NOTICE TO CHOIR DIRECTORS:
The Singing Musician student books
have been produced in spiral-bound format
so that they will lie flat on a music stand or on the piano.
They have also been hole-punched so that they will fit into
1" or 1.5” 3-ring binders. Binders should be tested for size.
It is the recommendation of the publisher
that the student books be kept in 3-ring binders
for the greatest possible longevity of the books.
THE
SINGING
MUSICIAN
L
E
V
E
L
T
W
O
GROWING
ARTISTRY
Mixed Chorus
Patti DeWitt, DMA
2004, Patti DeWitt, Co., Richmond, Texas
Teacher's Resource Book
THE SINGING MUSICIAN
A complete and sequential program
LEVEL ONE: A Good Start!
Unison
LEVEL TWO: Growing Artistry
SA, TB, Mixed
LEVEL THREE: The Skillful Singer
SSA, TTB, SAB, SATB
LEVEL FOUR: The Choral Virtuoso
SSA, TBB, SAB, SATB
Teacher's Editions for each level.
Literature to supplement each book available on CD Rom.
Published in the United States of America, Patti DeWitt Co., Richmond, TX.
The publication, or parts thereof, may not be reproduced in any form by photographic, electrostatic,
mechanical, or any other method, for any use, including information storage and retrieval, without
written permission from the publisher.
FOREWORD
Greetings, fellow choral directors! Thank you for choosing The Singing Musician
series for use in your classroom. My purpose in producing this series is to give choral
instructors a textbook series that is sequential and systematic.
The series is presented in four levels:
Level One: A Good Start
Level Two: Growing Artistry
Level Three: The Skillful Singer
Level Four: The Choral Virtuoso
Level One is in unison and is designed around the needs of beginning choral students.
Level Two is in two parts and available in SA, TB, or Mixed (which includes some threepart material--SAB--in addition to the two-part--SB). Level Two begins with with a review
of skills learned in Level One and then covers all the thirds and fourths of the I, V, and IV
chords. Level Three is in three (SSA, TTB, SAB) or four (SATB) parts and is suitable for
advanced middle school and high school choirs. Level Four (SSA, TBB, SAB, and SATB)
is suitable for high school and university choirs.
Not only does this series meet all of the"re-choir-ments" for State and National standards,
it also presents activities that will reinforce math, reading, and writing skills without
taking time away from music learning and interfering with musical principles.
I hope you will find this series to be a positive step in the quest for an ideal choral music
education program.
Musically yours,
Patti
How the Teacher's Edition pages are numbered:
At the bottom of each page, you will find a page number, for example, S-78. The
number is the the page number of the student's book (S) to which the Teacher's Edition
page (with yellow corners) corresponds. The TE has been written so that the pages may
be inserted in the student book next to their corresponding pages.
Welcome!
Welcome choral students! You are about to embark on a fantastic journey
into the wonderful world of musicianship! When you open this book, you
will discover many musical adventures. Not only will you will learn to sing
and to read music, but you will also learn tools with which you can express
yourself in musical performance. And it gets even better! You will learn
how to create your own music as well!
So open your minds and hang on! There is a wild and exciting ride
awaiting you. What you find beyond this page could change your life forever!
iii
l
Acknowledgments
L
There are many people whose influence made this series of books possible. If it were
not for the faith that the choral directors of Texas have placed in me, this series would
certainly have never become a reality.
There are some who need to be mentioned by name, however, and I would like to
take the opportunity to thank them individually. First, two composers who contributed
to this undertaking: Dr. Ronald Yates, who not only supported this project and contributed
to it, but taught me and believed in me before I showed any signs of doing anything of
musical significance, and Jim Leininger who contributed his choral composition talents
for this project. Secondly, Cecelia Johnson, who spent much time creating the paintings
and many of the graphics in the series and in serving as general creative director. And
especially my husband, Ron Folkerts, who did everything but write the books and without
whom these books would never have been written, printed, bound, or distributed.
There are other people who contributed to this project either directly or indirectly,
whom I would like to thank at this time: My in-laws, Elbert and Hendrika Folkerts, who
unquestioningly and unhesitatingly contributed substantial money toward the producing
of this book; Dr. Vivian Munn, who has encouraged me professionally and befriended me
for more than a decade, whose musical expertise was the original impetus for such an
undertaking; Kathleen Buchholzer Alvizo, who has eagerly served as my guinea pig in
using this book, as well as other projects of mine, in her classroom; Baceliza Monroe, who
also took time to test this program; and Margie Camp, whose boundless enthusiasm helped
to impel me into this undertaking, and who has opened many professional doors for me.
I also must take the time to thank my son, Joel Johnson, who served as technical
troubleshooter and general gopher; my mother, Pat Darnell, who contributed poetry and
has, for some reason, always believed in me; and Kenneth Eastepp, who covered many of
my responsibilities, freeing up my time so that I could concentrate on producing this book.
iv
Meet the Writers
Patti DeWitt Folkerts, editor of this series of books
and composer, lives in the Houston, Texas area. She
has a Bachelor of Music Education degree from
Henderson State University, Arkadelphia, Arkansas, a
Master of Music degree from Texas A & M University
at Commerce, and a Doctor of Musical Arts degree from
University of Houston.
Dr. DeWitt taught for 20 years at all levels of vocal
music in the public schools. For the past 14 years, she
has composed music for the Texas State University
Interscholastic League Sightreading Contest. In addition
to almost 100 pieces in print with Southern Music
Company and Hal Leonard Corporation, Dr. DeWitt selfpublishes and markets her own music as well as her
choral sightreading series, Music Literacy for Singers.
Dr. DeWitt has presented workshops for many state choral conventions as well as for
district and classroom workshops. At the present time, Dr. DeWitt is self-employed,
selling her choral music and sightreading series and attending conventions throughout
the country, focusing on the importance of music literacy skills in the choral classroom.
aA
Jim Leininger's career includes over forty years of experience in both sacred and
secular choral music. He received his Bachelor of Arts from the University of South
Florida and Master of Music from the University of North Texas. He has traveled
extensively in Europe and spent two summers in Vienna studying voice and conducting
with Ferdinand Grossman, conductor of the Vienna Boys Choir. While in Vienna,
he also had the opportunity to attend the Vienna Choral Symposium.
Mr. Leininger has worked in a broad variety of positions including: choral director,
music teacher, church musician and voice teacher, composer/arranger, and music
specialist/consultant. His experience includes serving as a full-time teacher in the
public school systems of Florida and Texas, teaching in all levels (kindergarten-12th grade).
aA
v
Composer Ron Yates (b. 1947, Michigan USA)
studied composition with Edward Applebaum,
Peter Racine Fricker, and Leon Dallin and his
electronic music teachers included Gerald Strang
and Don Andrus. He completed his Ph.D. in Music
Composition at the University of California, Santa
Barbara, after earning B.M. and M.A. degrees at Cal
State-Long Beach. Yates was Professor of Music at
Texas A&M - Commerce for 18 years where he
developed programs in computer music instruction,
recording arts, and electronic music.
Dr. Yates' compositions are performed around the
world, and his film and TV scores have been broadcast
in over 90 countries. His computer programming
includes music skills programs, electronic documentation, and web-based portals for the
telecom, financial, and educational arenas. He currently is Executive Vice-President at
ReaLoans Mortgage Services in Dallas, Texas.
aA
Graphics Editor
Cecelia Johnson has a Bachelor of Fine Arts
degree from Lamar University in Beaumont,
Texas. Her works have been exhibited at many
art shows. In addition to her senior thesis show,
which was exhibited in the Dishman Art
Gallery, her works have also been displayed
in the Southeast Texas Museum of Art in
Beaumont, Texas, in many shows at The Art
Studio in Beaumont and in the Art League of
Houston. She has also presented two shows
consisting only of her own works--oil paintings,
sculptures, and photographs.
Cecelia's studio is in Houston, Texas, where
she continues to paint and create artistic
photography and graphic design.
aA
vi
John Curwen's
SOLFEGE
HANDSIGNS
for the notes of the scale
vii
CONDUCTING PATTERNS:
4
4 Meter
LEFT HAND
3
4 Meter
viii
RIGHT HAND
l
L
Table of Contents
Welcome . . . . . . . . . .
Acknowledgements . . . .
Meet the Writers . . . . . .
John Curwen's Handsigns .
Conducting Patterns . . . .
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Preparatory Pages
I. Your Voice
II. Performances
III. Concert Etiquette (Performance)
IV. Concert Etiquette (Audience)
V. Evaluating Music
VI. Evaluating Performances
VII. Musical Careers
VIII. Music and Other Arts
IX. Music and Other Subjects
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P-3
P-9
P-11
P-16
P-19
P-21
P-23
P-24
P-26
Chapter 1: Music around Us . . . . . . . . . . . . . . . . . . . .
1
Chapter 2: Rhythm Review . . . . . . . . . . . . . . . . . . . . 3
Chapter 3: Review: F and G Major . . . . . . . . . . . . . . . . 7
Chapter 4: Review: Key of C Major . . . . . . . . . . . . . . . 23
Chapter 5: Review--Minor Keys. . . . . . . . . . . . . . . . . . 36
Chapter 6: All Tied Up! . . . . . . . . . . . . . . . . . . . . . . 44
Chapter 7: Review -- I Chord . . . . . . . . . . . . . . . . . . . 47
Chapter 8: Stephen Collins Foster . . . . . . . . . . . . . . . . . 50
Chapter 9: Intervals . . . . . . . . . . . . . . . . . . . . . . . . 58
Chapter 10: Triads . . . . . . . . . . . . . . . . . . . . . . . . . 60
Chapter 11: May I Accompany You? . . . . . . . . . . . . . . . 64
Chapter 12: Review: Intervals of the I Chord . . . . . . . . . . . 69
Chapter 13: Franz Josef Haydn . . . . . . . . . . . . . . . . . . 85
Chapter 14: The V Chord--So-Ti . . . . . . . . . . . . . . . . . . 88
ix
Chapter 15: The V Chord--Ti-Re . . . . . . . . . . . . . . . . . 96
Chapter 16: The V Chord--Re-So . . . . . . . . . . . . . . . . . 104
Chapter 17: Review: Thirds and Fourth of the V Chord . . . . . 113
Chapter 18: Review: . . . . . . . . . . . . . . . . . . . . . . . 126
Thirds and Fourths of the I and V Chord
Chapter 19: The IV Chord--Fa - La . . . . . . . . . . . . . . . . 148
Chapter 20: The IV Chord--La - Do . . . . . . . . . . . . . . . . 156
Chapter 21: The IV Chord--Do - Fa . . . . . . . . . . . . . . . . 166
Chapter 22: Review: . . . . . . . . . . . . . . . . . . . . . . . 174
Thirds and Fourth of the IV Chord
Chapter 23: Review: . . . . . . . . . . . . . . . . . . . . . . . 192
Thirds and Fourths of the I, IV, and V Chords
Chapter 24: Jazz it up! . . . . . . . . . . . . . . . . . . . . . . . 212
Chapter 25: Wolfgang Amadeus Mozart . . . . . . . . . . . . . 218
Chapter 26: More Meters . . . . . . . . . . . . . . . . . . . . . 228
Glossary . . . . . . . . .
Index of Poems . . . . . .
Index of Songs . . . . . .
Index of Composers . . .
Orff Abbreviations . . . .
IPA Chart . . . . . . . . .
Rhythm Reading Systems
General Index . . . . . .
Bibliography . . . . . . .
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Independent performance:
Independent performance is important to choral training. A good choir will be a choir
with a high percentage of independent performers. The director must allow some time in
the schedule for independent performance, perhaps just one or two students a day, but this
can be worked into the daily schedule without much interruption of the regular reharsal.
One of the best ways is simply to ask a student to perform a short section (4-8 measures)
of what the choir is working on. There is no need (or time) to ask for a whole composition
to be performed. While the student is performing, the remainder of the class is signing and
following along in the music to see if the music was accurately performed. Allow the
students to self-evaluate before you evaluate them. Also, allow the rest of the class to
evaluate. If you give your evaluation first, the students may not make their own decision,
but merely echo yours.
For beginning students, concentrate on rhythms and pitches. For the more advanced
students, also include dynamics, articulation, tempo, etc.
At some point in the year, every student should learn a solo to perform either for contest,
for the class, or for an informal recital for their parents. There is much to be learned from
solo performance. It is a great opportunity for you to work with and get to know each of
your students' voices.
PREPARATORY PAGES
The "Preparatory Pages" give students non-musical information that is important to
their choral music education. It is the recommendation of the writer that the director
integrate and intersperse the learning of these chapters throughout the musical part of the
curriculum instead of waiting to begin the musical part until these chapters are studied.
The "Preparatory Pages" are too important to cover merely at the beginning of the year;
they need to be addressed throughout the school year. It is equally as important that
students begin to make music as soon as possible.
SP - 1
Preparatory
Pages
I: Your Voice
II: Performances
III: Concert Etiquette (Performance)
IV: Concert Etiquette (Audience)
V: Music Evaluation
VI: Performance Evaluation
VII: Musical Careers
VIII: Music and Other Arts
IX: Music and Other Subjects
P- 1
P- 2
SP - 2
I:
Your Voice
This chapter teaches physiology of the voice. Students should become familiar with the
workings of the vocal instrument.
Internet:
There are many places on the Internet where a person can view a
videotape of vibrating vocal cords. You may wish to download one
of these files for your students to view in class, or you may make it
an assignment for your students.
SP - 3
I:
Your Voice
We sing with our voices--the same system of organs with
which we speak. In fact, singing is speech that is continuous
and at specific pitch levels. Whereas in speech, our voices are
silent for brief periods of time between the words, there are no
periods of silence in singing except for notated rests or when
the singer stops to take a breath.
Vocal sounds are made when the vocal cords in the larynx (or voicebox) are set into
vibration by the air from the lungs rushing through them.
The
Larynx
)
))
Vocal sound
A.
B.
C.
D.
E.
Larynx (voicebox)
Trachea (windpipe)
Tongue
Hard and soft palates
Sinus cavity
Air from the lungs
The sinuses, hard and soft palates, and tongue work together to shape the size and shape
of the mouth cavity affecting the volume and tone quality of the singing sound.
The diaphragm, a large muscle that separates the lung cavity from the abdominal cavity,
contracts drawing air into the lungs. When the diaphragm relaxes, the muscle returns to its
domed position high in the ribcage and pushes the air out of the lungs and up the trachea.
The air must pass through the larynx both breathing in and out.
P- 3
I -- YOUR VOICE
Air travels up the trachea and through the larynx. If the vocal cords in the larynx are
taut, they will vibrate and set up vibrations in the air which the human ear perceives as
sound. If the vocal cords are relaxed, then they will not vibrate. This is the reason that we
can breathe in and out through the larynx without any vocal sound. Vocal sound occurs
when the vocal cords are tightened and air is forced through them.
To understand the perspective of the illustrations below, imagine that you are standing
behind someone who has his head tilted back and that you are looking down his throat.
Front
Back
Relaxed vocal cords
(normal breathing)
Evenly taut vocal cords
(during phonation)
The timbre, or tone quality, of the vocal sound can be seriously affected if the vocal cords
do not meet completely. If the vocal cords do not meet precisely during phonation, extra air
can escape through the vocal cords, causing the sound to be breathy. There can be several
reasons that the vocal cords do not meet completely.
Swollen vocal cords
Vocal nodes
Bowed vocal cords
Swollen vocal cords are symptomatic of laryngitis. They can happen with colds, allergies,
flu, and other minor respiratory illnesses. Swollen vocal cords can also happen through
overuse or through misuse such as continued screaming or yelling. The vocal cords are
thickened and cannot vibrate normally. Additionally, the cords cannot fully close, so the result
is a low, raspy timbre. If the vocal abuse continues over a long period of time, the vocal cords
may become thickened permanently.
Vocal nodes can occur with misuse of the voice. Nodes are callouses that develop when
the cords do not meet and vibrate evenly along their full length. They become thickened and
toughened in the spot where they touch most frequently.
P- 4
YOUR VOICE -- I
Bowed vocal cords can occur when the voice is constantly misused or when there is a
structural problem. All of the vocal problems above can be diagnosed and treated only
by a doctor. If a person has a continued problem with a breathy vocal timbre, (s)he
should consult a physician.
Voice types
Before adolescence, all normal human larynxes, male and female, are approximately the
same size, and thus they produce approximately the same range of pitches--in the treble
range. Children's choirs are treble choirs, usually made up of both boys and girls with the
higher and lower parts generally designated without regard to gender.
During adolescence, both boys' and girls' larynxes grow in size, but, whereas the young
female larynx is very close to the size it will be as an adult, the male larynx will double in
length to reach its adult size. The enlarged male larynx is evident from the exterior and is
sometimes called an "Adam's apple." Over a period of a year or two, the male voice will
drop by an octave.
As the adolescent voices approach maturity, they begin to fall into the categories that
they will remain in in adulthood. The higher adult female voices are classified as soprano,
while the lower ones are called alto. The higher male voices are called tenor, and the
lower voices are basses. Voices that fall in the middle ranges of the adult male voice are
referred to as baritone.
Although the male voice drops considerably during adolescence, men are still able to sing
just as high as women sing using their falsetto voices. In falsetto, only the outside edges of
the vocal cords vibrate as opposed to the whole vocal cord. Because a thinner portion is
vibrating, the pitch is much higher than when the whole vocal cord vibrates. Thus men are
capable of singing very high, although the sound will be thinner than when they use their
"full voices."
ACROSS THE CURRICULUM:
1. Describe the processes that occur in the larynx to create vocal sound.
2. List and describe the different voice classifications.
Preparatory Pages II
Written Activity 1: The Human Voice I
Written Activity 2: The Human Voice II
Written Activity 3: The Choral Voice
P- 5
I -- YOUR VOICE
Vocal Timbre
Vocal timbre is the tone quality of the human voice. One type of tone quality that was
discussed earlier in this chapter is breathiness or raspiness. What is one cause of breathiness
in the human voice?
Abnormalities or inflammation of the vocal cords can only be cared for by a physician. But
many other kinds of tone quality problems can be improved with proper instruction and practice.
Breathiness is a common trait of young voices. Here are some other common vocal timbre
problems:
Stridency--A harsh, piercing "edge" to the tone
Nasality--A "flat," out-of-tune sound
Dullness--A dark, "swallowed" sound
Thinness--A small, lifeless sound
Breathing, the foundation of good vocal timbre
Relaxed Diaphragm
Contracted Diaphragm
Pharynx
Tongue
Pharynx
Tongue
Larynx
Larynx
Lung
Contracted
Diaphragm
Diaphragm
Expanded
Lung
The diagrams above show what happens when the diaphragm contracts and the lungs are
filled with air. The diagram below shows the expansion of the rib cavity and the abdomen
during inspiration:
1. The abdominal
muscles when the
diaphragm is
relaxed
2. The abdominal
muscles when the
diaphragm is
1.
contracted
2.
When the diaphragm contracts, it pushes down
on all of the organs in the abdomen, causing a
"pooching" of the lower abdomen and an expansion
of the back as well. When these muscles are trained
to hold the air in the lungs when singing, allowing it
to escape evenly and steadily (as opposed to pushing
the air out), the vocal cords are supported and the
tone is steady and clear. If the abdominal muscles
do not hold and air is pushed out through the vocal
cords, it can result in a beating together of the vocal
cords which will not only lead to a faulty vocal
timbre, but will eventually do damage to the vocal
cords, a damage that might become permanent.
P- 6
Inspiration (Breathing in)
Vocal timbre and breathing
It is important that the students realize
that when they breathe in, their lungs do
not do the "breathing." The lungs have
no muscles. Rather, the lungs are like
two balloons suspended in the chest
cavity. When the diaphragm contracts
(at right), a vacuum is created and air
rushes into the very expandable lungs.
It is the diaphragm in conjunction with
the muscles of the back and abdomen
that hold the air in the lungs. Point out
to them the "pooching" of the abdomen
muscles during inspiration. Then have
them place their hands on their abdomens
and experience this for themselves.
Larynx
Trachea
Lung
Diaphragm
Expiration is caused when the muscles
relax, significantly the diaphragm, and
the air is pushed out of the lungs when
the diaphragm returns to its at rest
position.
Expiration (Breathing out)
You may copy this page for your
students to study. Written Activity 3
has some questions for them to answer
about the organs involved in breathing.
Larynx
Trachea
Lung
Diaphragm
SP - 6
Vowel Production:
Vowel production is something that cannot be overemphasized
in choral music education. It is basic not only to vocal timbre,
but also to intonation and choral blend. Students need to be
reminded constantly to sing with "tall" vowels. It is important
that students not be allowed to get by with singing any closed or
"flat" vowels. An important aspect of vocal music education is
in training good habits in the students.
SP - 7
YOUR VOICE -- I
Vowel production
The next important factor determining tone is vowel production. Vowel production
is determined by the shape of the mouth and the position of the tongue. If vowels are
produced with a closed, "smiling" mouth, the tone will suffer and intonation (in-tuneness)
will suffer. Closed vowels can cause a "flat" or nasal tone. Your teacher will probably use
the expression "drop your jaw," or use "tall" vowels. This means that you should open
your mouth farther than you think you should to sing each vowel. The pictures below
show approximations of the mouth and tongue positions for the five basic vowels:
(written in IPA), i, e, a, o, u.
i (ee)
e
(eh)
a (ah)
o (oh)
u (oo)
i (ee)--The tongue is high behind the teeth; the lips are puckered forward; the jaw is
dropped.
e (eh)--The tongue is slightly farther back, but still high; the lips are still puckered
forward; the jaw is dropped further.
a (ah)--The tongue farther back, but still high in the back of the throat; the lips are pulled
forward; the jaw is fully dropped.
o (oh)--The tongue comes forward but is low in the mouth; the lips are very puckered,
shaped like an O; the jaw is fully dropped.
u (oo)--The tongue remains forward and low; the lips fully puckered, shaped like a small o;
the jaw is dropped as far as possible with a full pucker.
Practice singing in front of a mirror.
Beginning singers always think that their mouths are more open than they actually are.
Practicing singing these vowels in front of a mirror will help you check your mouth to
see if it is open enough and to check to see if your tongue is in the right position.
Practice singing the literature in front of a mirror so that you can check to make sure
every vowel is "tall" and "open." In this way, using tall vowels combined with good deep
breathing controlled with the abdominal muscles, you will be able to produce the best
possible vocal timbre for your voice at this time of your training.
P- 7
I -- YOUR VOICE
Remember every time you sing to demonstrate the best possible vocal timbre you
can produce through breathing correctly and producing "tall," open vowels. This is
especially important when you are singing by yourself, because no other voices will be
covering your voice; your voice will stand on its own.
ACROSS THE CURRICULUM:
1. Describe the events that have to take place in the body for phonation to occur.
2. List the five basic vowels and describe how each one is properly sung.
Preparatory Pages II
Written Activity 4: The Singing Mechanism
Written Activity 5: Vocal Timbre
VOCABULARY:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
alto--the lower treble voice
baritone--a low male voice, in between tenor and bass
bass--the lowest adult male voice
diaphragm--the large muscle that separates the abdomen from the lungs; the primary
breathing muscle
falsetto--high treble voice of adult men
larynx--the voicebox
phonation--the act of making vocal sound
tenor--the highest adult male voice
timbre--tone quality
trachea--the windpipe; the tube through which air travels to and from the lungs
treble--higher pitches; higher human voices
vocal cords--the bands of muscle inside the larynx that vibrate to make sound
a LA
P- 8
SP - 8
II:
Performances
Ask the students to describe the following and to give examples of these different kinds
of performances:
1.
2.
3.
4.
5.
Live performance
Recorded performance
Formal performance
Informal performance
Casual performance
SP - 9
II:
Performances
There are many kinds of musical performances.
Written Activity 6 addresses one kind of performance,
the live performance. A live performance is one that a
person observes as it is happening. Here are some
examples of live performances:
School concerts
Rock concerts
Sacred music concerts
Recitals
Football game performances
Operas
Ballets
Symphony orchestra performances
Plays
Can you identify other kinds of live performances?
Using Written Activity 6, make a list different kinds of live
performances.
Performances can be recorded for viewing at a later time. Concerts that are shown on
free television, at a movie theatre, or on cable or satellite television are all examples of
recorded performances. These performances may be broadcast live, but they are recorded
for audiences that are not physically present. Most of the time, recorded performances are
broadcast at a later time.
There are several other categories of performances that depend upon the content of the
performance, the place of performance, the occasion for the performance, and the identity
of the performer. These performances may be formal, informal, or casual. Formal
performances usually take place in an auditorium, concert hall, or church for large audiences,
and the performers wear dress or formal clothing. Usually the audience will wear dress
clothing as well.
Informal performances take place for smaller audiences in less formal settings, such as for
luncheons or meetings. The performers may dress less formally for such an event, and the
atmosphere is more personal and more relaxed.
Casual performances may take place in settings where other activities are going on at the
same time, such as in shopping malls, for community picnics, festivals, carnivals, football
games or other casual gatherings. The audience may be invited to participate in informal or
casual performances.
P- 9
II -- PERFORMANCES
ACROSS THE CURRICULUM:
1. Discuss the differences between live and recorded performances.
2. Discuss the differences between formal, informal, and casual performances.
Preparatory Pages II
Written Activity 6: Performances
Written Activity 7: Formal, Informal, Casual
Written Activity 8: My Performance History
a LA
P - 10
SP - 10
III:
Concert Etiquette
(Performances)
Group Activity:
Before reading this chapter, divide the class into small groups of 4-6 members each.
Give the groups 5 minutes to discuss (no more) and to write out a list of behaviors that
should be expected of choral students while performing.
After they have made their lists, tell them each to prioritize their list with the most
important behavior first.
Bring the class back together and ask each group to record on the chalkboard the first
behavior on each group list. If a group offers a behavior that has already been given, ask
that group to give the next one on its list. Continue until all of the behaviors on all group
lists have been recorded in priority order. Weed out the nonessentials.
Print this list and give it to the students and parents as a contract that the students agree
to exhibit the performance behaviors that they themselves have selected. Provide a place
for the student to sign as well as for the parent, and the teacher.
You may establish consequences for breaking the rules in the same way if you wish,
reserving the right for you to have the final say.
After the you have done this little group activity exercise, have them read and discuss
the chapter and compare what the students listed with what the book presents.
Formal performances by large ensembles:
The students should go over each of the guidelines for behavior for formal performance
in large ensembles. Not only should they be able to list and describe them, they should
also be required to demonstrate them. Take time in the class schedule for students to
demonstrate the behaviors for formal large ensemble performances by setting up mock
concerts on the risers in your classroom and, if possible, on an auditorium stage. Do not
wait until just before a performance to practice the behaviors; you will need this time to
to perfect the music. If performance behaviors are learned early in the year and practiced
regularly, then immediately before a formal concert, the large ensemble needs only a
dress rehearsal to work out the specific details for that particular performance.
SP - 11
III: Concert Etiquette
(Performance)
Concert etiquette for performers involves
how a choral singer should behave while
performing. This involves every aspect of the
performance: deportment before the concert,
while entering the stage, while standing on the
stage, while singing, during applause, while
exiting the stage, and after the concert.
Concert etiquette for the performer varies according to the occasion. Etiquette for formal
performances differs somewhat from etiquette for informal or casual performances. It also
differs according to whether the performing group is a large ensemble with a conductor or a
small ensemble that is self-directed. Below is a list of appropriate formal concert behaviors
for performers in large ensembles.
The first thing a singer must do to prepare for a formal performance, large or small
ensemble, is to make sure that his/her uniform is clean, pressed, and completely ready for
the performance. This should be done a day or two before the day of the performance.
This includes making sure all parts of the uniform are present, including shoes, ties,
cummerbunds, vests, and the correct color socks or hose, etc.
Formal performances by large ensembles:
Entering the stage:
1. The stage should be entered as quietly as possible. There should be absolutely
no talking, not even to give directions to others.
2. If the risers are mounted from one side only, they should be mounted from the
far side from which the leader will stand. The leader should be the first person
on the back row of the side farthest from where the choir is entering the stage.
3. If the risers are mounted from both sides, then the leaders should be the centermost singers on the back row. They should climb each step at the same time
and meet in the middle.
4. The singers should step on the risers and ascend to the step on which they will
be standing before they turn to cross to the middle instead of cutting across
the risers diagonally to reach the step on which they will be standing.
5. If the singers are using music, the music should be in black folders and carried
at their sides in the hand opposite the one that faces the audience.
6. The singers should step lightly on the risers to make as little noise as possible.
7. The singers should look around them without too much turning of the head to
make sure they are where they are supposed to be and that they are spaced
evenly. If adjustments need to be made, they should be made silently and
with as little commotion as possible.
P - 11
III -- CONCERT ETIQUETTE (Performance)
Before the performance:
1. Stand tall, weight evenly distributed on both feet, feet shoulder-width apart,
one foot slightly ahead of the other, and hands to the side.
2. The singer may look at the audience at this time, but as soon as the conductor
enters the stage, the focus should be on him/her.
3. There is absolutely no talking or interacting or extraneous movement during
this time.
During the performance:
1. The singer must not take his/her eyes off of the conductor from the time the
conductor raises his/her hands or baton, to the time (s)he lowers it.
2. All music should be memorized unless the choir is performing a lengthy
work. In this case, music should be held up so that the singer can see
the conductor just over the top of the music.
3. The singer should remember to move his/her knees slightly from time to
time to make sure the blood keeps flowing to the brain and (s)he does not
pass out. (This is not an unusual occurrence in beginning choirs.)
After the performance:
1. Singers should stand still, face up to the audience and acknowledge the
applause.
2. They may look at the audience and take the time to breathe deeply,
wiggle their knees and squeeze their hands to stimulate blood flow, but
this should be done covertly so that it is not obvious to the audience.
3. If it is between numbers, singers should begin preparing themselves
mentally for the next piece.
4. It is not necessary for large ensembles to bow in order to acknowledge the
applause. It is generally better for the conductor to accept the applause by
bowing for the whole group.
5. If it is at the end of the performance, the singers remain in their places
until they receive direction to leave the stage, which they should do in an
orderly manner, one row at a time, beginning with the front row.
PRACTICE the behaviors for large ensembles in formal performances in the
classroom before exhibiting them in actual performance situations.
Formal performances by small ensembles:
In general, most of the rules for formal large ensemble performances apply to formal small
ensemble performances as well.
Entering the stage:
1. The stage should be entered as quietly as possible. There should be absolutely
no talking, not even to give directions to others.
2. Risers are not generally used for small ensembles. If risers are used, they should
be mounted according to the rules for large ensembles.
3. The singers should step lightly and enter the stage with as little noise as possible.
4. The singers should look around them without too much turning of the head to
P - 12
Formal performances by small ensembles:
The students should discuss in class each of the guidelines for behavior for formal
performance in small ensembles. Not only should they be able to list and describe them,
they should also be required to demonstrate them. Even if they may never be involved
in a small ensemble in a formal setting, they need to demonstrate the performance skills
that are required for a such a performance so that they can practice these things on their
own if they ever find themselves such a situation. When you have class performances
of small ensembles, have the participants exhibit the same behaviors they would need
in a formal setting. Do not wait until just before a performance to practice the behaviors.
If the students have rehearsed these behaviors well from early in the year, then the small
ensemble can practice independently, and time will not be taken away from the large
group rehearsal time.
Lead a student discussion of the differences between performance behaviors for large
ensembles in a formal setting versus those for small ensembles in a formal setting.
It is up to the teacher to provide performance opportunities for the students during
the school year. All students should be involved in at least four formal large ensemble
performances with several informal performance opportunities and many occasions
for small ensembles to perform in a variety of settings. Students learn to perform by
performing. The director should seek out performance opportunities early in the year and
place them on the school's and the choir's calendar of events.
SP - 12
Informal performances by large ensembles:
The students should go over each of the guidelines for behavior for informal performance
in large ensembles. Not only should they be able to list and describe them, they should
also be required to demonstrate them. Take time in your class schedule to have the
students demonstrate the behaviors for informal large ensemble performances by having
them practice these behaviors on the risers or in whatever setting the informal performance
may take place. If these behaviors are practiced in your classroom then there will be less
adjustment necessary in the actual performance setting.
Informal performances by small ensembles:
The students should discuss in class each of the guidelines for behavior for informal
performances with small ensembles. Even if they may never be involved in a small
ensemble, they need to be prepared should the opportunity arise. Since there is little
difference between formal and informal performance skills, if the students are prepared
to perform formally in a small group, they will likewise be prepared for an informal
performance. When you have small ensembles perform for the class, have the students
exhibit the same behaviors they would need in a performance situation. Do not wait
until just before a performance to teach the behaviors; if the students have rehearsed these
behaviors well from early in the year, then the small ensemble can rehearse independently
for any performance, and class time does not have to be spent for the small ensemble to
practice performance skills.
All small ensemble music should be memorized and performed from memory.
Lead the students in a class discussion concerning the differences between performance
etiquette for formal performances and for informal performances.
SP - 13
CONCERT ETIQUETTE (Performance) -- III
make sure they are where they are supposed to be and that they are spaced
evenly. If adjustments need to be made, they should be made silently and
with as little commotion as possible.
Before the performance:
1. Stand tall, weight evenly distributed on both feet, feet shoulder-width apart,
one foot slightly ahead of the other, and hands to the side.
2. The singers may look at the audience to acknowledge the applause at this time,
but they should then directly or indirectly focus on the leader of the ensemble
for pitches and/or the starting gesture.
During the performance:
1. During the performance, the members of the small ensemble should focus their
eyes on two or three different spots slightly over the heads of the audience
and change their focus every few seconds.
2. At places which have changes in tempo and as the end of the piece draws
near, the ensemble members should refocus on the leader for any ritards or
other tempo changes, as well as the final cut-off.
After the performance:
1. The small ensemble may stand and acknowledge the applause or bow,
depending upon what has been pre-decided and practiced.
2. After the applause has been acknowledged and has faded, the small ensemble
should exit the stage in a quiet and orderly manner.
PRACTICE the behaviors for small ensembles in formal performances in the
classroom and demonstrate them in actual performance.
ACROSS THE CURRICULUM:
1. Describe the concert etiquette for large ensembles in formal performances.
2. Describe the concert etiquette for small ensembles in formal performances.
3. Discuss the differences.
Preparatory Pages II
Written Activity 9: Performance Techniques
Written Activity 10: Formal Performances
Written Activity 11: Performance Techniques II
Informal performances by large ensembles:
It is appropriate to follow all of the rules for formal performances in informal settings.
But it is not appropriate to take the liberties allowed for informal performances in a formal
performance situation.
In general, the rules for performance etiquette remain much the same for informal
performances as they are for formal performances. However, in informal settings, the
singers may be a bit more relaxed in their behavior.
P - 13
III -- CONCERT ETIQUETTE (Performance)
Before the performance:
1. Because an informal performance may or may not involve the use of the risers on
entering a stage, the teacher must decide how to organize the way the singers will
stand. If possible, this should be practiced beforehand. If not, then the singers
must stand in an orderly and quiet way, waiting for instructions.
2. Students must follow the instructions silently. Since there is a likelihood of more
interfering noise in an informal situation, it is even more important that the singers
remain quiet so that all can hear the instructions from their director. They should
not take it upon themselves to try to tell other singers what to do, but merely to
stand quietly so that the rest of the choir can hear the director's instructions.
During the performance:
1. During an informal performance it is particularly important for a large ensemble to
stay focused on its director. The chances of more motion and commotion in the
audience is greater in an informal performance, and the individual singer must stay
focused no matter what interference may occur in the audience.
2. The audience may choose to participate during an informal concert, by either clapping
to the beat or by joining in the singing. The singers should be prepared for this
possibility so that they are not taken by surprise if it should happen.
3. Informal performances should always be memorized. Carrying music folders are an
inconvenience that can be avoided.
After the performance:
1. If the director has not given specific instructions about what to do, the singers should
remain in their places following the performance.
2. If the performance is in a public place, such as a shopping mall, the students should
remember that as long as they are in public in their school uniforms, they are the
school's representative, and should be on their best behavior.
PRACTICE appropriate behaviors for informal large ensemble performances in the
classroom so that you can demonstrate them during live performances.
Informal performances by small ensembles:
Before the performance:
1. The members of the small ensemble must know how to stand before they go to the
place of performance. When they arrive, they should either sit or stand quietly
and wait for their performance cue.
2. When it is time to perform, they should go straight to their places without discussion.
During the performance:
1. During an informal performance is it particularly important for a small ensemble to
stay focused on its music. It is also important that the singers open their mouths
and sing out, as there may be noise interference that they will have to compete
with. Whatever happens, the singers must remain focused and keep on performing
no matter what interference may occur in the audience.
2. The audience may choose to participate during an informalconcert by either clapping
to the beat or by joining in the singing. The singers should be prepared for this
possibility so that they are not taken by surprise if it should happen.
P - 14
CONCERT ETIQUETTE (Performance) -- III
3. Informal performances should always be memorized. Carrying music folders are
an inconvenience that can be avoided.
4. While members of a small ensemble may focus more on the faces of the people
and even glance at each other during an informal performance, they should not
do anything that might break their concentration in performing the music to the
best of their ability. If they wish to look at the faces of the audience and/or at
each other, they should practice doing this before the informal performance.
After the performance:
1. It should be predetermined what the singers should do following the performance.
2. The ensemble may bow after each number or at the end of the performance. If
the singers choose to bow, the bow should be well-rehearsed. If they choose
not to bow, they should determine how they will acknowledge their applause.
3. If the performance is in a public place, such as a shopping mall, the students should
remember that as long as they are in public in their school uniforms, they are the
school's representative, and should be on their best behavior.
In casual performances, the singers should follow the guidelines for informal
performances. Even if their director allows them to be more relaxed in the performance,
they should stay focused on giving the best performance possible under the circumstances,
keeping in mind that people will possibly be coming and going and conversing while they
are singing. They must not allow any commotion to distract them from their best
performance of the music.
PRACTICE the behaviors for informal small ensemble performance in the
classroom as well as during actual performances.
ACROSS THE CURRICULUM:
1.
2.
3.
4.
Describe appropriate concert etiquette for large ensembles in informal performances.
Describe appropriate concert etiquette for small ensembles in informal performances.
Discuss the differences.
Discuss casual performances. What things might occur during casual performances?
Preparatory Pages II
Written Activity 12: Informal Large Ensemble Performances
Written Activity 13: Informal Small Ensemble Performances
a LA
P - 15
IV: Concert Etiquette
(Audience)
Choir members should not only be responsible
performers, they should also be good observers.
There are some guidelines that need to be
followed in order that the audience give proper
respect for those who are performing.
Although the guidelines may vary slightly for
formal, informal, or casual performances, the
basic respect for the performer is at the center of
all audience etiquette. Show that you understand
appropriate audience etiquette by demonstrating these guidelines in the classroom setting.
Then it will be easy for you to demonstrate them while observing live performances.
Audience etiquette for formal performances
:
Before the performance:
1. Dress appropriately. The audience should wear dress clothing for formal concerts.
2. Be on time. There should be no seating after the performance begins and until the
applause after the first number.
3. Take care of personal needs before the concert. Do not expect to be able to go
to the restroom or get a drink during the concert.
4. Pick up a program before you enter the auditorium.
5. Do not sit beside those who will tempt you to talk to them.
6. Do not seat-hop. Find a seat, and keep it.
7. If you come in late, wait to enter until the first applause. Then enter quietly and
take the first available seat.
During the performance:
1. Absolutely no talking!
2. Do not exit the auditorium except in case of emergency; and in that case, exit only
during the applause.
3. You may follow along with the program if there is enough light, but do not rattle
it or use it as a fan.
4. Sit upright and give the performers your full attention. Keep your mind focused
on the performance. An actively involved listener is one who does not become bored.
5. Do not wave to the performers on stage.
6. Show your appreciation for the performance with applause.
7. Do not applaud between movements of a larger work. Wait until the conductor lowers
his/her hands or baton before applauding.
8. Do not whistle or yell during the applause.
9. You may stand during the applause if you think the performing group has given an
exceptional performance.
P - 16
IV: Concert Etiquette
(Audience)
Group Activity:
Before reading this chapter, divide the class into small groups of 4-6 members each.
Give the groups 5 minutes to discuss (no more) and to write out a list of behaviors that
should be expected of an educated audience.
After they have made their lists, tell them each to prioritize their list with the most
important behavior first.
Bring the class back together and begin a list on the blackboard or on a large piece
of paper, starting the first behavior on each list. If a specified behavior has already been
given by a previous group, ask the group to give another one. Continue until all behaviors
on each group list are recorded. Weed out the non-essentials.
Print this list and give it to the students and parents as a contract that the students agree to
exhibit the performance behaviors that they themselves have selected. Provide a place for
the student to sign as well as for the parent, and the teacher.
You may develop consequences for breaking class rules in the same way if you wish,
reserving the the final decision for you, as director.
After the you have done this little group activity exercise, have them read and discuss
the chapter and compare what they listed with what the book presents.
Audience etiquette for formal performances:
Make sure the students understand the guidelines for audience behavior in formal
situations by having them demonstrate these guidelines in the classroom. If respect
for the performer(s) is practiced in the classroom, then it will come more naturally in
a formal concert setting.
It is up to the teacher to provide opportunities for the students to attend formal
performances during the school year. All students should attend at least three
formal performances, not only to practice their audience skills, but also to evaluate
the performances.
SP - 16
SP - 17
CONCERT ETIQUETTE (Audience) -- IV
10. Do not make faces or negative comments about the performance in the concert
hall.
11. Keep your mind actively involved in the performance by concentrating on musical
elements and/or the quality of the performance.
After the performance:
1. Applaud as long as you wish.
2. If you have flowers for a soloist or for the conductor, you may take them up to
the stage after the choir is finished performing.
3. Do not go up on the stage until the choir has completely exited.
4. Congratulate the conductor and the choir on a successful performance.
PRACTICE appropriate audience behaviors in the classroom. Demonstrate them
when observing live performances.
Audience etiquette for informal performances:
Before the performance:
1. Be on time. Even though informal performances are more relaxed, one should
still do as little as possible to disturb the performance.
2. Take care of personal needs before the concert so that you do not have to miss
part of the performance or disturb the performers by leaving early. The
might think that you walked out on their performance because you do not like
it; so make every effort to avoid this.
3. Do not seat-hop. Find a seat, and keep it.
4. If you come in late, wait to enter until the first applause.
During the performance:
1. Do not talk during the performance--show the performers the same respect that
you would want them to show you.
2. Do not leave the performance except in case of emergency; and in that case, exit
only during the applause.
3. Give the performers your full attention.
4. Show your appreciation for the performance with applause.
5. Do not whistle or yell during the applause.
6. You may stand during the applause if you think the performing group has given
an exceptional performance.
7. Do not make faces or negative comments about the performance in the concert hall.
After the performance:
1. Applaud as long as you wish.
2. Congratulate the conductor and the choir on a successful performance.
PRACTICE appropriate audience behaviors for informal performances in the
classroom in preparation for demonstrating them during live performances.
P - 17
IV-- CONCERT ETIQUETTE (Audience)
In casual performances, the guidelines for audience response are fairly relaxed. In
general an observer should follow the guidelines for informal performances, and treat the
performers in the same way as you would wish to be treated: avoid talking near the
performance, pay attention to the performance, walk out or away only during applause, etc.
ACROSS THE CURRICULUM:
1.
2.
3.
4.
Describe appropriate audience etiquette for formal performances.
Describe appropriate audience etiquette for informal performances.
Discuss the differences.
Discuss casual performances. What are some things to remember about casual
performances?
5. Discuss some ways to keep oneself actively involved as a listener to a live performance.
Preparatory Pages II
Written Activity 14: Audience Etiquette for Formal Performances
Written Activity 15: Audience Etiquette for Informal Performances
a LA
P - 18
SP - 18
V:
Evaluating Music
Students need to evaluate music; not only the music that they will be learning and
performing in their choral classes, but also the music that they listen to on a daily basis.
If they can give musical answers for their tastes in music, hopefully it will lead them to
appreciate different types of music simply for their musical value.
Written Activity 16 provides a form for evaluating one's personal taste in music.
Written Activity 17 provides an evaluation form which the students may use to evaluate a
musical piece's quality and effectiveness based upon the musical elements in it. Written
Activity 18 leads them through the development of their own form for evaluating music.
Allow students to evaluate every piece of music that they learn for performance. In fact,
it might be educational to do a "before" and "after" evaluation of the music to see how
their perception of the piece changes after they have learned it to performance level.
Quality and effectiveness
Questions for class discussion:
What is meant by the "quality" of a musical piece?
What are some characteristics of a musical piece that help determine its quality?
What is meant by "effectiveness" of a musical piece?
What are some characteristics of a musical piece that help determine its effectiveness?
Is "quality" a subjective evaluation? Does it depend on personal taste?
Or are there some objective musical standards with which to judge the quality of music?
If so, what are some of those standards?
Is "effectiveness" a subjective evaluation? Does it depend on personal taste?
Or are there some objective musical standards with which to judge the effectiveness
of music?
If so, what are some of those standards?
Can a musical piece be high quality and not be effective? Explain.
Can it be effective and low quality? Explain.
SP - 19
V: Evaluating Music
As choral musicians, you will be singing many different types
of music. Some of the music you will like very much; some of it
you may not enjoy as much. Everyone has tastes in music; there
is nothing wrong with this. The purpose of this chapter is to lead
you into evaluating your own taste in music, to develop musical
reasons for liking or disliking a piece, to evaluate music as to what kind is best for specific
situations, and the over all artistic value of a piece of music to you.
We will start with an evaluation of your own current taste in music. Everyone has his
own personal tastes, but one of the purposes of music education is to teach the student
the elements of music and to allow him/her to learn various styles of music. This being
the case, it is probable that your taste in music will be changed by becoming musically
literate. Not that you won't like the music you enjoy now, but that you will broaden your
repertory and will learn to enjoy many kinds of music. Written Activity 16 will guide
you through an analysis of your favorite music and, hopefully, provide some musical insights
to you as to why you like it.
After you have completed Written Activity 16, what did you find out about your main
reasons for liking a piece of music? Were they musical? Were they mainly nonmusical,
such as lyrics, personality of the performer, or sentiment about circumstances surrounding
the piece or your hearing it?
From this point on in the book, you will be asked to evaluate music simply from a
musical standpoint. You will be using the criteria given in Written Activity 17, plus any
criteria you would like to add to it, to create your own form for evaluating the quality
and effectiveness of music you listen to or perform. First of all, decide how you will
divide the 100 possible points for your evaluation form between quality and effectiveness.
You may wish to divide it 50/50, but, after studying the meaning of both quality and
effectiveness, you may make your decision.
Quality: What is meant by quality in music? Look up the word in a dictionary. How does
it relate to music?
Effectiveness: What is meant by effectiveness in music? Look up the word in a dictionary.
How does it relate to music?
Questions for discussion:
How do quality and effectiveness in music relate to each other?
Can quality music be noneffective?
Can effective music lack in quality?
To what degree is the quality and effectiveness of a piece of music dependent upon the
performance of it?
P - 19
V -- EVALUATING MUSIC
Which musical qualities (modality, melodic line, tempo, rhythmic interest, harmonic
interest, dynamic changes, etc.) contribute the most to the quality of a piece of music?
Which musical qualities (modality, melodic line, tempo, rhythmic interest, harmonic
interest, dynamic changes, etc.) contribute most to the effectiveness of a piece of music?
Incorporating the musical qualities you defined in Written Activity 17, use Written
Activity 18 to create your own form for evaluating the quality and the effectiveness of a
piece of music. You will be using this form to evaluate the choral music you learn in this
book, in the literature that accompanies this book, and other choral music.
Here are the terms you will be using on your form. Discuss in class the relationship
between each of these terms and the quality and the effectiveness of a piece of music:
Melodic line
Modality (Major/Minor)
Meter/beat
Tempo
Dynamic levels/contrasts
Style
Rhythmic interest
Harmonic interest
Accompaniment/Instrumentation
Lyrics
Set up a ranking scale for the total score for a piece of music. For example if the total
score falls between 95-100 and is evenly divided for quality and effectiveness, you may
wish to label that category, High quality/Very effective. Or for an evenly divided score
between 85 and 95, Good quality/Effective, etc. Be creative!
Additionally, at the bottom of each form, make a place to write in the type of
performance setting in which the piece would best fit, such as formal concert, informal
concert, pop show, small ensemble, etc.
Type your form up on a computer so that you can make copies of it to use throughout
the year. If at any point, you become dissatisfied with your form, talk to your teacher
about how you think you could improve it.
Preparatory Pages II
Written Activity 16: My Taste in Music
Written Activity 17: Quality and Effectiveness
Written Activity 18: Create an Evaluation Form.
Written Activity 19: Listening Form -- Classical
Written Activity 20: Listening Form -- Popular
Written Activity 21: Listening Form -- Cultural
Written Activity 22: Evaluating Music
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P - 20
SP - 20
s
VI: Evaluating Performances
Students need to be able to recognize good performances and verbalize what qualities
make them good. In order to do this, they must be equipped with the tools with which to
make these decisions. An understanding of the performance concepts, below, will help
them be able to make and verbalize their decisions:
1. Technical Accuracy--How accurately the notes and rhythms are reproduced
2. Intonation--How well the singers are in tune with each other and with the
written pitches
3. Balance--How equally the individual voices and the voice parts are projected
4. Blend--How consistent the sound is--no individual voices sticking out.
5. Dynamics--How loudly or softly the music is performed
6. Tone--The quality of the sound: full, thin, weak, breathy, harsh, etc.
7. Phrasing--How musically the melodic line is performed
8. Tempo--The speed at which the music is performed
9. Interpretation--How a choir presents the mood of the music
10. Diction--How words are pronounced--vowels and consonants
Introduce and discuss these terms and concepts in class. Written Activity 22 may be used
as a reinforcer or as an evaluation to ascertain that the students understand the concepts.
They will be using these as a basis for the evaluation forms that they will create.
Quality and effectiveness
Questions for class discussion:
What is meant by the "quality" of a musical performance?
Which of the characteristics above determine the quality of a performance?
What is meant by "effectiveness" of a musical piece?
Which of the characteristics above determine the effectiveness of a performance?
Can a musical piece be high quality and not be effective? Explain.
Can it be effective and low quality? Explain.
After the students have developed their evaluation forms, keep a copy of each of them
in a protected place so that you can make a copy of it for them if they lose their original
copy. Make sure the students have the opportunity to evaluate at least three formal
performances during the school year in addition to small ensembles and solos in the
classroom.
SP - 21
VI:
Evaluating Performances
ACROSS THE CURRICULUM:
A. Write an essay in your own words on what makes a good choir performance.
B. Discuss your conclusions in class.
1. Discuss the following terms in class. A short discussion of each word is given to start
off the discussion. What can you add to each definition? Determine the relevance of
each of these to a quality and effective choral performance.
1. Technical Accuracy--How accurately the notes and rhythms are reproduced
2. Intonation--How well the singers are in tune with each other and with the
written pitches
3. Balance--How equally the voices and the voice parts are projected
4. Blend--How even the sound is--no individual voices sticking out.
5. Dynamics--How loud or soft the music is performed
6. Tone--The quality of the sound: full, thin, weak, breathy, harsh, etc.
7. Phrasing--How musically the melodic line is performed
8. Tempo--The speed at which the music is performed
9. Interpretation--How a choir presents the mood of the music
10. Diction--How words are pronounced--vowels and consonants
2. Discuss each of the terms, above, in terms of its significance to:
A. The quality of the choral performance, and,
B. The effectiveness of the choral performance.
3. What is the difference between the quality of a choral performance and the
effectiveness of one?
4. Can you have quality without effectiveness?
5. Can there be effectiveness without quality?
P - 21
VI -- EVALUATING PERFORMANCES
6. Evaluate:
A. Which of the traits on the preceding page are the most important in a choral
performance? In teams of four, rank the traits from 1 to 10 with 1 being the
most important.
B. In your team, assign points to each trait according to the rank order that your team
establishes. Make sure the points add up to 100.
C. Create a form with Written Activity 23 for evaluating choirs.
D. Observe and evaluate at least three different choir performances using the form
you created. You may also use them in the classroom for large or small group
or solo evaluations.
Not only is it important for choral musicians to be able to evaluate the performance of
choirs, (s)he must be able to evaluate the quality and effectiveness of his/her own
performance also. The form on Written Activity 26 allows the individual student to
evaluate his or her own solo or small ensemble performance. This form may be used
whenever a student is called upon to perform solo or in a small ensemble, in the classroom
as well as in a formal or informal concert or recital.
Record yourself while performing. Before you listen to or watch the recording, fill out
the self-evaluation form in Written Activity 26. Then watch or listen to your performance,
and fill out a second self-evaluation form without consulting the first. Compare the two
evaluation forms. Were they alike? Or were there some significant differences?
When filling out the form, after totaling your score for each of the characteristics listed
on the form, give yourself a rating for overall quality and effectiveness. (A low total score
should not result in high quality and effectiveness scores, nor should a high total score
result in low quality and effectiveness scores.) Also make some notes for improvement
for your next performance.
Turn these evaluations in to your teacher for safe-keeping so that you may review them
all at the end of the year to gauge your progress.
Preparatory Pages II
Written Activity 23:
Written Activity 24:
Written Activity 25:
Written Activity 26:
Performance Evaluation
Create a Critique Form
Exemplary Groups
Self-Evaluation
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P - 22
Self-evaluation (Written Activity 25) is very important in student development.
Offer as many opportunities as possible for your students to perform solo as well as in
large and small ensembles. Have them evaluate themselves and be evaluated by the
whole class.
An effective self-evaluation is to have students perform and record their performance.
Then have them to do two evaluations: one before listening to the recorded performance
and one after. Compare the results.
SP - 22
VII:
Musical Careers
Class discussion:
Ask the students to brainstorm for various musical careers.
Vocation vs. Avocation
Sometimes people are very much involved with music just for the love of music. They
are involved with musical activities as a hobby, or an avocation, meaning that they do not
make their living by their musical activities. Such activities may include taking music
lessons, performing in a community chorus, or building a musical library.
Can you name some other musical avocations?
What is the difference between a vocation and an avocation?
SP - 23
VII:
Musical Careers
There are many ways to make a living with music.
A person can teach music in the public or private schools,
like your teacher does. Or write materials to use in the
classroom, such as this textbook.
Exploring Musical Careers (Vocations)
Lesson 1: Using the internet search engines, find as many different jobs in the music
business as you can find. Use Written Activity 27 to help you with your search.
When you are finished, compare your list to your classmates' lists.
Who found the most careers?
Who found the most unusual careers?
Lesson 2: Prepare a report on the life and work of a current popular or historical figure
in the music field. Include a biography with pictures, if possible, a detailed description
of what the person does, and what preparation was necessary to equip the person for their
job. Present your report to the class either orally with audio and or visual exhibits such as
CD recordings or videotape, a computer slide show presentation, overhead transparencies,
or with posters/drawings. Written Activity 28 can help you with this report.
Lesson 3: Interview a person with a musical career outside of education. You may
conduct your interview either by letter, by email, by phone, or in person. (Never contact
any person without your parents' knowledge, permission, and supervision.) Written
Activity 29 contains some standard questions to ask the person you interview. Add
questions specific to the musician you are interviewing and/or your own questions to the
list. If you are doing an oral interview with the person, ask the interviewee if you may
record the conversation so that you can accurately report their answers. Type up your
interview, and share it with the class.
Sometimes people are very much involved with music just for the love of music. They
are involved with musical activities as a hobby, or an avocation, meaning that they do not
receive compensation (payment) for their musical activities. Such activities may include
taking music lessons, performing in a community chorus, or building a musical library.
Can you name some other musical avocations?
What is the difference between a vocation and an avocation?
Preparatory Pages II
Written Activity 27:
Written Activity 28:
Written Activity 29:
Written Activity 30:
Musical Career Search
Famous Musician
Interviewing a Musician
Vocation or Avocation?
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P - 23
VIII:
Music and Other Arts
The "fine arts" are often set aside from
other disciplines. They are referred to as
expressive, creative, or "right brain" subjects,
and often set apart from the other "academic"
subjects.
The arts have an important part to play in
our society, and so it would follow that they
are important to the education of every child
that lives in this society. Additionally, the arts
give us not only the ability to express ourselves
in creative and imaginative ways, but they also
encourage us to seek creative ways to solve
problems in all areas of our lives.
Traditionally, the "fine arts" include music, visual art, theatre, and dance. Some include
literature with the fine arts also.
CONCEPTS:
There are two aspects of the fine arts that we will be discussing. First of all, are the
concepts involved in the different fine arts disciplines. One example is time. Music,
dance, and theatre are arts that exist in time. Space would be another concept. Visual art,
dance, and theatre are arts that exist in space. These are two fundamental concepts which
have many subdivisions. One subdivision of the concept of time would be tempo, or speed.
Another would be duration. One subdivision of space would be height. Another would
be breadth.
Small group discussion:
In small teams, work together to identify concepts of the various arts. Use the partial list
in Written Activity 32 to start you off. Add concepts to the list, and then identify the fine
arts that incorporate that particular concept.
CONTENT:
Content refers to the actual subject matter that is taught in a course of study. Examples
of content for music would be note values, pitch notation, music reading, etc. Content for
theatre would include acting, set design, lighting, etc. Discuss the different areas of content
for the different arts and how they compare or differ from those of music.
Small group discussion:
In small teams, work together to identify major points of content of the various arts. Use
Written Activity 33. List the content and show how the content of one art relates to that of
the other arts.
P - 24
VIII:
Music and Other Arts
Define, discuss, and differentiate between concept, content, and process, as they have
to do with fine arts education. If the students do not understand these differences, they will
not be able to do the assignments of comparing and contrasting music with the other arts.
Concept: An abstract or general idea that is key to mastering a particular subject
Content: All the individual components of a course of study
Process:
The particular course of action taken to achieve a desired result
Help your students understand each of these words and distinguish between them.
Class discussion
What concepts are involved in music education?
What concepts are involved in the other fine arts (dance, theatre, visual art, literature)?
What content is a part of music education?
What content is a part of the other fine arts (dance, theatre, visual art, literature)?
What processes are used in music education?
What processes are used in the other fine arts (dance, theatre, visual art, literature)?
SP - 24
SP - 25
MUSIC AND OTHER ARTS -- VIII
PROCESS:
Process is the way in which content is delivered. Process involves the sequence in
which content is presented or skills are learned, the manner in which it is presented, and
the activities that are used to convey the content.
Small group discussion:
In small teams, identify some key process elements in each of the arts presented.
Written Activity 34 will help you identify process elements for each of the fine arts
and to compare them to each other and to music.
ACROSS THE CURRICULUM:
1. Write a short paragraph discussing the difference between the concepts, the
content, and the processes of courses of study.
2. Write a brief essay describing how concepts of other fine arts are similar to those
of music and how they are different.
3. Write a brief essay describing how content of other fine arts is similar to those
of music and how they are different.
4. Write a brief essay describing how processes of other fine arts are similar to those
of music and how they are different.
Preparatory Pages II
Written Activity 31:
Written Activity 32:
Written Activity 33:
Written Activity 34:
Written Activity 35:
Concept, Content, Process
"Concept" in the Fine Arts
"Content" in the Fine Arts
"Process" in the Fine Arts
Music vs. other Fine Arts
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P - 25
IX: Music and Other Subjects
CONCEPTS:
As pointed out in the previous chapter, music is an art that exists in time. A subdivision
of the concept of time would be tempo, or speed. Another would be duration. Other
concepts that are characteristic of music include rhythm, dynamics, and timbre. These, of
course, may be divided further into more sub-groups. When the subgroups become very
specific, they make up the content of the subject.
Music concepts relate to the concepts of other subjects in many ways. For example,
the concept of reading music relates directly to reading words (English), and notes and
rhythms become the phonetics of music literacy. Music performance is dependent upon
training muscles through practice as is physical education. Music production depends
upon the physical laws of acoustics (science), and music learning is cumulative as is the
study of math.
Small group discussion:
In small teams, work together to identify concepts of the various subjects. Use the
partial list in Written Activity 36 to start you off. Add concepts to the list, and then
identify the concepts of the various subjects as they relate to music (and each other).
CONTENT:
Content involves specific learning that reinforce the concepts. It refers to the actual
subject matter that is taught in a course of study. Examples of content for math would be
fractions, addition, and quadratic equations. Content for French would include diction and
conjugating verbs. Discuss various areas of content for different subjects and how they
compare to or differ from those of music.
Small group discussion:
In small teams, work together to identify major points of content of various subjects.
List the content and show how the content of one art relates to that of other subjects as
well as to that of music.
PROCESS:
Process is the way in which content is delivered. Process involves the sequence in
which content is presented or skills are learned, the manner in which it is presented, and
the activities that are used to convey the content. Music has processes in common with
most other subjects. For example, music is cumulative, as is math--one skill is built upon
another, increasingly more complex--and unlike history. Music involves the skills of both
reading and writing, as English does.
Small group discussion:
In small teams, identify some key process elements in each of the subjects presented.
Written Activity 38 will help you identify process elements for each of the subjects
and to compare and contrast them to music.
P - 26
IX:
Music and Other Subjects
Class discussion
What concepts are involved in music education?
What concepts are involved in the other subjects (math, English, foreign language,
science, history, PE)?
How are they alike or different from the concepts involved in music education?
What content is a part of music education?
What content is a part of the other subjects (math, English, foreign language,
science, history, PE)?
How is their content alike or different from the concepts involved in music education?
What processes are used in music education?
What processes are involved in the other subjects (math, English, foreign language,
science, history, PE)?
How are they alike or different from the concepts involved in music education?
SP - 26
SP - 27
MUSIC AND OTHER SUBJECTS -- IX
ACROSS THE CURRICULUM:
1. Write a brief essay describing how concepts of other subjects are similar to those
of music and how they are different.
2. Write a brief essay describing how content of other subjects is similar to those
of music and how they are different.
3. Write a brief essay describing how processes of other subjects are similar to those
of music and how they are different.
Preparatory Pages II
Written Activity 36: Music and Other Subjects (Concepts)
Written Activity 37: Music and Other Subjects (Content)
Written Activity 38: Music and Other Subjects (Process)
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P - 27
Chapter 1:
Music Around US
Where to begin:
NM Posture:
Post these rules on the wall of your classroom. You will have to
remind your students of them constantly.
Sitting:
Backs straight, edge of chair, feet flat on the floor, eyes up,
music up.
Standing: Stand tall, shoulders relaxed but not drooped, feet shoulderwidth apart, eyes up, music up, if not holding music arms
dropped straight down at sides
Remind them that by standing this way, they are also practicing for large group
performances, as well as small ensemble and solo performance.
q Breathing
v
Vowels
1. Have the students (or a volunteer) lie flat on the floor and place a
book on their abdomens (beltlines). Instruct them to take a deep breath.
Their chests and shoulders cannot move; the only place that can move
is their abdomen, making the book rise. They will probably start
giggling at this exercise. This is good because the more they laugh
the more the book will move. Also have them cough and notice what
happens to the book. These are the proper breathing muscles. These
are the muscles that a baby uses naturally. "Chest" breathing or the
raising of the chest and shoulders when breathing is a result of
faulty training.
2. Tell the students to use the same muscles when sitting or standing.
They should sit or stand tall with hands on abdomen. Tell them to feel
the expansion very low, to fill their lungs all the way to the bottom.
Vowel training begins before the students sing a note. Have the
students place two fingers of each hand on their cheeks so that they
can feel their open jaw beneath them. This pushes their jaw lower
and their lips forward. All vowels need to be sung in this position.
For "closed" vowels such as u and o, the lips should come together
over an open jaw. For i ("ee"), the lips should be puckered. Be very
swift to correct any flat or strident vowel. Always teach them the
words the way you want them pronounced instead of allowing them
merely to read and sing them on their own. You will spend much
less time "fixing" things if you teach it to them the correct way from
the beginning. Be particularly attentive to the vowels that tend to go
flat; for example, have them pronounce Re as "reh" instead of "ray."
Students need to know that vowel production is one of the most important determiners
of intonation and tone quality.
S - 1A
e
The
Major
Scale
&
##
Students should begin singing as soon as possible. Begin by
introducing them to the scale--the whole major scale on solfege and with
handsigns. The more they sing and hear the scale, the more quickly:
1. They will hear and internalize the sequence of the solfege,
both ascending and descending the scale.
2. By looking at the notes on the staff while singing the
scale, the students will begin to understand the line-to-space
movement of the notes.
w w w w w
w
w
w
w
w w w
w w w
The key of D is good for unchanged voices. It falls within most of
their ranges, but, at the same time, forces them to use their upper
registration without forcing them too high. D Major is also good for
changed voices, forcing boys to use their middle voices, but not forcing
them uncomfortably high.
Students should use solfege and handsigns from the very beginning.
Make sure both the solfege syllables and the handsigns are posted in plain
sight in the room. If the students are insecure about beginning with all the
handsigns at once, have them start out with only Do, adding a handsign
each day, until they are comfortable with them all.
+
`
It is vital that students understand that scalewise movement is from line to
space, as beginning music readers often mistakenly try to read scalewise
from line to line or space to space.
+
Emphasize that when one is singing down the scale, solfege syllables are sung
in reverse order.
Vocal
Warm-up
Sing and handsign the scale for the students, up and down.
Students follow and sing as the teacher points to different notes of the
scale (scalewise only).
"Follow Me" Handsign a few notes up and down the scale. Ask the students to
Game
follow your handsigns. (Do not sing with them. Let them work
for it.)
Memory
Your students will love this game! Handsign a note, and have them sing
it back to you. Then handsign that note again followed by another
note (scalewise movement only at first). The students then sing that
sequence. Then add another note and have the students sing the new
sequence. Continue adding notes to the sequence, one at a time, until
either you or the students are unable to reproduce the sequence. If the
students "win," give them some kind of musically significant reward-such as working one of the Pencil Time puzzles.
S - 1B
Music in Society
Lesson 1:
Divide the students into small groups and ask each group to brainstorm for purposes
that music serves in our society.
Some possible answers:
Religious
Relaxation
Entertainment
Social events
Music therapy
Community ensembles
Go around the classroom and take one purpose from each group at a time and write them
on the chalkboard. Continue "round robin" until all groups have exhausted their lists.
Ask each student to come back next rehersal with three more purposes of music. They
may use their parents, other teachers, or the internet as resources.
Lesson 2: Two Days without Music:
This activity would probably be best at the beginning of the school year. It might be
best to begin it on a Friday. The students could do Activity Sheet work in class on that first
No-Music Day. Then they would have a weekend day to finish the assignment. This might
work out best for those students who attend church services on Sunday.
You may need to talk to other music teachers to see if they can make allowances for their
students who are also enrolled in choir. It is also recommended that you send a note home
to the parents a week or so in advance to prepare them for this exercise, to gain their
cooperation, and to have the parents sign off that the students actually participated.
S - 1C
Music and Society
Music's Affects on Society:
1. Using Written Activity 43 as a guide, instruct the students to do research on the
internet for the role that music plays and has played in our society in the past:
Some possible answers: Religious
Relaxation
Entertainment
Social events
Music therapy
Community ensembles
2. Secondly, ask them to find ways that music has served other cultures.
Past cultures/civilizations
Foreign cultures
3. Ask them to find ways in which music serves us in our society:
In our country
In our state
In our community
In our families.
Affects upon music:
1. How has society affected music in the past? Written Activity 40 will help the
students identify some societies and their effects upon music.
2. How does it affect music now? Written Activity 41 will guide the students
through activities to identify how society affects music in our day.
3. What effect do cultural characteristics have on music?
4. How has technology has affected music?
Music literacy:
1. What role has music literacy played in societies in the past?
2. What role has music literacy played in the development of our own country?
(Some answers may surprise them. "Singing schools" were among the early
public schools in the country--schools in which people were taught to read
music using solfege.
3. What role does music literacy play in music education?
4. What role does music literacy play in education?
S - 1D
5. What role does music literacy play in society today?
6. How has technology affected the need for music literacy?
Positively?
Negatively?
Music and technology:
1. What affect have technological advances had on the music industry in the past
40 years?
2. What affect have technological advances had on music education in the past
40 years?
3. How has music affected technological advances in the past 40 years?
S - 1E
1:
Imagine a world without music.
Imagine not having music on the
radio, on CD, in church, in the stores,
during parties, for holidays. Imagine
a world without songs, without dance,
without concerts. Imagine going
skating or to a football game or to a
religious festival without music.
Music is so much a part of our society that often we take it for granted. Often we fail
even to notice its presence, because it is ever-present. In fact, we tend to notice music
more in its absence than in its presence.
LESSON 1:
ACROSS THE CURRICULUM:
Write a short essay describing an important event in your
life in which music played an important role. Describe the
event, what kind of music was involved in the event (vocal, instrumental, recorded, live,
etc.), as well as the style of the music (country, rock, mariachi, etc.). Did you actively
participate in the music or were you a listener/observer only? How did the music help to
make the event significant to you?
LESSON 2:
Avoid all contact with music--as much as possible--for two straight days (48 hours).
Do not play any music on your radio or stereo. Do not sing or whistle or stay around
anyone who is singing, whistling, or playing a musical instrument. Watch TV with the
sound turned off (with the closed captioning option). If you do come into contact with
music that you have no control over, remove yourself from the music. If you cannot
remove yourself from the music, use some stereo headphones attached to a radio that is
tuned to a news channel or with an audio book to mask the music.
Fill out the form in Activity Sheet 1 to describe your experiences.
Pencil Time 2:
Activity Sheet 1: Two Days without Music
Be prepared to share your experiences with the class.
1
1 -- MUSIC AROUND US
LESSON 3:
DISCUSS the kind of music one might hear at:
1. An exclusive restaurant
2. A junior high dance
3. In a bank lobby
4. A Boy/Girl Scout campout
5. A football game
6. As background music in a cartoon
7. In a Fourth of July parade
8. At a community Thanksgiving celebration
9. At a county fair
10. At a junior high choir concert
2
Internet research activity:
1. Have the students do an internet search assignment concerning the function of
music in different societies/times/cultures. Each student should pick one foreign culture,
one different time era, one different culture within his/her own society and their own
culture and find three different functions of music in each.
2. Compile their findings in a class notebook to display for parent visitation.
Listen:
Find a CD or .mpg recording of a modal Oriental piece of music such as
"Sakura." Have the students fill out a Cultural Music Listening form for it.
Point out to them how it is the different structure of the scales that makes
much Eastern music sound strange in our ears.
Ask the students to bring in .mpg examples of music from other cultures.
S - 2A
Chapter 2:
Rhythm Review
This chapter is a review of the rhythmic elements learned in Level 1: A Good Start.
For remedial work, feel free to refer back to the rhythmic exercises in that book. Also
remember that every melodic exercise is also a rhythmic exercise. Thus, every melodic
exercise may be used as a rhythmic exercise by disregarding the pitches.
Begin this chapter with the breathing and warm-up activities from the last chapter.
This book is largely based on Orff philosophy that rhythm learning should stem from
natural speech patterns and from poetry. Improvisation and creativity are also at the
heart of Orff philosophy, and the teacher is encouraged to allow the students to express
themselves as often as possible through composition, arranging, accompanying,
improvisation, and poetry writing. As long as the parameters are specifically stated and
within their ability, the students should be quite successful in their creative efforts. And
motivation and self-image as musicians will sky-rocket!
Although music is considered a creative art, there is very little true creativity that is
encouraged in the most present-day music classrooms because we are a performancedriven society. This book is concerned with the development of the child as a complete
musician. While performance remains an integral and important part of the curriculum,
the students will be given many opportunities to create. The teacher should consider the
growth of the student's individual musicianship rather than merely pacing him/herself
from one performance to the next.
The teacher should also look upon this as an opportunity to explore his or her own
creative teaching skills. In other words, the teacher can feel the freedom to be creative also.
Teaching is not so much a matter of being a good teacher or a bad one, but of ever seeking
to find more effective ways to reach your goals. The way to find this is to experiment and
allow yourself the same creativity that you allow your students. Expand your boundaries.
Suppress your own inhibitions and explore the possibilities. And always remember:
Children have no idea what their limitations are. We teachers are the ones who set
limitations upon them by limiting what we teach them to what we THINK they can learn.
If we don't think they can learn something, we won't try and teach it to them. Is it just
possible that our expectations fall short of what our students can actually achieve?
æ
Movement:
Movement is a very important part of music education, a fact
`
recognized by Dalcroze as well as by Orff and Kodaly.
The beat is
not "heard" by musicians; it is felt. Music is a physical activity and
stifling movement to music is stifling the musical experience as a
whole. That is not to say that we should have the students to dance
all during class, but they do need to feel the beat in their bodies in a
kinesthetic way. This can be accomplished in several ways.
S- 2B
Have them "step" the beat while singing/sightreading.
Have them pulsate the handsigns for every beat.
Later in the book they will be conducting to the beat.
Think (or have them think) of other ways to keep a silent steady beat.
Body
percussion
Allow the students to perform the rhythms with body percussion.
There are many ways to add percussive effects with body sounds.
The ones suggested in the following exercises are clapping, snapping,
and patsching (clapping hands on thighs). At any point you may
allow the students to be creative and come up with their own
percussive sounds, such as clicking the tongue, thumping their
cheeks with their mouths open, rubbing their hands together, tapping
their feet, etc.
Other
Allow the students to experiment with other percussive effects.
percussion: Some possibilities are: Scraping the teeth of a comb, rattling
paper, tapping a pencil on the desk, jingling keys, rattling pocket
change, etc. Allow them to experiment, to come up with their
own ways of making percussive sound and performing the rhythms.
Performing
Rhythms:
r
Rests
Use a system of your choice for counting rhythms. Use one
system, and use it consistently. It is not a good idea to switch back
and forth from one system to another with novice musicians; it will
only confuse them. There will be time to introduce other systems at
a later point when they are reading confidently.
It is important that the students realize that a rest is not a stop or a
cessation of the music, but merely a time of measured silence. They
need to realize (and feel) that the beat continues; it is merely a silent
beat.
Give the students a handsign for a rest. The book suggests the
open hand, palm up. Use that suggestion, or be creative and come up
with your own hand signal for a rest (or let the students come up with
one). One teacher I observed had her students tap the sides of their
heads with a forefinger for the number of beats in the rest.
Teaching the
Give a short pre-test to the students concerning note values. If
lesson:
they do not have a good grasp on them, you may need to pull lessons
and/or Activity Sheets from The Singing Musician: A Good Start in
order to make up for the deficiency.
S - 2C
There are many ways that isolated rhythmic exercises may be performed. Not only can
they be performed as written, but the students may also enjoy varying them in the following
ways:
1. Canon--Perform several repetitions of an exercise. Have one group (or more)
begin counting the exercise after the other one starts. Vary the starting time.
Try a canon at 2 beats, 4 beats, 8 beats, etc. Try a canon with more than 2 parts.
2. Retrograde--One group reads the exercise backwards (from the end to the
beginning) while the other reads it as written.
3. Harmony--One group reads one exercise while one group reads another.
There are other variations you can use as well:
1. After reading the exercise as written while conducting, have the students read the
exercise, making the first beat of every measure a silent beat.
Then have them perform only the fourth beat silently. Then the second. Then the
third.
2. After reading the exercise as written while conducting, have the students perform
the exercise with a silent first beat. Then silent first and fourth beats. Then the
first, fourth, and third leaving only the second beat to be performed out loud.
3. Have the students conduct and read the exercise silently, the counting only the
first beat out loud on the repeat. Then only the second beat on the second
repetition, the third beat only on the third repetition, and the fourth beat only
on the fourth.
NOTE VALUES: Ask the students to define and describe the following types of notes:
half note
whole note
quarter note
dotted-half note
eighth note
sixteenth note
Ask your students to define and describe the following meters:
common time
2/4 time
3/4 time
4/4 time
What does the top number signify?
What does the lower number signify?
S-3
2:
REVIEW--Rhythm
This chapter is a Review of the rhythmic elements presented in Level One of this series.
Refer to Level One if further instruction is needed.
4
READ the following rhythmic 4 exercises in canon, in retrograde, and in harmony.
Conduct as you read, and place a slight accent on the first and third beats of the measure.
Perform each exercise with body percussion or on traditional or improvised instruments.
1.
2.
3.
4.
5.
6.
7.
8.
44
Ï Ï Î Ï
44
ú
ÏÏÏ
44
Ï ÏÏÏ Î
44
w
Ï Ï ÏÏÏ
ÏÏÏ Ï Ï
w
Ï Ï ú
ÏÏÏÏÏ Ï
ÏÏÏ Ï Ï
Ï ú
Ï Ï ÏÏÏÏ
ú.
Ï
Î Ï ú
ÏÏÏ ÏÏÏ
44
ÏÏÏ ú
Ï ÏÏÎ Ï
44
w
ÏÏÏ î
ÏÏÏ
Î ÏÏÎ Ï
34
Ï Ï Ï
Î Ï Ï ÏÏ
Ï Ï
Ï ú
Ï
ÏÏÏÏÏ Ï
ÏÏÏÏú
ÏÏÎ Î ÏÏ ÏÏÏ ÏÏÏ
Ï ÏÏ ú
READ the following rhythmic
ú
ÏÏÏ ÏÏÏ
44 Î Î
ÏÏÏÏ Ï ÏÏÏ Î
44
ú
Ï
34 exercises in canon, in retrograde, and in harmony.
Conduct as you read, and place a slight accent on the first beat of the measure.
1.
2.
3.
4.
34
Ï
34
Ï
34
ú
Î
Ï
Ï
Ï
ú.
Ï Ï Ï Ï Ï
Ï
Î
Ï Ï Ï Ï Ï
ú
Ï
Ï Ï Ï
Î
Ï
Ï
ú.
Ï Ï Ï Ï Ï Ï Ï Ï Î
3
ú
Ï
Î
Ï Ï Î
Ï
Ï
Ï
Ï Ï Ï
2 -- REVIEW--RHYTHM
5.
6.
7.
8.
3 î
4
Ï
Ï
Ï Ï Ï
Ï Ï Ï Ï Î
Ï Ï Ï
Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï
Ï Ï Ï
Ï
34
Ï Ï ú
34 Î
34
Ï
Î
Ï Ï ú
Ï
Ï Ï Ï
Ï Ï ú.
Ï Ï Î
Î
Ï Ï
Ï Ï Ï
ú.
Ï Ï Î
Ï Ï
Sixteenth notes:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
34
Ï
34 Î
Ï Ï Ï
Ï Ï ÏÏ Ï Ï Ï
ÏÏÏÏÏ
Ï ÏÏÏ Ï Ï
34
ÏÏÏ Ï
34
Ï
Î
Ï
ÏÏÏÏÎ
Ï Ï ú
Ï Ï Î
Ï Ï Ï ÏÏ Ï Î
44 î
Ï ÏÏ Î
ÏÏÏÏÏ
ÏÏÏÏÏ
44
ÏÏÏÏÏ Ï î
Ï Ï Ï Ï ÏÏ Ï Ï Ï Î
Ï Ï Î
Ï
ÏÏÏ Ï ÏÏÏ Ï
44
Ï Ï Ï ÏÏÏÏÏ Ï ú
44
w
Ï Ï ÏÏ Ï Ï Î
ÏÏÏÏÏ Ï Ï Ï
44
Ï ÏÏÏÏÏ Ï Ï Ï î
ÏÏ Ï Ï Ï ÏÏ Ï Ï Ï
ÏÏ Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï
34
Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
34
Ï
Ï Ï ÏÏ Ï Ï Ï
ÏÏÏ Ï
ÏÏÏ Ï
Ï Ï Ï Ï Ï ÎÏ
4
ÏÏÏ
Î
Ï ÏÏ
Ï Ï Ï Ï ÏÏ Ï
ÏÏÏ ú
Ï ÏÏ Ï Ï Ï
Ï Î ÏÏÏÏÏ Ï Ï Ï ÏÏÏÏú
Î Ï Ï Ï ÏÏÏ Ï Ï ÏÏÏ Ï ÏÏÏÏÏ
Ï ÏÏÏ Ï Î Ï Ï ÏÏÏÏ Î ÏÏÏ Ï
ÏÏ Ï Ï Î Ï
ÏÏÏÏ Î Î Ï
Ï Î Ï Ï Ï Î Ï Ï ÏÏÏÏÏ
READ this poem to the class. Have them write down the rhythm as you read it:
Going to Boston, going in a plane;
Going to Boston, going home again.
Going to Boston, going in a car;
Going to Boston, where my friends are.
Going to Boston, going in a bus;
Going to Boston to forget about us.
Going to Boston, down the railroad track.
Going to Boston, never coming back.
LISTEN:
Ask the students to bring in an .mpg recording of vocal music from another
from another culture. Have them fill out a Culture-specific Listening form
before they come to class and make enough copies for everyone in the class.
Spend a class period listening to and comparing and contrast the styles, forms,
genres, instrumentation, etc., of various cultures.
S-4
Counting systems: Several counting systems are given for your information, and each
has its advantages:
` immediately assimilated
1. Kodaly--very effective and
2. "Down-ups"--The counter uses up and down hand motions. Provides kinesthetic
reinforcement as well as directional concepts-- the downbeat is always down.
For notes longer than a quarter note, the hand is "slid" horizontally away from
the body for the correct number of beats. For example, a dotted half note would
be counted: "Down-slide-slide."
3. Numbers--perhaps the most popular system, gives a definite number to each beat
Disadvantages:
1. Kodaly--does not assign a` definite number to each beat
2. "Down-ups"--does not give a definite number to each beat
3. Numbers--a bit more difficult to learn at first because it deals with whole
measures at a time rather than single beats
S-5
REVIEW--RHYTHM -- 2
Eighth rests:
This is an eighth rest:
ä
It is a period of silence that lasts for the same duration as an eighth note.
It receives one-half of one beat in common meter:
Ï
Ï Ï
=
j j
Ï Ï
=
=
j
Ï ä Ï
_
ti
`
Kodaly:
"Down-ups": down _
Numbers:
1 _
ta
down
2
ä ä
=
j
ä Ï
j
Ï ä
=
ä Ïj Ï
_
_
_
= 1 beat in
44
ti
ta
up down
&
4
READ the following exercises on rhythmic syllables while conducting, then perform them
with body percussion and/or with traditional or improvised percussion instruments:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
44
j
j
Ï ÏÏÏ Ïä ÏÏÏ äÏÏ
44
ú
44
Ï
Î Ïjä Ï Ï Ï ä ÏjÏ
ä Ïjú
44 ä j
Ï Ï Ï ÏÏ
44
j
ÏÏÏÏä Ï Ï Î
ÏÏÏ
j
ÏÏÏäú
ÏÏÏÏú
ä Ïj Ï Ï î
j
Ï Ï äÏÏ
ä Ïj Ï
j
j
j
Ï Ï Ï ä Ï Ï ä Ï ä Ï ú.
j
j
ÏÏÏ Ï Ï Ï ä äÏ Ï ú
ä ÏjÏ Ï Ï Ï
j
Ï äú
j
Ï äÏ Ï ú
j
ÏÏäÏ Ï Ï
j
j
jj
44
Ï ÏÏÏ Ï Ï ä Ï Ï Ï ÏÏÏÏÏ ä Ï ÏÏÏ ÏÏÏ ä Ï Ï ä ú
34
Ï
ä Ïj Ï
34 ä j
Ï Ï Ï Ï
ú.
Ï Ï Ï
34 ä
ÏÏ Ï
j
Ï Ï Ï Ï ä Ï Ï
ú
ä Ïj Ï Ï Ï Ï Ï Ï
j
Ï Ï ÏÏÏÏÏ Ï ä Ï Ï
5
j
Ï äÏÏ
j
Ï ä Ï
ä Ïj Ï Ï Ï
j
j
34
Ï Ï Ï Ï Ï Ï Ï ä ä Ï Ï ÏÏ Ï
ÏÏ
j
Ï Ï Ï ä ú
ä Ïj Ï Ï Ï Ï Ï ÏÏ ä Ïj Ï
2 -- REVIEW--RHYTHM
4
Write out the rhythm for this poem. Write it out in 4 time.
Snowflakes
Patti DeWitt
When I was just a little tyke
They said, "No snowflakes are alike."
I wondered then, "How do they know?
Have they examined all the snow?"
3
Write out the rhythm for this poem. Write it out in 4 time.
Limerick
Patti DeWitt
There was a young mother from Boise
Whose children were always quite noisy.
The neighbors said, "Stop
Or we'll call a cop!
They're waking up folks in New Joisy!"
Pencil Time 2:
Activity Sheet 2: Rhythm Review
Activity Sheet 3: Write a poem!
Activity Sheet 4: Musical Math #1
ACROSS THE CURRICULUM:
Write a poem with words to fit the following rhythmic patterns. Work individually or in
small groups, as instructed by your teacher:
1.
2.
Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï
Ï Ï Ï Ï ÏÏÏ Ï
Ï Ï Ï Ï ÏÏÏ Ï
Ï Ï Ï Ï ÏÏÏ Ï
Ï
Ï ÏÏÏ Ï ÏÏÏ Ï
6
WRITING RHYTHM FROM POETRY: Here are some possible solutions.
(There are others.)
4
4
Ï
Ï
When
I
Ï
was
Ï
"No
Ï
won
-
Ï
43 Ï
î
There
was
Ï
a
Ï
young
Ï
Ï
a - like."
Ï
Ï
ú.
Ï
Ï
ú.
Ï
Ï
Ï
Ï
then, "How do
-
am - ined
Ï
moth
Ï
î
ú
Ï
The
Ï
They're
-
Ï
neigh - bor
said,
"Stop,
wak - ing
up
folks
Ï
Ï
Ï
They
ú.
I
Ï
Ï
in
Have
snow?"
Ï
from
al - ways
ú
tyke,
the
Ï
er
Ï
they know?
all
Ï
Ï
ú.
lit - tle
Ï
were
Write across the
Curriculum:
Ï
Ï
chil - dren
Ï
Ï
snow- flakes are
Whose
Ï
Ï
a
Ï
cop!
Ï
Ï
dered
ex
Ï
Ï
Ï
Ï
they
Ï
just
Ï
said,
Ï
Ï
Ï
quite
Ï
or
Ï
New
Boi
Ï
-
ú
se
ú
noi - sy.
Ï
we'll
Ï
Ï
call
ú
Ï
a
Joi - sey!"
You may be able to get help from the English teachers for these
writing assignments. Since traditional poetry is based on specific
meter and rhyme, the study of music and poetry compliment each
other. Don't allow the students to take liberties with the rhythm at
this point, and encourage them to find truly rhyming words, not
merely ones with similar vowel sounds. They can find a rhyming
dictionary online at www.rhymezone.com.
Allow them some creative license in this assignment. You may
want to allow them to work in small groups of 3 or 4. This makes
a nice creative diversion for those long block-scheduling classes.
S-6
Chapter 3:
Review: F and G Major
Breathing 1. Have the students hold their arms high over their heads, open their
qExercises
mouths relax their throats and take a slow deep breath. Tell them to
be aware of the muscles that they use. (You will have to remind
them to keep their arms high; they will begin to sag immediately.)
Have them take one deep breath, hold it in with their stomach muscles
for a count of 4, and then hiss it out for a count of 16, keeping their
stomach muscles taut.
2. Have the students bend over from the waist, breathe in deeply and
feel the expansion, and repeat the exercise several times. Then have
the students sing a sustained note for a count of 16 instead of hissing.
v
Vowels
3. Have them repeat the exercises in both the sitting and standing
positions, encouraging them to maintain the expansion of the same
sets of muscles.
Keep reminding the students to produce "tall vowels." In order to
check of their jaws are dropped enough, have them measure the
opening with three of their fingers held vertically in front of their
mouths. This may be a little too wide, but many have to overdo the
mouth opening until it becomes a habit.
F and G
The keys of F and G major are presented at the same time so that
students who have not previously sightread will understand from the
start that Do is entirely movable; that it can be on any line or space.
IMPORTANT:
Post the "formula" for finding Do* on your wall and leave it up so that
the students will be able to use it until they have the concept established.
AUDIATION:
Audiation is an important musical skill. Give the students the chance to
"hear" the pitches in their heads before they sing them or audibly hear them.
When students audiate an exercise or section of music, have them use
handsigns and a common beat. It will take some time but soon they will be
able to "feel" the common beat and to audiate in rhythm with each other.
Make sure they pulse the handsigns of all notes longer than a quarter note,
so that they can feel those held beats.
OAudiate:
Using So and Mi only, handsign a short series of notes. (Start out with
2 or 3, then add more to the series). Have the students watch and "listen"
in their heads, and then sing the series for you.
* That is, the last flat is always Fa; the last sharp is always Ti.
S-7
3:
Review--F and G Major
Western (Euro-American) is based upon the Major Scale:
b w
&o
F Major Scale--F is Do
?b
Do
ow
#
o
& w
w
w
?o
#
w
w
w
w
w
La
Ti
w
Do
Re
Mi
Fa
So
w
w
w
w
w
w
w
w
w
w
w
Do
G Major Scale--G is Do
Do
w
w
Re
Mi
Fa
So
La
Ti
w
w
w
w
w
w
w
w
Finding Do:
When there are flats ( b ) in the key signature, the last flat is always Fa.
When there are sharps ( # ) in the key signature, the last sharp is always Ti.
Pencil Time 2:
Activity Sheet 5: Notes of the Scale
Activity Sheet 6: Finding "Do"
Activity Sheet 7: Melodic Dictation #1- Do, Re, Mi
Activity Sheet 8: Write a Song!
Identify the key and the starting pitch, and READ the following exercises:
1. Chant the rhythm using rhythmic syllables.
2. Chant the solfege using handsigns.
3. Audiate each exercise while signing.
4. Sing the exercises using solfege syllables and handsigns.
5. If there is a problem, repeat any or all of steps 1-4.
1.
2.
#
& 44 Ï
#
& 44 Ï
Ï
Ï ú
Ï
Ï
Ï
Ï
ú
w
7
Ï
Ï
ú
Ï
Ï
Ï
Ï Ï
Ï
w
ú
3 -- REVIEW: F AND G MAJOR
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
Ï Ï ú
?# 4 Ï Ï Ï Ï
4
#3
& 4 Ï
Ï
#
& 34 Ï Ï Ï
#
& 34 Ï
Ï
Ï
Ï
Î
Ï
Ï
Ï Ï ú
Ï Ï Ï
& b 44 Ï Ï Ï Ï Ï
Ï Ï ú
Ï Ï ÏÏÏ
Ï Ï ú
Ï
Ï Ï Ï
ú.
Î
Ï
Ï Ï Ï Ï
? # 44 Ï Ï Ï Ï Ï
#
& 34 ú
Ï Ï Ï Ï
Ï
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï
Î
Ï
Ï
Ï
Î
Ï ÏÏ
Ï
Ï ÏÏ
Î
Ï
Ï
Ï Ï Ï
Ï Ï ú
Ï Ï ÏÏÏ
& b 44 Ï Ï Ï Ï Ï
ÏÏÏ ú
Ï ÏÏÏ Ï
? b 44 Ï Ï Ï Ï Ï Ï
ÏÏÏ Ï Ï
Ï ÏÏÏÏÏ
ÏÏÏ ú
& b 34 Ï Ï Ï
Ï Ï Ï
Ï
& b 34 Ï Ï Ï Ï Ï
Ï Ï Ï
Ï
ú.
Ï
Ï
Ï Ï Ï Ï Ï
Ï Ï Ï
Ï
Ï Ï Ï
? b 44 Ï Ï Ï Ï Ï Ï Ï Ï ú
#
& 34 Ï
Ï
Ï ÏÏú
Ï ÏÏú
Ï Ï Ï ÏÏ Ï ÏÏú
8
Ï
Ï
Ï Ï Ï
Ï Ï ú
ú
Î
REVIEW: F AND G MAJOR -- 3
16.
17.
18.
19.
20.
21.
22.
?# 3 Ï
4
? # 34 Ï Ï Ï
Ï
Ï
Ï
Ï Ï Ï
Ï
ÏÏÏ
? # 44 Ï Ï Ï Ï Ï Ï
& b 34 Ï
& b 44 Ï
Ï
Ï
? # 44 Ï Ï Ï
Ï
Ï Ï ÏÏÏ
Ï
ÏÏÏÏÏ Ï Ï Ï Ï
Ï
Ï
Ï Ï Ï Ï Ï
?# Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï
? b 34 Ï Ï Ï Ï Ï Ï Ï
Ï Ï ÏÏ Ï
Ï
?b Ï ÏÏÏ Ï Ï
Ï
Ï
Ï
Ï
Ï ÏÏÏ Ï Ï
9
Î
Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï
Ï
Ï Ï ú
Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï
Ï Ï Ï Ï Ï
ú.
Ï Ï Ï Ï ú
Ï Ï Ï
YOUR BRAIN:
Ï
ú
Ï
Ï Ï Ï ÏÏ Ï Ï ú
Ï Ï ú
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï Ï Ï
& b 44 Ï Î Ï Ï Ï Ï Ï Ï Ï ú
?# Ï Ï Ï
24.
Ï
Ï Ï ú
? # 34 Ï Ï ú
&b Ï
23.
Ï
Ï
Ï
Ï
Ï Ï Ï Ï Ï
Ï
Ï Ï Ï
Ï
Ï
Ï Ï Ï
ÏÏÏÏÏ Ï Ï Ï Ï
Ï Ï ÏÏÏÏÏ
Ï
Ï Ï ÏÏÏÏ
Ï Ï ÏÏÏ Ï
Ï Ï ÏÏÏ Ï
3 -- REVIEW: F AND G MAJOR
READ the following two-part exercises:
1. Chant the rhythm in harmony (both parts at the same time).
2. Find the starting pitch.
3. Chant the solfege in harmony with handsigns.
4. Sing in harmony with solfege and handsigns.
5. For variety, play the alto or soprano part on the recorder while singing the other part.
1.
#
& 44 Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
#4
& 4Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
& b 44 Ï Ï Ï Ï
ú
Ï Ï ú
Ï Ï ú
#4
& 4Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
#
& 44 Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
? # 44 Ï Ï Ï Ï
2.
? # 44 Ï Ï Ï Ï
3.
? b 44 Ï Ï Ï Ï
4.
? # 44 Ï Ï Ï Ï
5.
? # 44 Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï ú
ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï Ï
10
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
O LISTEN
Singing
in harmony:
It is recommended that the listening and dictation exercises be played
on a recorder or electronic keyboard which will clearly delineate the longer
durations and the rests. Or you may wish to sing them, but you must be
careful not to use solfege or to sign them.
Make sure the students understand that the top line is most
frequently the melody; and that the lower lines are generally in
harmony. Although this is not always the case.
Exceptions: Exercise 15 on page 12, exercise 29 on page 16.
Give the students the opportunity to figure this out. When you get to
these exercises, ask them leading questions such as, "What is different
about these exercises?" If they cannot see it, have them answer after
they have sung it through once, listening carefully to each part as they
sing. Try to let the students figure it out. The melody carries the main
thought of the musical work; the harmony supports the melody.
Train your students a cappella.
They will be so much stronger for it!
OLISTEN:
Find a good recording (CD or .mpg) of some a cappella tribal African
music. Have the students listen to it, and fill out a Culture-specific
listening form. Compare it to the other Culture-specific pieces that
they have listened to.
Instruments:
Students are often highly motivated by the use of instruments. For
variety and to heighten interest, after the students have mastered them
vocally allow students to play the exercises one or more of the vocal
lines on recorders, Orff instruments, the piano, or electronic keyboards.
The students will be learning keyboard skills throughout this series, so
give them, a couple at a time, opportunity to play the piano.
Individual
Performance:
Students must also be given the opportunity to perform individually.
It is only by performing individually that their performance techniques
and their understanding of the rhythms and pitches and the performance
data can be made evident to the teacher.
S - 10
S - 11
REVIEW: F AND G MAJOR -- 3
6.
#4
& 4Ï Ï Ï Ï
Ï Ï ú
#
& 34 Ï
Ï
? # 44 Ï Ï Ï Ï
7.
? # 34 Ï
8.
Ï
Ï
Ï
Ï
10.
Ï
Ï Ï ú
#
& 44 Ï Ï Ï Ï
Ï Ï ú
Ï
ú.
Ï Ï Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï Ï Ï
Ï Ï ú
Ï Ï ú
ú.
Ï ÏÏ ú
Ï Ï Ï Ï
Ï ÏÏ ú
? # 44 Ï Ï Ï Ï
ÏÏÏ ú
ÏÏ Ï ú
Ï Ï Ï Ï
Ï Ï ú
#4Ï Ï
Ï Ï
& 4
ÏÏÏ ú
Ï Ï ÏÏÏ
ÏÏ Ï ú
? # 44 Ï Ï Ï Ï
11..
Ï
Ï
#4 Ï ú
& 4Ï
? # 44 Ï Ï ú
9.
Ï Ï ú
Ï Ï Ï Ï
& b 44 Ï Ï Ï
? b 44 Ï Ï Ï
ÏÏÏ
ÏÏÏ
Ï Ï Ï Ï
ÏÏÏ ú
Ï Ï ÏÏÏ
Ï Ï Ï Ï
Ï Ï Ï Ï
11
ú
ú
Ï Ï ú
ÏÏÏ ú
Ï Ï Ï Ï ú
Ï Ï Ï Ï ú
3 -- REVIEW: F AND G MAJOR
12.
4
&b 4 ú
13.
Ï Ï ú
Ï Ï ú
Ï Ï ú
4
&b 4 Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
& b 44 Ï Ï Ï Ï
Ï Ï ú
Ï Ï ÏÏÏ
Ï Ï ú
& b 44 w
Ï Ï ú
ú
Ï Ï ú
? b 44 Ï Ï Ï Ï
14.
? b 44 Ï Ï ú
15..
16.
? b 44 ú
Ï Ï
& b 44 ú
Ï Ï
& b 44 ú
ú
? b 44 ú
17.
w
Ï Ï ú
? b 44 ú
ú
? b 44 ú
Ï Ï
ú
Ï Ï ú
Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
Ï Ï ú
Ï Ï ú
ú
ú
Ï Ï
ú
Ï Ï ú
Ï Ï ú
12
w
ú
ú
ú
ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
w
ú
Ï Ï ú
ÏÏÏ ú
w
w
ú
REVIEW: F AND G MAJOR -- 3
18.
19.
3
&b 4 Ï
Ï
? b 34
Ï Ï Ï
Ï Ï Ï
& b 44 ú
Ï Ï
? b 44 ú
20.
Ï Ï
& b 34 Ï
Ï Ï Ï
? b 34 Ï
21.
?b Ï Ï Ï
Ï
Ï
Ï
Ï
& Ï Ï Ï Ï
?# ú
Ï Ï
Ï
Ï
Ï Ï ú
ú
ú
ú
Ï
Ï Ï Ï
Ï
Ï
Ï ÏÏ ú
Ï ÏÏ ú
ú
ÏÏÏÏú
ÏÏ Ï Ï Ï
Ï
ú.
ú.
Ï
Ï Ï
ú
Ï
ú.
Ï
Ï
Ï Ï Ï
Ï Ï ú
Ï Ï ú
ú
ú
ú
ú.
Ï Ï ú
Ï
Ï ú
ÏÏÏ Ï ÏÏ Ï Ï ú
ú
ÏÏÏÏú
Ï Ï Ï Ï Ï
Ï Ï Ï
ú.
ú
Ï Ï
Ï Ï
#
Ï
Ï Ï
#
& 44 Ï Ï Ï Ï
? # 44 ú
Ï
Ï Ï Ï
& b 44 Ï Ï Ï Ï Ï
Ï
? b 44 Ï Ï Ï Ï
&b Ï Ï Ï
22.
Ï
Ï Ï Ï
Ï
Ï
ÏÏÏ Ï Ï
Ï Ï ú
Ï Ï ÏÏÏ
w
ÏÏÏ Ï Ï
Ï
Ï
13
Ï Ï ÏÏÏ
Ï Ï
Ï Ï
Ï Ï ÏÏÏ
ÏÏÏ ú
Ï Ï ú
3 -- REVIEW: F AND G MAJOR
23.
3
&4 ú
Ï
? 34 ú
Ï Ï Ï
?ú
24.
Ï
Ï
Ï
Ï
#4
& 4 Ï ÏÏÏ Ï
?# Ï Ï Ï Ï Ï
25.
& 44 Ï Ï Ï Ï Ï
? 44 Ï Ï Ï Ï
&Ï
?Ï
ÏÏÏ
Ï Ï
Ï
Ï
Ï
ú
Ï ÏÏÏ Ï
Ï ÏÏÏ Ï
Ï Ï Ï Ï
ÏÏÏ ú
Ï Ï
ú.
Ï
ú.
Ï
Ï Ï
Ï ÏÏÏ Ï
Ï Ï Ï
14
Ï Ï ÏÏÏ
Ï ÏÏÏ ÏÏ Ï Ï ú
Ï Ï Ï
ú
ú.
Ï ÏÏÏ ÏÏ Ï Ï ú
Ï ÏÏÏ
ú
ú.
Ï ÏÏÏ ÏÏ Ï ÏÏú
Ï ÏÏÏÏÏ
Ï Ï ú
ÏÏÏ
Ï
Ï
Ï ÏÏÏ Ï
? # 44 Ï Ï Ï Ï Ï
# Ï ÏÏÏ Ï
&
Ï
Ï
Ï
Ï Ï Ï
Ï
Ï
ú
Ï
Ï
&ú
ú
Ï
Ï Ï Ï
Ï
Ï
ÏÏÏ ú
ÏÏÏ Ï Ï
Ï Ï ú
Ï ÏÏú
S - 14
Instruments
Instruments can provide for a high motivation for students. One can
also achieve a nice ensemble effect by having instruments play one part
of the music while the voices sing the other. This will not hamper their
sightsinging skills; in fact, it may serve to enhance them. As a special
treat or a break from the ordinary, allow the students to play their part on
recorders, piano, Orff instruments or an electronic keyboard. They must
know, however, that the voice is the most important instrument and not be
allowed to play the part on an instrument unless they are able to sing it
accurately.
You may also wish to let them have some time to improvise ostinato
accompaniment patterns, a bass line, or countermelodies to elaborate
several exercises.
Remember to ask for volunteers to sing each exercise individually
and in duets after the class has sung it.
S - 15
REVIEW: F AND G MAJOR -- 3
26.
2
&b 4 Ï Ï
ÏÏÏ
? b 24 Ï Ï
&b Ï Ï
& b 34 Ï
? b 34 Ï
&b Ï
?b Ï
28.
Ï Ï Ï Ï Ï
Ï
#
ú
Ï Ï
Ï Ï
Ï
Ï
Ï
Ï
Ï
ú
Ï
Ï Ï Ï
? # 44 ú
?# Ï
ú
Ï
#4ú
& 4
& ú
ÏÏÏ
Ï Ï
Ï
Ï
Ï
Ï
ÏÏÏ
Ï Ï
ú
ÏÏÏ
Ï Ï
Ï Ï
Ï
Ï Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï ú
ú
Ï
ú
Ï Ï ú
Ï Ï ú
ú
15
Ï Ï
ú
ú
Ï ÏÏ ú
Ï Ï
ú
ú.
ú
Ï
Ï Ï Ï Ï
Ï Ï ú
Ï Ï ú
Ï
Ï Ï Ï
Ï
Ï
ÏÏÏÏ ú
ÏÏÏ
Ï ÏÏ ÏÏÏ
ÏÏÏÏ ú
ÏÏÏ
?b Ï Ï
27.
Ï Ï
Ï Ï
ú
ÏÏÏ
Ï
ú.
ú.
ú.
Î
ú.
Î
Ï Ï Ï Î
ú.
Î
3 -- REVIEW: F AND G MAJOR
YOUR BRAIN:
4
&4 ú
ú
&Ï Ï Ï
Ï
ú
Ï
Ï Ï
29.
? 44 Ï Ï Ï Ï
?Ï Ï Ï
30.
#### 3
&
4Ï
? #### 3 Ï
4
&
####
&
####
&
####
ú
ú
Ï Ï ú
Ï Ï
ú
Ï
Ï
Ï
Ï
Ï
Ï
w
Ï
Ï
Ï
w
w
Ï Ï Ï
Ï
ú
Ï Ï Ï
w
ú
Ï Ï Ï Ï
ú
Ï Ï Ï Ï Ï
Ï
ú
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Ï
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Ï
Ï Ï Ï
Ï
Ï
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ú.
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Ï Ï Ï Ï Ï
Ï
Ï
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ú.
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? #### Ï
? #### Ï
? #### Ï
Ï
Ï Ï Ï
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Ï
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Ï
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16
Ï
Ï
Ï
Ï
Ï
Ï
ú.
ú.
Ï Ï Ï Ï Ï Ï ú.
Ï
Ï
Ï
ú.
Ï
Ï
Ï
S - 16
Three-part
Exercises:
If you have sufficient student personnel, you may wish to allow
your choir to sing in three parts--SAB. The alto part may be sung
either by the lower girl's voices, the unchanged boy's voices or both.
The three-part exercises are approached in the same manner as the
1. Each voice part audiates its own part together on a common
beat (using handsigns).
2. Chant the solfege, all parts together.
3. Sing with solfege and handsigns, all parts together.
When an exercise is mastered, ask for volunteers to sing the SAB
exercises in a small ensemble, one person on each part.
S - 17
REVIEW: F AND G MAJOR -- 3
Three-Part Exercises:
1.
2.
3.
4.
5.
#4
& 4 Ï Ï Ï Ï
#
& 44
Ï Ï Ï Ï
? # 44 Ï Ï Ï Ï
#
& 44 Ï Ï Ï Ï
#
& 44 Ï Ï Ï Ï
? # 44 Ï Ï Ï Ï
#4Ï Ï Ï Ï
& 4
#4
& 4Ï Ï Ï Ï
? # 44 Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï Ï
ú
Ï Ï ú
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
Ï Ï ú
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï ú
Ï Ï ú
Ï Ï Ï Ï
ú
ú
ú
ú
ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï ÏÏÏ ÏÏ Ï Ï ú
Ï Ï Ï Ï Ï Ï ú
#
& 44 Ï Ï Ï Ï Ï Ï Ï ú
#
& 44
Ï Ï ú
Ï Ï ÏÏÏÏ
?# 4 Ï Ï Ï Ï Ï Ï ú
4
Ï Ï ÏÏÏ
ú
Ï Ï ú
Ï Ï ÏÏÏ
ÏÏÏ ú
Ï Ï ú
Ï Ï ú
Ï Ï ÏÏÏÏ Ï ÏÏ
ú
Ï Ï ÏÏÏ Ï Ï ú
#4
& 4Ï Ï Ï Ï
#4
& 4 Ï Ï ÏÏÏ
? # 44 Ï Ï Ï Ï
17
ú
Ï Ï Ï ÏÏ Ï ÏÏ
ú
Ï Ï Ï Ï Ï Ï ú
3 -- REVIEW: F AND G MAJOR
6.
7.
8.
9.
4
&b 4 Ï Ï Ï Ï
4
&b 4
Ï Ï Ï Ï
? b 44 Ï Ï Ï Ï
& b 34 Ï
& b 34 Ï
? b 34 Ï
3
&b 4 Ï
3
&b 4 Ï
? b 34 Ï
& b 44 ú
& b 44 ú
?b 4 ú
4
10.
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï
Ï Ï
Ï Ï
& b 44 Ï Ï Ï Ï Ï
& b 44 Ï Ï Ï Ï
Ï Ï Ï Ï
?b 4
4
ú
ú
Ï Ï Ï Ï
ú
ú
Ï
Ï
Ï
Ï
Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï
Ï
Ï Ï Ï
Ï
Ï
ú
ú
Ï
Ï Ï ú
Ï Ï ú
ú.
Ï Ï Ï
ú.
ú.
Ï Ï Ï
Ï
Ï
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ú.
Ï
Ï
Ï
Ï
ú.
ú.
Ï
ú
Ï
Ï Ï ú
Ï Ï ú
Ï
Ï
Ï
Ï Ï Ï ÏÏ Ï Ï
Ï Ï ú
Ï ÏÏú
Ï Ï ú
ú
Ï ÏÏ ú
Ï Ï Ï Ï
Ï Ï ÏÏ Ï
18
Ï Ï
Ï ÏÏÏ Ï
Ï ÏÏÏ Ï
Ï ÏÏÏ Ï
Ï Ï
ú
ú
Ï ÏÏú
Ï Ï ú
Ï Ï ú
Ï Ï ú
S - 18
Dynamics:
Practice dynamics in all of the rhythmic and reading exercises. Let
the students decide at what dynamic level to sing each exercise and/or
what dynamics changes to make within each exercise.
Vocabulary:
Make sure to use the vocabulary systematically in class so that your
students will become used to it and feel comfortable using it themselves.
Written
Activity:
Write your own test. Allow the students to gather information to
ask the other students. Collect all of the questions in a class notebook to
use for students who are in "Time out" or to use for substitute material
when you have to be absent.
Melody
writing:
Ask your students to add dynamics and other expressive markings to
their melodies. Invite them to perform their solos for the class
individually, following their own expressive markings.
Poetry
and music:
Ask the students to draw correlations between writing poetry and
writing music. For example, meter, rhythm, and rhyme.
Music
Notation
Software:
Encourage your students to use music notation software such as
Finale Notepad, a free download available from www. makemusic.com.
With such software, not only can they write music, but they can play it
back immediately to see if they like it or not or if they want to make
changes.
Learning the Literature
A. Scan the music for:
1. Form
2. Challenging intervals (none; it is all scalewise)
3. Challenging rhythmic situations. (m 4, m 13, m 24)
4. Tempo changes.
5. Dynamics
B. Chant the rhythm according to the dynamics and making the designated tempo
changes.
C. Audiate by section: A section; B section, etc.
D. Chant the solfege by section (using handsigns)
E. Sing each section (individually) with solfege.
F. Sing the whole piece on solfege.
G. Pronounce each word for the students with "tall" vowels; have them repeat after
you. (Don't let them get by with any pronunciations that are not correct. "Flat"
or otherwise distorted vowels will lead to poor intonation and tone quality.)
H. Sing one phrase at a time with the words.
I. Sing the song with words.
S - 19
REVIEW: F AND G MAJOR -- 3
SYMBOLS and TERMS used in "The Arrow and the Song":
1. A cappella--Without instrumental accompaniment
2. crescendo (
)--Grow gradually louder
3. decrescendo (
)--Grow gradually softer
4. forte ( f )--Loud
5. mezzoforte ( F )--Medium loud
6. mezzopiano ( P)--Medium soft
7. piano ( p )--Soft
8. ritardando (rit.)--Go gradually slower
VOCABULARY:
1. Flat--( b )--A symbol that indicates a note has been lowered; the last flat in the key
signature is always Fa
2. F Major--The major key in which F is the tonic note (Do). The Key of F Major
has one flat.
3. G Major--The major key in which G is the tonic note (Do). The Key of G Major
has one sharp.
4. Major scale--A series of eight musical notes, from Do to Do
5. Sharp--( # )--A symbol that indicates a note has been lowered; the last sharp in the key
signature is always Ti.
SEARCH for Henry Wadsworth Longfellow on the Internet.
Find another of his poems.
Write out the rhythm of the words.
Create a melody for the words using Do, Re, Mi, Fa, and So.
Write it on staff paper or with music writing software and perform it
for the class.
19
3 -- REVIEW: F AND G MAJOR
The Arrow and the Song
SB a cappella
P
Henry Wadsworth Longfellow *
#
& 44 Ï
S
4
knew
?# Ï
knew
7
#
Could
10
#
& Ï
to
?# Ï
to
ä Ïj
P
ar - row in - to
Ï Ï Ï
the
air,
I
shot
an
ar - row in - to
the
air,
Ï
not
Ï
Ï
Ï
U
Ï
where;
Ï Ï UÏ
not
where;
Ï
Ï Ï
Ï
For, so
fol-low it
Ï
Ï Ï Ï
not
fol-low it
Ï
Ï
Ï
the
air,
It
Ï
Ï
Ï
the
air,
It
swift
Ï
For, so
not
Ï
Ï Ï Ï
Ï Ï Ï Ï Ï
F
?# Ï
Could
Ï
an
F
& Ï
Ï
shot
#
& Ï
Ï Ï Ï Ï
Ï
I
? # 44 Ï
B
Ï
swift
Ï
in
its
Ï
Ï
in
its
Ï
Ï
fell
P
to
fell
to
Ï Ï Ï
ly
p U
Ï
It
fell
to earth, I
It
fell
to earth, I
ä JÏ
Ï Ï Ï Ï
it
flew, the sight
Ï
Ï Ï Ï Ï ú
ly
it
flew, the sight
"
flight.
A tempo
Ï
I
p U
Ï " Ï
dim. e rit. . . . .
P
-
Ï Ï Ï Ï Ï
Ï Ï Ï Ï ú
Ï
-
dim. e rit. . . . .
Ï
Ï
Patti DeWitt
flight.
I
Ï Ï Ï
Ï Ï Ï
Ï
Ï Ï Ï
Ï Ï
a
in
breathed
breathed
a
Ï
Ï
rit. . . .
song
song
Ï
earth,
I
knew
not
Ï
Ï
Ï
Ï
Ï
earth,
I
knew
not
where;
* Meet the poet on Page 22.
20
Ï Ï
Ï
rit. . . .
in
-
-
A tempo
Ï Ï
where; For
Ï Ï
For
REVIEW: F AND G MAJOR -- 3
13
&
#F
Ï
Ï
Ï
Ï
Ï
F
has
sight
so
keen
who
has
who
?# Ï Ï Ï Ï Ï
16
#
sight
U
& Ï
of
?# Ï
Ï
UÏ
of
song?
flight
flight
19
#
& Ï
found
?# Ï
Ï
the
the
#
& Ï Ï Ï
gin-ning to
?# Ï Ï Ï
gin-ning to
25
&
#
found
?# Ï
found
so
keen
Ï
Long,
Ï
Ï Ï Ï
P
Long,
long
Ï Ï Ï
Î
Ï Ï Ï
af - ter-ward,
Ï Ï Ï
ar - row,
still
Ï
Ï Ï Ï
dim. e rit. . . . .
ar - row,
still
Ï
un - broke;
Ï Ï Ï
F
Ï
Ï
fol - low the
Ï
Ï
Ï
Ï
in
an
oak
I
Ï
Ï
Ï
Ï
in
an
oak
I
Ï
And
Ï
Ï
the
Ï
Ï
the
end,
Ï
I
Ï
found
F
a - gain
in the
Ï Ï
heart
of
a friend.
end,
I
found
a - gain
in the
heart
of
a friend.
Ï Ï Ï Ï Ï
Ï Ï Ï
Ï Ï
it
in
the
Ï
Ï Ï Ï
Ï Ï Ï
ú
Ï
Ï
U.
heart
of
a
friend!
Ï
Ï
Uú
of
a
friend!
f
Ï Ï Ï
Ï Ï
f
it
in the
heart
a - gain
Ï
Ï
Ï
21
Ï Ï
song, from be -
Ï
Ï Ï
Ï Ï
song, from be -
Ï
a - gain
Ï
Ï Ï
can
And
un - broke;
Ï
it
Ï
Ï
Ï Ï
fol - low the
A tempo
Ï
Ï
Ï
can
Ï Ï Ï
af - ter-ward,
dim. e rit. . . . .
Ï
it
Ï
strong, That
long
Ï
strong, That
and
P
Î
Ï
Ï Ï Ï
Ï
Meno mosso
Ï
and
Ï Ï Ï
song?
Ï
found
22
Ï
Ï
Ï Ï Ï
ú
.
ä Ïj
I
ä JÏ
I
3 -- REVIEW: F AND G MAJOR
MEET THE POET:
Henry Wadsworth Longfellow was perhaps the
most popular American poet of the 19th century, a
century that gave America many outstanding poets.
Longfellow was beloved because he wrote of situations
and feelings that are common to all humans. He was
also a gifted storyteller, and immortalized such heroes
as Hiawatha and Evangeline. Many of his phrases have
become a part of our culture, such as "ships that pass in
the night" and "the patter of little feet."
Longfellow was born in Portland, Maine, on
February 27, 1807, the son Stephen Longfellow and
Zilpah Wadsworth Longfellow. His mother was a direct
descendent of John Alden of Mayflower fame.
As a child, Longfellow loved to read. Reading
led to writing, and he wrote and published his first
poem when he was thirteen. While still in college, he
Henry Wadsworth Longfellow
realized that he wanted to devote his life to writing.
(1807–1882)
He wrote to his father in 1824: "The fact is, I most
eagerly aspire after future eminence in literature; my whole soul burns most ardently for it,
and every earthly thought centers in it..."
After graduating from college in 1825, he traveled in Europe from 1826 to 1829.
Upon returning to the United States he took a position as a professor and librarian at
Bodwoin College in Brunswick, Maine. In 1831 he married Mart Storer Potter and took
her with him to Europe where he studied Scandanavian and Dutch languages and literature.
Longfellow's wife died in 1835 while they were in Rotterdam. His poem, "Footsteps of
Angels," was written in her memory.
In 1836 Longfellow accepted a position at Harvard and lived in the historic Craigie
House, where George Washington and his wife had lived. Longfellow remarried in 1843
to Frances Appleton, the daughter of a prominent Boston merchant. He resigned from his
Harvard post in 1854, and in 1855 he wrote his best-known work, The Song of Hiawatha.
In 1861 his wife died suddenly after accidentally setting her dress on fire while melting
wax to seal envelopes. When he tried to put the fire out, Longfellow received serious
burns to his face. The subsequent scarring made shaving difficult for him and is the reason
he wore a beard for the rest of his life.
Longfellow settled in Cambridge, Massachusetts, where he remained for the rest of his
life. In 1868 Longfellow made his last visit to Europe with his three daughters. While in
England, he spent two days with the great English poet Alfred, Lord Tennyson and was
invited to tea with Queen Victoria who was his great admirer.
So beloved was Longfellow that all of the United States celebrated his seventieth
birthday in 1877. Longfellow died in Cambridge on March 24, 1882. His statue can be
seen in the Poet's Corner in Westminster Abbey.
22
"The Arrow and the Song," SB
What does "rit......" mean?
What effect does it have on the song?
Perform the song with attention to this tempo
symbol.
Ask for volunteers to perform these pieces as small ensembles, two or three singers
on a part. This is a good way to evaluate your students to see if the are paying enough
attention to the music elements. They should show that they understand the terms and
symbols that provide expressiveness to music performance by interpreting them in a
performance situation. These markings include:
1. Tempo and tempo changes
2. Dynamics and dynamics changes
3. Articulations.
S - 22
Chapter 4:
Review--Key of C Major
Breathing
Exercises
1. Have the students sit in their chairs, place their fists on their chins
and then rest their elbows on their thighs. Tell them to take a slow
and deep breath and to pay particular attention to which muscles work
when they breathe. (This will be their abdominal and back muscles.
Their chests and shoulders cannot move when they are in this position.)
2. In the same position, have them breathe in quickly to feel the
expansion, hold the breath for four seconds, then release it in a steady
stream, hissing for 8 counts. Repeat and release for 12 counts, then 16.
3. Have them repeat the exercises in both the sitting and standing
positions, encouraging them to maintain the expansion of the same
sets of muscles
Key of C Major:
The "Key Signature formula" using sharps and flats will not work with the key of C
Major, because, of course, C Major has no sharps or flats. Therefore, it is necessary for
students to memorize where "Do" is in the key of C. This textbook offers 3 different ways
for the students to remember this: 1. Using Middle C, 2. Remembering second space C
(from the top for treble clef; from the bottom for bass clef), 3. Finding the starting pitch
from the treble (G) clef (which delineates So in C Major) or the bass (F) clef (which
delineates Fa in C Major).
Have the students handsign as they sing the notes of the C Major scale up and down.
D
"Follow Me" Handsign the notes Do, Re, Mi, Fa, So in various orders. Ask the
Game
students to follow your handsigns. (Do not sing with them. Let them
work for it.) Ask for a student volunteer to lead the activity.
OAudiate:
v
Vowels
Using Do, Re, Mi, Fa, So only, handsign a short series of notes.
(Start out with 2 or 3, then add more to the series).
Have the students watch,
"echo" the series with handsigns,
"listen" in their heads, and then
sing the series for you.
Constantly remind the students to produce "tall vowels."
S - 23
4:
Review--Key of C Major
C Major Scale--C is Do
& w
w
Do
Re
w
Mi
w
Fa
w
w
w
w
So
La
Ti
Do
Finding Do:
In the key of C Major, there are no flats ( b ) or sharps ( # ) in the in the key signature.
&o w
at the Key Signature. If you "C" nothing,
you are in the key of C Major
(or its relative minor).
Musicians cannot use sharps and flats as a means of
finding Do in the key of C Major.
Here are 3 ways to remember how to find
Do (or the starting pitch) in the key of C:
1. "Middle C" is Do in the key of C Major in both bass and treble clefs.
1.
2.
w
& w
Do
w
?
Do
w
2. The third space (counting from the bottom) is C (Do) in the treble clef, and the
second space is C in the bass clef.
3. The treble clef (or, "G clef") winds around the line for G, which is So in the key
of C Major.
&6 w
w
w
w
?o w
Fa
w
Mi
w
Re
w
w
Do
w
Fa
So
La
Ti
Do
So
The dots of the bass clef (or, "F clef") surround F, which is Fa in the key of C Major.
23
4 -- REVIEW: KEY OF C MAJOR
To Build a
Major
Scale:*
KEYBOARD SKILLS:
Use the above formula to figure the F, G, and C Major scales, up and down, on the
keyboard, below. Play them on a keyboard instrument.
AUDIATE:
? 44 ú
? w
? Ï.
? ú.
A well-known Christmas carol is built on the major scale. Read the notes
below in your head. (Do not sing it out loud.) Can you name the song?
Ï Ï ú.
ÏÏ Ï
J
î
ÏÏ Ï
Ï
ú
Ï ú
Î
Ï
ú
ú.
Ï Ï Ï Ï
Ï Ï Ï Ï ú.
Ï
Ï.
ÏÏ Ï
J
Ï ú.
Ï ú.
Ï
Ï. Ï Ï Ï Ï Ï Ï Ï
J
ÏÏ Ï Ï Ï ÏÏ
ú
ú
w
* For a thorough discussion of whole steps and half steps, see Chapter 20 of Level 1 of
this series.
24
To Build a
Major Scale:
The difference between the major scale and all other natural scales
(natural minor, dorian, other natural modes) is the placement of the
half steps. In a major scale the half steps fall between the third and
fourth notes and the seventh and eighth notes. All other intervals are
whole steps. Once a student realizes this, then he is able to figure the
major scale in any key on a piano or other keyboard. The scale is the
foundation of music theory and provides the learner with a framework
for identifying intervals, building chords, etc. By teaching the students
to build scales on the keyboard, you will be building a foundation for
improvisation, playing "by ear," using chordal accompaniments, etc.
There is no better way to graphically illustrate half steps and whole
steps, as well as larger intervals, than on a keyboard.
Whole steps and half steps are addressed in Activity Sheet 10.
For further study, Chapter 20 of the first book of this series--The Singing
Musician: A Good Start, provides a detailed explanation of whole steps
and half steps.
Audiate:
After the class has figured out that the melody that they are asked
to audiate is "Joy to the World," ask them to analyze the notes of the
first phrase. (It is nothing more than a descending major scale.)
Then ask them where else in the song the scale plays an important role.
S - 24
Tone
Tell the choir you are going to demonstrate the difference that "tall"
quality vowels make in the choir.
(vowel)
1. Ask for a student volunteer.
exercise:
2. Instruct all of the rest of the class to sing in unison on a very tall
"ooh" vowel, lips puckered jaws far apart.
3. Instruct them to keep taking a breath and reentering when they run
out of air, maintaining a steady choral sound.
4. While they are singing, have your volunteer begin to sing on a very
flat and "mouthy" "ooh" vowel. This student will be heard over all
of the rest no matter how many students you have. Because the
"spread" vowels simply will not blend. Thus everyone must make
the vowel "tall" or they will end up sticking out as well.
D
Work on the vowel production daily. It takes hundreds of repetitions
before young students will begin to sing "tall" vowels without being reminded.
Handsigns: Remind the students always to use handsigns.
Instruments: After the students have mastered them vocally allow students to play the
exercises on recorders, Orff instruments, the piano, or electronic keyboards.
&
Clefs
Students will be taught both treble and bass clefs in this book.
Recognizing form aurally:
Play (or sing) the exercise below for your students. Ask them to identify
the form of the exercise: (4 phrases, ABAC)
& b 44 Ï Ï Ï Ï Ï Ï Ï Ï ú
Ï Ï ÏÏÏÏ Ï ÏÏú
Ï ÏÏÏ
Ï
&b Ï Ï ÏÏÏÏ Ï Ï ú
S - 25
Ï Ï ú
REVIEW: KEY OF C MAJOR -- 4
Pencil Time 2:
Activity Sheet 9: Key of C Major
Activity Sheet 10: Whole step/half step
Activity Sheet 11: Build a Major Scale.
READ the following exercises.
1. Chant the rhythm while conducting.
2. Identify key and starting pitch.
3. Chant the solfege in rhythm with handsigns.
4. Audiate while handsigning.
5. Sing with solfege and handsigns. and the solfege before singing them.
1.
2.
3.
4.
5.
6.
3
&4 Ï Ï ú
? 34 Ï Ï Ï
Ï
? 34 Ï Ï Ï
Ï
Ï
Ï Ï Ï
& 44 Ï Ï Ï Ï Ï
& 44 Ï Ï Ï Ï Ï Ï
? 34 Ï Ï Ï
? Ï Ï Ï
Ï
Ï
Ï Ï ú.
Ï
Ï
Ï
Ï
Ï Ï Ï
Ï
Ï
Ï ÏÏÏ Ï
ú
Ï
Ï Ï ÏÏÏ
Ï Ï ú
Ï Ï ú
Ï Ï Ï
ú
Î
ÏÏÏ Ï Ï
Ï Ï ú
Ï Ï Ï Ï
Ï
ú.
Ï ÏÏÏÏÏ
Ï ÏÏú
Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï
ú
Ï Ï Ï Ï
Ï
YOUR BRAIN:
7.
& 44 Ï
& Ï
Ï
Ï
Ï
ÏÏÏÏÏ
ÏÏÏÏÏ
Ï
Ï
25
Ï
Ï Ï ÏÏ
Ï Ï
ÏÏÏÏÏ
Ï
Ï
4 -- REVIEW: KEY OF C MAJOR
8.
?4 Ï
4
? Ï
9.
& 24
Ï Ï Ï Ï Ï
Ï
Ï
ÏÏÏÏÏ Ï
& Ï ÏÏÏ Ï
Ï
10.
Ï
& 34 Ï Ï Ï
& Ï Ï Ï
Ï
Ï
Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï
Ï
Ï Ï Ï
Ï ÏÏÏÏ
Ï
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï
Ï
Ï
Ï
ú
Ï Ï Ï
Ï
Ï Ï Ï
Ï Ï Ï ÏÏÏÏÏ
ÏÏÏÏÏ Î
Ï
READ the following two-part exercises:
1. Chant the rhythm in harmony (both parts at the same time).
2. Find the starting pitch.
3. Chant the solfege in harmony with handsigns.
4. Sing in harmony with solfege and handsigns.
5. For variety, after singing play one or more part on keyboard or recorder.
1.
& 44 Ï Ï Ï Ï
ú
& 34 ú
? 34 ú
Ï
Ï
Ï
Ï
& 44 ú
Ï Ï
? 44 Ï Ï Ï Ï
2.
3.
? 44 ú
Ï Ï
Ï
Ï Ï ÏÏÏÏ Ï ÏÏÏ
Ï Ï Ï
Ï
Ï Ï
Ï Ï ú
Ï Ï ú
ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï
Ï
Ï
Ï
w
Ï Ï ú
26
Ï
Ï
ú.
Ï
Ï
Ï Ï ú
Ï
Ï
ú.
ú.
Ï
Ï Ï ú
Ï Ï ú
REVIEW: KEY OF C MAJOR -- 4
4.
2
&4 Ï Ï Ï Ï
? 24 Ï
5.
Ï Ï
& 44 Ï Ï Ï Ï Ï
? 44 Ï Ï Ï Ï
6.
& 44 ú
Ï Ï
? 44 Ï Ï Ï Ï
7.
8.
9.
& 44 Ï Ï Ï Ï Ï
? 44 Ï Ï Ï Ï
& 34 Ï Ï Ï
Ï Ï Ï
? 34
Ï
Ï
Ï Ï Ï
Ï ÏÏÏ Ï
Ï ÏÏÏ Ï
ÏÏÏÏú
Ï Ï ú
& 44 Ï Ï Ï Ï Ï
? 44 Ï Ï Ï Ï Ï
Ï
Ï Ï
Ï Ï Ï
Ï
Ï ÏÏú
Ï
Ï ÏÏÏÏ
Ï Ï Ï
Ï ÏÏÏÏÏ
ÏÏÏ ú
Ï Ï ÏÏÏ
ú
ÏÏÏ ÏÏÏ
ú
ú
ú
Ï Ï Ï Ï Ï ÏÏú
Ï Ï Ï ÏÏ Ï Ï ú
ÏÏÏ ú
ú
ÏÏÏÏ
Ï Ï Ï Ï
Ï Ï Ï Ï Ï
Ï
Î
Î
Ï ÏÏú
ÏÏÏÏú
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï
Ï Ï Ï ÏÏ Ï Ï ú
ÏÏÏ ÏÏÏ Ï
ÏÏ ú
27
Î
Î
4 -- REVIEW: KEY OF C MAJOR
3
&4 Ï
? 34 Ï
10.
Ï Ï Ï Ï Ï
Ï Ï
Ï Ï Ï Ï Ï Ï
Ï Ï
ú.
ú.
Ï Ï Ï Ï
Ï Ï Ï Ï Ï
ANACRUSIS:
An anacrusis (which is called a "pick-up note" when it is a single note) is a partial
measure of music at the beginning of a piece of music.
3 beats
& 44 Ï
Ï ÏÏÏ Ï
1 beat
ÏÏÏÏÏ Ï
Ï ÏÏÏÏÏ
Ï Ï Ï
The anacrusis beats are subtracted from the last measure of the piece.
IDENTIFY the anacrusis in each exercise below.
11.
& 44 Ï
Ï Ï Ï Ï
? 44 Ï Ï Ï Ï Ï Ï
Ï Ï ú
Ï Ï ú
ÏÏÏ Ï Ï
Ï ÏÏÏ Ï
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï Ï
Ï Ï ú
Ï ÏÏÏÏÏ
Ï Ï Ï Ï
& 44 Ï
12.
?4 Ï
4
&
Ï
? Ï
Ï
Ï
Ï Ï Ï ÏÏ Ï Ï ú
Ï
Ï
Ï
Ï
ÏÏ Ï
Ï ú
Ï ÏÏÏ ÏÏ Ï Ï Ï Ï
Ï
Ï ú
Ï
28
ÏÏÏ
ÏÏÏ
Ï
Ï
Ï
Ï
ÏÏ Ï Ï Ï Ï Ï
Anacrusis:
Also known as a "pick-up note" when it is a single beat. Generally
occurs on the upbeat as opposed to the downbeat. Instruct the class
that an anacrusis measure at the beginning of a song is not counted
as a measure. One would start counting measures with the first full
measure.
S - 28
Mixed Book:
"Piping down the Valleys Wild"
Form (Rondo)
Instruct the students to analyze the form*
and to identify which voice part carries the melody.
and which is in harmony.
A- m1-8
B - m 9 - 16
A - m 25 - 32
C - m 33 - 40
A - m 41 - 48
B - m 49 - 56
with extended Coda -- m 57 - end
Questions for class discussion:
Compare the form of "Piping" to "The Arrow and the Song"--p 20.
Compare and contrast the form of "Piping" to "The Arrow and the Song".
Compare and contrast the rhythmic elements of "Piping" to "The Arrow and the Song."
Compare and contrast the texture of "Piping" to "The Arrow and the Song"
Compare and contrast the tempo of "Piping" to "The Arrow and the Song"
* The form analysis given above is a suggestion. Other solutions are possible.
S - 29
REVIEW: KEY OF C MAJOR -- 4
Three-Part Exercises:
1.
2.
3.
4.
5.
3
&4 Ï
& 34 Ï
? 34 Ï
ÏÏ Ï
Ï
Ï
Ï
Ï
Ï
ú
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
& 44 ú
& 44 ú
? 44 ú
Ï Ï
ú
ú
& 34 Ï ú
& 34 Ï Ï Ï Ï
? 34 Ï Ï Ï Ï
& 34 Ï
& 34 Ï
? 34 Ï
Ï
Ï
Ï Ï ú
Ï
Ï
& 44 Ï Ï Ï Ï Ï
& 44 Ï Ï Ï Ï
? 44 Ï Ï Ï Ï
Ï
Ï
Ï Ï Ï
Ï
ú.
ú.
Ï Ï ú
Ï Ï ú
Ï Ï ú
ú.
Ï
Ï
Ï Ï Ï
Ï Ï
Ï
Ï
Ï
Ï
ú.
Ï
Ï
Ï
Ï
Ï
ú.
Ï Ï Ï Ï
Ï Ï
Ï Ï Ï Ï ú
Ï
Ï
Ï Ï Ï Ï
ú
Ï Ï
Ï Ï ú
ú
ú
Ï
Ï
Ï
Ï
Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï
Ï Ï ú.
Ï
Ï ÏÏú
Ï
Ï
Ï ÏÏÏÏÏ
Ï Ï ÏÏÏ
Ï Ï ÏÏÏ
Ï Ï ú
Ï Ï ú
29
Ï Ï ú
Ï Ï ú
ú.
Ï Ï ú
Ï Ï ú
Ï Ï ú
4 -- REVIEW: KEY OF C MAJOR
Piping down the Valleys Wild
SB a cappella
William Blake*
h. = 60
Lightly, in 1
F
& 34 ú
S
Pip
B
6
& Ï
Ï
? Ï
Ï
songs
F
-
Pip
-
ú
? 34
?ú
Ï
saw
saw
16
& ú.
me.
?
ú.
me.
Ï
plea
ú
-
plea
-
Ï
ú
the
val
Ï
down
Ï
of
Ï
ú
ing
Ï
Ï
down
Ï
of
& Ï Ï
Ï
ing
Ï
songs
11
Ï
Patti DeWitt
ú
the
Ï
sant
-
val
-
Ï
sant
glee;
wild,
Pip
Ï
ú.
ú
leys
wild,
Pip
ú
Ï ú
ú
Ï
Ï
a
child,
ú.
And
f
he,
laugh
a
child,
And
he,
laugh
p
ú
"Pipe
p.
ú
"Oh,
ú
Ï
a
Ï
Ï Ï Ï
song
ú
ú
Ï
-
-
ú.
Ï
a
cloud
I
Ï
Ï
ing,
Ï
ing,
Ï
Ï Ï
Ï
said
to
said
to
F
ú
Ï
Ï
ú
F
a
lamb."
So
ú
a - bout
* Biography on following pages
30
lamb."
I
Ï
a - bout
a
ing
Ï
cloud
Ï
ú
-
ú
Ï
On
ing
Ï
a
ú
-
Ï
ú
Ï
On
f
ú.
leys
ú.
glee;
ú
ú.
Ï
So
Ï ú
Ï
I
REVIEW: KEY OF C MAJOR -- 4
22
& Ï
ú
piped
?
Ï
piped
27
Ï
Ï
with
Ï
mer
with
mer
Ï
Ï
-
ry
ú
Ï
piped,
a - gain."
So
I
& ú.
hear.
ú
Ï
Ï
"Drop
thy
pipe
P
.
? ú
Ï
hear.
Ï Ï
"Drop
Ï
thy
? ú.
sing
Ï
songs
thy
Ï
Ï
of
ú
Ï
songs
of
42
sung*
? ú
sung*
ú.
F
P
Ï
"Oh,
ú.
I
32
& Ï
cheer.
p
So
ú.
Ï
"Pip
F
Ï
Sing
Ï
cheer.
a - gain."
? ú
& Ï
ry
ú
Ï
ú.
37
-
ú.
Ï
Ï
pipe
Ï
ú
& Ï Ï
song
Ï
p
Ï
ú
Ï
thy
pipe,
Ï
hap
er,
pipe
Ï
Ï
he
Ï
Ï
wept
he
wept
to
ú
Ï
Ï
-
Ï
Ï
hap
-
-
py
pipe
Ï
Ï
Ï
Ï Ï
they
pipe.
Î
U
ú
Ï
py
Ï
So
So
I
Ï
Ï
the
Ï
same
Ï
a - gain
While
ú
he
Ï
wept
the
same
a - gain
While
he
wept
ú
ú
Ï
ú.
* As spelled by Blake.
31
Ï
Ï
I
ú
cheer."
to
ú
P
Î
Ï
And
P
cheer."
ú
ú.
ú
hap
ú
py
Ï
Ï
U
Ï
ú.
Ï
drop
Ï
that
Ï
F
ú.
Ï
-
piped,
F
ú
Ï
Ï
Ï
Ï
Ï
Ï
with
Ï
with
4 -- REVIEW: KEY OF C MAJOR
F
47
& Ï
Ï
joy
Ï
? ú
write
? ú
ú
Ï
In
a
F
ú
Ï
write,
p
&ú
p
? ú
he
Ï
van - ish'd
So
he
van - ish'd
pluck'd
Ï
pluck'd
67
& Ï Ï Ï
Ï
hol
a
hol
ú
ú.
Ï
Ï
that
ú.
Ï
ú
rur
ú
-
al
Ï
pen,
ú.
And
rur
-
al
pen,
And
ú
down
and
Ï
ú
Ï
thee
and
U
Ï
Î
ú
Ï
may
Ï
Ï
Uú
may
read."
read."
Î
from
ú
my
Ï
ú.
sight,
ú.
And
ú
Ï
from
my
sight,
And
I
ú
Ï
reed.
low
reed.
Ï
Ï Ï Ï
I
ú
And
Ï
I
Ï
ú
made
Ï
And
I
made
a
P
ú
Î
Ï
ú
P
Î
ú
low
-
thee
Ï
all
Ï
Ï
Ï
-
Ï Ï
Ï
Ï
all
ú
ú
Ï
a
? ú
?
Ï
Ï
sit
ú
So
& ú
"Oh,
so
Ï
62
sit
ú
book
Write
er,
ú.
Ï
Ï
ú
Ï
-
p
hear.
F
& ú.
"Pip
Ïdecresc.ú e rit. . .
to
52
ú
hear.
Ï
joy
57
ú.
to
F
p
decresc. e rit. . .
Ï Ï Ï
ú
ú.
I
Ï
stained
ú
the
Ï
wa
-
ter
clear,
I
stained
the
wa
-
ter
clear,
32
Ï Ï Ï
ú.
a
Ï
REVIEW: KEY OF C MAJOR -- 4
73
F
& ú
Ï
hap
-
py
Ï
songs
I
wrote
my
hap
-
py
songs
Ï
Ï
Ï
Ï
Ï
to
hear.
Ï
Ï
Ï
Ï
ú.
Ï
ú.
may
joy
to
hear.
ú
Ï
Ï
Ï
ú.
child
may
Ï
joy
to
Ï
hear.
may
joy
to
hear.
Ï
And
77
& ú
Ev'
81
ú
my
wrote
? ú
ú
-
Ev'
-
f
& Ï
Ï
? Ï
f
Ï
Ev'
-
Ev'
-
ú.
Ï
I
ry
Ï
child
ry
child
Ï
ry
Ï
ry
Ï
Ï
Ï
And
F
?
ú
Ï
Ï
ú
Ï
child
Ï
ú
may
joy
rit. . . . . . . . . . .
ú
Ï
rit. . . . . . . . . . .
ú.
ú.
IMPROVISE an accompaniment for "Piping down the Valleys Wild" on a keyboard
instrument. Use the techniques for accompaniments presented in Chapter 9, "Making
Arrangements," in Level One of this series.
What is the time signature?
What difference does the time signature make to what kind of accompaniment you will
create?
What is the FORM of "Piping down the Valleys Wild"? Your accompaniment should
follow the form.
33
4 -- REVIEW: KEY OF C MAJOR
MEET THE POET:
William Blake was a British poet, painter, and engraver, who
illustrated and printed his own books. Born in London in 1757,
his father, who ran a hosiery shop, sent William, the third of his five
children, to art lessons at the age of ten.
At age 14, Blake became apprentice for seven years to James
Basire, a prominent London book engraver. He was deeply inspired
by Gothic art and architecture. He studied at the Royal Academy
School, and, upon finishing, began to produce watercolors and
engrave illustrations for magazines.
In 1783 he married Catherine Boucher, whom he taught to draw and
paint. She became his devoted assistant. In 1774 Blake and his
younger brother, Robert, opened a print shop at
27 Broad Street. After his brother died, however,
the business failed.
William began writing poetry at the age of 12,
but since he was not formally trained to be a
journalist, he could not pursue writing as a
career. So William circumvented this societal
prohibition by engraving and publishing his own
books with his wife's help.
In addition to writing and publishing his own
books of poetry and prose, William produced
illustrations for other books including Dante's
Divine Comedy. He completed 21 illustrations
for the book of Job from the Bible at the age of
seventy.
Ancient of Days - William Blake
British Museum, London
Self-portrait -- William Blake.
William's works, filled with religious symbols
and imagery, were not appreciated in his
lifetime. In fact, he did much illustrative work
for which other artists and engravers got the
credit. He lived in near poverty and died
unnoticed and uncredited. Since then, however,
due to his originality of thought and artistic
expression, he has become known as the first
great poet of the Romantic Era and an
outstanding figure in both the history of British
art and of British literature.
34
LITERATURE:
Learning
the song
Begin teaching the song with the most difficult section and
the sections that will in the course of every day practice,
probably receive the least amount of repetition.
1. Have the students solfege of the piece by section.
2. Have them audiate the notes silently as they handsign
them on a common beat.
3. Tell them to chant the solfege syllables while signing.
4. Sing each section on solfege.
5. Sing the entire song on solfege.
6. Have them sing the whole song on a neutral syllable,
such as "loo." Return solfege if they have problems.
7. Teach them the proper singing pronunciations for the
words.
8. Sing the whole song with words a cappella.
9. Sing the words with their proper articulations.
10. Sing the words with proper expressions.
Accompaniment
Allow the students the opportunity to improvise* an Orff
(or piano) accompaniment for the song.
* Improvised, but not disorganized. Give them a few minutes to experiment with their
instruments and come up with an ostinato pattern that they like before having them
improvise before the class.
TEMPO
What symbols regarding tempo are in the piece on the previous pages?
1. In what measures do we find symbols that affect the tempo?
2. What effect do these symbols have on the tempo?
Allow the students to perform the vocal part of this piece individually, correctly
interpreting the tempo terms and symbols.
Then ask them to find a partner (or partners) and sing this as a small ensemble correctly
interpreting the tempo terms and symbols.
If you do not have Orff instruments, allow the students to play the
accompaniment parts on the piano, 3 or 4 students at a time if needed.
S - 34
COMPOSE:
Limit the notes that the students use to write their melodies. For
example, Do, Re, Mi, Fa, So, La, scalewise only. Instruct them to begin
with establishing form from the form and meter of the poem, for example,
ABAB or ABAC repeated.
Then have them derive the rhythm from the words of the poem. Then
add melody in the form they have chosen.
After the students have written their melodies, have them add
dynamics and articulation (such as legato, staccato, accents, etc.)
information to them.
Give them the opportunity to write (or improvise) an accompaniment
to go with their melodies. Also give them the opportunity to sing them
for and/or teach them to the class.
DISCUSSION:
Discuss with the class the relationship between poetry and music:
1. Meter
2. Rhyme (a kind of poetic "cadence")
3. Form
4. Repetition
What other characteristics do music and poetry hold in common?
S - 35
REVIEW: KEY OF C MAJOR -- 4
Here is another of his poems, from Songs
of Innocence (1789):
The Shepherd
How sweet is the Shepherd's sweet lot,
From the morn to the evening he strays:
He shall follow his sheep all the day
And his tongue shall be filled with praise.
For he hears the lambs innocent call,
And he hears the ewes tender reply,
He is watchful while they are in peace,
For they know when their Shepherd is nigh.
Below, Oberon, Titania and Puck by William Blake, 1785. Above, a page of engraved prose by Blake.
COMPOSE:
Write a melody for "The Shepherd" as listed above.
Write out an accompaniment for your melody.
35
5:
#
Review--Minor Keys
w
w
w
w
w
w
w
Re
Mi
Fa
So
La
Ti
Do
w
w
w
w
Mi
Fa
So
La
The (G) Major Scale is based upon Do.
&
w
Do
#
The (E) Minor Scale is based upon La.
&
w
w
La
Ti
w
Do
w
Re
Notice the placement of the half steps in each scale.
SING the Major scale followed by the minor scale.
Minor keys that share the same key signature as a Major key is called its relative minor.
E minor is the relative minor to G Major. E is La and G is Do when the key signature
has one sharp.
Musical "relatives":
?#
w
E
La
F Major scale.
&b w
w
Do
Re
w
Mi
w
G
Do
w
w
w
w
w
Fa
So
La
Ti
Do
w
w
w
w
Mi
Fa
So
La
What is the relative minor of F Major?
&b w
w
La
Ti
w
Do
w
Re
w
w
w
w
w
w
w
Re
Mi
Fa
So
La
Ti
Do
What is the relative minor of C Major?
w
w
w
w
w
Re
Mi
Fa
So
La
? w
C Major scale.
Do
?
w
La
w
Ti
w
Do
36
Chapter 5:
Review: Minor Keys
q Breathing
Exercises
v
Warm-ups
D
Have the students stand tall, hands on their abdomens. When
they breathe in, tell them to fill up their lungs from the bottom up
so that the diaphragm causes their abdominal muscles to pooch
out. Tell them to hold the air in with those abdominal muscles
while performing this exercise:
1. Breathe in (mouth open, throats open)
2. Hold for a count of four.
3. Hiss for four quarter notes. q q q q
4. Sing "Ah" for a whole note.
5. Hiss for four quarter notes
qqqq
Tell the students to maintain their hold on the air with their
abdominal muscles.
Have the students sing first 5 notes of the minor scale:
La, Ti, Do, Re, Mi, Re, Do, Ti, La
Take this up and/or down as you would in a major key.
Be sure that the students use handsigns.
Repeat the exercise up and/or down by half steps.
If desired, after the exercise has been repeated a few times on
solfege syllables, replace the solfege syllables with various vowels.
"Follow Me"
Using La as the tonal center, handsign the notes scalewise patterns
Game
of notes in various orders. Ask the students to follow your handsigns.
(Do not sing with them. Let them work for it.) Ask for a student
volunteer to lead the activity.
OAudiate:
Using La as the tonal center, handsign a short series of notes. (Start
out with 2 or 3, then add more to the series). Have the students watch
and "listen" in their heads, and then sing the series for you.
Suggestions for performing sightreading exercises and encouraging students to perform
individually:
1.
2.
3.
4.
5.
Audiate each exercise silently with handsigns on a common beat.
Have the students chant the solfege (without singing) in rhythm.
Ask for a volunteer to chant the exercise.
Have them sing the exercise together on solfege with handsigns.
Ask for volunteers. To raise the incentive, offer rewards for those who
volunteer to perform, such as a chocolate kiss, a restroom pass, a tardy pass, etc.
6. Verbally reward any sincere attempt to sing the exercise correctly.
S - 36
S - 37
REVIEW: MINOR KEYS -- 5
To build a
minor
scale:
KEYBOARD SKILLS:
Figure the D and E minor scales on the keyboard below.
What is the relative minor scale of C Major? Identify and figure it on the keyboard below.
Play all of the above scales on a piano or other keyboard instrument.
Pick out 4 different notes at random and build minor scales on them.
Pencil Time 2
Activity sheet 12: Minor changes
Activity sheet 13: Build a Minor Scale.
READ the following exercises.
1. Chant the rhythm while conducting.
2. Identify the minor key of each and the starting pitch.
3. Chant the solfege with handsigns.
4. Audiate while handsigning.
5. Sing the exercise on solfege with handsigns.
1.
2.
? # 44 Ï Ï Ï Ï Ï Ï
? # 44 Ï Ï Ï Ï Ï
ÏÏÏÏ
ú
Ï ÏÏú
37
ÏÏÏ ÏÏÏÏ ÏÏÏ ú
Ï ÏÏÏÏÏ
ÏÏÏ ú
5 -- REVIEW: MINOR KEYS
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
# 4
& 4 Ï ÏÏÏÏ
Ï
Ï ÏÏÏÏÏ
#
& 44 Ï Ï Ï Ï Ï Ï Ï ú
? # 34 Ï Ï Ï
Ï Ï Ï
? # 34 Ï Ï Ï Ï Ï
Ï
#
& 44 Ï Ï Ï Ï Ï
#
& 44 Ï Ï Ï Ï Ï
? b 44 Ï Ï Ï Ï Ï Ï
Ï
& b 44 Ï Ï Ï Ï Ï Ï
Ï Ï Ï
Ï
Ï
ÏÏÏ Ï Ï
ÏÏÏ Ï Ï
ÏÏÏÏ
ÏÏÏ ú
ÏÏÏÏÏ Ï
ÏÏÏÏÏ Ï
ÏÏÏÏÏ Ï
Ï Ï Ï
? b 44 Ï Ï Ï
Ï Ï
Ï Ï Ï Ï Ï
Ï Ï
Ï
& b 34 Ï Ï Ï
? b 44 Ï Ï Ï
Ï
Ï ÏÏú
Ï Ï Ï Ï Ï Ï Ï
Ï
Ï Ï ÏÏÏ Ï
& b 34 Ï Ï Ï
Ï ÏÏÏÏÏ
ú
? b 44 Ï Ï Ï Ï Ï Ï
Ï
Ï ÏÏÏÏÏÏ ÏÏÏÏÏ Ï
Î
Ï ÏÏÏÏÏ
ÏÏÏ Ï Ï Ï Ï
Ï Ï Ï
Ï Ï
Ï Ï Ï Ï Ï
ÏÏÏÏÏÏÏ
ÏÏ Ï ú
Ï Ï Ï Ï ú
Ï Ï Ï
Ï Ï Ï Ï Ï
ÏÏÏÏú
Ï Ï ÏÏÏ
Ï
ÏÏÏÏú
ÏÏÏ ÏÏÏ
ÏÏÏÏú
Ï ÏÏÏ ÏÏ ÏÏÏ ÏÏÏ
Ï ÏÏÏú
38
ÏÏÏ
ÏÏú
REVIEW: MINOR KEYS -- 5
16.
17.
18.
19.
4
&4 ÏÏÏÏÏ Ï
& 34 Ï
Ï Ï Ï
? 34 Ï Ï Ï
Ï
Ï
Ï Ï Ï
Ï Ï Ï
Ï
Ï
Ï Ï Ï
Ï Ï Ï ÏÏ Ï Ï ú
Ï ÏÏú
Ï ÏÏÏÏÏ
Ï ÏÏÏÏÏ Ï ÏÏ Ïú
ÏÏÏ ú
ÏÏú
? b 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
?b Ï Ï Ï Ï Ï
Ï Ï Ï
ÏÏÏ ú
Ï Ï Ï Ï Ï Ï Ï Ï ú
Î
? 44 Ï Ï Ï Ï Ï Ï Ï Ï ú
44 Ï Ï Ï Ï Ï Ï
&
20.
Ï ÏÏÏÏÏ Ï
&
21.
Ï Ï Ï ÏÏ Ï ÏÏ Ï Ï ÏÏ
ÏÏÏ Ï ÏÏ Ï Ï ú
Ï ÏÏÏÏÏÏ Ï ÏÏÏ Ï
Ï Ï ú
READ the following two- and three- part exercises:
1. Chant the rhythm in harmony (both parts at the same time) while conducting.
2. Identify the key, and find the starting pitch.
3. Chant the solfege in harmony with handsigns.
4. Sing in harmony with solfege and handsigns.
1.
2.
# 4
4 Ï Ï Ï ÏÏ Ï Ï Ï Ï
? # 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï
&
#
& 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
? # 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
39
Ï ÏÏÏ Ï
Ï ÏÏÏÏÏ
ÏÏÏ ú
Ï ÏÏú
Ï Ï Ï ÏÏ Ï Ï Ï Ï
Ï ÏÏÏ Ï Ï Ï Ï Ï
5 -- REVIEW: MINOR KEYS
3.
4.
# 4
& 4 ÏÏÏ ÏÏÏ Ï Ï
?# 4 Ï Ï Ï Ï Ï Ï Ï
4
#
& ÏÏÏ ú
ÏÏÏ Ï
?# Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
&
#
Ï ÏÏÏÏÏ
Ï ÏÏÏÏÏ
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï ú
ÏÏÏÏú
Ï Ï ú
ÏÏÏÏú
Ï
Ï
Ï
ú
Ï
ÏÏÏ ÏÏÏÏ ÏÏÏ ú
ÏÏÏ Ï ÏÏ ÏÏÏ ú
Ï ÏÏÏ ÏÏ Ï ÏÏú
ÏÏÏ Ï ÏÏ ÏÏÏ ú
Ï ÏÏú
Ï ÏÏÏ ÏÏ Ï ÏÏú
Ï Ï ÏÏÏ Ï ÏÏú
Ï Ï ú
40
Ï
Ï
Ï
ú
ÏÏÏ Ï Ï Ï Ï ÏÏÏÏ ÏÏÏ ú
ÏÏ ÏÏÏ Ï ÏÏ Ï
ÏÏÏ Ï
ÏÏ ú
& 44 Ï Ï Ï Ï Ï Ï Ï Ï ú
? 44 Ï Ï Ï Ï Ï Ï Ï ú
& 44 Ï Ï ú
? 44 Ï Ï Ï Ï
ÏÏÏ ÏÏÏ
Ï ÏÏÏÏÏ
Ï Ï Ï
Ï Ï Ï
#
& 44 Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï
Ï
Ï
Ï
Ï ÏÏ Ï Ï Ï Ï
? # 44
Ï ÏÏÏÏÏ
?# Ï Ï Ï Ï Ï Ï
7.
ÏÏ
Ï
# 3
& 4Ï Ï Ï Ï
Ï ú
Ï Ï ú
? # 34 Ï Ï Ï Ï
#
& Ï Ï Ï Ï Ï Ï Ï Ï
Ï
?# Ï Ï Ï Ï Ï Ï ú
5.
6.
ú
ú
Î
Î
Î
REVIEW: MINOR KEYS -- 5
4
& 4 Ï Ï Ï Ï Ï ÏÏÏ
? 44 Ï Ï Ï Ï Ï Ï Ï
8.
Ï ÏÏÏ Ï
& 44
? 44 Ï Ï Ï Ï Ï
9.
&
Ï ÏÏÏ
?Ï
ÏÏÏ
Ï
Ï
Ï Î Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï
ÏÏÏ Ï Ï
Ï Ï Ï Ï Ï Ï
Ï
ÏÏÏÏÏ Ï
Ï Ï Ï Ï
ÏÏÏÏÏ Ï
ÏÏÏ ÏÏÏ
ÏÏÏ ÏÏÏ
Ï Ï Ï Ï
Three-part exercises:
1.
2.
3.
& b 44 Ï Ï Ï Ï Ï Ï Ï ú
& b 44 Ï Ï Ï Ï Ï Ï Ï ú
? b 44 Ï Ï Ï Ï Ï Ï Ï ú
& b 44 Ï Ï ú
& b 44 Ï Ï ú
? b 44 Ï Ï ú
# 4
& 4 Ï Ï Ï Ï
#
& 44 Ï Ï Ï Ï
? # 44 Ï Ï Ï Ï
ÏÏÏ ÏÏÏ
ÏÏÏ ÏÏÏ
Ï ÏÏú
Ï Ï ú
Ï ÏÏÏ Î
Ï ÏÏÏ Î
Ï Ï ÏÏÏ
Ï Ï ú
Ï Ï ú
Ï ÏÏÏ Ï
Ï Ï ú
Ï Ï ú
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï ú
ú
ú
ú
Ï Ï
Ï Ï
ú
41
Ï Ï Ï Ï
Ï Ï Ï Ï
ú
Ï Ï
Ï Ï
ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
ú
ú
5 -- REVIEW: MINOR KEYS
4.
# 4
& 4 Ï Ï Ï ÏÏ Ï Ï ú
# 4
& 4Ï Ï Ï Ï Ï Ï ú
? # 44 Ï Ï Ï Ï Ï Ï ú
#
& Ï Ï Ï ÏÏ Ï Ï Ï
#
& Ï Ï Ï Ï Ï Ï Ï
?# Ï Ï Ï Ï Ï Ï Ï
5.
ÏÏÏ ÏÏÏ
ÏÏÏ ÏÏÏ Ï Ï ú
ÏÏÏ Ï ÏÏ Ï Ï Ï ÏÏ
Ï
ÏÏ
ÏÏ
Ï ÏÏÏÏ
Ï
Ï Ï ÏÏÏ
Ï ÏÏÏ Ï
& 44 Ï Ï Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï
& 44 Ï Ï Ï Ï Ï Ï Ï ú
? 44 Ï Ï Ï Ï Ï Ï Ï Ï ú
ÏÏ Ï Ï
&Ï Ï Ï
&ú
?ú
Ï Ï
Ï Ï
Ï Ï
ú
Ï Ï ÏÏÏÏ
Ï Ï Ï Ï
Ï ÏÏÏ Ï
ú
Ï Ï
ú
ú
ú
Ï Ï
Ï ÏÏú
Ï Ï ú
ÏÏÏ ú
ÏÏÏ ú
Ï ÏÏú
Ï Ï ú
Ï ÏÏ Ï Ï ú
Ï ÏÏ Ï Ï ú
Ï Ï Ï Ï ú
ACROSS THE CURRICULUM:
* Write your own words for the piece on the following page, making sure they fit the
rhythm of the notes given. Also add:
1. Dynamic markings
2. Changes in dynamics (crescendo, decrescendo)
3. Tempo designation
4. Changes in tempo (fermatas, rit., accel., etc.)
Write out your new composition on staff paper or with music notation software.
42
S - 42
"YOUR SONG": This exercise gives the students the opportunity to add their own
words to preexisting music. Do not allow students to take liberties
with the rhythm at this point. They should:
1. Decide which lines will rhyme, for example, alternating lines,
or, perhaps, lines 1 and 2, 3 and 4, 5 and 6. Or even 1 and 3,
2 and 4, 5 and 6.
2. They should decide what tempo the composition should
be performed at. Allow them these choices:
Andante = a slow walking tempo
Moderato = medium
Allegro = fast
3. They should set specific dynamics and be able to demonstrate
them.
4. They should define the articulation of individual notes--legato,
staccato, marcato, and mark their scores accordingly.
Then they must perform them correctly.
5. Melismas (discussed in Chapter 6), if used, should be properly
notated and executed.
6. Have them perform their song as a duet or small ensemble,
making sure they interpret all of their own expressive
markings correctly.
S - 43
REVIEW: MINOR KEYS -- 5
Your Song*
SB a cappella
# 4
& 4 ú
S
Ï Ï
Ï Ï
? # 44 ú
B
#
ú
ú
Ï Ï
ú
ú
w
Ï Ï
ú
Ï Ï
Patti DeWitt
w
Ï Ï
Ï Ï ú
ú
Ï Ï
w
ú
ú
Ï Ï
Ï Ï ú
Ï Ï ú
ú
ú
Ï Ï
Ï Ï
ú
ú
# Ï Ï
Ï Ï
&
ú
?# Ï Ï
Ï Ï
ú
Ï Ï Ï Ï
ú
ú
Ï Ï
Ï Ï
w
Ï Ï Ï Ï
#
& ú
?# ú
Ï Ï
Ï Ï
ú
ú
ú
ú
Ï Ï
Ï Ï
w
w
Ï Ï
Ï Ï ú
ú
Ï Ï
w
5
& ú
?# Ï Ï Ï Ï
#
& ú
?# ú
9
ú
13
17
21
#
& ú
?# Ï
Ï
Ï
Ï
Ï Ï ú
Ï
ú
ú
Ï Ï
Ï
ú
ú
43
Ï Ï
Ï
Ï
Ï Ï ú
w
Ties and Slurs
Below, there are two examples using this mark:
What is the difference between the two examples?
Example 1.
ú
Example 2.
Ï
ú
Ï
SLURS:
The first example shows a slur. A slur is a mark that connects two notes of different
pitches. The purpose of the slur is to show that a single syllable of the lyrics is shared
between two or more notes. This is called a melisma. Locate the slur (indicating a
melisma) in the traditional folk song, "Go Tell Aunt Rhody" below:
# 4
& 4 ú
Go Tell Aunt Rhody
&
# ú
Go
Go
Ï
Ï
tell
Aunt
ú
Rho
Ï Ï
ú
tell Aunt
Rho
ú
-
dy,
Ï Ï
-
dy
the
Traditional American folksong
ú
Ï Ï
Go
tell Aunt
Ï
old
Ï
Ï
gray goose
Ï Ï ú
Rho
Ï
ú.
is
-
dy,
Î
dead.
2. The one she's been saving, etc.
To make a feather bed.
3. She died in the mill pond, etc.
From standing on her head.
4. Go tell Aunt Rhody, etc.
The old gray goose is dead.
On which syllable of the lyrics does the melisma occur?
The rest of the piece is syllabic--that is, a single note for each syllable.
TIES:
A tie is a mark that "ties" together notes of the same pitch. When two notes are joined
with a tie, the pitch is held for the combined total of beats of all the notes that are tied.
Tell how many beats each of the tied notes would receive in the examples below:
Ï
Ï
w
Ï
ú.
Ï
44
Ï
Ï
J
ú
Ï Ï
J
Chapter 6:
All Tied Up
qBreathing
Exercises
1. Have the students sit in their chairs, place their fists on their chins and
then rest their elbows on their thighs. Tell them to take a slow and
deep breath and to pay particular attention to which muscles work
when they breathe. (This will be their abdominal and back muscles.
Their chests and shoulders cannot move when they are in this
position.)
2. In the same position, have them breathe in quickly to feel the
expansion, hold the breath for four seconds, then release it in a
steady stream, hissing for 8 counts. Repeat and release for 12
counts, then 16.
3. Have them repeat the exercises in both the sitting and standing
positions, encouraging them to maintain the expansion of the
same sets of muscles.
The purpose of this chapter is to teach the articulation mark of a slur and the ties and
the difference between the two. From this point on, ask the students to classify their
literature as primarily syllabic or as melismatic.
Ask for volunteers to sing small portions of the literature individually to show that they
understand the articulation markings, as well as intonation, rhythm, and dynamics.
ARTICULATION ROUND:
#
& # 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï . Ïj Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Mel
&
##
-
.
Ï
Î
Ï.
Ï.
Stac
-
ca - to,
is - ma
-
tic,
Syl - la - bic, syl - la - bic, syl - la - bic, syl - la - bic,
.
Ï
Î
Ï.
Ï.
stac
-
ca - to,
Î
Ï ßÏ ßÏ
ß
Mar - ca - to,
Î
Ï ßÏ ßÏ
ß
Mar - ca - to.
Write this round on the board or copy it for them on paper (permission granted for
classroom use only). Teach the whole round to the whole class and have them perform it
first in unison, then in 2-, 3-, and/or 4-part canon, with the appropriate articulations.
S - 44
MEMORIZATION:
Instruct your students to memorize the songs "Go Tell Aunt
Rhody" and "Down in the Valley" so that they can improvise upon
them, perform them while self-accompanying on the piano or on
an Orff instrument, or create countermelodies to go with them.
S - 45
ALL TIED UP -- 6
Ties are often used to connect notes across barlines. Tell how many beats these tied notes
would receive:
ú
Ï Ï
ú.
w
Ï Ï ú
ú
READ the following traditional folk song.
1. Chant the rhythm while conducting, paying close attention to the tied notes.
2. Chant the solfege.
3. Sing on solfege, pulsing handsigns to keep the beat.
4. Sing with words, still using handsigns and pulsing the beat.
Down in the Valley
? # 34
Ï
1.
2.
3.
4.
5.
6.
?# Ï
Down
in
Hear
the
Ro - ses
Know
I
If
you
Down
in
Val
ley
Hear
the
Vio
lets
Know
I
Love
whom
Val
ley
?# Ï
Hang
Hang
An
An
keep
Hang
?# Ï
Hear
Hear
Know
Know
Give
Hear
Ï
Ï
Ï
Ï
your
your
gels
gels
your
your
ú.
Ï
val blow,
sun you,
love
val -
the
wind
love
love
don't
the
ú.
wind
wind
love
love
heart
wind
-
-
-
-
o
o
hea
hea
'round
o
ley,
love,
shine,
dear;
me
ley,
ú
A
-
Traditional American folksong
ú
ú
Î
Ï
D
Just
ú.
head
head
in
in
arms
head
the
the
I
I
my
the
-
low,
blow.
dew.
you.
please,
low,
Ï
Ï
-
D
so
wind
love
love
you
so
Ï
ú.
G
ú.
-
-
-
-
ú.
C
blow.
blow.
you.
you.
ease.
blow.
How many total beats does the last tied note receive?
Is "Down in the Valley" melismatic or syllabic?
45
Î
ver,
ver,
ven
ven
me.
ver,
ú.
G
ú
ú
G
Î
6 -- ALL TIED UP
Pencil Time 2:
Activity Sheet 14:
Activity Sheet 15:
Activity Sheet 16:
Activity Sheet 17:
Slurs and Ties
Articulation I
Articulation II
Legato, Staccato, Marcato
ACROSS THE CURRICULUM:
Write a short essay discussing slurs and ties. What is the difference between the two?
What is the purpose of a slur? What is the purpose of a tie?
VOCABULARY:
1. melisma--Two or more notes for a single syllable of text, indicated by a slur
2. melismatic--Music that incorporates melismata (the plural of melisma)
3. slur--An arc connecting two or more different notes of music indicating a melisma
4. syllabic--Music that uses one note only for every syllable of text
5. tie--An arc connecting two or more notes of the same pitch
46
S - 46
Chapter 7:
Review--I Chord
Warm ups:
Use the following broken chord exercise to reinforce the I chord:
&Ï
?Ï
Do
Ï
Ï
Mi
Ï
Ï
So
Ï
Ï
Mi
w
Do
w
Perform the exercise in higher or lower keys as appropriate to the group.
Allow the students time to practice the I chord on the piano. Perhaps set up a
"Keyboard Day" on which students may bring their keyboards to class.
Remember to ask for volunteers to perform individually.
And remind the students constantly:
Sit/Stand tall.
Drop your jaw.
Eyes up.
Use handsigns.
S - 47
7:
Review--I Chord
A chord is formed when 2 or more musical notes sound at the same time.
A triad is a chord made of 3 notes.
The I Chord is a triad based on Do, the first note of the major scale.
It is composed of the first, third, and fifth notes of the major scale (Do, Mi, So).
#
w
& w
Do
Mi
&b w
w
Do
&
Mi
Do
Mi
ww
w
So
I Chord
G Major triad
w
www
So
w
w
w
w
I Chord
F Major triad
w
ww
I Chord
C Major triad
So
ACROSS THE CURRICULUM:
Write a paragraph discussing the I chord and the relationship of its notes to each other and
to the lines and spaces on the staff. How do the chords look? How are they identifiable?
Major triads on the piano
Find which notes to play to form the F and G major triads both on the keyboard
replica below and on a piano or electronic keyboard. The C Major triad has been given.
Notice the notes Re and Fa are skipped when forming a Major triad.
C Major triad:
Do
1
Mi
3
So
5
47
7 -- REVIEW: I CHORD
ú.
Bicycle Built for Two
?# 3
4
1. Dai
2. Mich
-
7
?
# ú.
?# Ï
Ï
All for
O - ver
?#
18
ú
styl
ford
?# Ï
23
seat
wed
sy,
ael,
Dai
Mich
the
the
love
world
Ï
-
Ï
ish
a
I'm
I'll
Ï
ú
of
with
Î
Ï
ú.
half
not
Ï Ï Ï
ú
Give me your
Here is your
an
an
ú.
Ï
I
There
But
'Cause
Ï
Ï
Ï
of
On
a
a
bi - cy - cle
bi - cy - cle
Ï
ú
Ï
you'll
I'll
look
drop
ú
built
built
There
If
ú
Ï Î Ï
Ï
Ï
Î
for
for
-
Ï
-
won't
you
Ï
can't
won't
Ï
Ï
-
swer,
swer
ú.
cra cy -
you.
you.
ú
Ï
sy,
ael,
ú.
mar - riage.
car - riage,
ú
ú.
-
ú.
Î
Ï
car - riage.
mar - riage.
28
?# Ï
ú.
ú
do.
true.
13
ú.
Traditional
ú
sweet
dead
zy,
cle
Ï
Ï
be
can't
a
af
Ï
ú
up - on
Be - fore
ú.
Ï
ú
af - ford
an
be
-
-
a
y
Ï
the
I'll
ú.
two.
two!
The song "Bicycle Built for Two" begins with a descending I Chord (So-Mi-Do).
Where else in the song do you find this same pattern?
The I Chord, descending and ascending, forms the beginning notes of "The Star-Spangled
Banner."
SOLFEGE "Bicycle Built for Two." Sing with solfege syllables and play the song on a
keyboard instrument or recorder.
VOCABULARY:
1. I Chord--A triad built on Do, consisting of the notes Do, Mi, and So
2. Chord--Two or more musical notes sounding together
3. Triad--A chord made up of 3 notes
48
S - 48
Individual Singing
Individual performance greatly enhances the progress of a student. Unfortunately,
since singing is such an personal act, most people have natural fears of singing in front of
others. Teenage students are especially inhibited about this; that is why it is important to
start allowing a child to sing individually as early as possible.
Unfortunately, even in high school you will get students who are receiving their first
music training at a time when they are likely to be the most inhibited about performing
in front of other students. The teacher must encourage solo singing in every way possible.
The best place to start is with the young beginner. In order create a "safe" environment
for individual singing the teacher must prepare for it.
1. Make sure every student understands that the penalty will be sure and swift for
any student who laughs at or makes fun of another one who is performing.
2. Give the students tasks that are as nonthreatening as possible. For example,
the teacher might ask an extremely shy child merely to chant the rhythm or
solfege in order to encourage them to perform vocally. Chanting is not as
threatening as singing.
4. Give the solo performer small tasks--several measures instead of whole sections.
5. Reward the effort even if the results were not as good as you wanted.
6. Give the student a chance to self-assess and to repeat the task in order to correct
specific problems. The student should self-assess regarding:
a. The quality of the performance.
1. Was the performance technically accurate? Were the notes and rhythms
correct?
2. Did the singer use proper breath support, phrasing, and tone quality?
b. The effectiveness of the performance.
1. Did the singer sing musically?
2. Was there evidence of legato singing and musical phrasing?
7. The rest of the class should read along, handsigning and listening for mistakes as
the soloist sings. In this way, all of the students in the class remain actively
engaged.
8. After the soloist has had a chance to self-evaluate, ask the class to evaluate.
Teach them that it is OK to say negative comments as long as:
-- only the performance is addressed, not the performer.
-- the performance is addressed with musical terms.
S - 49
REVIEW: I CHORD -- 7
Pencil Time 2:
Activity Sheet 18: Crossword
Activity Sheet 19: "Question and Answer"
KEYBOARD SKILLS:
Play the F, C, and G Major triads on a keyboard instrument.
Build major triads on other notes:
1. Using the formula, find the first five notes of the major scale.
2. Play the first, third, and fifth notes of the scale together.
49
8:
Stephen Collins Foster was born on the
Fourth of July, 1826, in a little house sitting
on a hillside overlooking the Allegheny River
in Lawrenceville, Pennsylvania. He was the
ninth of ten children, but his little brother,
James, died as a baby, and Stephen, now the
youngest child, was lovingly pampered by his
older sisters and brothers.
There was nothing auspicious about
Stephen's academic abilities, but he did
manifest a talent for music very early in life.
When he was seven years old, he picked up a
flageolet, a recorder-like instrument, in a
music store, and in only a few minutes he was
able to play a familiar song on it, even though
he had never played a musical instrument
before. It did not take him long to become a
skilled piano and flute player, studying piano
with Henry Kleber, who was a lifelong mentor
as well as friend.
Stephen wrote his first composition, the "Tioga Waltz," at the age of fifteen. At sixteen
years of age, he had his first song published. It was called "Open Thy Lattice, Love," and
was a totally original piece.
Stephen had no idea of ever pursuing musical composition on a professional level. He
maintained his studies at Jefferson College in Canonsburg, and at age twenty, he went to
work for his brother's steamship company in Cincinnati, Ohio. It was in Cincinnati in
1846, that he wrote his first big hit, "Oh! Susanna." He published this and "Old Uncle
Ned" with W. C. Peters. Peters made a huge profit on these pieces, and they were soon
sung all over the world.
In 1848 Foster returned to Pittsburg and devoted himself to writing music. By 1850,
he had twelve songs in print at age 24. The same year, Stephen married 20-year-old Jane
Denny MacDowell. Their only child, Marion, was born a year later. In 1852 the couple
took a month-long steamship ride to New Orleans. Interestingly, this is the only time
Stephen ever visited the Deep South although he wrote many songs about it.
In 1853, he went to New York to be near his publishers. Jane joined him in Hoboken,
New Jersey, sometime in 1854. They returned to Pittsburgh later that year and stayed
there until after both his parents had died.
50
Chapter 8:
Stephen Collins Foster
S - 50
Questions for discussion:
FORM:
What is the overall form of the arrangement of "Camptown Races" on the following page?
How does its form compare to the songs you previously learned in this book?
How is it different?
How does its texture differ from previous songs in the book? How do the rhythmic
elements compare?
Which voice has the melody at the beginning of the piece?
Which voice has the melody at measure 15-26?
Which voice has the melody at measure 27?
Which voice is in harmony at the beginning of the piece?
Which voice is in harmony at measure 15-26?
Which voice is in harmony at measure 27?
After they have finished their arrangements of another Stephen Foster song ("Internet
Search"), tell the students to compare the form of their own arrangements to that of the
arrangement of "Camptown Races" in this book.
Teaching "Camptown Races":
1. Begin with the most difficult part: Coda, m 31-34
Teach the sixteenth-eighth-sixteenth pattern by rote. Teach the last measures on
solfege reading very slowly.
2. Teach the countermelody in the B Section (B-flat).
3. Teach the rest of the piece on solfege, very slowly.
4. Gradually increase the tempo as the students master the notes.
5. Teach the specific word pronunciations with modified open vowels.
6. Sing with words, slowly, taking great care to tune each chord.
"Camptown Races" makes a nice concert piece. All concert pieces should be performed
from memory by the students. Begin working on the songs early enough so that the students
will be able to have them memorized for concert performance.
LISTENING:
After you have taught the piece find a good recording (CD or .mpg) of
"Camptown Races." Ask the students to listen to the piece and compare
it to the arrangement in the book.
Things to compare: 1. Tempo
2. Form
3. Accompaniment
4. Harmony
5. The arrangement
6. Dynamics contrasts
7. What instrument(s) or voice(s) carried the
melody? Which were strictly harmonic?
After comparing these things, ask the students to tell you which arrangement is more effective and to give you musical reasons for their answers.
S - 51
STEPHEN COLLINS FOSTER -- 8
Some historians claim that Foster wrote his songs instantaneously, as inspiration hit him.
However, the truth is that he labored over his pieces, sometimes taking months to finely
perfect each detail of the song--the words, the melody, and the accompaniment--before
sending the piece in to his publishers.
Stephen Foster also did a lot to bolster sympathy for the slaves of the South in his
music. At this time, minstrel shows were the most popular form of entertainment--shows
in which performers would blacken their faces and perform songs and dances supposedly
from the slaves. The first minstrel shows would mock the slaves, but Stephen Foster,
who worked closely with the minstrel business, worked hard to change this. With his
music, he presented the slaves as being real people with real feelings and longings, and
did not belittle their pain and suffering. He instructed those who performed his songs
to make their audiences feel compassion for the plight of the slaves. Foster's lifelong
friend, Charles Shiras, was a leader of the abolitionist movement in Pittsburg, and it is
possible that it was Shiras that inspired Foster to take it upon himself to try and reform
minstrelsy. Whatever the impetus, he became a major force in changing minstrelsy and
making it an instrument for evoking sympathy for humans that were held in bondage by
other humans.
In January of 1864, Foster was sick in bed with a high fever. When he tried to call
for the maid, he staggered and fell across he washbasin beside his bed. It broke into
pieces and pierced his neck and face. He could not get up, and lay on the floor dazed
until the maid came to bring fresh towels to his room. She helped him back into bed
but did not realize how badly he was hurt. When he regained full consciousness, he
asked to be taken to the hospital, but he had lost too much blood. He died three days later.
Foster wrote over 200 musical works in his short life. If he had been a songwriter
living today, he would have brought in millions of dollars every year in royalties. But
since copyrights were not stringently enforced in his day, he did not earn much money
from his music. When he died at age 37, he had only 38 cents on him and a piece of paper
on which these words were written: "Dear friends and gentle hearts."
Pencil Time 2
Activity Sheet 20: Stephen Foster
Activity Sheet 21: WYOT!
Activity Sheet 22: WYO Accompaniment
INTERNET SEARCH
Locate an .mpg or .mid recording of a Stephen Foster song
online. Write out the melody on staff paper or with a music
writing program.
Write out a simple counter-melody for the song.
Write out a simple accompaniment for it.
51
8 -- STEPHEN COLLINS FOSTER
Camptown Races
SB with Orff or piano accompaniment
4
&b 4
SX
AX
BX
qÈÁª¼
& b 44 Ï Ï Ï Ï Ï Ï Ï
?
f
j
Ï Ï
j
b
Ï
&
Ï.
Doo - dah!
Ï
Ï
&b Ï
6
?
Doo - dah!
Ï
Ï
·
Ï
De
b
&b
·
Ï
Ï
Ï
Ï
Ï
Ï
Ï
J
I
Bari:
ÏÏ
·
F
Ï
Ï
Ï
Ï
ÏÏ
Ï
Ï
Camp - town
race - track
Ï Ï
Ï
five
miles long.
Ï
Ï
Ï
Ï
Ï Ï Ï
Ï
Ï
come down
dere
wid my hat
caved
in.
Doo
-
Ï
ÏÏ
Ï
Ï
P
ú.
Ï
52
-
Ï
-
ÏÏ
-
Ï
Ï
Ï
Ï
Ï
Ï
Ï
ú
Ï
Camp - town lad - ies sing dis song.
ÏÏ Î
Ï
Ï Ï Ï Ï Ï Ï
·
Ï
Ï Ï
doo - dah day!
·
Ï
j
Ï
Ï Ï Ï.
Oh!
?b
Ï
Ï
Arr. Patti DeWitt
Ï
Ï
Ï Ï Ï ÏÏ Ï Ï Î
4
b 4ÏÏÏÏÏÏÏ
&b
F
De
4
?b
î.
·
All voices:
Stephen Foster
-
-
Ï
dah,
Ï
Ï
Ï
Ï
Ï
Ï
STEPHEN COLLINS FOSTER -- 8
F
Doo - dah!
F
?b Ï
J
P
F
Doo - dah!
I
j
Ï Ï
j
& b Ï Ï.
8
P
j
Ï Ï
Ï.
?
b
Ï
Ï
&b Ï
10
?
?b
Ï
&b Ï
wid a pock-et full of tin!
-
-
-
Ï
Ï ú
Ï
Ï. Ï
to run all night!
ÏÏ ÏÏ ú
ÏÏ
î
my
Doo
-
Goin'
Ï. Ï Ï Ï ú
ú
&b
Ï
ÏÏ
Ï
Ï
úú
ÏÏ
-
-
Ï
Ï
-
Ï
Ï
Ï
Ï
Ï
-
-
Ï
Ï
ÏÏ
Ï
Ï Ï Ï Ï.
Goin'
Ï.
to run all day!
Goin'
to run all day!
úú
Look ahead!
Key change!
53
ä
*
bb
Ï Ï Ï Ï Ï Ï ú
F
Some - bo - dy bet on de bay!
See page 57
I'll
úú
dah!
Ï
Ï
Ï
J
ÏÏ Ï ÏÏ Ï
Some-bo - dy bet on de bay!
Ï Ï
Ï
Ï Ï Ï Ï.
nag.
Ï
dah!
Ï.
ÏÏ Ï ÏÏ Ï úú
mo - ney on de bob - tail
-
-
Ï
úú
Ï Ï Ï Ï Ï
-
Ï
f
Goin'
Ï
F
ÏÏ
Ï
doo dah day!
P
?b
Ï
ú
back home
f
bet
? b ú.
Doo
Ï Ï Ï Ï Ï Ï Ï
Ï
to run all night!
Ï
13
*
Ï
Ï Ï ú
Oh,
ú.
Ï
Ï Ï
doo dah day!
b Ï
& b ÏÏ
Ï
Ï
Ï
go
Doo - dah!
Ï Ï ú
Oh,
Ï
ä
j
Ï Ï.
Ï Ï.
Doo - dah!
&b î
Ï
J
Ï Ï Ï Ï Ï Ï Ï.
ÏÏ
Ï
Ï
ÏÏ
ÏÏ
ÏÏ
ú
ÏÏ
Ï
Ï
Ï bb
J
De
bb
bb
8 -- STEPHEN COLLINS FOSTER
bb .Pú- F
& .
Ï
15
Run,
Ï
bob
F-f
-
tail!
? b b .. Ï Ï Ï Ï Ï Ï Ï Ï Ï
long - tailed
Old mu - ley
WB
SX
AX
BX
Ï
b
& b ..
P-F
bú
&b
Ï
Ï
? bb Ï
Ï
b Ï
& b
Ï Ï Ï
Go,
? b
b Ï
&
track
fling
f
? bb Ï .
Goin'
b
&b î
f
? b ú
b ú
ÏÏ
to run
Ï
Î
Ï
Ï
Ï Î
Ï Ï ú
and de both cut a-cross,
o - ber his back,
her
Oh,
doo-dah, day!
Ï Ï Ï
ú
ÏÏ
Ï
Ï
night!
Ï
ÏÏ
Ï
Dey
De
Ï
54
Ï
Ï Î
..
..
Ï Ï ú
Ï
Ï Ï Ï ÏÏÏ ÏÏÏ ÏÏÏ ÏÏ.
.
Ï
Ï
ú
Ï
all
all night!
tail!
Ï
Ï
J
Ï Ï
Ï Ï Î
Ï Ï Ï Ï Ï Ï Ï
Ï
Ï Ï
J
Doo-dah!
doo - dah,
doo-dah, day!
Ï
Run
Ï.
Oh,
Ï
bb fú
Doo-dah!
Doo - dah,
Ï Ï
Ï Ï
-
Ï Ï Ï
Ï
Ï
Ï
J
Ï Ï
Ï Ï Î
Ï Ï Ï ÏÏ Ï ÏÏÏ ÏÏÏ ÏÏÏ ÏÏ
Ï
bob
Ï
fly
de
bob - tail
b
& b ww
Ï
Ï
17
19
Ï Ï Ï
P-F
? b b .. Ï
Ï
fil - ly and de big black hoss,
come on the track,
cow
Ï Ï Ï
b
& b .. ww
Î
Ï
ú
ú
Ï
Ï Î
Ï
Ï
Run
Ï.
ÏÏ
Ï
all
Goin'
to run
all
day!
úú
ú
Ï
..
Ï
Ï
day!
Ï.
ÏÏ
Ï
..
Ï
Ï
J
I'll
ÏÏ
Ï
Ï
STEPHEN COLLINS FOSTER -- 8
b
&b w
21
? bb Ï
Go!
b
& b
Ï Ï ÏÏ Ï Ï Ï
Ï
Ï Ï Ï
& b .. Ï
?
A tempo
fly
win
Ï
b ..
fly
win
Ï
Ï
&bÏ
25
Ï Ï Ï
Ï
Ï
Ï Ï Ï Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
ÏÏ
Ï
Ï
Ï
Î
Ï
Ï Ï Ï Ï Ï Ï Ï
Ï Ï
wid a shoot - in' star,
race
mon-ey in an old tow - bag,
?bÏ
Ï Ï Ï
&bÎ
Ï
Ï
Run - ning a
keep
my
Ï
Ï
Ï Ï Ï Ï
Ï Ï
wid a shoot - in' star,
race
mon- ey in an old tow - bag,
Ï Ï
ÏÏ
Ï
Ï
Ï
Î
Ï
Ï
55
Ï Ï Ï
U
ú
ú
Î
Ï
Ï
Dey
Dey
Ï
Doo-dah,
doo - dah,
Ï
nb
nb
nb
Ï
u
j
Ï Ï
Î
nb
Ï ÏU
Ï
J ä
j
Ï Ï.
Ï
J
_
I
j
Ï Ï
Doo-dah,
ÏÏ
nb
U Ï
Ï
bay.
Ï Ï.
J
a - long
like a rail - road car,
my
mon-ey on de bob - tail nag,
Ï
Ï
the
ÏÏÏ Ï ÏÏ
Ï Ï Ï
Ï
Ï
Ï
on
Ï Ï
Some-bo-dy bet on de bay.
Ï
Ï
Ï Ï Ï Ï Ï
Ï
Run- ning a
keep
my
?b
Ï
Ï Ï Ï
Ï
Ï
a - long
like a rail - road car,
my
mon-ey on de bob - tail nag,
& b .. Î
? b ..
Ï
Ï Ï Ï
Bet
Ï
bet my mon-ey on de bob - tail nag;
b
& b ww
? bb Ï Ï
23
Ï
U
Ï Ï
Ï
J
_
doo-dah,
Ï Ï Î
Ï Ï
Ï Ï Ï
Ï
Ï
Ï Ï
Ï Ï
Ï Ï
I
j
ä Ï ..
Ï
Ï Ï Ï
Oh,
doo-dah, day!
Ï
Ï Ï Ï
j
ä Ï ..
Oh,
doo-dah, day!
I
I
Ï Ï Î
Ï Ï ..
Ï Ï
Ï Ï
Ï
Ï Ï
Ï Ï
Ï Ï Ï ..
Ï
Ï
ÏÏ Î
8 -- STEPHEN COLLINS FOSTER
&bÏ
27
2
Ï
Oh,
? Ï
b
b
ú
doo - dah, day!
Ï
ú
Goin'
î
Ï
Ï
.
&bÏ
29
? Ï
b
goin'
night,
Ï.
doo - dah, day!
&b Î
?
Ï
Ï
Oh,
f
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Î
Ï
Ï Ï Ï Ï.
to run
all night;
f
Ï.
ÏÏ
Ï
Goin'
to run
all
Ï
ÏÏ
î
f
Ï
Ï
ú
Ï
ÏÏ
úú
ú
ú
Ï Ï Ï Ï Ï
Ï
Ï
day,
Ï
J
I
Ï
my
Ï
mon-ey on a bob - tail
nag,
night and day,
Ï
J
bet
I
bet
my
mon-ey on a bob - tail
nag,
Ï
ú
Ï Ï Ï.
to run
all
ú
&b ú
Ï
ÏÏ
? b úú
úú
p
ÏÏ
Ï
P
Ï
Ï
Ï Ï Ï Ï Ï
ÏÏ
F
Ï
Ï
Ï
Ï
Ï
Ï
ÏÏ
Ï
Ï
Ï
Ï
Ï
Ï
f
&bÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
31
P
p
Some- bo - dy bet on de, some-bo - dy bet on de, some-bo - dy bet on de, some-bo - dy bet on de,
? Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
b
F
&b Ï
ÏÏ
f
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Some-bo - dy bet on de, some-bo - dy bet on de, some-bo - dy bet on de, some-bo - dy bet on de,
p
?b Ï
Ï
Ï
ÏÏ
P
Ï
ÏÏ
Ï
F
Ï
56
ÏÏ
Ï
Ï
Ï
f
Ï
Ï
Ï
Ï
STEPHEN COLLINS FOSTER -- 8
Ä
&b w
ú
33
bay!
?b Ï
Ï
Some
-
Ï
bo - dy
Ï
Ï
Ï
bet
on
de
&b
·
w
&b Ï
Ï
?b Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
ú
À
Î
bay!
À
Doo - dah!
Ï Ï Ï Ï Ï Ï Ï Ï Ï
J
ä
Ï
Ï
Ï
J
ä
Ï
Ï
Î
Ï
Ï
Ï Ï Ï
Ï
Ä
À
Doo - dah!
Ä
Ä
Ï
À
Î
Kr
Ï
Ï
Ï
Ï
Ï
Ï
Ï
* When a piece of music changes keys, it is called modulation. When there is a
modulation in a piece of music, there is a new "Do." In this case, the last note in measure
14, which is "Do" in the key of F major, becomes "So" in the new key--B b major. In
measure 22, when the key changes back to F major, the "Re" in the soprano line in the key
of B b becomes "So" in the key of F. And the "La" in the alto line in the key of B b becomes
"Re" in the key of F major.
RHYTHM: There are a couple of new rhythmic patterns
in "Camptown Races":
Ï.
ti
Ï
- pa
Ï Ï
ti - pop - pa
They are discussed in greater detail in Level
Four of this series.
FORM: What is the form of this arrangement? How is the modulation related to the
form?
PERFORM: Memorize this piece so that you can truly enjoy presenting the expressions
written into this merry arrangement which has become a part of the American tradition.
VOCABULARY:
1. Modulation--A change of keys in the midst of a musical piece.
Pencil Time 2:
Activity Sheet 23: Modulation
Activity Sheet 24: Improvise!
57
Ï
Chapter 9:
Intervals
FLASHCARDS can prove helpful in interval recognition.
S - 57
S - 58
9:
Intervals
An interval is the distance between two musical pitches.
The interval between two notes of the same pitch is a unison.
w w
w w
The interval between a note and its neighbor is a second.
w w
When there is 1 note (line or space) between two notes
the interval is a third.
When there are 2 notes (line and space) between two notes
the interval is a fourth.
w w
When there are 3 notes (lines and spaces) between two notes
the interval is a fifth.
w w
When there are 4 notes (lines and spaces) between two notes
the interval is a sixth.
w
When there are 5 notes (lines and spaces) between two notes
the interval is a seventh.
When there are 6 notes (lines and spaces) between two notes
the interval is an octave.
What is the interval between Do and :
?b w w
Re?
w w
w w
Fa?
Mi?
w
w
La?
58
w
w
Do?
w
w
w w
So?
w
w
w
w
w
Ti?
INTERVALS -- 9
#
w w
w w
w w
w w
Mi Fa?
Mi So?
Fa Do?
Mi La?
What is the interval between:
& w w
Re So?
w w
w
w
w w
w
w
Re So?
w w
Intervals can be ascending or descending. Identify the intervals below.
?
w w
w
w
Pencil Time 2:
Activity Sheet 25: Intervals
Activity Sheet 26: Interval Race Game
59
w w
w
w
Mi Do?
w w
10:
Triads
Triads can be built on any note of the scale. The I (one) Chord is a triad built upon Do, the
first note of the major scale. That is why it is called a I Chord.
What would a chord built on Fa be called? So? Re?
THIRDS:
Triads are build in thirds up from its root note. In a I Chord, Do is the root of the triad.
A third is the distance between one note and the note that is separated from it by only
one note. All of the examples below illustrate the interval of a third:
w w
w w
w w
w w
w w
w w
ww
w w
w w
This is what thirds look like when they are stacked, presented as vertical chords:
ww
ww
ww
ww
ww
ww
ww
Thirds can be Major or minor.
A Major third consists of 4 half steps (2 whole steps).
www
&
I
ww
w
www
www
ww
w
www
ii
iii
IV
V
iv
Place your pencil eraser on the C key on the keyboard representation above. Move up
(to the right) 4 half steps. (A half step is the closest note.) Don't forget to count the
black notes also. On what note do you end?
What note is a major third up from C?
Repeat the exercise with the note F.
What note is a major third up from F?
From G?
A minor third consists of 3 half steps.
What note is a minor third up from E?
From A?
From B?
60
Chapter 10:
Triads
Keyboard:
Allow the students some keyboard time to "feel" how a triad feels
(using fingers 1, 3, 5).
Ask them to pick any note and build a triad on it.
Then ask them to identify the triad as Major or minor (or neither).
Tell them to make the triad Major and/or minor.
It is important that they hear the difference between the major and minor third. Spend
some time practicing this with the students.
S - 60
S - 61
TRIADS -- 10
ww
w
In a major triad, the lower third is a major third (4 half steps), the upper third is a
minor third (3 half steps).
C Major triad
&
G
E
C
?
minor third
major third
www
In a minor triad, the lower third is a minor third (3 half steps), the upper third is a
major third (4 half steps).
D minor triad
A
F
D
major third
minor third
In the key of C Major (no sharps or flats--no "black notes"), using the keyboard above:
1. Name the notes in each chord, both pitch names and solfege).
2. Determine if each of the following triads is a major or a minor chord.
? www
1.
2.
www
3.
www
4.
www
5.
www
6.
www
In the Key of C, which chords are major?
Which chords are minor?
The major chords are built on which solfege notes?
The minor chords are built upon which solfege notes?
PLAY each of the chords of the Key of C Major on a piano or electronic keyboard.
61
10 -- TRIADS
When the triad that is based on a specific note of the scale is a major triad, upper case
Roman are used numerals to label it.
When the triad that is formed is a minor triad, lower case Roman numerals are used.
Which triads are major?
Which triads are minor?
? www
I
ww
w
ww
w
www
ww
w
www
ii
iii
IV
V
iv
In any major key, which chords are major?
In any major key, which chords are minor?
PLAY all of the triads in C Major on the piano or electronic keyboard.
Black keys are notes, too!
Key of G Major
What is the I Chord in the Key of G Major?
#
G Major Scale
& w
w
w
w
w
w
w
w
There is one sharp (black note in this case) in the G Major scale.
What solfege note is always sharped in all of the "sharp" keys?
Hint: It always is the "last" sharp.
What is the letter name of the note that is sharped in the key of G Major?
Using the formula for building a major scale (on the next page), play the G Major Scale
with your pencil eraser on the keyboard beneath. Find the sharped note in the key of
G major on the keyboard.
What notes are in the V chord in the key of G?
&
#
ww
w
V
PLAY all of the triads in G Major on the piano or electronic keyboard.
Don't forget that one of the notes (Ti) will be sharped (a black note).
62
TRIADS -- 10
Use the formula for building a major scale and the keyboard illustration below to find the
notes in the G Major scale.
KEYBOARD SKILLS:
PLAY the G Major scale on a piano or electronic keyboard.
PLAY each of the triads of the key of G Major on a piano or
electronic keyboard. Don't forget the sharped note.
Key of F Major:
Build the F Major Scale on the keyboard above and play it on the piano.
Write the F Major Scale on staff paper.
Which note is flatted?
Build a triad on each note of the F Major Scale.
Which triads are major?
Pencil Time 2:
Activity Sheet 27: Try-ads
VOCABULARY:
1. Broken chord--A triad in which the notes are sounded consecutively instead of
simultaneously
2. Half step--The distance between a note and its closest neighbor, either up or down
3. Major third--The distance between a note and another note 4 half steps away from it
4. Minor third--The distance between a note and another note 3 half steps away from it
5. Root--The note upon which the chord is built. In a I Chord, Do is the root.
63
11:
May I Accompany You?
"Chopsticks"
Arr. Patti DeWitt
The Feast
3
& 4 ÏÏ
V
ÏÏ
ÏÏ
Let - tuce,
V
& ÏÏ
5
lamb
9
V
& ÏÏ
Ï
Ï
from
ÏÏ
meat - loaf,
V
& ÏÏ
13
Ï
Ï
mus - tard
& úú
17
ÏÏ
V
think
23
pie.
& ÏÏ
eat
the
ÏÏ
fried
Ï
Ï
and
ÏÏ
Ï
Ï
de
-
ÏÏ
ÏÏ
ÏÏ
cus - tard
úú
ÏÏ
to
one
ÏÏ
more
ÏÏ
bite
ÏÏ
po
Ï
Ï
Ï
Ï
Ï
Ï
Oh,
please
pass
the
ÏÏ
I
ÏÏ
ÏÏ
-
I
hope
ÏÏ
I
don't
Ï
Ï
I
Ï
Ï
Ï
Ï
Ï
Ï
and
die,
úú
ÏÏ
-
Ï
Ï
jel -
Ï
Ï
ly!
ÏÏ
There's
ÏÏ
ÏÏ
ÏÏ
sick - en! - With
ÏÏ
ú
ú
too!
I
úú ..
ÏÏ ÏÏ ÏÏ
úú
úú ..
ÏÏ ÏÏ ÏÏ
ú.
ú.
I
will
And
ta - toes
ÏÏ ÏÏ ÏÏ
one make
Ï
Ï
ÏÏ
V
Take the
V
ÏÏ
ÏÏ
-
straw - ber - ies,
úú ..
I
ÏÏ
I
I
ÏÏ
ÏÏ
Mom's mashed
Ï
Ï
li,
chick - en
Ï
Ï
and
ÏÏ
Please some
ÏÏ
ÏÏ
ma - toes,
ÏÏ
Î
ÏÏ
I
V
Ï
Ï
-
I'm going
& ú ..
ú
29
to
ÏÏ
I
pop!
ÏÏ
me
cake,
hide the
I
stop!
If
ú
ú
I
Î
What is different about this piece from other 2-part pieces you have learned?
When two parts are written on the same line, the upper notes are the soprano notes, and the
lower notes are the baritone notes.
64
MAY I ACCOMPANY YOU? -- 11
LEARNING THE PIECE
1. Chant through your part using solfege.
If you are singing the soprano line (melody), your notes are the top notes.
3 H
& 4 ÏÏ ÏÏ ÏÏ
ÏÏ ÏÏ ÏÏ
G
If you are singing the baritone line (harmony), your notes are the lower notes.
2. Sing your part on the solfege syllables, using handsigns.
3. Sing the words. If you have trouble staying on your part go back and repeat
Step # 2.
KEYBOARD SKILLS:
"Play" your part with your pencil eraser on the keyboard below.
Then play it on a piano or other keyboard instrument.
YOUR BRAIN:
Play both voice parts at once on a keyboard instrument.
4. Create an accompaniment for "The Feast."
Chord symbols have been put in the score.
These chord symbols can be used by improvisational accompanists to spontaneously
create accompaniments.
What does the "I" stand for?
What does the "V" stand for?
What key is "The Feast" in?
What is the I Chord in C Major?
What is the V Chord?
65
11 -- MAY I ACCOMPANY YOU?
ww
? w
What is the letter name of each chord, below
(for example, D Major, E Major)?
www
Which chord is the I Chord? Which is the V Chord?
Find the C Major and G Major chords on the piano or electronic keyboard.
Play the C or G Major chord (I or V) at the beginning of each measure of the piece as it is
being sung.
Notice the chord designations in the score. The chord remains the same until a different
chord is specified. For example, play the V Chord until measure 2 when the I Chord is
indicated.
Variation 1: Play a broken chord accompaniment like this:
& 34
Ï
Ï ..
Ï
Ï
Ï
Ï
Don't forget to change the chord when it is designated in the score!
Variation 2: Play the root of the chord separately from the other two notes. Like this:
3
& b 4 Ï ÏÏ ÏÏ
Ï
ÏÏ
ÏÏ
..
Variation 3: Play each of these variations in the bass clef:
? 34 Ï Ï Ï Ï Ï Ï .. 34 Ï ÏÏ ÏÏ Ï ÏÏ ÏÏ ..
Which variation do you like best? Why?
Did you think your accompaniment works best in the treble clef or bass clef? Why?
IMPROVISE!
1. Try the accompaniments on various instruments: piano, xylophone, autoharp, etc.
2. Play the voice parts on various instruments.
3. Create a counter-melody or ostinato patterns that go well with the melody.
ACROSS THE CURRICULUM.
Write some new lyrics for the song, "The Feast."
66
Write across the Curriculum:
After the students have written their new lyrics for "The Feast," ask them to add
dynamics markings, tempo markings, and articulation markings to make their new
composition different from the rest and from the original. For example, if they choose
lyrics that are melancholy, then the tempo should probably be slower, the dynamics
softer. If their lyrics are triumphant, then a slower tempo with louder dynamics.
Although this melody is not easily manipulable because of a constant repetition, it
provides a good opportunity to teach staccato and legato and the difference between
the two. For example, have them sing the A section softly and staccato, and the B
section more loudly and legato. Or vice versa.
Interpretation Game:
Select 3 different colors of paper.
On separate slips of paper of one color, write the words:
Staccato
Legato
Marcato
On separate slips of paper of a different color, write the words:
pianissimo
piano
forte
fortissimo
On separate slips of paper of a different color, write the words:
Lento
Andante
Moderato
Allegro
Have a student select one paper of each color. This is how the A Section will be
performed: For example: Staccato, Piano, Lento
Have another student select another paper of each color. This is how the B section
will be performed.
Ask for individual volunteers to perform each section in ways that were selected .
S - 66
"One Bottle of Pop"
"One Bottle of Pop" is actually a 3-part canon. It may be
sung in several ways:
1. Voice 1 enters, sings Part I and then goes directly to
Part II and then to Part III.
Voice 2 enters (on Part I) when Voice 1 begins Part II.
Voice 3 enters (on Part I) when Voice 2 begins Part II.
Or...
2. Voice 1 sings Part I only, repeatedly.
Voice 2 sings Part II only, beginning when Voice 1
begins to sing Part I for the second time.
Voice 3 sings Part III only, beginning when Voice 2
begins to sing Part II for the second time.
Either way, it is the canon effect. The reason it works as a canon is that the chord
progression is the same for all 3 parts.
Select a piece of literature previously learned in this book.
Compare it to "One Bottle of Pop."
The texture of "One Bottle of Pop" is 3-part polyphonic (poly meaning "many" and
phonic meaning "voices.") A polyphonic song is one in which several voices perform
independent melodic lines at the same time. Each of the parts of "One Bottle of Pop" can
stand by itself as an independent melody.
Have the students sing each line of "One Bottle of Pop" by itself.
Ask them if each of those lines could stand by itself as a melody.
Compare to other pieces that they have learned to this point. Ask them if the same
can be said (each line standing alone as a melody) of any of the other pieces.
Ask for volunteers to sing each part of the canon individually, and then to sing it with
2 other students in canon. Have each student evaluate the quality of his/her performance
and to fill out a performance self-evaluation, Preparatory Pages Written Activity 25.
S - 67
MAY I ACCOMPANY YOU? -- 11
One Bottle of Pop
What does this mean?
3
#3 I
& 4Ï Ï Ï Ï Ï
I
II
#3
& 4 Ï.
&
&
&
Ï
#
#
#
I
Ï
j
Ï
Ï Ï Ï Ï ú
Fish
5
Ï
#
& 34 Ï Ï Ï Ï Ï Ï
my
back - yard,
and chips and vin - e - gar,
3
3
Ï
Ï ÏÏ Ï
Five bot-tles of pop,
six
bot-tlesof pop,
Ï.
Fish
Ï
Ï
j
Ï
Ï Ï Ï Ï ú
Don't stash your trash in
Ï Ï ÏÏ Ï
my
my
Ï
back - yard,
Ï Ï ú
Ï
back - yard,
and chips and vin- e-gar,
V
four bot-tles of pop,
Ï
my
back - yard.
I
sev-en bot-tles of pop,
my
Ï
vin - e - gar.
3
Ï
Ï
Ï Ï ú
Ï ÏÏ Ï Ï Ï
Ï
3
Ï Ï ÏÏ Ï
Ï
vin - e - gar,
Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï
I
3
two bot-tles of pop, three bot-tles of pop,
Don't stash your trash in
III
Ï Ï Ï Ï Ï
V
3
One bot-tle of pop,
Anonymous
Ï
back - yard's
Ï Ï Ï
Ï
Vin - e - gar
and
Ï î
POP!
ú
Î
full.
Ï î
pop.
LEARNING THE SONG:
1. With the class divided into 3 groups, each group learns one of the parts of the round.
2. Sing each part individually on solfege with handsigns.
3. Sing in this form:
A Part I only.
B Part I and II together.
C Part I, II, and III together.
D Part II and III together.
E Part III only.
4. Add accompaniment as described for "The Feast."
What key is "One Bottle of Pop" in?
What is the I Chord?
What is the V Chord?
Variation 1: Play melodies on recorders or xylophones.
The "3" represents a triplet which is formed when the beat is divided into
three notes of equal value.
67
11 -- MAY I ACCOMPANY YOU?
Variation 2: IMPROVISE a counter-melody or ostinato pattern, either vocally or
on an instrument.
Variation 3: Play accompaniment on xylophones. Or, for even more fun, tune pop
bottles by filling them with water, and play the accompaniment on pop bottles.
Create more accompaniments:
Using the techniques presented in this chapter, create instrumental accompaniments for
"Down in the Valley" in Chapter 6 and "Bicycle Built for Two" in Chapter 7.
VOCABULARY:
1. Countermelody -- A melody that accompanies another melody
2. ii chord -- A chord whose root is Re; the ii chord is minor in a major key.
iii chord -- A chord whose root is Mi; the iii chord is minor in a major key.
IV chord -- A chord whose root is Fa; the IV chord is major in a major key.
V chord -- A chord whose root is So; the V chord is major in a major key.
vi chord -- A chord whose root is La; the vi chord is minor in a major key.
3. Ostinato -- A repeating pattern as an accompaniment
4. Triplet -- A group of notes resulting from dividing the beat into 3 equal notes
5. Variation -- Changing the way a melody is accompanied or embellishing and
elaborating an existing melody
Pencil Time 2:
Activity Sheet 28: Name that Chord!
68
Improvisation and accompaniment:
Allow the students to be creative. See if they can come up with yet another
melody that works with "One Bottle of Pop."
Allow them to improvise an accompaniment using the I chord and V chord.
S - 68
Chapter 12:
Review: Intervals of the I Chord
q Breathing
1.
2.
3.
4.
Have the students stand, hands on their abdomens (beltlines).
Have them breathe in deeply and to expand at their beltlines.
Tell them to fill up their lungs all the way to the bottom.
Take a deep breath and perform the following pattern:
#
& # 44 Ï
Ï
ú
Ï
ú
Ï
5. Begin with 2 repetitions on a single breath, then add one
repetition at a time.up to 4 repetitions. All the while
reminding them to keep "hold" of the breath with their
abdominal muscles.
e
Warm-ups
& b 44 Ï
Have the students sing the melodic pattern below on solfege syllables
and with handsigns.
Repeat the exercise up and/or down by half steps.
If desired, after the exercise has been repeated a few times on
solfege syllables, replace the solfege syllables with various vowels.
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
D
"Follow Me"
Handsign the notes So, Do, Mi, and So in various orders.
Game
Ask the students to follow your handsigns. (Do not sing with them.
Let them work for it.) Ask for a student volunteer to lead the activity.
OAudiate:
Memory
Using So, Do, Re, Mi, and So, handsign a short series of notes
using the intervals of thirds and fourth of the I Chord only). (Start
out with 2 or 3, then add more to the series). Have the students watch
and "listen" in their heads, and then sing the series for you.
Don't forget this game! See Chapter One.
S - 69
12:
Review--Intervals of the I Chord *
What are the notes of the I Chord?
The "Intervals of the I Chord" are the intervals that occur between different notes of the
I Chord. What is the interval between Do and Mi? Mi and So?
?
w
w
w
w
Do
What is the interval between So below Do and Do?
Do-Mi
Do-Mi is a major third (4 half steps).
The following exercises present the major third, Do-Mi.
READ the exercises. Identify each key (Watch out!) and then:
1. Scan for repetition and form.
2. Chant the rhythm while conducting.
3. Chant the solfege in rhythm.
4. Audiate (handsign and read silently).
5. Sing with handsigns.
Interval practice:
ú
& 44 Ï Ï
? 44 Ï Ï ú
Reading exercises:
1.
Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
& b 44 Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï
ÏÏÏ Ï Ï
Ï ÏÏÏÏÏÏ
&b ÏÏÏ ÏÏÏ
Ï
ÏÏÏ ÏÏÏ
Ï ÏÏÏÏÏ
Ï Ï ú
Ï Ï ú
ÏÏÏÏÏ Î
ÏÏÏ ÏÏ
Ï
Ï
? # 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Î Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
2.
Ï
?# Ï Ï Ï Ï ÏÏÏÏÏÏÏ ÏÏ ÏÏ Ï ÏÏÏ ú
3.
& 34 Ï Ï Ï Ï Ï
&Ï Ï Ï Ï Ï
Ï Ï Ï
Ï Ï Ï Ï Ï
Ï
Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï Ï Ï ú
Î
* For further study see the interval exercises in Chapters 21, 22, 23, 24 and 26 of Level One of this
series. The intervals of the I Chord are discussed in detail in these chapters
69
Î
12 -- REVIEW: INTERVALS OF THE I CHORD
ÏÏÏÏ Ï
? 4 Ï Ï Ï Ï Ï
Ï Ï Ï Ï ÏÏÏÏÏÏÏ
b4
4.
ÏÏÏÏÏ
?b Ï Ï Ï Ï ÏÏ
Ï Ï Ï Ï ÏÏÏ ú
5.
& 44 Ï Ï Ï Ï Ï Ï
&ÏÏÏ
ÏÏÏÏÏ ÏÏ ÏÏ
Ï ÏÏÏ
ÏÏÏÏÏ
ÏÏÏ
ÏÏÏÏÏ Î
ÏÏÏÏÏÏÏÏ ÏÏÏ
Ï
Ï
Ï
Î
ÏÏ Ï Ï Ï
? # 34 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
6.
ÏÏ Ï ÏÏÏ ÏÏÏ Ï
?# ÏÏÏ ÏÏ ÏÏÏÏÏ ú
?# Ï Ï Ï
ÏÏ Ï ÏÏÏ
ú
ÏÏÏ Ï
Ï Ï Ï
ú
#4
&
4 ÏÏÏ Ï ÏÏ Ï Ï Ï Î ÏÏÏÏÏ Ï Ï ÏÏú
7.
#
& ÏÏÏ Ï ÏÏ Ï Ï Ï Î ÏÏÏÏÏÏÏ ÏÏÏÏú
8.
? # 34 Ï Ï Ï
?# Ï
?# Ï
?# Ï
Ï
Ï
Ï
YOUR BRAIN:
Ï
Ï
Ï
Ï
Ï
ÏÏÏÏÏ
Ï Ï Ï Ï Ï
Ï Ï Ï
Ï
Ï
70
Ï
Ï
Ï
Î
Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï
Ï
Ï Ï Ï Ï Ï Ï ú
Ï Ï
Ï Ï
Ï Ï
REVIEW: INTERVALS OF THE I CHORD -- 12
Mi-So
Mi-So is a minor third (3 half steps).
Interval practice:
& 44 Ï Ï Ï Ï Ï Ï
? 44 Ï Ï Ï Ï Ï
ÏÏÏ
& 44 Ï Ï Ï Ï
Ï
&Ï
Ï
&ÏÏÏ
2.
Î
ÏÏÏÏÏ
ÏÏÏ
Î
ÏÏÏÏ Ï
ÏÏÏ
ÏÏÏÏú
? b 34 Ï Ï Ï
?b Ï Ï Ï
3.
Ï
ÏÏÏ Ï Ï
Reading exercises:
1.
Ï
Ï
Ï
Ï Ï ú
Ï Ï Ï
ÏÏÏ
Ï Ï Ï Ï Ï
&ÏÏÏÏÏ
Ï
ÏÏÏÏú
ÏÏÏÏÏ
Ï
ÏÏÏ
Ï Ï Ï
?# Ï Ï ÏÏÏÏ Ï Ï Ï Ï
4.
ÏÏÏÏÏ Ï
ÏÏÏÏÏ
? # 44 Ï Ï Ï Ï Ï Ï Ï Ï ú
& 44 Ï Ï Ï Ï Ï Ï
ÏÏÏÏÏ Ï
Ï Ï ÏÏÏ
ÏÏÏÏÏ Ï
Ï
Ï
ÏÏÏÏÏ
Î
Fine
Î
DC al Fine
Ï Ï Ï
Ï Ï
Ï Ï ú
Ï Ï Ï Ï Ï ÏÏÏÏ
Ï ú
ÏÏÏ ÏÏÏ ÏÏ
ÏÏÏÏÏ Ï
ÏÏÏÏÏ
71
ú
Ï Ï ÏÏÏ
ÏÏÏÏÏ
ÏÏÏÏÏ Ï
Ï
Ï Ï
Ï
ÏÏÏÏú
ÏÏÏÏÏ
Ï
12 -- REVIEW: INTERVALS OF THE I CHORD
5.
?4 Ï Ï Ï Ï Ï Ï
4
ÏÏÏÏÏÏÏ
& b 44 Ï Ï Ï Ï Ï
Ï ÏÏú
ÏÏÏ
?ÏÏÏ
6.
ÏÏÏÏ ÏÏ
Ï
&b Ï ÏÏÏ Ï
7.
? # 34 Ï
?#
?#
&
Ï Ï Ï Ï Ï
Ï
Ï
Ï
Ï
Ï
### 4
4ÏÏ Ï
&
###
Ï Ï Ï Ï Ï
### Ï Ï Ï Ï
Ï
&
### Ï
&
&
Ï
###
Ï Ï Ï
Ï
Ï
Ï
Ï
Ï Ï Ï
Ï Ï Ï
Ï
Ï Ï Ï Ï Ï
YOUR BRAIN:
Ï Ï ÏÏÏ
Ï
Ï
Ï Ï Ï
Ï
Ï Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï Ï ÏÏ ÏÏÏ Ï
72
Ï
ÏÏÏ ú
ÏÏÏÏ
Ï Ï
Ï
Ï
Ï Ï Ï
Ï
Ï
ÏÏÏÏÏÏÏ
ÏÏÏ
Ï Ï ÏÏÏ
Ï
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ÏÏÏÏÏÏÏ
Ï ÏÏÏÏÏ
ÏÏÏ ú
Ï
?# Ï
8.
Ï
ÏÏÏ ÏÏÏ
ú
Ï
ú
Ï
ú.
Ï
Ï Ï
ú
Ï
Ï
Ï Ï
Ï Ï Ï
Ï Ï Ï Ï Ï
ú
Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï
Ï
Ï
Ï
Ï
ÏÏÏÏ
Ï
Ï Ï
ÏÏ Ï
Ï Ï
Ï
REVIEW: INTERVALS OF THE I CHORD -- 12
So-Do
So-Do is a perfect fourth (5 half steps).
& 34 Ï
Interval practice:
Ï
Ï
ú
? # 44 Ï Ï Ï Ï
Ï Ï ú
Reading exercises:
1.
& 44 Ï Ï Ï Ï Ï
&ÏÏÏ
2.
ú
Ï
Ï Ï Ï Î
Ï
Ï Ï Ï Ï
Ï
Ï Ï ú
Ï Ï ÏÏÏ
Ï
Ï
Ï
Ï
Ï
? b 44 Ï Ï Ï
Ï
Ï
ÏÏ Ï Ï Ï Ï Ï
Ï
ú.
Ï
ÏÏÏ
? b Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï ÏÏ Ï ÏÏ Ï Ï Ï Ï
Ï Ï ú
Ï
Ï
ú
Ï Ï Ï
Ï
Ï
Ï
ÏÏÏ Ï Ï Ï Ï Ï Ï
#4
Ï ÏÏ Ï Ï Ï Ï ÏÏÏ ÏÏÏ ú
ÏÏÏ
3. & 4 Ï Ï Ï Ï
#
& Ï Ï Ï Ï ÏÏÏÏÏÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
4.
? b 34 Ï Ï Ï
?b Ï
?b Ï
?b Ï
Ï
Ï
Ï
Ï
Ï Ï Ï
Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï
Ï
Ï Ï Ï ÏÏ
Ï Ï Ï Ï Ï
Ï Ï Ï
Ï
Ï Ï Ï Ï ú
Ï Ï Ï Ï Ï
73
Ï
Ï
ú
Ï
Ï Ï
Ï Ï
Î
Ï
Ï Ï
Î
12 -- REVIEW: INTERVALS OF THE I CHORD
5.
YOUR BRAIN:
4
&b4 Ï Ï Ï
&b Ï Ï Ï Ï Ï
Ï
Ï
Ï
ÏÏ Ï Ï
6.
&
8.
ÏÏÏ
ÏÏ Ï
ÏÏ ÏÏÏ Ï Ï
Ï
Ï
Ï
& 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï
&Ï Ï Ï ÏÏ Ï Ï Ï Ï
&
Ï Ï
Ï Ï
ÏÏ Ï Ï Ï Ï Ï
Ï Ï ÏÏÏÏ Ï Ï Ï Ï
? # 44 Ï Ï Ï Ï Ï Ï Ï Ï
Ï
Ï
Ï
ÏÏ Ï
?# Ï ÏÏÏ
7.
Ï Ï Ï
Ï
Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï
&b Ï ÏÏÏ Ï Ï Ï Ï ÏÏ
Ï
Ï Ï Ï
Ï
Ï
Ï
Ï
Ï Ï ÏÏÏ Ï
ÏÏ Ï
Ï
Ï
Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï Ï Ï ú
Ï
Ï
Ï
Ï Ï Ï
Ï Ï ÏÏ Ï
? b b 44 Ï Ï Ï Ï Ï Ï
? bb Ï Ï Ï Ï Ï Ï
? bb Ï Ï Ï Ï Ï Ï Ï
ÏÏÏÏÏ Ï Ï Ï Ï
ÏÏÏÏÏ Î
ÏÏÏÏÏ Î
ÏÏÏÏÏÏÏ
74
Ï
Ï
Ï Ï Ï
Ï ÏÏ
ÏÏÏÏ
Ï
ú
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REVIEW: INTERVALS OF THE I CHORD -- 12
Two-part Exercises:
4
&4
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1.
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2.
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3.
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12 -- REVIEW: INTERVALS OF THE I CHORD
3
&4 Ï ú
? 34 Ï Ï Ï Ï
4.
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ú
ú
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5.
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76
ú
w
Ï Ï w
REVIEW: INTERVALS OF THE I CHORD -- 12
Ï Ï
3
&b4 Ï Ï Ï Ï Ï
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? b 34 Ï Ï Ï Ï
6.
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& 4
7.
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4
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8.
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&b Ï Î Ï Î
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ú
ú
& b 44 Ï Î Ï Î Ï Ï Ï
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77
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12 -- REVIEW: INTERVALS OF THE I CHORD
4
&4 Ï Ï Ï Ï
9.
ÏÏÏ
? 44 Ï Ï Ï Ï
& Ï Ï
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10.
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& 44 Ï Ï ú
? 44 Ï Ï ú
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11.
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78
Ï Ï
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& b Ï Ï Ï Ï
?b Ï Ï Ï Ï
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REVIEW: INTERVALS OF THE I CHORD -- 12
12.
#3
& 4 Ï
? # 34 Ï
&
#
?# Ï
13.
&
Ï
Ï
Ï
Ï
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14.
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?b Ï
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&b Ï Ï Ï
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ú
ú
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ú.
ú.
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79
Ï ÏÏ ú
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ú.
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& 4
? # 24 Ï Ï Ï Ï Ï
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12 -- REVIEW: INTERVALS OF THE I CHORD
#4 Ï Ï Ï
ÏÏ ÏÏÏÏú
& 4
#
& 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï ÏÏÏÏÏ
? # 44 ú
Three-part exercises:
1.
#4 Ï Ï Ï Ï
& 4
#
& 44 Ï Ï Ï Ï
? # 44 Ï Ï Ï Ï
2.
&
&
#
#
Ï Ï Ï Ï
Ï Ï ÏÏÏ
?# ú
3.
Ï Ï
ÏÏÏÏÏ Ï
Ï Ï ú
Ï Ï Ï Ï
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? b 44 Ï Ï Ï Ï Ï
& b Ï ÏÏÏ Ï
?b ÏÏÏÏÏÏÏ
ÏÏÏ ú
Ï ÏÏú
Ï ÏÏú
& b 44 Ï Ï Ï Ï Ï Ï
& b 44 Ï Ï Ï Ï Ï
& b ÏÏÏÏÏ Ï
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Ï Ï Ï Ï
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80
ÏÏÏÏÏ Ï
Ï ÏÏÏ Ï
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ú
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REVIEW: INTERVALS OF THE I CHORD -- 12
4.
4
&b4 Ï Ï Ï Ï
& b 44 Ï Ï Ï Ï
?b4 ú
Ï Ï
4
&b ÏÏÏ
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&b ÏÏÏ
5.
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Ï
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b
& b bb
bb
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4
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6.
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YOUR BRAIN:
44
ÏÏÏ Ï ÏÏ ÏÏÏ Ï Ï
44
Ï Ï Ï Ï ÏÏÏÏú
? b b b 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
b
81
ÏÏÏ ú
Ï Ï ú
ÏÏÏ ú
Ï Ï
Ï Ï Ïú
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Î
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12 -- REVIEW: INTERVALS OF THE I CHORD
Alaska
SB a cappella
Words and music by
P
Andante
& 44 Ï Ï
A
ma - gi - c'ly
Ï Ï
j
Ï
land
of
?Ï
land
Ï Ï Ï
ú
Î
ú
Î
Ï
mid - night
Ï Ï Ï
sun
of
mid - night
sun
6
& Ï
Ï
splen - dent
?
Ï
Ï
splen - dent
Ï
realm
ro
?Ï
-
ro
-
Ï
ra
Ï
Ï
Ï
Ï
Ï Ï Ï Ï Ï
place, This
en - chant - ing
place, This
en - chant - ing
Ï Ï Ï
Ï
beau - ty,
this
most
Ï
ú
Ï Ï Ï
Ï
Ï
Ï
realm
Is
not
to
be
out - done.
Ï Ï Ï Ï Ï
Ï
ra
danc - ing
Ï
Ï Ï Ï
in
Ï
the
Ï
For
Ï
Ï
Ï
Ï Ï
Ï
Ï
Ï
night;
Ï
Ï
out - done.
the
Ï
most re -
be
in
Ï
this
to
danc - ing
Ï
Ï
beau - ty,
not
Ï
Ï
Ï
For
Is
9
& Ï
Ï
Ï
Ï
ma - gi - c'ly
? 44 Ï
& Ï
Ï
P
A
3
Patti DeWitt
Ï
Ï
The
night;
The
Ï
Ï
rit. . . .
Ï
rit. . . .
Ï
sil - ver
Ï
Ï
sil - ver
Î
Ï
p
A tempo
Ï
Au
p
-
Au
-
Ï
Ï Ï Ï
win - ter
Ï Ï Ï
win - ter
Only one beat in this measure. What is this called? Where are the other 3 beats?
82
REVIEW: INTERVALS OF THE I CHORD -- 12
12
& ú
Î
?ú
Î
Ï
snow;
snow;
15
& Ï
sump - tuous
?Ï
sump - tuous
f
& Ï Ï
18
f
? Ï Ï
& Ï
22
ate
?Ï
ate
un
?
Ï
-
Ï
The
lark - spur
and
the
fire - weed
In
their
Ï
Ï
show.
ú
show.
Ï Ï Ï Ï Ï
a
shrine
Ï
an
f
Ï
-
Ï
Ï
For
a
shrine
For
an
-
Ï
Ï
Ï
Ï
Ï
F
fjords,
the
The
stal - wart
fjords,
the
F
Ï
Ï
Ï
Ï
Ï Ï
Ï
Ï
Ï
Ï
cry - stal spires cre -
The
cry - stal spires cre -
The
wild;
Ï
U
ú.
"
P
A tempo
Ï
Ï
y
Ï
na - ture's
child.
With
y
na
- ture's
child.
With
Ï Ï Ï Ï Ï
Ï
Ï
Ï
from
Ï
Prince
from
Prince
re - count - ed
Ï
Ï
Ï Ï Ï F
Ï Ï
riv - ers run - ning
Ï Ï Ï
Ï
Ï
stal - wart
wild;
Ï Ï Ï Ï
f
Ï
The
ú.
riv - ers run -ning
Ï
Ï
Ï
Î
Ï
Ï
F
Î
ú
Ï
25
& Ï
Ï
their
Ï
lof - ty peaks; The
Ï
In
Ï
Ï
Ï
fire - weed
Ï
lof - ty peaks; The
Ï
the
sum - mer
Ï
Ï
Ï Ï Ï
and
sum - mer
Ï
Ï
Ï
lark - spur
Ï
Ï
Ï
The
Ï Ï Ï
Ï
Ï
beau - ty
Ï Ï Ï
un - re - count - ed
Ï
Ï
beau - ty
83
Ï
Ï
Ï Ï Ïdim. e rit.Ï. . . UÏ " PÏ
Ï
Ï
Wil - liam
Ï
Ï
Wil - liam
Ï Ï Ï
Sound
to
Sound
to
Ï Ï Ï
12 -- REVIEW: INTERVALS OF THE I CHORD
28
Î
& ú
Ï
Nome,
?ú
Nome,
31
& Ï
Ï Ï Ï
?Ï
Ï
po - lar
bear
Ï
po - lar
bear
& Ï Ï Ï
Ï
34
un - touched
?
Ï
Ï
un - touched
land
Ï
land
Ï
Ï
Ï
Ï Ï Ï
Ï
Ï
Ï
How
love - ly
Ï
is
Ï
this
Ï
un - touched land
The
How
love - ly
is
this
un - touched land
The
Ï
Î
Ï
Ï
Ï
Ï
Ï Ï Ï
Ï
Ï
Ï
calls
calls
Ï
The
home!
po
Ï
Ï
The
po
f
Ï
Ï
How
home!
Ï
Ï
Ï
-
-
lar
Ï Ï
this
love - ly
is
this
Ï Ï Ï
Ï
ú.
Ï Ï ú.
bear
home!
Ï
Ï
calls
lar
bear
calls
home!
Pencil Time 2:
Activity Sheet 29: Major and Minor Thirds
Activity Sheet 30: Thirds and Fourths of the I Chord
84
Ï
Ï
is
Ï
How
Ï
Ï
love - ly
Ï
f
Ï
Ï
Ï Ï
13:
Franz Josef Haydn is an important
name in western music history. He lived
and worked in the Classical Era, roughly,
the last half of the eighteenth century.
Haydn was one of the most brilliant
composers in the history of music, giving
the music world forms that are still in use
to this day--the symphony, the string quartet,
the piano sonata. Haydn also had a great
personal influence on both Mozart and
Beethoven who were much younger than
he. Mozart affectionately referred to him
as "Papa Haydn" and dedicated a set of
string quartets to him. Haydn declared that
Mozart was the greatest composer ever to
have lived. He also praised the youthful
Beethoven for his musical ability.
Franz Josef Haydn was born on March 31,
Painted by Cecelia Johnson
1732, to a musical family in a rural community
After an 1844 painting by Thomas Hardy
in Austria. Here he was exposed to Slavonic
folk music which would influence his works
throughout his career. At age eight, young Josef became a choirboy at Saint Stephen's
Cathedral in Vienna. Haydn learned to play harpsichord, organ, and violin at the Cathedral.
However, he was dismissed from the choir after his voice changed and spent ten difficult
years trying to earn a living as a musician while studying composition under C.P.E. Bach,
son of Johann Sebastian Bach.
At age 26, Haydn got his first job. He was hired by Count Morzin as director of music
and composer. It was for Count Morzin that he wrote his first symphony. Unfortunately,
Count Morzin fell on hard financial times and had to disband his orchestra. But,
fortunately for Haydn, Prince Paul Anton Esterházy, one of Europe's most enthusiastic
patrons of music, heard that Haydn was available and secured him to become the assistant
music director at his palaces in Vienna and Eisenstadt. Haydn was extremely productive
in the years that he was in Esterházy's employ.
In 1760 Haydn married Maria Anna Keller. It was never a happy marriage, for his wife
had little affection for him and even less appreciation of his musical gift. She lived her
whole life resentful of his lifework.
85
13 -- FRANZ JOSEF HAYDN
Prince Miklós Esterházy died in 1790, and even though his son, Prince Antal, was not
interested in music, he still retained Haydn in his employ although he let the other
musicians in his court go. Thus Haydn was not only employed but free to travel as well.
He traveled to London in 1791 at the invitation of violinist Johann Peter Salomon. While
on this trip, he was awarded an honorary Doctor of Music degree by Oxford University.
He was so well-accepted in London that he agreed to return in 1794. Between these two
visits to England, Haydn taught the young Ludwig van Beethoven in Vienna.
Haydn's last 12 symphonies, the "Salomon Symphonies," were written for the London
audiences who received them enthusiastically. He wrote many other pieces for the English:
Piano trios and sonatas, choral pieces and songs, arrangements of British folksongs. He
received the honor of performing and conducting before the British royal family.
Haydn lived and worked in Vienna in his last years. It was in this period that he
composed a set of magnificent masses and his most famous string quartets. One of these
string quartets, the Emperor Quartet, which contains the melody that became the national
anthem first of the Austrian Empire in 1797. Later, it became the German national anthem
and remains so to this day. In England he had become familiar with Handel´s oratorios,
such as Messiah. It was this influence that led to his composition of his most famous
oratorio, Die Schöpfung (The Creation, 1796-98). The libretto of The Creation was a
..
German translation of a libretto that was reportedly at one time rejected by Handel.
At the great success of "The Creation," Haydn composed Die Jahreszeiten (The Seasons,
1799-1801) based on a poem "The Seasons" by the Englishman James Thompson. This
poem has been considered by many to be the first significant English poem with Nature as
its main subject. Haydn's The Seasons not only marks the beginning of a new century but
also the beginning of a transition in all art forms; the metamorphosis from Classical restraint
and objectivity to the emotional and subjective Romantic era. The Seasons was debuted
in the spring of 1801 and featured the Empress, wife of Franz I, as the soprano soloist.
Haydn died in his sleep on May 31, 1809 in Vienna. Haydn's gravestone remains at its
original place in Vienna which is today called Haydn Park. His body was disinterred and
taken to the Bergkirche ("Church of the Mountain") in Eisenstadt, where it has been laid
in a marble tomb.
Haydn, Symphony No. 94, ("Surprise" Symphony) in G Major, 2nd Movement, Andante
The second movement of Haydn's Symphony No. 94, the "Surprise" Symphony,
outlines the I Chord in its main theme. The Symphony is a set of variations on the main
theme. Solfege the main theme, on the next page, and then listen to the Symphony for
the ways in which this theme is manipulated and varied throughout the work.
1. Determine the FORM of the main theme from the 2nd Movement.
2. SOLFEGE the theme. (Notice the altered note, "Fi." When notes are raised or
lowered, they become different notes, notes that are not in the major scale. A
"Fi" is a raised "Fa.")
3. Add accompaniment.
86
From the Literature:
"Waltzing Matilda" makes prolific use of thirds and fourths of the I Chord.
Have the students perform it from memory and with great attention to the expressive
markings in the piece. Tempo is one of the most obvious tools of expression used.
Make sure your students can recognize and perform the tempo changes exactly as you
conduct them.
LISTENING:
Haydn: Symphony No. 94 ("Surprise" Symphony") in G Major,
2nd Movement, Andante
Have the students write as they listen:
When they hear the first theme (melody), they write an "A."
Everytime they hear it again, they write an "A."
When they hear a new (or varied) theme (melody), they write a "B."
Everytime they hear it again, they write a "B" (in order of hearing).
When they hear another new theme or variation, they write a "C," etc.
If they hear a theme very similar to the A theme, but not an exact
repetition, have them write "A'." Likewise for "B" and "C," etc.
FORM: Theme and variations
Compare and contrast:
Haydn: No. 101 in D-major ( "Clock" symphony)
2nd Movement, Andante
Have the students write as they listen:
When they hear the first theme (melody), they write an "A."
Everytime they hear it again, they write an "A."
When they hear a new (or varied) theme (melody), they write a "B."
Everytime they hear it again, they write a "B" (in order of hearing).
When they hear another new theme or variation, they write a "C," etc.
If they hear a theme very similar to the A theme, but not an exact
repetition, have them write "A'." Likewise for "B" and "C," etc.
Have them compare this to their findings for the "Surprise" Symphony.
Locate a recording (CD or .mpg) of Bach's "Jesu, Joy of Man's Desiring."
Ask the students to compare this to Haydn's "Surprise" Symphony, above.
Using the form provided in Activity Sheet 19, they should look for:
1. Style characteristics (continuously moving accompaniment; chorale)
2. Instrumentation
3. Articulation (Legato, staccato, etc.)
S - 86
Then play Beethoven's Fifth Symphony, First Movement, for them, and have them
compare the style.
Haydn (Classical) vs Beethoven (Romantic).
Classical--restrained emotion; elegance; refinement
A narrow range of dynamics; smaller orchestras
Romantic--unrestrained emotion; passion
A wide range of dynamics; large, full orchestras
Play a recording of Grieg's "In the Hall of the Mountain King."
Ask the students if it is in a major or minor key. Have them give a brief outline of the
FORM of the piece.
Compare to "Surprise" Symphony.
Symphony vs tone poem.
Abstract music (music just for music's sake)
vs program music (nusic that tells a story.)
ldau" by Smetana.
ARTICULATION:
Tell the students to look at the Theme from the "Surprise" Symphony, at the right,
and to notice the staccato marks under the notes. What do they mean?
Tell them to perform the notes in the first two lines correctly on the neutral syllable, "la."
What about the third line? How should it be performed?
Have them perform the whole theme on "la," correctly performing the articulations.
S - 87
FRANZ JOSEF HAYDN -- 13
4. PERFORM on solfege.
5. Play the melody on the piano and/or recorder.
6. LISTEN to a recording of Haydn's "Surprise" Symphony, 2nd Movement, Andante
Franz Josef Haydn
Theme from "Surprise" Symphony, 2nd Movement, Andante
4
&4
BX
or
Piano
5
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ACROSS THE CURRICULUM:
1. Write lyrics for the main theme of Haydn's "Surprise"
Symphony.
2. After listening to a recording of the "Surprise" Symphony, write an essay describing
the different ways in which the theme is varied in the piece. How many recognizable
variations of the theme are there? Why do you think this piece has been called the
"Surprise" Symphony?
Pencil Time 2:
Activity Sheet 31: Franz Josef Haydn
Activity Sheet 32: Theme and Variations
87
14:
The V Chord--So-Ti
Major Third
The V Chord--The V Chord is a triad based on the fifth degree of the Major scale--So.
Key of C Major:
&
www
www
I
V
The V Chord is made up of what notes of the scale?
What note(s) do the I Chord and the V Chord have in common?
SING this warm-up exercise using broken I and V Chords with solfege and handsigns.
4
&4 Ï Ï Ï Ï w
Ï
Ï Ï Ï w
Ï Ï Ï Ï w
Pencil Time 2:
Activity Sheet 33: V Chord Game
In the following folk dance, the V Chord is spelled out in several places. Find the V
chords, audiate the song while handsigning, and sing it on solfege.
Put Your Little Foot
#
& 34 Ï Ï Ï # Ï Ï
4
&
8
&
Put your lit - tle foot,
#
#
ú
here;
Ï Ï
Put your
Fine
ú
here.
11
&
#
Ï
walk
and
put your
Ï #Ï Ï
Ï Ï
.. Ï # Ï
Ï #Ï Ï
Ï
put your
lit - tle foot
right
Ï Ï
Ï #Ï Ï
Ï
lit - tle foot
Ï
ú
Ï Ï
lit - tle foot
lit - tle foot, put your
Walk and
#Ï
Ï #Ï Ï
Ï Ï
Ï #Ï Ï
Ï
Ï
Anonymous
lit - tle foot, put your
Ï
Ï
Ï
walk and walk and walk and
Ï
Ï
Ï
Ï
walk
and
walk
and
1
ú
turn.
88
Ï Ï
turn;
Walk and
.. ú
Ï
Ï
Walk and
right
2
turn.
DC al Fine
Chapter 14:
The V Chord: So - Ti
Breathing
qExercises
1. Have the students hold their arms high over their heads, open their
mouths relax their throats and take a slow deep breath. Tell them to be
aware of the muscles that they use. (You will have to remind them
to keep their arms high; they will begin to sag immediately.) Have
them take one deep breath, hold it in with their stomach muscles for
a count of four, and then hiss it out for a count of 16, keeping their
stomach muscles taut.
2. Have the students bend over from the waist, breathe in deeply and
feel the expansion, and repeat the exercise several times. Then have
the students sing a sustained note for a count of 16 instead of hissing.
3. Have them repeat the exercises in both sitting and standing
positions, encouraging them to maintain the expansion of the same
sets of muscles.
e Warm-ups
Have the students sing the melodic pattern below on solfege
syllables and with handsigns.
Repeat the exercise up and/or down by half steps.
If desired, after the exercise has been repeated a few times on
solfege syllables, replace the solfege syllables with various vowels.
4
&b 4 Ï
Ï Ï ú
Ï
Ï
ú
Depending upon the size, age, and motivation of your group, you may want to let them
make up a little dance to go with with the song "Put Your Little Foot."
D
"Follow Me"
Game
O Audiate:
Handsign the notes So, Ti, Do, Re, and Mi in various orders,
emphasizing the interval So - Ti.
Ask the students to follow your handsigns. (Do not sing with them.
Let them work for it.) Ask for a student volunteer to lead the activity.
Using So, Ti, Do, Re, and Mi, handsign a short series of notes
using scalewise motion and the interval of So - Ti only). (Start
out with 2 or 3, then add more to the series). Have the students watch
and "listen" in their heads, and then sing the series for you.
S - 88
q
"La Raspa" is a very popular Mexican folk song. It is written in 6/8 and will
introduce the students to compound meter (6/8 time.) Make sure the students know that
6/8 is really a duple (2 beat) compound meter in which the beat subdivides into units of
three.
Find a good recording (.mpg or CD) of "La Raspa" and ask the students to identify it
by genre (folk) and culture (Mexican). If you can find more than one arrangement of it,
the students' learning would be greatly enhanced. You could then address style (for
example, mariachi or steel drum) as well as genre and culture.
Have the students improvise a 6/8 accompaniment for "La Raspa," and then improvise
their own 6/8 melody, as a C Section for the song or an extended interlude. Have them
write out this third section on staff paper or notate it with music notation software for the
rest of the class to evaluate. Reinforce the triple division of each beat; each beat divides
into three eighth notes instead of into two, as in 4/4 time.
After the class has written out new words for La Raspa, have them vote and select the set
of words that they like the best. They should memorize this so that they can perform it while
accompanying themselves on Orff instruments or the piano.
Remember to ask for volunteers to sing independently:
SOLOS: Every student should be required to prepare and perform a moderately difficult
solo with good intonation and interpretation skills every year. These solos may be selected
from a pre-existing list, such as the Texas UIL Prescribed Music List. Allow them to
perform them in a formal or semi-formal situation. Instruct students that they will be
evaluated upon the quality and effectiveness of their performances.
Help them select (or select for them) a moderately challenging solo that gives them the
opportunity to exhibit how musical symbols and terms for dynamics, tempo, and articulation
are interpreted.
S - 89
THE V CHORD: SO - TI -- 14
The Mexican folk song, "La Raspa" (below), has many occurrences of the interval So-Ti.
It also is in 68 time, which means that there are two strong beats in each measure, and each
4
of these beats divides into groups of three eighth notes instead of two, as in 4 time.
Locate the So-Ti intervals in the piece below. Audiate while handsigning, and sing on
solfege. Play on piano or recorders with the Orff orchestration below.
%Ï
La Raspa
? # 68 .. Ï
J
?# Ï
? # Ï.
2
?# Ï
Orff:
Ï Ï
J
Ï
Ï Ï
J
Ï Ï.
J
Ï
J
Ï
J Ï
Ï.
? # 6 .. Ï .
8
ÏÏ .
.
A Section:
Castanets or
Xylophone
mallets
Ï
6 ..
8
Ï.
? # 68 Ï .
68
# 6 . ú.
& 8 .
·
Ï.
Ï.
·
B Section:
SM
BX
Ï Ï
J
Mexican folk song
Ï.
Ï Ï Ï Ï Ï Ï
Ï Ï. Ï
..
J
J
Ï Ï Ï Ï Ï . Ï JÏ Ï Ï Ï Ï Ï Ï . Ï ÏJ
J
J
D.S. al Fine
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Ï ÏJ Ï Ï Ï Ï Ï Ï .
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J
J
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BX
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? # 68 .. Ï .
Ï.
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.
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j
Î À À ä
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Ï.
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.
Î.
j
Î À À ä
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ACROSS THE CURRICULUM:
Create lyrics for "La Raspa."
89
1
Fine
ÏÏ .
.
·
Ï.
Ï.
·
Ï.
Ï.
Ï.
ÏÏ .
.
Î.
j
Î À À ä
Î.
..
j
Î À À ä ..
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Ï JÏ ..
Î.
..
14 -- THE V CHORD: SO - TI
AUDIATE:
The following melody uses the interval So-Ti. Read it in your head while
signing. Do not sing it out loud. Can you hear it? Can you name it?
#4
& 4 Ï Ï Ï Ï
&
#
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
ú
ú
Ï Ï Ï Ï
ú
Ï Ï
So-Ti
So-Ti is a major third (4 half steps).
The following exercises present the major third, So-Ti.
READ the exercises. Identify each key and then:
1. Scan for repetition and form.
2. Chant the rhythm while conducting.
3. Chant the solfege in rhythm.
4. Audiate (handsign and read silently).
5. Sing with handsigns.
#
& 44 ú
Interval practice:
? 44 Ï
Ï Ï ú
ú
ú
ú
Ï Ï
Ï
Ï
Ï
Ï
Ï ú
Ï
Ï
w
Ï Ï ú
Reading exercises:
1.
&
2.
#
& 44 Ï
#
Ï ÏÏ ú
Ï
Ï
Ï Ï Ï Ï
? # 34 Ï
?# Ï
Ï
Ï
Ï
Ï
Ï
ú
ú
Ï
Ï Ï Ï
Ï
Ï
Ï
Ï Ï Ï Ï
Ï
Ï
90
Ï Ï Ï
ÏÏÏ
Î
Ï Ï ú
ú
Ï
ú
Ï Ï Ï
Ï
Î
ú
Î
THE V CHORD: SO - TI -- 14
#4 Ï
Ï Ï Ï
Ï Ï Ï Ï Ï ú
3. & 4
Ï ÏÏÏ Ï Ï
#
& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
4.
? # 34 ú .
Ï Ï Ï
?# Ï
5.
4
&4 Ï
&Ï
6.
Ï Ï Ï
?b Ï Ï
8.
Ï
Ï
Ï Ï
ú
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Ï
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Ï
& 44 Ï Ï Ï Ï
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ú
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Î
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Ï Ï Ï
Ï ÏÏÏ
Î
ú
Ï ÏÏÏ Ï
Ï
Ï
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Î
Ï Ï Ï Ï
ÏÏ Ï Ï
ÏÏÏ
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Ï
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Ï
Ï Ï
? b 44 Ï
Î
Ï
& 44 Ï Ï Ï Ï
&Ï Ï
7.
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ú
Ï
91
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14 -- THE V CHORD: SO - TI
9.
?#4 ú
4
?# ú
10.
&
11.
Ï Ï
Ï Ï
ú
ú
#3
& 4 Ï ú
#
ú
Ï
Ï
? # 34 Ï
?# Ï
ú
ú
Ï
Ï
Ï Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï Î
Ï
ú
Ï
ú
Ï
Ï
Ï
ú.
?# Ï Ï Ï
Ï
ú
Ï Ï Ï
Ï
ú
?# Ï Ï Ï
Ï
ú
Ï
Ï Ï Ï
Ï
Ï
ú.
12.
& b 44 Ï Ï Ï Ï Ï
&b Ï Ï Ï Ï Ï
13.
? 34 Ï Ï Ï
? Ï
Ï
Ï
Ï
Ï
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Ï
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92
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Î
ú
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ú
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ú.
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ú.
ú
THE V CHORD: SO - TI -- 14
14.
Ï
? # 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
?# Ï
15.
&
16.
ÏÏÏ
ÏÏ ÏÏÏ
#4 ÏÏÏ
ÏÏ Ï
& 4
#
?b Ï
?b Ï
?b Ï
ÏÏÏ ú
Ï
ÏÏ Ï
Ï
Ï Ï Ï
Ï
Ï Ï Ï Ï Ï
Ï
Ï Ï ÏÏÏ Ï
Ï
ÏÏÏÏÏ Ï
ÏÏÏÏú
Ï
ÏÏ ÏÏ ÏÏ ÏÏ ÏÏÏÏ Ï
ÏÏÏ ÏÏÏ
? b 34 Ï Ï Ï
Ï Ï Ï
ÏÏ Ï
Ï
Ï Ï Ï
Ï
Ï
ÏÏÏ ú
ÏÏ Ï Ï Ï Ï Ï Ï ú
Ï
ÏÏ
Ï Ï Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï
Ï
Ï Ï
Î
Ï Ï
ú
YOUR BRAIN:
17.
b
& b b b b 44 Ï Ï Ï Ï Ï
b
& b bbb Ï Ï Ï Ï Ï
18.
ÏÏÏÏÏ Ï
ÏÏÏÏÏ Ï
? b 44 Ï Ï Ï Ï Ï
ÏÏÏ ÏÏÏ
ÏÏÏ Ï Ï
ú
Ï Ï ÏÏÏ Ï Ï ÏÏÏ Ï Ï Ï
Ï ÏÏÏ Î
?b Ï ÏÏÏ ÏÏ Ï ÏÏÏ Î
93
Ï ÏÏÏ ÏÏ ÏÏÏ Ï Ï
ÏÏÏÏÏÏÏ
ÏÏÏ Ï
Î
14 -- THE V CHORD: SO - TI
The Hermit Crab
F
Allegretto
?#4 Ï
4
The
&
Î
7
?# Ï Ï Ï
&
one
as
#
oth - er
Î
? # Ï
Ï
Î
ú.
crea - ture's
shell.
Ï
?# Ï Ï ÏÏÏ
&
#
ve - ry
Î Ï Î ÏÏ
Ï
ÏÏ
? # Ï Î Ï Î
Ï
Î
j
#Ï
Ï
Î Ï
ÏÏ
ÏÏ
Ï
j
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Ï
ú.
strong
Î Ï
ÏÏ
Ï Î ú
Î
Ï
Î Ï Î Ï
ÏÏ
ÏÏ
Ï
Ï
Î
Ï
For ev' - ry where that
Ï
94
ÏÏÏ Î
Î
Ï
ÏÏÏ
Î
Ï
ÏÏÏ
Ï
Ï
hef - ty
ÏÏÏ
Ï Î Ï Î
Ï
Î
Î
Ï
a
Î
steals Some
ÏÏ
Ï
Î
Î Î
Ï
home, but
Î
Ï
Ï Î
ÏÏ
Î
Ï
Ï
ÏÏ
Ï
Î
Ï
chap, His
Ï
Ï
Her - mie goes
Î
and a
ÏÏÏ
Ï Ï Ï
Ï Î
ÏÏÏ Î ÏÏÏ
P
Ï
Î
Î
Ï
Ï Ï
soul,
ÏÏ
Ï
Ï Ï ÏÏ Ï
Though he's not
Ï Ï
j
#Ï
Î
Ï Î Ï Î
Ï Î ú
Î
ÏÏ
Ï
nev - er builds a
Î
Patti DeWitt
hap - py
He
P
Ï
Ï Ï Ï
is a
Ï Ï Ï Ï
Ï Î ú
Ï ÏÏ
11
legs are
Î Ï
ÏÏ
Î
ÏÏÏ Î
Ï
Ï Ï
well.
crab
ÏÏÏ Î
F
ú
# Î
ÏÏÏ Î ÏÏÏ
? # Ï
Î
? #4 Î
4
3
?# ÏÏÏ Ï ÏÏ
la - zy
her - mit
#4 Î
& 4
Piano:
Ï
Ï Ï Ï
Ï
Ï
Words and music by
Î
Ï
ÏÏÏ
Î
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He
ÏÏ
Ï
Î
THE V CHORD: SO - TI -- 14
15
?# Ï Ï Ï Ï Ï
&
#
drags his
house a - long.
Ï
Ï
Î
Î
19
?# Ï Ï Ï Ï ÏÏ
&
#
ly - ing in
Î
ÏÏÏ Î
? # Ï
úúú
ú
Î # ÏÏ
Ï
Î Ï
ÏÏ
? #
ú.
Î Ï
the
ÏÏÏ
Î
j
#Ï
Ï Î
Ï
Ï
Î
Ï
26
?# Ï Ï Ï
Î
F
Ï
Î ÏÏ
Ï
Î ÏÏ
Ï
Ï
ú
Î Ï
Ï
? # Ï Î
Ï
ÏÏ
Ï
Î
Ï
Î
F
Ï
look in - side That it
Î ÏÏ
Ï
Î
ÏÏ
Ï
Î
Ï
Î Ï
Ï
ÏÏ
Ï
Ï Î
Î
95
Î
p
ú
Ï Ï
Ï
But be care - ful
Ï
Ï
Ï Î Ï Î
with
his
# ÏÏ Î n ÏÏÏ Î
Ï
Ï
Î Ï Î
Î ÏÏ
Ï
Ï Î
Î
Ï
p
Ï Ï Ï
Î
Ï ÏÏ Ï
Ï Ï
Ï Ï Ï
j
#Ï
Ï Î
Î
Ï
Î Ï Î Ï
ÏÏ
ÏÏ
F
stick your nose; 'Cause Her - mie might tweak it
# Î
&
ÏÏÏ Î
Î Ï Î
Re - mem - ber when you
home.
? #
Î Ï Î Ï
ÏÏ
ÏÏ
Ï Ï Ï Ï
Ï
Ï Ï Ï Ï
some - one's
ÏÏÏ
shell A -
Ï
might
ÏÏÏ Î
love - ly
ú
ú.
# Î
&
when you find a
Ï
Ï Ï Ï
be
So
p
?# Ï Ï Ï
23
Ï Ï Ï Ï
F
ú.
ÎÏ
ÏÏ
Ï
ú
Ï Î
foam
p
ÏÏ
Ï
Î
Ï
Ï
where you
Î
Ï
Ï Î
toes.
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Ï
Ï Î
ÏÏ
Ï
Î
À
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Ouch!
j
#Ï
Ï
15:
The V Chord--Ti-Re
Minor Third
The V Chord--The V Chord is a triad based on the fifth degree of the Major scale--So.
Key of G Major:
#
&
ww
w
ww
w
I
V
The interval Ti-Re occurs many times in the old college song, "Underneath the Bamboo
Tree." Identify the Ti-Re intervals, audiate the song with handsigns and sing it on solfege.
Underneath the Bamboo Tree
& b 44 Ï .. Ï Ï Ï Ï Ï
king
can - ni - bal
and a kiss
hug
A
3
&b Ï
Ï Ï Ï
love with
neath the
6
&b Ï Ï
pale
sang
a
a sweet young
bam - boo
Ï
Ï
moon - light
du - et,
..
8
& b ú.
Ï
swing.
me:
11
&bÏ
roomph,
14
&b Ï
A
Ba
-
Ï
Ï
Ï Ï
for - est
sound-ed like
À
Ï
Ï
Ï
he
this
would
to
À
À
Ï
roomph, (kiss, kiss) ba - roomph, (kiss, kiss) Ba -
Tee - dy, ee-dy, ah - dy, ay.
À
Ï Ï
Fell in
Un - der -
Ï
Ï
Ï Ï Ï
Thru' the
And it
À
ring
miss
And ev' - ry night by the
When - ev - er they met they
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
À
Ï
Ï Ï Ï
Ï
thing,
tree.
Ï
Ï
with a
big
nose
for the - love - ly
Ï ú
Ï
Ï
Ï Ï
Anonymous
Ï
Ï
À
Ba - roomph, (kiss, kiss)
Ï Ï Ï Ï Ï Ï ú
roomph, (kiss, kiss) ba - roomph, Tee-dy, ee - dy, ah - dy,
96
À
Ï
ay.
U
ú
Oh,
Ï
ba -
Chapter 15:
The V Chord: Ti - Re
qBreathing
1.
2.
3.
4.
Have the students stand, hands on their abdomens (beltlines).
Have them breathe in deeply and to expand at their beltlines.
Tell them to fill up their lungs all the way to the bottom.
Take a deep breath and perform the following pattern:
& b 44 ú
Ï Ï
w
5. Begin with 2 repetitions on a single breath, then add one
repetition at a time up to 4 repetitions. All the while
reminding them to keep "hold" of the breath with their
abdominal muscles.
e Warm-ups
Have the students sing the melodic pattern below on solfege
syllables and with handsigns.
Repeat the exercise up and/or down by half steps.
If desired, after the exercise has been repeated a few times on
solfege syllables, replace the solfege syllables with various vowels.
## 4
& 4ú
ú
ú
ú
ú
Ï Ï w
D
"Follow Me"
Handsign the notes So, La, Ti, Do, Re, and Mi in various orders,
Game
emphasizing the interval Ti - Re.
Ask the students to follow your handsigns. (Do not sing with them.
Let them work for it.) Ask for a student volunteer to lead the activity.
OAudiate:
TEMPO
Using So, La, Ti, Do, Re, and Mi handsign a short series of notes
using scalewise motion and the interval of Ti - Re only). (Start
out with 2 or 3 notes, then add more to the series). Have the students
watch and "listen" in their heads, and then sing the series for you.
Allow the students to perform "Underneath the Bamboo Tree" as a
solo, correctly interpreting the tempo symbols in it.
S - 96
S - 97
THE V CHORD: TI - RE -- 15
%
17
&b
Ï
Ï
ú
We'll build
j
Ï ú
Ï.
a
Ï Ï ú
bung - a - low
big e - nough
21
&b Ï Ï ú
Ï
big e - nough
&b Ï
ú
And when
Ï Ï ú
Ï Ï Ï Ï
for
two, my hon - ey,
Ï
ú
25
Ï ú
mar - ried how
we're
U
Ï
ú
bam - boo,
34
&b Ï Ï
Ï Ï Ï Ï Ï Ï
un - der - neath the bam - boo
Ï Ï
Ï #Ï
mine, I'll
best of
be
all
&b Ï Ï Ï Ï
all
two, wal - la, wal - la, wal - la,
Ï Ï ú
w
be
Ï
thine,
rest,
Ï
And I'll
Ï
T - I - M - E,
Ï
time. You
Ï
Ï
are
the
Ï
Un - der - neath
the
.. Ï Ï
Ï Ï
M - I - N - E,
B - E - S - T,
Ï Ï
Ï Ï
L - O - V - E,
..
ú
1
Ï Ï Ï Ï
the
two;
If you'll be
ú
Ï
for
U UU
Ï Ï Ï
Fine
tree.
T - H - I - N - E,
the
R - E - S - T,
38
love you
Ï
we'll
w
Ï Ï Ï Ï Ï Ï Ï
for
Ï
hap - py
30
&b ú
Ï
big e - nough
Ï Ï
Ï
D.S. al Fine
Ï
u
time.
Oh,
AUDIATE:
The following patriotic melody uses the interval Ti-Re. Read it in
your head while signing. Do not sing it out loud. Can you hear it?
Can you name it?
? b 34 Ï Ï Ï
? b ú.
?b Ï
Ï.
Ï
Ï
Ï Ï Ï Ï Ï.
ÏÏ
J
Ï
Ï Ï
Ï.
Ï Ï
J
97
Ï
Ï.
Ï Ï
J
Ï Ï
ÏÏ Ï
J
Ï Ï Ï Ï
Ï
Ï.
ú.
Ï
Ï
ÏÏ
J
15 -- THE V CHORD: TI - RE
Ti-Re
Ti-Re is a minor third (3 half steps).
The following exercises present the minor third, Ti-Re.
READ the exercises. Identify each key (Watch out!) and then:
1. Scan for repetition and form.
2. Chant the rhythm while conducting.
3. Chant the solfege in rhythm.
4. Audiate (handsign and read silently).
5. Sing with handsigns.
#
& 44 ú
Interval Practice:
? 44 Ï
ú
Ï
Ï Ï
ú
Ï Ï ú
2.
Ï ú.
#
& 44 ú
Ï Ï Ï Ï Ï Ï
#
& ú
Ï Ï ú
ú
#
& Ï Ï Ï Ï w
3.
? # 44 ú
?# ú
4.
Ï Ï Ï Ï
ú
ú
Ï Ï Ï Ï ú
Ï Ï
&Ï Ï ÏÏÏ
Ï
Ï Ï ú
& 44 Ï Ï Ï Ï Ï
Ï
Ï Ï ú
Ï Ï
Ï ÏÏú
ú.
Ï
Ï
Ï Ï
Ï
ú
98
ú
w
Ï Ï ú
Ï
Ï
Ï
Ï
Ï Ï
Ï Ï Ï Ï Ï
Î
ú
ú
Ï Ï Ï Ï Ï Ï ú.
Ï Ï ú
ú
Ï
Ï Ï Ï Ï Ï Ï ú.
? # 34 Ï Ï Ï ú Ï ú
Reading exercises:
1.
Ï Ï Ï
Ï Ï ú
ú
Î
Ï Ï
Ï Ï
Î
ÏÏÏÏÏ Ï Ï
Ï ÏÏ Ï Î
Ï Ï Ï Ï
ú
Ï Î
THE V CHORD: TI - RE -- 15
5.
?#3 Ï
4
?# Ï
6.
Ï
Ï
#4
& 4 ú
Ï
& b 34 Ï Ï Ï Ï
ú.
&b Ï ÏÏÏ
&b ÏÏÏ Ï
10.
Ï ÏÏ
Ï
Ï
Ï
? b 44 ú
?b ú
Ï Ï
Ï ÏÏÏ Ï
Ï
&b Ï
Ï Ï Ï
Ï
Ï
ú.
Ï Ï
Ï Ï
Ï
ú
Ï
Ï Ï Ï
Ï Ï Ï
Ï ÏÏÏ Ï
ÏÏÏ
Ï
Ï Ï ÏÏÏ
ú
Ï
99
ú
ú
Ï Ï Ï Ï
w
Ï
Ï
Ï Ï
Ï ú
Ï
Ï Ï Ï
Ï
Ï Ï ÏÏÏÏ Ï Ï ú
Ï ÏÏÏ Î
Ï
ú
Ï
ÏÏÏ
ÏÏÏÏ ÏÏ ú
Ï
& b 44 Ï
Ï
Ï
Ï
Ï
Ï
ú
? b 44 Ï Ï Ï Ï
?b Ï Ï
9.
Ï
Ï
Ï
Ï Ï
& ú
8.
Ï
Ï
#
7.
Ï
Ï
Ï Ï ú
ú.
Ï Ï Ï
Ï ÏÏÏ
Ï
Ï Ï Ï
Ï Ï Ï Ï
Ï
Ï
Ï Ï Ï
ú.
Ï
Ï Ï Ï
ÏÏÏ ú
w
ú
Ï
ú
Ï
ú.
ú.
ÏÏÏÏú
Ï ÏÏ ú
15 -- THE V CHORD: TI - RE
11.
4
&4 Ï Ï Ï Ï
&Ï
Ï ÏÏ Ï Ï
ÏÏÏ Ï Ï
ú
Ï
ÏÏÏÏÏ Ï
ÏÏÏÏÏ
ú
ÏÏ Ï Ï ÏÏ Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï Ï Ï ú
? b 44 Ï Ï Ï Ï Ï Ï Ï Ï ú
12.
Ï Ï ÏÏ ÏÏ Ï Ï ú
?b Ï Ï Ï Ï Ï ÏÏ Ï ú
Ï
Ï
Ï
Ï
YOUR BRAIN:
13.
#
& 24 Ï Ï Ï Ï Ï Ï
#
& ÏÏÏÏÏÏÏ
14.
? b b b 34 Ï
b
&
16.
Ï
Ï Ï
ÏÏÏÏ ÏÏÏ ÏÏÏÏ
Ï Ï Ï Ï Ï
Ï
Ï Ï Ï Ï
? bb b Ï
b
15.
ÏÏÏÏÏ Ï
Ï
### 4 Ï Ï Ï
Ï
& 4
Ï
###
ÏÏÏÏÏÏÏ
? b b 34
? bb Ï
Ï Ï ú
Ï Ï Ï
Ï
Ï Ï Ï
Ï
Ï
ÏÏÏÏÏ Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï Ï
Ï Ï Ï
ÏÏÏ Ï Ï
Ï Ï Ï Ï Ï
Ï Ï Ï
Ï
ú.
ÏÏÏÏÏÏÏÏ ÏÏÏ Ï Ï
Ï Ï Ï
Ï
Ï
Ï ÏÏ Ï Ï
Ï
ÏÏÏÏÏ Ï
ÏÏÏÏÏ Ï
Ï Ï ú
Ï
Ï
ÏÏ
Ï Ï
Continued on next page
100
+
? b
b
? bb
17.
Ï ÏÏÏ
Ï ÏÏÏ
#### # 4
# 4
&
THE V CHORD: TI - RE -- 15
Ï Ï Ï Ï
ÏÏ
Ï Ï Ï ÏÏ
Ï
? b b b b 34 ú
bb
? bb b b Ï Ï Ï Ï ú .
bb
? bb b b ú
bb
? bb b b ú
bb
Ï Ï Ï
Ï Ï Ï Ï ú
Ï ÏÏÏ Ï
ÏÏ ú
? bb b b Ï Ï Ï Ï Ï ú
bb
? bb b b ú
bb
Ï Ï Ï Ï Ï Ï Ï
Î
Ï Ï Ï ÏÏ
Ï
Ï Ï Ï Ï
Ï Ï Ï
Ï Ï ÏÏÏ Ï Ï
Ï
#### #
# Ï Ï ÏÏÏ
&
18.
Ï
Ï Ï
ÏÏ ú
ÏÏ ú
Ï
ÏÏÏ Ï Ï Ï Ï
ÏÏ ú
ÏÏ ú
ÏÏ ú
Ï ÏÏÏ Ï
ú
ÏÏ ú
Ï ú
ÏÏ ú
ÏÏ ú
Ï
Ï Î Ï ú
ÏÏ ú
ÏÏ ú
ÏÏ
ú
ÏÏ
Ï ÏÏÏ Ï Ï Ï Ï
Learning the song:
"Bubble Gum" (next page)
Ï
Ï Ï ú
Î ú
Ï Ï Ï Ï Ï ú.
ÏÏ ú
Ï Ï Ï Ï Ï
ÏÏ ú
1.
2.
3.
4.
5.
Ï
ÏÏÏ ÏÏ ú
Ï Ï Ï Ï Ï Ï Ï Ï ú.
Î
ú
Î
Determine the form of "Bubble Gum."
Audiate the song using handsigns.
Chant the solfege using handsigns.
Sing with solfege using handsigns.
Sing expressively, using "tall" vowels and proper
breath support.
101
15 -- THE V CHORD: TI - RE
#4F
& 4 Ï
Ï
F
ÏÏ
Ï
Brightly
#4 Î
& 4
Chew - ing
?#4 Ï
4
#
& Ï Ï Ï Ï
3
&
#
hap - py
Î
?# Ï
7
ÏÏ
Ï
Î
as
can
Î
Ï
ÏÏ
Ï
ú.
be.
Î Ï Ï
ÏÏ
ú
Ï Ï
Î
#
& Ï Ï Ï Ï Ï
&
#
bub - bles for all
Î
?# Ï
11
&
#
ÏÏÏ Î
Î Ï
Ï Ï Ï Ï
we have come so
to
Î
Î
ÏÏ
Ï
Ï
Î
ÏÏÏ
pops and
Ï
ÏÏ Î ÏÏ î
Ï
Ï
Î Ï Ï ú
f
Ï
P
Î Ï
Ï
Ï
E - ven though the
# Î
Î Ï Î
Ï Î Ï Î Ï î
ÏÏ
ÏÏ
ÏÏ
ÏÏ
P
?# Ï Î Ï Î ú
Ï Ï Ï Î Ï
&
102
ÏÏÏ
Î
ÏÏ
Ï
Ï Ï Ï
Ï
Î
ÏÏ
Ï
Î
ÏÏ
Ï
sounds And
Î
Ï
Î
Ï
Ï
Ï
Ï
Î
ÏÏ
five days old, And
Î
ÏÏ
Ï
Ï
Î
Ï
I'm
Î
ÏÏÏ
Ï
Î
Ï
Ï
is
ÏÏ Î
Ï
Î
Î
Ï
Now my gum
Î
smack - ing
Î
Ï
Ï Ï
see.
far.
Ï
gum,
ÏÏ
Ï
Ï
Ï
f
Î
Î
Î
Î
Ï Ï Ï
bub - ble
ÏÏÏ
Ï
Mak - ing
Ï
my
Î
Ï
ú.
ú.
on
Î Ï
Ï
Ï
Ï
Patti DeWitt
Î
Ï
Ï
Ï
sweet
is
gone,
Î
ÏÏ
Ï
Î
Ï
Î
Î
ú
Ï
ÏÏ
Î
THE V CHORD: TI - RE -- 15
15
&
&
#
Ï Ï
And
# Î
?# Ï
Ï
it
Ï
Ï Î ÏÏ
ÏÏ
#Ï
Ï
Î
Î
?# Ï
23
#
Î
ÏÏÏ
& Ï
Ï
Î
ÏÏÏ
&
#
such
?# Ï
26
#
& Ï
&
#
my
Î
?# Ï
a
Î ÏÏ î
Î
Ï
F
ú
Ï Î Ï
ÏÏ
Ï
Î
ÏÏÏ
Ï
Ï
Î Ï
Î
ÏÏ
Ï
Ï
Ï
Ï
Ï
Î
Î
Ï
Ï
Î
Î
ÏÏ
Ï
Î
Ï
Î
ÏÏÏ
nev - er
Ï
f
Ï
Ï
î
to
Ï
my bub-ble gum
Î
Ï
Ï
Ï
Î
103
ÏÏ
Ï
Î
Ï
Î
Ï
Ï Ï Ï
Ï
Î
ÏÏ
Ï
Î
ÏÏ
it
up, We're
Î
Î
Ï
Î
Ï
Ï
P
Ï Ï Ï Ï Ï
Î
and my bub-ble gum,
Î
ú
ÏÏ
ÏÏ
Ï
bra - ces,
Ï Ï Ï Ï Ï
Ï
Me
ÏÏ
Ï
Î
Î
Ï
P
Ï
my
give
Î
ÏÏÏ
to
Ï
Î
Ï
Î
Ï
stick
ÏÏ
Ï
I'll
Ï
Î
best friend; I'll
ÏÏ
Ï
Yet
Ï
pair.
Î
f
Ï
Î
Ï
ú.
hap - py
Ï
Now it's stick - ing
Î Ï Ï
ÏÏ
ú
Ï Ï
Î
Î
Ï
Ï
hair.
Ï
ÏÏ
Ï
Î
Ï
ú.
Yes - ter - day my
# Î
Ï
tar.
19
&
Î Ï
ú.
tastes like
#
& Ï Ï Ï Ï
F
Ï
Î
Ï
ÏÏ
Ï
Ï
Î
ú
to
the
end!
Î
ÏÏ
Ï
úú
ú
Ï
Ï
Ï
Ï
v
16:
The V Chord--Re-So
Perfect Fourth
www
The V Chord--The V Chord is a triad based on the fifth degree of the Major scale--So.
?
Key of F Major:
b
www
I
V
The interval Re-So is used in the French folk song, below. Locate the Re-So intervals.
Audiate the song while signing, and then sing the song on solfege.
Fais Do Do
úI
? b 34
Fais
V
7
?b Ï Ï Ï
Ï
do
do, Mi-chel, mon pe - tit
Ï Ï Ï
ú.
ras du lo - lo.
?b
ÏI Ï Ï
13
pa est en
V
?b Ï Ï Ï
19
mon pe - tit
Ï Ï Ï
Ï Ï Ï
I
frè
ú
V
Ma-man est haut
Ï Ï Ï
V
bas, il fait
úI
frè
úI
V
Ï
-
ÏI Ï Ï
re. Fais
Ï
ú.
re. Fais
ú
do
do,
French:
Fais do do, Michel, mon petit frére;
Fais do do, t'auras du lolo.
Maman et haut; elle fait des gâteaux;
Papa est en bas; il fait du chocolat.
ú
do
do,
ÏI Ï Ï
ú
V
Ï
Ï
t'au -
Ï
Pa -
ú
Ï
Ï Ï Ï
Fais
do
do, Mi-chel,
I
V
Ï
Ï
elle fait des gâ - teaux;
du cho - co - lat.
ú
ú
Ï
-
French folk song
Ï Ï Ï
V
ú.
I
t'au - ras du lo - lo.
IPA Pronunciation:
fe do do mi-SEl mo 1 p«- ti frE - r «
fe do do to - ra du 2 lo - lo
ma - mo 1 Et ot *El fe de ga - to
pa - pa Et o 1 bas I l fe du Sa - ko - la
English translation:
Go to sleep, my little brother Michel.
Go to sleep, and you will have your milk.
Mother is upstairs making cakes;
Father is below making chocolate.
__________________________
* Consonant is silent except when followed by a word beginning with a vowel. If the next word
began with a consonant, the "t" would not be pronounced. The same goes for the other elided
consonants (between "est" and "en," and between "bas" and "il," measures 13, 14).
1. Nasalized vowel
2. Say the vowel "u" with the mouth shaped for the vowel "i."
104
Chapter 16:
The V Chord--Re - So
q Breathing
1.
2.
3.
4.
Have the students stand, hands on their abdomens (beltlines).
Have them breathe in deeply and to expand at their beltlines.
Tell them to fill up their lungs all the way to the bottom.
Take a deep breath and perform the following pattern:
44
Ï
Ï
ss
Ï
ss
Ï
ss
ss
w
soo
5. Begin with 2 repetitions on a single breath, then add one
repetition at a time up to 4 repetitions, all the while
reminding them to keep "hold" of the breath with their
abdominal muscles.
6. Repeat the exercise with actual pitches:
# 4
& # 4 Ï
D
Ï
Ï
Ï
w
"Follow Me" Handsign the notes Do, Re, Mi, Fa and So in various orders,
Game
emphasizing the interval Re -So.
Ask the students to follow your handsigns. (Do not sing with them.
Let them work for it.) Ask for a student volunteer to lead the activity.
O Audiate:
Using Do, Re, Mi, Fa and So handsign a short series of notes
using scalewise motion and the interval of Re - So only. (Start
out with 2 or 3 notes, then add more to the series). Have the students
watch and "listen" in their heads, and then sing the series for you.
Don't forget the "Memory" game as described in Chapter 1.
IPA:
The IPA (International Phonetic Alphabet) is a wonderful tool for
the choir director. A chart of IPA vowels is included in the appendices
of this book. It was developed for the standardization of pronunciation
markings throughout many dialects. Encourage the students to use the
IPA chart on page 231 to help them pronounce their words.
S - 104
Don't forget: Ask for volunteers to sing independently.
Remind them: Sit tall
Tall vowels
Eyes up!
Use handsigns.
Don't forget: Practice appropriate performance techniques with your
students before each performing opportunity.
Class Discussion:
What is the difference between appropriate behaviors for large and small
ensembles?
What is the difference between appropriate behaviors for formal and informal
performances?
S - 105
THE V CHORD: RE - SO -- 16
IMPROVISE an accompaniment for "Fais Do Do" based upon the Chord symbols
that are provided above the notes. (A chord remains the same until a different chord is
specified.) This can be done in several different ways on Orff or keyboard instruments:
I
I
V
I
3
Ï
Ï
Ï
Ï
ÏÏ ÏÏ
b
Î
Î
Î
Î
Ï Ï
Ï Ï
AX & 4
ÏÏ ÏÏ
BX
? 3 Ï Î Î
b4
Ï Î Î
Ï Î Î
Ï Î Î
j
j
* j
3 j
& b4 äÏÏÏÏÏ äÏÏÏÏÏ äÏÏ ÏÏÏ äÏÏÏÏÏ
Or:
AG
AM
? 3 Ï Î Î
b4
Ï Î Î
Ï Î Î
Ï Î Î
Experiment with these and other accompaniment patterns for the song.
COMPOSE a counter-melody to go with "Fais Do Do"
WRITE a second voice part in harmony.
ACROSS THE CURRICULUM:
Write a new set of words for "Fais Do Do."
Pencil Time 2:
Activity Sheet 34: Fourths
Activity Sheet 35: Re - So
AUDIATE:
Below is a popular Christmas tune that uses the interval Re-So.
Audiate the song while signing. Do not sing it out loud. What is the
name of the song? On what word(s) does the interval Re-So occur?
? # 44 Ï Ï ú
Ï Ï ú
1
? # Ï Ï Ï ÏÏ Ï Ï Ï Ï ú
Ï Ï Ï. Ï w
J
ú
Ï Ï Ï Ï
Ï2 Ï Ï Ï w
..
* As long as all three notes are present, it is still a chord. In this measure, all three notes that make up the
V chord are presented in "broken" form--that is, played consecutively instead of at the same time. In this case,
the second note of the V chord (Ti) is presented in the lower voice (the bass clef) instead of the first (So).
105
16 -- THE V CHORD: RE - SO
Re-So
Re-So is a perfect fourth (5 half steps).
The following exercises present the perfect fourth, Re-So.
READ the exercises. Identify each key (Watch out!) and then:
1. Scan for repetition and form.
2. Chant the rhythm while conducting.
3. Chant the solfege in rhythm.
4. Audiate (handsign and read silently).
5. Sing with handsigns.
Interval practice:
#4
& 4 Ï Ï Ï Ï
? b 44 Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
Reading exercises:
1.
& b 44 Ï Ï Ï Ï
&b Ï
Ï
Ï
Ï
Ï Ï ú
Ï Ï ú
Ï Ï ú
? b 44 ú
2.
Ï Ï ú
?b ú
3.
& b 44 Ï Ï Ï Ï
? b 34 Ï Ï
4.
?b Ï Ï Ï
?b ú
Ï
Ï
Ï
Ï Ï Ï
ú
ú.
ú
ú
Ï
106
Ï
Ï
Ï
Ï
ú
Ï
Ï Ï ú
Ï
Ï
Ï Ï Ï Ï
Ï
ú
Ï
Ï
ú
Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï ÏÏÏ Ï
Ï
&b Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï ú
ú
Ï
Ï
ÏÏÏ
w
Ï Î
Ï Ï ú
Ï
Ï Ï Ï Ï Ï ú
ú.
Ï
Î
ú
Ï
Ï Ï Ï
Ï
Ï Ï Ï
Ï
ú
Ï Ï Ï ú
Ï
Î
THE V CHORD: RE - SO -- 16
4
&4 Ï Ï Ï
Ï
Ï
&Ï Ï Ï Ï
Ï
Ï Ï Ï
5.
6.
? 34 Ï Ï Ï
?Ï Ï Ï
?ú
7.
&
Ï
ÏÏÏÏ
Ï
Ï Ï Ï
Ï
#4 Ï ÏÏ
Ï Ï
& 4
# Ï ÏÏ
Ï Ï
Ï
Ï
Ï Ï Ï Ï .
ú
ÏÏÏ
Ï
ú
Ï
Ï
Î
Ï
Î
Ï Ï Ï
Î Ï Ï Ï
Ï ÏÏÏ
Ï Ï Ï
Ï
Ï Ï Ï
Ï
Ï
ÏÏÏÏÏ
Ï
Î
Ï ÏÏÏ
ÏÏÏ
Ï
Ï Ï Ï Ï ú
Ï ÏÏÏ Ï
ú
Ï
? # 44 Ï Ï Ï Ï Ï
?# Ï
9.
ÏÏÏ Ï
& 44 Ï Ï Ï Ï Ï Ï
&Ï
8.
ú
Ï
Ï
Ï
Î
Ï
Ï ÏÏÏÏÏ
Ï Ï ú
Ï
ú.
Ï Ï ú
ÏÏÏ
ú
Ï Ï Ï Ï Ï Ï Ï Ï
Ï
Ï Ï ú
Ï Ï Ï ÏÏ ÏÏÏ ú
Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
Ï
107
Ï
Ï
Ï
Ï
ÏÏÏ
ÏÏÏ
ÏÏ
Ï Î
16 -- THE V CHORD: RE - SO
10.
?# Ï
Ï
Ï Ï
?# Ï
11.
&
&
&
ú
#
#
#
Ï
ú
Ï Ï Ï
Î
Ï
ÏÏÏÏÏ
Ï Ï Ï
Ï
Ï
Ï
Ï Ï Ï
Ï ÏÏ Ï Ï
Ï Ï ú
ÏÏÏÏú
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï Ï Ï ú
Ï Ï Ï Ï Ï
Ï
Ï
Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï
108
Ï
Ï
ú.
Ï Ï Ï Ï
Ï Ï
ÏÏÏÏ
Ï Ï Ï Ï Ï
Ï
Ï Ï Ï
Ï ÏÏÏ Ï
ÏÏÏ
ú
Ï
Ï Ï Ï Ï
YOUR BRAIN:
Ï Ï Ï
Ï
Ï
Ï
Ï
Î
Ï Ï Ï
Ï Ï Ï Ï
Ï
ú
ÏÏ Ï
Ï
Ï
Ï Ï Ï
? 44 Ï Ï Ï Ï Ï Ï
#3
& 4 Ï
Ï
Ï Ï
Ï
Ï Ï Ï
Ï
Ï
Ï
Ï Ï
?ÏÏÏÏÏ
13.
Ï
& b 24 Ï
&b Ï
12.
ú
?#3 Ï Ï Ï
4
Ï Ï Ï
Ï ÏÏÏ Ï Ï
Ï
Ï
ú
THE V CHORD: RE - SO -- 16
14.
Ï
Ï Ï Ï Ï ÏÏÏ ú
Ï ÏÏÏÏÏ
?#4 Ï Ï ú
4
ÏÏÏÏÏ
?# Ï ÏÏÏ ÏÏ Ï
Ï Ï Ï ú
Ï ÏÏÏÏÏ
#### 4
î
4 ÏÏÏ Ï ÏÏ ÏÏÏÏÏ Ï ÏÏÏÏÏ Ï ú
15. &
####
&
Ï ÏÏÏÏÏ Ï ÏÏÏÏÏ ÏÏÏÏÏ ÏÏ ÏÏÏÏÏ Î
16.
? b b 44 ú
b
ÏÏÏÏ Ï Ï ú
Ï ÏÏÏ Ï
? bb ú
b
ÏÏÏÏ Ï Ï ú
ÏÏÏ ÏÏÏ
? bb Ï Ï Ï Ï Ï Ï Ï Ï ú
b
? bb ú
b
ÏÏÏÏ Ï Ï ú
ÏÏÏÏÏÏÏ
17.
b
& b b b b b 34 Ï Î Ï
b
& b bbbb Ï Ï Ï Ï Ï
ÏÏÏ Ï
ÏÏÏ Ï
bb
& b b bb Ï Ï Ï Ï Ï Ï Ï Ï î
b
& b bbbb Ï Ï Ï Ï Ï Ï Ï Ï
b
& b bbbb Ï Ï Ï Ï Ï
ÏÏÏ ÏÏÏ
ÏÏÏ Ï
Ï
Ï
ÏÏÏÏÏ Ï
Ï Ï Ï
ÏÏÏÏÏ
Ï Ï Ï Ï ú
Ï Ï Ï
Ï Ï Ï ÏÏÏ Ï
109
ÏÏ
Ï Ï Ï
Ï Î Ï
Ï Ï Ï Ï
ÏÏ
ÏÏÏÏÏ Ï
ÏÏÏ Ï
Ï î
Ï
Ï ÏÏÏ
Ï
î
Ï
16 -- THE V CHORD: RE - SO
The Morning Chimes
f
Ï
Ï Ï *Ï Ï
Ï
Cling,
clang,
úú
? b 44 ú
Orff:
SM*
Or 3 or 4
hands on
piano
keyboard
AM
BM
?b Ï Ï Ï
3
out
& b úú
& b ÏÏ
?
b
w
w
a
ú.
ú.
& b 44 Î
wf
? b 44 w
¡
Ï
Ï
wel - come
úú
mer-ri - ly,
& b Î
f
? b Ï
f
Ï
Ï Ï ú
Ï ú.
Ï
go the morn - ing
chimes,
Ring-ing
úú
úú
ÏÏ
w
w
Ï
Ï
ú
for
the
sun.
F
Ï
ú.
ú.
úú .
.
Ï
Light - ly,
úú
î
Î
P
Ï
Ï Ï Ï Ï Ï
Î
F
Ï
F
F
Ï Ï Ï Ï Ï
P
Hail - ing a brand
î
Ï Ï
Ï
Patti DeWitt
For piano--hold damper pedal down
w
w
Bold - ly,
f
úú .
.
Ï
Ï
Ï Ï Ï
& b î
f
úú
Ï
f
6
?b Ï
f
4
& b4 î
Words and music by
Ï
Ï Ï ú
Ï ú.
new
Ï
air - i - ly,
P
Ï
P
Ï Ï ú
Ï
Ï ú.
Ï
day
î
Î
Ï
Ï
ú
be - gun.
Ï
Ï Ï ú
Ï ú.
Ï
* If piano is used, play one octave higher, and use continuous damper pedal.
For variety, perform in canon with the second part beginning a measure after the first. Continue in canon
until measure 16.
110
THE V CHORD: RE - SO -- 16
?
9
b
f
ú
Ï
Ï Ï
Cling,
clang,
go the
î
úú
& b
b
?b
12
f
Î úú ..
& b
?
f
morn
Ï
Ï
& b ÏÏ
w
? b w
f
?b Ï
Wake
& b î
& b Î
f
? b Ï
Ï
morn.
î
úú .
.
Î
P
Ï
Ï Ï Ï Ï Ï
up! a bright
f
f
Ï
Ï Ï ú
Ï ú.
new
Ï
úú
Ï
Ï
P
Ï
P
ú
day
is
born!
î
Ï
Ï Ï ú
Ï ú.
111
Î
Ï
Ï
Ï
ú.
ú.
Ï
F
î
F
Ï
úú
Joy - ful - ly sing - ing,
Ï
Ï Ï ú
Ï ú.
Î
Ï
ring - ing,
splen - did,
Ï Ï Ï
F
Ï
Ï
a
ww
Gai - ly
úú
in
úú
Ï Ï Ï Ï Ï
P
Ï Ï Ï
chimes, Ring- ing
ú.
ú.
ww
Ï Ï
Ï
ing
Ï
Ï
ú
glor - ious
-
úú
f
ww
& b úú
15
Ï Ï Ï
Ï
F
Ï Ï ú
Ï ú.
p
P
Cling,
clang,
î
úú
ú
ú
Ï
Î
p
w
w
Ï
P
p
úú
P
ÏÏ
16 -- THE V CHORD: RE - SO
?
18
F
f
cling,
clang,
Wake
ú
î
b
Ï
ú
& b úú
& b Î
F
w
? b w
u
f
F
úú
ú
u
ÄÙ
born
& b w
f
Ï
Ï
u
Ä
w
22
?b w
U
Ï
Ï Ï Ï Ï Ï
Ï
up! a bright
new
day
úú
úú .
.
Î
ww
is
úú
î
ww
úú
úú
î
ww
w
w
w
w
w
Ä
·
·
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
w
·
ú
Ï Ï Ï Ï Ï
ÏÏÏÏÏ
ÏÏÏÏÏ
Ï Ï Ï
ÏÏ Ï
ÏÏ ú
& b Ï
?
b
Ä
Ï
Ï
Ï
Ï
ú
Ï
Ï
Ï
Ï
Ï Ï
Ï Ï
ú
ú
úú
ú
ú
>ú
ú
úú
>
>ú
ú
What does this mean? Ù ~~~~~~~~~~~~~~~~~~~~~~~~~~~
It is a trill, which means that it is played by rapidly alternating the note shown
with its upper neighbor, in this case, C and D.
112
17: Review:
Thirds and Fourth of the V Chord
The intervals of the V Chord that have been presented in this book are:
1. Major third--So-Ti
2. Minor third--Ti-Re
3. Perfect fourth--Re-So
?w
w
&w
w
?w
w
bw
w
b
w
b
w
w
#w
w
w
w
#
w
#w
w
Pencil Time 2:
Activity Sheet 36: Dictation #2
Activity Sheets 37, 38: Vocabulary Word Search
The following exercises present the above intervals of the V Chord.
READ the exercises. Identify each key (Be careful!) and then:
1. Scan for repetition and form.
2. Chant the rhythm.
3. Chant the solfege in rhythm while conducting.
4. Audiate (handsign and read silently).
5. Sing with handsigns.
? b 44 Ï Ï Ï Ï Ï Ï Ï Î
1.
?b Ï Ï Ï Ï Ï Ï Ï Î
2.
& b 44 Ï Ï Ï Ï Ï
&b Ï ÏÏÏ Ï
Ï Ï ú
Ï Ï
Ï Ï
113
Ï Ï Ï Ï
Ï Ï Ï Ï
ÏÏÏ
Ï
Ï Ï Ï Ï
Ï
ÏÏÏ ú
Ï Ï ú
Ï Ï ú
ÏÏÏÏú
17 -- REVIEW: THIRDS AND FOURTH OF THE V CHORD
3.
? 3 Ï Ï Ï
b4
?b Ï
Ï
b 34
&
4.
Ï
&b Ï Ï
Ï
Ï
Ï Ï Ï
Ï
Ï
Ï
Ï
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï
Ï
Ï Ï Ï
Ï
Ï Ï Ï
? b 44 Ï Ï Ï Ï Ï Ï Ï Ï ú
5.
?b Ï Ï Ï Ï Ï ÏÏÏ ú
6.
&
7.
#4
& 4 ÏÏÏÏÏ Ï
#
? # 34 Ï
?# Ï
8.
&
&
Ï
Ï
Ï
#3
& 4 Ï Ï Ï Ï
#
#
Ï ÏÏÏÏ Ï Ï Ï
Ï Ï Ï
ú
Ï Ï Ï
Ï
Ï Î ÏÏ
Ï Î
Ï
Ï
Ï
Ï
Ï ÏÏÏÏÏ
ÏÏÏ ÏÏÏ
ÏÏÏ ÏÏÏ
ÏÏÏÏú
Ï
Ï
Ï
Î
Ï
Ï
Î
ú
Ï ÏÏÏ ÏÏ Ï
Ï Ï Ï
ÏÏÏÏú
Ï
Ï Ï Ï Ï Ï
Ï
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï Ï Ï
Ï ÏÏÏÏ ÏÏÏ Ï
Î
ÏÏ ú
Î Ï Ï Ï
114
Ï
ÏÏÏ Ï
Ï Ï Ï Î
Ï Ï ú
Ï Ï Ï
Ï
Ï Ï ú
Î
ú
Ï
Ï Ï Î
Ï
Ï Ï Ï Î
Ï
Î
Ï
Ï Ï Ï
Ï
Ï
Ï
Ï ÏÏÏÏ Ï Î
REVIEW: THIRDS AND FOURTH OF THE V CHORD -- 17
9.
?#4 Ï Î Ï Ï
4
?# Ï
10.
&
&
&
11.
Ï
ÏÏÏ Ï Î Ï Ï Ï Ï Ï Ï Ï
#4
& 4 ÏÏ Ï ÏÏÏÏÏ
#
#
#
Ï ÏÏÏÏÏ
Ï Ï Ï
Ï
ÏÏÏÏÏ
Ï Ï Ï
Ï ÏÏÏ Ï
Ï
Ï
Ï Ï Ï
Ï
Ï
Ï
?# Ï
Ï ÏÏÏ Ï
Ï
ú
Ï
ÏÏÏÏÏ ÏÏ
Ï Ï Ï Ï ú
Ï ÏÏ
ÏÏÏ Ï Ï
ÏÏÏ Ï Ï
Ï
Ï Ï Ï
Ï Ï Ï
ú
Ï
Ï
Ï
Ï
Ï Ï Ï
Ï
ú
Ï Ï Ï
Ï
Ï
Ï Ï
Ï
ú
Ï
Ï
& 34 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï
&Ï Ï ÏÏ
ÏÏÏ Ï Ï
Ï Ï Ï
Ï Ï Ï
ÏÏÏ Ï Î
ÏÏ ÏÏ Î
Ï
ÏÏ Ï ÏÏÏ ÏÏ Ï ÏÏÏ Ï
Ï
? # 34
?#
12.
Ï
Î
Ï Ï Ï Ï
ÏÏÏ Ï Î
ÏÏÏÏÏÏ ú
Ï
Î
DC al Fine
Î
Ï ÏÏ Ï ÏÏ
Ï ÏÏ Ï Ï Ï Ï
Ï Ï Ï Ï Ï ú.
Ï
Ï
Ï
Ï
& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú.
115
Fine
Ï
17 -- REVIEW: THIRDS AND FOURTH OF THE V CHORD
13.
? b3 Ï Ï Ï
b 4
? bb ú .
? bb Ï
? bb Ï
14.
Ï
ú.
Ï
Ï
Ï
b
& b b b 44 .Ï Ï ú
b
& b bb Ï
bb Ï
&bb
bb
&bb Ï
Ï
Ï
Ï
Ï
b
& b bb ú
15.
YOUR BRAIN:
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï
Ï
Ï
Ï
ÏÏÏ Ï
Ï
Î
Ï
Ï
Ï
Ï
? bb b b Ï Ï Ï
bb
Ï
Ï Ï Ï Ï
Ï
Ï Ï
Ï Ï Ï
ú.
ú
Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï Ï
Ï
ú
Ï Ï
ú
Ï
Ï
Ï Ï Ï
Ï
Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï
116
Î
Ï
Ï
Ï Ï Ï
Ï
Ï Ï Ï
Ï Ï Ï Ï Ï
ú.
Ï
Ï Ï ÏÏÏ Ï
Ï Ï Ï
Ï Ï Ï Ï Ï
ú.
Ï
Ï
Ï Ï Ï
Ï
Ï
Ï
Ï
? b b b b 24 Ï Ï Ï Ï
bb
? bb b b Ï
bb
Ï Ï Ï
Ï ÏÏ Ï Ï Ï Ï
Ï Ï Ï
Ï Ï Ï
Ï
Ï
Ï
Ï
Ï Ï
REVIEW: THIRDS AND FOURTH OF THE V CHORD -- 17
Two-Part Exercises:
#4
& 4ú
? # 44 ú
1.
&
#
ú
?# ú
Ï Ï ÏÏÏ
Ï Ï Ï Ï
ú
ú
ÏÏÏ
Ï Ï
ú
ú
Ï
Ï
Ï
Ï
&
#
Ï Ï Ï ÏÏ ÏÏÏ Ï Ï
Ï Ï
?# Ï Ï Ï Ï ÏÏÏ
3.
& 34 Ï Ï Ï Ï Ï
ÏÏÏÏÏ
? 34
Ï Ï
ÏÏÏ
Ï
Ï
Ï
Ï
ú
ú
& ú
ú
?
Ï
Ï
Ï
Ï
ÏÏ Ï Ï Ï
ÏÏ Ï Ï Ï
Ï Ï Ï Ï
Ï
Ï Ï Ï
117
ú
ú
Ï Ï ú
ú
ÏÏÏ Ï Ï ú
Ï ÏÏÏ ÏÏ Ï Ï ú
Ï Ï ÏÏ Ï ÏÏÏÏ Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ
& Ï Ï ÏÏ Ï Ï Ï
Ï
Ï Ï Ï
? Ï Ï
ÏÏ Ï
ÏÏ Ï
Ï Ï ú
Ï Ï ú
Ï Ï Ï Ï
Ï Ï
ú
#
& 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï
Ï
Ï
Ï Ï ÏÏÏ Ï Ï
? # 44
2.
ÏÏÏ ú
ÏÏÏ Ï Ï
Ï Ï
Ï Ï
ú
ú
Ï Ï Ï Ï ÏÏ
ÏÏÏÏ
Ï Ï Ï
Ï Ï Ï
ÏÏÏ Ï
Ï Ï Ï
Ï
ú
Ï
Ï
Ï
ú.
ú.
17 -- REVIEW: THIRDS AND FOURTH OF THE V CHORD
4.
4
&b4 ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï ÏÏÏ Ï
? b 44 Ï ú
&b Ï Ï
? ú
b
5.
Ï
Ï
& b 44 Ï Ï Ï Ï
Ï Ï
ú
? b 44
&b Ï Ï
ú
?b
6.
Ï Ï
Ï Ï
Ï Ï
Ï Ï
Ï Ï
Ï Ï Ï
Ï
Ï
Ï Ï ú
Ï ÏÏú
Ï Ï Ï
Ï ÏÏÏ
Ï Ï
ÏÏ Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï Î
ú
Ï
Î
Ï Ï Ï Ï
Ï Ï Ï Ï
ú.
Ï Ï ú
Ï Ï
ú
Ï Ï ÏÏÏ
ÏÏÏ ú
Ï
Ï
Ï Ï
ÏÏÏ
ú.
Ï Ï ú
ÏÏÏÏú
& b 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï ÏÏ Ï Ï Ï Ï
Ï Ï Ï Ï ÏÏÏ ÏÏ
? 4 ÏÏ
Ï
b4
&b Ï Ï
Ï Ï
?b
Ï
Ï
Ï Ï
ÏÏ Ï
Ï
Ï
Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï
Ï Ï
Ï Ï
118
Ï Ï Ï
ÏÏÏÏÏ
REVIEW: THIRDS AND FOURTH OF THE V CHORD -- 17
How is this exercise different?
3
&b4
7.
·
Ï Ï ÏÏ Ï
Î
Ï
? b 34 Ï Ï Ï Ï Ï
&b Ï
?
b Ï
Ï
Ï
&b Ï Ï Ï
Ï
Ï
ú
Î
Ï Ï Ï Ï Ï
Î
Ï
Ï
Ï Ï Ï Ï Ï
Ï
ú
Ï Ï
Î
Ï Ï Ï
Ï
ú
Î
Ï
ú
Î
Ï
Ï
Ï
Ï Ï Ï Ï Ï
?b Ï Ï Ï
Ï
Ï
Î
Ï Ï Ï Ï Ï
&b Ï
?b Ï
Ï Ï Ï
Î
Ï
ú
Î
Ï Ï Ï Ï Ï
Ï
Î
Ï
&b Ï
?b Ï
8.
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
& 44 Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï
? 44
& ú
?ú
ÏÏÏÏ Ï Ï Ï Ï
Ï Ï Ï Ï ú
Ï
Ï Ï Ï Ï Ï
Ï Ï Ï
Ï Ï Ï
Ï
ú
Ï
ú
Ï Ï ú
Ï
Ï
ú
ú
ÏÏ
Î
Ï Ï
Ï Ï
Ï Ï ú
Ï
ú
Ï Ï
Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï
ÏÏÏ ÏÏÏÏ Ï Ï Ï Ï ú
Ï Ï ÏÏÏ Ï Ï Ï Ï ú
119
Î
17 -- REVIEW: THIRDS AND FOURTH OF THE V CHORD
YOUR BRAIN:
# 4
& #4 Ï Ï Ï ÏÏ Ï Ï ú
Ï Ï Ï Ï Ï Ï ú
? # # 44
9.
&
Ï Ï Ï Ï
Ï Ï Ï Ï
##
Ï Ï ÏÏÏ
Ï Ï Ï Ï
Ï Ï Ï ÏÏ Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï ú
? ##
10.
b 3
& bb4 ÏÏÏÏÏ
Ï
? b b 34 Ï Ï Ï Ï
b
b
& b b ÏÏÏÏÏ
Ï Ï Ï
? bb
b
b
&bb ÏÏ
Ï Ï
Ï
? bb ú
b
11.
b
& b 24 Ï
? b b 24 Ï
b
&b Ï
? bb Ï
ÏÏÏÏÏ
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï
ÏÏÏ Ï
Ï Ï Ï
ú.
ú.
ÏÏÏ Ï
Ï Ï Ï
ú
ú
Ï Ï Ï
ú
Ï
Î
ÏÏÏ
Ï Ï
Î
ÏÏÏÏÏ
Ï
ÏÏÏÏ
Ï Ï Ï
ÏÏÏÏÏ
Ï
ÏÏÏÏ
Ï Ï Ï
Ï ÏÏÏ Ï
Ï Ï ú
Ï ÏÏú
Ï Ï ú
Ï
Ï
ÏÏÏÏÏ
ÏÏú
Î Ï ÏÏ
ÏÏÏ
Ï
Ï Ï
Ï Ï Ï
Î
Ï ÏÏÏ
Ï ú.
Ï Ï Ï ú.
Ï
ÏÏÏÏÏ
Ï
Ï Ï ÏÏÏÏ Ï Ï Ï
Ï
Ï Ï Ï
Ï
Ï Ï ÏÏ ÏÏ Ï Ï Ï
120
REVIEW: THIRDS AND FOURTH OF THE V CHORD -- 17
#4
Ï
& 4 Ï Ï Ï
#4
& 4
Ï ÏÏÏ Ï
? # 44 Ï Ï Ï Ï
Ï ÏÏú
#
& 44 Ï Ï Ï Ï
#4
& 4 Ï Ï ÏÏ
Ï
Ï
Ï Ï Ï
?#4
4
Ï ÏÏú
Three-part exercises:
1.
2.
&
&
#
#
Ï Ï Ï Ï
Ï Ï ÏÏÏ
?# Ï Ï Ï Ï
3.
Ï Ï Ï Ï
? b 44 Ï Ï Ï Ï
Ï Ï Ï Ï
?b Ï Ï Ï Ï
Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï ÏÏÏ
Ï Ï ÏÏÏ
Ï ÏÏÏ Ï
Ï ÏÏÏÏÏ
Ï Ï ÏÏÏ
Ï Ï Ï Ï
Ï ÏÏú
Ï ÏÏú
& b 44
&b
Ï ÏÏú
Ï ÏÏú
Ï ÏÏú
& b 44 Ï Ï Ï Ï
&b Ï Ï Ï Ï
Ï ÏÏú
Ï Ï ú
Ï Ï Ï Ï
Ï ÏÏú
Ï Ï ú
Ï Ï ú
ÏÏÏ Ï
Ï ÏÏÏ Ï
Ï Ï Ï Ï
121
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï ÏÏú
Ï Ï ú
Ï Ï ú
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï ú
Ï ÏÏú
Ï ÏÏú
Ï ÏÏÏÏ Ï
Ï
Ï Ï ÏÏÏ
Ï Ï Ï Ï
Ï Ï Ï ÏÏ Ï Ï ú
ÏÏÏ Ï Ï
Ï Ï Ï Ï
Ï Ï ú
Ï Ï ú
17 -- REVIEW: THIRDS AND FOURTH OF THE V CHORD
3
&b4 Ï Ï ÏÏ Ï Ï ÏÏ Ï Ï Ï ú
3
&b4
Ï Ï Ï Ï ú.
Ï Ï Ï Ï Ï
? b 34 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
4.
&b Ï
&b
Ï
?b Ï
Ï
ÏÏ Ï
Ï
Ï
Ï
& b Ï ÏÏÏ
&b Ï Ï Ï
?b Ï Ï Ï
Ï
Ï
Ï
ú
&Ï
&
Ï
?Ï
ÏÏÏ
Ï Ï
ÏÏÏ
Î
Ï
Ï Ï
Ï Ï
ú
ú
Ï
Ï
Ï Ï
Ï Ï
Ï
Ï Ï Ï
Ï Ï ÏÏ
Ï
Ï
ÏÏÏ
Ï
ÏÏÏ
Ï ú
ÏÏ
Ï Ï ÏÏ Ï Ï ÏÏ Ï Ï Ï
Ï Ï Ï
Ï Ï Ï
Ï Ï ÏÏ Ï Ï Ï
Ï
& 44 Ï Ï Ï Ï Ï
& 44 Ï Ï Ï Ï
? 44 Ï Ï Ï Ï Ï
5.
ú
Ï
ú.
ú
Ï Ï ÏÏ
ÏÏÏ
Ï
Ï
Ï
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï
Ï
Ï
ú
Ï
Ï
Ï Ï
Ï Ï
ú
ú
122
Ï Ï ú
Ï Ï ú
Ï ÏÏ Ï
Ï Ï
Ï Ï
Î
Ï Ï ú
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï
Ï Ï
Î
Ï Ï Ï ú
Ï Ï Ï ú
Ï Ï ÏÏÏ
Ï Ï
Î
ú
Ï
Ï
Ï
Ï
Ï
ú
ú
ú
S -122
Learning the
Song:
SB--"The Foal"
Establish the form, then teach the song on solfege, a cappella.
Have your students memorize the piece and perform it from memory,
paying close attention to the expressive elements--the dynamics, and
tempo changes.
S -123
REVIEW: THIRDS AND FOURTH OF THE V CHORD -- 17
"Arab Tent"
Painting by
Sir Edwin Henry Lanseer
(1802-1873)
The Foal
SB a cappella
Words and music by
P
Gently
& 44 Ï
S
Patti DeWitt
Ï
Ï
gem
of
Ï
Ï
Ï
gem
of
Lit - tle
P
? 44 Ï
B
Lit - tle
Ï
Ï
Ï
Ï
Ï
Ï
Mo - ther
Ï
Na - ture
Ï
Mo - ther
Ï
Na - ture
Ï
Ï
Ï
Ly - ing
Ï
in
the
Ï
Ï
Ï
in
the
Ly - ing
4
&Ï Ï Ï
sweet, clean
?Ï Ï Ï
sweet, clean
7
&Ï
Ï
?Ï
Ï
Ï
Ï
Ï
Ï
At
your
Ï Ï Ï
Ï
Ï
At
your
Ï
Ï
ú
hay,
hay,
Ï
Ï
Ï
Ï
ú
mo - ther's
mo - ther's
Ï
Ï
Ï
Ï
gen - tle
gen - tle
Ï
Ï
Ï
Ï
Ï
Ï
Ï
nuz - zle
Ï
Ï
nuz - zle
Ï
Ï
Blink - ing
at
the
light
of
day.
Brave - ly
fac - ing
Blink - ing
at
the
light
of
day.
Brave - ly
fac - ing
Ï
Ï
Ï
Ï Ï ú
123
Ï
Ï
17 -- REVIEW: THIRDS AND FOURTH OF THE V CHORD
10
& Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï ú
your
first
bat - tle
As
you
strug - gle
to
your
feet
your
first
bat - tle
As
you
strug - gle
to
your
feet
?Ï
F
13
Ï Ï Ï Ï Ï
&Ï
Ï
?Ï
Ï
Ï
Ï
on
out
Ï
Ï
Ï
on
out
Step - ping
F
Ï Ï Ï Ï Ï
Step - ping
Ï
Ï
Ï Ï Ï Ï Ï
Ï
Ï
wob - bly
Ï
This
legs
This
Ï
Ï
ú
f
Ï Ï Ï
splen - did
Ï Ï Ï
wob - bly
F
legs
Ï
Ï Ï Ï
splen - did
Ï
world
to
f
Ï
Ï
world
to
Ï
Ï
Ï
Ï
A tempo
16
&ú
greet.
?Ï
rit. . . . . . . . . . .
Ï
ú
Ï
rit. . . . . . . . . . .
& Ï
Ï
?Ï
Ï
Safe - ly
Safe - ly
22
& Ï
grand
?Ï
grand
Ï
Ï
at
Ï
Ï
Ï
your
Ï
forth
in
Ï
Ï
Ï
Ï
Set - ting
forth
in
Ï Ï Ï
ú
F
mo - ther's
Ï
Ï Ï Ï
at
your
mo - ther's
Ï
Ï
Ï
Ï
ad - ven - ture
Ï
Ï
Set - ting
greet.
19
Ï
ad - ven - ture
Ï
Ï
Ï
Ï
In
a
In
a
side;
side;
world
Ï
world
124
-
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to
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to
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Ev' - ry
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so
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so
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big
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big
sun - light
sun - light
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step's
a
step's
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wide.
and
wide.
and
a
Ï Ï Ï
Ï
REVIEW: THIRDS AND FOURTH OF THE V CHORD -- 17
25
p
Meno mosso; rubato
& Ï
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Lit - tle
p
gem
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of
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ten.
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ten.
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ten.
& Ï Ï Ï
ú
sweet, clean
hay,
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hay.
& Ï
All
F
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of
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in
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28
31
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your
ten.
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door - step;
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ten.
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the world is
f
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yours
to
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the
world
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f
ú
is
125
U
ú
-
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yours to
w
day.
ú
day.
U
ú
18: Review:
Thirds and Fourths of the I and V Chord
The I and V Chords:
ww
w
b www
Key of C Major
& www
I
1. Major third
V
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I
V
So
Ti
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Mi
3. Perfect fourth
I
V
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Do Mi
2. Minor third
of G Major
# Key
ww w
w ww
Key of F Major
So
Ti
Re
So Do
Re
So
?w w w w
Do Mi
So
Ti
bw w
w w
Mi
So
Ti
Re
So
Do
Re
So
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w
w
bw
Do Mi
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Ti
#w w
w w
Mi
So
Ti
Re
So Do
Re
So
w
# ww w
Pencil Time 2:
Activity Sheet 39: I Chord, V Chord
The following exercises present the the above thirds and fourths of the I and V Chords.
READ the exercises. Identify each key (Watch out!) and then:
1. Scan for repetition and form.
2. Chant the rhythm.
3. Chant the solfege in rhythm.
4. Audiate (handsign and read silently).
5. Sing with handsigns.
1.
& 44 Ï Ï Ï Ï
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Ï
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126
Ï Ï
Ï Ï ú
Ï Ï ú
Chapter 18: Review
Thirds and Fourths of the I and V Chords
qBreathing
1.
2.
3.
4.
Have the students stand, hands on their abdomens (beltlines).
Have them breathe in deeply and to expand at their beltlines.
Tell them to fill up their lungs all the way to the bottom.
Take a deep breath and perform the following pattern:
44
Ï Ï Ï
ss ss see
Ï Ï Ï
ss ss so
ÏÏÏÏ ú
ss ss ss ss soo
5. Begin with 2 repetitions on a single breath, then add one
repetition at a time.up to 4 repetitions. All the while
reminding them to keep "hold" of the breath with their
abdominal muscles.
## 4
& 4Ï Ï Ï
6. Repeat the exercise with actual pitches:
D
Ï Ï Ï
Ï Ï Ï Ï ú
"Follow Me"
Handsign the notes So, La, Ti, Do, Re, Mi, Fa and So in various
Game
orders, emphasizing the thirds and fourths of the I and V chords.
Ask the students to follow your handsigns. (Do not sing with them.
Let them work for it.) Ask for a student volunteer to lead the activity.
OAudiate:
In the
Literature:
Using So, La, Ti, Do, Re, Mi, Fa and So handsign a short series of
notes emphasizing the thirds and fourths of the I and V chords). (Start
out with 2 or 3 notes, then add more to the series). Have the students
watch and "listen" in their heads, and then sing the series for you.
"Mango Walk" is a Jamaican folk song and a great example of
calypso. It also uses many thirds and fourths of the I chord and
the V chord. Ask the students to identify these intervals as they
scan the song for form. Teach the song on solfege, beginning
with the two-part sections. Teach both parts simultaneously,
starting with rhythm reading, audiation, then chanting, then very
slow and careful singing of the solfege for limited sections.
All literature should be memorized for concert performance so
that it can be performed as naturally and expressively as possible.
S - 126
S - 127
REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD -- 18
2.
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127
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18 -- REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD
8.
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128
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REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD -- 18
13.
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&
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#3
& 4 ú
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129
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18 -- REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD
18.
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19.
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b
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bb
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130
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YOUR BRAIN:
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REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD -- 18
22.
Ï Ï Ï
? #### # 4 Ï
# 4
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131
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18 -- REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD
Two-Part Exercises:
#3
& 4 Ï
1.
? # 34 Ï
&
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132
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REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD -- 18
3.
3
& 4 ú.
ú
? 34 Ï ú
& Ï ú
? ú.
& ú
ú
?
4.
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133
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18 -- REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD
5.
4
&4 ú
? 44
&ú
?ú
6.
·
Ï ÏÏ Ï Ï
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#4 î
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& 4
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&
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7.
#4 ú
& 4
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&
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134
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REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD -- 18
#3 Ï Ï
& 4 Ï
? # 34 Ï Ï Ï
8.
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135
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18 -- REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD
10.
#2 Ï
& 4
? # 24 Ï
# Ï
&
&
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11.
?b ú
#
& 44 ú
? # 44 ú
&
#
ú
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136
ú
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12.
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w
w
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REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD -- 18
13.
&
#4
& 4 Ï Ï Ï Ï Ï
? # 44 Ï Ï Ï Ï Ï
#
& 34 Ï
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& Ï
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15.
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137
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18 -- REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD
Three-part exercises:
#
& 44 Ï Ï ú
#4
& 4 Ï Ï
ú
ú
?#4 ú
4
1.
#4
& 4 Ï Ï Ï Ï
#4
& 4
Ï Ï Ï Ï
?#4 Ï Ï Ï Ï
4
2.
&
&
#
#
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#
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#
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#4
& 4 ú
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4
3.
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ú
ú
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138
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ú
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S - 138
Eldorado:
What key is "Eldorado" in?
What is the form of "Eldorado"?
Is the song strophic? (many verses using the same melody)
Which voice has the melody at measure 20? Measure 38? Measure 54?
How can you tell which voice has the melody?
Which part begins in harmony?
How can you tell which voice is in harmony?
What changes happen in the dynamics from the first verse to the last?
All concert literature should be memorized. It is important that the students who are
going to accompany the song memorize it so that they can have a better understanding
of the form, content, and harmonic progressions. Memorization will also enable the
students to remain focused on the director so that they can perform the expressive
markings precisely as the director conducts them. This way they will have fewer
problems with page turns and getting lost in the music when they accompany.
Individual performance:
After performing "Eldorado" as a choral ensemble, have the students learn the melody
as a moderately challenging solo. Instruct them to perform it from memory and with
good intonation. Tell them to do an appraisal of the symbols and terms in the piece that
refer to:
1. dynamics
2. tempo
3. articulation
Ask them to define these terms and to describe what each of the symbols mean in
the performance of this piece as a solo.
Ask them to identify and define and demonstrate other terms and symbols for these
expressive elements that may not be included in this piece.
S - 139
REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD -- 18
4.
4
&4 ú
4
&4
ú
? 44 ú
& ú
& ú
?ú
5.
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ú.
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ú.
ú.
YOUR BRAIN:
6.
b
& b 34 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
b3
&b 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
Ï ú
Ï Ï Ï Ï ú
? b b 34 ú
139
Ï
Ï Ï Ï Ï Ï Ï ú.
ú.
Ï Ï ú
Ï Ï Ï Ï Ï ú.
18 -- REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD
Edgar Allen Poe
SB; optional piano accomp.
h.
bb
& b b 34 ..
In one
= 48
·
·
b
ÏÏÏ
& b b b 34 .. Î
P-p
Piano
bb
&bb Ï
? b b b 34 .. Ï Ï
b
Ï
Ï
Ï
Ï
5
gal
b b
& bb ú
? b b
bb Ï
10
&
bbbb
Ï
Ï
Ï
Î
bbbb
ú
Ï
b b
& b b ú
? bb b
b Ï
Ï
p
Ï
song,
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ú
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. ú.
ú
Ï Ï ..
Ï
Ï
Ï
sun
Ï
Ï
ú
Ï
Ï
of
El
Ï
ú
Ï
ú
Ï
Ï
Ï
and
Ï
ú
Ï
Ï
140
Ï
ú
Ï
ú
-
Ï
Ï
Ï
be - dight,
ú
Ï
Ï
Ï
A
Ï
Ï Ï
Ï
in
Ï ú
sha - dow,
Ï
Ï
Ï
ú.
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Ï
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dor - a - do.
Ï
ú
Ï
Ï Ï
Ï
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Ï
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long,
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search
Ï
shine
F
Ï
Ï Ï Ï
Ï
Ï
Ï
In
p
-
Ï
Ï
Ï
ú
jour - neyed
ú
Patti DeWitt
Gai - ly
In
Ï
Ï
Had
Ï
ú
ú
lant knight,
__________
? bb b
b
&
-
ú
b
& b bb Ï
14
Ï
P
.. Ï
Unison:
Ï
Ï
ú
a
Ï
Ï
Ï
Ï
ú.
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Ï Ï
Ï
Î
Ï
Ï
Ï
REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD -- 18
bb
& b b ..
·
19
S
B
But
? b b b ..
b
·
b
& b b b .. Î
Ï Ï Ï
P-p
? b b b .. Ï Ï
b Ï
23
&
bbbb
Ï
Ï
knight
? bb b ú
b
knight
b
& b b b úú ..
? b b Ï
bb Ï
27
&
bbbb
P
.. Ï
·
Ï
Ï
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ú
Ï Ï
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old
This
ú
Ï
.. ú .
ú.
p
.. Ï Ï
Ï
so
bold
And
o'er
his
Ï
ú
Î
ú.
so
bold
Ï
Ï
Ï Ï
Ï
Ï
Î
ú
ú
Î
P
Ï
Ï
p
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Fell
as
he
p
ú.
Oh
Ï
Ï
Ï
Ï Ï Ï
Ï
Ï
141
ÏÏ
p
Ï Ï
F
Ï
Ï Ï
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Ï
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Ï
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heart
F
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Oh
ú
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p
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Oh
ú
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grew
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he
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sha - dow.
? b b
bb
ú
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sha - dow
b b
& bb ú
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.. ú .
·
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ú
? bb b Ï
b
p
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F
Ï Ï
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Ï
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a
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ú
a
Ï
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F
ú
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found
No
ú
Ï
Ï
Ï
F
Ï Ï
F
No
ú
Ï
Ï
18 -- REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD
bb
&bb Ï
Ï
? bb b Ï
b
Ï Ï Ï
31
spot
spot
b b
& b b ÏÏ
of
Ï
&
bbbb
Ï
ground
That
ú
Î
ground
Ï
Ï
? bb b Ï Ï Ï
b
a - do,
Ï
Ï
dor
Ï Ï Ï
-
Ï
ú
And,
as
Ï
his
Ï
strength
And,
as
his
strength
? bb b Ï
b
b b
& bb Î
Ï Ï Ï
? b b Ï Ï
bb Ï
Ï
El
Ï Ï Ï
Î
p
Ï
Ï
ú
Ï
Ï
142
Ï
dor -
Ï
Ï
El - dor -
Ï
Ï
Ï
P-F
Ï Ï Ï
P-F
Ï
-
Oh
Oo
Ï
Ï
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P-F
Ï
ú
Ï
like
ú.
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Ï
Ï
p
Ï
.. ú .
Î
Ï
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looked
Ï
.. ú .
a - do.
Î
Ï
Ï
Oo
Ï Ï Ï Ï Ï
Ï
bb
&bb Ï
Ï
·
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39
Ï
Ï
Ï
? b b Ï
bb Ï
Ï Ï Ï
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ú
a - do.
b b
& bb Î
Ï
ú
of
? bb b Ï Ï Ï
b
35
Ï
p
Ï Ï Ï Ï
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Ï
ú.
..
ú.
..
ú
Ï
..
Ï
..
.. Ï Ï
Ï
Ï
Ï
Ï
ú
Ï
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at
length,
ú
He
Failed
at
length,
He
Ï
Ï
Ï
ú
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Ï Ï
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Ï Ï Ï Ï
Ï
Ï
Ï
REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD -- 18
b
& b bb ú
Ï
Ï
Ï
Ï
? bb b ú
b
a
Ï
pil
Ï
-
grim
a
pil
-
Ï
Ï
43
met
met
b b
& b b Ï
Ï
? bb b Ï Ï
b Ï
Ï
Ï
ú
Ï
? bb b Ï
b
Ï
b b
& b b Î
Ï Ï Ï Ï Ï
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"Sha - dow,"
Ï
said
Ï
f
said
he,
f
bb
&bb Ï
Ï
Ï
? bb b ú
b
of
Ï
El
b
& b bb Î
of
El
Ï Ï Ï
land
land
? bb b Ï Ï
b Ï
Ï
Ï
grim
Ï Ï
ú
Ï
Ï Ï
ú
Î
ú
ú
Î
Ï Ï
Ï Ï Ï
Ï Ï Ï
sha - dow
Ï
Ï
Ï
Ï
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Ï
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"Where can
ú
Ï
Ï
Ï
he,
? b b Ï Ï
b b Ï
51
Ï
Ï
ú
sha - dow
ú
f
bb
&bb Ï
47
Ï
Ï
Ï
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it
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ú
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This
be,
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Ï
Ï
Ï
Ï
Ï
Ï
-
Ï
-
a - do?"
-
dor
Ï
-
dor
ú
Ï
Ï
Ï Ï ú
143
Ï
Ï
Ï Ï Ï
Ï
Ï
F
Ï
Î
ú
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Ï
Ï Ï
F
ú
a - do?"
Ï Ï Ï Ï Î
Ï
This
it
Ï
F
be,
can
Ï Ï
Ï
ú
can
Ï
Ï
Î
Ï Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï
18 -- REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD
f
bb
& b b .. Ï
55
Ï
Ï
Ah
f
ú
Ah
ú
? b b b .. ú .
b
Ï Ï Ï
b
& b b b .. Ï
f
? b b .. Ï Ï
bb Ï
bb
&bb Ï
Ï
Ï
Ï
ú
Of
the
Ï
Moon,
Of
the
Moon,
59
Ï
? bb b ú
b
b b
& bb Î
? bb b Ï
b Ïj Ï
bb
&bb Ï
63
ÏÏ
Ï
ÏÏ
Ï
Ï
ú
ú
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b b
& b b ÏÏ
? b b Ï
bb j
Ï Ï
ÏÏÏ
Î
Ï
Ï
Ï
ú
Î
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Ï
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j
Ï Ï
Ï
Ï
Ï
Ï
Ï
ú
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the
Ï
Moun
ú
-
tains
"O - ver
the
Moun
-
tains
Î
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Ï
ÏÏ
Ï
Ï
j
Ï Ï
Ï
Ï
Ï
Ï
Ï
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Ï
Ï
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Ï Ï
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Î
ú
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ú
the
Ï
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of
Down
the
Val - ley
of
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j
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ú
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? bb b Ï
b
Ï
ú
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144
Î
j
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Ä
Ï
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ride,"
The
Ä
ú
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Ï
ride,"
Ï
Ï
j
Ï Ï
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Ä
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Ï
The
ÏÏ
Ï
Ï
REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD -- 18
b
& b bb Ï
67
U
decresc. e rit. . .
Ï
shade
Ï
P
Poco meno mosso
Ï
Ï
re - plied,
U
P
you
plied,
"If
you
seek
Î
Î
Î
Î
Ï
Ï
Î
Ï
ú
Ï
Î
? bb b Ï Ï ú
b
Ï
Î
Ï Ï ú
ÏÏ
Ï
"If you seek
Ï
ÏÏ
Ï
Î
Ï
Ï
j
Ï Ï
? bb b Ï
b
Ï Ï Ï
shade
re
ÏÏ
Ï
b b Ï
& b b ÏÏ
? b b jÏ Ï
b b ÏÏ
decresc. e rit. . .
bb
&bb Ï
71
-
b b
& b b Î
ÏÏ
Ï
? b b Ï
b b Ïj Ï
Ä
bb Ï
&bb Ï
75
? bb b
b
Ä
Ï
-
a
-
a
bb Ï
& b b
Ä
? b b ÏÏ
b b Ï
Ï
U
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Ï
Ï
j
Ï
a - do!"
a - do!"
"If
Ï
decresc. e rit. . .
U
Ï
Ï
úú
úú ..
do!"
ú.
ú
do!"
Ï
seek
Ï Ï ú
P
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Ï
Ï Ï Ï
Ï
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Ï
Ï
ú
145
for
El
ÏÏ
Ï
f
ú.
Ï
Ï
-
dor -
ú
El
Ï
-
dor -
Î
Ï
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Ï
Ï
j
Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï
for
El
Ï
ú
for
El
Ï
Ï
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Ï Ï Ï Ï Ï
Ï
ú.
Ï Ï
Ï
Ï
for
Ï
Ï
j
Ï
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Ï
Ï
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Ï
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dor -
-
dor -
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Ï
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Ï
j
Ï Ï
Ï
·
·
·
·
úú ..
ú.
p
úú .
.
18 -- REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD
MEET THE POET:
From an 1848 daguerreotype
Edgar Allan Poe was born in Boston on January 19, 1809.
He was the son of poor parents, both of whom lived as
traveling actors. Edgar's father left the family in 1811, and so
his mother took little Edgar along with his brother and sister
and relocated to Richmond, Virginia. Later that same year,
she died. Edgar was taken in by John and Frances Allan who
had no children of their own, and, thus, he was separated from
his siblings. Although Edgar was christened "Edgar Allan Poe,"
the Allans never sought to adopt him, and Mr. Allan always
referred to Edgar as his "stepson."
Edgar traveled with his foster parents to England where he
attended prestigious boarding schools from 1815 to 1820. It
was in England that Edgar became familiar with the great
literature of that country, especially the Gothic novels that
were popular at that time.
The Gothic style of writing arose in the late eighteenth century. This style of writing
incorporated emotionally intense, even macabre, scenes from gloomy and mysterious
places, such as graveyards and castle dungeons, and dark and sinister characters with
supernatural powers and evil intentions. Examples of Gothic novels include Mary
Shelley's Frankenstein, Matthew Gregory Lewis's The Monk, and John Polidori's The
Vampyre. Poe would later become the icon of the Gothic author, mastering the style in
his dark poetry and tales of horror.
Edgar's stepfather came into an inheritance when Edgar was seventeen, and he was able
to enroll at the University of Virginia. At the university, he was a good student and able to
keep his grades high. However, desiring to have a lifestyle higher than the allowance his
stepfather gave him would afford, he began to gamble in hopes of making more money.
Before he knew it, he had run up an enormous gambling debt. His stepfather refused to
help him pay it, so Poe had to drop out of the university.
Discouraged and depressed, Poe set out to live on his own. He moved back to Boston,
the city of his birth, and it was in Boston that he wrote his first poems. Shortly after
arriving in Boston, he enlisted in the army under an alias, Edgar A. Perry. Poe did well
in the army and rose to the rank of sergeant major in his two year military term. It was in
1827 while he was in the army that he published his first volume of poetry, Tamerlane
and Other Poems, under the name Edgar Perry. By 1829, he had written six more poems
that would eventually be published in Baltimore under his real name.
In 1829, Poe received yet another emotional blow when his stepmother, Frances Allan
died. The next year, Poe was accepted into West Point. While Poe was at the Point, his
stepfather remarried a woman with children of her own, and when Poe realized that he
would never inherit anything from his stepfather, he again slipped into a depression that
led him to gamble away his money and to drink heavily. He was dismissed from West
Point in 1831.
146
S - 146
COMPOSITION:
Screen the Edgar Allen Poe'ms that your students bring in.
Encourage them to find the more pleasant ones.
When they write their melodies for their poems, give them
specific parameters:
1.
2.
3.
4.
5.
6.
7.
8.
9.
No more than 8 phrases long (32 measures).
Choose a specific form. (AABA, AABC, etc.)
Use no leaps but thirds and fourths of the I and V chords.
Use no rhythmic patterns more complex than eighth notes.
Write in dynamics and dynamics variations.
Indicate a tempo.
Legato, staccato, marcato?
The accompaniment may be very simple chords.
Be prepared to sing the song for the class, accurately
performing the interpretative symbols and terms.
For those of your students who have a computer and internet
access, Finale has a free program called "Notepad" that may
be downloaded from:
http://www.makemusic.com/notation_software.asp
This is a great little program that will allow them to print
music and to play it back and listen to it.
S - 147
REVIEW: THIRDS AND FOURTH OF THE I AND V CHORD -- 18
Poe moved in with his aunt, Maria Clemm. Maria was raising her young daughter,
Virginia Clemm, and taking care of his grandmother. It was during this time that Poe
produced his third volume of poetry. As in the first two, the poems in this volume were
full of youthful hope and romanticized visions of an ideal love and life. This volume of
poetry, along with the first two, however, failed to bring Poe any recognition, and he was
unsuccessful in securing steady employment.
In 1831, Poe began writing short stories. His first stories were humorous and satirical,
and they were all accepted for publication in the Philadephia Saturday Courier. In 1834
Poe published a story in a national publication for the first time. It was a serious story
entitled "The Assignation." Poe moved to Richmond in 1835 along with his aunt and his
cousin, Virginia Clemm. Poe married Virginia in 1835.
Poe began to publish more and more fiction, including the horror tales for which he
has become famous. Although Poe received fame for his poems and stories, he was never
able to make a living as an editor. His major contribution to the literary world was his
skill in mastering the forms that had received little attention before this time; that is,
"musical" poems and short stories. A couple of examples of his "musical," poems are
"The Bells" and "Annabel Lee," both of which have been effectively set to music. His
mastery of the short story is shown in "The Fall Of The House Of Usher" and such tales
of terror as "The Black Cat," and "The Tell-tale Heart."
His wife, Virginia, died in January 1847, and it devastated Poe, but he was able to
continue to write and to give lectures on the art of writing. In the summer of 1849, he
returned to Richmond to give a series of lectures. While he was there, he renewed his
friendship with a girl to whom he had been engaged and had lost to a rival in 1826.
On October 3, 1849, Poe was found lying in the street, semi-conscious. He was taken
immediately to a hospital, but he died 4 days later. He uttered his final words on
October 7, 1849, and was buried in Baltimore's Presbyterian Cemetery.
SEARCH 1: Look for the meaning of "Eldorado." Write a
paragraph discussing what you have found.
SEARCH 2: Using a search engine, find a website with works
of Edgar Allan Poe. Pick out one of his poems to share with the
class. Print it out and exchange it with your classmates.
In teams, pick one poem (or a part of a poem) and write a song
that fits the words of that poem.
147
19:
The IV Chord--Fa-La
Major Third
The IV Chord--The IV Chord is a triad based on the fourth degree of the
Major scale--Fa.
Key of C Major:
&
www
ww
w
www
I
IV
V
The IV Chord is made up of which notes of the scale?
What note(s) do the I Chord and the IV Chord have in common?
The V Chord and the IV Chord?
FIND the I Chord, V Chord, and IV Chord on the keyboard above in the keys of
F Major, G Major, and C Major. Pick any note on the keyboard and find its
major scale and its I Chord, V Chord, and IV Chord.
SING this warm-up exercise with broken I and V Chords on solfege syllables and
with handsigns. Find the notes on the keyboard above, and play on a keyboard
instrument.
& 44 Ï Ï Ï Ï ú
ÏÏÏÏú
ÏÏÏÏú
I
IV
V
ÏÏÏÏú
I
The song "Oh, Susanna!" by Stephen Foster uses the interval Fa-La at the
beginning of the refrain. In what measure does this occur?
Remember the rhythmic pattern from Chapter 8: The dotted-eighth/sixteenth note
combination:
`
Ï.
Ï
ti - pa
down - a
1 - a
=
Ï
Ï Ï
ti - (ip) - pa
down - (up) - a
1 - (&) - a
Chant the rhythmic syllables and the words before singing "Oh, Susanna!" on solfege.
148
Chapter 19:
The IV Chord -- Fa - La
qBreathing
1.
2.
3.
4.
Have the students stand, hands on their abdomens (beltlines).
Have them breathe in deeply and to expand at their beltlines.
Tell them to fill up their lungs all the way to the bottom.
Take a deep breath and perform the following pattern:
44
ÏÏÏÏÏ
ss ss ss ss so
Ï
so
Ï
ss
Ï
ss
ú
soo
5. Begin with 2 repetitions on a single breath, then add one
repetition at a time up to 4 repetitions, all the while
reminding them to keep "hold" of the breath with their
abdominal muscles.
6. Repeat the exercise with actual pitches:
e Warm-ups
## 4
& 4ÏÏÏÏÏ Ï
Ï Ï ú
Have the students sing the melodic pattern below on solfege
syllables and with handsigns.
Repeat the exercise up and/or down by half steps.
If desired, after the exercise has been repeated a few times on
solfege syllables, replace the solfege syllables with various vowels.
D
"Follow Me"
Handsign the notes learned thus far, but emphasize the interval
Game
Fa- La. Ask the students to follow your handsigns.
Ask for a student volunteer to lead the activity.
OAudiate:
Memory
Handsign a short series of notes, making certain to include the
interval Fa- La, keeping the rest of the notes scalewise. (Start out
with 3 or 4 notes, then add more to the series). Have the students
watch and "listen" in their heads, sign the passage without singing,
and then sing the series for you.
Don't forget that the "Memory" game (described in Chapter 1)
is a great tool for practicing audiation skills.
S - 148
S - 149
THE IV CHORD: FA-LA -- 19
Oh! Susanna
Stephen Foster
& 24 . Ï .. Ï
Ï
I
Oh,
I
&Ï Ï
goin' to
sun
so
I've
Ï
Lou'
hot,
-
2
&ú
Oh,
1
Ï Ï
-
Ï.
Ï Ï Ï Ï
Ï
Ï
Su
Ï
a- bam - a
j
Ï Ï
-
san - na,
Ï.
with
see.
Oh, don't you cry for
Ï
my ban - jo
V
Ï
on
I'm
The
ä
Ï
j I
Ï Ï Ï Ï
Ï
Ï Ï
knee,
dry;
1
I
j
Ï
Ï.
my ban - jo on my
the wea - ther it was
si - an - a, My______ true love for to
I froze to death,
Su- san - na, don't you
Ï
cry.
with
left,
Ï Ï Ï Ï
V
Ï Ï Ï
IV
come from Al
Ï Ï . Ï
Ï
come from Al - a - bam - a
rained all night the day I
Ï.
& Ï Ï Ï.
Ï. Ï
V
It
my
ä
V
Ï
me;
Ï Ï
I've
ä
I
Ï
..
Ï
Ï
Ï
knee.
KEYBOARD SKILLS
Accompany "Oh! Susanna" by playing the chords on a keyboard
as indicted above the notes in the song.
Play the chords in several different ways, and decide which you
like best. Experiment with other accompaniment possibilitities.
Block chords:
Multi-level
chords:
Broken chords:
? 24 úúú
& 24 Î
? 2 úúú
4
úúú
ÏÏÏ
Î
úúú
úúú
úúú
ÏÏÏ
Î
úúú
ÏÏÏ
Î
úú
ú
ÏÏÏ
Ï Ï Ï
? 24 Ï ÏÏ ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï
149
19 -- THE IV CHORD: FA-LA
ACROSS THE CURRICULUM:
1. Write 2 new verses for "Oh, Susanna!"
2. In a short paragraph, describe the difference between the I chord and the IV chord.
Fa-La
Fa-La is a major third (4 half steps).
The following exercises present the major third, Fa-La.
READ the exercises. Identify each key (Watch out!) and then:
1. Scan for repetition and form.
2. Chant the rhythm while conducting.
3. Chant the solfege in rhythm.
4. Audiate (handsign and read silently)
5. Sing with handsigns.
Interval Practice:
ú
4
b
& 4
? 44 Ï
ú
Ï
Ï
Ï
# Ï
&
2.
&
3.
#4
Ï
& 4 Ï ÏÏÏ
#
Ï
& 44 ú
&ú
Ï
Ï Ï Ï
Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
ú
150
Ï ÏÏ Ï
Ï Ï ú
ÏÏÏ
Ï Ï ÏÏ Ï
Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Î
ÏÏÏ
Ï Ï ú
Ï Ï ú
Ï Ï Ï ÏÏ Ï Ï
ú
Ï Ï ÏÏÏ
Ï
Ï ÏÏÏ
Ï
ú
ú
Ï Ï Ï Ï
ú
Ï Ï ú
ú
Ï
ú
Ï Ï
Ï Ï Ï Ï
Ï
Ï Ï ú
Reading Exercises:
1.
Ï
Ï
#4
& 4 Ï Ï ú
Ï
Ï
Ï
ú
Ï Ï Ï Ï
Ï
Ï Ï
ú
THE IV CHORD: FA-LA -- 19
4.
? 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
?Ï
5.
Ï
? 34 Ï
?Ï
6.
&
8.
&
9.
&
Ï Ï Ï Ï Ï Ï Ï
Ï
Ï
Ï
Ï
? 44 ú
ú
?Ï
7.
Ï
Ï
Ï Ï Ï Î
Ï
Ï
Ï
#4
& 4 Ï Ï Ï Ï Ï
#
Ï
Ï Ï Ï
#4
& 4 ú
#
ú
#
& 34 Ï
#
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
ú
Ï
ú
ÏÏ Ï
Ï
Ï
Ï Ï Ï
151
Ï
ÏÏÏ
Ï Ï ÏÏ Î
Ï Ï
Ï
Ï Ï Ï
Ï
ú
Ï Ï
ú
Ï Ï ú
Ï
Ï
Î
Ï Ï ú
Ï Ï Ï
ÏÏ Ï Ï
Ï
ä Ï
J
Î
Ï Ï Ï
Ï
ú
Ï
ú
Ï
Ï Ï ÏÏÏ
ÏÏ Ï
Ï Ï Ï
Ï
Ï
Ï Ï ú
Ï
ú
Ï
ÏÏÏ ÏÏ
ÏÏ Ï Ï
ú
Ï
Ï Ï Ï Ï
Î
Ï Ï ú
Ï
ú
Ï
Ï
Ï
Ï Ï Ï
Ï
Ï
Ï
Ï
Ï Ï Ï Ï Ï
Ï
Ï
Ï
Ï Ï Ï ÏÏ Ï
ú
ú.
ä j
Ï
19 -- THE IV CHORD: FA-LA
10.
? b 44 ú
ú
Ï
?b Ï Ï Ï
Ï Ï ú
? 4 Ï Ï ú
b4
11.
Ï
?bÏ Ï Ï Ï
12.
?#4 Ï ÏÏ Ï Ï
4
?# Ï
13.
Ï Ï Ï
Ï Ï
? 44 ú
?Ï ú
14.
ú
Ï
Ï ÏÏ ú
? # 34 Ï
?# Ï
Ï
Ï
Ï
Ï
ú
Ï
Ï Ïú
Ï ú
Ï
Ï Ï ú
Ï Ï ÏÏÏ
ÏÏÏ
ú
Ï ÏÏ ú
Ï ÏÏ Ï Ï
Ï
Ï Ï Ï Ï Ï
Ï Ï ú
Ï
Î
Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï
Ï Ï
Ï
ú
Ï
Ï Ï Ï
Ï Ï Ï
Ï
Ï ú
Ï Ï ú
ÏÏÏ Ï
Ï
Ï
Ï Ï Ï Ï
#4 Ï
Ï ÏÏÏÏ Ï
& 4
# Ï
&
15.
Ï Ï ú
Ï
Ï
Ï Ï Ï
Ï
Ï Ï ú
Ï
ú
ú
Ï Ï ú
Ï
Ï
152
Ï Ï Ï Ï
ú
Ï
Ï
Ï
ÏÏÏ
Ï
Ï
Ï Ï Ï
ÏÏÏ
Ï Ï ú
ÏÏÏÏÏÏÏ
Ï
ú.
Ï Ï ú.
THE IV CHORD: FA-LA -- 19
16.
#### # 4
# 4 ú
&
#### #
# ÏÏÏ ÏÏ
&
17.
YOUR BRAIN:
Ï Ï
Ï
Ï Ï Ï Ï Ï ÏÏ ú
ú
Ï ÏÏÏ Ï
..
Fine
ú
..
DC al Fine
ÏÏÏÏÏ ÏÏ ÏÏÏÏú
? # # # # # 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
#
? #### # Ï Ï Ï Ï Ï Ï
#
Ï ÏÏ Ï Î
Ï Ï Ï ÏJ Ï ÏJ Ï Ï Ï Î
? # # 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ä Ï
J
18.
Ï Ï Ï Ï Ï Ï ÏÏ Ï
? ## Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
ÏÏ ú
19.
? 24 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
?Ï ÏÏÏÏÏÏ Ï
Ï
Ï Ï ÏÏÏÏ Ï
Ï
Ï
Pencil Time 2:
Activity Sheet 40: IV Chord Game
Activity Sheet 41: Musical Math #2
Activity Sheet 42: Major Thirds
153
Ï
Ï Ï Ï
Ï
Ï
ÏÏÏ
Ï
Ï
19 -- THE IV CHORD: FA-LA
Hiking
Merrily F
& b 44 Ï Ï Ï Ï Ï Ï
Ï Ï
Ï
1. Stroll-ing thru' the sha - dy woods,
2. Tramping thru' the fall - en leaves,
3. Cross a chuck- ling lit - tle brook,
4.
On our love - ly lit - tle trek
Orff:*
SX
AX
j
Ï
4
& b 4 ä Ï ä ÏÏ
J
F
BX
j
Ï ä
? 4 Ï ä
b4 J
3
&b Ï
Sing For What
Na -
Ï
Ï
Ï
j
ÏÏ
ä
ä
Ï ä Ïj ä
J
Ï Ï Ï
mer - ry song,
a
ing such
est birds sing back to me
nice ex - cur - sion for
a
join right in
ture seems to
Ï
J
ä
j
Ï ä
j
ÏÏ
ä ÏÏ
ä
J
Ï ä Ïj ä
J
&b Ï
Ï
Ï
Ï Ï Ï
& b ä
?b
5
j
Ï
Ï ä
j
ÏÏ ä
ÏÏ
J
Ï
j
Ï
ä Ï ä ÏÏ
J
Ï ä Ïj ä
J
& b ä
?b
Ï
J
ä
ÏÏ
J
j
Ï ä
Ï
Ï
Ï
Ï
J
ä
Ï
J
Ï Ï
j
j
Ï
ÏÏ
Ï ä ÏÏ ä
ä ÏÏ
J
J
ä Ïj ä JÏ ä Ïj ä
Ï
Ï
ú
Not a care or sigh.
In their cheer - ful tones.
My best friend and me.
With our hap - py song:
j
Ï
Ï ä
j
Ï ä
Ï
J
j
ÏÏ ä ÏÏ Î
J
j
ä JÏ ä Ï ä
Ï
Ï
Ï
ä
j
ÏÏ ä
ú
j
Ï
ä Ï ä ÏÏ
J
Ï ä Ïj ä
J
Fa - la - la - la - la,
ä
j
Ï ä
ÏÏ
J
j
Ï ä
* Or piano. Students may accompany on piano, one student on each part.
154
ú
My best friend and I;
O - ver stumps and stones.
Climb a friend - ly tree;
No - thing could be wrong;
Ï
"Fa - la - la - la - la - la - la,
Patti DeWitt
THE IV CHORD: FA-LA -- 19
7
&b Ï
Ï
Ï
Ï
last time rit. . . . .
Ï Ï Ï
Ï
j
j
Ï
ÏÏ ä JÏ ä ÏÏ
Fa - la - la - la - la - la - la,
& b ä
?b
Ï
J
Ï
Ï
J
ä
ä
j
Ï ä
Ï ä Ïj ä
J
Ï
Ï
Ï
ú
Fa - la - la - la - la."
ä
Ï
Ï
J
j
Ï ä
ä
ÏÏ
J
j
Ï ä
Ï
ä Ï Î
J
Ï ä j ä
J
Ï
IMPROVISE
1. Determine the form of the song. Why is it important to know the form before
one starts to improvise?
2. Improvise an obbligato (a high counter-melody) to go along with the song.
This may either be sung or played on the recorder. (Hint: When a melody
moves rapidly, as this one does with mostly eighth notes, it often works well
to have an obbligato that uses notes of longer duration, such as quarter notes,
half notes, etc.)
3. Improvise your own accompaniment using the I Chord, V Chord, and IV Chord.
(Hint: When you see the intervals of the IV chord in the melody, it is a fairly
reliable indication that the accompaniment chord is the IV Chord. The same
would apply to the I Chord and the V Chord.)
4. Replace the "Fa-la-la"s in the refrain with scat syllables. (For a discussion of scat
and scat syllables, see Level 1, Chapter 29, "Scat!")
5. Improvise the refrain with different notes with scat syllables.
155
20:
The IV Chord--La-Do
Minor Third
La-Do--The minor third, La-Do in the keys of C, F, and G Major:
C Major:
F Major:
G Major:
w
?w
#w
w
bw
w
SING this warm-up exercise with broken I and V Chords on solfege syllables and with handsigns.
4
&b4 ÏÏÏÏú
Ï
I
IV
ÏÏÏ
ÏÏÏÏú
ÏÏÏÏú
ú
V
I
Pencil Time 2:
Activity Sheet 43: The Thirds Game
The Scottish folk song, "Loch Lomond," uses the interval La-Do frequently. Find the
La-Do intervals before solfeging and singing the whole piece.
Loch Lomond
? b 44 Ï Ï
?b Ï
By
3
sun
?
6
Ï
Ï
Ï Ï Ï
Ï Ï
Ï
yon
bon - nie banks
Ï Ï ú
and by
Ï
Ï
ä J
Ï
shines bright
on Ben Lo
Ï Ï Ï Ï
Ï
b
ev - er wont to
8
?b ú
UÏ
Scottish folk song
Ï Ï
Lo - mond. Oh,
-
Ï Ï
gae
On
the
mond,
Ï
yon
Ï Ï Ï
Ï Ï Ï
bon - nie braes
Where me
Ï Ï.
Ï Ï.
bon-nie,
bon-nie
Ï Ï
Where the
Ï
Ï
Ï
Ï
love were
banks
of
Loch
and my true
Ï
Ï
Ï Ï Ï
Ï Ï
Ï
Ï Ï Ï
Ï Ï
ye'll
take the high
road and
I'll
take the low
road, and
156
Chapter 20:
The IV Chord -- La - Do
q Breathing
44
w
1.
2.
3.
4.
Have the students stand, hands on their abdomens (beltlines).
Have them breathe in deeply and to expand at their beltlines.
Tell them to fill up their lungs all the way to the bottom.
Take a deep breath and perform the following pattern with hissea:
Ï Ï Ï
Ï Ï Ï
w
Ï Ï Ï Ï ú
5. Begin with a single repetition on a single breath, then add one
repetition at a time and see what their endurance is.
Remind them to keep "hold" of the breath with their abdominal
muscles.
6. Repeat the exercise with actual pitches:
& b 44 w
D
Ï Ï Ï
Ï Ï Ï
w
Ï ÏÏ Ï ú
"Follow Me"
Handsign the notes learned thus far, but emphasize the interval
Game
La - Do. Ask the students to follow your handsigns.
Ask for a student volunteer to lead the activity.
OAudiate:
Handsign a short series of notes, making certain to include the
interval La - Do, keeping the rest of the notes scalewise. (Start out
with 3 or 4 notes, then add more to the series). Have the students
watch and "listen" in their heads, sign the passage without singing,
and then sing the series for you.
S - 156
S - 157
THE IV CHORD: LA-DO -- 20
?
11
b Ï
I'll
?
14
Ï Ï Ï
Ï Ï
ú
. Ï
Ï Ï. Ï Ï
be in Scot - land a - fore
Ï Ï Ï Ï
Ï
b
nev - er meet a - gain
Ï Ï
On the
Ï Ï
J
Ï.
ye;
But
bon-nie, bon-nie
me
banks
Ï Ï Ï
Ï Ï
and my true
love will
Ï Ï
ú
of Loch
Lo - mond.
U
Ï
Accompany "Loch Lomond" on Orff instruments or on the piano. Here are two possible
accompaniments, one for the first section, the verse, one for the refrain (m. 9).
IMPROVISE your own accompaniments either or Orff instruments or on a piano or
other keyboard instrument:
Verse: AM
BM
Refrain:
SG
AM
BM
& b 44 î
? 4 w
b4 w
úú
úú
4
& b 4 Î úú ..
? b 44 w
w
úú
..
úú
Î úú ..
..
î
ww
ww
..
..
GEOGRAPHICAL SHORTS:
"Loch" is the Scottish word for "lake." Loch Lomond is the
largest freshwater lake in Great Britain. It is over 4 miles wide at
its widest point and close to 20 miles long. At its northern end, the
terrain is steep and rugged, making Loch Lomond narrow and deep.
At its southern end, the terrain slopes gently into farmlands and
pastures, and Loch Lomond is broader and shallower. Loch Lomond lies on the boundary
between the Scottish Highlands and the Lowlands, and its beauty has inspired many
authors and poets, including Sir Walter Scott, whose fictional hero, Rob Roy, performed
his antics in the lands around Loch Lomond.
HISTORICAL SHORTS:
The Story of the Song.
The Scottish trace the origin of the song, "Loch Lomond," to the
unsuccessful Scottish invasion of England in 1745. The story goes
that two Scottish soldiers were captured on their way back to
Scotland. One of the soldiers was sentenced to be executed and
the other one to be released. According to Old Celtic mythology,
the ghost or spirit of the dead soldier would make its way home on the "low road" of the
spirit world and reach Loch Lomond before the other soldier who would have to take the
"high road," a long and difficult journey over the hills and mountains.
157
20 -- THE IV CHORD: LA-DO
AUDIATE: Below is a familiar American folk hymn that uses the
La-Do interval. Without singing it out loud, can you hear the song
in your head and name it?
#
& 34 Ï Ï ú
&
# ú
&
ú
#
ÏÏ ú
ú.
Ï
Ï
ú
ú
Ï
Ï
Ï.
ÏÏÏ ú
J
Ï Ï ú
Ï Ï ú
Ï
ÏÏ
ÏÏ ú
ú
Ï.
Ï
ú.
j
ÏÏÏ
ú
La-Do
La-Do is a minor third (3 half steps).
The following exercises present the major third, La-Do.
READ the exercises. Identify each key and then:
1. Scan for repetition and form.
2. Chant the rhythm while conducting.
3. Chant the solfege in rhythm.
4. Audiate (handsign and read silently).
5. Sing with handsigns.
& 44 Ï
Interval practice:
Ï
Ï
Ï
Ï
?#4 Ï Ï Ï Ï
4
Ï
Ï
Ï
Reading exercises:
1.
&
2.
4 Ï Ï Ï Ï Ï
&4
Ï Ï Ï
Ï
Ï
& 34 ú
&Ï
Ï
Ï
ú
Ï
Ï
Ï Ï Ï
Ï
Ï
Ï
Ï Ï ú
ú
Ï
ú
Ï
Ï
Ï
Ï
Ï
158
Ï
Ï Ï ú
Ï
Ï
Ï
Ï Ï ú
Ï Ï Ï Ï
Ï
Ï Ï Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï ú
ú
Ï
ú.
ú.
Î
THE IV CHORD: LA-DO -- 20
3.
? # 44 Ï Ï Ï Ï
?# Ï
4.
? # 44 ú
?# ú
5.
Ï
Ï
&b Ï Ï Ï
7.
Ï
Ï
& b 44 ú
Ï
Ï
Ï Ï
Ï
Ï
Ï Ï ú
Ï
Ï
Ï
Ï
ú
159
Ï
ú
Ï Ï Ï Ï
Ï Ï Ï ú.
Ï
Ï
ú
Ï Ï Ï
Ï
Ï Ï Ï Ï
ú
Ï
Ï Ï Ï
Ï Ï Ï Ï
Ï
ú
ÏÏÏ ú
ú
Ï Ï Ï
Ï Ï
Ï
ú.
Ï Î
Ï Î
ú.
Ï Ï Ï
Ï
ú.
& 44 ú
&b Ï
Ï ú
Ï Ï Ï Ï
ú
ú
Ï
Ï
Ï Ï Ï ú
Ï Ï Ï Ï ÏÏ ú
ÏÏÏ
&ú
ÏÏÏ
Ï Ï Ï Ï
Ï
Ï
Ï ú
ú
Ï ÏÏ Ï Ï ú
& b 34 ú
&b Ï
6.
Ï
Ï
Ï
ú
Ï
Ï
ú
Ï Ï ú
Ï
Ï
Ï
w
ú
w
20 -- THE IV CHORD: LA-DO
8.
& 34
&Ï
&Ï
Ï Ï Ï
Ï
Ï
Ï
ú
? # # # 34 ú .
? ### Ï Ï Ï Ï
? ### Ï ú
11.
Ï
Ï
& 44 Ï Ï ú
&Ï
10.
Ï
Ï Ï Ï Ï Ï
&Ï
9.
Ï
Ï
Ï Ï Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï Ï
Ï
Ï Ï Ï
Ï
Ï
Ï
Ï
ä Ïj
ú
Î
ú
Ï Ï Ï Ï
ú
Î
ú
Ï
Ï
ä Ïj
ú
Ï
Ï
Ï Ï ú
Ï
Ï
Ï
Ï
ú
ú
ú
ú
Ï
YOUR BRAIN:
Ï Ï Ï
Ï ú
Ï Ï Ï
Ï Ï Ï
ú
Ï
Ï Ï Ï
? b b 44 Ï Ï Ï ä ÏJ Ï Ï Ï Ï Ï Ï
? b b Ï Ï Ï ä ÏJ Ï Ï Ï Ï Ï Ï
160
Ï Ï Ï
Ï ú
ú.
Ï
Ï Ï Ï
Ï ú
Ï
Ï Ï
ú.
Ï Ï Ï ÏÏ ÏÏÏÏÏ ÏÏ
Ï Ï Ï Ï Ï
Ï Ï Ï
Î
S - 160
Solo
performance:
Any of the songs from the lessons on the intervals of the V Chord
and the intervals of the IVChord can be used as solos.
Solo performance is very important in the development of the
choral musician. Ask your students to pick one of the songs from
this book or offer them several other solos. When they perform their
solos they should perform them:
1. With accurate pitches and rhythms.
2. At an appropriate tempo
3. Interpreting the dynamics correctly
4. With musical phrasing
After they have performed, have them fill out a performance
self-evaluation form, Preparatory Pages Written Activity 26. Keep
these forms in a safe place so that your students can observe their
progress over the school year. Let them have them all at the end
of the school year.
S - 161
THE IV CHORD: LA-DO -- 20
12.
Ï
& 34 Ï Ï Ï Ï Ï Ï
Ï Ï Ï
&Ï Ï Ï
Ï
&Ï Ï
Ï
&Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï Ï
Ï
Ï Ï Ï
Ï
Ï
Ï
Ï Ï Ï
Ï
ú
Ï Ï Ï Ï Ï
Ï
Ï
Ï Ï Ï
Ï Ï Ï
Ï
Ï
Ï
Ï Ï Ï
Ï
Ï Ï Ï Ï
&Ï Ï Ï
Ï
Ï
Ï Ï Ï
Ï
13.
Ï ÏÏ Ï Ï
Ï
? b b b 24 Ï Ï Ï Ï Ï
b
Ï Ï Ï Ï
? bb b b Ï Ï Ï Î
bb
14.
Ï
? bb b Ï Ï Ï Ï Ï
b
15.
Ï Ï Ï
Î
Ï
Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï
ÏÏÏÏÏÏÏ
Ï
Ï Ï ú
Ï Ï Ï
&Ï Ï Ï Ï
? b b b b 44 Ï Ï Ï Î
bb
Ï Ï Ï
äÏ
J
ä Ï
J
ä Ï
J
Ï Ï Ï
Ï
ú
Î
Ï ÏÏ Ï Ï
Ï ÏÏ Ï Î
ÏÏÏÏÏ Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï
Ï Ï Ï
#### 4
Ï
# 4 Ï Ï Ï Ï Ï ÏÏ Ï ÏÏÏ ÏÏ Ï ÏÏ Ï Ï Ï Ï Ï ÏÏÏÏ
&
#### Ï Ï Ï Ï Ï Ï
#
&
ÏÏ Ï
ÏÏ ÏÏÏÏÏ
161
ÏÏ ú
Ï
20 -- THE IV CHORD: LA-DO
Cuckoo Clock
& 34
·
Moderato
Rec
F
Ï
3
&4 Î
ÏÏ
BM
?3 Î
4
.. Î
WB
3 Î
4
..
À
Orff:
4
&Î
Ï
?ú
? Ï
À
AX
.. Ï
Ï
·
Ï
Straight
The
from
sweet
ÏÏ
ÏÏ
Î
ÏÏ
ÏÏ
Î
Î
Ï
Î
Î
À
À
À
Ï
got
a
new
though per - fect
Ï
be
keeps,
& Î
·
? 34 Ï Ï .. Ï
1. I
Or piano*:
..
Recorder:
Ï
Î
Î
À
À
Ï Ï Ï
the
Black
lit - tle
À
ÏÏ
Ï
Ï
·
Patti DeWitt
cuc - koo clock
time
my
Î
ÏÏ
ÏÏ
Ï
Î
Î
À
À
À
·
Ï
Î
Ï
À
For - est
of
bird
in - side
Ger
nev
-
Î
ÏÏ
ÏÏ
Î
ÏÏ
Ï
Î
Î
Ï
Î
À
* Or piano with one student on each part.
If played on piano, play both parts down an octave.
162
À
ÏÏ
ÏÏ
Î
Î
À
À
·
Ï
À
Ï
cute as
can
cuc - koo clock
Ï
À
Ï
Ï
Ï
Ï
·
À
À
Ï
man er
ÏÏ
Ï
À
THE IV CHORD: LA-DO -- 20
8
& Î
Ï
?ú
y.
sleeps.
& Î
? Ï
À
12
& Î
& Î
? Ï
À
·
P
Ï Ï Ï
ÏÏ
Î
À
Ï
?ú
flow'rs
thru'.
Ï
Frau - lein - en
So he wakes me
and
up
Î
Î
ÏÏ
ÏÏ
Î
Ï
Î
Î
À
À
Ï Ï Ï
ÏÏ
Î
À
À
Ï
And a bird - ie
My
love - ly
Î
Î
ÏÏ
Î
Ï
Î
À
À
À
Î
ÏÏ
Ï
Î
À
Ï
Ï
that
new
ÏÏ
Ï
Herr - en
ev' - ry
À
·
Ï
Ï
Ï
Ï
·
proud - ly
cuc - koo
Î
À
Î
ÏÏ
Ï
Î
À
163
À
Ï
Ï
and
hour
bright
all
ÏÏ
Î
À
Ï
·
À
·
Ï
Ï
lit - tle
the
night
Î
ÏÏ
ÏÏ
Ï
Î
Î
À
Ï
pro - claims
clock drives
À
Ï
all
me
ÏÏ
Î
Ï
Ï
Î
Ï
Î
À
Ï
À
À
À
·
Ï
the
cuc -
ÏÏ
Î
À
20 -- THE IV CHORD: LA-DO
& Î
16
Ï
.
?ú
hours:
koo!
& Î
? Ï
À
20
& Î
ÏÏ
Î
À
Ï
& Î
? Ï
À
ÏÏ
F
Ï
ú
·
Ï
"Cuc - koo,
"Cuc - koo,
Î
Î
Î
>ú .
À
Ï
Ï
?ú
song;
bright;
Ï
ÏÏ
Î
Î
À
À
F
À
Ï
cuc - koo,"
cuc - koo,"
Ï
Ï
Î
Ï
Ï
À
ú
>ú .
À
À
·
Ï
"Cuc - koo,
"Cuc - koo,
Î
>ú .
À
Ï
Ï
À
Ï
·
Ï
Ï
À
·
cuc - koo,"
cuc - koo,"
Î
Ï
Ï
>ú .
À
À
164
Ï
Ï
is
tho'
Ï
Ï
À
Ï
Ï
Ï
Ï Ï
Î
ÏÏ
ÏÏ
Ï
Î
Î
À
Ï
Ï
he
is
sings
no
Ï
Ï
Î
À
Ï
his
lit - tle
and
hap - py
Ï
À
·
À
À
À
·
Ï Ï Ï
all
fun
ÏÏ
day
at
Ï
Ï
last time rit. . . . .
Î
Ï
À
À
THE IV CHORD: LA-DO -- 20
Ï
24 1
&
U
? ú
long.
& Î
? Ï
u
À
A tempo 2
ÏU
J ä Î .. Î
Ï Ï ..
U
Ï
Ï
Î
Al
Ï
ú
Î
Ï
Ï
Î
Î
Î
rit. . . . . . .
·
Î
Î
Î
rit. . . . . . .
·
Î
Î
Î
rit. . . . . . .
·
Î
Î
Î
rit. . . . . . .
·
Î
Î
·
night!
Ï
Ï
Î
.. Î
Î
.. Ï
Î
..
À
À
À U
J ä Î
Ï
......
Ïdim. e rit.
Ï Î
·
·
·
165
21:
The IV Chord--Do-Fa
Perfect Fourth
Do-Fa--The minor third, La-Do in the keys of C, F, and G Major:
C Major:
&w
bw
w
# G Major: w
w
w
F Major:
SING this warm-up exercise with broken I and V Chords on solfege syllables and with
handsigns.
Ï
?#4 ÏÏ Ïú
4
I
ÏÏÏÏú
Ï
ÏÏ Ïú
IV
V
Ï
ÏÏ Ïú
I
Pencil Time 2:
Activity Sheet 44: I'll Have Fourths!
The classic song, "Sidewalks of New York," uses the interval Do-Fa in several places.
Find the Do-Fas and audiate the piece using handsigns. Can you hear the Do-Fa?
Chas. B. Lawlor and
James W. Blake
The Sidewalks of New York ("East Side, West Side")
#3 ú
& 4
Ï
1. Down
.
2. That's
3. Things
&
6
#
in
front
were John
have changed
Ï Ï Ï
wood Jim
up
# î
&
12
Ï
ú
ú.
Ï
ú
We formed
Who al
But they
Ï
a
ways
all
ú
ú
mer
had
feel
On
With Jak
Oth
-
Ï
-
Ï
a sum
ey Krause
ers they
Ï
ú.
ry
the
like
group;
dough,
me,
166
Ï
ú.
Ï
Old
brown
lit
tle
Some
are
And
ú
Ï
ú
Ï
of
Ca - sey's,
ny
Ca - sey,
since those times,
ú
en stoop,
my Crowe,
in "G,"
ú
Ï
Words edited by Patti DeWitt
Ï
mer's
the
are
Ï
ú
eve - ning,
ba - ker,
wand' - rers,
ú
Ï
and
Boys
Pret - ty
leave
They'd
Chapter 21:
The IV Chord -- Do - Fa
q Breathing
1.
2.
3.
4.
Have the students stand, hands on their abdomens (beltlines).
Have them breathe in deeply and to expand at their beltlines.
Tell them to fill up their lungs all the way to the bottom.
Take a deep breath and perform the following pattern:
44
Ï Ï Ï
ss ss ss
ú
Ï Ï Ï
soo
ss ss ss
ú
soo
5. Begin with a single repetition on a single breath, then add one
repetition at a time and test their endurance. Remind them
to keep "hold" of the breath with their abdominal muscles.
6. Repeat the exercise with actual pitches:
D
& b 44 Ï Ï Ï
ú
Ï ÏÏ
ú
"Follow Me"
Handsign the notes learned thus far, but emphasize the interval
Game
Do - Fa. Ask the students to follow your handsigns.
Ask for a student volunteer to lead the activity.
OAudiate:
Handsign a short series of notes, making certain to include the
interval Do - Fa, keeping the rest of the notes scalewise. (Start out
with 3 or 4 notes, then add more to the series). Have the students
watch and "listen" in their heads, sign the passage without singing,
and then sing the series for you.
Don't forget to use the "Memory" Game--described in Chapter One.
S - 166
S - 167
THE IV CHORD: DO-FA -- 21
18
&
23
&
#
#
Ï
ú
girls
Nel
their
-
ú
Ï
ú
waltz,
cork,
walk,
# ten.
& ú
Ï
On
On
On
Ï
the
the
the
ú
Ï Ï
to - geth - er,
lie
Shan - non,
pos - es - sions
ú.
28
ú
We
With a dude
Just
Ï
ú
Ï
While the "Gin
First
And to twirl
ú
-
of
of
of
Ï
Ï
would sing
and
as light
as
to have one more
ú
ú
Ï Ï
nie" played
the or - gan
picked up
the waltz step
their fav' - rite hon - ey
Ï
ú
side - walks
side - walks
side - walks
Ï
Ï
Ï
New
New
New
ú.
Î
ú
York.
York.
York.
Chorus:
29
&
35
&
41
&
46
&
51
&
56
&
# ú.
ú.
ú.
East
side,
west
ú.
ú
#
town,
# Ï
Ï
The
ú
ú
Bridge is
fal
-
Ï
ú
#
#
ú
girls
Ï
ú.
Rourke,
On
Ï
tots
sang, "Ring
ú.
Ï
the
Ï
Ï ú
ro - sie,"
ú.
ú.
ú
Ï
Me
Tripped
side-walks
a
ú
of
Ï
Ï
the
light
Ï
ú.
New York.
and
Ï
Ï
ú
the
ú
Ï
a - round
ling down."
ú
ú
Ï
All
Ï Ï Ï
to - geth - er,
ú.
# Uú
side,
ú
Ï
ú
ú.
Ï
"Lon
-
don
ú
Ï
Boys
and
Ï
Ï
Ï
ú
Ma - mie
Ï
O' -
fan - tas - tic,
ú.
..
FORM: "The Sidewalks of New York" is strophic; that is, the same melody repeats for
different stanzas of lyrics. It also has a chorus that follows each stanza. Determine the
form for the verse section of the song. Then determine the form for the chorus. Are the
forms similar? Are there any phrases in the verse section that can also be found in the
chorus?
167
21 -- THE IV CHORD: DO-FA
Do-Fa is also found in the old college song, "Good Night, Ladies."
? # 44 ú
Good Night, Ladies!
?# ú
Good
Good
ú
night,
ú
night,
Ï ú.
Ï
ú
Ï
la - dies!
la - dies!
Ï
ú
ú
Ï ú.
Good
night,
la - dies!
Anonymous
Ï Ï Ï
w
We're going to leave you
now.
AUDIATE:
? # 44 Ï .
? # Ï.
? # Ï.
? # Ï.
"Listen" to the following song in your head. Where is the Do-Fa?
Can you name this American folk song without singing it out loud?
ú
Ï Ï. Ï Ï. Ï
J
ú
Ï Ï. Ï Ï. Ï
J
Ï #Ï . Ï Ï . Ï ú
J
Ï.
ú
Ï Ï Ï
Ï
Ï Ï
Ï Ï. Ï Ï. Ï ú
J
Ï
Ï
w
Ï
Ï
w
Ï Ï
J
Ï
Ï
Ï. Ï Ï Ï Ï Ï w
Ï
Ï
Ï Ï
J
Ï.
w
Do-Fa
Do-Fa is a perfect fourth (5 half steps).
The following exercises present the major third, Do-Fa.
READ the exercises. Identify each key and then:
1. Scan for repetition and form.
2. Chant the rhythm while conducting.
3. Chant the solfege in rhythm.
4. Audiate (handsign and read silently),
5. Sing with handsigns.
Interval Practice:
& 44 ú
? # 44 Ï
Ï Ï
Ï ú
ú
Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï ú
ú
ú
Ï Ï ú
168
THE IV CHORD: DO-FA -- 21
Reading exercises:
1.
3
&b4 Ï
&b Ï
2.
Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï Ï Ï Ï
? b 44 Ï Ï Ï Î
Ï
Ï
? b 34 Ï
Ï
Î
Ï
Ï
& 44 Ï Î Ï Ï
&Ï
Î
Ï
Ï
Ï
Ï Ï
ú
Ï
Ï Ï Ï Ï
169
Ï Ï ú
Ï Ï Ï Î
Ï Ï Ï Ï
Ï
Ï Ï Ï Î
Î
Ï
Ï Ï Ï Î
Ï
Ï
Ï Ï Ï
Ï
ú
Ï Ï ÏÏÏ
Ï
Ï Î Ï Î
Ï Î Ï Î
Ï
ú.
Ï
Ï ÏÏ Ï Ï
Ï Ï Ï Î
Ï
ú
Ï
Ï Ï Ï Ï
Ï Ï Ï
Î
Ï Ï Ï
Ï
ú
Ï Ï
ú
Ï
Ï Ï Ï ÏÏ Ï Ï ÏÏÏ
ÏÏ Ï Ï Ï Ï
Ï
?b ú
6.
Ï
& b 44 Ï Ï Ï Ï Ï Ï Ï ú
?b Ï
5.
Ï
Ï
Ï
&b Ï
4.
ú
Ï
& b 44 Ï Ï Ï Ï Ï Ï Ï ú
&b Ï
3.
Ï
Ï
ú.
ú
Ï
Î
Ï Î Ï Ï
ú.
Î
21 -- THE IV CHORD: DO-FA
7.
4
&4 ú
&ú
8.
Ï Ï
Ï
Ï
Ï
Ï
& b 34 Ï Ï Ï ú
Î ú
Ï
Ï Ï Ï
? b 44 ú
?b ú
12.
Ï Ï
Ï
Ï Ï Ï
ú
Ï Ï Ï Ï
Ï ÏÏú
Ï
Ï
Ï
Ï
Ï
Ï
Ï ÏÏú
Î
ú
Ï
Ï
Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Î
ú
Ï Ï Ï
Ï Ï Ï
Ï
Î
Ï Ï Ï Ï Ï ú
Ï
ú.
ú.
Ï
Ï Ï Ï
Ï Ï Ï Ï ú.
Ï Ï Ï
Ï Ï
Ï Ï
Ï
Ï
Ï Ï Ï
& b 44 Ï Ï Ï Ï Ï
&b Ï ÏÏÏ Ï
ú
Ï Ï
Ï Ï ú
? b 34 Ï Ï Ï
10.
.
?b Ï Ï Ï ú
11.
ú
Ï Ï ú
&b ú
Î
Ï
? 44 Ï Ï Ï Ï
?Ï Ï Ï Ï
9.
Ï Ï
ú
Î
ú
Ï
ú.
ú.
Ï
Ï
Î
Ï
Î
Ï ÏÏÏ ÏÏ Ï Ï ú
Ï ÏÏÏ ÏÏ Ï Ï Ï Ï
Ï ÏÏÏ Ï
Continued on next page
170
+
THE IV CHORD: DO-FA -- 21
Ï
&b Ï ÏÏ ÏÏ
Ï ÏÏú
Ï ÏÏÏ ÏÏ Ï Ï Ï Ï
&b Ï ÏÏÏ Ï
? b b b b 34 Ï
bb
13.
? bb b b Ï Ï
bb
14.
### 4 ú
4
&
### ú
&
15.
Ï
YOUR BRAIN:
Ï
ú
Ï
ú
Ï
Ï Ï ú
Ï Ï ú
ÏÏú
### 2
4 Ï Ï ÏÏÏÏ Ï Ï Ï
16. &
### Ï Ï Ï
Ï Ï Ï ÏÏÏÏÏ
&
Ï ÏÏÏ Ï
Ï
Ï
Ï
Ï
ú.
Ï
ú.
Ï Ï Ï Ï
Ï Ï Ï
Ï
bb4
&b b 4 Ï ÏÏÏÏÏÏ Ï ÏÏÏÏÏ
b
& b b b 44 Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï ú
Ï
Ï
Ï
Ï
Ï
Ï Ï
Ï Ï
Ï Ï
Ï Ï
ú
Î
ú
Ï ÏÏÏÏÏÏ ÏÏ ú
Ï
Ï ÏÏÏÏÏÏ Ï ÏÏÏ
Ï
Ï Ï
Ï Ï
Ï ÏÏÏÏÏ
ÏÏÏÏÏ
Ï
ÏÏÏ
? b b b b 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
bb
17.
Ï Ï Ï Ï Ï ÏÏú
? bb b b Ï Ï Ï Ï Ï Ï Ï ú
bb
ú
Ï Ï Ï Ï ÏÏÏÏú
? bb b b Ï Ï Ï Ï Ï Ï Ï Ï
bb
171
21 -- THE IV CHORD: DO-FA
Merrily, in 1
#
& 34
&
#3
4
&
&
#
#
Ï
got
got
such
said
ate
get
get
Î
? # ú.
Ï
Ï
Ï
Ï
too
too
a
bad
naugh - ty
my
too
too
Ï
Ï
Î
Ï
big,
fat,
hab - it,
words,
par - rot,
wild,
long,
ú.
Ï
1. I
2. I
3. I
4. I
5. I
6. And
7. And
?#3
4
3
F
had
had
had
had
had
if
if
Î
Î
Î
ú.
a
a
a
some
a
my
my
So
So
So
So
So
Then
Then
off
off
off
off
off
off
off
Ï
Ï
Î
Ï
ú.
that
that
with
that
that
should
should
ret
Î
Ï
Ï
bit
Ï
Ï
ú.
Ï
172
Ï
pig
cat
rab birds
fer child
song
Ï
Ï
F
Ï
Ï
Ï
ú
Ï
Ï
she
he
she
they
he
he
I
goes
goes
goes
go
goes
goes
go
to
to
to
to
to
to
to
Ï
Î
Ï
ú
Ï
the
the
the
the
the the
the
Ï
Ï
THE IV CHORD: DO-FA -- 21
7
&
&
#
ú.
zoo
zoo
zoo
zoo
zoo
zoo
zoo
# Î
? # ú.
12
&
&
#
-
Ï
Ï
ú
ú
Ï
Ï
Ï
Ï
ú.
So
So
So
So
So
Then
Then
off
off
off
off
off
off
off
she
he
she
they
he
he
I
goes
goes
goes
go
goes
goes
go
to
to
to
to
to
to
to
the
the
the
the
the
the
the
zoo
zoo
zoo
zoo
zoo
zoo
zoo
Ï
Î
Ï
Ï
Î
Ï
Î
Ï
Ï
oh,
oh,
oh,
oh,
oh,
oh,
oh,
Î
Ï
P
ú.
ú.
ú.
ú
Ï
Ï
So
So
So
So
So
Then
Then
off
off
off
off
off
off
off
she
he
she
they
he
he
I
goes
goes
goes
go
goes
goes
go
Ï
Î
Ï
Î
Ï
ú.
Ï
oh,
oh,
oh,
oh,
oh,
oh,
oh,
?# ú
Ï
f
ú
# Î
-
P
f
Ï
ú.
173
Ï
to
to
to
to
to
to
to
the
the
the
the
the
the
the
Ï
Ï
Ï
ú.
-
-
Ï
-
Ï
ú.
Ï Î ..
Î Ï Ï
Ï Î ..
zoo.
zoo.
zoo.
zoo.
zoo.
zoo!
zoo!
ú.
Ï Î
..
22: Review:
Thirds and Fourth of the IV Chord
?w
w
&w
w
The thirds and fourth of the IV Chord are:
1. Major third--Fa-La
2. Minor third--La-Do
?w
3. Perfect fourth--Do-Fa
b
b
w
w
w
w
w
b
#
w
w
w
#w
w
w
w
#w
The following exercises present the the above thirds and fourths of the I and V Chords.
READ the exercises. Identify each key (Watch out!) and then:
1. Scan for repetition and form.
2. Chant the rhythm while conducting.
3. Chant the solfege in rhythm.
4. Audiate (handsign and read silently).
5. Sing with handsigns.
1.
& 44 Ï Ï ú
&Ï
2.
Ï
& 44 ú
&ú
3.
ú
Ï
Ï
ú
ú
Ï
ú
Ï Ï
& 44 Ï Ï ú
&Ï Ï ú
Ï ú
Ï
Ï
Ï
ú
Ï
ú
ú
ú
Ï
Ï Ï ú
ú
Ï
ú
Ï
174
ú
Ï
Ï
ú
w
w
Ï
Ï Ï
Ï Ï Ï Ï
ÏÏ
Ï Ï Ï
Ï Ï
Ï
Ï
Ï Ï ú
ú
Ï ÏÏ Ï
Ï Ï ú
Chapter 22:
Review: Thirds and Fourths of the IV Chord
q Breathing
1.
2.
3.
4.
Have the students stand, hands on their abdomens (beltlines).
Have them breathe in deeply and to expand at their beltlines.
Tell them to fill up their lungs all the way to the bottom.
Take a deep breath and perform the following pattern:
43 Ï Ï Ï Ï Ï
ss ss ss ss so
ú.
ÏÏÏÏÏ
soo
ss ss ss ss so
Ï ú
so
soo
5. Begin with a single repetition on a single breath, then add one
repetition at a time and test their endurance.
Be sure to remind them to keep "hold" of the breath with
abdominal muscles.
6. Repeat the exercise with actual pitches:
3
&b 4 Ï Ï Ï Ï Ï
Ï
ú
Ï Ï ÏÏ
Ï
D
Ï
ú
"Follow Me"
Handsign the notes learned thus far, but emphasize the thirds and
Game
the fourth of the IV Chord. Ask the students to follow your handsigns.
Ask for a student volunteer to lead the activity.
OAudiate:
Handsign a short series of notes, including the intervals of the
IV Chord, keeping the rest of the notes scalewise. (Start out
with 3 or 4 notes, then add more to the series). Have the students
watch and "listen" in their heads, sign the passage without singing,
and then sing the series for you.
S - 174
S - 175
REVIEW: THIRDS AND FOURTH OF THE IV CHORD -- 22
?4 Ï
4
4.
?Ï Ï
5.
Ï
Ï
Ï
Ï
Ï
ÏÏÏ
Ï
Ï
Ï
&b Ï Ï Ï
? b 34 Ï
?b Ï Ï
ú
?b Ï ÏÏÏ
Ï
ú
Ï
Ï
Ï Ï Ï
Ï Ï Ï
Ï
Ï
Î
Ï
ú.
Ï
Ï
Ï
Ï
ú
Ï
Ï Ï
175
Ï
Ï Ï Ï
Ï Ï Ï
Î
Ï Ï Ï
Ï ÏÏÏ
ú
Ï Ï ú
ú
Ï
Î
Ï Ï ú
Ï ÏÏ
Ï
Ï Ï Ï
Ï
Ï
ÏÏÏ
Ï Ï ÏÏÏ
Ï Ï ú
Î
ú
Ï
Ï
Ï
Ï
Ï Ï ú
ÏÏÏ
Ï
Ï Ï Ï Ï
Ï Ï ú
Ï
Ï
Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï
Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
Ï Ï ú
& b 34 Ï Ï Ï
&b Ï
8.
Ï
& b 44 Ï Ï Ï Ï Ï
&b Ï
7.
Ï
? 44 Ï Ï Ï Ï
?Ï
6.
Ï
Ï
ú
Ï
Ï Ï Ï ú.
ú
Ï Ï Ï
Î
Ï Ï Ï
Ï Ï Ï
Ï
Ï
ú.
Ï
22 -- REVIEW: THIRDS AND FOURTH OF THE IV CHORD
9.
? 4 Ï Ï Ï Ï Ï
b4
Ï Ï
?b Ï Ï
10.
11.
& b 34 Ï
&b Ï
12.
Ï
& b 44 Ï Ï Ï Ï
&b Ï Ï Ï Ï
Ï
Ï
&b Ï Ï Ï Ï
&b Ï Ï Ï Ï
? b 34 Ï Ï Ï Ï
13.
?b Ï Ï Ï Ï
Ï ÏÏ ú
?b Ï
Ï
Ï
ú
Ï
Ï
Ï
Ï Ï
Ï Ï Ï Ï
Ï Ï ú
Ï Ï ú
Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï ú
& b 44 Ï Ï Ï Ï
&b Ï Ï
Ï Ï ú
Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï ú
Ï ÏÏ Ï Ï Ï Ï
Ï
Ï Ï Ï
Ï
Ï
ú.
Ï
ú.
Ï
Ï
Ï Ï Ï Ï
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï
Ï Ï Ï Ï
Ï
Ï Ï
ú
Ï Ï
Ï
Ï
Ï Ï
ú
Ï Ï Ï Ï
ú
ÏÏÏ
Ï
ÏÏÏ
Î
ú
Î
Ï ÏÏÏÏ Ï Ï Ï
176
ú
Ï
ú
Ï
Î
Ï
ÏÏÏ
Ï
Ï Ï Ï
ú.
Ï Ï Ï Ï ú.
ÏÏÏ Ï
ú
Ï ÏÏÏÏ
REVIEW: THIRDS AND FOURTH OF THE IV CHORD -- 22
YOUR BRAIN.
14.
4
&b4 Ï
&b Ï
&b Ï
15.
Ï
Ï Ï Ï Ï ÏÏÏ Ï
? #### # Ï
#
? #### # Ï
#
ÏÏÏ
Ï
Ï Ï Ï Ï Ï
Ï Ï Ï
Ï
b4
&b 4 Ï Ï ÏÏÏ
b
&b Ï ÏÏ Ï Ï
Ï
Ï
Ï
Ï Ï Ï
Ï
Ï
ÏÏÏ ú
ú
ÏÏÏ
Ï
Ï
Fine
Ï
Ï Ï Ï
Ï
Ï
ÏÏÏÏÏ
Ï ÏÏú
ÏÏÏÏÏ Ï
Ï
Ï
ÏÏÏÏÏ Ï Ï
Ï
Ï
? #### # 3 Ï Ï Ï Ï
# 4
b
&b Ï
Ï
Ï ÏÏÏ Ï Ï Ï ÏÏÏ Ï Ï
Ï
? #### # ú .
#
16.
ÏÏÏÏÏ Ï
Ï
ÏÏÏ
Ï Ï Ï
Ï Ï ÏÏ ú
Ï
Ï Ï Ï
Ï
Ï ÏÏÏ
Ï Ï Ï
DC al Fine
ú.
Ï
Ï
Ï
ú.
Ï ÏÏÏ
Ï Ï Ï ú
Ï ÏÏÏ
Ï
Ï Ï Ï Ï
ÏÏÏ ú
ÏÏÏÏú
? # # # # # # 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
Ï ÏÏ Ï Ï Ï Ï ÏÏ ú
#
17.
? #### # Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
Ï ÏÏ Ï Ï Ï Ï ÏÏ ú
##
177
22 -- REVIEW: THIRDS AND FOURTH OF THE IV CHORD
Two-Part Exercises:
1.
4
&4 Ï Ï Ï Ï
ú
? 44 Ï Ï Ï Ï
&Ï
?Ï
2.
Ï
Ï
Ï
Ï
Ï
ú
Ï
ú
& 44 Ï Ï Ï Ï
Ï Ï ú
Ï
ú
? 44 Ï Ï Ï Ï Ï
&Ï Ï
?ÏÏÏ
3.
Ï
Ï
Ï
Ï
& 44 ú
ú
? 44 ú
& 44 ú
? 44 ú
ú
ú
ú
&Ï ÏÏÏÏÏ
?Ï ÏÏÏÏÏ
Ï Ï Ï Ï
Ï Ï
Ï
Ï Ï ÏÏ
Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï Ï
ÏÏÏÏú
Ï Ï ú
ÏÏ Ï
Ï Ï ú
Ï
Ï Ï
ú
ú
Ï Ï
Ï
Ï
Ï
Ï ú
Ï Ï ú
ÏÏ
Ï Ï Ï
ÏÏÏ Ï Ï
Ï
Ï
ÏÏÏÏÏ Ï
Ï Ï ú
Ï
Ï Ï ÏÏ
ÏÏÏ Ï Ï
ú
Ï Ï
Ï Ï
ÏÏÏ
Ï Ï
ú
ÏÏÏÏÏ Ï
Ï Ï ú
Ï Ï ú
Ï
Ï
Ï ÏÏÏÏÏ
Ï ÏÏ ÏÏ
Ï
178
Ï
Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
ú
ÏÏ Ï
Ï ú
Ï
Ï
Ï
Ï
ÏÏ
Ï
ú
Fine
Ï Ï ú
Ï
Ï
Ï
Ï
ú
Ï
DS al Fine
Ï
REVIEW: THIRDS AND FOURTH OF THE IV CHORD -- 22
4.
3
&4 Ï Ï Ï
? 34 Ï Ï Ï
&Ï
?Ï
Ï
&Ï
?Ï
5.
Ï
Ï
Ï
Ï Ï Ï Ï Ï
Ï Ï Ï
Ï
# 4 ÏÏÏ Ï Ï
& 4
Ï Ï
? # 44 Ï Ï Ï
Ï
Ï
Ï Ï Ï
Ï
Ï
ÏÏÏ
ú
Ï Ï ú
Ï
Ï
Ï
Ï
# Ï
&
ÏÏÏ
Ï
ÏÏÏÏ
Ï
?# Ï
Ï
Ï
Ï
ÏÏÏ
ÏÏÏ
Ï
Ï
ÏÏ ú
ÏÏ
ú
Ï Ï
ÏÏÏ
Ï
Ï Ï Ï Ï
Ï
Ï
Ï Ï ú
Ï
Ï
Ï
Ï Ï Ï Ï
Ï
ÏÏ
ú
Ï Ï ú
Ï
#
& ÏÏÏ
?# Ï Ï Ï
Ï
Ï
Ï Ï Ï
Ï Ï Ï
Ï
Ï
Ï Ï ú
Ï Ï Ï Ï Ï
Ï
ú
Ï Ï Ï Ï Ï
ú
Ï Ï Ï Ï Ï
Ï
?Ï
ú
Ï
Ï
Ï
&Ï
Ï
Ï Ï Ï
Ï
Ï
Ï
Ï
ú
ú
Ï ÏÏ Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
Ï ÏÏ ÏÏ Ï
ÏÏÏ
Ï ú
ú
ú
ÏÏÏ
179
Ï Ï Ï Ï
Ï ÏÏú
ÏÏÏ Ï Ï
ÏÏÏ Ï Ï
ÏÏÏÏú
Ï ÏÏú
22 -- REVIEW: THIRDS AND FOURTH OF THE IV CHORD
6.
Ï
& b 34 Ï Ï Ï Ï
? 3 ÏÏÏÏÏ
b4
Ï
Ï
Ï
Ï
&b Ï Ï Ï Ï
? Ï Ï Ï Ï Ï Ï Ï
b
7.
& b 44 Ï Î Ï Ï
? b 44 Î Ï Ï Ï
&b Ï Î Ï Ï
?b Î Ï Ï Ï
8.
#3 Ï ú
& 4
? # 34 Ï Ï Ï Ï Ï
Ï
Ï
Ï Ï Ï Ï Ï Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï Î Ï Ï
Ï ú
ÏÏ Ï Ï Ï Ï
ú
ú
ÏÏÏ
180
Ï Ï ú
Ï Î
ÏÏÏ Ï Ï
Ï
Ï
Ï
Î
ú
Ï
Ï ú
ÏÏÏÏÏ
Ï Ï Ï
Ï ú
Ï ÏÏÏ
ÏÏÏ Ï
Ï
Ï
ú
Ï Ï ú
ú
Ï ú
Ï
Ï
Ï Î ú
ÏÏÏ Ï Ï
Î
ú
ú.
ÏÏÏÏÏ Ï
Ï
ÏÏÏ
Ï Ï Ï
# ú
&
?# ú
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï
Ï
ÏÏÏÏÏ Ï
Ï Ï
Î Ï
ÏÏÏ Ï
Ï Ï Ï
ú
Ï Ï Ï Ï Ï Ï ú.
Ï Ï
Î Ï
Ï Ï Ï
Î
Ï
Ï Î Ï Ï
# Ï
&
Ï Ï
?# Ï Ï Ï
Ï
Ï Ï Ï
Ï Ï ú.
Ï
ú.
REVIEW: THIRDS AND FOURTH OF THE IV CHORD -- 22
9.
#3 Ï
& 4 Ï Ï Ï Ï Ï Ï Ï Ï
Ï
? # 34 Ï Ï Ï Ï Ï
#
& Ï
?# Ï
Ï Ï Ï Ï Ï Ï Ï
Ï
# Ï
&
?# Ï
10.
Ï Ï Ï Ï Ï Ï Ï
Ï
? # 44 Ï Î Ï Î
#%
& Ï Ï Ï Î
?# Ï Î Ï Î
#
& Ï Ï Ï Î
?# Ï Î Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï Ï Ï ú
Ï
Ï
Ï
Ï Î Ï Î
Ï Ï Ï Î
Ï
Ï
181
Ï Ï Ï
Î
ú.
Ï
Ï
Ï Ï Ï Ï
Ï Ï Ï Î
Ï Î Ï Ï
Ï Ï Ï Ï
Ï Ï ú
Ï
Ï
Ï
Î
Fine
Ï Î ú
Ï Ï Ï Ï
Î
Ï
Ï Ï Ï Ï ú.
Ï Î Ï Î
Î
Ï
Ï Ï ú
Ï
Ï
Ï Ï Ï Î
Ï Ï ú
Î
Ï
Ï Î Ï Î
Ï Î ú
Ï
Ï
Ï Ï Ï Ï Ï Ï Ï
#4
& 4 Ï Ï Ï Î
Ï Ï Ï
Ï
Ï
Ï Ï Ï Ï ú
Ï
Ï Ï Ï Ï Ï Ï Ï
# Ï Ï Ï Ï Ï
Ï Ï Ï Ï
&
Ï
Ï Ï
?# Ï Ï Ï
Ï
Ï
Ï
Ï Ï Ï Ï ú
Ï
Ï
Ï
Ï
Ï
Î
ú
ú
DS al Fine
22 -- REVIEW: THIRDS AND FOURTH OF THE IV CHORD
Three-part exercises:
#4 Ï Ï Ï Ï
& 4
#
& 44 Ï Ï Ï Ï
? # 44 Ï Ï Ï Ï
1.
&
&
#
#
& b 34 Ï Ï Ï
& b 34 Ï Ï Ï
? 3 Ï Ï Ï
b4
&b Ï
&b ú
?b ú
Ï
&b Ï Ï Ï
&b ú
Ï
?b Ï Ï Ï
Ï Ï ú
Ï Ï ú
Ï
ú
ú
Ï
Ï
ÏÏÏ ú
Ï Ï Ï Ï
Ï Ï Ï Ï
ú
ú
Ï Ï ú
Ï Ï Ï Ï
ÏÏÏ ÏÏÏ
Ï Ï ú
Ï Ï ú
ú
Ï Ï Ï Ï
Ï Ï ÏÏÏ
Ï Ï ú
Ï Ï Ï Ï
Ï Ï Ï Ï
?# Ï Ï Ï Ï
2.
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï Ï ÏÏ ú
Ï Ï Ï
Ï Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï
ú.
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
ú.
ú.
Ï
Ï
Ï
Ï
Ï
Ï
ú.
Ï Ï Ï
Ï Ï Ï
ú.
ú.
Ï Ï Ï
Ï Ï Ï
182
Ï Ï Ï
Ï Ï Ï
Ï
ú
ú
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï
Ï
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï
ú.
Ï
Ï
ú.
ú.
ú
ú
"Harvest"--page 184
What is the form of "Harvest"?
Is it homophonic or polyphonic or both?
Is there a change of tonality? If so, where?
Form:
Introduction
A: 3-part section--homophonic texture
B: 2-part section--polyphonic texture
B: Repeated
Coda--homophonic texture
Study questions:
How is the texture of the piece related to its form?
How are the tempo changes of the piece related to its form?
How are the meter changes of the piece related to its form?
Teaching the song:
Have the students learn their parts by small sections, no more
than 4 to 8 measures at a time.
Instruct them to:
1. Chant the rhythm for the section, both parts together. (Keep
it very slow to take away the fear of the sixteenth notes.)
2. Chant the solfege for the section.
3. Audiate the section.
4. Sing the section on solfege very slowly.
5. Sing the section on a neutral syllable (such as "la").
6. Continue with the next selected section.
7. After all sections have been learned in this manner, go back
and add words, one section at a time.
"Harvest" should be performed from memory and a cappella with a focus on good
intonation and musicianship. Have the students show that they understand and musical
terms and symbols by correctly interpreting all of the musical expressions in the piece.
Ask them to describe and demonstrate how to perform the symbols and terms in this
piece that refer to:
1. Rhythm
2. Tempo
3. Dynamics
4. Articulation
Remember also to remind them of the importance of good diction. Open or "tall"
vowels are vital for good intonation.
S - 182
"Harvest"--page 184
Which voice has the melody in "Harvest"?
Is this piece polyphonic? Is there melody in more than one voice?
Is there ever a point in the music in which a lower voice has the
melody? If so, where?
This piece would make very effective small ensemble. Ask for volunteers (1-3
singers on a part) to learn it to perform as a small ensemble. Tell them that they
will need to interpret the expressive elements, the terms and symbols that indicate:
1. tempo
2. tempo changes
3. dynamics
4. dynamics changes
5. articulations.
Have these small ensembles sing for the class or for a formal concert. Have them
self-evaluate. Have the class evaluate them as to how well they interpreted the
expressive markings in these pieces.
There is a lot to be gained through the preparation and performance of small
ensembles. You will get to hear more of your students' individual voices, while they
have the security of someone else singing with them.
S - 183
REVIEW: THIRDS AND FOURTH OF THE IV CHORD -- 22
3.
4
&4 Ï Ï Ï Ï
4
&4 Ï Ï ÏÏ
Ï
? 44 Ï Ï Ï Ï
& Ï
Ï
& Ï Ï
?Ï Ï
4.
Ï Ï Ï Ï
Ï Ï ú
Ï Ï
ú
Ï Ï
Ï
Ï
Ï Ï
Ï Ï
Ï
Ï
Ï
Ï
Ï
ú
ú
ú
#4
& 4 Ï Ï Ï Ï Ï Ï ú
#4
& 4
Ï Ï Ï Ï ÏÏÏ ú
? # 44 Ï Ï Ï Ï Ï Ï ú
Ï
Ï
Ï Ï Ï Ï
ú
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï ú
ú
ú
Ï ÏÏ Ï
Ï
Ï
Ï Ï
Ï Ï
ú
& Ï Ï ÏÏÏ Ï Ï ú
#
& Ï ÏÏÏ Ï Ï Ï ú
? # Ï Ï ÏÏÏ Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï Ï Ï ú
ú
Ï Ï ú
Ï Ï ú
#
Ï Ï ÏÏÏ
& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
#
&
Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï ÏÏÏ
Ï Ï Ï Ï ÏÏ
Ï Ï Ï Ï
Ï Ï Ï Ï
? # ÏÏÏ Ï
Ï Ï ú
#
ú
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï Ï Ï ú
LOCATE and IDENTIFY the thirds and fourth of the IV chord in "Harvest," on the
following pages.
183
22 -- REVIEW: THIRDS AND FOURTH OF THE IV CHORD
SAB a cappella
Thomas Nashe *
Adagiof
#
& 44 w
S
Har
#4 f
& 4 w
A
Har
f
w
? # 44
B
Har
# Allegretto
& 34 Ï Ï
5
west
#
& 34 Ï
west
? # 34 Ï
west
9
&
by
north,
Ï
Ï
ú
# fÏ Ï
by
Ï
Ï
and
by
Ï
north,
show
Ï
Ï
#
& Ï
f
Ï
...
Show
thy - self,
?#
f
Ï
Ï
Ï
Show thy - self,
...
show
Har
-
ú.
Ï
thy - self
Ï
Ï
Ï
thy - self
show
thy - self
Ï
Ï
Har
Ï
Ï
Ï
by
south
and
Ï
Ï
Ï
south
and
Ï
Ï
south
and
Ï
Ï
Ï
like
-
Î ú
vest,
by
Ï
Har
ú.
F
-
Patti DeWitt
Ï
a
-
ú
"P
Ï
U "P
Ï Ï
vest,
Î Ï Ï Ï Ï ú
vest,
by
Ï
Ï
Show thy - self,
...
vest,
F
north,
Ï
-
F
and
and
Î w
-
ú
Ï
ú.
U.
ú
-
by
-
vest,
by
-
vest,
by
U "P
Ï Ï
ú
-
Ï
ú
Ï
Ï
Ï
Î
Ï
Ï
Î
Î
south - east.
south - east.
Ï
south - east.
Ï ú
beast.
Ï ú
Good
Ï
Ï
beast.
Good
Ï
Ï
a
Ï
ú.
ú
a
beast.
Good
like
* Meet the poet on page 187.
184
-
man
Ï
ú
Ï
like
Ï
ú
-
man
Ï
-
man
REVIEW: THIRDS AND FOURTH OF THE IV CHORD -- 22
# Ï
&
Ï
& Ï
-
vest,
yeo
Ï
Ï
ú
14
#
Har
Ï
Ï
ú.
come
in
and
ú.
man, come,
Ï
come
ú
and
Ï
say what you
Har
-
vest,
yeo
-
man, come,
come
and
say what you
Ï
Ï
ú
Ï
can:
? # ú.
ú
room
Ï
for
scythe
can:
ú
room
Ï
ú
#
& ú.
Merrily F - p
#
& 24 .. Ï
24
? # 24 ..
Ï
&
#
?#
-
ú
and
Ï
Ï
sic
ú
-
scythe
and
sic
-
Ï
Ï
ú
kles
here.
Ï
cheer - y,
Trowl
Mer - ry,
mer - ry,
cheer - y,
F- p
Ï
·
Ï
Ï
Ï
Trowl
the
black
poup
sic
cheer - y,
me,
Ï
and
Mer - ry, mer - ry,
Ï
I'll
ú
Ï Ï Ï
to
Ï
Ï
Ï Ï Ï
Ï
Ï Ï Ï
and a
Ï
it
ler
a
-
ry,
Ï
der - ry, with a
Ï Ï
Ï
bowl
Ï Ï Ï
trowl
der - ry,
-
to
me,
Hey
Ï Ï Ï
Ï
Ï
thee:
I'll
trowl
it
185
poup
Ï
Ï
and a
der - ry,
a
Ï
the black
Ï
cheer - y,
Ï Ï Ï
Ï
Ï
Ï Ï Ï Ï
ler
-
ry,
der - ry, with a
·
Ï Ï Ï
Ï
to
Ï Ï Ï
Ï Ï Ï
Ï
gain
Ï
Ï
Ï Ï Ï Ï Ï
Ï
Hey
Ï
Ï
U
Ï ú.
kles here.
U
Ï ú.
kles here.
U
Ï ú.
Ï Ï Ï
bowl
?# Ï
for
Ï
Ï
scythe
30
Ï
ú
man, come,
#
#
Ï
Ï
-
for
&
Ï
yeo
room
27
Ï
vest,
can:
B
Ï
say what you
Ï
ú
Ï
-
& ú.
S
Ï
Har
?# ú
19
-
Ï
ú.
Ï
ú
Ï
Ï Ï Ï
-
gain
to
Ï
thee:
22 -- REVIEW: THIRDS AND FOURTH OF THE IV CHORD
33
&
# Ï
Hook - y,
?#
36
&
&
Ï
Ï
we
have bound,
We
have shorn,
#
Ï Ï Ï
?#
Brought
Har
&
S
# Ïf
B
f
have
Ï
brought
We
have
brought
Ï
Brought the
#4 p
& 4 Ï
p
Ï
Brought the
?#4 Ï
4
Ï
Brought the
We
Ï Ï Ï
Ï
#4 p
& 4 Ï
have bound,
Ï
Har - vest
Ï
Ï
Har - vest
Ï
Ï
Har - vest
·
Ï ÏÏ Ï
home
Ï Ï Ï
Har
Ï
Ï
Ï Ï Ï
Ï
have brought
Ï
to
town.
Ï Ï Ï
Har - vest
Har
Ï
home
vest
home,
-
Ï
Ï
-
ú
w
-
home
Ï Ï ú
vest
home,
ú
home
to
to
186
Ä
ww
town.
Ï Ï ÏÏÏ
ú
U
Ï
U
Ï
to
Ï Ï ú
U
Ï
home,
Ï
Har
to town.
Ï
vest
ú
Ï
Ï Ï Ï
Ï
we
Ï
Brought the
Ï
44
Ï
Ï
Har - vest home,
Ï
brought
?# Ï
Ï Ï Ï
have brought
home
have
We
Ï Ï Ï
Ï Ï Ï
f
& Ï
A
Ï
Ï Ï Ï
We
home,
Ï
We
have shorn,
Ï
Meno mosso
#
we
Har - vest
vest
Ï
hook - y,
Ï
Ï
the
-
And
Ï
- y,
Ï Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
have shorn, And
Ï
have shorn,
Hook
Ï
We
Ï
we
Ï
Ï
Ï
Ï
hook - y,
# Ï
Ï Ï
42
Ï Ï Ï
Ï
·
?# Ï
39
Ï
Ï
Ä
w
town.
Ä
w
town.
..
..
"
"
"
REVIEW: THIRDS AND FOURTH OF THE IV CHORD -- 22
MEET THE POET:
Thomas Nashe was a writer who lived and
worked in Elizabethan England. Born November
of 1567 in a little fishing town in east England, he
was the son of a minister and was educated by
his parents at home.
He enrolled in Cambridge University at age 15
and earned his degree in 1586. In his last year at
Cambridge he and some other students staged a
play that upset the university officials. It may
have been this play, the death of his father in
1587, or a combination of the two, that led to his
leaving Cambridge that same year. He moved to
London and became known as a member of the
"University Wits," a group of writers who lived
in London and wrote for the stage and the press.
The closest thing there is to a portrait
of Thomas Nashe is this print from a
satirical pamphlet that was circulated
around Cambridge in 1597 called "The
Trimming of Thomas Nash Gentleman."
It was written by Richard Lichfield, a
barber by profession. The pamphlet
was far from complimentary in nature.
On the contrary, it was written in an
attempt to discredit Nashe. Notice it
portrays Nashe as a prisoner in chains
with scruffly and unkempt hair, with
an unbuttoned doublet, and without a
beard and a hat that were characteristic
of Elizabethan gentlemen. According
to Lichfield and this depiction, Nashe
also had buck teeth and a hooked nose.
This ploy backfired, however, and
Nashe became a campus hero rather
than a villain. A play that was given
on campus a few years later had a
hero that was a writer in London, as
was Nashe, who wrote and spoke in
the same manner as Nashe.
In London Nashe sought to earn a living by
writing. In Elizabethan England it was difficult
for a writer to make a living because there were
no copyright laws in place that protected the
author's creative efforts. Once an author sold
his work to a publisher, he never again received
any money for that work, not even if it became
a popular bestseller. This meant that writers
were nearly always penniless, unless they were
lucky enough to find a patron who would back
their books, and it was not an easy task to find a
patron.
In 1592 Nashe finally achieved fame after
writing Pierce Penilesse, a short novel about a
writer who was so tired of being penniless that
he seeks out the devil as a patron. The book
was an instant success, but, whereas Thomas
Nashe had finally found fame, he was still
without money.
Nashe kept writing. Not only did he write
for literary purposes, but he also became a major
voice in commenting on political conditions in his country. This often got him into
trouble. He was jailed in 1593 for criticizing the London government officials.
Fortunately, Sir George Carey, a nobleman and protector of the arts, came to his rescue.
Some years later, Carey would also protect Shakespeare's theatre from being shut down
by the Puritans. Four years after Nashe was released from jail, Nashe was the co-author
of a satirical play called The Isle of Dogs. The play created such an uproar that it was
instantly censored, and all the theatres closed. Nashe barely escaped being arrested by
fleeing from London.
187
22 -- REVIEW: THIRDS AND FOURTH OF THE IV CHORD
Nashe became involved in serious controversy when he began to answer attacks made on
the Church of England by a group of Puritan writers. Writing under the pen name "Pasquil,"
he wrote several satiric pamphlets. He also became involved in a vicious duel of the pen
with poet Gabriel Harvey and his brother Richard. Richard Harvey was severely critical of
an essay Nashe wrote as the preface to a book by his friend, Robert Greene.* In this preface,
Nashe had condemned the practice of plagiarizing the classics and trying to pass them off as
one's own original work. Nashe answered Harvey's criticism with his book, Pierce Penilesse.
Gabriel Harvey retaliated by writing Four Letters, in which he published derogatory
material about the last days of Greene's life. Nashe responded by writing Four Letters
Confuted in defense of his deceased friend. This eight-year journalistic war came to an
abrupt halt in June 1599, when Archbishop Whitgift and Bishop Bancroft decreed that
all of Nashe's and Harvey's books be seized and that neither should be allowed to
publish again.
Nashe's primary contributions to the literary world, however, were not his political satires,
but his poetry, plays, and stories. His story, "The Unfortunate Traveller," is considered by
some to be the first English novel.
Life was hard in Elizabethan England. The poem, "Autumn," describes the harshness
of the conditions of London in the winter time and a prayer for deliverance from the
penetrating cold accompanied by flu viruses, cholera, and bubonic plague which took
thousands of lives every winter. Nashe and many of his colleagues died before age 30.
In his day Nashe was a controversial and
eccentric figure, but that does not mean he was
not respected. The university students and the
younger intelligentsia admired Nashe for his
verve, his nerve, and independence. His main
legacy was his bold writing style which had
a major effect on writers for years to come.
Life in Elizabethan England
The Elizabethan period of English history
has been defined as the range of years from
1558-1603, the years of the reign of Queen
Elizabeth I. Elizabeth, second daughter of
Henry VIII and his second wife Anne Boleyn
whom Henry had executed, ascended to the
English throne after the death of her older
Elizabeth I
"Coronation Portrait" by an unknown painter
_____________________
* Robert Greene has the questionable honor of being known as one of the only people in
history to publicly criticize the writings of his contemporary William Shakespeare.
188
REVIEW: THIRDS AND FOURTH OF THE IV CHORD -- 22
half-sister, Queen Mary Tudor who was called "Bloody Mary" because of her persecution
of English Protestants.
The Elizabethan Era is sometimes called the "Golden Age" of English history. It was
during this time due directly to Elizabeth's interest and support that the English navy
became the ruler of the seas, establishing its superiority by a soundly defeating the
purportedly invincible Spanish Armada. A result of this naval dominance was a new
interest in foreign trade, especially with the Far East. The East India Company was
formed in 1599 and brought England into a leading position in international trade.
Although the rest of the arts flourished in
Elizabethan England, visual art lagged behind.
Except for portraits of influential people, there
are not many examples of Elizabethan painting.
It was, in fact, two Italians that were the best
known painters in Renaissance England:
Raphael, who was commissioned by Henry
VIII to create copies of royal tapestries, and
his assistant Guilio Romano. These two
masters had both died even before Elizabeth
was born.
Perhaps the clothing fashions of the
time made up for a lack of visual arts.
Women's fashions were elaborate and
sumptuous, with Elizabeth setting the
standard. Notice the intricate detail
in her gown from the portrait at the
right.
Elizabeth I in 1572
By an unknown painter
It was not only the women's fashions
that were showy and theatrical. The men
were not to be outdone. Sir Robert Dudley,
Earl of Leicester and Elizabeth's favorite, is
pictured at the left.
If Elizabethan England was lacking in
visual art, it certainly had an abundance of
music and literary and theatrical art. Some
of the greatest English composers in its
history lived in Elizabethan England: Henry
Purcell, Thomas Tallis, Orlando Gibbons, and
William Byrd.
William Byrd was the student of Thomas
189
22 -- REVIEW: THIRDS AND FOURTH OF THE IV CHORD
Tallis. One of the reasons that Tallis and Byrd are the best-known among Elizabethan
composers is that they were granted exclusive rights by the queen to publish music. Below
is the famous "Tallis Canon" written by Thomas Tallis in 1560:
Tallis Canon
V
I
I
#4
* V
& 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï
All praise to you, my
#
& Ï Ï Ï Ï
God, this night, for
V
I
V
Ï
Ï
us,
oh, keep us,
King
of
I
Ï
I
all
the bless-ings
Ï Ï Ï Ï
V
Ï
Ï Ï Ï Ï
V
I
kings Be - neath your own
V
I
Ï Ï Ï
of
Ï
the light; Keep
Ï Ï Ï Î ..
V
I
al - migh - ty wings.
Be with us, Lord, and keep us strong,
to stand with those who do us wrong.
Teach us to live, children of love,
with grace and strength sent from above.
Praise God, from whom all blessings flow;
Praise him, all creatures here below;
Praise him above, you heavenly host.
Praise Father, Son, and Holy Ghost.
READ the Canon on solfege with handsigns.
Practice it until it is mastered on solfege.
SING the Canon (still on solfege) in 2 parts with the second part beginning when the first
part reaches the asterisk ( ).
*
Try it with 3 and 4 parts.
ACROSS THE CURRICULUM:
Write a new set of words for the Canon.
PERFORM your new composition:
1. In unison.
2. In 2 parts, 2 times through.
3. In 3 parts, 3 times through.
IMPROVISE an accompaniment for the Canon on keyboard or on Orff Instruments.
The chord symbols are written over the notes. How often does the harmonic structure
(the chord) change? Remember that your accompaniment needs to work with the piece
when sung in canon as well as in unison.
Compare your accompaniment to the accompaniment given on the next page.
How are they alike? How are they different?
Part of the song, "Harvest,"on the previous pages is in canon.
Where does the canon begin? Where does it end?
190
This chapter has presented an overview of the arts in the Elizabethan Era. In
Elizabethan England the visual arts (paintings) were almost totally eclipsed by the
literary arts. Writers, poets, and playwrights dominated the Elizabethan Age.
Just like the costumes of the day which were ornate, elaborate, and rich, so the literary
works included grand masterpieces such as the works of William Shakespeare. It is quite
possible that the plays that came out of the late Renaissance inspired the interest in opera
that budded during this time and blossomed during the Baroque and Classical periods.
The first operatic masterpiece was, L'Orfeo, was written by Claudio Monteverdi in 1607.
Henry Purcell wrote the first English opera, Dido and Aeneas, in 1670.
Operas incorporate the same structure as theatrical plays. They are organized into
acts and scenes, incorporate sets and scenery and costuming, and call for acting on
the part of the performers. The main difference is that operas are sung instead of spoken.
LISTEN:
Find a good recording (or .mpg) of the following:
"When I am Laid in Earth" from Dido and Aeneas,
by Henry Purcell (Late Renaissance)
"Ombra Mai Fu" from Xerxes (presented in Level 3 of this series)
..
by Georg Frederic Handel (Baroque)
"Mi Chiamano Mimi" from La Boheme,
by Giacomo Puccini (Late Romantic/Twentieth Century)
Ask the students to compare these three examples of aria (or three of your
favorite arias of various styles/periods) for:
Accompaniment
Form
Tempo
Dynamics and dynamics changes
Range/difficulty of the melodic line
Ask them to identify the melodic line of each of these pieces, by humming or singing it.
Ask them to identify the characteristics that classify each of these pieces in the style
period in which they were written.
LISTEN
Find a good recording (or .mpg) of "Bess, You Is My Woman,"
from Porgy and Bess by George Gershwin.
Compare the style to the pieces above.
In what way is it similar to the pieces above? (An operatic aria)
In what way is it different? (Composed with a jazz idiom.)
S - 190
S - 191
REVIEW: THIRDS AND FOURTH OF THE IV CHORD -- 22
ORFF
ACCOMPANIMENT
(or 4--or more--hands
on the piano):
SG
SM
AM
BM
#4
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& 4 Î
#4
úú
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#4 Î
úú .
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.
ú
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Î ÏÏÏ
î
úú
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ú.
úú
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..
..
..
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It was Queen Elizabeth's love for the arts that provided a fertile ground for the abundance
of musical and literary giants that are associated with her era. She particularly loved the
theatre, and, thus, during this era, in addition to poets and authors, we find a plethora of
playwrights: Thomas Nashe, Christopher Marlowe, and, certainly not least, the eminent
William Shakespeare.
Below is another poem about harvest; this is one of William Shakespeare's many
sonnets:
Sonnet 97
How like a winter hath my absence been
From thee, the pleasure of the fleeting year!
What freezings have I felt, what dark days seen!
What old December's bareness every where!
And yet this time removed was summer's time,
The teeming autumn, big with rich increase,
Bearing the wanton burden of the prime,
Like widow'd wombs after their lords' decease:
Yet this abundant issue seem'd to me
But hope of orphans and unfather'd fruit;
For summer and his pleasures wait on thee,
And, thou away, the very birds are mute;
Or, if they sing, 'tis with so dull a cheer
That leaves look pale, dreading the winter's near.
Stretch your brain: What is a sonnet?
191
23:
Review:
Thirds and Fourths of the I, V, and IV Chords
? w
The thirds and fourth of the I, IV, and V Chords are:
1. Major thirds
w
Do - Mi
2. Minor thirds
3. Perfect fourths
?# w w
w
w
Fa - La
w
&b w
w
w
So - Ti
w
Mi - So
w
La - Do
w
Ti - Re
So - Do
Do - Fa
Re - So
w
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w
w
Pencil Time 2:
Activity Sheet 45: The I, V and IV Chord Game
Activity Sheet 46A, B, C: Write a solo!
The following exercises present the the above thirds and fourths of the I and V Chords.
READ the exercises. Identify each key and then:
1. Scan for repetition and form.
2. Chant the rhythm.
3. Chant the solfege in rhythm.
4. Audiate (handsign and read silently).
5. Sing with handsigns.
1.
& b 34 Ï Ï Ï
&b Ï
Ï
&b Ï Ï Ï
2.
& b 34 Ï
&b Ï
Ï
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192
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23: Review:
Thirds and Fourths of the I, V, and IV Chords
This chapter is a review of all of the intervals of the I, V, and IV chords that this book
has covered to this point. Students should be able to recognize all the thirds and fourths
of these three chords by sight and by sound. Additionally, they should be able to sing
them at sight.
The chapter ends with a rather lengthy song that uses all of the skills that the students
have learned to this point.
In the
Literature:
You will find some good sightreading practice songs in the
literature. These songs were written specifically for the purpose
of sightreading training: They are written a cappella and cover
the concepts that have been taught in this book.
Lascia Ch'io Pianga is a lovely operatic aria. It has been
arranged for two-part treble voices. The Italian is very easy to
learn and to sing, and the words are pronounced very much the
way that they look.
Lascia ch'io pianga mia cruda sorte,
E che sospiri la liberta!
Translation:
Let me weep over my cruel fate,
And that I long for freedom!
This is a very emotive piece and should be performed with a
great deal of finesse and sensitivity. It should be memorized and
performed from memory so that the students can focus on your every
nuance when you conduct it.
"Lascia ch'io pianga," may also be performed as a solo. After the
class has learned it altogether, suggest to them (or require them) to
perform it as a solo. Dynamics are very important to this piece.
Performing it as a solo will give the students the chance to show that
they understand the meaning of the symbols and terms used to indicate
dynamics and dynamics changes. The tempo never varies except right
at the end (which is characteristic of Baroque music). The only terms
terms concerning tempo in the piece are larghetto and ritardando (rit.).
The students will not be performing the ritard.
Articulation specifics are marked throughout the piece (melismas),
and the performer must be aware of the difference between how the
melismas should be performed and the performance of the two quarter
notes/eighth rest/eighth note pattern:
j
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S - 192
S - 193
REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS -- 23
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193
23 -- REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS
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194
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REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS -- 23
13.
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195
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23 -- REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS
Two-Part Exercises:
4
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196
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REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS -- 23
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23 -- REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS
#3
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198
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REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS -- 23
10.
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23 -- REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS
13.
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REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS -- 23
16.
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b
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bb
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b 3
& b bb 4 Ï Ï Ï
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b
b
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b
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ú
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Ï Ï Ï Ï
Ï Ï ú
23 -- REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS
Three-part exercises:
4
Ï Ï
&b4 Ï Ï
1.
& b 44 Ï Ï Ï Ï
? b 44 Ï Ï Ï Ï
&b Ï Ï Ï Ï
#
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ú.
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ú.
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&
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& 4
#3
& 4 Ï Ï Ï
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& Ï
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& ú
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202
Fine
Ï Ï ú
Ï Ï ú
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Ï Ï Ï
Ï Ï Ï
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Ï
Ï
Ï
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ú
ú
ú.
ú.
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DC al Fine
S - 202
LISTEN: Allow the students to sit out--1 or 2 students at a time--to listen. Ask them to
answer the following questions about "West Texas Tale."
Which voice has the melody at:
Measure 4?
Measure 24?
Measure 41?
Measure 57?
Measure 65?
Questions for class discussion:
How does one tell the melodic parts from the harmonic?
How does the accompaniment provide harmonic support
for the melody?
"West Texas Tale" makes a nice concert piece. All concert music should be
memorized by the students. When music is memorized, the students can place their
full focus on the director during the performance.
S - 203
(
(
REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS -- 23
#4
& 4 Ï Ï Ï Ï Ï Ï ú
#4
& 4
Ï Ï Ï Ï Ï Ï ú
?#4 Ï Ï Ï Ï Ï Ï ú
4
3.
&
&
#
#
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&
&
#
#
Ï Ï Ï
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& b 44 Ï Ï Ï Ï Ï
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? b 44 Ï Ï Ï Ï
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203
Ï Ï ú
Ï Ï ú
Ï Ï ú
23 -- REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS
West Texas Tale
Pat Pine Darnell*
#3 Î
& 4
Merrily, in 1;
S
B
Orff:
AG
AX
Or, piano
5
&
#
? # 34 Î
&
&
?# Ï
Ï
Ï
seat for you,
jec - tions de -
? #
·
#3 Î
4
Ï
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F
Ï
Î Î
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Ma - dam,
feat- ed,
Ï Ï Ï
Ï
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F
.. Î Î Ï Ï
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Be The
Ï
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side me?
la - dy
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* Meet the poet on page 211.
204
Î
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Î
F
Ï
"A
Ob
Ï
Î
"A
Ob -
.. î
·
Be - side me?
The
la - dy
ÏÏ
Patti DeWitt
·
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seat for you,
Ma - dam,
jec - tions de - feat - ed,
Î
·
#3
4 Ï Ï Ï Ï Ï
Ï
#
·
F
Ï
&
h. = 48
?#3 Î
4
BX
SB with Orff or piano accompaniment
Ï
Ï
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A- dam,"
seat - ed,
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I'm
was
A- dam,"
seat - ed,
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was
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He
And
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And
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-
REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS -- 23
9
&
#
Ï
Ï
as
to
the
the
train
great
Ï
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said,
turned
as
the
train
to
left
the
the
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said,
turned
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13
room
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with
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your
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your
out
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out - of -
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205
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And should
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she
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f
tion.
doors.
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And should
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bag,
men - tion
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It
sta great out - of
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t'rest
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in
had
no
t'rest
in
Î
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-
23 -- REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS
16
&
#
F
Ï
F
?# Ï
lag,
ten
&
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19
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-
tion
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ten - tion
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sa - tion."
bore.
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sa - tion."
gen - tle - man
&
&
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To
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re con -
gale
verse
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206
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REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS -- 23
24
&
#
p
î
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p
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is
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all
all
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he
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word,
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207
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heard
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des
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your
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where are
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miss?
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miss?
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33
Ï
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name, love - ly
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name, love - ly
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? # Ï
28
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the
23 -- REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS
37
&
#
la - dy
?# Ï
&
#
had
Ï Ï
la - dy
had
Î Ï
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42
&
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47
&
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no
in - cli - na - tion.
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plain,
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there?
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Î
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208
Î ÏÏ Ï
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F
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said, "See that
wind
Î Ï Ï
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-
mill
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bluff
ú
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two
on
that
bluff
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that
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on
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the
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on
wind - mill out
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out
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they rode
said, "See that
Î Ï
ú
the
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rode on
Ï Ï Ï
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two
Î
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ú
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Thru' the west Tex - as
Î Ï
'way
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plain,
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ú
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As they
cresc. e rit. . . . . . . . . . . . . .
cresc. e rit. . . . . . . . . . . . . . . . .
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there?
#
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&
in - cli - na - tion.
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train
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no
ú
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train
&
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cresc. e rit. . . . . . . . . . . . . .
Ï
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Ï
REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS -- 23
51
&
#
Ï
wind
not
Ï
en
Ï
-
ough
wind
not
en
-
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# Î
? # Ï
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&
55
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&
&
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two,
so
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they
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moved
ough
To
blow
two,
so
they
moved
Î
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p
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ges - tion
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ggg ú .
ggg
ggg ú .
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Of
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one
Ï
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one
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Î
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Meno mosso; rubato
Ï Ï Ï Ï
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p
The
la - dy
ú
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gg úú ..
gg p
ggg ú
gú
·
Ï uÎ Î
A tempo
Ï Ï Ï
Ï
ten.
A tempo
Ï Ï Ï
Ï Ï Ï
in
ques - tion Had
ú.
not
Ï
gg úú ..
ggg
ggg
gg úú ..
g
ggg úú ..
gg
gg
ggg ú
gg ú
Ï
a
sug -
Ï Ï Ï
Hm
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ten.
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&
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blow
else-where."
? # Ï
60
Ï
To
U
ú
ú
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U
ú
ú
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else - where."
#
Ï Ï Ï
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?# Ï
&
Ï Ï
Ï Ï Ï
laugh - ter
ú
a
-
Ï
Ï Ï Ï
light
ú.
Hm
gg úú ..
gg
ggg
ggg úú
Ï
gg úú ..
gg
ggg
gg úú ..
g
209
in
her
Ï ú
ú
ten.
eye.
ú
Ï
ú
in
her
eye.
ggg úú
ggg
ggg
ggg úú
ÏÏ
Ï
ggg úú ..
ggg
ggg ú .
g
Ï
A tempo
Î
F
Ï Ï
"That
23 -- REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS
65
&
# pú
Ï
Oh
p
?# Ï
was,"
# g ú.
gg ú .
ggg p
ggg ú
? # gg ú
Ï
Ï
she
did
&
Ï
# ú.
&
ú.
Ah
Ï
Ï
Ï Ï Ï
ten.
ut - ter
With - out
Ï
ev - en
gg úú ..
gg
ggg
ggg ú
gg ú
gg úú ..
gg
ggg
ggg úú ..
Ï Ï Ï
a
you,
# ú.
& g ú.
gg
gg .
gú
? # gggg ú .
73
&
# Ï
on
-
?# Ï
&
#
on
Î
? # Ï
-
Ï
Ï
Ï
my
dear
sir,
Ï
Ï Ï
ly
'til
Ï
hap - pened
gg úú ..
ggg
gg
gg ú .
gg ú .
Ï
you
Ï
Ï
ly
'til
you
ÏÏ
Î
ÏÏ
Î
Ï
Ï
Ï
Ï
by;
ú.
gg ú .
ggg
gg ÏÏ Ï
gg
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hap - pened
Ï
Ï
hap - pened
Ï
Ï
Î
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Ï
Î
210
U
Ï
Î
Ï
f
gg úú
gu
ú.
ú.
"Be-fore
Tempo I
f
Ï Ï
That was
f
U
gg ÏÏ
gg
Ï Ï
That was
Î
Î
ú
ú
by!"
Ï
Ï Ï
ú
by!"
Î
F
gg uúú ..
gg
ggg
ggg úú ..
U
ú
ú.
Ï
Î
U
ú
Ah
?# Ï
A tempo
stut - ter,
Ï
ú.
ú.
69
U
ú
ú.
A tempo
ten.
ÏÏ
ÏÏ
Î
Ï
Ï
Ï
Ï
Î
Ï
REVIEW: THIRDS AND FOURTHS OF THE I, V, AND IV CHORDS -- 23
MEET THE POET:
Pat Pine Darnell is a musician, author,
and poet living in Hot Springs, Arkansas.
She is the mother of four, grandmother
of seven and great-grandmother of six.
She has written two books to date and
produced a series of children's tapes. Her
hobbies include gardening, scrapbooking,
sewing, and reading. She lives on a lovely
Arkansas hillside with her husband, Dan,
and her two dachshunds.
Our Street
by Pat Pine Darnell
The street in the town where we grew up
Was a fine and wondrous place.
With houses tall and bright green lawns
And windows draped with lace.
We rode our bikes most everywhere
And skated down the hill.
Our scooters on the sidewalk cracks
Caused many a painful spill.
Those happy fun-filled days of yore We thought they'd never end.
Alas! They're gone! But, in our hearts,
We're still there with our friends.
COMPOSE:
Write a melody on staff paper or with music-writing software for the
poem "Our Street." Before starting, determine the key, meter and form you wish to
use for your song.
Write a simple piano or Orff accompaniment for your song.
211
24: Jazz it up!
Vocal jazz improvisation involves the use of scat singing. Scat uses nonsense syllables
in various rhythmic patterns to embellish the melody or to provide an improvised
accompaniment. (See Book One for basic scat instruction.)
Ostinato:
Much jazz accompaniment involves ostinato patterns, that is, specific repeated rhythmic
or melodic material (or both). Solfege the ostinato patterns below in your own range:
I Chord
1.
2.
3.
V Chord
1.
2.
3.
IV Chord
1.
2.
3.
& b 44 Ï
& b 44 Ï
& b 44 ú
& b 44 Ï
Î ÏÏÎ
Ï
j
ÏÏ
ÏÏÏ
Î Ï ÏÏ
ú
j
Ï Î
Ï
Î
Ï
Ï
Ï
Ï
& b 44 Ï Ï Ï Î
& b 44 Ïj Ï Ïj Ï
Ï
Ï
Ï
& b 44 Ï
Î
Ï
ÏÏÎ
Ï
ÏÏÏÏú
& b 44 Î Ï
& b 44 Ï
Ï
ÏÏÏ
ú
ÏÏ äÏ
Î
Î Ï
Ï ú
ÏÏ ÏÏÎ
Î
Ï
Î
Ï
JÏ
Î
Ï
Î
Ï
..
..
..
..
..
..
..
..
..
Divide the class into three parts. Each voice part reads one of the exercises under each
chord. Read them in order, beginning with the I chord, consecutively first: Exercise 1,
then 2, then 3. Then read all parts for each chord at the same time.
Perform in various sequences: I
I
I
I
V I
IV I
IV V I
V I IV I V I; etc.
212
LISTEN:
Find a good recording of:
1. "Bess You Is My Woman," from Porgy and Bess,
by George Gershwin
2. "It Don't Mean a Thing if It Ain't Got that Swing,"
by Duke Ellington, and
3. "Lover Man (Oh, Where Can You Be?)"
by Billie Holliday
These are three examples of jazz style, but they are different genres.
Identify the melody by humming, singing or playing it on an instrument.
Genres:
1. The jazz idiom used in serious or "classical" music.
2. An excellent example of scat
3. "Blues"
Have the students fill out a Popular Music Listening Form (Preparatory Written
Activity 20) for each of the pieces that they listen to. They can then use those
forms to contrast and compare the various pieces.
S - 212
TEXTURE:
How would one define the texture of a jazz piece such as
"Scat-a-woogie"?
What parts could be considered homophonic?
What parts could be considered polyphonic?
Does this piece have a "thin" or a "lush" texture?
Ask them to defend their answers.
How could this piece be turned into a totally polyphonic piece?
(Through the use of countermelodies and scat improvisation?)
The students should memorize "Scat-a-woogie" so that they can
perform the improvised sections freely.
LISTEN:
Find a recording (CD or .mpg) of Scott Joplin's "The Entertainer."
Have the students listen to it and fill out Activity Sheet 20. Compare
"The Entertainer" to the "Scat-a-Woogie." Compare both of these to
the jazz numbers from the previous pages using the Popular Music
Listening forms from all of them.
Scott Joplin was a famous African-American composer at the turn
of the 20th century. He was the foremost composer of a predecessor
of jazz called "Ragtime."
What do "The Entertainer" and the previous jazz pieces have in
common?
How are they contrasting?
S - 213
JAZZ IT UP! -- 24
1. On staff paper, write out a 2 measure rhythmic ostinato. Assign notes of the I chord
to each of the notes in the ostinato.
2. Perform in a circle, adding one student at a time singing his or her own ostinato, keeping
all ostinati going until the last one is added. Then drop out the first ostinato to begin
singing, the second, and so on, until all voices have been silenced again.
3. Write scat syllables for each of the notes in your ostinatos. Practice each ostinato on
scat syllables, then perform with the whole class, as described above.
4. Repeat Step 1 and 3 using notes of the V chord.
5. Perform in a circle, with one student singing first his/her I chord ostinato followed
immediately by his/her V chord ostinato and repeating both. The second student begins
with his/her I chord ostinato followed by the V chord ostinato at the same time
as the first student is repeating his I chord and V chord ostinati. The third student sings
his/her I chord and V chord ostinato on the next repetition, and so forth, until the whole class
is singing. Then the first voice drops out, the second, etc., as above.
6. Repeat all of the steps above, but with the IV chord also. Perform the ostinati in this
pattern: I IV V I.
When the first singer has repeated the whole pattern, the second singer joins in with his/her
ostinati in the same pattern (I IV V I). Continue adding singers one at a time in the same
manner.
The song "Scat-a-Woogie" presented on the following pages provides opportunities to
practice vocal jazz improvisation using the I, IV, and V chords. The first few times,
perform it with the ostinati you have written in the assignment above, changing the
chord as the music dictates. After you have done this a few times, sing the solfege of I,
IV and V chord patterns that you create as you sing. When you become comfortable with
this kind of improvisation, try replacing the solfege with scat syllables.
Pencil Time 2:
Activity Sheet 47: More Scat!
213
24 -- JAZZ IT UP!
Ron Yates, ASCAP
Voices:
& b 44
·
& b Ï-.
Bah
& b b ÏÏ
Ï
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dot
dot
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4
.
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ú
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b4
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w
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ú
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w
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b ÏÏ.
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JAZZ IT UP! -- 24
^
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b
&
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24 -- JAZZ IT UP!
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to Coda--m 39
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216
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·
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JAZZ IT UP! -- 24
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217
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25: Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart
Painted by Cecelia Johnson
after a painting by Barbara Krafft, 1819
Wolfgang Amadeus Mozart has been
called the greatest genius in Western music
history. He was a child prodigy, born in
Salzburg, Austria, on January 27, 1756.
He was taught by his father Leopold who
was concertmaster in the court orchestra
of the archbishop of Salzburg and a noted
violinist and composer himself. Young
Mozart showed a profound musical gift at
a very early age. He was not only an
excellent sightreader but was skilled at
improvisation as well. He wrote several
minuets when he was five, and by age six
he could perform amazingly well on the
clavier (predecessor of the piano), as well as
on the violin. When Wolfgang was six, his
father took him and his older sister on a
concert tour of Europe. They played for
many of the courts of Europe including the
court of Empress Maria-Theresa.
From 1763 - 66, the Mozart children
performed for audiences in Germany, France,
and England. Wolfgang wrote his first symphonies in London and struck up an important
friendship with Johann Christian Bach, son of Johann Sebastian Bach. Johann Christian
had a major influence upon Mozart's compositions.
When Wolfgang was 13, he wrote his first opera, La Finta Semplice, "The Pretended
Simpleton." At 15, he and his father took a tour through Italy. While on tour, Wolfgang
was deeply attracted to the Italian opera, and he wrote three operas for the city of Milan,
Italy, from 1769-1772.
In 1772, at age 17, Wolfgang was engaged as concertmaster for the Salzburg court. He
was given a small salary, and his duties included writing a large number of sacred and
secular works. Hoping to find a more substantial position, Mozart and his mother traveled
to France. He wrote a few compositions for the Paris Symphony but was unable to find
a position that would provide steady income.
After his mother died, Mozart returned to Salzburg and was given the position of court
organist. It was during this period that Mozart produced his best sacred works. He also
received a commission to compose a new work for the Munich Opera, this time a serious
opera entitled Idomeneo (1781).
218
LISTEN:
Find a good recording (or .mpg) of the following:
"Queen of the Night" Aria from Magic Flute,
by Mozart
"Ave Verum" by Mozart
"Lacrimosa" from Requiem, by Mozart
Have the students take notes on the form of each of these as they
listen.
When they hear the first theme, they write an "A."
Every time they hear it again, they write an "A."
When they hear a new theme, they write a "B."
Every time they hear it again, they write another "B."
When they hear another new theme, they write a "C," and so forth.
If they hear a theme very similar to the "A" theme, but not an
exact duplication, have them write"A'."
Likewise for "B" and "C," etc.
How is the form of the pieces the same? How are they different?
Have them hum or sing or play on an instrument the melody of each.
Have the students fill out a Classical Music Listening form for
each of these pieces. Use these forms to compare them to each
other. Whereas they are all written by the same composer (Mozart),
they are quite different in form and texture. In what style period
did Mozart write?
SOLO:
Choose one of the selections from "The Magic Flute" and have
your students perform it as a moderately difficult solo. They must
take care to sing with accurate intonation and and appropriate
interpretation of all notated music symbols and terms for:
1. Rhythm
2. Tempo
3. Dynamics
4. Articulation
5. With open vowels
6. With clean consonants
7. With musically articulated phrases
S - 218
LISTENING TEST:
Choose 3 examples from the listening literature from
throughout this book, for example, "Ave Verum," by
Mozart, " Grieg's "In the Hall of the Mountain King," and
"Mi chiamano Mimi" from La Boheme, Puccini.
Tell them to classify each by:
Historical period
Style
Genre and type (choral, instrumental, operatic solo, etc.)
Tell them to identify each when you play or sing the melodic
line for them.
S - 219
WOLFGANG AMADEUS MOZART -- 25
Mozart returned to Austria and settled in Vienna. In the beginning, things went well for
him in Vienna. He received many commissions and presented many concerts. He was
supported by Joseph II, Empress Marie-Theresa's husband, who engaged him as court
composer. In 1782, Mozart married Constanze Weber against his father's wishes. Mozart's
greatest success in Vienna was the opera Le Nozze di Figaro ("The Marriage of Figaro").
It was also during this time that he wrote his great piano concertos and string quartets
which he dedicated to his "dear friend" Josef Haydn, a giant in the music world.
Figaro presented some ideas that seemed "revolutionary" at the time, such as the
rejection of social rank and placing women at the center of the story. The Austrian
nobility and court became nervous about these ideas, and so they began to shrink back in
their support for Mozart. He lost commissions and soon sank into debt. He was helped
out by a fellow Freemason, but poverty would plague him for the rest of his life.
His next operatic success was Don Giovanni (1787) which was written for the Prague
Opera. In 1790 he wrote Cosi fan tutte with a libretto by the Italian poet Lorenzo Da
Ponte, and in 1791 by Die Zauberflote ("The Magic Flute"), which was produced by a
suburban Vienna theatre. In the midst of the financial problems, Mozart was still able
to complete his last three symphonies in less than seven weeks.
In 1791, Mozart received a commission to write a requiem. Ironically, he was quite
sick at the time and imagined that he was writing it for his own funeral. Tragically, his
death did follow shortly thereafter on Dec. 5, 1791. After a small funeral at St. Stephen's
Cathedral, he was buried in an unmarked grave at the cemetery of Saint Marx in a
Viennese suburb.
Mozart mastered every form in which he composed. His contemporaries found his
music difficult to understand because of its emotional depth and complexity. Yet, along
with his teacher and fellow composer Josef Haydn, Mozart perfected all of the grand
forms of the Classical music era: the symphony, opera, string quartet, and concerto.
In his operas Mozart had an uncanny ability to present human nature with all of its
psychological facets. His music was perfectly conceived to serve as a medium for which
to carry the personalities and dilemmas of his characters. Musically, he also prophesied
to the world the kind of music that would be coming forth in later generations of composers.
His music specifically introduced undertones of the musical genius of Beethoven.
Mozart's music remained brilliant and profound throughout his short life, although his
later works are tinged with the loneliness and isolation that he experienced. Yet his music
survives and flourishes today as being among the best-loved music in all of music history.
Pencil Time 2:
Activity Sheet 48: Wolfgang Amadeus Mozart
Activity Sheet 49: The Magic Flute
219
25 -- WOLFGANG AMADEUS MOZART
The Magic Flute
Act One:
Freely translated and edited
by Patti DeWitt
Tamino is a young, handsome prince who is attacked and pursued by a giant serpent. He
runs in fear, crying out for someone to save him. Three ladies-in-waiting of the Queen of
the Night come upon the scene, and they kill the serpent with silver javelins just as Tamino
collapses to the ground. Tamino awakes after the ladies have left and just as Papageno
comes into the story. Papageno is a strange man who makes his living as a birdcatcher and
dresses in clothing made of feathers. When Tamino asks if Papageno is the one who killed
the snake, Papageno lies and takes credit for it. The three ladies come back into the picture
put a lock on Papageno's mouth for lying. Papageno (with locked mouth) and Tamino sing:
bb4
& b b 4
·
Tamino:
Papageno: P
? bb4 Î Ï Ï Ï
b b 4
Ï
Hm hm hm
b b Î FÏ Ï Ï
b
& b
? bb b
b ú
î
·
Ï
Ï Ï Ï
boy, you try
·
so
·
ÏÏÏ Ï Ï
ÏÏ Ï Ï
hm hm hm hm
5
Oh, you poor
·
hm hm hm hm
Ï
hm hm hm hm
Ï Ï Ï Ï
Ï
Ï Ï Ï Ï
hard, but you can - not
·
ÏÏ ÏÏÏ
speak, oh, my poor
·
hm!
b b
& bb ú
9
î
F
? b b Î Ï Ï Ï
bb
friend!
Hm hm hm
f
b
Ï Ï Ï
b
& bb Î
Oh, how I
î
hm!
·
? bb Î Ï Ï Ï
b b
hm
ÏÏÎ î
In
hm
hm
Ï
Ï
Ï
hm
hm
hm
Ï
Ï
Ï Ï Ï Ï
·
Î Ï Ï Ï
P
ÏÏÏ
·
I could help and that I
F
bb
& b b Ï Î î
Hm hm
Ï Ï Ï
wish that
17
end
ÏÏ Ï Ï
hm hm hm hm
Ï
13
? bb b
b ú
Ï
·
this sad
hm!
could
P
Î Ï Ï Ï
Hm hm
220
ÏÏ
hm
ÏÏÏ
hm
ÏÏÏ
cause your pain
·
hm
Ï
to
P
Î Ï Ï Ï
nÏ Ï î
hour
·
hm
ÏÏÎ î
I
hm!
have no
WOLFGANG AMADEUS MOZART -- 25
b
& b bb Ï Ï î
pow - er;
? b b Î Ï Ï Ï
bb
Hm hm
hm
22
end.
? b b Î Ï Ï Ï
bb
pow'r
? bb Ï
bb
hm
Ï
ÏÏÎ î
bring
your
P
Ï
In
ÏÏ
hm
hm
bring
your
hm
hm
Ï
ÏÏÏ
sad
Ï
Ï
hm
hm
hm
Ï
Ï
Ï
hm
ú
Ï
this
f
hm
ÏÏ
ú.
pain
to an
·
hour
pain
Ï Ï Ï
Ï
Ï
Ï
Ï
Ï
to
ú
·
hm!
Ï
Hm hm hm
bb Ï
& bb
ú
Î
P
26
f
No pow'r to
P
b b
& bb Ï Î î
F
Î Ï Ï Ï
18
to
hm
hm
hm
Ï
Î
Î
Ï
Ï
Ï
hm
hm
hm
Ï
Î
î
Î
î
Ï
an
I
ÏÏ
hm
ÏÏÏÏ
have
no
hm
hm
ÏÏÏ
end!
Ï
Ï Ï Ï
Ï Ï
P
hm
hm!
The ladies remove the padlock from Papageno's mouth, telling him that they hope he has
learned his lesson and will give up his habit of lying. They have returned with a gift for
Tamino--a magic flute, a powerful mystical tool that will turn human sadness and conflict
to mirth and love. The ladies then tell Tamino that he can repay his debt to them by
performing a task for the Queen of the Night-- rescuing her daughter Pamina who has been
kidnapped by the evil Sarastro, high priest of Isis and Osiris, gods of ancient Egypt. The
Queen promises Pamina's hand in marriage to Tamino if he will rescue her. Tamino agrees,
and the ladies promise Tamino that three spirits will go with him to protect him and
command a reluctant Papageno to accompany him on his quest. They give Papageno a
magic bell.
In the meantime, in Sarastro's court, Pamina escaped and was recaptured. Her would-be
torturer, Monostratos, takes her to his chamber, and Pamina faints on the couch. Papageno
appears in the window in his search for Pamina. Monostatos sees the strange being and,
thinking he is seeing the devil himself, he runs from the room in terror, leaving Papageno
alone with Pamina. Pamina awakes and sees Papageno. She is afraid at first; but then she
recalls hearing of the birdman and asks about her mother. Pamina then asks if Papageno
has a wife, to which he regretfully responds, "No." Pamina and Papageno sing this duet:
b Pamina:
6
b
& b8 Î
? b b 68
b
Papageno:
p
Ï
J
Ï Ï Ï
The strong -
·
est
Ï Ï Ï Ï Ï Ï
man
up - on
·
221
the
F
Ï Ï
Ï Ï Ï Ï
earth is
the man who is
·
25 -- WOLFGANG AMADEUS MOZART
b Ï Ï Ï Ï
Ï Ï
& b b
j
Ï Î
4
? bb
b
7
&
ab - le
to give
his
heart.
·
Î
Î
p
Ï Ï Ï Ï
J
A maid
bbb
·
stay
b Ï
& bb
10
love
? b Ï
bb
love
b Ï
& bb J Î
13
Ï
? bb J Î
b
one,
one,
-
en,
·
Ï.
Ï Ï Ï.
or love
will stray
and soon
Ï
J
Ï Ï
Ï
Ï
J
Ï
Ï Ï Ï Ï Ï Ï
too,
Î
F
Ï ä Ï
? b Ï Ï Ï
bb
·
ä
Ï nÏ
P
f
Ï
J
-
ful
Ï Ï
Ï
The joys
of
The joys
of
Ï ä Ï .
Ï
ÏÏ
Ï ä fÏ Ï
J
J
de - part.
Ï ä ä Ï Ï Ï
J
must faith
Ï
J
will shine as
the
sun
P
As long as
two
hearts beat
as
will shine
as
sun
As long as
two
hearts beat
as
Ï
J
f
Ï ä ä Ï Ï Ï
J
Ï Ï Ï
Ï
As long as
f
two
Ï
hearts beat
As long as
two
hearts beat
Ï Ï Ï
Ï
J
Ï
Ï
J
Ï
Ï ä Ï Ï ä Ï
ÏÏ Ï
as
Ï
J
one.
as
one.
Ï
Tamino enters the shrine of Isis and Osiris. He questions the priests, but they will give
him no information. So Tamino plays his flute. Papageno hears Tamino and answers him.
Papageno and Pamina try to leave the room to find Tamino, but Monostratos returns and
blocks their way with his guards. Papageno plays his magic bell, and Monostratos and
his men begin singing and merrily dance out of the room. Papageno runs from the room,
dragging Pamina with him only to get lost in the palace of Sarastro. They run right into
Sarastro and his entourage. Sarastro tells Pamina that, although he will not let her be
tortured by the likes of Monostratos, he will not set her free. At this time, Monostratos
enters with Tamino, presenting him proudly to Sarastro as a prisoner. Surprisingly, Sarastro
does not commend Monostratos for his capture of Tamino, but condemns him for his cruel
treatment of Pamina. He then commands that Tamino and Pamina be taken to the shrine.
222
WOLFGANG AMADEUS MOZART -- 25
Act Two
At the start of the second act, the priests of the shrine inform us that it has been Sarastro's
plan from the beginning to kidnap Pamina so that Tamino will come and rescue her, so that
Tamino would be converted to the cult of Isis and Osiris and be married to Pamina, so that
her mother, the Queen of the Night will stop trying to destroy the cult. The priests bring
Tamino and Papageno to the shrine and tell Tamano that he is to undergo certain tests; if
he passes, he will live and will be free to marry Pamina; if he does not pass he will die.
Tamano says that he is not afraid of any test. The priests then asks Papageno if he would
like a wife. Papageno says that he would, but not enough to risk death. The priest tells him
that Sarastro has found a perfect mate for him who is very much like him whose name is
Papagena. The priest asks him if he is not curious to see her. This stirs up Papageno's
interest, but he is still not interested in risking any bodily harm just to be able to see her.
They strike a deal: Papageno can see Papagena, but he must not say a word to her.
Tamino and Papageno stand before the shrine, ready to face their trials, when the three
ladies appear and warn them to get out of the shrine before it is too late. The ladies tell
Tamino that it has been foretold that he will betray the Queen of the Night and die that
very day. They also tell them that the Queen of the Night herself has come to try and save
the two men and her daughter. Tamino does not listen to them, and soon the priests return
and chase the ladies out the door, threatening to kill them for profaning the shrine with
female presence. Papageno faints.
Pamina, in the meantime, has fallen asleep on a bench in the garden. Monostratos finds
her there. He sings an aria about his desire for Pamina, and decides to try to steal a kiss
while she is sleeping. He sneaks up behind her and just as he is about to kiss her, her
mother, the Queen of the Night appears amid thunder and lightning. He jumps back into
the shadows and overhears the Queen of the Night instruct Pamina to kill Sarastro with
the knife that she gives her. She sings a wildly passionate aria in which she tells Pamina
that, if she should fail to kill Sarastro, then she would disown her as a daughter.
The Queen exits leaving Pamina upset that her mother would demand she do something
that she knows she cannot do. Monostratos jumps out of the bushes and declares that if
Pamina will marry him, he will save her both from her mother and from Sarastro. Pamina,
horrified, declares she could never marry Monostratos, and so Monostratos picks up the
dagger given to Pamina by her mother and attempts to kill her. Sarastro enters at just the
right moment and stops Monostratos, telling him to leave his presence and never return.
Pamina, now realizing that her mother's plans are less than honorable, begs for mercy for
her mother.
In the meantime, Tamino passes his tests, and Papageno fails his. But because of his
good nature, Papageno is allowed to find Papagena, the wife for whom he has longed.
Barely able to contain their excitement, Papageno and Papagena burst into an exuberant
duet upon meeting:
223
25 -- WOLFGANG AMADEUS MOZART
& b 44
Papagena:
? 4 î
b4
Papageno:
·
·
p
Ï
Î
Pa
-
-
-
5
pa
Ï Î
Pa
10
& b
- pa
-
-
pa
-
pa
P
& b Î
?
b
Ï Ï Ï
Ï
-
pa
& b Ï
b Î
21
& b Ï
Ï
Ï Ï
-
·
pa
p
Î Ï Ï Ï
Pa - pa - pa -
Î
î
P
Ï Ï Ï
Î
Ï
Pa-pa-pa - pa -
ä Ï Ï Ï Ï Ï Ï Ï
J
î
Ï Ï Ï Ï Ï Ï Ï Ï
ä J
-
- pa
Ï Î î
-
Ï
Ï
·
Î
-
pa
Pa - pa - pa - pa - pa - pa - pa -
Ï
î
Pa - pa - pa - pa - pa - pa - pa - ge - na
Ï
ú
ÏÏ Ï
Oh!
Ï
·
î
F
ev - er!
?b î
pa
pa
Ï
î
ge - no
?
Ï
Ï Î
·
Ï Î î
pa
17
-
Pa - pa - pa - pa - pa - pa - pa - pa
Pa - pa - pa - pa
Î
-
Ï Î Ï Î
Ï Î î
-
î
pa
pa - pa - pa - pa - pa
14
-
Ï Î î
Pa
Î Ï Ï Ï
?b Ï Ï Ï Ï
Pa
Ï Î
p
·
Ï Î
P
î
Ï Î Ï Î
P
?b î
Î
·
& b Ï Î î
î
Ï
î
p
and
î
I
ÏÏÏÏ Ï
Ï
Ï
Î
Ï
have sought you
·
Ï Ï
F
ú
Oh!
Ï
Ï
Come fill my soul with song and
224
and
I'll
Ï
Ï
Ï
be yours for -
î
·
ev - er!
ÏÏÏÏ Ï
î
Ï
ÏÏ Ï
Ï
Love me
Ï
laugh - ter!
î
Ï
now and
Ï
Ï
ev - er
·
WOLFGANG AMADEUS MOZART -- 25
25
& b Ï
Ï Ï
Ï
Ï
Ï
Come
now
af - ter, Come now
?b Î
28
Ï
and
Ï
love
me for ev
Ï
Ï
Ï Ï Ï
and
love
me for - ev
·
& b
P
ú
Ï
Î
& b Ï
Ï Ï Ï Ï Ï Ï Ï
31
b
Ïf
Ï
af - ter!
Ï
fÏ
er
af - ter!
ú
& b Ï Ï Î
ge - na
?b Î
40
& b Ï
Ï
And
ú
f
Then
Ï
P
ú
Ï
Ï Ï Ï Ï Ï Ï
Then
one more lit - tle Pa - pa -
f
Ï Ï Ï Ï Ï Ï Ï Ï Î
î
·
Î
Î
no!
Ä
Ï Ï w
Ï
Ï
Ï
Ï
Ï Ï Ï Ï
Pa - pa - ge - na, Pa - pa - ge - na, Pa - pa - ge
Pa - pa - ge - no
Ï Ï
Ï Ï Ï Ï
Î
Pa - pa -
î
Î
Î
Ï Ï Ï Ï Ä
Ï Ï w
-
-
-
-
-
Pa - pa - ge - no, Pa - pa
-
-
-
-
-
F
Ï
Oh
Î
Î
Pa - pa - ge - no
na!
?b Ï
î
·
one more lit - tle Pa - pa - ge-na
Ï Ï Ï Ï
Î
Î
P
î
ge - no.
37
î
Ï
î
Ï
î
P
Ï
î
a new lit - tle Pa - pa - ge - no.
·
*
& b î
-
er
Ï
Ï Ï Ï Ï Ï Ï Ï
a new lit - tle Pa - pa - ge - na.
34
?
First
f
b
-
Ï
·
?b Î
?
Ï Ï Ï
f
Ï
what
î
·
225
Ï
a
ge
.. Ï
Ï
bless - ing
..
Ï Ï Ï Ï
with - out
·
25 -- WOLFGANG AMADEUS MOZART
& b Ï
Ï
î
Ï
Ï
Ï
Oh,
what
a
43
?
mea - sure
F
b Î
& b w
Ï
Ï
bless - ing
·
Î
Ï
Ï Ï Ï
with - out
bless
P
-
-
-
-
-
-
-
Ï
Ï
Oh,
Ï
what
Ï
a
î
mea - sure!
w
46
P
-
ú.
-
f
Ï
-
-
-
ing,
f
? ä Ïj Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
b
Withma-ny, ma- ny Pa - pa - ge-nos, Pa - pa - pa - pa - pa - pa - ge-nos, Pa - pa - pa - pa - pa - pa -
& b Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï
49
Ï
Pa - pa - pa - pa - pa - pa - pa - pa - ge - nas
?b Ï Ï Ï Ï Ï Ï Ï Ï Ï
Î
ge-nos, Pa - pa - ge-nos, Pa - pa - ge - nos
ú
& b
52
par
?b ú
par
-
Ï ÏÏ Ï ú
-
Ï ÏÏ Ï ú
ents to trea
-
& b .. Ï Ï Î
56
ge - na
ents to trea
Î
-
-
For
Ï
lov
ú
-
ing
For
lov
-
ing
Ï Ï
Ï Ï
sure! Oh, what
a
Ï Î î
ú
-
ú
P
ú
-
Ï
Î
-
-
sure!
Ï Ï Ï Ï
Î
Î
Ï Ï Ï Ï Î
Î
Pa - pa - ge- na,
Pa-pa -
f
Pa-pa -
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï
Ï
Ï
Ï
ge - nas, what bless - ing
Ï Ï
Ï
Ï
to
Ï
their
Ï
par - ents
bring!
ge - nos, what bless - ing
to
their
par - ents
bring!
Ï
ÏÏ
Pa - pa - ge-na, Pa - pa - ge- na, Pa - pa -
Ï Ï
b
sure!
Î
f
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
& b Ï
?
.. Ï Î
2
sure!
Î
59
ú
.. Ï Î Î Ï Ï
? b .. Ï Ï Î
ge-no,
ú
Pa - pa - ge-no,
Pa - pa - ge-no, Pa - pa - ge-no, Pa - pa -
226
Ï
Ï
Ï
Ï
Ï
Ï
Î
Î
Î
Î
Ï Ï .
.
Pa - pa -
Ï Ï ..
Pa - pa -
WOLFGANG AMADEUS MOZART -- 25
Ï.
Ï Ï
& b Ï Ï
62
?
b
p
Ï Ï
J
p
Ï.
Ï Ï Ï Ï
Ï
Ï
J Ï
f
Ï
bless-ing
to their
par - ents bring! What
bless - ing
to
their
par - ents bring! What
bless-ing
to their
par - ents bring! What bless - ing
to
their
par - ents bring! What
Ï.
Ï Ï Ï Ï
& b Ï
66
Ï
bless - ing
?b Ï
Ï
bless - ing
Ï
they
Ï
they
Ï
& b Ï Î
î
?b
·
69
ge - na,
Ï
Ï
J
Ï
Ï
Î
Ï
Ï
Î
do
bring!
Ï
do
î
bring!
Ï Ï
J
Ï.
Ï Ï Ï Ï
fÏ
p
ä ÏJ Ï Ï Ï Ï Ï Ï
Pa - pa - pa - pa - pa - pa - pa -
P
Ï
ä J
î
·
·
F
ä Ï Ï Ï Ï Ï Ï Ï
J
Pa - pa - pa - pa - pa - pa - pa -
F
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Pa - pa - pa - pa - pa - pa - pa - ge-no, Pa - pa - pa - pa - pa - pa -
f
Ä
Ï
Ï
w
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
b
&
Ï Î î
72
Ä
ge-na, Pa - pa - pa - pa - pa - pa - ge-na, Pa - pa - pa - pa - pa - pa - ge -
fÏ Ï Ï Ï Ï Ï
Ï
Ï
Ï Ï Ï Ï Ï Ï Ï Ï w
?b
ge-no, Pa -pa - pa- pa -pa- pa - ge-no, Pa-pa -pa - pa - pa-pa - ge
-
-
- na!
-
Ï Î î
no!
The Queen of the Night makes a pact with Monostratos; he promises to kill Sarastros
in return for Pamina's hand in marriage. As Tamino and Pamina prepare for the wedding,
there is a distant thunder and the sound of an approaching storm. The Queen, Monostratos,
and the three ladies tremble as the storm approaches. They are swallowed up by the earth
into eternal darkness. The opera ends with Tamino and Pamina standing before Sarastros to
be wed during a rousing chorus in praise to Isis and Osiris.
ACROSS THE CURRICULUM:
Write a new ending for "The Magic Flute."
COMPOSE:
Compose a new finale song based upon your new ending.
227
26:
There can be any number of beats in a measure, and the time signature will always
indicate how many. How many beats will be in each measure for the following time
signatures?
1.
2.
3.
4.
5.
6.
2
4
7
4
3
2
6
4
5
8
9
8
Left
Hand
Right
Hand
READ the exercises below
2
in 4 meter while conducting.
The pattern for conducting
music in two is at the right:
1.
## 2 Ï
Ï ÏÏÏ
& 4
Ï ÏÏ Ï
Ï
## Ï
Ï Ï Ï Ï
&
Ï Ï Ï Ï Ï
&
Ï Ï Ï Ï Ï
2.
##
Ï ÏÏÏÏÏ
& b 24 Ï
Ï Ï
ÏÏÏÏÏ Ï
&b Ï ÏÏÏ Ï
Ï ÏÏÏ Ï
&b Ï ÏÏÏ Ï
Ï ÏÏÏ Ï
&b Ï
Ï Ï
ÏÏÏÏÏ Ï
228
Ï ÏÏÏÏÏ
Ï ÏÏ ÏÏÏ
Ï ÏÏÏÏÏ
Ï ÏÏÏ Ï
ÏÏÏÏÏ
Ï
Ï ÏÏÏ Ï
ÏÏÏÏÏ Ï
Ï Ï Ï Ï
Ï Ï Ï Ï Ï
Fine
DC al fine
Ï
Ï
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï
COMPOUND METERS
Pencil Time Activity Sheets 51-55 present compound meters: 6/4 and 5/4.
6/4 is a symmetrical time signature in that it generally divides into equal
subdivisions, usually 2 groups of 3 beats each.
5/4 is an asymmetrical time signature in that it divides into unequal subdivisions,
either either a group of 2 beats followed by a group of 3, or a group of 3 beats
followed by a group of 2.
S - 228
S - 229
MORE METERS -- 26
COMPOSE:
2
Write a melody for this poem. Write it in 4 meter. Use music notation software if possible:
GHOSTS
Out in the misty moonlight
The first snowflakes I see,
As they frolic among the leafless
Limbs of the apple-tree.
Faintly they seem to whisper,
As round the boughs they wing:
“We are the ghosts of the blossoms
That died in the early spring.” -- Richard Kendall Munkittrick
Compound Meter:
23
4
Meters such as 4, 4, and 4, are called simple meters. They are called "simple" because
they have few beats per measure and are easily read. Meters with larger numbers of beats
are generally read and recognized in subdivisions of the measure. This system of organizing
beats so that they are more easily apprehended is called compound meter. Meters which
have five or more beats in the measure are generally read as compound meters.
6
4 is usually read as a compound meter.
Instead of reading it as six individual beats in a
measure, it is usually read as two groups of three beats each. Like this:
? # # 64 Ï Ï Ï ú .
Ï Ï Ï Ï Ï Ï Ï Ï Ï ú.
Ï Ï Ï ú.
64
is referred to as a symmetrical compound meter, because it is an even number and
divides into two equal groups of three beats. It is often conducted in two also, with three
beats on the down beat and three on the upbeat.
54
is also a compound meter, but since it is has an odd number of beats in each measure,
subdivide symmetrically, and so it is called an asymmetrical compound meter.
5it cannot
4 may divide into a pattern of a group of two beats followed by a group of three beats:
#
& # 45 Ï Ï Ï ú
Ï Ï ÏÏú
Ï
Ï ÏÏú
Ï
Ï ÏÏú.
Or, it may divide into a pattern of a group of three beats followed by a group of two beats.
Ï
? # # 45 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
229
ÏÏÏÏÏ
Ïú
26 -- MORE METERS
READ the following exercises written in compound meter. Before you read
each of them, determine how the subgroups are divided.
1.
b 6
& b b 4 ÏÏÏ Ï Ï ú
b
& b b ÏÏÏ Ï Ï ú
b
& b b ÏÏÏ Ï Ï ú
&
2.
bbb
ÏÏÏ Ï Ï ú
? # # 64 Ï
Ï
Ï ÏÏ Ï Ï ú.
ÏÏÏ Ï Ï Ï
ÏÏ Ï Ï ú.
Ï Ï Ï Ï ú.
ÏÏÏ ÏÏÏ ú
Ï Ï Ï Ï Ï ú.
Ï
Ï
Ï
ÏÏÏ Ï ú
Ï
Ï Ï Ï Ï Ï
? ## Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï ú.
Ïú
ÏÏÏ ÏÏÏ
Ï Ï Ï Ï Ï ú.
Ï
Ï Ï Ï Ï Ï ú.
ÏÏÏ Ï Ï ú
Ï
Fine
ÏÏÏ Ï
Ï ú.
DC al fine
Ï Ï Ï Ï ú
Ï
Ï ÏÏÏÏÏ Ï Ï
? ## Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï
Ï
Ï
? ## Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï
? ## Ï Ï Ï Ï ú
? ## Ï
3.
Ï
Ï Ï Ï Ï Ï
b
& b 64 Ï Ï Ï Ï Ï Ï Ï Ï Ï
b
&b ÏÏÏ Ï ú
Î
b
& b Ï Ï.
Î
b
&b ÏÏÏ Ï ÏÏú
Ïú
J
Ï ÏÏÏÏú
Ï ÏÏÏÏÏ Ï Ï
Ï
Ï
Ï
Ï Ï Ï
ú
Ï Ï . JÏ
ÏÏÏ Ï ÏÏú
Î
Ï
ú
ÏÏÏÏÏÏÏ Ï Ï
ÏÏÏ Ï Ï ú
ÏÏÏÏÏÏÏ Ï ÏÏ ÏÏÏÏÏÏÏ Ï Ï
ÏÏÏÏÏÏÏ Ï
Ï
230
ÏÏÏ
Ï ú
Î
MORE METERS -- 26
4.
? 5 .. Ï Ï ú
b4
?b ÏÏú
?b ÏÏú
Ï Ï
Ï Ï ÏÏú
Ï Ï
?b ÏÏÏ Ï Ï Ï
5.
&
&
ÏÏÏÏÏÏÏ Ï
ÏÏú
Ï Ï
ÏÏú
ÏÏú
Ï Ï
###
ÏÏÏ Ï Ï Ï
Ï ÏÏ Ï ú
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ ú
ÏÏÏ Ï Ï Ï
### Ï Ï Ï
Ï Ï Ï
&
6.
Ï Ï
ÏÏÏ Ï ÏÏÏ
### 5 Ï Ï Ï Ï
Ï Ï
&
4
###
Ï Ï ÏÏú
Ï Ï ÏÏú
Ï
ÏÏÏ Ï Ï Ï Ï Ï Ï Ï Ï
Î
Ï Ï
? #### Ï Ï Ï Ï Ï
? #### Ï Ï Ï Ï Ï Ï ú
Ï ÏÏú
ÏÏÏ
ÏÏÏ
ÏÏú
ú
ÏÏÏ Ï ú
DC al fine
Ï ÏÏÏ Ï Ï Ï Ï ÏÏ ú
? # # # # 64 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
Ï
? #### Ï Ï Ï ú
ÏÏÏ Ï
ú
Ï ÏÏÏ Ï Ï Ï ÏÏÏ ú
Ï Ï
ÏÏÏ Ï
ÏÏÏ Ï ú
Ï Ï ú
ÏÏÏ Ï ú
Ï Ï
ÏÏÏ Ï
ÏÏ Ï Ï Ï
Ï
Ï
Î
ÏÏÏ Ï Ï ú
ÏÏÏ
ÏÏÏ ÏÏÏÏÏÏÏ
Ï Ï ÏÏú
Ï ú
Ï
Ï
Ï
Ï
? #### Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Î Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
231
..
ú
Fine
Î
Î
26 -- MORE METERS
7.
bb5
& b b 4 ÏÏÏÏÏ ú
Ï
b
& b bb Ï Ï Ï Ï Ï Ï Ï Ï
bb
&bb ÏÏÏÏÏ
WRITE:
Ï
ÏÏÏÏÏ Ï
ú
ÏÏÏÏ
Ï ú
Ï Ï Ï Ï
Ï
Ï Ï
ÏÏÏÏÏ Ï
ÏÏÏÏÏ Ï
ÏÏÏÏÏ Ï Ï Ï ú
ú
6
1. A 12-measure ABA melody in 4 meter using simple rhythmic patterns (quarter notes,
half notes, dotted-half notes, eighth notes and their rests.)
5
2. A 12-measure ABA melody in 4 meter using simple rhythmic patterns (quarter notes,
half notes, dotted-half notes, eighth notes and their rests.)
Pencil Time:
Activity Sheet 50:
Activity Sheet 51:
Activity Sheet 52:
Activity Sheet 53:
Activity Sheet 54:
Activity Sheet 55:
Musical Math #3
Compound Meters
Compound Meters -- 2
Rhythmic Dictation
Write in 6/4 Time
Write in 5/4 Time
232
l
Glossary
L
A cappella--Sung without instrumental accompaniment
Accelerando--(accel.)--Get gradually faster
Accompaniment--Music that supports the melodic line
Act--The major division of an opera. Operas are often divided into 3 acts.
Antiphonal--Music sung by two groups who respond in turn to answer each other
Aria--Solo song in an opera
Arrangement--A new setting of an existing melody
A tempo--Resume the music at the previous tempo; often used after a ritard or a fermata
Audiation--Inner hearing; the ability to hear musical notes in one's head
Barline--A line through the five lines of the staff that divides music into measures. A
double barline denotes the end of the piece or the section.
Bass clef--A sign that indicates that the notes presented are in the lower range in pitch
Beat--A regularly repeating pulsation in music
Bordun--"Open" fifth accompaniment
Broken bordun--An open fifth accompaniment in which Do and So are played
consecutively.
Broken chord--A triad in which the notes are sounded consecutively instead of
simultaneously
Canon--Performance of a single melody by 2 or more voices beginning at different times
Chorus--An ensemble of many voices
Coda--New musical material added to the end of a piece of music
4
Common meter-- 4 time. Four beats in each measure, the quarter note receives 1 beat.
Concertmaster--The first violinist of an orchestra. In previous times, the conductor of
the orchestra
Counter-melody--A melody written to accompany the original melody
Counterpoint--Literally "point against point"--a style of musical composition in which
two or more independent lines of music interact with each other
Crescendo--Get gradually louder
DC al Fine--Go back to the beginning and end at "Fine."
Decrescendo--Get gradually softer
Dynamics--Loudness and softness in a piece of music
Ensemble--Two or more people performing together; a French word meaning "together"
Fifth--The interval of five; the distance between the first and fifth notes of a scale (Do and
So) the second and sixth (Re and La), third and seventh (Mi and Ti), etc.
Finale--The last musical scene in an opera before the final curtain
Fine--The end (Italian)
Flat-- b --A note that has been lowered by one-half step
F Major--The major key that has one flat ( b ) in the key signature.
Form--The pattern of repeated sections in a piece of music.
Forte--Loud; symbol- f
Fortissimo--Very loud; symbol- Ä
G Major--The major key that has one sharp ( # ) in the key signature
Grand pause--A complete break in the music for as long as the director wishes; symbol-Half note--A musical tone that sounds for 2 beats in common meter.
Half rest--A two-beat period of silence in music
233
GLOSSARY
Half step--The distance between a note and its closest neighbor, either above or below.
Harmony--Performance of 2 or more different lines of music at the same time
I Chord--A triad consisting of the notes Do, Mi, and So
ii chord--A triad whose root is Re; the ii chord is minor in a major key.
IV chord -- A chord whose root is Fa; the IV chord is major in a major key.
V chord -- A chord whose root is So; the V chord is major in a major key.
vi chord -- A chord whose root is La; the vi chord is minor in a major key.
Improvisation--The spontaneous creation and performance of music
Interlude--A musical piece between the acts of an opera. Also called intermezzo and
entr'acte.
Interval--The distance between two musical tones
Key Signature--The indicator at the beginning of a line of music that identifies
the key the piece is in--indicates how many notes in the scale are sharped ( # )
or flatted ( b )
Libretto--The text of the opera; the story
Major Scale--A series of eight notes that progress in order (either up or down) from
one pitch to the next pitch of the same name, using the sharps or flats, in any, that
are indicated in the key signature for the key that corresponds to the pitch name
Major third--The distance between Do and Mi; 4 half steps
Measure--The distance between 2 barlines of music.
Melisma--Two or more notes for a single syllable of text, indicated by a slur
Melismatic--Music that contains melismata (the plural of melisma)
Melody--A tune; the predominant line in a musical composition
Meno mosso--Slower; literally "less motion"
Mezzo-forte--Medium loud. Literally "half-loud"symbol-- F
Mezzo-piano--Medium soft. Literally "half-soft"symbol-- P
Minor scale--A sequential series of eight notes, beginning and ending on La
Minor third--The distance between Mi and So; 3 half steps
Minuet--A dance form in triple time popular in the courts of 18th-century Europe.
Modulation--A change of keys in the midst of a musical piece
"Movable" Do--A sightsinging system that uses solfege syllables to identify the
pitches of the scale. It is called "movable" because Do "moves" from key to key
depending upon which line or space the tonic pitch is found.
Octave bordun--A bordun accompaniment that echoes the fifth in a higher octave
Obbligato--A counter-melody in a high voice
Opera--A play that is sung. Plural of the Italian word "opus," meaning "a work."
Ostinato--A short and continously repeating accompaniment pattern
Overture--A musical work presented before the first act of an opera. Often the overture
contains statements of musical themes from throughout the opera.
Patsch--Body percussion sound made by slapping hands on one's thighs
Pedagogy--The science of teaching
Percussion--Musical instruments played by striking, scraping, or shaking.
Perfect fourth--The distance between Do and Fa; 5 half steps
Pianissimo--Very soft; symbol -- ¹
Piano--Soft; symbol-- p
Piu mosso--Faster; literally "more motion"
Quarter note--A musical tone that sounds for a duration of 1 beat in common meter.
234
GLOSSARY
Quarter rest--A single beat of silence in music
Recitative--Dialog in an opera, often sung in free rhythm
Relative Minor--A minor key with the same key signature as a specified major key
Repeat sign--A sign that tells the performer to repeat the previous measures, or to the
beginning of the piece
Rest--A period of silence in music
Retrograde--Performance of a musical passage in reverse order of what it is written;
from right to left instead of left to right.
Ritardando--(ritard, rit.) Get gradually slower
Root--The note upon which the chord is built. In a I Chord, Do is the root.
Rubato--Varying the tempo of a piece of music as a tool for expressiveness
Scat--Jazz singing using nonsense syllables to improvise
Scene--A subdivision of an act of an opera. Often the scene changes when there is a
change in setting
Setting--Where the specific scene in an opera takes place
Sharp-- # --A note that has been raised by one-half step
Simple bordun--An open fifth accompaniment in which Do and So are played
at the same time
Singspiel--A German musical play
Sixteenth notes--Notes that receive ¼ of one beat in common time; four sixteenth notes
fill up one beat of music in common time.
Slur--An arc connecting 2 or more notes of different pitches, indicating a melisma
Staff--The set of five lines upon which music is written.
Syllabic--Music that primarily presents one note of music for every syllable of text
Tempo--Speed; how fast or slow a piece of music is
Theme--The predominating melodic idea in a musical work or in a section of a work
Third--The distance between two notes in the scale with one note between them
Three-four meter--Time signature in which there are 3 beats in a measure and the
quarter note receives one beat.
Tie--An arc connecting two or more notes of the same pitch
Time signature--The sign that indicates how many beats will be in each measure, and
what kind of note will receive one beat.
Tonic chord--The I Chord
Treble clef--A sign that indicates that the notes presented are in the upper range in pitch
Triad--A chord of three notes
Triplet--A group of notes resulting form dividing the beat into 3 equal notes
Variation--Manipulating a theme in using various techniques, including changing the
accompaniment style or embellishing and elaborating the melody
Waltz time--Another name for three-four meter
Whole note--A musical tone that sounds for 4 beats in common meter.
Whole rest--One whole measure's rest
Whole step--two half steps
235
l
Index of Poems
Limerick, 6
Our Street, 205
Shepherd, The, 31
L
Snowflakes, 6
Spring, 184
l
Index of Songs
Alaska, 82
Arrow and the Song, The, 20
Bicycle Built for Two, 48
Bubble Gum, 102
Camptown Races, 52
Cuckoo Clock, 162
Down in the Valley, 45
Eldorado, 140
Fais Do Do, 104
Feast, The, 67
Foal, The, 123
Go Tell Aunt Rhody, 44
Good Night, Ladies, 168
Harvest, 184
Hermit Crab, The, 94
l
Hiking, 148
La Raspa, 89
Piping down the Valleys Wild, 30
Loch Lomond, 156
Morning Chimes, The, 110
Off to the Zoo, 172
Oh, Susanna! 143
One Bottle of Pop, 63
Put Your Little Foot, 88,
Scat-a-Woogie, 214
Sidewalks of New York, 166
Tallis Canon, 190,
Underneath the Bamboo Tree, 96
West Texas Tale, 204
Index of Composers
Blake, James, 160
Foster, Stephen Collins, 50
DeWitt, Patti, iv
Haydn, Franz Josef, 85
Lawlor, Charles, B. 160
l
L
L
Leininger, Jim, v
Mozart, Wolfgang Amadeus, 212
Tallis, Thomas, 184
Yates, Ronald, iv, 208
Orff Abbreviations
AM--Alto metallophone
BM--Bass metallophone
SM--Soprano metallophone
AG--Alto glockenspiel
SG--Soprano glockenspiel
Cym--Cymbals
Whis--Slide whistle
TB--Temple blocks
236
L
AX--Alto xylophone
BX--Bass xylophone
SX--Soprano xylophone
Rec--Recorder
FC--Finger cymbals
Rat--Ratchet
VS--Vibraslap
WB--Woodblock
l
IPA * Chart
L
Common English Vowels
IPA
Symbol
English
Word
IPA
Spelling
( mit )
( et )
( lak)
( hom)
( fud )
(s It )
( rE d )
( hæ t )
( « lon )
( kÃp )
i
e
a
o
u
as in
as in
as in
as in
as in
meet
ate
lock
home
food
I
as in
as in
as in
as in
as in
as in
as in
sit
red
hat
alone
cup
should
draw
E
æ
«
Ã
U
‹
( SUd)
( dr• )
Dipthongs (double vowel sounds)
aI
ei
•I
aU
I«
E«
•«
U«
as in
as in
as in
as in
as in
as in
as in
as in
sign
play
voice
mouth
hear
where
for
sure
( saIn )
( pl ei )
( v •I s )
( maUT )
( hI« )
( hwE« )
( f •« )
( S U« )
Tripthongs (triple vowel sounds)
aI«
aU«
as in
as in
fire
hour
( f aI« )
( aU« )
* The International Phonetic Alphabet, developed by the International Phonetic Association
Department of Theoretical and Applied Linguistics, Aristotle University of Thessaloniki, Greece.
237
l
Rhythm Counting Systems
L
The textbook refers to three different rhythm reading systems. Below are examples of
some common rhythmic patterns and how they read with each system. 1
44
Ï
44
ú.
44
Ï Ï Ï
Kodàly: ta
"Down-ups": down
Numbers:
1
Ï
ta
down
2
Ï
ta
down
3
Kodàly: ta - ah - ah
"Down-ups": down (slide) (slide)
Numbers:
1
(2)
(3)
Kodàly:
ti - ti ta
"Down-ups": down up down
Numbers:
1 & 2
Ï
Ï
ti - ti ta
down up down
3 & 4
Ï
Kodàly: (rest) 6
"Down-ups": (rest)
Numbers: (rest) 7
44
j
Ï Ï
Kodàly: syn - co "Down-ups": down up
Numbers:
1 &
(rest)
(rest)
(rest)
j
Ï
j
Ï Ï
Ï
ta
(ee) ti
ta
down (slide) up down
1
(2) &
3
Ï
Kodàly: tip-py-tip-py ti - ti (rest) ta
"Down-ups": down-y up-pa down up (rest) down
Numbers: 1 e & a 2 & (rest) 4
î
ta 5 - ah - ah - ah
down (slide) (slide) (slide)
1
(2)
(3)
(4)
Ï.
Ï Ï Ï
ú
ta - ah
3
down (slide)
3
(4)
w
ta
down
4
44
Ï ÏÏÏ Ï Ï Î
34
ú
ta 2 - ah
down (slide)
1
(2) 4
ta
down
4
Ï Ï Ï
ta
down
4
Ï ÏÏ Ï
ti tip-py ta
tip-py-ti ta
down up-pa down down-y up down
1
& a 2
3 e & 4
Ï
ti - ti
down - up
3 &
Ï ú
pa ta - ah
up down (slide)
& 3
Ï Ï
ä
Ï Ï
ti - pop - pa ta
down-y
a down
1 e
a 2
Ï.
ÏÏ
j
Ï
(rest) ti
(rest) up
(rest) &
3
Ï Ï Ï Ï
ti - pa ta
tip - ple - dy8 ta
down - a down trip - a - let down
1
a 2
3 trip - let 4
__________________________
1. Suggested techniques only; there are many variations of each.
2. Some directors use "tay-ah."
3. "Down" is a downward motion of the hand; "slide" means the hand moves horizontally away
from the body.
4. The number in parentheses is usually not read out loud.
5. Or, "toh"
6. Some hand gesture should be used for the rest. Often an open hand, palm up, is used.
7. Rests may be counted using the beat number--in this case 1, 2--or silently. Generally, rests are
not audibly counted.
8. The author's invention. Not "official" Kodàly pedagogy.
238
INDEX
l
General Index
A cappella, 19, 20, 30, 82
Accompaniment, 33, 51, 64-68, 149, 155, 190
Anacrusis, 28
Arrangements, 51, 66-68, 105, 190
Audiation, 24, 90, 97, 105, 158, 168
Bach, C. P. E., 85
Bach, Johann Christian, 218
Bach, Johann Sebastian, 85, 218
Baritone, 65
Beethoven, Ludwig van, 85, 219
Blake, William, 34, 35
Broken chords, 63, 65-66, 105
Byrd, William, 189
Careers in music, P-23
Chords
I Chord, 47-49, 60, 62-84, 128, 148, 155,
166, 192, 213-214
IV Chord, 148-150, 155, 166, 168, 174,
192, 213-214
V Chord, 62, 64-67, 88, 96, 115, 126, 148,
155, 166, 192, 213-214
Composition, 35, 42, 105, 147, 211, 229
Conducting patterns, ix
Counter-melody, 51, 68, 105, 155
Darnell, Pat Pine, iv, 204, 211
Elizabeth I, Queen of England, 188-193
Flat, 7, 19, 23, 63
Form, 33, 57, 60, 86, 90, 98, 101, 106, 113, 126
150, 155, 158, 167, 168, 174, 192, 211
Foster, Stephen, 46-47, 148, 149
Gibbons, Orlando, 189
Half step, 24, 36, 60-63, 69, 71, 73, 90, 98, 106
Handel, Georg Frideric, 86
Handsigns, viii
Harmony, 3, 10, 26, 39, 65, 105
Haydn, Franz Josef, 85-87, 219
Improvise, 22, 66, 68, 105, 155, 157, 190,
212-217
Internet search, P-23, 19, 51, 147
Intervals, 58-59
IPA, P-23, 104, 237
Jazz, 212-217
Keyboard skills, 24, 26, 47-49, 60-66, 105
148, 149, 190
239
L
Key of C Major, 25-33
Key of D minor, 36-38
Key of E minor, 36-38
Key of F Major, 7
Key of G Major, 7
Longfellow, Henry Wadsworth, 19, 20, 22
Magic Flute, The--Opera, 219-227
Major scale, 24
C Major scale, 23
F Major scale, 7
G Major scale, 7
Minor keys, 36-38
Minor scale, 37
Minstrelsy, 51
Modulation, 57
Mozart, Wolfgang Amadeus, 88, 218-219
Obbligato, 155
Nashe, Thomas, 187
Opera, 218-227
Orff accompaniment, 52, 89, 105, 110, 154, 157
162, 190, 191, 204, 211
Ostinato, 66, 68, 212, 212
Perfect fourth, 73, 104, 106, 113, 126, 166,
168, 174, 192
Poe, Edgar Allan, 146-147
Purcell, Henry, 189
Recorder, 10, 26, 48, 67, 87, 89, 155, 197
Relative minor, 36-37
Scat, 155, 212-217
Shakespeare, William, 189-191
Sharp, 7, 19, 23, 36, 61-63
Slurs, 44-46
Tallis, Thomas, 189, 190
Thirds, 92, 96
Major third, 56-59, 65, 142,144, 147
Minor third, 56-59, 67, 92, 150, 152
Ties, 44-46
Time Signature, 6
Triads, 60-63
Trill, 112
Variation, 66-68, 86-87
Whole step, 24, 25, 60-63
Write across the curriculum, 1, 6, 42, 46, 47,
66, 87, 89, 105, 150, 190
l
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