! =— =e ‘ ‘Ach Gol gatha, + ges Gol -gathal Der Herr der Hertlichkeit rutsschimpflich hier ver-der - ben, der Se~gen und das Heil der Welt wirdals ein Fluchan’s Kreuz ge = Dem Schipter Himmels und der Brden soll Ed? und Lufe ent -20-gen werden; die Unschuld—mulB hier schuldig ster - ben, Das ge-het meiner See- le # ne Gol - ga- tha, uns” - ges Gol - ga-tha! aA136 19 Drick urditt gls, se déden pa dig vin - tar, sli - parsitt svird och vid din teiskel stir <3 Bliy_ ¢j forskrickt, han blote pagravdéren glintae, slar dea i - gen kans-ke in paett Ar, — Movita, din lungsot den drar dig i graven. [Violoncell] Koipp nu ok - ta-ven; stim di- stringar, jung om li-vets vie! Stim di-na stringar sungom livers vir. [Violoncel Poco Allegretto 20: Si dys- ter ungmén sat en qvill pa haf - vets strand; den — vin honhaft si kér git’ bort ‘ill fjer-ranland. Di steg en fée ue as o~ bad med kie - ~~ ‘lig. rst: Kommed, vi = genupp, ur vi -gen upp_och 4 ——~ — kom med! och ung - = = - min sjink sill hen- nes kal - la brit.437 Se 7 men Gudmund een tro - fast svend 1 kveld skal ingen her pa girden vi-de,attGudmunder fredios; i mor gen fran se at hjael-pe sig selv 23 Den vok - sersome-geni A-re-ne lan-ge;den naeres ved tankar och sorger og, Po ee = 24 Ha -vet su-'sar, sko-gen skilver, ju - ni-nat-ten tri-nar blek. Silver -vatt- rad ———— =— dy-ning val-ver, halvt i drémoch halve i lek, en en sum stjienas ——_spegling. Con brio, e rubato P-. vivo PE gE poco rt. 25 Och vill du vil, si fir du val, si har du val min he-le sjal tll tal att alska och pina och trampa i- —_ rit. erese, ne = — a. =>. SRA ‘on passione dja ‘med tramp av din bal, du -hd-gadusvinga-de vil-da i dansen,138 Maig langsam <== =P pap 'As we have noticed several times eatlir, confidence in melody reading comes not from singing individual itera, but from a thorough understanding of combinations of interas. These combinations are given here in tonal Form, often combined with harmar progesions. The movements of one chotd to another create the harmonic progressions of a composition, Security in melody reading soimplies the ability to read quickly and to understand the harmonic progressions In the following example from Wagner, the sight reading demands are great because the composer has exploited the chromatic potential ofthe tonal system to the ful. It also is difficult to find and analyze the tonal center, I is quite worthwhile to become thoroughly familiar with this type of material. Here aguin the sight eading procedure is based upon knowledge of music theory in teaching groups of three to five students, the author has used the following method in studying the Wagner example and similar smatecil 1) The student first should attempt to discover the harmonic progressions in either the complete example or in a small portion ‘of it (Possibly with the guidance ofthe teacher), 2) ‘The teacher (and later the student) should play the harmonie progressions by reducing the accompaniment tothe basic chordal pattems (so-called harmonie reduction).139 {A teduction of Example No . 27 on page 140 could take the following form: 3) One student (or several students) should sing the solo part (frst without text) while the teacher of another student plays the harmonic reduction, 4) One student should sing the solo part to a piano part which is reduced even further, ne which possibly contains only the bass notes of roots ofeach chord, letc. seuikeirea vite nr ne etn trminciog hu ons meee {ero harmon futon (2) 1m cater core nr igen he fancton spon Vf cher, 2LaT |S eh the ae ee shone wees ae “The author prefers the term dominant ninth chord with omit oot, jst ws tne prefered the term dominant seventh140 Schr lebhaf ich meinen Roby ale voll _mich Lobren, Schmach istmein Hel = den ~ cum! —= ee Be - sprochen, : <= = mert liege mein ff. Schwert, mein Wap - en ward zer - brocken, ff. of " ff.142 Va - terherd! cresc. gefebrat143 mmcin Blick I . », ieht selbst de ber mich, Durch dich, durch ‘mol ich ver 2 —- Bf. # uhm. ? mein Ebr, all scinen Rubin ‘ie sollmich Lob mehe —ist mein Hel - den - tum! sprochen, Schwert, ist mir ge- Tiege meinb, be ‘rochen, ter ~ herd! . htt ichmolto cresc. hab ich ver = lo = 7 mein” he hin! Mein’ Ee’ mein’ Ehe’ f147 MaBig langsam Be 28 elt do's wirklifh? Wahnst du das? ~ seen al lee auf freundlichsten der Freunde; sei-ner Trou frei -ste poco erese.bes wat mein Herz ‘mit feindlichstem Ver pith crese. ‘Trog mich _ Tri - stan, Soll ich hof-ten, was sein ao ed ied gen mit ge - wof - fen, sei durch Me-lots Rat, redtlich mit bewahet? poco riten. pip150 — Poco rallent. 7(etwas gedehnt) 30 dah ihe Blick ha nur nicht er a ba. Hel ~ den oh - ne Glei- che! ‘wei wobl,od una corda ex - schaut,154 ‘Macht und Ge = winn, so. schimmernd hehr, lee Staub der Son.spon - nen! ——$—__= crese, z 155156 Dleibr ihm ein cin ur molto crese.ihm ache! — ‘TristanIsolde: mit glei - chen : soll — ten uns ~ oe i SoS P Tristan: er-tei- chen? a F —S r159 sans Lie undmein’, I-sol ~~ e+ be Welches To-des —.160 we - nig,was er dir dankt, bringst du Braut, da ex-nicht schél - te, schldg ich den Wer - ber, der d — ———T 2 — | Fain ee ee! Ur - feh - de Pfand so eeu ihm lie - fert zur Hand? rallent.sole, ———$—$—_— ===162 li-ges Gla li ges ar Jach jin der Brust zen-de Lust ae —_——_ in dee Brust peg (—— usd I‘Tei - stan! zig bewuBs,166 RHYTHM EXERCISES This section contains ten series of notes (IX), each with 12 different chythmnc patterns based on them, The 120 examples are arranged ‘mostly by increasing degree of difficulty. They can be used in the following ways: 1. As written dictation First the student should copy down the series of notes on music ‘paper and then close the book, The teacher will lay the examples and the student will nolate them, Before the example is played ‘through the frst time, the student should be (old the meter and the tempo. Then the teacher will play the example, counting out fone free measure, Of course this counting must be repeated when necessary before going on to the next example, The number of times the example his to be played will vary according to the degree of difticulty and the students aptitude. Five attempts may be regarded as average. The time span between them depends on the speed with which the student can write down the notes. Even students who have no teacher can lear much fom this material by using a tape recorder. Each seies of examples can be recorded in advance either by the student himself or by someone else. From a practical point of view it is best to record about five versions consecutively, leaving about 10 seconds’ pause between cach one, This will enable the student to stop the recorder after each playback to do his notating. Information about meter and tempo marking also should be recorded before the first version (che tempo given by counting). Write out all (or half) the examples in any one series before comparing them with the “answers” inthe book. It goes without saying thatthe recording. of the examples raust be made with great rhythmic precision [No indications of tempo are given in the examples, although in some cases the rhythmic structure and manner of notation suggest (1) S00 Lam and: Modus Nowe (Nordea Musitlpst) n interpretations. You should practice taking dictation at diferent speeds, but for each individual example you should al ‘ways maintain the same tempo. Dictation is an effective exercise in comprehension, memory, and notation, Its worth all the time you devote to itt 2. As reading exercises (2) You can sing the examples as written (b) You can read (or sing on one tone) the rhythm only on any syllable (6) Youcan play the examples on an instrument. 3. As material for your own rhythmie invention Make your own rhythmic pattems for the series of notes. You ‘may find thatthe degiee of difficulty wil rise too quickly. Try to remedy this by composing new examples. By comparing the ‘examples, in each new series inthe book with those in the series immediately preceding it, you willbe able to get an idea of how the thythmic material is expanded. This should suggest ideas for your compositions Sections IX and X fall outside the framework of a book such as this one which deals with majos/minor tonality, since these sect fons are based on the twelve-tone series. They have been included {or the purpose of introducing the student to tonal material not restricted 0 a key. The examples serve as an orientation to the practice of musi-making in free tonality! "”167168169)1 ees ean 12VIVIIBeat —/180 FIGURED BASS EXERCISES The figused bass exercises have the following purposes: 1) DICTATION: The teacher should play realized versions of the figured bass examples from the appendix containing the figured bass parts (page 208). The student should analyze the chords sural and write the figurations for the examples in the book. 2) KEYBOARD EXERCISES: ‘The examples dictated during the lesson should be given as homework for the student to realize ‘on the piano atthe next lesson. These exercises not only effectively develop an ability to listen and think in harmonic terms, but they also develop proficiency in ‘sing the principal major/minor chords at the piano, Together with the harmonic exercises on pages 193 - 202, the Figured Bass Exercises give many opportunities to improvise freely and play by REQUIREMENTS: Performance ofthese exercises requires 1) the teacher to be able to realize the figured examples which are oundin the appendix. 2) the student already to be abl to read figured bass symbols, ot ‘else he wil have to lear ashe goes along, 3) the student to be able to play these exercises on the piano and to have fariliarity with the classical conventions governing the ‘movement of voices in four-part harmony. ‘The subject of figured bass only has been briefly touched upon, since its scope is beyond the aims of this book. Students wishing to acquire knowledge of the fundamentals of figured bass theory axe refered to other literature!) 1) For example, Keer: Thorough Bae Mod, Norton. For the study ct more advanced figured tas playing #0 Rob. Donington: ‘The War pretation of Early Muse; London 1963, and FT. Arnold: The Art of ‘Recompanimane trom a Thorough-Bau, London 1931, 1961 GENERAL DIRECTIONS: Here isa brief outline of the most common figured bass symbols ‘The figures show the intervals in each chord, starting from the bass note going upwards the chords and thet function in pari ‘har particular momen). ‘ston (orn 1, All Bigures indicate intervals formed from notes found within the key. If an interval isto be raised or lowered, ths is indic- ated by #,b, orl besde the number in question, The augment: ation of an interval can also be indicated by a figure with a4 6444.24 2, An accidental by itself without a figure always refers to the thicd ofthe chord, 3, Anote without a figuce indicates a triad in root position 4. The mumber 6 (or $) means a chord in fist inversion (six Note: chord), Certain gues in the eymbos often re omitted ust as they are in the ‘tual desiptions of the chords. We umally any "aes chord”, ot wanctvetines chord”. But Wf one of the intra in the chord changed ‘hcomatioly, then the comemponding figure smust appear together with its sppropentencident. 5. f= meat seSour chord 6. For Jor} means seventh chord 7. (1$) means a sixsve chord8. Sor) means a fourthiee chord 2a $or$) nea fourtwo cond ret 10, Several figures appearing one after the other below che same bass note usually indicate the linear movement of a part. Usual ly one or more notes will remain stationary, These nutes te generally suspensions, neighboring tones, or passing tones. For example Faster bass parts which move chiefly by step often contain unlgrmonizeé passing tones, and the chords fell mainly on the sented down beats. In these exercises certain passing tones uve been misked with a horizontal line in front of the note. SOME ADVICE ON USE When giving dictation, the teacher should play slowly, play only small sections at time, and repeat each seetion as many times as say be required. He also should make sure that the student is ssa of the bass note om which the whole figured hass is bull. Violins, lutists sopranos, and tenors sometimes have difficulty vv alontitying the bass of «chord. Often iis a good idea to let the sunt sing the bass of the chord, as well a she complete chords loss postion, raping the notes When the student plays music incorporating figured bass. he should begin with traditional four-part harmony in close postion, with the left hand playing only the bass part. In the author's experience, however, itis wise not to be aestrit when the student is playing as when he is writing out the exercise. Psychologically i often helps to ignore consecutive fifths and octaves rather than to inhibit the student’s freedom at the keybostd by igorous demands. One is reminded of the old principle that “since music exists solely for the ear, a"*mistake” which does not offend the ar is not a mistake.” (Michel de Saint-Lambert’ Nownea Traite de Accompagnement du Cavecin, 1707)15186188189191192193, KEYBOARD HARMONY EXERCISES ‘The following material consists of many examples containing various kinds of chords. They cover most of the chordal material encountered in any traditional harmony book. But this is nor a ‘armony textbook! Nothing is mentioned here about the move ‘ment of parts, the treatment of dissonances, etc. The exercises are suggestions for keyboard practice relating to traditional harmony, ‘which often tends to become stereotyped in abstract writen exer ‘ses. The purpose of these exercises isto have the student play harmonic impulses, ether here in the form of chord symbols, ot from his own imagination or memory (improvisation, playing tunes, playing excerpts from compositions, etc). The second is the more important. Realization from the chord symbols is merely the methodical task which will ead to greater facility on the keyboard using the framework of major/minor to- nal harmony. Many people fancy that they have a natural aptitude for playing by ear. Usually they have leamed to do this in child- ‘hood - perhaps because they had dificulty in learning to read ‘music! Others who depend more on the printed music can, by practice, improve their playing by ear. Careful study of the mate tial provided below will prove this fact. This demands alot of hard work, and the following exercises contain only one of several ‘methods in this type of training. Do not forget the Figured Bass Exercises, page 180, which to a large extent develop the sume skills asthe exereses in this chapter. HOW TO PLAY THE EXERCISES: Its essential forthe student (o be familiar with the chord symbols and to be able to play the piano well enough to play these exer. cises. Most students probably will fin it dificult to do the exer cises without the guidance ofa teacher. ‘As inthe Figured Bass Exercises, we take Four part harmony as 2 Starting point, but we do not wake it the bass of hard and fast rules. Thete are keyboard exercises, not strict choral harmony. Practice three-part harmony frequently, even if the examples are ‘mostly in four pats. You must fel free to change the number of Parts, Do not stick to one particular key. The models are writen alwaysin the key of C only forthe sake of simplicity. Furthetmore each example should be practiced 2) withthe initial chord in diferent positions. 8) in both close and opea potions €) in major and minor keys unless otherwise stated. ‘The ‘elationship between rhythm and harmony is an important aspect of theory. For the special study ofthis relationship, the student is advised to consult music literature.)In the following exercises we merely stiess the importance of giving a cleat rhythmic outline a the piano so that they donot result in a series ‘of chords of arbitrary duration. They must develop into rhythmic figures which become formal elements to both student and listener (eal or imaginary), The shythms given in the examples on the next page are only suggestions. Duple and triple meters make 00d basic alteratives. Experimentation should be done in various forms and different tempos. The teacher should be critical ofthe harmoni/thythmic relationship. Finally, the exercises also can be used for chordal dictation, The teacher should play the examples and the pupil should write the chord symbols without notation 4) The relationship between rhythm and harmony is treated in, among ‘other sourees, Walter Piston: Harmony, Norton,194 hativit-f wirvi i] 4) oD) Example: zat] | wrrvefi| B.ETIV]T- f)Aboin ple meter: A. ELI| IV]: [| Toy asoto do the examplesuingslhly more movement inthe melody ine Example: 5a) trew-v-r- | Htifiv-vfi- | 6 tirthivevie | Rt ivev| rie favev- Example:8 avelniiive-[4-f Example: aay gre] ey » tvoviv-1-f a) b) Example: wo. ei] hv tel i eav4 ig ev [tel196 weird wgivelr. | Map ivs [tiv] ev |e | Example: oc VIS 15. $4sjivv aie ve $] 1 | LJutjev ]1 [Note Don't forget that «minor subdominant here 1V) cn cccrin a major key anda major subdo Iu ‘nant in a minor key. Practice both! 16, 13 t|m-v4] rf Example: 18. 2.1 [mg-v$|1- |] Example:197 Example: 19. 21 [aye v3] 1 i Example: 2.31 Lay vit 2. aang vt sume vibe v [1 thd WGP oF NY means a Neapolitan sith Example: bier [ 1 |198 23. 31-064] 1°... Finish the example and end withthe tonic in root position, 24. £1 |IV- VOM]... Fin it yours 25.2 IVE vO] 1S... Finish t youre 26.2 raS|vivevéf tev? fie |199 27g fiveaslysiv-v] 1 | aw.guvy vive? [i | a. treveyvp ve? fae | so. tieviyv| vies | 1--f200 so weverry|ves fief 32 evsy vl ye $ [te Inthe following examples the student must complete the exercises frst by ceating a good beginsing, then by playing the given harmonic progression, and finaly by completing them ina sitable manner 33, voi y 34, vv] ve 35, vv ve... 36 - vou] VE. 37. ‘The secondary dominant or applied dominant, V” / V -1V, should be practiced inthe following versions: 2) eee WAIVL Wesco B) eeoeceeeee WEAVE WV °) Sfv| wv. 4) vrvl ve, 9 “ od Li A) vere VORGBAV| IV. 2 vyivl ive 38, The following cadence "contains thete additional chords of the major key: mediant, submediant, and supertonic. The cadence should be practied in all major keys, Practice both close and open positions in various ways. °) ed by Anton Bruckner inhi harmony teching201 om ww mv 4 39. In the following cadence practice the same chords in the parallel minor Key. Catefully study the chords which differ from those in the major key. The cadence isto be practiced using the same principles stated in exercise 38 1 ow om ov vuiow vio 40. Practice the secondary dominant to supertonic ofthe related major, V/II - IL, in all major keys, The secondary dominant should be practiced inthe following versions: BD eceecee vi Ln » vem n 9). VIM] Wess 4 véin| 3 van 5 vei a ® vein » vein) us Dec VOL 41, Practice the secondary dominant to submediant, V/VI - VI, in all major Keys. The secondary dominant should be practiced in the same versions used in exercise 40.202 42, Practice V/VI-- 1] in all major keys, Here also the secondary dominant should be practied inthe same versions used in exercise 40. 43, The secondary dominant to primary and secondary chords ofthe minor key should be practiced using the same principles as shown above for the major key. 44, Practice modilation tothe keys temporal affected by the above secondary dominants to various primary and secondary chords Do not led the examples bak to the orignal key, bu complete them in the kay to which the secondary dominant has temportly Jed, thus becoming the dominant ofthe new key. Let us conchde this eis of keyboard harmony exercises by practicing diferent resolutions of the diminished seventh (V0). as been encountered previously in connection with melody reading, page 124, There it was pointed out that this chord, which consists of tree minor thirds pled one ontop of the other, contains strong leading tone tendencies, Thsis pari tue because it ao contains two diminished fifths and no perfect fh, Suppose you hear a diminished wventh without sexing t notated. It is impossible to sy for etsn into which key te chord will rete, snc each ofthe fou chordal note an act x the ladng tne ofthe retlution key, or the thid in the V®® chord (Refer to the explanation on page 126) I other words, we do not know whether we hear a Vo®, VO , V8, ora V2 chord. 45, ‘The examples below will demonstrate this clearly. Play the chords in the right hand and let them sound fora few moments before playing the “ omitted” bass note in the left hand, Notice how clearly the bass note stabilizes the tonality and governs the resolution When the bass note is add, the other notes inthe chord acquire a definite function. The leading tone with it resolution has been smarked with n arrow. Key and function: ‘Omitted bass note EXERCISE: Practice these four different alternatives for resotution using the following ‘wo diminished seventh: Because of its ambiguity this chord is useful for purposes of modulation Stylisticlly such modulations belong chiefly to » somewhat chromaticized major/minor tonality a used by the late Romantics Liszt, Wagner, Reger, and Mahler EXERCISE: Practice modulations using the V®® chord as the means of modulation.203 HARMONIC EXERCISES IN CONNECTION WITH THE MELODIES SUGGESTED METHOD ‘The skills which have been acquired through practice in keyboard harmony, page 193, also can be applied to harmonic exercises in melody reading. This can be done by using the following method after the student has sung the melody. (Melody for de- ‘monstration purposes - No. 9, page 9). ‘The teacher should play the melody harmonized very simply. teacher should not harmonize each melody note with its own (See also 1 and 2 below. Notice: Only chords from sections 1 separate chord. This type of harmonization is often rhythmi- and 2 of the Keyboard Harmony Exercises are used!) Possibly cally very heavy. Allow various notes to be passing tones, only the melody and the bass parts should be played. The neighboring tones, etc. Ale 1 1 2 2 Lt 5 ‘ 7 '204 ‘The student should notate the bass line and identify the harmonic function of each note. Later these should be written in pencil under the notes. ‘The student should sing the bass line, namine the notes from the fraction symbols. Perhaps first he should read the names of the notes. ‘The student should sing the bass line while the teacher or another student sings the melody. “The student should sing the melody and play the bass line (on the piano at the same time. ‘The student should play the melody and the bass line on the piano. This can be done even by students whose basic instrument is not the piano, Students with greater facility naturally should practice more than just the melody and bass line, One may notice that here it often is better to have too few tones in the chords than too many. In these exercises wwe are not searching for traditional four-part writing. ‘The teacher may choose a number of melodies from each chapter for that type of exercise. The progressions used should follow principally those in the Keyboard Harmony Exercises, See the table above on page 6,205, Sources of melodies in Melody Reading Exercises [Melodies not included in this lst have been composed by the author. ‘The Swedish folksongs are taken mostly from Sture Bergel - Musikkommentar till Geijer-Afzelius: Svenska Folkvisor, ‘Stockholm, 1960. Most of the melodies in Chapter XV are taken from Buropdische Lieder in den Ursprachen, Berlin, 1956, Chapter VI 13 JS, Bach: Fugue in E major (Well: ‘Tempered Clavier Ul) 14 R, Schumann: Dichteriebe 15 J. Brahons: Haydn varietions 35 A. Strggio: Il ciealamento dele donne al bucato Chapter VII 19 JS, Bach: Fugue in C minor, Well Tempered Clavier 1 Chapter x 41S. Bach: Fugue in C major, Organ Works, ol Vi 53S, Bach: Fugue in C major, Organ Works, vl. 6 L.van Beethoven: String quartet in minor, op. 59 No. 2 8 Melchior Franck: Da pacem (Canon). 10 L. van Beethoven: Symphony No. in D major 15. JS, Bach: Fugue im C major, Wel Tempered Clavier L 17 JS. Bach: Fugue in E major, Wel: Tempered Clavier I 18 WA. Mozart: Symphony in G minor, K.ss0 20 8, Bartok: For children 21, Schubert: Die Winterreise 225. Sibelius: Finlandia 23. Cal Nielsen: Plano music for young and old 24 1S. Bach: Fugue in F. major, Well Tempered Clavier 1 25.4.5. Bach: Fugue in C major, Well- ‘Tempered Clavier 11 26 L. Stravinsky: The Firebird 27 WA. Mozart: The Magic Flate 29. Schumann: Dichterlebe 30. Swedish Hymnal No. 35 31. L. van Beethoven: String quartet in C major, op. 59 No. 3 32 WA. Mozart: Symphony in D major, K. 385 (Haffner) 33 A. Striggjo:Ilccslamento 34 Swedish folk tune (Dalarna) 35-J, Haydn: Symphony No, 94 in G major (Surprise) 36 J. Haydn: String quartet in B major, (0p.76 No. 4 37 R. Schumann: Frauentiebe und Leben 38 L. van Beethoven: Symphony No. 2in D major E. Schubert: Die Winterreise 1s 9 2s 26 30 31 a” 38 39 41 Bas 46.49 5053 54.56 Chapter XI Swed popula melody Swedish flsong French col 18. Bch Ar of te Fogue 58, tach: Fupe in Eno, Wel Tempered over | Swed folksong JS. Bah: Fe in D minor, Wele Tempered Clver 5S. Bac: Fuge in minor, Wel Tempered Caer A Kepe Chole R. Schima: eds, op. 39 Wr Beh nfo in Dor 3. Bach Page in F minor, Wl Tempered Clvert 18. Bok: Fog in G mor, Wel Tempered Clavert 38. Bach: Fuge in Bin, Wel Tempered Caer t 15, Buch: At ofthe Fope P. scbert Di Wintetese 415, Bach: Fuge in Poin, Wl ‘Tempered Cuvier Hymn, Me ages Antipon, Mile Ages Hymn, Mie Aen Grade Roman: Mas XI French ors L Stravinky es Noses 1 Stik Rt of Spang206 Chapter XIII WA Hort i ote 3) an thn Sig ge A 1 J. Brahms: Symphony No. 1 in C major, K, 454 minor, op. 132, Bie we edema MET Bee ee ae eee aes 11 JS. Bach: St Matthew Pasion major, op. 18, No, 6 26.28 Swedish folksong 12 JS. Bech: Fogue in B- myjor, Onan 37 F. Schubert: Pano sonata in D major, 29° Gp. Handel: Pano suite XV Works vol. ViIL oP 83 30 Fr. Chopin: Mazurka op. 59 13. Englsh nursery thyme 40 GF. Hindel: Acs and Galathea 31 Fr. Chopin: Mazuska op. 67, No.4 14 R. Schumann: Dieteriebe 43 JS, Bach: Wachet auf, Orgin Works, 32 3.5, Bach: Fugue in C miner, Well: 15. GF. Hinde: Mesish vol. Vit Cantata 14) ‘Tempered Clavier | Te WA. Mozart: String quartet in E44 Lvan Beethoven: Stringqurtetin B33 JS, Tach: Fugue in E minor, Wel major, K. 428 major, op. 130 ‘Tempered Clavier tt 17 WA. Mozart: Sting quartet in D 45 WA. Mocart: Violin sonata in F 34 5. pach: Fugue in F_ minor, Wel jor, K. 575 major, K. 547 Tempered Clavier t 18 WA. Mozart: String quartet In D 46 JS. Bach: St.John Passion 3518. Bach: Fugue in E minor, Well: major, K.575, 47.48 Franz Borwald: Estella i Sonia Tempered Caer} 19 W.A, Mozart: Symphony in D major, 49 1.8. Lindblad: Neat 37 Swedish folksong 385 (Hanes) SOs act doe Ee 381.8, Bach: Fugue in D minor, Well: 20. JS. Bach: Sonata 1, Organ Works, vol. 51-54 1S. Bach: St. Matthew Passion “Tempered Clavier It 1 551.8. Bach: St.John Pasion 39-40 JS, Bch: Art of the Fugie 215, Haydn: Symphony No. 94 in G 4413'S. Bach: Fogein D minor for piano major 42 F, Schubert: Symphony No, 4 in C 22H Pcl: ancy No.4 Chapter XIV minor 25 41S. Bach: Sonata Ill, Oran Works, 2 L.van Beethoven: String quartet in F 43 JS. Bach: Fugue in C minor, Orgn vol. ‘minor, op. 95 Works, vol 24 — L.van Beethoven: Vioinconcerto 1. Tor Aulin: Four watercolors for violin 44-45 Swedish folk song 25 WA. Mozart: Violin sonata in A. and piano 46 JA. Lindblad: Confession major, K.305 13-14 L. van Beethoven: Sting quartet in €47_J.S. Bach: Partita 2for solo violin 26 WA. Mozatt: Eine Kleine Nachtmusik. rinor, op. 131 48 JS. Bach: Fugue in E minor, Organ 27 English nursery thyme 16-17 F. Schubert: Die Winterreise Works, vol. IL 28 Swedish-Finnish folk song. 18 Swedish folk song 49° 1.3, Bach: Sonata 4, Organ Works, vol 29° CM, Bellman: Frediman's songs 19 L. van Beethoven: String quartet in C 1 30 A. Soderman: The Wedding at Uifisa major, op. $9, No.3 JS, Bach: Jesu, meine Freude, Organ 31-33. Swedish folk song 20 Swedish folksong Works, vol. VIChapter XV Neighart von Reventl(c, 1250) “Hungary (afer Bartok) Turkestan KasancTrtar sia Java North America (Indian) Mongolia Seotand Peru (Indian) Poland Lithuania Croatia Rusia Catalania Slovakia Latvia Russia Finland Rusia Hungry Lithuania Hungary Poland Ukraine England Russia Russia Lapp melody serbia Roumania Bulgaria Indonesia Macedoni Armenia Chapter XVI 1 Lvan Beethoven: Sting quartet B major, op. 130 2 GF. Hindel: Mesiah 3G. Mahler: Revelge 4 WA. Mozart: Requiem 5 J. Haydn: String quartet in © major 0p. 76, No. 3 6 JS. Bach: Concerto for two violins 15 J, Brhms: German Requiem 16 GE. Hinde: Mesiah 171M. Roman: Sinfoniain G majoe 18 WA, Mozart: Violin sonata in E major, K. 481 19° Rimsky-Korsakov: Scheherazade 20 JA. Lindblad: For ever 21.23 JS. Bach: St. John Passion 2425 JS. Bach: St. Matthew Passion Chapter XVII 1 J. Brahms: German Requiem 2 E-Schobert: Die Winterreise 3G, Hinde: Mesiah 4 WA. Mozart: Requiem 3 GE. Hindel: Messiah 6 4S. Bach: Concerto in D minor for ‘harpsichord GF. Hindel: Mesiah 43S. Bach: Patita 2 for solo violin JS. Bach: Suite 2 for solo violoncello (0.38. Bach: St Matthew Passion 1 WA, Mozart: Violin. sonata in A ‘major, K. 402 12.413 Fronz Berwald: Estrella di Soria 14 JS. Bach: St. Matthew Passion 15.16 J. Bach: St.John Passion 17-18 JS. Bich: St, Matthew Passion 19 CM. Bellman: Fredman’s songs, No. 30 20 Franz Berwald: Estrella di Soria 21-23. W. Stenhammar: Gldet pa Solha 24 Twe Rangitrom: The sea is murmuring 25 Ture Rangsirom: An old dance rhythm 26-27 R. Wagner: Lohengrin 2835 R. Wagner: Tristan und Isolde Reference list of figured bass examples ‘38-44 from J.S. Bach: Grundlicher Unter richt des Genetalbases 45-47 Purcell: Dido and Aeneas 48 11S. Bach: from Schemellis's Hymnbook: Brunnquell aller Guter 49 1.8. Bach: from Schemllis's Hymnbook: Jesu, meines Herzens Freund 50 4S. Bach: from Schemmells's Hymnbook: Komm, susser Tod 51 4.8, Bach: from Schemelis’s Hymnbook: Kommt Seelen dieser Tag 523.8, Bach: from Schemells's Hymabook: So gehst du mun, mein Jesu, hin 53°18, Bach: from Schemelis's Hymnbook: Selig wer an Jesu denkt 54 J.S. Bach: from Schemells's Hymabook: ‘Mein Jesu, was vq Seelen Woh,Key to Figured Bass Exercises2097 oT oy ee anaos 76 4a se 7678 95 76 4% 698 4498 ay 6 8s as Dead 6 sa21324g ek mes gr tags 7648 °¢ pad216 1 2m 3 sms 6207Beppe oy219 « SB 7 o876