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
L
E
V
E
L
F
O
U
R
MUSICIAN
SSA
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! This book is dedicated to the training of
highly skilled choral musicians. A large part of it is devoted to music reading,
because no one can truly call him/herself a musician if (s)he is not fluent
in the language of music. Not only will you learn to read music or to improve
your reading skills, you will also learn the language of music, how to create
your own music, and how to improvise and arrange music.
So open this book, open your mind and your heart, and let the music flow
in! Enjoy your journey toward excellence in musicianship! Your life will be
changed forever.
"Hesitating between Music and Art"
Painting by Angelica Kaufmann, 1741-1807
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 and whose musical expertise was the original impetus for such an
undertaking; Kathy Alvizo, who has eagerly served as my guinea pig in using this book,
as well as other projects of mine, in her classroom; 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
Raised
Notes
Lowered
Notes
vii
44
CONDUCTING PATTERNS
Left hand
34
viii
Right hand
l
Table of Contents
Welcome . . . . . . . . . .
Acknowledgements . . . .
Meet the Writers . . . . . .
John Curwen's Handsigns .
Conducting Patterns . . . .
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Preparatory Pages
I: Introduction . . . . . . . . . . . . . . . . . . . . . . . P-2
II: Choral Excellence . . . . . . . . . . . . . . . . . . P-6
III: Musical Careers . . . . . . . . . . . . . . . . . . . . P-8
IV: Concert Etiquette (Performance) . . . . . . . P-12
V: Concert Etiquette (Audience) . . . . . . . . . P-18
VI: Music Evaluation . . . . . . . . . . . . . . . . . . . P-21
VII: Performance Evaluation . . . . . . . . . . . . . P-24
VIII: Music and Other Arts . . . . . . . . . . . . . . . P-27
IX: Music and Other Subjects . . . . . . . . . . . . P-29
Chapter 1: Rhythm Review . . . . . . . . . . . . . . . . . .
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Chapter 2: The I, ii, V and IV Chords . . . . . . . . . . . . . 4
Chapter 3: Sixths and Octaves . . . . . . . . . . . . . . . . . 15
Chapter 4: Meter Matters . . . . . . . . . . . . . . . . . . . 32
Chapter 5: The vi Chord . . . . . . . . . . . . . . . . . . . . 42
Chapter 6: The V7 Chord . . . . . . . . . . . . . . . . . . . 53
Chapter 7: Cadences . . . . . . . . . . . . . . . . . . . . . . 76
Chapter 8: "Fi " . . . . . . . . . . . . . . . . . . . . . . . . . 81
Chapter 9: "Si" . . . . . . . . . . . . . . . . . . . . . . . . . 99
Chapter 10: Other Raised Notes . . . . . . . . . . . . . . . 117
Chapter 11: Jan Pieterzsoon Sweelinck . . . . . . . . . . . 141
Chapter 12: Modulation . . . . . . . . . . . . . . . . . . . 154
Chapter 13: Lowered notes . . . . . . . . . . . . . . . . . 178
ix
Chapter 14: Schubert . . . . . . . .
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Chapter 15: The Spiritual . . . . . . . . . . . . . . . . . . . 220
Chapter 16: Barbershop . . . . . . . . . . . . . . . . . . . . 230
Glossary . . . . . . .
Index of Songs . . .
Index of Composers
Orff Abbreviations .
IPA Chart . . . . . .
General Index . . . .
Bibliography . . . .
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Preparatory
Pages
The "Preparatory Pages" give students vital non-musical information that is relevant 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 only 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. These "preparatory" lessons should be
interspersed with the music lessons in the main section of the book.
Preparatory
Pages
I:
II:
III:
IV:
V:
VI:
VII:
VIII:
IX:
Introduction
Choral Excellence
Musical Careers
Concert Etiquette (Performance)
Concert Etiquette (Audience)
Music Evaluation
Performance Evaluation
Music and Other Arts
Music and Other Subjects
P-1
I: Introduction
Music is a uniquely human experience. Nowhere in the animal kingdom do we find
rhythm, pitch, timbre and intensity all poured together into the creation of musical
works. Whereas birds may "sing," their songs are very short and repetitive and specific
to their species. There are no composers in the animal kingdom: No performers of the
works of others; no musical instruments that have been created; no consuming audience
supports such performances.
On the other hand, every society in recorded human history has had the gift of music
which has served important roles in society. Music has lifted voices up together in worship.
Music has brought helped people celebrate the planting, the growing season, the harvest,
the arrival of spring, and to commemorate events significant to that particular society, such
as birthdays, anniversaries of life-altering experiences, disasters, "miracles," etc..
Because of the importance of the role that music plays in society, it follows that the
individual society would have significant effects on shaping that society's music. The
purpose of this chapter is to identify and describe some of the ways in which society,
culture, and technology have and have had an influencing effect upon music.
Society and Music:
We will be examining these influencing effects from the following perspectives:
How music has affected societies of the past
How music affects our modern society
How music affects my life
Written Activity 1 will guide you through questions concerning music of the past.
Select a specific era and describe how it affected the music that we have today. For
example, the renaissance of folk music in the 1960s was a direct result of the turmoil that
was going on in our society at that time. People longed for a simpler and more innocent
time, and this was reflected in the folk music resurgence. Ironically, the same societal
violence also inspired a more violent genre of music, as a different stream rock music
turned increasingly "harder"--louder, with more violent rhythms and more desperate words.
Conversely this music had its affects upon our society also. It brought people together,
inspired them with a sense of unity of purpose, and made stark delineations between
the strata of society. These two different styles of music compelled people to react
in divergent ways: to revolt and violent protest and to live communal lives of "peace
and harmony."
Written Activity 2 will guide you through activities that trace the development of a
particular stream of music historically. For example, the church hymn can be traced back
to the Protestant Reformation and the chorale melodies of Martin Luther and others that
were later harmonized in four parts by composers like Johann Sebastian Bach. It was the
need of that particular society for a particularly Protestant expression of faith that led to
P-2
I: Introduction
Music's Affects on Society:
1. Using Written Activity 7 as a guide, instruct the students to do an honest assessment
of music in their lives and what role it plays/has played for them.
2. Dicuss 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
3. Secondly, ask them to find ways that music has served other cultures.
Past cultures/civilizations
Foreign cultures
4. 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?
2. How does it affect music now?
3. What effect do cultural characteristics have on music?
4. How has technology affected music? Ask the students to come up with at least 5
examples of music technology that were not available 25 years ago.
Music literacy:
1. What role has music literacy played in societies of the past?
2. What role has music literacy played in the development of our own country?
(The answer may surprise them. Some of the earliest public education in the
country came from "singing schools"--schools in which people were taught to
read music using solfege in order to improve the singing of the Psalms in the
church service).
3. What role does music literacy play in music education?
4. What role does music literacy play in education?
SP - 2
5. What role does music literacy play in society today?
6. How has technology affected the need for music literacy?
Positively?
Negatively?
7. What role has music played in technological innovations?
8. How would it affect technology if the industry was not allowed to use music?
SP - 3
the development of the hymn and, thus, for four-part chordal writing, the basis of music
music theory education.
Written Activity 3 deals with our modern society and the effects that it has on music.
What are come current issues, trends, or attitudes in our society that affect our interaction
with, participation in, and appreciation of music?
Culture:
The effect of culture on music will be examined from these different perspectives:
What are some primary cultural factors effect a culture's music?
How do a culture's priorities influence its music?
How has the history of a culture influenced its music?
How does one culture compare to another for its influences on music?
Written Activity 4 provides activities for examining primary cultural factors affecting
a culture's music. Some factors that might be considered are religion, political ideology,
importance of education to that society, censorship, and economic factors. For example,
the culture of the late Soviet Union forbad the consumption of "decadent" music from
"the West"--Europe and America. Thus there was not a lot of rock music being produced
and consumed in the Soviet Union and its satellites from the 1950s-1980s. Can you name
and describe some other factors that have affected music in a culture?
Written Activity 5 discusses the history of a particular culture and how its history has
contributed to music in its culture. For example, the blending of African cultures with the
Christian religion and the pathos of the slave led to the development of the spiritual.
Additionally, it was the poverty of the freed slaves--the lack of funds to study music
formally--that led to them to teach themselves to improvise which gave birth to jazz.
In fact, the African influence in the Americas during the eighteenth and nineteenth centuries
eventually led to the birth of all of these styles of music: the spiritual, calypso, jazz, ragtime,
blues, barbershop, "Gospel," soul, "Motown," and Dixieland--and more.
Isolation from other cultures is in itself a factor in the development and preservation of
various folk cultures as well as the development of instruments unique to that culture. The
folk music of Appalachia is an example of this isolation. Bluegrass is a type of folk music
grounded in the Appalachian folk tradition. Instruments like the mountain dulcimer and
the banjo are representative of this culture.
The purpose of Written Activity 6 is to provide a side-by-side comparison of the factors
influencing the music of one culture to the factors influencing the music of another. For
example, how does the culture of Mexico affect its music, and how does this compare with
how the culture of Scandinavia influences the music in its culture?
Written Activity 7 calls for an assessment of factors in one's personal culture, family or
environment that have affected the importance of, the preferences for, the production of, and
participation in music in your life.
P-3
Technology and Music:
Written Activity 8 provides guidance in exploring the effects of technology on music.
One obvious effect of technology on music is the emergence of electronic music in the
1960s and 1970s. When it was discovered that musical instruments and voices could be
synthesized by a computer, there were many who thought that the day of live musical
concert was over; that instead of being consumers of publicly performed music, people
would become their own composers, creating their own music electronically instead of
paying to observe the performance of the music of others. This has not been the trend,
however. Composers are the ones who create music electronically, and the consuming
public still supports them by attending live performances and buying recordings of their
music.
With the invention of the electronic keyboard, it was likewise speculated that the
keyboard skills of the general population would rise, but the trend indicates that it is
just the opposite, and expertise in keyboard instruments has diminished instead of
increased according some piano teachers.*
Written Activity 9 explores the ways in which technology has made music more
readily available and of a higher quality for a consuming public. For example, the
development of Dolby filters was responsible for vastly improving the quality of a
recording. Additionally, advances in technology has made it possible to rerecord
older performances digitally in order to improve their clarity and to enhance their
quality.
Music education has also been affected by technological advances. Written Activity
10 guides research into technology's effects on this field. Such technology includes
music notation and music theory software, electronic tuners and metronomes,
electronic practice instruments such as drumpads and electronic violins, MIDI and
.mpg files, not to mention the incredible abundance of musical information available
at one's fingertips on the Internet.
Preparatory Pages IV, Written Activities:
Written Activity 1: Past Society and Music
Written Activity 2: Society and the Development of Musical Styles
Written Activity 3: Music in our Society
Written Activity 4. Influences of Culture on Music
Written Activity 5: Historical Effects on the Music of a Culture
Written Activity 6: Cultures and Music: A Comparison
Written Activity 7: Music in My Culture
Written Activity 8: "E-Music"
Written Activity 9: Technology and the Music Consumer
Written Activity 10: Technology and Music Education
* From a personal informal survey. Official research surveys would need to be taken to verify.
P-4
INTRODUCTION -- I
ACROSS THE CURRICULUM:
After completing Written Activity Sheets 1-10, write a paragraph for each of the
following questions.
1. Identify and describe three ways in which society affects music. Give one example of
each.
2. Identify and describe three ways in which cultural influence have affected music. Give
one example of each.
3. Identify and describe three ways in which technology has affected music creation, music
performance, the music industry, and music education.
a LA
P-5
II: Choral Excellence
At the time you begin to use this choral textbook, you have, presumably, accumulated
many musical experiences along the way. By this time you should know how important
music is to a society as a whole and to you as an individual. In Written Activity 11 you
will be asked to list and decribe your own musical experiences.
The original musical instrument was the human voice. Western music developed from
medieval times through the chant of the mass. Music was considered only a channel for
presenting the Word of God, rather than something to be pleasing to man's senses. There
were very strict rules during medieval times concerning writing music for the mass. The
music must never overshadow the text; the text must dominate. It was declared idolatrous
for music to be appreciated for its own sake, and so the "beauty" of music was not a even
a consideration for writing appropriate chant music.
Whereas it was not desired that the music itself be beautiful, there was concern that
the music be sung correctly and in tune. Whereas there was a desire that the music not
be so beautiful that it distracted the listener from spiritual matters, there was still a need
for the music not to be so badly performed that it interfered with the message. Thus began
training the singers to read music, the theory being that the better choir could read music,
the more easily the singers could learn new music, the more music they could learn, and the
more time could be spent on creating the perfect musical conduit for the mass texts.
If this was the case in medieval times, how much more important is music reading to
the choral musician today when music is appreciated simply for its own sake? The choir
that reads music will be able to learn new more quickly, so that more time may be spent
on perfecting the qualities of the choral performance--characteristics such as intonation,
tone quality, vowel formation, phrasing, balance between the sections, blend within the
section, and musical interpretation--qualities that make the choral performance more than
a mere recitation of musical notes, but a vibrant stream of emotion that speaks to the human
heart.
FOR CLASS DISCUSSION:
1. How important is music in your life?
2. How important is music in your environment?
3. How important is music in our society?
4. Discuss some events/activities in our society that are inextricably linked with music.
5. Discuss the vocal instrument. In your opinion, does it require more confidence to
perform vocally than instrumentally? Give reasons for your answer.
6. Why is the vocal music tradition significant in Western music history?
Excellence in Choral Music
In Level Three of this series, you were asked to compile a form for evaluating choral
performances. Consider this form as you answer these questions:
P-6
II: Choral Excellence
Be sure you offer your students opportunities to observe and/or listen to choral
performances at all levels of excellence so that they will be able to hear and evaluate the
differences between them.
Questions for discussion:
1. How important is "excellence" to your involvement in and commitment to choir?
Would you remain in a choir that did not strive for excellence?
2. What role do YOU play in your choir's excellence? Does the work you do make
your choir better?
3. What can you do to lead your choir toward higher excellence?
SP - 6
Independent performance:
Independent performance is important to choral excellence. 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.
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 will be less likely to make their
own decisions and to merely parrot 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, have every student 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.
SP - 7
CHORAL EXCELLENCE -- II
1. Has your opinion changed since Level Three? Do you have different ideas about
excellence in choral music than you did when you filled out the form from Level Three?
If you have not completed that form, you may do so now by using Written Activity 45.
2. Discuss each of the characteristics of choral performance below. Define them using
Written Activity 44. Which do you find most important? Use Written Activity 45 to
place all of the characteristics in rank order from most important (1) to least important (10)
to the overall performance.
1. Technique (correct notes, rhythms, etc.)
2. Intonation (Is the choir in tune?)
3. Dynamics (observing the loudness and softness)
4. Balance (equality of voice parts)
5. Blend (uniformity of vowels; no individual voices )
6. Diction (Clear consonants, pure vowels. Can the words be understood?)
7. Tone (Full, clear, breathy, thin, weak)
8. Tempo precision
9. Interpretation (Style, musicality, phrasing, rubato, etc.)
10. Stage Presence (Appropriate stage behavior, posture, etc.)
3. Consider your most recent choral performance. How would you rank this
performance using the standards of excellence you developed in the evaluation form?
Exemplary performances:
Sometimes you will hear a choir that is so outstanding that it almost takes your breath
away. What explanation can you give for this? What are those singers doing that less
exemplary groups do not do?
Ask your teacher where to find some recordings of some exemplary groups. Listen
to the carefully. What do you hear? What do you not hear? Can your choir achieve
the same choral finesse that this group has? How?
Listen to and/or watch some exemplary choir performances by diverse groups. Write
down in Written Activity 14 what you observed. Did they do anything that you and your
choir could not learn to do given adequate instruction and practice?
Listen to and evaluate at least 3 performance by different choirs using the evaluation
form you developed in Level Three or use Written Activity 45 to develop a new one.
Preparatory Pages IV, Written Activities:
Written Activity 11:
Written Activity 12:
Written Activity 13:
Written Activity 14:
My Musical History
My Performance History
Performances
Characteristics of Excellence
a LA
P -7
III. Musical Careers
There are hundreds of jobs in the music industry--from classical performance to church
music to recording and selling popular CDs and DVDs.
Activity 1:
POST a long banner of paper on the wall on which to make a list of musical careers. Add
any musical careers the class can think of to the list. Leave the list on the wall for a several
weeks and add to the list as more musical careers are reported.
DISCUSS these careers in class. Which ones are you willing to consider?
Activity 2:
1. Select one of the careers from your list above.
2. Research your career online. Write a paper discussing and describing your career
choice. Answer the following questions about your chosen career:
A. What will be expected of you in the career you have chosen? What kind of
services will you be expected to give? What kind of duties will be expected
of you?
B. What preparation is needed for your chosen career? (How many years? What
kind of training, formal--school or university--or informal--private lessons,
practicing, performing, learning to use software, etc.?) Take into consideration
that many concert performers train from early childhood.
C. What kind of starting salary can you expect from your chosen career?
D. What are some advantages of seeking the career you chose?
E. What are some disadvantages of seeking the career you chose?
Activity 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 18
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 him/her if you can record the conversation so that you
can accurately report their answers. Type up your interview, and share it with the class.
P- 8
III. Musical Careers
In addition to the learning presented in the textbook, discuss vocations and avocations.
Ask the students to discuss musical avocations with which they are familiar.
SP - 8
SP - 9
MUSICAL CAREERS -- III
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 livings by their musical activities. Such activities may include taking music
lessons, performing in a community chorus, or building a musical library.
Questions for discussion:
1. Can you name some other musical avocations?
2. Do you or any member of your family participate in a musical avocation?
3. What is the difference between a vocation and an avocation?
Preparatory Pages IV, Written Activities:
Written Activity 15:
Written Activity 16:
Written Activity 17:
Written Activity 18:
Musical Careers I
Musical Careers II
Vocation or Avocation?
Interviewing a Musician
P -9
III -- MUSICAL CAREERS
A personal letter from the author and editor of this series:
================================================================
April 2004
For those who may be teetering on the brink of a decision for a musical career, allow me
to share my personal professional background.
I was raised in a musical family. Music was always a major part of our lives. My mother
was a professional pianist and church organist; one brother played organ, bass guitar, and
drums; the other was a fine classical guitarist. My little sister and I both played the piano
from a very early age. I played clarinet and oboe in my high school band.
In spite of all these things, I was a very poor performer. Not because I was incompetent,
but because I totally lacked confidence, and whenever placed in front of an audience of any
kind, my nerves got the best of me. Considering this fact, it is an amazing thing that I
decided to major in music. In fact, I cannot give you a concrete reason for my decision,
except that, I suppose, I hoped that further education would give me the help me I needed
to overcome my insecurity and become a better performer. Because performing was what
I thought music was all about. In fact, from my perspective, it seemed that was all the
universities cared about--one had to audition to get into the music program, to perform
for the music faculty every semester, to perform on one student recital every year, and to
give a senior recital in order to receive the degree. All of which I did, but, as far as I was
concerned, not competently and certainly without confidence.
Some people seem to think that the only careers available to musicians are either
teaching or performing. I was one of these people. And I was not a performer, so that left
only one thing--teaching. And so I majored in Music Education, a decision that is treated
by some merely as a second best alternative for those who do not perform well. I have
learned that nothing could be farther from the truth. It takes just as much skill and training
to teach students to become musicians as it does to be a performer. Some might say it
takes more.
After I had been teaching for about 10 years, I was approached by the chairperson of the
Texas State (UIL) Sightreading Committee and asked to submit composed choral pieces
for the annual contest. And so I began writing music for publication in 1990. I had no
real experience in composition, but I decided to try it, and this was a major turning point
in my life. Not that I was an instantaneous success and everyone clamored to buy my
music. Hardly. But I did find that, although there is little recompense in writing choral
music for publication, it does bring acclaim from one's musical peers, and it led to
further opportunities. Some of my music was selected for the Texas UIL Prescribed
Music List and published by a large, internationally recognized publishing company.
I decided to pursue a Doctor of Music Education in 1992. I applied as a composition
major and was rejected. In 1993, I re-applied and was accepted in the Music Education
program--opening more doors of opportunity. My doctoral committee approved of my
dissertation proposal for a choral sightreading program for beginning choral students.
P -10
MUSICAL CAREERS -- III
So eager were my choral colleagues for this program that they began to buy it before
it was finished. It is now selling across the country.
I stopped teaching in 2000 to devote my time to producing and selling my choral music
teaching aids. My sightreading program was selling well enough that I was able to live
without my teacher's salary. Since that time, I have traveled around the country making
presentations and giving workshops on choral sightreading. Additionally, I am frequently
invited to give staff development workshops for school districts, to give clinics for
individual choirs, to serve as clinician for Honor choirs, and to judge various choral events.
My point in sharing this with you? Not to boast, but to show you that that you can never
tell what opportunities may come your way. And to encourage you to think big and be
willing and ready to pursue your opportunities. I am quite sure that my piano professor
who endured my lessons and somehow managed to pull a senior recital out of me had
no clue of the opportunities I would have. My peers who sweated with me through my
juries and recitals would be surprised at the good things that have come my way! I
thought that because I was not a good performer that I was not a real musician. This is
because no one ever told me how many ways there are to be a musician and to make a
good living from it. I was, in fact, discouraged from majoring in music by my grandmother
and my brother because they could not see any future in it.
Here are just a few of the ways I have made money as a musician:
1. Piano teacher (from age 14)
6. Composer
2. Public school teacher (all grades)
7. Clinician--both locally and nationwide
3. Wedding musician
8. Judge
4. Voice teacher
9. Engraver
5. Church music director
10. Publisher
I am telling you these things about myself because I had no one who told me of my own
possibilities, or to give me direction in my musical pursuits. No one ever encouraged me
to write music. I simply did it on as a hobby and later found out, to my surprise, that some
others appreciated what I wrote. And so I am telling you, in case no one else does, to
pursue the things that you enjoy doing. You have unlimited potential in you. There is no
telling how far you can go and how important your life and work will be to our society.
Even if you do not choose a musical career, pursue your opportunities with confidence and
optimism. And if you do choose to earn your livelihood through music, then so much the
better! What could possibly be better than to end up making a living doing what you love
to do?
Musically yours,
Dr. Patti
a LA
P - 11
IV: 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 for 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 performance techniques for 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. That is, 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 walk across on the top riser 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 turning to cross to the middle. They should not cut 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 - 12
IV:
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 they listed with what the book says.
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 - 12
Formal performances by small ensembles:
The students should go over each of the guidelines for behavior for formal performance
by 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 perform in a small ensemble
in a formal setting, they need to demonstrate the performance skills that are required for
such a performance so that they can practice these things on their own if they are called
upon to perform in a small ensemble in a formal situation. When you have small ensembles
perform in class, have them practice the same behaviors they would need to exhibit in a
formal setting. Do not wait until just before a performance to practice the behaviors; if the
if the students have rehearsed these behaviors well from early in the year, then the small
ensemble can practice independently for any formal performance, and class time does
not have to be dedicated for small ensembles to practice these performance skills.
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 - 13
CONCERT ETIQUETTE (Performance) -- IV
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 does 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 which 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. The 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
wiggle their knees and squeeze their hands to stimulate blood flow, but this
should be done covertly so that it cannot be seen from the audience.
3. If it is between numbers, the singers may 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: Describe and exhibit the performance techniques for large ensembles
in formal performances, both in practice in the classroom and in actual performance.
Observe and critique the formal large ensemble techniques of others in your class and
for other formal large ensemble performances.
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 - 13
IV -- CONCERT ETIQUETTE (Performance)
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 find two
or three different focal 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, 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: Exhibit performance techniques for small ensembles in formal
performances, both in the classroom and in actual performance. Observe and
critique others in formal small ensemble performances. Describe your findings.
ACROSS THE CURRICULUM:
1. Describe concert etiquette for large ensembles in formal performances.
2. Describe concert etiquette for small ensembles in formal performances.
3. Discuss the differences.
After observing and critiquing large and small ensembles in informal performances:
4. Describe performance techniques that you observed and critiqued for each group.
5. Write suggestions for improvement of these performance techniques.
P - 14
SP - 14
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 informal performances
may be take place. If these behaviors are practiced in your classroom then there will be
less adjustment to be made 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. 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 an informal setting, they need to demonstrate the skills
that are required for a such a performance so that they can practice these things on their
own if the occasion arises. When you have class performances by small ensembles, have
your students exhibit the same behaviors they would need in a performance situation. Do
not wait until just before a performance to learn the behaviors; if these behaviors have been
rehearsed well from early in the year, then the small ensemble can rehearse independently
for any performance, and class time does not have to be dedicated for the small ensemble
to practice its performance skills.
All concert 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.
1. What are some rules that must always be followed--whether the performance is formal or
informal?
2. What are some things that may NEVER be done in a formal or an informal performance?
3. What are some things that may be allowed in a small ensemble performance but not in
a large ensemble performance?
4. What kind of stage etiquette should a soloist use?
SP - 15
CONCERT ETIQUETTE (Performance) -- IV
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.
Before the performance:
1. Because an informal performance may or may not involve the use of risers or
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 instructions silently. Since there is a likelihood of more
interfering noise in an informal situation, it is even more important that singers
remain quiet so that all can hear their director's instructions. 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 is it 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. There is a chance that 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, singers should
remain in their places following the performance.
2. If the performance is in a public place, such as a shopping mall, students should
remember that as long as they are in public in their school uniforms, they are the
school's representatives and should be on their best behavior.
PRACTICE: Exhibit performance techniques for large ensembles in informal
performances in the classroom and in actual performances. Observe and critique
other groups in informal large ensemble performances. Describe your findings.
P - 15
IV -- CONCERT ETIQUETTE (Performance)
Informal performances by small ensembles:
Before the performance:
1. The members of the small ensemble must know how to stand before they go to
place of performance. When they arrive, they should either sit or stand quietly in
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. There is a chance that the audience may choose to participate during an informal concert
by either clapping to the beat or by joining in the singing. Singers should be prepared
prepared for this possibility so that they are not taken by surprise if it should occur.
3. Music for informal performances should always be memorized. Carrying music folders
is an inconvenience that can and should be avoided.
4. While members of a small ensemble may focus more on the faces of the audience and
even glance at each other during an informal performance, they should not do anything
to 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.
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 the commotion distract them from their best performance
of the music.
PRACTICE: Demonstrate performance techniques for small ensembles in informal
performances in the classroom and in actual performances. Observe and critique the
informal performances of other large and small ensembles. Describe your findings.
ACROSS THE CURRICULUM:
1.
2.
3.
4.
Describe concert etiquette for large ensembles in informal performances.
Describe concert etiquette for small ensembles in informal performances.
Discuss the differences.
Discuss casual performances. What things might one expect during casual performances?
After observing and critiquing large and small ensembles in informal performances:
5. Describe the performance techniques you observed and critiqued for each group.
6. Write suggestions for improvement of these performance techniques.
P - 16
CONCERT ETIQUETTE (Performance) -- IV
Preparatory Pages IV, Written Activities:
Written Activity 19:
Written Activity 20:
Written Activity 21:
Written Activity 22:
Written Activity 23:
Written Activity 24:
Written Activity 25:
Written Activity 26:
Written Activity 27:
Written Activity 28:
Written Activity 29:
Written Activity 30:
Written Activity 31:
Written Activity 32:
Written Activity 33:
Written Activity 34:
Formal Large Ensemble Performances
Formal Small Ensemble Performances
Informal Large Ensemble Performances
Informal Small Ensemble Performances
Performance Techniques I
Performance Techniques II
Performance Techniques III
Checklist/Small Ensemble Formal
Checklist/Large Ensemble Formal
Checklist/Small Ensemble Informal
Checklist/Large Ensemble Informal
Critique Form/Small Ensemble Formal
Critique Form/Large Ensemble Formal
Critique Form/Small Ensemble Informal
Critique Form/Large Ensemble Informal
Written Critique Form for Performance Techniques
a LA
P - 17
V: 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.
5. Do not wave to the performers on stage.
6. Show your appreciation for 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.
10. Do not make faces or negative comments about performances in the concert hall.
P - 18
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 - 18
Questions for discussion
Ask your students:
1. Describe appropriate audience etiquette for a formal concert.
2. Describe appropriate audience etiquette for informal performances.
3. What are some rules that must always be followed--whether the performance is
formal or informal?
4. What are some things that may NEVER be done in a formal or an informal
performance?
Provide opportunities for your students to attend at least 3 concerts by other performing
groups, large and small, during the school year.
Have the students describe and discuss the following:
1. The stage etiquette of the performing group. Could there have been some
improvement? If so, describe what improvements were needed.
2. The audience etiquette. Was there a need of improved audience etiquette? What
were some specific problems that needed to be corrected?
3. What can students do to help improve audience etiquette in their own community?
4. What could they do to improve concert etiquette in their own performing groups?
SP - 19
CONCERT ETIQUETTE (Audience) -- V
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 singers on a successful performance.
PRACTICE: Demonstrate appropriate audience behaviors for formal performances,
first in the classroom and then in 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. Performers
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 heartily as you want to (but no cat-calls or whistles, please).
2. Congratulate the conductor and the choir on a successful performance.
PRACTICE: Demonstrate appropriate audience behavior for informal performances,
in the classroom and as well as when observing live performances.
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 they would wish to be treated: Avoid talking near the
performance, pay attention to the performance, walk out or away only during applause, etc.
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V -- CONCERT ETIQUETTE (Audience)
ACROSS THE CURRICULUM:
1.
2.
3.
4.
Describe audience etiquette for formal performances.
Describe audience etiquette for informal performances.
Discuss the differences.
Discuss casual performances. What are some things to remember about casual
performances?
Preparatory Pages IV, Written Activities:
Written Activity 35: Audience Etiquette for Formal Performances
Written Activity 36: Audience Etiquette for Informal Performances
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VI:
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 this will lead them to
appreciate different types of music simply for their musical value.
Written Activity 36 provides a form for evaluating one's personal taste in music.
Written Activity 39 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 40 leads them through the development of their own instrument for evaluating
music.
Allow students to evaluate every piece of music that they learn for performance. In
fact, it might be enlightening to do a "before" and an "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 - 21
VI: 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 determine overall 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 elements
of music in order to empower students to learn to appreciate various styles of music. This
being the case, it is likely that your taste in music will be modified 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 37 will guide
you through an analysis of your favorite music and, hopefully, provide some musical
insights as to why you like it.
After you completed Written Activity 37, what did you find out about your primary
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, you will be asked to evaluate music simply from a musical
standpoint. You will be using the criteria given in Activity Sheet 37, plus any criteria you
would like to add, to create your own form for evaluating the quality and effectiveness of
music that you listen to or perform. First of all, you will need to decide how to divide the
100 possible points for your evaluation form between quality and effectiveness. You may
may wish to divide them 50/50. Make your decision after studying the meaning of both
quality and effectiveness.
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?
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VI -- 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?
Using the musical qualities you defined in Written Activity 40, use Written Activity
41 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.
Music Selection
Exercise your own taste and judgment in music selection by using the form provided in
Written Activity 42 to plan a formal concert, and use the form in Written Activity 43 to
plan an informal performance with large and small ensembles. Ask your teacher to provide
literature for you to consider. Some things that you should take into consideration when
planning a choral concert:
1. Literature appropriate for the skill level of the individual performing groups
2. Literature appropriate for the occasion of the concert (holiday, etc.)
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EVALUATING MUSIC -- VI
3.
4.
5.
6.
7.
8.
Literature that represents various styles
Literature that represents various moods
Literature that represents various historical periods
Literature that represents various types (for example, a cappella, accompanied)
"Openers" that will grab the attention of the audience
"Closers" that have a special audience appeal
Remember that it is a good idea to alternate slow and energetic pieces on the concert
so that audience attention is maintained. Also, you may need to allow for soloists and
other students who may be required to change places on stage between pieces, so that
movement will be minimized as much as possible.
Preparatory Pages IV, Written Activities:
Written Activity 37:
Written Activity 38:
Written Activity 39:
Written Activity 40:
Written Activity 41:
Written Activity 42:
Written Activity 43:
My Taste in Music
Evaluating Music
Evaluating Music II
Quality and Effectiveness
Create an Evaluation Form.
PYOC!
Plan an Informal Performance
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VII: Evaluating Performances
ACROSS THE CURRICULUM:
A. Write an essay in your own words on what makes a good choral performance.
B. Discuss your conclusions in class.
Judging choral performance:
1. Below is a list of qualities that are exhibited (to some degree or other) in choral
performances. Discuss each of these qualities with the class. Are some of these qualities
more important (basic) than others?
1. Technique (correct notes, rhythms, etc.)
2. Intonation (Is the choir in tune?)
3. Dynamics (observing the loudness and softness)
4. Balance (equality of voice parts)
5. Blend (uniformity of vowels; no individual voices )
6. Diction (Clear consonants, pure vowels. Can the words be understood?)
7. Tone (Full, clear, breathy, thin, weak)
8. Tempo precision
9. Interpretation (Style, musicality, phrasing, rubato, etc.)
10. Stage Presence (Appropriate stage behavior, posture, etc.)
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? Can there be effectiveness without quality?
Observe and evaluate at least 3 different choir performances using the form you create
with Written Activity 45. You may also use them in the classroom for large or small group
or solo evaluations.
In addition to (or in place of) the evaluation, give further constructive suggestions
for improving specific aspects of the choral performance as that are recorded as
needing improvement on the evaluation form.
P - 24
VII: Evaluating Performances
Students should 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 performance concepts, below, will help
them 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 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
Introduce and discuss these terms and concepts in class. Written Activity 43
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?
SP - 24
Exemplary Performances:
Write across the curriculum:
1. Take 15 minutes of class time and allow the students to brainstorm for what traits
that an exemplary choir should exhibit. Cover the following topics:
Intonation
Diction
Interpretation
Balance
Concert etiquette
2. Instruct the students to write an essay describing in detail what things they would expect
to hear from an exemplary choir performance.
Take up these essays and save them. At the end of the year pass them back out to the
students and have them compare their conclusions concerning exemplary choir characteristics
SP - 25
EVALUATING PERFORMANCES -- VII
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 46 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 46. 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 IV, Written Activities:
Written Activity 44: Performance Evaluation
Written Activity 45: Create a Critique Form
Written Activity 46: Self-Evaluation
Evaluating small ensemble performances:
The same form you created for choral performances may be used to evaluate small
ensembles. The thing you must remember about evaluating small ensembles is that
there are many fewer voices responsible for making the sound. Therefore, each member
of the small ensemble has a greater level of personal involvement in their performance.
Thus, care must be taken not to unduly discourage the individuals involved.
In such cases, one must determine whether it is best to evaluate small ensemble
performances with an objective (and cold) evaluation form, or to simply give constructive
suggestions for the improvement of the performance. In such a case, begin by identifying
two or three positive aspects of the performance. Then address only a few negatives-three to five at the most. Select the factors that you are most able to address in a way
that will be beneficial to the group. For example, dwelling on obvious defects such as
memory problems will not contribute to the overall growth of that ensemble. Instead, focus
on issues such as vowel production in which your advice can, if followed, make a significant
difference to the performance of the ensemble.
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VII -- EVALUATING PERFORMANCES
Evaluating solo performances:
Observed solo performances may be evaluated with the form presented in Written
Activity 46 for self-evaluation. Again, this evaluation form is designed to be objective.
Soloists are even more likely to be sensitive to criticism than members of small ensembles.
Thus the evaluator needs to determine the usefulnes of such a tool to evaluate a soloist.
When it is required that one use such a form, one needs to carefully consider the impact
that assigning numbers to a performance will have on the soloist. The evaluator may wish
to push the norm up so that no singer will get less than a score of 50 for example. It could
be devastating to a young soloist to receive a very low score.
So, if given the choice, a verbal or written critique might serve the situation better than
a coldly objective form. If you have to evaluate a soloist in this manner, make sure you:
1. Find two or three positive things to comment upon;
2. Make your positive comments first;
3. Address only the most glaring problems, and address them in a constructive way.
Exemplary performances:
Observe or listen to some exemplary choirs in performance. Using this performance as
a standard, compare the performances of other choirs, including recorded performances of
your own choir.
Preparatory Pages IV, Written Activities:
Written Activity 47: Exemplary Performances I
Written Activity 48: Exemplary Performances II
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VIII:
Music and Other Arts
Define, discuss, and differentiate between concept, content, and process, as related to
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 fine arts.
Concept: A concept is an abstract or general idea that is important to a particular subject.
Content: Content consists of all the individual components of a subject.
Process:
Process is the particular course of action taken to achieve a results.
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 in 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 - 27
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 50 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 51. List the content and show how the content of one art relates to that of the
other arts.
P - 27
VIII -- MUSIC AND OTHER ARTS
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 52 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 that
of music and how it is 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 IV, Written Activities:
Written Activity 49:
Written Activity 50:
Written Activity 51:
Written Activity 52:
Written Activity 53:
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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SP - 28
IX:
Music and Other Subjects
Class discussion:
What concepts are involved in music education?
What concepts are involved in the other subjects (math, science, reading, history, PE,
English)?
What content is a part in music education?
What content is a part of the other subjects (math, science, reading, history, PE, etc.)?
What processes are used in music education?
What processes are used in the other subjects (math, science, reading, history, PE, etc.)?
SP - 29
IX:
Music and Other Subjects
The purpose of this chapter is to explore the relationships between music and other
subjects. The characteristics to be considered are concepts, content, and process.
CONCEPTS:
There are two aspects of the fine arts that we will be discussing. First of all, are the
concepts involved in the different disciplines. One example is fractions. Fractions are
an important math concept incorporated by music in the fractional relationships of the
durations of different notes Another concept in music is that of rhythm. Rhythm is
also important in writing poetry and in physical education.
Small group discussion:
In small teams, work together to identify concepts of the various subjects. Use the
partial list in Written Activity 54 to start you off. Add concepts to the list, and then
identify the subjects 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
English would include literature, grammar, reading, etc. Discuss the different areas of
content for the different subjects 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 subjects.
Use Written Activity 55. List the content and show how the content of one subject relates
to that of music and other subjects.
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 56 will help you identify process elements for different subjects
and to compare them to each other and to music.
P - 29
IX -- MUSIC AND OTHER SUBJECTS
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 subjects are similar to those
of music and how they are different.
3. Write a brief essay describing how content of other subjects is similar to that
of music and how it is different.
4. Write a brief essay describing how processes of other subjects are similar to those
of music and how they are different.
Preparatory Pages IV, Written Activities:
Written Activity 54: Music and Other Subjects (Concepts)
Written Activity 55: Music vs. Other Subjects (Content)
Written Activity 56: Music vs. Other Subjects (Process)
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v
SP - 30
Chapter 1:
Review--Rhythm
This chapter is a review of the rhythmic elements learned in Levels 1, 2, and 3 of this
series. For corrective work, feel free to refer back to the rhythmic exercises in those
books. Also remember that every melodic exercise is also a rhythmic exercise. Thus,
every melodic exercise may be used as a rhythmic exercise apart from the pitches.
Although music is considered a creative art, there is very little true creativity that is
encouraged in many 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 youself 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 on 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 far short of what children can actually achieve?
Teaching
the
lesson:
Give a short pre-test to the students concerning note values. If they do not
have a good grasp on them, you may need to pull lessons and/or Activity
Sheets from The Singing Musician: Levels 1-III in order to make up the
deficiency.
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 dance all during class, but it is to say that they need to feel the beat in
their bodies in a kinesthetic way. This can be accomplished by using handsigns
and pulsing the beat and by conducting the beat patterns as they sing.
S-1
1:
REVIEW--Rhythm
This chapter is a review of the rhythmic elements presented in the first 3 levels of this series.
Refer to any of these 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
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READ the following rhythmic 43 exercises in canon, in retrograde, and in harmony.
3
4 Ï.
j
j
Ï ä Ï ÏÏÏ ú
j
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Conduct as you read, and place a slight accent on the first beat of the measure.
1.
2.
3.
4.
34
Ï
3
4 ú.
3 j
4 Ï Ï
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1
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1 -- REVIEW--RHYTHM
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3
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3
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3
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jä 3
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3
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ÏÏÏÏÏÏÏÏÏÏ Ï Ï
Counting systems:
Several counting systems are given for your information, and there are advantages to each:
`
1. Kodaly--very
effective and immediately assimilated
2. "Down-ups"--the counter uses up and down hand motions; the down beat 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." This system also provides kinesthetic
reinforcement for the beat.
3. Numbers--probably the most popular counting system, gives a definite number
to each beat
Disadvantages:
`
1. Kodaly--does
not give a definite number to each beat; does not designate the
downbeat
2. "Down-ups"--does not give a definite number to each beat. Hand motions may
interfere with the use of handsigns.
3. Numbers--a bit more difficult to learn for beginners because it deals with whole
measures at a time rather than single beats
There are many ways that isolated rhythmic exercises may be performed. Not only can
they be performed as written, but the students can 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 canon at 2 beats, 4 beats, 8 beats, etc. Try 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.
Rests
It is important that the students realize that a rest is not a stop or a cessation of
the music, but rather 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 suggested sign, 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 (as if thinking the beat) for
the number of beats in the rest.
S-2
WRITING RHYTHM FROM POETRY:
Encourage them to use dotted-eighth/sixteenths and/or triplets. There are many possible
solutions.
After your students have written their songs based on this poem, have them compare
their results to the song by the same name in the literature on the CD Rom that accompanies
this book.
S-3
REVIEW--RHYTHM -- 1
3
Write out the rhythm for this poem. Write it out in 4 or
software to accomplish your task.
44
time. Use music notation
The Prickly Pear
Patti DeWitt
The prickly pear's an amazing plant,
A fact that you may know.
It seems to me there is no place
That the prickly pear won't grow.
On a snowy hill, in the desert sun,
In a sand dune by the sea.
On the baseball field, On the cattle range,
Underneath your favorite tree.
The prickly pear can often be
A most unwelcome guest.
It seems that where you don't want it to beThat's where it grows the best!
So here's to the prickly pear, and to it's prosperity,
And to the secret of its success: Its dogged tenacity!
Add pitches to the rhythms you wrote to make a song.
Pencil Time 4:
Activity Sheet 1: Rhythm Review
Activity Sheet 2: WYOS*
Activity Sheet 3: Musical Math
ACROSS THE CURRICULUM:
Write a poem by adding words to fit the following rhythmic patterns:
3
4 Ï
Ï
ÏÏ Ï
Ï
Ï
Ï Ï ÏÏú
ú
ÏÏÏ
Ï
ú.
Ï Ï Ï Ï Ï Ï ú.
* Write your own song.
3
2:
The I, ii, V, IV Chords
Sing the following warm-up exercise of the I, ii, V, and IV Chords. Which chord is in
which measure?
ÏÏÏú
4
Ï
V4
? 44 Ï Ï Ï Ï ú
ÏÏÏÏú
ÏÏÏÏú
Ï
ÏÏÏú
Ï
ÏÏ Ïú
ÏÏÏÏú
Ï
ÏÏ Ïú
Ï
ÏÏ Ïú
Ï
ÏÏ Ïú
Determine each of the chords in the exercises below (vertically). Sing the line your
teacher tells you to sing in the exercises below:
A.
1. S S L S T T D
2. M M F M S R M
3. D D D D R S S
I
B.
1. D L L T D L T S
2. M D F S S F R M
3. D F R S M R S D
I
C.
1. S M R D L D T D
2. M S F M D L R M
3. D D L S F F S S
I
ANALYZE: Do a chord-by-chord (vertical) analysis of the exercise below. The first chord
has been analyzed for you. Analysis exercises are presented in 4 parts (SATB) because it
is the format most commonly used in music theory studies. Sing the exercise.
Example 1.
& 44 Ï Ï Ï Ï
& 44 Ï Ï Ï Ï
V 44 Ï Ï Ï Ï
? 44 Ï Ï Ï Ï
I
&Ï Ï Ï Ï
&Ï Ï Ï Ï
Ï Ï Ï Ï
V
?Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï ú
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 Ï ú
Ï ÏÏÏ
Ï ú
Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï ú
Ï Ï ú
Ï Ï Ï Ï
4
Ï Ï ú
Ï Ï ú
ú
ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï
Ï ú
Chapter 2:
The I, ii, V, IV Chords
Use the exercise given in the book as a warm-up exercise.
Use the exercises below as harmonic warm-ups. Direct the students to choose a line to
perform and hold each note until you change the chord. Work for perfect intonation.
A.
1.
2.
3.
4.
B.
S S
MM
D D
D D
L
F
D
F
S
M
D
D
T
S
T
S
T
R
S
S
D
M
S
D
I I IV I V V I
1.
2.
3.
4.
C.
D
M
S
D
D
F
L
F
R
F
L
R
R
S
T
S
M
S
D
S
R
F
L
R
T
R
S
S
D
M
S
D
I IV ii V I ii V I
1.
2.
3.
4.
D
S
M
D
M
S
D
D
R
F
L
R
D
M
D
S
L
F
D
F
F
R
R
L
S D
RM
T S
S D
I I ii I IV ii V I
Having purchased this system, you have permission to photocopy page 4 to give to your
students so that they can write on it to perform the analysis.
S-4
S-5
I, ii, IV, and V CHORDS -- 2
Roots
The root of the chord is the note upon which it is based. The root of the I chord is Do.
The root of the V chord is So. What is the root of the IV chord? The ii chord?
Thirds
The third of the I chord is Mi. The third of the V chord is Ti. What is the third of the
IV chord? The ii chord?
Fifths
What is the fifth of the I chord? The V chord? The IV chord? The ii chord?
Copy the table below and finish filling it out.
I chord
Do
Root
Third
Fifth
V chord
So
IV chord
ii chord
All three notes of the triad need not be present for a chord to be analyzed as a I, V,
IV, or ii chord. In most cases, if the root is present in two or more voices and the third is
present in one voice, it is enough evidence to call it by the name of the root. Look at the
last chord in Example 2. Notice the final chord contains 3 Gs (Dos) (soprano, alto, bass
voices) and one B (Mi) (tenor). Even though So is missing, the other notes are sufficient
to qualify the chord as a I chord. Read the exercise and see if you agree.
Example 2:
# 4ÏÏ Ï
Ï
4 Ï
#
& 44 Ï Ï Ï Ï
# 4Ï Ï Ï Ï Ï
V 4
&
? # 44 Ï Ï Ï Ï
I
I
ÏÏÏ ú
ÏÏÏ Ï ÏÏ ÏÏÏ ú
Ï Ï
ÏÏ Ï
Ï Ï Ï Ï
Ï Ï ú
ÏÏÏ ú
Ï Ï ú
Ï ÏÏú
Ï Ï Ï ÏÏ Ï Ï ú
Ï Ï ú
Finish analyzing the chords of Example 2.
5
2 -- I, ii, IV, and V CHORDS
Nonharmonic tones
A nonharmonic tone is a note that sounds simultaneously with chord (harmonic) notes
but is not actually a part of the chord. There are several kinds of nonharmonic tones that
are used in composing choral music.
1. Neighbor notes:
A neighbor note is a note that falls between 2 other notes of the same pitch. Notice
the soprano part in the last beat of measure 3. It contains 2 eighth notes, A and G (Mi
and Re). The A (Mi) falls between two Gs (Re). The A (Mi) is a nonharmonic neighbor
note because it does not belong to the chord (the V Chord) formed by the notes in the
other three voices on the beat. The G, (Re) however, which
falls on the last half of the beat is a part of the V chord.
Neighbor notes can be either upper (in this case) or lower.
Example 3:
& b 44
Ï Ï Ï.
& b 44 Ï Ï Ï .
V b 44 Ï Ï Ï .
? b 44 Ï Ï Ï .
& b Ï Ï Ï.
& b Ï Ï Ï.
V b Ï Ï Ï.
? b Ï Ï Ï.
j
Ï
j
Ï
Ï
J
Ï
J
Ï Ï ú
Ï Ï Ï ÏÏ Ï Ï
ú
Ï Ï ú
ú
Ï Ï Ï Ï
ú
Ï Ï
Ï Ï ú
Ï Ï ú
j
Ï Ï Ï ú
j
Ï Ï Ï ú
j
Ï Ï Ï ú
Ï Ï Ï ú
J
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï Ï
Ï Ï Ï Ï
ú
ÏÏÏ
ú
Ï Ï Ï Ï
ú
Ï Ï
ú
ú
Ï Ï ú
ú
ú
ú
2. Passing tones
A passing tone does just what its name says--it passes
from one note to another in a scalewise manner.
For example, there are eighth notes on the third beat of the measure 7 of Example 3.
The note on the beat, C (So), is a harmonic note; that is, it is part of the V Chord. The
second eighth note, D (La) however, is not a member of the V Chord or the chord on
the next beat (which is also a V Chord). And so the D (La) is a nonharmonic tone, a
passing tone. In this case, since it is on the last half of the beat and not on the beat itself,
it is an unaccented passing tone.
6
I, ii, IV, and V CHORDS -- 2
If the passing tone falls on the beat, it is called an accented passing tone. In the first
measure of Example 4, there are 2 accented passing tones on the second beat--one in the
soprano voice, and one in the tenor. Their function is to pass
between two notes of the I chord.
Example 4:
# 4Ï
& 4 ÏÏ Ï Ï
#
& 44 ú
Ï Ï
# 4Ï ÏÏÏ Ï
V 4
?# 4Ï Ï Ï Ï
4
#
& Ï Ï Ï Ï
#
& ú
Ï Ï
#
V Ï Ï Ï Ï
?# Ï Ï Ï
Ï
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
ú
Ï Ï
Ï Ï ú
Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
ú
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
ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï Î
ú
ú.
ú
ú.
Î
Ï Î
Î
3. Suspensions
A suspension is a note (or notes) held over from the previous
chord. On the first beat of the last measure of Example 4 Fa and Ti
(C and F # ) are held over from the previous chord and ultimately resolved on beat 3 to
harmonic notes of the I Chord (Do and Mi), Fa resolving down to Mi, and Ti up to Do.
4. Anticipations
Anticipations are notes that sound before the rest of the chord. Notice
the Do is heard in the soprano line 1/2 beat before the rest of the I chord is
heard in the other voices.
## 4
& 4 Ï Ï ÏÏÏ
## 4
& 4 Ï Ï ÏÏÏ
#
Ï
V # 44 Ï Ï Ï
? ## 4 Ï Ï Ï Ï
4
Example 5:
Ï ÏÏÏ Ï
Ï Ï Ï Ï
Ï ÏÏÏ Ï
Ï Ï Ï Ï
7
Ï Ï Ï Ï Ï Ï.
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ïú
J
Ï Ï ú
Ï Ï ú
Ï Ï ú
2 -- I, ii, IV, and V CHORDS
5. Appoggiaturas
An appoggiatura is a nonharmonic tone that is approached by a leap and resolved
by a step in the opposite direction to the nearest harmonic note. In Example 6, the note
on beat 3 in the soprano voice, C (Re), is not
in the I Chord, but the note to
which it resolves on the next beat is Bb , the
tonic of the I Chord (Do).
Example 6:
b
& b 34 Ï
b
& b 34 Ï
b 3
Vb 4Ï
? b b 34 Ï
b
& b Ï.
b
&b ú
b
Vb ú
? bú
b
Ï.
Ï.
Ï Ï
J
j
ÏÏ
ú
ú
Ï
ú
ú
Ï
J Ï
Ï
Ï
Ï
ú
Ï
Ï.
ú
Ï
Ï
Ï
Ï
J Ï
Ï
Ï
Ï
j
ÏÏ
Ï.
Ï
Ï.
Ï
ú
Ï
ú
j
ÏÏ
ú
ú
ú.
Ï
Ï
Ï
Ï Ï Ï Ï Ï Ï ú
Ï
Ï
Ï
ú
Ï
Ï
Ï
Ï
Ï
ú
Ï Ï ú
Ï
ú
Ï
ú
6. Pedal point
A pedal point occurs when one voice part (usually the bass) holds to a single note
and the other voices continue in their harmonic progression over it. The pedal point in the
Example 6 occurs when the note F (So) is sustained in the bass line from measures 5-7.
These are six examples of nonharmonic tones, notes that may sound at the same time as
harmonic notes--notes in particular chords--but are not a part of that specific chord. This
will help you in your analysis of the music that you will be learning in this book. Read all
of the examples again, paying close attention to the chord structure and the nonharmonic
tones that are used in each.
Pencil Time 4:
Activity Sheet 4: Chord Analysis
Activity Sheet 5A and B: Nonharmonic Tones
Activity Sheet 6: Literature Analysis
8
O
S-8
LEARNING A. Scan the music for:
1. Form
THE
2. Challenging intervals
SONG:
3. Challenging rhythmic situations.
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.
Once the song has been learned by the whole group, ask for volunteers to sing
short sections of the piece in small ensembles, one person on each part, for the class.
Having purchased this system, you have permission to photocopy pages 4, 5, and 9 to
give to your students so that they can write on it to perform the analyses.
S-9
I, ii, IV, and V CHORDS -- 2
ANALYZE the following exercise before singing.
1. Analyze the chord sequence.
2. Locate and identify the nonharmonic tones.
& 44 Ï Ï Ï Ï Ï
& 44 Ï Ï Ï Ï
V 44 Ï Ï Ï Ï
? 44 Ï Ï Ï Ï
I
&Ï Ï Ï
&Ï Ï Ï
VÏ Ï Ï
?Ï Ï Ï
Ï
ÏÏÏÏÏ Ï
Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï Ï
Ï ÏÏÏÏ ÏÏ Ï Ï ú
Ï Ï Ï ÏÏ Ï Ï ú
Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
ÏÏÏÏÏ
Ï
Ï Ï Ï ÏÏ Ï Ï ú
Ï Ï Ï
Ï Ï ÏÏÏ
Ï
Ï Ï Ï
Ï
Ï
Ï Ï Ï Ï
Ï Ï
Ï
Ï Ï Ï
Ï
Ï Ï ú
Ï Ï ú
Ï
ú
Ï Ï
Ï
Ï
The song, "If I Were a Flower," on the following pages contains examples of several kinds
of nonharmonic tones. Can you identify a few of them? Remember, a nonharmonic tone,
by definition, must not be a part of the chord.
Activity Sheet 6 will guide you through a complete analysis of this song.
9
2 -- I, ii, IV, and V CHORDS
If I Were a Flower
SSA A cappella
F
Ï
Ï.
If
I
were
& b 44 Ï
Ï
Ï.
were
j
Ï Ï.
Ï.
j
Ï Ï.
Brightly
& b 44 Ï
SI
F
SII
If
F
& b 44 Ï
A
If
.
&b Ï
3
daf
-
&b Ï Ï
daf - fo
&b Ï
Ï
daf - fo
&b Ï
6
hea
&b Ï
hea
&b
ú
hea
I
Ï
j
Ï Ï
Ï
er,
a
j
Ï Ï
Ï
a
flow
a
were
flow
a
flow
Ï
ú.
Ï
Ï.
fo - dil
I'd
be.
I'd
lift
Ï
Ï
ú.
Ï
-
dil
I'd
be.
I'd
Ï.
-
Ï
Ï
Ï
dil
I'd
Ï
-
ven
in
Ï
Ï
Ï
-
Ï
Ï Ï Ï Ï Ï Ï
J
Ï
J Ï
Ï
-
I
Patti DeWitt
Ï
ven
in
Ï
Ï
ven
in
be.
Ï.
gold
ú
j
Ï Ï
-
en pur
Ï
Ï
Ï
pur
Ï
Ï
Ï
gold - en
gold - en
10
pur
-
i
-
Ï
-
Ï
i
i
-
-
-
er,
j
Ï Ï
my
head
j
Ï Ï
lift
Ï
-
er,
my head
Ï.
I'd
-
Ï Ï
J
lift
Ï
-
my
ú.
-
ty.
-
ú.
ty.
-
ú.
ty.
head
a
a
Ï
to
Ï
to
Ï
to
P
Ï
I
P
Ï
I
P
Ï
I
I, ii, IV, and V CHORDS -- 2
&b Ï
9
ÏÏ ÏÏú
Ï Ï
would not
be
a
&b Ï Ï Ï Ï
would not
&b Ï
be
&b Ï
'neath
16
& b ú.
view.
& b ú.
view.
& b ú.
view.
ÏÏú
Ï
Though
Ï Ï Ï
ú.
Ï
be
a
j
Ï Ï
rose,
Though
Ï Ï Ï
e - le - gant
Ï
P
Ï Ï Ï Ï ú
those vel
Ï
- vet
pe
-
Ï
Ï
vel - vet
Ï Ï ú
pe
-
those
Ï
Ï
vel - vet
¹
Ï
pe
-
For
ú.
Ï
p
Ï
'tis
true;
For
p
F
Ï
Ï ú
'tis
true;
For
Ï
Ï
Ï
Sharp
thorns
are
hid
from
Ï
Ï
Ï
Ï
Ï
tals
Sharp
ú
Ï
tals
true;
Ï
Ï
P
poco cresc. . . . . . . .
poco cresc. . . . . . . .
Ï
tals
p
F
Ï Ï Ï
e - le - gant
F
ú.
e - le - gant 'tis
poco cresc. . . . . . . .
'neath those
&b Ï
Though
rose,
13
'neath
rose,
a
would not
& b Ï.
Ï
Ï Ï
Ï Ï
Ï Ï
P
thorns
are
hid
from
Sharp
Ï
thorns
Ï
Ï
Ï
Ï Ï ú
are
hid
from
Ï
Ï
Ï
Ï
Ï
I
¹
would
not
be
an
or - chid,
Ï
I
¹
Ï
would
Ï
not
Ï
be
Ï
an
Ï Ï ú
or - chid,
The
Ï
I
Ï
would
Ï
Ï
Ï
Ï Ï ú
Ï
not
11
be
an
or - chid,
Ï
The
Ï
The
2 -- I, ii, IV, and V CHORDS
19
&b Ï
sul
&b Ï
sul
&b Ï
sul
-
-
-
Ï
Ï
try
par
Ï
Ï
try
Ï
try
&b Ï Ï ú
&b Ï Ï ú
oth
-
ers,
&b Ï Ï ú
oth
-
ers,
-
a
-
Ï
par
Ï
par
-
ú.
-
site,
-
ú.
a
Ï
a
-
live
Ï
on
Ï
strength
Ï
Ï
Ï
P
Ï
live
ú.
might.
Ï
And
not
by
their
own
Ï
Ï
Ï
Ï
And
not
by
their
not
I
were
&b Ï
Ï
Ï.
if
I
were
j
Ï Ï.
&b Ï
Ï
Ï.
j
Ï Ï.
were
a
a
a
own
flow
flow
of
Ï
strength
of
Ï
rit. . . . . . . . . . .
ten.
So
Ï
Ï
rit. . . . . . . . . . .
Ï
ten.
might.
So
Ï
Ï.
Ï Ï
J
er,
I'd
be
a daf - fo
j
Ï Ï
Ï
Ï
Ï
I'd
be
a
daf - fo
Ï Ï Ï
Ï
Ï
their
-
own
-
-
-
-
j
Ï Ï
12
ten.
Ï
Ï
Ï Ï Ï Ï Ï
flow
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by
if
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on
of
rit. . . . . . . . . . .
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F
I
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if
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site,
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strength
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on
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live
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site,
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oth - ers,
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er,
er,
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might.
I'd
be
a
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So
Ï
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-
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daf - fo -
I, ii, IV, and V CHORDS -- 2
& b ú.
28
dil,
In
& b ú.
Ï
dil,
&b Ï
sim - ple
Ï.
In
ú
dil,
31
&b Ï
Ï
bright - en
up
&b Ï
Ï
&b Ï
Ï
Ï
bright - en
bright - en
Ï
Ï
To
&b Ï Ï Ï Ï
To
Ï Ï
daf - fo - dil
my
Ï
&b Ï Ï Ï Ï
daf - fo - dil
Ï
my
34
daf - fo - dil
sim
up
up
To
-
Ï.
In
Ï
&b Ï Ï
sim
Ï
my
ú
bright
ú
bright
Ï
Ï
gold - en
ra
Ï
Ï
j
Ï Ï
ple
gold - en
j
Ï Ï
-
-
-
Ï
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ple gold - en
ú.
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ú.
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ú.
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p
-
p
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hill.
ú
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en
up
my
ú
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en
up
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en
up
13
my
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ly gold - en
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hill.
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hill.
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ly gold - en
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diance
diance
p
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Love
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diance
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ra
hill.
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bright
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hill.
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gold - en
Î
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2 -- I, ii, IV, and V CHORDS
VOCABULARY:
1. Accented passing tone--A nonharmonic note that passes between two harmonic
notes and falls on a strong beat
2. Anticipation--A nonharmonic note that sounds ahead of the rest of the chord; it
sounds while the previous chord is still heard in the other voices
3. Appoggiatura--A nonharmonic note that leaves one harmonic note by a leap
and resolves to the next harmonic note by step in the opposite direction
4. Lower neighbor note--A nonharmonic note between two harmonic notes of the
same pitch that is a half step or step lower than the harmonic notes
5. Nonharmonic tones--Notes that are not a part of the chord being sounded
6. Pedal point--A drone (continuously sounding) note, usually in the lower voice,
over which the harmonies continue to change
7. Root--The note upon which a chord is built--for example, the root of the V chord
is So; the root of an F Major Chord is F.
8. Suspension--A note that is held over from the previous chord
9. Unaccented passing tone--A nonharmonic note that passes between two harmonic
notes and falls on a weak beat or the weak part of the beat
10. Upper neighbor note--A nonharmonic note between two harmonic notes of the
same pitch that is a half step or step higher than the harmonic notes
14
Vocabulary:
Make sure you use the vocabulary systematically in class so that your
students will become familiar with it and feel comfortable using it as well.
O
v
S - 14
Chapter 3:
Sixths and Octaves
Breathing
Exercises
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
4. Sing "Ah" for a whole note
5. Hiss for four quarter notes
Remind the students to maintain their hold with the abdominal
muscles.
Use the exercise in the textbook as a warm-up activity for this chapter.
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. Encourage
musicality and phrasing even when chanting.
Individual
Singing:
Allow some class time daily for students to perform individually.
This can be done as solo work or as small ensembles with one person on
a part.
Tone quality
(vowel)
exercise:
Tell the choir you are going to demonstrate the difference that "tall"
vowels make in the choir.
Ask for a student volunteer.
Instruct all of the rest of the class to sing in unison on a very tall "ooh"
vowel, lips puckered jaws far apart.
Instruct them to keep taking a breath and reentering when they run
out of air, maintaining a steady choral sound.
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.
Work on the vowels every day. It takes hundreds of repetitions
before the students will begin to sing "tall" vowels without being
reminded.
S - 15
3: Sixths and Octaves
SIXTHS:
Here is an exercise that covers all of the sixths in the major scale. Sing with handsigns
slowly. Sing in higher or lower keys.
b 4
&bb 4
Ï
Ï
Ï
Ï Ï Ï
Ï
Ï Ï Ï
Ï
Ï Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï
? b b 44
Ï
b Ï Ï Ï
b Ï
&bb
Ï Ï Ï
Ï
Ï Ï Ï
? bb
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
Ï
Ï Ï Ï
Sixths can be major or minor.
A major sixth is the interval of a perfect fourth plus a major third.
Or 4 1/2 whole steps. Or 9 half steps.
w
& w
Do
? w
w
La
#
#
Using the keyboard representation, above, figure out what note is a major sixth above:
1. F
2. D
3. G
4. Bb
5. A
6. C
Using solfege, tell what note is a major sixth above:
1. Do
2. Re
3. Fa
4. So
15
7. G
8. B
9. Eb
3 -- SIXTHS AND OCTAVES
A minor sixth is the interval of a perfect fourth plus a minor third:
Or 4 whole steps. Or 8 half steps.
&
?
w
w
w
w
Using the keyboard representation, above, figure out what note is a minor sixth above:
1. F
2. D
4. Bb
3. G
5. A
6. C #
7. G #
8. B
Using solfege, tell what note is a minor sixth above:
1. Mi
2. La
3. Do
4. Ti
9. Eb
Pencil Time 4:
Activity Sheet 7: Sixths
Activity Sheet 8: Key Signatures
Activity Sheets 9, 10: Vocabulary Word Search
Reading exercises: Sixths in the I Chord
The following exercises contain the sixths of the I Chord-So - Mi (major sixth) and Mi - Do (minor sixth)
1. Identify the sixths in the following exercises as major or minor.
2. Audiate each sixth before audiating the whole exercise with handsigns.
3. Sing on solfege using handsigns.
1.
Ï Ï Ï Ï
& 44 Ï
& Ï Ï Ï Ï Ï
Ï Ï
ú
Ï Ï Ï Ï
Ï Ï Ï Ï Ï ÏÏ
? b 24 Ï Ï Ï
2.
?b Ï ÏÏ Ï Ï Ï Ï
Ï Ï Ï Ï Ï
Ï
Ï Ï Ï Ï
Ï Ï ÏÏ Ï Ï
Ï ÏÏ Ï Ï
16
Ï Ï
Ï Ï
Ï
Ï ú
Ï Ï ú
Ï Ï
ú
ú
Ï Î
SIXTHS AND OCTAVES -- 3
Ï Ï ú.
3
ÏÏÏ Ï
Ï
b
Ï
Ï
Ï
ú
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3. & 4 Ï Ï
&b Ï ú
Ï Ï Ï Ï ú.
Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï Ï ú.
&b
Ï Ï Ï Ï
? b b 44 ú
Ï
4.
Ï
? bb ú
Ï
Ï
ú
Ï Ï ú
Ï Ï Ï Ï
Ï
### 4
4 Ï Ï Ï Ï Ï Ï Ï ú
5. &
###
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&
7.
&
#
ú
Ï Ï Ï
Ï Ï Ï Ï
ÏÏÏÏ
Ï ÏÏÏ
Ï
Ï Ï Ï Ï
Ï Ï Ï ú
Ï ÏÏú
? b b 44 Ï Ï Ï Ï Ï
6.
? bb Ï Ï Ï ú
Ï Ï ú
# 4
& 4 Ï Ï Ï Ï
Ï
Ï
ú.
ú
Ï
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Ï Ï Ï ú
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Ï Ï Ï Ï Ï
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? b b b 64 Ï .
Ï Ï ú
b
J
8.
.
? b b b Ï . JÏ Ï Ï Ï Ï Ï Ï
b
ú Ï Ï
? b b b Ï . JÏ Ï Ï
Ï.
b
17
Î
Î
Ï
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J
ú
ú
ú
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Ï Ï Ï. Ï Ï Ï Ï ú.
J
J
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J Ï Ï
Î
Ï
3 -- SIXTHS AND OCTAVES
Sixths of the V Chord:
Re - So (major sixth) and Ti - Re (minor sixth)
9.
? Ï ÏÏÏ Ï
.
? Ï ÏÏÏ Ï ú
10.
#
& # 34 ú
&
##
ú
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#
& # Ï ÏÏÏ
Î
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ú
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4
Ï ÏÏÏ
Ï ÏÏ
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ú
ú
Ï
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Ï ÏÏÏ
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú.
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Ï Ï
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ú
Ï
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ú
Î
Ï Ï
? b b 44 Ï Ï Ï Ï Ï Ï Ï Ï ú
b
11.
ÏÏÏÏú
? bb Ï Ï Ï Ï Ï
b
Ï Ï Ï
Î
ú
Ï
Ï
Ï Ï Ï Ï
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Ï
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Ï Ï Ï Ï
ú
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ú
Î
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#### 4
j
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4 Ï. Ï Ï Ï
12. &
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jÏ
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&
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.
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13.
? b b b 34 ú
bb
? bb b ú .
bb
Ï
Ï Ï
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18
Ï
Ï
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Ï Ï Ï Ï
ú.
SIXTHS AND OCTAVES -- 3
4
&4 ú
14.
& ú
Ï
Ï Ï
Ï ÏÏÏ Ï
ú
ú
Ï ú
Ï
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Ï
Ï
? #### # 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î
# 4
15.
Ï ÏÏÏ
Ï
Ï
Ï
? #### # Ï Ï Ï
Ï
Ï
Ï
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Ï
Ï
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#
16.
&
Ï
# 3
& 4 Ï
# ú
Ï
Ï
Ï Ï Ï Ï Ï Ï
Ï ÏÏ Ï
Ï
Ï
Ï
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Ï Ï Ï
Ï Ï Ï
Ï Ï Ï Ï
Ï ÏÏ Ï Ï Ï
?
2
b
17.
b 4
Ï
? bb Ï Ï Ï Ï Ï Ï
Ï ú
ú
Ï
Ï
Ï
Sixths of the IV Chord:
Do - La (major sixth) and La - Fa (minor sixth)
& b 44 Ï Ï Ï Ï Ï
18.
&b Ï Ï Ï Ï Ï
19.
? Ï ÏÏÏÏÏ
20.
&
#
&
# 4 Ï.
4
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ú
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19
Ï Ï
ú
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Ï ÏÏú
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Ï
j
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j
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? 44 Ï Ï Ï Ï
Ï
Ï
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Ï Ï Ï Ï Ï
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Ï Ï Ï ú
Ï
Ï
Ï
j
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j
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Ï
Ï
ÏÏú
ÏÏÏÏ
Ï Ï
Ï Ï Ï Ï ÏÏÏ
3 -- SIXTHS AND OCTAVES
21.
? bb Ï
b
Ï.
# 4 j
&
4 Ï Ï
22.
#
& Ïj Ï Ïj Ï
# j Ï Ï
& Ï Ï J
23.
Ï
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J
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bb 4
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J
j Ï
j Ï Ïj ú
Ï
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jÏ Ï
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J
Ï Ï Ï Ï . ÏJ ú
J
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Ï
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## 3
4 Ï . ÏJ Ï Ï Ï Ï Ï Ï
24. &
Ï.
#
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& # Ï Ï Ï Ï Ï Ï Ï ú.
#
& # Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
#### # 5
# 4 ÏÏ Ï Ï Ï Ï ÏÏ Ï
25. &
#### #
# Ï Ï Ï Ï ÏÏ ÏÏÏÏÏ
&
#### #
# Ï Ï Ï Ï Ï Ï Ï Ï Ï
&
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# Ï Ï Ï Ï Ï Ï Ï Ï Ï
&
20
jÏ
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ú.
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J
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J
Ï Ï
j
Ï Ï Ïj ú
j
j
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Fine
al Fine
jDC
Ï Ï Ï Ï
JÏ Ï ú
ÏÏÏÏ ÏÏÏÏÏ Î
J
ÏÏÏÏ
J
Ï ÏjÏ ÏJ ú
j
Ï ÏÏÏÏÏ
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J
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j
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ú.
Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ
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Fine
Ï
Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï
DC al Fine
SIXTHS AND OCTAVES -- 3
Octaves:
The following exercises contain octaves.
1. Identify the octaves in the following exercises as major or minor.
2. Audiate each octave before audiating the whole exercise with handsigns.
3. Sing on solfege using handsigns.
Ï Ï. Ï ú
? # # 44 Ï Ï Ï
J
1.
Ï
? ## Ï Ï Ï . J Ï Ï ú
Ï Ï ÏÏÏÏ Ï Ï ú
Ï Ï Ï Ï Ï Ï ú
b b b 44 Ï Ï Ï Ï Ï Ï ú
&
Ï
2.
bb Ï . Ï Ï Ï Ï
b
&
J
Ï Ï ú
Ï ÏÏ Ï Ï ú
Ï Ï Ï ÏÏ Ï Ï ú
Do - Do
3.
? 34 Ï
? Ï
So - So
4.
&
&
#
Ï Ï Ï
Ï Ï Ï
# 4
4 ú
ú
ú
Ï.
Ï
ú
Ï
j
Ï Ï
ú
Ï Ï
Ï Ï
Ï
ú
ú
ú
Ï.
Ï
ú
ú
Ï
Ï ú
J
ú.
Ï Ï
Ï Ï
Ï Ï
Ï Ï ú
Î
ú.
? b b 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
b
5.
? bb Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
b
6.
& b 44 Ï Ï Ï Ï Ï
&b Ï
Ï Ï Ï
Ï
Ï
Ï ÏÏÏÏ
Ï
Ï Ï Ï Ï Ï
21
Ï ÏÏÏ ÏÏ Ï Ï ÏÏÏÏ
Ï Ï Ï
Ï
Ï Ï ú
3 -- SIXTHS AND OCTAVES
Ï Ï ú
? 4 ú
b 4
ú
Ï Ï Ï Ï ú
?b ú
Fa - Fa
7.
8.
b
& b b b 34 ú
Ï Ï
Ï ÏÏÏ
Ï
ú
bb
Ï Ï Ï
ú
& b b Ï . ÏJ Ï
Ï ÏÏú
bb
Ï Ï Ï Ï Ï
Î
&b b ú
Ï Ï
? b 44 Ï Ï Ï Ï Ï Ï Ï ú
9.
?b Ï Ï Ï Ï Ï Ï Ï ú
Ï
Ï Ï
ú
Ï Ï
Ï
Ï
ú
ú.
Ï
Ï
ú
Ï ÏÏÏÏ
Ï
Ï ÏÏÏ
Ï Ï Ï.
Î
Ï Ï
Ï
j
Ï ú.
Ï Ï Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï Ï Ï Ï ú
#### 4 Ï Ï Ï Ï
Ï Ï Ï
Ï Ï ú
4
10. &
Ï ÏÏÏ ú
Ï
####
Ï Ï Ï Î Ï
Ï
Ï Ï Ï ú
&
Ï
Ï
Ï
Ï
Ï Ï Ï
ú
? #### # 4 Ï Ï Ï Ï Ï Ï ú
ú Ï Ï
ú
# 4
11.
Ï
Ï
? #### # Ï Ï Ï Ï Ï
Ï Ï Ï ú
ÏÏÏÏ
Ï
Ï
Ï
Ï
#
## 3
& 4 Ï Ï Ï
La - La
12.
&
&
##
##
Ï
Ï
Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï
Ï
Ï
Ï
ú
Ï
Ï
Ï
22
Ï Ï Ï
Î
Ï Ï Ï Ï Ï
Ï
Ï Ï Ï Ï ú
Ï Ï ú
ú
Î
Fine
DC al Fine
Ï
SIXTHS AND OCTAVES -- 3
Ï ú
? 4 Ï ÏÏ ÏÏ Ï Ï
b 4
13.
Ï ú
?b Ï Ï Ï Ï Ï Ï
Ï
Ï
Ï
Ï Ï ú
Ï Ï ÏÏ
Ï Ï Ï Ï ÏÏÏÏú
## 4
Î
&
4 Ï Ï Ï Ï Ï Ï Ï Ï Î Ï Ï Ï Ï Ï Ï Ï ú.
14.
Ï
##
Ï ÏÏÏÏÏ Ï
Ï
ÏÏÏÏÏÏÏ
& Ï Ï
ÏÏ
ÏÏú
Ï Ï Ï Ï ú
Ï Ï Ï
? b b 34 ú
Ï
Î
ú
b
15.
Ï
Ï
? bb ú
Ï
Ï
Ï
Ï
Ï
ú
Ï ú
Ï ú
Ï Ï
b
Ï Ï Ï Ï Ï
? bb Ï Ï Ï Ï ú
Î
Ï Ï Ï Ï Ï ú.
b
b
& b 44
Re - Re
16.
&b
17.
b
Ï.
Ï.
ÏÏÏÏ
j Ï
Ï
Ï
Ï
Ï
Ï
? ### 4 Ï
4 ÏÏ Ï Ï
? ### Ï Ï
Ï
18.
ÏÏÏÏÏ
jÏ Ï Ï
Ï
Ï
Ï
Ï
Ï ú
Ï
Ï ú
Ï
& 34 Ï Ï Ï Ï Ï Ï Ï Ï
& ÏÏÏ Ï
& Ï Ï Ï
ú.
Ï Ï Ï
Ï ÏÏÏ
Ï
ÏÏÏ
Ï Ï Ï
Ï ÏÏÏ ÏÏ Ï
Ï ÏÏÏ
Ï Ï Ï Ï.
Ï ÏÏú
Ï
Ï
J Ï Ïú
Ï ÏÏÏ Ï Ï Ï Ï Ï ú
Ï
ÏÏÏ
Ï Ï ÏÏÏÏ Ï Ï Ï
Ï Ï. Ï ÏÏ Ï Ï
J
Ï Ï ÏÏÏÏ Ï Ï Ï
23
Ï
Ï ú
ú
Ï
Ï ÏÏÏÏ
ÏÏÏ
Ï
ú.
3 -- SIXTHS AND OCTAVES
Harmonic Exercises:
Audiate each of the exercises before singing them with solfege and handsigns.
j
& b 44 Ï Ï Ï . Ï Ï Ï ú
& b 44 Ï Ï Ï . Ïj Ï Ï ú
j
& b 44
.
Ï
Ï
Ï
ú
ú
Ï
1.
&b Ï
&b Ï
Ï
Ï
Ï
&b
&
&
&
Ï.
j
Ï ú
Ï.
# 3
4 Ï Ï Ï
# 3
& 4 Ï
Ï
# 3
& 4 Ï ú
&
2.
#
#
#
ú
ÏÏ Ï
ú
Ï
ú
Ï
Ï
Ï.
Ï.
j
ú
Ï ú
j
Ï Ï Ï ú
Ï.
Ï
Ï Ï Ï Ï
ú
Ï
ú
Ï
ú
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
ú
24
Ï
Ï
Ï
Ï
ú
Ï
Î
ú.
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï
Î
ú.
Ï
Ï
Î
ú.
Ï
Ï
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Ï
Ï
Ï
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j
Ï Ï Ï
Ï
Ï
ú
Ï
j
Ï Ï Ï
Ï
Ï
Ï Ï
ú
Ï
Ï
ú
Ï
ú
Ï
ú
SIXTHS AND OCTAVES -- 3
b 4
&b b 4 Ï Ï Ï Ï
3.
b 4
&b b 4 Ï Ï Ï Ï
b 4
&b b 4 ú
Ï Ï
b
&b b Ï Ï Ï Ï
b
&b b ú
# 4
4
&
4.
# 4
& 4
# 4
& 4
&
&
&
#
#
#
Ï Ï Ï Ï
Ï Ï
Ï Ï Ï
Ï
Ï Ï ú
Ï Ï Ï Ï
Ï
Ï
ú
ú
ú
Ï Ï Ï
ú
Ï
Ï ú
ú
Ï Ï ú
Ï Ï
Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
ú
Ï
Ï Ï Ï
w
Ï Ï Ï Ï
w
ú
25
Ï Ï
Ï Ï Ï Ï
ú
Ï Ï Ï Ï
Ï Ï
ú
ú
ú
Ï Ï ú
Ï Ï
Ï Ï Ï
Ï
Ï Ï ú
ú
Ï ú
ú
Ï Ï ú
Ï Ï ÏÏÏ
ú
Ï Ï ú
Ï Ï Ï
ú
Ï Ï Ï Ï
Ï Ï ú
Ï Ï
Ï
Ï Ï ú
Ï Ï ú
b
&b b Ï Ï Ï Ï
Ï Ï Ï Ï
Ï ÏÏú
Ï
Ï
w
3 -- SIXTHS AND OCTAVES
& b 34 Ï Ï Ï
Ï
5.
3
&b 4
ÏÏÏ Ï
Ï Ï
Ï
Ï
& b ÏÏÏ Ï Ï ú
&b Ï Ï Ï Ï ú
&b
Ï
Ï
Ï ú
Ï
ÏÏ Ï Ï
Ï Ï Ï
3
&b 4 Ï Ï Ï
1
Ï Ï
Ï
ú
Ï Ï Ï ú.
Ï
Ï Ï Ï ú.
Ï
& 34 Ï
& 34
Ï
..
..
Ï Ï Ï
Ï ÏÏ Ï
Ï
Ï Ï
Ï Ï Ï
ú
& Ï Ï ÏÏ Ï Ï Ï
ú
Ï Ï Ï
ú
Ï
Ï
ú
Ï
Ï
& Ï Ï Ï
&
Ï Ï Ï
Ï Ï
Ï
Ï
Ï ú
Ï
Ï
ú ÏÏ
ú
..
Ï Ï Ï Ï ÏÏ
2
ú
..
ú
Ï
Ï
ú
Ï
Ï Ï Ï
Ï Ï ÏÏ Ï Ï
Ï Ï Ï Ï Ï
ú
Ï Ï Ï
Ï Ï Ï
ú
Ï Ï Ï
Ï
Ï
Ï Ï
Ï Ï Ï
26
Î
Î
Ï Ï Ï ú
Î ..
Ï
ú
Î
Î
Ï
ú
Ï
Ï
Ï ú
1
ú
ú
Ï
Î
ÏÏÏ Ï ú Î
Ï Ï ú
Ï
Ï
ú
. .
Ï . . Ï Ï Ï
Ï
Ï ú
ÏÏ Ï
Ï
Ï
Ï Ï
.. ..
ÏÏ Ï Ï ú.
& 34 Ï Ï .. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
6.
Ï ú
Ï ú
Ï Ï Ï
Ï Ï
.. ..
2
Ï
Ï ú
Ï Ï
SIXTHS AND OCTAVES -- 3
# 4
4 Ï Ï Ï ÏÏ
# 4 Î
Ï Ï Ï
& 4
# 4 Î
Ï
& 4
Ï Ï
&
7.
&
&
&
8.
#
#
#
Ï
Ï
Ï
Ï
Ï
Ï
ÏÏ Ï ú
Ï
Ï ú
Ï
Ï Ï Ï Ï Ï ú
Ï
Ï
Ï
Ï
Ï ú
Ï ú
Ï ú
& 44 Ï Ï Ï Ï
& 44 Ï Ï Ï Ï
Ï
Ï Ï Ï ú.
Ï Ï
Ï
Ï Ï Ï Ï
ú.
Î
Ï Ï
Ï Ï
ú.
Ï
Ï
Ï
Ï
Ï Ï
Ï
ú.
Ï
Ï
Ï Ï
ú.
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
& 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 Ï ú.
& Ï Ï Ï Ï
& Ï
Ï Ï
Ï
Ï
Ï
Ï Ï
Ï
Ï
Ï
Ï
27
Ï Ï Ï Ï
Ï Ï Ï Ï
ú.
ú.
Ï
Ï ú
ú
ú
Î
Î
Î
3 -- SIXTHS AND OCTAVES
4
&b 4 Ï Ï Ï Ï
9.
4
&b 4 Ï Ï Ï Ï
& b 44
Ï Ï
Ï
&b Ï Ï Ï Ï
Ï
10.
Ï
Ï
Ï Ï
# 4
& 4
ú
&
&
#
#
#
ú
ú
Ï ú
ú
ú
ú
Ï Ï ú
Ï
Ï ú
Ï
Ï Ï Ï
Ï
Ï Ï
ú
Ï
Ï
Ï
ú
Ï Ï Ï Ï
Ï
Ï
ú
Ï
ú
ú
Ï ú
ú
Ï
ú
Ï Ï
Ï Ï ú
Ï Ï ú
ú
Ï
Ï Ï ú
ú
ú
Ï
Ï
Ï
ú
Ï
Ï
Ï
Ï
28
Ï
Ï
Ï
ú
Ï ú
Ï ú
ú
Ï Ï
ú
ú.
Î
Ï
ú
Ï Î
Ï
ú.
Ï
ú
ú
Ï
Ï
Ï
ú
ú
ú
Ï Ï Ï Ï
Ï ú
ú
# 4
& 4 ú
&
Ï
# 4
4 Ï Ï Ï Ï
&
Ï ú
ú
&b Ï Ï Ï Ï
&b
Ï
Ï
ú.
ú.
ú.
Î
Î
Î
Î
SIXTHS AND OCTAVES -- 3
11.
bb 4
Ï Ï
&b b b 4 Ï
Ï
bb 4
&b b b 4 ú
bb 4
&b b b 4
ú
bb
&b b b
12.
### 3
&
4 Ï
### 3
&
4
&
&
&
###
###
###
Ï Ï
Ï Ï Ï
Ï
Ï
Ï
ú
Ï
Ï
ú
ú
ú
Ï
Ï Ï ú
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
29
ú
ú
ú
ú
ú
ú
Ï Ï Ï
ú
Ï ú
Ï Ï ú
Ï Ï Ï
Ï
Ï
Ï Ï
Ï
Ï Ï Ï Ï
Ï
Ï
Ï
Ï
ú
Ï
ú
ú
Ï Ï ú
Ï Ï
ú
### 3
&
4 Ï
Ï Ï
Ï Ï Ï
Ï
bb
Ï Ï
&b b b Ï
Ï
bb
&b b b ú
Ï Ï
ú
Ï Ï ú
Ï
ú.
ú
Ï
ú.
ú
Ï
ú.
Ï
Ï
Ï
Ï
Ï
Ï
ú.
ú.
ú.
ú
3 -- SIXTHS AND OCTAVES
13.
bb 3
&b b b 4 Ï
bb 3
&b b b 4 Ï
bb 3
&b b b 4 ú
bb
&b b b Ï
bb
&b b b Ï
bb
&b b b ú
14.
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
bb 4
Ï
&b b 4 Ï Ï Ï
bbb Ï Ï Ï Ï
b
&
bb
&b b Ï Ï Ï Ï
b
& b bb ú
Ï Ï
Ï
Ï
Ï
ú
Ï
bbb 4 Ï Ï
b
Ï
4
&
bb 4
&b b 4 ú
ú
Ï
Ï
Ï
Ï
Ï
Ï
ú.
Ï
Ï
Ï
Ï
ú.
Ï
ú
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ú.
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Ï
Ï
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ú
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ú
ú.
Ï
ú.
Ï ú
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Ï
ú
Ï
Ï Ï Ï Ï
Ï Ï ú
30
Ï
Ï Ï ú
Ï Ï
ú
Ï
ú.
Ï Ï Ï Ï
Ï Ï ú
ú
Ï
Ï Ï Ï Ï
Ï Ï ú
ú
Ï
Ï
Ï Ï
ú
ú
Ï Ï
ú
ú
Ï Ï
ú
ú
SIXTHS AND OCTAVES -- 3
15.
b 3
&b b 4 Ï
b 3
&b b 4 Ï
Ï ú
Ï
Ï Ï Ï
ú.
j
Ï. Ï Ï
ú
Ï Ï ú
Ï
ú
Ï ú
ú
Ï
Ï Ï Ï
ú.
ú
Ï
Ï
Ï
b 3
&b b 4 Ï Ï
Ï ú
b
& b b ÏÏÏ Ï
ú.
b
&b b Ï
Ï Ï
b
&b b ú
Ï
&
bbb
Ï
Ï
b
&b b Ï
b
&b b
&
bbb
ú.
Ï
ÏÏÏ Ï
b
&b b ÏÏÏ Ï
b
&b b ú
Ï
Ï
%
Ï Ï . Ïj ú
Ï Ï Ï
Ï
Ï
Ï
ú
Ï
j
Ï
.
Ï
Ï
ú.
Ï
ú
Ï
Ïú
ú
Ï
Ï
ú
Ï
ú.
ú
Ï
Ï
ú.
Ï
ú.
ú.
j
Ï. Ï Ï
ú.
Ï ú
ú.
j
Ï. Ï Ï
31
ú
Ï
Ï
Ï. j
Ï
Ï ú
Ï
Ï . Ïj Ï
Ï ú
Ï Ï Ï
Ï . Ïj Ï
ú
Ï
j
Ï. Ï Ï
Ï Ï . Ïj ú
Fine
Ï Ï Ï Ï Ï Ï ú.
Ï
ú
ú
Ï Ï . Ïj ú
ú.
Ï ÏÏ
Ï
Ï
Ï
ÏÏÏ Ï
ú.
Ï Ï Ï
Ï ú
ú
ú.
Ï
D.S. al Fine
4: Meter Matters
There are 2 basic types of meter. The first type is called simple. Meter is simple when
23 4
the beat divides into two. Examples of simple meter are 4 , 4 and 4 .
44
Ï Ï Ï Ï
3
ÏÏÏÏÏÏÏÏ 4 Ï Ï Ï
2
ÏÏÏÏÏÏ 4 Ï Ï
ÏÏÏÏ
In compound meter, the beat subdivides into 2 or 3 or a combination of the two. For
example, 64 usually divides into 2 subgroups of 3 beats each:
64 Ï Ï Ï Ï Ï Ï
And
Ï.
Ï ÏÏÏ Ï ÏÏÏ
Ï Ï Ï.
J
54 usually divides into 2 subgroups of 2 and 3 beats, like this:
45 Ï
Or like this:
Ï
Ï
3
45 Ï
Ï
2
Ï
Ï
+
+
Ï
2
Ï
Ï
Ï ÏÏ
Ï
Ï ÏÏ
ÏÏ
J
ú
ú
Ï
3
Other notes besides the quarter note can serve as the basis of the time signature. In
fact, any note value can serve as the basic beat unit:
23 ú
1.
ú
ú
68
Ï Ï Ï Ï Ï Ï
2.
169 Ï Ï Ï Ï Ï Ï Ï Ï Å
3.
1. What is the basic beat unit in #1?
2. What is the basic beat unit in #2?
3. What is the basic beat unit in #3?
WRITE ACROSS THE CURRICULUM:
1. Of the three meters given above, which is/are simple?
Which is/are compound?
Discuss why you made the decision you made.
2. What other beat units are possible for time signatures?
32
Chapter 4:
Meter Matters
This is a very important chapter. It is recommended that instead of merely reading the
meter exercises out loud, that the students be allowed to perform them on percussion
instruments, body percussion, and other creative percussion.
Be sure they know how to conduct in 6/4 and 5/4. Here are suggested patterns:
6/4 when counted in 6 (instead of in 2)
5/4 when the group of 2 precedes
the group of 3
5/4 when the group of 3 precedes
the group of 2
S - 32
Recognizing form
aurally:
Play (or sing) the exercise below for your students. Ask
them to identify the form of the exercise: 4 phrases, ABCB
4
Ï
&4 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 ÏÏÏ Ï Ï
ÏÏÏÏÏ Ï ÏÏÏÏÏ
Ï Ï Ï Ï ÏÏÏ Ï
Ï Ï ÏÏÏÏÏ
Ï
Ï
Ï Ï Ï Ï Ï Ï
Ï
S - 33
ÏÏÏÏÏ Ï ÏÏÏÏÏ
METER MATTERS -- 4
Common meter and "cut time" (alla breve):
4
Common meter ( 4 ) is often abbreviated with the following marking:
measures below would be read the same as if the time signature read 4
4
cÏ Ï Ï Ï
Ï
ÏÏÏ Ï
ú
ú
c
The
Ï Ï ú
The technical name for cut time is "alla breve," or "according to the breve" (half note).
Cut time looks the same as common meter, but it is performed with the half note being the
basic beat unit, so that the quarter note becomes half of a beat (like the eighth note in
common time). Cut time is used for marches and for quickly moving common meter. It
reduces the need for beamed notes such as eighth notes and sixteenth notes. Cut time is
abbreviated with this symbol:
C ú
ú
C
Ï
Ï ú
ú
ú
w
Below is the conducting pattern for two beats per measure.
Left hand
Right hand
Read the following exercises while conducting:
1.
2.
3.
4.
5.
Cú
Cú
Cú
C ú.
C ú.
ú
Ï Ï ú
Ï Ï Ï Ï
ú
ú
w
ú.
ú
ú
ÏÏÏ ú
Ï.
Î
Î Ï ú
Ï Ï Ï.
Ï
j
ÏÏÏÏ
Ï Ï Ï Ï Ï.
j
ÏÏÏÏÏ ÏÏÏÏÏÏÏ
33
ú
î
Î Ï ú
j
Ï w
Ï ú
Ï
4 -- METER MATTERS
Compound meters with an eighth note beat unit:
6/8 Time:
68
Ï Ï Ï Ï Ï Ï
Ï
68
Ï.
Ï Ï Ï Ï Ï Ï
6
j
Ï Ï
j
Ï Ï Ï Ï Ï Ï Ï
Ï.
Ï.
Notice that in 8 time, the notes usually fall into a pattern of 2 groups
of three eighth notes.
6
So the feeling is of sets of triplets rather than straight eighth notes. 8 time is generally
conducted in two, with each of the two beats dividing into three.
Ï.
j
Ï Ï
Ï
j
Ï ú.
68 time is compound because the basic beat unit is not the quarter note which which
divides into two, but the dotted-quarter that subdivides into groups of three eighth notes.
6
Work Activity sheet 11 and invent your own counting system for 8 time. It is not
recommended to count the groups of three eighth notes like triplets, because triplets
represent a deviation from the regular 2 eighth-note division. In 68 time, the groups of
three eighth notes are the regular division, and not a deviation.
One possible counting system for
68
Ï.
1
Ï.
2
ú.
1
(2)
6
8
time:
Ï Ï Ï Ï Ï Ï Ï
1 si-di 2 si-di
1
j
Ï Ï
di 2
j j
j
Ï ÏÏ ÏÏ
di
1 si
2 si
READ the exercises below. Conduct the appropriate pattern (2) and use either your own
counting system or the one provided above.
1.
2.
3.
4.
5.
6.
68
Ï.
68
Ï.
68
ú.
68 Î .
68
Ï
68 Î
Ï.
Ï
Ï Ï Ï Ï.
j
Ï Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï.
Ï.
j
Ï Ï.
j j
Ï Ï Ï
j
Ï Ï
j
Ï Ï
j
Ï Ï
Ï Ï Ï Ï
j
Ï Ï.
Ï Ï Ï Ï
j
Ï Ï
ú.
j
Ï ú.
Ï ÏÏÏ Ï.
Ï Ï Ï ä Ï Ï Ï.
34
j
Ï Ï
j
Ï Ï
ä
j
Ï
j
Ï Ï Ï Ï Ï
j
Ï ÏÏÏ Ï Ï
j
Ï Ï
ÏÏ Ï Ï
METER MATTERS -- 4
5/8 Meter:
5/8 meter is a cross between compound and simple meters. It generally employs both.
Like 5/4 time, it usually divides into patterns of 3 and 2:
58
Ï Ï Ï Ï Ï
Ï.
58
Ï Ï Ï Ï Ï
Ï
Or 2 and 3:
j
Ï Ï
Ï
Ï.
Ï
5
Ï Ï
Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï.
It is important to remember that in 8 time, the eighth note remains stable. Every eighth
note gets exactly the same duration, they are simply grouped in units of two and three.
READ the following exercises, conducting a two pattern. What will happen to the beat
pattern when conducting for the group of 2 eighth notes as opposed to the group of 3?
1.
2.
3.
4.
5.
6.
58
Ï Ï Ï Ï Ï
Ï Ï Ï Ï
58
Ï.
Ï
58
Ï
j
Ï Ï Ï
j
Ï ä
ä Ï Ï Ï
j
58
ÏÏÏ Ï ä Ï Ï
58
Ï Ï Ï Ï Ï
58
Ï Ï ä Ï Ï
j
j
Ï ä Ï Ï
Ï
Î
j
Ï Ï
Ï ÏÏÏ Ï Ï
Ï.
Ï
Ï.
j
Ï Ï Ï
Ï Ï
ÏÏÏ ÏÏ ÏÏÏÏÏ Ï
j
Ï Ï Ï Ï
Ï
Ï Ï Ï
ä Ïj Ï Ï Ï
Ï Ï Ï.
j
Ï Ï
Ï ÏÏÏ Ï
Ï
Î
j
Ï Ï
j
Ï Ï
In summary, the same kind of note may not have the same value (in beats) in different
meters. In cut time, the beat value is cut in half: A half note receives one beat, a quarter
6
note receives one-half of a beat, etc. In 8 time, the dotted-quarter receives one beat, and
the eighth note receives one-third of one beat. Complete the table in Activity Sheet 12.
Pencil Time 4:
Activity Sheet 11: Simple or Compound?
Activity Sheet 12: Note Values
Activity Sheet 13: Conducting Patterns
35
4 -- METER MATTERS
Meter changes:
Often in a piece of music the composer will write meter changes--one section will be in
one meter, and a subsequent section in another. When going from one simple meter to
another (with the quarter note as the basic unit), the quarter note will retain the same
5 6
duration from one meter to the next. When going from 8 to 8 or vice versa, the eighth note
will maintain the same duration, unless otherwised specified. When going from a simple
6
meter (such as 44 ) to a compound meter (like 8 ), then the eighth note would maintain the
same duration unless otherwise directed. When going from common meter to cut time,
remember that the duration of the quarter note will be cut in half, unless otherwise specified.
The best tactic for reading a new rhythm exercise is to read it at a very slow tempo,
allowing time to read ahead as you go. (Note: The double barline is for organizational
purposes only. Some composers use it before a meter change; some do not. But there
should be no delay in the rhythm at the double bar. And the student should not stop
reading until the final barline at the end of the exercise.)
READ the following multi-meter exercises, changing the beat pattern as indicated.
1.
2.
44
3
j
j
j
Ï. Ï ú Ï ú Ï Ï Ï Ï Ï Ï Ï. Ï ú ú 4 Ï Ï Ï. Ï Ï Ï Ï Ï Ï
44
j
j
Ï. Ï Ï Ï ú.
Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Î Ï
34
j
Ï Ï Ï. Ï Ï Î Ï
ÏÏÏÏÏ Ï ú
3.
4.
44
Ï. Ï Ï Ï ú
64
j
Ï Ï. Ï Ï Ï ú
44
Ï Ï . ÏÏ Ï Ï
j
2
j
j
j
Ï Ï Ï Ïä Ï Ï. Ï Ï Ï 4 Ï Ï ÏÏÏ Ï Ï Ï
34
j
Ï. Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï
j
Ï ÏÏ äÏ Ï
j
Ï Ï Ï Ï Ï Ï ú Î Ï Ï Ï Ï Ï Ï. Ï Ï Ï Ï Ï Ï ú.
j
ä Ïj Ï Ï Î Ï
Ï Ï Ï. Ï Ï Ï Ï Ï Ï ú
j
44
Ï Ï Ï Ï. Ï Ï Ï Ï Ï Ï Ï
w
44
j
Ï Ï Ï Ï Ï. Ï Ï Ï Ï Ï Ï Î Ï
Ï ú
Ï
j j
Ï Ï Ï ú
Ï ú
Ï Ï Ï Ï Ï Ï Ï Ï ú
j
Ï Ï Ï Ï. Ï Ï Ï Ï ú
Ï Ï Ï Ï Ï Î Ï.
36
Cú
w
j
Ïú
ú
Conducting
an Anacrusis:
Also known as a "pick-up note" when it is a single beat.
It 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 when numbering measures. One would
start counting measures with the first full measure.
When conducting an anacrusis measure, the students may beat the
missing beats of measure before the anacrusis, or give a preparation
beat in the position of the beat before the anacrusis.
For example, if there is an anacrusis on the fourth beat of a measure
of 4/4 meter, then the preparation beat would be the third beat and
would be the same direction as the third beat of the conducting pattern,
below, but it is pulled up higher because it is a preparation beat:
S - 36
LEARNING
THE
SONG:
"Kerry Dance"
A. Scan the music for:
1. Form
2. Challenging intervals.
3. Challenging rhythmic situations.
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.
Once the song has been learned by the whole group, ask for volunteers to sing short
sections of the piece, one person on each part, for the class.
Compare the form of this song to previous literature presented in this book.
S - 37
METER MATTERS -- 4
5.
6
8 Ï Ï Ï Ï Ïj Ï . Ï Ï Ï .
Ï
Ï
ÏÏÏ Ï Ï ú
68
Ï Ï Ï Ï.
Ï Ï Ï
6.
68
Ï
j
Ï Ï Ï Ï Ï. ÏÏ Ï.
58
j
Ï Ï Ï ä Ï Ï
24
Ï Ï Ï Ï Ï.
7.
8.
2
j
Ï Ï Ï Ï Ï Ï. 4 Ï Ï Ï
j
Ï.
Ï ÏÏÏÏÏ Ï ú
j
j j
Ï Ï Ï Ï ú.
Ï ÏÏÏ Ï Ï
Ï.
Ï.
j
Ï Ï Ï
ú
j
Ï ú
j
Ï. Ï Ï Ï
w
44
Ï Ï Ï
j
j
Ï. Ï Ï. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
3
j
ÏÏÏ Ï Ï Ï
Ï.
j
Ï Ï Ï Ï
3
Ï ÏÏ Ï Ï Ï . ÏÏÏÏ ú
ú
j
j
Ï. Ï Ï. Ï ÏÏÏ Ï Ï Ï Ï
j
j
Ï Ï Ï Ï Ï Ï ä Ï.
Ï
ÏÏÏ Ï
Ï Ï Ï
ú.
ÏÏÏ
Ï.
ú
Ï ú
ú
Ï. Ï Ï Ï Ï Ï
37
ÏÏÏ Ï Ï
Ï
ÏÏ Ï ú
Ï
j
Ï ä Ï Ï ú.
j
ÏÏÏ Ï ä Ï
Ï. Ï Ï Ï
j
j
44
Ï Ï Ï Ï. Ï Ï. ÏÏ ÏÏ Ï Ï.
68
Ï.
Ï.
Ï Ï Ï ÏÏÏ
58
Ï.
Ï Ï Ï.
Ï Ï
34
Ï Ï Ï Ï
ú.
Cú
ÏÏÏ Ï ä Ï
Ï.
Ï
Ï. Ï Ï ú
j
Ï ÏÏÏ Ï Ï
Î
34
Ï Ï Ï Ï
ú
j
Ï Ï
Ï.
68
j
Ï Ï Ï.
Ï Ï ú.
ú
Ï
4 -- METER MATTERS
SSA A cappella
Lightly, with life
#
& 68
F
I Sop:
# 6
& 8
Ï
Oh,
Alto and 2 Sop:
j
#Ï
j
Ï Ï. Ï Ï
the days
Ï
of the
&
&
7
&
&
#
F
úú .
.
#
pi - per's tune;
#
Oh,
úú .
.
j
#Ï
for
Gone,
Ï Ï. Ï Ï
J
a - las! like our
Ï
youth,
j
#Ï
úú .
.
# Ï.
& Ï.
loo,
Ï
gan
the ring
H'room
Ï Ï
J
Ï
J
Ï
j
Ï Ï
j
Ï
When
the boys
be -
Ï
Ï Ï
of those
hours
of glad - ness,
úú .
.
j
Ï Ï.
Sopranos:
too soon.
ú.
ú.
Loo,
úú .
.
ÏÏ .
.
ú.
ú.
Ï.
Ï.
ÏÏ .
.
loo.
Loo,
loo,
loo.
j
Ï Ï
j
Ï
to gath - er
Ï
in
of the
úú .
.
Alto:
10
#
j
#Ï
úú .
.
H'room
&
one
Ï Ï. Ï Ï
J
Oh,
H'room
Ï
#
j
Ï Ï.
Ï
Arr. Patti DeWitt
Ï
Ï
J
úú .
.
j
Ï Ï.
Ï
Ï Ï
J
Ker - ry danc - ing,
H'room
4
Traditional Irish
j
Ï Ï.
the glen
38
Ï Ï
of a
Ï
sum
-
j
Ï #Ï .
mer night,
METER MATTERS -- 4
# ú.
& ú.
Ï.
Ï.
Ï.
Ï.
Loo,
loo,
loo,
13
&
#
Ï
And
16
&
&
#
ÏÏ
Ï
j
Ï Ï.
# Ï
Ï
&
19
Fills
#
Ï
Fills
#
& ÏÏ
22
to
&
Ï
to
-
j
Ï
Ï
ry
pi
ÏÏ
Ï Ï.
Ï Ï.
J
de - light!
#
#
the Ker
great
great
&
j
Ï Ï
de - light
of it
Ï
j
Ï Ï.
Ï Ï
to think
p
ÏÏ ..
tears!
p
Ï.
tears!
Ï Ï
Ï Ï
J
j
ÏÏ
your pla - ces
Up
j
Ï Ï
j
Ï
Ï
Ï
Ï
Up
U
ÏÏ
U
Ï
j
ÏÏ ÏÏ ..
the
39
us long
with
Oh,
ÏÏ # ÏÏ ..
J
to dream
of it
Ï
Oh,
j
Ï Ï.
to dream
Ï Ï
of it
f
j
ÏÏ ÏÏ ..
-
ÏÏ Ï
Ï
-
Ï Ï
ä
ÏÏ
Lads
and
f
ä
Ï
Lads
las
j
Ï Ï.
and
las
ÏÏ ÏÏ
ses
ÏÏ Ï
Ï
ÏÏ
down
j
ÏÏ ÏÏ ..
Ï Ï
Ï
j
Ï Ï.
mid - dle and
j
Ï Ï.
the
of it
With
U
j
Ï Ï Ï Ï
made
to think
with
your pla - ces
ing
Oh,
j
Ï
my heart
-
loo.
f
Ï
ÏÏ
with
j Ï
Ï
per's tun
j
Ï
ÏÏ ÏÏ
j
ÏÏ
my heart
-
Ï
Ï
Loo,
ÏÏ Ï .
J Ï.
Oh,
j Ï
Ï Ï
j
Ï Ï
j
Ï
Ï
fU
Ï.
Ï.
mid - dle and
down
a - gain
a - gain
ses
4 -- METER MATTERS
25
&
&
#
#
ÏÏ
Ah,
Ï
Ah,
28
&
&
#
#
j
ÏÏ ÏÏ .. ÏÏ Ï
Ï
Ï
Ï
Ï Ï
Ï Ï
J
j
ÏÏ
heart - ed laugh - ter
j
Ï Ï. Ï Ï
Ï
j
Ï Ï
j
Ï
P
j
Ï Ï.
Oh,
the days
Ï Ï
the mer
the mer
ÏÏ
j
ÏÏ ÏÏ ..
Ï
j
Ï Ï.
-
-
ry
ry
j
ÏÏ ÏÏ ..
ÏÏ Ï
Ï
Ring - ing through
the
j
Ï Ï.
Ï
heart - ed laugh - ter
Ï
hap - py glen!
Ï
Ï
Ï Ï
Ring - ing through
Ï Ï
J
Ï
of the
Ker
the
-
Ï
J
ry danc - ing,
·
·
hap - py glen!
31
&
&
34
&
&
# Ï
Oh,
Ï Ï. Ï Ï
J
# P
the ring
Oh,
the days
Ï
#
#
Ï
hours
Ï
of the
j
Ï Ï. Ï Ï
Ï
J
of
Ï
of the
Ï
J
glad - ness,
j
Ï Ï.
pi - per's tune;
37
&
&
#
Ï
j
Ï Ï.
Ï
j
Ï Ï
pi - per's tune;
Ker - ry
Ï
Oh,
j
Ï
danc - ing,
Gone,
Ï Ï. Ï Ï
J
Ï
j
Ï Ï. Ï Ï
Oh,
a - las!
for one
·
j
Ï Ï. Ï Ï
Ï
Ï
the
Ï
of those
Ï
Gone,
j
Ï Ï. Ï Ï
a - las!
like our
Ï
youth,
j
Ï Ï.
too soon.
40
¹
úú .
.
H'room
the
j
Ï Ï.
Ï
Ï
j
#Ï
of
j
Ï Ï
¹
Alto and 2 Sop:
ring
too soon.
Oh,
#
of those
youth,
hours
1 Sop:
one
j
Ï Ï. Ï Ï
Oh,
like our
·
for
j
Ï
of glad - ness,
j
Ï Ï.
the days
Ï Ï
of the
METER MATTERS -- 4
# Ï
&
Ï Ï
J
40
&
43
&
&
#
Ker
Oh,
one
of those
hours
&
&
49
&
&
Ï
j
Ï Ï.
Ï
youth,
too soon.
Gone,
#
#
#
#
of the
pi - per's tune;
Ï
Ï
J
j
#Ï
Ï.
Ï
J
a - las!
ú.
j
#Ï
úú .
.
Ï.
Ï.
like our
youth,
too
·
U
ú.
U
soon.
·
a - las! like our
Ï Ï
·
Ï.
Ï Ï. Ï Ï
J
H'room
úú .
.
Ï.
úú .
.
Gone,
of glad - ness,
úú .
.
H'room
46
Ï
J Ï
Ï
úú .
.
j
#Ï
ring
Ï
H'room
j
Ï Ï. Ï Ï
for
the
j
Ï Ï.
Ï Ï
úú .
.
j
#Ï
Ï
Ï Ï.
J
Oh,
ry danc - ing,
úú .
.
#
#
-
Ï
Ï
J
úú .
.
úú .
.
H'room
41
5: The vi Chord
The following exercise presents chords based on all of the notes of the scale.
Which chords are major?
Which chords are minor?
Which chord is neither major nor minor?
### 4
&
4 ÏÏÏ
Ï
ú
? ### 4 Ï Ï Ï
4 Ï
ú
###
I
ÏÏÏÏú
? ### Ï Ï Ï Ï ú
&
Ï
ÏÏ Ïú
ÏÏÏÏú
ÏÏÏÏú
ÏÏÏÏú
Ï
ÏÏ Ïú
Ï
ÏÏ Ïú
Ï
ÏÏ Ïú
ÏÏÏÏú
Ï
ÏÏ Ïú
ÏÏÏÏú
ÏÏÏÏú
ÏÏÏÏú
The vi chord
The vi chord is a minor chord. It is made up of a minor third and then a major third:
minor
major
b
&b b w
La
? b w
bb
w
w
Do
42
w
w
Mi
Chapter 5:
The iv Chord
Breathing
Exercises
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 (as opposed to pushing the
air out) while performing this exercise:
1.
2.
3.
4.
5.
Breathe in (mouth open, throats open)
Hold for a count of four.
Hiss for four quarter notes
Sing "Ah" for a whole note
Hiss for four quarter notes
Remind the students to maintain their hold with the abdominal
muscles.
Warm ups:
Use this exercise emphasizing the I Chord, and the broken chord
exercise given in the textbook.
& b 44 Ï Ï Ï Ï
Do
So
Do
Mi
? b 44 Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
So
Do
Mi
So
Ï
Ï
Do
Ï
Ï Ï
Ï
Ï Ï
Mi
So
Do
Ï Ï ú
Ï Ï ú
So
Perform the exercise in higher or lower keys as appropriate to the group.
S - 42
Mi
Do
Independent performance:
Allow some time for independent performance regularly.
1. Ask for volunteers to perform a short sections (4-8 measures) of the exercises or
the literature.
2. While the student is performing the remainder of the class is signing and along in
the music to see if the music was accurately performed.
3. Allow the student to self-evaluate before you evaluate them.
4. Allow the rest of the class to evaluate. Negative comments are allowed as long
as they address the performance in objective musical terms.
5. FIND SOMETHING POSITIVE about each performance before giving negative.
6. Limit the negative to 1 or 2 items that the student will be able to correct.
7. Allow the student a chance to make corrections.
If you give your evaluation first, the students may not be expressing their own decisions,
but merely parroting yours.
For beginning students, concentrate on rhythms and pitches. For the more advanced
students, also include dynamics, articulation, tempo, phrasing, musicality.
At some point in the year, have every student learn a solo to perform either for contest,
for the class, or for an informal recital for their parents. This can be a project for one
grading period. You may even want to let them write their own solos for performing to
add a more creative and personal touch.
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.
The class chants the solfege (without singing) in rhythm.
Ask for a volunteer to chant the exercise.
The class sings 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 - 43
THE vi CHORD -- 5
b 4Ï
&bb 4 Ï
Ï Ï
Ï Ï Ï Ï Ï Ï
Identify the chords in the exercise below:
b
&bb
b
Vbb
44
Ï Ï
44 Ï Ï
? b b 44 Ï
Ï
b
Ï Ï
Ï Ï
Ï
Ï
I
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 ú
Ï Ï ú
Ï Ï
Ï Ï
Ï Ï ú
Intervals of the vi chord
The intervals between notes of the vi chord are shown below:
b
&b b ú
ú
La
? bb ú
b
minor
third
ú
ú
Do
ú
major
third
Mi
ú
ú
ú
La
La
ú
Mi
ú
perfect
fourth
perfect
fifth
ú
ú
ú
Do
minor
sixth
ú
ú
ú
Do
La
ú
major
sixth
All of the intervals, above, have been covered in previous chapters of this series of books
except for the fourth (Mi - La) and the fifth (La - Mi).
Pencil Time 4:
Activity Sheet 14: The vi Chord
Activity Sheet 15: Chord Game
ACROSS THE CURRICULUM:
Write a brief essay discussing the triads built on the seven notes of the major scale.
Which chords are major? Which are minor? Which is neither major nor minor?
43
5 -- THE vi CHORD
vi chord--Perfect fourth, Mi - La
b
& b b 44 ú
Interval Practice:
ú
ú
? b 4 ú
bb 4
b
& b b 44 Ï Ï Ï Ï
Ï Ï
? b b 44 Ï Ï
b
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï
Ï Ï
Ï Ï
Ï Ï
Ï Ï ú
Ï Ï
ú
READ the following exercises:
1.
2.
3.
4.
Read the rhythm while conducting.
Locate and audiate the perfect fourths (Mi - La)
Audiate the entire exercise with handsigns.
Sing with handsigns.
## 4
j
jÏ ÏÏ
Ï
Ï
.
&
4
Ï
Ï
ÏÏÏ ú
Ï Ï Ï Ï
1.
Ï. Ï
#
& # Ï ÏÏÏ Ï Ï ÏÏÏ Ï Ï Ï Ï ÏÏ ÏÏÏ ú
? b b b 44
b
Ï
2.
? bb b Ï Ï Ï Ï
b
ÏÏÏÏÏ
ÏÏ Ï
Ï
ÏÏ Ïú
ÏÏú
Ï ÏÏÏÏÏ Ï ÏÏÏ Ï
Ï
Ï
Ï Ï ÏÏÏ Ï ÏÏÏ Ï
j
bbb 4
.
Ï
b
Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
b 4Ï Ï Ï Ï
3. &
j
b
.
ÏÏ Ï Ï Ï ÏÏ Ï
Ï
Ï
& b bbb Ï Ï Ï Ï ú
Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï
Ï
44
THE vi CHORD -- 5
4.
3
& b 4 Ï.
&b Ï Ï
& b ú.
Ï Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï ú.
Ï Ï ÏÏ
J
J
Ï ÏÏ ú
Î Ï. Ï Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï
Ï Ï
J
J
Ï Ï. Ï Ï. j
Ï Ï Ï Ï Ï ú.
Ï
Ï
Ï
J
Ï
Ï
? #### 4 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
4
5.
? #### Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
b 3
&b 4
j
.
Ï
Ï
ÏÏÏÏÏÏ ú Ï Ï ÏÏÏ
Ï
Ï
Ï Ï ÏÏ
b
j
& b Ï Ï. Ï Ï Ï Ï
Ï Ï ÏÏ Ï Ï Ï Ï Ï ÏÏÏ
ú ÏÏ
b
j
.
&b Ï Î
Ï
Ï
ÏÏÏÏÏ Ï ú
Ï
Ï
Ï ÏÏÏ
6.
7.
? # # # 45 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 ú
ÏÏÏÏ Ï Ï Ï
ÏÏÏÏÏÏú
Ï
ÏÏÏÏÏÏÏ
j
#### 6 Ï .
Ï
#
&
Ï Ï
4
8.
####
j
#
&
Ï Ï Ï Ï
Ï
.
Ï
####
# Ï . Ïj Ï ú Ï Ï
&
Ï
Ï
Ï
Ï
Ï.
ÏÏÏÏÏÏú
j
Ï Ï
Ï
ú
j ÏÏ
j
.
Ï
Ï
Ï
Ï
.
Ï Ï Ï ú
Ï
j
Ï . Ïj Ï Ï Ï
Ï
Ï
Ï ú Î
.
Ï
45
5 -- THE vi CHORD
vi chord--Perfect fifth, La - Mi
#### 4
# 4 ú
&
ú
ú
? #### 4 ú
# 4
#### 4 Ï
Ï Ï
# 4Ï
&
Interval practice:
? #### 4 Ï Ï Ï Ï
# 4
Ï Ï
Ï Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï ú
Ï Ï ú
READ the following exercises:
1. Read the rhythm while conducting.
2. Audiate with handsigns.
3. Sing with handsigns.
1.
? ## 4 Ï Ï Ï Ï Ï Ï
Ï Ï ÏÏ Ï ÏÏÏ ÏÏ ÏÏÏÏÏ Ï
4
ÏÏ Ï
? ## Ï
2.
ÏÏÏ
bb 3
& b b b 4 Ï.
Ï
ÏÏÏÏ
Ï
Ï
ÏÏ
J Ï Ï Ï Ï
b
& b bbb Ï Ï Ï
Ï Ï
b
& b bbb Ï Ï ú .
Ï
Ï
ú.
Ï
Ï Ï.
Ï Ï Ï
j
Ï Ï Ï ÏÏÏ
Ï . JÏ Ï Ï Ï Ï Ï
46
Ï Ï Ï Ï Ï
Ï
Ï Ï
Ï Ï.
Ï . ÏJ Ï Ï
Ï Ï
j
Ï ú.
ÏÏ
THE vi CHORD -- 5
? # 4 Ï Ï Ï Ï Ï Ï Ï . ÏJ Ï Ï ÏJ Ï JÏ Ï Ï Ï Ï Ï Ï
4
3.
Ï Ï Ï
? # Ï Ï Ï Ï Ï Ï . ÏJ Ï Ï ÏJ
ÏÏÏ Ï
J
Ï
4.
b
& b bbbb Ï .
Ï Ï
J
j
Ï Ï
bb
& b b bb Ï .
b
& b bbbb Ï .
5.
Ï
Ï
Ï Ï
J
Ï
? bb Ï
b
? bb Ï
b
ÏÏÏ
ÏÏÏ
& 34 Ï .
Ï Ï
J
&Ï Ï Ï Ï
& Ï.
& Ï.
Ï Ï
J
Ï Ï
J
Ï.
Ï
Ï
Ï
jú
ÏÏ
Ï
Ï Ï.
Ï
Ï
Ï Ï
Ï
Ï Ï
j
ú
Ï Ï Ï
j
Ï ú
Ï.
Ï
Ï
Ï Ï Ï Ï
Ï Ï Ï.
ÏÏ Ï
J
Ï Ï
Ï Ï
ú
Ï
ÏÏ Ï ÏÏ ÏÏÏÏÏ Ï ÏÏ ÏÏÏÏÏ Ï ÏÏ
J
? bb 5 Ï Ï Ï .
b 4
? bb Ï Ï Ï Ï Ï
b
6.
j
ÏÏ
b
& b b b b b 34 Ï Ï Ï .
Î
Ï
ÏÏ ÏÏÏÏÏ
Ï
ÏÏ Ï Ï Ï
Ï
ú
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Î
Ï
Ï Ï
ú
ú
Ï
47
ÏÏ Ï
Ï Ï Ï
Ï
Ï Ï Ï Ï Ï
Ï
Ï
Î Ï
ÏÏ ÏÏÏÏ
Ï
ÏÏ
Ï
ÏÏÏ
Ï Ï Ï Ï Ï
Ï
ú
Ï
ú
Ï Ï Ï Ï ú
.
Î
Ï Ï
Ï Ï
Î
5 -- THE vi CHORD
Locate and identify the vi chords and the intervals of the vi chords in the
following exercises. Audiate the intervals and the exercises before singing them.
4
&4ú
1.
Ï ÏÏÏÏÏ Ï
J
Ï.
& 44 ú
Ï.
& 44 Ï Ï Ï Ï
&
ú
&Ï
&ú
Ï Ï ú
&Ï Ï
&Ï Ï
Ï ÏÏ Ï
Ï Ï
Ï
Ï
ÏÏÏÏÏ
Ï
Ï
Ï Ï Ï
ÏÏÏ
Ï Ï Ï
Ï
&ú
Ï Ï Ï Ï
Ï.
Ï Ï Ï Ï
Ï ÏÏÏÏú
J
j j
Ï Ï Ï. ú
Ï
Ï Ï.
Ï
Ï Ï Ï
Ï ÏÏú
Ï
Ï
ÏÏÏ U
ú
Ï
ÏÏÏ
Ï
Ï
Ï Ï
Ï
Ï Ï
Ï.
ú
Ï.
Ï
Ï Ï.
Ï.
Ï ÏÏ Ï Ï Ï
j
Ï Ï Ï Ï Ï
Ï.
ÏÏÏ
Ï ÏÏÏÏú
J
j
&Ï Ï Ï Ï Ï Ï ä Ï Ï Ï Ï
&
j
Ï Ï.
ú
Ï ÏÏÏÏú
J
Ï Ï Ï Ï Ï ä Ïj
Ï Ï Ï
Ï
&Ï Ï
ú
Ï.
j
Ï Ï ÏÏ ú
Ï
j
Ï ÏÏ ú
Ï.
ú
Ï Ï Ï Ï
Ï
48
U
Ï Ï
U
j ÏÏ ÏÏ Ï
Ï
Ï
Ï
J
j
Ï
ÏÏÏÏú
j
Ï Ï.
ú
Ï ÏÏú
THE vi CHORD -- 5
# 4Ï Ï
Ï.
& 4
Ï.
# 4
j
& 4 Ï Ï Ï. Ï Ï Ï ú
Ï Ï Ï Ï
Ï ÏÏÏÏ ú
J
j
#
& 44 Ï Ï Ï . Ï Ï Ï ú
2.
#
& 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 ÏÏÏÏ ú
J
j
Ï Ï Ï ú
j
Ï Ï
Ï Ï Ï.
j
Ï Ï
Ï ú
Ï ú
j
Ï Ï
j
Ï Ï
j
Ï ú
Ï.
Ï
ú
Ï
j
Ï Ï ÏÏÏ Ï Ï
Ï Ï ú
Ï Ï Ï Ï
Ï.
Ï Ï Ï
J
j
Ï Ï Ï
Ï
ú
Ï.
Ï
ú
Ï Ï Ï Ï
49
j
Ï. Ï Ï Ï
Ï Ï Ï.
Ï Ï Ï.
Ï ÏÏÏÏ ú
J
Ï Ï Ï Ï
Ï Ï Ï Ï Ï ú
J
Ï Ï Ï Ï
Ï Ï Ï ú
j
Ï Ï
j
Ï Ï Ï
Ï.
Ï ú
Ï Ï ú
Ï Ï Ï
J
jÏ
Ï
Ï.
Ï
j
Ï Ï Ï Ï Ï
Ï ÏÏÏ ú
Ï Ï
Ï
ú
Ï ú
5 -- THE vi CHORD
3.
b 4
& b b 4 ÏÏÏ Ï Ï
b 4
& b b 4 Ï . ÏjÏ Ï
Ï
Ï ú
Ï Ï Ï.
Ï
Ï ú
Ï.
Ï . Ïj Ï Ï ú
Î
ú
b
&b b Ï Î Ï Ï
b
&b b ÏÏÏ Ï
b
& b b Ï.
b
& b b Ï.
Ï . ÏJ Ï Ï
Ï Ï Ï.
b
&b b Ï Ï ÏÏÏ
b
&b b ú
Ï Ï ú
j
.
Ï
Ï
Ï
Ï Ï ú
Ï
j
Ïú
ÏÏÏÏú
b
&b b Ï Ï ÏÏÏ
b
&b b ú
Ï Ï Ï . ÏJ Ï Ï Ï ú
Ï.
b
& b b 44 Ï . Ïj Ï
Ï
b
Ï ÏÏ
&b b Ï
Ï
j
Ïú
Ï.
j
ÏÏ
j
ÏÏ
j
Ï Ï.
Ï Î
Ï ú
Ï
Ï
Ï
Î
Î Ï
ÏÏÏ
j
Ï Ï.
ú
Ï.
j
Ï Ï.
Ï.
ÏÏÏ
Ï Ï î
Ï.
Ï Ï
Ï.
î
50
j
Ï ÏÏÏ ú
j
Ï Ï Ï ú
j
ÏÏ Ï
Ï.
Ï Ï ú
Ï Ï ú
Ï .
J ú
j
Ï ú.
j
Ï Ï.
Î
Î
j
ÏÏ Î
Ï
Ï
ÏÏÏ ú
j
ÏÏ
Ï
Ï.
Ï
Ï.
j
ÏÏ
j
Ïú
j
Ïú
THE vi CHORD -- 5
b
&b b ÏÏÏ Ï Ï
b
& b b Ï.
b
& b b Ï.
j
ÏÏ Ï
j
ÏÏ Ï
b
Ï ÏÏ
Ï
&b b Ï
b
&b b Ï Ï ÏÏÏ
b
&b b Ï Ï ÏÏÏ
Ï.
Ï.
j
Ïú
Ï Ï Ï.
j
Ïú
Ï.
ÏÏ Ï
J
Ï Ï Ï.
Ï Ï ú
ÏÏÏÏú
Ï Ï Ï.
Ï Ï ú
Ï Ï Ï.
Ï Ï ú
Ï.
51
j
ÏÏ Ï
Ï ÏÏÏ
J
ú
Ï
ú
Ï
ú
Ï
j
Ï Ï
j
Ï ÏÏÏ
ú
j
Ï Ï
Ï
ú
Ï
Ï
ú
5 -- THE vi CHORD
4.
b 4
& b 4 Ï Ï Ï.
b 4
& b 4 Ï Ï Ï.
b
& b 44 Ï Ï
Ï.
b
& b Ï Ï Ï.
b
& b Ï Ï Ï.
b
&b Ï Ï
Ï.
b
&b Ï
b
&b Ï
b
&b
Ï
b
&b Ï
b
&b Ï
b
&b Ï
Ï
Ï.
Ï
Ï.
Ï
Ï.
Ï
Ï.
Ï
Ï
Ï.
Ï.
j
Ï Ï.
j
Ï Ï Ï ú
Ï Ï ú
Ï Ï ú
j
Ï Ï Ï ú
Ï Ï Ï ÏÏ Ï ÏÏú
j
Ï Ï Ï ú
Ï Ï ú
j
Ï Ï.
j
Ï Ï.
Ï ú
J
j
Ï ú
j
Ï Ï Ï ú
j
Ï Ï Ï ú
j
Ï Ï.
j
Ï Ï.
Ï
Ï Ï ú
Ï Ï ú
Ï Ï
Ï.
Ï Ï
Ï.
Ï Ï
j
Ï Ï Ï ú
j
Ï Ï.
Ï Ï ú
Ï Ï ú
j
Ï ú
Ï
J ú
j
Ï ú
Ï.
Ï Ï ú
Ï Ï ú
j
Ï ú
Ï Ï ú
52
Ï Ï ú
Ï ú
Ï Ï Ï ú
j
Ï Ï
Ï
j
Ï Ï Ï
j
Ï Ï Ï
Ï
Ï
ú
ú
ú
ú
Ï Ï Ï ú
Ï Ï
ú
S - 52
Chapter 6:
The V7 Chord
IMPORTANT 1. The V7 Chord nearly always resolves to a I Chord.
POINTS:
2. The Fa is the "7" of the V7 Chord because it is the 7th note above So,
the root of the V Chord in a major key.
3. The Fa tends to resolve downward by step to Mi.
CREATIVITY:
Instruct the students (either in small groups or individually) to select
one of the harmonic exercises in this chapter and add words and
expressive markings to turn it into a song.
S - 53
6: The V7 Chord
Chords can have more than three notes. All major and minor chords consist of only
three notes, but sometimes other notes are added to them to create more interesting
sounds. The V7 chord is a V chord which has had a note added to it--Fa, the seventh
note above So which is the root of the V chord. The four notes of the V7 chord are
So, Ti, Re, and Fa.
IDENTIFY the key and analyze the chords in the melodic exercises, below, before singing
them.
Exercise A:
#
& 44 Ï Ï Ï Ï ú
? b 44 Ï Ï Ï Ï ú
## 4
& 4 Ï ÏÏ Ï Ï Ï
? b b 44 Ï Ï Ï Ï Ï Ï
*Ï
ÏÏÏÏ Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
V7
Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï
Ï
ÏÏ Ïú
Ï
ÏÏ Ïú
Ï
ÏÏ Ïú
ÏÏ
Ï ÏÏ
Ï
Ï
Ï Ï Ï ÏÏÏ Ï Ï Ï Ïú
Ï
ÏÏÏÏÏÏÏ ÏÏÏ ÏÏÏ
* Fa, the seventh note above So.
ANALYZE the chords in the harmonic exercise, below, before singing it.
b
& b b 44 Ï Ï Ï Ï
b
& b b 44 Ï Ï Ï Ï
b
V b b 44 Ï Ï Ï Ï
Exercise B:
? b b 44 Ï Ï Ï Ï
b
Ï ÏÏú
Ï ÏÏÏÏÏ
Ï Ï ú
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï ú
Ï Ï ú
Ï Ï Ï Ï
How many V7 chords are in Exercise B?
On what beat(s)?
53
Ï ÏÏú
Ï Ï ú
Ï Ï ú
Ï Ï ú
6 -- THE V7 CHORD
Intervals of the V7 Chord:
The intervals between notes of the V7 chords are:
So - Ti (major third), Ti - Re (minor third), Re - Fa (minor third), Ti - Fa, (tritone),
So - Fa (minor seventh). All of these have been covered in previous chapters except
Ti - Fa, (tritone) and So - Fa (minor seventh).
The Tritone is the interval of a diminished fifth (one half step smaller than a perfect fifth)
or an augmented fourth, (one-half step larger than a perfect fourth). It consists of three
whole steps (six half-steps or semitones), thus the name, tritone.
&
#
Ï #Ï Ï #Ï Ï nÏ #Ï
The tritone divides the octave exactly in half. No matter in which order Fa and Ti are
placed, the result is always a tritone, either a diminished fifth ( o5) or an augmented fourth
(+4).
Tritone (+4)
o
Tritone (+4)
#
w
w w w
Tritone (o5)
& w w w w
So
Ti
Re
Tritone ( 5)
Fa
Ti
Re
Fa
So
w
w w w
w
w w w
Re Fa So Ti
Fa
So Ti Re
Harmonic tritones:
1. Tritone (+4) between
sopranos and tenors.
b4
&b 4 ú
b4
&b 4 ú
b
V b 44 ú
? b b 44
ú
ú
ú
ú
ú
2. Tritone (o 5) between
tenors and basses.
3. Tritone (+4) between
sopranos and altos.
ú
w
## ú
w
w
b ú
ú
w
##
ú
ú
ú
w
w
b ú
ú
w
## ú
ú
w
w
b ú
b ú ú
54
w
##
ú
ú
w
w
THE V7 CHORD -- 6
Melodic tritones:
# 4 ÏÏÏ
& 4 Ï
ú
ÏÏÏÏú
? # 44 Ï Ï Ï Ï ú
o
Tritone ( 5)
ú
ú
ÏÏ
ÏÏ Ïú
Ï ú
Tritone (+4)
ÏÏÏÏú
ÏÏ ú
Ï Ï ú
Melodic exercises:
1. Locate the tritones in the following exercises.
2. Audiate each exercise.
3. Sing on solfege and with handsigns.
1.
& b 44 Ï Ï Ï Ï Ï
& b ä Ïj Ï Ï Ï Ï
2.
? 34 Ï Ï Ï
? Ï Ï Ï
Ï
Ï
Ï Ï ú
ÏÏÏÏÏ Ï Ï Ï ú
ä Ïj Ï Ï Ï Ï Ï Ï ú
Ï Ï ú
Ï
Ï
ú
Ï Ï Ï
Ï Ï Ï
ú
b b 44 Ï Ï Ï Ï Ï Ï Ï ú
&
3.
b
&b Ï Ï Ï Ï Ï Ï Ï ú
4.
? # # 44 Ï Ï Ï Ï Ï
? ## Ï Ï Ï Ï
ÏÏÏÏú
ä ÏJ Ï Ï Ï
Ï
Ï
Ï
Ï Ï Ï Ï Ï
Ï Ï Ï Ï
Ï ÏÏ Ï Ï
Ï Ï Ï Ï Ï
ú.
Ï
ú.
Ï Ï ú
Ï
ú
Ï.
Ï ú
J
Ï Ï ú
b b b 44 Ï Ï Ï
ÏÏÏ Ï
&
5.
Ï Ï ÏÏÏÏú
Ï Ï Ï ú
b
Ï Ï Ï Ï Ï Ï Ï Ï
&b b Ï Ï Ï Ï Ï Ï Ï ú
ú
55
6 -- THE V7 CHORD
6.
? # # 44
ÏÏÏ Ï Ï
Ï Ï Ï Ï ú
Ï Ï ú
? # # ä ÏJ Ï Ï Ï Ï
### 4
4 Ï.
7. &
### Ï . Ï Ï
&
J
8.
? b b 44 Ï .
b
? bb Ï .
b
j
ÏÏ Ï
Ï
#### 3
4 Ï. Ï
9. &
#### Ï Ï
&
Ï.
####
Ï
&
Ï Ï
Ï Ï Ï Ï Ï
Ï. Ï Ï Ï
J
Ï Ï ú
Ï Ï Ï Ï ú
Ï Ï Ï
J
Ï Ï ú
Ï Ï ú
Ï Ï Ï
J
Ï Ï Ï Ï Ï Ï Ï ú
Ï. Ï Ï Ï
J
Ï.
Ï. Ï Ï Ï
J
Ï
J Ï Ï Ï Ï
Ï Ï
ú
ÏÏÏÏÏ Ï
Ï Ï
ú
Ï Ï ú
Ï Ï
Ï ú
j
Ï Ï Ï Ï Ï Ï . JÏ Ï Ï . Ï Ï Ï Ï Ï
ÏÏÏ
Ï
Ï
Ï
j
.
Ï Ï
Ï
Ï
Ï
Ï
Ï Ï
J
Ï Ï ú.
Ï
Ï . Ïj
Ï
Ï
ú
Ï Ï
Ï Ï Ï Ï ú.
? #### 4 Ï .
#4
10.
? # # # # Ï . JÏ Ï
#
? # # # # Ï . JÏ Ï
#
? # # # # Ï . ÏJ Ï
#
Ï
JÏ Ï
Ï
Ï Ï
Ï
Ï Ï ú
Ï
ä JÏ Ï Ï Ï
Ï Ï ú
ä ÏJ Ï Ï Ï Ï
56
Ï Ï Ï . JÏ Ï Ï ú
Ï Ï Ï Ï ÏÏ Ï Ï ú
Ï Ï ÏÏ Ï Ï Ï ú
Ï Ï ÏÏÏÏ Ï Ï ú
THE V7 CHORD -- 6
HISTORICAL SHORTS:
Diabolus in Musica
The tritone interval, which consists of three whole steps,
was banned from all use in music for the medieval church.
It should have been a perfect interval. In fact, it should
have been the most perfect interval for several reasons.
First of all, it consisted of three tones--three represented
perfection to the medieval church, as it was the number
of the Trinity. Secondly, it divided the most perfect
interval--the octave--into two equal parts. In spite of
these "spiritual" indicators, the tritone was the most dissonant and harsh-sounding of all
of the intervals. And because this interval was so "deceptive," it was considered evil and
became known as "diabolus in musica," "the devil in music."
The minor seventh:
The interval that occurs between the tonic of the V7 chord (So) and the seventh (Fa) is a
minor seventh (m7). A minor seventh is a half step smaller than a major seventh (M7)
which occurs between Do and Ti.
& 44 ú
? 44 ú
ú
ú
ú
ú
& b 44 Ï Ï ú
ú
ú
ú ú
? b 44 Ï Ï ú
ú ú
ú
ú
ú ú
ú ú
ú
M7
ú
ú
ú
ú
ú
ú
ú
ú
ú
m7
ú
ú
ú
ú
ú
ú
ú
ú
w
ú
ú
w
ú
ú
ú
ú
Interval practice:
b 4
&b b 4 Ï Ï Ï Ï Ï
? # # # 44 Ï
Ï
Ï Ï
Ï Ï
Ï
Ï
Ï ú
Ï
57
Ï Ï Ï Ï Ï
Ï Ï Ï Ï
Ï ÏÏú
Ï ÏÏú
ú
ú
6 -- THE V7 CHORD
1.
Ï ú
Ï
Ï
? ### 4 Ï Ï Ï Ï
4
? ### Ï Ï Ï Ï
Ï
ú
Ï
Ï
Ï
b b b 44 Ï Ï Ï ú
&
2.
Ï ÏÏú
b
ú
Ï Ï Ï Ï ú
&b b Ï
Ï
? b 34 Ï . JÏ Ï
3.
ú
Ï
?b
ú
?b Ï. Ï Ï
J
ú.
ú
Ï
Ï
ú
Ï
Ï Ï ú
Ï Ï ú
ÏÏÏÏÏ Ï
ÏÏÏÏú
Ï Ï
J
ú
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï.
ú.
Ï
ú
Ï
Ï
Ï Ï Ï ú
ú
ú.
Ï.
Ï
Ï Ï
J
Ï
ú
Ï
Ï
ú.
### 4
Ï ú
Ï
ú
Ï
Ï
Ï . JÏ Ï Ï ú
.
&
4
Ï
Ï
4.
Ï
J
###
Ï Ï Ï
Ï . JÏ Ï Ï Ï Ï Ï ú
&
Ï Ï Ï Ï ú
? # 44 Ï . Ï Ï Ï Ï Ï Ï ú
5.
J
Ï
?# Ï. Ï Ï Ï Ï
Ï ú
J
Ï.
Ï Ï Ï Ï Ï Ï Ï
Ï
J Ï Ï Ï
j
b b b 44 Ï . JÏ Ï Ï
Ï
Ï Ï
&
ú
Ï
Ï
.
6.
Ï
b
Ï Ï Ï ú
Ï
Ï Ï Ï Ï
& b b Ï . ÏJ Ï Ï
Ï
Ï
58
Ï
Ï Ï ú
Ï Ï Ï ú
ÏÏÏÏú
Ï Ï Ï ú
THE V7 CHORD -- 6
Locate and identify the tritones in the following exercises. Audiate them and the whole
exercise before singing.
1.
j Ï
b 4
&b b 4 Ï. Ï Ï
Ï Ï ú
b 4
& b b 4 Ï . Ïj Ï Ï
b 4
&b b 4 ú
b
& b b Ï . Ïj Ï Ï
b
&b b ú
Ï Ï
b
&b b Ï.
Ï Ï Ï
J
b
&b b ú
Ï Ï Ï
J
Ï.
ú.
j
Ï. Ï Ï Ï
Ï Ï
j
Ï. Ï Ï Ï
j
Ï. Ï ú
Ï Ï
bb Ï . j Ï
b
Ï Ï
&
b
&b b Ï.
Ï . Ïj ú
j
Ï. Ï Ï Ï
Ï Ï
ú
Ï Ï
Ï Ï
ú
Ï.
Ï.
Ï Ï
Ï.
j
Ï Ï.
j
Ï ú
j
Ï ú
Ï Ï
Ï.
j
Ï ú
Ï.
59
j
Ï Ï
j
Ï Ï
Ï.
Ï Ï
Ï
Ï ÏÏ Ï Î
Ï
ú.
Ï
ú.
Ï
ú.
Ï Ï
j
Ï Ï Ï
j
Ï Ï Ï
Î
2nd time to M9
Ï Î
Ï . Ïj ú
Ï . Ïj ú
w
Î ..
Î ..
Î ..
6 -- THE V7 CHORD
# 3
& #4 Ï
2.
## 3
& 4 Ï
#
& # 34 Ï
Ï Ï Ï Ï Ï Ï . Ïj Ï Ï
Ï
Ï
j
Ï Ï
Ï.
Ï Ï.
&
&
&
&
&
##
##
##
##
j
Ï Ï
Ï Ï Ï Ï Ï Ï.
Ï
Ï
j
ÏÏ
Ï
Ï
j
ÏÏ
Ï
Ï
ÏÏÏÏÏ
Ï.
Ï.
Ï Ï Ï
Ï Ï Ï
Ï ú
Ï
Ï Ï Ï
Ï Ï
ú.
Ï Ï Ï
ú
Ï
ú
Ï
ú
Ï
Ï Ï Ï
Î
Î
Ï Ï.
Î
.
Ï Ï
Ï Ï Ï
Ï Ï Ï
Ï.
j
Ï Ï Ï.
j
Ï Ï
Ï Ï Ï
ú.
Ï ÏÏÏÏ Ï
#
& # Ï Ï.
j
Ï Ï
Ï.
Ï Ï Ï
Ï Ï Ï
&
j
Ï Ï
Ï.
ú.
## Ï Ï Ï
&
##
j
ÏÏ
Ï Ï Ï Ï Ï Ï . Ïj Ï Ï Ï
Ï
# Ï ÏÏÏÏ Ï Ï Ï
& #
##
j
Ï Ï.
Ï Ï Ï Ï Ï
j
Ï Ï
Ï.
ÏÏÏÏÏ
j
Ï Ï Ï Ï
j
Ï Ï ú
j
Ï Ï Ï
Ï
Ï.
j
Ï Ï.
ÏÏÏÏ Ï
Ï.
j
Ï Ï
Ï
Ï
j
ÏÏ
Ï
Continued 444
60
THE V7 CHORD -- 6
#
& # Ï ÏÏ ÏÏ
#
j
& # Ï. Ï Ï
#
& # Ï . Ïj Ï
3.
3
&b 4 Ï.
3
&b 4 Ï.
& b 34 Ï .
&b Ï Ï Ï
&b Ï Ï Ï
&b Ï
Ï Ï
Ï
Ï ÏÏÏ Ï Ï Ï
Ï
ú
Ï
Ï Ï
J
j
ÏÏ
j
Ï Ï
Ï.
ú.
Ï.
Ï ú
Ï Ï Ï
ú.
Ï.
ú.
Ï.
ú.
Ï Ï
Ï Ï Ï
&b ú.
Ï
Ï
ú.
Ï.
ú
Ï ú
ÏÏÏ Ï
&b ú.
Ï Ï Ï
j
ÏÏ
ÏÏÏ
ú.
Ï.
ú
Ï ú
ÏÏÏ Ï
&b ú.
ú
Ï Ï Ï
Ï Ï Ï
Ï Ï Ï Ï Ï.
Ï Ï Ï
Ï Ï
J
j
Ï Ï
j
Ï Ï
Fine
j
j
Ï Ï. Ï Ï. Ï Ï
Ï Ï.
Ï
J
Ï
J
j
Ï
Ï Ï.
j Ï jÏ
.
. Ï
Ï
Ï
Ï
ú.
Ï Ï
ÏÏÏ Ï
Ï Ï Ï
ÏÏÏ Ï
ú.
Ï Ï Ï
Ï Ï Ï
ú.
61
j
Ï Ï
Ï Ï.
j
.
Ï
Ï
Ï . Ïj Ï
Ï
Ï
Ï
JÏ
j
Ï Ï
DC al Fine
6 -- THE V7 CHORD
4.
b4
&b 4 Ï Ï Ï Ï
Ï.
Ï Ï
Ï.
b4
&b 4 î
b4
&b 4
Î Ï
·
b
&b Ï Ï Ï Ï
b
&b î
&b
b
Ï.
Ï Ï
b
&b Ï Ï Ï.
b
&b Î Ï Ï Ï
ú
b
&b Î Ï
b
&b Ï Ï Ï.
b
&b Î Ï Ï Ï
Ï Ï Ï . ÏJ Ï Ï ú
Ï Ï
Ï Ï Ï ÏÏ Ï Ï ú
j
Ï Ï Ï
ÏÏ Ï
J
Ï Ï Ï Ï
Î Ï
·
ú
b
&b Î Ï
Ï Ï Ï
J
Ï.
Ï.
Ï
Ï ú
J
Ï
Ï
Ï Ï Ï Ï ú.
Î
Ï
Ï.
j
Ï ú.
Î
Ï
Ï
î
Ï ú
J
j
Ï Ï Ï Ï Ï Ï
ú
Ï
Ï
Ï Ï
j
Ï Ï Ï Ï Ï Ï
ú
j
j
Ï Ï Ï. Ï Ï. Ï ú
ú
Î
Ï
ú
ú.
ú.
Ï ú.
J
Ï Ï Ï.
Ï
Ï
Ï
Ï Ï Ï
ú
Ï
Ï Ï Ï.
Ï
Î
Ï Ï Ï
ú.
ú.
Î
Î
Ï
Î
Ï
Ï Ï Ï ú
J
ú.
Î
Continued 444
62
THE V7 CHORD -- 6
b
&b Ï Ï Ï Ï
b
&b î
&b
b
Ï.
Ï.
Ï Ï
·
Î Ï
b
&b Ï Ï Ï Ï
Ï.
Ï Ï
Ï
b
&b î
&b
b
·
Ï Ï Ï
J
Î
Ï
Ï
Ï Ï Ï.
j
Ï Ï Ï
j
Ï Ï.
Ï Ï Ï.
Ï ú
Ï Ï Ï ÏÏ Ï Ï
Ï Ï
Ï Ï
J
Ï
Ï
Ï
Ï
Ï
Ï
Ï
63
Ï Ï
J
Ï
j
Ï ú
ú
Ï
ÏÏÏÏ Ï Ï Ï Î
Ï
Ï.
Ï
Ï
j
Ï Ï Ï Ï Î
Ï
Î
Ï Ï Ï
6 -- THE V7 CHORD
b 3
&b b 4 Ï Ï Ï
5.
ú
b
& b b 34 Ï Ï Ï ú
b
& b b 34 Ï Ï
Ï
b
&b b Ï Ï Ï Ï
b
&b b Ï Ï
Ï
ú
Ï
ú
b
&b b ú
Ï
ú
Ï
Ï ú
ú
Ï
ú
Ï
Ï
ú.
ú
Ï
ú
Ï
Ï Ï Ï
ú
b
&b b Ï Ï Ï Ï
Ï
ú.
Ï
ÏÏÏ Ï
Ï
j
Ï Ï. Ï ú
Ï
&
ú
ú.
b
&b b ú
bbb
j
Ï. Ï Ï
Ï Ï . Ïj ú
ÏÏÏ Ï
b
&b b
ú.
%
j
Ï. Ï Ï
&
Ï Ï Ï
Ï ú
ú.
b
&b b Ï Ï Ï
bbb
ú
Ï
Ï
ú
Ï Ï Ï Ï Ï Ï ú.
ÏÏÏ
Ï
ú
Ï
Ï
ú
Ï
Ï ú
Ï
ú
Ï
ú.
Ï Ï . Ïj ú
ú.
j
Ï Ï. Ï ú
ú.
ú.
Ï ú
Ï . Ïj Ï
j
Ï. Ï Ï
ú
Ï Ï Ï
Ï
ÏÏÏ Ï
ú.
Ï ú
Ï ú
ú
Ï
j
Ï
Ï. Ï
Ï ú
ú.
64
j
Ï
.
Ï
Ï
ú.
Fine
j
Ï. Ï Ï
Ï ú
Ï
Ï
Ï
D.S. al Fine
ú.
THE V7 CHORD -- 6
4 Ï Ï Ï
&4 Ï
Ï
6..
4
&4 Ï Ï Ï Ï Ï
Ï
Ï Ï Ï Ï Ï
Ï Ï Ï
Ï
Ï.
Ï
Ï.
j
Ï Ï
Ï
Ï.
j
Ï Ï
Ï
Ï Ï Ï
Ï
Ï.
j
ÏÏ
Ï
Ï.
j
Ï Ï
Ï
Ï Ï
J
4
&4 Ï Ï Ï Ï Ï Ï Ï Ï.
Ï Ï Ï Ï Ï Ï
& Ï Ï Ï
Ï
Ï.
& Ï.
&
ú.
& ú
&
ú
ÏÏ Ï ÏÏ
Ï.
j
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï.
& Ï.
& Ï
Ï
j
Ï Ï Ï Ï Ï Ï Ï Ï
& Ï.
&
j
Ï Ï
Ï
Ï
J ú
ú
j
Ï ú
Fine
Ï Ï Ï Ï Ï Ï
Ï
Ï
Ï.
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j
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j
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j
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Ï
Ï Ï Ï Ï Ï Ï Ï . Ïj Ï Ï ú
65
Ï
Ï
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ú
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ú
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U
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DC al Fine
U
j
j
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U
Ï Ï Ï
6 -- THE V7 CHORD
& b 34 Ï Ï Ï
7.
& b 34 Ï Ï Ï
&b Ï Ï Ï
&b
Ï Ï Ï.
&b Ï Ï Ï
&b Ï Ï Ï.
&b
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66
Ï Ï ú
Ï
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ú
j
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& b 34
Ï Ï Ï.
&b Ï Ï Ï
Ï
Ï
THE V7 CHORD -- 6
&b Ï Ï Ï
Ï
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&b Ï Ï Ï
Ï
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j
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&b Ï Ï Ï.
&b Ï Ï Ï
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67
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j
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j
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j
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j
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6 -- THE V7 CHORD
8.
b 4 Ï Ï
ÏÏÏ
&b b 4
b 4
&b b 4 î
b 4
&b b 4 î
Ï Ï
Ï Ï Ï.
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b Ï
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b
&b b î
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b
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b
&b b
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j
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b
&b b Ï Ï Ï Ï Ï Ï.
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b
&b b Ï
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j
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b
Ï.
&b b Î Ï
î
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Melody:
Ï ÏÏ
b
&b b Ï
Ï
Ï î
J
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Ï
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b
&b b î
Ï. Ï
Ï
JÏÏ
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Ï
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Ï Ï Ï Ï
68
Ï ÏÏ ú
THE V7 CHORD -- 6
b Ï Ï Ï Ï
&b b
Ï
b
&b b î
b
&b b
Ï
ÏÏÏÏ Ï
Ï
Ï
Ï
·
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b ÏÏÏÏ ÏÏ
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b
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b
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J Ï
î
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Ï Ï
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69
j
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j
Ï Ï Ï Ï Ï
Ï Ï Ï ú
j
Ï Ï Ï
Ï Ï Ï
J
ú
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j
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6 -- THE V7 CHORD
9.
Ï Ï ÏÏ
4
&b 4 Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï.
4
&b 4 Ï Ï Ï Ï ú
4
&b 4
ÏÏ Ï Ï ú
Ï Ï Ï Ï
Ï.
Ï
Ï.
Ï ú
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&b Ï Ï Ï Ï Ï Ï
Ï
&b Ï Ï ú
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ú
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j
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j
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j
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j
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j
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j
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70
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j
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J Ï Ï
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j
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j
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J
ú.
j
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ú.
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J
ú
ä Ïj
ä Ïj
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j
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Ï Ï Ï
ú
Ï Ï
Ï Ï Ï Ï
ú
Ï Ï
Ï
THE V7 CHORD -- 6
Ï Ï ÏÏ
&b Ï Ï Ï Ï Ï Ï
Ï
&b Ï Ï ú
Ï Ï Ï
&b Ï Ï ú
Ï
Ï
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Ï.
j
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j
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&b Ï Ï Ï Ï Ï Ï
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&b Ï Ï ú
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&b Ï
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ú
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71
Ï Ï Ï.
j
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J
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j
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j
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ú.
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6 -- THE V7 CHORD
10.
#### 4 Ï Ï Ï Ï Ï
&
4
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#### 4
j
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4 Ï Ï Ï. Ï Ï Ï Ï ú
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4 Ï Ï Ï . Ïj Ï Ï
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&
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72
j
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j
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j
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j
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j
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j
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j
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THE V7 CHORD -- 6
#### Ï Ï Ï Ï Ï
&
&
####
&
####
&
####
&
####
&
####
&
####
&
####
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####
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####
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&
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73
Ï
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D.C. al Fine
j
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6 -- THE V7 CHORD
11.
4
&b 4 Ï Ï Ï Ï Ï Ï
Ï Ï ÏÏÏ Ï
Ï Ï
Ï ÏÏ
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Ï Ï ú
& b 44 Ï .
j
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j
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& b 44 Ï .
j
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j
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j
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j
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j
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&b Ï.
j
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j
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74
Ï Ï ú
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j
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Ï Ï Ï Ï
j
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THE V7 CHORD -- 6
j
&b ä Ï Ï Ï Ï
Ï
&b Ï.
j
Ï Ï Ï
&b Ï.
j
Ï Ï Ï
j
&b äÏ Ï Ï Ï Ï
j
&b Ï. Ï Ï Ï
&b Ï. j Ï Ï
Ï
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j
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j
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w
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w
j
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Ï . ÏjÏ Ï
Ï Ï Ï Ï
w
VOCABULARY:
1. Augmented fourth--A tritone made by raising a perfect fourth one half step
2. Diminished fifth--A tritone made by lowering a perfect fifth one half step
3. Minor seventh--A major seventh that has been lowered one half step
4. Tritone--The interval of 3 whole steps; one-half of one octave
Pencil Time 4:
Activity Sheet 16: Seventh Chords
Activity Sheet 17: Tritones
75
7:
Cadences
A cadence a is chordal progression that marks the end of a phrase of a musical
composition.
There are several types of cadences, named for the chords that they use.
1. Full cadence. Also known as an authentic or perfect cadence
A full cadence involves the chord progression of V (or V7) to I. It is the most final
sounding of all of the cadences, and is often found at the end of a piece in a major key.
Analyze the chords in the exercise below. What are the last two chords?
Sing the exercise with solfege and handsigns.
& b 44 ÏÏ ÏÏ
? b 44 ÏÏ ÏÏ
Ï
Ï
Ï
Ï
ÏÏ
Ï
Ï
ÏÏ
ÏÏ
ÏÏ Ï Ï
Ï
ÏÏ Ï
Ï
ÏÏ
Ï
Ï
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Ï
Ï
ÏÏ
Ï
Ï
ÏÏ
ÏÏ
ÏÏ
Ï
Ï
ÏÏ
Ï
Ï
ÏÏ
Ï
Ï
úú
úú
2. Half cadence. Also known as an imperfect cadence.
A half cadence ends on a V chord. It lacks the feeling of finality of a full cadence.
Analyze the chords in the exercise below. What are the last two chords?
Sing the exercise.
& b 44 ÏÏ
? b 44 ÏÏ
Ï Ï Ï
Ï Ï Ï
ÏÏ Ï Ï
Ï Ï
ÏÏ
Ï
Ï
ÏÏ Ï ÏÏ
Ï Ï
Ï Ï
ÏÏ
Ï
Ï
ÏÏ
Ï
Ï
ÏÏ
Ï
Ï
ÏÏ
Ï
Ï
ÏÏ
Ï
Ï
ÏÏ
Ï
Ï
ú
ÏÏ ú
ÏÏ ú
ú
How does this cadence "feel" to you?
How would you feel if you were singing or listening to a song or piece of music that
ended on this cadence?
76
Chapter 7:
Cadences
KEYBOARD
SKILLS:
Allow some class time to have students play different
cadences on the piano.
Cadence Game:
Using 2 different colors of paper, list the different
cadences on separate cards one color and the major keys
different cards of the other:
Cards:
Major keys1
C Major
F Major
G Major
B-flat Major
D Major
E-flat Major
A Major
A-flat Major
E Major
D-flat Major
B Major
G-flat Major
F-Sharp Major
C-flat Major
C-sharp Major
Cadences
Full Cadence
Perfect Cadence*
Authentic Cadence*
Half Cadence
Imperfect Cadence*
Plagal Cadence
"Amen" Cadence*
Deceptive Cadence
There are 2 ways to play this game:
1. Keyboard--Each student one at a time will draw one cadence card and one key card.
They will then have to play the cadence in the correct key on the keyboard.
2. On the chalkboard--Instead of playing it on the keyboard, the students draws in the
correct notes for the chosen cadence in the chosen key.
______________________________
1. It is recommended that at first you limit the number of keys that they have to choose from.
Use only 2-3 keys the first time you play the game and then adding one key at a time each
time you play the game.
* As these are alternative names, you may wish not to include them.
S - 76
S - 77
CADENCES -- 7
3. Plagal cadence. Also known as the "Amen" cadence.
The plagal cadence involves the chord progression IV - I.
Analyze the chords in the exercise below. What are the last two chords?
Sing the exercise with solfege and handsigns.
& b 44 ÏÏ ÏÏ
? b 44 ÏÏ ÏÏ
Ï
Ï
Ï
Ï
ÏÏ
Ï
Ï
ÏÏ
Ï
Ï
ÏÏ Ï Ï
Ï
Ï Ï
Ï Ï
ÏÏ ÏÏ ÏÏ ÏÏ
ÏÏ Ï ÏÏ ÏÏ
Ï
ÏÏ
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
úú
úú
Why is it called the "Amen" cadence?
Because it was used so frequently at the end of Christian hymns in the 18th - 20th centuries.
4
& b 4 ww
w
? b 44 w
A -
-
ww
w
w
- men.
4. Deceptive cadence.
The deceptive cadence resolves to a vi chord rather than a I chord.
Analyze the chords in the exercise below. What are the last two chords?
Sing the exercise with solfege and handsigns.
4
Ï
& b 4 ÏÏ ÏÏ Ï ÏÏ
? b 44 ÏÏ ÏÏ ÏÏ ÏÏ
ÏÏ
ÏÏ
ÏÏ Ï ÏÏ
ÏÏ Ï
Ï
ÏÏ
Ï
Ï
ÏÏ
Ï
Ï
Why do you think this cadence is called "deceptive"?
77
ÏÏ
Ï
Ï
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
Ï
Ï
ÏÏ
Ï
Ï
úú
ú
ú
7 -- CADENCES
Sing the exercises below and identify each of the cadences:
1.
2.
3.
4.
5.
### 4
4 Ï Ï Ï ÏÏ
&
Ï ÏÏÏ
? # # # 44 Ï Ï Ï
Ï ÏÏÏ Ï
ÏÏ ÏÏ Ï ÏÏ ÏÏ
ÏÏ
ÏÏ
Ï Ï Ï ÏÏ
ÏÏ ÏÏ Ï ÏÏ
#4 Ï Ï Ï
& 4 Ï Ï Ï ÏÏ
Ï Ï
? # 4 ÏÏ Ï Ï ÏÏ
4
ÏÏ Ï ÏÏ
Ï Ï
Ï Ï
b
& b b 44 ÏÏ ÏÏ Ï ÏÏ Ï
? b 4 ÏÏ ÏÏ ÏÏ ÏÏ
bb4
ÏÏ
Ï
Ï
b
& b 34 ÏÏ
? b3 Ï
b 4 Ï
Ï
Ï
ÏÏ
ÏÏ
ÏÏ ÏÏ ÏÏ
Ï Ï
Ï Ï
ÏÏ
Ï
Ï
ÏÏ
ÏÏ
& b 34 ÏÏ
ÏÏ
Ï
ÏÏ
ÏÏ
ÏÏ
ú
ú
ÏÏ
Ï
Ï
Ïú Ï ÏÏ
úú
? b 34 Ïú
ÏÏ
ÏÏ Ï ÏÏ
Ï Ï
Ï Ï
ÏÏ Ï úú
Ï úú
Ï
ÏÏ
78
Ï
Ï
ÏÏ
ÏÏ ÏÏ úú
Ï Ï úú
Ï Ï
Ï Ï Ï
Ï Ï Ï ÏÏ
ÏÏ Ï ÏÏ ÏÏ
Ï
ÏÏ
Ï
Ï
Ï ÏÏ Ï Ï
Ï Ï
Ï
ÏÏ ÏÏ ÏÏ ÏÏ
ÏÏ ÏÏ úú
Ï Ï ú
Ï Ï ú
ÏÏ
ÏÏ
ÏÏ Ï úú ..
ÏÏ
ú.
ÏÏ
Ï
Ï
úú .
.
úú ..
ÏÏ úú
Ï úú
Ï
CADENCES -- 7
6.
7.
& 44 úú
ú
? 44 ú
ÏÏ Ï Ï
Ï
Ï Ï
Ï Ï
úú
ú
ú
#### 3 ú
4 ú
&
? # # # # 3 úú
4
8.
9.
ÏÏ ÏÏ ÏÏ ÏÏ
ú
Ï
Ï
ú
Ï
ÏÏ
#3
& 4 Ï Ï ÏÏ
Ï Ï
?#3 Ï Ï
4
ÏÏ
Ï
Ï
bbb 3 ú
Ï
b
&
4
ÏÏÏÏÏ
ÏÏ
? b b b 34 ú
b ú
Ï
Ï
Ï
Ï
b
& b b b b 44 ÏÏ ÏÏ Ï ..
Ï
? b b b 44 ÏÏ ÏÏ Ï .
bb
j
ÏÏ
ÏÏ
J
& 34 ÏÏ
ÏÏ Ï ÏÏ
ÏÏ ÏÏ
10.
11.
? 3 ÏÏ
4
Ï
Ï
Ï
Ï
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Ï
Ï
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Ï
Ïú
ú
ú
ÏÏ Ï ÏÏ
Ï Ï
Ï Ï
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Ï
Ï
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Ï
Ï
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Ï
Ï
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ú
ú
ú
ú
Ï Ï Ï
ú
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Ï ÏÏ
ú
ú
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Ï Ï ÏÏ Ï úú
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Ï
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79
ÏÏ
Ï
Ï
ÏÏ
Ï
Ï
úú ..
ú.
ú.
úú ..
úú ..
ÏÏ
Ï
Ï
ÏÏ
Ï
Ï
úú ..
úú .
.
Ï
Ï
Ï
Ï
ÏÏ Ï ÏÏ ÏÏ
Ï Ïú Ï
Ï
Ï
Ï
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Ï
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ú.
ú.
ú.
ú.
Ï
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úú
úú
Ï
Ï
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ÏÏ ú
ú
7 -- CADENCES
ACROSS THE CURRICULUM:
Write a short essay about cadences. What is a cadence?
Describe and contrast the four types of cadences presented in this chapter.
Pencil Time 4:
Activity Sheet 18: Cadences I
Activity Sheet 19: Cadences II
VOCABULARY:
1. "Amen" cadence--A plagal cadence; IV - I; so called for its prominent use in
closing hymns
2. Authentic cadence--A full cadence
3. Deceptive cadence--A cadence that resolves to the vi chord; for example, V7 - vi
4. Full cadence--A final cadence: V - I
5. Half cadence--A cadence that resolves to the V chord
6. Imperfect cadence--A half cadence
7. Perfect cadence--A full cadence
8. Plagal cadence--A cadence using the chord progression IV - I
80
S - 80
Chapter 8:
"Fi"
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
Warm ups:
Use the following exercise to reinforce the Fi:
& b 44 Ï Ï Ï Ï
nÏ Ï Ï Ï
nÏ bÏ Ï Ï
w
Perform the exercise in higher or lower keys as appropriate to the group.
"Follow Me"
Handsign the notes scalewise patterns of notes intespersed with Fa's
Game
and Fi's. Always approach and leave the Fi by step.
Audiate:
Handsign a short series of notes using at least one Fi. (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.
Be sure to remember to ask for volunteers to sing individually small portions of the
exercises or literature.
Don't forget to remind the students of:
Posture
Tall vowels
S - 81
8:
"Fi"
V of V
When the note Fa is raised, it becomes Fi.
Fa can be raised in several ways:
&
1. Sharped
2. "Natural"ed:
When a natural sign cancels
a flat and raises the note
3. Double-sharped:
#
##
ú
ú
? bb ú
Mi
#
#### ##
# ú
&
Mi
ú
Fa
ú
#ú
Fi
nú
So
Fa
Fi
So
Mi
ú
Fa
ú
ú
Üú
Fi
So
In the key of C Major, to raise the Fa (F # ) it is necessary to double-sharp the note
to make it "Fi." Note the double-sharp sign .
Handsign for Fi.
•
NOTICE:
An accidental (altered note) lasts for a whole measure; it is cancelled out by the barline.
b
& b b 44 Ï n Ï Ï Ï
So Fi Fi So
Ï Ï Ï Ï Ï
Fa Mi Re Do Do
Ï Ï Ï nÏ
So La So Fi
Ï Ï ú
Fa Mi Re
Fi remains "raised" for one
The accidental is
whole measure unless cancelled cancelled by the
out by another accidental sign.
barline.
Pencil Time 4:
Activity Sheet 20: "Fi"
Activity Sheet 21: Secondary Dominants
81
8 -- "Fi"
Just as Ti is the "leading tone" to Do, Fi is the "leading tone" to So; that is, both Ti and Fi
tend to resolve upward to the next note. This is a general tendency for all raised notes
as well as for Ti.
There are several uses for the altered note Fi--that is, several different purposes it serves.
MELODIC:
1. Cadential--at a cadence--the end of a phrase--to establish the
dominant-tonic relationship in the dominant key (V of V)
& 44 Ï Ï Ï Ï Ï Ï Ï Ï
& Ï
ú
#Ï
Ï
NÏ
Ï
Ï
Ï Ï Ï Ï Ï Ï Ï Ï
ú
Ï Ï Ï Ï Ï Ï
Ï
Ï
ú
2. Passing--a passing note usually has no harmonic
the piece; its function is melodic.
b
& b b 44 Ï Ï Ï Ï Ï
Ï Ï ÏÏÏ
influence on
Ï Ï Ï nÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï
3. Neighbor note--a neighbor note usually has no harmonic influence on the piece.
# 3
& #4 Ï
Ï Ï Ï
Ï Ï Ï Ï Ï
Ï #Ï Ï
Ï Ï ú.
4. Modulatory--Harmonic in nature; indicates a change of key
(1)
4
&4 Ï Ï Ï Ï Ï Ï ú
C Major:
(5)
&Ï Ï Ï Ï
Do/So
C Major:
(2)
ú #ú
So
Ï Ï Ï Ï
Fi
(3)
w
So/Do
Ï Ï ú
Ï Ï Ï Ï
(4)
ú #ú
G Major: Do
Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
Notice how the piece begins in C Major (1), cadences on a V of V to a V chord (2), So
becomes the pivot note for the next key (3)--So in C Major which turns into Do in
G Major. Another cadence (V-I), this time in G Major (4). Then Do in G Major turns
into So in C Major (5) for a modulation back to the original key.
82
"Fi" -- 8
READ the following melodic exercises:
1. Identify Fi in each exercise.
2. Define the function of Fi in each case.
3. Audiate while handsigning.
4. Sing.
1.
& 44 Ï Ï Ï Ï Ï
& Ï ÏÏÏ Ï
Ï Ï Ï Ï #Ï Ï
& Ï ÏÏÏÏ
Ï
2.
? bb ú .
&
&
4.
ÏÏÏ Ï
ÏÏÏ Ï
#### 4 Ï Ï Ï
4
&
Ï Ï
####
####
Ï ÏÏÏÏÏ
Ï ÏÏÏÏÏ
? b 44 Ï Ï .
? b Ï.
.
?b Ï
ú.
Ï.
Ï
Ï# Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï Ï Ï Ï Ï Ï #Ï
Ï ÏÏÏÏÏ
Ï ÏÏú
Ï Ï nÏ
? b b 34 Ï Ï Ï Ï Ï Ï Ï Ï
? bb Ï Ï Ï Ï
3.
ÏÏÏÏÏ Ï
ú.
Ï ÏÏú
Ï
Ï Ï Ï
Ï ÏÏÏÏ
Ï nÏ Ï bÏ Ï
j
ÏÏÏÏ
ú
Ï nÏ Ï
Ï ÏÏÏÏ
Ï Ï Ï Ï Ï ú.
Ï Ï# Ï Ï Ï Ï
Ï #Ï ú
Ï Ï Ï Ï Ï# Ï Ï Ï Ï Ï ú
J
Ï
Ï ÏÏÏ
ÏÏ ÏÏÏÏú
Ï Ï Ï Ï.
Ï #Ï ú
ÏÏÏÏÏ Ï Ï Ï Ï Ï
J
Ï Ï Ï Ï Ï Ï Ï Ï nÏ
J
Ï ÏÏÏÏ Ï Ï
Ï
Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï nÏ Ï Ï
J nÏ
83
Ï Ï Ï Ï Ï Ï n Ï Ï Ï Ï . Ïj
ÏÏÏÏ Ï Ï
Ï
Ï
Ï
8 -- "Fi"
## 4
4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
5. &
## 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 ÏÏÏÏ Ï Ï Ï Ï ÏÏ Ï ÏÏ ÏÏ Ï Ï Ï Ï Ï
? b b b 64 Ï . Ï Ï Ï n Ï Ï Ï . Ï Ï ú Ï Ï . Ï Ï Ï n Ï Ï Ï Ï b Ï Ï Ï Ï ú .
bb
J
6.
J
J
Ï Ï Ï Ï . Ï ú nÏ Ï . nÏ Ï
? bb b Ï . Ï Ï Ï
Ï Ï Ï ÏÏÏÏÏ ú Î
J
J
bb
J
HARMONIC:
1. Cadential-used at the end of a phrase
#
& 44 Ï Ï Ï Ï Ï Ï ú
ú #ú
w
#
& 44 Ï Ï Ï Ï Ï Ï ú
ú ú
w
ú ú
w
#
& 44 Ï Ï Ï Ï Ï Ï ú
ÏÏÏÏ ÏÏÏÏ ú ú
w
ú ÏÏ ÏÏÏÏ ú ú
w
ú Ï Ï Ï Ï Ï Ï ú ÏÏ w
2. Passing: May or may not have harmonic signficance:
### 4
&
4 ú ú
### 4
&
4 ú ú
w
ú ú
w
Ï #Ï Ï Ï w
### 4
&
4 ú Ï ú ú
Ï
w
(1)
ú ú
w
ÏÏÏÏ ú ú
ú ú
w
ú Nú
ú ú
w
ú ú
ú
ú
ú ú
(2)
#ú nú
w
Notice the Fi at (1) has only a small harmonic effect, whereas the Fi at (2) establishes a
V of V - V cadence and has a significant harmonic effect.
84
"Fi" -- 8
3. Modulatory
b
& b b 44 Ï Ï Ï Ï Ï Ï
b 4
&b b4 Ï ÏÏÏÏÏ
b 4
&bb4 Ï Ï Ï Ï
b
& b b Ï nÏ Ï Ï Ï
b
&bb Ï Ï Ï Ï
b
&bb Ï
Ï ÏÏÏ
b
&b b Ï Ï ÏÏÏ
b
& b b Ï AÏ Ï Ï Ï
b
&bb Ï Ï Ï
Ï
Ï Ï ÏÏÏ
Ï Ï ú
Ï Ï ÏÏÏ
Ï Ï ú
Ï nÏ ú
Ï Ï Ï Ï
Ï Ï ÏÏÏ
Ï Ï ú
Ï
Ï ÏÏ Ï
Ï nÏ ú
Ï Ï ÏÏÏ
ÏÏÏÏÏÏÏ
Ï nÏ Ï Ï
Eb Major: V of V
Bb Major: I
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï ÏÏÏ
Ï ÏÏÏ
Ï Ï ÏÏÏ
Ï Ï Ï Ï
Ï Ï Ï Ï
Ï ÏÏÏ Ï
Ï
On the following pages are three-part exercises that use the note "Fi."
READ the following harmonic exercises:
1. Identify Fi in each exercise.
2. Define the function of Fi in each case.
3. Audiate while handsigning.
4. Chant all parts together in rhythm with handsigns.
5. Sing in 3 parts.
________________________
* Modulation will be discussed in greater detail in Chapter 11.
85
/
Ï Ï ú
Ï Ï ú
Bb Major: I
Eb Major: V
ÏÏÏÏú
Ï Ï ú
Ï Ï ú
/
8 -- "Fi"
Audiate the following exercises before singing them:
### 4
Ï Ï Ï Ï
&
Ï Ï ú
4 Ï Ï Ï Ï Ï Ï Ï Ï Ï . ÏJ
### 4
Ï Ï Ï . Ïj Ï Ï ú
&
4 Ï . Ïj Ï Ï Ï Ï Ï ú
### 4
&
4 Ï Ï Ï . Ïj Ï # Ï Ï . Ïj Ï Ï Ï . Ïj Ï # Ï ú
1.
&
&
&
###
###
###
Ï Ï Ï.
Ï
Ï
Ï
Ï
Ï
Ï
Ï.
j
ÏÏ
Ï
Ï Ï.
Ï Ï
Ï Ï Ï Ï
j
Ï Ï Ï
Ï Ï
### Ï Ï Ï . j Ï Ï Ï Ï .
Ï J
&
J
###
j j j
Ï
Ï
Ï
Ï
.
&
Ï Ï
ÏÏ Ï ú
###
j j
j
Ï
Ï
.
&
Ï
Ï Ï Ï
ÏÏ Ï ú
### Ï Ï Ï . j Ï Ï
Ï J
&
###
j
Ï Ï Ï Ï Ï . Ï Ïj Ï
&
###
j j
Ï
Ï
.
&
Ï
Ï Ï Ï
ÏÏ
Ï Ï Ï Ï. Ï
J
J
Ï Ï Ï ú
J
J
Ï Ï Ï . Ïj Ïj Ï Ïj ú
Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï
J
Ï Ï #Ï .
Ï Ï
Ï.
Ï
J Ï.
Ï Ï Ï Ï #Ï
J
j
Ïú
Ï Ï Ï.
j
Ïú
86
Ï Ï Ï.
Fine
j
j
#Ï Ï nÏ ú
Ï Ï ú
j
Ï Ï #Ï ú
j
Ï Ï Ï ú
w
D.C. al Fine
j
Ï Ï Ï ú
j
Ï Ï Ï ú
"Fi" -- 8
b4
&b 4 Ï
b4
&b 4 Ï
b4
&b 4 Ï
2.
b
&b Ï
b
&b Ï
b
& b Ï.
&
bb Ï
b
&b Ï
b
& b Ï.
b
&b Ï
b
&b Ï
b
& b Ï.
Ï
Ï
Ï
Ï
Ï.
Ï
Ï.
ú
j
Ï Ï
Ï
ú
Ï
j
nÏ ú
Ï Ï Ï
Ï
Ï
j
Ï ÏJ Ï ÏJ ú
j
Ï Ï Ï ú
Ï.
Ï.
j
Ï Ï
Ï Ï ú
Ï Ï ú
j
Ï ú
b
&b Ï Ï Ï Ï Ï
b
&b Ï Ï Ï
Ï
b
&b Ï Ï Ï Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï.
Ï
Ï.
j
Ï Ï.
Ï
Ï.
Ï Ï ú
ú
Ï Ï Ï
Ï
Ï.
Ï
j
Ï Ï
Ï.
j
Ï Ï
Fine
j
Ï ú
Ï
Ï
Ï Ï Ï
Ï
Ï
Ï
j
Ï Ï Ï Ï
Ï Ï Ï
Ï
Ï
Ï Ï Ï
Ï Ï ú
ú.
Î
Ï
Ï
Ï
Ï
nÏ
Ï
Ï
Ï nÏ Ï Ï
87
Ï
j
Ï Ï Ï Ï
Ï.
Ï Ï Ï Ï Ï ú
Ï Ï ú
ú
Ï
Ï
Ï
j
Ï
Ï
j
Ï ÏJ Ï JÏ ú
j
Ï
ú
Ï Ï
j
Ï ú
Ï.
Ï
Ï
ú
Ï.
Ï
Ï
Î
Î
D.C. al Fine
ú
Ï nÏ ú
ú
ú
8 -- "Fi"
3.
4
& b 4 Ï.
4
& b 4 Ï.
4
& b 4 Ï.
j
Ï Ï Ï
Ï Ï
j
Ï Ï Ï
j
Ï Ï Ï
Ï Ï Ï Ï Ï nÏ
ú
Ï.
j
Ï ú
ú
ú
Ï Ï Ï
&b Ï Ï
Ï Ï ú
Ï
&b Ï Ï
Ï Ï
ú
Ï.
&b Ï Ï
ú
Ï Ï
ú
ú
Ï.
Ï
Ï
Ï
Ï
b
Ï
&
Ï.
Ï ú
J
j
Ï ú
&b Ï Ï Ï Ï Ï
Ï.
&b Ï Ï
Ï Ï
Ï Ï
Ï
Ï
Ï
b
Ï
Ï
&
ú
Ï
Ï
Ï Ï
ú
Ï
Ï
Ï Ï
Ï
j
Ï Ï
w
j
Ï Ï
Ï
Ï Ï ú
Ï
Ï Ï ú
Ï Ï Ï Ï Ï
Ï Ï Ïj ú
J
j
Ï Ï
Ï Ï Ï
Ï
j
Ï Ï Ïj ú
Ï
Ï
Ï.
ú
Ï.
&b Ï Ï Ï Ï Ï
Ï nÏ ú
Ï Ï
Ï.
& b Ï.
Ï
Ï ú
Ï Ï
Ï Ï
88
ú
j
Ï Ï Ï ú
Ï Ï ú
j
Ï Ï Ï
w
Ï Ï nÏ
J
Fine
j
Ï ú
Ï nÏ ú
D.C. al Fine
j
Ï Ï Ï ú
Ï Ï ú
"Fi" -- 8
## 4 Ï
ÏÏÏ
& 4 Ï
4.
#
& # 44 Ï Ï Ï Ï Ï
## 4
& 4 Ï Ï Ï Ï
&
&
##
&
##
&
&
##
##
Ï #Ï
Ï.
Ï Ï
Ï.
Ï Ï Ï ú
J
Ï
Ï Ï ÏÏÏ
Ï
Ï Ï ÏÏÏ
Ï Ï Ï ú
Ï
Ï
Ï
j
Ï
Ï Ï
.
Ï
Ï.
Ï
j
Ï ú
## Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï
ú
&
##
Ï ÏÏ
J
j
Ï Ï Ï
Ï ÏÏ ú
j
Ï Ï #Ï ú
j
#Ï Ï Ï Ï Ï
j
j
Ï Ï Ï Ï Ï . Ïj ú
Ï
Ï ÏÏú
Ï Ï ú
Ï.
j
Ï #Ï Ï
Ï Ï Ï
Ï Ï ú
Ï.
j
Ï Ï Ï
Ï
ÏÏÏÏÏ
Ï Ï
Ï
ÏÏ ÏÏ
Ï
Ï Ï Ï #Ï
89
Ï Ï #Ï ú
J
Ï
Ï Ï
ú
Ï Ï Ï ú
ÏÏÏÏú
Ï Ï ú
Ï Ï ú
8 -- "Fi"
3
j
& 4 Ï. Ï Ï
5.
Ï Ï Ï
& 34 Ï . Ïj
Ï
& 34 Ï
ú
Ï Ï #Ï
& Ï.
&
& Ï . JÏ Ï
& Ï Ï Ï
& ú
Ï
Ï
ú
&
Ï
Ï
Ï.
j
Ï ú
j
Ï Ï. Ï ú.
ú
Ï
#Ï
Ï
ú
Ï
ú
Ï
ú
Ï
ú
j
Ï . Ï #Ï
Ï
ú
Ï
ú
Ï
ú
Ï
Ï
Ï
Ï Ï
Ï NÏ Ï
Ï ú
J
Ï
j
Ï ú
#Ï
ú
Ï
Ï . ÏjÏ
Ï Ï Ï
Ï ú
ú
Ï . ÏjÏ
Ï Ï #Ï
Ï Ï
J
ÏÏÏ Ï
ú
#Ï
j
Ï. Ï Ï
ú.
ú
Ï
Ï Ï Ï
ú.
Ï.
90
j
Ï Ï Ï Ï
NÏ .
Ï ú
J
j
Ï Ï
j
Ï Ï.
Ï
Ï Ï.
Ï ú
Ï Ï Ï Ï Ï Ï Ï Ï.
Ï
& Ï Ï Ï Ï Ï ú.
& Ï Ï.
ú
ú
Ï Ï Ï Ï Ï Ï Ï.
Ï Ï Ï
ú.
Ï
j
Ï ú.
Ï Ï.
Ï Ï Ï
Ï Ï ú.
ú
j
Ï ú
Ï Ï.
Ï
ú
& Ï . # Ïj Ï Ï ú .
j
Ï Ï
Ï Ï Ï Ï Ï ú.
ú.
Ï
"Fi" -- 8
6.
b 4 Ï
&b b4 Ï ÏÏÏ
b
& b b 44 î
b
& b b 44 î
Ï Ï
ÏÏÏ Ï Ï
Ï Ï
Ï Ï ÏÏÏ
b Ï Ï Ï
ÏÏ
&bb
b
&bb î
b
&bb î
Ï
Ï
Ï Ï
b
&bb Ï Ï ÏÏÏ
j
ÏÏ
ÏÏÏ
Ï
b
&bb Ï Ï ÏÏÏ
b
& b b Ï.
Ï Ï Ï.
Ï
ÏÏÏ
Ï
Ï
Ï
nÏ Ï Ï Ï ú
&
Ï Ï nÏ ú
bbb
b
&bb
ú
ÏÏÏ
Ï Ï Ï.
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
j
Ï Ï
Ï ú
Ï
Ï
Ï ú
Ï
Ï Ï Ï.
Ï
J
Ï Ï Ï.
91
Ï Ï Ï.
Ï ú
Ï
j
Ï Ï
Ï.
Ï ÏÏÏ Ï
Ï
Ï nÏ Ï .
Ï Ï Ï
j
Ï Ï nÏ ú
ÏÏ Ï
Ï Ï ÏÏ Ï
j Ïj ú
Ï Ï
Ï Ï ú
Ï Ï ÏÏÏ
Ï
j Ï n Ïj ú
Ï
b Ï Ï ÏÏ
&bb
Ï
Ï Ï Ï.
Ï
j
j
Ï Ï Ï ú
Ï
Ï Ï Ï ÏÏÏ
J
Ï
J
Fine
Ï Ï ú
Ï nÏ Ï
J
ú
ÏÏ ÏÏú
Ï Ï Ï Uú
D.C. al Fine
j U
Ï . nÏ Ï bÏ
j
Ï nÏ .
U
j
bÏ Ï Ï
8 -- "Fi"
7.
# 6 Ï. Ï Ï
& #4
J Ï Ï Ï
## 6
j
& 4 Ï. Ï Ï Ï Ï Ï
#
& # 64 Ï . Ïj Ï Ï
ú
# .
.
& # Ï ÏJ Ï Ï Ï Ï Ï
#
j
& # Ï. Ï Ï Ï Ï Ï Ï.
#
& # Ï . Ïj Ï Ï
Ï.
ú
### 3
&
4 ú Ï
### 3
&
4 ú Ï
### 3
4
&
ú Ï
### Ï . Ï Ï ú .
&
J
###
Ï ú.
&
ú
###
&
#ú
Ï ú.
###
ú
&
Ï ú
###
&
Ï . ÏjÏ ú
###
&
ú
Ï Ï Ï
8.
ú
jÏ ú.
Ï
Ï.
ú
jÏ ú
j
Ï
Ï ú
Ï ú Ï Ï. Ï Ï ú.
Ï.
ú
Ï ú Ï Ï. Ï Ï ú Î
Ï Ï ú.
J
J
j
j
Ï Ï ú.
#Ï . Ï Ï ú .
ú ÏÏú Î
j
Ï Ï ú.
j
Ï . Ï #Ï Ï Ï Ï ú
j
Ï
Ï. Ï
ú.
Ï
ú
Ï
ú.
Ï
#ú
nÏ
ú.
ú
Ï
Ï ú.
ú
Ï
ú
j
j ú
Ï . #Ï Ï nú Ï
Ï. Ï Ï Ï .
j
ú
Ï ú Ï Ï. Ï Ï Ï ú.
1
Ï
ú
Ï
ú
ú
Ï
ú
ú
Ï
ú
Ï. Ï
Ï.
J Ï
Ï
Ï . Ïj
ú
Ï ú
j Ï Ï Ï . Ïj
Ï. Ï
Ï Ï.
2
j
.. Ï .
Ï. Ï Ï ú.
Ï
#ú
Ï
Ï ú
nÏ
92
ú.
ú.
..
..
Ï ú
Ï
Ï
Ï Ï
J
ú.
j
Ï #Ï
ú.
Ï
Ï ú
ÏÏ
J
ú.
#Ï Ï Ï Ï
ú.
Ï Ï Ï
ú.
Î
Ï
S - 92
LITERATURE:
on page 95
B.
C.
D.
E.
F.
G.
H.
I.
J.
A. Scan the music for:
1. Form
2. Challenging places (Fi)
3. Tempo changes.
4. Dynamics
Chant the rhythm according to the dynamics and making the designated
tempo changes.
Audiate by section: A section; B section, etc.
Chant the solfege by section (using handsigns)
Sing each section (individually) with solfege.
Sing the whole piece on solfege.
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.)
Sing one phrase at a time with the words.
Sing the song with words.
Interpretation
Discuss interpretative issues with the students. Such issues include:
1. Phrasing
a. Where to take a breath
b. Are there places where the breathing needs to be staggered?
c. Consonants--how to perform consonants without interrupting the flow
2. Dynamics
3. Treatment of long notes--singing "through" the notes
4. Diction
a. Keeping the vowel pure; not changing mouth position when closing to
the consonant
b. Clean and crisp consonants for clarity of lyrics
Once the song has been learned by the whole group, ask for volunteers to sing short sections
of the piece for the class in small ensembles, one person on each part.
S - 93
"Fi" -- 8
YOUR BRAIN:
9.
j
bb 4
& b b b 4 Ï Ï Ï Ï. Ï Ï Ï Ï Ï Ï Ï
bb 4
& b b b 4 Ï Ï Ï Ï Ï Ï . Ïj Ï Ï
bb 4
& b b b 4 Ï . ÏjÏ
j
Ï Ï. Ï ú
bb
& b b b Ï Ï Ï Ï.
b
& b bbb Ï Ï Ï Ï Ï
b
& b b b b Ï . Ïj Ï Ï
b
Ï.
& b bbb Ï Ï
j
Ï Ï ÏÏÏ Ï
Ï ÏÏÏ Ï
Ï Ï Ï Ï
Ï Ï Ï ú
J
b
& b b b b Ï Ï Ï Ï Ï bÏ nú
b
j
& b bbb
Ï
ú
ú
Ï Ï Ï.
b
& b bbb Ï Ï Ï Ï .
b
& b bbb Ï Ï Ï Ï Ï
b
& b bbb Ï .
j
ÏÏ Ï
j
Ï Ï ÏÏÏ Ï
Ï ÏÏÏ Ï
Ï Ï
Ï Ï
93
Ï Ï ÏJ Ï Ï
J
j
Ï . Ï nÏ Ï
Ï . ÏJ ú
ú
Ï Ï
ú
Ï Ï
Ï ÏÏ Ï Ï
ÏÏÏ
ú
nÏ .
nÏ
ÏÏú
Ï
Ï
j
Ï. Ï Ï Ï
Ï.
j
Ï Ï Ï
j
Ï Ï Ï
Ï Ï Ï.
Ï Ï Ï.
Ï Ï Ï Ï
Ï. Ï Ï Ï
J
j
nÏ . Ï Ï Ï
j
Ï. Ï Ï Ï
ú
Ï Ï Ï
ú
J
j
Ï Ï bÏ nú
ú
ú
Ï Ï ÏJ ú
J
j j
nÏ Ï bÏ ú
Ï Ï ú
8 -- "Fi"
10.
#### 3
# 4 Ï Ï #Ï Ï
&
#### 3
# 4 Ï Ï #Ï Ï
&
#### 3
#4
&
Ï Ï ÜÏ Ï
#### Ï
#
&
####
# Ï
&
####
#
&
Ï
&
&
####
#
#
&
&
####
Ï Ï #Ï nÏ
Ï
ÏÏ Ï
Ï
Ï
Ï
Ï.
Ï
Ï
Ï
Ï
j
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
ú
Ï
Ï ÜÏ Ï
ú
Ï
ú
Ï
ú
Ï
Ï #Ï Ï
Ï
Ï
Ï #Ï Ï
Ï
Ï #Ï nÏ
Ï
Ï ÜÏ 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 Ï Ï Ï Ï Ï
Ï Ï Ï
j
Ï Ï
Ï
Ï.
Ï
Ï.
Ï
Ï #Ï Ï Ï
Ï Ï Ï
j
Ï Ï
ú
ú.
# ú
nÏ
Ï
Ï
# ú
Ï #Ï Ï
Ï #Ï Ï nÏ ú .
Ï
Ï
Ï ÜÏ Ï
Ï
Ï Ï Ï
94
ú.
"Fi" -- 8
The Brook
SSA A cappella
Pat Pine Darnell
### 2 P
&
4 Ï
Andante; smoothly
SI
Down
Down
SII
### 2 P
&
4 Ï
Down
Down
A
from
through
the hill
the val
from
through
the hill
the val
### ú
&
&
###
Ï
Bab
Bub
Ï Ï
gent - ly
&
###
brook
Ï
&
###
brook
Ï Ï
gent - ly
Ï Ï Ï Ï Ï #Ï
brook
Cold
Twis
-
side,
ley,
Ï
gent - ly
Bab
Bub
Ï
.. Ï
brook
brook____
brook____
the
thru'
Ï
the
thru'
Ï Ï Ï Ï
-
from
ting
the
thru'
Ï
The
The
Ï
Ï
Ï.
Ï
Ï
Ï Ï Ï Ï
mur - mur - ing,
gur - gl - ing,
mur - mur - ing,
gur - gl - ing,
Ï Ï
nimb - ly
nimb - ly
.
Ï Ï Ï Ï . #Ï Ï Ï Ï nÏ
95
from
ting
Ï Ï Ï Ï
Ï.
.. Ï
Ï# Ï Ï Ï
flows.
flows.
Ï
2
ÏÏÏÏÏ
from
ting
mur - mur - ing,
gur - gl - ing,
bling,
bling,
flows.
-
Cold
Twis
Ï Ï Ï Ï
ú
Ï
Cold
Twis
side,
ley,
bling,
bling,
-
-
Ï Ï ÏÏ Ï
-
Ï
Ï.
Ï Ï Ï Ï Ï
bling,
bling,
-
F
Ï Ï Ï Ï Ï
Ï
side,
ley,
Ï Ï Ï Ï Ï
snows,
trees,
&
-
F
ú
1
Ï
Ï.
Bab
Bub
snows,
trees,
###
the hill
the val
F
snows,
trees,
&
Ï Ï
from
through
4
###
-
Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï
### 2 P
4 Ï Ï Ï Ï
&
Ï.
Down
Down
7
Ï Ï
Ï.
Patti DeWitt
ú
flees.
Ï ÏÏÏ
flees.
ÏÏÏÏÏ
nimb - ly flees.
Ï
The
The
The
The
8 -- "Fi"
### p
Ï
&
Ï.
On
### p
&
Ï
past
On
past
11
Ï Ï Ï Ï Ï
Ï
my
win
-
dow,
### p
Ï
&
Ï Ï Ï Ï
On
past
Ï
-
dow,
win
-
. . . . . . poco . . . . . . . a . . . . . . poco. . . . . . .
# # # Ïcresc.
j
Ï
.
Ï
&
Ï
&
###
The
lea,
&
###
&
###
&
###
&
###
The
brook
Ï
Ï
keeps
Ï
Ï.
brook
The
rush
keeps
Ï fÏ
to
the
on
on
Ï
on
dim e rit. . . . . . . .
sea.
dim e rit. . . . . . . .
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
rush
Ï
rush
to
Ï
Ï
to
the
#Ï
the
sea.
f
sea.
sing - ing
Ï
sing - ing
On
the
sing - ing
p
Ï
p
Ï
Down
the
Ï
its
Ï Ï Ï Ï
On
Ï Ï Ï Ï Ï
On
Ï.
from
its
Ï
its
Ï
the
Ï Ï Ï Ï
the
Ï Ï Ï Ï Ï Ï Ï Ï Ï.
the
p
Down
96
Ï
from
dim e rit. . . . . . . .
Ï
the
Ï Ï Ï Ï Ï
Down
f
o'er
o'er
Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï
Ï
Ï
Ï Ï Ï Ï
Ï
Ï
keeps
Ï
Ï
Ï.
o'er
On
cresc. . . . . . . poco . . . . . . . a . . . . . . poco. . . . . . .
lea,
17
brook
cresc. . . . . . . poco . . . . . . . a . . . . . . poco. . . . . . .
Ï Ï Ï Ï Ï
On
dow,
14
lea,
On
Ï Ï Ï Ï Ï
my
Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï.
Ï Ï Ï Ï Ï
my win
Ï
from
Ï
"Fi" -- 8
### Ï
&
20
hill
-
Ï
Ï
Ï.
side,
Cold
from
### Ï
ÏÏÏÏ
&
&
###
hill
-
-
Cold
side,
mur - mur - ing,
&
&
###
&
###
snows,
The brook
gent - ly
flows.
Ï
Ï Ï
brook
gent - ly
Ï Ï ÏÏÏÏ ÏÏÏÏÏ Ï
hill
-
The brook
rit. . . . . . . .
Ï
hill
-
rit. . . . . . . .
Ï
hill
-
side,
U
#Ï
side,
U
Ï
side,
Bab
F
gent - ly
Ï.
-
Ï
bling,
ÏÏÏÏÏ Ï
Bab
F
-
Bab
-
Ï
the snows,
P
### Ï Ï Ï Ï U
&
Ï
&
the
ú
mur - mur - ing, The
rit. . . . . . . .
###
ú
Ï Ï
Ï Ï
mur - mur - ing,
28
Ï
Ï Ï
P
Ï Ï
the snows,
from
P
### Ï Ï Ï Ï
&
Ï.
Ï
Ï Ï Ï Ï ÏÏÏÏÏ
Cold
24
###
from
Ï Ï ÏÏ Ï
Ï
hill
ÏÏ ÏÏ Ï
side,
F
Ï ú
bling,
ÏÏÏÏ
bling,
f
Ï
Ï.
Ï
Down
from
the
f
ÏÏÏÏÏ Ï
ú
flows.
Down
from the
f
ÏÏÏÏÏ
Ï
flows.
Down
ÏÏÏÏ
from
the
Meno mosso
P
Ï
Ï
The
brook
P
Ï
The
P
#Ï
The
Ï
Ï
Ï
Ï
Ï
nÏ
gent - ly
Ï Ï #Ï
brook
#Ï Ï Ï
brook
97
gent - ly
gent - ly
ú
flows.
Ï Ï Ï Ï Ï
flows,
Ï
flows,
Ï Ï Ï Ï
8 -- "Fi"
&
###
&
###
31
&
###
ú
F
pU
¸
F
p
U
¸
p
U
¸
ú
ú
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
gent
-
-
-
ly
flows.
F
Ï Ï Ï Ï Ï Ï Ï Ï Ï
gent
-
-
-
ly
ú
Ï Ï Ï Ï ú
flows,
flows.
VOCABULARY:
1. Accidental--A note that is altered from its "natural" state in the scale
2. Cadential--A note that is used to create a cadence and mark the end of a phrase
or section.
3. Fi--A raised Fa (sharped, double-sharped, or naturaled, depending upon the key
signature)
4. Leading tone--In the natural major scale, Ti; otherwise, any note that has been
raised and resolves to the next higher note
5. Modulatory--Serving to change keys
6. Passing tone--A note that serves as bridge between its upper and lower neighbor
notes
ACROSS THE CURRICULUM:
Write a short essay describing "Fi," and its various uses in a piece of music.
98
S - 98
Chapter 9:
"Si"
Take your time with this chapter. There are many important things that need to be
learned in the chapter.
When the note Si is introduced, then the students will be dealing with minor keys. It
is very important that students realize that when analyzing music in minor keys, then
the La becomes the tonic (i) and a chord built upon Do actually becomes th III chord.
If there is a modulation using Si, then the Si becomes the leading tone to La, and the
resulting major chord in the first key (III) becomes the V chord in the new key (Mi is
the fifth note of the minor scale.), thus V of vi.
Breathing
Exercises
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 q q q q
Remind the students to maintain their hold with the abdominal muscles.
Warm up:
Use the following exercise to reinforce Si:
& 44 Ï Ï Ï Ï
Ï #Ï ú
Ï #Ï Ï nÏ Ï Ï Ï
ú
Perform the exercise in higher or lower keys as appropriate to the group.
"Follow Me"
Handsign the notes scalewise patterns of notes intespersed with So's
Game
and Si's. Always approach and leave the Si by step.
Audiate:
Handsign a short series of notes using at least one Si. (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 - 99
in
9:
"Si"
V of vi
When the note So is raised, it becomes Si, a leading tone to La.
So can be raised in several ways:
&bú
1. Sharped
So
2. "Natural"ed:
When a natural sign cancels
a flat and raises the note.
3. Double-sharped:
#
#ú
ú
Si
La
? b
nú
bbú
So
Si
#### ##
# ú
&
Üú
#
So
Si
ú
La
ú
La
In the key of C Major, to raise the Si (G # ) it is necessary to double-sharp the note
to make it "Si." Note the double-sharp sign .
Handsign for Si.
The most common usage of Si is in relationship to the relative minor chord or key: the
vi chord, based upon La. Book 3 of this series covered the natural minor scale, the
aeolian, which has no altered tones. However, in modern practice the minor scale is often
altered depending upon the usage of the scale. In addition to the natural minor scale,
there are 2 other minor scales that are commonly used: The harmonic minor, which is
frequently used in Jewish and Middle Eastern music, and the melodic minor which was
a variation of the harmonic minor.
In the harmonic minor scale So is replaced by Si, creating a leading tone for La (the
tonic--i--in a minor key) and a major dominant (V) chord (Mi - Si - Ti).
#4
& 4Ï Ï Ï Ï
Ï Ï #Ï Ï
99
#Ï Ï Ï Ï
Ï Ï ú
9 -- "Si"
The problem with the harmonic minor scale is that it causes a difficult interval between
the sixth and seventh degrees of the scale--an augmented second--which was shunned
during the Middle Ages and Renaissance and generally avoided by western composers in
general until the twentieth century.
Augmented 2nd
? b 4 Ï Ï Ï Ï Ï Ï nÏ Ï nÏ Ï Ï Ï
bb4
Ï Ï ú
SING the harmonic minor scale up and down and listen for the augmented second.
The augmented second, although shunned by western composers, is a distinguishing
trait of eastern music, especially Jewish music. Listen to the prominence of the augmented
second in "Hava nagila." Where does it first occur in the song?
Hava Nagila
b4
&b 4 Ï
Ï.
Ha - va
&
bb
1
#Ï
b
& b Ïj Ï
ha - va
&
#Ï
na - gi - la,
..
#Ï
me-cha.
ne - ra - ne - na,
Ï
b
& b Ï Ï Ï Ï.
U - ru a - chim
b
& b Ï Ï Ï Ï.
U - ru a - chim
b
&b Ï Ï Ï Ï
U-ru a - chim,
me - cha.
U
Ï
Ï Ï Ï Ï
Ï
be-lev
sa - me' - ach,
Ï Ï Ï Ï
u - ru a - chim
Ï
U - ru a - chim
b'lev
100
Ï
Ï
u - ru
Ï Ï Ï Ï.
..
ÏÏÏ ú
Ï
ru,
sa - me' - ach,
ne - ra - ne - na,
ve - nis'
ú
-
Ï Ï Ï Ï
be-lev
#Ï
ne-ra - ne - na
ú
Ï Ï Ï ú
1
na - gi - la
j
Ï Ï Ï Ï
Ha - va
Ï. Ï Ï Ï Ï
ha - va
ha - va
.. j
#Ï Ï
me - cha.
Ï Ï Ï
J
Ï.
Ï
na - gi - la,
ÏÏÏ ú
ve - nis'
j
Ï Ï Ï Ï
ve - nis'
Ï.
ha - va
2
#Ï
j
Ï Ï Ï
2
ÏÏÏ ú
ve - nis'
bb
j
#Ï Ï Ï
Traditional Jewish Folksong
me - cha.
Ï
Ï
a - chim,
Ï Ï Ï Ï Ï
be-lev
sa - me' - ach,
Ï Ï Ï Ï.
Ï Ï Ï Ï Ï
U - ru a - chim
be-lev
Ï Ï Ï #Ï w
sa - me'
-
ach.
sa - me' - ach,
Questions for class discussion:
1. A minor second is a half step; a major second is 2 half steps. How many steps is
an augmented second?
2. Since an augmented second is 3 half steps and so is a minor third, what is the
difference between the two? Answer: The way they are spelled, and their function
in the scale.
3. Instruct them to formulate a formula for a:
Harmonic minor scale
1. Pick a note
2. Move up 1 whole step
3. 1 half step
4. 1 whole step
5. 1 whole step
6. 1 half step
7. 3 half steps
8. 1 half step
Melodic minor scale*
Ascending:
1. Pick a note
2. Move up 1 whole step
3. 1 half step
4. 1 whole step
5. 1 whole step
6. 1 whole step
7. 1 whole step
8. 1 half step
Descending:
1. Upper tonic
2. Move down 1 whole step
3. 1 whole step
4. 1 half step
5. 1 whole step
6. 1 whole step
7. 1 whole step
8. 1 half step
This is covered in Activity Sheet 23.
Allow the students some keyboard time to figure and play the natural, harmonic, and
melodic minor scales.
S - 100
D
ARRANGE:
Instruct the students (either individually or in small groups) to select
one of the exercises in this chapter and add words and and expressive
markings.
OR:
Instruct them to use only the melody of one of the exercises and
rearrange it into another form, such as solo or duet with
accompaniment, etc.
S - 101
"Si" -- 9
In order to "fix" the problem of the augmented second in the harmonic minor scale, the
melodic minor scale was formulated. The melodic minor scale raises the Fa to Fi so that
the augmented second is eliminated. Sing the melodic minor scale below with solfege and
handsigns:
? b 4Ï Ï Ï Ï
bb4
Ï nÏ nÏ Ï
The traditional melodic minor scale has an interesting quirk. Although it uses both Fi
and Si when ascending, when descending, it reverts to the natural minor:
Ï nÏ nÏ Ï
? b 4Ï Ï Ï Ï
bb4
Ï Ï Ï Ï
Ï Ï ú
COMPOSE:
Write a short song in Activity Sheet 23 using the harmonic minor scale
as a basis. Then rewrite your song using the melodic minor.
Pencil Time 4:
Activity Sheet 22: "Si"
Activity Sheet 23: Natural, Melodic, Harmonic
Activity Sheet 24: "Weep, O Mine Eyes"
Melodic uses of Si:
b
& b b b 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï n Ï ú
1. Cadential
2. Passing tone
? # # # # 44 Ï Ï Ï Ï Ï Ï Ï Ï # Ï Ï
#
& # 34 Ï Ï Ï
Ï ÏÏÏÏ Ï
Ï Ï Ï ÏÏ Ï Ï ú
3. Neighbor note
Ï #Ï ú
Ï #Ï Ï
4. Modulatory
Ï ÏÏÏ Ï
Ï ÏÏÏ Ï
Ï
? b 44 Ï Ï Ï Ï Ï
? b Ï #Ï Ï Ï Ï
Ï ÏÏÏ Ï
101
Ï ÏÏú
Ï
Ï ÏÏÏ Ï
Ï Ï ú
Ï #Ï ú
Ï Ï ú
9 -- "Si"
Locate the Sis in the exercises below and identify their function before audiating and
singing each exercise:
j
b b 44 Ï . Ï Ï Ï Ï Ï Ï
&
1.
ú
j
b
& b Ï. Ï Ï Ï Ï Ï Ï ú
2.
Ï Ï ÏJ Ï # JÏ n Ï .
J
.
Ï Ï ÏJ Ï . # Ï Ï Ï
J
? 68 Ï
?Ï
## 4 Ï . Ï Ï
4
&
3.
J Ï Ï ÏÏú
## Ï
jÏ ÏÏÏ
.
Ï
#
Ï
&
Ï
Ï
Ï Ï ÏÏÏ
Ï #Ï Ï Ï Ï Ï Ï Ï Ï ú
Ï
Ï
Ï Ï Ï Ï Ï
J
& b 24 Ï Ï Ï Ï Ï Ï
& b #ú
&b Ï Ï Ï ÏÏ
&b ÏÏÏÏÏ Ï
ÏÏÏÏ
j
Ï Ï Ï Ï Ï #Ï ú
Ï Ï Ï . ÏJ Ï Ï Ï ú
Ï Ï Ï Ï Ï Ï #Ï
Ï.
Ï Ï ÏÏÏÏÏ
#Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï #Ï
102
Ï Ï.
J
Ï Ï Ï Ï Ï. ÏÏ Ï.
J
.
? b b 4 Ï ú Ï Ï Ï Ï Ï Ï . ÏJ Ï n ÏJ Ï Ï
b4
4.
Ï Ï Ï Ï Ï Ï Ï nÏ Ï Ï . Ï Ï Ï Ï
Ï
? bb
Ï
J
b
? b b Ï ú Ï ú . Î Ï ú Ï Ï Ï Ï Ï . ÏJ
b
5.
Ï Ï Ï #Ï nÏ
Ï Ï Ï Ï Ï Î Ï ú nÏ
Ï ú nÏ Ï Ï ú
Ï ÏÏ
Ï ÏÏÏÏÏ Î
ÏÏÏÏÏ Ï
Ï Ï #Ï Ï Ï
Ï Ï
Ï ÏÏ
ÏÏÏÏÏ Ï
Ï
Ï
Ï
Ï
Ï Ï Ï Ï Ï
Ï #Ï Ï
"Si" -- 9
HARMONIC:
1. Cadential
b
& b b b 44 Ï Ï
bb4
&bb 4 Ï Ï
bb4
Ï
Vbb 4 Ï
? b b b 44 Ï Ï
b
Analysis:
I
ÏÏÏ
ÏÏÏ
ú
ú
V
Ï Ï ú
Ï nÏ ú
Ï Ï Ï Ï
Ï Ï Ï Ï
vi V of vi
IV ii V V7
Ï Ï ú
I
# 4 Ï Ï Ï.
& #4
## 4
& 4 ú
Ï.
## 4 ú
ú
V 4
? # # 44 Ï Ï ú
j
Ï ÏÏÏ ú
b
& b bbb
b
& b bbb
Ï
2. Passing tone:
3. Neighbor note
34 Ï
34
Ï
b
V b b b b 34 ú
? bb 3 ú
bbb4
Ï
Ï
Ï Ï Ï Ï
Ï Ï ú
Ï Ï Ï Ï
Ï Ï Ï.
j
Ï Ï Ï ú
Ï Ï ú
Ï
Ï ú
Ï
Ï
Ï
Ï nÏ
ú
Ï
ú.
Ï
Ï
Ï
Ï
Ï
Ï
103
ú
Ï
I V7 I
Ï Ï ú
Ï
Ï ú
Ï Ï ú
Ï
Ï Ï ú
Ï Ï ú
Ï Ï#Ï ú
Ï
Ï Ï ú
Ï Ï ú
Ï
J Ï Ï ú
Ï Ï ú
Ï
Ï Ï ú
Ï
ú.
Ï
ú.
Ï
ú.
Ï
ú.
9 -- "Si"
### 4
4 Ï.
### 4
4 Ï.
### 4 Ï .
4
# # # 44
Ï.
Ï Ï ú
Ï Ï ú
j
Ï Ï Ï Ï Ï #Ï ú
j
Ï. Ï Ï Ï Ï Ï ú
Ï Ï Ï Ï Ï Ï ú
ii
V
4. Modulatory*
&
&
V
?
&
&
###
###
A Major: I
ÏÏ Ï
J
j
ÏÏ Ï
Ï Ï
JÏ
ÏÏ Ï
J
V I
Ï #Ï Ï Ï
Ï Ï Ï Ï
###
Ï Ï Ï Ï
V
? ### Ï Ï Ï Ï
&
&
###
###
i
Ï.
Ï.
### Ï .
V
? ###
Ï.
A Major: I
V
iv
iv
ÏÏ Ï
J
j
ÏÏ Ï
ÏÏ Ï
J
ÏÏ Ï
J
V I
I
Ï Ï ú
Ï.
ú
ú
Ï Ï
I
IV
I
vi V7
Ï Ï ú
Ï Ï ú
Ï #Ï
ú
j
Ï Ï #Ï
Ï . # ÏjÏ Ï
ú
Ï Ï
i
i
i
V
ú
Ï.
Ï Ï ú
Ï Ï ú
IV
Ï Ï
V i
V
j
ÏÏ Ï
Ï Ï Ï Ï
Ï. Ï Ï Ï
J
Ï . Ïj Ï Ï
Ï Ï ú
Ï Ï ú
ii
V7
Ï.
Ï Ï ú
I
V
ii7
V
ii
On the following pages are four-part exercises that use the note "Si."
READ the following harmonic exercises:
1. Identify Si in each exercise.
2. Define the function of Si in each case.
3. Audiate while handsigning.
4. Chant all parts together in rhythm with handsigns.
5. Sing in 4 parts.
________________________
* Modulation will be discussed in greater detail in Chapter 12.
104
Ï Ï ú
Ï Ï
vi
V of vi
F# minor: / i
Ï Ï ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
iv
iv VII
Ï.
A Major:
Ï
Jú
j
Ïú
Ï.
Ï Ï ú
Ï Ï ú
I
V
I
/V
"Si" -- 9
b3
Ï
&b 4 Ï Ï
1.
b3
& b 4 ÏÏ Ï
b3
&b 4 Ï
b Ï
&b
b
&b Ï
b
&b Ï
b
& b Ï.
&
bb
Ï
j
Ï Ï ú
Ï.
Ï Ï Ï Ï
J
Ï.
Ï Ï Ï Ï
J
Ï.
j
Ï Ï Ï Ï
Ï.
Ï.
Ï
Ï
Ï
ú
Ï
Ï
Ï
Ï
ú
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Ï Ï Ï
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Ï
ú
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Ï
Ï
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ú
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Ï
Ï
Ï
ú
ú
ú
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Ï
Ï
Ï.
j
Ï Ï
Ï
Ï
Ï
Ï
ú
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ú
Ï
ú
Ï
Ï.
Ï.
j
#Ï Ï
Ï
Ï
Ï
b
&b ú
b
&b
j
Ï Ï ú
Ï.
j
Ï ú
Ï
j
#Ï Ï
b
&b ú
b
&b
j
Ï ÏÏú
Ï.
ú
j
Ï Ï
Ï Ï
Fine
Î
Î
Ï Ï
Ï
Ï
Ï
Ï
ú
Ï
ú
ú
Ï
ú
Ï
ú
ú
Ï
ú
nÏ
ú
Ï
105
Ï Ï
Ï
DC al Fine
9 -- "Si"
&
2.
&
&
&
&
&
####
####
####
####
####
####
&
&
&
####
Cú
ú
ú
ú
Ï Ï
ú
ú
ú
ú
ú
Ï Ï
ú
ú
ú
ú
#ú
ú
ú
C Ï Ï ú
Ï Ï Ï Ï
#Ï Ï
ú
ú
ú
Ï Ï Ï Ï
ú
ú
ú
ú
Ï Ï
w
ú
Ï Ï
w
Ï Ï
ú
ú
ú
ú
ú
ú
ú
ú
ú
Ï Ï ú
Ï Ï
ú
ú
ú
ú
ú
Ï Ï ú
#### ú
&
####
Ï Ï
ú
#### ú
&
####
&
ú
####
C ú
Ï Ï
Ï Ï ú
ú
ú
w
Ï Ï ú
Ï Ï ú
Ï Ï ú
ú
Ï Ï
w
Ï Ï ú
ú
Ï Ï
w
Ï Ï Ï
#Ï
106
ú
Ï Ï
w
ú
ú
"Si" -- 9
#
& 68 Ï
3.
#
& 68 Ï .
#
& 68
Ï
&
&
&
&
&
&
&
# Ï.
#
#
#
#
#
Ï.
Ï
Ï.
Ï
j
Ï Ï
Ï Ï Ï.
j
Ï Ï.
ÏÏ Ï Ï Ï
Ï
# Ï.
ÏÏ Ï
#
Ï
j
Ï Ï
j
Ï Ï
Ï Ï Ï.
Ï.
ÏÏ Ï Ï Ï
Ï
Ï.
j
Ï Ï
Ï
J Ï.
j
Ï Ï.
Ï Ï Ï Ï #Ï
j
j
Ï Ï
Ï
Ï.
ÏÏ Ï Ï Ï
Ï
Ï.
j
Ï Ï
Ï.
ÏÏ
Ï.
j
Ï Ï
#
& Ï
&
j
Ï Ï.
j
Ï Ï
Ï
j
Ï Ï
Ï.
ÏÏ Ï
j
Ï Ï
j
Ï Ï
j
Ï Ï.
ä
Î
ä
Î
j
Ï Ï
j
Ï Ï
Ï
j
Ï Ï
j
Ï Ï
107
Ï
Ï.
Ï Ï Ï.
j
Ï Ï
j
Ï Ï
j
Ï Ï
j
#Ï Ï .
Ï
J
Ï.
Ï
ä
Î
j
Ï Ï
ä
Î
j
Ï Ï
Ï
J
Ï.
Ï Ï Ï.
j
Ï Ï
j
Ï Ï.
j
Ï Ï
j
Ï Ï.
Ï
J
j
Ï
j
Ï
9 -- "Si"
4.
j
4 Ïj
b
& 4 Ï. Ï Ï.
ÏÏÏÏÏ Ï
4
&b4 Ï Ï Ï Ï
Ï Ï Ï Ï
j
Ï Ï . Ïj Ï .
ÏÏÏÏú
Ï Ï Ï Ï
Ï Ï Ï
4
j
j
& b 4 Ïj
Ï
Ï
Ï
Ï.
Ï.
Ï. Ï ú
j
j
& b Ï Ï . Ï Ï . n Ï Ï Ï Ï Ï Ï Ïj Ï . ÏJ
& b Ï Ï ÏjÏ .
& b Ïj
Ï.
&b ú
& b Ïj Ï .
&b ú
.
&b Ï
j
& b Ï Ï.
&b
ú
Ï
Ï
Ï.
j
Ï #Ï .
ú
j
Ï Ï.
j
Ï Ï.
#ú
Ï ÏÏÏ Ï
Ï.
Ï nÏ Ï ú
j
Ï Ï.
j
Ï Ï.
Ï.
j
ÏÏ Ï
Ï
Ï nÏ ú
ÏÏÏÏú
Ï.
j
Ï ú
j
Ï Ï.
j
nÏ . bÏ ú
ÏÏÏÏ ú
j
Ï Ï.
j
Ï Ï.
ÏÏÏÏú
Ï Ï ú
ú
j
Ï Ï.
Ï Ï ú
j
Ï Ï Ï ú
j
Ï ú
Ï.
ú
ú
î
ú
j
Ï Ï Ï Ï Ï Ïj Ï
.
î
ú.
108
ú
ú
Ï.
j
Ï #Ï .
Ï
j
Ï ú
Ï #Ï
DC al Fine
Ï Ï
Ï ÏÏÏ Ï
ú
Fine
ú
"Si" -- 9
5.
bb3
& b b 4 Ï.
bb3
& b b 4 Ï.
j
Ï Ï
j
nÏ Ï
bb3
& b b 4 Ï.
bb
& b b Ï.
bb
& b b Ï.
bb
& b b ú.
b
& b bb Ï .
j
Ï Ï
j
nÏ Ï
Ï
Ï
Ï
ú
j
Ï Ï
nÏ
ú
Ï
ú
nú
Ï
Ï
Ï Ï Ï Ï Ï nÏ ú .
Ï
ú.
Ï
Ï
Ï
ú.
ú.
ú.
nÏ
ú
Ï
ú
Ï
Ï
Ï
Ï
Ï
Ï.
b
& b bb ú
Ï
Ï
Ï
Ï
nú
nÏ
ú
Ï
Ï
ú
b
& b bb Ï .
j
Ï Ï
Ï
Ï
Ï Ï Ï Ï Ï nÏ ú .
b
& b bb Ï .
b
& b bb
Ï.
j
nÏ Ï
j
Ï Ï
ú
nú
Ï
nÏ
ú
Ï
Ï
109
Ï
Ï Ï Ï Ï
ú.
Ï Ï Ï Ï
J
b
& b bb nú
Ï Ï Ï
Ï
Ï Ï Ï ú
J
Ï
Ï
ú
Ï
Ï
ú
Ï
Ï
ú.
Ï
ú.
9 -- "Si"
John Bennet, a contemporary of John Dowland, was an
English madrigalist who lived in the late sixteenth century.
Little is known about his life except that he composed several
popular songs and madrigals, including a book of madrigals
for four voices which was published in 1599. His madrigals
include both light and solemn works. His madrigal, "Weep, O
Mine Eyes," is one of his solemn works, and it is also his most
popular work. John Bennet's works show the influence of his
famous colleague, Thomas Morley.
Things to look for in "Weep, O Mine Eyes":
1. Form
2. Non-harmonic tones
3. Style: homophonic or polyphonic (or both); melismatic or syllabic; legato or
marcato; homogeneous or contrasting, etc.
4. "Si."
5. The use of the melodic minor scale.
6. The use of the "Picardy third"-- a raised third of the chord at a cadence.
110
S - 110
LITERATURE: Page 111
Questions for discussion:
FORM:
What is the overall form of the piece on the following page?
How does the form of this arrangement compare to the songs you previously learned in
this book?
Teaching the song
1.
2.
3.
4.
5.
6.
7.
Teach in sections; begin with the most difficult part.
Audiate each section twice before chanting and singing it.
Teach every section with solfege, very slowly.
Gradually increase the tempo as the students master the notes.
Teach the specific word pronunciations with modified open vowels.
Sing with words, slowly, taking great care to tune each chord.
Increase tempo, perfect dynamics changes, etc.
Discuss interpretative issues with the students. Such issues include:
1. Phrasing
a. Where to take a breath
b. Are there places where the breathing needs to be staggered?
c. Consonants--how to perform consonants without interrupting the flow
2. Dynamics
3. Treatment of long notes--Singing "through" the notes using a slight crescendo
4. Diction
a. Keeping the vowel pure; not changing mouth position when closing to the
consonant
b. Clean and crisp consonants for clarity of lyrics
What is the mood of the song?
Does the mood change? If so, where?
Try to find good recordings of the "classical" pieces presented in this book so that after
the students have learned the pieces, they can hear exemplary performances of them.
S - 111
"Si" -- 9
eep, O Mine Eyes
SSA a cappella
John Bennet, c.1575-1614
Arranged by Patti DeWitt
p
Adagio; molto legato. In two
SI
SII
A
b
& b b 44
·
w
poco cresc. . . . .
ú
ú
Weep,
p
b
4
&bb4
w
&
bbb
poco cresc. . . . .
b
&bb
ú.
ú
Ï Ï
ú
î
nÏ nÏ Ï
ú
ú
cease
Ï
weep,
Ï
O
ú
not;
111
Ï
ú
Weep,
O mine
ú
P
mine
O mine
ú
eyes,
ú
and
ú
Ï
Ï
O
mine
ú
mine eyes
ú
Ï Ï
eyes,
Weep,
Ï
P
nú
Ï Ï
p
eyes,
eyes,
b
&bb
Î
P
O mine
Weep,
4
ú
Weep,
p
b
& b b 44 î
poco cresc. . . . .
ú
mine
ú
nÏ
O
Ï
mine
9 -- "Si"
&
bbb nú
&
bbb
7
P
ú
eyes,
weep,
j
Ï ú
Ï.
eyes
b
&bb
and cease
P
nÏ
ú.
eyes,
b
&bb Ï
10
b
&bb ú
b
&bb
Ï
&
bbb
O
mine
eyes,
weep,
ú
Ï
P
ú
not,
Weep,
nú
ú
Ï
ú
O
mine
O
mine
eyes,
and
cease
ú
Ï
ú
nú
weep
O
ú
weep
w
not,
nú
cease
ú
not,
nú .
not,
eyes
ú
w
and
ú
and
cease
·
w
A
P
ú
ú
-
-
las,
Ï
nú
ú
ú
A
w
mine
P
P
and
112
mine
nú
Weep,
Ï
ú
O
ú
w
cease
ú
ú
w
b
&bb w
ú
ú
eyes,
b
&bb ú
ú
Ï
eyes,
13
Ï
cease
ú
-
-
ú
these
w
not,
-
"Si" -- 9
b w
&bb
las,
&
bbb
ú
ú
17
these
ú
ú
ú
&
A
b
&bb ú
b
&bb
your
w
spring
b
& b b nú
25
tides
w
-
nú
spring
-
me
not,
not,
-
-
-
ú
tides
a
tides,
w
-
las,
-
ú
-
w
spring
ú
tides
in
ú
ú
-
thinks
in
Ï
ú
ú
Ï
-
thinks
in
Ï
ú
in - crease
113
Ï
me - thinks in -
-
-
ú
-
-
w
-
-
your
Ï Ï
spring
j
Ï Ï
tides
ú
ú
your
Ï.
-
these
ú
these
ú
ú
las,
las,
me - thinks
me
-
ú
tides,
ú
w
w
-
ú
b
& b b ú.
b
&bb ú
ú
-
F
ú
-
F
nú
A
b
&bb ú
w
spring
spring
·
21
F
ú
your
your
bbb
ú
ú
ú
crease
w
crease
w
crease
not.
w
nw
crease
ú
not.
nú
w
not.
-
9 -- "Si"
b
& b b .. î
F
b
& b b .. î
F
ú
29
ú
ú
ú
b
&bb ú
&
ú.
when
37
&
F
bbb Ï .
high
b
& b b Ï.
high
&
bbb
ú
drown
nw
O
w
Ï Ï ú
ú
when
be - gin
Ï Ï ú
ú
be - gin
Ï
w
Ï
be - gin
Ï
J Ï
that
I
Ï
J Ï
that
I
ú
me
Î
nÏ Ï bÏ
you
to
swell
Ï
Ï
to
swell
Ï
Ï
Ï
ú
may
drown
me
in
Ï
may
Ï
drown
w
in
114
ú
me
O
O
you
you
ú
w
î
ú
p
p
w
when,
O
î
when,
when
bbb
nÏ nÏ
p
ú
î
when,
O
b
&bb ú
w
Ï
O
F
b
.
& b b .w
33
Ï
Ï
Ï
Ï
to
swell
so
F
j
Ï Ï
Ï.
Ï
so
high
that I
may
j
Ï Ï
Ï
F
Ï.
Ï
so
high
that I
p
Ï
in
Ï
may
ú
ú
you?
that
p
ú.
Ï
you?
that
ú.
Ï
p
you?
that
"Si" -- 9
last time rit.
b
&bb Ï
40
Ï
ú
b
&bb ú
I
may
I
b
& b b ú.
I
ú
drown
ú
nú
may
drown
Ï
ú
may drown
ú
me
ú
me
ú
me
w
in
in
..
nw
..
you?
ú
ú
ú
w
in
nú
you?
w
..
you?
Interpretation:
Few interpretative markings (tempo, dynamics, etc.) were used in ancient music, and so
the arranger/editor must use his/her own judgment when editing a score. Some people feel
that it is a violation of the music to impose one's own interpretation on a score, while others
feel that it is necessary for those who do not understand the music of the time.
The interpretative markings were added to this score by the editor. Examine them
carefully and evaluate them:
1. Are they adequate?
2. Are they appropriate?
3. Are they faithful to the musical style?
4. Are they reasonable for performance by the "average" choir?
5. How would you mark the score if you were the editor?
Perform an internet search and locate downloadable
performances of English madrigals such as "Weep, O Mine
Eye" from at least two different sources.
Evaluate each performance for interpretative techniques.
How do the performances differ? How are they alike?
Which performance do you consider the most "effective"
musically, and why?
115
9 -- "Si"
VOCABULARY:
1. Adagio--Slowly; take your time.
2. Augmented second--A raised second; an interval of 3 half steps
3. Cadence--A point in the music when all voices come to rest on a common chord
4. Harmonic minor--A minor scale in which the So has been altered (raised) to Si
5. Homophonic--Chordal; a style of music in which all voices move to the next note
at the same time
6. Leading tone--The seventh note of the major scale, or any raised note that resolves
to the next higher pitch
7. Legato--Smoothly
8. Madrigal--An a cappella polyphonic choral piece popular in the Renaissance
9. Marcato--Heavily accented; the opposite of legato
10. Melismatic--Several (or many) notes to a single syllable of text
11. Melodic minor--A minor scale in which Fa and So are raised to Fi and Si when
ascending, but are natural (Fa and So) when descending
12. Molto legato--Very smoothly. Molto is Italian for "very."
13. Picardy third--Raising the third in a minor chord at the end of a major cadence
14. Polyphonic--A style of music in which the voices sing independent melodic lines
116
COMPOSE:
Give the students staff paper (or allow them to use music notation software.
Steps to take in writing a melody:
1. Key and time signatures
2. Form
(Remember to tell them that parts can be repeated or that they can add a "refrain"
to the poem in order to create the form they have chosen.)
3. Set the words to rhythm
4. Add pitches to the rhythms. Tell them to limit the intervals used
to scalewise movement and thirds and fourths of the I and V
chords.
5. Set tempo (and tempo changes; ritards, fermatas, etc.)
6. Add dynamics and dynamics changes.
7. Add a simple ostinato accompaniment (preferably with the
"syn-co-pa" pattern.
8. Add rhythmic percussion.
S - 116
Chapter 10:
Other Leading Tones
Breathing
1.
2.
3.
4.
44
Ï Ï Ï
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 using the
consonant "f":
j
Ï ÅÏÏ ÅÏÏ ä Ï
3
Ï Ï Ï Ï
5. Work the students up to being able to perform the whole phrase
without taking a breath. All the while reminding them to keep
"hold" of the breath with their abdominal muscles.
6. Repeat the exercise with actual pitches:
## 4
& 4Ï Ï Ï
Ï #Ï Ï Ï
3
Ï
Å # Ï Ï Å Ï Ïj ä Ï
Warm-ups:
Use the exercises provided in the chapter for each of the raised tones as warm-ups for
each lesson.
Use the entire ascending chromatic scale as a warm-up with raised notes.
S - 117
#
10: Other Leading Tones
1. Di -- (V of ii)
Di is the leading tone to Re, just as Ti is the leading tone to Do.
Melodic:
#### # 4
# 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï ÜÏ ú
&
ÏÏÏÏÏÏÏÏ Ï Ï ú
Harmonic:
#### # 4 Ï Ï Ï
Ï
# 4
&
#### # 4
# 4 Ï Ï Ï Ï
&
#### # 4
# 4 Ï Ï Ï Ï
&
Ï Ï ÏÏÏ
Ï Ï ú
Ï ÜÏ ú
Ï Ï Ï
Ï
Ï Ï ú
Ï Ï ú
Ï Ï Ï
Ï
ú
Ï Ï
ú
ú
COMPOSE an 8-measure melody in which you use at least one Di.
If you use music notation software, you will be able to listen to your melody.
Write or improvise an accompaniment to go with your melody.
Improvise a counter-melody to accompany your melody.
117
n
10 -- OTHER LEADING TONES
2. Ri -- (V of iii)
Ri is the leading tone to Mi.
Melodic:
b 4
& b b 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï #Ï
ú
ÏÏÏÏÏÏÏÏ Ï
ú
ú
Ï Ï Ï Ï
Ï Ï ú
#ú
ú
Ï Ï Ï Ï
Ï Ï ú
ú
ú
Ï Ï Ï Ï
Ï Ï ú
Ï
ú
Harmonic:
b
& b b 44 Ï Ï Ï Ï
b
& b b 44 Ï Ï Ï Ï
b
& b b 44 Ï
Ï Ï Ï
COMPOSE an 8-measure melody in which you use at least one Ri.
Write or improvise an accompaniment to go with your melody. Create your
accompaniment in a different style than for the melody that uses Di.
Details on how to write an accompaniment are presented in the first 2 books of this
series.
Pencil Time 4:
Activity Sheet 25: Raised notes
Activity Sheet 26: Hans Leo Hassler
Activity Sheet 27: Dixit Maria
118
3. Li -- (V of vii)
Ü
OTHER LEADING TONES -- 10
Li is the leading tone to Ti.
Melodic:
#### # 4 Ï Ï Ï
##4
Ï Ï
&
Harmonic:
#### ## 4
# 4 Ï Ï ú
&
#### ## 4
# 4
&
Ï Ï ú
#### ## 4
# 4
&
Ï Ï ú
Ï ÏÏÏ Ï
ÏÏÏÏú
Ï Ï ú
Ï ÜÏ Ï Ï
Ï Ï ú
Ï Ï ú
ú
ú
ú
Ï Ï ú
ú
ú
Ï Ï ú
Ï ÜÏ ú
ú
Ascending Chromatic Scale:
& 44 Ï # Ï Ï # Ï
? 44 Ï # Ï Ï # Ï
*
Ï Ï #Ï Ï #Ï Ï #Ï Ï
Ï Ï #Ï Ï #Ï Ï #Ï Ï
w
w
* After the ascending chromatic scale is mastered a cappella, to extend learning, sing in canon with the
second voice starting here.
119
10 -- OTHER LEADING TONES
READ the following exercises.
Identify the raised notes and audiate them before singing.
? # 44 Ï . ÏJ Ï Ï Ï Ï ú
1.
? # Ï . ÏJ Ï Ï Ï # Ï ú
Ï
Ï #Ï
Ï.
Ï
Ï Ï Ï
J
Ï Ï ú
Ï Ï ú
j
Ï #Ï Ï . Ï Ï Ï ú
& b 44 Ï
Ï Ï #Ï Ï Ï ú
Ï
.
J
Ï
j
& b Ï Ï Ï . Ï Ï #Ï Ï Ï Ï Ï Ï Ï # Ï Ï NÏ Ï Ï ú
j
Ï Ï #Ï Ï N Ï Ï ú
& b Ï Ï Ï . Ï Ï #Ï Ï Ï ú
2.
3.
? 34 Ï Ï Ï
?ú
ä ÏJ Ï
?Ï Ï Ï ú
Ï #Ï
ú
Ï Ï ú
Ï Ï Ï Ï #Ï
Ï Ï Ï Ï Ï
ú
## 4
Ï Ï Ï
4 Ï . Ïj Ï Ï Ï
&
4.
##
j Ï Ï Ï Ï.
& Ï Ï ú
Ï
Ï.
##
j Ï
.
Ï
Ï
Ï
& Ï #Ï ú
? # # # 34 Ï . JÏ Ï Ï . Ü Ï Ï Ï Ï .
J
5.
? # # # Ï . ÏJ Ï Ï Ï . ÏJ ú .
? ### Ï Ï .
Ï ú.
J
Ï . #Ï Ï
J
120
Ï
Î
ä ÏJ Ï Ï # Ï
Ï Ï
Ï #Ï ú
ú
ÏÏ Ï Ï Ï
ú
Ï #Ï Ï Ï Ï
Ï Ï Ï Ï Ï . Ïj Ï Ï Ï Ï
J
ú
Ï Ï
Ï
Ï
J ú.
Ï. Ï Ï
J
Ï . ÏJ Ï
Ï Ï.
Ï
ú
Ï . #Ï Ï
J
Ï . ÜÏ Ï
J
Ï ú.
J
OTHER LEADING TONES -- 10
j . j
bb 4 ú
Ï nÏ Ï Ï Ï Ï Î
b
Ï
Ï
b
.
&
b4 Ï
Ï ÏÏÏÏ
6.
ÏÏ Ï
Ï ú nÏ
bb
Ï
j
Ï
& b b b Ï Ï Ï Ï Ï nÏ Ï Ï Ï Ï . Ï Ï nÏ Ï Ï
ú Ï Ï ú
b
& b b b b Ï ú Ï ú . Î Ï ú Ï Ï Ï Ï Ï . ÏJ Ï Ï Ï Ï Ï Ï Ï Ï Ï Î
Ï Ï Ï Ï
? #### # 5 Ï .
Ï.
Ï
#
4
#
7.
J
Ï Ï Ï.
? # # # # # Ï . Ü ÏJ Ï Ï
ÜÏ Ï Ï ú
J
##
j Ï
? #### ## Ï . Ï Ï Ï ú
.
Ï
Ï
ÏÏ
Ï
#
J
Ï Ï Ï Ï Ï
J
Ï . ÏJ Ï Ï Ï Ï
Ï . Ïj Ï Ï ú
YOUR BRAIN:
bbb 6 Ï
ÏÏ Ï
Ï
b
Ï
.
&
8
8.
Ï
b Ï.
& b bb
Ï Ï Ï.
Ï.
b
& b bb Ï . nÏ Ï Ï Ï . Ï Ï Ï
b
Ï Ï
.
& b bb Ï . #Ï Ï Ï Ï
9.
#### # 5 Ï . Ï
# 8 Ï Ï
&
#### #
# Ï Ï . ÜÏ Ï
&
Ï Ï
. Ï Ï Ï nÏ Ï Ï Ï Ï
Ï . #Ï Ï Ï Ï
j
Ï
Ï
Ï
nÏ Ï
nÏ . Ï Ï nÏ Ï .
Ï . #Ï Ï nÏ Ï Ï . Ï Ï Ï Ï Ï Ï
ÏÏ Ï ÏÏ Ï
Ï
Ï
Ï
n
Ï
Ï
Ï Ü Ï . Ï# Ï
Ï Ï . Ü Ï ÏÏ
Ï Ï. Ï Ï Ï Ï. Ï Ï
#Ï
Ï.
Ï Ï . ÏÏ Ï Ï Ï . Ï Ï
Ï Ï .ÜÏ Ï Ï Ï ÜÏ . #Ï Ï
#### #
# Ï
&
Ï Ï. Ï Ï Ï
Ï . Ï Ï Ï Ï Ü Ï . # Ï Ï Ï Ï Ï . Ü Ï Ï Ï Ï Ü Ï .# Ï Ï
#### #
Ï Ï Ï Ï
# Ï Ï .ÜÏ Ï
Ï Ï . Ï Ï Ï ÜÏ . Ï#Ï
&
Ï
. Ï
Ï
Ï . #Ï Ï
121
10 -- OTHER LEADING TONES
HARMONIC EXERCISES:
Audiate each exercise before singing with solfege and handsigns.
1.
b 3
& b bbb 4 Ï
bb 3
&bbb4 Ï
bb 3
&bbb4 Ï
Ï.
Ï.
Ï.
Ï Ï Ï ú
J
j
Ï Ï Ï ú
j
Ï Ï
b
& b b bb Ï nÏ nÏ Ï Ï Ï Ï ú
b
& b bbb Ï
Ï.
bb
&bbb Ï
b
& b bbb Ï
b
& b bbb Ï
b
& b bbb Ï
b
& b bbb Ï
b
& b bbb Ï
b
& b bbb
Ï
j
Ï Ï
Ï nÏ
j
Ï Ï Ï Ï Ï
Ï.
Ï.
Ï Ï Ï ú
J
j
Ï Ï Ï ú
Ï.
Ï.
j
Ï Ï
Ï.
Ï Ï Ï ú
J
Ï.
Ï
Ï.
j
Ï Ï Ï ú
Ï Ï nÏ Ï
Ï
Ï
ú
Ï nÏ
Ï.
Ï Ï
J
Ï Ï nÏ .
j
Ï ú
nÏ Ï Ï .
j
Ï ú.
Ï
Ï.
Ï
Ï.
Ï
Ï.
Ï
Ï
nú
Ï
Ï.
Ï
Ï
Ï
ú
Ï
Ï.
ú
ú
Ï
j
Ï Ï Ï ú
j
Ï Ï Ï ú
Ï Ï nÏ Ï
Ï
122
j
Ï Ï Ï ú
Ï
Ï ú
J
j
Ï ú
j
Ï ú
Ï
ú
Î
Î
Î
OTHER LEADING TONES -- 10
2.
j
Ï Ï Ï
b4
& b 4 Ï.
b4
& b 4 Ï.
j
Ï Ï Ï
b4
& b 4 Ï.
b
& b Ï.
b
&b ú
j
Ï Ï Ï
Ï Ï Ï
J
Ï Ï
b
&b ú
Ï.
b
& b Ï.
j
Ï Ï Ï
b
& b Ï.
j
Ï Ï Ï
b
& b Ï.
j
Ï Ï Ï
b
& b Ï.
Ï Ï Ï
J
b
&b ú
b
&b ú
Ï Ï
Ï.
Ï Ï ú
Ï.
j
Ï Ï Ï
ÏÏÏ ú
Ï #Ï ú
Ï.
j
Ï Ï Ï
Ï
ú
Ï.
j
Ï Ï Ï
Ï nÏ ú
ú
Ï ÏÏ Ï ú
Ï.
Ï Ï ÏÏ
J
ú
Ï ú
ú
j
Ï Ï Ï
ú
ú
ú
ú
Ï Ï ú
Ï.
j
Ï Ï Ï
Ï #Ï ú
Ï.
j
Ï Ï Ï
Ï
ú
Ï.
j
Ï Ï Ï
Ï nÏ ú
Ï
Ï Ï Ï Ï
Ï.
j
Ï Ï nÏ
Ï.
Ï.
j
Ï Ï.
ú
Ï Ï Ï
J
Ï nÏ Ï
J
j
Ï Ï Ï
123
Ï
Ï Ï Ï
Ï Ï ú
w
Ï
Ï
Ï Ï Ï Ï
ÏÏ Ï ú
Ï ú
w
Ï Ï Ïú
Ï Ï Ïú
10 -- OTHER LEADING TONES
#### 4 Ï
&
Ï ú
4
3.
#### 4
&
4 Ï Ï Üú
#### 4
&
4 ú
#### Ï
&
Ï ú
&
&
####
####
&
&
####
j
Ï ú
Ï.
Ï Ï Ï Ï
ú #ú
j
Ï . Ï Ï . Ïj ú
Ï Ï #Ï Ï Ï
Ï Ï Ï Ï
ú
Ï Ï Ï.
Ï #Ï ú
Ï Ï ú
ú
j
Ï Ï Ï ÏÏÏ
Ï Ï Ï Ï
#### Ï Ï
Ï Ï
&
&
Ï.
j
Ï Ï Ï Ï Ï
w
Ï . Ï Ï #Ï Ï
J
Ï Ï
ú
ú
ú
ú
Ï Ï Ï.
Ï Ï Ï.
Ï Ï ÏÏú
J
Ï Ï Ï Ï
#ú
ú
Ï Ï #Ï Ï Ï Ï #Ï ú
ú
ú
ú
Ï Ï Ï.
#### Ï Ï Ï Ï Ï w
#Ï
&
####
Ï Ï Üú
Ï Ï Ï.
Ï Ï ú
Ï Ï ÏÏ Ï ú
#### Ï Ï ú
&
####
Ï Ï ÏÏÏ
Ï Ï ú
Ï Ï Üú
ú
Ï Ï ú
Ï #Ï
Ï Ï ú
Ï Ï Ï Ï Ï Ï Üú
w
ú
124
Ï Ï ú
Ï Ï Üú
j
Ï. Ï ú
Ï
J
j
Ï
j
Ï Ï Ï ú
Ï Ï ÏÏÏ
j
Ï Ï Ï. Ï
j
Ï. Ï Ï Ï Ï Ï Ï
OTHER LEADING TONES -- 10
&
&
&
4.
####
####
####
Ï Ï ú
Ï Ï ú
ú
#ú
j
Ï. Ï Ï Ï ú
ú
Ï Ï Ï Ï Ï Ï nú
Ï Ï Ï Ï ú
ú
ÏÏÏ Ï Ï
J
Ï
& b 34 Ï .
& b 34 Ï .
j
ÏÏ
& b 34 Ï .
ÏÏÏ Ï
Ï Ï #Ï
j
Ï Ï. Ï Ï Ï.
ú
Î
Ï.
ú
Î
ú
& b Ï Ï . Ïj Ï Ï . j
Ï ú
Î
&b Ï Ï Ï
& b Ï #Ï Ï
&bú
&b ú
&b ú
Ï Ï #Ï
Î
Ï.
Î
ú
Î
ú
ú
j
Ï Ï Ï Ï Ï
Ï
Ï
Ï
Ï
Ï #Ï
Ï
Ï
125
Ï
#Ï nú
U
Ï
Î
Ï.
Î
Ï.
Ï ÏÏ
J
ú
U
Ï Ï ú
ú
Ï
J ú
Ï Ï.
ÏÏÏ Ï Ï Ï
J
U
Ï Ï ú
Ï Ï ÏÏÏ
Ï Ï ú
ú
Ï
JÏ
j
ÏÏ
j
Ï Ï Ï Ï Ï Ï Ï.
ÏÏÏ Ï Ï Ï
J
Ï.
ÏÏÏ
J
Ï
Ï.
ú
Ï
Ï
Ï Ï Ï #ú
Ï
j
ÏÏ
Ï Ï Ï
Ï
ú
Ï
Ï
ú
Ï
nú
Ï bÏ ú
Î
Î
Î
10 -- OTHER LEADING TONES
bb4
& b b 4 Ï Ï Ï.
5.
bb4
& b b 4 Ï Ï Ï.
bb4
& b b 4 Ï Ï Ï.
b b b %Ï
b
Ï Ï.
&
j
Ï ÏÏÏÏÏ Ï
Ï Ï Ï Ï
Ï nÏ Ï Ï ú
j
Ï Ï Ï Ï Ï
Ï Ï Ï Ï
Ï.
j
#Ï ú
j
Ï Ï Ï Ï Ï
Ï Ï Ï nÏ
Ï.
j
nÏ Ï bÏ Ï Ï
j
Ï
Ï ÏÏÏÏ
Ï
Ï
Ï
bb
& b b Ï Ï Ï.
j
Ï Ï
Ï
Ï nÏ
Ï Ï Ï.
j
Ï Ï
Ï
Ï
b
& b bb
&
bbbb
Ï
b
& b bb Ï .
b
& b bb
Ï.
Ï
Ï.
j
Ï Ï Ï
j
ÏÏ
Ï
j
Ï Ï Ï Ï
Ï.
Ï
Ï
Ï
Ï
Ï nÏ
j
Ï Ï
ú
126
Ï
Ï
ÏÏÏ
Ï Ï ÏÏ ú
Ï
Ï
Ï
Ï.
Ï
Ï
Ï
nÏ bÏ ú
Ï.
j
Ï Ï
Ï.
j
Ï nÏ Ï
Ï
Ï Ï nÏ
Ï
Fine
j
Ïú
Ï Ï
D.S. al Fine
ú
ú
ú
Ï Ï Ï Ï
OTHER LEADING TONES -- 10
6.
b3
&b 4 Ï Ï Ï Ï Ï
b3
&b 4
·
·
b3
&b 4 ú
b
&b
ú
Ï
b
&b Ï
Ï
b
&b Ï
b
&b Ï
ú
Î
#Ï
Ï Ï
Ï nÏ Ï
Î
Ï
Ï nÏ Ï
Ï
Ï Ï Ï
#Ï
Ï
Ï Ï Ï Ï Ï Ï Ï
b
Ï
& b Ï nÏ 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
127
Ï Ï Ï ÏÏ Ï
Ï
Ï
Ï
Ï
#Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï Ï
b
Ï
& b Ï nÏ Ï Ï
b
&b Ï
Ï
ú
#Ï Ï Ï
#Ï
ú.
·
Ï
Ï nÏ #Ï Ï Ï
Ï
Ï
Ï Ï #Ï
Ï
b
&b Ï Ï Ï Ï Ï
b
&b
Ï Ï Ï Ï Ï Ï Ï nÏ Ï #Ï
Î
Ï
Ï Ï Ï Ï ú
Î
#Ï
Ï
Ï
ú
Î
Ï #Ï Ï
Ï
Ï
Ï Ï
Ï Ï Ï #Ï Ï #Ï ú .
#Ï
Ï
Ï
ú.
Ï #Ï Ï Ï Ï Ï Ï ú
10 -- OTHER LEADING TONES
7.
bb6
& b b 8 Ï . Ï Ï Ï nÏ Ï
j
bbb 6
b
Ï
8 Ï
&
Ï nÏ Ï
Ï . nÏ Ï
Ï
ä
Ï ÏÏÏ
ä
bb
& b b Ï.
b
& b bb Ï .
b
& b bb Ï . Ï Ï Ï
b
& b bb Ï . Ï Ï Ï
b
& b bb Ï
ä
nÏ Ï bÏ Ï
j
Ï Ï
b
& b bb Ï Ï . Ï Ï .
b
& b bb Ï Ï . Ï Ï
b
& b b b Ï Ï . Ï nÏ
Ï
J
ä
Ï . #Ï Ï Ï
bb6
&bb 8 . Ï Ï
Ï
Ï nÏ Ï
bb
& b b Ï . nÏ Ï bÏ Ï
ä
ä
Ï. Ï Ï Ï
Ï. Ï Ï Ï
Ï
j
Ï Ï
Ï. Ï Ï Ï
nÏ Ï
j
Ï
Ï
Ï nÏ Ï
Ï . nÏ Ï Ï
Ï . Ï Ï Ï nÏ Ï
Ï. Ï Ï Ï
Ï . nÏ Ï bÏ Ï
ä
Ï ÏÏÏ
ä
j
Ï Ï.
j
Ï Ï.
Ï. Ï Ï Ï
ä
nÏ Ï bÏ Ï
Ï Ï. Ï Ï Ï Ï
j
nÏ Ï Ï .
ÏÏ Ï Ï
Ï . #Ï Ï Ï
Ï Ï.
Ï
J
j
Ï
j
Ï
ä
ä
ä
ÏÏ Ï Ï
Ï Ï.
ÏÏ Ï Ï
Ï Ï.
ÏÏ Ï Ï
Ï . nÏ Ï bÏ Ï Ï Ï
Ï nÏ Ï Ï
j
Ï Ï Ï . Ï Ï Ï Ï nÏ Ï Ï Ï
j
Ï
j
Ï
Continued on next page 444
128
OTHER LEADING TONES -- 10
bb
& b b Ï.
bb
&bb Ï
bb
& b b Ï.
ÏÏ
Ï nÏ Ï
j
Ï Ï nÏ Ï
Ï . #Ï Ï Ï
Ï Ï Ï nÏ Ï
Ï. Ï Ï Ï
b
& b b b Ï . nÏ Ï bÏ Ï .
b
& b bb Ï .
Ï Ï Ï Ï.
b
& b bb Ï . nÏ Ï bÏ Ï .
b
& b bb Ï .
b
& b bb Ï .
b
& b bb Ï .
Ï . nÏ Ï
Ï
Ï Ï Ï
Ï
Ï
ä
ä
Ï
J
Ï. Ï Ï Ï
j
Ï
Ï. Ï Ï Ï
j
Ï Ï
j
Ï
Ï . Ï Ï Ï nÏ Ï
Ï . nÏ Ï
Ï
ä
Ï.
Ï nÏ Ï
Ï.
Ï nÏ Ï
Ï.
Ï nÏ Ï
Ï.
Ï nÏ Ï
j
Ï Ï.
j
Ï Ï.
j
Ï Ï.
129
ä
Ï
Ï.
Ï.
Ï.
Ï.
Ï.
Ï.
Ï
J
Î
j
Ï Î
j
Ï Î
10 -- OTHER LEADING TONES
8.
3 Î ÏÏÏÏ ú
b
& 4
Ï
& b 34
·
Î ÏÏÏÏ Ï
& b 34
·
î
Ï.
&b
& b Ï.
&b Î
#Ï Ï
J
ÏÏ Ï
Ï Ï Ï.
j
#Ï Ï
Ï Ï Ï Ï ú.
Ï
Ï
Î
Ï
nÏ Ï
J
Ï Ï Ï# Ï Ï
Ï
j
Ï ú
·
Î
ú
ÏÏÏÏ
Î Ï Ï Ï Ï Ï.
j
ÏäÏÏÏÏ ú
Ï Ï Ï Ï Ï
Î
î
Ï Ï Ï
&b
j
Ï äÏ Ï Ï Ï ú
·
&b Ï
&b Ï
Ï Ï Ï Ï
ÏÏÏ
j
Ï ú.
Ï
Fine
Ï
Î ÏÏÏÏ
Ï #Ï Ï
& b ú.
Ï
·
&b Ï
Ï.
j
Ï ú
ú.
Ï #Ï
& b Ï Ï Ï Ï Ï Ï ú.
Ï.
Ï #Ï Ï
Ï ú.
J
Ï nÏ Ï Ï Ï Ï .
Î ÏÏÏÏ
Î
Ï Ï Ï Ï
·
ú
Ï
Ï.
Î
Î
j
#Ï Ï
ÏÏ
Ï Ï Ï# Ï Ï
Ï
ÏÏÏÏ Ï ÏÏÏÏ
Ï Ï Ï Ï Ï.
Ï Ï Ï
J
Ï
Ï
Ï Ï Ï Ï
Ï Ï Ï Ï Ï
Ï.
j
Ï Ï
Continued on next page 444
130
OTHER LEADING TONES -- 10
·
& b ú.
& b ú.
Î
Ï
Ï #Ï Ï Ï ú
&b
& b ú.
Î
Î
·
ú
Ï
&bÎ
Ï #Ï Ï Ï nÏ .
j
#Ï Ï
&b ú
Î
j
#Ï Ï
131
Ï
Ï
nú .
j
Ï Ï
Ï.
Ï Ï
Ï nÏ #Ï Ï Ï
ú rit.....
#Ï
ú
rit.....
j ú
Ï
rit.....
Ï
j
Ï
nÏ Ï Ï Ï Ï Ï ú .
Ï
ÏÏ ÏÏÏ
Ï Ï Ï #Ï Ï
Ï.
j
#Ï Ï
Ï.
nÏ
J
Ï Ï Ï.
nÏ Ï
J
Î Ï Ï Ï Ï Ï nÏ Ï Ï
ÏÏÏÏ
·
& b ú.
&b
Ï.
Ï Ï Ï Ï
·
& b ú.
Ï Ï Ï.
Ï Ï Ï #Ï Ï
Ï
Ï.
Ï
Ï
U
Ï
U
Ï
U
Ï
10 -- OTHER LEADING TONES
# 4
Ï Ï.
& #4 Ï
9.
#
& # 44 ú
## 4
& 4 ú
#
& # ú
#
& # ú
##
&
ú.
## ú
&
#Ï Ï
jú
Ï
Ï.
ú
Ï Ï ú
&
bú
Ï
Ï Ï #Ï ú
Ï Ï ÏÏÏ
Ï.
Ï Ï ú
Ï.
j
Ïú
j
Ïú
ú
#Ï Ï
Ï Ï #Ï ú
#Ï Ï
ÏÏÏ ú
ú.
Ï
Ï #Ï ú
Ï
Ï Ï ú
ú
Ï
Ï Ï ú
Ï Ï
nú
Ï.
j
Ïú
Ï.
j
Ï Ï bÏ
ú
bÏ Ï
j
Ï ÏÏÏÏú
#
& # ú
#Ï Ï
Ï.
&
ú
Ï Ï ú
ú
Ï
JÏÏÏ
ÏÏÏ ú
#
& # Ï Ï Ï.
##
Ï.
#Ï Ï
#
& # Ï ÏÏÏÏÏ
##
j
Ï ÏÏÏÏú
Ï
Ï
Ï nÏ #Ï
Ï bÏ nÏ Ï ú
ú
Ï.
j
Ï ú
Ï
Ï Ï #Ï ú
#Ï Ï ú
Ï bÏ nÏ
ÏÏÏÏú
Ï
JÏÏÏ
Ï Ï #Ï Ï ú
Ï Ï ÏÏÏ
Ï.
Ï Ï ú
Ï.
j
Ïú
j
Ïú
Continued on next page 444
132
OTHER LEADING TONES -- 10
&
##
ú
#
& # ú
#
& #
&
## ú
&
#ú
&
##
##
#Ï Ï
ú
#Ï Ï
ÏÏÏ ú
Ï Ï ú
#ú
Ï Ï ú
Ï Ï ú
Ï.
ú.
ú
Ï
Ï Ï Ï. Ï ú
J
j
Ï Ï Ï. Ï Ï Ï Ï ú
ú
ÏÏÏÏú
#ú
Ï Ï
ú
ú
ú
Ï Ï
ÏÏÏ ú
ÏÏÏ ú
133
Ï Ï
j
Ïú
w
ú
#Ï nÏ ú
Ï Ï ú
ú
Ï Ï ú
Ï Ï ú
10 -- OTHER LEADING TONES
In which voice is the melody?
10.
b 3
&bb4 î
Ï
ÏÏÏ Ï
b 3
&bb4 Î ÏÏÏÏ ÏÏÏÏÏ
b 3
& b b 4 Ï . Ïj Ï Ï Ï Ï
Ï
b Ï
&bb ÏÏ
Ï
b
&bb ÏÏÏÏÏ
b
&bb Ï
Ï
b
& b b Î Ï.
Ï
Ï.
Ï Ï nÏ
Ï.
ú
Ï
ú
j
ÏÏ Ï ú
b
& b b Î Ï ÏÏ Ï Ï Ï Ï
b
j
& b b nÏ . Ï Ï Ï ú .
b
& b b ú.
b
& b b ú.
b
& b b ú.
Ï
ú
ÏÏ ú
Ï Ï Ï
j
ÏÏÏ ú
Ï.
Ï nÏ
J
Ï ú.
J
ÏÏÏ
Î
Î
Î
Î
Î Ï ÏÏÏ
Î
Ï.
j
ÏÏÏ
·
·
Î Ï Ï
Ï.
Ï
î
ÏÏÏÏÏ
j
Ï Ï Ï Ï Ï
Ï
j
Ï
Î Ï Ï Ï nÏ Ï Ï Ï Ï
Ï nÏ .
î
nÏ Ï #Ï
Ï
# Ï nÏ Ï
Ï
#Ï .
Ï
Ï
Ï Ï nÏ
j
Ï nÏ Ï Ï
Ï Ï
ú
nÏ
Ï.
j
Ï Ï
ú
Ï
î
Ï
Ï Ï nÏ Ï Ï
Î
Ï Ï
Ï . Ïj Ï Ï n Ï Ï Ï
Ï Ï Ï Ï
ú.
ÏÏÏÏÏÏ
ú.
Continued on next page 444
134
S - 134
LITERATURE: Page 136
Questions for discussion:
FORM:
What is the overall form of the piece on the following page?
How does the form of this arrangement compare to the songs you previously learned in
this book?
Teaching the song:
1.
2.
3.
4.
5.
6.
7.
Teach in sections; begin with the most difficult part
Audiate each section two or more times before chanting and singing it
Teach every section solfege, very slowly.
Gradually increase the tempo as the students master the notes.
Teach the specific word pronunciations with modified open vowels.
Sing with words, slowly, taking great care to tune each chord.
Increase tempo, perfect dynamics changes, etc.
Discuss interpretative issues with the students. Such issues include:
1. Phrasing
a. Where to take a breath
b. Are there places where the breathing needs to be staggered?
c. Consonants--how to perform consonants without interrupting the flow
2. Dynamics
3. Treatment of long notes--Singing "through" the notes-4. Diction
a. Keeping the vowel pure; not changing mouth position when closing to
the consonant
b. Clean and crisp consonants for clarity of lyrics
What is the mood of the song?
Does the mood change? If so, where?
Try to find good recordings of the "classical" pieces presented in this book so that after
the students have learned the pieces, they can hear professional performances of them.
S - 135
OTHER LEADING TONES -- 10
b
& b b ú.
b
& b b ú.
ÏÏÏ Ï
ú.
Ï
Ï.
ú
b
Ï
& b b Ï . Ïj Ï Ï Ï
Ï
b Ï Ï
&bb
Ï
b
& b b Ï Ï.
b
&bb Ï Ï Ï
b
&bb Ï Ï Ï
ú
j
Ï ú
Ï
Ï Ï Ï
b
&bb ú
b
&bb ú
Î
Î
Î Ï
Ï
ú.
j
Ï ÏÏ Ï
Ï.
Ï
ÏÏÏ
Ï
Ï
ú
Ï.
Ï.
j
ÏÏÏ Ï
ú
Ï
Ï Ï Ï
j
Ï Ï Ï Ï Ï
f F
Ï
Ï.
Ï
Ï
Ï
ÏÏÏ Ï
Î Ï ÏÏ Ï Ï Ï Ï Ï Ï
Î Ï Ï Ï Ï ÏÏÏÏÏÏ Ï
Ï.
Ï
Î ÏÏ Ï Ï ÏÏÏÏÏÏ
Î
î
Ï Ï
J
Ï . ÏJ Ï Ï
Ï Ï
Î
Ï Ï Ï ú
J
ú.
Ï Ï
ú.
Ï
j
b
Ï Ï Ï ú.
& b b Ï.
b Ï Ï Ï
&bb
j
Ï Ï Ï ú.
Ï
Ï.
Ï.
j
Ï Ï Ï ú.
ú
Ï
b
&bb Ï
Ï.
Ï Ï Ï Ï Ï Ï. Ï Ï
J
ÏÏ
ú.
j
ÏÏÏ
Ï Ï Ï Ï ú.
j
Ï Ï Ï ú.
INTERPRETATION:
The piece on the following pages, Dixit Maria, has been presented without editorial
expression markings. Study the score. Ask your teacher for a photocopy of Dixit Maria
(permission is granted by the author for this piece only) so that you can write in dynamics
and expressive markings. Be prepared to defend your decisions.
135
10 -- OTHER LEADING TONES
Dixit Maria
SSA A cappella
bb
&bb C
·
bb
&bb C ú
Ï Ï
bb
&bb C
·
Moderato; not too fast
SI
SII
A
·
Di - xit Ma - ri - a
ad
·
Ï. Ï Ï Ï Ï
J
Ï nÏ
ú
ú
An
Di
b
& b bb ú
5
Di
-
Ï
ú
Ï
xit
Ma - - ri
-
Ï Ï
a
ad
bbb Ï . Ï Ï Ï Ï Ï Ï Ï Ï Ï
b
&
J
An
-
-
b
& b b b Ï . Ïj Ï Ï Ï
An
-
-
-
-
-
An
-
-
Ï
xit
-
ú
Di
Ï Ï Ï Ï
ú.
English translation:
-
Ï
Ma - ri
- ge - lum, di - xit
-
Ï
-
xit
Ï
Ï Ï
-
a
Ï nÏ
-
ad
Ï Ï
- ge - lum, ad
Ï Ï
ú
Ma - ri
Ï
Ï Ï
- ge - lum, ad
-
Ï. Ï Ï Ï Ï
J
ge - lum,
Latin:
Dixit Maria ad angelum:
Ecce ancilla Domini,
fiat mihi
secundum verbum tuum.
·
·
Ï Ï
ú
Hans Leo Hassler
Ed. by Patti DeWitt
-
a
ad
Ï . Ïj Ï Ï
Ma - ri
-
a
Pronunciation:
dik - sit ma - ri - a ad an - d¯E - lum
E - tSE an - tSi - la d• - mi - ni
fi - at mi - hi
sE - kun - dum vE « - bum tu - um
Mary said to the angel,
"Behold the handmaiden of the Lord;
Let it be done according to your word."
136
OTHER LEADING TONES -- 10
b Ï.
& b bb
Ï
JÏ Ï
9
An
-
ú
ge
-
b
ÏÏ
& b b b Ï . JÏ Ï
An
-
lum,
-
-
bb
& b b Ï Ï Ï Ï Ï ÏÏ
b
& b bb Ï Ï ú
An
-
13
-
-
-
Ma - ri
ú
b
& b bb Ï Ï
bb
&bb Ï
-
xit
bb
&bb Ï
-
-
di - xit
Ma - ri
Ï Ï Ï . Ïj Ï Ï ú
a
ad
An
-
Ï
ge - lum, ad
An
ú
ú
ge -
a
ad An
-
-
Ï Î ú
-
-
-
-
Ï Î ú
a
Ï
lum,
di
-
-
137
di
-
Ï
ú
-
Ï.
An
di -
xit
Ma - ri
Ï Ï
ad
Ï
-
-
Ï
J
Î Ï
Ï ú
- ge - lum,
Ï ú
-
ad
ad
- ge - - lum,
Ï
-
a
Ï Ï
-a
Ï ÏÏÏ Ï Ï Ï
-
-
-
Ï Ï . Ïj Ï Ï Ï Ï n Ï
ad An
a
-
Ma - ri - a
Ï ú
nÏ
Ma - ri
Ï
Ï Ï ú
di - xit
-
Ï
Ma - ri
j
j
Ï
.
Ï
Ï
Ï Ï nÏ Ï
Ï Ï
An - ge - lum,
-
Ï
J
Ï Ï Ï ÏÏ Ï Ï Ï ú
Î Ï
ú
-
b
& b bb Ï Ï Ï .
Ma - ri
- ge - lum, di - xit
ge - lum,
-
17
ge - lum, di - xit
Ï Ï Ï Ï
Ï
bb
&bb Ï Ï ú
xit
di - - xit Ma - ri
Ï nÏ Ï Ï nÏ Ï ú
-
ad
Ï Ï Ï.
Ï Ï ú
Î Ï
An -
Ï Ï ÏÏ Ï
ad
An
-
Ï Ï Ï ÏÏÏ
a
Ï.
- ge - lum,
ad
An
-
j
ÏÏ
Ï
ad
10 -- OTHER LEADING TONES
bb3
&b b 2 ÏÏ ú
Ï ú
C w
ú
C w
b
& b b b 23 Ï . j
ÏÏ Ï ú
C ú
21
-
-
b
& b b b 23 ú
-
ú
-
ge
An
-
-
bb
&bb Ï Ï ú
mi - ni,
ec
bb
& b b nÏ Ï ú
- mi - ni,
-
bbb Ï .
b
&
fi
-
-
-
ú
ú
ú
ú
-
-
at
ú
ú
ÏÏ
J ÏÏ
-
an
an
-
bb
& b b Ï Ï bÏ Ï Ï Ï
- ce
- ce
ec - ce
-
ú
-
at
ú
Ï.
at,
fi -
an
ú
ú
an - cil
-
-
-
138
-
cil - la
Do
Ï nÏ
ú
cil - la
Do
nÏ Ï
ÏÏÏ
la
cil - la Do
Ï ú
-
-
la
Do
-
-
Ï
hi
- at
-
Ï Ï ú
mi
-
mi - ni,
- mi - ni,
j
Ï Ï Ï ú
-
-
mi - ni,
-
Î
-
Do
-
Ï
nÏ nÏ nÏ Ï nÏ
ú
-
-
-
Ï Ï ú
-
-
Ï Ï ú
cil - la Do
Ï Ï Ï Ï ÏÏÏ ÏÏ ú
mi
-
an -
Ï Ï ú
Ï ÏÏÏ ú
mi
ce
Ï ú
Ï
Ï Ï ú
an - cil
bbb Î Ï Ï Ï Ï Ï Ï Ï
b
&
-
ú
ú
ce
ú
ec
30
fi
-
Ec - ce
w
mi - ni,
-
Ec
w
bb
&bb Ï Ï ú
-
lum:
ge - lum:
25
-
Ec
ge - lum:
ú
fi -
Ï Ï Ï
se - cun - dum
- hi,
Ï Ï Ï
se - cun - dum
Ï Ï.
Ï Ï
- hi,
j
Ï
se - cun - dum
OTHER LEADING TONES -- 10
bb Ï
&bb
Ï
bb
&bb Ï
Ï
34
ver - bum
ver - bum
Ï
ú
tu
-
tu
ver - bum tu -
um,
Ï
Ï
Ï
um,
se - cun - dum
Ï
Ï
Ï
-
-
b
& b bb Ï Î î
um,
Ï.
se - cun
Î Ï
î
b
& b bb Ï Ï Ï Ï
Ï
um, se - cun - dum
cun - dum
bb
&bb ú
dum
bb
&bb Ï
Ï
Ï
ver
- bum
Ï
Ï
cun - dum
Ï
ú
tu
-
Ï ú
ver - bum
tu
dum ver - bum tu
Ï Ï Ï Ï
-
Ï
ver - bum
-
23 Ï ú
-
1
-
23 ú
-
tu
-
ú
bum
139
..
ú
..
-
ú
- um,
tu
ú
se
-
-
-
tu
Ï ú
tu - um,
23 Ï .
ÏÏú
tu -
um,
um,
Ï nÏ Ï Ï
-
ú
-
..
2
-
Ï ú
tu
ú
-
Ï
Ï
um, se -
ú
cun
.
Ï Ï Ï
Ï ú
-
-
ú
j
Ï Ï Ï Ï
Ï
ver - bum tu
Ï
ver
Ï
Ï Ï ÏÏ Ï Ï Ï Ï
Ï
um, se - cun - dum
Ï
Ï
ver - bum tu - um,se - cun - dum ver - bum
b
& b bb Ï Ï Ï Ï
&
Ï
se - cun - dum ver - bum
um,
bbbb Ï
Ï
ver - bum
Ï
-
37
41
Ï
se - cun - dum
Ï
ú
bb
&bb Ï Ï ú
Ï
um
-
se -
Ï
-
j
Ï
-
ú
tu
-
Ï. Ï Ï ú
-
- bum
tu
-
-
10 -- OTHER LEADING TONES
bb
&bb ú
44
î
Î Ï
um,
bb
&bb Ï Ï Ï Ï
b
& b bb
um, se - cun - dum
Ï
um,
Ï Ï Ï
se - cun - dum
Ï
Ï
se - cun - dum
Ï.
ver
Ï.
ver
-
-
j
ÏÏ
-
j
Ïú
-
Ï
-
-
Ï Ï
ú
ver - bum
tu
Ï Ï
ú
U
w
U
w
-
um.
- bum
tu
-
um.
Ï Ï
ú
-
um.
- bum
tu
U
w
Hans Leo Hassler was born in Nüremburg, Germany in 1564. Born into a family of
organists, he received his initial musical training from his father, famed organist Isaak
Hassler. In 1584 he started a tradition that German organists would follow for decades
to come: He relocated to Venice to receive instruction in the Italian style directly from
Italian maestro Andrea Gabrieli. In 1586 Hassler returned to Germany to enter the
service of Count Fugger at Augsburg to whom he dedicated his first collection of works
in the Italian style. In 1595 Hassler, together with his brothers Jakob and Kaspar, was
granted nobility status by the Emperor Rudolph II. This was extremely signficant because
this also granted him the privilege of copyright. In Augsburg he worked for a time as
organist at the church of St. Moritz, and later as director of the town band. He returned
to his home town in 1601 to become director of music for the city of Nüremburg.
At the beginning of 1602 he was appointed Kaiserlicher Hofdiener ("Imperial servant")
and was sent on several journeys for the Emperor. This position allowed Hassler time to
pursue some of his personal ventures, including musical composition. In 1604 Hassler
moved to Ulm where he married the daughter of a local merchant the next year. In 1608
he accepted an appointment as organist to the Elector of Saxony in Dresden. His duties
also included overseeing the Elector's music library and led eventually to his appointment
as Kapellmeister to the Electoral Chapel in Dresden.
He was frequently ill in his later years. He traveled to Frankfort-am-Main with the
Elector for the coronation of the new emperor in 1612. He died there on June 8 of the
same year at the age of forty-seven.
Hassler left behind him a rich repertoire of work containing masses, Latin and German
motets, chorales, hymns, and songs, as well as masterworks for instrumental groups and
for the organ. His compositions as well as his virtuosity on the organ led to his being
hailed as the greatest German musician of his time.
140
S - 140
Chapter 11:
Jan Pieterszoon Sweelinck
(yan
pi-t«r-zon sve-li‡k)
Most of the composers and examples in this book date from the Renaissance. There
are several reasons for this:
1. In the Renaissance, choral music was in its heyday.
2. The abundance of great choral music from this era.
3. Most of the music of this time was a cappella, which is excellent
for training choirs.
4. Much of the music was polyphonic, facilitating singer independence.
Instruct your students to compare the piece presented on page 145 to the piece
presented on page 136 before singing the former (on 145). Ask them to examine
the score for:
1. Form
2. Homophony/polyphony
3. Key
4. Harmonic elements/use of altered notes.
5. Rhythmic flow
6. Tempo
S - 141
11:
Sweelinck
(yan pi-t«r-zon svE-li‡k)
Jan Pieterszoon Sweelinck, 1562-1621, was perhaps the
most important organist and composer from the Netherlands
in the late Renaissance and early Baroque eras. He is best
known for his vocal compositions and organ works. He was
also one of the leading organ teachers in Europe during his
time, numbering among his students his own son Dirck and
other notable organ masters such as Nicolaus Hasse, Samuel
Scheidt, Michael Praetorius. He has been called the "maker
of German organists" because the succession of his pupils
descended directly to J. S. Bach and Handel.
In his organ fugues, called "fantasias," he was the first
to
give the pedals a voice of their own. His father was
Drawing by Cecelia Johnson
organist Peter Swybbertszoon, his first teacher. His mother
was Elske Sweeling. Sweelinck's father served as organist at Amsterdam's Oude Kerk
("Old Church") from 1564 until his death in 1574. Young Sweelinck may also have studied
with organist Cornelis Boskoop, who succeeded his father at the Oude Kerk for a short time.
For a reason that remains unclear, Sweelinck changed his name to a variant of his mother's
surname.
In any event, his keyboard
talents blossomed quickly and
Sweelinck succeeded Boskoop
at the Oude Kerk in the late
1570s. His post at the church
was less a religious one and
more a civil appointment, since
he actually worked for the city
officials of Amsterdam and not
for the Calvinists who forbade
music performance during the
church services. It is likely that
he played the organ in the
morning and evening when
services were not scheduled.
He would serve in this post for
over 40 years and was succeeded
by his son, Dirck, who kept the
the position for nearly as long
until his own death in 1652.
"Oude Kerk," full color engraving, 1726
Published by Ten Hoorn, Amsterdam
141
11 -- SWEELINCK
Sweelinck's mother died when he was 23, leaving the young composer to care for his
younger brother and sister. In 1590 Sweelinck married, and, already receiving a healthy
salary, forsook an automatic increase allowed for in his contract upon marriage in favor of
an alternate perquisite--rent-free living quarters. His wife would give birth to six children,
five of whom would survive their father. By the time of his marriage, Sweelinck had
already established himself as one of the finest teachers in Europe and had a substantial
income from that source also.
His first published music was a collection of 18 chansons (French word meaning "songs,"
printed in 1594. Additional publications came in 1597 and 1604, both collections of Psalm
settings which included "Psalm 96," presented on the following pages. While his keyboard
works rank in importance with his vocal music, no instrumental music was published during
his lifetime.
Unlike most composers and artists, Sweelinck led a rather uneventful life, and relatively
little is known of him. He traveled outside Amsterdam only a few times, generally for
matters associated with his post at the Oude Kerk. It is recorded that he returned to his
birth place, Deventer, in 1595 and 1616 for brief visits and that he also traveled to Antwerp,
Harderwijk, and Rotterdam. It is almost certain that Sweelinck became a close friend of
English composer John Bull (1562 - 1628), who left England in 1613 to live in Belgium,
from where he often visited the Netherlands.
Pencil Time 4:
Activity Sheet 28: Sweelinck
Activity Sheet 29: Renaissance Art and Music
Activity Sheet 30: Psalm 96
ACROSS THE CURRICULUM:
Compare Sweelinck's "Psalm 96" to Bennet's "Weep, O Mine Eyes" in Chapter 9 and
Hassler's "Dixit Maria" in Chapter 10 which originated during the same general time
period (Renaissance).
How are they similar? How are they different?
PREPARING to learn "Psalm 96":
What is the form of the piece? What is the style of the piece?
Is the piece imitative? If so, at what points?
"Psalm 96" may seem to be more difficult than previous pieces in this book because of
abundance of eighth notes and sixteenths. The secret is to take the piece slowly enough
that the notes can be performed with ease.
142
SWEELINCK -- 11
Art in the Renaissance
Renaissance art was divided into three distinct periods--Early, High, and late.
Renaissance art was born of revival of the philosophies of the ancient Roman and Greek
art and architecture that took place during the 14th and 15th centuries. The "rebirth" of art
in Italy was connected with the rediscovery of ancient philosophy, literature, and science
and a new emphasis of empirical methods of study in these fields.
The term "early Renaissance" characterizes virtually all the art of the 15th century.
Florence, the cradle of Renaissance artistic thought, remained one of the undisputed
centers of innovation. The first generation of Renaissance artists included Donatello in
sculpture, Filippo Brunelleschi (who discovered linear perspective) in architecture, and
Masaccio in painting. Central to their thinking were theoretical foundations of art and
the conviction that development and progress were not only possible but essential to the
life and significance of the arts. The challenge of accurate representation in sculptural
form (Donatello), a commitment to linear perspective (Masaccio), and effects of light
and color, were approached with intense and methodical inquiry.
Rational inquiry was believed to be the key to success; therefore, efforts were made to
uncover the specific laws for the correct proportion for architecture, for the representation
of the human body, and for systematizing pictorial space. By the late 15th century the
novelty of the first advances of Renaissance style had progressed to a general acceptance
of such basic notions as proportion, contraposto (twisted pose), and linear perspective;
consequently many artists sought means of personal expression within this relatively wellestablished repertoire of style and technique. The Early Renaissance was not, as was once
maintained, merely an imperfect but necessary preparation for the perfection of High
Renaissance art but a period of great intrinsic merit.
The essence of the High Renaissance art was its unity-- the balance that is achieved
intuitively, beyond the reach of rational knowledge or technical skill. The High
From The Ghent Altarpiece, Jan van Eyck, 1432, Ghent, Belgium
143
11 -- SWEELINCK
Renaissance style endured for only a brief period (c.1495-1520) and was exemplified by
a few artists of exceptional genius such as Leonardo da Vinci and Michelangelo. Da Vinci's
fresco "The Last Supper "(bottom) is an icon of High Renaissance balance and unity.
Michelangelo not only produced the masterpiece paintings on the ceiling of the Sistine
Chapel (like the example on the right), he also produced many magnificent works of
sculpture ("David," "Moses"). Michelangelo believed his gift to be of divine origin and
had no qualms about taking artistic license with his subject matter.
Central to the development of
Renaissance art was the emergence
of the artist as a creator, sought
after and respected for his
scholarliness and imagination.
Art, too, became valued--not merely
as an outlet for religious and social
change, but even more as a way of
personal, aesthetic expression.
Music of the High Renaissance
followed the trend of the visual arts.
Music, instead of merely being a
"Jacob - Joseph," Sistine Chapel ceiling
conduit for a religious text, became
Michelangelo, 1511-1512
appreciated for itself, and the High
Renaissance produced some of the most beautiful choral music ever written, due partly to
the same feeling of unity and balance in the musical compositions as can be seen in the
artworks of the time. As you study and learn "Psalm 96," feel free to allow yourself to be
swept away by the sheer beauty of the music itself--the long, independent phrases, the
interaction between between the voices, the beauty of the melodic lines.
"The Last Supper," Leonardo da Vinci, 1495-97; Milan
144
SWEELINCK -- 11
SSA A cappella
Jan Pieterszoon Sweelinck (1562–1621)
f
Arranged b. Patti DeWitt
Con moto, ma non troppo allegro
& 44 Ï
SII
Chan -
Ï Ï Ï
Ï
tez à Dieu
chan
4
&4
SI
Ï Ï Ï ú
-
son nou - vel - le,
·
î
f
ä
Ï Ï Ï
Chan-tez à
& 44 ä Ïj Ï Ï Ï
Ï
A
Ï
Chan - tez à Dieu
& 44
Piano
(rehearsal
only)
j
& ä Ï Ï.
3
Ï Ï
chan - son
ä
& Ï
Dieu
j
Ï Ï
Dieu
&
ä
ÏÏ
Ï
chan - son
& Ï
chan - son
j
Ï
Ï.
Ï
Ï #Ï
nou - vel
j
Ï
Ï ÏÏ ÏÏ
chan
Ï Ï ÏÏ
Ï Ï
Ï
Ï
ä Ï
J
Ï
Ï
nou - vel
j
Ï Ï
nou - vel
ÏÏÏ
f
Ï
le,
-
#Ï
145
son nou - vel - le, chan - tez à
ÏÏ ÏÏ # ÏÏ ú Ï
ä JÏ
F
Î
chan - tez,
ä
F
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Ï Ï
ä Ï
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-
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ô
F
j
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chan - tez,
Ï
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ô
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# ÏÏ
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ter
ô
ter
-
-
Ï Ï
-
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-
Ï Ï
11 -- SWEELINCK
& Ï
5
Ï.
terr'
&
u
-
Î
Ï
j
Ï Ï Ï
ni - ver - sel
Ï Ï Ï
-
-
ä
î
re,
Ï Ï Ï
& ÏÏ Ï
Ï
ÏÏ Ï ÏÏ Ï Ï Ï
Ï
re, chan - tez,
Ï
P
chan - tez,
& Ï Ï
Ï
ni - ver - sel
& j
Ï Ï
sel
ô terr'
Ï Ï Ï
& ä Ï
& Ïj
Ï
j
#Ï Ï
Î
Ï Ï Ï
Ï
-
-
Ï
- le,
P
chan - tez,
& Ï Ï Ï
7
P
-
ô
-
terr'
Ï
u
Ï
-
-
Ï Ï Ï
Ï
-
le,
u - ni - ver -
Ï n ÏÏ
Ï
Ï Ï Ï Ï Ï Ï Ï #Ï Ï
Î
ä Ïj
le,
j Ïj Ïj
Ï
ÏÏ Ï # ÏÏ Ïú Ï Ï Ï
-
ni - ver - sel - le, u - ni - ver - sel - le,
ú
le,
u
j
ÏÏ ÏÏ ÏÏ
J #Ï Ï
ÏÏ Ï ÏÏ
J
J
u
j
Ï Ï
#Ï Ï Ï Ï Ï
-
Ï
Ï
terr'
P F
ni - ver - sel
Ï
u
ô
Ï Ï #Ï Ï
-
Ï Ï Ï Ï Ï
ni - ver - sel - le, u -
ä Ïj
Î
u - ni - ver - sel - le,
ÏÏ Ï
ÏÏ
146
ÏÏ # ÏÏ
ÏÏ Ï ÏÏ
u
ÏÏ
ÏÏ
-
ÏÏ Ï
SWEELINCK -- 11
ä Ïj
9
& Î
u
Ï Ï #Ï
-
ni - ver - sel
& Ï Ï #Ï Ï nÏ Ï
Ï
Ï
ni - ver - sel - le, u - ni - ver - sel
& Ï Ï Ï Ï
Ï Ï Ï Ï
ni - ver - sel - le, u - ni - ver - sel
& ÏÏ
ÏÏ # ÏÏ
11
& Ï
tez,
ÏÏ n Ï ÏÏ
Ï
Ï
Ï
p
et
son
j
& ä Ï Ï
î
&
ä
-
-
-
cresc.
Ï
Nom
Ï
Ï
- le.
tez,
ä j
& # ÏÏ Ï
Ï
ä
Ï
be - nis - sez,
Ï
Ï
J
et
Ï
Ï
nÏ
Ï
Ï
ÏÏ
ÏÏ
son Nom
147
F
j
Ï Ï
et
cresc.
Ï
Ï
son Nom
Ï Ï
Ï
Ï ÏÏ
Ï
ÏÏ
j
Ï
chan -
j
Ï
ä
# ÏÏ
ÏÏ
J
p
ä
j
Ï #Ï
Chan - tez,
ä Ï
nÏ
F
F
- le.
Ï
chan -
Chan - tez,
ä
Ï
ä Ïj
ä Ïj
Ï
- le.
et
chan - tez,
ÏÏ
ä
Chan - tez,
Ï Ï Ï Ï Ï
chan - tez,
#Ï
ä Ïj Ï
Å
ÏÏ Ï Ï Ï Ïä
ÏÏ # ÏÏ
p
F
ä
Ï
p
j
ÏÏ
Ï Ï Ï
son Nom be - nis cresc.
Ï
Ï Ï
be - nis - sez,
î
be - nis - sez,
Ï
Ï
ÏÏ
ÏÏ
Ï Ï
Ï
11 -- SWEELINCK
Î
13
& Ï
sez,
& Ï
son
& ä
& ÏÏ
15
F
Ï
Nom
ä
Ï
Ï
Ï
et
son
Nom
Ï
Ï
ÏÏ
ÏÏ
Ï Ï
et
de jour
Ï
en
& î
&
Ï
jour
& Ï.
Ï
Ï
en
Ï
be - nis - sez,
Ï
& Ï.
Ï
et
Ï
P
F
Ï
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F
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son
Ï
Ï
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Nom
Ï
be
P
Ï
Nom
-
nis
Ï
be
Ï
-
nis
ú
-
Ï
son
-
sez,
f
ú
sez,
f
j
Ï Ï
j
Ï Ï
cresc.
Nom be - nis - sez,
ä
ÏÏ
ÏÏ
Ï
j
Ï ÏÏ Ï
úú
Î
F
Î
ä Ï
an
Ï.
Ï Ï
cresc.
et
de jour
en
Ï.
Ï
Ï
f
cresc.
Î
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et
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Ï
jour
jour,
Ï Ï
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et
son
be - nis - sez,
Î
Ï
Ï
Ï
cresc.
Ï ÏÏ .
148
Ï
de
Ï ÏÏ
Ï. Ï
et
de
Ï.
Ï
j
Ï Ï
non - cez,
F
ú
Ï Ï #Ï
jour
Ï
-
P
an - non - cez,
cresc.
F
jour en jour
an - non - cez,
Ï Ï Ï
úÏ
Ï
Ï
Ï ÏÏ ÏÏ
Ï Ï Ï
ÏÏÏ # ÏÏ
Ï
SWEELINCK -- 11
& ä JÏ Ï
Ï. Ï Ï Ï
& Ï
Ï
17
Ï
Ï
dé - li - vran - ce
Ï
Ï
cez
sa
Ï
Ï
an - non - cez
an
Ï
-
non
& Ï
an
ä
& ÏÏ
-
Ï
-
non
-
j
Ï ÏÏ
Ï
sa
cez
sa
Ï ÏÏÏ
ÏÏ .
Ï
dé -
Ï
Ï
Ï
li - vran - ce
Ï
Ï
j
Ï Ï
ÏÏ
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Ï
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Ï
& Ï Ï Ï Ï Ï Ï Ï Ï Ï
& Ï
nel
& Ï
nel
& ÏÏ
-
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le,
sa
sa
Ï Ï
dé - li - vran - ce
Ï Ï nÏ Ï bÏ Ï
le
de
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sa
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lem
Ï
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so
-
liv
-
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ran
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Ï Ï #Ï
so - lem - nel
ÏÏ
Ï
Ï
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Ï
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149
so
-
j
#Ï
-
j
ÏÏ
Ï
lem -
j j
Ï # ÏÏ
F
Ï
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le,
sa
F
Ï Ï Ï Ï Ï Ï Ï Ï
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ce, sa
dé - li - vran - ce
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-
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lem
dim.
so - lem - nel
Ï Ï
Ï Ï Ï Ï Ï Ï
le,
so
j
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ÏÏÏ
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Ï
dé - li - vran - ce
19
nel
Ï
Ï
dim.
dim.
ÏÏ # ÏÏÏ
Ï
dé
Ï
le,
-
-
F
Ï
sa
-
Ï
dé
-
-
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Ï Ï
11 -- SWEELINCK
21
& Ï.
dé
Ï Ï
-
& Ï
&
Ï
li - vran - ce
jour,
Ï
#Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï nÏ
Ï
Ï
Ï
n ÏÏ
ÏÏ
# ÏÏ
Ï
dé - li - vran - ce
Ï ÏÏÏ ÏÏÏ
& Ï
so
dim.
-
&
lem - nel
le,
-
Ï Ï
lem - nel
Ï
-
so - lem-nel
-
le,
Ï
Ï
-
le,
b ÏÏ Ï
& ÏÏ
b Ï Ï Ï Ï# Ï n Ï Ï # ÏÏ
sa
dé -
Ï
Ï
ä
ÏÏ
ce
j
Ï Ï Ï
-
j
Ï
- li - vran - ce
ä
ÏÏÏ
J
ÏÏ
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J
P
j
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et
ä Ïj
Ï
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J
Ï
chan - tez,
chan - tez,
Ï
chan - tez,
P
ä j
Ï
#Ï
ä j
Ï Ï
Ï nÏ
ä JÏ
ä Ïj
# ÏÏ
ä j
Ï ÏÏ
150
-
j
Ï
dé - li - vran - ce
ä Ïj Ï
chan - tez,
Ï
li - vran
P
ä Ïj
Ï
-
sa
Ï
chan - tez,
j
Ï Ï
ä Ïj Ï Ï
Ï Ï
-
F
bÏ Ï Ï . #Ï nÏ Ï Ï
dé
Ï Ï Ï.
le, chan - tez,
dim.
sa
le,
ä n Ïj
Ï
le,
-
F
F
Ï Ï Ï
Ï
so - lem - nel
#Ï
-
-
so - lem - nel
dim.
& Ï
so
Ï
Ï
bÏ Ï
23
Ï #Ï
so - lem - nel
Ï
li - vran - ce
& # ÏÏ .
Ï
chan - tez,
ä Ïj
ÏÏ
Ï
Ï
ÏÏ
ä
Ï
J
chan - tez,
SWEELINCK -- 11
25
& Ï
F
cresc.
Ï Ï
ä
Ï Ï
j
Ï
son Nom be - nis - sez,
cresc.
& Ï
et
F
Ï Ï
Ï
Ï Ï Ï Ï
Î
ä Ïj Ï
son Nom be - nis - sez,
Î
Ï Ï
son Nom be - nis - sez,
& ä
Ï Ï Ï Ï
ÏÏ
Ï
ÏÏÏ
f
& ä Ï
27
et
& Ï
sez,
&
F
nÏ Ï
et
& ÏÏ
et
cresc.
f
Ï
et
Î
cresc.
cresc.
Ï Ï
son Nom be - nis -
î
ä
Ï Ï
son Nom be - nis - sez,
ÏÏ
Ï
Ï
son Nom
Ï
Ï
son Nom
Ï
Ï
Ï
& Ï
Ï
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Ï
be - nis - sez,
f
Ï
ÏÏ Ï
Ï
Ï
be
Ï
be
-
Nom
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ä
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-
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sez,
et
F
ú
Ï
nis
-
Ï.
sez,
j
Ï
Ï
Ï
Ï
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Ï ÏÏ
F
ú
nis
-
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J
Ï
j
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son
et
Ï
ä
et
F
Ï.
Ï Ï
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Ï
de jour
en
Ï Ï
Ï
de jour
Ï
Ï
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en
Ï
et
de jour
en
j
Ï ÏÏ Ï
Ï.
Ï ÏÏÏ ..
ÏÏ ÏÏÏ
ÏÏ
151
cresc.
son Nom
be - nis - sez,
úú
Î
Ï
jour,
ÏÏ
11 -- SWEELINCK
29
& Ï
jour,
& Ï
P
et
& Ï.
Ï Ï
et
&
& Ï.
cez
& Ï
cez
Ï
en
Ï
Ï
jour
en
Ï
jour
ÏÏ
ÏÏ
Ï
Ï Ï Ï Ï Ï Ï Ï
Ï
Ï
cez
sa
& ÏÏ .
Ï
Ï ÏÏÏ
dé - li - vran - ce
Ï
Ï
Ï
152
non
an
-
ÏÏ
ÏÏ
Ï
ä
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j
Ï ÏÏ
Ï
Ï
#Ï
dim.
Ï.
Ï
Ï
Ï
dim.
-
non
Ï Ï Ï
-
-
Ï
an - non - cez,
so
ÏÏÏ
-
f
-
Ï
Ï #Ï
j
Ï Ï
ÏÏ
Ï
an
Ï Ï Ï Ï
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Ï
f
an - non - cez,
so - lem - nel
ÏÏ
Ï
an - non
Ï
Ï
Ï
J
ä
Ï
- non - cez,
dé - li - vran - ce
dé - li - vran - ce
Ï
Ï
so - lem - nel
Ï Ï Ï Ï
sa
Ï
jour
ÏÏ ÏÏ
ÏÏ ú
sa
an
ú
Ï
ÏÏ
Ï ÏÏÏ ..
ä ÅR
31
&
de jour
de jour
en
Ï
Ï Ï
Ï.
et
P
de jour
P
jour,
Ï
Ï Ï
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f
le,
-
P
Ï
sa
dim.
-
ú
le,
j
#Ï Ï
lem - nel
-
Ï
P
Ï
le,
sa
j j j j
ÏÏ ÏÏ ÏÏ ÏÏ Ïú Ï Ï Ï
Ï Ï
#Ï
Ï
Ï
Ï
SWEELINCK -- 11
F
33
& Ï Ï Ï Ï Ï Ï
Ï
Ï Ï
& nÏ Ï bÏ Ï
Ï Ï
de - li - vran - ce
dé - li - vran - ce
so - lem - nel
-
F
so - lem - nell' sa
& Ï Ï Ï Ï Ï Ï
#Ï
dé - li - vran - ce
& ÏÏÏ ÏÏ b ÏÏÏ
35
le,
-
F
Ï
sa
lem - nel - le,
li - vran
sa
sa
dé -
Ï Ï Ï
ÏÏ ÏÏ ÏÏ . Ï
dé - li - vran - ce
-
Ï
de
-
ÏÏ
J
Ï
Ï
Ï
Ï
#Ï Ï
-
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li - vran - ce
li - vran - ce
ce
so - lem - nel
Ï
Ï
Ï
Ï
Ï
Ï
Ï bÏ Ï .
Ï
j
Ï b ÏÏÏ
Ï
dé - li - vran - ce
Ï
-
bÏ
Ï
Ï
-
sa
j
Ï Ï
Ï Ï Ï
&
so - lem - nel - le,
dé
Ï Ï
so -
ÏÏ Ï Ï Ï ÏÏ Ï Ï Ï Ï . Ï Ï ÏÏ
#Ï
Ï
Ï
Ï
Ï
sa
Ï.
-
Ï Ï Ï. Ï Ï
& Ï Ï
Ï # ÏÏ
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dé
-
so - lem - nel - le,
Ï
Ï Ï ÏÏÏ Ï Ï Ï Ï Ï
j
Ï Ï
Ï Ï Ï
& ÏÏ
Ï
-
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& Ï Ï #Ï
Ï Ï
le,
Ï
so - lem - nel
Ï ÏÏ
Ï Ï
Ï
- li - vran - ce
ÏÏ
153
so
-
Ï
Ï
Ï
-
Ï
lem - nel
so - lem-nel
b ÏÏ
Ï Ï
-
-
#Ï Ï Ï
-
ÏÏ
Ï#Ï nÏ Ï
-
11 -- SWEELINCK
37
& #Ï
le,
& Ï
le,
& Ï
f
Ï.
so
f
Ï
so
-
le,
so
& # ÏÏ
Ï
Ï
-
-
lem
ÄU
Ï
-
nel
-
cresc. e rit. . . .
-
f
Ï.
bÏ
J
cresc. e rit. . . .
Ï
lem
-
Ï
nel
bÏ
-
-
-
-
-
Ï
-
lem
Ï bÏ
Ï Ï
-
Ï
nel
le.
ÄU
-
w
le.
ÄU
cresc. e rit. . . .
j
Ï
#w
-
Ï
b ÏÏ
w
le.
U
# ww
w
Translation:
Sing to the Lord a new song;
Sing to the Lord, all the earth.
Sing to the Lord, praise his name;
proclaim his salvation day after day.
Pronunciation: 1
Chantez à Dieu chanson nouvelle,
Chantez, ô terre, chantez,
ô terr' universelle,
Chantez,
et son Nom benissez,
et de jour en jour annoncez
sa délivrance solemnelle.
So* - tE a djU So* - so* nu - vE - l«
So* - tE o tEr - « So* - tE
o tEr u - ni - vEr - sE - l«
So* - tE
E so* nom bE - ni- sE
E d« ZUr o* ZUr a - no* - sE
sa dE - li - vro* - s« so - lEm - nE - l «
* Nasalized vowel
1. These pronunciations are written using the IPA (International Phonetic Alphabet). A
chart of the IPA is provided on page 243. Practice in using the IPA can be found in Pencil
Time Activity Sheets from Levels I (Activity Sheet 29) and III (Activity Sheet 25). 1.
154
IPA*:
If your students are not familiar with the IPA, find an IPA chart to post in
your classroom, and find some exercises for them to complete using the IPA,
such as Pencil Time 1, Activity Sheet 34 and Pencil Time 3, Activity Sheets
28A and B.
* International Phonetic Alphabet, which is presented in summary on page 249.
S - 154
Chapter 12:
Modulation
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 using the consonant
sound "sh" ( S ).:
45 Ï . ÏÏ
Ï. Ï Ï
Ï
Ï.
j
Ï Ï. Ï ú
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.
Warm-ups:
"Follow Me"
Give your students a tonic chord. Handsign any notes for them to sing
Game
following your handsigns. At some point, sign an altered note (such as Fi),
resolve it to So, and hold it. This note becomes the pivot note for the new
key. Handsign another note with your other hand. This is the note that So
becomes in the new key (For example, Do). The students then finish the
exercise singing in the new key. Plan your exercise beforehand to allow
to modulate back to the original key also. An example exercise is given
below. The pivot chord is noted by a slash sign (/). This is the note that
you would change to in the other hand.
/
Do, Mi, So, Mi, Do, Re, So, Fi, So
Key of D
So, Fa, So, Mi, Do, Ti, Do.
Do, Mi, So, Mi, Do, Re, Ti, Do
Key of A
Key of D
/
Students will be able recognize a modulation by your holding on to a
note with one hand and changing it to a different note with the other hand.
S - 155
12:
Modulation
Modulation is the act of changing keys within a musical composition. Modulation can
be either formal (with a specifically designated key change) or informal (no specifically
designated key change, but with a definite change in tonality as indicated by the repeated
use of altered notes). Much of modulatory tonal music modulates to another
key and then back to the tonic before the end of the piece.
Modulation may be direct; that is, a change of key with no warning or preparation. But
most often key changes are implemented in a smooth and seamless manner. The way this
is accomplished is through the use of pivot chords. A pivot chord is a chord serves as a
common link between two keys. The chord may include altered notes, or it may not.
INFORMAL MODULATION:
Consider the 8-measure phrase, below, in which there is a brief modulation and back
again. In what key is the example? To what key does it modulate? Now all that needs to
be decided is where the modulation begins and where it modulates back to the tonic.
Example 1:
& 44 ÏÏ ÏÏ
Ï
? 44 ÏÏ Ï
C Major: I
& ÏÏ
? ÏÏ
I
ÏÏ ÏÏ Ï
Ï
ÏÏ ÏÏ
IV
ÏÏ Ï ÏÏ
#Ï
ÏÏ Ï ÏÏ
Ï
ÏÏ ÏÏ ÏÏ úú
ÏÏ Ï ú
Ï ú
ÏÏ ÏÏ
Ï ÏÏ
Ï ÏÏÏ Ï
Ï ÏÏÏ Ï
Ï Ï Ïú Ï
Ï Ï
ÏÏ ÏÏ ÏÏ # ÏÏ Ï Ï Ï Ï úú
Ï
ÏÏ Ï Ï ÏÏ Ï úú
#Ï Ï
#Ï
Ï
Ï
Ï
Ï
ÏÏ
#ÏÏ
úú
úú
V7 of V
G Major:
I
Ï ÏÏ úú
ÏÏ Ï ú
Ï ú
/
Although there is an F-sharp in measure 3, we cannot be sure that this is a full
modulation until measure 4, where we have a full cadence in the new key: G Major.
Then we can use the last chord in the full cadence as a point of modulation. This is called
a pivot chord, a chord common to both keys (the V chord in the key of C, and the I chord
in the new key, G Major), which serves as a link from the one to the other.
At what point does the piece modulate back to C Major? Is there a specific pivot chord?
If so, which chord is the pivot chord? Finish analyzing the chords in Example 1.
What specific indicator do we have that the piece has, indeed, modulated back to the key
of C major?
When the key changes, so does the assignment of the solfege syllables to specific pitches.
155
12 -- MODULATION
In the Example 1, the pivot chord has been located and identified, but what does this mean
to the individual singer? It means that the scale has shifted as well as the key, and different
solfege syllables will apply to the pitches. Look at these two measures from Example 1 in
Example 2, below. It has been stated that the last chord in measure 4 is the pivot chord;
that is, it changes from the V chord in the key of C Major to the I chord in the key of G
Major. Thus the solfege must change also.
Example 2:
4
& ÏÏ
ÏÏ
Ï
? Ï # ÏÏ
Re
Do
úú
/
Ti
úú
ÏÏ
ÏÏ
Mi
So
5
ÏÏ
Mi
ÏÏ
ÏÏ Ï
#Ï
/
V7 of V
ÏÏ # ÏÏ
Ï
Ï
I
The soprano note (G) changes from So to what solfege syllable on beat three? What
change of notes occurs in the alto part? Bass? The tenor line is shown inside of the staves.
What happens to show us that the piece modulates back to C Major by the end of the
piece?
Example 3:
6
& Ï Ï ÏÏ Ï úú
Ï
? ÏÏ # Ï úú
7
Ï
Ï
Ï
Ï
Ï Ï Ï
Ï Ï Ï
ÏÏ
Ïú
ÏÏ
Ï
Which is the pivot chord back to C Major?
What is the pitch and solfege syllable in the soprano voice in the pivot chord in G Major?
To what solfege syllable does the soprano voice change in the new key of C Major?
What is the pitch and solfege syllable in the alto voice in the pivot chord in G Major?
To what solfege syllable does the alto voice change in the new key of C Major?
What is the pitch and solfege syllable in the tenor voice in the pivot chord in G Major?
To what solfege syllable does the tenor voice change in the key of C Major?
What is the pitch and solfege syllable in the bass voice in the pivot chord in G Major?
To what solfege syllable does the bass voice change in the key of C Major?
156
MODULATION -- 12
Modulations often occur to the dominant. To help visualize this, look at the Circle of
Fifths* chart, below:
Subdominant (IV)
34Dominant (V)
If one wants to find the dominant of a key, he looks to the next key clockwise from that
key. What is the dominant of the Key of F? G? A-flat? B?
If one wants to find the subdominant of a key, he looks to the next key counterclockwise from that key. What is the subdominant of the Key of C? D? E?
If one wants to modulate from one key to another, he can find the chords that the two
keys have in common by looking at the chart. For example, if a person wishes to
modulate from the key of C to the key of B-flat major, the F Major chord may be used as
a pivot chord, since it is common to both keys. It is the IV chord in the key of C and the
V chord in the key of B-flat.
Modulation to the dominant is quite common in music in a Major key. Modulation to
the relative Major or minor is also quite common.
Modulation may also occur between parallel major and minor keys. Two keys are said
to be parallel if they share a note name. For example, E Major is parallel to E minor;
B-flat Major is parallel to B-flat minor; F-sharp minor is parallel to F-sharp Major. When
this occurs there is a change in key signature and modality, but the tonal center remains
the same.
_________________________________
* The reason this chart is called the "Circle of Fifths" is because as one moves clockwise around
the circle, the notes move up by fifth (or down by a fourth). As they move counterclockwise to
the subdominant, the notes move down by a fifth (or up by fourth). If one keeps modulating up
by a fifth, one will eventually end back up in the original key.
157
12 -- MODULATION
In the exercises below:
1. Identify the key of each.
2. Identify the key to which each modulates.
3. Locate the pivot chords (to and from) and define them in both keys.
4. Identify the solfege syllable for the pivot notes (to and from) of each voice part.
1.
#
& # 44 Ï Ï
Ï
? # # 4 ÏÏ Ï
4
#
& # ÏÏ
? # # ÏÏ
2.
# ÏÏ
Ï
Ï
ÏÏ ÏÏ ÏÏ
ú
ú
ÏÏ ÏÏ
ÏÏ Ï
ÏÏ ÏÏ ÏÏ ÏÏ úú
Ï Ï ú
Ï Ï ú
Ï Ï
? b 44 ÏÏ Ï Ï ÏÏ
3.
Ï
ÏÏ Ï ÏÏ Ï Ï ÏÏ Ï
Ï Ï Ï Ï
Ï
Ï Ï
b 3
& b b 4 ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï
Ï
Ïú
? b b 34 úú
b
b
& b b ÏÏ Ï ÏÏ
Ï
? b b Ï ÏÏ
b
ÏÏ
Ï
Ï
ÏÏ ÏÏ ÏÏ # Ï ÏÏ Ï ÏÏ # ÏÏ úú
Ï Ï úú
ú
úú
Ï Ï
ú
ÏÏ ÏÏ ú
ú
ÏÏ ú
ú
Ï Ï Ï Ï
Ï # Ï Ï n ÏÏ
Ï Ï ÏÏ Ï
Ï
Ï Ï
& b 44 ÏÏ ÏÏ Ï ÏÏ ÏÏ
& b ÏÏ ÏÏ Ï ÏÏ ÏÏ
Ï
? b ÏÏ Ï Ï ÏÏ
ÏÏ
Ï
Ï
ÏÏ
Ï
Ï
Ï
Ï
Ï
ÏÏ
Ï
Ï
Ï
Ï
Ï
ÏÏ
ÏÏ
ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ
úú
Ï
Ï
ÏÏ
ÏÏ
ÏÏ
Ï
Ï
ÏÏ ÏÏ Ï ÏÏ
Ï Ï ÏÏ
Ï Ï
ÏÏ
Ï
Ï
ÏÏ Ï ÏÏ Ï ÏÏ b ÏÏ
ÏÏ Ï ÏÏ ÏÏ
Ï
ÏÏÏ ÏÏ
Ï Ï Ï
ÏÏ ÏÏ ÏÏ
ÏÏ
Ï
Ï
Ï
Ï Ï ÏÏ ÏÏ ÏÏ
Ï
Ï ÏÏ
Ï
Ï
158
ÏÏ
Ï
Ï
ÏÏ
ÏÏ
ú.
ú.
ú.
ú.
ÏÏ n ÏÏ
Ï ÏÏ
Ï
Ï
Ï
Ï
Ï
Ï ú
Ï
Ï úú
Ï
ú.
úú ..
úú
úú
MODULATION -- 12
FORMAL MODULATION:
A formal modulation occurs when there is a notated key change in the piece. This kind
of modulation may be prepared with altered chords, or it may be sudden, without warning.
Is the modulation in the example below a prepared or unprepared modulation? Defend your
answer.
b
& b 34 ÏÏ
? b b 34 ÏÏ
b
& b ÏÏ
? b b ÏÏ
ÏÏ Ï ÏÏ
ÏÏ Ï
Ï
ÏÏ Ï ÏÏ
ÏÏ Ï
Ï
ÏÏ
úú
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
úú
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ Ï Ï
ú
ú
n ÏÏ
Ï
Ï
ÏÏ Ï úú ..
úú ..
ÏÏ
& b ÏÏ
? b úú
ÏÏ
ÏÏ Ï ÏÏ
ÏÏ
úú
ÏÏ
ÏÏ
Ï
Ï
ÏÏ
Ï
Ï
& b ÏÏ
? b úú
ÏÏ
ÏÏ Ï ÏÏ
ÏÏ
úú
ÏÏ
ÏÏ
Ï
Ï
ÏÏ ÏÏ Ï
Ï
Ï Ï
Ï Ï
ÏÏ
ÏÏ
b
& b ÏÏ
? b b ÏÏ
I
b
& b ÏÏ
? b b ÏÏ
úú ..
úú ..
ÏÏ Ï Ï
ú
ú
V7 of
ÏÏ
Ï
Ï
/I
V
ÏÏ
úú
ÏÏ
b ÏÏ
ÏÏ
I7
ÏÏ Ï ÏÏ
ÏÏ Ï
Ï
ÏÏ
ÏÏ
ÏÏ
úú
ÏÏ
ÏÏ Ï Ï
ú
ú
ÏÏ
ÏÏ
úú
úú
ÏÏ Ï ÏÏ
ÏÏ Ï
Ï
ÏÏ
ÏÏ
ÏÏ
úú
ÏÏ
ÏÏ Ï Ï
úú
ÏÏ
Ï
Ï
ú.
ú.
159
ÏÏ
ÏÏ
úú
úú
Ï
/ V7
ÏÏ
ÏÏ
úú
12 -- MODULATION
MODULATION TO THE RELATIVE:
Perhaps the simplest modulation is to the relative major or minor, because, in its natural
form, the minor key has all chords in common with the major. Even if the raised sixth is
used to create a major dominant (V) chord for the minor key, it is still very easy to slip
back and forth from relative keys.
If there are no altered notes (no major V chord), one has to determine whether or not a
modulation has taken place by looking at the cadences. If there is a iii - vi cadence in one
or more places and the chords keep moving back and forth from the iii chord (dominant to
the vi chord) to the vi chord, then it is safe to assume that a modulation has occurred.
Below is an example of a modulation to the relative minor with no accidentals or other
markings indicate a modulation.
In what measure does the modulation begin?
In what measure does it end?
#
& 34 ÏÏ
Ï
? # 34 ú
# Ï
& Ï
Ï
?#ú
&
#
# Ï
& Ï
Ï
?#ú
ÏÏ
ÏÏ
ú.
ú.
úú ..
Ï
ÏÏ Ï ÏÏ Ï
ÏÏ ÏÏ ÏÏ
ÏÏ
ÏÏ
Ï
Ï
ÏÏ
Ï
Ï
ÏÏ
Ï
Ï
Ï Ï
Ï Ï ÏÏ Ï Ï úú ..
ú
Ï
úú ..
ú
Ï
ÏÏ
ÏÏ
ÏÏ
Ï
Ï
Ï
Ï
ÏÏ
ÏÏ
ÏÏ Ï Ï
ÏÏ
ÏÏ
ÏÏ
Ï
Ï
Ï
ÏÏ Ï Ï
Ï ÏÏ
ÏÏ
Ï
Ï
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ Ï ÏÏ
ÏÏ ÏÏ
ÏÏ
Ï
Ï
úú ..
úú ..
ÏÏ Ï ÏÏ
Ï ÏÏ
ÏÏ Ï Ï
? # úú
ÏÏ
Ï
Ï
Ï
ÏÏ Ï Ï
Ï ÏÏ
Ï
Ï
Ï
Ï
160
úú
ÏÏ
ÏÏ
ÏÏ
ÏÏ
MODULATION -- 12
The following exercises contain modulations, some formal, some informal, some to the
relative or parallel major or minor.
1. Identify the pivot chord or point of modulation and the new key (and back).
2. Determine the pivot note for your voice part, both modulating and returning
3. Audiate the point of modulation--first in the original key; then in the new key.
4. Audiate the entire piece.
5. Chant in chorus.
6. Sing in chorus with solfege and handsigns.
#3
& 4 Ï.
1.
#3
& 4 Ï.
#3
& 4 Ï.
&
&
&
#
#
#
ÏÏ
J
j
Ï Ï
j
Ï Ï
ú
ÏÏ ú
Ï.
Ï ú
Ï.
ÏÏú
Ï.
&
ú.
Ï
ú.
Ï
&
Ï ú
ÏÏú
Ï
#
Ï.
j
Ï. Ï Ï Ï ú.
# ú.
&
#
ÏÏú
j
ÏÏ
Fine
j
Ï Ï Ï ú.
Ï.
Ï.
Ï.
Ï
j
Ï Ï Ï ú.
Ï Ï.
Ï Ï.
j
.
Ï ÏÏÏ
j
Ï Ï ú
j
Ï Ï ú
161
Ï.
Ï ú
Ï Ï.
ú.
Ï.
Ï Ï
J Ï ú.
Ï.
j
Ï ÏÏú
ÏÏÏ
J
j
Ï ÏÏ
Ï Ï Ï
j
Ï Ï ú
Ï Ï.
j
Ï Ï ú
Ï #Ï Ï #Ï
ÏÏÏ
J
j
Ï
Ï Ï Ï
ú
D.C. al Fine
Ï
Ï
Ï
Ï
ú
Ï
Ï
Ï
#Ï
ú
Ï
12 -- MODULATION
2.
b
& b 44 Ï Ï Ï .
j
Ï Ï Ï Ï Î
b
& b 44 Ï Ï
Ï.
Î
j
Ï Ï Ï Ï
b
& b 44 Ï Ï Ï .
b
& b Ï Ï Ï.
b
& b Ï Ï Ï.
b
&b Ï Ï
Ï.
& b Ï Ï Ï.
&b
·
&b ú
Ï Ï
& b Ï Ï Ï.
Ï Ï Ï.
j
Î
Ï Ï Ï Ï
j
Ï ÏÏÏÏÏ Ï
Ï Ï Ï.
Ï Ï Ï.
Ï Ï Ï *ú
J
j
Ï Ï nÏ Ï Ï
j
Ï Ï Ï Ï Ï
Ï Ï ÏÏÏÏ Ï Ï
ú
j
Ï Ï Ï Ï Î
Ï Ï Ï Ï
jÏ Ï Ï Î
Ï
Ï nÏ ú
nÏ Ï Ï Ï
nÏ Ï ú
Ï ÏÏÏÏÏ Ï
J
Ï Ï Ï.
Ï Ï Ï.
Ï ÏÏÏÏÏ Ï
J
Ï Ï Ï Ï
ú
Ï Ï
Ï Ï Ï ú
J
Ï Ï ú
Ï Ï ú
j
Ï ÏÏÏÏÏ Ï
ÏÏÏ ÏÏÏ
Ï Ï Ï Ï
&b ú
Ï Ï
Ï ÏÏÏ Ï
Ï Ï Ï Ï
Ï Ï Ï Ï
ú
Ï Ï
Ï Ï Ï ÏÏ Ï Ï Ï Ï
Ï Ï Ï bÏ
&b
Continued 444
* This may appear, at first sight, as a modulatory cadence, but since it continues in the key of B-flat in the
next measure, this is merely a half cadence with a secondary dominant (V of V).
162
MODULATION -- 12
b
& b Ï Ï Ï.
j
Ï Ï Ï Ï Î
b
&b Ï Ï
Ï.
Î
j
Ï Ï Ï Ï
b
& b Ï Ï Ï.
b
& b Ï Ï Ï.
b
& b Ï Ï Ï.
b
&b Ï Ï
Ï.
b
&b w
b
&b w
b
&b w
j
Î
Ï Ï Ï Ï
j
Ï ÏÏÏÏÏ Ï
Ï Ï Ï.
Ï Ï Ï ú
J
Ï Ï Ï.
j
Ï Ï nÏ Ï Ï
j
Ï Ï Ï Ï Ï
Ï Ï Ï.
What kind of cadence?
Ï Ï ÏÏÏ
Ï.
j
Ï Ï Ï Ï Î
Ï
Ï Ï Ï
Ï.
Ïú
J
j
Ï ú
Î
j
Ï Ï Ï Ï
Ï
Ï ÏÏÏ
Ï.
j
Ïú
Ï Ï ÏÏÏ
ú.
Ï Ï Ï Ï
ú
Ï Ï
ú
ú
w
Ï Ï ÏÏÏÏ ú
Ï Ï
ú
ú
w
Ï w
w
What kind of cadence?
163
12 -- MODULATION
#
n
This exercises modulates from one key to its parallel minor. Name the key. Name its
parallel minor. Notice at the point of modulation, the alto note changes from C to C in
the next measure.
3.
### 4
j
&
4 Ï. Ï Ï Ï
### 4
&
4 Ï Ï Ï Ï
### 4
&
4 Ï Ï
Ï Ï
###
ÏÏÏ ÏÏ
&
Ï Ï
###
&
Ï Ï ÏÏÏ Ï
###
&
Ï
Ï
Ï Ï Ï
& Ï.
& ú
& ú
& Ï.
& ú
& ú
Ï Ï ÏÏ Ï Ï
J
Ï Ï Ï ÏÏ ÏÏÏÏú
ÏÏÏ ú
Ï Ï ú
Ï Ï Ï Ï
ÏÏÏ ú
Ï Ï Ï ÏÏ Ï Ï Ï
Ï
Ï Ï
ÏÏÏ
ÏÏú
ÏÏú
Ï Ï Ï
Ï ú
Ï Ï
Ï Ï
ú
Ï
Ï ú
Ï
Ï
ú
Ï
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Ï Ï
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Ï
ÏÏÏÏÏ Ï
ú
Ï #Ï ú
Ï Ï ú
w
Ï Ï
ú
#ú
Ï
ú
ú
Ï
Ï Ï Ï Ï Ï Ï Ï Ï #Ï ú
ÏÏ ÏÏ Ï Ï ú
J
ú
Ï
Ï ú
Ï
Ï Ï Ï
Ï
ú
Ï
Ï ú
Ï
Ï Ï
Ï ú
Ï
Ï ú
164
Ï
MODULATION -- 12
&
&
###
###
&
###
&
###
&
###
Ï.
Ï
Ï Ï Ï
Ï
ÏÏÏ ú
Ï Ï ú
Ï Ï ú
Ï Ï ú
&
### Ï .
&
###
&
###
&
&
###
###
Ï
Ï
Ï
Ï
Ï Ï Ï Ï
J
Ï Ï Ï Ï
Ï #Ï ú
Ï Ï Ï
Ï Ï Ï Ï
Ï
Ï Ï Ï
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ÏÏÏÏú
Ï Ï ú
&
&
Ï ú
Ï
ÏÏÏ
Ï Ï
Ï Ï Ï ÏÏ ÏÏÏÏú
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Ï Ï Ï
###
###
j
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Ï
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Ï.
ú
nÏ
nÏ
ú
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Ï
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J
Ï
Ï.
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Ï Ï Ïú
Ï Ï ú
ú
Ï
Ï
ú
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Ï
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nÏ nÏ Ï ú
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w
Ï ÏÏú
Ï Ï nÏ Ï
Ï ú
Ï
ú
Ï Ï ú
Ï Ï ú
ú
Ï Ï
w
165
Ï Ï Ï Ï Ï
J
ú
Ï
Ï
ú
12 -- MODULATION
## 4 ú
& 4
4.
## 4
& 4 w
## 4 j
& 4 ÏÏ
5
&
##
#
& #
&
##
&
&
Ï Ï w
Ï
Ï
ú
Ï
##
ú
Ï
ÏÏÏÏ ÏÏ
&
##
ÏÏÏ ú
ÏÏÏÏÏ Ï
Ï ú
Ï Ï
Ï Ï ú
ÏÏÏÏÏ Ï ú
b ú
& b b ..
Ï Ï
b
j j
& b b .. Ï Ï Ï Ï Ï Ï
b
& b b ..
Ï Ï ú
Ï Ï ú
12
w
Ï Ï Ï
Ï
ú
ú
Ï
#ú
Ï
ÏÏÏ
Ï
ÏÏÏÏÏ Ï
ú
Ï
ú
Ï Ï
166
Î
Î
Î
ú
Ï
Ï
Ï
Ï
#Ï
3rd time to m. 20
j j
Ï Ï Ï ÏÏÏ
w
..
..
..
ú
Da Capo
Ï Ï
ÏÏÏÏÏ Ï
Ï
Ï Ï
Ï
Ï
Ï
ÏÏÏÏ ÏÏ
Ï
ÏÏ ú
j
Ï ÏÏÏ ÏÏÏÏÏ Ï
ú
Ï Ï Ï
Ï
ú
ÏÏú
3rd time to m 9
j
j
Ï ÏÏÏ ÏÏÏÏÏÏÏ Ï Ï
Ï ú
## Ï
9
Ï Ï ú
ÏÏÏ Ï
U
Ï
U
Ï ú
U
Ï ú
Ï
U
nÏ
ÏÏú
ÏÏÏÏÏ Ï ú
Ï
ÏÏú
..
..
..
MODULATION -- 12
b
& b b .. Ï
b
& b b ..
b
&bb Ï
19
Ï
Ï
b
&bb Ï
Ï Ï Ï
b
&bb ú
Ï
b j
&bb Ï Ï
ú
Ï
.. .. ú
.. ..
Ï
Ï
j
Ï Ï Ï Ï
ÏÏ Ï
b
&bb Ï Ï Ï Ï ÏÏÏ
b
&bb Ï Ï Ï Ï Ï
Ï
Ï
Ï
ú
ú
Ï
j
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
167
Ï
Ï
ú
.. Ïj Ï
..
Ï
"
"
"
Ï
Ï Ï Ï
Ï Ï Ï Ï Ï
.. ú
Ï Ï ú
ÏÏÏÏÏ Ï Ï
Ï
Ï Ï Ï Ï Ï Ï Ï
Ï
Ï Ï Ï Ï Ï Ï
ÏÏÏÏÏ Ï ú
Ï
Ï Ï Ï Ï
Ï Ï Ï
Ï
Ï
.. .. Ïj Ï
Ï
b
&bb Ï Ï Ï Ï Ï Ï Ï
b
&bb
Ï
Ï
ú
ú
2nd time to m. 12
b
& b b ÏÏÏÏÏ Ï Ï
22
Ï
Ï Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï
b
& b b .. ú
25
Ï
Ï
ú
16
Ï
Ï
Ï
j
Ï Ï Ï Ï
Ï
Ï Ï Ï Ï Ï Ï
Ï
ÏÏÏÏÏ Ï
Ï
ÏÏÏÏÏ Ï Ï
Ï
Ï Ï
Ï
ÏÏÏÏÏ
12 -- MODULATION
The following exercise contains several places in which it seems that it might be
modulating, but, in reality, it only modulates one time. Analyze the piece carefully and
find where it truly modulates into another key. Then decide the function of the other, nonmodulatory altered notes.
This is a rather long exercise. Make sure you study over it all the way to the end.
Ï
& 34 Ï . Ïj Ï Ï Ï Ï . JÏ Ï Ï ú
5.
j
& 34 Ï . Ïj Ï Ï Ï Ï Ï . Ï Ï Ï ú
& 34 ú
8
& ú.
& ú.
& .
ú
Ï Ï Ï Ï ú
j
Ï. Ï Ï
Ï . Ïj Ï Ï Ï Ï
ú
j
Ï
.
&Ï
#Ï ú .
& ú
Ï ú.
ú
Ï ú.
Ï
ú
.
Ï Ï JÏ Ï Ï Ï Ï .
j
Ï
.
Ï
Ï #Ï Ï Ï .
Ï
Ï Ï Ï
Ï . ÏJ Ï
j
Ï. Ï Ï Ï ú
Ï Ï Ï Ï ú
ÏÏ
Ï Ï Ï
ú
Ï Ï ú
Ï
ú
Ï Ï ú
j
#Ï Ï
Ï
ú
j
Ï Ï #Ï ú
Ï Ï Ï
j
Ï. Ï Ï
168
Ï ú
ú
Ï
Ï Ï . Ïj Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï. Ï Ï Ï
Ï . Ïj Ï Ï
ú
J
15
&
Ï ú
Ï . ÏJ Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï ú
Ï Ï . JÏ
j
Ï
#Ï Ï .
ú
Ï
MODULATION -- 12
Ï Ï Ï Ï #Ï . Ï ú .
& ÏÏ
J
Ï Ï. Ï Ï Ï Ï. j Ï Ï Ï
#Ï Ï
J
22
ú.
& Ï Ï Ï Ï Ï Ï #ú
#Ï ú
&ú
ú
Ï
#Ï Ï #Ï
ú.
Ï Ï Ï
Ï Ï Ï
#Ï #Ï Ï
#ú .
Ï #Ï Ï
Ï Ï #Ï Ï
ú.
Ï
Ï Ï
Ï Ï Ï
Ï ú
Ï ÏÏÏ Ï
J
& Ï Ï.
29
j
Ï Ï #Ï Ï Ï
& Ï #Ï .
&
Ï ú
Ï ú
35
&
ú
ú.
Ï
ú
ú.
ú
& Ï Ï Ï Ï Ï Ï Ï ú.
ú
Ï Ï ú
Ï ú
42
&
#Ï
ú
Ï Ï Ï #ú .
Ï Ï Ï. Ï Ï Ï
Ï . Ïj Ï Ï
ú
J
j
j
.
Ï
Ï
Ï
Ï Ï ú
Ï. Ï Ï Ï
Ï
ú.
& ú.
&
Ï ú
ÏÏú
Ï ú
Ï Ï ú.
& Ï Ï Ï Ï Ï
Ï
ú.
Ï Ï Ï Ï ú
Ï
ú
ú.
Ï . JÏ Ï Ï
j
Ï. Ï Ï
Ï
Ï Ï Ï. Ï Ï
Ï . Ïj Ï Ï
J
Ï . Ïj Ï Ï Ï Ï
ú
169
j
Ï. Ï Ï
Ï Ï Ï Ï ú
Ï
Ï . Ïj Ï Ï
Ï ú
#Ï ú
ú
Ï
12 -- MODULATION
Ï. Ï Ï
&
J
49
j
& Ï. Ï Ï
&ú
Ï
Ï. Ï Ï Ï Ï
Ï Ï Ï Ï. Ï Ï ú
Ï Ï . ÏJ Ï ú .
.
J
J
j
j
Ï
.
Ï Ï Ï Ï. Ï Ï
Ï
Ï Ï Ï Ï ú Ï ú.
#ú Ï
ú
Ï ú
ú
Ï ú.
Ï ú
Ï ú
Ï ú.
VOCABULARY:
1. Direct modulation--"Unprepared" modulation; a modulation that occurs with no
preparation or warning
2. Dominant--The fifth note above the tonic; the V chord
3. Formal modulation--A modulation that is indicated by a change in key signature
4. Informal modulation--A modulation that is indicated only by a change in modality
or the use of altered notes
5. Modulation--A change of key in the midst of a piece of music
6. Parallel major/minor--Keys which are called by the same letter name, for example
A major and A minor; F major and F minor
7. Pivot chord--A chord common to both the original key and the key of modulation
that serves as a link between the two keys
8. Relative major--A Major key that shares a common key signature with a minor key
9. Relative minor--A minor key that shares a common key signature with a Major key;
The tonic of the relative minor is a minor third lower (La) than the tonic of the
Major key.
10. Subdominant--The fourth above the tonic; the IV chord
Pencil Time 4:
Activity Sheet 31:
Activity Sheet 32:
Activity Sheet 33:
Activity Sheet 34:
Pivot Chords
Modulation to the Relative or Parallel Major or Minor
Circle of Fifths
Analysis: "Navy Hymn"
170
S - 170
Singing
in harmony:
1. Divide the literature into sections, beginning with the most difficult
2. Each voice part audiates its own part together on a common beat.
(using handsigns)
3. Chant the solfege, all parts together.*
4. Sing with solfege and handsigns slowly, all parts together.
When a section is mastered, ask for volunteers to sing the section as a harmonic
exercise in a small ensemble, one person on each part.
Instruct the individual performers to treat the exercises like literature and to sing
them creatively and expressively.
Phrasing
Singing through the long notes
Dynamic changes
Tempo changes (ritards, fermatas)
* Instruct your students to chant "musically," incorporating dynamics and phrasing
and tempo changes even while chanting.
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.
This game may be used on exercises as well as for literature.
S - 171
MODULATION -- 12
The Navy Hymn
The hymn, "Eternal Father, Strong to Save," was
written by two Englishmen. The original poem was
in 1860 by William Whiting of Winchester, England,
for a student of his who was sailing to America. The
poem was set to music in 1861 by Rev. John Bacchus
Dykes, an Episcopalian priest. It is has come to be
known as the "Navy Hymn" because it is not only
sung for official ceremonies at the U.S. Naval
Academy, it is also used by the British Royal Navy
and the French Navy.
"Eternal Father" was President Franklin Delano
William Whiting
Roosevelt's favorite hymn and was sung at his funeral
in April 1945. It was also played by the Navy Band
in 1963 as President John F. Kennedy's body was carried up the steps of the Capitol. Both
Roosevelt and Kennedy had served the Navy, Roosevelt as Secretary of the Navy and
Kennedy as a PT boat commander in World War II.
In 1879, Lieutenant Commander Charles Jackson
Train (later a Rear Admiral), then director of the
Midshipmen's Choir, instituted the practice of singing
the first verse of "Eternal Father" at the conclusion
of the U.S. Naval Academy's Sunday Services.
Because of this practice "Eternal Father" came to be
called "The Navy Hymn," became an integral part of
Navy tradition, and gained increasing popularity
among U.S. Navy personnel.
Other verses have been added over the years to
include all military personnel, such as submariners,
pilots, and land forces.
Rev. John Bacchus Dykes
171
12 -- MODULATION
The Navy Hymn
Eternal Father, Strong to Save
SSA A cappella
William Whiting
Rev. John Bacchus Dykes
Arr. Patti DeWitt
Reverently
SI
P
& 44 Ï
E
SII
P
& 44 Ï
E
A
P
& 44 Ï
E
ter
Ï.
-
ter
Ï.
-
ter
Ï
Ï
Ï
arm
doth
bind
the
F
& Ï
arm
&
-
F
& Ï
3
Ï.
F
Ï
arm
#Ï
doth
Ï
doth
Ï
bind
Ï
bind
Ï Ï
the
Ï Ï
the
j
Ï Ï
-
j
Ï Ï
-
rest - less
Ï
Ï
rest - less
Ï
Ï
Ï
Ï
save, Whose
cresc. . . . . .
Ï
to
Ï
Ï
save, Whose
Ï
wave,
wave,
p
Ï
p
Ï
Who
p
Ï
Who
Where is the modulation in "The Navy Hymn"?
What is the pivot chord?
From what key to what key does it modulate?
What is the function of the pivot chord in the first key?
What is the function of the pivot chord in the second key?
172
Ï Ï Ï Ï Ï
Ï
j
Ï Ï
Ï
j
Ï Ï
Ï
to
strong
wave, Who
Ï Ï Ï
rest - less
to
strong
nal Fath - er,
#Ï
strong
Ï
cresc. . . . . .
j Ï
Ï
Ï
Ï
Ï
Ï
nal Fath - er,
-
Ï
Ï
nal Fath - er,
cresc. . . . . .
Ï.
bids
save, Whose
cresc. . . . . . . . poco
the might - y
cresc. . . . . . . . poco
Ï.
bids
the might - y
cresc. . . . . . . . poco
Ï.
bids
j
Ï Ï
Ï
the might - y
MODULATION -- 12
6
j
Ï #Ï
Ï
a . . . . . . poco . . . . .
& Ï.
o
-
cean deep
Its
j
Ï Ï
#Ï
Ï
a . . . . . . poco . . . . .
& Ï.
o
&
-
cean deep
Ï.
& Ï.
-
cean deep
j
Ï Ï
us when
Ï.
j
Ï Ï
bÏ .
hear
us when
li - mits
F
Ï nÏ Ï Ï Ï
ap - poin - ted
on
Ï.
on
Ï
F
we
the
the
sea.
j Ï
Ï
the
to Thee
j
Ï Ï
Ï.
we
cry
li
Ï
to Thee
-
Ï
Ï
keep.
Ï
keep.
Ï
Oh,
p
Ï nÏ
Oh,
p
j
Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
mits keep. Oh,
for
those
in
Ï
Ï
#Ï
in
per - il
Ï #Ï
per - il
for
j
Ï Ï
Ï.
Ï
those
we
cry
Ï
to Thee
î
for
Î
sea.
Ï
Ï
j
Ï Ï
cry
Ï
Ï.
ap - poin - ted
#Ï .
#Ï
li - mits
Ï Ï Ï
Ï
cresc. . . . . .
j
Ï ú
on
Ï
own
#Ï
p
per - il
cresc. . . . . .
j
Ï Ï
& Ï.
&
Ï
ap - poin - ted
cresc. . . . . .
us when
12
Ï
Its
hear
hear
&
#Ï
own
j
Ï Ï Ï #Ï
9
&
Ï
Ï
Ï
a . . . . . . poco . . . . .
o
&
Its
own
#Ï
F
those
p
Ï
in
Ï Ï Ï Ï Ï
cresc. . . . . .
Ah
Ï
O,
P
Î
Ï.
migh
-
î
j
Ï Ï
Ï
ty Spi - rit,
Î
sea.
p
Ah
173
Ï
Up
Ï
cresc. . . . . .
Ï
who
Ï
didst brood
cresc. . . . . .
Ï
P
Ï Ï Ï
Ï
-
P F
Ï
Up -
Ï
Up -
12 -- MODULATION
15
&Ï
Ï Ï Ï Ï Ï
Ï
on
the
cha - os
Ï
&Ï
on
Ï
the
&Ï
on
Ï
Ï
& #ú
Ï
cresc. . . . . . . .
tu - mult
tu
-
p
A tempo
& ú
21
peace:
p
& Ï.
&
and
rude,
Ah
ú
Î
and
Ï #Ï
And
rude,
F
Ï Ï Ï
dark
Ï
rude,
Ï
And
Ï
Ï
Ï
bid
the
j
Ï Ï
Ï.
Ï
Ï
bid
Ï
the ang - ry
ú
nÏ Ï ú
And
give
for
Ï
Ï
Ï
And
give
for
wild
con
-
Ï Ï Ï
fu
-
sion
Ï
Ï Ï Ï
poco . . . . . . . . a . . . . . . . . poco . . . . . . . dim. e rit. . . .
cease
j
Ï #Ï
mult cease
Ï
Ï
j
Ï Ï
bÏ .
j
Ï Ï
us when
wild
con
-
fu - sion
peace:
poco . . . . . . . . a . . . . . . . . poco . . . . . . .dim. e rit. . . .
And
Ï
O,
us when
hear
dark
#Ï
hear
p
#Ï
ú
ú
poco . . . . . . . . a . . . . . . . . poco . . . . . . .dim. e rit. . . .
cresc. . . . . . . .
& Ï.
Ï
cha - os
18 cresc. . . . . . . .
Ï
and
Ï Ï Ï Ï Ï
the
& Ï
dark
cha - os
#Ï
Ï
Ï #Ï
give
for
Ï
Ï
wild
we
Ï
we
con
Ï
-
#Ï
Ï
fu - sion
F
us
For
those
in
Ï
Ï
Ï
those
in
j
Ï Ï
#Ï .
Ï
F
cry
to thee
For
Ï.
j
Ï Ï
Ï
cry
to thee
174
F
For
Ï #Ï
Ï #Ï
those
Ï
O,
Î
peace:
Ï Ï Ï
hear
Ï
Ï
p
in
Ï
Ï
per - il
Ï
Ï
per - il
Ï
Ï
per - il
MODULATION -- 12
& Ï.
U
Ï
"
j U
Ï Ï
"
24 cresc. e molto rit. . .
Ï
J
on
the
& Ï.
sea.
cresc. e molto rit. . .
on
the
cresc. e molto rit. . .
&Ï
Ï
on
the
sea.
sea.
#
& # Ï Ï Ï Ï Ï
## Ï
&
&
##
love
Ï
love
&
##
&
##
28
&
##
Ï
dan
Ï
dan
Ï
O,
Tri
f
-
ni - ty
of
O,
## 4
4 Ï Ï Ï Ï Ï Ï Ï
Tri
-
ni - ty
of
Ï
Ï
breth
Ï
and
pow'r
Our
ger's
hour
-
-
ger's
Ï
ger's
hour
-
Ï
Ï
ren
shield
Ï
in
Ï Ï Ï #Ï Ï
breth
Ï Ï Ï Ï
Ï Ï Ï
-
Ï
Tri
Ï
Ï
j
Ï Ï
O,
Ï
#Ï
of
Ï
Our
pow'r
ni - ty
Ï
## 4
4 Ï.
pow'r
and
-
j
Ï Ï
Broadly
and
Ï Ï Ï Ï Ï Ï
dan
## 4
4 Ï.
U U "f
Ï #Ï
Ï
26
love
f
Our
P
Ï
From
P
Ï Ï
From
Ï
breth
Ï.
rock
Ï.
Ï
P
rock
Ï
hour
From
rock
175
-
-
ren
Ï
ren
Ï Ï
shield
in
Ï Ï
Ï Ï
shield
j
Ï Ï
and tem
in
cresc. . . . . . . .
-
Ï
pest,
j
Ï Ï Ï Ï Ï
cresc. . . . . . . .
and tem
Ï Ï Ï Ï Ï
and tem
-
pest,
cresc. . . . . . . .
-
Ï
pest,
12 -- MODULATION
&
##
&
##
30
poco . . . . . . . . a . . . . . . . . poco . . . . . . .f
j
Ï #Ï
Ï.
fire
and foe;
&
j
Ï Ï Ï
Ï.
&
##
&
##
&
##
#Ï
Ï
e'er
Ï #Ï
e'er
Ï
e'er
&
##
&
##
34
tect
Pro
Ï
Ï Ï
-
and
#Ï
foe;
Ï
they
go.
Ï #Ï
they
Ï
Ï nÏ
go.
Ï
they
go.
j
Ï Ï
#Ï .
to Thee
a . . . . . . poco . . . . .
Ï Ï Ï
to
rise
Pro
-
them
Ï
them
where
Ï
Ï
Ï
Ï
Thus
F
Thee
j
Ï Ï
to
Thee
them
Ï
-
so
where
j
Ï Ï
-
-
so
-
-
Ï
-
so
cresc. . . . . . . . poco
Ï.
Thus
F
where
tect
tect
F
ev
-
er - more
-
j
Ï Ï
Ï
shall
cresc. . . . . . . . poco
Ï.
Ï
ev
nÏ
Thus
f
Ï
ev
Ï
Our
hymns
f
Ï Ï
Our
hymns
Ï
Ï
f
Our
hymns
176
er - more
Ï
shall
cresc. . . . . . . . poco
Ï
Ï
Ï Ï Ï Ï
a . . . . . . poco . . . . .
Ï.
#Ï
Ï
Ï
Ï Ï
#Ï Ï Ï Ï #Ï Ï
Ï #Ï
foe;
a . . . . . . poco . . . . .
rise
&
and
rise
##
-
#Ï
poco . . . . . . . . a . . . . . . . . poco . . . . . . .f
fire
32
Pro
Ï
poco . . . . . . . . a . . . . . . . . poco . . . . . . .f
fire
##
Ï
Ï Ï Ï
-
er
Ï
of
-
Ï Ï
more
shall
Ï
Ï
praise
from
Ï Ï Ï Ï Ï Ï
of
#Ï
of
praise
from
Ï
Ï
praise
from
MODULATION -- 12
36
&
##
Ï.
land
&
##
&
Ï Ï Ï Ï Ï
and sea.
Ï
Ï.
&
## ú .
&
##
&
##
land
j
Ï ú
and sea.
Ï
and
w
Our
U
from
F
"
ú
Our
U
F
"
ú
Our
rit. . . . . . . . .
Ä
rit. . . . . . . . .
ú
land
Ï
ú
sea.
ú
land,
land,
Ä
F
"
ú
w
ú.
U
ú
ú
dim. e rit. . . .
land
39
and sea.
dim. e rit. . . .
land
##
j
Ï ú
dim. e rit. . . .
Ä
and
rit. . . . . . . . .
ú
ú
land
and
177
Ï
Ï
cresc. e molto rit. . . . . . . .
Ï
hymns
of
Ï
praise from
cresc. e molto rit. . . . . . . .
Ï
hymns
Ï
of
Ï Ï Ï
praise
Ï
from
cresc. e molto rit. . . . . . . .
ú
hymns
U.
ú
U
ú.
sea.
U
ú.
sea.
Ï
praise
Ï
from
13:
Lowered Notes
1. Te
When a note is lowered, it has a tendency to resolve down by step, as opposed to
the raised notes which tend to resolve upward.
A note can be lowered in several ways:
& ú
1. Flatted:
###
bú
Ti
&
2. "Natural"ed:
When a natural sign cancels
a sharp and lowers the note.
3. Double-flatted:
b
ú
Te
ú
Ti
bbb b ú
b
&
b b
La
nú
Ti
Te
ú
La
ºú
ú
Te
La
When Ti is a flatted note, such as in the key of C b Major, above, it is necessary to
double-flat the note to make it "Te."
Handsign for Te:
#4
& 4 Ï Ï ú
Melodic:
Ï nÏ ú
Ï Ï ú
Te
Ï Ï ú
Te is a part of the I7 chord, a secondary dominant leading to the IV chord.
Te
## 4 Ï
ú
Ï
ú
n
Ï ÏÏ ÏÏ Ï Ï Ï Ï ú Ï
ÏÏÏ
& 4 Ï ÏÏ
ÏÏÏú ÏÏÏÏú
Ï
Ï
I
V
I7
/ V7
178
of
IV
V
I
Chapter 13:
Lowered Notes
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 on "ss":
44
Ï. Ï Ï Ï Ï Ï Ï
3
ú
3
Ï. Ï Ï. Ï Ï. Ï Ï Ï Ï Ï Ï
Ï ú.
5. Work the students up to being able to perform the whole phrase
without taking a breath. All the while reminding them to keep
"hold" of the breath with their abdominal muscles.
6. Repeat the exercise (SLOWLY) with actual pitches:
## 4
3
& 4 Ï. Ï Ï nÏ Ï Ï
Ï ú
Write across
the curriculum:
Ï. Ï Ï Ï Ï nÏ Ï
Ï. Ï Ï. Ï
3
Ï ú.
Ask the students to select a hamonic exercise from this chapter
and write words for it, designate a tempo, and add interpretational
markings such as tempo changes, dynamics, and articulation
designations.
Allow them to perform their compositions for the class or for
a recital for their parents.
Use the entire chromatic scale as a warm-up. Raised notes when ascending, lowered
notes when descending.
S - 178
Remember to ask for volunteers to sing independently.
S - 179
LOWERED NOTES -- 13
& 44
Major 7th
Minor 7th
6
6
ÏÏ
ÏÏÏÏ
ÏÏÏÏ
Ï bÏ Ï Ï
ÏÏ Ï Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï Ï Ti Ï Ï Te Ï Ï
ú Ï
Ï
ú Ï
Finish analyzing the examples below. Then sing them.
& 44 Ï Ï Ï Ï b Ï
& 44 Ï
& 44 Ï
Ï Ï ú
Ï
Ï
Ï
Ï
Ï Ï ú
Ï Ï
ú
Ï
Ï Ï
Ï
Ï Ï ú
Ï Ï Ï
I7
/V7 of IV
ú
Ï
Ï Ï
Ï
Ï Ï ú
Ï
Ï Ï
Ï
Ï
b
Ï Ï Ï Ï bÏ
& b b 44 Ï
Ï ú
Ï Ï Ï Ï
ÏÏÏ ú
Ï
Ï ú
Ï Ï Ï Ï
Ï ÏÏú
Ï
Ï ú
Ï Ï Ï Ï
Ï Ï ú
b 4
&b b4 Ï Ï Ï Ï
b
& b b 44 Ï Ï Ï Ï
& 44 Ï .
& ú.
& bú .
/ V7 of
IV
Î Ï . Ïj Ï Ï b ú . Î b Ï . ÏjÏ Ï
Î Ï . Ï Ï Ï ú ú Ï . Ïj Ï Ï ú .
Î Ï . Ïj Ï Ï
J
Î b Ï . Ïj Ï Ï ú .
Î N Ï . ÏJ Ï Ï ú .
Î
Melodic exercises:
1.
I7
j
Ï Ï Ï
ú.
#3
j
Î Ï nÏ Ï
Ï
Ï
&
4
Ï
Ï
ÏÏÏ Ï ú
2.
Ï
Ï.
Ï
Ï Ï
#
ÏÏÏ Ï Ï
ÏÏÏ Ï
& Ï Ï Ï Ï Ï ú.
Ï
Ï
#
Î
Ï Ï Ï Ï ú.
& ú
Ï Ï nÏ Ï Ï Ï ú
179
13 -- LOWERED NOTES
3.
? b4 ÏÏÏ Ï Ï
b 4
? b b Ï bÏ Ï
Ï
? bb Ï Ï Ï .
4.
4
&b4 Ï Ï ÏÏ Ï
? # # 34 Ï Ï
? ## ú
Ï
Ï
Ï
Ï
Ï
Ï
ÏÏÏÏ Ï
Ï Ï Ï Ï Ï
? ## ú
Ï
Ï bÏ Ï nÏ Ï
Ï bÏ Ï nÏ Ï
Ï
Ï
Ï Ï Ï Ï ÏÏ ú
J
Ï Ï bÏ .
Ï ÏÏÏ Ï
Ï ÏÏ Ï
Ï Ï Ï
? ## ú
Ï Ï Ï . ÏJ Ï Ï Ï Ï Ï ú
Ï Ï ÏÏÏ Ï Ï
Ï Ï Ï Ï Ï ÏÏ Ï Ï
J
&b Ï Ï Ï Ï Ï
5.
Ï Ï Ï Ï Ï Ï Ï bÏ . Ï ú
J
Ï Ï Ï ÏÏÏ Ï Ï
Ï
Ï nÏ Ï
Ï
Ï
Ï
Ï Ï Ï
Ï
Ï
Ï.
Ï Ï ú
Ï Ï Ï ú
Ï Ï ÏÏ Ï
Ï.
Ï nÏ Ï
Ï Ï Ï Ï Ï
J
Ï ÏÏÏ Ï
Ï ÏÏÏÏ ú
J
### 6 Ï .
ä Ï Ï. Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï nÏ . Ï Ï Ï Ï
8 Ï
6. &
###
ä
Ï Ï . Ï Ï Ï Ï Ï Ï Ï Ï . Ï Ï Ï Ï Ï nÏ . Ï Ï Ï Ï
&
###
ä Ï Ï . Ï Ï nÏ Ï
&
nÏ Ï . Ï Ï #Ï Ï Ï Ï Ï . Ï Ï
&
###
Ï
Ï.
ÏÏ
ä
Ï Ï . Ï Ï nÏ
Ï
180
.
Ï Ï
Ï Ï.
LOWERED NOTES -- 13
2. Me:
Handsign for Me:
Me is a lowered Mi.
Melodic:
b
Ï Ï Ï ú
& b b b 44 Ï Ï Ï Ï Ï Ï b Ï Ï Ï Ï b Ï
Harmonic:
b
& b b 44 Ï Ï Ï b Ï
b
& b b 44 Ï Ï ú
b 4
&bb4 Ï Ï
Ï Ï
3. Ra:
Ï Ï Ï Ï
Ï bÏ nú
Ï Ï Ï Ï
Ï Ï Ï Ï
ú
Ï Ï ú
Ï Ï Ï Ï
Ï Ï ú
Ï Ï ú
ú
Handsign for Ra:
Ra is a lowered Re.
Melodic:
#
& 44 Ï Ï Ï Ï Ï Ï Ï
Ï Ï bú
bÏ Ï Ï Ï nÏ Ï Ï ú
Harmonic:
#### 4
&
4 Ï Ï Ï Ï
#### 4
&
4 Ï Ï Ï Ï
#### 4
&
4 Ï Ï Ï Ï
ú
Ï Ï Ï nÏ
Ï Ï ú
Ï nÏ ú
Ï Ï ú
Ï Ï ú
ú
Ï Ï ú
Ï Ï ú
ú
ú
181
13 -- LOWERED NOTES
4. Le:
Handsign for Le:
Melodic:
Ï bÏ ú
& b 44 Ï Ï Ï Ï Ï
Ï bÏ Ï Ï Ï
Ï Ï ú
Harmonic:
#4 Ï
& 4
Ï Ï Ï
#4
& 4 Ï Ï Ï Ï
#4
& 4 Ï
Ï Ï Ï
5. Se:
Ï Ï ú
Ï Ï ÏÏÏ
Ï Ï ú
ú
ú
Ï Ï Ï Ï
Ï Ï ú
Ï bÏ ú
Ï bÏ Ï Ï Ï
Ï ÏÏú
Se is a lowered So.
Handsign for Se:
Melodic:
& 44 Ï Ï Ï Ï b Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï b Ï Ï Ï Ï Ï Ï Ï
Harmonic:
#
& # 44 Ï Ï Ï Ï
#
& # 44 Ï Ï Ï Ï
## 4
& 4 Ï Ï Ï Ï
Ï bÏ ú
Ï Ï Ï Ï
ú
Ï
Ï ú
Ï Ï Ï Ï
Ï bÏ nú
Ï Ï ú
Ï Ï Ï Ï
182
ú
ú
ú
LOWERED NOTES -- 13
Descending Chromatic Scale:
4
&4 Ï
Ï bÏ
Ï
*
bÏ Ï bÏ
Ï
Ï bÏ Ï bÏ
w
* After the descending chromatic scale is mastered a cappella, to extend learning, sing in canon with the
second voice starting here.
Full Chromatic Scale, ascending and descending:
SING the full chromatic scale, ascending and descending with handsigns:
1.
*
& 44 Ï # Ï Ï# Ï Ï Ï # Ï Ï # Ï Ï # Ï Ï w
Ï
? 44 Ï b Ï Ï b*Ï Ï b Ï Ï Ï b Ï Ï b Ï w
2.
Ï ÏbÏ Ï bÏ Ï bÏ Ï
Ï bÏ Ï bÏ w
Ï #Ï Ï #Ï Ï w
Ï
#
Ï
Ï
Ï
#
Ï
Ï #Ï
After the scales above are mastered a cappella practice singing them simultaneously and in canon.
Melodic exercises:
1. Locate and identify the lowered notes in each of the melodic exercises, below.
2. Audiate each exercise while handsigning.
3. Sing with solfege and handsigns.
? # 44 Ï . JÏ Ï Ï Ï Ï ú
1.
? # Ï . ÏJ Ï Ï Ï Ï Ï b Ï
Ï Ï bÏ Ï Ï
Ï.
Ï Ï
ú.
bÏ Ï
ÏÏ ú
J
Î
bb 4 Ï
b
&
4 Ï
Ï Ï Ï bÏ Ï Ï Ï
Ï
Ï
Ï
2.
Ï bÏ Ï Ï Ï Ï ú
Ï
b
&bb Ï Ï
Ï Ï Ï Ï . b ÏJ Ï Ï Ï Ï Ï Ï Ï Ï Ï . ä
Ï
Ï
Ï
Ï
b
Ï bÏ Ï Ï Ï Ï Ï
ä
& b b Ï bÏ Ï Ï Ï Ï Ï Ï ú
Ï
Ï Ï.
3.
? 68 Ï . Ï Ï Ï Ï b Ï Ï . b Ï n Ï Ï
Ï . bÏ Ï
? Ï. Ï Ï Ï Ï Ï Ï
Ï Ï. Ï Ï Ï Ï. Ï Ï. Ï Ï Ï Ï Å
J
R
Ï Ï. Ï Ï Ï
Ï . Ï Ï . Ï Ï b Ï Ï Ïr Å
RÅ
183
13 -- LOWERED NOTES
## 3 Ï Ï .
& 4 Ï
j ä Ï Ï Ï Ï b Ï Ï Ïj ä Ï Ï
Ï
4.
Ï
## Ï
jä Ï Ï Ï . Ï
j
jä Ï Ï
Ï
Ï
Ï
Ï
.
&
Ï Ï Ï Ï ÏÏ Ï Ï
Ï
J
Ï
## Ï
Ï nÏ
&
Ï Ï
J
Ï Ï ä Ï Ï Ï Ï bÏ
J
Ï Ï ÏÏ Ï Ï Ï
Ï . ÏJ Ï b Ï Ï Ï .
Ï
Ï
ÏÏÏ
5.
J
Ï bÏ Ï Ï Ï
? # Ï . Ï Ï Ï Ï Ï Ï . ÏJ
J
Ï
? # Ï . Ï Ï Ï Ï Ï Ï . J Ï bÏ Ï Ï .
J
? # 44 Ï .
?#
6.
&
Ï . Ï Ï Ï Ï Ï Ï bÏ Ï Ï bÏ Ï
J Ï
#### 5
# 4 Ï Ï ÏjÏ Ï Ï Ï
&
J
####
j
# ÏÏ
#### Ï Ï
# J
&
ÏÏÏú
J
j
Ï Ï nÏ Ï
Ï
# # # # Ï Ï Ï nÏ Ï Ï
# J
&
Ï
J
jä
Ï Ï
Ï
ÏÏÏÏÏ Ï ÏÏÏ
J
Ï
Ï Ï Ï
Ï bÏ Ï Ï Ï Ï Ï Î
Ï Ï Ï Ï Ï bÏ Ï
Ï
Ï
ÏÏÏ
J
Ï . ÏJ Ï Ï Ï Ï Ï Ï Ï Ï ú
Ï Ï ÏJ n Ï Ï Ï Ï
J
Ï Ï ÏJ Ï Ï Ï Ï
J
Ï Ï ÏjÏ n Ï Ï
Ï
J
j
Ï Ï n Ïj Ï # Ï Ï
Ï Ï ÏJ Ï Ï Ï Ï
J
j
Ï Ï JÏ Ï Ï ú
j
Ï Ï n Ïj Ï Ï Ï # Ï
184
Ï Ï Ïj Ï Ï Ï Ï
J
LOWERED NOTES -- 13
7.
? # # # # 44 Ï Ï Ï Ï Ï Ï Ï
? #### Ï Ï Ï Ï Ï Ï ú
? ####
Ï nÏ Ï Ï Ï Ï
nÏ Ï
? #### Ï Ï Ï Ï Ï
8.
Ï
Ï
b
& b b b b b 34 Ï Ï Ï Ï Ï .
bb
& b b bb Ï
b
& b bbbb Ï
Î
Î
Ï Ï nÏ Ï Ï Ï Ï Ï
Ï nÏ Ï Ï Ï Ï
b
& b b b b b Ï Î Ï Ï ÏÏ Ï .
Ï Ï Ï Ï Ï Ï nÏ
Ï
ÏÏÏÏÏ
Ï
j
Ï ÏÏÏÏ Ï
Î
Ï.
ÏÏÏÏ
Î
Ï
Ï Ï Ï Ï.
Ï
Ï Ï Ï Ï Ï nÏ Ï
j
Ï ÏÏÏÏ Ï
Î
Ï Ï ÏÏÏÏú
ÏÏÏÏ
Ï.
Ï
Ï
J Ï ºÏ
j
Ï Ï ºÏ
Ï Ï Ï
J
j
Î Ï Ï Ï Ï . Ïj Ï º Ï ú
Ï Ï Ï Ï
Ï
Ï Ï Ï
? # # # # 6 Ï . #Ï Ï
#4
J
9.
Ï
? # # # # Ï . ÏJ # Ï ú
J ä Ï.
#
. ÏÏ Ï
? #### Ï J
Ï nÏ Ï .
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185
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13 -- LOWERED NOTES
Harmonic exercises:
#4 . j Ï
& 4 Ï Ï Ï
#4
j
& 4 Ï. Ï Ï Ï
#4
j
& 4 Ï . Ï Ï nÏ
1.
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LOWERED NOTES -- 13
2.
6
&8 ÏÏÏ Ï ÏÏÏ
6
&8 ÏÏÏ Ï Ï ÏÏ
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ä
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j Ï
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187
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13 -- LOWERED NOTES
3.
4
&b4 Ï Ï Ï
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188
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LOWERED NOTES -- 13
& b Ï.
& b Ï.
&b Ï Ï Ï
&b Ï
&b Ï
&b ú
&b Ï
& b Ï.
&b Ï
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13 -- LOWERED NOTES
4.
bb4
&bb 4 Ï
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Ï
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j
bb4
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bb
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bb
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b
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LOWERED NOTES -- 13
bb
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bb
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j
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b
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j
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b
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13 -- LOWERED NOTES
5.
&
&
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4
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LOWERED NOTES -- 13
&
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13 -- LOWERED NOTES
# 2 Ï
& #4 Ï Ï Ï
6.
## 2
& 4 Ï
## 2
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## Ï
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#
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#
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194
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LOWERED NOTES -- 13
#
& # Ï Ï Ï Ï Ï bÏ Ï
#
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&
##
Ï
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&
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195
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13 -- LOWERED NOTES
7.
b b 4 j
& b b bb 4 Ï Ï
b b 4
& b b bb 4 Ï
b b 4
& b b bb 4
Ï
j
b
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b
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b
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b
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j
b
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b
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196
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b
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j
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LOWERED NOTES -- 13
j
Ï Ï
bb
& b b bb Ï Ï Ï Ï Ï Ï ú
bb
& b b bb Ï
Ï Ï ú
bb
& b b b b Ï ºÏ Ï Ï
ú
j
b
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bb j
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b
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b b b b Ïj Ï
b
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197
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13 -- LOWERED NOTES
#### 4
#4 ú
&
#### 4
#4 ú
&
#### 4
#4
&
ú
8.
nÏ #Ï
nÏ #Ï
#### ú
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&
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&
####
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&
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198
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w
LOWERED NOTES -- 13
#### ú
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&
####
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&
####
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&
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nÏ #Ï
nÏ #Ï
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&
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199
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j
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13 -- LOWERED NOTES
9.
bb 4
&bbb4 ú
Ï Ï
j
Ï. Ï ú
bb 4
&bbb4 ú
Ï Ï Ï Ï ú
bb 4
& b b b 4 Ï bÏ
Ï Ï ºú
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ú
j
b
& b bbb Ï . Ï ú
b
& b bbb ú
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ú
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bb
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J
ú
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ú
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200
ú
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ú
ú
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j
b
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bb
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bb
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ú
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LOWERED NOTES -- 13
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10.
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b
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b
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LOWERED NOTES -- 13
b
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b
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j
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b
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Melody:
b
&b Ï Ï Ï
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J
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.
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. j
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b
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j
b
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b Ï. Ï ú
&b Ï
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203
Ï nÏ
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13 -- LOWERED NOTES
VOCABULARY:
1. Chromatic scale--A scale that moves up or down by half steps
2. Secondary dominant--A chord that is altered from its normal state in a key so
that it becomes a V Chord of another chord. For example, in the key of C Major,
a D minor chord in which the third has been raised to form a D Major Chord may
function as a secondary dominant chord to a G Major or G minor chord.
ACROSS THE CURRICULUM:
Select one of the exercises in this chapter and write some lyrics to go with it.
If you select a unison exercise, write an accompaniment for your song.
Pencil Time 4:
Activity Sheet 35: Lowered notes
Activity Sheet 36: Secondary dominants
Activity Sheet 37: Write a solo!
204
Write a Solo:
Activity
Sheet 37
Encourage your students to use a music notation program to write
their compositions. Not only does it produce a nice, clean copy, but,
depending upon the program, they will be able to listen to their works
with a playback option. This is a great asset in catching wrong notes
and determining the tempo they would like for their piece. Finale
Notepad is an example of such software and is at the time of this
writing a free download available from www.makemusic.com.
Remind your students to:
1. Limit the ranges of the vocal parts as well as complicated rhythmic
patterns and intervals. Being complicated does not make an
artwork any more profound. Keep it simple.
2. Establish form and use repetition. Not only does repetition make a
piece easier to learn, but it makes it cohesive.
3. Establish an appropriate tempo using musical terms:
Lento--Very, very slow
Adagio--Slow
Andante--Medium "walking tempo"
Moderato--Faster than andante, but not too fast
Allegretto--A "little bit" fast
Allegro--Fast
Vivace--Very fast
Presto--Very, very fast
4. Add expressive elements:
a. Articulations--Legato, staccato, marcato, etc.
b. Dynamics
c. Changes in tempo--ritards, accelerandos, fermatas, etc.
5. Add harmonic voices, and/or
6. Add a simple accompaniment
7. Perform the work for the class or teach it to the class.
S - 204
Chapter 14:
Franz Peter Schubert
Breathing
Ï . ÏÏ
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 on "ss":
3
ú
3
Ï Ï Ï Ï Ï Ï Ï . ÏÏ
Ï ÏÏ Ï .
j j
Ï ä Ï ÏÏÏÏ
3
ä Ïj Ï
5. Work the students up to being able to perform the whole phrase
without taking a breath. All the while reminding them to keep
"hold" of the breath with their abdominal muscles.
6. Repeat the exercise (SLOWLY) with actual pitches:
& 44 Ï . Ï Ï ú
Ï Ï Ï Ï Ï Ï Ï .# Ï Ï
3
3
S - 205
Ï ÏÏÏ.
j ä j Ï Ï ä Ïj Ï
#Ï nÏ Ï Ï
3
14:
Franz Schubert
Franz Schubert was born in Vienna in 1797,
the son of a schoolmaster. He showed an amazing
aptitude for music and studied piano, violin, organ,
and harmony. While a chorister in the imperial
court chapel, he studied composition with Salieri
(1808-13). By 1814 he had produced piano pieces,
settings of the poems of Schiller and Metastasio,
string quartets, his first symphony and a 3-act opera.
After his voice broke while he was a boy soprano
he started teaching and composing. Eventually he
gave up teaching altogether so he could compose full
time. While he was still teaching, however, he was
able to produce a huge volume of work. His output
of work from1814-15 alone includes Gretchen am
Spinnrade and Erlkönig (both famous for their textpainting), numerous other songs, two symphonies,
and three masses.
Schubert and Beethoven were contemporaries in Vienna at a time of significant change
in the development and shape of music. Beethoven was well-known, well-funded and
working towards a major revolution in musical expression. Schubert was a bit younger,
less-known, under-funded, and his innovations in musical expression were not so well
appreciated at the time. Schubert did gather a vast group of supporters over time, a loyal
group of associates who enjoyed his music who would support him and promote his music.
His brother was one of the first ones to provide creative stimulation and financial support.
Although Schubert was a skilled pianist and violinist he was neither a virtuoso performer
or flamboyant conductor who could promote his own work on the public stage. Because
of this, most of his orchestra compositions were never performed publicly during his
lifetime. His chamber music and songs did find some acceptance in smaller social
gatherings, but this resulted only in a meager income.
His songs (about 600) did fairly well though. Johann Vogl, a noted baritone soloist,
grew very fond of Schubert's songs and sang them on many occasions. This resulted in
recognition of his music and, of course, more money. Schubert often wrote several songs
a day. Some say they found his notes on the backs of menus in restaurants where he ate.
Schubert very effectively established the "German Lied" as a new art form in the 19th
century. He used the late 18th-century outburst of lyric poetry and the new possibilities
for picturesque accompaniment offered by the newly developed piano. His genius is
most apparent in his use of harmony and accompaniment patterns to represent shifting
205
14 -- FRANZ SCHUBERT
emotions
and subject matter in the text. For example, the accompaniment "gallops" in
..
Erlkonig (the Erl King) as the horse gallops home in the text.
Schubert was a great admirer of Beethoven. When Beethoven died, he served as a pallbearer at his funeral. Schubert himself died of typhoid in Vienna at the age of 31, just as he
was beginning to explore new directions in music and gain some modest recognition
Although having lived a very short life, Schubert achieved much, and all with poetic
perfection. His musical works combined the styles of the Classical Period of Mozart,
Haydn, and Beethoven with the Romanticism of Chopin, Schumann, and Liszt.
Friend and poet Franz Grillparzer wrote Schubert's epitaph. His tombstone reads:
"The art of music here entombed a rich possession; but even far fairer hopes.
Here lies Franz Schubert."
It wasn't until after his death that people began to recognize his genius. It was only then
that some of his works were published and performed for the first time. Gradually his works
received wide recognition and appreciation.
Schubert left a remarkable legacy of chamber music, including several powerful String
Quartets and Piano Sonatas. Facilitated by his brother, Schubert's works were later
discovered by Schumann and Mendelssohn who helped them achieve a wider recognition.
Some of the symphonies were similarly discovered much later by George Grove and Sir
Arthur Sullivan.
Romanticism was a movement that was first made manifest in literary works. German
Romanticism was given impetus by the works of such literary giants as Fredrich Schiller
and Johann Wolfgang von Goethe. Although Schiller is primarily known as a playwright,
his poems found their way into the music of the Romantic Era composers. Schiller's poem,
An die Freude ("Ode to Joy") provides lyrics for the last movement of Beethoven's great
Choral Symphony. Schubert also set many of Schiller's poems to music. Schubert's
famous and haunting lied, Erlkönig, is based a poem by Goethe (below).
Erlkönig
English Translation
by Johann Wolfgang von Goethe
Wer reitet so spät durch Nacht und Wind?
Es ist der Vater mit seinem Kind;
Er hat den Knaben wohl in dem Arm,
Er faßt ihn sicher, er hält ihn warm.
Who is riding so late through night and wind?
It is the father with his child;
He has his arm well around the boy,
Holding him securely, and keeping him warm.
Mein Sohn, was birgst du so bang dein Gesicht?
Siehst, Vater, du den Erlkönig nicht?
Den Erlenkönig mit Kron und Schweif?
Mein Sohn, es ist ein Nebelstreif.
My son, why are you hiding your face in fear?
Do you not, father, see the Erlking*?
The Erlking with his crown and long robes?
My son, that is a trail of mist.
"Du liebes Kind, komm, geh mit mir!
Gar schöne Spiele spiel ich mit dir;
Manch bunte Blumen sind an dem Strand,
Meine Mutter hat manch gülden Gewand."
"You sweet child, come, go with me!
Very lovely games I will play with you;
Many colorful flowers grow near the beach,
My mother has many garments of gold."
206
FRANZ SCHUBERT -- 14
Mein Vater, mein Vater, und hörest du nicht,
Was Erlenkönig mir leise verspricht?
Sei ruhig, bleibe ruhig, mein Kind;
In dürren Blattern säuselt der Wind.
My father, my father, can you not hear
What the Erlking so softly promises me?
Be calm, stay calm, my child;
It's only the wind rustling in dry leaves.
"Willst, feiner Knabe, du mit mir gehn?
Meine Töchter sollen dich warten schön;
Meine Töchter führen den nächtlichen Reihn,
Und wiegen und tanzen und singen dich ein.
"Will you, fine boy, come with me?
My daughters shall attend you lovingly;
My daughters lead the nightly circle of dance,
They will rock and dance and sing you to sleep."
"Mein Vater, mein Vater, und siehst du nicht dort
Erlkönigs Töchter am düstern Ort?
Mein Sohn, mein Sohn, ich seh es genau:
Es scheinen die alten Weiden so grau.
My father, my father, and can't you see there,
The Erlking's daughters in that dark place?
My son, my son, I see it quite well:
It is the old willow-trees looking so grey.
"Ich liebe dich, mich reizt deine schöne Gestalt;
Und bist du nicht willig, so brauch ich Gewalt."
Mein Vater, mein Vater, jetzt faßt er mich an!
Erlkönig hat mir ein Leids getan!
"I love you, I'm charmed by your beautiful shape;
And since you not willing, I will have to use force."
My father, my father, now he's grabbing me!
The Erlking is hurting me!
Dem Vater grausets, er reitet geschwind,
Er hält in Armen das ächzende Kind,
Erreicht den Hof mit Mühe und Not;
In seinen Armen das Kind war tot.
The father shudders, he rides faster still,
Holding his moaning child in his arms,
And with perilous effort he reaches the farm;
But in his arms, the child lay dead.
* The Erlking personified death.
German Romantic Art
The 18th century ended with the ruling philosophy that man was the measure of all
things--that all good things could be attained by the exercise of man's logic and reason. The
19th century brought about a change of perspective, and man was no longer the center of the
universe, but an integral part of the world around him. This new trend toward Romanticism
was a reaction against the "classicism" of the the Age of Reason, and a turn away from the
idealization of the rational
powers of man and a turn
toward the expression of
man's innermost feelings
based on real experiences
and interactions with the
rest of nature.
Two Men Contemplating the Moon
Caspar David Friedrich, 1819
207
A fascination with nature
as well as with the fantastic
pervades the art works of this
genre. Emotionalism became
the driving factor in much of
Romantic art, and much of
the artwork as well as the
music of the Romantic Era
was extremely passionate.
14 -- FRANZ SCHUBERT
German Romantic art focused mainly on their landscape as a manifestation of the
"divine" or--God. This school of painters were highly religious and proud of their country.
Pride in their landscape fueled the German Romanticists to use it as a metaphor for God
and his power over humanity. They felt that their mountains and trees were of such beauty
that they were rivaled by nothing anywhere else on all the earth. The Germans were
influenced by the concept of the 'sublime' experience in nature--fear of the unknown, fear
of God, fear of nature, and danger in nature illustrating that man has no power over the
forces of God and nature. But in accordance with this, they wanted the landscapes to be
beautiful in the same way, like tension created at the prospect of sky diving, for example,
when one is afraid to jump, but at the same time exhilarated and in awe of the experience.
Another concept presented by German writer E.T.A Hoffman, was "Infinite Longing."
It presented the belief that man was mortal and helpless in the face of the power of nature,
and Romantic paintings exemplified this in their subject matter: landscapes of waves
crashing upon deadly crags, dramatic lighting, violent storms, as well as symbols inferring
loneliness, melancholy, estrangement, mystery. Humans were dwarfed by large trees whose
limbs appeared to be alive with their own personality and agenda. Their belief was also
that nature was an extension of God further illustrating the idea that man was defenseless
in the face of God and nature. Frightening cliffs, mystical wild trees, unmodulated
expanses of water or land (desolation) with one or more figures somewhere in the painting
showing psychological suffering: fear or hesitation, yet intrigue. They painted emotion
within the human knowledge of the uncharted landscapes that were meant to instill the
"fear of God" in the figures and also the viewers of the paintings. This was the German
Romantic way of illustrating human emotion and infinite longing in their art.
German literature and music also reflected this emotionalism. The Romantic Era saw
the birth of the Gothic novel exemplified by such authors as Edgar Allen Poe. Romantic
music reached its apex in the massive operas
of Richard Wagner.
Schubert was to appear at the very beginning
of this Era. Along with Beethoven, he would
serve as a segue from the absolute forms and
restraint of the Classical Era to the passion
and emotionalism of the Romantic
Pencil Time 4:
Activity Sheet 38: Franz Schubert
Activity Sheet 39: Analysis, "Kyrie"
Activity Sheet 40: Classical vs Romantic
208
"The Traveller Above the Sea of Clouds"
Caspar David Friedrich, 1818
S - 208
THE MASS
The mass is a key player in the development of choral music. Serious choral students
will come into contact with many movements from the mass by various composers over
the span of their choral careers.
Write across the curriculum:
Instruct your students to do research online about the development of the mass from
plainchant (Pope Gregory, 590-604) through the 20th Century. This is a major assignment,
so you may wish to allow a week or more for completion.
LITERATURE: On page 210
Questions for discussion:
FORM:
What is the overall form of the piece?
How does the form of this arrangement compare to the songs you previously learned in
this book?
Teaching the piece:
1. Begin with the most difficult section.
2. Audiate this section several times before chanting and singing it on solfege.
3. Then teach the other sections, in order of difficulty.
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.
7. Increase tempo, perfect dynamics changes, etc.
Discuss interpretative issues with the students. Such issues include:
1. Phrasing
a. Where to take a breath
b. Are there places where the breathing needs to be staggered?
c. Consonants--how to perform consonants without interrupting the flow
2. Dynamics
3. Treatment of long notes--Singing "through" the notes-4. Diction
a. Keeping the vowel pure; not changing mouth position when closing to
the consonant
b. Clean and crisp consonants for clarity of lyrics
Find a recording of a professional choir (Mormon Tabernacle Choir, for example)
performing the Schubert piece. Have the students listen to the performance and evaluate it.
S - 209
FRANZ SCHUBERT -- 14
The Mass
Western music history has its roots in the mass of the Roman Catholic Church. The
Roman church was not only the dominant religious group in Europe for many centuries,
it was also the dominating political power for almost 1000 years. And so it was that all
matters, whether they were spiritual, social, political, scientific, or artistic, were decided
by the church. Thus it followed that most music was not only written for liturgical
purposes, but its creation and characteristics were overseen by the church.
Thus, it was through the development of the mass...
from single-line, plainsong chant
to the parallel harmonizations of the twelfth and thirteenth centuries
to the lush polyphony of the late Renaissance
to the refined and structured forms of the Classical and early Romantic periods
to contemporary music in which individualism is honored more than tradition
...that we trace the bulk of music history. Nearly all of the great composers have written
a setting for the mass. After the Reformation, many composers wrote "masses" in their
native tongues (rather than in Latin) and even replaced the traditional mass text with texts
that better suited their reformed ideas. For example, Brahms wrote his requiem mass,
called it Deutsche Requiem (German requiem) and used Biblical scripture rather than the
usual requiem liturgy.
The ordinary of the mass consisted of six main parts:
I. Kyrie--"Lord, have mercy on us..."
II. Gloria--"Glory to God in the highest...."
III. Credo-- "I believe in one God..."
IV. Sanctus--"Holy, holy, holy..."
V. Benedictus--"Blessed is the name..."
VI. Agnus Dei--"Lamb of God..."
Most of these parts remain in the liturgy of mainstream Protestantism in one form or
another. Some of them, like the Creed, are spoken instead of sung, but it is the chanting,
later singing, of the mass that led to specific rules being established for the composition
of the mass. These rules, in turn, became the foundation of the music characteristics that
we hear all around us in our society today.
Listen to a CD or search the internet and download a .mpg file
that features Gregorian chant, specifically the "Kyrie." Compare
the chanted Kyrie to Schubert's setting of the Kyrie. Draw a table
that outlines the similarities and differences between the two.
Listen to a CD or find an .mpg file on the internet with
..
Schubert's lied, Erlkonig and find a CD or .mpg with a song by
Mozart. Compare the two and write down your findings in a
short essay.
209
14 -- FRANZ SCHUBERT
Kyrie
from Mass in G
# 3 úp
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Andante con moto
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Franz Schubert
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Arranged by Patti DeWitt
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St. Paul's Cathedral in London, architect, Christopher Wren, 1710
Painted by Antonio Canaletto, 1754
210
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FRANZ SCHUBERT -- 14
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14 -- FRANZ SCHUBERT
13
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& ÏÏ
Ï
Ï
·
Ù
# ÏÏ
Ï
Ï
Ï
Ï
Ï
# ú
&
Ï
e
e
& ú
Ï
e
e
#
&
#
ú
e
Ï
e
Ï Ï ú
ú
-
-
-
lei
ú
lei
ú.
lei
-
-
-
Ï
-
-
-
-
-
ri
-
ú
-
ri
Ï
-
Î
ú
ú
Ï
Ï
Î
ú
Ï
2nd time To Coda
son,
ú
-
son,
-
ú
Ky
Î
Î
son,
Ï
Ï
ú
ú.
Ï Ï ÏÏ .
.
212
Ï Ï
J
-
ú
ri
Ï
-
Ky
-
ri
-
ú
-
ri
Ï
-
Ky
# ú
Ï
Ï
& Ï Ï Ï Ï Ï Ï ÏÏ Ï ÏÏ Ï ÏÏ ÏÏ ÏÏ Ï # ÏÏ n ÏÏ ÏÏ ÏÏ
? # úú
Ï
-
Ï # Ï ÏÏ Ï Ï n Ï Ï Ï Ï Ï ÏÙ Ï
Ï Ï Ï Ï Ï Ï Ï Ï
Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
? # úÏ
Î
ú
Î Ï Ï
17
ri
Ky
Ky
Ï
Ï
-
ú
son.
·
Ï
ú
Ky
Î
#
·
son.
ú
&
·
Î
Ù
Ï Ï Ï Ï Ï Ï
Ï Ï Ï
ú
ú
Ï
Ï
FRANZ SCHUBERT -- 14
#
& ú
&
&
#
#
nFú .
Ï
21
e,
e
ú
Ï
e,
e
ú
e,
Ï #Ï ú
e
-
lei
F
Ï
-
-
son,
-
ú.
-
-
lei
F
lei
-
Î
-
-
Ï
-
son,
-
Ï
ú.
e
Ï
-
Ï
Î
-
lei
e
Ï
son,
-
-
#ú .
Ï
Î
-
e
-
lei
-
-
-
-
ú.
-
-
-
lei
Ï
# ú
n úú
Ï
Ï #Ï Ï nÏ Ï ú
Ï
& Ï Ï Ï n Ï Ï Ï n Ï Ï Ï Ï ÏÏ Ï ÏÏ Ï # Ï Ï n Ï Ï Ï Ï Ï Ï Ï Ï
F
Ï #Ï ú .
Ï #Ï ú .
?# ú
ú
# Ïp î
&
25
son.
# p î
& Ï
son.
# p î
& Ï
son.
# Ï
&
ÏÏ
p
?# Ï
Ï
P
bÏ .
Ky
P
-
Ky
nÏ .
Ky
P
nÏ
ri - e,
e
bÏ
-
ri - e,
e
-
Ï bÏ
ri - e,
Ï
Ï
Ï
nÏ
nÏ
ÏÏ
Ï Ï Ï Ï bn ÏÏ
Ï Ï bÏ Ï
j
ä ÏÏ ÏÏ ÏÏ ú
Ï Ï
Ï Ï
P
Ï.
Ï
Ï
e
Ï
-
lei
Ï
Ï
-
-
lei
-
ú.
lei
#ú .
ú.
Ï Ï
Ï
-
ú
bÏ Ï Ï Ï
Ï
213
Ï
-
-
-
-
-
-
Ï Ï Ï Ï
Ï nÏ Ï #Ï Ï nÏ
Ï Ï Ï Ï Ï #Ï
ú
Ï
Î
son.
ú
#Ï
-
ú
Î
son.
ú
Î
son.
Ï #Ï Ï
Ï Ï Ï ÏÏ ÏÏ ÏÏ
Ï
j
ä ÏÏ ÏÏ ÏÏ
14 -- FRANZ SCHUBERT
29
&
&
#
#
Sopranos or solo:
·
&
&
b ÏÏ Ï ÏÏ
&
&
î
# #Ï Ï ú
lei
j nÏ Ï
ä Ï Ï
Chris
Ï
Ï
Chris - te,
e
-
î
-
te, e -
F
Ï.
lei - son,
Chris
-
Ï Ï nÏ
J
te, e -
ÏÏ ÏÏ # ÏÏ ÏÏ ÏÏ ÏÏ n ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ n ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
F
j
Ï ä Ïj ä Ïj ä ÏÏ Ï Ïä ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï Ï Ï
J
p
ú.
Ï
Ï
ä Ïj Ï n Ï Ï
Chris - te,
Î
e - lei - son,
ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ # ÏÏ ÏÏ ÏÏ ÏÏ
ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ n ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ
Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï #Ï Ï
p
Ï Ï
Ï
Ï nÏ
J Ï Ïj ä Ïj ä Ï ä
î
ä
J Ï
Ï
J
Ï
te, e - lei - son,
#
& n ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏ # ÏÏ
Ï Ï
Ï
Ï #Ï
Chris
nÏ Ï ú
Ï #Ï #Ï Ï ú
-
nú
Î
e - lei - son,
- son.
# nú
?#
Ï
ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ n ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ n ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï
Ï Ï Ï Ï # Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï # ÏÏ
p
Ï
Ï nÏ Ï
î
ä
J
Ï
Ï î
Ï
Ï Ï Ï Ï Ï Ï
ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ
# Ï Ï Ï
& ÏÏ ÏÏ ÏÏ
j
Ï
Ï
Ï
?# Ï
ä
41
Ï
lei - son.
?# Ï
37
Ï
# ÏÏ
# #Ï Ï ú
#
Ï
Chris - te,
? # n ÏÏ
33
p
Ï
Ï
Chris - te,
e
ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï ÏÏ
Ï Ï Ï Ï ÏÏ ÏÏ Ï
Ï
j
î
Ï
214
f
ú.
-
ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ
Ï Ï Ï #Ï Ï
j
ä Ïj ä Ï ä
lei
-
-
-
Ï Ï Ï Ï Ï Ï
ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ
f
Ï Ï Ï Ï Ï Ï
FRANZ SCHUBERT -- 14
45
&
&
# #ú .
#
Ï
______
·
î
son.
·
F
î
&
·
Ï
E
#
& # ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï
49
&
&
#
Chris
#
Ï
ú.
lei
-
-
-
son.
-
Ï
#
& ú.
lei
-
#Ï
ú
·
-
-
lei
-
ú.
F
î
?# Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï
ú.
#Ï
E
#
-
Tutti:*
Ï
Ï
Ï
Ï
Ï
lei
-
-
-
-
-
Ï Ï
J
ú.
te,
Christ
Ï
Chris
ú
son.
Ï
Chris
-
te,
#Ï
Î
Ï
son,
Ï
Î
son,
E
-
Ï
-
E
-
-
Ï Ï
J
î
Ï
Î
-
ú.
î
ú
Î
úÏ Ï ÏÏ
# Ï Ï ÏÏ Ï ÏÏ Ï
Ï
Ï
Ï
Ï
ú
Ï Ï
#Ï
î
-
F
Chris
te,
Ï
-
-
-
Ï
-
te,
E
Î
te,
ú
Chris
#Ï
Ï
E
-
-
-
Ï
te,
Î
ÏÏ
Î Ï #Ï
# ú
Ï
ú
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
& Ïú Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï ú Ï Ï Ï
Ï ÏÏ Ï # ÏÏ Ï
? # JÏ Ï
Ï
Ï
J Ï
j
Ï Ï
î
* What does tutti mean?
215
Ï
j
Ï Ï
î
14 -- FRANZ SCHUBERT
53
&
&
# ú
lei
#
-
ú
lei
-
#
& ú
Chris
-
Ï
Ï.
son,
Chris
Ï
Ï.
son,
Chris
Ï
Ï.
te,
Chris
-
te, e
-
j
Ï Ï
-
te, e
-
j
Ï Ï
ú
p
son,
E
ú
Ï
-
son,
E
-
-
ú
Ï
-
nú .
Ï Ï
J
lei
-
-
-
ú.
te, e
-
lei
-
-
ú.
lei
-
-
-
Ï
p
p
son,
E
-
# Ïú Ï ÏÏ
ú.
Ï Ï Ï Ï nú
ú
ä Ï Ï Ï Ï Ï
Ï Ï
Ï
Ï
Ï
& ú Ï Ï Ï Ï
Ï Ï Ï
J
? # Ïj Ï
Ï
j
Ï Ïj Ï
# ú.
&
ú
57
#
lei
-
-
-
lei
&
#
ú.
lei
-
-
-
-
Ï
Î
-
son.
-
ú
p
j
Ï ú.
Ï
·
son.
ú
& #ú .
j j
Ï Ï Ï
ê
ú.
Chris -
Î
·
ê
son.
·
ú
#Ï
# ú ..
& # Ïú Ï Ï Ï Ï Ï úÏ Ï Ï Ï # ÏÏ Ï
Ï
Ï Ï Ï
Ï Ï ÏÏ Ï Ï
Ï
Ï
? # ú.
ú.
ú.
216
-
-
-
ú.
Chris -
Î
-
·
Ï
¹
ÏÏ ÏÏ
Ï
J
Ï
Ï
ÏÏ
ÏÏ
J
FRANZ SCHUBERT -- 14
# Ï
&
61
&
ê
ä. Ï ú.
R
Î
te,
#
Î
te,
# ê
& ú.
Chris
&
# Ï
ê
ä . Ïr ú .
-
e - lei
-
e - lei
Ï
-
-
&
&
#
#
-
·
-
-
Ï
-
Ï
ÏÏ
î
·
ê
e - lei
Ï
·
son.
ä. r
Ï ú.
Î
te,
ÏÏ ÏÏ
Ï
J
-
î
son.
Ï
Ï
î
j
j
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
?# Ï Ï Ï
65
Ï
-
Ï
-
-
son.
î
Ï
j
j
ÏÏÏ ÏÏ Ï ÏÏ ÏÏ
Ï
ÏÏ
J
·
ú
·
#
·
·
·
î
Ï
Ï bÏ nÏ
j
j
.
Ï
Ï
Ï
Ï
? # Ï Ï Ï Ï úú .
Ï
Ï bÏ
ú.
&
217
Ï
ÏÏ
ú.
ÏÏ
Ï
Ï
Ï
Î
Ï
ÏÏ
J
Ï
ri
-
Ï
-
ú
Ky
#
-
ú
Ky
&
ÏÏ
Þ Coda
·
·
Ï bÏ
ÏÏ ÏÏ
Ï
J
Ky
·
î
Ï
ri
-
Ï
-
ri
-
Ù
Ï
Ï Ï Ï Ï
Ï
Ï
Ï Ï
ú
ú
Ï
Ï
14 -- FRANZ SCHUBERT
&
# ú
Ï
e,
&
# ú
e
69
&
#
-
lei
Ï
-
-
Ï #Ï ú
e,
e
ú
Ï
e,
ú
-
-
e
-
lei
-
ú
lei
-
-
Ï
-
Ï
-
ú
Î
ú
Î
son.
Ky
ú
son.
Ky
Ï
Ï
son,
ú
Ky
-
nÏ
ri
-
Ï
ri
-
-
Ï
-
ú
-
ri
Ï
e,
e
-
3
# ú
Ï Ï Ï Ï.
& Ï Ï Ï Ï Ï
Ï #Ï Ï Ï Ï Ï Ï Ï ú
Ï
Ï #Ï ú
ú.
?# ú
ú
73
&
#
#
Ï
Î
e,
& Ï
Î
&
Ï
Ï
e
Ï
lei - son,
ú
Ï
e
e,
#
Ï Ï Ï
Ï Ï Ï Ï Ï ú. Ï
Ï
J
Ï Ï Ï Ï Ï
Ï nÏ
Ï
-
-
ú
lei
-
-
poco cresc. . . .
ú.
-
Ï
ú.
Ï
Ï
ú.
son.
poco cresc. . . .
-
-
Ï
-
ú.
ú.
son.
poco cresc. . . .
nÏ
e
lei
Ï
Ï
ú
-
lei
-
-
Ï
-
Ï Ï Ï Ï Ï ú
Ï
Ï Ï Ï Ï Ï ú Ï
Ï
& Ï
Ï Ï ÏÏ Ï
Ï
Ï
Ï
?# Ï
ú.
ú.
#
218
ú.
ú.
son.
Ï Ï Ï Ï
Ï Ï Ï Ï
ÏÏ Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï
Ï Ï
Ï
Ï
ú.
poco cresc. . . .
ú.
FRANZ SCHUBERT -- 14
77
&
&
&
&
#
¹
#
¹
#
¹
#
Ï
Ï
Ï
î
·
·
·
î
·
·
·
î
·
·
·
úú ..
ú.
¹
úú ..
ú.
ÏÏ
Ï
Ï
Ï
Ï
?# Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï
ÏÏ
Ï
ÏÏ
Ï
úú
ú
Î
Ï
Ï
Ï
Ï
ú
ú
Î
VOCABULARY:
1. Chamber music--Music for small ensembles, such as string quartets
2. Lied--German for "song"
3. Mass--The celebration of Eucharist in the Catholic church; each part of the mass
has specific words set to music and sung or chanted.
4. Plainsong--The original chanting of the mass parts
5. Requiem--A mass for the dead
6. Text-painting--One characteristic of Romanticism; the composer tries to express
thoughts and feelings through musical techniques.
WRITE ACROSS THE CURRICULUM:
Visit your library or do some research online and write an
essay discussing the role of the development of the mass in the development of Western
music history.
219
15:
The Spiritual
Almost all Africans who first arrived in the New World came as slaves, sold to
work on the cotton plantations of the South, the sugar cane fields of the Caribbean
Islands and the tobacco fields of Virginia, North Carolina, Tennessee, and Kentucky.
Slaves were allowed to gather for Christian services, and it is from these services
that the spiritual developed. The rural slaves liked to linger after regular worship
services for singing and dancing. But the slaveholders did not like for the slaves to
assemble and interact. Fearing an organized revolt, most slaveholders would not
allow the slaves to gather for drum playing and dancing, as their custom had been
in Africa. Because of the oppression, many slaves held secret meetings in order
to commiserate and to gain strength from each other. Often these "camp meetings"
would involve thousands of slaves, gathered together for hours to listen to traveling
preachers and to sing spirituals.
The lyrics of spirituals were tightly bonded to the lives of the slaves. While they
did have work songs about their daily occupations, the spirituals were inspired by
the Christian message. Most of the spirituals focused the slaves' faith on a better
life hereafter, as the life that the slaves experienced was so exceedingly harsh.
Today the spiritual is considered a very important part of our American folk
music heritage. The haunting melodies, the faith that shines constant through the
words of sorrow and physical pain, the universality of human feelings of despair
and mixed with faith, joy mingled with sorrow, resignation combined with
determination--all of these work together to make the spiritual one of the purest
expressions of human spirituality in the midst of a hostile world.
A page from Slave Songs of the United States. New York: A. Simpson & Co., 1867.
220
Chapter 15:
The Spiritual
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 on "t" while
conducting:
j
44
j
Ï Ï ÏÏ ÏÏÏÎ
Ï.
j
j
j
Ï Ï Ï Ï Ï ä Ï Ï Ï ÏÏ Ï ä Ï Ï Ï Î
5. Repeat the exercise with actual pitches:
j
b 4
j
b
Î
j
Ï
Ï
Ï Ï Ï Ï ä Ï Ïj Ï Ï Ï Ï ä Ï Ïj Ï Î
.
& 4 Ï Ï Ï Ï Ï ÏÏ
Warm-ups
Write various major and minor scales on the board. Have your
identify each scale and sing them with solfege and handsigns. Point to
various notes in the scale, beginning scalewise, and ask the students
to sing the notes as you point to them. Add simple intervals such as
thirds or fourths. Then larger intervals--fifths, sixths, and octaves.
S - 220
S - 221
THE SPIRITUAL -- 15
All My Trials
Traditional spiritual
SSA A cappella
P
Arr. Patti DeWitt
Legato, with rubato
b
& b b 44
SI
If
SII
Ï Ï Ï Ï Ï
Ï Ï
re - li - gion was a thing
P
b
4
&b b 4
Ï Ï
If
Ï Ï Ï Ï Ï
re - li - gion was a thing,
&
bbb
Î
F
ten.
b
.
&b b ú
ä b ÏJ
The
Ï
ten.
Ï
buy,
Ï Ï Ï
that
mon - ey could
buy,
ten.
Ï
Ï
Ï
Ï Ï Ï
a
thing
that
mon - ey could
mon-ey could buy,
P
Ï
If re
Ï Ï
-
Ï
Ï Ï
and the
Ï
The
rich would live,
Ï Ï
F
The
Ï
Ï
Ï
Ï
rich would live,
Ï
Ï
Ï
that
ú
poor would die.
and the
Ï
poor,
Ï
Ï
Ï Ï
Ï
Ï
ú
and the
"The Afflicted Mother"
Published in The Slave's Friend, Vol. 2
for the American Anti-Slavery Society, 1837
221
poco rit. . . .
li - gion was a thing
rich would live,
Ï
poco rit. . . .
Ï Ï Ï Ï Ï
F
ä Ïj
Ï
Ï
poco rit. . . .
Ï
poco accel. e cresc.
î
4
b
&b b Ï
Ï Ï Ï
poco accel. e cresc.
b
& b b 44 Î
A
Ï
bú
poco accel. e cresc.
poor would die.
Ï
the
15 -- THE SPIRITUAL
b
& b b ú.
7
&
Î
ten.
bbb
b
&b b
Ï
Ï
Î
ten.
Ï bÏ
poor would die.
bú .
Î
Ï
All
my
tri - als,
Ï
j
Ï Ï
Ï
Ï
All
Ï
Ï
Ï
All
b
&b b Î
10
ú
soon
b
&b b Î
&
bbb
&
bbb
be
bú
ú
Ï Ï.
J
be
&
b
&b b
Ï Ï.
J
Î
Î
broth-ers!
j
Ï Ï.
broth-ers!
Ï
U
ú.
Ï
U
ú.
Î
Î
ú.
Î
Ï
Ï
Ï
Too
late,
but
ne - ver
Ï
j
Ï Ï
Ï bÏ
P
late,
Too
late,
Ï
Lord,
j
Ï ú
Lord,
j
Ï ú
Lord,
f
Ï
Ï
Too
late,
Ïf
Ï
Too
late,
Ï
Ï
f
Too
P
P
j
Ï ú
tri - als,
Î
U
Too
ú
j
Ï Ï
o - ver.
be
ú
Ï
my
Ï
broth-ers!
bbb
tri - als,
o - ver.
ú
ú
my
o - ver.
Ï
soon
soon
13
Ï
j
Ï Ï
ú
p
p
Î
ten.
p
222
but
Ï bÏ
but
Ï Ï
J
ne - ver
j
Ï Ï
ne - ver
late,
Ï Ï
my
Ï Ï
my
Ï Ï
my
j
Ï ú
mind.
j
Ï Ï #Ï
mind.
j
bÏ ú
mind.
THE SPIRITUAL -- 15
b
&b b Î
16
&
bbb
p
Ï
All
Melody:
tri-als,
Ï
j
Ï Ï
ú
b
&b b Ï
U
ú
o - ver.
Ï
U
ú
o - ver.
&
bÏ
U
ú
my
p
Hush,
So
hush,
o - ver.
22
&
.
bbb ú
p
Ï
Î
j
Ï ú
Ï
p
Ï
f
Ï
Î
poco accel. e cresc.
be
Ï
be
bÏ
ú
Ï
Î
be
F
ú
don't
cry,
F
Ï
Ï
Ï
Ï
bú
babe,
now
don't
you
cry,
Ï
poco accel. e cresc.
Î
poco accel. e cresc.
my
soon
soon
hush,
Hush,
Î
Î
j
Ï ú
Ï
Ï
soon
Lord,
Î
bú
ú.
tri-als, Lord,
Î
Ï
Î
Ï
Lord,
j
Ï Ï
my
p
Ï Ï
J
tri-als,
All
19
bbb
my
Ï Ï
J
Ï
All
&
bÏ
ú.
b
&b b Î
bbb
Ï
Ï
Î
hush,
Ï Ï Ï
Ï
Î
don't
Ï Ï bÏ
F
ú
cry,
Ï Ï Ï
Oh
b .
&b b ú
f
b
ä ÏJ Ï
was
Ï
You know your
&
bbb
ú.
Î
f
Ï
Ï Ï
Ï Ï Ï
Ï
Ï
ú
ma - ma was
born
to
die.
Ï Ï bÏ
Oh
223
Ï Ï Ï
bÏ bÏ Ï
was
born
Ï
to
15 -- THE SPIRITUAL
b
bÏ
& b b bÏ Ï Ï
Ï
25
born to
die.
&
Ï Ï
J
my
tri - als,
ú.
Ï
j
Ï Ï
All
my
tri - als,
Ï
j
Ï Ï
ú
die
b
&b b Î
28
F
b
&b b Î
Ï
All
P
Ï
All
Ï
F
ú
Ï
Ï
Soon
be
o - ver.
b
&b b ú
Soon
Ï
Î
ten.
ú
Ï
P
ten.
b
&b b w
bbb
P
Î
ten.
F
Ï
be
o - ver.
Ï
Soon
be
b Ï Ï.
&b b J
Ï
&
Ï.
late,
b
& b b Ïj Ï
broth - ers
Î
o - ver.
Ï
Far
my
Î
sis - ters!
j j
Ï Ï Ï.
and
Î
sis - ters!
Lord.
j
Ï ú
Lord.
f
Ï
Ï
Too
late
Ï Ï
my
f
Î
f
Ï
Ï Ï
Too
Ï
Ï Ï
late
my
Ï
Ï
Ï
too
late,
but
Ï
bÏ
Too
late,
Ï
but
Ï
bÏ
F
F
Ï
Too
224
j
Ï ú
Too
F
j Ïj Ï .
Ï
Lord.
î
ú.
broth-ers!
bbb
Î
ú.
ú
31
tri - als,
ú.
ú
bú
my
Ï ú
J
late,
but
THE SPIRITUAL -- 15
j
& b ÏJ Ï Ï ú
33
bb
P
Î
nev - er mind.
&
bbb
b
&b b
j
j
Ï Ï Ï ú
Î
Î
nev - er mind.
b
&b b Î
b
&b b Î
Ï
ú
Soon
Ï
Soon
b
&b b Î
&
bbb
Ä
Ï
Too
b
&b b Î
bÏ
be
j
Ï Ï
Ï Ï Ï Ï
Ï Ï
tri-als,
Ï Ï Ï Ï
Ï Ï
j
Ï Ï
P
my
All
my
tri- als,
ú
Ä
be
Ï
Ï.
Too
late,
Ï
j
Ï ú
Lord,
Ï Ï Ï
poco accel. e cresc.
Ï
Ï
Soon
be
Ï
Ï Ï Ï
o - ver,
ú
my
Ï Ï.
J
Ï.
j
Ï
broth-ers!
ú
Ä
late,
my
Ï Ï.
J
Ï
Ï.
Too
late,
j
Ï
my
Lord,
be
o - ver,
Ï
J
j
Ï ú
Soon
ú.
Ï
Lord,
o - ver,
o - ver.
Ï
j
Ï ú
Ï bÏ
Ï Ï Ï Ï Ï
o - ver,
Ï
tri - als,
poco accel. e cresc.
Soon
39
my
j
Ï Ï
poco accel. e cresc.
Ï
be
Ï
All
All
j
j
Ï Ï bÏ ú
b
&b b Î
Ï
P
nev - er mind.
36
ú
Ï
Soon
Î
Î
broth-ers!
j
Ï Ï.
broth-ers!
225
ú
Î
poco rit. . . .
Ï
o - ver.
poco rit. . . .
Ï
Ï
o - ver.
poco rit. . . .
Ï Ï Ï
be
P
bÏ
o - ver.
Ï
Ï.
Too
late,
but
Ï
Ï.
j
Ï
Too
P
late,
but
Ï
Too
Ï
late,
P
Ï
J
Ï
but
15 -- THE SPIRITUAL
b
& b b ÏJ Ï
j
Ï ú
b
& b b Ïj Ï
j
Ï ú
42
nev-er
mind.
nev-er
&
bbb
Ï
Î
mind.
bÏ
Ï
nev - er
bÏ
b
&b b Î ú
Ï
Soon
&
bú
&
bbb
bb
&b b Ï
so
&
bbbb
Ï
Ï
so
&
bbbb
All
my
F
ú
j
Ï Ï
tri-als,
All
my
P
Lord,
j
Ï ú
j
b
Ï
Ï
Ï
Ï
Ï
Ï
Ï
Ï
All
my
tri-als,
Lord,
poco accel. e cresc.
p
b
Ï Ï
b
Ï
bb Ï
Î
Oh
U
Î
ú
Melody:
ú
p
bbbb
Ï
f
Ï
f
cold
Ï
Ï
Ï Ï Ï Ï
Ï
F
Î
poco accel. e cresc.
poco accel. e cresc.
Riv - er
Î
ú.
Ï
Ï
Oh
The
ú.
p
bbbb
Oh
F
j
Ï ú
tri-als,
cold
ú
Lord,
Ï Ï b Ïj Ï
Ï
Ï
Ï
Ï
U
ú
U
j
Ï ú
P
o - ver.
Ï Ï Ï bú
chil-ly and
Ï
o - ver.
Ï
be
Ï
ú
o - ver.
ú
Soon
Ï
Ï
be
ú
48
be
ú
Soon
Ï
mind.
45
bbb
Ï
P
Ï
Jor-dan is
Ï
Ï Ï Ï Ï
Ï
Ï Ï Ï Ï
Ï
Ï Ï Ï
Oh
f
ú.
cold;
226
bÏ
Ï
It
chills
the
bo-dy but
THE SPIRITUAL -- 15
bb Ï
b
& b
51
not
b
& b bb Ï
not
bb
&b b
Ï
Ï
ú
the
soul
Ï
ú
the
soul
Ï
not
the
b
& b b b ÏJ Ï
54
ú
soul.
F
tri-als,
F
b
b
& b b Ïj Ï
tri-als,
P
Ï
Ä
b
& b bb Î Ï
Ä
&
bbbb
Ä
ú
Too
too
Ï Ï Ï Ï
Too late,
too
Ï Ï Ï Ï
late
my
my
Ï
my
be
o - ver.
Ï bÏ
ten.
Ï
Soon
Ï.
my
ten.
ú.
ú.
o - ver.
ten.
Ï Ï Ï
Ï
J
All
All
ú.
Ï
Ï
bÏ
Ï
be
P
Too late,
bb
&b b Î Ï
Ï
Soon
Lord,
p
Ï
ú
Ï
Ï
Soon
j
Ï ú
Î
P
All
Ï Ï Ï
Lord,
F
î
Î
P
j
Ï ú
Î
Î
U
ú.
Lord,
bb j
&b b Ï Ï
57
U
ú.
Ï ú
J
tri-als,
bUÏ
ú
my sis - ters!
j
Ï Ï Ï Ï
Ï.
late,
Ï
my sis - ters!
ú.
broth - ers!
227
be
Ï Ï Ï Ï
J
Ï.
late,
Ï
Ï
ú.
o - ver.
Î Ï Ï Ï
Too late, but
Î Ï bÏ Ï
Too late, but
Î Ï Ï Ï
Too late, but
15 -- THE SPIRITUAL
bb Ï
&b b
Ï
60
nev -
bb
& b b bÏ
Ï
-
Ï
nev -
-
j
Ï Ï
Lord;
bb
& b b Ïj Ï
tri-als,
b
& b bb Î
p
b
b
&b b Ï
All
p
All
my
Ï Ï Ï bÏ
ú
my
my
tri-als,
Ï
j
Ï Ï
Ï
Ï
All
Ï
Ï
Ï
All
All
p
my
Ï Ï
J
my
tri-als,
Ï
j
Ï Ï
my
tri - als,
Ï
Ï Ï
J
j
bÏ ú
tri-als,
Lord;
j
Ï Ï
j
Ï ú
tri-als,
Î
j
Ï ú
Î
j
Ï ú
Î
Lord,
Ï
my
Lord;
j
Ï Ï
Lord,
228
my
Ï ú
J
tri-als,
j
Ï ú
Lord,
Ï
Ï
All
Ï
Ï
Ï
ú
ú.
ú
my
P
F
Lord;
All
All
All
j
Ï ú
Ï
Ï
F
Ï
ú
P
Î
U
bÏ
F
j
Ï ú
tri-als,
b
& b bb Î
mind.
Lord;
bb
& b b Ïj Ï
65
mind.
Ï ú
J
tri-als,
U
Ï
Ï
- er
P
Î
mind.
Ï Ï
nev - er
bb
& b b ÏJ Ï
Ï
- er
bb j
&b b Ï Ï
62
Uú
Lord;
ú
Ï
Soon
be
ú
bÏ
ú
Ï
Soon,
Soon
be
THE SPIRITUAL -- 15
bb
&b b ú
o
bb
& b b bÏ
&
bbbb
soon
ú
o
&
bbbb
&
bbbb
71
&
bbbb
p
ú
ú.
-
ver;
Soon
Ï
nÏ Ï Ï Ï Ï
68
be
-
w
Ï
p
w
be
o
Soon
Ï
p
be
bú
ú
Soon
Ï
be
ú
ú
o - ver;
Î
ú
ver;
o
o
w
decresc. e rit. . . . . . . . . . . . .
ver
decresc. e rit. . . . . . . . . . . . .
Ï
-
Ï
-
Ï
Ï
-
-
Ï
-
Ï
-
-
ú
-
-
-
-
bÏ
-
-
-
-
-
Ï
-
ú
-
-
-
Ï
-
Ï
-
Ï
Ï
- ver,
-
Ï
-
-
Ï
Ï
Activity Sheet 42: History of the Spiritual
Activity Sheet 43: Analysis, "Go Down, Moses"
Activity Sheet 44: Arrange a Spiritual
229
-
¸
U
ú.
¸
ver.
U
ú
o
-
Ï
ver.
FIND a spiritual online and write out its melody.
IMPROVISE a counter-melody and an accompaniment.
Complete your arrangment using Activity Sheet 44.
Pencil Time 4:
-
U
ú.
decresc. e rit. . . . . . . . . . . . .
Ï
-
¸
16:
Quartet singing has been a part of Americana tradition for the past century or more.
Although it has not been as prominent a part of our society for the past 50 years or so as it
was in the early part of the 20th century, it is enjoying a renaissance today. Thanks to the
Society for the Preservation and Encouragement of Barber Shop Quartet Singing in
America (SPEBSQSA) and to the Sweet Adelines International, quartet singing is thriving
today.
The quartet singing tradition ("barbershop") was born from the African American
tradition of amateurs getting together informally (yes, even at the barbershop) and blending
their voices together in four-part harmony, a cappella, of course. The Mills Brothers,
a famous African-American quartet who cut records in the 1940s and 1950s, learned to
sing in their father's barbershop, and several Gospel quartets also trace their roots directly
to the barbershop.
Barbershop music also employs several important traits of the African-American music
tradition. First of all is the call and response. This technique is a very simple one in
which the leader sings a phrase of music, and the group answers with its own response.
Secondly, barbershop often employs the echo effect, where the harmonic voices echo
a word or phrase in order to keep the rhythm alive and moving. Last is the use of special
harmonic techniques. Barbershop frequently uses the dominant seventh chord (V7) but
without any specific harmonic function. For example, you have learned in this book that
in classical music, the V7 chord has a specific harmonic function--that is, to resolve to the
tonic chord. But in barbershop, the V7 is used for color and for character.
Barbershop also borrows other characteristics from the black music tradition.
1. A concentration on vertical harmonies
2. Improvisation, and
3. The "blue" note--the lowered third (Me)
The Society for the Preservation and Encouragement of Barber Shop Quartet Singing in
America was founded in 1939 for the precise reason that its name states. Six years later,
wives of the barbershoppers met to form their own group, which they called Sweet
Adelines International. Both groups sing the same style of music--"Barbershop." Both
are voiced in 4-part a cappella and have the same designated voice parts:
Tenor--the highest voice
Lead--the second highest voice, and the one who usually sings the melody
Baritone--the second lowest voice
Bass--the lowest voice
Because barbershop involves four parts in close harmony, they rarely use only simple
major or minor triads. More often than not, the harmony will involve an added seventh (as
discussed above) or some other note. On the following pages are some examples of these
chords "stacked" with extra notes.
230
16 -- BARBERSHOP
Below is a barbershop harmonization of "Give My Regards to Broadway." Solfege through
the arrangement. Listen for the melody. Which voice has the melodic line?
j
j
& b 44 ÏÏ ÏÏ ÏÏ ÏÏ
Tenor
Lead
Ï
? b 44 Ï
J
Ï Ï
Ï Ï
J
ÏÏ
úú
Her - ald Square
&b Ï Ï
w
ú
ú
Ï
Ï #Ï
?b Ï # Ï
Square.
j
Ï ÏÏ
Ï
I
Ï
?bä Ï
& b úú
ÏÏ
J
?b
ÏÏ
Ï
Ï
to min-gle with the old
Ï
ÏÏ
old
# ÏÏ
Ï
ÏÏ n Ï
ÏÏ
ÏÏ Ï n Ï
j
Ï ÏÏ
Ï
j
ÏÏ ÏÏ
ÏÏ
Ï
Ï
J
Ï Ï
Ï Ï
J
Whis - per
of
ÏÏ
Broad - way, and
ÏÏ b ÏÏ
say
that
231
ÏÏ
ÏÏ
I'm
ÏÏ
ÏÏ
ÏÏ ÏÏ ÏÏ # ÏÏ
J
Give my regards
ÏÏ n ÏÏ b ÏÏ
ÏÏ ÏbeÏ
I'll
how
Ï
ÏÏ Ï Ïj ÏÏ
J #Ï Ï
w
w
ÏÏ Ïw Ï b Ï Ï # ÏÏ
J
ÏÏ
Ï
Ï
For - ty - Sec - ond Street that
time throng
ÏÏ # n ÏÏ
ÏÏ
Ï
ÏÏ ÏÏ Ï ÏÏ
ÏÏ
at
Ï
Oh, won't you
& b ÏÏ
?b
Ï
Ï
be
ÏÏ .. ÏÏ Ï
J Ï
Ï
Ï
I'll soon be there.
j
ÏÏ .. Ï Ï Ï Ï Ï ÏÏ ÏÏ
Ï Ï Ï Ï Ï #Ï
yearn - ing
b úú
Ï
Ï
Ï Ï
Ï Ï
J
the gang
Ï
Ï
Re - mem - ber me to Her - ald
w ÏJ Ï n Ï b ú
ä
there. j
ä Ï Ï Ï úú
ú
ÏÏ
will soon
Broad - way,
j
ÏÏ ÏÏ
Ï Ï
Ï Ï
J
Her - ald Square
& b ä n ÏÏ
j
Ï ÏÏ
Ï
Tell all
Ï
Ï .. Ï Ï
Ï Ï Ï
J
ÏÏ ÏÏ b úú
Give my re - gards to
Baritone
Bass
- ber
me
to
j
ÏÏ .. Ï Ï
Ï
Ï
Ï
Ï Ï Ï Ï Ï Ï #Ï Ï
Re - mem
ÏÏ
there
ÏÏ
ere
úú ..
ú.
ú.
Î
long.
Î
to
BARBERSHOP -- 16
Barbershop music is only used as a guideline for the performers. The performers are
not only allowed, but expected and encouraged to improvise the music and individualize
it according to their own personalities.
One of the things that is dearest to the heart of barbershoppers is the tag. A tag is an
elaborate ending for a song, usually the last four to eight measures, which contains,
according to one barbershopper, "the best chords of the song."* Tags are freely shared
and distributed to barbershop groups and Sweet Adelines who will practice them, put
them to memory, and create more tags to share.
Below is an example of a tag for "Give My Regards to Broadway":
j
ÏÏ ÏÏ
4
& b 4 ÏÏJ # ÏÏ
Ï
? b 44 # Ï
J
ÏÏ
ÏÏ
J
ÏÏ
n ÏÏ
ÏÏ
ÏÏ
Give my
& b ÏÏ
ÏÏ
I'll
?b
& b ä ÏÏ
I'll
Ï
?bä Ï
be
ÏÏ
there
j
Ï Ï
Ï Ï
ÏÏ
ÏÏ
ÏÏ
to
old
# ÏÏ
re - gards
be
ÏÏ
ÏÏ
ä ÏÏ
ÏÏ
I'll
ÏÏ
long.
îw
ú
there ere
ÏÏ Ï
J Ï
Ï
ere
úú
î
____________________________
* From the website of the Tualatin Valley Harmony Masters,
http://www.evg.org/~tvhm/tags/barbershoptags.html
232
ÏÏ
Broad - way,
b ÏÏ
ä
ÏÏ n Ï
# ÏÏ
and
ÏÏ # n ÏÏ
ÏÏ b ÏÏ
say
that
j
ÏÏ Ï
#Ï
ÏÏ
ÏÏ
J
ÏÏ
be
U
w
w
U
ú
w
long.
there
Ï
U
ú
BARBERSHOP -- 16
SING the barbershop arrangement of "Give My Regards to Broadway." Make any changes
to the harmony that you would like (or rearrange the melody for yourself).
Sing the arrangement with the added tag.
IMPROVISE or write your own tag for this song with music notation software that allows
you to listen back to it.
COMPOSITION:
Select a public domain melody. (Use the internet search engines.)
IMPROVISE a countermelody. Let this be the Tenor part.
Keep the melody in the lead, add a good solid bass line.
Fill in the baritone with notes of the specific scale, and you have arranged a piece
for barbershop singing.
VOCABULARY:
1. Barbershop--A style of a cappella quartet singing characterized by improvisation,
close harmony, and the melodic line placed in the second highest voice
2. Call and response--A type of performance in which a soloist "calls" out a phrase
of music followed by a response by the larger group
3. Echo effect--A repetition of several words by the harmonic voices in order to
maintain the flow of the beat
4. Tag--An elaborated, harmonically rich ending to a song, characteristic of
barbershop singing
Pencil Time 4:
Activity Sheet 44: Barbershop!
Activity Sheet 45: Write a tag!
Activity Sheet 46: Improvise a Melody!
If you are interested in pursuing this style of singing, recruit some people and form your
own group. You can also get help from the SPEBSQSA or from Sweet Adelines
International. There may be a chapter near you.
233
234
l
Glossary
L
A cappella--Sung without instrumental accompaniment
Accelerando--(accel.)--Gradually faster; accelerate
Accidental--A note that is altered from its "natural" state in the scale
Accompaniment--Music that supports the melodic line
Act--The major division of an opera. Operas are often divided into 3 acts.
Adagio--Slowly; take your time.
Aeolian mode--The mode whose tonic is La; also known as natural minor.
Alla breve--Cut time; 2 , usually abbreviated
2
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" written music in one's head
Augmented second--A raised second; an interval of 3 half steps
Ayre--An old English term for song
Barbershop--A style of a cappella quartet singing characterized by improvisation,
close harmony, and the melodic line placed in the second highest voice
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.
Baroque--A period of music history loosely defined as the era around the years 1685
through 1750. Characteristics of Baroque music include an emphasis on instrumental
music that was missing in the Renaissance, the invention and prolific use of the
fugue, figured bass accompaniment, and ornamentation. Much Baroque music
was showy and dramatic, written to show of a performer's virtuosity.
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
Cadence--The end of a section of the music when all voices come to rest on a common
chord
"Amen" cadence--A plagal cadence; IV - I, so called for its prominent use in
closing hymns
Authentic cadence--A full cadence
Deceptive cadence--A cadence that resolves to the vi chord; for example, V7 - vi
Full cadence--A final cadence: V - I
Half cadence--A cadence that resolves to the V chord
Imperfect cadence--A half cadence
Perfect cadence--A full cadence
Plagal cadence--A cadence using the chord progression IV - I
Call and response--A type of performance in which a soloist "calls" out a phrase
of music followed by a response by the larger group
C
235
GLOSSARY
Calypso--A style of music originating in the West Indies characterized by strong melodies,
syncopated rhythms, and an abundance of percussion instruments, often steel drums
Canon--Performance of a single melody by 2 or more voices beginning at different times
Chamber music--Music for small ensembles, such as string quartets
Chanson--Literally, song (French); also a particular form of song in the Renaissance
Chorus--An ensemble of many voices
Chromatic scale--A scale that moves up or down by half steps
Classical Era--A period of music history loosely defined as the era around the years
1685 - 1750. Characteristics: Refinement, restraint, elegance and the rise of concrete
musical forms such as the sonata, symphony, string quartet, and concerto.
Coda--New musical material added to the end of a piece of music
Common meter-- time. Four beats in each measure, the quarter note receives 1 beat.
6
Compound meter--Meter in which the beat that into triple subgroups; for example, 8 meter
which divides into 2 subgroups of 3 eighth notes
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--Gradually grow louder
2
"Cut time"-- 2 , usually abbreviated C
DC al Fine--Go back to the beginning and end at "Fine."
DS al Fine--Go back to the sign (signo % ) and end at "Fine."
Decrescendo--Gradually grow softer
Diction--How words are pronounced; involves vowel and consonant production
Diminuendo--Gradually grow softer; decrescendo
Dominant--The fifth note of the major scale; So. The V chord is the dominant chord.
Dorian mode--The mode whose tonic is Re
Downbeat--The first beat of a measure
Dynamics--Loudness and softness in a piece of music
Echo effect--A repetition of several words by the harmonic voices in order to
maintain the flow of the beat
Engraver -- A person who prepares the printed musical score for publication
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
Fugue--A polyphonic musical form in which the voices enter at different times and present
the theme in higher or lower keys from the first statement of it
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--
"
236
GLOSSARY
Half note--A musical tone that sounds for 2 beats in common meter
Half rest--A two-beat period of silence in music
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
Harmonic minor--A minor scale in which the So has been altered (raised) to Si
Harpsichord--A stringed keyboard instrument in which the strings are plucked to
produce sound. The predecessor of the piano
Homophonic--Chordal; a style of music in which all voices move to the next note
at the same time
Homophony -- A style of music in which the voices tend to move from note to note
at the same time; chordal music
Hootenanny--An informal concert, usually of folk-type music, in which the audience
is expected to participate
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
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
Ionian--The mode whose tonic is Do; a major key
Intonation--How well a musician or group of musicians matches the given pitch
IV chord -- A chord whose root is Fa; the IV chord is major in a major key
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 )
Leading tone--The seventh note of the major scale, or any raised note that resolves
to the next higher pitch
Legato--Smoothly
Libretto--The text of the opera; the story
Lied--German for "song.
Locrian--The mode whose tonic note is Ti
Lute -- A stringed instrument of medieval and Renaissance times with a long bent
neck and a pear-shaped body
Lutenist -- A lute player
Lydian--The mode whose tonic note is Fa
Madrigal--An a cappella polyphonic choral piece popular in the Renaissance
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 sixth--An interval of a perfect fourth plus a major third
Major third--The distance between Do and Mi; 4 half steps
Marcato--Heavily accented; the opposite of legato
Mass--The celebration of Eucharist in the Catholic church. Important in the development
of music history because most of the surviving music from ancient times was written to
support the words of the different parts of the mass, normally the Kyrie, Gloria, Credo,
Sanctus, Agnus Dei, and Benedictus.
Measure--The distance between 2 barlines of music.
237
GLOSSARY
Melisma--Two or more notes for a single syllable of text, indicated by a slur
Melismatic--Music that contains melismata (the plural of melisma)
Melodic minor--A minor scale in which Fa and So are raised to Fi and Si when
ascending, but are natural (Fa and So) when descending
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 seventh--A major seventh that has been lowered one half step
Minor sixth--An interval of a perfect fourth plus a minor third
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.
Mixolydian--The mode whose tonic note is So
Modulation--A change of keys in the midst of a musical piece
Direct modulation--"Unprepared" modulation; a modulation that occurs with no
preparation or warning
Formal modulation--A modulation that is indicated by a change in key signature
Informal modulation--A modulation that is indicated only by a change in modality
or the use of altered notes
Molto legato--Very smoothly. Molto is Italian for "very."
"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.
Natural minor--The aeolian mode; minor key in which no notes are altered
Nonharmonic tones--A note that sounds at the same time as, but is not a part of a chord
Accented passing tone--A nonharmonic note that passes between two harmonic
notes and falls on a strong beat
Anticipation--A nonharmonic note that sounds ahead of the rest of the chord; it
sounds while the previous chord is still heard in the other voices
Appoggiatura--A nonharmonic note that leaves one harmonic note by a leap
and resolves to the next note by step in the opposite direction
Lower neighbor note--A nonharmonic note between two harmonic notes of the
same pitch that is a half step or step lower than the harmonic notes
Pedal point--A drone (continuously sounding) note, usually in the lower voice,
over which the harmonies continue to change.
Suspension--A note that is held over from the previous chord
Unaccented passing tone--A nonharmonic note that passes between two harmonic
notes and falls on a weak beat or the weak part of the beat
Upper neighbor note--A nonharmonic note between two harmonic notes of the
same pitch that is a half step or step higher than the harmonic notes
Octave--The interval of 8; the interval between one note and the closest note of the
same pitch class
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."
Oratorio--An opera that is written to be performed with out the dramatic elements of
set, costume, and acting. For the concert hall rather than the theatre
238
GLOSSARY
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.
Parody--An imitative, often humorous or satirical, composition based on an existing work
Passing tone--A note that serves as bridge between its upper and lower neighbor
notes
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 fifth--The distance between Do and So; 3 and 1/2 steps
Perfect fourth--The distance between Do and Fa; 5 half steps
Phrygian--The mode whose tonic note is Mi
Pianissimo--Very soft; symbol -- ¹
Piano--Soft; symbol-- p
Picardy third--Raising the third in a minor chord at the end of a major cadence
Piu mosso--Faster; literally "more motion"
Plainsong--The original single line unison chanting of the mass parts
Polyphonic--A style of music in which the voices sing independent melodic lines
Pivot chord--A chord common to both the original key and the key of modulation
that serves as a link between the two keys
Polyphony--Literally, "many voices." A style of music in which the voices each
carry a melodic line, often starting and ending at different times.
Prerequisite--Learning that must take place before being accepted into a degree
program or other course of study.
Quarter note--A musical tone that sounds for a duration of 1 beat in common meter.
Quarter rest--A single beat of silence in music
Rallentando--Get gradually slower; ritard
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
Renaissance -- The period of time that is loosely defined as the 15th and 16th
century when the world began to move into the modern age of machinery and
technology.
Repeat sign--A sign that tells the performer to repeat the previous measures, or to the
beginning of the piece
Requiem--A mass for the dead
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
Romantic Era--A period of muisc history loosely defined as the last 3/4 of the 19th
century. Romantic music showed the reaction against classicism by its emotional
content, its focus on nature, its fascination with the fantastic
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
239
GLOSSARY
Secondary dominant--A chord that is altered from its normal state in a key so
that it becomes a V Chord of another chord. For example, in the key of C Major,
a D minor chord in which the third has been raised to form a D Major Chord may
function as a secondary dominant chord to a G Major or G minor chord.
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
Spiritual--A religious song of the slaves of America in the 18th and 19th centuries; part
of American folk tradition
Staff--The set of five lines upon which music is written.
Steel drums--A West Indian musical instrument originally made from the lids of
55-gallon steel drums. Steel drums are associated with calypso music.
Strophic--Having more than one stanza or verse. The music repeats with each
stanza, but different verses are sung each time. Most hymns are strophic.
Subdominant--The fourth note of the major scale; Fa. The IV chord is the subdominant
chord in a major key.
Supertonic--The note above the tonic. The second note of the major scale, Re
Syllabic--Music that primarily presents one note of music for every syllable of text
Syncopation--A rhythmic style in which accented notes fall on normally unaccented beats.
Tag--An elaborated, harmonically rich ending to a song, characteristic of
barbershop singing
Tempo--Speed; how fast or slow a piece of music is
Text-painting--One characteristic of Romanticism; the composer tries to express
thoughts and feelings through musical techniques.
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
Trill--A rapid alternation between a note and another note--usually its upper neighbor
Triplet--A group of notes resulting form dividing the beat into 3 equal notes
Tritone--The interval of 3 whole steps; one-half of one octave
Augmented fourth--A tritone made by raising a perfect fourth one half step
Diminished fifth--A tritone made by lowering a perfect fifth one half step
Variation--Manipulating a theme in using various techniques, including changing the
accompaniment style or embellishing and elaborating the melody
vi chord--A chord whose root is La; the vi chord is minor in a major key
240
GLOSSARY
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
241
l
Index of Poems
L
..
The Prickly Pear, 3
Erlkonig, 206
l
Index of Songs
All My Trials, 221
The Brook, 95
Dixit Maria, 136
Give My Regards to Broadway, 231
Hava Nagila, 100
If I Were a Flower, 10
l
Kerry Dance, The, 38
Kyrie Eleison, 210
Navy Hymn, The, 172
Psalm 96, 145
Weep, O Mine Eyes, 111
Index of Composers
L
Hassler, Hans Leo, 140
Schubert, Franz, 205
Sweelinck, Jan, 145
Bennet, John, 111
Cohan, George M., 231
DeWitt, Patti, iv
Dykes, John Bacchus, 171
l
L
Orff Abbreviations
L
AX--Alto xylophone
BX--Bass xylophone
SX--Soprano xylophone
Rec--Recorder
FC--Finger cymbals
Rat--Ratchet
VS--Vibraslap
WB--Woodblock
AM--Alto metallophone
BM--Bass metallophone
SM--Soprano metallophone
AG--Alto glockenspiel
SG--Soprano glockenspiel
Cym--Cymbals
Whis--Slide whistle
TB--Temple blocks
242
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.
243
INDEX
l
General Index
L
Internet search, 115, 209
Le, 181
Leading tone, 81, 117-119
Li, 119
Lower neighbor note, 6, 14
Madrigal, 116
Major sevenths, 57
Major sixths, 15-31
Major third, 42
Mass, 209
Minor sevenths, 57
Minor sixths, 15-31
Minor third, 42
Me, 181
Melodic minor, 99, 110, 127
Modulation, 175-177
Natural minor, 99
Neighbor notes, 6
Nonharmonic tones, 6-14
Octaves, 21-21
Passing note, 6, 14
Pedal point, 8, 14
Perfect fifth, 46-52
Perfect fourth, 44-52
Picardy third, 110, 116
Pivot chord, 155
Plainsong, 209
Ra, 181
Ri, 118
Root, 5, 14
Relative major, 160, 167, 170
Relative minor, 160, 167, 170
Renaissance, 143-144
Salieri, Antonio, 205
Schiller, Friedrich, 206
Schubert, Franz Peter, 205-206
Se, 182
Secondary dominant, 163, 183
Si, 103
Spiritual, 220
SPEBSQSA, 230, 233
Subdominant, 94
Suspension, 6, 14
Sweelinck, Jan, 141-142
5/8 meter, 34
6/8 meter, 35
Accented passing tone, 7, 14
Accidental, 81
Accompaniment, 117, 118, 204, 228, 232
Analyze, 5, 8, 53, 179
Anticipation, 7, 14
Appoggratura, 8, 14
Arrangements, 229, 231, 233
Audiation, 85, 104, 161, 183
Augmented second, 100, 116
Barbershop, 230, 233
Beethoven, Ludwig van, 205, 206, 208
Cadences, 76-80, 110, 116
Chords
V7 Chord, 53-63
vi Chord, 42-52
Chamber Music, 206
Chromatic, 183
Circle of fifths, 157
Classical Era, 206-207
Cohan, George M., 231
Composition, 101, 116, 204, 233
Compound meter, 32, 34
Conducting patterns, vii, 33
Countermelody, 194, 208
Cut time, 33, 37
da Vinci, Leonardo, 143
Di, 117
Dominant, 46, 63, 135, 157
Dominant seventh chord, 230
Dykes, Rev. John Bacchus, 171
Erlkonig, 205- 207
..
Fi, 81-98
Form, 27, 46, 63, 93, 116, 192
Friedrich, Caspar David, 207, 208
Goethe, Johann Wolgang von, 206
Hoffmann, E. T. A., 208
Handsigns, vii
Harmonic minor 99, 116
Hassler, Hans Leo, 140
Historical Shorts, 57, 110, 117-118
Improvise, 117, 228, 230-233
244
INDEX
Sweet Adelines International, 230, 233
Non-harmonic tones, 6, 14
Te, 178
Triplets, 1-2
Tritones, 55
Unaccented passing tone, 6, 14
Upper neighbor note, 7, 14
Van Eyck, Jan, 142
Vogl, Johann, 205
Whiting, William, 171, 172
Write across the curriculum, 3, 32, 43, 80,
97, 142, 204, 219
245
l
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246