CHAPTER 12

Melody:

Phrases
Melodic TDT progressions
Authentic and half cadences

Rhythm:

More-advanced compound-meter rhythms with beat subdivisions

In this chapter youll learn to:

Improvise phrases in pairs

Perform and recognize melodic TDT progressions
Recognize authentic and half cadences in melodies
Perform compound meter rhythms with a variety of beat subdivisions

Improvisation 12.1: Melodies in Phrase Pairs

Improvise a melody that may be accompanied by the following progression. Sing the melody while accompanying yourself at the keyboard.
Direct the melody of each phrase toward the cadence, ideally descending
) at the first cadence (m. 4) and do ( 1) at the second cadence. For
to re (2
extra guidance, refer to the strategies presented in Improvisation 11.1.

155

CH12_MGAS3_26405_155_170 page 155

CH12_MGAS3_26405_155_170.indd 155

2 June 2016 4:14 PM Second Pass

02/06/16 4:17 pm

Duet
While one person plays an embellished version of the progression,
the partner improvises a melody by singing or playing an instrument.
Switch roles and perform again.

Rhythms with Subdivided

Beat Unit

543

544

545

546

156

Part II Diatonic Harmony and Tonicization

CH12_MGAS3_26405_155_170 page 156

CH12_MGAS3_26405_155_170.indd 156

2 June 2016 4:14 PM Second Pass

02/06/16 4:17 pm

547

Duets
548

549

Chapter 12

CH12_MGAS3_26405_155_170 page 157

CH12_MGAS3_26405_155_170.indd 157

2 June 2016 4:14 PM Second Pass

157

02/06/16 4:17 pm

Rhythms with Subdivided

Beat Unit

550

551

552

553

554

158

Part II Diatonic Harmony and Tonicization

CH12_MGAS3_26405_155_170 page 158

CH12_MGAS3_26405_155_170.indd 158

2 June 2016 4:14 PM Second Pass

02/06/16 4:17 pm

555

556

Ensemble Rhythms
557

Chapter 12

CH12_MGAS3_26405_155_170 page 159

CH12_MGAS3_26405_155_170.indd 159

2 June 2016 4:14 PM Second Pass

159

02/06/16 4:17 pm

558

559

160

Part II Diatonic Harmony and Tonicization

CH12_MGAS3_26405_155_170 page 160

CH12_MGAS3_26405_155_170.indd 160

2 June 2016 4:14 PM Second Pass

02/06/16 4:17 pm

Rhythms with Subdivided

Beat Unit

560

561

562

563

564

Chapter 12

CH12_MGAS3_26405_155_170 page 161

CH12_MGAS3_26405_155_170.indd 161

2 June 2016 4:14 PM Second Pass

161

02/06/16 4:17 pm

565

566

Ensemble Rhythms
567

162

Part II Diatonic Harmony and Tonicization

CH12_MGAS3_26405_155_170 page 162

CH12_MGAS3_26405_155_170.indd 162

2 June 2016 4:14 PM Second Pass

02/06/16 4:17 pm

568

Harmonic Progressions
Sing these tudes to learn the common sound of progressions that start
in the tonic area, move to the dominant, then return to tonic (TDT).
Stems-down pitches represent the bass lines; listen especially to these
notes or have a partner sustain them while you sing the melody. Sing
the melodies in their parallel keys, too.
569IV6I

570IV 65 IV 65 I

571IV 43 I6 V 43 I

Chapter 12

CH12_MGAS3_26405_155_170 page 163

CH12_MGAS3_26405_155_170.indd 163

2 June 2016 4:14 PM Second Pass

163

02/06/16 4:17 pm

572IV 42 I6V 42 I6 I

573IV7IV7I

Getting the most out of this tude

Play the bass line while singing the melody with solfge syllables
and scale-degree numbers.
Have a partner sing the bass line while you sing the treble part.
Realize the progression in block chords at the keyboard by holding
the three highest treble pitches while playing the bass line.
Play the four-part progression in block chords while singing the
melody as notated.

574

Authentic and Half Cadences

As you perform these melodies, listen carefully to the phrase endings
), or sol (5
),
and try to identify authentic cadences ending on do ( 1 ), mi (3
), sol (5
), or ti ( 7
).
and half cadences ending on re (2

164

Part II Diatonic Harmony and Tonicization

CH12_MGAS3_26405_155_170 page 164

CH12_MGAS3_26405_155_170.indd 164

2 June 2016 4:14 PM Second Pass

02/06/16 4:17 pm

575 Jingle Bells (traditional)

576 Bach, No. 48, from St. John Passion

577 Caccini, Maria, dolce Maria (adapted)

578 Bruce Johnston, I Write the Songs

Chapter 12

CH12_MGAS3_26405_155_170 page 165

CH12_MGAS3_26405_155_170.indd 165

2 June 2016 4:14 PM Second Pass

165

02/06/16 4:18 pm

579 Martini, Gavotte in F

580 Bach, Violin Concerto No. 1 in A Minor, first movement

581 Johnny Marks, Silver and Gold (adapted)

582 Mahler, Symphony No. 2, second movement

583 Hank Cochran, Make the World Go Away

166

Part II Diatonic Harmony and Tonicization

CH12_MGAS3_26405_155_170 page 166

CH12_MGAS3_26405_155_170.indd 166

2 June 2016 4:14 PM Second Pass

02/06/16 4:18 pm

584 Dubinushka (Hammer Song) (traditional)

585 Schubert, Das Wandern (Wandering), from Die schne Mllerin

586 Mahler, Symphony No. 1, third movement

587 Bach, Burlesca, from Partita No. 3 in A Minor, BWV 827

Chapter 12

CH12_MGAS3_26405_155_170 page 167

CH12_MGAS3_26405_155_170.indd 167

2 June 2016 4:14 PM Second Pass

167

02/06/16 4:18 pm

Ensemble Melodies
As you perform these ensemble melodies, listen carefully to the
soprano-bass phrase endings and try to identify cadences: perfect
authentic (PAC), imperfect authentic (IAC), or half (HC).
588 Byrd, The Carmans Whistle, My Lady Nevells Book

589 Foster, Better Times Are Coming

Play the piano part and sing the melody, or perform as a quintet.

168

Part II Diatonic Harmony and Tonicization

CH12_MGAS3_26405_155_170 page 168

CH12_MGAS3_26405_155_170.indd 168

2 June 2016 4:14 PM Second Pass

02/06/16 4:18 pm

590 Haydn, String Quartet in D Major, Op. 50, No. 6, first movement
), the starting pitch.
Sing the tonic pitch, then find re (2

Chapter 12

CH12_MGAS3_26405_155_170 page 169

CH12_MGAS3_26405_155_170.indd 169

2 June 2016 4:14 PM Second Pass

169

02/06/16 4:18 pm

591 Haydn, String Quartet in G Minor, Op. 20, No. 3, first movement
A passing V 43 is implied in measure 1, but because the viola doubles violin 1, the
1 ) line is not present.
dotido ( 1 7

592 Strozzi, Dessistete omni, pensiere, from Ariette a voce solo, Op. 6

170

Part II Diatonic Harmony and Tonicization

CH12_MGAS3_26405_155_170 page 170

CH12_MGAS3_26405_155_170.indd 170

2 June 2016 4:14 PM Second Pass

02/06/16 4:18 pm