Anthology Sample

B AS I C R H YTH M S IN S IMP L E M ET E R S
Notes One Beat Long and Longer

The following one-part rhythm-only excerpts may be performed in a number
of ways: intoned on a neutral syllable, tapped or clapped with the hands, impro-
vised or prepared with pitches on an instrument, and so on.

Joseph Haydn, String Quartet Op. 74, No. 2 (Hob. III:73), mvt. 4, mm. 7890

Johannes Brahms, Ich schell mein Horn ins Jammertal,

Op. 43, No. 3, mm. 111 (1860)
Csar Franck, Three Chorales, No. 2, mm. 18 (1890)
KarpinskyAnthology_Unit01_001-010.indd 1 26/09/16 3:45 pm

2 Chapter 7: Basic Rhythms in Simple Meters
Alexander Glazunov, The Seasons, Op. 67, tableau 1,

Winter, variation 4, Snow, mm. 520 (1899)
Arcangelo Corelli, Trio Sonata Op. 1, No. 3, mvt. 2, mm. 112 (1681)
Bla Bartk, First Term at the Piano, No. 3,

Little Invention, mm 18 (1913)
What does the alla breve symbol indicate in the following excerpt?
Johannes Brahms, A German Requiem, Op. 45, No. 6, section 3,

Herr, du bist wrdig, mm. 6677 (1868)

Notes One Beat Long and Longer 3
The following two-part rhythm-only excerpts may be performed in a number

of ways: tapped with one hand on each part, intoned with the voice on one part
while clapping the other part, improvised or prepared with pitches on both
parts on an instrument, performed by two individuals or two groups, and so on.
Erik Satie, Menus propos enfantins, Le chant guerrier

du roi des haricots, mm. 1324 (1913)
W. A. Mozart, Symphony No. 41, K. 551, mvt. 4, mm. 245253 (1788)
Arcangelo Corelli, Sonata a quattro in D, mvt. 3, mm. 1017 (1704)

10

Pay special attention to the meter and rhythm of excerpts that begin on an
anacrusis (pickup).
Daniel Gottlob Trk, Twelve Easy Keyboard Sonatas,

Vol. I, No. 2, mvt. 3, mm. 1732 (1783)

11
Konrad Max Kunz, 200 Short Canons, No. 9 (1783)
12
Ludwig van Beethoven, Glaube und hoffe!, WoO 174, mm. 25 (1819)
13
Robert Schumann, Album for the Young, Op. 68,

No. 9, Folk Song, mm. 18 (1848)

14
(continues)

Duple Division of the Beat 5
Paul Hindemith, Neun Stcke in der ersten Lage, Op. 44/1, No. 7, mm. 1225 (1927)
15
Duple Division of the Beat
Edvard Grieg, Cello Sonata, Op. 36,

mvt. 3, mm. 151166 (1883)

16

Modest Mussorgsky, Pictures from an Exhibition,

The Great Gate of Kiev, mm. 122 (1874)

17
Joseph Jongen, Petite suite pour piano, No. 2,

Conte plaisant, mm. 250257 (1924)

18
Aleksey Stanchinsky, Sketches, Op. 1, No. 10, mm. 112 (1913?)

19
Joseph Haydn, String Quartet Op. 76, No. 6

(Hob. III:80), mvt. 3, mm. 116

20

Igor Stravinsky, Chant du rossignol, Jeu du rossignol

mcanique, mm. 5667 (1917)

21
George Frideric Handel, Organ Concerto Op. 7,

No. 1 (HWV 306), mvt. 3, mm. 112 (1740)

22
Gustav Mahler, Symphony No. 2, mvt. 5, mm. 6269 (1894)

23
Max Reger, Clarinet Quintet, Op. 146,

mvt. 4, mm. 917 (1915)

24

Orlando di Lasso, Indi per altro, mm. 4552 (1557)
25
Bla Bartk, Forty-Four Duos, No. 8, mm. 719 (1931)

26
Bla Bartk, Mikrokosmos, No. 57,

Accents, mm. 2126 (1939)

27
Domenico Scarlatti, Sonata K. 42, mm. 116

28
(continues)

Theodor Kullak, Kinderleben, Op. 62, No. 5,

Wiegenliedchen, mm. 2128

29
Michael Praetorius, Terpsichore, XIX, Bransle de la Schappe, No. 2, mm. 110 (1612)
30

Bla Bartk, Forty-Four Duos, No. 4, mm. 110 (1931)

31
Be careful while reading Pistons beaming in the following excerpt, which

slightly obscures the quadruple meter.
Walter Piston, Suite for Oboe and Piano,

mvt. 4, Nocturne, mm. 15 (1931)

32
Paul Hindemith, Neun Stcke in der ersten Lage, Op. 44/1, No. 9, mm. 16 (1927)
33

PEN TATO N ICIS M

Scale degrees in pentatonic music will be calculated here by labeling the tonic

as ^1 . Therefore, major-mode pentatonic melodies will contain scale degrees

^1 , 2^ , 3^ , 5^ , and 6^ .
Major-Mode Pentatonic with 6 as Complete Upper Neighbor to 5

Sally Go Round the Sun, North American folk song

591

Do, Do Pity My Case, North American folk song

592

593

Billy Joel, And So It Goes, mm. 916 (1983)
(continues)
168
KarpinskyAnthology_Unit16_168-178.indd 168 26/11/16 9:49 am

Major-Mode Pentatonic with 6 as Prefix Upper Neighbor to 5 169
Major-Mode Pentatonic with 6 as Prefix Upper Neighbor to 5
Anton Bruckner, Symphony No. 7, mvt. 1, mm. 413420 (1883)

594
Antonn Dvok, Sonatina, Op. 100, mvt. 3, Trio,

mm. 18 (1893) [original in C]

595
Mikhail Glinka, A Life for the Tsar, Act III, No. 12,
mm. 170178 (1836) [original in G]

596

170 Chapter 28: Pentatonicism
Ludwig van Beethoven, Twelve Scottish Songs, WoO 156, No. 11,
Auld lang Syne, mm. 815 [original in F]

597
This song is often sung beginning with the refrain. What can you do before you
sing to auralize the first note?
Good Bye, Old Paint, North American folk song, refrain
598
Major-Mode Pentatonic with Skips from 1 to 6 and 6 to 1
Franz Liszt, Septem sacramenta, No. 6, Ordo,

mm. 1019 (1884)

599
Hey, Betty Martin, North American folk song
600

Major-Mode Pentatonic with Skips from 1 to 6 and 6 to 1 171
Franz Liszt, Ossa arida, mm. 4154 (1879) [original in A]

601
The Border Lament, Scottish folk song
602
Arirang, Korean folk song
603
(continues)

Carl Maria von Weber, Overture for Turandot,

Op. 37, mm. 917 (1809) [original in G]

604
Mo Li Hua [Jasmine Flower], Chinese folk song
605
The Hanging Third below 1
The Owl Sings, Native American folk song
606
(continues)

The Hanging Third below 1 173
Cumberland Gap, North American folk fong
607
Alabama Gal, North American folk song
608
Franz Liszt, Les Prludes [Symphonic Poem No. 3],

mm. 4750 (1855)

609
David Buttolph, Theme from the

TV show Maverick, mm. 2136 (1957)

610
(continues)

Where is the hanging third below the tonic in the following excerpt? Where
does Sullivan deviate from the pentatonic scale?
Arthur Sullivan, The Mikado (or The Town Of Titipu),
There Is Beauty in the Bellow of the Blast,
mm. 7191 (1885)

611

Major-Mode Pentatonic with Other Uses of 6 175
Major-Mode Pentatonic with Other Uses of 6
Shake That Little Foot, North American folk song
612
Jubilee, North American folk song
613
Camille Saint-Sans, La princesse jaune,

Overture, mm. 153168 (1872)

614
Etienne-Nicolas Mhul, Uthal, Overture, mm. 820 (1803)

615

Gabriel Faur, Requiem, Op. 47, No. 7, In paradisum,

mm. 316 (1900) [original in D]

616
Alexander Borodin, Prince lgor,

Prologue, No. 1, mm. 2941 (1887)

617
Minor-Mode Pentatonic
In what ways is the following excerpt pentatonic? How else might you interpret
its pitch structure?
Antonn Dvok, Biblical Songs, Op. 99, No. 7,

By the Rivers of Babylon, mm. 38 (1894)

618

Minor-Mode Pentatonic 177
Marina Girls, North American folk song
619
The Gallows Pole, North American folk song
620
Wonder Where Is Good Old Daniel, North American spiritual
621
Charlie, North American folk song
622
The Blackbird and the Crow, North American folk song
623

What is the tonic in the following excerpt? What key signature might you
expect with that tonic? How does pentatonicism make the written key signa-
ture possible?
Wedding Song, Lakota Native American song
624

THE DO M I NA N T S EVE N T H CH O R D ;
S KI PS TO 5, 7 , 2 , A N D 4

The Complete Dominant Seventh Chord

J. S. Bach, Cantata No. 197, Gott ist unsre Zuversicht, No. 3,
Aria, mm. 2529 (1736)
747

Drunten im Unterland, German folk song
748

Gabriel Faur, Les Berceaux, Op. 23, No. 1,
mm. 2236 (1879)

749
(continues)
221

222 Chapter 33: The Dominant Seventh Chord; Skips to 5, 7, 2, and 4
James Hewitt, Three Sonatas for the Piano Forte,

Sonata No. 1 , mm. 17 (1796)

750
W. A. Mozart, Aria Per piet, non ricercate,

K. 420, mm. 7884 (1783)

751
W. A. Mozart, March K. 215 (213b), mm. 16 (1775)

752
(continues)

The Complete Dominant Seventh Chord 223
Franz Schubert, Ecossaise D. 299, No. 8,


753
W. A. Mozart, Minuet K. 103 (61d), Trio, mm. 15 (1772)

754
Amlie-Julie Candeille, Piano Concerto,

Op. 2, mvt. 1, mm. 17 (1784)

755

Joseph Haydn, Symphony No. 94 (Hob. I:94),

mvt. 4, mm. 211218 (1791) [original in G]

756
J. S. Bach, Well-Tempered Clavier, Book I, Prelude 20, BWV 865,

757
W. A. Mozart, Minuet K. 61h, No. 5, Trio, mm. 18 (1772)

758
How does the dominant seventh chord arise in the following excerpt?
Sopranos with higher ranges should sing the top part of the following excerpt.
Alternatively, transpose down a third; then singers with the lowest ranges
should sing the lowest part.

The Complete Dominant Seventh Chord 225
Felix Mendelssohn, Te Deum, No. 4, Tibi Cherubim,

mm. 15 (1826)
759
How will you conceive of the E in m. 2, beat 2 to make it as easy as possible to

sing? What melodic role does this E play? What harmonic role?
Giuseppe Tartini, Violin Sonata Op. 2, No. 4 [Brainard e7],
mvt. 1, mm. 12 (1743) [original in E]

760
In what places is the dominant seventh chord stated melodically in the following
excerpt? Where else is it implied by the interaction between the parts?
Arthur Sullivan, The Gondoliers, List and Learn,

761

Skips between 2 and 4
Giuseppe Verdi, La Traviata, Act II, No. 6,

mm. 8196 (1853) [original in F]

762
Felix Mendelssohn, Paulus, Op. 36,

Siehe, wir preisen selig, mm. 1117 (1836)

763
Roll That Brown Jug, North American folk song
764
W. A. Mozart, Minuet K. 103 (61d), No. 13, mm. 18 (1772)
765
(continues)

Skips between 2 and 4 227
Joseph Haydn, String Trio, Divertimento No. 15 (Hob. V:16),

mvt. 2, mm. 14 (c. 1764) [original in C]
766
Shoo, Fly, North American folk song
767
Vocal transposition: Sing both parts an octave lower.
Joseph Haydn, Symphony No. 56 (Hob. I:56), mvt. 3, Trio, mm. 18 (1774)

768
(continues)

Joseph Haydn, The Creation, Rolling in Foaming Billows,


769
Felix Mendelssohn, Sonata for Viola and Piano,

mvt. 2, mm. 1834 (1824) [original in Eb]

770

Vocal transposition: Sing at concert pitch and sing the last three notes up an
octave (or omit them entirely).
W. A. Mozart, Horn Concerto K. 417, mvt. 3, mm. 18 (1783)

771
Vocal transposition: Sing at concert pitch and sing the last three notes up an
octave (or omit them entirely).
W. A. Mozart, Horn Concerto K. 495, mvt. 3, mm. 18 (1786)

772
Joseph Haydn, Symphony No. 104 (London) (Hob. I:104),

mvt. 1, mm. 1732 (1795) [original in D]

773

Louise Reichardt, Herbstlied

774
Christoph Willibald von Gluck, Livrogne corrig,

Act II, Allons, morbleu! mm. 1656 (1760)

775
(continues)

Ludwig van Beethoven, Symphony No. 9,

Op. 125, mvt. 4, mm. 241256 (1824)

776
Joseph Haydn, Symphony No. 94 (The Surprise)

(Hob. I:94), mvt. 4, mm. 116 (1791)

777

Louis Moreau Gottschalk, Le Mancenillier, Op. 11,

mm. 2633 (c. 1850)
778
BWV 873, mm. 12 (c. 1740) [original in CI]

J. S. Bach, Well-Tempered Clavier, Book II, Fugue 4,
779
What can you do before you sing to hear the first note of the top voice in the
following excerpt?
Ludwig van Beethoven, Violin Sonata Op. 30, No. 3, mvt. 2,
mm. 13 (1802) [original in Eb]

780
Anne Home Hunter, Arietta No. 4 (1783) [original in C]

781
(continues)

W. A. Mozart, Horn Concerto K. 412 (386b),

mvt. 1, mm. 2125 (1791)

782
Camille Saint-Sans, The Carnival of the Animals, Tortoises

(after Jacques Offenbach, Orpheus in Hades), mm. 310 (1886)

783
George Frideric Handel, Hercules, HWV 60, Act I, March, mm. 16 (1744)
784

Christoph Willibald von Gluck, Ezio, Act I,

Pensa a serbarmi, mm. 1322 (1750)

785
Giacomo Puccini, La rondine, Act I,

Chi il bel sogno di Doretta, mm. 14 (1917) [original in F]

786
Clara Schumann, Liebst du um Schnheit, Op. 12, No. 2, (1841)

[Published as Robert Schumanns Op. 37, No. 4]

787
(continues)

Skips of a Seventh between 5 and 4 235
Skips of a Seventh between 5 and 4
Johannes Brahms, Quartet Op. 112, No. 3 (Vier Zigeunerlieder, No. 1),
Himmel strahlt so helle und klat, mm. 211 (1891) [original in D]

788

Gustav Mahler, Symphony No. 9, mvt. 2,

789
W. A. Mozart, Contredanse K. 609, No. 2, mm. 18 (1791)

790
W. A. Mozart Minuet K. 103 (61d), No. 10, Trio,

791
Carl Friedrich Abel, Six Easy Sonatas, No. 6, mvt. 1,

mm. 16 (1771) [original in G]

792

Skips of a Seventh between 5 and 4 237

mvt. 1, mm. 1422 (1765)

793
W. A. Mozart, Minuet K. 105 (61f ), No. 1, mm. 18 (1772)

794

W. A. Mozart, Minuet K. 105 (61f ), No. 2, Trio, mm. 18 (1772)
795
W. A. Mozart, Minuet K. 103 (61d ), No. 4, mm. 18 (1772)
796
Skips between 4 and 7
J. S. Bach, Suite, No. 3 for Unaccompanied Cello,

BWV 1009, Bourre I, mm. 14 (c. 1720)
797

mvt. 1, mm. 17 (1763)

798

Joseph Haydn, Symphony No. 77, (Hob. I:77),

mvt. 4, mm. 116 (1782?) [original in Bb]

799
W. A. Mozart, Minuet K. 103 (61d), No. 3, Trio, mm. 18 (1772)
800
Franz Schubert, Ecossaise D. 781, No. 2 (1823)
801

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B AS I C R H YTH M S IN S IMP L E M ET E R S

Notes One Beat Long and Longer

Csar Franck, Three Chorales, No. 2, mm. 18 (1890)

KarpinskyAnthology_Unit01_001-010.indd 1 26/09/16 3:45 pm

Alexander Glazunov, The Seasons, Op. 67, tableau 1,

Bla Bartk, First Term at the Piano, No. 3,

Johannes Brahms, A German Requiem, Op. 45, No. 6, section 3,

KarpinskyAnthology_Unit01_001-010.indd 2 26/09/16 3:45 pm

The following two-part rhythm-only excerpts may be performed in a number

Erik Satie, Menus propos enfantins, Le chant guerrier

W. A. Mozart, Symphony No. 41, K. 551, mvt. 4, mm. 245253 (1788)

Arcangelo Corelli, Sonata a quattro in D, mvt. 3, mm. 1017 (1704)

KarpinskyAnthology_Unit01_001-010.indd 3 26/09/16 3:45 pm

Daniel Gottlob Trk, Twelve Easy Keyboard Sonatas,

Konrad Max Kunz, 200 Short Canons, No. 9 (1783)

Robert Schumann, Album for the Young, Op. 68,

KarpinskyAnthology_Unit01_001-010.indd 4 26/09/16 3:45 pm

Duple Division of the Beat

Edvard Grieg, Cello Sonata, Op. 36,

KarpinskyAnthology_Unit01_001-010.indd 5 26/09/16 3:45 pm

Modest Mussorgsky, Pictures from an Exhibition,

Joseph Jongen, Petite suite pour piano, No. 2,

Aleksey Stanchinsky, Sketches, Op. 1, No. 10, mm. 112 (1913?)

Joseph Haydn, String Quartet Op. 76, No. 6

KarpinskyAnthology_Unit01_001-010.indd 6 26/09/16 3:45 pm

Igor Stravinsky, Chant du rossignol, Jeu du rossignol

George Frideric Handel, Organ Concerto Op. 7,

Gustav Mahler, Symphony No. 2, mvt. 5, mm. 6269 (1894)

Max Reger, Clarinet Quintet, Op. 146,

KarpinskyAnthology_Unit01_001-010.indd 7 26/09/16 3:45 pm

Orlando di Lasso, Indi per altro, mm. 4552 (1557)

Bla Bartk, Forty-Four Duos, No. 8, mm. 719 (1931)

Bla Bartk, Mikrokosmos, No. 57,

Domenico Scarlatti, Sonata K. 42, mm. 116

KarpinskyAnthology_Unit01_001-010.indd 8 26/09/16 3:45 pm

Theodor Kullak, Kinderleben, Op. 62, No. 5,

KarpinskyAnthology_Unit01_001-010.indd 9 26/09/16 3:45 pm

Bla Bartk, Forty-Four Duos, No. 4, mm. 110 (1931)

Be careful while reading Pistons beaming in the following excerpt, which

Walter Piston, Suite for Oboe and Piano,

KarpinskyAnthology_Unit01_001-010.indd 10 26/09/16 3:45 pm

Major-Mode Pentatonic with 6 as Complete Upper Neighbor to 5

KarpinskyAnthology_Unit16_168-178.indd 168 26/11/16 9:49 am

Major-Mode Pentatonic with 6 as Prefix Upper Neighbor to 5

Anton Bruckner, Symphony No. 7, mvt. 1, mm. 413420 (1883)

Antonn Dvok, Sonatina, Op. 100, mvt. 3, Trio,

KarpinskyAnthology_Unit16_168-178.indd 169 26/11/16 9:49 am

Major-Mode Pentatonic with Skips from 1 to 6 and 6 to 1

Franz Liszt, Septem sacramenta, No. 6, Ordo,

Hey, Betty Martin, North American folk song

KarpinskyAnthology_Unit16_168-178.indd 170 26/11/16 9:49 am

Franz Liszt, Ossa arida, mm. 4154 (1879) [original in A]

The Border Lament, Scottish folk song

Arirang, Korean folk song

KarpinskyAnthology_Unit16_168-178.indd 171 26/11/16 9:49 am

Carl Maria von Weber, Overture for Turandot,

Mo Li Hua [Jasmine Flower], Chinese folk song

The Hanging Third below 1

The Owl Sings, Native American folk song

KarpinskyAnthology_Unit16_168-178.indd 172 26/11/16 9:49 am

Cumberland Gap, North American folk fong

Alabama Gal, North American folk song

Franz Liszt, Les Prludes [Symphonic Poem No. 3],

David Buttolph, Theme from the