Advance Ear Train

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University of Toronto
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Advanced
Ear-Training
and
Sight-Singing
AS applied to
the
STUDY OF HARMONY
Continuation of the
and Coordinated Course

Schools and Private Study
Practical
for
By
O
GEORGE
A.
WEDGE
UNIVERSITY OF TORONTO
w*-^
EDWARD JOHNSON
1
G.
SCHIRMER,
%Qy:^y)Z)(y)fi)<i)<2)(i}QJQ)QJQiQ)<^QJQiQ}QJQ)Q)Q)Q)^
Inc.,
PÛStC LIBRARY
NEW YORK
Copyright, 1922, by G. Schirmer, Inc.
30914C
fiT
R.
:T
A i^
4 1963
Printed in the U. S. A.
To
Dr.
FRANK DAMROSCH
U6
:ally
iding
read
Harfor
is
o
rcises
)niza-
and
.1
thms,
ods a
The
:an
be
nd the
and
'ho has
e
at the
C1
ng
this
Vlusical
ictation
.xercises
DGE.
bo
(4
PREFACE
The study
of
generally consists of writing notes, mathematically

understanding
bass, without hearing their sound or
Harmony
calculated from a figured
must be able to read

and bearing upon playing or singing. A musician
his mother tongue.
and hear written music as readily as he reads
to study and apply HarThe purpose of this book is to show the pupil how
written and to furnish exercises for
mony, to develop the ability to hear what is
their use
study.
the exercises
divided into three Sections: Section A contams
to Melodic Construction and Harmonizafor written work, applying Harmony
B, the exercises for Harmonic, Interval and
tion and the study of Form; Section
in Singing Intervals, RJiythms,
Melodic Dictation; Section C, the exercises
.
Each Lesson
is
Chords and Sight-Reading.

use two fifty-minute periods a
In class-work it has been found practical to
B and the other to Section C. The
week, devoting one period to Sections A and
combined with Section C can be
explanations at the beginning of each Lesson
and the
Sight-Singing without the written work of Section A
used for the study of
Ear-Training of Section B.
j
development of the work and
Following is a plan of the book, showing the
order in which the factors are taken up.
,
AN ACKNOWLEDGMENT
The author wishes
to express his gratitude to Dr.
encouraged and sponsored

Institute of Musical Art;
this
work
To Miss Helen W. Whiley
as it has
for loyalty
Frank Damrosch, who has

in the classes at the
been developed
and enthusiasm
in
presentmg
this
the manuscript;
material, and help in the preparation of
manuscript;
Dr. Thomas Tapper for reviewing the
To
To
and "Material Used in Musical

Dr. Percy Goetchius' "Tone Relations"
Composition";
To Mr.
Franklin
W. Robinson
and the use and meaning
To
for ideas in presenting
Harmonic Dictation
of chords.
material in the Exercises

G. Schlrmer, Inc. for the use of copyrighted
for Sight-Singing.
^^^^^^ ^ ^^^^^^^
North Brooklin, Maine,

August 15th, 1922.
[v]
CONTENTS
Page
Chapter
Chapter
II
Chapter
III
Triads
Inversions of Triads
Chords of the Seventh and Ninth
43
63
Chapter IV
Chromatically Altered Chords
132
Modulation and Embellishi-ient
160
Chapter
Ivi]
ADVANCED EAR-TRAINING AND SIGHT-SINGING

CHAPTER
TRIADS
Chord
is
a combination of three, four or five tones placed one above the

gth
other in thirds:
gir^S^
The tone upon which the chord is built is called the Root.
The next tone is the third, the next the fifth, the next the seventh, the next
the ninth of the chord.
Each tone is named from its interval-relationship to the
root of the chord.
three-tone chord
a Triad:
is
Seventh (seventh-chord)
five-tone
four-tone chord
chord
is
is
a Chord of the
a Chord of the
Ninth
(ninth-chord)
A
A
chord may be built upon each tone of a key.

chord is named from the degree of the scale which is its root.
is the first degree of the scale, it is a One Chord (I), or Tonic Chord;
degree, a Five Chord (V), or Dominant Chord; etc.
xc
"
I
U
n
IV
IM
VI
-y
M
VII
If
if
the root
the fifth
II
v^
Roman
numerals are used as symbols of chords.

is a duplication one octave higher of one of'the tones, generally
the root. The tonic chord is i, 3, 5, 8; the dominant chord 5, 7, 2, 5; the subdominant chord 4, 6, 8, 4; the two chord 2, 4, 6, 2; the six chord 6, 8, 3, 6; the
three chord 3, 5, 7, 3.
The I, V and IV chords consist of a major third and a perfect fifth from the
These chords are major chords. The II, VI and III chords consist of a
root.
minor third and a perfect fifth from the root. These chords are minor chords.
The VII chord consists of a minor third and a diminished fifth from the root.
As this chord upon the leading tone is imperfect, i.e., the only chord with a
diminished fifth, and is included in and used as the seventh-chord built upon the
dominant, it is not considered, by most theorists, as an independent triad.
A chord is major or minor according to the size of its third.
Chords are arranged in harmony for four-part vocal music. The upper
part is the Soprano, the next the Alto. These are written on the G staff. The
next voice-part is the Tenor and the next the Bass. These are written on the F
In triads, there
staff.
A
I
is
chord
is
when
when the
in octave position
in the position of the ^th
It
the 8th of the chord is in the soprano.
It is
the chord is in the soprano.
fifth of
[1]

chord is in the soprano. The
in the position of the 3rd when the third of the
nothing to do with Inversion,
has
chord
of
a
position
The
root is in the bass.
which will be treated later.

The proChords are used in music to establish the key and to give accent.
Therefore,
accent.
gression or resolution of one chord into another produces an
the accented pulse.
on
chord
the
into
resolves
pulse
unaccented
the
on
the chord
tones found
different
Chords are built upon the tones of the key, i.e., the
in the
arranged
pitches
by dividing a string into thirds, and not upon these
as
chord
the
I
to
progress
major scale relationship. Chords are related to and
-
these tones are related to the key-tone.
key are
If
is
the key-tone, the tones of the
-e-ff-
o V
VII
rv
III
VI
These tones
as
roots of chords and arranged
in this order are
II
V
I
IV
which is at rest is the key-tone. The other tones

In arranging the chords the IV is transare active in their relationship with C.
includes the IV
posed and placed between the II and the VI, as the IF chord
The only tone
and
is
in this series
nearer the key-centre.
to any
Compositions generally begin with the I chord and may progress
active
more
to
progress
chord. As all other chords are active, they will have to
progress
we
if
example,
For
chords until they come to rest on the I chord.
the centre,
from the I to the VI, the VI will progress to some other chord nearer
the IV, II or V, and then to the I.
The V and IV chords are the only chords which may progress immediately
The other chords will pass through V or IV before going to I. Ihe
to the I.
III always goes to IV or II before going to V.
Harmonic
This law of the progression of the roots of chords is known as the
Harmonic
an
series
this
in
next
the
to
Law and the progression from one tone
.
Step or Degree.
The three upper voices of chords resolve according to the law of active and rest
It will be found that if the
tones in the major scale which is the Melodic Law.
will fulfill the
root of the chord fulfills the harmonic law the three upper voices
melodic law.
,
(a)
(b)
When the V chord progresses to the I cliord as in (a) the root V in the bass
progresses an harmonic step to the I; the 7th degree in the soprano progresses to
the 8th; the 5th degree, which is a rest tone, remains stationary; the 2nd degree
progresses to the 3rd.
In the progression IV to I, as in (b), the root IV in the bass goes to the I;
the 6th degree in the soprano to the 5th; the 4th degree to the 3rd; the ist
degree remains at rest.
In the progression IV to V, the root of the IV progresses harmonically to
the root of the V; the 6th degree in the soprano moves to the 5th; the 4th degree,
which must resolve down, moves to the 2nd, as there is no 3rd degree in the V
chord; the 8th degree moves to the 7th.
Lesson
i.
Section A.
Learn the arrangement of the chord roots in the harmonic series.

Construct melodies, phrases in length, in 6/8 meter, using the I, V and
IV chords as a basis for the melody. Employ any of the following rhythms:
(1)
(2)
J-
;J
J);JT3iJ J? JJJJJJ
In writing a melody, using chords as a basis, first divide the staff into
measures and place the chord symbols underneath, one chord for each pulse.
The choice of chords is determined by the harmonic law.
A chord may be repeated within a measure, but not over the bar,
A phrase when regular will begin with the I chord on the accented or unaccented pulse and will end with the I chord on an accented pulse of the fourth
measure, preceded by the V chord. This is an Authentic Cadence. If the final
I chord is in the position of the octave, a Perfect Authentic Cadence results; if in the
position of the third or fifth, the cadence is known as Imperfect Authentic. A phrase
generally ends with a Perfect Authentic Cadence.
A melody may follow the line of a scale up or down. In working from an
harmonic basis the melody will move along the scale-line from some tone of the
chord on the pulse. Not all the tones of the scale will be found in this chord.
The tones which come between the tones of the chord are called Passing-Tones,
and do not affect the harmony.
At any time the melody may stop and embellish a tone of the chord by progressing to the tone a half-step or whole step above or below.
These tones are
known as Neighboring Tones, and do not affect the harmony. Neighboring tones
must always return to the principal tone and may never jump, unless from the
upper to the lower neighbor or the reverse.
All skips, single or consecutive, must occur between tones of the chord.
Occasionally a skip may be made to a neighbor; the neighbor must immediately
resolve to the principal tone.
For example, divide the staff into four measures.
As these melodies are to be

have two chords in each measure but the last. The phrase
may end on the first or second pulse of the fourth measure as it is a compound
meter.
On the first pulse we may have a I chord and repeat it for the second;
on the third the V and its resolution on the fourth; then the IV, which may go
either to the V or 1.
In the following example the IV will move to the V on
account of the cadence.
in 6/8 meter,
we
shall

>
J J J J
II
Ml
^n
J J * p
IV
Pr
P'
and progress down the scale to 3, making b,

a and f, passing- tones; then to 2, a part of the V chord on the next pulse; then
to I, the lower neighbor of 2, and back to 2; then to 3 for the I chord, passing
through 4 and 5 to 6 for the IV chord; then skip In the IV chord from 6 to 4 to 8;
turning after the wide skip to 7, a member of the V chord, and passing through
8 up to 2 and returning to 8 for the cadence.
The melody may
start with 8
Section B.
Play the following chord successions, listening to the difference in sound

of the I and V chords. The I chord gives a feeling of rest, because the root is the
fundamental tone in the harmonic series and the three upper voices are rest
If the I chord is in octave position, it sounds comtones of the major scale.
of the third or fifth it gives a feeling of rest, but
position
plete; if it is in the
questioning.
sounds incomplete or
The V chord sounds unfinished and as if the I chord should follow. It is an
active chord and needs resolution into the I chord, because its root is the nearest
related tone to the I chord in the harmonic series and two of its upper voices
are active tones in the major scale and demand resolution.
In listening to the chord, hear it as a complex of tones, if it is at rest or needs
In chord repetitions
resolution, do not listen primarily to the bass or soprano.
the same sounds will be heard, but in different arrangement.
(i)
Practise as follows:
Play each exercise several times, determining
(a)
if
the chords are active
or at rest.
After each V chord pause for a moment so that the mind may
realize the demand for resolution.
(c)
Play the first chord and think the sound of the others. Test with
the piano to see if you think correctly.
Use each exercise for dictation as follows:
(d)
Rule the staff for four measures.
(i)
someone play the exercise slowly, twice.
Have
(2)
the
second playing write the chord symbols according as you
At
(3)
think it is the I or the V chord.
Have the exercise played again and write the numbers of the
(4)
scale steps in the soprano.
Compare your version with the exercise. If there is a mistake,
(5)
play your version, then the correct chord, until you hear the
(b)
mistake.
Exercise
would be written;
IV
The chords
of this exercise will
I,
as
V V
first
chord as the
I,
the
demanding resolution into the I, so it must be the V; the

the resolution of the V; the next as the same chord, the position having
next a different chord

next the
II
be heard thus: The

been changed; the next a different chord and an active chord; the next the same
chord in a different position; the last the I, as the resolution of the V.
i
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An Harmonic and most Melodic Intervals are parts of a chord and

(2)
sound in relation to the root of the chord.
All the intervals in the I chord are consonant intervals, or intervals which
do not need resolution.
The Major 3rd, 1-3, from the Root to the Third of the chord.
The Minor 3rd, 3 - 5, from the Third to the Fifth of the chord.
The Major 6th, 5-3, from the Fifth to the Third of the chord.
The Minor 6th, 3-8, from the Third to the Eighth of the chord.
The Perfect 5th, i - 5, from the Root to the Fifth of the chord.
The Perfect 4th, 5-8, from the Fifth to the Eighth of the chord.
Since the I, V and IV chords are major chords, their interval content
is
the
same.
As these chords
are used in composition, the
same
intervals occur
between
different scale-degrees.
In the V, or Dominant Chord:

Major 3rd, Root to Third, from
5th -7th degree
Minor
Third to Fifth, from
3rd,
7th
-2nd
degree
In the IV, or Subdominant Chord:

from the 4th -6th degree
S
Major
from the ist-6th degree
6th, Fifth to Third, from
2nd -7th degree

Minor 6th, Third to Eighth, from
7th- 5th degree
Perfect 5th, Root to Fifth, from
from the 6th - 4th degree
5th -2nd degree

Perfect 4th, Fifth to Eighth, from
2nd- 5th degree
from the ist-4th degree
All these intervals are consonant and are therefore complete, requiring no
resolution; as they occur in the I chord there is no question as to their position
As different chords are used and four or five intervals occur in a
in the key.
chord, other than the I chord, there is a danger, because of their consonant
and inactive scale-degrees or of the keyThis cannot happen if the change of chord is recognized and the posicentre.
For example, in this series the first
tion of the intervals in the chord is known.
perfect
5th, 1-5, a minor 6th, 3-8, are
a
three intervals, a major 3rd, 1-3,
with the I chord.
begins
generally
music
as
known to be in the I chord,
quality, of losing the feeling of active
-^
The next
(a)
interval
might be heard
3rd, but not
^
TT
in the following
ways:
If the new chord is recogchord, its position is known to be from the 5th to
nized as the
the 7th degree of the scale.
If the scale-degrees 5 and 7 are recognized, it is known to be a major
3rd and a part of the V chord.
The 7th degree might be recognized as the upper tone of a major
3rd, so the interval is from the 5th to the 7th degree and a part of
As a major
in the I chord.
(b)
(c)
the
The next
(a)
(b)
Interval
chord.
might be heard:
a perfect 5th and in the same chord as the preceding interval,

therefore from the 5th to the 2nd degree.
If the scale-degrees 5 and 2 are heard, it is known to be a perfect
chord.
5th in the
This interval is
It is more likely to sound i to 5, or Root to Fifth.
interval, so
the
preceding
same
chord
as
the
of
felt to be a part
As
(c)
could not be from the ist degree to the 5th, but from the Root
to the Fifth of the V chord, and from the 5th to the 2nd degree.
it
undoubtedly sound like 5 up to i the

realize that these intervals are in the
we
Unless
8.
up
to
3
same chord as the two preceding and sound in relation to the root of that chord,
If they are known to be a perfect 4th, from the 5th to
the key-centre is lost.
the 1st (or Root), and a minor 6th, from the 3rd to the 8th of the V chord (not
The next
next, a
interval, a perfect 4th, will
minor 6th,
of the scale), they are easily placed in the key.
The
I
chord
last interval is
may
follow the
heard as a major 3rd in a different chord.

chord, the interval must be from i to 3.
As only the

Practise the following:
I, IV and V chords in the key of C.
Think the sound
the intervals.
Test with the piano.
The intervals in
Exercises i and 2 are in the I and V chords; in Ex.
3, 4, 5 and 6,
in the I, IV and V chords.
Play the intervals, listening to determine how they sound in relation
to the root of the chord and to the key-centre.
Play the
(a)
of
(b)
Play the lower tone, sing the upper tone of each.

Play the upper tone, sing the lower tone of each.
(c)
(b)
(a)
i Sr
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(d)
(c)
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(c)
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(d)
and Sight-Singing.
Exercises for Melodic Dictation
(3)
xx:
TJ-
(a)
(a)
Practise:
(a)
Play the
(b)
Read the melody mentally, without
If this
(c)
and
chords in
major to establish the tonality.

singing, at a moderate tempo.
Test with the piano. If you cannot hear the
J. =72.
melody mentally, play the melody, then try to read it mentally.
It is most vital that written music should be read and
heard mentally as readily as one reads English.
I,
MM
is
at first difficult, persist:
it is
the greatest aid to sight-singing.
Play the phrase twice, look away from the music and sing the phrase
from memory to la. Test. Repeat until successful.
Sing from memory, using the number-names of the scale-degrees; then use
the letter-names.
(d)
first
to
Note.
I, V and I chords in
Major. Sing the melody, using
the number, then the letter-names. Transpose the melody
Major in the same way.
Play the
Let the construction of the melody help in memorizing. In 2 the first four notes form a
next four are in a sequence with it: the next measure is a scale-line on the first pulse and a wide
leap on the second.
figure, the
In singing and memorizing a melody beginning on the up-beat, be sure that the
measure
is felt
from the up-beat to the up-beat.
P
<^
Jm Jh
Pr LTi
Jl
("
Lx;Jîrr
J.
^^^5
Pc:
Oli,_rj
iJîcJXc^fJ
?J-
IJJJJ.
jm^
rfto''
^^
4 îr J>ffîr pJ î^jE,^^^^

(e)
Have someone play

(i)
J)J
^
s
8j^|J J)J J)|J
^^^ ^m
1.
the melodies for dictation as follows:
Play the entire melody with simple chord accompaniment, two

chords to a measure, using the I, IV and V chords on the
pulses, allowing the other tones to be passing-tones or neighbors.
Number I would be harmonized:
The
pupil decides the meter and form of the melody.

The form
determined by the cadence; the meter by the number of
pulses in the phrase.
Play the phrase twice while the pupil listens and memorizes the
tune.
The pupil should relax and allow the entire phrase to
Is
(2)
make an impression on
the mind; he should not spend time
(3)
trying to determine the note it begins on or analyzing a

rhythmic complication. After the mind has grasped the phrase
it is easily analyzed.
As these phrases are in compound meter,
remember that a mental breath in the middle of the phrase
will help in memorizing,
The pupil writes the melody on the staff. At this stage there
should be no difficulty in writing, but if there is, make an outline as in the elementary work.
Q 88 55
8
654 3
284
5 67
3"
with the rhythm in only one measure,

write dots for the pulses and determine the figure on each
If the pupil has trouble
pulse.
(4)
(5)
Play the phrase again for correction.

After the melody is written, the pupil should mark the chords
that may be used for harmonizing the melody, as well as the
rhythmic figures, sequences and repetitions.
Figure
-ir
sequence
j
IV
^ ^^ ^
I
IV
The chord symbols
indicate the harmo;iic background.

The
question of inversions to avoid parallel fifths and octaves is
left until those points are taken up in the theoretic study.
Section C.
(i)
Absolute Intervals.
In sight-singing there is no need of thinking the interval name or the size

made, as long as the key is known. It is only when this feeling of
key has been broken down by unusual skips or a modulation that a knowledge
of how to sing absolute or unrelated intervals is needed, and then only until
the tonality has been reestablished. The position of intervals on the staff and
in the major scale, also of what chords they are a part, must be known so that
they may be quickly recognized and sung.
There are major 3rds on the staff from c-e, f-a, g-b; in the major scale from
1-3, 4-6, 5-7; in the I, V, II, IV, VI and III chords.
To sing a major 3rd up, make the lower tone i and sing 3; to sing a major
3rd down, make the upper tone 3 and sing i.
Play any tone on the piano, sing the tone calling it i, then sing the
(a)
tone a major 3rd above, calling it 3. Test.
(b)
Play any tone on the piano, sing the tone calling it 3, then sing the
tone a major 3rd below, calling it i.
Repeat, singing the letter-names of the pitches.
(c)
of the skip
10
jTJj
Rhythmic Study:
mm
J^m
mm
m
(2)
(b)
(c)
(d)
J.
in
iJis^m ^n2
m
i-m
i/Ti
r^
^nn
im
^j~33
ij
nrRtJss^r^ j
JT]
iJ.
i-TT] J"TJ
in
j.h
j>in
iJ.
II
(e)
As 6/8 is a Duple Metre, each pulse divided into triplets, beat two to a measure and intone the rhythms. The rhythmic subdivision must be felt and sung
as a unit.
In singing any rhythmic subdivision there is a feeling of relaxation
after the tone
on the pulse,
JJJJJJ
e.g.,
In each
is a feeling of stress on the first tone and relaxation for

the other tones.
Each group should be mentally conceived as a figure before
singing, the eye taking in as a unit the figure on each pulse and not each individual note.
It has been found practical in studying these exercises to sing a
major scale as well as intoning the rhythm on one pitch. Begin on 8 and sing
down; (a) would be sung:
of these figures there
The
as the
figure
J.
jj
two sixteenths
into the next pulse.
is
often confused with
in the figure
The
<g)|
(w
JTjJ
figure
Rhythmic Study contrasting
JTjJ
m
m
,m
n2 m ,n}
ck)J),j
J)i~5] ,J
a)J),rr3J
J)
Jj.
This
is
easily corrected,
relate themselves to
^J
halts
and
and
and progress
not legato.
is
^J
j5irr]j~j].j
j5iJ^t]j
.B J55553 J^T]
,
J5.JT:1 /1555.J~51
J3j-
j3iJ~j3
j-
J;
.J
.îJ-

(3)
11
The following Chord Successions are to be practised:

Play the key-tone. Think, or hear mentally, the exercise in a
moderate tempo.
(b)
Sing the chords, using the letter-names, c, e, g, c, etc. Sing the
(a)
numbers of the
(c)
(d)
(e)
(f)
(g)
/^
scale-steps,
i, 3, 5, 8, etc.
Write the chord symbols I, V, I, IV, I and sing the letter- and
number-names from memory.
Test at the end of each exercise to see if you are singing on pitch.
If below pitch, repeat more slowly, taking care that the 5th and
8th of each chord are high enough.
Sing each chord as follows: Root, 3rd, 5th, 8th, 5th, 3rd, Root.
Sing the exercise to a neutral syllable, as la, thinking first the
then the number-names.
Repeat each exercise until it can be sung rhythmically.
letter,
J ^
?
IV-
^
IV
1^
^ J
^ p
?
IV.
Pi
^ p
c/i'
C;'
&H
in
^
u
'^
m
:m
i^r^JU-i^
m
IV-
IV
IV
^n
Q-i-b'^ 'i.^r^J j.j

i
c::/'
D
s
0' m
aSû L^'
\
'^-
^^m
^-

(4)
Exercises for Sight- Singing:
(a)
Play the
(b)
Read the
(c)
Sing the exercise to the number-names of the scale-steps; to the

letter-names of the pitches.
Sing to the syllable la, thinking first the number-names, then the
(d)
and I chords to establish the tonality.

exercise through mentally at a moderately slow tempo.
Test for pitch.
I,
letter-names.
Note. Beat two beats to the measure.
the sound of the entire chord.
^ >irpî'
ip=if
Take
^^^
in
each pulse as a unit.
In consecutive leaps, think
biJJJJ'i^j
J'
Folk-Song
JDFJNCED EAR-TRAINING AND SIGHT-SINGING
'Jr.
E=2â
'-uissâai
.M/jJj JmJT-jJI] JI^ r
j_ ;;j
'^
J.1^ J"n
J j. IN- i
.
JJji
13
A.
'J^J
'V >
l
''
lff^l J.JJ^Jff^lr
jK
i
4 JT3^JîJ7].fffP||jj|i
P.TO
M^n
<
* d
1^^^
14
j'm
/fjMj
4-^T^
i J J>i?J
'
Jî^
JJ.7]
j)ir-î'>iJ-^^jîj.jjpg
g'H? *^^
J "^
<
"^'rP
r'
ii
j,^
II
J,JUfi-l
m-pu
r i
^JJîcjUJ.
Jin
Lesson
j_
^
s
^ ^ ^
^ ^
'^J^'^
-l-Cc/^
rJ' j> Jj,r7]i
'
?^.
TU73 rTji p
|
phrase in music corresponds to a simple sentence in

English.
In English
Is often used; this Is,
in reality, two sentences, each
expressmg a complete thought, the one qualifying the
other.
In music a Period
corresponds to this form.
a
compound sentence

A
15
when
regular, consists of two phrases, each usually four measures

the Antecedent Phrase, the second the Consequent Phrase. A
period begins as any phrase, but the antecedent phrase ends with some tone of the
V chord, 5, 7 or 2. This gives the effect of being incomplete and makes a Semicadence.
The consequent phrase ends with the i or 8, a Perfect Authentic
Cadence.
A period is in Parallel Coristruction when at least the first measure of the
antecedent and that of the consequent phrase are alike, as Alelody 3,
Section B (3). (Page 18.)
A period is in Contrasting Construction when the antecedent and consequent
phrases are different, as Melody 2, Section B (3).
Melodies are constructed in the Minor Mode the same as in the Major Mode,
the Minor Mode being formed from the Major by lowering the 3rd and 6th
degrees of the Major.
In using the progression from the 6th to the 7th degrees, the augmented 2nd,
Period,
long.
The
first is
which sounds
like a
minor 3rd,
often retained
is
'
J J
^r
=p=^
but gen-
is raised and in descending the 7th degree is

lowered so as to give a diatonic progression. This is known as the Melodic
Minor Scale and is used when the scale-line is harmonized with the I chord.
erally in ascending the 6th degree
^M CT
I
If the
harmony
descending.
is
the
IV
chord, the raised 6th
^hSy^\
-#
used both in ascending and
is
If the harmony is the IV, II or VI chord, the lowered 7th

ascending and descending.
used both in
is
=3i.
IV
II
Section A.
(l)
Construct periods in c minor, with both parallel and contrasting phrases,

I, V and IV chords as a basis for the melody.
Employ the following
using the
rhythms
in 6/8
meter: J.
J)
JT3
J3
JJJJJJ
Section B.
(i)
in
in
Play the following chord successions, listening to the difference in sound

is minor
is major
and V chords in minor. The I is a rest chord as in major, but

quality on account of the lowered 3rd degree. The V chord is active,
quality, and sounds the same in the major and minor modes.
of the I
16
Practise
and
I, 2,
3,
as follows:
(a)
if
the
chords are
active or at rest.
After each V chord pause for a minute and think the chord of resolution before playing it.
Play the first chord and think the sound of the others. Test with
the piano.
Have each exercise dictated. Work as outlined on page 4.
Transpose the exercises of Lesson i to c minor.
(b)
(c)
(d)
(e)
In Exercises 4, 5, 6, 7 and 8, in C major, the IV chord is used. The IV chord

is major in sound, and is an active chord because its root is the first harmonic
tone below the Tonic and two of its upper voices are active tones in the melodic
series.
The IV chord resolves into the I, or it m.ay progress into the V. It is
distinguishable from the V chord because it sounds lower and farther from the
I; it impresses the ear as if another chord could be played before its resolution
into the I.
It is impossible to think a chord between the V and I.
Practise these Exercises as follows:
Play each exercise, determining
(a)
if
the chords are active or at
rest.
(d)
Pause after each V chord and think the chord of resolution.

Pause after each IV chord and think first the I chord, then the
and I chords.
Think the sound of each exercise.
(e)
Have
(b)
(c)
the exercises dictated.
5 would be heard: first a I chord; next an active chord, before the resolution of which another active chord could be substituted; or as an active chord
resolving into the I and sounding like an *'A-men," therefore the IV^-I; the next
a rest chord, the I: the next the same chord in another position; the next an
active chord resolving to another active chord, which must be the IV to the V
Ex.
chord; the next the rest chord.
Transpose each exercise to c minor.

In minor the IV chord is a minor chord and is distinguished from the
which is also minor, on account of its activity.
(f)
^ rr
^ ff
8
^ î
chord,
J=J:
^m
31:
in
WA
^W
4=A
'
3x:
3x:
TT
^3

4
17
^^
IV
ZXSl
IV
V
8
rf
^^
Ya
3x:
TT
^
fT
rf
rr
3CC
JOl.
DCC
m
r
3i:
In minor the position of the major and minor Intervals In the I and
will be changed on account of the lowering of the 3rd and 6th degrees
of the scale.
The minor 3rd will occur from the root to the 3rd of the chord; the
major 3rd from the 3rd to the 5th of the chord; the major 6th from the 3rd to
the 8th of the chord; the minor 6th from the 5th to the 3rd of the chord. The
perfect Intervals will remain the same.
The Intervals in the V chord will not
change.
(2)
IV chords
Play the
(a)
IV and
I,
Plav the intervals,
(b)
Think the sound
chords In c minor.
of the
intervals.
listening
how they sound
determine
to
relation to the root of the chord
in
and to the key-centre.

(c)
2
(
(a)
XE
8.
11
(d)
(0
*
(a)
3r
3x:
"
^j
"
^r
^y.
IV
3
(b)
30:
xc
(d)
(c)
te
(b)
(a)
xx:
(d)
(c)
xc
^te ^
DCE
3x:
^gr :^ O O
-XT
4
(b)
(a)
(d)
(c)
^m^
sx.
XX X3L
11 !
:8=
ii..u!:ii
XE
(b)
(a)
:Sr
xx:
xx:
ias
_g_^
11
'
XE
ffi
(3)
and Sight-Singing.
Practise:
(a)
Play the
(b)
Read the melody mentally.
(c)
Play the antecedent phrase twice.

Sing it from memory to la.
Sing mentally the number-names; then use the letter-names.
IV,
I,
and
chords in c minor to establish the tonality.

Test.
Sing aloud.
Practise the consequent phrase in the same way.
Play the entire melody. Sing from memory.
(d)
(e)
Transpose to d minor; to b minor; to C major.

Sing first the
number-, then the letter-names, in each key.
Using the arm movement, down-up, sing the melody mentally and
analyse the rhythmic figure on each pulse. Concentrate upon
(f)
(g)
the figures of three notes to the pulse,
j. J J
stitute
If
there
confusion of
is
J J J
and J. J J
one for the other until the difference

Drill," page 10.
is
felt.
and
sub-
Review
"Rhythmic
i
)!
^Hr=\
>ij73r
J^'i
j'J^j
p
^ciirr p
^^
^m
^
f
^ iîj.jjJ /Ji;:jj
J^j
^hS
)\JV^^
Q-
iCjjff
r-7
ii
''
f'r
n >i[i;v
rj\jVn ^\
J^J]Jj>Uj:jJ3N'
^''^
hHûs
19
rpcif Q^
i
J.
r.^îJJ^J>
J'i?^
^^
rprpi[:ir[j;;irp^^'ijjMrpp
10
E=S
^nira/irprcîfrîJ'irjirrg
Have each melody
(h)
(i)
dictated as follows:
Play the entire period with simple accompaniment, two chords

to a measure, using the I, IV and V chords on the pulses,
allowing the other tones to be passing-tones or neighbors.
The
pupil decides the form, the construction,

contrasting, and the meter.
(2)
(3)
(4)
(5)
(6)
if
parallel
or
Play the antecedent phrase twice while the pupil listens and
memorizes the tune. Do not allow the pupil to sing the
melody aloud. He should sing mentally.
The
pupil analyses and writes the melody on the
staff.
Play the phrase again for correction.

Dictate the consequent phrase in the same manner.
The pupil marks the chords for harmonization, the figures, repetitions and sequences and the form of the melody.
Section C.
(l)
Absolute Intervals.
There are minor 3rds on the staff from d-f, e-g, a-c, b-d; in the major
scale from 2-4, 3-5, 6-8, 7-2; in the I, V, H, IV, VI and III chords.
To sing
20
a minor 3rd up, call the lower tone 3 and sing 5; to sing a minor 3rd down, call
the upper tone 5 and sing 3.
Play any tone on the piano; sing the tone, calling it 3; then sing the
(a)
tone a minor 3rd above, calling it 5. Test.
(b)
(c)
Play any tone on the piano; sing the tone, calling

the tone a minor third below, calling it 3.
(a)
5;
then sing
rm
Rhythmic Study.
(2)
it
ni
ijn JTSij~i] /^,JT?3J'
(b)
(c)
The
three sixteenths in the figure
jT"^^
group themselves with the
next pulse, the same as the two sixteenths in the figure J
^,
Study using
and singing each exercise to la on a major scale,

These exercises should be sung at a moderate tempo,
about J. =69, gradually increasing to about J. =88. In all of the drill both for
Rhythm and in Sight-Singing use a light tone so that there is no concern about
the
arm movement
for the pulse
as in the preceding Lesson.
tone-production.
(3)
Practise the following Chord Successions:

Play the key-tone and sing the exercise mentally.
(a)
(b)
(c)
(d)
Sing, using the number-names.

Sing, using the letter-names.
Sing to la, thinking the letter-names, then the number-names.
Write out the chord symbols and sing the letter- and numbernames from memory. In singing from memory, always have a
mental picture of the staff or look at a blank staff.
Note. In exercises 3
B531, not each tone 8, 5, 3,
and
1.
4,
where the descending arpeggio is rapid, it must be thought of

this the mind must relax after the note on the pulse.
^"i-îJîr^J j MJ^rr
i
^m
iv^
as a unit
To do
'
i
^^r^^
n^jJir
iJ^ r^J i
i
^
IV-
ADFANCED EAR-TRAINING AND SIGHT-SINGING
m P
1,1
ij^pr
r^r ij
II
21
V.
^^ ^J^T
^ff^
^û
^1
IV.
mj
iî
^îi
^^ ^
t:
(4)
ls/i-^
*
i
xîr
^Jij
* ^^
^ â ^
.
iv_
Exercises for Sight-Singing:

and I chords and read each exercise through
Play the I, IV,
mentally. Test for pitch.
(b)
Sing each exercise to the number-names of the scale-steps; to the
(a)
(c)
letter-names of the pitches.

Sing to the syllable la, thinking
first
the number-names, then the
letter-names.
Note the
skips in the
IV chord.
Mozart
;J3??]^
mF m
-m-^ ^-m.
CX
J7ii^
22
23
^ QrrJ^ J^^ JJ-M^JJ^ J JJ^

l
^"^^'^ttW^^p
^h
^^
jhQ;^^
JO
M=i *
J^JJJjiJJ!IJi
J'
J'
I
<^^^
^^
pir
i7^j
P^ Ji'J^ P^
I
m^JK.
ilM
^^P
___
h'l,
^^
CîjjJf^
rrrCtt;
14
^j
^-+J^r
i^-Qj
^^ ^^
ffi
|.
^'
13
* ^j^
^
J,,
**d
u M
J J,
Tj,
Pi i
i^j j.-^
^'
J V
"^
16
'
^^JîU
^??^
ij
'
iî
;r
#-"-
V ^
i'
^^^ ^
^
iJ
24
fir^l^LiJlCu
iji'i
'
H-il^
^^^
^h I^îJJ]
Lesson
The
II
called the
chord is minor in quality and is next to the V chord in activity. It is

Second Dominant Chord because its root is the second dominant from
the tonic in the
The
Harmonic
may be
Series.
preceded by any chord but the V.
It resolves into the

Exceptionally it may resolve into the VI chord, as will be explained
later under "Exceptional Resolutions," in Lesson 4, page 33.
II chord
chord.
Section A.
Construct periods in G major, with both parallel and contrasting

Employ
phrases, using the I, V, IV and II chords as a basis for the melody.
meter:
the following rhythms in 6/8
(i)
JT3,J
J). J-
J ^
J55115
JT3 JTTO and JTJS

,
Section B.
(i)

(a)
(c)
or at rest, major or minor.

Pause after each active chord and think
Read each exercise mentally.
(d)
Have each
(b)
exercise dictated.
the chords are active
resolution.
as outlined
on page
4.
The II chord will be heard as a minor chord. At first it will be confused with
IV chord. Always go back and substitute the IV for the II if this mistake
made, determining if the quality of the chord is major or minor. Remember
the
is
Work
its
if
that a chord
is
not repeated over the bar.
13
5i^
rr rr
n
n
n
ii
ii
^ m
^
rf rf n
n
J.
^^
I
IV
II
V V
mn
ji
a#
^
^
^ rr rr
^^
i:
^
^ ii ^
i
^ f^ ^
J
^^
ii
i i p^
n
ii
r
8
^^
i=i
1-^
25
r
i
The minor 3rd and perfect 5th in the II chord, are from the root
(2)
to the 3rd and the root to the 5th of the chord: from the 2nd to the
4th and
the 2nd to the 6th degrees of the scale. The intervals in the II chord will
follow the intervals in the IV chord, and will be followed by intervals
in the V
chord.
(a)
(b)
(c)
I, IV, II, V and I chords in

major. Think the sound of
the intervals. Test with the piano.
Play the intervals, listening to determine how they sound in relation
Play the
26
(b)
(a)
CT
=&
(d)
(c)
(d)
a o
'
:^
S IE
ii i\ ti trr:
(e)
_o_
3ir
s ^=^
33:
=^
TF^
^8^
(3)
Jtt.
(c)
(b)
(a)
(e)
=S
=:
=R=^ xn
and Sight-Singing, containing skips
the II chord and employing the rhythmic figure
J.
JT^
major.
in
in 6/8 meter.
Practise:
and
(a)
Play the
(b)
(c)
(d)
(e)
(f)
(g)
(h)
I,
IV,
chords in
Test.
Play the antecedent phrase twice. Sing from memory to la.
mentally the number-names; then use the letter-names.
aloud.
Sing
Sing

Play the entire melody. Sing from memory. Use the period-form,
figures, repetitions and sequences, as an aid to memorizing.
Use the arm movement for beating the meter and mentally analyse
the rhythmic figures.
Transpose to F and A major, singing the number- and letter names,
Have each melody dictated as outlined on page 19.
.
Figure
I
!!
II,
j)N pr
I
Rep. Modified
-
j)
i^r
Figure
^
p
p^ Fir'"?
jiir
Modified
[xrr
^1^-1^^
j'
j.jjJi^
rTriLXg
Rep
J' ji
rJ'r J] J,J UjJ-n]]|j;,,J
r-
mjij n^fj J^î^L^p

i
4*
ni
J'l
IV
. J
Nil
jiigr^
pr
iJ
iij^
J.
ff
iU
Irrrsr
r"'H
j^-i
nr
-^
n^ftiFr_p'p_i
i^micj!^
4*rrrrrrQ:;ir nn]i
y
^
^m
n^
4" rrrrrrr
^-F^
27
jj jic^;^
10
JM.Tf
rPr^M^
nJ^
^-
J'
j.ijjJT3iJ irr^
irT^cx;i^P^pi^^-î
-^--
28
Section C.
Absolute Intervals.
the 4ths on the staff are perfect, except f-b; in the major scale,
*xcept 4-7; in the niinor scale, all but 4-7, 6-2, 7-3. To sing a perfect 4th up,
call the lower tone 5 and sing 8; to sing a perfect 4th down, call the upper tone 8
(i)
All of
and sing
5.
(a)
(b)
(c)
(2)
Rhythmic Study:
(a)
(3)
then sing the
it 8;
then sing the
JjjJ
and J J
JJ
Study using the arm movement to Indicate the meter, and sing the
rhythms to la in a major scale.
ji^
(c)
it 5;
tone a perfect 4th above, calling it 8. Test.

tone a perfect 4th below, calling it 5. Test.
11^2
>n2 mîj^TT^nrt^rn} I

Play the key-tone and sing the exercises mentally.
(b)
Sing using the letter-names; the number-names.
(c)
Sing to la, thinking the letter-names; the number-names.
(a)
(d)
Sing from memory.
wn
^rf
:
.n
w--
)\^_y jTJ^J
i
f^
II
W--
Jlj. 4
^T^J
J'Uî^ jlJ^j j
IV.
igjl^j )
i
ii.tJ''î
iJT^^
i
^'
jJi^J i
n
*-:
29
''
j.j
Jj
^
Ft
Sing the following chord succession in the same rhythm as 2: I, II, V, IV, V, 1
Sing the following in the same rhythms as 3: I, IV, I, IV, II, V, I. Test fo
pitch at the end of each exercise, even the mental exercises, so as to be sure
that you are thinking and singing in tune.
If below pitch at the end of the exercise, repeat, testing after each chord.
The flatting is generally caused by not
placing the 8th of the chord high enough.
Use the piano only to test. Do not
play as you sing. Learn to think in tune.
(4)

(a)
(b)
(c)
Play the I, IV, II, V and I chords, and read each exercise mentally.
Test for pitch.
Sing each exercise to the number-names; to the letter-names.
Sing to the syllable la, thinking first the number-names, then the
letter-names.
Note the
sing
all
skips in the
of the notes
^^r
II chord.
on one pulse
Recognize the chord
as a tone group,
and
as a unit.
pi::;^-^'
'
ir
^^-^^^î^n^TT
30
^
J'^
M s-^tir-s-
tJ U'TB
jg~^
\Awrr\\rjj}iT]-jfny^jyp
^Tnrm|^^|
i'
^r
tf
>^
8
J-
T 7
''
pi [x;LLri
^m
dst
L^l-rpuj
^ÎH^
^
^'
^M
cX;^ riLLa-cJi
O
m^^
^
#=F
F=*
F==#
Q"LJ^^^>
ij^
J^r
i
*-p-
L4
Cfi-^MiJ^
D'iL[r[^^^
Q-
^^
'.
|>-
|j>-
Q,
31
10
^rJT
n'i
i^'^
rJTEf -T^r-^NJi^"iJ 3?:

i
uJ^
P:Mj ff^m
\f
u ^fflff Nj Tr fî
pipjîj J]
i
rp^j
J^ff^r
it
mj
J
r.
f
i
'^n
n7g
<<M d=^=^
j,
^m
13
^
^
^^
j'lj
j^n^î
32
19
'''
UJ
^^m
[j-
Lesson 4
The VI chord is minor in quality. It is preceded by the I chord and may be

In the harmonic series the root normally
followed by any chord but the I.
progresses to the IV.
The III chord is a minor chord in quality.
I chord and is followed by the IV chord, as
melodic progression
8765.
It
it is
m
u
lU
IV
generally preceded by the

best used to harmonize the
is
33
following exceptions to the harmonic law are possible because the three
upper voices resolve properly, fulfilling the melodic law, thus counteracting the
exceptional resolution of the root of the chord.
The chord may progress to the VI instead of the I chord. This progression
The
is
known
as the Deceptive Cadence.
^
1
i
^
i
^
VI
IV
VI
VI
II
chord and the IV chord may also progress to the VI.

following exceptions to the melodic law are possible because the roots of
the chords are fulfilling the harmonic law.
The 4th degree of the scale may be forced up if harmonized with the IV
chord resolving to the I chord or the II chord resolving to the V chord.
The
The
II
4-
4-
i
r
^
IV
The 6th degree of the scale

progressing to the V chord.
II
may
be forced up
6-
7- 6
III
harmonized by the
II
chord
The yth degree of the scale may be forced

chord progressing to the IV chord.
if
IV
down
if
harmonized with the III
34
Section A.
'
Construct periods in
major, with both parallel and contrasting phrases,
(i)
using the I, V, II, IV, III and VI chords as a basis for the melody.
Employ
the rhythms given on page 28.
Section B.
(i)
Play each exercise, determining if the chords are active or at rest,

major or minor.
Pause after each active chord and think its resolution.
Pause after each minor chord and determine if it sounds like the
I chord or the IV chord.
(a)
(b)
(c)
As both the
and the VI are minor chords, they are distinguishable by

IV and the I chords. The II, having two tones in common with the IV chord, sounds like the IV; the VI, having two tones in common
II
their relation to the
with the
chord, sounds like the
I.
Read the exercise mentally.

Have each exercise dictated.
(d)
(e)
The
i.e.,
Work
as outlined
position of the minor chord w'dl often determine

the VI would not follow the IV or the II follow the V.
VI
f
IV
it
is
4,
VI
or a II;
îl J J
a^ ^
if
on page
V V
Wnw
lA lA U
^ r^ ^
J.
ADVANCED EAR-TRAINING AND SIGIIT-SINGING
35
S
^
^
r?
ff
m^ ^^
rr
fr
^M
.^J=^
The minor 3rd and perfect 5th in the VI chord are from root to the 3rd
(2)
and the root to the 5th of the chord; from the 6th to the 8th and the 6th to the
3rd degrees of the scale.
The intervals in the VI chord will follow the intervals
in the I chord and will be followed by intervals in any chord but the I chord.
Play the
(a)
VI, IV,
I,
II,
V and
chords in
Think the sound
major.

Play the intervals, listening to determine how they sound
Play the lower tone, sing the upper.
Play the upper tone, sing the lower.
Transpose the intervals to the keys of C and G major.
of the the intervals.
(b)
(c)
(d)
(a)
(b)
=B=
(d)
(c)
S
VI
(f)
(e)
zsn
:S:
in relation
3E
3r:
IV
(b)
=& -e>-
-o-
(d)
:=
<t tl
(b)
nnr
rr|;;T>
xx:
XJC
(b)
(a)
SE
(a)
(c)
-XT
(b)
(c)
^ ^
jGl.
XE
^^W
(d)
(e)
:^
o^^
^^ ^
(f)
S^ ^
Exercises for Melodic Dictation and Sight-Singifig, containing skips in
VI chord and employing the rhythmic
meter.
XE
:&:
S^ ^
^""U
(a)
(a)
SE
(i)
3EE
*t fi:
? 1
the
(f)
(e)
<t
a)
(e)
331
XT"
-o-
:=
(d)
(c)
--
:!
(e)
O"
(f)
(Q)
(d)
(c)
\\ t>
(3)
^^
Ol.
-o-
-"-
31:
it
(d)
(c)
(b)
(a)
figures
J^jJ
J J
J^
in 6/8
36
Practise:
and
(a)
Play the
(b)
(c)

Sing mentally the number-names; then use the letter-names.
(d)
(e)

(f)
Use the arm movement
VI, IV,
I,
II,
chords in
major.
Test.
Sing aloud.
(g)
(h)
for beating the meter and mentally analyze

the rhythmic figures.
Transpose to E and C major, singing the number- and letter-names,
There will be no difficulty in determining the pitches of the wide skips and
consecutive skips if the chord in which the skips are made is recognized. Apply
the chords used in Section B (i).
%^^r
II
"!
(-^
VI
m
IV
îr p^
[^j
IV
VI
IV
PCg-i
j^j J^r
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^Mr
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37
J] J J
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Section C.
Absolute Intervals.
5ths on the staff are perfect except b-f; in the major scale,
except 7-4; in the minor scale, all except 7-4, 2-6, 3-7. To sing a perfect 5th
up, call the lower tone i and sing 5; to sing a perfect 5th down, call the upper
tone 5 and sing i.
(a)
Play any tone on the piano, sing the tone, calling it i; then sing the
tone a perfect fifth above, calling it 5. Test.
Play any tone on the piano, sing the tone, calling it 5; then sing the
(b)
tone a perfect 5th below^ calling It i. Test.
(c)
(i)
All of the
(2)
Rhythmic Study: The Up-beat

(a)
(a)|
(b)
(c)
(d)
(e)
(f)
In 6/8.
JJ
Study using the arm movement to indicate the meter, and sing the
rhythms to la on a major scale.
;3iJT^ JT3
i/n
J3i;t3 s~t: j-
^j
38
Note that each of these phrases divides into two sections of two measures
Remember that when the phrase begins on the
each, as indicated by the slurs.
the
measure
meter,
is from bar to bar.
When the phrase
of
the
pulse
accented
on
measure
begins
the
up-beat.
up-beat,
each
Ex. e divides as
the
on
begins
J L
J L
L.
Great care must be taken always to group the last two eighths in a measure
with the following pulse:
(3)
Play the key-tone and sing the exercise mentally.

Sing using the letter-names; then using the number-names.
Sing to la thinking the letter-names; then think the number-names.
Sing from the chord symbols without reference to the notes on the
(a)
(b)
(c)
(d)
staff.
Note. The III chord is minor. It follows the I chord and resolves into the IV chord,
used except to harmonize the 7th degree of the scale as it progresses down to the 6th degree.
ff jt
-*
n.
IV_
H^
^.--.
It
is
little
4'ihj^'T^
j'lj
VI.
(e)
39
Sing the following chords in the rhythm of i I, IV, II, V, VI, V, I.

Sing the following chords in the rhythm of 2: I, II, V, I, VI, IV, V, I.
Sing the following chords in the rhythm of 3 I, VI, V, I, VI, IV, II,
:
(f)
Additional pitch drill. In the following exercises think, then sing,

using letter- and number-names:
(i)
RootofIchord,RofIV,RofV,3rdof
R of
(2)
of
I,
Rof
(3)
3rd of IV, 5th of IV,

of
R of IV, 3rd of II, 5th of
I,
5th of I, R of V, 5th of V, 3rd of I, 3rd of VI,

5th of VI,
of II, 3rd of II, 3rd of V,
of I.
The chords should be

not possible at
Ihw
Ri
of VI,
seen mentally on the staff as these exercises are sung,

the chords may be written out in close position on
first,
the staff and referred to.

4.
II,
3rdofV, 5thofV,
5th of V, R of I.
R of V, 3rd of V,
I.
if this is
I,
II,
40
/?
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- i
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1
1
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1
1
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14
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41
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42
19
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PrrrirLrrîrTfP
CHAPTER
II
INVERSIONS OF TRIADS
A chord is in Fundamental Position when its Root

in the
A chord is Inverted when its 3rd, 5th or 7th is in the bass.
is
When
a chord has
its
3rd in the bass,
it is
bass.
in the First Inversion
=8:
It
When
a chord has
When
a seventh-chord has
its
5th in the bass,
its
in the
7th in the bass,
$
A
it is
Second Inversion.
it
is
in the
Third Inversion,
:^
small Arabic numeral placed to the right of the chord symbol indicates the
inversion:
Ii.
Chords are inverted so as to allow the bass to progress melodically along
tJie
diatonic scale.
Lesson
The first
inversions of the
I,
IV and
V chords are weaker than the fundamental
positions.
The
II chord is better and more easily handled in the first inversion.

chord in the first inversion will progress to the chord an harmonic degree
below, the same as when in fundamental position.
If there is a succession of chords in the first inversion, the bass and soprano
will move in parallel 6ths.
Because of this diatonic parallel motion the harmonic
law will be ignored.
VI,
i
r
rV,
IV,
nit
Section A.
Construct periods in F major, with both parallel and contrasting phrases,

I, VI, IV, II and V chords in fundamental position and first inversion
as a basis for the melody.
Employ the rhythmic figures given on page 37,
(i)
using the
6/8 meter.
[43]
44
In constructing a melody when using the first inversion of a chord on a pulse,

the 5th or the root of the chord will be used on the pulse, never the 3rd, if the
chord is major. The 3rd is possible when the chord is minor.
Section B.
(i)

Play each exercise, determining if the chords are active or at rest,
(a)
major or minor, in fundamental position or inverted.
(c)
Pause after each active chord and think its resolution; after each
minor chord and think its major relative chord; after each first
inversion and think the fundamental position.
Read the exercise mentally. Test with the piano to see if you think
(d)
If there is trouble in thinking a chord, play it several

correctly.
times, then go back until you can hear it.
(b)
The mind must attach some definite meaning to the sound of first inversions.
The Ii, IVi, Vi all sound weaker than the fundamental position. They also
sound top-heavy. They can be distinguished by the smooth progression into
It is
the next chord. This is difficult and cannot be mastered in one lesson.
hear
inversions.
definitely
to
comes
one
drill
that
practice
and
constant
only by
^^
^^ w
rt
m
IV
rvj
isi
V4
ik
ij
^
r
ii
14.
i-,
^
rf
Ji
|i'|i|'|i'i'|i'i'
ii jj ij
i
^^
(2)
^
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rr
^^
Xi
45
4:
Practise the following Intervals:
Plav the
(a)
VI, IV,
I,
II,
(b)
(c)
(d)
and
F major.
chords In
Think the sound
Test.
of the intervals.
Play the intervals, listening to determine how they sound

Play the lower tone, sing the upper.
Play the upper tone, sing the lower.
Transpose the intervals to the keys of C, G and D major.
These intervals are
same order
in the
in relation
as in the preceding Lessons,
but are
not divided by bars.
^
o
3X1
XE
VI
3X
s TH
:xe:
3r
:^
-- -Oi\
i\
^
"o-
xc
xc ff
::
xc
:&:
xx:
(3)
ii
33:
n V
IV
4
3 WW
^^
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:^
T-
xx:
XE -U
xn
-oil
XX re:^
-o ^^
"O"
^ S
S XX.:^ =g3X
XI
xx:
xx:
Exercises for Melodic Dictation and Sight-Singing, containing the skip
from 4-7 and
and
Jj
on the Up-beat
in 6/8.
Practise:
(a)
Play the
(b)
(c)
(d)
(e)
(f)
I,
VI, IV,
II,
and
chords in
F major.
Test.
aloud.
Sing
Sin^

Play the entire melody. Sing from memory. In memorizing, keep
a mental picture of the contour of the melody on the staff.
Stop for a moment and take breath at the end of each rhythmic
figure, so as to feel the rhythmic grouping.
46
T r
(g)
(h)
(i)
Be sure that the mind

Sing again mentally without stopping.
phrases or breathes properly,
Sing the letter- and
and E major.
Transpose to the keys of
number-names,
Have each melody dictated
mn
j.a
jTij
cX/^
IV
Ii
I2
pqi
IV
II
jJ^
rnrr^
rr
IV,
as outlined
on page
19.
H] mij.
IV,
cX;J-jJ iJj
V
m]m i^j
ij
llET
J^
^^
'l
JTjJxjijTir
Folk- Song 3
c/i^
TT j-ir
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Rimsky-Korsakoff 7
jJirpj
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47
OJiUÛ-r
^m
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itzfEat
P^jJ
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Section C.
(1)
Absolute Intervals.
There are major 6ths on the staff from c-a, d-b, f-d, g-e; in the major
scale, from i-6, 2-7, 4-2, 5-3; in the minor scale, from 2-7, 3-8, 4-2, 6-4.
To sing a major 6th up, call the lower tone 5 and sing 3; to sing a major 6th
down, call the upper tone 3 and sing 5.
(a)
tone a major 6th above, calling it 3. Test.
(b)
tone a major 6th below, calling it 5. Test.
(c)
Rhythmic Study:
(2)
(a)
The Up-beat
Study, using the
rhythms to
-i
(i)i
rji.j^
(3)
^^^<i
(4)
'5)
J)7j),J>i
J), J
la
arm movement
on a major
-i
^^T}
ij
->
JTIîJ
JT^
iJ)i
J J J
to indicate the meter, and sing the
scale.
vjT3
7
in 6/8,
"ir
rn tj~nm
m
J
>
m^
î,J5?313J-
J~J53iJ)i
J>7
j-
^-J'
/niJ
J)
,_J
1
7
48
When
the measure begins on the secondary pulse in 6/8 meter, avoid stressing the first group. Always feel the first figure as an inhalation of the breath,
and the next, on the stressed pulse, as an exhalation. Feel the grouping as
indicated by brackets in Ex. i.
The value and rhythmic beauty of beginning on the secondary pulse in a com-
pound meter
it is
is
most apparent
in the setting of words.
With
this
understanding
easily applied to instrumental music.
In setting words to music, the composer has to endeavor to parallel the

forms of English with the forms in music, i.e., a simple sentence corresponds to a
phrase in music, a compound sentence to a period in music. The meter, whether
simple or compound, is decided by the number of long syllables in the complete
thought of the text. If there are four long syllables the meter is duple or triple;
if
there are eight long syllables it is a compound, a four or six pulse meter.
A four pulse meter is a duple meter with each pulse divided into
half
tnn
a six pulse meter, a duple meter with each pulse divided into triplets. The stress
which is given to the third pulse of a four pulse meter and to the fourth pulse
meter is known as a secondary accent. This is in reality the second or relaxed pulse of the duple meter and should not receive any more stress
than that pulse. The tendency in playing and singing in compound meter is
to give too much stress on the secondary pulse, thus changing the meter to a
simple meter and making two phrases where one was intended.
Mendelssohn, in the "Elijah," in setting the following sentence begins on
of a six pulse
the third pulse in 4/4 meter:
(D*
Bless
J
walk
J.
J)
are
the
J
J
men who
J.
J)
ways
of
Him,
they
J
fear
ev
er
peace.
making Blessed, men, they and way the principal

This changes the meaning of the sentence and would be set:
also be read
stressed words.
(2)
the
in
The sentence can

and
ed
J.J-
J
Bless
J
they
ed
are
j~]i
ev-er walk
J)
the
j)|
J-
who
men
ways
in the
The tendency in singing this phrase as in

word Blessed, and equal stress to each long
J-
is
fear
Him,
>
of
11
peace.
to give too
syllable,
much
making
it
stress
sound
on the
like
the
49
accented word as in 2, thus destroying the balance of the phrase, and making
two phrases in duple meter. The only words which are stressed are the first
words
in
each measure.
Practise the following Chord Successions.

the arpeggio begins on the 3rd of the chord.
(3)
(a)
(b)
(c)
(d)
In singing the
first
inversions,
Play the key-tone and sing mentally. Test for pitch.

Sing the letter-, then the number-names.
Sing to lay thinking the letter-, then the number-names.
Have someone read aloud the symbols and sing the chords without
reference to the written exercise.
Keep a moderate tempo.
^m m
m m^
#
mm ^ m m
^
m
i
^
jJ^^^J j.j^
-9-'
IV-
IV,.
-9-
VI
-J-JF
J.
IV-
Sy^r
\^
J-P
-1-J.J
'
'
n.
^^ m
H' '^
n.
r^j^ -J^^"
^
^
^^'f ^^J
I
lis^
f
J
^''^
VI.
IV,.
^^jHjjJ.
'
J^^-
fe
'^jj
IV-
1^ ^
'
^^
n,.
^^
50
^m
^^
^ ^
IV-
(e)
IV..
III
Trr
IL^J
^"
Sing the following chords to the rhythm of 2: I, VIi, VI, IVi, IIi, V, I;
to the rhythm of 3 I, IVi, IV, IIi, II, V, Vi, I; to the rhythm of 4:
I, VIi, VI, IVi, IV, III, V, I.
Additional pitch drill. Sing the following exercises, first with the
letter-names, then with the number-names:
of II, 3rd of II, 5th of II, 3rd
of I, 3rd of I, R of IV,
(i)
of V, R of V, R of I.
of I, 5th of I, 3rd of VI, R of VI, 3rd of IV, 3rd of II,
(2)
3rd of V, 5th of V, 3rd of I, R of 1.
5th
of I, 3rd of VI, 5th of IV, R of IV, 5th of II, R of II,
(3)
5th of V, 3rd of V, Rof I.
3rd of I, 5th of VI,
of IV, 5th of IV, R of II, 3rd of II,
(4)
RofV, 5th of V, Rof I.
:
(f)
Think the sound

(4)
'!}'
of the entire chord before singing the tone.
nr Lu
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Beethoven
=*
Lesson 6
chord in the second inversion
li
41'
'^'
triad
la
is
used in three ways: in chord repetition
as a suspended or appoggiatura chord, resolving to the
on the same bass tone
^
..
triad or an inversion of a triad
I,
as a passing-chord, resolving tD a
on the bass tone above or below:
V,
I.
54
In this Lesson the second inversions of the
will
and IV
as appoggiatura chords
be used.
IV.
T,
These chords occur generally on the accented pulse of the measure.

inversion of the I resolves to the V chord.
As the 5th of the
always doubled in second inversions, it sounds like and is often mistaken
It is generally used preceding the V chord at the authentic
for the V chord.
It will be preceded by the I, Ii, IV, IVi, VI, II or IIi.
cadence.
The second inversion of the IV resolves to the I chord. Because of the
doubled 5th it sounds like the I chord. It may be preceded by the I, V, Vi, IV
or IVi. This chord is sometimes used on the unaccented pulse as in Section B
This is known as a Plagal Cadence,
(i) (5)> ^^^ ^t the cadence, as in 8.
The second
chord
is
Section A.
Construct parallel and contrasting periods in Bb major, using the I2, IV2
(i)
and all chords in fundamental position and first mversion as a basis for the melody.
Use 6/8 meter, beginning on the 4th pulse.
Study the rhythmic grouping of Lesson 5, Section C (2), page 47, and the
melodies in Section B (3), of this Lesson.
Section B.
(i)
(a)
Play each exercise, listening to the character of the chords and
(b)
Pause after each second inversion and think
(c)

inversions.
I2
lution.
is
the I2
1
8
'h^'
resolution.
Work as outlined on page 4.

and IV2 are distinguished from each other by the chord of resoYou hear the same effect of suspension for each, and determine that it
because it resolves to the V, or the IV2 because it resolves to the I.
(d)
The
its
Test.
iJ.
if
I4
.
I
^
TT
u
la
2
8
xr
^^^
J4 AA U
W
f
xr
i rr
m lA
^ 4
n
lA
:sr.
rr
UU
i
TT TT
11 ii
ff ^ ^
^
f rr
rr
J
UM
TT
:U
rf
33:
ff=
^
rr
8
"O"
ff
&
-VQ
"O"
11
55
1^
TT
fP i
TT
(2)
(a)
Play the
I,
VI, IV,
II,
of the intervals.
(b)
V and
chords in
Bb major.
Think the sound
Test.
Play the intervals, determining of what chord they are a part and
how they sound in relation to the root of that chord and to the
key-centre.
Beginning with this Lesson, the intervals do not occur in any fixed order. They always
follow, however, the correct harmonic sequence.
Intervals in the V chord will be followed by intervals
Note.
in
the
chord; in the II chord, by intervals in the
(c)
(d)
t
^=e=
ti
ii
S
I
1,'^
3x:
30:
^^
31:
31:
33:
chord, etc.
Sing both tones of the intervals.

Transpose the intervals to the keys of C, G,
-8>
.a
^^
VI
IV
DEC
3ac
S
::
SE
-^ "
ZSXL
sS
31: :S:
and F major.
n=:
-o
jDC
IV
3e:
SE n
33:
^=^
:=
30:
:^
3a:
33:
-o
o-
4V
TJ-
Q
"
"O"
3r:
33:
::
=8:
JOl
33:
33:
::
^
s
<i
*
TJ-
SE
FF^
56
Exercises for Melodic Dictation and Sight- Singing, beginning on the

fourth pulse in 6/8 meter.
and I chords in Bb major.
Play the I, VI, IV, II, I2,
(a)
melody
Test for pitch.
Read
the
mentally.
(b)
Sing from memory to la. Sing
Play
the
antecedent
phrase
twice.
(c)
(3)
Sing
aloud.
(d)
(e)
(f)
(g)
(h)

Study the rhythmic grouping. In memorizing consider each rhythmic
group as a unit.
Transpose to the keys of A and G major. Sing the number and
letter names.
Note. When there are consecutive skips in the same direction, do not think the separate tones, but
analyze the chord. In Ex. 1, the third measure, the leaps down from the 3rd degree must be in the VI
chord. In a melody like Ex. 6, third measure, do not try to remember the pitches; analyze as a scale
from the Sth degree for six sixteenths ending on the next pulse.
Rep. Modified
Figure
f'^'rrT ^^'LC/iri'J^
i
'
r 'dfi"
i
rrpir^^ gfJ^
i
pir
as^'-df
f'j-LC/ La^jpir^J'J^ ^^'^^'ifJJî^PrP

i
4'''
i i
J 'i
ri.
rPr^'
rEa'cXf
^--^^'
'
^r^î
JDVANCED EAR-TRAINING AND SIGHT-SINGING
* a!iu\ijj^
mm ^^
<^^''ctrCl;irrri^^T.ir rpJîj.
i
ji
f''
57
pprr rP^nrpJi^ rpo^ rprp rP^p

i
f''CZ^LC;iPT J^îcrr.rrif.i^
i
Section C.
(i)
Absolute Intervals.
There are minor 6ths on the staff from e-c, a-f, b-g; in the major scale,
To sing a minor 6th up,
3-8, 6-4, 7-5; in the minor scale from 1-6, 5-3, 7-5.
call the lower tone 3 and sing 8; to sing a minor 6th down, call the upper tone 8
and sing 3.
(a)
(b)
(c)
(2)
tone a minor 6th above, calling it 8. Test.
tone a minor 6th below, calling it 3. Test.
Rhythmic Study:
(a)
J,
Study, using the arm

la
on
major
is
Pj
rn
and the Up-beat
movement
J)
in 4/4 meter.
to Indicate the meter, and sing to
scale
In singing the figure

J^
1
^^
^^
which
is
the combination of a J
tied
to
give a slight pressure on the dot so that the second pulse
perceptible to the listener.
JJ
>
Note. The Rhythmic Exercises following are all four measures long, as in the preceding Lessons,
and are arranged in two braces on account of the number of notes in each exercise.
58
(Df
(2)
<J)|J.
J.
J
J-
J.
J.
J3J
' J)
;3J.
I'J-
J3J
J3,J
;i
;?sj.
j^n
mm}-

(3)
In singing the second inversions of chords, the arpeggio will begin on the 5th of the
chord.
(a)
(b)
(c)
(d)
Play the Icey-tone and sing mentally. Test for pitch.

Sing to la thinking the number-, then the letter-names.
Have the chord symbols read and sing the chords without reference
to the written exercise.
^' f'"" ' y ak=' in the arpeggio as a unit.

.,,l,'!f^,''^'
iallows
'""^'"l
each
note and
the mind to concentrate upon the rhythmic
This saves the labor of readinc
difBculties.
^[\'^
ri
j.J^r'îj.
'
Jlr
^n^.
ig.^^r
59
IV.
ô^
jjf Jj
ij.
ij.-^r
cJfLr i
l
'
J-
tffcj
il
la
i''
'
jr^
^"3
U.
'
j i""^' '^'
jj:^r-J]
f^
fe
j-
mj^^
j.
IV.
li-
(e)
ijJ'^r^'J
VI,.
4^'-^.nr-J3i^.
It
'J I4.
'i.Jh
r'
>
n.
U.
i|i''
Oij.
Sing the following chords to the rhythm of i I, IV, I2, V, I; to the

rhythm of 2: I, Ii, IV, IIi I2, V, Vi, I; to the rhythm of 3 I, IV2,
I, V2, Ii, IV, III, I2, V, I; to the rhythm of 4: I, IVo, Vi, V2,
Ix, I, I3, V, 1.
Sing the exercises for pitch drill on page 50 in the key of Bb.
:
(f)
(4)
60
Mozart 3
^''
cjr
f'r
4^''
sr
jr
r [
'-J
-^
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r'
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rjs F^
J.
pr'^n
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^J
i
j.
î
f^J J^'Ji
^^
m-M-JL
JDFANCED EAR-TRAINING AND SIGHT-SINGING
in^^
i,\Pr [j\rrj:]^
^
^''
rJ:^r
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61
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62
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cJi
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ftrm
Folk- Song
v-^"r
^
i
rrr
[;ir
ej-
riU
CHAPTER
III
CHORDS OF THE SEVENTH AND NINTH

and Ninth-Chords are Dissonant, because of the major and minor
by adding one or two more thirds to the triad.
formed
7th and 9th,
The IV^ VV, V and UV
are the V^ and IV.
seventh-chords
used
The most
chords
sounds
these
like a suspended tone
each
of
of
7th
the
but
are also used,
chord.
of
part
the
legitimate
and not as a
All Seventh
^f
v^
n^
11
"
iv^
vi^
The most commonly used ninth-chord
is
Lesson
^
f
the V^,
m^
chord is a major discord on account of the major 3rd from the 5th
of the scale and the minor seventh from the 5th to the 4th
degrees
to the 7th
The
V'^
degrees of the scale;
is used the same as the V chord.

The 7th of the chord, the
scale,
must
the
always
resolve
downward.
Its resolution may be
4th degree of
up
to
progressing
the
degree
5th
and
down
to the 3rd, or down
by
then
delayed
then
to
the
3rd
while
This is known as a
2nd
and
the
chord
is
held.
to the
V
The V^ chord
p
my
J
delayed resolution:
=^
Section A.
(i)
using
figure
Construct parallel and contrasting periods in G major and g minor,

and inversions and the V^ chord as a basis. Use the rhythmic
all triads
^^
in 4/4 meter.
Section B.
(i)

(a)
Play each exercise, listening to the character of the chords and
(b)
Pause
inversions.
after each
V^ and think
f63]
its
resolution.
64
Note the difference

In place of each V^ play the V chord, then the V^.
in sound.
(c)
(d)
(e)
The V^
is
distinguished from the
on account
of the dissonance.
Note. Have the exercise played slowly. During the first playing relax and listen to the chords so
Do not try to anal^^ze at the first playing.
that the entire exercise makes an impression upon the mind.
During the second playing write down the chord symbols. At first it may be necessary to have the exercise played a second time for the symbols; next have it played and write the numbers of the scale-steps
Compare your version with the exercise and correct mistakes by playing the mistake
of the soprano.
and then the correct version until the difference is heard.
VI
IV Hi
I, Y'
U-T4-J
,M
gi
m
^^
m
TT rr
^ AA
4
m
T
AA AA
r
1
ii
fr
n
AA
i
r
65
(2)
There are four new Intervals in the V^ chord: the minor 7th from the root to
the 7th of the chord, from the 5th to the 4th degrees of the scale; the major 2nd
from the 7th to the root of the chord, from the 4th to the 5th degrees of the scale;
the augmented 4th from the 7th to the 3rd of the chord, from the 4th to the 7th
degrees of the scale; the diminished 5th from the 3rd to the 7th of the chord, from
the 7th to the 4th degrees of the scale.
(a)
Play the I, IV,
and I chords In g minor. Think the sound of the
intervals.
Test.
(b)
how they sound In relation to the root of the chord and to the
key-centre.
(c)
(d)
*:
Sing both tones of the Intervals.

Transpose the Intervals to the keys of
^ :^
:^
VI
_CJL
-&- 30E
an 335
XE
^^-^
XE
M
IV
XE
or
h
8 "
:^
"W XE
g and
ss
II
::
d,
f,
XT'
minor.
XC
11
o
XT
V7
o
XE
3x:
XE
:^
"O"
î=W XE
=8=
:^ :^
=^=5=
XE
'^=W XE
#
*
xr
(3)
XE
33:
^
u
=^ ^^=ff XE
ifi:
XE
(a)
(b)
(c)
(d)
^ XT
XE
V^ chord and the rhythmic figure
nnQ-
J^
XE
-O
XE 8
S XE
\\
0oXE
-^
o =
xr
and Sight-Singing, employing skips
^^
in
the
in 4/4 meter.
I, IV, V^ and I chords In g minor.

Read the melody mentally. Test.
Play the

aloud.
Practise the consequent phrase in the
same way.
Sing
Sing
66

Transpose to the keys of a and f minor. Sing the number- and
names.
(e)
(f)
(g)
Note.
In harmonizing a melody in 4-4, use a chord or inversion on each pulse.
rhythmic figure
1,
^^
letter-
In analyzing the
note that the two sixteenths group themselves with the next pulse.
analyzing, on account of the length of the
J.
note, not waiting for the two sixteenths.

pulses, sing the tune, placing your pencil
there
is
danger of counting one, two and calling
it
In
a half-
ever in doubt about the rhythm, make an outline of the

on a dot as the pulse recurs. In this way the figure is easily
If
analyzed.
Figure
p
I
Repetition
^'
^\^'
Vi
Ii
Sequence
1
4''''
1^
r"
c/
n,
ij
:a
d'
^-
'''
r"
v^
^-
ll^ S
-^ ^
ii
I4
Û
v
IV
=mg r -fp
rrcrr' cf ^JiiJ'^
i
^=^
I Ii la Ii
m m
î-''
V
I Hi
Sequence
n,
^m
w
p
î
v^
i,
II
J-'^vn^
^
rr
nj
p- J^ri
n^r
err
ja
N-
^;^''
jHJ
j.jj-.:^
#
j;i-''
Mi-.M
'
1
'
î''
^ r-r
Ej
ii
i'Pu
B JiJ^JJJH
JjiJ-crirrrr
jry- c/if
i .n
i
ii
'
67
cj-^-^^- Ji
iLr^-iH^
cjrP rc;r-c; ^c/J-p
-îiiJirJ-tLrraii
.ij
6S
(b)
(c)
(d)
(2)
Play any tone on the piano, and sing a minor 7th down, using first
the number-names, then the letter-names.
Play any tone on the piano and sing a major 2nd up, using first the
number-names, then the letter-names.
Play any tone on the piano and sing a major 2nd down, using first
Rhythmic Study:
(a)
^j
and J)
Jj
on the Up-beat
in 4/4 meter,
Study using the arrn movement to indicate the meter, and sing to
Always begin on the 8th degree of the scale
la on a major scale.
and sins down.
n~^
>
f' jj
l
i
4.}J7l^J4^ i->^l
l
^JJ*IJJ|^
IV.
JJ'ij.J-ff
4'''l
^'''"
li
ij
IVi-
vj.
'
i
j.
l|il
Il
IV
L-^
,r7
JpJj
l|l
"iiJ'^û.
''
^ ^
jxffl
|l|lj
lj.iiH|
'
69
JJJi'lJj
'
j.
^^
JJJ^Jj i
i
II-
^ rMfrli
^^
r-lflJ^
v/
(|^'-
-l|[Jj^
liJiJ-^'ljiJji^
'3
^
I
IN-
îJ.lWjj^
vl.
E^^p
^î
VI
_[4J.

70
(e)
Sing the following chords to the rhythm of i I, V, V^ Vâ, Ii, IV, I2,
V^ I; to the rhythm of 2: I; VI, I2, V^ VI, IV, I2, V^ I; to the
rhythm of 3 I, Yl, Yl, h, I2, V^ Vj, I; to the rhythm of 4: I, IV2,
:
IV, ivi, I2, v^ I.

Sing with number-, then letterExercises for Pitch and Key Drill.
names, in the key of g minor. Think the sound of the entire
chord before singing the tone.
(i)
R of 1, 5th of I, R of v^ 3rd of v^ 5th of v^ 7th of v^ 3rd
of I.
of IV, 5th of I, 3rd of V^
of I,
of I, 5th of V^ 3rd of I, R of IV, 5th of I, 3rd of IV, 5th
(2)
of II, 3rd of V^ Rof I.
3rd of I, 7th of V, 5th of V^ R of I, 3rd of VI, 5th of IV,
(3)
of V, 3rd of V^ R o^ I.
3rd of IV,
of
of V^ 7th of V^ 3rd of V^ 3rd of I, R of I,
5th of I,
(4)
of I.
IV, 3rd of I, 5th of I, 5th of V^
I, ii,
(f)
(4)
ir r
^^m ^^
^^4
JlJ j^pp
h^
If
J J
Ij
U^'
a<
^B
m ^
i^
r J
t=i
î' Jj|J)[7f
|
J'EI
â
^
^
Mozart
SP
Mozart 3
d
IS)
r 9'*
JiiJj'i
^
mi
-=
#ft
r r
r^
1
^^
^g
r r r*^^-!'^'*^-'^

=g^=:
#
ySTr
m
^^
^^ "T
Y~l
FT
71
W=f
P F m
72
nrir^
^^
Brahms
Cr[^^m
''
12
>'
!!
rrp-ppfir P^^ji
Lr f/rri^ Ir7rf I
I
#^-1^
*><
rr
^^ ^
13
pîî^
'^
w Prp fr-
|i
p^
[riE::::jrfrirrr,rrr^p
^^[jiE;
16
^=
rrT
'>'[i:^r
tH
ffr
r^
tT-
T^^
Mr-
tf/
nr i^^Mjr
fe
^
D^^
>'^
P-[j
73
rr 'f
i
18
^"uJLd' LJ^-iLJ^^'
''^'r^^
i
^=K
^^^
rdLd'iQi;r î''
i
v^tf
j'
[j^r
f>pr
*j.tj
rPJ g
^^-^
Mr
20
s
vtef
Lesson
When
the V^ chord
The \\
melodic law.
inverted
all
will resolve to
the
is
f-._
fr
vvfri^^pir
î
four tones will resolve according to the
# ^"
^1= the V3 to the
'a
the V2 to the
The
or
^^-
Ii
V^ chord may be omitted, leaving the 7th, 2nd and 4th deThis is known as the qV^ (five-seven incomplete), and is the
of the tones in this chord resolve melodically and like the upper
root of the
grees of the scale.
VII chord.
All
voices of the
V^ chord
Section A.
(i)
using
all
up-beats
The oV^
is
best used in the
first
inversion.
o^'
Construct parallel and contrasting periods in D major and d minor,

triads and inversions and the Y\ and V] chords as a basis.
Use the
^j
and
J)
J J
in 4/4 meter.
74
Section B.
(i)
Practice the following Chord Successions, which use the VJ and V3.
Play each exercise, listening to the character of the chords
(a)
and
inversions.
(b)
Pause after each V^ inversion and think the chord of resolution.
(c)

(d)
Work
as outlined
on page
4.
On
hearing the V^ inversions, you will determine first that it is a V^ chord;

that it is inverted, because of the diatonic progression of the voices; that it is a
Vi because the I fundamental follows, or a V3 because the I^ follows. The \ J
affects the ear as contracting when it resolves; the V3 as expanding.
^
^ ^^ n n ^
^ U^
mm^
8
j=^
^j.
gi
p?
v;
II
^m
I,
1
p
4=^
11
V'
J J
f=r
i^ X4
^^
hi ^
m
J=J:
ViL^ p
r
'
r"

75
(2)
The minor 7th and major
2nd, augmented 4th and diminished 5th in the V^

chord are the same in minor as in major. There is also an augmented 4th and
diminished 5th in the II chord in minor, caused by the lowering of the 6th degree.
The augmented 4th is from the 5th to the root of the chord, the 6th to the 2nd
degrees of the scale, and the diminished 5th from the root to the 5th of the chord,
the 2nd to the 6th degrees of the scale.
Play the I, IV, II, V^ and I chords in d minor. Think the sound
(a)
of the intervals.
Test.
(b)
how they sound in relation to the root of the chord and to the
(c)
Sing the lower tones of the intervals, think the upper tones.
Sing the upper tones and think the lower.
Transpose the intervals to the keys of g, f and c minor.
key-centre.
(d)
Note. The augmented 4th in the II chord generally resolves to the minor 6th in the
diminished 5th to the major 2nd in the V^ chord.
3x:
331
noE =CF TJ
O-
11
=^=S
"W
(3)
3x:
3x:
xc
W^
-r-^
3x:
3x:
g o"
Dcx:
^ :&
;I^d:
3x:
rr-xx:
xc
xc
=ff
xc
" o
8 3x:
..
XE
8 "
=on=
=nc
SE
3o
'Tl
Skips in the
ar:
-d
'Tt
8 8 O
g te
ff
-O
3a:
m^
3x:
it
P.
o
XE
^^
XE
<
..
chord; the
II
^=^
-^^
IV
SE
jt
-o
ll
3z:
\r
xx:
and Sight-Singing:
V chord and the Up-beat
Jj
and
J)
Fl
Observe carefully the rhythmic grouping with the up-beat
in 4/4 meter.
^J
o^
J)
Jj
76
/3,j.
No.i
No .6
j)ji
,j.
j)j.
j),j^j^j. ;3,j
j)j
,j.
j)j)j>;i ,j. j)j
/^
,j
(e)
I, V^ and I chords in d minor and read the melody mentally,

using the arm movement to beat the meter.
Play the antecedent phrase twice. Sing the melody to la.
Sing
mentally the number-names, then the letter-names. Sing aloud.
Transpose to the keys of e and c minor. Sing the number- and
(f)
Have each melody
(a)
(b)
(c)
(d)
Play the
letter-names.
dictated as outlined on page 19.
Modified Sequence
Figure
I2 Ii
1^
r'
^'p
Ii
^J^
IV
IV4
IV
N-
III
ii
^
f
n^
V3'
j^
ij
III
^^^r^^
la ii
V^^
V^
4
J^
i
JTOi^j.ftîrrrr^m
^^^^^
.[ii|^
1^ ijj[j;[;ij.j3jj:i,i
77
rJ'P:[]iJ.^j.jTjji
8
!>
J- tip
ii
P=
4^ J^sîr
iJJip iJTJif
^^^
i
nipJP^
.i
10
j.j-i rr
rr^
n'r
îrcf.f^
/pJ^
f f
i
^
i
i^rnr
^c^ rpr[;ij.pr
i
I'rP
^
r
11
^ ^jjij
-C7
aniiii
c;'
^
Beethoven
ADFANCED EAR-TRAINING AND SIGHT-SINGING
78
Section C.
Rhythmic Study:
(i)
J^
Ji
and
J JJJ
in 4/4 meter.
^-^
Study using the arm movement to indicate the meter, and sing
la on a major scale.
(a)
Do
Note.
which
is
not confuse the rhythmic figure
0*0'
While holding the
1^
which
f)
is
J J
with
to
J)
mentally divide the pulse into halves, and the sixteenth.
notes will give no trouble.
a)|
j)H J~i j~iJ"
(2)
<s>
Practise
augmented 4th
(a)
(b)
(c)
(d)
J"
n3 j??^
iijT^rjSiJ-
the following
in the V'^ chord
J.j^nj
Chord Successions.
is
'J)
Ji
7..
i'j)/73i
nîTfîJ
,j..
(6)
(2)
J3J"
j),J.
J)
Watch
J^
1-
J>
carefully that
the
in tune:
Sing mentally. Test.

Sing to la, thinking the letter-, then the number-names.
jT
l^j^r
U-ijMji^r
rh'
79
^^
IV,
J..j
u^
i^r
fJ
jr^r N-Jj
>
o'l-
UJ..JJ'
N--Jj ijjj
TXTj^
ijjiJ
VI.
I-.
IV.
^ ^^^^^^^^
^
JJ
iJ
N" Aj
V.'.
4^
J..
JJ
tp
J..
Jj
J.,
h^
Hlr-
"Jut
Lil rf
l
4^t J^^"f"^" ^J
ll
r-iJ^
'^-^
rP
I.-
J
J'
^-'^
"-d
tnziirz*
PN--Jji||J
oVj
r-^'jt ijj
0*1-
Jî
ir^JjMj
PJ
Ii
01
^S
rv-
^v rpJMjJtirîr-^^^ 1^^
r"
lat
rut^m
I.
1..^
If
'a-
80
(e)
(f)
Sing the following chords to the rhythm of i I, IV, V3, Ii, qV], I,
VI, V^ VI, I; to the rhythm of 2: I, VI, I2, V^ VI, VIi, oVl oV^
I; to the rhythm of 3: I, qVI, I, V^ Ii, V^ \], I, qV^ I; to the
rhythm of 4: I, oV^ I, oVl, h, IV, V^ Ii, oVi, I.
Sing with number-, then with
Exercises for pitch and key drill.
letter-names in the key of d minor.
R of I, 3rd of I, R of IV, 5th of oV^ 3rd of oV^ R of oV^
(i)
:
R of
(2)
(3)
oV^
(4)
I.
3rd of I, R of IV, 7th of V^ 3rd of V^ R of V^ R of I,

5th of I, R of VI, 3rd of IV, R of V, R of oV', R of I.
sth of I, 3rd of I, R of IV, 3rd of oV^ R of oV^ R of I, R
of VI, 3rd of IV, R of IV, 7th of V^ 5th of oV^ 3rd of
of
V^
R of I.
3rd of oV^ 5th of oV^ 3rd of I, 3rd of IV,
3rd of V^
of oV^ 3rd of oV^ R of I.
I,
of
(3)
;^^
J.
I
^
2
^^
TJj.jJ..
PfliJ.-
Cramer
^^ r3j:']Jj^frir
jiJ-
Mozart
f
fl
J..jJ-dM
iJl}!^
# ^^
F' ^ m
"G-
81
mum.
# *#a
jgnjJ^^JîoTLj'
^^
^\
iir
|k
J.
J-
H'
i'
1.
^J
rrpJiJ:j
.L
[r
IM.J\\ W
^
ir3 J-pi
i
r; p;ij.^
ii
J.
8
jl
J.,
N-'JI^J
ifijr>'J.'
4^11
jj
I]*
JPrn
J-Jr- J^
i^îij-j
J..
^
i
^m
rrcji.J'nN-j,j
^^
4^
jj.jijjjjr:r'^ jrr.ai
vb
i.lj
I" ^ 4
'
82
'^'i'"
'^'^
gLLLl
L^cJT
''yîr
Li'îLL^cJ
>^
-'^'1'
r"
-J
i^
I
-l
til L kaaa
Ld
--
tJCj-p^
*y
Aff
^rr
m
'
'
bBEi=a
=^^
r^-'^
iftjifir
15
>!
^
'
13
'h
>]
î?[L/i'^-^:j'r
^^ ^

fl|,*
nn
83
84
third, and the

period is in parallel construction when the first and
slight modifiand
cadences
the
for
second and fourth phrases are alike, except
The double
cations,
j.n-
phrases are ditterent.

The double period is in contrasting construction when the
chord.
to the \
third
another
adding
by
The V^ (five-nine) chord is made
the chord is best in the

In major this chord is not inverted, and the 9th of
nine tones from the
In minor it may be inverted, but the 9th must \>e
soprano.
'^"''The
oV
(five-nine incomplete) chord, or the
This chord
root omitted.
is
VIF
more used than the V^
chord,
is
the V^ with the
*1
,9
In major the qV may be inverted and all inversions but the third are used.
This is not available, because the 7th of the chord must be above the root or it
sounds like a VI chord with the 7th, 2nd and 4th degrees of the scale suspended.
In minor the qV chord is a diminished seventh-chord (a chord the tones of which
All the voices of this chord
are a minor 3rd apart), and all inversions are used.
resolve melodically.
Section A.
Construct parallel double periods in F major and f minor, taking the

(i)
melodies in Section B (3) as models and using all triads and inversions, the V^
and V^ chords
in 4/4
as a basis,
Use the rhythmic
figures
J\
and J
rT^
meter.
Section B.
Practise the following Chord Successions which use all inversions of the V^.
When it resolves to the Ii the 7th of the
resolves to the I or the Ii.
chord, the 4th degree of the scale, will go up so as to avoid doubling the 3rd of the
This sounds well because of the parallel thirds between the bass and the
I chord.
(i)
The V2
^
m
r
7th of the chord.

4):
(a)
Play the entire exercise, listening to the character of the chords and
inversions.
At the first playing do not analyze. Allow the sound
of the chords to make an impression upon the mind.

inversion and think the chord of resolution.
(b)
Pause after each
(c)
Read each
exercise mentally.
(d)
Have each
exercise dictated.
(e)
After working these exercises in
The V2
will
V'^
^^n
3
rf
^m
I.
i
r
lA
Work as outlined on page 4.

F major, repeat in f minor.
be recognized as going down to the
i
r
ii
A=i
^
i
i
i
^^
chord, or up to the
#^
ff
Ii.
i
T
4
^
m
n
n
ii
^ u
^
i
f ff rr
^
^^
^
tt ff rr
ii i^ ii
^g
i
i=i
ii ii ii
(2)
vji
^ U Mn
.
85
1
r
i
r
In the V^ chord there is a major 9th from the root to the 9th of the chord, the
5th to the upper 6th degree of the scale.
In minor this is a minor 9th.
86
In the oV chord there is a minor 7th from the root to the 7th of the chord,
In minor this is a diminished 7th.
the 7th to the 6th degree of the scale.
Play the I, IV, V^, V^, Vj and I chords in F major. Think the
(a)
sound of the intervals. Test. Play several times any interval
you cannot hear mentally, then go back and read from the beginning.
Repeat until you know the interval.
Play the intervals, determining how they sound in relation to the
(b)
root of the chord and to the key-centre.
Sing the lower tones of the intervals, think the upper tones.
(c)
Sing the upper tones and think the lower.
Transpose the intervals to the keys of Bb, D, G and C major.
(d)
"80o
:;
-o-
B^ =&
^ ^
^^
m
m
(3)
JOC
-o-
o- s
-o
^^
tjS tô Ijo
"
"
II
Double Periods
in form.
o
8
-o-
31:
o o SE
^=ff
>
JOC
o- s
-o
U o o
3x: :&:
s "S^^ s
^ "
3x:
*^
o
" 8 bo
bo
*'
**
3x:
- -^
Q
o
^^
o*
XX
'ô
"
:^n:
tl
u^ u"
^^^
,.
o" H
JE
.
..
and Sight-Singing:
Skips in the V^ chord and the rhythms
Jj
and J
JT2
(a)
in 2/4, 3/4, 4/4 meter.
Play the
I,
IV,
II, V^,
V and
chords in
major.
Read the
entire
melody mentally.
(b)
Test for pitch.

Play the entire melody, noticing the effect of the semicadences
continuing the thought for sixteen measures.
in

(c)
(d)
(e)
(f)
(g)
87
Play the first antecedent phrase twice. Sing from memory to la.
Sing the letter- and number-names, first mentally, then aloud.
Practise the first consequent phrase in the same way.
Play the first period and sing from memory.
Practise the second antecedent and consequent phrases in the same
way.
Play the entire double period and sing from memory. This is easily
accomplished if the construction of the melody is clearly understood,
(h)
(i)
(j)
Transpose to the keys of E and G major,

Sing melodies 2, 3, 5 and 6 in f minor.
Have each melody dictated.
(i)
Play the entire double period. The pupil determines the meter
by the number of pulses in a phrase, and the form by the
number of cadences in the melody.
Play the first antecedent phrase twice. The pupil listens and
(2)
memorizes the phrase.
The pupil analyzes and writes the phrase upon the staff.
(3)
Play again for correction.
(4)
Dictate
the other phrases in the same way.
(5)
The
pupil marks the form,

and harmonization.
(6)
figures, repetitions
and sequences,
The
figure
The
figure
VI
must be
Jt
J..
nl
IV
Fi^re
and
really a "turn,"
is
J'J^
will
be recognized as such.
carefully contrasted with
It
vj
vj
I,
ii
J.
I2
J)
in dictating.
v^
Modified Seq.
I4
VI
IV
vj
ii
II
v^
ij
Vj
V/
Ij
î ?pir-Hi
i^
v/
J^ JJ^lJ
l
IV
la
I4
l^
)i
iîJ.
IV
n^
Vj
rf^
n^v*
plr'j^^^
iHir hn)p
j-jjj
Jj^JJ i^Cj
/3r]
J.
|
4=^
V
i i
j;,
H^
rrcijirrcijinJ^^
I
^/îr
ijjjjjj
rni^J^
J'ri].ni;^rr;
^'
89
Section C.
Absolute Intervals.
(i)
There is an augmented 4th on the staff from f-b; in the major scale from
4-7,
l-#4, [76-2, 6-^2, 3-#6; in the minor scale from 4-7, 6-2, 1-^4; in the
V\ IIjJ
IIJ, oV^ and VIJjj chords.
There is a diminished 5th on the staff from b-f in
the major scale from 7-4, #4-1, 2-b6, #2-6, #6-3; in the minor scale from
7-4,
2-6, #4-8. To sing an augmented 4th up, call the lower tone
4 and sing 7; to
sing an augmented 4th down, call the upper tone 7 and sing
To sing a
4.
diminished 5th up, call the lower tone 7 and sing 4; to sing a diminished
5th
down, call the upper tone 4 and sing 7.
;
(a)
Sing an augmented 4th up and a diminished 5th down from the following tones, using first the number-names, then the letter-names
of the pitches:
do:
3x:
(b)
(c)
fe
sa:
h&-
xz:
Repeat, singing the augmented 4th and its resolution, the minor
6th.
Determine the ke^ of which each interval is a part.
Sing a diminished 5th up and an augmented 4th down from the
following tones, using first the number-names, then the letter-
names:
(d)
(2)
t^
do:
t^
Repeat, singing the diminished 5th and its resolution, the major
3rd.
Determine of what key each is a part.
Rhythmic Study:
J^^JJJJ^
J^^^^
^"^
^^^
in 4/4
meter.
(a)

la
on a major
slowly,
movement
scale.
to indicate the meter, and sing to

These exercises are to be practised very
subdividing each pulse.
divided pulses in 4/4 meter
The arm movement
is
2 <-
sub-
Study the
liV
1
for
-*
rhythms mentally before attempting to sing them.
Repeat
until the eyes can quickly grasp the
At first count one and, two and,

make the subdivision mental.
beaming and group on each
three and, etc.; later
only on^, two,
pulse.
three, four,
and
90
(d|
4
44444444^
dJ
r7w
J
6 7
(2)iîJ
(3)
J)
/T^^
(4);^,j
(6)
;^
]^n"n
rai
JJJJJJJ iJJ Jdj>
n J"TT5
/^T^
J>
idJ
r77? J
r-3
i^J
JJJ iJJ
4^
J-
'
"
J-
J)
n^

Watch carefully that in the
(3)
inversions of the Y^ and
in minor the augmented 2nd, from the 6th to the 7th
degree of the scale, is in tune.
oV
(a)
(b)
(c)
(d)

Sing the number-, then the letter-names.
Sing to la^ thinking the number-, then the letter-names.
ADVANCED EJR-TRAINING AND SIGHT-SINGING
m#
^^ w
^^^
^^
(^^
ll'
J^j^j^
i
3?=
I
j..j^
J.^
J^
^^
n3 f
^ i^
1
i
^
0'8
li'n,!
H fLjj
i
Jij-TnjTii
IV,
IN^
J.
VI
^j-J^lp..j1j^lj.
91
i^
^ r
p-JIJ
F-
Mi^
^^
*^
92
(e)
Sing the following chords in the key of F major to the rhythm of i

I, VI, Yl Ii, IV, II, VI, oV^ I; to the rhythm of 2: I, V^
oV^
oV?, I, I:, IV, II oV^, Ii, VL oV?, L
Sing the following in the key of f minor to the rhythm of 3 I, VI, IVi
V^ VI, I, oV^ oV?, Ii, Yl, I; to the rhythm of 4: I, I^, oV?, oV^ I,
IV, V, v^ oV, VI, 1.
:
Note
Omit the 5th
(f)
of the
V chord.
Exercises for pitch and key drill in F major and f minor.

Sing the
number-, then the letter-names. Think the sound of the chord
before singing the tone.
(i)
of I, 5th of I,
of IV, 7th of V^ 3rd of I, 5th of V, 7th
of V^ 9th of V^
of V, 3rd of V,
of I.
3rd of I, 5th of VI,
of II, 9th of V^
(2)
of oV, 3rd of V^,
of I, 5th of IV,
of oV, 7th of oV^ 5th of I.
R
R
R
(4)
Exercises for Sight- Singing:
i^^^^^^^^^^^#
^^
^^
J3?3
^^P
^'^
iji
j^
^^
d/ ^M* U;
I
93
^^^
JBMiJTr3nn[_j^î^te
n rrmirjj^î^n^TiTnini
r]'TOniJjJ'jJ3 [j.[^gînn;ii
i
[^;ff^^
î-^
'
^T^
^"^
^^^
^
< *
ip^
After Wii liner
^h
n^,p|nrr)
jM- ^^^J|J
^J
[;
^^
JDFANCED EAR-TRAINING AND SIGHT-SINGING
94
nrrfB
fi
r^
\d
j"?
dirfr/c^r^
y\^ i
fertrrj
^r ^ffl^ I
S^ -Tj
rnmrff^
\\
^'''''^
rj^ irT^rrciij
^^
Dvorak
^îJ.ir3^P^J.jg
iSiriiLiLjiiiiy
**^^
4^ [J F
frf
Mrrr/rî
J-
Hi-ng]!
fron
=^gr^
-TO^
l
j
j:i
^"
j'
'
Lui
Laj-
i^=^=
95
-n^ i.r^î^'iQj
rrnmri-^ nKiJip^
i
Lesson
io
The IF chord Is formed by adding a third to the II triad. It is a minor

discord because of the minor 3rd from the root to the 3rd of the chord, the 2nd
to the 4th degrees of the scale, and the minor 7th from the root to the 7th of the
chord, the 2nd to the 8th degree of the scale;
^
W
When the 8th degree of the scale is the 7th of a chord, it becomes an active
tone and resolves downward to the 7th degree, as all 7ths of chords contract.
The IF chord may follow any chord but the V, and is followed by the V"^ or
the 1 2.
Section A.
(i)
Construct parallel double periods in Eb major, using all triads and inversions, the V^, \^,
and IF chords as a basis. Use the rhythmic figures
oV
.Sro^
''"^
J"^^
'" 4/4 meter.
In writing melodies with thirty-second-notes it is difficult to slow down the

mind. Think the subdivisions (the 'ânds") for each pulse. Study the rhythms
in Section C of the preceding Lesson, page 90, and the melodies in Section B
(3) of this Lesson.
Section B.
(i)

Play the entire exercise, listening to the character of the chords.
(b)
Pause after each IF and V^ and think their resolutions.
(a)
(c)
(d)

96
be heard as a minor discord and will be distinguished from the V^

minor quality. The dissonance is harsher in quality because ot
the perfect 5th from the 3rd to the 7th of the chord.
The IF
will
because of
its
1
8
-I
-I
gdA
mN
m
rr
:^
^^
i4
J=i
t^
^
I
Ft TT
^^
(2)
11
P
*
JEC
TT
^
i
i
f
31:
sx.
3x:
The minor 7th
IF
chord, from the 2nd to the 8th degree of the scale,

chord and will be distinguished by its
interval in the
resolution and context.
will resolve to
(a)
in the
some
Play the
I,
IV, IF, V^ and
of the intervals.
chords in
Eb major.
Think the sound

Play the intervals, determining how they sound in relation to the

Note the difference in
(b)
relation to the key-centre of the three minor yths.

Sing the intervals. Test for pitch.
Transpose the intervals to the keys of Bb, F, G,
and
(c)
(d)
s
l^'i*
o "
xc " o 8 U =g=^
3a:
n^ v^
IV
is
(3)
1.1
ti
(c)
(d)
(e)
(f)
(g)
(h)
(i)
v^
3X1
i;
XT
Q
O
XT
-o
..
o-
"o
"
fj
3x:
"
**
o
i;
"
.^.
^
8
" 8
II
ii''
11
ii
11
"
-Ol
tl
major.
\^
3x:
IV
11
VI
u " 8
"
.1.
3x:
^^^^^ff
Double periods in form.

duple and triple meter.
(b)
II
(a)
97
iio
v''
"
:^
ft
llO^
and Sight-Singing:
Skips in the
IF chord and
thirty-second-notes in
I, IV, IF, V'^ and I chords in Eb and read the entire melody
mentally, beating the meter.
Subdivide the pulse on account of
the slow tempo and the number of notes to a pulse.
Play the entire melody, studying the effect of the cadences.
Play the first antecedent phrase twice. Sing from memory to
la.
Sing the letter- and number-names, first mentally, then aloud.
Play the first period and sing from memory.
Practise the second period in the same way.
Play the entire double period and sing from memory,
Transpose to the keys of F and
major.
Play the
98
^rn
rj
Lj
IV
f^
^m
V
nl
Figure
n^
v^
Mod.Seq
III
v7
ma
p'^j i'HjUJ'jiin^
iXj'Cj
II
BS98B9
E^
M^f
m
î-V
J^
îkJU
r.i
==
ir
r,f
IJJJ3U
^5 f
^^173
^^
jjjjj'j'j'j'in
F "#
r?7:irir
i
'
J d
î"''!'
jOj^
f=Ft
If
iif
ifrf
-P
99
-J^
CJdJ
^^
ÛrÛl^ u^j gj^^^^
f'l-
>
-*t
s^
-J
I^^^J
Section C.
(i)
Rhythmic Study: J.
(a)
J^ and jiTj
^"
44
rn^ter.
Study using the arm movement to indicate the meter and sing to
on a major scale.
J~3 j:^
(1
(2
J)
J~~3J
(3
(4
(5
IJ
(6
jtt: j~~i
j-^j-
nri
ni
J.
ij
J
J
J.
J>
/a
100
(2)

is in tune.
Be
careful that the 7th of the
IF chord
(a)
(b)
(c)
(d)
iJli'i

Sing to la, thinking the number-, then the letter-names.
Have the chord-symbols read and sing the chords without reference
'J
Hi
||
Jc/^ rpJiJ^r
i
p-=-wv^î
r".^ji
IV
jPll^l
ii|i
-S
r-^
__=-:il
j^v^f
fv
J^rir
J'j
j ..
J^r N-ij u. J^r
101
ip-J^
3^^=pE^=^^^5b^=pp===i^^^fe=|
102
\>\)'
y p jJ
j.
;jJ iI^JTJ^
n^JJ^
j. p J
ninV i]^
*-f*
I
rjJJ
jjj^j ij.jjJij^jjj
^^'1^
fV >^.
i
*g ^
10
..['].
# "
.1
'
J-
i dd^
j- ifcifaia;
I
> ^ZjiU
jdpc
i^Wir-ffr3
r' ^J-iU j
Mendelssohn
JJTJij
Mendelssohn
^''|>lJ^
jg
>
ir"jnj..j
^^
^
^
Verdi
i^
^^t^rrfe ricJ Llrr^j
g #
cjrclD'^rJ'
-^
103
104

Pause after each IF,
(b)
105
and V^ inversion and think the chord of
ll\
resolution,

(c)
(d)
The in
will
be distinguished from the
IV hy
the diatonic progression of the
voices.
42
13
^
^
rr rr
v ^ /
23
32
,2
i
r
ir
71
32
^n^
rj
^ i
VI
i
T
i
f
^m n ^
^
^ ^^
m
^
^
rr Tf
IV n;
VI
nl
vi
It
I,
^ tt
ii
feM:
rr
J J
^ 3
f r
m 1^
^^#
^ Hy
j J
v-M
(2)
j-i
^ fT ^ ri
^ rj
^ ^
# rr
y ^ u f^
i-i
rz:
J^

(a)
Play the
I,
IV,
11^,
of the intervals.
V^ and
chords in
major.
Think the sound
ADVANCED EAR-TRAINING AND SIGHT-SINGINi
106
(b)
Play the intervals, determining how they sound

(c)
Sing the intervals. Test.

Transpose the intervals to the keys of Eb, Bb, F, G,
(d)
O:
11^
V''
il
^r
-O-
TT
tt
..
jc
3x:
a
ur
tt
=^
r^
:
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;.'
io
31:
:xx:
VI IV
" nn
o
.".
" o
io
J.
Jj and
J.,
in
xc
o
or
8^0
oo
O"
F=^
" 8 ^^^^
il-."
3i:
8 :S
Q o
oo
*
_g_
o o
Double periods
JJj
and C.
^^
Exercises for Melodic Dictation and Sight-Singing:

in form.
Skips in the IF chord. The
(3)
V^ V^
;;
..0
11
o
o
3X
tt
::
n o
" o o
li
If
o"
^=^ xr
.^
O "
aos
a
H o" o
8 ^DC
t|
in relation to the
-o- 3BE
rhythmic figures
duple and triple meter.
I, IV, IF, V^ and I chords in A major.

Read the entire
melody mentally, using the arm movement to indicate the meter.
(a)
Play the
(b)

Play the first antecedent phrase twice and sing from memory to
Sing the number- and letter-names, first mentally, then aloud.
Play the entire first period and sing from memory.
Study the second period in the same way.
Play the entire double period and sing from memory.
Transpose to the keys of
and Bb major.
Have the melodies dictated as outlined on page 87.
(c)
(d)
(e)
(f)
(g)
(h)
(i)
^
IV
s^
mn
[:^c;ir
Mr
ul
ri
y'
la.
ADVANCED EAR-TRAJNING AND SIGHT-SINGING
*i
[jj-îr
IV
^^rn
nj
cf
v^
ii
iJ
/J
n^
v^
/,
^.
J.
arc^
IV
^^
^^
r^
[j^
^
IV
I4
-ii.MMi.1
^s
ii;>
ij
0. nî'
i^- J
nil
rirrrf
IV
id^
vj
jmjjj j
J^
j/
107
^
i
HBijjrîp
ii
fe^R^
CJ'CîCiJU- â' ^-i-'iLfl'cJir^

i
1^
P^^^^^s
^*"Vr i.iJ,^îJ ^>
j.Jrrt:rir ^>
[x/c/
p^^
/^[jir r
n niJti^
.
j,
LLT
^r3iJ h
rrr'ririi
ii
108
Wagner
uni
<
r^
^^
Folk- Song
Section C.
Rhythmic Study.
(i)
Irregular
Rhythms
in 2/4
and
3/4.
Rhythm Is irregular when the shorter notes occupy the accented or stressed
portions of the measure.
The metric stress is still on the first pulse, but as the
rhythmic motion stops on the longer note, that note is brought into prominence
and acquires an accent. This is known as a Rhythmic Accent. Care should be
taken not to stress this longer note, as it has stress on account of its length, and
that stress combined with the rhythmic accent would give a sforzando.
In setting the following lines, Mr. Johnstone has used duple meter and these
2
rhythms
Land of
The
the brave,
natural inclination
is
land
to give
all
"free," thus giving the effect of beginning
of the free
the stress upon the words "brave" and
on the up-beat J
:
J^
J^J
The
stress should be on "land," and the rest of the measure a relaxation.

The
words "brave" and "free" will receive proper stress on account of the length of the
notes without any effort of the singer.
(a)

la
(1)
(2)
on a major
4 J
movement
to indicate the meter,
scale.
J
J
<3)
(4)
(5)
J~3J
(6)
J72
and sing to
)IJ
109
no
iv_
M-]
IV..
Allegro molto e vivace
Beethoven
Negro Song
(^*^j{jJicjr
Jîcjrr
-^JJ'J^
j^^
Speidel
^"^
pz:
iUx
O-g-
^"^ a tempo
r/.
[j'Lrcj'
fi
L/r^^
H^j^
J'
''
cj-f
r-p-
M cj-
['
Polish Folk-Song
:^
L;r
i-ir

112
Dvorak
')=t
ttt
i
r r r
&
g fr fi
.rrf
r^
-V rrr^^rrrrfrrfirrmff^tMrrrr
^)'.fiî
Tr
jfl E
<9
* m
Haydn
il
ff f rr
t:rr
irrff ifr
yifrr frf frr ffrr

i
|f
rr
f^^
|tf
Folk-Dance
_>j:it),
^rritrrr
tf,j'rtrrf
i
iiiiirff^ffff^
f^
113
^r.h\\fTrrr
"frrrrrr i^^^^to
Folk-Dance
Folk-Dance
Lesson
12
formed by adding a third to the IV triad. It is a major

discord because of the major 3rd from the root to the 3rd of the chord, the 4th
to the 6th degree of the scale, and the major 7th from the root to the 7th of the
The IV^ chord
is
chord, the 4th to the 3rd degree of the scale.
The
3rd degree of the scale, as the 7th of this chord, resolves
downward
to
the 2nd degree.
The IV^ chord may
follow the
III, V^ or I2.
The IV^ chord sounds
I,
VI
like a III
or
IV
chords.
It will
be followed by the
chord with a suspended 3rd degree of the
scale.
Section A.
Construct double periods in Ab major, with the

See melodies in
alike and a new second consequent phrase.
IV^ chords
IF
and
all triads and inversions, the V^ V^, qV^
108 and
pages
given
on
as
irregular rhythms in 2/4 and 3/4
(i)
antecedent phrases
Section
as a basis.
109.
Use
Use the
(3).
114
Section B.
Practise the follozving Chord Successions:
(i)
(a)
(b)
(c)
Pause after each IF and V^ and think the chord of resolution.

(d)
Have each
the effect of the semicadence.
The
II2
chord
will
^^
3
exercise dictated.
be determined by
12
^
rr
2
i î
ulul
i=i
^^
^M
^
rlÎ
rt
^
r
^
J
j-
I2
or
V^
^
^
rr rr
^
f
nj
i.v
f
I
fT
^
rr
Aj.
^^
^
r
^
^
y
i
r
^
^
r
J-
i-i'ii
VI
Ji
A^
chord of resolution, the
^H)y i
its
f
3:
tt
115

in the IV^ chord, from the 4th to the 3rcl degree of the scale, will
resolve to some interval in the V^ or IV chord, or to the major 6th in the I2 chord.
Play the I, IV^ IF, V^ and I chords in the key of Ab major. Think
(a)
(2)
The major 7th
(b)
the sound of the intervals.

Play the intervals determining their sound in relation to the root
of the chord and to the key-centre.
Test.
(c)
Sing the intervals.
(d)
Transpose the intervals to the key of Eb, Bb, F, G,
S
IV7
v^
IV
V^
and
major.
=&:
I

(3)
Double periods with a new second consequent phrase. Skips in the IV^ chord.
Irregular rhythm in 2/4 and 3/4 meter.
and I chords in Ab major. Read each
Play the I, VI, IV^ IF,
(a)
melody mentally at a moderate tempo, using the arm movement
to indicate the meter and thinking the rhythmic subdivisions.
(b)
(c)
(d)
(e)
(f)
(g)
(h)
(i)

Play the first antecedent phrase and sing from memory to la.
the number-, then the letter-names.
Play the entire double period and sing from memory,
Transpose to the keys of G, F, and Bb major.
Sing
116
Mod. Seq.
Fig.
n
IV
ifiV
lu lu
v7
'
r* J'
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i|i'i'
I I
r f rm
I
IT"
i)
nj^
ll-dLI
r''
I
j3
r r
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imu
n.!
Mrvr
Qi
iJ^^g^^
-gr
f f
Ipj
Hiînji
>{i''iNi
fe
J
"-
V^
'mi
^^ i
lu' inrTi
4^V JJ^r
i!i'i'
IV^
Ii
*^
n.r7:
I
I
LJ
gi^
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rPr irrr
l
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-Frri
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i^^
'
^^
;^^r i^r
Pr
r r r
LJ
I
II
11
^r
If ^r
3z:
c/rc;
i
cjt
^
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^'i
ADVANCED EAR-TRAINING AND SICIIT-SINGING

e
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fe
.nj
f''i>
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c:;p;î;]p-
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i
^m
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117
?^5
^
^
jiT^
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fe
r^trif
^^
^>^H
I''
;cJLr
ic
i i
3tcr^'^' [j*rp
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Suk
Section C.
(i)
Absolute Intervals.
There are major yths on the staff from c-b, f-e; in the major scale from 1-7,
in the minor scale from 1-7, 3-2, 6-5 in the IV^ chord in major.
There are
minor 2nds on the staff from e-f, b-c; in the major scale from 3-4, 7-8; in the
minor scale from 2-3, 5-6, 7-8. To sing a major 7th up call the lower tone i
and sing 7; to sing a major 7th down call the upper tone 7 and sing i. To sing
a minor 2nd up, call the lower tone 7, and sing 8; to sing a minor 2nd down, call
the upper tone 8 and sing 7.
4-3
(a)
(b)
(c)
(d)
(2)
Play any tone on the piano and sing a major 7th up, using first the
Play any tone on the piano and sing a major 7th down, using first
the number-names, then the letter-nam^s.
Play any tone on the piano and sing a minor 2nd up, using first the
Play any tone on the piano and sing a minor 2nd down, using first
Rhythmic
(a)
Drill.
Irregular

la
on
major
scale.
rhythm
in 4/4 meter.
movement
and sing to
118
(Of

^>'^>
jjj
ijjj-KîiUi-Jjj
V,
i
i
jj.i^^
oVi
IVZ
f'-M'i^r îJj>
119
-.nJr
JjMjl^r^^
V.'.
fe
*a
j3^
^
4m ^^J
JiJ.jj
ij>
'
i^
r^
(f)
ii
'
I
* J
jjj^[j-:j
^^
W
0*1-
IV2
(e)
J *
1,
nri
r'''^
-^
Sing the following chords In the key of Ab to thie rhythm of i I, Ij,

IV^ V^, Ii, IV, IV^ I2, VI, I; to the rhythm of 2: I, VI, IVl, V^
VI, Ii, IV, IV^ III, V], Ii; to the rhythm of 3: I, IV2, IlL oV\ I,
IV^ IF, V^ ^P, I; to the rhythm of 4: I, IV, IF, III, I2, IV^ V^,
:
VLI, IV2, I.
Exercises for pitch
letter-names.
(i)
(2)
(3)
and key
drill.
Sing both the number- and
I, R of IV', 5th of IV^ 7th of IV', 3rd of I2, 5th of V,

7th of V, R of V, R of I, 7th of IF, R of IF, 3rd of V,
5th of V, R of I.
3rd of I, 5th of VI, 7th of IV', 5th of V, R of I, 5th of I,
R of IV', 7th of IV', R of IF, 7th of IF, 3rd of V,
7th of V, 3rd of V, Rof I.
5th of I, R of V, 9th of Y\ 7th of V, 3rd of I, R of II,
7th of IV', 7th of IF, 9th of V, 7th of V, 5th of V,
Rof
Rof
I.
120
3rd of I, 7th of IF, R of IF, 3rd of IF, 7th of V^

3rd of V^ R of I, 3rd of IV^ 7th of IV^ 5th of IV^
7th of IF, 3rdof V^ Rof I.
Transpose to other keys.
(4)
(g)
(3)
Mozart
fe
s
|jLj>
pjpiJi
^pr
'*
cn cj-r
ii
^'P
f^Pr^P
^(ii[; rr.r[ir[;
J^r
[j-
t=w
i}^'ni[fr[s\î' [jic-/rrrc/
Mozart ^
4A>rrr nii<
J^
ts
ri
l>
>
iJ
Ht O ^r ^
i
.Pf
J^
p r
Mozart
JAM
(î'i>f
jj
^cx^
j->riT
^cJTr
> J.ir j:]ij].i

i
Jji ^; J]r
Mozart
|'''|'
ii
i^'l
^
J]
[^
^ i^Jrc:;
^^
I
^^
^''1^
^^^
121
Bach
^^
yi' -njj jj ,M,

jj
i
Folk-Song
^;l>
f'^^
.p ^
i
nJ
J1
JJJJ ^
I
M
>
ji i.^j
i
I'
Js
^^
Strap 9
4^v
^j
j^
^ * ri
^ r
r "^g^
j^r ^h P'^ i&riurr

\
^-î
122
Î'î'''
mif
:c;
^^
CJf
11
^g
J'JiUj-i^M
M^ ar
v#Crf
ifjiT
cJiLrr
cirr [/
c/r
Lesson
c^^^
^p
^^
^^
^rjiCrr
W-*
13
VF
The
chord Is formed by adding a third to the VI triad. It is a minor
discord because of the minor 3rd from the root to the 3rd of the chord, the 6th
to the 8th degree of the scale, and the minor 7th from the root to the 7th of the
chord, the 6th to the 5th degree of the scale
VI'
The
5th degree of the scale, as the 7th of this chord, resolves

the 4th degree.
downward to
123
The VF chord may follow the I chord, and the VI chord. It will be followed
by any chord but the I.
The
chord sounds like the IF chord with the 3rd and 5th degrees of the
scale suspended.
Section A.
Construct double periods in F major, with a new second consequent

Use all triads, inversions, seventh- and ninth-chords as a basis for the
(i)
phrase.
Employ
melody.
irregular
rhythms 4/4 meter.
Section B.
(i)
In these exercises in triple meter the chord on the third pulse resolves to the
chord on the first pulse; the chord on the second pulse is unrelated and allows
foreign progression, the V to the IV or V to the II chord.
(a)
(b)
Pause after each IF and V^ chord and think the chord of resolution.
If you cannot hear mentally the chord of resolution, play it, then
go back and try again.
(c)
Read the entire exercise mentally.

inversions.
(d)
The
II3
chord
is
diatonic introduction
565
recognized by its chord of resolution, the Vj, or by

I chord.
543
m m^
344
342
364 342
at*
^Û^ ^ p^
11V2I
its
by the
jjj iii
i-
VjV/i
yiivul
i^'h'iiV;i/i';
rr
ijj
iij
All
^^^
J.
injv/
iivnj i^v^v^
^^
m
TT f Ft
jjj jjj
i
rrr r
124
rr
(2)
The minor 7th
in the
VF
chord
will resolve to
some
interval in the IV^,
IF
or V^ chord.
(a)
(b)
Play the I, VF, IV^ IF,

and I chords in F major. Think the
sound of the intervals.
Play the intervals, determining their sound in relation to the root
(c)
Sing the intervals.
(d)
Transpose the intervals to the keys of Eb, Bb, G,
VI^
Test.
and
"
major.
t'^
* g ; zTn
JL*
=i
'^
Z w
(I
3s:
^^
3x:
:^
125
3BE
XT

(3)
Double periods with new second consequent phrase. Skips in the
chord.
Irregular rhythm in 4/4 meters.
Play the I, VF, 11/ V^ and I chords in the key of F major. Read
(a)
each melody mentally, using the arm movement to indicate the
meter and thinking the rhythmic subdivisions. Be careful not to
overstress the rhythmic accents.
(b)
(c)
(d)
(e)
(f)
(g)
(h)
Play, studying the form.

Play the first antecedent phrase and sing from memory to
Transpose to the keys of Eb, D,
and
major.
^m
zz:
li
#
vlii
i
r
r
n^ nj v7
V3'
^
v^
VÎ
li
r
r
IV^
vj
I4
-tiM-
^^
liVI
r
r
v^
vi^
_n^ J
^
I
j
1
or
IV
I,
^m
v^
2E
\-\
I
d.
')
IV
V^
ig
JZL
vjiî
i
I
la
3XS.
^^
^
^ ^ ^^
^m
f
IV
v7 vj y[
v^
jr.
Ii
V/l
V'
Sing
la.
J ^^
J r =ff=^
=I
126
îiîi
J-
e==^
i'^rcu
^b
r]j
^1'
[;j'J^3J.
'I
J.
Jt
?Z2
LJ^'-^^J
r J
DC
JmJT^
P=:=^
3^5=3
^'l'
'
J-
Jj'i
inj
Section C.
(i)
Rhythmic
(a)
Drill.
Irregular

la
on
maior
scale.
rhythm
in 3/4 meter.
movement
and sing to
(2)
(3)
/I
(2)
/73J
/71J
nrm ^^}
127
ÎmIT^^Î^s~lm^^
^^^
rz}

Sing each exercise mentally. Test for pitch.
(b)
(c)
Sing to /<2, thinking the number- and letter-names.
(a)
(d)
Sing from dictation.
4^.nrM^
^^^
VI!
Hb*
jj p-p
N-JJ
IVi.
\p^-^\^1
^3j
^J^\L
auJfn^.i
j:jJ.pi
^?
^^ ^
VI'
^^^1 iirn^.i
l
ijj:^ri-Oj
ijji:^^
vi;
J^r'^-Jj ij^-^r
^-^j
'
.^
IV.'
vj
n-
|^n,i
.j-3|i
ira,!
^
v/.
ifjJriJ-j,
VI'
p
ivL.
128
j.^Jri^Ji
i-Jrri^J U-^rri^j
iJ'^rr
vZ
f^
^t-
'
IM i^\
\
IE^,I
Ij
,1
Ij
l-^j
y^.j
lj,l
VI!
(e)
^j
-î
.r^
I
j
IVi
F major to the rhythm of i:

VF, VI, V^ I, m, VI, I; to the rhythm of 2: I, III, HL
I2, VL Ii, IV^ I2, III, y\ I; to the rhythm of 3: I, IIL h, oV, I,
Vr, IV^ VI, Ii, III, I2, V^ I; to the rhythm of 4: I, IV, III, V^,
Ii, VI, VF, IVI, V^ I, IIL I2, V^ 1.
Sing the following chords in the key of

I,
(f)
oV^
I,
Exercises for pitch and key
drill.
Sing both the number- and letter-
names.
(i)
(2)
(3)
5th of I, 7th of VF, 7th of V^ 3rd of I, 7th of V^ R of V,

3rd of V^ 5th of V^ R of I, 7th of IV^ R of IF, 5th of
V, R of I.
3rd of I, 7th of IV^ 7th of IF, 3rd of V, 7th of V^ 3rd of
I, 5th of VF, 7th of VF, 5th of I, 3rd of VF, 5th of IV^
7th of IF R of I.
R of I, 7th of IF, 3rd of V^ R of V^ 5th of I, R of VI, 3rd
of VF, R of IV, 7th of IV^ R of II, 7th of IF, 3rd of V^
Rof
(4)
(g)
(3)
I.
3rd of I, R of IF, 3rd of IF, 7th of V^ 3rd of V^ 3rd of

I, 5th of I, 7th of VF, 7th of V^ 3rd of I, 7th of IV^
3rd of I2, 7th of y\ 3rd of I.
ADfANCED EAR-TRAINING AND SIGHT-SINGING
î>
^j Mi
^^
J^j-M^J
"Hj
^ ]\
^m ^3
f nj
f
[J^
J"j r
cij/^^r
P P
1^
^^
^ ^
J^-f
^^
^^
Ô J^p ^Q
^ ^
ms^^
W=^
w J^j
irrrr c
^;?^r
f nj
Mt
129
m ff
^^ r
i^
^^
i^JJ^P
zgjt:
[^
E;r
ni
Negro Song
M^r
Jij.
p
}>
130
^jj2\jl^^\^-J'U ^^
\
p,
r-rn
1.-
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JJ]
Ij.
J>
Jl
JDVANCED EAR-TRAINING AND

i/j.,
l^
.f^^^^J^M
J.jJ.
SIGIIT-SI NGING
J^
j-j J
:^n i^^.yrî. J niiai--|aJJU
J.
J^
i7J]J-
J.
^'
J^^-
-^J- } J^-i
Huber
131
j-jp
i^''
>
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r-
i^
f J'-^
^^ ^
^pi
Folk-Songf
^^JiJ^^LIJ^T ^
'
CHAPTER
IV
CHROMATICALLY ALTERED CHORDS

The pitch of the ist, 2nd, 4th, 5th and 6th degrees of the major scale may be
chromatically raised a half-tone, and the 2nd and 6th degrees chromatically
lowered a half-tone, without disturbing the feeling of the tonality.
In using the scale-line these inflections must progress chromatically as chromatic passing-tones, never diatonically, or a modulation will occur: 3 4 :|^4 5 or
#4
t]4 3,
not
#4
or
#4
3r t t
EC
In minor, the 2nd and 5th degrees are not raised because of the lowered 3rd
and 6th degrees. The 6th degree is raised in the melodic progression from the
6th to the 7th degree, and the 7th degree is lowered in the melodic progression
from the 7th to the 6th degree.
In skips, single or consecutive, the altered tones must be part of a chord.
The
#4, of the 11; or IVJ chord:
The
#2, of the V#, VJ,
V^ or the
|i^
conjunction with the #4:
IIl^ in
\h.
The#i,oftheVi;:
_^
ItU
1^
V^l
oVÎ
V^jl
:fj:6,
II
Uî^
m
VIÎI
The
\0
of the VI^^ in conjunction with the î
yi\
Theb6,oftheII^,IVJandV^
( |,y
The
I72
and b6 together
,\\
iv\
Jl\
Theb2,oftheV2\andoV^
v^t
in the II^^
and
qVî,:
,bii
ni^
132]
Jmi
oV\
The :{^4 and b6 togethe rIntheII^,andIVl,,:
#4 and b6 togethe r
i^2,
#2 and b6 together
^ t 'y.
Lesson
The
either
raised 4th degree
is
^^^^^^
^t^W
In the 115,,:
in the oV^,:
133
^^
14
used as a chromatic passing-tone in progressing
from the 4th to the 5th degree, or from the 5th to the 4th degree:
\o
11
fn ^ I
t
*! 1f^
be made from or to the raised 4th degree in the IIJ chord. The
scale-line using the natural 4th degree or skips in the V^ or I chord should follow:
Skips
may
n^t
Section A.
C major, with a new second consequent

seventhand ninth-chords and the IIJ
Use all triads, inversions,
phrase.
rhythms in 3/4 meter.
irregular
Employ
chord as a basis for the melody.
Construct double periods in
(i)
Section B.
Practise th^ following Chord Successions:
(i)
is a discord because of the minor 7th from the root to the

the 7th to the 6th degree of the scale. The qV chord
chord,
seventh of the
or I chord.
the
followed
by
may be
Vi,
The
oV
chord
(a)
(b)
Pause after each qV, IF and V^ and think the chord of resolution.
inversions.
Test.
(c)
(d)
In

The oV chord will often be confused with the IF, as they have three tones
common, the difference being that the 7th degree of the scale Is in the qV
134
Play the
difference.
hear
the
qV, until you
and the
1st degree in the IF.
(e)
Repeat these
^ mm
822
854
TTT
11^
V^
I,
Vj
655 221 342
346
^
f rr
T $
1.
IVjUj
^^f
^
rrff
-&-^
joi J44 .y4 i
chord in place of the qV, then the
exercises in c minor.
m
I
III
^
oV^vJ
r
II J
VI
IjIVjV''
w i^
w
^^
T
^
w
Ul
^
f
J ii
î
i JJJ
Trf
.
JJJ
^k
f Tf
^
^^ r ^
m
^ ^^ M
i.
m ^^
'
rr rrr
ij
i 4
J i
^^ i
i^ J=^
? r
rf=r
(2)
r
4
The following intervals, parts of the 11^ chord, are used: The major 3rd
from the root to the 3rd of the chord, the 2nd to the #4th degree of the scale;
the minor 3rd from the 3rd to the 5th of the chord, the #4th to the 6th degree
of the scale; the minor 6th from the 3rd to the 8th of the chord, the #4th to the
major 6th from the 5th to the 3rd of the chord, from
degree of the scale.
Play the I, IV, IF, IIJ, V^ and I chords in C major. Think the
Sing the intervals. Test.
Transpose the intervals to c minor.
2nd degree of the

the 6th to the
(a)
(b)
(c)
(d)
scale; the
:jt4th
"
o
3X1
ttu
ffiF=g
XT
v^
n7|
*>
j|tt
tl
v^
jit
TT
"-
t{iil
--
ii
3
It
o 8
-^ Xr TT
v^
HtjO
-- 31:
-r
vi
n n
o ^ |U
ic
ifi
--
"r.
"is
3x:
^0
i.1
tl
JCC
j|
<n
j|ti
jli)
r>
tjti
t
l
**
.^x^
xx=
|*
<>
^" ^^
o "
tt
>
i^ Q s
*
3x:
"
3x:
P'iuû
o lu " |"" 8
t

(3)
Double periods with new second consequent phrase.
chord and the :ji4th degree used as a chromatic passing-tone.
in 3/4
135
ft
t|.
Skips in the IIJ

Irregular rhythm
meter.
(a)
Play the
I,
IV, IF,
IIJ,
V^ and
exercise mentally, using the

(b)
(c)
(d)
(e)
(f)
(g)
(h)
chords in
arm movement
major.
Read each
and thinking the rhythmic subdivisions.

Play, studying the effect of the chromatic tones.
Play the first antecedent phrase and sing from memory to
and E major.
Transpose to the keys of B, A,
la.
Sing
136
Mod. Seq
Fig.
m^
IV
v7
J'
tt
3 J
IV
^jyj3 jNii]J^L;
T7^
11^
I
I
n,
II
i ^^
I
"
jHJ
IV
ri
III
Cj'i
IW
IV
*^ J
*^
j
II
ii
j-jijj^j.i'iJi|J^r
v^
J J ^ 1^^
^n
ul
r*
-Jhr^
'
^'^^
'
J -J ^ I *
*
J IJJJ.
'
f'i
l^l'JJ
'
^J.ir
LJ
DBS
iJJJJ?ûjJJ ii
^'
i/rrj'^^
jl
^ ^
^^J'.P it/r'p ir
i'lOs
-J
VI
nj
I,
f UJ
g'
iJJJ.r^
137
Section C.
Rhythmic
(l)
(a)
(!)
Drill.
la
on
rhythm in 6/8 meter.

arm movement to indicate
Irregular
Study, using the
major
the meter, and sing to
scale.
(2)
(3)
ij
jjjjj
j)iJ
jî jjjjjjj
jjjjj
(4)
(5)
j-j:
(6)
(2)
J5J
(a)
(b)
(c)
(d)
Sing
Sing
Sing
Sing
each exercise mentally. Test for pitch.

to lay thinking the number- and letter-names.
from dictation.
lijTJrNjqiJ^^
^Fm ^
Ii-
^ t^j.
JP^
vj.
nV
iil-
v7
i^
nil}
^
I
vi!_
IV!
nil
?
v|.
^
^
v?
^^ ^
138
44S^^
J^.
iJ-i-
j. J'^"'''- '^-4.
jTJi'^- 'J ij.
'
'
jl^^'
JT^^-
^
'
^-i-
id UT^^-
JJ^^- ^
1^ JU.
Ililt
atz
i-j^ri^ Ja
Jt
iJ^r
Jh
J'J.IiiJ^
nl
ir
nl-
vj.
(e)
Sing the following chords in the key of C major to the rhythm of i

I, IV, Ills, I2, Vl, Ii, 11;, VL I; to the rhythm of 2: I, IF, IIL
in oV^ I, 11^, II[ I2, V^ I; to the rhythm of 3 I, VI, IVi, IIL
II^ h, VI, I, in, Il3^, VI, I: to the rhythm of 4: I, IV^ III, HJ,,
:
I2,
(f)
VI,
oV^
I, 11^, III,,
VL VL
1.
drill.
Sing both the number- and letter-
names.
(i)
of
7th of IF, 5th of III 3rd of 11^, R of V^ 7th of

of I, R of IIJ, 3rd of 11^, 7th of V^ 3rd of V^
I,
V^ 3rd
Rof I.
(2)
3rd of
I,
V^ 5th
Rof I.
(3)
5th of
I,
R
of
of IV, 3rd of 11^, 7th of IF, 3rd of V^ 7th of

I, 7th of VF, 3rd of 11^, 5th of I2, 5th of V^
7th of IV^
of IF, 5th of IF, 3rd of IF, 3rd
of 11;, 7th of V^ 3rd of I, 7th of IF, 3rd of 11;, 3rd of

IF, 7th of V^ 3rd of I, Rof I.
(4)
8th of I, 3rd of IV, 7th of IV^ R of IF, 7th of IF, 3rd

of IF, 3rd of 11;, 5th of Ii, 3rd of 11;, 7th of V^ 3rd of
V^ R
(g)
of
I.

(3)
iH
139
140
jj
i]
it
Ju
II
|i
-ii>,
iijJi;Jc;i
'in nijjc; jc;ir

i
'I
jj|
^\\^
1^ J|iJJiiJj
^^
^^
10
i3
JJP^J^
j.J
141
^jx^j*^
w r^ P^
^
jJÔ
J-|
|
||
^S
J^
rr
Tp^ "c;
T^
LrT^^p
j^^j'j j.ii3J^-^ [:i;^

i
fp_'rpFN' j^t=^ ^
Lesson
rTJ
Tp
T^f^
15
In a melody skips may be made from or to the raised 4th degree of the scale
IV^ chord. The scale-line, using the natural 4th degree, or skips in the
in the
II|,
or
I2
V'chord, should follow:
Section A.
Construct double periods in Bb major, with a new second consequent

Use all triads, inversions, seventh- and ninth-chords and the 11^ and
IV^ chords, as a basis for the melody. Employ irregular rhythms in 6/8 meter.
See Section C of the preceding Lesson.
(l)
phrase.
142
Section B.
(l)

(a)
inversions.
Pause
(b)
after each IV^, II",
V^ and qV' chord and think the chord
of
resolution.

The IV^ chord sounds like a IF chord with the 3rd degree of the scale
Be sure the mind grasps the characteristic tone of difference
suspended.
(c)
(d)
between these chords.
m
^M
3
f
I
VI
rp
sf
11
?
iv^nl
S
1^
^
n
ii
^
V7
''8
nV^ V7
^
^
* =rr
VI
i=i
U
lo
^
rr
^
f^
tt
f=f
?
:i
frr
5^
TT
TT
i
.Li
J^ I
f
4^
rf
^
rr
^
f r rr
I
*1
r~r
ADVANCED EAR-TRJINING AND SIGHT-SINGING
143
Practise the follozving Intervals:
(2)
In the \\\ chord there will be a minor 3rd from the root to the 3rd of the
chord, the ^^xh to the 6th degree of the scale; a diminished 5th from the root
to the 5th of the chord, the:tt4l^h to the 8th degree of the scale; a minor 7th from
the root to the 7th of the chord, the ^\X.\\ to the 3rd degree of the scale.
(a)
(b)
(c)
(d)
and I chords in Bb major. Think

Play the I, IV^ IVJ, II[,
of the chord and the key-centre.
Sing the intervals.
Transpose the intervals to C major.
v^
VI IV n'i
n^j( v''
iv
*
U
'
o"
o o
^08
::
ÔOOO^
o
o
||o
" v
,0 ,0
i.*
do
bo Po
^^
[>o
tj8
ivi i^
*'
o bo
t?o-
**
o"
[>o
lô
1)
t|8
\^
n'i
TT"
-^
[^g
4
l\t
O b1
O "O
"
t|o
ImB
11.
-O o "
o o tjo
<l
bo S
11
tj-S-^^
^^" 8 "
_ .0
ô
t;8
(3)
|/ttO
l|o
"
"
**
bo
"
"
" 8
^;;
,>
11
.-
<>
^^
'l
1"
Q
**
J^
^ L^
:{t4th
^ o'* o xr
1?o"^:j=
..
8
"
[}8
l|o
"O"
and Sight-Singing:
Double periods with a new second consequent phrase.

chord and the
--
-0-1** 1-8-
."^
" "
a
im
L
degree used as a passing-tone.
Skips in the IVJ
Irregular
rhythm
in 6/8
meter.
(a)
(b)
(c)
(d)
Play the I, IV, IV^ IVJ, I2, V^ and I chords in Bb major. Read
each exercise mentally, using the arm the movement to indicate
the meter and thinking the rhythmic subdivisions.
Play, studying the effect of the chromatic tones.
Play the first antecedent phrase and sing from memory to la. Sing
144
(e)
(f)
(g)
(h)

Transpose to the keys of C, D, A and G major.
In all wide or consecutive skips, it is most important to remember the tone

jumped from. In Ex. i, measure 7, you hear chord-line from the 3rd degree
down for three tones, then a skip back to the same tone. In that way you do
not have to think of the large skip.
Ex. 3, measure 6 and 7, if the pitch of *'f"

remembered there is no difficulty in recognizing the "etj". In Ex. 4, measure
3,
remember *'f," which will recur in 4; meas. 4, "d," which will recur in 5; meas.
5, "et^" and "c," so as to get the "eb" and "c" following.
is
n'
^ ^
IV7
U
^^'
l''
(f
VI
JJ
IV
la
V7
I,
IVÎ
Ji^
mn^
||
lifi ^J
ii
IV
'^'^
f_|)i_[jjijju
Ni^r -^ JJir
jif
mn
iv^n
P S
JIJ^MjJlrii mmim
r*
q?
iv
l[4p
VI
ii
j)p
UJH^T^J.
nPr
rn
"n
j;Bl3[-p
4^''
J^rp
Mr
rjui^r
145
.r3^riijj> rFrp rr î'
r"^''îiD-'^J'^-
cocif
J^
Section C.
Rhythmic
(i)
Drill:
tie and a dot have the same effect and are sung in the
a sHght pressure on the tied note so as to preserve the pulse.
-^
pressed
by
When
figure,
ties
(a)
J..
not
J)
singing
(2)
J J JJ
think the triplet as the quarter
la
arm movement
on a major
I J
J_yT3
J_/TJ
held; for
J_/T3 J_/T3
n
I
and sing the
scale.
fm
3
I
is
think either two eighths or four sixteenths.
Study, using the
3
<5)
jTj
J J J
rhythms to
(I)
expressed by a dot are seldom ex-
holding a tied note, always think the subdivision which makes the next
i.e., if
the figure
Rhythms which can be
same manner, with
/3?3 J
^73 J
146

Sing each exercise mentally. Test.
(2)
(a)
Sing to la, thinking

(b)
(c)
first
rhythms be sure that the mind takes in the rapid arpeggio

While the tied note is being held, think the rhythm and arpeggio that
to be sung on the next pulse.
In singing these
as a unit.
is
tn^^ w
JP
-n
L !f^
I
iv'^l
JN'.
^^
:m
J]^|J^JJ
2-
^
uai
'
-a
niii
ar
^^
Pi
"^
v7_
rH
j_jjji^Tf^ iJJ'' b:^J

i
w.
i^ J
^^
_J
=;="]
^^
ivî-
^5-
jjPi'Ujj i^jmi^^^xq
f^
zd
i^
^
IV^ji.
ij
j^ ^^^m^^ i-^jj
I
n^l,
''''''4j'J^
I
ir-^g
n\
vj.
^^^
J
:^=r%rjTnP^ ij^
''
^
^
m
IV^J.
it
JJÎ
9j
Ul
^î
nî
fc?
ii
J ffl
'jjU^ff M ; iii^'!Tii irjje

nî
vJ
(d)
147
Sing the following chords in the key of Bb major to the rhythm of i

I, I2, IVJ, V], VI, I, 11;, ir, VI I; to the rhythm of 2: I, VF,
I, IVJ,
IVI, I2, IVJ, III,, VL Ii, II[, I2, V^ I; to the rhythm of 3
VI, Ii, III,, h, 111, III,, h, V\ I; to the rhythm of 4: I, III, II],,
:
oV^
(e)
(f)
(3)
VI,
I,
ivj, 11;,
I2,
v^
I.
Transpose these exercises to other keys.

Sing the exercises for pitch and key drill of the preceding Lesson on
page 138, in the key of Bb major.
nr^
î
"T
>
Mozart
(^y
J J j J
ij J j*^ r
uj"^
LT
îÛî
'
i*'
J ^
^=^
ADVANCED EAR-TRAINING AND SIGHT-SIN GING
148
:r r-i'J^r
ijii
ifi'
j.,iijni
-TJP
f-''r
ii
jri Q-jrjpigjf
jTijpjrijiijfj r
OldSwiss Melody
fP
j.
ii
^jT
.1
Luj
ii
Oj.ijT>MJiJP
^^ ^ ^
MZS
^^
4 4
^J^
=^
mum.
Folk-Song 5
'^JM*
^J hJgJ^'^
l
ll
IL
J^
:^^
'7R'^
~-"i
f~
W-
Fm ^^
---
149
>
150
Lesson
i6
In a melody the raised 2nd degree is used as a chromatic passing-tone between

the 2nd and 3rd degrees and the 3rd and 2nd degrees.
In progressing from
the 3rd to the 2nd degree, the progression is often written 3, lowered 3 and 2.
It will be found simpler and much less confusing in both harmonic and melodic
relations in major to use the raised 2nd, never the lowered 3rd degree, as this is
the characteristic tone of the minor mode.
uf
su
if^
Skips may be made from or to the raised 2nd degree of the scale
The scale-line, using the natural 2nd degree, or skips in the
chord.
or
in the IIJj
IIJ,
IF, V^
chord, should follow.
Section A.
Use
and
as a basis for the
II^j},
all
triads,
major, with a new second consequent

and ninth-chords, the 11^, IVJ,
Employ the rhythms given on page 145.
Construct double periods in
(i)
phrase.
inversions, seventh-
melody.
Section B.
(i)

Play the entire exercise, listening to the character of the chords
(a)
and
inversions.
(b)
Pause
(c)
Read the
(d)
Have each
m^
1
33
^fp u
f
I
VI
after
each seventh-chord and think the chord of resolution.
entire exercise mentally.
exercise dictated.
43
28
û ^
6432
87
^
n ^ rr
lA
^W
IV
IV''
II''
111
AA
i
rfi rr
i
I,
III
IV
II,
r
Ij
ft
ii
TT f
^
T
i
'T
^YT
^^
TT
ii
"1
(2)
rr ff
TT
11
fT TT T i
u
TT n n
lA ii
^^^
n
f
J:
rt
151
f
i
T
1
î^
TT
1
m
^
In the Ilîj chord there v/ill be a minor 3rd from the root to the 3rd of the
chord, the iînd to the :Jt4th degree of the scale; a diminished 5th from the root
to the 5th of the chord, the #2nd to the 6th degree of the scale: a diminished
7th from the root to the 7th of the chord, the :ft2nd to the 8th degree of the scale;
a major 6th from the 3rd to the 8th of the chord, the #4th to the #2nd of the
scale; an augmented 4th from the 5th to the 8th of the chord, the 6th to the #2nd
degree of the scale; an augmented 2nd from the 7th to the 8th of the chord, the
8th to the ^2nd degree of the scale.
(a)
(b)
(c)
(d)
Play the I, IV^ IF, IIJ, IIJ^, V^ and I chords in B major. Think
Play the intervals determining their sound in relation to the root of the
chord and to the key-centre.
Sing the intervals.
Transpose the intervals to
major.
152
I*"
Uj^jt^^^^
n'
v^
PEC
:&:
I,^
o-^
n'
v^
i -
TSJ-
il
" "
il
--
ffe=^ S 3X1
^^^^^^^sw
|o
(3)
^ o
x
X
C
oo
~^"
"
**
IV^
||-.^
V^
tl o
O O ^
o
8/^.
j|o ho ** O o
jto 1 =^
and Sight-Singing:
Double periods with a new second consequent phrase. Skips in the

chord and the raised 2nd and 4th degrees used as passing-tones. The tie in
3/4
IIJ^
2/4,
and 4/4 meter.

Play the I, IF, IIJ, IIJ^, I, V^ and I chords in B major. Read
each exercise mentally. Test for pitch.
(b)
Play the entire melody, studying the effect of the cadences, the
chromatic tones and the ties.
(c)
Take each section of the melody which has a chromatic inflection
and sing it first without the altered tones, then as written.
(d)
Play the first antecedent phrase and sing from memory to la. Sing
the number-, then the letter-names, mentally and aloud.
(e)
(0 Play the entire first period and sing from memory.
(g)
(h)
(i)
Transpose to the keys of C and Bb major.
Have each melody dictated, as outlined on page 87.
(J)
(a)
ADVANCED EAR-TRAINING AND SIGIIT-SINCING
ijv
1
I
njin
pox
iLr^T^
I
n^
It
rLf
I
Figure
nl
nlii
IV
153
LT'i
I
'
It
Sequence
^^^^^^^
#
#11
li
r-
154
Section C.
Rhythmic
(i)
(a)
Drill:
Study, using the arm movement to Indicate the meter, and sing the
rhythms to la on a major scale.
(2)
JlJ_/h
J_r33J333,J5SJ_/T3,J_nj.
,J~3J
jri,JT5J
J553,j
J)
JJ
J..

(2)
(a)
(b)
(c)
Sing to la, thinking the number-, then the letter-names.

'îjJ^r
-J^JjnjjT^f
i
|
IV.
tf
"
i it^
î
ftSHji
Li
jR^
jj^r
'
jitif ii.u
^^Ji^
îj
i^'il^
^^
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''a
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i
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i
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o.jHjfîiu
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155
n, j
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feS
îl^xi
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rjjiij
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i*
ijLiî
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*jjjii.^ ^B ^^
m
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%k
^'
^!
tfj
piT
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f.
^
nlii.
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iiln,.
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i
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te^^
IV^j
v/.
4'i''i.jj;n,
n%.
Mjhi
ij;Pi injii,j.mi
li.
iv^l.
156
fft^
(d)
Pr
Ii,
IIJs,
IV^
Ii,
I2,
I, III,
Ilk nin,
oV^
VI, VI,
R of
Tlr
I,
to the rhythm of i:
rhythm of 2: I, IV,
rhythm of 3: I, IF,
the rhythm of 4: I, IV2, oV^
VI, I; to
I.
drill.
Sing the letter- and number-names:

R of V^ 3rd of I,
(3)
(4)
(3)
of
I.
3rd of I, 3rd of IIJ, R of 111, R of 11^ 5th of 11;-, 7th of V^

5th of I, 7th of IF, 3rd of III, 7th of V^ 3rd of I.
5th of I, 3rd of IV, 5th of IV, 7th of IF, R of 115,, 5th of IIJ,,
5th of I, R of IV, 3rd of V^ 5th of V^ R of I.
3rd of I, 7th of Ii; R of Ii; 5th of IIJ 3rd of IIJ 3rd of I,
7th of V^ 5th of I, 3rd of V^ R of I.
(2)
(f)
^ JJ
B major
of Ii;,, 3rd of II J 7th of V^

3rd of IV,
of 11;,, 3rd of I, 3rd of V,
(i)
IVJ, II J, \1, I; to the

n,% h, V^ I; to the
VI, VI, h, IIU, III,,,

IIJ Ii, IV;, II J VI, I,
VI,
Sing the following chords in the key of

I,
(e)
rrj
Sing this
drill in
the keys of
Bb and C major.
J3J3
^'"''iin
^
^m
-#
jjj3î
#-
fi
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d
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rJ
Haydn
tt
88
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Haydn
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157
v^
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158
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ADrjNCED EAR-TRAINING AND SIGHT-SINGING

'y-
U\
!J
.v--i'ii"ii
.v'*ii"ii
i
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159
^^
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>
CtlAPTER V
MODULATION AND EMBELLISHMENT

Modulation Is the process of progressing from one key or mode to another.
Modulations to the keys of the Dominant, Subdominant, the Relative Minor
and the relative minor keys of the Dominant and Subdominant are most used;
Modulations
these are easily made because of the common tones and chords.
to these keys are known as Next-Related Modulations.
The
next-related keys are those on either side of a

the
circle of keys, and have one accidental more
key In
or less in the signature.
Gi>Fl
In modulating, it Is best to leave the key with the I chord on an accented

pulse of the meter and to begin the new key with any chord but the I on an
unaccented pulse of the meter.
Lesson
17
Modulation to the Dominant Key and back Is bv the V^ or a common chord;

e.g., the I chord of C Is the_IY. chord of G; the V chord of C Is the I chord of G;
the VI chord of C Is the Il^chord of G; the III c hord of C Is the^YLchord of G.
-Ck-
#*
lofC
IVofG
VofC
lofG
VIofC
s
mofC
HofG VIofG
In Section B, Ex. i, the first three chords establish the key of C major. The
begins with the IV chord, the second chord in the second measure. The
first chord in the second measure Is the I chord of C major, because it is the
resolution of the preceding V chord.
The next chord, though Identical with the
preceding chord, is the IV chord of
major, as it resolves Into the I2 chord over
the bar. The same type of modulation is made from
back to C In the second
phrase. In Ex. 2, the first chord In the consequent phrase is either the I of C or
the V of G. In Ex. 3, the key of
begins with the V^: the I of C preceding Is the
IV of G. The consequent phrase begins with the V^ of C. In Ex. 4, the second
chord of the second measure is the Ii of C, the resolution of the \\ chord, and at
the same time the IV^ chord of
progressing over the bar into the I chord.
key of
Section A.
(i)
Construct parallel and contrasting periods
modulating to the key of the dominant and back.
rhythms given on page 154.
I
160
In
the key of C major,

the meters and
Employ
161
Work as in the preceding Lessons. Write the chord symbols and construct
It is best not to modulate until there have been
the melody from the chords.
enough chords in the key to establish the tonality; in duple and quadruple meter
at least three, and in triple meter at least four.
The
chord progressing to the I chord establishes a key.

When modulating in the period form the modulation to the key of the dominant is generally made in the antecedent phrase, so that the perfect cadence in
See Ex. i, Section B
the dominant key takes the place of the semicadence.
Note.
IV
or
(I).
Section B.
(i)

Play the entire exercise slowly, listening to the character of the
chords, if major or minor, active or rest, inverted or fundamental.
(a)
Do
(b)
(c)
(d)
(e)
not try to think the key.
Pause after the last chord in C and think the rest of the phrase.
Pause after the last chord in G and think the rest of the phrase.
Sing the number-names of the soprano as you play.

(1)
(2)
(3)
played, relax and listen to the sound of

Do not analyze.
the chords.
As the chords are played a second time, write down the chord
symbols as you hear them, regardless of key.
Write the numbers of the soprano. In Ex. i you will hear the
first three numbers as 8, 7, 8; the next as 8; the next as 3,
As the
entire exercise
be uncertain; the next as 2, i. The mind

In that case the fourth pitch will
will reflect and hear 3, 2, i.
have to be 4, as the unaccented pulse is always related to and
In the consequent phrase
progresses into the accented pulse.
The mind will reflect
then
you will hear 3, 4, 3, then 5,
3,2, i.
to 3 over the bar.
resolving
up
and make the fourth pitch 2,
In Ex. i you
soprano.
the
pitches
of
Next, write the absolute
as
as
a
2 and g as i,
b
c
as
then
will have c, b, c as 8, 7, 8;
3,
4,
consequent
the
major.
In
to
G
modulated
therefore you have
e
as 3, d as
the
d
as
key
of
G,
the
of
2,
phrase, b, c, b, as 3, 4, 3
In Ex.
major.
to
back
C
modulation
2 and c as I, therefore a
the
8th
time,
same
the
is,
at
measure
second
4, the c in the
4th
of
G.
the
and
of
C
degree of the key
or possibly
(4)
is
it
will
162
IV
iGn;
iz
6>:
H
n
^^
^^ fr
(b)
(c)
(d)
v7
i iJti
^
rr
^
r
f
Play the I, IV, IF, IIJ, IIJ^,, V^ and I chords in C major. Think
Sing the intervals.
XE
- ^TTiii;::o
'
:fe*
iv"

(a)
f^ ^
J i
(2)
r^
r
F
It
rr rr ^f
it
'^'
cvj
rr J
4*'
v;;:
8ii tllUt|
ii'îjj
till
n''
" 8
n^ V''
ijlln
ttii
Ho
major.
3r:
8yoiil|ot*;^
^ ^ jt^lj^X5-jt-jt--"
VI
iv'' v'' 1
iv^
n^ v''
ii''#|
00
n
{^
Q
n
H
fall
err
ft
"
ijfl^
:^
v-^ i
^^
Tcr
o "
" 8
o
if
O"
"o
:^

11 ni%
"^" "'^Mît^" &4^^" "
o-^
-*>-
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v^
#^
tl^
TT
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an
H-jfJÛ
ai
^
tl
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tO
T^
il"
11
tl
^
35:
H
~cr
1T~
W=^
ô**
O^' ^
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XT
(3)
The
Modulations to the Dominant Key.

in the
1^
163
II^j^
tie In
4/4 and 6/8 meters, and skips
chord.
In each melody the modulation to G major Is made after a I chord of C on

an accented pulse. The modulation back to C Is made after the I chord of G
on an accented pulse, or at the beginning of the consequent phrase.
(a)
(b)
(c)
I, V^ I chords In C, the IV, I2, V^ I chords in G, the V^ I

chords In C.
Play the entire melody and decide where the modulations occur.
Play the antecedent phrase twice and sing from me:ôry to la. Sln-^
mentally the number-names, the letter-names. Sing aloud. Test.
Play the
A safe rule is
In each melody, at the point of modulation the tones could be in either key.
In the third measure
of the new key on an unaccented pulse, except after the cadence.
of (1) the g is the 5th of c, the next three notes at first sound like 3, 2, 1 of C, but as soon as you hear the
b, a, g as the 3, 2, 1 of G the mind reflects and rhythmically includes the e, d, c with the b, a, g, making
The next phrase begins in C.
it 6, 5, 4, 3, 2, 1 of G.
Note.
to begin the
numbers
(d)
(e)
(f)
(g)
The

Play the entire period and sing from memory.
major.
Transpose to the keys of B and
Have the melodies dictated, as outlined on page 19.
marks where the modulations occur and the
pupil
3215 6B432
4KT
CLrriJT] îP
r.
^^
I
ii
Ii
^
i
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Ii
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Schumann
pJ L;
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rr'i JWJ-
IV*
J||j
^n
UV^
35
m
CI
V''
Hi J|tJ
J-^j'ii^^
il^
scale-steps.
f'
164
LuU'ir CUj
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i
^^^^^^
^^'
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lil
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iiJ.
m^
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i>
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^^
i
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'
J.
i iMrc::;ir~r JMrpfiiJ^jjn
'
iiii'j'irpJ JM
ii|
rtifrJ
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If
['
if^^r-
i>
ni
==
-i
i
^'
^
I
i-^j^î
F^ j:nrr]|j. jfe
i
165
Section C.
(l)
Absolute Intervals.
There are diminished yths in the major scale from 7-b6, #2-8, :^6-5; in
the minor scale from 7-6,^4-3; in the qV^, IIJ and Vljjf chords. There are
augmented 2nds in the major scale from b6-7, S-itz, 5-^6; in the minor scale
from 6-7, 3-:tt4- A diminished 7th sounds the same as a major 6th and is sung
up and down as the major 6th. The augmented 2nd sounds the same as a
minor 3rd, and is sung as the minor 3rd.
(a)
Sing a diminished 7th up and an augmented 2nd down from the

following pitches, using first the number-names, then the letternames. (Use the numbers 7-6 for the diminished 7th and 6-7
augmented 2nd.)
xx:
(b)
301
Sing a diminished 7th down and an augmented 2nd up from the

following pitches, using first the number-names, then the letter-
names.
im
(2)
Rhythmic
(a)
>^
fyi^
31=
^^X
a:
^^
Drill:
movement
Beat two to the measure.
to la on a major scale.
held, the mind divides the pulse into triplets.
Is
(1)
(2)
(3)
J)
J)
J)
jjjjjjj
T2
<4)
(5)
r~ji
(6)
<7)
J.
/3J.
77iJ-^n
and sing
As the
(over)
J.
166
J"
751J
;:
J
J)

(3)
(a)
(b)
Note. In the fourth chord of

4 6 8 4 of the key of G.
the numbers are
1 3 5
in
the next chord
the numbers are
thinking the letter- and number-names.

i.e., write down the symbols and sing without reference to the written exercise.
Sing to
(c)
/<3,
From memory,
(d)
(e)
C major
vj
T^h
I.
n^Ki,
^ ^JjMj.jTJ -î'Mj.jTJI^Ji^ljJÎC:;
I
IV
G major.
jifl -^]jî^_[j3 jjj^^ jj:?jir^ji'^ j^j.'3^

ii
.J.'^-
*1J.
A.
VI
-J.
j. *
n G major.
C majoi
^J'-J-
* ff
f^
^^ ^
E^
167
j.7^1^ Jaî4j:]i ^ Jju

i
ii
Vg'G major.
*n^\f}>r>
W-'
I,
iv^ll
^ iijj^
ir
^'
^v
^â^
J ^
ii.
I
iî
jj
C major.
3E
I
v7
VI
I j.jiJl^îi^lJJ-f^
Cj:;JÎJJl|i^
'^J^
n G major.
iiJ -il^JJi^lj.4J''l^Jj^
|i.iJ-'
"^V
nil,
4 jj
J^
[j;j^ ^4t^^
i
[:rii^^|'^^î'
^^^
C major
(f)
Sing the following chord successions to the rhythm of

G major
iVi,
I2,
G
il, 11;,
Yl,
Ii,
IV J,
I2,
V^
l';
rhythm
to the
of 2:
VI,
to the
I;'
rhythm
of
I,
V^
Ii,
(g)
II,
Ii
C major
I,
III, IV, I
HJ,, II J, IF, oV?,
C major
major
iVi,IlLV^V^,Ii,IIIs#,l2,V^ll to the rhythm of

G major
n VL
IV, V3,
C major
major
V^
i: I,
IVJ, IIJi,
4: I,
IV2,oV^Vl,
V^ L

Sing the letter- and numbernames. As these exercises are sung, think the entire chord as
well as the tone asked for.
In this way the harmonization of the
tone is heard as the tone is sung.
(i)
IV
(2)
of IV, 3rd of IV, 5th of I, 3rd of

V^ 3rd of V^ of I.
of
of II J#, 3rd of I,
3rd of I in C,
of IV, 3rd of Ii;,
of I.
in G, 5th of V, 3rd of I, 3rd of V^
of
I in
in
C, 3rd of
G,
I,
of V, 7th of
168
I in C, 7th of ir, 3rd of Ii;, 7th of V^ 3rd of I,

Sth of IV in G, 7th of IF, 3rd of IIJ, 5th of V^ 3rd of
v^ of I.
of I in C, 3rd of IV, 9th of the V^ 3rd of V^
of I, 7th
of V^ in G,
of V^ 3rd of V^ R of I, 5th of V^
of I.
(3)
5th of
(4)
(4)
rr' LrJLc/i^D- i
li
M^J. J^'IJ||7]JJÎjj^MiJÎ[f^
-y
=
1
169
|^TJ?^^ffl&^'iEffl'^r"m"^
^Jn?
t ^^
jjjjjff M^jj/^P^-^
i'y^'nn i[jj.J'^-j]j îjr
(a
i
rjjiu J^
^^
cri
îi
ji
^^f~[i;c-r
cacJ*
Mozart
aiz/
!'
i^p^f ^
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i'
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^^
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r r
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i^
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f^=w
uu
r irx;
s^^J^
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ir
r^
170
4'''
r/
tj'p
LUf t/'iî-^ 'cj^P

i
rp
c.-
^k? J'l^J^J'
4^
^h Jl
jm
J": ^ j>
Kr
##
Beethoven
liiS^-'pir ^\f-
^]^J'lf^
Cjv^lO^ JlP
Jj
iji.J
[_cj'j.
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iTj ip
yji
Lesson
171
i8
Modulation to the Snhanminani- Key is made in the same way

Dominant key. Leave the key after the tonic chord on an accented
begin the new key with any active chord on the unaccented pulse.
as to the
pulse and
In Ex. I of Section B (i) the first three chords establish the key of
major.
fourth chord is the same as the third with a 7th added which immediately
establishes the key of C major.
In the consequent phrase the first three chords
are in the key of C major; the next chord, though the same as the I of C, is the
IV of
because of its resolution.
In a melody the raised 5th degree of the scale is used as a chromatic passingtone in progressing from the 5th up to the 6th degree.
Skips are not made from the raised 5th degree.
When skips are made to the
raised 5th degree it resolves into the 6th degree, as it is the lower neighbor of
The
the 6th degree.
^ U^
Skips may be made to or from the raised 2nd degree in the Vg, VJ, Y\
chords.
Skips in the I chord, or the scale-line, will follow:
|8
3CE
v^l
\t
vî
Section A.
(i)
Construct parallel and contrasting periods in the key of G major,
modulating to the key of the subdominant and back.
Employ the meter and
rhythms given on pages 165 and 166. Use the Vj^, V^, and V^ chords.
Write the chord symbols and construct the melody in the usual manner.
Section B.
(i)
(c)
Play the entire exercise slowly, listening to the character of the chords.
Do not try to think the key.
Pause after the last chord in G and think the rest of the phrase.
Pause after the last chord in C and think the rest of the phrase.
Sing the number-names of the soprano as you play.
(d)
Read the
(a)
(b)
exercise mentally.
172
Have each
(e)
exercise dictated.
(2)
First playing, listen to the sound of the chords.

Second playing, write down the chord symbols.
(3)
Third playing,
(i)
Do
not think
of the keys.
write the numbers of the scale-steps of

soprano.
Fourth playing, write the absolute pitches of the soprano.
(4)
Note. In Ex. 1 the pitch b changes from the 3rd of

becomes the 4th of G on account of its resolution.
^ n^
3
Al
cv
r
î
I
^ f # 11
i
^^ i
i
î
n
J
J.
^M
^
^ TT
3
i
T
$
^^
u
IV
rr rf
rr
r
1
j^j ,j
=4
In the consequent phrase, c
to the 7th of C.
iî
^m
I
GIV
I,
^ rr
r
f^
the
î
i ^
i
r

(2)
(a)
(b)
(c)
(d)
Sing the intervals.

o_
ja
8
I
Play the I, IV, III, III, III^,

and I chords in G major. Think
Play the intervals, determining their sound in relation to the root of
the chord and to the key-centre.
tflt
;:d=
U'
w^
xc
major.
TT~;:3i
3X i
<|*
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r^^
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173
^^
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3sS:
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xc
zx:
:^
8 :^
::
TCJ-

In each melody the modulation from
to C is made after the I chord of G on
the accented pulse, which becomes the V chord of C.
The modulation back to
is made in the same way or after the cadence.
(a)
Play the I, V^ I chords in G; the V^ I, chords in C; the IV, I2,
V^ and I chords of G. Read each melody mentally.
(b)
(c)
Play the antecedent phrase twice and sing from memory to la.
Sing mentally the number-, then the letter-names.
Sing both
(3)
aloud.
Note.
It is even harder, in modulating to the Subdominant, to decide when the modulation occurs,
chord of G is the V chord of C. In (1), third measure, the high g is both the 8th degree of G and
the 5th degree of C. The f is certainly the 4th degree of C, so it is better to consider the entire pulse in
as the I
and that the numbers of

(d)
(e)
(f)
(g)
g, f
are
5, 4.

Transpose to the keys of A, F and E major.
174
*
IV
i^
Modified Seq.
Figure
Ij
n,
nl
rnni"
11^
Inversion of Fig.
V7
ir
uJ
ii|iirLuj:ii
-CM-
'
i!|.^T'>JJir
ii
fMc
j .ii
i|
-#
^^
rr'îr' p
Schumann
^Cj- Jj^-ftr
f^
TT^ rTj^
^m ^
P
cj iiL/'^
rm[îQi-
-M-
^^rrn
li^'^
i!>*jMcjr'^jîî'^J
Lj'L^'
i^
^
i
^^
i=:
^"Vr^rrif
ir
jn^î^
Mp
"rJ
>
P m
-6M-
TTT
IM^rd-ijit 'LLfiC/^
^^ ^
175
<9
J^^^
lh-
=f
U- Ji-i^
'
sm
r-j.-n
^^
^
Section C.
(i)
Absolute Intervals.
There is an augmented 5th in the major scale from 5-+f2, in the minor
chord in major and the III chord in minor. There is a
scale from 3-7; in the
diminished 4th in the major scale from ^2~^, in the minor scale from 7-3. The
augmented 5th sounds the same as the minor 6th and is sung up and down as
the minor 6th. The diminished 4th sounds the same as a major 3rd, and is sung
as the major 3rd.
Sing an augmented 5th up and a diminished 4th down from the
(a)
V:j::j:
following pitches, using
(b)
xr
Rhythmic
(a)
Sing a diminished 4th up and an augmented 5th down from the

following pitches, using first the number-, then the letter-names.
1 ^m w^
(2)
first
zxn
Xf=
Drill:

la
on a major
scale.
movement
and sing to
176
(1)
?J)iJ
5.
8,
J), J
(2)
J^îJ
JTT^J
^îj
JT} ^jt^jt:
J3iJ?]
.j
(3)
;5r3
(5)
r73n
(7)6
jij
7-
J55551.r753J~T]
J.
.J.
/7553iJ 7^ J?53iJ)^ J^JJJJJJi
JliJ.
(8)
J.
practise the following Chord Successions:
(3)

(a)
(b)
_
/J], J.
,j) V
Note.
In the fourth chord of
the
1,
numbers
are
5 8 3 8 5 3;
the next chord,
7245427
of
major.
Sing to la, thinking the number- and letter-names.

Sing from memory.
(c)
(d)
(e)
^m
I
fS
irjJ Jî /]
G major.
'
i/JL'^'nj
^^
>^
^^
yJ C major.
ii-
#
I
G major.
VI.
^ cj
^^
V.'-
ii
j.i
f1]ji
G major
^^
I
vj.
|,^rr^.j,
177
ij,i
vf.
^^^r[;i|JMjJ
ir'"^[[j.M
Ii-
ij
Vill
T'^Ji
rr
I
^m
fe
^^
J
^
Vj C major.
'
[Tj
^
tf"
G major.
It
I'
^^
W
I'
M^^
IjiJ
j
Vtjl
,j
Ir
JT,Jj
^
Tr-^JM
I
It-
Mj Nir'î ^
178
G
(f)
Sing the following chord succession to the rhythm of

G major
C major
I2, Vjf, I
VI,
I, III#, I2,
V#, I; to the
rhythm
of 2:
I,
I, Ii,
rhythm
of 3:
V, I;
Ii,
to the
rhythm
of
4:
I,
major
IlL 11^, h,
G major
I,
V^,
major
II J^, IF, V^, I
V^, VI, Ii, IIJj,, V^, V^, I; to the

C major
V^
IVi, IV, IVJ,
C major
major
Il3^
oV^
VJ, V^,
C major
VL VL
(g)
I,
m,
Vs,
I.
Sing the exercise for pitch and key

major.
drill
(4)
in the
key of
iji
4*
on page 167
ttp-
iNH
p'
p[T
j>^4
ir
ic:-i
^f;
\ir
^Mf
ifis
prj^^
vp
'

^^
"^
'
"
1
J J ^
* " ^ r ^zzj=z:gj r f
ni LrrFl
^^ ^
Dvof^nc
179
zjiI
Bach
i^^
n w
r
w nrj
rrj t
Brahms
db*
^h\\m
nj]\j vu^jj
rrxf
ifc^
iijgQ.JiP
jJ^^Ji^J
Ij :
If^
rj-H'
Oi
Brahms
J^NJjî:;
H 'l' lljM I'l
^^
j.jJIP^ cjr
^ g
Dregert
I'l-C/L/ El^lf
iir3p
M Jj
4*<'Cj-n
^rJ^
M^
r *p r

180
^.,
tip
it
'
ji^^n
#
-I
Wi
Brahms
'0-
hptl^J.
ni^nnii
rr,
^p
^^ ^^ ^
10
J^
^P=7^
c:Xlir
Liu i^n-î^^'^
<*/
Spohr
cj 'i
Schumann
y^J?^JlJ
^^
Uji^-JTJJ-.in
r
'
\-
J.
/j
^
^ ^
ADVANCED EAR-TRAINING AND SfGIIT-SfNGING
^
#
fcfe^
181
mmjTirg
4*r-fJ??]
L^r^
Lesson
Handel
^^P
J-
i>j
19
In the double period form, the cadences at the end of the second and third
phrases are often modulations to next related keys instead of semicadences in
When in major, at the end of the second phrase, in place of the Domithe key.
nant chord, there is an authentic cadence in the Dominant Key. At the end of
the third phrase, in place of the Subdominant chord, there is an authentic cadence
After the perfect cadence in the Dominant Key, the
in the Subdominant Key.
melody must return to the original key before progressing to the Subdominant.
When in minor, the second phrase modulates to the relative major key.
In a melody, the lowered 6th degree of the scale is used as a chromatic passingtone in progressing from the 6th
Skips are
made
to
down
to the 5th degree.
and from the lowered 6th degree
scale-line, or skips in the
in the 11^ chord.
The
\j\\
ii\
Section A.
(i)
Construct parallel double periods In the key of
to the keys of the Dominant and Subdominant.

given on page 176. Use the 11^ chord.
Employ
major, modulating
the meter and rhythms
Note. Make the cadences as follows: At the end of the first phrase, an imperfect authentic cadence,
or a semicadence in the key; at the end of the second phrase, an authentic cadence in the key of the Dominant; at the end of the third phrase, an authentic cadence in the key of the Subdominant; at the end of the
fourth phrase, a perfect authentic cadence in the key.
Section B.
(i)

Pause after the last chord In D, and think the chords in A; pause
(b)
(a)
after the last chord in A, and think the chords in D; pause after
the last chord in D, and think the chords In G; pause after the
last chord In G, and think the chords in D.
182
(c)
(d)
(e)
Sing the number-names of the soprano as you play the chords.

Read the exercise mentally. Test.
Have each exercise dictated as outlined on page i6i.
trrr-Um
P ^
^
i. ^'git
,ut
rr
1
j-i
g
f
al
\J vj
T
i
f ^
I
Av^
^
^
3^ ^ ^
^ u^ u
M
^f
ii ia
a^ r ^
J:
J
i
r
4
r
^
rr
fT r
j-i
(2)
J-
i î ^
Wi
v' V?
IDVJ
I.
^
^
rr rr Tf
li
f ^ rr r P
J:
i i
^ r ^ $ f
^ Û W
i
i
P
:i
ff rr
mm * f1
^
4^
i
f r r$ ^
5
f r T
J:
rrr
In the 11^ chord there will be a minor 3rd from the 3rd to the 5th of the chord,
the 4th to the lowered 6th degree of the scale; a diminished 5th from the root
to the 5th of the chord, the 2nd to the lowered 6th degree of the scale; a major
6th from the 5th to the 3rd of the chord, the lowered 6th to the 4th degree of
the scale; an augmented 4th from the 5th to the 8th of the chord, the lowered
183-
6th to the 2nd degree of the scale; a major 3rd from the 5th to the 7th of the
chord, the lowered 6th to the 8th degree of the scale; a minor 6th from the 7th
to the 5th of the chord, the ist to the lowered 6th degree of the scale.
(a)
(b)
(c)
(d)
Play the I, IV, IV, III V^ and I chords in D major. Think the
the chord and the key-centre.
Sing the intervals.
II
^S^
(3)
" 3E
3j:
>--
^v;
n'
-CL.
^^8
t|o
t^=^
o PO
r xc
..
xn
i|o
II'
k\ 8 ^T n hi 8
-&-
XE
ij'j
o^^ôttg.u ^8
major.
^^
?-&-
8 P8 ^^
il
*
"
fe
^
ji
3X
ii
3x:

(a)
V^,
(b)
(c)
(d)
(e)
(f)
(g)
(h)
(i)
major, the IV, I2, V, I in A major, the

major.
major, the IIi, I2, V'^, I in
major, the V'^, I in
Read each melody mentally. Test.
Play the first antecedent phrase twice. Sing from memory to la.
Sing
Sing mentally the number-names, then use the letter-names.
Play the
I,
I in
V^, I chords in
both aloud.
Play the entire first period. Sing from memory.
Practise the second period in the same way.
Transpose to the keys of E, C and B.
;
184
rv
43
H5
"
^p
JM
-^cf^
'T
^
#^^
1
g
rr
(|ii
li
1
1
,^h
[jic;
\^^.^
^p
j.
î^r
1^
It
r
^^
''^pcj
U-L-[jrrJ
i
^^
i^
c;>i
A IV
iVi
i
1
,^^
Jjj^rM_Jl]?i^ ^r irr[i!i^
^^
I I
JmJ-
l
i
rpr^î^"rp r[tt^ J--^^ 'ii
-_^
^
ir piT
l- fXj
''
i^r
Y^
^-"^J' fpr^ri^-'
f prîF
J JMjJ- J
ir
ii
J'î^T^J^
186
hung,
must be preserved so that the
it
and
listener will recognize it
in this way-
and enjoy the syncopation.
feel
To
sing
measure
this
give this effect J)
J)
4^ y
J)
^
,
J)
making
do not accent the quarter-note and
J)
it
sound as
if
began on the up-beat
it
^^^S the measure with a stress on the
t<
eighth, the
first
metric pulse, feel the beginning of the quarter as a relaxation of that pulse, give
a slight pressure as the the second pulse of the meter occurs, and feel the last
eighth as a relaxation of that pulse.
(2)
Sing
Sing
Sing
Sing
Sing
(a)
(b)
(c)
(d)
(e)
^"^
"
J J J J
from memory.
from dictation.
D major
f'^r
each exercise mentally. Test.

to la, thinking the number- and the letter-names.
^N
^
i
^^
jj >
^
i
jij
rV
pJ
-i'
jHj
^p J
j'lj
t
i
j){J
j)j
ijij^J
lj)i JH-^'J
I.
P'^
^'
i
flirr JtJMj
n^
n^jiM
-^^j
j)i^
>
j>t^
*(?
pi'r ^'
V||.
ii^t
A major
ii
n\
u!
jl^
>
IjJ ^'IpJ
Ii-
i;

^"^
^JM-J^J
J:l^
>
'MP^ JHJ
JiJ
P m
Vg
W( D major.
vlDmaior
^*U
^h
J'
D major.
j,j
I^J
J'
pJ Jilj
1^^
II
VI.
^7irr"^J
\M^
G major
H^t
Ii
-^MF^
j)J
187
iF^r^-^^N
"f
i^p
Vj.
4*'i
-i^
J^
>
l
l
i
j> ^ J
J'ipJ Jmj
V2 D major
ij.j^'ipJj'

188
mg
Pr
^p
^7
pit^r pij
^^
niD major
VjG major.
D major
(f)

A major
D major
D major
| r
7~\
l~
vi,i,iiLVLi IVl,vI,v],Il,III,IIL,vÎ
D
iVi,Vl,VLl! to the rhythm of

A major
G major
D major
IIL,I2,vÎ
(g)
v^vUl
D
major
2:
major
v^vUl,II5#,Il
A major
major
l,IV,,l,oV\VlvJ
D
I, II], lll^^j
V],
Ix,
III
major
vôVî vôVî ii,ir,i2,iiLi2,vi'
Exercises for pitch and key drill:

Sing the letter-, then the number-names, in the keys of D, A, and
major.
(i)
of I, R of IV, 3rd of ir, 5th of in,
of V, 5th of V,
3rd of I, 5th of VI, R of IV, 3rd of Ilij,, 5th of Ii.
3rd of I,
of IIJs, 5th of II5#, 5th of ir, 5th of 11^,
of
(2)
V, 5th of I, 3rd of V^ 7th of V^ 3rd of I, 5th of IIJ,
of V, 3rd of I.
3rd
of I, 5th of VI, 7th of iv;, 5th of ivj,
of iv;,
(3)
R of Ii;^, 5th of in, 7th of in, 3rd of V^ 7th of V\
5th of I.
(3)
4^
189
CiirLîît^^^^-^^-îi?^!
'II
ilJn
r-
^yjTJi
^h JXnjJTljr
prs^
ji
^^
Jlnp^pin ^j- j^p. plpfiir.^J.
Ji|
Mendelssohn
^"
1^
rto"^
CJ^^ icicrfîN.jjîj-iQt
^ ti!^/;îj^
i
***Jii^fpi
j j^
hjgJ
^.JJ^
rrr
^m [j^
^'ii
jiJ JJ
r>
JJJlji
pr
mpt
rijgjJ J>l>r
J]
^^
^'
'î
n
;;^r^ ;jl4^ .lhlLjL;|.
l
-l za
Dvorak
ji
iJJCj
190
r J V
ff
J5
-R
ff
Jf^ jQ J
*y
JT] r r
J?l rr
8
K=iac3C=sJ:
1^^
(^*ii
ijA
H'WW
J}* IjJ- dl^^J
cj-Cf-iL/r
i[fCf'i^ffi
^^^"^LdJLIrfi-^-'^îHM-LI^
^TT^
a
10
rir^
fjj
rr^ri^^f'
=?
J J
.rj4]^j j;37i
i
i-^-J
iJ]p
pr
r"p^^-
Arr. by Serly
^-
'wj^t)
f p
Folk-Song
^^
=^P
5=5
^
*'*
*==*
Lesson 20
Modulation to a relative kev is made after an authentic cadence, through
an active chord, preferably the dominant. In Exercise i of Section B (i), the
ill St chord in the second measure is the I of Eb, the next the V^, which resolves
to the
I of c minor.
In a melody skips are
chord.
The
made
to
and from the lowered 6th degree
in the
V^ chord, should
jV \A \
scale-line, or skips in the IIJ or
follow.
IV'
iv\
Section A.
Construct periods in the key of Eb major, modulating to the relative

Employ the meter and rhythms given on page 185, and
skips in the IVJ chord.
(i)
minor key and back.
191
Section B.
(i)
(a)
(b)
(c)
(d)
(e)

Pause after the last chord in Eb and think the chords in c minor;
pause after the last chord in c minor and think the chords in
Eb major.
Read the entire exercise mentally. Test.
Note. There will be trouble at first in hearing the numbers of the soprano, especially if the early
training in music has been to sing the same numbers for the relative minor and major keys.
It is only by
constant practice and mental drill that this will be corrected.
^
Ir,
V-^H.
a J
'i
V'
^^
^
I
u
^^
f
V
^ ^ fT
I
rf
T rr
rf
rf
J=^
rr^
f=
jA
i.
^
-
ff
I.
-U
f
laiv
V.'
m
n
i
r
mm T
J J
I,cV'
r ft iT
rr fT rr
r
f rr
rt
T=T
192

(2)
In the IV^ chord there will be a minor 3rd from the root to the 3rd of the
chord, the 4th to the lowered 6th degree of the scale; a major 3rd from the 3rd
to the 5th of the chord, the lowered 6th to the 8th degree of the scale; an augmented 5th from the 3rd to the 7th of the chord, the lowered 6th to the 3rd
degree of the scale; and the Inversions of these Intervals.
Play the I, IV^ IVJ, IlL, V^ and I chords In Eb major. Think the
Play the Intervals, determining their sound In relation to the root
(a)
(b)
Sing the intervals.

(c)
(d)
|ii
tl
Q o
U'
o o
XE
pti
-O-
"WVW
-O-
llM
n L
IV
11
30E
jiu &^^^
IV
and F major.
tl
DCC
m.
1F=^ ""
8ttu 8
O H "
i;i|"
||--
''"^
^"S^QBE
re
XT
f^^
IV
31:
^P.
JQl.
8 " "
I|
ZSSL
TT
xx:
TT TF
(3)

(a)
Play the
I,
IV, III,
Test.
(b)
(c)
(d)
(e)
V^,
I2,
V^,
and Sight-Singing:
Eb major; the V^, I in c minor; the VI,

Eb major. Read each exercise mentally.
chords of
I,
in
Play each melody, determine where the modulation occurs, and

study its effect.
Play the antecedent phrase twice; sing from memory to la. Sing
mentally the number-names, then the letter-names. Sing both
aloud.

Transpose to the keys of D, C, and F major.
Have the melodies dictated as outlined on page
(f)
(g)
^^ ^
HJJJrjijMr'Tirr
v^
El,
IV
19.
Jmj.j^j
nj
I.
rv''i
193
V''
jm
I
C minor
a pJ
yj
>
'
-a
JMOjJ JJlJ'Jftp
F^^
^n,
J'r^
r-
# sî^h
^
l
J
^"TH
~~i~a~~
^'
^pJ
JIJ
"!
^p
1^
i^
^^ ^
^^
iir
i)J
pr-^f pf t'rJ
II
J'
^^
P
jf
II
c^' eJJ
^
i-
^J
P"
^'
'^
~i
^^^^s
^"1-
I I
If
|iii.rniri|
J^J3?jj
i
194
\^-f-U^ i'M'T r^ j-'ir^jpi'f^
IS
=3
Section C.
Rhythmic
(i)
(a)
Practise, using the
the
(1)
I
4
Syncopations in 3/4 meter.
Drill.
rhythm
arm movement
to Indicate the meter,
and
sln|
to la on a major scale.
,ji
r3
,J)J
J)J
J.
II
J-
II
(2)
J)
J?33 J~7^l___yS^
1
<4)
^rj
<5)
(6)
(7)
(8)
(9)
J)
J3J333i;i
^J^>J)J ;3J513iJ
iJ
J r3_;^ iJT_/nr3 ir]
^,2 ;ij?s,;iji3ir33ir^j^.raiJ
J) J
J3iJ
J353.J
^,J :>r J3,nj
o^
(2)
(a)
(b)
(c)
(d)
(e)
Note.
Sing each exercise mentally. Test for pitch:

Sing to la, thinking the number- and the letter-names.
Sing from memory.
In modulating, keep the chords
common
to each key in mind.
I!
ill
^
^n
"11
105
^3^
jJ pF
^l"''!'
vj
IpJ- J
JiJ i^^r
\^Y
ipj.
jJ
-^T
*^
Wj c minor.
I^S
jij
pf
ipj. J
[Tf
li^r
[T^^
Ijj
J^J
nl
rv.
^l;'l,
jj
ji\^
pr |;TYU-ij^p)f-!j)J.j
JiJ.
V'Êt major.
^^
i>j
pr
^ iJu.^
iTJ^TTîi^^
IV%.
IV.
^h'-i,
jjj i^rrJ^j.
liu j
lj)iji)J
J ij)jgj'f
ijji'j.
J;
frrjfJoJ
VJ,
4''''i'i[
J J-
piPf ig lJjJ.U>
piiJ)| J)j
njk
nlnj
fi'
JMfrJj' j
J.
ji,J.UMi'nJ.^
plO^Lju- JJ.
I
Pp
J^
196
Ei>
(f)
K^ major
IV,
I,
iv
El>
iv^, h,
Y\ i
I2,
IV,
I,
ir, VI,
IV,
I,
I2,
v^
to the
I;
rhythm
of 2:
Eb major
v^ oV^
VI, I
v^
II,
I,
VI,
A!>
major
IV,
iv
I2,
I,
IF,
Et>
maj
V2,
11^,
A!,
maj.
vL
vi, i
Et>
c minor
I,
ii,
major
IVi, IVj
VL
V],
minor
major
il
major
IV, IV^,
oV,
I2,
Kb major
I2,
v^
'ivuuiL
Eb major
V7,
l'.
Sing the exercises for pitch and key

of El? major.
(g)
(3)
on page 188
drill
in
the key
^hi^
[J
criff
^h PS^\^
i-J^ 1^^
CJ
rr
'CJ^
cj
.J^
^
\
Mozart
''
I^\\
rEirjia^r^'
p-
JT3
j:73
s^
4^'#'r
J .p J-73
p
^^
If ^'CJ"
J,
Fr
J'
j,n ^
^
^
-Ji.
^
Beethoven
ADVANCED EAR-TRAINING AND SIOIIT-SINCING
te
d'
197
Beethorea
=*
^-
'
^''1'
Pf
r'p icr^ricr^M[j.rj-jiijj
|
Sailor Song
Richter
4^'#LEr^frirlni^^r!j;^j
n.
J.
Hj ;;CT
jiJj'J
Ji'j-
ijii^'r'
ici/Cc;
i'^TlJ
i^'
'^^j.jj
r'
'
ir
i^
p^
Abt
#j
198
if^'
ll>'#
i^j
-TO
r-p
"
l^' J
Ij-
^^s
^^
^^Sl-^JMJ
ip
J'
^-
g=Fg-F
.*!*!'
J J.^
J- J
w>
p^f
'ef
-^ J J.^ J
J>J'JJ>^
J.
'
Schubert
^:n=g
J. *
3 a rat
t
\fi-
l^h
jirîJT]
jj
ij
M g j-^^m
i
\^' F
i
^M
^J^ ^
^'
11
iE
'
c'j^
rj'r
199
Brahms
Lesson
21
In a melody, skips are made to and from the lowered 6th degree in the V'
chord. The scale-line, or skips in the V^ and qV' or I chord, should follow
i
V^k
Section A.
Construct periods in the key of A major, modulating to the relative

(i)
minor key and back. Employ the meter and rhythms given on page 194, and
skips in the V^ chord.
Section B.
(i)
Practise thf following Chord Successions:

(a)
(b)
(c)

Pause after the last chord in A, and think the modulatory chords to
the next key; pause after the last chord in f:^, and think the
chords in the next key; pause after the last chord in E and D,
and think the modulatory chords to the next keys.
id)
Read the
(e)
Have each
entire exercise mentally.

exercise dictated as outlined
Note. In taking dictation

the chords afterward.
it is
good practice to take the numbers and pitches of the soprano
^ m^ nm
3
ij 4 i i
v'*iii' -j
v7
fi
rr
yj
on page 161.
rf rr
f i
Ev7
14
iw
V AVJ
Ii
DV^
r r
AV^
rr
first,

200
(2)
In the V' chord there will be a minor 9th from the root to the 9th of the
chord, the 5th to the lowered 6th degree of the scale; a diminished 7th from the
3rd to the 9th of the chord, the 7th to the lowered 6th degree of the scale; an
augmented 2nd from the 9th to the 3rd of the chord, the lowered 6th to the 7th
degree of the scale; and the inversions of these intervals.
(a)
(b)
(c)
(d)
Play the I, V^ oV, oVj, Vj and I chords in A major. Think the

Sing the intervals.
and
" "
-o
&-o
4^"^
o-
îiQ
""ûi|^.""*""
IV^
II
o" U *
f^
ho |:^=t
jto
major.
|"i
^k
:n:
g=ff
-

|)|t
..
^^^^^^
TT
(3)
The
_^.tf8
|t
i|8
ks.
O
8 *a=|
11
o"
it
(a)
Play the
A
(b)
(c)
(d)
(e)
(f)
I,
V^
-o
oor
and Sight-Singing:
A major to f^ minor.
chords of A, V^ I, of f# minor, VI, IV,

each exercise mentally, noting
last five
V^
oV^,
where
of
the
modulations occur.
Play the antecedent phrase twice. Sing from memory to la. Sing
mentally the number-, then the letter-names. Sing both aloud.
Transpose to the keys of A, G, F, B, B\? major.
IV
V^
Il^jl
J^
iJ
I
4^N p^
f
i^
pp
I'lVi
i"i
,j'j
j>
j,j
i i
fTf^
pJii:^rriri
j^n ^/r^r
i
i.-jj
i,
i'r
-I
-'
i
^Pr
J>p
^P ^m
AIIil
'!^^
fH
^^
The
Read
major.
11
ll
melodies modulate from

from i^ minor to A major.
first five
201
iTiiJ-'J
pN j.^
'
202
rr\jrT]^\rri !T\jij]^jm
rii
i^
^^^
I
I
^N^
j
,1
|>*iV^-'
^n:
^ ^"a^ ^^
I
8
#Tl
4^7*f
lLr"uJj
J.
jn
F^
'
r,j.
prJ>ji|j
-^'^
J.
ipf
rJ^ rriJ>
\
i^r
JJ^ ^
pî
ir^j
ip^
^'J
J-
crJ>i
^^
'
pic/J TpiJ.J.j
[jirp^
irp
Section C.
Absolute Intervals.
Is a minor 9th in the major scale from 5-b6; In the minor scale from
5-6; in the V' chord. To sing a minor 9th, think a minor 2nd and sing the
upper tone an octave higher.
(i)
There
(a)
(b)
Play any tone on the piano and sing a minor 9th up, using first the
number-, then the letter-names.
Play any tone on the piano and sing a minor 9th down, using first

(2)
Rhythmic
(a)
Drill.
Syncopations
203
in 4/4.
Practise using the arm movement to indicate the meter, and sing
the rhythm to la on a major scale.
(Df J
204
ma
j_ji^
p i^'j.
^^
f
\^
li
Or
t^
f3=^
major.
p^'
^^
Mr
oV*k
ijjj^jii'i'^^
nl,.
oV^
U^^
nit
Vg
A major.
JJfP
V^ft minor
^ i|JJ^
V A major.
''*
.L'
'
i^-'ii
>V2^
o'a
II
ii.
1^
h-^
ii
^^"^
jHijJ-
ii
A major.
|jj)4
"
^-
j.
^5
jiJ^r"
V.'
jij
U.
jiJ'^-
n^ Emajor_
J.
I
IV.
n^v.
*l
jJ'f
j.ij^^- ij-ij
.1.
^^
i-i'^'T
1.
;u
î.
Illk
iiJ"
N-
-'î
^^^^
q-TT
P
V A major.
M
#
hr-
l-l
Ii
4.iiJ^-i)iJ-jj~ j.i^'"i
^-Jf
rv A major.
vjfi minor.
205
J.j)j
j.j>^^rur '^
i
1
j.jJ'^'
^^
Vjl
(e)
Sing the following chord successions,

A major
ber-names
A
VL
(i)
I,
VI,
VL
VL
A major
(2)
V^
Ii,
ii,
iiL
E
I2,
by
HJ^, Ii
Vl, V,
D maj.
I
VL
VL
A maj.
major
then by num-
letter-,
f# minor
major
ii, 115,
I^,
first
I,
major
VI, IlL, I2,

A major
V^
fjjmin.
ir, iiL, i^, oV^,

D major
i.
i,ix,ivLi2,vLii iiL,i2,oV;,i vLil vLil vLv,i,ii3VoV',i

A
major
ivLi2,iiLv,v,L
(f)
(4)
sing the exercises for pitch and key

A major.
drill
on page 188
In the
key of
II
ii
Schumann
^^p
^T^
II
206
^^^m
^^
i
u^
ii
o^j
iiirriii'
in Lu
'^j'
J.
'
nm\m
n
^ irTîî
M"Cl;lî^ ^P
ji
;^
^ w
f-T'P
f^
iQ[^
.n?
-nip
I'cjj
J7F
l^
-ni ^
<^'[MJtoir
Oj
qj
JT]
e^
rrj^
i!LJJ-Uf;
ii\
jihi
||
Bach
rri
.ni |Jj^ i^jJtj-^H^
4 Ll/ îr
*-i^-=
\l\
jp
S=F
^"p ig/r
|J
'
Ji
ILJJUf^-
pp^pp^^
if??3
fh
rrYfTjc;
^p
^cJ
'

LLrJ
âa/iaffl^ ^
P
J^r rrrr'r^'T^'^
rfrrîi^
rrt
'n
"~"
l!1j
^ft [^
^^Vr ^' trT^
m'
^'^
'
tp
"
207
Bach
^JiJ
i
'^
ir*
''^^
'"^'t^^f
E;
ri
208
Lesson
22
Modulations to keys other than the next related keys are known
as Extraneous
Modulations.
Extraneous modulations may be made by passing through the next related

major and minor keys in the cycle of keys. There must be at least two chords
In Exercise i of Section B (i) the
in each key to establish the modulations.
modulations are from Ab to Eb, then to Bb, going back to Ab through c minor.
In Exercise 3 from Ab to f minor, Eb to g minor, Bb, Eb, and back to AbIn a melody, skips are made to and from the raised 4th and lowered 6th
degrees in the lll^^ chord. The scale-line, or skips in the IF, V^ or I2 chord,
should follow.
Section A.
Construct periods in the key of Ab major, making extraneous modulathrough the next related keys. Employ the meter and rhythms given on
(i)
tions
Use the
page 203.
lll^\,
chord.
Section B.
(i)

Pause after each modulation and think the progression into the new
(a)
(b)
Test.
key.
Have each exercise dictated as outlined on page 161.
(c)
(d)
(e)
Note.
Go
pulse are in the
through the exercise after it is written and see that the soprano and chords on the accented
as those on the preceding unaccented pulse.
same key
^m m
354
847
72
J=J:
fT f
JJi llj
J
i*^
'ir rr
r^f
rYr
f
Vi
vj
EtVg''
V?
y. iiA_j
rV r r
^^'^''i>
m
6
'
BtV'' V''
J
^
'
CoV^v/ v/
^^ m
UU
^m
^
8
i rrr
i.''i>
I,
rt
^^^^ ^
1?^
iû
(2)
f^
Atll
V''
1.
^^
rrr
m
r
J44 ^
n} f
-vî.''i>
^
J
V'
sM ff
rrf
VI
209
ff r
-r
iM
f
In the 11^^ chord there will be an augmented 6th from the 5th to the 3rd of
the chord, the lowered 6th to the raised 4th of the scale; a diminished 3rd from
the 3rd to the 5th of the chord, the raised 4th to the lowered 6th degree of the
scale.
(a)
(b)
Play the I, II^^ lll^, II^^, V^ and I chords in Ab major. Think the
210
Sing the intervals.

(c)
(d)
^
1
*'
*i
o bo
-ho
Db and Bb
major.
po
*'
*
"
^h"
^H
11
3i:
ft..o|8
fS=f
o "
i.iK.
O bo
pit
IllH P 11
liH git
n^b|,â_^
!' ,t
l
n "^^8
11
<^
11
II
-e-
1'
11
ho
..=^
II
^^
"
^...
o O
po o
,K.
|^
^lY
o
jOC
^PTToo^^=yF
:-o
l^-*-*
(3)

(a)
(b)
(c)
(d)
(e)
(f)
(g)
(h)
Play the
I,
V^,
I,
11^^^,^ I2,
and Sight-Singing:
V^
chords of
Ab
major.
Read each
melody mentally, noting where each modulation occurs and the

skips from \>6 to :^4 and ^^ to b6.
In each melody sing the last four or live notes in the key before the
modulation, then the first few in the new key; first to la^ thinking
the number-names, then singing the number-names. Repeat
several times.
For example, Melody i. Sing the second measure
and the first three notes in the third; after repeating, begin with
the dfcj, and sing to the cadence.
In each melody take the skips \}6 to #4 and j:4 to b6, and sing the
4th and 6th degrees without alteration, then in the altered form.
Transpose to the keys of A, Bb, B, C, G and F major.

Have melodies dictated as outlined on page 19.
Note. While the tune is being played, relax and listen, allowing it to make an impression on the mind.
not stop to analyze, or the context of the entire tune is lost. Analyze after it is memorized.
In these
tunes in compound meter, divide each phrase into two sections.
Do
211
Figure 2
Figure 1
^^^^PS
V
IV7
V,I El.vJ
Partial Seq. to Fig.
Mod. Sequence
EH
Î'i)-
vj
pi
J.
II. Ai,v7
n^||i,
^r.Hi)'r
u^h
iji'i'
'I
mte
,r?fîi
^^j.i,p--j.p^^^
\,\\.
T
uj
'l
Tgîg
Krrj^n
\\
'i
nlm,
ri
iiHii
I'
1,
Vj
B!.V^
I,
^^
M-
jî'^
^j^,i
'^
^=^:^
i
[^
^
^\'\}
'
''
^'^nirg^cj iLiri'
i
i-r
<_>
^^^1^
ii::i
fefe
^-
J.
ll
jj:^^
N^ r-'^
[_[;
^fes5^-.-^-Tr:5= =Jip!-E=ts^==_=4=
212
Bfe
P ^fhm
LJlI
't^
sg
!>
t=3
c)'
I/'
f^
jM]J,7J^MJ
s=^
S
'
|j
rj
<^
'^*
9^
m^
iJ^J
^]
i,J7J
b'T^'L/
t-^r' 'Êrc/
Section C.
Absolute Intervals.
(i)
There are augmented 6ths in the major scale from \?6-i^4., b^-y, 4-^2:
minor scale from 6-tr4, b^-y; in the II J^?? ^'t ^nd VJ chords. An augmented 6th sounds the same as a minor 7th, and is sung up and down as the
minor 7th. There are diminished 3rds in the major scale from ^4-b6, 7-b2,
The diminished 3rd sounds the same as a
1^2-4; in the minor scale, ^^^-6, 7-b2.
major 2nd and is sung up and down as the major 2nd.
in the
(a)
Sing an augmented 6th up and a diminished 3rd down from the

Sing each, first as b6-:jt4) determining the key of which it is a
part and resolve it to the perfect 8th from 5-5; then as b2-7,
determining the key and resolving it to the perfect 8th from 1-8.
(b)
Sing a diminished 3rd up and an augmented 6th down from the

Sing each, first as i^4-\?6, then as 7-b2, determining the key and
resolving each to the perfect prime 5 and i respectively.
#
(2)
f
Rhythmic
(a)
*
Drill.
3x:
jt"
ii"
Syncopations in 3/4 and 4/4.
Practise using the arm movement to Indicate the meter and sing
the rhythm to la in a major scale.

(l)l
J)
J).
213
214
f'l'^

;;J
nO-j
jijijijJ
ri'i^
^^=i^^=T=-v^--fr=^S-r
=i^ "^^-^^^
jj rTM-i
^\\)^
'-i'^
At
ii.
tat
i'^
^'
r^r
'
nil,
II^Hl,
rp
''^'^
''^
'
215
-î^
'
^"i i
(e)

names, then to la.
A'7
major
c min.
B\>
first
by
letter-,
i,iiLinitJ2,vi,ii,ii5,
g min.
Ai>
oVÎ VLI v],ii,ivj,i2,vM.

Gl> maj.
v^
al>
min.
|
oV^
(2)
v^vLIl,IIi, oV^
vl
major
m''n.
e'
Db
major
maj.
I,II^vu,I^..,vÎ vÎ
bs minor
|
I"
Cl
mnj.
oVÎ vLi VI,IILvÎ vLii,vi,i vÎ
As major
E^ maj.
C major
d minor
mai.
-I
(I)
then by number-
ii
minor
Al>
major
IVl,vÎ iii,iii,,,v\l
Always visualize on the

entire chord before starting to sing it.
This is difhcult and requires slow and painstaking practice. These
exercises should be worked two or three times a day until they can be thought
and sung with ease.
Think the
staff.
(f)
(3)
Sing the exercises for pitch and key

Ab major.
drill
on page i88
L\h'y
JMi:i
>j
^j'^
in the
key of
ADVANCED EAR-TR/JINING AND SIGHT-SINGING
216
m^^
M
^S
^\^-
^
^JU iL
;]j Jl
/]j| j-3
^^^^p^g
^'"
ii^JiiJ^*
1''
1^
*!^
U
ii
i
i
'^b^ 1*^
rtjif
^^
^''i>
vp
[d
Bach
n
i't
p-
iJ
N^p
nn n;^^^
i
T""^
J[^
jiij^r
*
^
'
nîJUii^
i^jii^ji7^rn
'
i'^rji
*^
,j,i'''Q^TO jji.a
aii-"QLL;
,i
::*
c^
iJ-^ji/'jj^^
j.^,i;. ii
Mozart
a^s
^ ipnj^'TP^
^r
lii^'r
J-î^
''p
^'^
pitH'-toi
1^^ r'cfif
if

l|il''|l
fe*:
^MQL/n^f
ii|
^Jiii
^^
.^
LPr
^''I'îi
^lJ^ mJ^J.
r^J^jJ^ r
f''i>
^
* E^
ii
J.
te <
i'*_f M:a=M
i j_Jff
"''
Ill
'I
np
iJ
^
J
U'^
u'^lr
i
Brahms
Jû
'^r'cirr
ji
r ^J
II
r'Cf^^'^'''
p't ^ j j
r'ljij rlij
JMJ^
<
^^''^
^f i^jjâ
P^
'I.''
ciLr^ irrr'iîJi^
fe
J'
j/iKLJT^ LMJTîr
(^
217
>
^p
>
^J
r[
>
^j
jJ
Jî'
218
If
rMn
3
^
>%
it
^
nn
5 4
?^
I
BVJ
ii
f p
IiFJtV^
#^
-Miy
fi^
^g
j:
?
I
BVJ
4=^
^ ^
IcfoV^
EV/
^
^
^
^
^^
frr
rrr fff
i
rp
5
ff r p r ff ff ?r
lii
^^ Ma
W
^ ^^
in
)>% i i
(2)
^ ^^
4a
^^^"#0
hÂH
iii
1^ LA
IV''
219
^^
j-i -j-i
iby
^ f#
"FT
gj
fff r
fp
In the II^sj, chord there will be a double diminished 5th from the root to the
5th of the chord, the raised 2nd to the lowered 6th degree of the scale; a double
augmented 4th from the 5th to the root of the chord, the lowered 6th to the
raised 2nd degree of the scale.
(a)
(b)
Play the I, III^, II2V, III^^^,, V^ and I chords in E major. Think the
ADVANCED EJR-TRJINING AND SIGHT-SINGING
220
Sing the intervals.

(c)
(d)
^
*
us
xx:
lO
or
o- ^
**
F and
major.
^"^
<
:jj^
-o-
DEx:
ti^
-a-
jj::
t]
TJ-
31:
<l
C*i
X X X^ :=3r:
x*i :&:
O" ^B=^
XT
O
XO
tiQ
i
3C
'
"
3i: II Bit
::
|C
tl
B
fall
<1
tj
-ctQ-
ti
tt
oO
B
-^J
]\jai
x<*o- ^ it il"
-o
^~
3r:
b
*** 1
j|
Exercises for Melodic Dictation:
(3)
(a)
(b)
Note.
Play the I, VI, IV, IVJ, I2, 11^,,,, I^, V#, I, chords of E major.
Read each exercise mentally, noting where each modulation occurs
and the skips in the IIJ^,, chord.

In each melody sing the last four or five notes in the key before the
modulation; then the first few in the new key; first to la, thinking
the number-names, then singing the number-names.
Sometimes a measure may apparently belong to either the preceding or the following
key.
but the context generally determines which key. In Melody 1, the first
measure in the second phrase
could be they chord in either c# mmor or E major. But as the next
measure is undoubtedly the I chord
in cff mmor, it is the V chord of the same key.
(c)
(d)
(e)
(f)
(g)
In each melody take the skips in the IIJ^, chord, i.e.,

#4 to b6,
#2 to b6, #2 to #4 to b6, and contrast them with the unaltered
form of the chord.
Play the antecedent phrase twice. Sing from memory to la; sing
Practise the other phrases in the same way.
Transpose to the keys of A, B, C,
and F major.
Have the melody dictated as outlined on page 87.
Note. ^
Reduce to chord-lines, scale-lines, single, wide and
^^^ * remember each pitch.
consecutive leaps. ^\k
Make use of the figures, sequences.
Fi^rei
Figure Z
VI
IV
Mod. Sequence
i^H^
cji
ir
Mod. Figure 1

Fig. 2
m [;j^
u.
^hh
^ ij:
^"'i"*
#l&
J^^^
al
l|
-i
i'
^r-"Mp
j>^,j
^j
J^*^
'^
I
iiJm
^J'J.J
r JH' If
ni^cixîr
^V .l_/raip
j<
.fi|.
^j
<* ijj^j
J,
J.
r^Nr'cT
'
1
N-
(^
Il?
J,
V''
ji
îiJ.p^rrnprT ^Pr^-^
"
Ellll,
p,
^Mf ^j^N^-TJ H^
J.
l^jj
AV
î^'
^Pr
Sequence
-^,
îS2 J.
l-^
CJ-
^"I'S'^
ua
[-
civ
Mod. and. Inv.
^
r
.Jl^
p' ^
!
i^
cj
oV?
jjj
I
J.
j^J
r XM
i^
ijj^^
"î^
J?]
ij
p'i^'i^'^^^^
!>[ J J.J)|J-
'i-iuUJrj
c III
'
221
^
"^^
I
iiJ_J7j.j
;ip iiOi
îJVriiJ'
222
J ^
""
i_^
tt"
"
'
^
1
"*"~j^
*
I
e^
Section C.
Absohite Intervals.
(i)
double diminished 5th in the major scale from :ff2-b6; in

is a
The double diminished 5th sounds the same as a
the IlLj, and V^^ chords.
There is a double
perfect 4th, and is sung up and down as the perfect 4th.
augmented 4th in the major scale from \?G-^z. The double augmented 4th
sounds the same as a perfect 5th, and is sung up and down as the perfect 5th.
There
(a)
Sing a double diminished 5th up and a double augmented 4th down

from the following pitches, using first the number-, then the letter-
names.
jf
(b)
[Xe:
(2)
"
Rhythmic
|yo
Drill.
MO
ZXXL
3x:
IF
Practise using the
rhythm
(1)^
W^
Sing a double augmented 4th up and a double diminished 5th down

from the following pitches, using first the number-, then the letternames.
Vo
(a)
i^
to la
on
arm movement
a
major
scale.
to indicate the meter
and sing the
223
(3)
Sing each exercise mentally. Test for pitch. Practise in a slow

tempo.
Sing from dictation. Have someone read the chord symbols to you,
and sing the letter- and number-names without reference to the
written exercises. Visualize the chord before singing. Use the
piano for testing pitch. Never play the first note of the arpeggio
(a)
(b)
(c)
(d)
until
you have
tried to sing
it.
rJ'j.
|J>J
^^
iv^8.
III
III
iii
ii
'
'!'''"jj..i' 'i iii,j.

^
3:,'?
7
1%
Nppr
ri|f
||'
ii''^'j
iiii.i
[If
i|
iiJ'
ij
1
j'"'
"'"
'
II
ih 'prir
|
iBV:
ip
224
li
i'jj.ij-jJ
jjf rp
^-'
juj.
VI'
iJJ^J'
i;j^,
II!
jjji îijiîj. ijjJr^'' J'j4.'J'i'^^^'

i
nlii,.
P^
.Mrrp
jj Jr
J'
ij
jj .iiJ ^
AVj.
'!'"'"
j^Ji
^^^
i,n.\p^
%
^"1
Ii.
^\iu. \Mi'*''-
ii.
i&
^^
i
^'I^JJ-
m
'
^jJ^J
^^
^'
'
i^4j.

^% n
M=K
V_
c|l
225
j-j^
^'1
EV!
(e)
by
first
letter-,
E major
|
names, then to
Cfmaj.
d# min.
v^
oVM
/^;
g# min.
G major
e min.
l__l ,_
VI, I
I,VI, I^, l2,Vt,
(i)
then by number
B major
I
V^,
major
Ii,
major
fft
i,iiLii.Vi2,oVM
(2)
b min.
A maj.
v^
VL
cjf
min.
maj.
IVJ, I2,VI, Ii VJ,
II^vÎ.
Fj(
min.
oVM
maj.
I-
vu
major
|,
oV',i III
v^
v^
iiL
I2,
v^
I.
(4)
lî^
I2,
Mii^
^^
^\h
j,j
ij
yj^.n^
j>
^-^
r^
.J^j
J'>J
^
1
'^
irijJ'fîJ'^fg
;,
JT
rj]ji^\^^
^^ lMj.JlJlp.vjg
Pr
j^f
JT]
Wullner'
^î3
^m
p.^plpji^
rrjji
^m
^^
K3E
226
I ^TPlf
i^F
^JU J'JjiJS
(I'ÛjjI^JTJ
V Jh] > ^
j^J^HJl^J
I
^
^'
ji
1Ud
ji
I
|j ^-
îl V ^v îj.^^jj
|/ll
^--p
wa9 ^
J,
JJjjjj
'
j.
j.
j^ff
iîpj
^ ^
^î
iM^Jî
r p
eg
T'
ll
Verdi
J'J
J
Jm
^ ^
* ^
-^M J
^jj^g
.!-
j>j7j
^;j
-#
^^^^^^^ ^
A
" g jl
'
^1
"u"
j.
~j
1^^
'
^-rMT
'
yp n^
fJ- \rpf^'h^-
^.
--^
tf
^
^ ^^
ADVANCED EAR-TRAINING AND
S
4<
lA
î-
'
^î
i.
'
d :^3t
^Tt^f-^
''
Bach
C/
^=
c/
Vi'^
'
i'
^ ^ ^^
UJJ
"d
* ^ li^
rfrrrrrrT
E:LLJ
J,
m_nTJ^JJjJJJj jM/?TT777g
JJ^Â^^^m
"^TjJLy iji
^^
X^
n h^'^srmy^ j|^
227
Handel
%'~[
^-
SIGIIT-SINGING
l^^îJJ^
/T^
^"rrr i
Bach
^ S
^^^^si
^^bP^^^
J^vii satzrzsM
JJJinJT^hrrrnrfi J^J
i
228
aa
cjj^r
^m
^^^
pr^
^^j_ji,j>ij,r*pr
ii
j;j;j.
^j
^^''î^*
JiJ>J
J^
rirfn rrrl
i
^1/
^B
m^jjlur TOTJUuj.JiJJ.i
JJJr.J'
rrr
n^
pj
LL:
JJ
'
"
Lesson 24
Instead of passing through each successive key in the circle of keys when
modulating to a remote key, the process may be shortened by making the I chord
of any major key the V chord of a minor key, i.e., the I of C major becomes the
V of f minor, thus covering four harmonic degrees. Also the I of a minor key
may be the IV\} of a major key, i.e., the I of f minor may be treated as the IVb
of C major.
This process of modulation is known as the Modulatory Stride.
i EE
CI fV^
The
distance
may
also
^^
f I
S00 s
31:
be shortened by substituting the
minor key when the major
is
expected, or the reverse.
of the parallel
-3
3BE
rA^p
:^
V"
In a melody the raised ist degree of the scale may be used as a passing- tone
between the 1st and 2nd degrees. Skips may be made to and from the raised
Ist degree in the Vlj chord.
The scale-line, or skips in the V^ chord, should
folio w.
i
VIÎ
SIGllT-SINCrNG
229
Section A.
Construct double periods
(i)
make extraneous modulations.
in the
key of
major, using the Stride to

altered chords of the
Employ the meter and rhythms
Use the VIJ and
preceding Lessons as a basis for the melody.

given on page 222.
the
Section B.
(l)

Pause before each modulation, and think the progression into the
(a)
(b)
new
key.
In Exercise (l), first phrase, instead of resolving the V chord of G in the second measure to
chord of G major, g minor is substituted, thus covering four degrees in the circle of keys. In the
second phrase, the I of g minor sounds like the IV followed by the V of d minor, while the resolution of the
V is made in D major.
Note.
the

(c)
(d)
(e)
i
rf
Vj
IjffV^
i=^
J^
i ^
V^
ff
f r}
^ n^ u
:U ^
i
^
I
n
TT
D V^
VI
I;,
V''
nn
n
1^
^ W fT
r
IV^
?
f
ADVANCED EAR-TRAINING AND SIGH T-SINGING
230
1A4
S
^ M
^^ f
ri
^
^^
^^ f
ri
i
^

(2)
In the VI5 chord there will be a major 3rd from the root to the 3rd of the
chord, the 6th to the raised ist degree of the scale; a minor 3rd from the 3rd
to the 5th of the chord, the raised 1st to the 3rd degree of the scale; a diminished
5th from the 3rd to the 7th of the chord, the raised ist to the 5th degree of the
scale; a minor 6th from the 3rd to the 8th of the chord, the raised 1st to the 6th
degree of the scale; a major 6th from the 5th to the 3rd of the chord, the 3rd to
the raised ist degree of the scale; an augmented 4th from the 7th to the 3rd
of the chord, the 5th to the raised 1st degree of the scale.
(a)
Play the I, VI[#, V2, I chords in
major. Think the sound of the
intervals.
(b)
Play the intervals, determining their sound

(c)
Sing the intervals.

(d)
and
in relation to the root of
major.
^^3BE
=8=fB=
:^
k*^"
-o-
5^
XE jtojtS o^l'J^^yFF
"^W
2cx:
(3)
3i:
8 2 hH ^
m^
it^ t|*>" 3x:
?T
V,\>^
-TTT
is:
i
jto^S
;:
<t^
sn.
#F^
n>^
-e*

Play the I, VIJ#, V^, I chords of
major.
Read each exercise
mentally, noting where the modulations occur and the skips in
the Vi; chord.
(a)
(b)
modulation, then the first few in the new key, first to la, thinking
'^^^ Stride is used in Melody 1 at the beginning of the third phrase which starts with the I
^TÂ
chord
of A major, which is transformed to the V chord of d minor.
Again, in the last phrase, second
measure, the I chord of g minor resolves as the IV into the I of D major.

Sing the skips In the
the raised prime.
(c)
V'lJ
chord,
Do
tlie
first in
231
the unaltered form, then with

skips In the other altered
same with the
chords.
Play the antecedent phrase twice. Sing from memory to la; sing
Practise the other phrases the same way.
Transpose to the keys of A, B, C, G, E and F major.
(d)
(e)
(f)
(g)
Make
Note.
use of the parallel construction in memorizing the double periods.
=:
-r
'
viÛ
Fig. a Mod.
Seq.
HiH^r
Pijj
I2
^^
^ "
" ^J^
'^ '^"^Ji
^
figured
Mod. Seq.
Figure 1
I
nln
'^-
^h
d V7
Seq.
Seq.
^^
4y^
F V^
Bl,
V7
AV7
Fig. Mod.
rzr
2
I
Fd
(^ti
,
Pf
j)
iiEfr
f^\
II
A^-^
..
I"
IV^t
'Im
J)
'^^JJT
JIN
j,îi J2
|
(^^li'Ji'J
-n
II
-mP f
"
"rri
''
irii^
ILQE^'J JHJ';
i't
[;J
iHÛj
iTiîj
i^''[i^
fi~l
'
-^"i^
EanJ^r
ir
\M
i^Y.UjjivVi'[ii
1
232
(,"11
i,CT|.j^jj|,,i.
^"'1
J-
i^jttj^p
^-
iJJPij.
jjiij-3J''itJ) J*rJ p
'î
4'"pr[j;jrhi'
icjrrp
^[i^
ifpr
Ef
J^^
rrVr^p|iic^^
ffVI
^^
4*"
Jj
J J
iJ^ pi
''
l
ii
^^r ii^^
pr JPr
Section C.
Rhythmic
(i)
(a)
Drill.
Practise using the arm movement to indicate the meter and sing
the rhythm to la on a major scale.
J>m
J)/T3 J
J J)J)J iJ3J
j~ij_/r] ,JOT_JT] ijn^J5r3,j)j
J) J_^J13133 J) J__^j53533 J~J^J~3^
J~T2
a)J
(2)
<3>
J)J~33
n 715S
ir
j^
j:^j)
iJ.

(2)
233

Sing each exercise mentally. Test for pitch.
(b)
(c)
(a)
(d)
IS m
m ^^ ^M
5E
VI..
^h j>jjP
J ;)
|
y<i ^;.^j_/^
villi
j^j^^
J'j.
ir J^j,
j^jj^
1^
j>iip]^ tJ>0
a%
î j4-fl^
I
vj.
^'1 i'^r^cxr
iî.u^J^
r ^p J-
V!
^ ^J>î.
^gJ
IV.
4^ti
^ j'j.
j'^f cii"
^n-
''1^^''^-^
u>{^
i^r ''^îi^-
El>V'
^'1
^'U-
^r
j)i|JJ^
\2>în9
|Jj.
J î)^j.
cV'
nit
I,
# f**^
fe
f
w
ar
v,^
r^
*
JU-
Û-U'^J^""^
Il7
nl#i>
i-L^^"
oV'^t
'
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J^
^^
234
Li.^^^
iJUJlî
i\
S5
^ft^gtat
^ J.
Vlln
lîi
ji
jJ ["^Ji.
T^'^
^j.
ij j>;J
ii
-Jl]i.
bV'
jjjjJ I^Jj_ j^jy^J
|i-J]j_ Ij JjJ'^^
Fitnl.
I'll
l^j
jtfi>i>r
ijt^jir
Vg^
Jii^yr iCjir^-
ij^-^-^^'^^
mL
nî,
M.ii-B^
in] ^j j
jj,jjiî^jj. ijij j
(e)
c^^^
UVL
II
CJIIV.
II
^^Jj.
^^
jiiJ'JYi[Tiirj.i^
f-^j.
jtfMttp
"ii
lî.
yl
first
by
letter-,
names,
then
A
to
la:
major
-I
Yl,
Ii, III,, I2,
VI,
I,
VI,
D major
I,
(2)
VIJ,,
Bt>
V^
I,
min.
mm.
major
VI,
I,
VII, VI,
major
i,vn,vLoV^,i,iil,vLi
major
11^, II2V, ^^m^, h, oVl, I
major
1
h,oV\i.
Ai>
(i)
d min.
r
then by number-
major
C major
VI, Ii 11^, 111,,,, I2 IVJ,
maj.
minor
vi vi,h,iii,h,v\i
e min.
D major
i'
VI, i,viivi,
(f)
ix'
v^ I iv h, iii,vi, 1! lv^
iv,h,ui,v\vi,i.

Sing in all keys to number- and
letter-names.
Think the sound of the entire chord,
(i)
3rd of I, R of III,, 7th of IIJs, 3rd of V^ 5th of V 3rd of I,
3rdofVi;, 5thofV^ RofI, 3rd of I V 7th of V^ 3rd of L

(2)
of
R
(3)
I, 3rd of Vr, 3rd of VIJ, 5th of

of 115, 3rd of Ii;, 5th of IIJs,,
V^
7th of
of V,
235
V^
3rd of
R of oV^ R
of
I.
l^^nijjjrp p
rr^'r^r.rr'^-
d-
gj
Bach
-> Jt}i^bJ ij^J ^l^l^'^^'Jj
j^''
J.
O^
Îr
r cy j
"ijJ
ô^
rrir jîJ^
j>
I^nr c^
l
'
y^
^
^
j.b
>''iMl7^rrrrir ^^'
î>'i,'-
î-
^
^=
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OF
iJi^g
Cavalli
?f
^w
VZZ3E
=y
rirrCf i[;j^
i
'
^'^'^"
^^j^j7ii04';îiivp[j'
[;(r[j:j
^'
r p
Jû-if^pi^ Jn-hvi/Jl ipjr^

i
J^J
5=*t
^^
^ *3=iat
iJ-'
^Hi nf3j^j
j.ti Jt^^*^
^^^^^^
fe
^^^
j"^
i
236
-'i
^ J] j
j^ Pj
mrr î-^^ ^JT^

j
Iî pj JJîJ7^JJ"3
-yJJ
U'^r Elr^^
4^ j>^/Êa'î^'-ycr[:;Q-iJ'E&-[rrcr
^17T}mj]
4^
4^ ii-ror^jxj
^^
M-
Jj
^''mr
fii^r
j^:^<jn^ju^j:^
J7J^.i^ FrP
i
JT^j^vp
i|
i>r^Pr
i^
^"^-
^^
>
4^"
^j^r
^nJ'itlfcxr citcTiir
i
^^ ^
I
-4^ 1
Jj
J JT^ f
'
I
lu
rttpJ ^
|'*""[lf cllr
4*11
^ J
.^^r
îi
yi%
'T
'^r
vJ"t|jfl]
^r
^jmÎ'^
[[Egj.
^>
vi'A.rJl
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:::
ff
J7]
rP'%J h
nj
^ ^^5
^5t[^
^p
L.
pT
r rr}
i^,ffl ^J-ttTpTT^
j
tt;n3Ji^ g
Mîiat
^*^
^ iS
^ru-
}^
PTT'-T^P 1^^ J
^J|J) ijjn^
^w^\
f-
^^t^^p
* j|pj jn^j[;îjjj>
fc
237
^r
rr
^s
Ul^ ^p:iSk^\r^ki-^^^\
\
PcEr^r&^ J^^ toigi
^^
C:!
'
238
^h [uFî^Woî^t^^^^rht^
Lesson
25
In a melody a note which is retained by a tie, or is repeated from the preceding pulse and resolves diatonically down, rarely up, is a suspension. This
tone is felt to be a part of the chord on the preceding pulse and to stand in place
of the tone into which
it
resolves.
J-rJ J^j
T=y
may
be used as a passing-tone between the

6th and the 7th degrees, or the 7th and 6th degrees. Skips may be made to and
from the raised 6th degree in the VI^jj chord. The raised 6th degree is always
chord. The scale-line, or skips in the
used with the raised ist degree in the
The
raised 6th degree of the scale
îH~tp^
J ^J^
P
VI'
Section A.
(l)
Construct double periods
in the
key
of
major, using the Stride to

skips in the Vlgj chord.
make extraneous modulations. Use suspensions and

Employ the meter and rhythms given on page 232.
Section B.
(l)

(a)
(b)

Pause before each modulation and think the progression into the
new
(c)
(d)
(e)
key.

^
^# rr
^
nh'i
1
I
vl
lav/
rr
u
IV
T
f
1
P
^
E y V/
ff
11
i-i
P f rr
I
IIJ
Ij
i
r
$m^PF
.
Ll
?rf7
i^
rr r^ ^
J
iJftj
^
n rr
i_i
.v'îi'i
f f
*ii
n
te^
^P ^ f
(2)
r^r
I'f
w
J
i^
l^
M
^
^W
a_j
#=f#^ i
2^9
J:
fr
^
Y f^
r=f i
i
ff r ^
^^
^
r
^m
TT i
*^
f=T
In the VI#^ chord, there will be a minor 3rd from the root to the 3rd of the
chord, the raised 6th to the raised ist degree of the scale; a diminished 5th from
the root to the 5th of the chord, the raised 6th to the 3rd degree of the scale; a
diminished 7th from the root to the 7th of the chord, the raised 6th to the 5th
degree of the scale; and the inversions of these intervals.
(a)
(b)
(c)
(d)
Pla7 the I, VI\ VIJ, Vljjf, VI, I chords in E major. Think the
Sing the intervals.
F and
D major.
Note. If there is trouble in hearing the intervals formed by the altered tones, contrast
the intervals formed by the same scale steps unaltered.
^Q O
" "
O ^
i/ h iin.." i"'if"'^^"ii""^::;:
\
them with
O O n
O ^--X--
240
ZSSl
g ^xttU H o o o o
or
-
x*
O o "^
331
3r:
1% xn
3J
TT
33:
xn
x i% 3e'i
U'Û 8
""TV-
o "" 8
_o_
"ft^^Jû'
3i:
in n'i"i|'ii.^
mill

Play the I, VIJ^, VJ, I, lll^^, V, I chords in E major. Read each
exercise mentally, noting where the modulations occur and the
(3)
(a)
use of the Vl-ij chord.

Sing the skips in the VI^jj chord, first in the unaltered form, then
with the raised 6th and 1st degrees. Do the same with the skips
in the other altered chords.
Note the suspensions and sing the two tones that make the suspension, first without the tie, i.e., placing the second tone on the
accent, then as written.
Contrast several times until the effect is
mentally grasped.
Play the antecedent phrase twice. Sing from memory to la, sing
Transpose to the keys of A, D, G, C and F major.
(b)
(c)
(d)
(e)
(f)
(g)
(h)
Note. In these 6/8 syncopations, keep the pulse clearly in mind

beat the meter, using the arm movements, down, up.
Figure
m *^
f^f^
As you read or think the tunc,
mrm
-<9^
v7
VI'
Ills
Sequence
''\h
'r^Jir}'j&^
I
Jm
II'
^^
r^f^_
^j>\
f^ ^~[g
i
ivjj}
Sequence
Inversion
^%
f^M^f^ inJ^;:^^
IGoV?
Ita^V
ii;i>
ij
V.
JDFJNCED EAR-TRAINING AND SIGIIT-SINGING
tp^s^
u.
1*^
ih
<i
^-
î-
yii^f
^p^r
^"i J
J J
J
4tt
'lcitfr
|/^
J.
rî^^ jp
Û^
^^
XK
ii'^^^'P'T-
itJ-'^^'T
'"r
1'^'-^^^^ ^
,
^J^
JjJJTOJJJjM. |JTJJT]|j.jjj]p|
^^^^'31^
r
ttE
"I"
meS
Y^
1^
[_
r7DST
#^^ isac
i!JjÛf^
[J'cJQr
I'^JP
^J-
32
^^
^J^
fJQ/^
^^rV
JHY
241
j.
R/
!rii
n^
I
I
ii,J":m3i;7^
^''" ^
ii.
fifJj
*?^
242
Section C.
(i)
Drill.
The tie in 2/4 and 3/4 meter.
Practise using the arm movement to indicate the meter, and sing
the rhythm to la in a major scale.
Rhythmic
(a)
Note.
In singing a tied note over the bar, a slight crescendo
given on the note, so as to preserve the metric accent.
r75J
<1)
n
n
(2)
<4)
(5)
made up
is
J^^J
-^^^J
îmm
,r73J
r\_im^n^
J.
jîfi
;7t7/t3 ri^Jii
to the note, and a pressure
II
r^^
n^n
i,
J.
i)
J.
J.
<6)
(7)
<8)
J)jy315 J___,.f311
(2)
/73 J^_/J3 J__^J?51 J7^

1

(a)
(b)
(c)
(d)
Note.
Sing
Sing
Sing
Sing
Work
each exercise mentally at a slow tempo.

the letter-, then the number-names.
from dictation.
carefully for correct intonation.
il'i'iM TirTcjjj
iTi|
'|rn,J||P|^^j
Vj
Yllh
I
^
i|M%jTrTQj
),
\^ m
iJI^nj^.i
^\
-|M' jJiPr
BV'
i^j
Pm^j
j^
j'rJ
ii
ADVANCED E^R-TRJINING AND SIGIIT-SINGING
IMi^jjf
n3j
jjyi
if?jj
ij
243
?irT[jj
e y*
|^
j ^^piirl-BMj ff'irl-^^ j
giiIhk
^j
'J^'J'''
^Ji|T3<fT0^^j
i|P''*nmfi,J
L
if
ipMUf.i
Enlk
fi^
^jTJr
I;,
^î
jiJ ^ '^''^Jj
'
dV
ii
'
f^
nljii,.
'VJ'"J' tV
'*
jJ^^
i,P?V7l{;
%}
nit
iJPi'i^
^\
jÛ 'UfJ U^
^-^'
^1
yi\
'i'"^,i[riiniî^jj ii.nji'iTjî j >.injiTL!^,

If
244
V7
DtvJ
^fi^
m^^ 4J
{rJ4
Q hJ
I
i|J>
'
n;
vZ.
j ,3i'^Tû
i^;u
|Ji
i
-U^
iJ^Jî
^^^
btVJ
^^
i|
,ji,g
FIV
v^
nItHi>
(FM.<jTuj.,
a
n ni^
i^j J
V^.
i^j
^ji
I,
E njt
Ii
jJifHi-^Jj
jjAinjj jJcJT^^
v7-
I.
(e)
^^^
^^ ^^
j^'^^^

E
names, then to
e
V^
I,
VI
111,
G ma jor
I2,
Vi
Ii
letter-,
major
oV^
then by numberB
minor
I, III, I2,
major
ll
(2)
I,
maj.
VI, Ii oV, I
E major
VI VII,,, VI,
d min.
I
vi,ii iili2 vi,ii

E major
'llL, III,,, I2,
gmin.
by
f#
VI, VIJ,, VJ,
G major
minor
a min.
la: (i) I,
first
major
IILIIk,vÎ oVî IIL,vI,IV3^VII,vLI
iviii,v,VM.
(3)
^-==- nn ,^^^-
^^^^==-^-f-]
major
-==
"
^^,^
^
M^11^^^
r'c^c;
ft'^^
j,
J?
^
i
'l-J^^^^
/rHr' ^f^lj^
^ LE
* -TO^J?^^TJîî]3^
yi ^^ '^ti ^rte-i
E^
i
Or
rrrrrc;;'îjl^
^^
IJ
\r^^
rTr^c/r
Bach
TT]
245
^L;
hc^g
^jjj
i'î-^^^
liJ^J
7JJ
Bach
i."
/-J
jtrr
JJJjJ
Îp
rhjfi
i>
,îpr
246
Bach
^h
j j j
r-
r^r' c/r
r'
C=s:3W
n
r
/^
JU[ricH<i^^^
IVtr^ ^
m
^^
*k
ijjj
it^
l^-i^jtf
t^^
^m
iJ
^=#=F
''f
^'
r r
lip
t^JjtJJ
^
1
c/r
l;
j:û.>j
^^J^^
jJi
nrrr i
''p
^
^
i^
iJtfJiiJ^îr
^[tff [J
^Lf[f
'
I"^
^^
Bach
P^J
^
^ s

oa
,.
f^kf-
llff-f
f-
,rr
247
(
248
In all modulations it is best to have common tones. Jn Exercise

Modulations.
first phrase, after the cadence in B, the next chord is the I of
(i),
B
Section
I,
In Exercise 3 there is
well, because of the common tone B.
sounds
This
G.
In Exercise 2 there is a repetia repetition in b minor of the first three chords.
tion in minor of the first two chords, then an abrupt modulation to C major,
keeping the same soprano, then a modulation back to B, through e minor, using
major, making
the Stride. In Exercise 4 there is an abrupt modulation to
the 1st degree of B the 6th of D; then a modulation to b minor and a cadence in
major.
A Diminished Seventh-Chord is a seventh-chord, all the tones of which are

minor third apart. In each major key, there are two: qV chord, and
IVL
the
#!
chord:
T'\il
li
îl
i
0*
The diminished seventh-chord
may
be spelled in four or
five
is most useful
ways and resolved as
oV^ C maj.&cmin.
II^HK
Mmaj.
Vl7|t|Dtmaj.
*#
in
modulating, as each chord

Ilîj, N\\^ or IVî, chord.
a qV',
^}^
^ maj.&amm.
Ii;##Fmaj.
VI^#,j
Btmaj.
f%=^
^\
ifa
11
oV% Ftmaj.&fUmin.
l\^^ D maj.
VI^#|f
IV^jll,
b min.
maj.
E\,
Ilîf^
^"^ G^
iV^ll, al.
mm.
Section A.
Construct double periods in the key of B major, using cadential and

sequential modulations to remote keys. Use suspensions and skips in the
diminished seventh-chords. Embellish the tones of the chord by jumping from
Employ the
the lower to the upper, or from the upper to the lower neighbors.
meter and rhythms given on page 242.
(i)
Sectior B.
(i)

Pause before each modulation, and think the progression into the
(b)
(a)
new
(c)
(d)
(e)
key.

Note. In taking down the chord symbols, do not try to analyze the keys.
of the chords as you hear them, and determine the keys from the soprano.
Write down the symbols

8
rr rr
nk i
i
I
^ m ^?T^
^
11
i
^ f
r
i=*i
^
r
'
^r
GI
Ir
lev/
BV^
V^
^
^ ^ M ^ ^
^ rr r ^
n^
11 1 il 1
3|^ ^ W ^ ^ tf
^fid
-lU
gitib
^^
m^
ff ?
11 li 11
rf rr rr
^Mrr
a
(2)
249
}i
f=f
rr
iij
R^ ^
n
M di
$
f
I
i
f
^^
^m
gi
g f1
ri
uj
rr
j
I
rf r i
i
f

(a)
(b)
(c)
(d)
Play the I, V^, I chords in B major. Think the sound of the intervals.
Sing the intervals.
and
major.
250
XT :s:xF
'
^'"^"^.c^|l.|^^^
^hririH^
""
o o o
^^
^jr
xr
ZSSl
*^
^
f>
" "" '""^'-"^^ "

^
8x^8
It
"^
a=
XE
O Op
"
" .. o o o o .. o
O M O :: 8 o
ô " bo ^ -o-x-o- o ^ o
cr
-o- rc
o o I
o o
(3)
(a)
Read each
I, VII3, VJ, I, lll^^, I2, Vj., I chords in B major.
exercise mentally, noting where the modulations occur and how
Play the
they are made.

In Melody i, the end of the second phrase is an authentic cadence in F^ major;
major without any introduction,
the next phrase begins with the tonic chord of
Melody
sharp.
In
tone
F
4, the first section of the
but keeping the common
section
a sequence of this figure
second
the
major,
in
figure
G
third phrase is a
in E major.
(b)
(c)
(d)
(e)
(f)
(g)
Note.
In each melody, sing the last four or five notes in the key before the
the number-names, then singing the number-names. Where the
modulations are made in sequence, sing the entire figure.
Note the suspensions and the neighboring notes.
Transpose to the keys of A, G and C major.
In these abrupt modulations, determine the number-name of the pitch
Figure
IV
F}}V/
first,
then the letter-
Sequence
St%^
|
H^r^^r.rV
ii\
I4
I2
251
Sequence
Part. Figure
I
SIGIIT-SINGING
U ^ irm
nji,
I.
^m
<^
iirr
^
^^^
"r
h:
^^
at=M
1^^
-Ir^
1tf=^
r-fft
yAiiJHcjTJ'Tr'irîiicj'cJ' ir
^ ^ ^11
gjtif
ft^ k^C^ r
^p
a
î^'îi
ii
11
ft%
f^
jHpr
&cr
i&rr
*p
LE^
i^r-J
i,
Jj j-?m
|
)1
^^
Liir i^f
ij>r
Jh^^
i-^J^^d^ iJiCi'
rj- iij-
'^ttr3.|Ji?: j ^j
n^Ty
jH.,n?ôij^j;3.
fe^
PT
ir
j^
^j^ i^f
jt
I^J.
CIf^J
j.T
-*
eLTCiCf
^ cjTc^^j
^
Ji^LJP
fi^
r^fc
ir
"
iJIJ^L^JÎ
252
^ riairiJiy^
^h^h^f^
(l)
Rhythmic
(a)
Drill.
The
Practise, using the
rhythm
to la
tie in
i^^^' j)
'
4/4 meter.
arm movement
on a major
to indicate the meter.
Sing the
scale.
(Df
4 J
(2)
(3)
<4)
(6)
(6)
(7)
(8)
J.
II
II
II
It
It
f^
jm^
It
(2)

(a)
(b)
(c)
(d)
Sing
Sing
Sing
Sing
each exercise mentally.

from
dictation.
253
P^^^j^J^Hj^
viIj,
mi^T^TT^^Tr^jJLL
i'
ij
jJ
'
I^Jj
254

jJJ.-'J-'JJij
a'Oj
jjJ.
jjtJ.
Itt*^^û
4iAJj
uw
'JJij
tzac
'^^"
\jk^'^^'''^'^\:>u
^''^''
ii
^jJi ^-^r7riiJj\j
i
^jJii-J-'iLirn^Jy
0*1
i^
ft^%^
^1
B L
Is^h
(e)
rxir^
|j.^
Îh-
^jjJ- [i[;Jjj
i^jj.-rpj jy ijjj. ^jj,j
by
first
then by number-
letter-,
B major
g# min.
I
names, then to
C maj
v^
I
F-''
'I
m-'inr
vL
II^, VJ,
I,
VII, V^,
V^
I,
major
(2)
"
ii^ i VI,
Bb mai
V^
V^
major
i,vi,vijvLi i,vii,vLi
B major
e min.
maj.
1-
B major
iv,i2,vM.
minor
VL
r
I,
I,
B major
iv,ivM
vii^,
(i)
maj'^r
"I
I,
la:
II
VL
iv, i VI,
I.
SIGIIT-SINGING
255
(3)
âr
[ji^
/^
rj
^.
ttJJ'yj^JUJ*drir
SteT
^%
'^ît
jj
r ^r
r r
jy J^ ^>J
^^
"t:
i'"'r
yAi
* j^JJ
ctumj
l
^l
|J
j.-3-f^3ij.
^^^-| J ^^_J__.d-
[jiTLEj-i^-
j-iJ
ii^.iir
i'^
1^"ii^
f^^
H
rr
^\W~1^- J EgfflTM'
Mozart
r> m F
Ufrr
Ti^
]iW
i^
i^r-
1^^^'^
"
"
f^
^^
"
ir rj^
rj^r/
^^
pTOiJ^JJ
I^^r^
^%isr
I
C;'^
^/i"JJJJJJi
^^
it
û
<..
iP^^-Wr
^ r
^^
Bach
J|i < M^f,j ..-^
nmî^-
y
P
256
^^
^*^
Y^'
J-
Prestissimo
"H
J..
J.,
Ji^!j!j
ji
J.
iJ^
Dvorak
âw
^-1
ii
î^
J^J>
^m m!W
.JTJ
4%^^
FiRf ?
^^
m mm
ttn
îii^
i^.P
^-
a^f
^<9-
^
r
frLii^
Pîi î
irf*
î
1.
[iirifrr^r
/r
rjif
v'l.
I'c
f r
^ht
^h
Be
^h
jiJ,
iii]^
('
^^r
II
4'""f
'
i
^
1^
rr
r"
BH
il
JjJj.;)ij
ir r
'^^
IV
r-^N
J -
Mr
fH-'
I"
fr^r'
iM'f
^^^
J-
i
i
f
''!^
VI
r^^-J
i'^L^^
'
1
I
p p #
,1
Jm
H^
Am
fpl
Handel
^^'
r'T ip''^'^^
FI
fe^
r
i
jj i-ijjj
iT"
nj
ILlji^
i-
^Yrffrrrr
ic
257
ir
,
'[UJ"!
Brahms
li
IJ. ;)j
jjiJ
jj,i
IJ
J J
11
j)j
258
Lesson 27
When
on the
a tone
first
on the
last half of the pulse
half of the next pulse,
generally a short note.
it
repeated, anticipating the tone

An Anticipation is
f 7
'
Is
an Anticipation.
is
The lowered 2nd degree of the scale is used as a chromatic passing-tone from
the 2nd degree to the ist degree of the scale.
Skips may be made to and from
the lowered 2nd degree in the Y\v, chord.
Scale-line, or skips in the I chord,
should follow.
Section A.
(i)
Construct double periods In the key of F major, using cadential and

to remote keys.
Use anticipations, suspensions and
sequential modulations
skips in the \\^ chord.
Section B.
(i)

(a)
(b)

new
(c)
(e)
key.
Sing the number-names of t,he soprano as you play the chords,

3 4 2
f^^ u &
Til
^
m ? H mrr
3 4 4
mm
^
U
u
n
^ ^ ^^^
H' ^ ^ ^ ^ s
m s^
All
f
^m
I
IV V^
Dt
'1
mi
^
I
IV V^
fefc
i p^
I
M
I
i :^^
r ftf
bbV^V^
rr
F V^ V^ V^
5^
ft
^JV
tij,j
î
jj

^ ^rr
^^ m ^ rr
ffr
nm
Ul
fe
n Wr f=f ^ w^
^ ^ e^ TTT
5^ ^ ^ ^
m #
TT
rr
J i
y%
tfrr
i
f
259
r r r
rrr
f f=t $
^r
^
rTI
Practise the follozuing Intervals:
(2)
In the Va^ chord, there will be a major 3rd, from the 5th to the 7th of the
chord, the lowered 2nd to the 4th degree of the scale; an augmented 4th from the
5th to the root of the chord, the lowered 2nd to the 5th degree of the scale; an
augmented 6th from the 5th to the 3rd of the chord, the lowered 2nd to the 7th
degree of the scale.
Play the
(a)
I,
V2, Nl^, I chords in
major.
Think the sound
of the
intervals.
(b)

(c)
Sing the intervals.

(d)
^^GO
E and G
in relation to the root
major.
.,i
t*
"
i-
^18
j|o
^B
I
<
g lBE "O
It
'o-
pj
tt
*1
ffXT
f
-o
;;
..
XE
Ho
"XJ
o"
.,
o-
o>
3CE
::
TZ
MO
V
"^c- r..^
260
(3)
(a)
Play the
(b)
and anticipations.
In each melody sing the
I, VJ, I,_ IIl^^, lll^^ I2, VI, VI, I chords in F major, and
read the exercises mentally, noting the modulations, suspensions
last four or five notes in the
key before the
modulation, then the first few in the new key, first to

la,
thinking
(c)
Sing the tones which make the suspension, first without the suspension, then as written.
Practise the anticipation in the same way.
(d)
mentally the number-names, then the letter-names. Sing both
aloud.
Practise the other phrases in the
Transpose to the keys of B, A, E,
(g)
is
same way.
D and G major.
outlined on page 87.
(e)
(f)
Have each melody
dictated as
Note. Divide the phrases into two sections.

a complete thought and must be grasped as such.
Figure
Have
the entire phrase dictated, because the phrase
ADVANCED EAR-TRAINING
<|^ r
J.
'^'
f-Q
f&
U^^
T'piiJ
p;!l
^''^
r*^ ^
j^
iji'^'t'tTp^
rTH^'-i
.pi^JTrai'^r
4
,
261
iir^r^gH^tr^^^^^
^'itLrtd''^^
M^jjJ
4^^ffar
Q
r-J'.i
NO SFCIIT-SINCINC
plJ
r"
r^^J^cJ
p ^
/I
''^
r-&
i^'
r^^' ^-i
^'^f
0' \fmL^
'
'
262
Section C.
Rhythmic
(i)
(a)
The
Drill.
tie in
rhythm
to la
on
6/8 meter.
arm movement
Practise, using the
major
Sing the
scale.
Note.
Use the arm movement two pulses to a measure. The mind subdivides each pulse into
tripIn singing make the metric pulse clear to the listener bv pressure on the tied note.
This effect can
also be made on the violin by an added pressure of the bow. On the piano
this is not possible, but the pianist
will tind that his playing is much more rhythmic, therefore interesting,
if he makes the effect
lets.
mentally
(1)
^m
J.
tJ J J J
rn
J"7?33J
(6)
,^3533,
4:
jî/Tsssj
7m
(2)
J-
J3,j.
.m
^j
J3J
J:
J^lTj}
J3J
\S7S7^J

(a)
(b)
(c)
(d)
Sing
Sing
Sing
Sing

to la, thinking the number-, and the letter-names.
from dictation.
CtofJ- ijffl'^-j^Jii-Ji. loir
AV
J35333Jn[3__iJT333J
J) J.
.
7J3333J-
J)
J^,J33333r33
(7)
(8)
.J33333J
iitj
ifhpn[sjj
[1^ rr^
û U'r
r-û
.
I
\
BtV'
F Ulh
263
If-
V7
oV^t
f^nixfj, uJ^rtîCiriijirPT-^
l
IV..
^^^
W?=^
iijk
^t-
j^J
pT'^j,
j^ pT'^j.
pT-^j.
ij
jjiJ
"IP
rtf
nltt-
E V^
I'l^
iji|jwJ^pT-Q]j.
'J^r
^^
V^|,
itfVTn:^;
Et V/.
^^
^^ S
F
^fiîLrrJ. UJ''J^p"r^Ja
V,'
nlh-
ffîLTj'i'^vA,
jJ'r^^
264
pr^TciT'i
i'
i'i
[i
I
i
'TiXi
vjk
(e)
by
first
letter-,
F major
names, then to
Gmaj
v^
Dt>
I,
Yl,
H^^,,, I^, ^V^, I
I, 11,^,,,
^1
V\
F major
i,vu iiiyivia v^
V^
v^
v^
i,vii,nvLi
(2)
F major
I
ivi2,vi.
(3)
^^
"'
^ffi
[}l!'''^
^Û^ it-^
jJTJ J^^J J
/JJjH 1^-^
p
Bach
^^\\l^
*m
^
=!
^'1^
^''''
i
^''W
\\-
rr''P
J.
jJ J rr
I.J
jij
"
'
I
'^
l^-'i
ij
ri'
'
'^'
i
|
^'
p- (TT
mP
J,
^J
J J. i)J
-^
'^
I^J:^
j^
^^
i
r''
['
i
H
^
^)
^'^^
"r
(ir
r''^-
j. j^j
F major
i,oVn, i,oV:,i,i, oV^,i,vLi,ii,V,vM.

bl> min.
F major
G maj. A maj. Bb maj.
i,vL,i
|^''li'
(i)
C major
major
Z
la:
major
then by numberD maj.

Bb maj
^'
p^
ii
i^-U
'
i-J:^^
265
Wullner
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^j
J-
iii^
r-
^CT
pr
W^
:zi
m ij^ j^ [jj-mui^L,ujji
4iMi
i^^ 4/"Jj3
f^^ u
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(SV'^î<JT^;J'1jW^3J'1i 4^
i
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4
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j^m:
^h^[jî
f^
rrrrrffiif
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iij
p^
'/
i
p^j
ii
n;J^
l''l^"^JMJJJI^^
iV'i-^^JJJJ
'^TO j
^^
i^JWI^
U-
iiCJLf^^ JJ^^
Ip
'/
i
^s
jnp^
Ê
Bach
^'<|J *
f ?
\i-
266
;N'J
m
^j--iii
n,
^.t^P
ff
f
'
prprrpirPJ
r-fy n
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pr-r4^-^
|T
iT.>- h.
r^ff
iTr
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^MJilJJ
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f^
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rT^rpiipiiJMrp^p
rf,f
i
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Wagner
^r
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[_^cVJ
ii-py^pi^fip-
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ffiT^f
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ni f'^pn-i^
i
pir
rpi'i=*^
Lesson 28
Abrupt modulations to remote keys may be made
at any point by a chromatic

be in any part, but is best in the
soprano or the bass. This is known as Chromatic Modulation. In Exercise 2
of Section B (i), first phrase, the chromatic inflection is in the bass; in the
second
phrase, in the soprano.
Chromatic modulation is one form of Sequential Modula-
progression.
tion.
The chromatic
progression
may
ADVJNCED EAR-TRAINING AND SIGIIT-SINGINC
267
Abrupt modulations may also be made by enharmonically changing the

This Is known as Enharmonic Modulation. In Exercise i the
pitch of a tone.
pitch Ab, the fifth of the key of Db major, becomes G#, the 7th degree of a minor.
In a melody, skips may be made to and from the lowered 2nd degree of the
Scale-line or skips in the
scale in the II;,!, chord with the lowered 6th degree.
V^ chord should
follow.
nti,
Section A.
Construct double periods in the key of C major, using chromatic and

(i)
enharmonic modulations to remote keys. Use anticipations, suspensions and
skips In the IIi,i, chord.
Note. The chromatic inflection in a melody mav often be either a modulation or an altered tone in
the key, the modulation being determined by the harmonization.
Section B.
(i)
(a)
(b)

Pause before each modulation and think the progression Into the
new
(c)
(d)
key.

Note. In Exercise 1, fifth measure, you hear that the A? has become G#, because A\> could not be the
7th degree of the scale. In Exercises 2 and 3 the key of C? could have been used in the place of B.
^m^
f
n^
m^
vj
Ii f V''
16
^
U-
^
I
DtV'
^ rr
bLu
^
p^
I
vj'
C II J
dd
^m
rr
^g i
^
m
V V
^
I
268
^ Wm
^
mM ^ m
Û
J^
J iJ
.a
ilA
f^ ^
y-w
^^
.u
fi
^
J
^^
ff
^ W
(2)
In the III,!, chord there will be a major 3rd from the root to the 3rd of the
chord, the lowered 2nd to the 4th degree of the scale; a perfect 5th from the
root to the 5th of the chord, the lowered 2nd to the lowered 6th degree of the
scale; and the inversions of these intervals.
Play the
(a)
I,
IV,
II,
V2 and
IIi,;,,
Think the sound of the

(c)
Sing the intervals.

Transpose the intervals to F,
ol^ffPt
^^
j|ii
..
jo
*^
.mill
31:
jto
ly-rr
-W
H b
if
chords in the key of
(b)
(d)
fe
and
,.
31:
..
>
major.
major.
3x:
"O" \>U
^.g.
"
gSF^
"
"
[; [;
"^^
'ji.
3X1
35:
intervals.
XT
?^?=S^
cr
^
31:
o "
__
**
269
(3)
I, V^, I, IIi,, IIi,i V21,, I chords in the key of C major, and

read the exercises mentally, noting the modulations, suspensions
(a)
Play the
(b)
In each melody sing the last few notes in the key before the modulation, then the first few In the new key, first to la, thinking the
number-names, then singing the number-names.
(c)
Sing the tones which make the suspension, first without the suspenPractise the anticipation in the same way.
sion, then as written.
(d)
Play the antecedent phrase twice, sing from memory to la.

mentally the number-names, then use the letter-names.
both aloud.
and anticipations.
(e)
Practise the other phrases in the
(f)
Transpose to other major keys.
(g)
Have each melody

Figare
same way.
dictated as outlined on page 87.
Sing
Sing
270
hiQ
^^:^f^
JU]j''j
u.:is^
^^^^^^
|J
otii
''^^S
^^
=^
. .b
(âjr
rpi jJj.^Jjj;jj
i
;.ijj
I^J^j jmj^jjj^j; iJ^j^P i^P]jjJ

B^ J
j^;^,JgJj^j^-jjji>
J-^JP-^ JWiiJ''^
i
^^j JJ^
rujun
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itJ
i^f'^-
T^frt.cJ'
^r^J
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jtJ
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^JT} M W
^ri'
'
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m^'-~ m
^^
^\
Section C.
(i)
Rhythmic
(a)
tl)
J.
(2)
(3)
<4)
Drill.
Review.
Rhythms from Bach.
Practise using the arm movement to indicate the meter.

rhythm to la on a major scale.
J)|J^
s^
J^__/7^ JS^
j??3
iH
,
^^
j^ JîJ?3
1 J)
Sing the
ninh
JTT3
JT^ J^
JS^
.1
271
<5)
<6)
n n
;3irsj_rsj
j^j
.553/^
7^.J5Sr3
->
II
J^_^J533 J353 J333 J333 J
IT^r^JSl
JT3iJ-JJ
J J
'
jr3J331
;^ J333J
(2)
(a)
(b)
{c)
(d)
)i
II
Sing
Sing
Sing
Sing
h j

to
la,
thinking the number- and the letter-names,
from dictation.
jTJg^
^^4?=*
^5ES
^m
vi;
ii.j_J^4a
jj^j^-i^j. ijj^cxrTcr;j,
Ij
ii-
i^
^^cx/ txr
^'
'
|un>-L^4'^Ja
k^' ^-[SS
G V/.
V/.
Ci/it'^'
^^
r^
Cc;
j>jjJîîli.
c
\&
g)jJtfJiNU/|J^^j. 'j)jJTJd^Tj^^ liiJ^^-^LlT

iv^Hjiiiti}t.
"
272
^P
^
r
m.
Ur
\i>\>
n,i.|,.
oj
LL;^-Ui jjmo-j ,j
j, j
P"^^
vji,.
jjj
'^Jj
*J
o
HiH-
.v^k
rr' lur
V/.
Gt oV^k
^S
Fjl
fcjnj
E oV^k
ji
i
J'i^^
||
E oV^.
Dl,
^^
oV^k
ITir
izat
J
IV^j}.
II,t>i,.
rTrrJjiJ
oV%.

(e)
first
by
letter-,
major
names, then to
1
(i)
maj.
1^
I,IV,IIi,Vl,IVL,I VI,
C major
b min
I
v^
la:
then by numberE
Dtnaj.
273
C major
VJ,
Dt
F# maj.
m;xi.
maj
V\,
C
maj.
vÎ,III,,I2,vÎ.
Bl
maj.
(2)
I,IIIIII,,IoVÎ' 'ov:' 'ov;^

C major
d min.
maj.
.|
I
oV^
(3)
VI, I VI, I
VL,
I,
IV, ii.,
Iv^
I.
.mi
4i:,K
oV:,i
i"/
^^ji,j^J v^ ff
i
r tJr'^rrtirhrîr^r^rru
r.%^r
[;
rltorTi
Lirirî^r^r irffrrrrrLLm
#i
27 4r
if
ti
^J
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tf
P ^m
Brahms
^m
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#
g ?F
rj.
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>
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g ij-L
'
^^
if'i^
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,
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r
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pg
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l
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l^'l'
^^
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^
'ûi
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if H^
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d
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Brahms
|fr
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f
i
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vtr-m
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rfT
275
fp
.'n
SICf/T-SINGINC
1^
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Brahms
itr
r k
rT
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Lesson 29
In a melody, skips are often made from above to the lower neighbor of a tone,
An entire arpeggio may be
or from below to the upper neighbor of a tone.
embellished in this way, as the Bb chord in the sixth measure of Melody 3,
Section B (3). The neighbor generally resolves immediately to the tone, though
it may jump to the other neighbor before resolving, as in the first measure of
Melody
3,
oVji,
Section
(3).
be made to and from the lowered 2nd degree of the scale in the
chord with the lowered 6th degree. Scale-line or skips in the V^ chord
Skips
may
should follow.
m
0^%
276
Section A.
major, using all types of moduConstruct double periods in the key of

anticipations, suspensions and
Use
keys.
related
and
remote
next
lations to
jumping
to the neighbors.
Emby
Embellish
tones
chord.
the
in
skips
qVî,
rhythms
given
on
pages
270-271.
and
meter
the
ploy
(i)
Section B.
(i)

Pause before each modulation and think the progression Into the
(a)
(b)
new
key.
Sing the number-names of the soprano as you play the cnords.

(c)
(d)
^M
r^
^ m
I
Vj
W
^m
I,Fv9
im
V^=J^x l
iJ ^^
i PP f^
r^
rr
u
1
VA.
DtoV? yj
ll
^
^
i^ i ^
f=
iiBi,v^
^ f?
rr r^
D V^ V7
J:
T^
1J
^^
(2)
m ^
m ^^
s^
^
^
î ^
^^ rr
rr
^ ^
^
J=4
f^
rr
m
r
The same
(a)
intervals will be found in the qV^,, chord as In the
Play the
I,
major.
IV,
IIi,
IIi,
11^,^
chord.
oV^, Vl,^ and I chords in the

of the Intervals.
Think the sound
key of

Play the Intervals, determining their sound
(b)
277
Sing the intervals.

Transpose the intervals to other major keys.
(c)
(a)
8b8
yii
o|.o
H "
3X
ol'o
.j) B)j8t|i.8
DO,.. .r
K o [?o
1.
11
" r
o^ Vj
jl
11
g(,g
^^^ g
o PO PO
-O-
1^
"
ti
it
3x:
ol'B
te b8
ti
^^^ ^- 311
oj,..^
ho "
^^
XT
(3)
Play the
11^,,, I2, V^ and I chords in the key of

exercise mentally, noting the modulations,
suspensions, anticipations and neighboring tones.
(a)
D
(b)
(c)
(d)
(e)
(f)
(g)
I,
major.
Ii,
IV,
Read each
Sing the last few notes in the key before the modulation, then the
first few in the new key, first to la, thinking the number-names,
then singing the number-names.
Sing the measures which have skips in the IIi,^ chord. Contrast
the altered and unaltered forms of this arpeggio.
Play the antecedent phrase twice, sing from memory to la; sing
Transpose to other major keys.
1
'i
V],
n
}^
,JQ
^5 jjJ^^
..n;.n
N- J^Jj
1
GV
V^
u't^
f-r^fpS^
:ti:
li^v/

278
'^"1
Ih
r^
W^îjr-^^îcJ^
jJi
J ^rî^J^j
i,
j^^r
j/i'jjjNi-7JJ^Jjjj
jt
17
^j_j
;3ii
fe=f:^
#-
P.J
MH^
j.
^'^r''^
^^
^^J
,'mi^nj.i
i^C^^^3i|J-^,jj
'"mj
im
j ,ijj,in'^
i
rai/JiJJ'
^j
'i
i-
u'jj
w^m
^^
i^
i'i|j
-'jjj
m^^f
s ^^^
1^^
jij^^j
*f
"
r^^^
|,
-1->r
ii|
j"i.^
"snpr
ttr7
tfp
Jl

a
279
[j"c;Jji^JJ--î^ 'rr[g^:jir
i
Section C.
Rhythmic
(i)
Drill.
Regular
Practise using the
(a)
rhythm
Rhythm
In 9/8 meter.
arm movement
Sing the
on a major scale. In 9/8 meter use the same arm movement

meter, and mentally subdivide each pulse into triplets. All of
to la
as for triple
the rhythmic figures used in 6/8 are found in 9/8 meter.
(!)
j>j
rn
J.
(3)
J.
J.
(4>
(5)
J.
(6)
J.
(7;
J.
(2;
J
J.
i)j
J-
;),/T3
,J:
J)/T3,J
J.
J
J), J.
mm
mm
i)J
J)
J.
J.
J) J.
m
J
J
J
J
(2)

(a)
(b)
(c)
(d)
Sing
Sing
Sing
Sing

from dictation.
Note. Sing the chords that are enharmonically changed, with both spellings and resolutions.
larefully for correct intonation, as these exercises serve no purpose unless sung perfectly in tune.
Worl
280
Uj
JJri^Jj^ jjj^^r iî^ j4>n
i^jj
.v't.
I"" jJJ^^r
^Jj
UU^"^
-^-ij
ij^Ji'^r
i!-^
EII^Jj.
oV^k
<^^JJJ^Jr ^J|J^J^l^^
'
u^JJi^'r
Aj
>
i
^P
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^PJM^JJJJ'||
oV^t.
<^îi
j^^L^'f
^û
GHI^j|.
yii ''^yi
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kj
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av
(|\ Ji J-i^rrf
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bV
ife^
"C^
V'
î^ ijjj^n^jj
*-*
GV37.
P^
^
i
Il-
fjJ l/i
m
W-w m
t
^
U^J^T
Mj,iJji3rHi^Jj^
^[|;U
^jjiJii^
II?j}|,.
^JJ
vk
'^'J|J 'ijifJ^J Mj.
Lj^TPi
ll .j.
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281
n:7^
C vjk
'jJ^MU'ljj rPiJI^j.
F
<|'iii.
V^
iJPrMi
iIiLaJi
I
i
jjjTjj
a V'
B!,Vi'
V\i
'
jU
UJJi'î
El.
'
Ji^P
'u JJi
D
ul^\,.
{''jjjiîjij.
(e)
by
first
iilmh [yix,iBb maj
ov:, I
(3)
in,
F major
1
ber-names,thento/a;
D major
F major
then by num-
letter-,
major
(i) I,oV^,oV?^,oVii.iVLl,VIl8 oV^, I, Il23, I2
(2)
Db maj
major
i,iiL,oV^,i,vF,vi;,ov:,i
Ivii
Gl*
maj
i.
major
I2,
v^
I.
minî
4^ "TO:, ^R==^
'
PTOJ:rmj
mi
jjjjiJiJ^vji^
ADVANCED EAR-TRAINING AND SfGHT-SINGING
282
î
tfj^JOTQWJJij. jjjjj^j r [mr;^^^îi^J

i
JTTH
J.
^^
jTJ^Jrp
''Hrrff
rj'
-^-
Jm^.^
^^
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(g,^''
Tp-'i- U-
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-^dL.
:3ii
3=5:
î3:
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rH^'^vr
T'
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h-
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n^ ifrP"
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V r
h^^
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i^'''iTfr'f
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Mlzi
^Tj>^.^-
\,j\J^\W^=^î:^
p[,j.
^T' r
|p-^-^
'y^
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P
pp.-pp
p^^,g
^
^
Foster
"? h-'fcr.rr''i''-'Pcr-rrp
Î'^îij.
i-
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*^
|^
i^p-iJ-u- iiJJ^^'/J- ip-iJ
r^JJ^J>^'l
<^
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283
J.
J.
1^
h
J^f
pif^
J'ij.J^^f"Tr"r p^
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J J^lrJ
ntZ=ZZ=MZ3I
=2tt
^^
^^
^
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ny^
J^J- J
Mzzat
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f^
^
^^
J^N> i|J|jJ
'
284
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\j.
.JJ.M
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*ift
^J.
fr
p^
gf
MS
f"
^^ ^^
ji'U-^J-
j-
i-U
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i'jtfJ^
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e3
32
y
g
r"r
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i
.
^5
Cowen
-^
-H-
Lesson 30
Abrupt modulations may be made to any key by retaining and using as a
pivot a tone common to both keys. This is known as Pivotal Modulation. In
Exercise i, Section B (i), the ist degree of c minor becomes the 4th of
major;
the 3rd degree of
major becomes the 5th of E major. In Exercise 2 the C
in the soprano, the 8th degree in c minor, becomes the leading-tone of Db; the
Db in the soprano, the 1st degree of Db, enharmonically changes to C# and
becomes the 7th degree of d minor.
In minor the 6th degree is raised in the ascending form of the melodic scale,
and
Is
harmonized by the
IIi,,
IIJ, IVi,
or IVJ chords.
I^'i'
ijl
iiâ
hi
IVÎj
Section A.
(i)
Construct double periods in c minor, using pivotal and all other types of
modulation to next related and remote keys. Use anticipations, suspensions,
and skips In chords embellished by jumping to the neighbors.

Employ
the

and
Section B.
(i)
(a)
modulations.

(b)
(c)

new
(d)
3
I.
,
key.
^ J J
febt sM
&
I
rr
ri
sfeet
i.J=^
S ^ ^ ^ y^
f
*K
ft
B^ ^ ^
^^
m^ ^
f
^ ^ r^^
rr
^f
y=i
(2)
285
ii ^
r
rr
4J
^ rr
^^rr
^
^ n^ ^

(a)
Play the I, IVi,, II, V^ and I chords

in the
key of c minor.
Think
286

Note the altered intervals
resulting from the melodic form of the scale.
(b)
(c)
Sing the intervals.
(d)
Transpose the intervals to other minor keys.
Uq q
bo
I,.,
" Q
.."
-0--0-
^h
* S SE
ô
,-
',-
fto
;"
331
_Q_
3i:
jm
:^
-o-
=^fff=^
;xr
* s :
(3)
-" ^8
TJ-
XT
-o-
T^
o^..^8â oi;;
xr
..o^ô o
oi|.
Play the
(a)
I,
V^,
Read each
I,
IV,
IIj,
V^ and
chords in the key of c minor.

and embel-
exercise mentally, noting the modulations
lishments.
(b)
(c)
(d)
(e)
(f)
^h)\
Play the antecedent phrase twice, sing from memory to la. Sing
Transpose to other minor keys.
}J
I,
? f
J/
[7
v*"
I,
n^^
'
vZ
^h-*'
I
Al>V'
h)j
rv
^'^
r p^^^ ^
nj
i^5
^^
U
I4
rv,
IV
ii
^^p^Ciî^r
}>
r Up r" r
^P
Vi
IT pr
I
fV;^
ul
II'
ii,
;jJ
^
"^^
c IV
^'1;
r^-
tj
Txr
[tip p J
i^
ttpi!r~r''.p
^'
I
'
'T
An
^^''1^
J j7^
j.^
^
i
i^^'^J
^^'i-''
^^
h
^^^
^J-
j)f
-^^^
[x^N-^^
JJji,Jî^r^pr ^'^\}hu^j^M\^\'^^
N.
j>
^dV^J^ 1^
r'
r||jyJr'
^^''
v'^^
''^^^^^
^^S f^-^t||g
'-
Hi
jjj
''
iJ^jiW- ^JJJ ii^J^P-îi-'-
^'SJ-
lî'''!,
VI
V.
287
iiJ.
*r'
ii
it
M3=i::ri
MUfijJ ^p'i i'J^

i
r^ r'r I'T'Of
J.
i,J^^-
^l
||.
'r-
^l| jj J->
EÊ
J^î'^^J) ^
l|
|J.
F^r 't
'
Ic^f
r'n-^JJ
"
'
pii
J>f
i^^
288
^h
Drill.
Irregular Rhythm in 9/8 meter.
rhythm to /a, on a major scale.
j^^.ll
Rhythmic
(l)
(a)
a>t
8
VTir-tJ-^^l^llJJJi|JJJIjJ'JiJ'y
I"
J.
ij
/n
J> J-
Sing the
(2)
(3)
(4)
(5)
(6)
/TTJ
J.
'y
(2)
^j"tSTj-
Ji
^J
J.
j:t^_J"TJ .J35353J-
/n
J)
ijn
J-
J-
'J-
i-i^
J>
/n

(a)
(b)
(c)
(d)
Sing
Sing
Sing
Sing

the letter, then the number-names.
to la, thinking the number- and letter-names.
from dictation.
li-
jrfJ-

iJ>^ pJ >U_4î.
i-fi
jjj
289
i^jj ^Jj
-^'jji^.
J.
VI.
'P'"j,
f.
j.gjj
1,**it.
Hrl
rn
jJU
-*
),^_stJ.
jJ'i^'^JL=^
111
v/.
nil,
J^l^ "!
IT
^M
^ ^
^^
T7
--^
EI^V/.
î"''!'
ditJ'ii'^^p^JU
E
j.
^jit>irVr^'
J-
iiJ-
iiJ-'J''i^"p^
V/.
nl-
uî'ir^Pf
#
Al
'' ^JJ
^'î'
JJ
.
UiJ
j_jIlHl
4J
i'l
rPr^^
J-
J-
oV?k
y-^'l.
^^Ji'4_4ÎlT
ul
J-Jjl
'
^.
P^
^î^
la
Ij^J^J^'J^
nî,.
fîJ'^Pî'
i.
i.
li^^-Ûi.i. JJ'rC;
l
III-
"T
^^
TTT
li-
J)
-*^
#^
290
j)j.
k^
jj- -JT]
j_j_ J
\j^_
jij-^
^j
0*1-
AoVi^
"
-i
J.W*
'
'J
W-
'
â
"'
j ^
.4_j-
nV:
dll^li-
*s
ll
''
''
'
J'<
^J
j'll J.
l"U]
'
J.
^J^'^^
'i
^'''^^J
'
^^
J."
l?o.
V^
Gl,
'^4.
J. "4^
ci.
'
i^''^
J-
P^J''
4:J.
c nV:
(e)

c
names, then to
f
E
I
maj.
1
oVU
(3)
(i)
I,
by letter-, then by number-
III,VL
Ii,
Dl>
iiL iiL i III,,

c minor
D maj.
maj
V^
III^,V, I
c minor
c minor
minor
0^,
la:
first
minor
v^
I.'
(2)
i,
Iv^ iiL
maj.
V[,
E*?
maj.
Ivi,
III,, i2,oV^'
il
oVl,i ii;,vLi.
^'jP^j.ni^^
'''
'iU
d'
fa
lvi,r
A
^^
maj
ihk-
-^
1
K ^.
fl
ji^JifJ J
In
, r-
Tr
T'
291
292
rff i[Tv
^''
J-
'
>J
J-'
j.^-
î"
^r
^'^r
pJ ^ftf^î^-'T-
M-
1^'
^^
^^
|i^^^^:Jnf^
^^
J'lr
n-
ir>Jja^'
*'
|i^
'
te^
rt
^'^"
ju^''
î ijj ^j'f j_;3
<î.
^'
pJ
j^
vi-
J-
n^\^'>2 OTir
^
^,,^
fiJJjW^ltt
l
Ui
ZjE
pj
ZIX
^
Spohr
^p- m^
\
MI^ JJ J^^
ADVANCED EAR-TRJINING AND SIGHT-SINGING
*a
m
^
fei
r^^tr
î
r
pf
[ir
^[x!r'^-^^j;j |i.i^'^'^ iiJ^'^

i
^^r-^-^
n^
*i
'|''Nji;iJ^;j jiiJii:P^
i
i lU
^=fcg=r:piM=ac=
293
h|.P^^
Wiillner
i
ajj^j'
c^^=_gzcarr=
-i.
1^;=:
294
Section B.
(i)
Piay the entire
(a)
exercise, listening to the character of the chords

and
modulations.
Pause before each modulation and think the progression Into
the
(b)
new
key.

(c)
(d)
544 365
56
^m n
8
i
r
*=^=
a^
J
IFoV^tv/
1,
^^j-j-
oV
^ ^^
f=^
^m
rff
.u
77'="
Vj
I,
J:
v-^
J J
^^ ^^
J
^^
i
r ff
A^
J J
'y'i
Jx
^ ^^ ^^
f
W ^ ^^
ia
IffoV^vJ
f^
^ PW
oV^
n^ V
it
tip
ii
tj
7-^ ^
:i
i r=f
ff i f
J
J
I'P
lip
I'f
WWW
i
f

Practise the Jollozving Intervals:
(2)
(a)
(b)
4^
Play the I, IV, IIi, Y\ and I chords in the key of e minor. Think
of the chords and the key-centre.
(c)
Sing the intervals.
(d)
oiUt^tefc^
" H
3X1
i[ti
ita
"
"
^ =5^
1^"*
(3)
295
r.
It
*^;;
It
^\^
f"
ft
zr
o #p4
=EX=: II
..11
rcr
xc
XC no
IXE
"
\%
g *^
"
33:
i^
XT XT
* o cP it"
18
II"
lliQ
iifi
if^^
TF
"
'

(a)
(b)
(c)
(d)
(e)
(f)
Play the I, IVt,, Hit,, I2, V'^ and I chords in the key of e minor. Read
each exercise mentally, noting the modulations and embellishments.
mentally the number-names, then use the letter-names. Sing both
aloud.
i,ji>jj
I
Ativ/l,
pi-r
V^
MMr
pir ^lu^^
CIVt L
yyj.
^^j
296
D|,I
il\j
Ii
IV
îrn
if
IV
Ti|
cvj'
Ii
^'^
l^^
HJ
I
'
-J:^
rv
'N
eV^
Vj
prprii^'ir
i^
irrra^.î"i
*
Vj
p
I
il
KIM
'TQ^c^
E
^r-'T-Tr'
^f^^
^^^
^''rrrrr.
(S*P*rcjjrir'rc:;r- i^^r^ccrr
4'
4*
J.
^'
^^^
p"ffi'îJ'iTOcr!!ri*'riiWtf^jjPi|jjj.^î
[T^-
^^
^-i-
==iP
j-i
tjjjW^'
? iJ?^
i't
Âj- ^^pTr
tfp
"p
297
^^
ii
^
W^fiJ^liJ^J
Section C.
Rhythmic
(i)
(a)
Drill.
Regular Rhythm in 12/8 meter.
rhythm to la on a major scale. In 12/8 meter use the
movement
as for quadruple
pulse into triplets.

in 12/8 meter.
J>J.
<3)
}J72JT2
<4)
(6)
JT3 /T3J-
jn
/T3J.
JJ
rr:
(2)
meter and mentally subdivide each
All the rhythmic figures used in 6/8 are found
JT2
J)
J.
J)J
J)
JT3 i/T3JT3J
JTHrJ.
J)j1j
J)
J)j
J)
,j
J)J
J.
j:t^
J.
(a)
(c)
(d)
Sing
Sing
Sing
Sing
Jj/ts^JIJ'

the letter-names, then use the number-names.
to la, thinking the number- and letter-names.
from dictation.
J>J~J?5
/71 J^^J

(b)
Sing the
same arm
298
^^m
JMj
j.ij^j^-j jij.
m
i^^5
VI.
MM
'{".iÛJi
J.
MiMIN ejJU
iiL^r
.i
fJoV-
.i_j.
u ^[^r
'
^'1
,!
_^j.
p^^r
GV;
H i_^
dt
V'^
'^-
prJA_.
'ip[jj rr
p
^^
^^
it
_1^.
oVfl--
j^jffljîj.
jîj.
jjijyp^j
i.
ijjfl^^>
en'
y 4_J.
jm
'
tiî^^^^
^^
li_i-
jl^^'^'^ J ^^j.
l
;iiri
vz
ni^
'
LC;
nl-
r*pr-|Ct;J-
iJ-^
4*
J.
299
o*i-
fe^
jtJ.^^'^f'
iJ.
CD
îJ.
^^
î.itJ^-"r~
oVft,
J|J"^ p-'T'^jflJ](J.
IjtJ-it''
unh
1^^^
trH''^
p^f
v7-
L
^p
bpg
'ipT
zz
li|J.
-.
pT
[;,l.
Urn-
Lji|
BtVi
GoV^k
^^ ^fe
i'JJ.
J-^î'-^^T'
Et
'
''""HJ.
^^
V/.
^^PP
*^
39C
-:
Bi
i^g. |jjg
i
eoV:
(e)
first
by
letter-,
then by numbermaj.
-I
names, thento/^;
e
V,
I,
oV^,
(3)
in,
2,
I.
III,,
(2)
VL
M^^
I,VI,in,l2, II2^,VI,
minor
iiL, VI,
I,
(i)
MLmJL
minor
V^,
FS maj.
I,II3ôVÎ oV^,
I.
Vl, I
I,
III,,
VL
maj.
1
VL,
D
c3 minor
v[,
A!> mai.
maj.
ov:, I
300
jVri!r
i^
^ ''*?n rc:j-iir.
ii
'r
rVc!tfrr'^-?^
i|,-^J j .L.i^ j jjj.iji^j.
^m
^=
j.^ rr r
yi*/j ]jj3Jj3
^^
r"[ xj
JJ^^'^'^^j)^ !
^3
î7^r"
j^
3jj^
rj
Bach
*'-g
^^
^
^^
m
^^'"
J.
^h''
^^^
t|j-
H'-^
J j^^'
t-
J.
n^J
^ r
~'^
â^s3
:=)1 "ir^li
|.'.-7j..
J.
J ^^j^j
jj
i^
J
=
p Hi p.
T^-
IJ
'
-L,-^'
^r'
o-
||
r j)iJ. J.
/at
r^JJJJ.
-h
'^^
-I
^ ^
^r^
^^
^"
"^
NJjtJ^ttî
HP
u- -
î"''
^^ni^J.
J.
^^'-
itJ.
>j
j ip
J.
J. J
ij u-
J'lr-^Jjgj.
^^JJ.
'
J71|
^
^
/j^/j,|jt Jl
y
i-'
vv
>
j>
*:
j.J j^r'T
j.jj,j.
^ ^ ^^S
<?
u-
^ ^^5
^^
Ztl
1^
4'
u-^^jî'j-jiif j.j.
^^
^^''
>-
pj. Ji.JÎJ. J
J.^JJ"--
>-r-i
(^^'
U-
301
zat
^y p ii''jjj|jij:jJj
J.
jiJ^^j
^ p
ny
li.i.
f-
W.
i^^j^ [irr ^'f ^^p
Jiinij.
|^j:-J]j^j.J"?JrJH ^jjir:i
Mackenzie
ja
v^p
jjJJ'i:^,J^î
^"r pLirr rp -^^ J^j^^^Mr plLt^^^p

i
302
A
Handel
nanaei
^M,y
j)irrrr
Jy JMr-Tfr pwî'
J^j
Fii
^^ r
rpr
r p
1 ) ^îf
^^
P
'iTp
;rp
ii
prpJ'Jli-
't
r"p^<ipr
i*H*
\r
j.
P[^f^
^r:î,i^JJ]
j^r pv ;uj^'tf
p'
u-
PfPJT]
f
i-
i^
JTMrpr^ r f^'^
^P
^ff
^1-
pr pr ph'^J
pr pr^^^-^
^^
^J'
^
Handel
Lesson 32
composition often divides into sections which vary in length from a phrase
to a double period or a series of phrases. These sections are known as Parts.
When two of these parts are used, the second answering and a complement of
the first part, the form is known as a Two-Part Song-Form. The parts of a Twopart Song-form may be of any length, though rarely shorter than a period, and
more often a double period. The cadence at the end of the first part of a
303
song-form beginning in major will be a perfect authentic cadence in the key, or

heavy cadence in the key of the dominant; if beginning in minor, it will be
an authentic cadence in the relative key.
a
Parti
Part
II
J^^ lj.JJi j
i#
^^
The Two-part Song-form resembles and is hard to distinguish from the contrasting double period, the difference being that the cadence at the end of a part
is heavier than that at the end of the first period.
Many hymn-tunes and
popular songs are written in this form.
In minor the 4th degree is raised in the
and IVl^ chords.
Illn^
i^m M
ali
The 4th degree
is
.nd IV5, chords.
Tvll
raised in conjunction with the 6th in the
|[-'l,j)|
y
ni
[by
l]|^ll
Ijl^H
IIî,, IIJi,,
IVji,
II
n\
rf\
ivt,
Section A.
Construct Two-part Song-forms in

and remote keys. Use
(i)
tions to next related
minor, using all types of modulaembellishments, and employ the
all
Section B.
(l)

(a)
(b)
'
modulations.
new
(c)
(d)
key.

fimiv
iDtvJv?
IGtV^v/
BvJ i^cvj
vj
304
m^ m ^
^^ ^
8
5^
.U-i
'ni'i>
li
jj
J-
^j^
r'
n^ v^
^^ ^
^y
iJ=i
^^^
ItJ
g
"
I'f
i^
m
J.
^
t-^
W ^
t
rrf r
i=^
j=,t
r^
i-
^^
WtW ^
i
:^
Ji
5t
^ ^^
AJA
S3
J.
^^
(2)
(a)
(b)
(c)
(d)
Play the I, IV#, IIJn, V^ and I chords in the key of f minor. Think
of the chords and the key-centre,
Sing the intervals.
m^
tjU
tl^
*^
o"
l\
o o
tjo
-- Qii
>
j,i.v
:;"""..
I
)f.>l'l>
11
8l|
'I
'lt' l'.'
^,
31
3X ô
o o-
fe
3E
-e-
"bo
P'o
^
:,^8 H "||^ 8 ^S
305

Play the I, IVi,, IVji,, IIJi,, I2, V^ and I chords in the key of f minor.
Read each exercise mentally, noting the modulations and embellishments.
(3)
(a)
mentally the number-names, then use the letter-names. Sing
(b)
(c)
both aloud.
(d)
(e)
(f)
v^
I2
\'^'\>
p
I,
(î''i>
'1'^
l|^''i>
i.''i>
1'^
U'j
n^
iJ >j
fV
j>J
^j^
JTjg J
IV
j)J7^J-
v7
Btv^
>,j.
VI
J J''7 Ju.
||J.
i>r ^p^r
p r
J-
^S
^
l-P
^p
ciir^ "^ î^
c!:/
*riiJ>rT"r^J^rii-''
ih.Naxj3iiîiii
ji r
hJkJ^j.
JbJ^ ip
iJ^J>iiJ^pitfJ pi^r"P''r7iiJ'ff!
^ff
ip
r p r
II
m^f
v7
h. r-
-^'^^
^-^''-
'
306
fefe
u^r^T
jj^p p
i
kk
Hî^H^
"^1>^
111
>J.-'
hJ
U-
li
p-
p-
cfj
i-
J||JJ ii
i
^-
lip
^p
j1juJJ"Jj
t'"''^
j,^'-
riiJY"gi r *r'ir
,^
fe
i>
>
pf
|,j.
pnj)p-
''r
j^j
^J^^
pJbiM
pi^f'
j.
-i'
i
i
ir
^ri->J
r'
J. Tjijj
ij
^^rth^
^j^jyJJ^#ui|!4jd
v^r"f''^"riii^
^^^'^l>
Kj
'
^'i
^^
p^r
'T
LorJt
^Cicj^j.
pr i
^^L
'^p
^''ju
J'^^^l'"rr rhp^lJ>php|,J>p^
J^jiJ.
j,J. IJ
JJJ^^JJ
Section C.
(l)
Drill.
Irregular Rhythm in 12/8 meter.
rhythm to la on a major scale.
Rhythmic
(a)
Sing the
Largo
(Dl|
J)
Ti
ij:
.î^j nj^j
(2)
(3)
J)
.j:
j:
(4)
J)
i/
7n r
j~2
J.
J.
J.
jrJl
juj^j rsij^j rsijnj
J3^j
"^^7-
MI.
T2
^ /n
307
/ T3
Srn
JTl
J>
(2)
;
Bach
J.
J.
J.
js^n
I.
3]
"T3
7~:
xj
in
J.
JT
J.

(a)
(b)
(c)
(d)
|ii'ihf
Sing
Sing
Sing
Sing
,1.

to
la,
from
thinking the number- and letter-names.

dictation.
pi'
Ij. ^1
h'
'1^1
J.
''
ii^
308
fe
i I
y. i
^5
'^'
'"
^-
DtVi
li-
P ^
^=5
^P^^^^
d
mfe
,)
iJ
U- iiJ^r^^M- i
1,4.
v/.
p^rp
''-'-
-1.
p^rp U.
I'-l
1-1-
J.
i^j.
i|j.
g.
i
"
[^
iJ
>r
^îi"i-
^^
ii-
^^
?
ZE
AtL
^^''-^
J.
nit.
nl-
^
* w=^
^5
mi
^j.
^1^
V/.
i|J-^'^^'ii|J-
iiJ.
^^'i,''
U- i^''"J'^^-^
^.
JSCZ
nl-
J.
oV^.
J^T^' J.j
ij.
j.^jJ'^
c n^
Ii-
f'^J-i- U^J^'^^^M-a
^J-
^^ ^^T
^^^
d n'
f'l'
jti-^^^'"^'^'V-|i-
iM-ttJ.
^T^'ij -hJ. y.iiJ' -''^r^'

i
En;
v.^
!?^''
i^J-ii^'
i^J.|Jll>i^>
'
tfJ.^4.
^^'
^^P'TP ^-^
I
e vj
''''''
^1
^Jj-'
'"r
'^M
i^j.
^J
^j.
f rv'
I
I
'
i^j. ^j,
Ii.
Ml
'

<^''|''
'I
\i
J-^^^r^'
î-
^J.
^J-
prp
nlh
$S
kfe
izi
^1-
J.
II
J'rPr"^
rf'
rf
n(
fei'T
..
J^r
7f
.-
J-
309
^J-
h7r-'ti-h-i^^^^=t^^=
310
4^''!'
J'*^
jj^^^r
|7
^w
Ills-
(e)
ir
:^
^'T Pf
i^J
^.

f
first
minor
Ei
(i)
la:
I,
minor
oV^
f
oV^
C
g minor
El>
maj.
1
V^
(3)
4^"
h,
III,,, VI, I.
(2)
f minor
Al> major
V^
I,
oV^
oVÎ
vi, I
min.
bt>
v^
maj.
oV,
Bl>
v^
VI,
III,,
v^
I.
-'U[::iirh^>\iI^Û
4'"
('
ft
J?^.-T],JdU'
':xn:fÊjJ"^' ^^ r"r
'
J'
^Ji^rjlr^ ^'^'
"^'i^^
--vi^'cir
maj.
Ii
I, III,
oV^
F
maj.
111,
b min.
maj.
oV^, I
minor
3x:
then by numberC
maj.
oV^,I
letter-,
D?
maj.
names, then to
by
Pr- J
^ V j^
[_Q7^[T.r
J'lJ
-^cdlrJîj j-i^jg-^Jj
lîi
4*" -i^Tjpj: jirJ- jjJj. J] j_j >
pr'i^'^
'r
p"r
^^
j.jJJ.:
^^ ji^'-T^^j. ;^
'lr
311
[ifT'm^fiJ ^Pî7;jJiJ]
4^1
jin-^j'[;jQ^;jjT:iij:;gw
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Bach
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J;
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'
J.
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'^^ iJJjpj
i
yyp^J-
^-
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pfp
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pj
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pifp
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i
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312
Gasparini
4n
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Lesson
313
uT^Tj
33
When
three parts are used, the composition is known as a Three-Part SongForm. In the Three-part Song-form the third part is always an exact or modified
repetition of the first part.
This is the most common construction in all art
forms. The aria da capo, most songs and short piano pieces are written in this
form. The cadence at the end of the first part is the same as in the two-part
song-form; the cadence at the end of the second part is generally a perfect authentic cadence in the key of the dominant or dominant harmony in the key;
the cadence at the end of the third part is a perfect authentic cadence in the key.
Parti
Partn
^^t
cjQjiJ^p'iiO[îrL
Part HI
In minor the 2nd degree
is
lowered in the
II.,,
11^
and qV^ chords,
k
m
#
ni.
n^t
vî.
314
Section A.
Construct Three-part Song-forms in c# minor, using all types of moduand remote keys. Use all embellishments, and employ
the meter and rhythms given on page 307.
(i)
lations to next related
Section B.
(l)
(a)
(b)
new
key.

(c)
(d)
322
565 542
3^
Ill
ff
^r
?^^
I
rVji
V,
v/v
714342357
^M
so:
lEnJ V
^ W
^^
ILL
f
ii
^
^
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rr
iU
rr rr
m
i
J.
rr
i |J .U
icjv^v^
avJi, vj ifjv^v
fefe^
^^
and
modulations.
ff*f
aJ
^
M4
1^
m

(2)
Play the I, IV, IIn,, V^ and I chords in the key of c^ minor. Think
Play the intervals, determining their sound In relation to the root
(a)
(b)
of the chords and the key-centre.

Sing the intervals.
(c)
(d)
am
H
o
tl
-TTT
"
:^g
A ^^
3B^ a
ii it^
^"* it^
0 8
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:.
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(3)
315
31:
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31:
vt>
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acit
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11
II
j[
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ito tto
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11
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jjo
jjS
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It
DOC
c:

(a)
(b)
(c)
(d)
(e)
(f)
Read
minor.
Play the I, IV, Iljt, IV^ and I chords In the key of
embellishmodulations
and
the
noting
each exercise mentally,
c:{:j:
ments.
mentally the number-names, then use the letter-names. Sing
both aloud.
316
Sequence
Figure
c|
V7v^
Modified Repetition
^%
i^Fm-
yj
iir
Cjl
vj V^
v^
V^
hk vvJ>
c IV
piV
A ^^
P
tt
fe
rf
yJ.
P'
a'
IV
i^
Kz:
mr
prr-Tf
i'
*-#-
|j>-rn
pr
,j
yJu
jnj^j ji^j
-'''*
v^
pr' r
VI
pr pr pj
ir
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r
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r7
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rit
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j.
i^'T
h^îjJ-
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>
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j.j.
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3 J.
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^-
aw
.J
y
y
r p
f^
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p ir
i
pr
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l"^-
11 '
J
J.
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r'
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s^
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pirn
rTii^^-^rût-m
^ M-
ifc
317
r r
f*-'
Section C.
Rhythmic Drill. Five Pulse Measure.

meter Is generally the result of combining a duple and a triple
meter. The duple and triple measure are signified either by the beaming, by
the slurs, or by dotted bars dividing the measure.
The Tschalkowsky example combines a duple and a triple measure. In 5
and 6 Debussy draws a dotted bar to show the division. In 7, Elgar shows the
measure by the beaming.
(i)
five pulse
a)| J J J73J J ,J
J J
Tschaikowsky Path.
J.
;73J J iJ?37?3J.
iJJ J73JJ
iJ J
;73J
J.
iJ?3J?3J)n
.1
318
(2)
I J
iJTUt^J.
JJJ
r~J
,JU11^ I777T3
JTT3 JJJJJJ ./7T7 JJJJJJ
imjirni xsm
j j j j j j
(3)
(4)
(6)
J>J
J.
J)J
J.
J.
im
J.
=J.
J-
.;t3J.
J.
J-
-J.
J.
J.
=J.
;T3.J
J>J
,J. J>J
Debttssy
J.
j.
iJ.
JT2 it:
'.
J-
fn 17^
(6)
J)J
j.
J>J.
JTl
=J.
Elgar D. of G.
Voice part
<
/dJ
I J'J
8
(2)
J^J~J
J'J
i
>S
I
/773
;?
II

Sing each exercise mentally.
(a)
Sing the letter-names, then use the number-names.

Sing to laj thinking the number- and letter-names.
(b)
(c)
(d)
I^'I^H
>.
J.
)J
^^
^^^
22:
IV.
^'''J,jy
ij.,iJr
N.Ju.
J.^Ti
iv:
iv'ii.
-P"-
P
i
P ^M-
i*
ADVANCED EAR-TRAINING AND SIQIIT-SINGING
l'l'ii
II
ij
ItI'
t'
^m
IJ
319
I
i
IVÎ
AI,-
^^
"T
I'
ii
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ii
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Iî-
î'|,i.
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nlit-
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'j
c8
(e)
IJ.
I.
vik

cj{
names
then to
(i)
la:
VI, I
V, VL
ii
i,
vL
ii, ir,
minor
VI, I
fSmin.
cS minor
(2)
VL
v^
cij
>,vl,i,vl,ii,iv5,i2,vLi.
(3)
letter-,
i,IlLoVW,I
VI,
I,
VI, I
m A
iiL VI,
I2,
then by numbere minor
maj.
cj?
uu,
by
first
minor
d minor
a minor
F major
V,
111,^2^1^^^^
m inor
ivi
maj.
vi,ir
12,
d minor
vi, i
in* VI,
I.
in, vi, i
"
320
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ir
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iplir
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Tschaikowsky
^r^
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rTrp
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3t3=
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Tschaikowsky
<
îi
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r
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Chausson
322
m^^
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fl^^
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JuJj îv^^tt'^^'*'
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INTERVALS
Lesson
OOs:ô^:gOCT
priooô, oogrô^
.
J|armonj>
A
Practical Application of Music Theory

Including the Study of Melody Harmonization, Broken Chords and Arpeggios, Transposition, Modulation
By
and Improvisation
GEORGE
MUSIC THEORY
is
WEDGE
A.
become
equipped musician, and
a study which has
essential to the fully
which, In consequence, most pupils take up as a part

of
their
proper musical education.
It
is
generally
followed as a separate subject from the pupil's chosen
instrument or particular
very few realize
field;
its far-
reaching application and value.
This book
is
pupils of piano
theoretic point
an endeavor to show the teachers and
how
to apply, at the keyboard, each
and to give
Price
exercises for practice.
$2.50
(In U. S. A.)
OB. ^cfjirmer,
3 Cast 43rb Street

A
686
JOOOO^^^
Mt.
Jiêb)
gork
PLEASE DO NOT REMOVE
CARDS OR SUPS FROM THIS POCKET

UNIVERSITY OF TORONTO LIBRARY
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35
W^
Wedge, George Anson

Advanced eax-training
and sight-singing
Music
<35.
&0
m

Advance Ear Train

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Copyright, 1922, by G. Schirmer, Inc.

generally consists of writing notes, mathematically

calculated from a figured

must be able to read

Chords and Sight-Reading.

to express his gratitude to Dr.

encouraged and sponsored

To Miss Helen W. Whiley

Frank Damrosch, who has

and "Material Used in Musical

and the use and meaning

for ideas in presenting

material in the Exercises

North Brooklin, Maine,

Chords of the Seventh and Ninth

Chromatically Altered Chords

Modulation and Embellishi-ient

ADVANCED EAR-TRAINING AND SIGHT-SINGING

a combination of three, four or five tones placed one above the

chord may be built upon each tone of a key.

numerals are used as symbols of chords.

in the position of the ^th

ADVANCED EAR-TRAINING AND SIGHT-SINGING

which will be treated later.

these tones are related to the key-tone.

the key-tone, the tones of the

roots of chords and arranged

in this order are

which is at rest is the key-tone. The other tones

The only tone

nearer the key-centre.

ADVANCED EAR-TRAINING AND SIGHT-SINGING

Learn the arrangement of the chord roots in the harmonic series.

As these melodies are to be

ADVANCED EAR-TRAINING AND SIGHT-SINGING

and progress down the scale to 3, making b,

The melody may

Play the following chord successions, listening to the difference in sound

the chords are active

of this exercise will

demanding resolution into the I, so it must be the V; the

next a different chord

be heard thus: The

ADVANCED EAR-TRAINING AND SIGHT-SINGING

An Harmonic and most Melodic Intervals are parts of a chord and

are used in composition, the

In the V, or Dominant Chord:

Third to Fifth, from

In the IV, or Subdominant Chord:

from the 6th -8th degree

from the ist-6th degree

6th, Fifth to Third, from

2nd -7th degree

from the 6th - 4th degree

from the 4th -8th degree

5th -2nd degree

from the ist-4th degree

quality, of losing the feeling of active

a perfect 5th and in the same chord as the preceding interval,

undoubtedly sound like 5 up to i the