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Key:
Pitch:
Meter:
Duration:
#3.
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Key:
. Pitch:,
.o:I'~'''''' ~
Meter:
Duration:
Progression by Exercise.
C Major (TreblelBari), G Major (Changing Voice'
Step-wise, diatonic, with repeated notes
4/4
Quarter, Half and Whole Notes
Same as number 1
Stepwise, diatonic, with repeated notes and step"
limited to the tonic triad
3/4
Quarter, Half, and Dotted Half Notes, Quarter ['('.;;1'''
D Major (Treble/Bari), A Major (Changing voiccj
Ste~w.{se"di:atonic,skips"limited to the{Ollic triad
at the beat level'
.. -' .. -.---- ...
3/41 or 4/4
Quarter, Half, Dotted Half and Whole notes,
Quarter and Eighth rests
Being aware of the limited ranges of JHlMS voices, especially boys, the auditi,xi;:;r
will be allowed to change the key of any exercise to suit the particular student The
girls, for instance, may find that C and D Major are alittle low, while some
Baritones would sing more comfortably in B Flat rather than C or D Major. Sorne
ofthe young boys will sing the Treble exercises comfortably, while others w\u jjr.d
these too high and the Changing Voice keys too low. Please change the keys cll
accommodate the student!
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Pitch:
Meter:
Duration:
C Major
Stepwise, diatonic
4/4
Quarter, half and whole notes, no rests
#2.
Key:
Pitch:
F Major
Stepwise, diatonic, with division level activity restricted to
repeated tones allU neighbor lanes
3/4
Add division level activity to include two eighth notes, dotted
quarter and eighth and dotted half
Meter:
Duration:
#3.
Key:
Pitch:
Meter:
Duration:
F Major
Stepwise, diatonic, with skips limited to the Tonic triad on the beat
level, lower neighbor approach to the Tonic or Dominant,
or upper neighbor approach to the Dominant
4/4 or 3/4
Add rests at the beat level
#4.
Key:
Pitch:
Meter:
Duration:
#5.
Key:
Pitch:
G Major or D Major
Stepwise, diatonic, with skips on the Tonic triad but not on
consecutive eighths (quarter, eighth, dotted quarter andlor dotted
half notes)
6/8 or 6/4 (compound duple)
Add dotted quarter rest
Meter:
Duration:
#6.
Key:
Pitch:
Meter:
Duration:
CMajor
Stepwise and skips on the Tonic, Sub-Dominant and Dominant
Triads, chromatic alterations of the 4th (fe), and 7th (te)
approached stepwise.
4/4, 3/4 or 6/8
All values previously used plus dotted eighths/sixteenths,
syncopation at the division level and ties across the bar line.
1995
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