EAR TRAINING BASIC INSTRUCTION IN MELODY AND RHYTHM READING BY JORGEN JERSILD Professor at the Royal Danish Conservatory of Musto, Copenhagen, Bnglish Translation by GERD SCHIOTZ Consultant for American Edition SALLY MONSOUR, Ba. D. WILHELM HANSEN, Publisher COPENHAGEN, DENMARK G. SCHIRMER, Inc., Sole Selling Agent for the U.S. A.CONTENTS Preface 5 Suggestions for the Teacher I u ud Iv v VI VIE Vil Ix x XI XI XH XIV Exercises I .. Exercises IT Supplement . List of References from Musical Literature . 45626 ‘Theoretical Orientation Stepwise Motion ‘Major, Minor and Diminished Triads ....... Other Combinations of Thirds and Seconds ... Broken Triads .... Fourth and Fifth Major and Minor Sixth Major and Minor Seventh Octave and Compound Intervals .... Augmented Second ... Diminished Seventh ... Diminished Fourth and Diminished Third Augmented Fifth and Augmented Sixth Functional Progressions...PREFACE ‘The purpose of this manual of ear training and sight reading is the theoretical instruction of the serious music student receiving his training in conservatories, universities, music schools, etc. In a more simplified form this method may also be used to teach less advanced. students as well as by students who wish to teach themselves. Tn principle, this is an attempt to approach the problems of music reading by learning to recognize at fa glance entire musical patterns rather than laboriously going from detail to detail. Somewhat opposed to this view are the several music reading systems which begin with a more or less abstract study of intervals ‘These rarely provide efficient results. There are two reasons for this, First, the character of the interval changes according 10 ‘its place in the tonal context Second, the interval constitutes a subordinated detail jn any ‘musical sequence, While reading music, such Satomistie” detail will rarely be perceived. In an aitempt to reach a concept superior to that of the terval, the principle of tonality results. This is the principle by which individual tones are co-ordinated into the general context of musical patterns and phrases. The concept of tonality can be observed within ely differing styles. It appears in pentatonic primi- tive music, in monophonic and polyphonic styles of the Middle Ages and the Renaissance, and also in the free-tonal music of contemporary literature. However, the stabilizing order of the tonality is felt more decisively within the music of the eighteenth and nineteenth centuries, ic, in the established major and minor styles. In these periods, the melodie patterns follow established rules and are, in addition, governed by the equally rigid traditional patterns of the chord sequences of functional harmony. For these reasons, music of major and considered most appropriate for the initial study of melody reading. The melodic and harmonic patterns of this period are naturally familiar to any student and are, as such, valuable teaching aids. When the student is able to visualize musical patterns as units, nor style is 45626 hhe is ready to expand his field of study to music of both earlier and more recent periods. ‘A music reading system which uses contemporary ‘music as a starting point might well be imagined, but would not be a system which at the same time utilizes well-known tone relations as the most appro- priate basis for the initial study. In accordanee with the findings of Gestalt Psy- chology, the decisive motto for the preparation of this manual has been that of integration. A simple tonal pattern conceived as an integral unit forms the basis of such a procedure. From this basic pattern, new and more complex variations are developed. By comparison, these will prove much easier to grasp. ‘A completely untrained person of average musical ability is able to sing an ascending major scale without iMiculty. Though unconscious of the structural step~ wise progression, he already possesses a pattern for the further development of auditory perception, The wrong, method will immediately stifle a development of this, ind by isolating the individual components of the pattern, For example, when exploring various stepwise motions, it is:inappropriate to analyze the whole and hall-steps in an effort to stress the single components of the sequence. On the other hand, if such structural diatonic patterns are considered as parts of an entire basic pattern, such as the scale, the method is correct. ‘When singing by ear, the transposition of the same pattern from one key to another causes no difficulty. A familiar melody is sung just as easily in G major as in F sharp major. On the other hand, the visual pattern of the notes in these two Keys is very different. The tonal relationships which are so obvious in the familiar key will be recognized in the more complicated key only after some practice. Consequently, the primary pattern has to be transposed before it is altered. In the section entitled “Stepwise Motion,” the author has used the principle of the teirachord, one of the coldest concepts of music theory. For example, a certain tetrachord forming the section of the scale from thedominant to the tonic (1 -+ 1 ++ ¥4) is transposed into various keys. The student must learn to recognize this simple four-tone pattern by sight regardless of where (in which key) it appears. Uf this practice of recogn! tion is omitted, lack of aural discrimination might be blamed for errors which actually are caused by insuffi- cient recognition of the visual pattern, Musical conseiousness can be developed by beginning with either an auditory or a visual procedure. In the first instance, the skill is developed through the use of music dictation, and in the second by practicing sight singing. From an educational standpoint, the latter method seems preferable because it is faster and more ficient, The first method, however, should be used as 45626 1 supplement, especially for students of composition. The final section of the manual is extremely im- portant. Tt consists of a List of References from Musical Literature, progressively arranged in groups, and should be used as sight-reading material. A com- prehensive and well-planned course in solfége should aim not only toward technical achievements, but also toward a differentiated study of musical literature, Tt is obvious that music of lasting value should be used for examples. Unfortunately, the teaching of solfége hhas not always met this requirement. In. planning the List of References from Musical Literature, the author hhas chosen music from collections which are easily obtainable and within the reach of the instructor. Jorgen Jersitd ss ime enim eR CCR eet rteSUGGESTIONS FOR THE TEACHER ‘The instructor who intends to use this manual should realize that the indicated procedure must be adjusted to the student’s qualifications, If the rate of progress is too rapid, the student's musical confidence might suffer. On the other hand, a procedure which utilizes superfluous methods and devices might also hamper the student’s development. Appropriate basic teaching procedures should be planned in the beginning of the course. This should be done by thoroughly testing the student's natural talent and technical skill, thereby determining the components of his inherent musical ability. As a consequence of such a testing procedure, ‘4 suitable instructional approach might be found. The testing should cover: 1) Knowledge of notation —key signatares and the ability to recognize modulations, et. 2) Ability to read and comprehend note symbols as @ whole, i. determining the modes of broken triads and chords, and recognizing familiar melodies from visual notation, 3) Ability to play by ear—reproducing a familiar melody in unison as well as harmonized differentia- tion of armonic sensitivity, (This test might include the playing by the teacher of a familiar melody in various harmonizations, among which’is the original plus a variety of other arrangements.) 4) Capacity for aural discrimination; ability to sing or play a melodic pattern demonstrated by the teacher. 5) Ability to identify a played chord or phrase as major or minor 6) Skill in rhythmic reading, ic. reading patterns with- ‘out piteh, then combining these with stepwise mo- tion (see Manual of Rhythm Reading) 7) Melody reading ability, ic. reading examples which contain few rhythmic problems; then examples combining pitch and rhythm of progressive dif- ficulty. ‘The composite results of these tests should be eval- uated. If point 1, for example, indicates lack of basic orientation, this fact should be considered in the final 45626 conclusions of the tests of point 7. Points 3 and 4 Which demonstrate spontaneous musical ability should then be given full attention, etc. The material in the sections “Exercises” or “List of References from Musical Literature” might be used for such testing During the course, similar tests should be constructed in order to control the effectiveness of the procedure, ‘This manual is divided into three main sections: (1) the text (p. 11-32) which demonstrates the procedural plan and should be thought of as a basis for the teacher's instruction; (2) Exercises I and HT (p. 33-72) which constitute material for the outside-of-class preparations of the students, and (3) the concluding List of References from Musical Literature (p. 73-78) which consists of appropriate reading material, The reference examples are arranged in groups correspond- ing to various stages of development and should be used as sight-reading material throughout the course. ‘They should also serve as material for outside-of-class assign- ment and individual practice. In the text, the following should be noted. During the period in which the above tests are made, the initial procedure should. stress theoretical orientation (Chapter I). This is followed by the primary training in melody reading. Melody reading is divided into four basic categories: Stepwise Motion (Ch. IL); Broken Triads (Ch. III and V, section a); “Zig-Zag” Stepuwise Motion’, ic,, seconds and thirds combined (Ch. TV); and “Zig-Zaw” Broken Triads providing the intervals of thirds, fourths, fifths and sixths (Ch. V, section hom The" hceedng chapters (VI-XIIT) contin the treatment of various intervals in consecutive order. ‘The headings of these chapters, however, do not imply that the intervallic leaps in question should be studied as isolated units (refer to the Preface), Rather, it has been the author's intention to demonstrate the variabil- *Translator’s note: The author bas coined the word “zigezag” which is used throughout the American edition. Gs.ity of the interval conditioned by its tonal context, i, its capacity of “stretching” or “shrinking” according to its function. The example of the two melodie patterns 1 If sung or played on the violin (instead of the piano), the interval of the 4th in example 1 will obviously be larger than the distance between the same two notes in such contest as in example 2 In the later, the E functions as a leading tone to the dominant and will consequently be higher. At the same time, the second example demonstrates how musically mis- leading it is to think “a 4th downward” from an A in order to find the tone E. ‘The chapter on Functional Progressions (Ch. XIV) concludes the text, Nevertheless, thé included formulae should be practiced in coordination Wwith the rest of the material (compare Ch, II, section & and f) The ancillary methods indicated in the text should only be used when necessary. If, for example, the reading of stepwise motion (Exercise 1, Groups $ and 4, pp. 34-38) shows few errors, the supporting device of the tetrachord might be used only cursorily, TI may begin, for example, with Chapter II, section j and ke The correlation of melody and harmony constitutes an essential part of the exposition. Especially important in this respect are the exercises in which the student sings patterns while accompanying himself by playing chords or bass notes. Because the visual notational pattern of a melody line should be perceived as an integrated whole combining horizontal and vertical elements, this duo activity is very valuable. OF course, 2 certain fund of theoretical knowledge is a prerequisite for understanding the harmonic dimen- sion of a notational pattern. The instructor, however, will soon discover that one type of student will profit from learning all theoretical details while another may view the concepts intuitively. The latter will often encounter diffcuities when later meeting less general melodic concepts, In this instance, it is important to practice the secondary exercises in order to integrate thoroughly unfamiliar concepts into familiar pattems. ‘Also, previously studied material must be stabilized before continuing the study. Although a melodic pat- tern may be mastered in an isolated situation, it still ‘may cause difficulty and confusion when applied in a broader context. However, should certain problem cause difficulty, intermittent studies and a presentation of the problem in varying contexts will prove useful Such a procedure is superior to constant drilling of the 45626 below, both of which contain a descending fourth (A — E), serves as an illustration of this point: F same exercise, which in the student’s mind tends to become associated with boredom, unpleasantness and difficulty —something to be shunned. In other words, the instructor should adopt a systematic procedure of meaningful direction rather than one which is rigid ly enforced, Timing. is another important factor. Perceiving and reproducing a notational pattern are not the only sig- nificant factors in sight reading, The palse of the tempo must also be maintained. Gertain exercises are planned for group teachings for example, Exercises I, Group 3, patterns 1-5 (p. 34). ‘The instrictor should give the initial tone and suggest the tempo, after which'the five patterns are executed in sequence. Each student should take one pattern, In this way the perception and reproduction of a given tempo is instilled, because an a tempo attack requires concentrated effort, ‘The ability of perceiving rhythmic elements should of course be developed in connection with pitch train= ing. Rhythmic exercises, however, when drilled in isolation should contain rather complex patterns. In this sway the student is prepared for the difficulty which exists when melodic and rhythmic patterns are to be read simultaneously. Experience has shown that the per- ception of melodic sequences is much easier when the rhythmic elements do not cause difficulty. Exercises I (pp. 33-62) constitute basic practice material; Exercises If are supplementary exercises (pp. 63-72) which are intended to reinforce sight-reading ability. A compatison of the stepwise Exercises 1, 1-5 (pp. 33-39) with the corresponding supplementary Exercises I, 1%-2* (p. 63) reveals that the first group contains stepwise motion in comparatively easy tonal contexts, while the corresponding group illustrates, ‘combinations of greater complexity {patterns such as F.G-Fs; mefodies in whole-tone scale; chromatics and enharmonics). In most eases, these should be postponed to a later time. Exercises II, 11°24" (pp. 66:69) constitute a review of concepts which were formerly studied in isolation: second-third progressions (Exercises 1, 911, pp. 40-45} are now combined with broken triads, The exercises relate the sequence in the Diagram of Broken Triads, Exercises I, 11*—13* (pp. 66-67) comespond to the top staff of the diagram (beginning on tone C); dhetineemer-enrrermneconinnemneneinsennnnaraennclmennnTentinien14*~16" correspond to those .on the second staff (beginning on £), etc. Only Exercises 11, 4*—10* (pp. 6466) are dle- mentary. These should be practiced in connection with the Diagram of Functional Progressions. Certain exercises in both Exercises I and IL (called “13, Key Exercises”) should be executed in a variety of keys, Thus the visual melodic sequence is altered with each new reading. In this way, learning the ‘exercises by ear is almost impossible. In addition, each individual exercise systematically covers the various possiblities within its scope. In the “13 Key Exercises” of the Exercises Il, the keys to be sung are indicated by letter names above the exercises. For example: Exercises 1 (p, 66) should be sung first without accidentals; then with 3 flats; consecutively with 1 sharp, 3 flats and 1 sharp alternating, etc. In 30* and 31%, (p. 72) minor keys are indicated by letter name above the Key signatures. In this case, the accidentals of the harmonic minor scale should be used. Exercises II (Supplement) contains the following types of exercises: a melodic basie form (@) from which more complicated forms are derived (f and +) by inverting the tones. When drilling, the B— and 7— forms should be related to the original basic forms, Exercises II, 13" (p. 67), for example, will provide 14 variations, as both a and B— forms each contains seven different key possibilities, The List of References concluding the manual (p. 73) contains examples primarily from vocal litera- ture, The range of the average voice has been taken {nto account in order to avoid transposition. ‘The in- structor should simplify the accompaniment by giving only the necessary supporting chords. He should not include tones from the melodic line. Occasionally, the accompaniment should be entirely omitted. ‘There are relatively few examples of partsongs in this manual because such examples necessitate selection according to students’ vocal ranges. Nevertheless, part- songs are very useful as sight reading material. For instance, it is instructive for a student to sing one of the inner voices of a choral selection, while the other parts are played as accompaniment. See in Group A, for example, the voice paris from the Bach Chorales. ‘The references in Group G consist of lower vocal parts in which the frequent combinations of 4th, Sth and octave skips are to be practiced. If these bass parts are sung by sopranos or altos, the accompanying upper parts should be played an octave higher. ‘As mentioned in the preface, music in typical major and minor style is used as a basis for the study of each category in sight-reading. When sufficient ability is attained, however, it is important to present reading material in unfamiliar tonalities, Suitable examples may be found in the compositions from the historical 45626 anthology of Davison and Apel (for example: Group A). Am introduction to the modes used in Medieval and Renaissance music should be presented simultaneously. In Group A, stepwise motion is predominant. It contains mainly pre-classic literature. In Group B, broken triads and functional progressions are now added to the repertoire. Consequently, the melodic line possesses greater mobility. Group C, containing zig-zag broken triads, consists of material taken essentially from the Classical and early Romantic periods. On the other hand, is Renais- sance music it would be difficult to find melodic structures of such chordal nature, Progressions of single skips followed by contrary stepwise motion are preferred by the Renaissance composers —a melodic ideal which Palestrina above all consistently cultivated, Group D teats intervals of the 4th and 5th outside of the context of broken chords. Here again, Renais- sance and early Baroque music supply the material. When the above progressions are mastered, the melodic style of the Renaissance is well covered. Also Baroque ‘opera, from the Florentines and Monteverdi to Sear Jatt, and Purcell and Rameau, provides excellent ‘material, In the literature of the nineteenth century, the above intervals are most frequently found in the works of Brahms, Moussorgsky, Grieg and Debussy. Groups E and F teat 6ths and 7ths, especially the skips in connection with the various 7th chords, ‘These ‘ate well illustrated in Bach’s recitative style. (Because of the tonal range, examples from the Cantatas are selected.) Numerous other examples from the nine teenth century from Mendelssohn to Mahler can also be found. The final groups, Hand 1, treat difficult augmented and diminished intervals. The Italian bel canto style from the Baroque era provides comparatively easy examples, At an advanced stage, Bach's recitatives and arias are valuable, especially in teaching melodic derivations of the diminished 7th chord. Through the study of late romantic music originating in Wagner's Tristan and Isolde, the road is open for the study of contemporary music. Only a person with absolute pitch will be able to sight read this style fluently. Students without absolute pitch should use this material for out-of-class practice. ‘Training in aural perception of harmonic sequences, exercises in keyboard harmony, correction of played errors shown by aid of the score, reading of the Ceclefs, the initial study of score playing and similar exercises should supplement and provide the basis for continued study beyond the scope of this manual,I I THEORETICAL ORIENTATION Major Scales. Study the citcle of 5ths below until the accidentals of the 13 major scales are fully mastered, Include the practice of letter names. Within all the scales, find the tonic (the key note of the scale), the dominant (the 5th step in the scale), and the subdominant (the 4th step of the scale, the 5th down from the tonic). Example: © major: tonic = C, dominant = G, sub- dominant = F; Ab major: ton. = Ab, dom. = Eb, subdom, = Dp. Tonality. Build a scale from a tone chosen at random consisting of the following step-structure: LflfA-l+l41+y% (the step sequence of the major scale). Note that the starting-tone will be felt as the key-note of this sequence and will have the tonic quality. Even if the chosen scale 45626 is extended and other steps of the same scale are selected as starting tones, the original key-note will still be recognized aurally as tonic, This process of locating the Key-note by ear is caused by one’s sense of tonality which in turn makes comprehensible a sequence of single tones asa unity. Each tone will have a certain function within the context of this unity, A major scale, consisting of a sequence which can be sung with- out effort, represents such a familiar tonal concept. Even a smaller segment of a diatonic sequence might evoke a tonality, A sequence of four tones —such as Eb, F, G, A—gives a pronounced feeling of Bh major. Notice that the four tones12 are creating a tonality even though none of them possesses tonic quality. Together they have a tonal tendency which arouses expectation of definite continuation, This tendency is resolved when the sequence is extended to the tonic Bp. Every characteristic tonal context contains certain active tones as well as tones of resolving tendency. However, the fact that individual tones are not always associated with definite functions gives the melodic line its particular variation. The inter- relationship of the tones change in more ot less decisive ways. This is felt most clearly when the tonic quality changes from the key note to one ‘of the other steps of the scale. Such a change might be of transient character. If it assumes the definite character of a new tonic, however, a modulation has occurred, The dominant of the seale is most likely to be established as a new tonic, The reason is that the step progression starting from the dominant (the new tonic) in- cludes the same notes as the original key in its first six steps. Find examples of folk songs in major keys which modulate to the dominant, If the original key is C or any sharp key, the modulation to the dom- inant will require an additional sharp. If on the other hand the original key is a flat key, the modulation will require a flat less. Cadences. The three major triads of the major scale are constructed on the tonic, the dominant and the subdominant. In G maj.: ton, = CE,Gs dom. = G, B, D; subdom, = F,A,G, etc, Practice the chord sequence ton, ~ subdom, ~ dom. ~ ton. (T-S-D-T) at the piano until it is mastered in all the 13 major keys. First the bass motion in the left hand is studied: 1 ~ 4 ~ 5 ~ 1 (scale steps by numbers); then the upper part in the right hand: | — 1 ~ 7 ~ 4, The two inner parts {alto and tenor) which are also played with the right hand, are the two triad tones closest to the upper tone (close position) Ex.: in © major: TS DT 45626 ‘This cadence gives a pronounced tonal feeling. After having played the cadence, the tonic and the corresponding scale may be sung with little dif- ficulty. Practice the same chord progr ing from the tonic triad in fifth posits the tone sequence of the former second part (alto) will become the upper (melody) part. Discover the sequence starting from the tonic chord in third position, causing the former third part (tenor) to become the melody line. Minor, On the Circle of Fifths Diagram, insert the relative minor key of each of the 13 major keys. The relative minor scale has as its key-note the Gth step of the major scale, ie. a minor 3rd below the tonic of the major key. For exarnple, A minor is the relative minor of C Major, D minor is the relative minor of F Major, etc. The first five steps of the minor scale are the same as the 6th, 7th, Ist, 2nd and 3rd steps of the relative major; however, the 6th and 7th steps of the minor scale vary. They are either the same as the 4th and Sth steps of the relative major key (pure minor, melodic descent), or raised {melodic minor ascent). When raised, they be~ come the same as the 6th and 7th steps of their parallel major key (F min. will have the tones D and E as the 6th and 7th steps in F maj.; A min, will have Fg and Gg as 6th and 7th steps in A maj, etc.) Sometimes these two forms are combined, in which case the 6th step of the minor scale will remain lowered while the 7th is raised (harmonic minor). The latter forma, with its “un- melodic” interval (F — Gi in A min, G ~ Di in E min,, etc.) will tend to cause difficulties because of the resulting augmented and diminished inter- vals, Practice the note names of the 13 minor scales, the melodic minor (ascending and descending) , and the harmonic minor. In the accompanying Diagram of Functional Progressions, the Sth, 6th, 7th and Ast steps in the various ascending minor scales are indicated on the right hand side of the i |diagram, figure 15 on each line. Practice the above cadences in minor: the Ist, 2nd and 4th chords are now minor triads (°T and °S), while the 3rd chord remains major. Intervals. Intervals are divided into the following two basic categories (only intervals up to the octave are treated) PERFECT MAJOR or MINOR Unison Second Fourth Third Fifth Sixth Octave Seventh ‘The first category is made up of intervals whose unaltered form reveals only one dimension. The second consists of intervals possessing two dimen- sions of equal importance. There are, for example, perfect fifths but major and minor thirds. In addition, the intervals of both groups might be altered to augmented or diminished intervals. In this case the intervals of the first group might result in three different forms: augmented perfect diminished while the intervals of the second group will result in four dimensions: augmented major minor diminished Analyze the intervals in Exercises 31,3 and 32,2 {p. 62). In complex situations, the intervals should be analyzed in their simple form first, ie. without 13 accidentals. For example, the descending interval Ab ~ FR: F = A= maj. 3rd, Ff — A = min. 3rd, Ft — Ab = dim. 3rd. Identification of tonality. The student is urged to train himself in key identification as an initial study for melody reading. Begin by finding the most frequently used keys in a variety of easy vocal scores, using the key signature as an aid, Compare these to the final chord of the melody in order to decide the modality (major or minor). In minor pieces, the student should also discover the acci- dentals which occur because of the variability of the 6th and 7th steps of the scale. Use, for ‘example, folk song collections, songs by Haydn and Mozart, or Bach-Schemelli “Song Book.” (In the latter work, notice the Dorian notation of certain melodies in minor. In these, the minor key has the sarne signature as the major key located a whole step below. For example, D min, has no accidentals (as C maj.); G min. has the same key signature as F maj,, etc.) Finally, analyze and identify modulations, using these and other song collections, Few tones are actually needed for the identifica- tion of a key. For example, see Exercises I, 3. (p. 34-36) and identify the particular key of each of these short melodies, all of which are constructed over the sequence of four tones, The accidentals which occur in these examples might be inter~ preted in various ways. In most cases, however, the context will call for only one key: Example no. G maj.; no. 2 = Ab maj. (This example could also be interpreted as Dp maj. or Bh min.) ; no. 3 concludes in-G maj.; no, 4 == C min,, ete, Il STEPWISE MOTION a Play in C major the cadence Ton.(T) — Subdom. (8) — Dom. (D) — Ton.(T) starting with the tonic chord in octave position. Then sing the func- tional ascending progression 5—1, i.e., the tones G—G. (For aural support, think the beginning tones of, for example “Auld Lang Syne”: Should auld acquaintance be . . .) Using other keys, repeat the same exercise in major and minor. It is im- portant to use the letter names of the two tones when singing (for example, Ab maj.: Eb — Abs B maj.: FE — B; Gb maj.: Dp — Gp). 45626 Sound a random tone. Use it as the domi- nant. Sing this tone adding the tonic on top. For example, sound B, sing B — E, which is 51 in E maj ¢ Repeat the exercises in paragraphs a and b. Supply the skip of a 4th by adding the scale steps in between (in C maj, the tones G, A, B, C should be sung; in Ab maj.: Bb, F, G, Ab. Use letter names). The resulting four-tone sequence is called the dominant-tetrachord. Tt consists of the steps 1 + 1 4 34. When the four tones of the4 tetrachord are sung, one is not guided by the sequence of whole and half-steps, but by the sense of tonality. One thinks a stepwise motion from the fifth step of the scale (the dominant tone) up to the tonic d Exercises I, 1 (p. 33) inchudes a variety of ascending four-tone progressions. Which figures are dominant tetrachords in measures 1—37? After sounding the beginning-tone, sing each of these. In measures 49, 43, 49, 50 and 53, either the first or the last tone of a dominant tetrachord is provided. Complete the tetrachord by adding the missing tones, (In measure 39, for example, the starting tone of Eb is provided. Add F, G, Ab. Since measure 53 provides the concluding tone, add before it G, A and B) e In the foregoing, the cadence of the key has been played followed by the singing of the domi- nant tetrachord. The tones of the dominant tetra- chord were derived, in addition, from a given starting tone, by which the tonality was con- structed, In 2 (pp. 33-34), the procedure includes locating this ascending four-tone sequence even when it is in contrast with the preceding tonality, Numbers 1 and 2 in this exercise-group retain the initial key (C maj.), while no. 3 modulates to the dominant key: no, 4 to the submediant, no, 5 to the mediant, no, 6 to the supertonic, no. 7 to the subdominant, no. 8 to the dominant, ete. In all cases the ascending dominant tctrachord leads to the new tonality. In the first exercises, the tetrachord is indicated by a bracket, When singing the first tone in the bracket, there should be a rapid association so that this tone is thought of as the dom- inant, regardless of which step it represented in the previous tonality. In this way, the three tones which follow in the tetrachord will seem obvious even though one or two are “new” in relation to the original tonality, Before each exercise, play the cadence of the opening key and, after having sung the exercise, play it in the concluding key. [Also sing the exercises which have the same open- ing key consecutively, [Play the cadence T—S—D—T in a major key and sing the functional progression 7—1 in this key: the interval of the leading-tone and the tonic, in © maj.: B ~ G, in Ab maj.: G — Ab ‘The 2nd and the 3rd steps of the key may be added without difficulty. For example, play the cadence in D maj. and sing Gg, D, E, Fe. 45626 When this exercise is mastered, sound a random tone instead of the cadence. This tone should be either a white or a black key, thought of as a sharp. Use letter names and sing the scale steps of the 7th, Ist, 2nd and 3rd. For example, sound Gf, think it as the leading-tone for A maj., and sing G2, A, B, Cf. This four-tne sequence has the step progression of ¥4 + 1 + 1 and is called the leading-tone tetrachord in major. Which tetrachords in Exercises 1, 1,1-27 (p. 33), are leading-tone tetvachords? Sing these after hav- ing sounded the starting-tone. In the same group, complete measures 41, 42, 47 and 52, so that they form leading-tone tetrachords in major. Mark the tetrachords which are either dominant- or leading- tone tetrachords in major, (1, 3, 4, 5, 6, 9, 11, etc.). Sing these four-tone sequences after having sounded the starting-tones. It is particularly useful to compare dominant and leading-tone tetrachords with the same starting-tone, numbers 1 and 3, 5 and 6, 9 and 11, etc. When singing, distinguish between the two types by associating the quality of the starting tone as either dominant or leading- tone. In this way, the stepwise motion of both types should become obvious. g When attempting to determine leading-tone tetrachords, the student may find examples in which the distance between the last two steps is only a half-step interval (Exercises 1, 1, 1, 4, 1"). These are defined as leading-tone tetrachords in minor containing the stepwise motion Ys -+ 1 -+ Ys. They should be practiced with the same in- troductory exercises as the major leading-tone tetrachord, except that minor cadences should be used to establish the key feeling, Consequently, the last interval in the tetrachord is now a “minor third.” In Exercises I, 1 (p. 33), find the four- tone sequences which make up the leading-tone tetrachord in minor and complete numbers 44, 46 and 54, Sing the four-tone sequences of this kind after having sounded the starting tones and relate them to those which were practiced earlier. hk Using minor cadences as a point of depar- ture, another tetrachord should be studied. This consists of a sequence built on the Ist, 2nd, 3rd and 4th steps of the minor scale, ie. 1+ J + It is called the minor tetrachord (for example: B, Cf, D, E or F, G, Ab, Bp). Complese meas- ures 40, 45, 48 and 55 of Exercise I, 1, by construct- jing minor tetrachords. In addition, find examples of this tetrachord occurring in measures 1—37and practice from a given starting-tone, Constantly relate these to the tetrachords practiced earlier. i Starting on the 4th step of the major scale, or the ascending melodic minor scale, an addi- tional tetrachord might be constructed. This sequence consists of the steps 1 + 1 + 1 and is called the tritone tetrachord (C maj.: F,G,A,B) Play a random tone on the piano. Determine the key in which this tone constitutes the 4th step and sound the dominant of the key in the bass, From the resulting harmonic feeling (a dom. 7th chord), the ascending tritone tetrachord becomes comparatively easy to sing, Complete Exercises I, 1 measures 38 and 51 (p. 33) with the tone sequence 15 of the iritone tetrachord, J Short survey Although somewhat compli- cated, five kinds of tetrachords should be dis tinguished. However, their use is only temporary in that they merely serve as a means for identify- ing stepwise motions which otherwise would be difficult to distinguish. By using these tetrachords, the student becomes familiar with the context of four consecutive tones as a unit as opposed to the traditional procedure of spelling each tone out. Finally, the close interrelation between the step- wise progression and the placing of the root tone in a tetrachord should be fully understood. Study the following five tetrachords built on E: In 1, the root tone is F which has the quality of tonic minor. The starting-tone should be thought of as a leading-tone in minor. In 2, A is the root; consequently, the starting-tone has a dominant quality. In 8, F is the root and the starting-tone is a leading-tone in major. In 4, B is the root with quality of tonic minor. Measure 5, on the other hand, has no root tone; A functions as a leading-tone for a supposed B. If the placement of the root tone can be deter- mined immediately, the method is found by which ‘a stepwise progression can proceed quickly and efficiently. Sing all four-tone sequences in Exercise 1, 1 consecutively. Sound the starting tone only when necessary. Follow by drilling Exercises I, 3 (pp. 34-36) All exercises with the same starting tone (1—5, 6-10, 11-15, ete.) should be sung in sequence. Also practice each exercise separately in random order. The purpose of this exercise-group is train- ing in the reproduction of a given stepwise pro- gressioh combined with a given rhythmic pattern. A more or less moderate tempo should be selected, making sure to maintain it throughout, If the rhythm should hamper a fluent reading of the pattern, let the student “speak” the thythm before the exercise is sung. If the melodic pattern, on the other hand, should cause difficulty, the four- tone sequence over which the exercise is con- structed should be determined first. k Stepwise descending motions The knowh edge of tonal context acquired through the pre- ceding studies should enable the student to master descending progressions fairly rapidly, even though these actually are slightly more difficult. The following are descending tetrachords from the tone C. T 1 ==dominant tetrachord, descending from tonic to dominant. 45626 +T or 2=leading-tone tetrachord in minor, progressing from the 3rd of the minor scale down to the Jeading-tone,16 tecond-step major tetrachord; while singing this descending stepwise progression, think the section of the major seale from 5 to 2. 4==second-step minor tetrachord, also a progres: sion from 5 to 2, but in minor. 5==tritone tetrachord, similar to no. 4 except for the last tone which is felt as a descending leading-tone. Write the above tetrachords starting on B, fol- lowed by F, with Bh or Ab as the starting-tone. In addition, see Exercises I, 4 (pp. 36-38). If it should be difficult to sing the progression, deter- mine the tetrachord over which the exercise is constructed. 2 Even when stepwise motion extends beyond tetrachords, the above exercises should eliminate much of the difficulty. See Exercises I, 5 (pp. 38- 39). These “13 Key Exercises” should train the student to read melodies with all key signatures. Each time it is sung, think a new key signature. For example: G maj. (no accidentals), or one of the six sharp-keys, or one of the six flat-keys. ‘There are 13 possibilities in all. The number of accidentals will cause a corresponding variation in the stepwise progression. When exercise 1 is executed with 3 flats in the key signature, the first five tones will be Bb, Ab, G, F, Eb; with 6 sharps, BAd, Gt, Ft, Eg, etc. Sound the starting-tone and sing the exercise. Finally, change accidentals at the beginning of each phrase indicated by a comma (’). For example, try exercise 1, consisting of 3 phrases, as follows: First phrase, Ab major; second phrase, G major; third phrase, Dp major. Or: first, G major; second, Ff major; third, C major. Avoid the augmented second by the changes of accidentals. Also, repeat a single phrase and select keys in which the starting-tone will remain unchanged, as for example the first two measures of no. 3: G maj., A maj., F maj., G maj. Bp maj, D maj Ill MAJOR, MINOR AND DIMINISHED TRIADS 4. Sing the three following scale sections: In I the first tone has the quality of a major tonic (+T), in 2 the quality of a minor tonic (°T); in 3, on the other hand, the first tone has a leading-tone quality, while the second tone has a T quality. By singing the Ist, 3rd and 5th tones of cach S-note scale pattern, the following triads will result: 1, @ major triad (maj. 3rd + min. 3rd); 2, a minor triad (min. 3rd + maj. 3rd) ; 3, @ diminished triad (min, 3rd ++ min. 3rd). When sounded in three-part harmony, 1 and 2 are felt as chords without any tonal tendency, while 3 (the diminished triad) requires further resolution, 3 contains the two most active steps of the scale, namely the ascending and descending eading-tones (7th and 4th steps). Both have their 45626 individual tendency for resolution: SS Play this progression in all major keys by constructing the diminished triad from the lead- ing-tone of the scale, Name the tones of the triad. Exercises I, 6 (p. 39) contains a sequence of arpeggiated triad patterns. Analyze each: 1 = G maj., 2 = E min, 3 = diminished triad be- longing to G maj, 4 = Ab maj, ete. Sound each starting-tone and sing. In the arpeggiated descending major triad, think the Sth, 3rd and Ist st mino: mino 2nd + the d rathe of a cont: mod! 40) men key tone and tone theIst steps of the major scale; in the descending minor triad think the corresponding steps in minor; in the diminished triads, think the 4th, 2nd and 7th steps. 6 In traditional major and minor melodies, the descending diminished arpeggiated triad occurs rather frequently as a modulator, ie., a8 promoter of a modulatory motion. The two leading-tones contained in the triad create this characteristic modulatory tendency. Sing Exercises I, 7 (pp. 39- 40) and simultaneously play as bass accompani- ment the dominant and tonic in the concluding key of each exercise. Sound the dominant bass tone when singing the melody tone marked x, and sound the tonic when singing the concluding tone of the exercise. By this bass accompaniment, the diminished triad is felt as an incomplete W dominant 7th chord with only the three upper tones being used (3rd, Sth and 7th). The ac- companying tone marked x constantly represents the implicit root tone of the seventh chord, ¢ Exercises I, 8 (p. 40), a “13 Key Exercise”, should be practiced using a variety of accidentals as explained in Chapter II, section 1. The melody consists of stepwise motions and arpeggiated triads (the latter in brackets). The exercises should train the students to determine the type of thé arpeggiated triads (major, minor or diminished) within various keys. If, for example, 4 flats are selected (Ab maj.), the following arpeggiated triads will occur: Dh maj. F min., Bp min, C min. Ab maj., Eb maj., and the diminished triad form G. In addition, sing the exercise in all keys while sounding only the starting-tone on the piano. IV OTHER COMBINATIONS OF THIRDS AND SECONDS a The tetrachords studied in Chapter IT are also the basis for Exercises I, 9 and 10 (pp. 40-45). ‘These are constructed over similar four-tone se- quences. However, the order of tones is changed to include skips of both seconds and thirds, The exercises in each group should be sung in sequence from a given starting-tone, If these “zig-zag” pat- tems should cause any difficulty, each underlying tetrachord should be sung before the exercise is attempted. The basic idea, however, is to train the student to construct the tonality of the tetra- chord by using skips of the third as “building blocks.” Eventually, the exercises should be mastered without any preliminary aids, If neces- sary, the third should be thought of as a fraction of an arpeggiated triad. For example, ascending C—Bb should be thought of as G min.; CE as maj.; descending A—F as D min.; A—Fg as D maj. ete. b Drill “13 Key Exercise”, 1, 11 (p. 45) ¢ Sce Exercises II, 1*, 2 and 3* (p, 63) for additional training in seconds and thirds. Exercise 1 contains melodic patterns such as B-C-Bb, or GE-A.G; Exercise 2* contains chromatics, whole- tone scales and enharmonics; Exercise 3* contains difficult combinations of seconds and thirds. If too difficult, this exercise group might be postponed to a later time. d- See List of Musical References, Group A. This melodic material is related to the repertoire which was practiced in the preceding chapters: stepwise motion, various combinations of seconds and thirds, the ascending fourth (see Ch. II 6), and chromatic passing tones, In addition, the functional progressions 5—1 and 7—1 should be mastered. V_ BROKEN TRIADS @ One of the characteristics of melodies in major and minor tonality is the strong dependence upon chordal structure. Often, the melodic line implies a basic chord sequence. As an example, see the 45626 main theme in the final movement of Haydn's Piano Sonata in Eh major. This clear-cut harmonic progression reflects all tones used in the theme which are structured from the tonic triad or the18 dominant 7th of the key: T T DT When the bass note Eh accompanies the meas- ures marked ‘T and the bass tone By the D7 measures, the theme, even including the aug- mented 4th in measures 5 and 7, suddenly be- comes easier to perform. Neighboring tones, anticipations, appoggiaturas and suspensions, etc., sometimes obscure the proper chordal structure. It is important, therefore, to perceive the harmonic sequence which underlies the melody. This in turn will condition a smooth reading and will further the perception of the totality or unity of a tonal sequence. In order to build up the student's perception and execution of such harmonically conditioned 7 T Br T melodic patterns, the following procedure should be used, In C maj, let the tone C be the starting point for descending broken triads. It is possible for C to be harmonized with three different triads: The following three broken triads descending, from G reveal the three chords: ‘The distinction between them is easily visual- ized. The skip of the 4th is the interval which enables us to locate the root of the basic triads. (The root is the upper tone of the 4th.) In 1, it would be G; in 2, A; in 3, F. Play the chords corresponding to these arpeggios in 4-part close position. By aid of the fourth skip, the root-tone is located and should be sounded with the left hand while the right hand simul- taneously sounds the first three tones of the arpeg- gio. The chords corresponding to the three arpeg- gios will be as follows: 4 2 a Play the first chord (CG maj.) in % meter and sing the arpeggiated tones on the second and 45626 third beats. Then play chords 2 and 3 and sing their corresponding arpeggios in the same way, ‘The harmonic feeling created by the sounded chords will automatically make the intervals of the broken triads easy to sing. Descending broken triads can also be constructed from other steps of the C major scale. There are three possibilities for each step. Consequently, 21 descending and 21 ascending arpeggios may be constructed. b Diagram of Broken Triads ‘These 42 broken triads appear on the enclosed diagram — those descending on the left, and those ascending on the right. The first three measures on each line (nos, 142) should be studied first. Most of the figures represent either major or minor triads, In the last three lines on each page, there are, how- ever, some diminished triad arpeggios (nos. 15, 18, 21, 36, 39 and 42). They are identified by the interval of the augmented fourth. As dem- onstrated above (Ch. IIT a and 6), the diminish- ed triad is actually an incomplete dominant 7th ete ESN cement innochord. When playing the chord corresponding to a broken triad of this sort, the first three tones of the arpeggio are played in the right hand while the left plays the dominant of the key in the bass. ‘The chords which correspond to nos. 15 and 36 are as follows: 15, 36, ¢ First, play the four-part chords correspond- ing to the patterns 1—42 as rapidly and uently as possible. Practice the patterns in numerical order first, then at random. For example, nos. 7, 10, 12, 16, 17, 3, 13, 4, 42, 26, 41, 25, or 31, 24, 34, 35, 25. ‘After playing these chord exercises, sing the arpeggios. Play the chord on the first beat in % time and sing the corresponding arpeggio on the second and third beats. This exercise may not seem difficult, except in the case of diminished triads. Even though the dominant-tone lends sup- port in the bass, the augmented 4th could cause some difficulty. In this case, the dominant may be inserted between the two tones in the arpeggio which form the augmented 4th, This will alter the figure to a dominant 7th arpeggio, Later on the student should merely think the supporting tone, a process that will be of aid in skips between the 8 39 @ See Exercises 1, 12 (pp. 46-47). Let the stu- dent play the accompanying chords. A few of them are 6th chords, ic, the 3rd of the triad functions as a bass-tone, In succeeding lessons, only the melody and bass-tones of the chords should be played as an accompaniment followed by the bass- tone alone and, finally, by singing without ac- companiment. Return to the Diagram of Broken Triads. Patterns 1-42 should now be studied according to the principle used for the “13 Key Exercises.” For 45626 19 ‘two leading-tones of the scale, as follows 48 After the student has learned to sing the arpeg- gios with the supporting four-part chords given first, the next step in the procedure consists of playing the starting-tone of the arpeggio in the right hand and the root-tone in the left. Finally, the student should be able to sing the broken chords while playing only the starting-tone. This is the most difficult step. At this point, the student may sing tones which are not in the key. This error should be corrected by establishing the tonality first. This may include the playing of the scale or the cadence of the key. If, however, the difficulty lies in distinguishing between the three broken triads which occur in the key, the sounding of the root-tone should help. Also deter- mine the position of the starting-tone of the broken triad, whether it is the root, 3rd or 5th, In this way the 4th skip can be thought of as a dominant- to-tonic progression Instead of playing the starting-tone of each broken triad, a stepwise progression from the tonic may also be used. The scale moves in the opposite direction from the arpeggio: 12 a4 example, think one-sharp as the key signature (G maj.}. In this key, nos. 2, 10, 20, 24, 31 and 41 reptesent diminished broken triads, When playing the corresponding chords, the dominant of G maj. (D) should be the bass-tone, Then think a key with two sharps and notice the patterns of nos. 1, 4, 7, 22, 25 and 29. The playing of chord exercises within the various keys is extremely important. Such exercises help the student to become familiar with the accidentals of the keys, including an almost physical feeling of chord placement. For example, study the chords20 in patterns 1, 2 and 3 with 3 #'s, 2 b's and 6 #'s: D maj. Bh maj. 4,2) 3) 44 2 Fe maj Alter the practicing of chord playing in one key, sing the broken triads in that key and select the necessary steps of these exercises explained in section f See Exercises I, 13 (pp. 47-49) and drill according to the principle explained in section d. From among the Exercises II, 11*~24* (pp. 66- 69), drill those marked @ and sing with accidentals indicated above the notes (see the explanation in the chapter “Suggestions for the Teacher", p.9) At this point, a study of Functional Progres- sions should be undertaken, Read Chapter XIV (pp. 30-32) and study the Diagram of Functional Progressions, one Key at a time, Make sure there is consistency in singing the corresponding keys in Exercises II, 4*-10* (pp. 64-66). After the stu- dent is able to execute each Tine of these exercises separately (by sounding the tonic chord of each key before singing the starting tone and finally by sounding only the starting-tone), he should sing each shor, exercise arranged consecutively in vertical sequence—ie. for example: exercise 4, 1, 4 7, 10, 13; then 2, 5, 8, 11, 14, ete. This procedure causes a modulatory sequence, 3rd position 5th position In addition, see List of References, Group B. ‘The melodic material referred to contains the above functional progressions and broken triads as well as the repertoire which corresponds to Group A. g Reading and hearing chords Play a variety of major and minor chords in four-part close position. The triad tone placed on top will deter- mine one of three positions for each chord: 3rd position (the triad 3rd on top); 5th position (the triad 5th on top); and octave position (the root of the triad on top). Close position is defined as no unused chord tones among the three tones of the right hand, It is possible to identify the position of a played chord just by hearing it, Sing the descending arpeggio which corresponds to the played chord, with the melody note of the chord as the starting- tone, Find the tone of dominant quality within the arpeggio. After having found this, return to the tone above which is the root. Consequently, the formula of position of the triad in 3rd position consists of four tones (see below), that of the triad in 5th position consists of five tones, and the formu la of the triad in octave position of six tones: Octave position ‘The aural identification of chord position and the location of the root-tones results from the above procedure. Going out from the root-tone, practice various leaps within the tones of the triad such as the 5th up to the 3rd (5 73): 45626 ‘The 5th down to the root (5 1): iS SAP TAA ig : ieeoieieociansnicaaasilbaniatConstruct and practice various combinations, suchas: IN 3 75 NlorS AS N1A50r ai BND ABS ASNS AB: Following the mastery of these exercises, omit the use of the formula for the position and sing the pattern immediately after playing the chord. h- Return to the Diagram of Broken Triads and practice the “zig-zag” arpeggios 1a—42a in random order. Read each of these figures as a unit. Analyze each arpeggio in all major keys beginning with C major by thinking the accidentals of the particular keys, With a key signature of 4 b’s (Ab maj.), 1a will become G minor; 2a, F minor; 3a, Ab major; 7a, C minor; 8a, dimin- ished; 9a, Bh major; etc, When singing these zig-zag arpeggios, practice the type of exercises used in section ¢. If some tones are too difficult, practice the corresponding pattern (the pattern with equivalent number, but without ‘a’) and then the zig-zag figure. i At this stage of the procedure, drill Exercises I, 14 (pp. 49-51). Use the type of accompaniment explained in section d. In addition, practice the lines marked B in Exercises TI, 11*—24* (pp. 66-69). Constantly relate the P-form to the above a-form from which it is derived. Sing the 2-forms in the keys indicated above the staves. Finally, see List of References, Group © , The reference material contains repertoire from the two first groups and, in addition, the zig-2ag broken triads currently practiced. j. The above formulae of position (see section 2) might be used for the preliminary auditory perception of chords which includes training in the aural analysis of chord sequences in a given key. Such an analysis will enable the student to per- ceive harmonies as. integral parts of a functional context, A natural aid in this respect consists of aural attention to the movements of the bass part. If this is too difficult in the beginning, use the melodic line as a starting point, and analyze the underlying chords. In the following example, the melodie line moves from the dominant (5th step of the scale) up to the tonic (from G—C) : When played a second time, sing the formula of position for each chord. As the melody-tone is identified, the chord can be determined. In the first chord, the melody-tone is G. The formula of position indicates that the chord is in fifth posi- tion, Consequently, the root-tone is a fifth below G, and the triad is @ major, which is the tonic. ‘This should be checked by the student’s spon- tancous feeling for tonality. In the second chord, the melody-tone is A, 3rd position, the root of the chord is a Srd below, which is F (sub- dominant). In the third chord, the melody tone is A, 5th position, D min, chord, the supertonic, ete An sural ‘chord analysis should be studied in various stages as follows: write the chord progres- sion by ear. Sing the corresponding position formulae, chord by chord, first by playing as ac- companiment the four-part chords, then by playing the melody and bass parts of each chord, then with the melody alone as support, and finally sing the formulae unaccompanied: See Exercises I, 15 (p. 51). Although they can be used for elementary aural dictation, these seven, examples are primarily exercises in vocal and 45626 aural perception of chords. By singing the for- mulac of the chord positions, the ability to think a harmonic sequence should result. In these exer=22 cises, 6th chords also occur. When analyzing these, the same position formulae should be sung as that used for root position, Similarly, the formulae should not be changed when the chords are in open position, i, with unused chord tones among the three upper parts. k In Exercises I, 16 (p. 51), sing the position formula for cach chord. Before singing it the first time, play the full chord; then play the melody and bass parts, and finally the melody notes alone. 1 See Exercises I, 17 (pp. 52-53). These exercises are intended to train students in tonal perception and use of sounded chords. In meas- ures 1—16, the melodic pattern always begins with the skip 57 1; in 17—20, the two starting tones correspond to the leading-tone progression 7 7 1; 21-24, to 5 N15 in 25-28, to 5 7°35 in 2932, the 3rd of the triad is the starting-tone. The exercises should be practiced attacca, Tn the beginning, insert the position formula imme- diately after the sounded chord. Later on, practice the exercises without these supporting tones, and finally omit the accompanying chords and sound only the starting-tone of each pattern, m Sing the Recitative, Exercises I, 18 and 19 (pp. 53-55) and play the accompanying chords. Later on the accompaniment should be omitted and only the necessary starting tones in each period should be sounded. Finally, omit even this support. ‘The leaps which occur by the transition from one period to the next should not be thought of as melodic intervals but as related to the chord- sequence in the accompaniment. VI FOURTH AND FIFTH @ Perfect Fourth and Perfect Fifth ‘These two intervals are occasionally confused, especially in descending motion. They not only approximate cach other in size, but they are also intervals of inversion. In other words, they total an octave when added together. (Find other examples of inversion.) In the Diagram of Broken Triads, find and compare on each staff patterns which contain a perfect 4th or Sth as a starting interval. For example, notice in descending motion 1 and 2a, 5 and 6a, 8 and 7a; and in ascending motion 24 and 22a, 26 and 27a. Sing the patterns from a given starting tone in C maj. and in various keys. Distinguish the intervals by establishing the posi tion of the starting-tone of the arpeggio. In no. 1, the first interval represents the progression from the root-tone of the triad down to the Sth, 2a contains a progression from the 5th down to the root. In 24, the starting-tone has the quality of the 5th, and in 22a that of a root-tone. See Exercises 1, 20 (p. 55). Sing the exercises from a given starting-tone and follow by singing, them in sequence (I—13, 14—17, and 18-23) b Augmented Fourth and Diminished Fifth ‘These are also intervals of inversion, On the tempered piano they are equal in size, for example, D—Gt and D~Ab, or, E~Bb and E—Ag. When, 45626 sounded on a string instrument, their true func- tional meaning becomes obvious, The two tones of the diminished 5th tend toward cach other which creates a smaller interval than the aug- mented 4th, in which the two tones tend away from each other. During the study of the Diagram of Broken Triads, these two intervals were learned in their most frequent tonal context, Le. as movements between the 4th and the 7th steps of the scale. {See as examples Diagram over Broken Triads, 42 and 42a.) It was stated that these progressions were related to the dominant 7th chord (Chapter V, sections & and c), In themselves, they possess very strong tonal tendencies. A major key is clearly characterized by a mere progression of these two tones which are the two Ieading-tones of the scale. In discussing the exercises of Exercises I, 7 (pp. 39-40) it was stated that the diminished triad could act as a modulator. This ability of the diminished broken triad to assume a character of modulation is due to the two leading-tones which it contains, Hy, for example, the first four tones of the second measure in Exercises I, 7o were replaced by the tones E and Ag as quarter-notes, the modulatory movement toward the dominant would still be clear. si sei BOEEiicanmaasineConsequently, diminished 5th and augmented 4th skips often prepare the way for new tonalities. Sec Exercises T, 21 (pp. 55-56), in which each of the three-tone patterns are introduced by the two leading-tones of the tonality in question. Determine the major key to which each belongs, ic, 1 = C maj, 2 = G maj, 3 = D maj, ete. Sing the patterns 1—20 with a left hand accom- paniment of the subdominant, the dominant and the tonic root-tones of the key in question, ie. in CG maj.: F, G and C. ¢ In the next phase of study, the first two tones of each pattern should be determined as belonging to the dominant 7th chord. First practice this chord in close position in all major keys followed by its resolution to the tonic chord. Notice how each tone of the dom. 7th chord moves to the tonic, For example, in G maj. Sing patterns [30 while providing the first two tones with the dom, 7th chord of the key and the final tone with the T chord. Later, play only the bass-tones of the two chords for accompani- ment. Finally, locate the starting-tone of each pattern using the root of the dominant as the point of departure. This will only be possible when the student is able to imagine the tones of the dom. 7th chord. d Play the cadence T-S-D-T in minor from a tonic triad in octave position, and replace the melody tone of the S-chord in this cadence with 23 the tone a major 2nd higher, for example Notice the augmented 4th interval between the two upper tones of the second chord. Originating in the above chord, the augmented 4th and dimin- ished Sth skips often occur. They correspond to movements between the 2nd and the 6th steps of the minor scale (in © min, between D and Ab). In Exercises I, 22 (p. 56), sing the patterns 1-13, accompanied by the indicated cadence. The four x marks in each pattern indicate the place- ment of each of the four chords of the cadence. Finally, sing the exercises straight through un- accompanied, and notice how easy the augmented 4ths and the diminished 5ths seem when these skips are perceived harmonically. Restudy Exercises 1, 22 with an accompany- ing chord sequence of three chords only. Substitute the two middle chords of the cadence by only one chord — the diminished 7th chord of the key. Practice this chord in close position in all minor keys, It is built by playing the diminished triad on the 7th step and adding one more minor 3rd {in C min, for example: B,D,F + Abs in G min.: Fy, A, C + Ep). Practice by playing the dimin- ished 7th chord in four-part close position sur- rounded by two tonic chords. Notice the place- ment of the diminished 7th chord in relation to the position of the tonic. For example, in G min: T Din T 7 When singing the patterns in 22, the three types of position should be used alternately as accompaniment. Play on the first x mark the T- chord, on the second the diminished 7th chord which should be maintained until the last x mark on which the concluding T-chord should be placed. Finally, practice the exercise using only the bass- 45626 T Dim T 7 T Dim T 7 tones of the chords as accompaniment. J Drill Exercises 11, 25*-26* (p. 70) in both « and B forms. Then see List of References, Group D, which contains material for further practice of perfect 4ths, perfect 5ths, augmented 4ths and diminished ths2 VIL @ In the Diagram of Broken Triads, the interval of the 6th has been practiced as a “chord interval” in patterns la—42a, ‘This is the typical function of the 6th. While harmonic 4th and 5th skips represent movements between the root and the 5th of the triad (open sounds), the 6th skip is capable of implying a much stronger harmonic feeling. The reason for this is that the 3rd of the basic triad will always constitute the first or last tones of the interval: aS The first two skips of a 6th occur between the Sth of the triad and the 3rd above, The two last occur between the 3rd of the triad and the root above. In major and minor triads, these two types of 6ths will always be opposite in size. In this case, they are a major and a minor 6th, In actual execution, however, the size is of little importance. The mode of the triad in question > ¢ Practice Exercises 1, 23 (pp. 56-57). The lower part should be played as an accompani- ment. Study the patterns at random and locate the starting-tone from the sounded bass. Finally, sing the patterns unaccompanied and if necessary 45626 MAJOR AND MINOR SIXTH is of primary consideration, ie. whether the 3rd of the triad (which constantly constitutes one of the tones in the skip) is major or minor. Con- sequently, all four skips are felt as “major” skips. Conversely, by lowering the 3rd in the chord, making it minor, all four skips will assume a “minor” feeling, because each contains the tone Eb, the minor 3rd. b First practice the skip 5 7 3. Play the chords in Exercises I, 16 (p. 51) and sing the 5 ” 3 movement each time, an exercise previously studied in Chapter V, section g. Repeat the Exercises I, 1725-28 (p. 53), and also sing the 5 7 3 movement after each chord in Exercises I, 15 (p. 51). Then, provide only the bass-tones as accompaniment. Correspondingly, practice the downward skip 3 -\ 5. The chords in Exercises I, 15 and 16 (p.51) should also be used as the basis for the study of the skips 3.7 1 and 1 \ 3, If it is difficult to find the two intended tones of the chord, the formula of position should be used for support. Construct melodic 6th variations over given chord sequences and sing them with the bass part as accompaniment, The chord sequence in 151 might have the following variation: give the starting-tone of the melodic pattern, d Notice another typical use of the 6th, Tt is conditioned by the dominant 7th. It oceurs as a downward progression from the Sth to the 7th of the chord: Gece ieee Gc cb " a4As shown, the movement corresponds to a down ward progression from the second to the fourth step of the scale (the descending leading tone) Like other melodic progressions originating in the b 25 dominant chord, this figure often constitutes the beginning of a modulation. It is commonly used in a modulatory movement toward the sub- dominant by the redefinition of the Sth step which now appears as the second step in the new key. (See, for example, Exercises I, 24,1, p. 57). Baroque music often contains entire sequences of these modulating 6ths. The bass moves downward in Sths or upward in 4ths, The basic form is as follows: In addition, see Exercises T, 24 (p. 57). Deter mine the ending key of each exercise and accom- pany the tones marked x with the dominant and the tonic of the proper tonality. Also, practice the exercises without accompaniment. VII @ The most common seventh skip ascends from the 5th step of the scale to the 4th step above Generally this skip originates in the dominant 7th chord. The interval leads upward to the descending Ieading-tone of the scale, The skip is easily. recognized because of the function of the concluding tone, Skips to the descending leading- tone have been studied previously. Sec Exercises I, 25 (pp. 58-59) which gives taining in the locating of the 7th of the chord (marked x) from a given dominant triad. In patterns 13—15, the 7th of the dominant chord appears as the starting- tone; in patterns 16—18, it is introduced from the 3rd of the chord, a grouping of the two leading- tones of the tonality which was studied in Exer- cises T, 212nzrer and 30 (p. 56) The dominant 7th skip often acts as a modu- lator. In this case it almost always creates a modulatory movement toward the subdominant. 45626 Finally, sce List of References, Group E. The references in this group should serve to train the students in the further perception of major and minor 6ths. MAJOR AND MINOR SEVENTH See Exercises 1, 26 (p. 59) b The four chord-tones in the dominant 7th chord have been the basis for numerous melodic patterns in’ Baroque, Classical and Romantic styles. Tn these patterns the following intervals within the octave occur: major 2nd; major or minor 3rd and 6th; perfect 4th, 5th and octave; and, as the most typical, augmented 4th, dimin- ished 5th and minor 7th. See Exercises HI, 27*— 29* (pp. 70-72). In the beginning, sound the dominant 7th root tone as support for each pat- tern, After having sung the pattern, its key should be established by singing the leading-tone progres- sion 7—1 of the key. Later on give only the starting-tone, and then sing attacca the four pat terns which have the same starting-tone. When practicing the -forms, relate them to the a-forms. Finally, practice Exercises U1, 30* and 31%, @, 8, 7 (p. 72) with only the key signatures a, 6 and «.26 ¢ The subdominant triad with added sixth, also called the seventh chord of the second step, might cause a characteristic seventh skip — the movement between the second step of the scale and the first step above | c: 86 Play the cadence T-S-D-T in various major and minor keys so that the second chord (the S- triad) is replaced by the subdominant with added 6th. In this way, the root tone of the subdominant in the right hand is omitted in favor of the tone a minor 3rd below. Sing, while playing the four chords of this cadence as accompaniment, the steps 3,2 ATL 7,land1 \ 2 AT, 7,1 while naming the tones, Drill these patterns in both major and minor. Then practice Exercises I, 27 (p. 60) and accompany each exercise with the four bass-tones of the above cadence. One's sense of harmony will tell where these bass-notes should be placed. d Sequences of 7th skips are somewhat frequent, especially in Baroque melodic style, As an example of this, transpose the following se- quence to various major and minor keys: The 7th skip occurs frequently in connection with the Functional Progressions (see Chapter XIV and the enclosed Diagram of Functional Progressions). Refer to the line labeled C maj, on the left hand side of the diagram and sing the following sequence in which the 7th skips will oceur: 8, 12, 3, 6, 10, 2, 3, 6 J When occurring in a musical context, the 7th skip is often felt as a replacement for a 2nd moving in the opposite divection. ‘Transpose the final tone in ascending stepwise tetrachords down an octave. After the 7th skip, add the two final tones of the tetrachord. In Exercises I, 1,1 the following will result: SS 4 ¢ Drill Exercises 1, 28 (p. 60), a “13 Key Exercise”, by singing the patterns with variable key signatures from a given starting-tone, See List of References, Group F. These illustrate melodic patterns originating in the dominant 7th chord as well as various types of major and minor 7ths. IX OCTAVE AND COMPOUND INTERVALS ‘The interval of the octave has appeared rather facquently in these csamples to whieh reference was made in groups A—P. This interval rarely causes any difficulty. However, ervors might occur when the octave appears in connection with the other perfect intervals which are the fourth and the fifth. This is often the case in the bass parts fof homophonic music. The study of bass parts is, in addition, a useful preparation for advanced training in chord analysis by ear because it stimu- lates the perception of harmonic structure. Compound intervals which exceed the octave 45626 {the 9tb, the 10th, the 11th) are generally not difficult. These intervals can be found by starting from the octave. Sce List of References, Group G. amples provide practice in bass parts and pat- terns containing compound intervals. In addition, the bass part examples from this group and the polyphonic examples from the preceding groups should be practiced by allowing the student to sing onc of the parts while he plays the other parts as accompaniment. ‘These ex- ian oraclea7 X AUGMENTED SECOND While in major keys the distance from the dominant up to the tonic always consists of the steps 1 + 1-1 ¥, the corresponding distance in minor offers much larger variety. This is caused 4a 2 > = 1 Ascending melodic minor This sequence contains the raised 6th and 7th steps, typical for ascending movements, but it is also found in descending movements 2 Descending melodic minor ‘This sequence is ordinarily found in descending movement. When ascending, it reflects modal tonality, unless it is used in preparation for modulatory passage, for example, progressing toward the submediant. 3 Harmonic minor Tn sequence 1 the tonic. in sequence 2 the dominant, acted as the main “attractor” of the two middle notes, In sequence 3, however, the tonic and the dominant are both felt as attractors, and the tetrachord is broken into two parts. Thus the second step in the middle becomes augmented. 4 This step motion is rare, Because neither of the two main tones—the tonic and the dominant by the variability of the 6th and 7th steps of the minor scale (see Chapter I, section on minor). There are four possible stepwise progressions, for example in F minor: 3 4 = = act as attractors, the tonal strength is weak: ened. This pattern is typical of the Dorian mode, unless used in preparing a modulation to, for example, the subtonic, Only the third of these four sequences, which contains an augmented 2nd, will be unfamiliar to the student at this time. Because of its strong functional tendency, it is not difficult to perceive by ear. However, it is im- portant to be able to sing the augmented 2nd as it would sound on an untempered instrament by singing the Dp a little flatter and the B a little sharper than sounded on the piano. Studying the tetrachord under the tonic minor is also useful in other respects. The variability of the 6th and 7th steps provides a variation in melodic patterns which has been utilized parti- cularly in the late major and minor style: (Cart Nietsen: "Espansiva’) Te Study Exercises I, 29 (pp. 60-61) which illus- trate the various types of tetrachords under the tonic within various minor keys. In addition, sing the “13 Key Exercises” in Exer- cises I, 5 (pp. 38-39) with those accidentals found 45626 in the harmonic minor. (In A minor, for example, the only sharp will be G#; in © minor, Ep and ‘Ab besides B, etc. They will all have the same number of accidentals as their relative major key, except for the change caused by the raised 7th step.XI DIMINISHED SEVENTH ‘The diminished seventh (the inverted interval of the augmented 2nd) may be located by skipping upwards from the leading-tone to the 6th step of the harmonic minor scale. Usually the interval is conditioned by the diminished 7th chord (see chapter VI, section e) 1 a = 1 The interval of Ep to Ff—the augmented 2Qnd—marks the dividing point. Consequently, F¢ is the leading-tone of the key which is G min, 2 The augmented 2nd Bh—C# indicates that CE is the leading-tone, consequently the key is D min, 3. Since this sequence contains only minor Srds, Eg must be the leading-tone, and the key is F§ min, 4 Gif is the leading-tone, consequently the key is A min Notice that the broken chords in no. 3 and the last four tones of no. 4 when played on the piano are identical; the two chords from which they 4 In Ex. 1, above, the modulatory movement leads, from G maj. to E min, ie. from a major key to its relative minor. The downwards broken dimin- ished 7th chord begins on the 4th step of the major scale. The first three tones utilize the dom, 7th chord of the major key while the fourth tone progresses up to the tonic of the minor key. See Exercises I, 30, 1 and » (p. 61) Ex, 2, This example progresses from a minor key (E min.) to the key of the dominant (B min.). ‘The diminished 7th arpeggio begins on the 3rd step of the minor scale. See Exercises 1, 30, ¢ and 12 (p. 61). Ex. 3. This example progresses from E min, to the subdominant, which is in A min, The modula- 45626 A diminished 7th chord consists of three ascend- ing minor 3rds with the leading tone of the scale as the lowest tone (in D minor, for example, Cf, E, G, Bp). If the arpeggio is continued any further, the augmented 2nd will appear: 3 4 * are derived are enharmonic chords. Only the context will reveal to which key they belong. The chord in no. 3 is resolved in an F$ min, chord; that in no. 4 in an A min, chord, Because each of the four tones in the arpegaio may assume the role of a leading-tone, two addi- tional chords, enharmonically related, may be constructed. In the Classical and Romantic periods enharmonic reinterpretations of the diminished 7th chord occur rather frequently for the purpose of modulation. See Exercises I, 30, 13 and 1s (p. 62) Descending broken diminished 7th chords occur frequently as modulators tory diminished 7th arpeggio begins on the low- ered Ind step of the minor scale (the Neapolitan 6th, see Chapter XII, section b). Drill Exercises 1, 30 (p. 61). Determine the key of each broken chord in brackets. Sing the exercises, first one by one, then attacca. In addi- tion, omit the 3rd and 5th of some of the broken diminished 7th chords in order to reveal the dim. 7th interval. In the patterns | and 2, the arpeggi marked by brackets will appear as follows: 4 2 Fae aa ii iene sda ‘eaten eli‘The diminished 7th is easily confused with the diminished 5th, especially in descending motion. For example, sound the dim. 7th chord C8, E,G,Bb and sing the descending skips from Bh to Cg and Bb to E. The conception of Gf as the minor leading-tone and Eas the major leading- tone may be helpful in distinguishing these inter- vals. As an exercise, play a dominant 7th chord Dom. ithe Dim, Ith: The diminished 7th should also be practiced by drilling “13 Key Exercise”, Exercises 1, 28 (p. 60). Use the varying accidentals which occur in harmonic minor. The dim. 7th must be present in each pattern. In 28 1, E min, or Ep min. should be selected, in 2, D min,, etc. In addition, see Exercises II, 30* and 31* (p. 29 and sing various zig-zag patterns over the chord tones, This follows the same principle as that used in drilling triad-arpeggi (Chapter V, g). Raise the root-tone of the dom. 7th chord a half-step and the dim, 7th chord will appear. Correspond~ ingly, alter the melodic pattern just sang. For example: with 72) and sing the staffs marked @ @ and y the key signatures marked d and ¢ (harmonic minor) See List of References, Group H, which con- tains the augmented 2nd and diminished 7th as well as patterns originating in the diminished 7th chord XI DIMINISHED FOURTH AND DIMINISHED THIRD @ The tetrachord ascending from the leading- tone of the minor scale (in C min.: the tetra- chord B-C-D-E}) is already familiar (see Chapter If, section g). The outside interval is a diminished 4th, If its functional meaning is to be fully under- stood, the interval should be executed on an untempered instrament. Consequently the lowest tone (leading tone) should be tending upwards and the upper tone (the 3rd step of the minor scale) should be tending downwards. & Although the tetrachord ascending from the minor leading-tone normally consists of the step- wise motion 4 +- 1 + ¥4, it may occasionally reveal a variant, This occurs when the 2nd step of the scale is lowered a half-step. Consequently, in © min. Dp could replace D; in B min, C could replace Gf, ete. 45626 Play the minor cadence mentioned in Chapter VI, section d (p. 23), starting on a tonic in octave position, Lower the melody tone of the second chord which becomes the Neapolitan subdominant, (also called the supertonic with lowered Ind, in C min.: F~P—Ab—Dp). Play this cadence in all minor keys, starting on the tonic chord in octave position, Sing the melody simultaneously. In C min,, the tones C, Dp, B, C should be sung. The progression from the lowered 2nd step of the seale down to the leading tone is a diminished 3rd, This progression constitutes the closest move- ment around the “magnetic” tonic. Usually this interval occurs in descending progression, Drill Exercises I, 31 (p. 62), one exercise after another, then sing them in sequence indicating the starting tone only at the changes of meter.xu a The augmented fifth This interval is an in- version of the diminished 4th and appears in minor keys between the 3rd and the raised 7th {leading-tone) steps of the scale, When con- structed from the 3rd step of the minor scale with the Jeading-tone as the 5th a triad will be- come augmented. Sing the triad exercises in Exer- cises 1, 8 (p. 40) with the accidentals of the harmonic A min, (the augmented triad occurs in measure 4); of the harmonic G min.; of Ci min. and D min. Omit the 3rd in each of the broken triads: perfect, diminished and augmented Sths will then be outlined. At the same time, alter the first note in each bracket to a half-note. Sce Diagram of Functional Progressions, right hand page, and practice in A min. nos, 8 and 4 in sequence. Thus the augmented 5th will appear. AUGMENTED FIFTH AND AUGMENTED SIXTH In F min. this interval will appear by singing nos, 1 and 2, ete. b The augmented sixth, the inversion of the diminished 3rd, is rare.. The interval appears in skips between the lowered 2nd step of the minor scale and the leading-tone above. It is also found in connection with the raised 2nd chord (super- tonic): Ab @ Fg in C min, See Exercises I, 32 (p. 62). The patterns 1 and 4 contain augmented Sths, nos, 2, 3 and 5 augmented 6ths. ¢ Sce List of References, Group I. The examples referred to contain the diminished’4th, diminished 3rd, augmented 5th and augmented Sth. In the last section reference is made to advanced material which may be used as transi- tional material for studies in contemporary music. XIV FUNCTIONAL PROGRESSIONS As explained in Chapter I (section on Tonality) every musical context provides active tones as well as tones of a temporary or final resolving quality. Consider the following pattern in © major: ‘The two tones, A and B, which sound between the basic beats convey the tonal tendency of ‘the movement; while the tone G constitute a temporary and the tone C a final resolution. The 45626 pattern consists of the tonal tendencies 6 ¥ 5 (AG) and 7 7 1 (B—C). ‘The various steps of the scale are interrelated according to the chordal progressions in which they occar. For example, if the four tones are combined as follows: aA the tones C and G will now become active.In the following exercises, however, only prim- ary functional progressions should be studied. Primary functional progressions are progressions which can be harmonized with either the chord progression Dominant-Tonic or Subdominant- Tonic. In this way, the first example above rep- resents two primary functional progressions, be- cause it may be harmonized with the chords Subdominant-Tonic, Dominant-Tonic (the bass- tones F,E,D,C) ‘There are seven melodic functional progressions 31 (tonal tendencies) which should be considered: 1. 7 AF (leading-tone) 2.5 Al or 5 ¥ I (dominant-tonic) 3. 6 A1 — (plagal cadence) 4.43 (descending tonal tendency) 5. 6X5 (descending tendency of 6 to 5) 6 2N1 (descending tendency of 2 to 1) 7. 5.43 (ascending tendency of the dom- inant to the 3rd above) The following C maj. melody is made up entire- ly of functional progressions: ‘The skips between the functional progressions ‘will occasionally reveal rather large intervals. How- ever, they are not difficult to execute when the student is anticipating the last note in each func- tional progression. Play the cadence T-S-D-T in various major and minor Keys and sing with letter names the above Functional Progressions 1, 2 and 3 in varying sequence. As support for no. 3, the plagal cadence (chord sequence $-T) is imagined. This pattern should be executed in minor with the 6th step of the harmonic minor. Add no. + (which corresponds to the chord progression Dy—T or S—T); then add no. 5 (which corresponds to ST); finally add nos. 6 and 7, The seven functional progressions are illustrated in the diagram below: 2 Gay Pa 2 6 6 8 7 sh [ast a 4 45626 ‘The numbers 17 indicate the seven steps of the major scale, Besides these progressions, three others have been added: 8, the leading-tone step of the relative minor key (5 7 6); 9, the leading-tone step of the dominant key (42 7 5), and 10, the descending leading-tone step of the subdominant key (7h 6). These three additional progres- sions are by far the most difficult, because when approached within a melodic sequence, various augmented and diminished intervals will often result. They should only be studied after the func- tional progressions from 1—7 are mastered. ‘The functional progressions should be learned in all keys until they are totally familiar as support- ing aids, When sight-singing, the student may have a favorite key or keys in which he feels at home. The reason is that the tonal context in those keys is easier to grasp and the supporting tones — tonic, dominant, leading-tone, etc. — come more easily. By working with the Diagram of Fune- tional Progressions, sight-reading ability will be enhanced within all the major and minor keys up to 6 sharps and 6 flats. Drill the pattems in the enclosed Diagram of Functional Progressions in every key, beginning with C maj. In each key, practice all the func- tional progressions in random order. In the begin- ning, omit the progressions in brackets (the Jeading-tonc of the relative minor and that of the dominant, the descending leading-tone of the sub- dominant). Finally, add these to the exercises and ‘use as transitions from one key to another — progressing in the diagram from one staff to the next. For example: F{—G in C maj. (no. 5) leads to the line above, i.e. to G maj.; GEA32. in G maj, (no. 11) to A min, on the opposite page; Bp—A in G maj. (no, 9) to the line below, to F maj, ete ‘The functional progressions 4 7 5, 7h \ 6 and 5g. 7 6, however, are not always used in modula- tion, They sometimes occur as temporary devia~ tions from the main key without altering the tonality. In C maj., for example, practice the following sequence: 1, 2, 11, 5, 14, or in A maj.: 22 23 Write corresponding exercises in various major keys and select, as in the above example, patterns in a sequence which will correspond to natural chord sequences (refer to Chapter V, Section ¢). For example, in G maj.: 22a, 24a, 34a, 354, 25a; or Ta, 10, 124, 16a, 25a; in G maj. and E min. (12):16, 10, 38, 22, 375 in F maj. and D min, (1p): 24a, 38, 32, 394, 31a; in Ab maj. and F min, (4 p's): 31, 39, 38, 22, 24 45626 3, 5, 12, 14, 6, 12, Alterations caused by leading-tone progressions are most typical of the major and minor style. ‘The steps 2—7 are all able to function as “temporary tonic tones.” When practicing these progressions use the arpeggios in “Diagram of Broken Triads” {see the enclosed page and com- pare Chapter V, sections b and c) in the following way: Before each tone insert its leading-tone: Rha Exercises Il, 4*—10* (pp. 64-66) will also provide drill and practice in functional progres- sions and modulations. The single numbered pat- terns within cach exercise should be sung attacca in both horizontal and vertical sequence (refer to p. 20}. 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