Tsm_level_4_satb_se.pdf

Patti DeWitt Folkerts, DMA

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2

SATB The Choral Virtuoso

n o i t i Ed

The Singing Musician

2nd Edition

A complete and sequential program

LEVEL ONE: A Good Start! Unison LEVEL TWO: Growing Artistry SA, TB, or Mixed LEVEL THREE: The Skillful Singer

SSA, TTB, SAB, or SATB

LEVEL FOUR: The Choral Virtuoso SSA, TBB, SAB, or SATB Teacher's Editions for each level. Supplemental literature for each book available on CD Rom. Copyright 2014. Published in the United States of America, Patti DeWitt, Inc., Cedar Creek, TX. The publication, or parts thereof, may not be reproduced in any form by photographic, electrostatic, mechanical, or any other method, for any use, including information storage and retrieval, without written permission from the publisher.

Welcome choral students! You are about to embark on a fantastic journey into the wonderful world of musicianship! When you open this book, you will discover many musical adventures. Not only will you learn to sing and to read music, but you will also learn tools with which you can express yourself in musical performance. And it gets even better! You will also learn how to create your own music as well! So open your minds and hang on! There is a wild and exciting ride awaiting you. What you find beyond this page could change your life forever!

"Hesitating between Music and Art" Painting by Angelica Kaufmann, 1741-1807

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Acknowledgments

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There are many people who have helped me in the pursuit of the ideal choral textbook. First of all, I would like to thank my husband, Ronald Folkerts, who has tirelessly devoted himself to making my dreams a reality. Also my son, Joel Johnson, who has done a lot of the "grunt work" for me. My daughter, Cecelia, spent much time making paintings, taking photographs, and creating many of the graphics in the first edition which are being reused in the second. My mother, Pat Darnell, has always been there for me; even in my wildest schemes, a co-conspirator; someone off of which to bump ideas and who eagerly contributes her own talents to my projects. My love and appreciation goes to all of my family, most of whom have been nvolved in my pursuits at some level--whether by choice or by (loving) coercion. Dr. Ronald Yates, my teacher and mentor, has not only graciously contributed his compositional talents to this project and others, he has inspired and believed in me from the first. Additional thanks are due my high school buddy, Beth Butler, for her excellent editing skills. Not only was she my classmate, but her father, James Butler, was my junior high band director and a huge inspiration to me in my pursuing a musical career. Kenneth Eastepp once again took domestic responsibilities off my back and allowed me to complete this project. A boundless expression of appreciation goes to my choral director peers who have given me the opportunity to pursue educational ventures such as this one, who have used my products in their classrooms, and have made the Second Edition possible. In this edition, it was my goal, not to reinvent the wheel, as it were, but to offer an improved version of the books, with whatever resequencing and additional clarification and activities were needed. I hope the users will find that the books will facilitate music literacy skills and other requisite music knowledge even better than the first edition.

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Dedication

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I have a wonderful family. That is probably what most people would say about their families, and that is the way things should be. But sometimes people who come into your life who show amazing love and support for you even though they are not "bound" by blood relationships to do so. I would like to dedicate this new series to the memory of my stepfather, Daniel Boone Darnell, Jr., who supported me for the past 43 years in every possible way. Since I began this project of revision, I not only lost my stepfather, but I also lost my lovely daughter, Cecelia. I dedicate this new series also to her, who lit up my life with her smile and vivacity, who contributed her talents to its fruition, and who loved living my dreams with me. iv

Meet the Author Patti DeWitt Folkerts is a music educator and composer and living in the Austin, Texas area. She has a Bachelor of Music Education degree from Henderson State University in Arkadelphia, Arkansas, a Master of Music from Texas A & M University at Commerce, and a Doctor of Musical Arts degree from University of Houston. Dr. DeWitt taught for 20 years at all levels of vocal music in the public schools. Since 1991, she has composed many choral pieces for the Texas State University Interscholastic League Sightreading Contest. In addition to over 100 pieces published by Southern Music Company and Hal Leonard Corporation, Dr. DeWitt selfpublishes and markets her own music as well as her choral sightreading series, Music Literacy for Singers. In 2004, Dr. DeWitt wrote the first edition of The Singing Musician textbooks. Since that time, the series has appeared on state adoption lists in Utah, South Carolina, Georgia, Louisiana, and Texas. It is also being used in many choral classrooms in other states. Dr. DeWitt has presented workshops and interest sessions in most of the states in this country. She has also presented several workshops, in Germany and in Italy, for the European Music Educators Association. In addition, she has presented many clinics and inservices for school districts and individual classrooms. Dr. DeWitt continues to provide support for classroom teachers and to compose commissioned choral pieces. She also has produced many music education products for all levels, including her Marvelous Music Carpet which is being used in music classrooms in the United States, Mexico, and Canada. Her passion is aiding choral directors in the classroom to empower their students to become independent successful musicians, and thus to inspire them to become the music educators of tomorrow.

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Table of Contents

Welcome . . . . . . . . . . . . . . . . Acknowledgements . . . . . . . . . . Meet the Author . . . . . . . . . . . . Conducting Patterns . . . . . . . . . . John Curwen's Handsigns . . . . . . .

I: II: III: IV: V: VI: VII: VIII: IX: X:

. . . . .

. . . . .

. . . . .

. . . . .

. . . . .

L . . . . .

. iii . iv . v . viii . ix

Ancillary Pages Introduction . . . . . . . . . . . . . . . . . . . . . . . A-2 Your Voice . . . . . . . . . . . . . . . . . . . . . A-6 Choral Excellence . . . . . . . . . . . . . . . . . A-12 Musical Careers . . . . . . . . . . . . . . . . . . . A-14 Concert Etiquette (Performance) . . . . . . . A-18 Concert Etiquette (Audience) . . . . . . . . . A-24 Evaluating Music . . . . . . . . . . . . .. . . . . . A-27 Evaluating Performances . . . . . . . . . . . . A-30 Music and Other Arts . . . . . . . . . . . . . . . . A-33 Music and Other Subjects . . . . . . . . . . . . A-35

Chapter 1: Rhythm Review . . . . . . . . . . . . . . . . . .

1

Chapter 2: The I, ii, V and IV Chords . . . . . . . . . . . . . 4 Chapter 3: Sixths and Octaves . . . . . . . . . . . . . . . . . 15 Chapter 4: Meter Matters . . . . . . . . . . . . . . . . . . . 32 Chapter 5: The vi Chord . . . . . . . . . . . . . . . . . . . . 42 Chapter 6: The V7 Chord . . . . . . . . . . . . . . . . . . . 53 Chapter 7: Cadences . . . . . . . . . . . . . . . . . . . . . . 76 Chapter 8: "Fi " . . . . . . . . . . . . . . . . . . . . . . . . . 81 Chapter 9: "Si" . . . . . . . . . . . . . . . . . . . . . . . . . 99 Chapter 10: Other Leading Tones . . . . . . . . . . . . . . 117 . Chapter 11: Jan Pieterzsoon Sweelinck . . . . . . . . . . . 141 Chapter 12: Modulation . . . . . . . . . . . . . . . . . . . 155 Chapter 13: Lowered notes . . . . . . . . . . . . . . . . . 178

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Chapter 14: Schubert . . . . . . . .

. . . . . . . . . . . . . 205

Chapter 15: The Spiritual . . . . . . . . . . . . . . . . . . . 220 Chapter 16: Barbershop . . . . . . . . . . . . . . . . . . . . 230 Glossary . . . . . . . . . . . . . . . . . . . . . . 235 Index of Poems . . . . . . . . . . . . . . . . . . 242 Index of Songs . . . . . . . . . . . . . . . . . . 242 Index of Composers . . . . . . . . . . . . . . . 242 Orff Abbreviations . . . . . . . . . . . . . . . . 242 IPA Chart . . . . . . . . . . . . . . . . . . . . . 243 General Index . . . . . . . . . . . . . . . . . . . 244 Bibliography . . . . . . . . . . . . . . . . . . . 246

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CONDUCTING PATTERNS

44

4

4

3

2

3

2

1

1

Left hand

Right hand

34

3 2

3

1

1 viii

2

John Curwen's

SOLFEGE HANDSIGNS for the notes of the scale

Lowered Notes

Raised Notes

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Ancillary Pages I: II: III: IV: V: VI: VII: VIII: IX: X:

Introduction Your Voice Choral Excellence Musical Careers Concert Etiquette (Performance) Concert Etiquette (Audience) Music Evaluation Performance Evaluation Music and Other Arts Music and Other Subjects

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I: Introduction Music is a uniquely human experience. Nowhere in the animal kingdom do we find rhythm, pitch, timbre and intensity all poured together into the creation of musical works. Whereas birds may "sing," their songs are very short and repetitive and specific to their species. There are no composers in the animal kingdom: No performers of the works of others; no musical instruments that have been created; no consuming audience supports such performances. On the other hand, every society in recorded human history has had the gift of music which has served important roles in society. Music has lifted voices up together in worship. Music has brought helped people celebrate the planting, the growing season, the harvest, the arrival of spring, and to commemorate events significant to that particular society, such as birthdays, anniversaries of life-altering experiences, disasters, "miracles," etc.. Because of the importance of the role that music plays in society, it follows that the individual society would have significant effects on shaping that society's music. The purpose of this chapter is to identify and describe some of the ways in which society, culture, and technology have and have had an influencing effect upon music.

Society and Music: We will be examining these influencing effects from the following perspectives: How music has affected societies of the past How music affects our modern society How music affects my life Written Activity 1 will guide you through questions concerning music of the past. Select a specific era and describe how it affected the music that we have today. For example, the renaissance of folk music in the 1960s was a direct result of the turmoil that was going on in our society at that time. People longed for a simpler and more innocent time, and this was reflected in the folk music resurgence. Ironically, the same societal violence also inspired a more violent genre of music, as a different stream rock music turned increasingly "harder"--louder, with more violent rhythms and more desperate words. Conversely this music had its affects upon our society also. It brought people together, inspired them with a sense of unity of purpose, and made stark delineations between the strata of society. These two different styles of music compelled people to react in divergent ways: to revolt and violent protest and to live communal lives of "peace and harmony." Written Activity 2 will guide you through activities that trace the development of a particular stream of music historically. For example, the church hymn can be traced back to the Protestant Reformation and the chorale melodies of Martin Luther and others that were later harmonized in four parts by composers like Johann Sebastian Bach. It was the need of that particular society for a particularly Protestant expression of faith that led to

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INTRODUCTION -- I

the development of the hymn and, thus, for four-part chordal writing, the basis of music music theory education. Written Activity 3 deals with our modern society and the effects that it has on music. What are come current issues, trends, or attitudes in our society that affect our interaction with, participation in, and appreciation of music?

Culture: The effect of culture on music will be examined from these different perspectives: What are some primary cultural factors effect a culture's music? How do a culture's priorities influence its music? How has the history of a culture influenced its music? How does one culture compare to another for its influences on music? Written Activity 4 provides activities for examining primary cultural factors affecting a culture's music. Some factors that might be considered are religion, political ideology, importance of education to that society, censorship, and economic factors. For example, the culture of the late Soviet Union forbad the consumption of "decadent" music from "the West"--Europe and America. Thus there was not a lot of rock music being produced and consumed in the Soviet Union and its satellites from the 1950s-1980s. Can you name and describe some other factors that have affected music in a culture? Written Activity 5 discusses the history of a particular culture and how its history has contributed to music in its culture. For example, the blending of African cultures with the Christian religion and the pathos of the slave led to the development of the spiritual. Additionally, it was the poverty of the freed slaves--the lack of funds to study music formally--that led to them to teach themselves to improvise which gave birth to jazz. In fact, the African influence in the Americas during the eighteenth and nineteenth centuries eventually led to the birth of all of these styles of music: the spiritual, calypso, jazz, ragtime, blues, barbershop, "Gospel," soul, "Motown," and Dixieland--and more. Isolation from other cultures is in itself a factor in the development and preservation of various folk cultures as well as the development of instruments unique to that culture. The folk music of Appalachia is an example of this isolation. Bluegrass is a type of folk music grounded in the Appalachian folk tradition. Instruments like the mountain dulcimer and the banjo are representative of this culture. The purpose of Written Activity 6 is to provide a side-by-side comparison of the factors influencing the music of one culture to the factors influencing the music of another. For example, how does the culture of Mexico affect its music, and how does this compare with how the culture of Scandinavia influences the music in its culture? Written Activity 7 calls for an assessment of factors in one's personal culture, family or environment that have affected the importance of, the preferences for, the production of, and participation in music in your life.

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I -- INTRODUCTION

Technology and Music: Written Activity 8 provides guidance in exploring the effects of technology on music. One obvious effect of technology on music is the emergence of electronic music in the 1960s and 1970s. When it was discovered that musical instruments and voices could be synthesized by a computer, there were many who thought that the day of live musical concert was over; that instead of being consumers of publicly performed music, people would become their own composers, creating their own music electronically instead of paying to observe the performance of the music of others. This has not been the trend, however. Composers are the ones who create music electronically, and the consuming public still supports them by attending live performances and buying recordings of their music. With the invention of the electronic keyboard, it was likewise speculated that the keyboard skills of the general population would rise, but the trend indicates that it is just the opposite, and expertise in keyboard instruments has diminished instead of increased according some piano teachers.* Written Activity 9 explores the ways in which technology has made music more readily available and of a higher quality for a consuming public. For example, the development of Dolby filters was responsible for vastly improving the quality of a recording. Additionally, advances in technology has made it possible to rerecord older performances digitally in order to improve their clarity and to enhance their quality. Music education has also been affected by technological advances. Written Activity 10 guides research into technology's effects on this field. Such technology includes music notation and music theory software, electronic tuners and metronomes, electronic practice instruments such as drumpads and electronic violins, MIDI and .mpg files, not to mention the incredible abundance of musical information available at one's fingertips on the Internet.

Comprehension Check: Written Activity 1: Past Society and Music Written Activity 2: Society and the Development of Musical Styles Written Activity 3: Music in our Society Written Activity 4. Influences of Culture on Music Written Activity 5: Historical Effects on the Music of a Culture Written Activity 6: Cultures and Music: A Comparison Written Activity 7: Music in My Culture Written Activity 8: "E-Music" Written Activity 9: Technology and the Music Consumer Written Activity 10: Technology and Music Education * From a personal informal survey. Official research surveys would need to be taken to verify.

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INTRODUCTION -- I

Write

ACROSS THE CURRICULUM:

After 1. completing Written Activity Sheets 1-10, write a paragraph for each of the following questions. 1. Identify and describe three ways in which society affects music. Give one example of each. 2. Identify and describe three ways in which cultural influence have affected music. Give one example of each. 3. Identify and describe three ways in which technology has affected music creation, music performance, the music industry, and music education.

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II: Your Voice LESSON 1: ANATOMY We sing with our voices--the same system of organs with which we speak. In fact, singing is speech that is continuous and at specific pitch levels. Whereas in speech, our voices are silent for brief periods of time between the words, there are no periods of silence in singing except for notated rests or when the singer stops to take a breath. Vocal sounds are made when the vocal cords in the larynx (or voicebox) are set into vibration by the air from the lungs rushing through them.

The

Larynx )

))

Vocal sound

A. B. C. D. E.

Larynx (voicebox) Trachea (windpipe) Tongue Hard and soft palates Sinus cavity

Air from the lungs The sinuses, hard and soft palates, and tongue work together to shape the size and shape of the mouth cavity affecting the volume and tone quality of the singing sound. The diaphragm, a large muscle that separates the lung cavity from the abdominal cavity, contracts drawing air into the lungs. When the diaphragm relaxes, the muscle returns to its domed position high in the ribcage and pushes the air out of the lungs and up the trachea. The air must pass through the larynx both breathing in and out.

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YOUR VOICE -- II

Air travels up the trachea and through the larynx. If the vocal cords in the larynx are taut, they will vibrate and set up vibrations in the air which the human ear perceives as sound. If the vocal cords are relaxed, then they will not vibrate. This is the reason that we can breathe in and out through the larynx without any vocal sound. Vocal sound occurs when we consciously tighten the vocal cords and push air through them. To understand the perspective of the illustrations, below, imagine that you are standing behind someone who has his head tilted back and that you are looking down his throat. Front

Back Relaxed vocal cords (normal breathing)

Evenly taut vocal cords (during phonation)

The timbre, or tone quality, of the vocal sound can be seriously affected if the vocal cords do not meet completely. If the vocal cords do not meet precisely during phonation, extra air can escape through the vocal cords, causing the sound to be breathy. There can be several reasons that the vocal cords do not meet completely.

Swollen vocal cords

Vocal nodes

Bowed vocal cords

Swollen vocal cords are symptomatic of laryngitis. This can happen with allergies, colds, flu, and other minor respiratory illnesses. Swollen vocal cords can also happen through overuse or through misuse such as continued screaming or yelling. The vocal cords become thickened and cannot vibrate normally. Additionally, the cords cannot fully close, so that the resulting sound has a low, raspy timbre. If the vocal abuse continues over a long period of time, the vocal cords may become thickened permanently. Vocal nodes can occur with misuse of the voice. Nodes are callouses that develop when the cords do not meet and vibrate evenly along their full length. They become thickened and toughened in the spot where they touch most frequently.

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II -- YOUR VOICE

Bowed vocal cords can occur when the voice is constantly misused or when there is a structural problem. All of the vocal problems above can be diagnosed and treated only by a doctor. If a person has a continued problem with a breathy vocal timbre, (s)he should consult a physician.

LESSON 2: VOICE TYPES Before adolescence, all normal human larynxes, male and female, are approximately the same size, and thus they produce approximately the same range of pitches--in the treble range. Children's choirs are treble choirs, usually made up of both boys and girls with the higher and lower parts generally designated without regard to gender. During adolescence, both boys' and girls' larynxes grow in size, but, whereas the female larynx is very close to the size it will be as an adult, the male larynx will double in length to reach its adult size. The enlarged male larynx is evident from the exterior and is sometimes called an "Adam's apple." Over a period of a year or two, the male voice will drop by an octave. As the adolescent voices approach maturity, they begin to fall into the categories that they will remain in in adulthood. The higher adult female voices are classified as soprano, while the lower ones are called alto. The higher male voices are called tenor, and the lower voices are basses. Voices that fall in the middle ranges of the adult male voice are referred to as baritone. Although the male voice drops considerably during adolescence, men are still able to sing just as high as women sing using their falsetto voices. In falsetto, only the outside edges of the vocal cords vibrate as opposed to the whole vocal cord. Because a thinner portion is vibrating, the pitch is much higher than when the whole vocal cord vibrates. Thus men are capable of singing very high, although the sound will be thinner than when they use their "full voices."

Write

ACROSS THE CURRICULUM:

1. Describe the processes that occur in the larynx to create vocal sound. 2. List and describe the different voice classifications.

Comprehension Check: Written Activity 1: The Human Voice Written Activity 2: Voices

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YOUR VOICE -- II

LESSON 3: VOCAL TIMBRE Vocal timbre is the tone quality of the human voice. One type of tone quality that was discussed earlier in this chapter is breathiness or raspiness. What is one cause of breathiness in the human voice? Abnormalities or inflammation of the vocal cords can only be cared for by a physician. Other kinds of tone quality problems can be improved with proper instruction and practice. Breathiness is a common trait of young voices. Here are some other common vocal timbre problems: Stridency--A harsh, piercing "edge" to the tone Nasality--A "flat," out-of-tune Dullness--A dark, "swallowed" sound Thinness--A small, lifeless sound Breathing, the foundation of good vocal timbre Relaxed Diaphragm Pharynx Tongue

Diaphragm

Contracted Diaphragm Pharynx Tongue

Larynx Lung

Contracted Diaphragm

Expanded Lung

The diagrams above show what happens when the diaphragm contracts and the lungs are filled with air. The diagram below shows the expansion of the rib cavity and the abdomen during inspiration: 1. The abdomenal muscles when the diaphragm is relaxed 2. The abdomenal muscles when the diaphragm is 1. contracted 2.

When the diaphragm contracts, it pushes down on all of the organs in the abdomen, causing a "pooching" of the lower abdomen and an expansion of the back as well. When these muscles are trained to hold the air in the lungs when singing, allowing it to escape evenly and steadily (as opposed to pushing the air out), the vocal cords are supported and the tone is steady and clear. If the abdomenal muscles do not hold and air is pushed out through the vocal cords, it can result in a beating together of the vocal cords which will not only lead to a faulty vocal timbre, but will eventually do damage to the vocal cords, a damage that might become permanent.

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II-- YOUR VOICE

Vowel production The next important factor determining tone is vowel production. Vowel production is determined by the shape of the mouth and the position of the tongue. If vowels are produced with a closed, "smiling" mouth, the tone (or timbre) will suffer and intonation (in-tuneness) will suffer. Closed vowels can cause a "flat" or nasal tone. Your teacher will probably use the expression "drop your jaw," or use "tall" vowels. This means that you should open your mouth farther than you think you should to sing each vowel. The pictures below show approximations of the mouth and tongue positions for the five basic vowels: (written in IPA), i, e, a, o, u.

i (ee)

e

(eh)

a (ah)

o (oh)

u (oo)

i (ee)--The tongue is high behind the teeth; the lips are puckered forward; the jaw is dropped.

L (eh)--The tongue is slightly farther back, but still high; the lips are still puckered forward; the jaw is dropped further.

a (ah)--The tongue farther back, but still high in the back of the throat; the lips are pulled forward; the jaw is fully dropped.

o (oh)--The tongue comes forward but is low in the mouth; the lips are very puckered, shaped like an O; the jaw is fully dropped.

u (oo)--The tongue remains forward and low; the lips fully puckered, shaped like a small o; the jaw is dropped as far as possible with a full pucker.

Practice singing in front of a mirror. Beginning singers always think that their mouths are more open than they actually are. Practicing singing these vowels in front of a mirror will help you check your mouth to see if it is open enough and to check to see if your tongue is in the right position. Practice singing the literature in front of a mirror so that you can check to make sure every vowel is "tall" and "open." In this way, using tall vowels combined with good deep breathing controlled with the abdomenal muscles, you will be able to produce the best possible vocal timbre for your voice at this time of your training.

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YOUR VOICE -- II

Remember, every time you sing to demonstrate the best possible vocal timbre you can produce through breathing correctly and producing "tall," open vowels. This is especially important when you are singing by yourself, because no other voices will be covering your voice; your voice will stand on its own.

Write

ACROSS THE CURRICULUM:

1. Describe the events that have to take place in the body for phonation to occur. 2. List the five basic vowels and describe how each one is properly sung.

LESSON 4: VOCAL HEALTH Your voice is an organic instrument. It is a part of your body. Therefore, it must be taken care of just like the rest of your body. A healthy voice needs: 1. Sufficient rest Your vocal cords need a good night's sleep in order to be in the best possible working condition. Lack of rest will tire all of your muscles, and your vocal cords are muscles also. Your vocal cords also need rest from usage. Overuse of your vocal cords can lead to all kinds of vocal problems, as shown earlier in the chapter. Cheerleading, yelling, talking for an extended period of time, oversinging, singing without breath support-all of these things can overstress your vocal cords and damage your vocal chords, especially with continuing abuse. 2. Good nourishment Your whole body needs good nourishment in order to function properly. A diet that is good for your overall health will also be good for your voice. There are some foods that should be avoided before a major performance. --Icy cold drinks and foods can cause the muscles of the throat and larynx to contract making the muscles sluggish and slow to respond. --Salty foods and spicy foods should be avoided because they can dry out your throat. --Caffeinated drinks and foods--such as coffee, tea, caffeinated sodas, and chocolate--can also cause a mild drying of the larynx. --Highly acidic foods or drinks such as lemon juice should be avoided for the same reason. Gargling with salt water or lemon juice is not recommended. Not only is it not effective, (It will never reach the vocal cords.) it can cause a drying out of the vocal cords also. 3. Hydration Drinking plenty of water is one of the best things you can do for your health and for your voice. Your vocal cords need lots of hydration. Many choral directors have their students carry a bottle of water with them for rehearsals.

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III: Choral Excellence At the time you begin to use this choral textbook, you have, presumably, accumulated many musical experiences along the way. By this time you should know how important music is to a society as a whole and to you as an individual. In Written Activity 11 you will be asked to list and decribe your own musical experiences. The original musical instrument was the human voice. Western music developed from medieval times through the chant of the mass. Music was considered only a channel for presenting the Word of God, rather than something to be pleasing to man's senses. There were very strict rules during medieval times concerning writing music for the mass. The music must never overshadow the text; the text must dominate. It was declared idolatrous for music to be appreciated for its own sake, and so the "beauty" of music was not a even a consideration for writing appropriate chant music. Whereas it was not desired that the music itself be beautiful, there was concern that the music be sung correctly and in tune. Whereas there was a desire that the music not be so beautiful that it distracted the listener from spiritual matters, there was still a need for the music not to be so badly performed that it interfered with the message. Thus began training the singers to read music, the theory being that the better choir could read music, the more easily the singers could learn new music, the more music they could learn, and the more time could be spent on creating the perfect musical conduit for the mass texts. If this was the case in medieval times, how much more important is music reading to the choral musician today when music is appreciated simply for its own sake? The choir that reads music will be able to learn new more quickly, so that more time may be spent on perfecting the qualities of the choral performance--characteristics such as intonation, tone quality, vowel formation, phrasing, balance between the sections, blend within the section, and musical interpretation--qualities that make the choral performance more than a mere recitation of musical notes, but a vibrant stream of emotion that speaks to the human heart. FOR CLASS DISCUSSION: 1. How important is music in your life? 2. How important is music in your environment? 3. How important is music in our society? 4. Discuss some events/activities in our society that are inextricably linked with music. 5. Discuss the vocal instrument. In your opinion, does it require more confidence to perform vocally than instrumentally? Give reasons for your answer. 6. Why is the vocal music tradition significant in Western music history? Excellence in Choral Music In Level Three of this series, you were asked to compile a form for evaluating choral performances. Consider this form as you answer these questions:

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CHORAL EXCELLENCE -- III

1. Has your opinion changed since Level Three? Do you have different ideas about excellence in choral music than you did when you filled out the form from Level Three? If you have not completed that form, you may do so now by using Written Activity 45. 2. Discuss each of the characteristics of choral performance below. Define them using Written Activity 44. Which do you find most important? Use Written Activity 45 to place all of the characteristics in rank order from most important (1) to least important (10) to the overall performance. 1. Technique (correct notes, rhythms, etc.) 2. Intonation (Is the choir in tune?) 3. Dynamics (observing the loudness and softness) 4. Balance (equality of voice parts) 5. Blend (uniformity of vowels; no individual voices ) 6. Diction (Clear consonants, pure vowels. Can the words be understood?) 7. Tone (Full, clear, breathy, thin, weak) 8. Tempo precision 9. Interpretation (Style, musicality, phrasing, rubato, etc.) 10. Stage Presence (Appropriate stage behavior, posture, etc.) 3. Consider your most recent choral performance. How would you rank this performance using the standards of excellence you developed in the evaluation form? Exemplary performances: Sometimes you will hear a choir that is so outstanding that it almost takes your breath away. What explanation can you give for this? What are those singers doing that less exemplary groups do not do? Ask your teacher where to find some recordings of some exemplary groups. Listen to the carefully. What do you hear? What do you not hear? Can your choir achieve the same choral finesse that this group has? How? Listen to and/or watch some exemplary choir performances by diverse groups. Write down in Written Activity 14 what you observed. Did they do anything that you and your choir could not learn to do given adequate instruction and practice? Listen to and evaluate at least 3 performance by different choirs using the evaluation form you developed in Level Three or use Written Activity 45 to develop a new one.

Comprehension Check: Written Activity 11: Written Activity 12: Written Activity 13: Written Activity 14:

My Musical History My Performance History Performances Characteristics of Excellence

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IV. Musical Careers There are hundreds of jobs in the music industry--from classical performance to church music to recording and selling popular CDs and DVDs. Activity 1: POST a long banner of paper on the wall on which to make a list of musical careers. Add any musical careers the class can think of to the list. Leave the list on the wall for a several weeks and add to the list as more musical careers are reported. DISCUSS these careers in class. Which ones are you willing to consider? Activity 2: 1. Select one of the careers from your list above. 2. Research your career online. Write a paper discussing and describing your career choice. Answer the following questions about your chosen career: A. What will be expected of you in the career you have chosen? What kind of services will you be expected to give? What kind of duties will be expected of you? B. What preparation is needed for your chosen career? (How many years? What kind of training, formal--school or university--or informal--private lessons, practicing, performing, learning to use software, etc.?) Take into consideration that many concert performers train from early childhood. C. What kind of starting salary can you expect from your chosen career? D. What are some advantages of seeking the career you chose? E. What are some disadvantages of seeking the career you chose? Activity 3: Interview a person with a musical career outside of education. You may conduct your interview either by letter, by email, by phone, or in person. (Never contact any person without your parents' knowledge, permission, and supervision.) Written Activity 18 contains some standard questions to ask the person you interview. Add questions specific to the musician you are interviewing and/or your own questions to the list. If you are doing an oral interview with the person, ask him/her if you can record the conversation so that you can accurately report their answers. Type up your interview, and share it with the class.

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MUSICAL CAREERS -- IV

Vocation vs. Avocation: Sometimes people are very much involved with music just for the love of music. They are involved with musical activities as a hobby, or an avocation, meaning that they do not make their livings by their musical activities. Such activities may include taking music lessons, performing in a community chorus, or building a musical library. Questions for discussion: 1. Can you name some other musical avocations? 2. Do you or any member of your family participate in a musical avocation? 3. What is the difference between a vocation and an avocation?

Comprehension Check: Written Activity 15: Written Activity 16: Written Activity 17: Written Activity 18:

Musical Careers I Musical Careers II Vocation or Avocation? Interviewing a Musician

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IV -- MUSICAL CAREERS

A personal letter from the Author of this series: ================================================================ April 2004 For those who may be teetering on the brink of a decision for a musical career, allow me to share my personal professional background. I was raised in a musical family. Music was always a major part of our lives. My mother was a professional pianist and church organist; one brother played organ, bass guitar, and drums; the other was a fine classical guitarist. My little sister and I both played the piano from a very early age. I played clarinet and oboe in my high school band. In spite of all these things, I was a very poor performer. Not because I was incompetent, but because I totally lacked confidence, and whenever placed in front of an audience of any kind, my nerves got the best of me. Considering this fact, it is an amazing thing that I decided to major in music. In fact, I cannot give you a concrete reason for my decision, except that, I suppose, I hoped that further education would give me the help me I needed to overcome my insecurity and become a better performer. Because performing was what I thought music was all about. In fact, from my perspective, it seemed that was all the universities cared about--one had to audition to get into the music program, to perform for the music faculty every semester, to perform on one student recital every year, and to give a senior recital in order to receive the degree. All of which I did, but, as far as I was concerned, not competently and certainly without confidence. Some people seem to think that the only careers available to musicians are either teaching or performing. I was one of these people. And I was not a performer, so that left only one thing--teaching. And so I majored in Music Education, a decision that is treated by some merely as a second best alternative for those who do not perform well. I have learned that nothing could be farther from the truth. It takes just as much skill and training to teach students to become musicians as it does to be a performer. Some might say it takes more. After I had been teaching for about 10 years, I was approached by the chairperson of the Texas State (UIL) Sightreading Committee and asked to submit composed choral pieces for the annual contest. And so I began writing music for publication in 1990. I had no real experience in composition, but I decided to try it, and this was a major turning point in my life. Not that I was an instantaneous success and everyone clamored to buy my music. Hardly. But I did find that, although there is little recompense in writing choral music for publication, it does bring acclamation from one's musical peers. And it led to further opportunities. Some of my music was selected for the Texas Prescribed Music List and published by an international publishing company. I decided to pursue a Doctor of Music Education in 1992. I applied as a composition major and was declined. In 1993, I re-applied and was accepted in the Music Education program--opening more doors of opportunity. My doctoral committee approved of my dissertation proposal for a choral sightreading program for beginning choral students.

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MUSICAL CAREERS -- IV

So eager were my choral colleagues for this program that they began to buy it before it was finished. It is now selling across the country. I stopped teaching in 2000 to devote my time to producing and selling my choral music teaching aids. My sightreading program was selling well enough that I was able to live without my teacher's salary. Since that time, I have traveled around the country making presentations and giving workshops on choral sightreading. Additionally, I am frequently invited to give staff development workshops for school districts, to give clinics for individual choirs, to serve as clinician for Honor choirs, and to judge various choral events. My point in sharing this with you? Not to boast, but to show you that that you can never tell what opportunities may come your way. And to encourage you to think big and be willing and ready to pursue your opportunities. I am quite sure that my piano professor who endured my lessons and somehow managed to pull a senior recital out of me had no clue of the opportunities I would have. My peers who sweated with me through my juries and recitals would be surprised at the good things that have come my way! I thought that because I was not a good performer that I was not a real musician. This is because no one ever told me how many ways there are to be a musician and to make a good living from it. I was, in fact, discouraged from majoring in music by my grandmother and my brother because they could not see any future in it. Here are just a few of the ways I have made money as a musician: 1. Piano teacher (from age 14) 6. Composer 2. Public school teacher (all grades) 7. Clinician--both locally and nationwide 3. Wedding musician 8. Judge 4. Voice teacher 9. Textbook writer76yu 5. Church music director 10. Publisher I am telling you these things about myself because I had no one who told me of my own possibilities, or to give me direction in my musical pursuits. No one ever encouraged me to write music. I simply did it on as a hobby and later found out, to my surprise, that some others appreciated what I wrote. And so I am telling you, in case no one else does, to pursue the things that you enjoy doing. You have unlimited potential in you. There is no telling how far you can go and how important your life and work will be to our society. Even if you do not choose a musical career, pursue your opportunities with confidence and optimism. And if you do choose to earn your livelihood through music, then so much the better! What could possibly be better than to end up making a living doing what you love to do? Musically yours,

Dr. Patti a LA A - 17

V: Concert Etiquette (Performance)

Concert etiquette for performers involves how a choral singer should behave while performing. This involves every aspect of the performance: deportment before the concert, while entering the stage, while standing on the stage, while singing, during applause, while exiting the stage, and after the concert. Concert etiquette for the performer varies according to the occasion. Etiquette for formal performances differs somewhat for etiquette for informal or casual performances. It also differs according to whether the performing group is a large ensemble with a conductor or a small ensemble that is self-directed. Below is a list of appropriate formal concert behaviors for performers in large ensembles. The first thing a singer must do to prepare for a formal performance, large or small ensemble, is to make sure that his/her uniform is clean, pressed, and completely ready for the performance. This should be done a day or two before the day of the performance. This includes making sure all parts of the uniform are present, including shoes, ties, cummerbunds, vests, and the correct color socks or hose, etc.

Formal performance techniques for large ensembles: Entering the stage: 1. The stage should be entered as quietly as possible. There should be absolutely no talking, not even to give directions to others. 2. If the risers are mounted from one side only, they should be mounted from the far side. That is, the leader should be the first person on the back row of the side farthest from where the choir is entering the stage. 3. If the risers are mounted from both sides, then the leaders should be the centermost singers on the back row. They should climb each step at the same time and walk across on the top riser and meet in the middle. 4. The singers should step on the risers and ascend to the step on which they will be standing before turning to cross to the middle. They should not cut across the risers diagonally to reach the step on which they will be standing. 5. If the singers are using music, the music should be in black folders and carried at their sides in the hand opposite the one that faces the audience. 6. The singers should step lightly on the risers to make as little noise as possible. 7. The singers should look around them without too much turning of the head to make sure they are where they are supposed to be and that they are spaced evenly. If adjustments need to be made, they should be made silently and with as little commotion as possible.

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CONCERT ETIQUETTE (Performance) -- V

Before the performance: 1. Stand tall, weight evenly distributed on both feet, feet shoulder-width apart, one foot slightly ahead of the other, and hands to the side. 2. The singer may look at the audience at this time, but as soon as the conductor enters the stage, the focus should be on him/her. 3. There is absolutely no talking or interacting or extraneous movement during this time. During the performance: 1. The singer does not take his/her eyes off of the conductor from the time the conductor raises his/her hands or baton, to the time (s)he lowers it. 2. All music should be memorized unless the choir is performing a lengthy work. In which case, music should be held up so that the singer can see the conductor just over the top of the music. 3. The singer should remember to move his/her knees slightly from time to time to make sure the blood keeps flowing to the brain and (s)he does not pass out. (This is not an unusual occurrence in beginning choirs.) After the performance: 1. The singers should stand still, face up to the audience and acknowledge the applause. 2. They may look at the audience and take the time to breathe deeply, wiggle wiggle their knees and squeeze their hands to stimulate blood flow, but this should be done covertly so that it cannot be seen from the audience. 3. If it is between numbers, the singers may begin preparing themselves mentally for the next piece. 4. It is not necessary for large ensembles to bow in order to acknowledge the applause. It is generally better for the conductor to accept the applause by bowing for the whole group. 5. If it is at the end of the performance, the singers remain in their places until they receive direction to leave the stage, which they should do in an orderly manner, one row at a time, beginning with the front row. PRACTICE: Describe and exhibit the performance techniques for large ensembles in formal performances, both in practice in the classroom and in actual performance. Observe and critique the formal large ensemble techniques of others in your class and for other formal large ensemble performances.

Formal performances by small ensembles: In general, most of the rules for formal large ensemble performances apply to formal small ensemble performances as well. Entering the stage: 1. The stage should be entered as quietly as possible. There should be absolutely no talking, not even to give directions to others. 2. Risers are not generally used for small ensembles. If risers are used, they should be mounted according to the rules for large ensembles. 3. The singers should step lightly and enter the stage with as little noise as possible. 4. The singers should look around them without too much turning of the head to

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V -- CONCERT ETIQUETTE (Performance)

make sure they are where they are supposed to be and that they are spaced evenly. If adjustments need to be made, they should be made silently and with as little commotion as possible. Before the performance: 1. Stand tall, weight evenly distributed on both feet, feet shoulder-width apart, one foot slightly ahead of the other, and hands to the side. 2. The singers may look at the audience to acknowledge the applause at this time, but they should then directly or indirectly focus on the leader of the ensemble for pitches and/or the starting gesture. During the performance: 1. During the performance, the members of the small ensemble should find two or three different focal spots slightly over the heads of the audience and change their focus every few seconds. 2. At places which have changes in tempo and as the end of the piece draws near, ensemble members should refocus on the leader for any ritards or other tempo changes, as well as the final cut-off. After the performance: 1. The small ensemble may stand and acknowledge the applause or bow, depending upon what has been pre-decided and practiced. 2. After the applause has been acknowledged and has faded, the small ensemble should exit the stage in a quiet and orderly manner. PRACTICE: Exhibit performance techniques for small ensembles in formal performances, both in the classroom and in actual performance. Observe and critique others in formal small ensemble performances. Describe your findings.

Write

ACROSS THE CURRICULUM:

1. Describe concert etiquette for large ensembles in formal performances. 2. Describe concert etiquette for small ensembles in formal performances. 3. Discuss the differences. After observing and critiquing large and small ensembles in informal performances: 4. Describe performance techniques that you observed and critiqued for each group. 5. Write suggestions for improvement of these performance techniques.

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CONCERT ETIQUETTE (Performance) -- V

Informal performances by large ensembles: It is appropriate to follow all of the rules for formal performances in informal settings. But it is not appropriate to take the liberties allowed for informal performances in a formal performance situation. In general, the rules for performance etiquette remain much the same for informal performances as they are for formal performances. However, in informal settings, the singers may be a bit more relaxed in their behavior. Before the performance: 1. Because an informal performance may or may not involve the use of risers or entering a stage, the teacher must decide how to organize the way the singers will stand. If possible, this should be practiced beforehand. If not, then the singers must stand in an orderly and quiet way, waiting for instructions. 2. Students must follow instructions silently. Since there is a likelihood of more interfering noise in an informal situation, it is even more important that singers remain quiet so that all can hear their director's instructions. They should not take it upon themselves to try to tell other singers what to do, but merely to stand quietly so that the rest of the choir can hear the director's instructions. During the performance: 1. During an informal performance is it particularly important for a large ensemble to stay focused on its director. The chances of more motion and commotion in the audience is greater in an informal performance, and the individual singer must stay focused no matter what interference may occur in the audience. 2. There is a chance that the audience may choose to participate during an informal concert by either clapping to the beat or by joining in the singing. The singers should be prepared for this possibility so that they are not taken by surprise if it should happen. 3. Informal performances should always be memorized. Carrying music folders are an inconvenience that can be avoided. After the performance: 1. If the director has not given specific instructions about what to do, singers should remain in their places following the performance. 2. If the performance is in a public place, such as a shopping mall, students should remember that as long as they are in public in their school uniforms, they are the school's representatives and should be on their best behavior.

PRACTICE: Exhibit performance techniques for large ensembles in informal performances in the classroom and in actual performances. Observe and critique other groups in informal large ensemble performances. Describe your findings.

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V -- CONCERT ETIQUETTE (Performance)

Informal performances by small ensembles: Before the performance: 1. The members of the small ensemble must know how to stand before they go to place of performance. When they arrive, they should either sit or stand quietly in and wait for their performance cue. 2. When it is time to perform, they should go straight to their places without discussion. During the performance: 1. During an informal performance is it particularly important for a small ensemble to stay focused on its music. It is also important that the singers open their mouths and sing out, as there may be noise interference that they will have to compete with. Whatever happens, the singers must remain focused and keep on performing no matter what interference may occur in the audience. 2. There is a chance that the audience may choose to participate during an informal concert by either clapping to the beat or by joining in the singing. Singers should be prepared prepared for this possibility so that they are not taken by surprise if it should occur. 3. Music for informal performances should always be memorized. Carrying music folders is an inconvenience that can and should be avoided. 4. While members of a small ensemble may focus more on the faces of the audience and even glance at each other during an informal performance, they should not do anything to break their concentration in performing the music to the best of their ability. If they wish to look at the faces of the audience and/or at each other, they should practice doing this before the informal performance. In casual performances, the singers should follow the guidelines for informal performances. Even if their director allows them to be more relaxed in the performance, they should stay focused on giving the best performance possible under the circumstances, keeping in mind that people will possibly be coming and going and conversing while they are singing. They must not allow the commotion distract them from their best performance of the music. PRACTICE: Demonstrate performance techniques for small ensembles in informal performances in the classroom and in actual performances. Observe and critique the informal performances of other large and small ensembles. Describe your findings.

Write 1. 2. 3. 4.

ACROSS THE CURRICULUM:

Describe concert etiquette for large ensembles in informal performances. Describe concert etiquette for small ensembles in informal performances. Discuss the differences. Discuss casual performances. What things might one expect in casual performances?

After observing and critiquing large and small ensembles in informal performances: 5. Describe the performance techniques you observed and critiqued for each group. 6. Write suggestions for improvement of these performance techniques.

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CONCERT ETIQUETTE (Performance) -- V

Comprehension Check: Written Activity 19: Written Activity 20: Written Activity 21: Written Activity 22: Written Activity 23: Written Activity 24: Written Activity 25: Written Activity 26: Written Activity 27: Written Activity 28: Written Activity 29: Written Activity 30: Written Activity 31: Written Activity 32: Written Activity 33: Written Activity 34:

Formal Large Ensemble Performances Formal Small Ensemble Performances Informal Large Ensemble Performances Informal Small Ensemble Performances Performance Techniques I Performance Techniques II Performance Techniques III Checklist/Small Ensemble Formal Checklist/Large Ensemble Formal Checklist/Small Ensemble Informal Checklist/Large Ensemble Informal Critique Form/Small Ensemble Formal Critique Form/Large Ensemble Formal Critique Form/Small Ensemble Informal Critique Form/Large Ensemble Informal Written Critique Form for Performance Techniques

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VI: Concert Etiquette (Audience)

Choir members should not only be responsible performers, they should also be good observers. There are some guidelines that need to be followed in order that the audience give proper respect for those who are performing. Although the guidelines may vary slightly for formal, informal, or casual performances, the basic respect for the performer is at the center of all audience etiquette. Show that you understand appropriate audience etiquette by demonstrating these guidelines in the classroom setting. Then it will be easy for you to demonstrate them while observing live performances.

Audience etiquette for formal performances: Before the performance: 1. Dress appropriately. The audience should wear dress clothing for formal concerts. 2. Be on time. There should be no seating after the performance begins and until the applause after the first number. 3. Take care of personal needs before the concert. Do not expect to be able to go to the restroom or get a drink during the concert. 4. Pick up a program before you enter the auditorium. 5. Do not sit beside those who will tempt you to talk to them. 6. Do not seat-hop. Find a seat and keep it. 7. If you come in late, wait to enter until the first applause. Then enter quietly and take the first available seat. During the performance: 1. Absolutely no talking! 2. Do not exit the auditorium except in case of emergency; and in that case, exit only during the applause. 3. You may follow along with the program if there is enough light, but do not rattle it or use it as a fan. 4. Sit upright and give the performers your full attention. 5. Do not wave to the performers on stage. 6. Show your appreciation for performance with applause. 7. Do not applaud between movements of a larger work. Wait until the conductor lowers his/her hands or baton before applauding. 8. Do not whistle or yell during the applause. 9. You may stand during the applause if you think the performing group has given an exceptional performance. 10. Do not make faces or negative comments about performances in the concert hall.

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CONCERT ETIQUETTE (Audience) -- VI

After the performance: 1. Applaud as long as you wish. 2. If you have flowers for a soloist or for the conductor, you may take them up to the stage after the choir is finished performing. 3. Do not go up on the stage until the choir has completely exited. 4. Congratulate the conductor and the singers on a successful performance. PRACTICE: Demonstrate appropriate audience behaviors for formal performances, first in the classroom and then in observing live performances.

Audience etiquette for informal performances: Before the performance: 1. Be on time. Even though informal performances are more relaxed, one should still do as little as possible to disturb the performance. 2. Take care of personal needs before the concert so that you do not have to miss part of the performance or disturb the performers by leaving early. Performers might think that you walked out on their performance because you do not like it; so make every effort to avoid this. 3. Do not seat-hop. Find a seat and keep it. 4. If you come in late, wait to enter until the first applause. During the performance: 1. Do not talk during the performance--show the performers the same respect that you would want them to show you. 2. Do not leave the performance except in case of emergency; and in that case, exit only during the applause. 3. Give the performers your full attention. 4. Show your appreciation for the performance with applause. 5. Do not whistle or yell during the applause. 6. You may stand during the applause if you think the performing group has given an exceptional performance. 7. Do not make faces or negative comments about the performance in the concert hall. After the performance: 1. Applaud as heartily as you wish (but no cat-calls or whistles, please). 2. Congratulate the conductor and the choir on a successful performance. PRACTICE: Demonstrate appropriate audience behavior for informal performances, in the classroom and as well as when observing live performances. In casual performances, the guidelines for audience response are fairly relaxed. In general an observer should follow the guidelines for informal performances and treat the performers in the same way as they would wish to be treated: Avoid talking near the performance, pay attention to the performance, walk out or away only during applause, etc.

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VI -- CONCERT ETIQUETTE (Audience)

Write 1. 2. 3. 4.

ACROSS THE CURRICULUM:

Describe audience etiquette for formal performances. Describe audience etiquette for informal performances. Discuss the differences. Discuss casual performances. What are some things to remember about casual performances?

Comprehension Check: Written Activity 35: Audience Etiquette for Formal Performances Written Activity 36: Audience Etiquette for Informal Performances

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VII: Evaluating Music As choral musicians, you will be singing many different types of music. Some of the music you will like very much; some of it you may not enjoy as much. Everyone has tastes in music; there is nothing wrong with this. The purpose of this chapter is to lead you into evaluating your own taste in music, to develop musical reasons for liking or disliking a piece, to evaluate music as to what kind is best for specific situations, and the determine overall artistic value of a piece of music to you. We will start with an evaluation of your own current taste in music. Everyone has his own personal tastes, but one of the purposes of music education is to teach the elements of music in order to empower students to learn to appreciate various styles of music. This being the case, it is likely that your taste in music will be modified by becoming musically literate. Not that you won't like the music you enjoy now, but that you will broaden your repertory and will learn to enjoy many kinds of music. Written Activity 37 will guide you through an analysis of your favorite music and, hopefully, provide some musical insights as to why you like it. After you completed Written Activity 37, what did you find out about your primary reasons for liking a piece of music? Were they musical? Were they mainly nonmusical, such as lyrics, personality of the performer, or sentiment about circumstances surrounding the piece or your hearing it? From this point on, you will be asked to evaluate music simply from a musical standpoint. You will be using the criteria given in Activity Sheet 37, plus any criteria you would like to add, to create your own form for evaluating the quality and effectiveness of music that you listen to or perform. First of all, you will need to decide how to divide the 100 possible points for your evaluation form between quality and effectiveness. You may may wish to divide them 50/50. Make your decision after studying the meaning of both quality and effectiveness. Quality: What is meant by quality in music? Look up the word in a dictionary. How does it relate to music? Effectiveness: What is meant by effectiveness in music? Look up the word in a dictionary. How does it relate to music? Questions for discussion: How do quality and effectiveness in music relate to each other? Can quality music be noneffective? Can effective music lack in quality? To what degree is the quality and effectiveness of a piece of music dependent upon the performance of it?

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VII -- EVALUATING MUSIC

Which musical qualities (modality, melodic line, tempo, rhythmic interest, harmonic interest, dynamic changes, etc.) contribute the most to the quality of a piece of music? Which musical qualities (modality, melodic line, tempo, rhythmic interest, harmonic interest, dynamic changes, etc.) contribute most to the effectiveness of a piece of music? Using the musical qualities you defined in Written Activity 40, use Written Activity 41 to create your own form for evaluating the quality and the effectiveness of a piece of music. You will be using this form to evaluate the choral music you learn in this book, in the literature that accompanies this book, and other choral music. Here are the terms you will be using on your form. Discuss in class the relationship between each of these terms and the quality and the effectiveness of a piece of music: Melodic line Modality (Major/Minor) Meter/beat Tempo Dynamic levels/contrasts Style Rhythmic interest Harmonic interest Accompaniment/Instrumentation Lyrics Set up a ranking scale for the total score for a piece of music. For example if the total score falls between 95-100 and is evenly divided for quality and effectiveness, you may wish to label that category, High quality/Very effective. Or for an evenly divided score between 85 and 95, Good quality/Effective, etc. Be creative! Additionally, at the bottom of each form, make a place to write in the type of performance setting in which the piece would best fit, such as formal concert, informal concert, pop show, small ensemble, etc. Type your form up on a computer so that you can make copies of it to use throughout the year. If at any point, you become dissatisfied with your form, talk to your teacher about how you think you could improve it. Music Selection Exercise your own taste and judgment in music selection by using the form provided in Written Activity 42 to plan a formal concert, and use the form in Written Activity 43 to plan an informal performance with large and small ensembles. Ask your teacher to provide literature for you to consider. Some things that you should take into consideration when planning a choral concert: 1. Literature appropriate for the skill level of the individual performing groups 2. Literature appropriate for the occasion of the concert (holiday, etc.)

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EVALUATING MUSIC -- VII

3. 4. 5. 6. 7. 8.

Literature that represents various styles Literature that represents various moods Literature that represents various historical periods Literature that represents various types (for example, a cappella, accompanied) "Openers" that will grab the attention of the audience "Closers" that have a special audience appeal

Remember that it is a good idea to alternate slow and energetic pieces on the concert so that audience attention is maintained. Also, you may need to allow for soloists and other students who may be required to change places on stage between pieces, so that movement will be minimized as much as possible.

Comprehension Check: Written Activity 37: Written Activity 38: Written Activity 39: Written Activity 40: Written Activity 41: Written Activity 42: Written Activity 43:

My Taste in Music Evaluating Music Evaluating Music II Quality and Effectiveness Create an Evaluation Form. PYOC! Plan an Informal Performance

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VIII: Evaluating Performances

Write

ACROSS THE CURRICULUM:

A. Write an essay in your own words on what makes a good choral performance. B. Discuss your conclusions in class. Judging choral performance: 1. Below is a list of qualities that are exhibited (to some degree or other) in choral performances. Discuss each of these qualities with the class. Are some of these qualities more important (basic) than others? 1. Technique (correct notes, rhythms, etc.) 2. Intonation (Is the choir in tune?) 3. Dynamics (observing the loudness and softness) 4. Balance (equality of voice parts) 5. Blend (uniformity of vowels; no individual voices ) 6. Diction (Clear consonants, pure vowels. Can the words be understood?) 7. Tone (Full, clear, breathy, thin, weak) 8. Tempo precision 9. Interpretation (Style, musicality, phrasing, rubato, etc.) 10. Stage Presence (Appropriate stage behavior, posture, etc.) 2. Discuss each of the terms, above, in terms of its significance to: A. The quality of the choral performance, and, B. The effectiveness of the choral performance. 3. What is the difference between the quality of a choral performance and the effectiveness of one? 4. Can you have quality without effectiveness? Can there be effectiveness without quality? Observe and evaluate at least 3 different choir performances using the form you create with Written Activity 45. You may also use them in the classroom for large or small group or solo evaluations. In addition to (or in place of) the evaluation, give further constructive suggestions for improving specific aspects of the choral performance as that are recorded as needing improvement on the evaluation form.

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EVALUATING PERFORMANCES -- VIII

Not only is it important for choral musicians to be able to evaluate the performance of choirs, (s)he must be able to evaluate the quality and effectiveness of his/her own performance also. The form on Written Activity 46 allows the individual student to evaluate his or her own solo or small ensemble performance. This form may be used whenever a student is called upon to perform solo or in a small ensemble, in the classroom as well as in a formal or informal concert or recital. Record yourself while performing. Before you listen to or watch the recording, fill out the self-evaluation form in Written Activity 46. Then watch or listen to your performance, and fill out a second self-evaluation form without consulting the first. Compare the two evaluation forms. Were they alike? Or were there some significant differences? When filling out the form, after totaling your score for each of the characteristics listed on the form, give yourself a rating for overall quality and effectiveness. (A low total score should not result in high quality and effectiveness scores, nor should a high total score result in low quality and effectiveness scores.) Also make some notes for improvement for your next performance. Turn these evaluations in to your teacher for safe-keeping so that you may review them all at the end of the year to gauge your progress.

Comprehension Check: Written Activity 44: Performance Evaluation Written Activity 45: Create a Critique Form Written Activity 46: Self-Evaluation Evaluating small ensemble performances: The same form you created for choral performances may be used to evaluate small ensembles. The thing you must remember about evaluating small ensembles is that there are many fewer voices responsible for making the sound. Therefore, each member of the small ensemble has a greater level of personal involvement in their performance. Thus, care must be taken not to unduly discourage the individuals involved. In such cases, one must determine whether it is best to evaluate small ensemble performances with an objective (and cold) evaluation form, or to simply give constructive suggestions for the improvement of the performance. In such a case, begin by identifying two or three positive aspects of the performance. Then address only a few negatives-three to five at the most. Select the factors that you are most able to address in a way that will be beneficial to the group. For example, dwelling on obvious defects such as memory problems will not contribute to the overall growth of that ensemble. Instead, focus on issues such as vowel production in which your advice can, if followed, make a significant difference to the performance of the ensemble.

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VIII -- EVALUATING PERFORMANCES

Evaluating solo performances: Observed solo performances may be evaluated with the form presented in Written Activity 46 for self-evaluation. Again, this evaluation form is designed to be objective. Soloists are even more likely to be sensitive to criticism than members of small ensembles. Thus the evaluator needs to determine the usefulnes of such a tool to evaluate a soloist. When it is required that one use such a form, one needs to carefully consider the impact that assigning numbers to a performance will have on the soloist. The evaluator may wish to push the norm up so that no singer will get less than a score of 50 for example. It could be devastating to a young soloist to receive a very low score. So, if given the choice, a verbal or written critique might serve the situation better than a coldly objective form. If you have to evaluate a soloist in this manner, make sure you: 1. Find two or three positive things to comment upon; 2. Make your positive comments first; 3. Address only the most glaring problems, and address them in a constructive way. Exemplary performances: Observe or listen to some exemplary choirs in performance. Using this performance as a standard, compare the performances of other choirs, including recorded performances of your own choir.

Comprehension Check: Written Activity 47: Exemplary Performances I Written Activity 48: Exemplary Performances II

A - 32

IX: Music and Other Arts The "fine arts" are often set aside from other disciplines. They are referred to as expressive, creative, or "right brain" subjects, and often set apart from the other "academic" subjects. The arts have an important part to play in our society, and so it would follow that they are important to the education of every child that lives in this society. Additionally, the arts give us not only the ability to express ourselves in creative and imaginative ways, but they also encourage us to seek creative ways to solve problems in all areas of our lives. Traditionally, the "fine arts" include music, visual art, theatre, and dance. Some include literature with the fine arts also. CONCEPTS: There are two aspects of the fine arts that we will be discussing. First of all, are the concepts involved in the different fine arts disciplines. One example is time. Music, dance, and theatre are arts that exist in time. Space would be another concept. Visual art, dance, and theatre are arts that exist in space. These are two fundamental concepts which have many subdivisions. One subdivision of the concept of time would be tempo, or speed. Another would be duration. One subdivision of space would be height. Another would be breadth. Small group discussion: In small teams, work together to identify concepts of the various arts. Use the partial list in Written Activity 50 to start you off. Add concepts to the list, and then identify the fine arts that incorporate that particular concept. CONTENT: Content refers to the actual subject matter that is taught in a course of study. Examples of content for music would be note values, pitch notation, music reading, etc. Content for theatre would include acting, set design, lighting, etc. Discuss the different areas of content for the different arts and how they compare or differ from those of music. Small group discussion: In small teams, work together to identify major points of content of the various arts. Use Written Activity 51. List the content and show how the content of one art relates to that of the other arts.

A - 33

IX -- MUSIC AND OTHER ARTS

PROCESS: Process is the way in which content is delivered. Process involves the sequence in which content is presented or skills are learned, the manner in which it is presented, and the activities that are used to convey the content. Small group discussion: In small teams, identify some key process elements in each of the arts presented. Written Activity 52 will help you identify process elements for each of the fine arts and to compare them to each other and to music.

Write

ACROSS THE CURRICULUM:

1. Write a short paragraph discussing the difference between the concepts, the content, and the processes of courses of study. 2. Write a brief essay describing how concepts of other fine arts are similar to those of music and how they are different. 3. Write a brief essay describing how content of other fine arts is similar to that of music and how it is different. 4. Write a brief essay describing how processes of other fine arts are similar to those of music and how they are different.

Comprehension Check: Written Activity 49: Written Activity 50: Written Activity 51: Written Activity 52: Written Activity 53:

Concept, Content, Process "Concept" in the Fine Arts "Content" in the Fine Arts "Process" in the Fine Arts Music vs. other Fine Arts

a LA A - 34

X: Music and Other Subjects The purpose of this chapter is to explore the relationships between music and other subjects. The characteristics to be considered are concepts, content, and process. CONCEPTS: There are two aspects of the fine arts that we will be discussing. First of all, are the concepts involved in the different disciplines. One example is fractions. Fractions are an important math concept incorporated by music in the fractional relationships of the durations of different notes Another concept in music is that of rhythm. Rhythm is also important in writing poetry and in physical education. Small group discussion: In small teams, work together to identify concepts of the various subjects. Use the partial list in Written Activity 54 to start you off. Add concepts to the list, and then identify the subjects that incorporate that particular concept. CONTENT: Content refers to the actual subject matter that is taught in a course of study. Examples of content for music would be note values, pitch notation, music reading, etc. Content for English would include literature, grammar, reading, etc. Discuss the different areas of content for the different subjects and how they compare or differ from those of music. Small group discussion: In small teams, work together to identify major points of content of the various subjects. Use Written Activity 55. List the content and show how the content of one subject relates to that of music and other subjects. PROCESS: Process is the way in which content is delivered. Process involves the sequence in which content is presented or skills are learned, the manner in which it is presented, and the activities that are used to convey the content. Small group discussion: In small teams, identify some key process elements in each of the arts presented. Written Activity 56 will help you identify process elements for different subjects and to compare them to each other and to music.

A - 35

X -- MUSIC AND OTHER SUBJECTS

Write

ACROSS THE CURRICULUM:

1. Write a short paragraph discussing the difference between the concepts, the content, and the processes of courses of study. 2. Write a brief essay describing how concepts of other subjects are similar to those of music and how they are different. 3. Write a brief essay describing how content of other subjects is similar to that of music and how it is different. 4. Write a brief essay describing how processes of other subjects are similar to those of music and how they are different.

Comprehension Check: Written Activity 54: Music and Other Subjects (Concepts) Written Activity 55: Music vs. Other Subjects (Content) Written Activity 56: Music vs. Other Subjects (Process)

a LA A - 36

1: Rhythm Review This chapter is a review of the rhythmic elements presented in the first 3 levels of this series. Refer to any of these if further instruction is needed.

4

READ the following rhythmic 4 exercises in canon, in retrograde, and in harmony.

Conduct as you read, and place a slight accent on the first and third beats of the measure. Perform each exercise with body percussion or on traditional or improvised instruments.

1. 2. 3. 4. 5. 6. 7. 8.

4 4 Ï

4 î 4

44 Ï.

j Ï Ï Ï Î

Ï Ï Ï. Ï Ï Ï

j Ï ÏÏÏÏ Î

4 4 Ï Ï Ï ú

4 î 4

ä Ïj Ï Î Ï Ï Ï Ï Ï . Î Ï.

j Ï Ï Ï Ï

Ï Ï Ï

j Ï Ï Ï

j j Ï Ï Ï ä Ï Ï Ï î

j Ï Ï Ï Ï Ï Ï

4 4 Ï Ï ÏÏÏÏÏÏÏÏÏ

44 Ï.

Ï Ï Î

ú

w Ï Ï Ï Ï ú.

j j Ï Ï Ï Î Ï

j j j Ï. Ï Ï ÏÏ Ï Ï Ï Ï. Ï ä Ï Ï

Ï ÏÏÏ Ï Ï ÏÏÏ

Ï ÏÏú

j ÏÏÏÏä Ï ú

ú.

Î

ÏÏÏÏÏ ÏÏ Î Ï

ä Ï Ï Ï.

j Ï Ï ÏÏÏ

j Ï ÏÏÏ Ï ä Ï Ï Ï ÏÏÏÏÏÏ Î ÏÏÏ Ï Ï ÏÏÏ ÏÏÏ ÏÏÏÏ Ï Î

4 4 ÏÏÏÏÏ Ï. ÏÏ

ú

READ the following rhythmic

Ï. ÏÏ Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï ÏÏÏ Ï. ÏÏ

34

exercises in canon, in retrograde, and in harmony. Conduct as you read, and place a slight accent on the first beat of the measure.

1. 2. 3.

4.

34 Ï. 34 Ï

3 4 ú.

3 j 4 Ï Ï

j j Ï ä Ï ÏÏÏ ú Î

3

Ï Ï ÏÏÏ Ï j Ï Ï Ï

Ï Ï Ï Ï. 3

Ï Ï Ï Ï.

Ï.

j Ï Ï Ï

Î

ÏÏÏÏ

j Ï Ï. Ï Ï Ï Ï Ï. Ï Ï

Ï ÏÏÏ

3

Ï Ï Ï Ï

Ï Ï Î

Ï. Ï Ï Ï Ï 3

3 j j Ï Ï. Ï Ï. Ï Ï Ï Ï Ï ä Ï Ï Ï Ï Ï

1

1 -- RHYTHM REVIEW

5. 6. 7. 8.

3 4 Ï. 3 4 Ï.

3 4 ÏÏÏÏ Ï ÏÏÏ Ï

6 4 Ï.

4.

45 ú

ÏÏÏ Ï 6.

Ï Ï ú

ä Ïj Ï

5 4 Ï.

ÏÏÏÏÏ. Ï

j ÏÏÏ Ï Ï ÏÏÏä Ï 3

ÏÏÏÏÏ

3

j j Ï Ï Ï

j j Ï ä Ï

j ÏÏÏÏ ÏÏÏÏÏ. Ïä Ï

ÏÏÏÏÏ. Ï î

3 j Ï Ï Ï ÏÏÏÎ

Ï.

j Ï Ï Ï Ï Ï.

Ï Ï Î

Ï

ú

3 j 3 Ï Ï Ï. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï Ï Ï Ï j j 3 j j Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï. Ï ä Ï ÏÏÏ Ï

Ï. Ï Ï. Ï Ï Ï Ï

5 4 Ï.

ä Ïj Î

Ï Ï Ï Ï ÏÏÏ.

3 jä 3 6 4 Ï Ï ÏÏÏÏ Ï Ï Ï Ï.

j j Ï Ï Ï 3

ÏÏÏÏ Ï Ï Ï Ï

j Ï Ï Ï ÏÏÏ Ï Ï ä ÏÏ 3

Ï Ï Ï Ï. Ï Ï. Ï Ï

3 j j j Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï Ï Ï Ï Ï. Ï Ï 3 3 j jÎ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï Ï Ï Ï Î Ï. Ï Ï

Ï Ï Ï Ï. 5.

ú

j Ï Ï

6 4 Ï . ÏÏ 2. j Ï. Ï Ï Ï

3

3 4 ÏÏÏ Ï ÏÏÏ. Ï Î

ÏÏÏÏÏ ÏÏÎ

3.

j Ï Ï. Ï ÏÏÏ Ï

j Ï Ï. Ï ú.

6/4 Meter: 1.

j Ï Ï

j Ï Ï Ï

j Ï Ï.

Ï Ï Ï Ï . ÏÏ

Ï

3

ÏÏÏÏ

Ï ÏÏ Ï .

ÏÏÏ Î 3

Ï

j Ï Ï.

Ï

3

ÏÏÏÏ

j 3 Ï Ï Ï Ï Ï Ï Ï . ÏÏ . ÏÏÏÏÏÏ

Ï . Ï Ï ÏÏÏ Ï Ï .

j Ï Ï . ÏÏ Ï.

j Ï Î

Ï Ï ÏÏÏ Î

j Ï Ï Ï Ï . Ï Ï . Ï ÏÏ Ï Ï 2

j Ï ÏÏ Ï Ï Ï Ï Ï Ï ä Ï ú 3

3

3

3

3

ÏÏÏÏÏÏÏÏÏÏ Ï Ï

RHYTHM REVIEW -- 1

3

4

Write out the rhythm for this poem. Write it out in 4 or 4 time. Use music notation software to accomplish your task.

The Prickly Pear Patti DeWitt The prickly pear's an amazing plant, A fact that you may know. It seems to me there is no place That the prickly pear won't grow. On a snowy hill, in the desert sun, In a sand dune by the sea. On the baseball field, On the cattle range, Underneath your favorite tree. The prickly pear can often be A most unwelcome guest. It seems that where you don't want it to beThat's where it grows the best! So here's to the prickly pear, and to it's prosperity, And to the secret of its success: Its dogged tenacity! Add pitches to the rhythms you wrote to make a song.

Pencil Time 4: Activity Sheet 1: Rhythm Review

Activity Sheet 2: WYOS* Activity Sheet 3: Musical Math # 8

Write

ACROSS THE CURRICULUM:

Write a poem by adding words to fit the following rhythmic patterns:

3 4 Ï

Ï

ÏÏ Ï

Ï

Ï

Ï Ï ÏÏú

ú

ÏÏÏ

Ï

ú.

Ï Ï Ï Ï Ï Ï ú.

* Write your own song.

3

2: I, ii, IV, and V Chords Sing the following warm-up exercise of the I, ii, V, and IV Chords. Which chord is in which measure?

& 44 œ œ œ ? 44 œ œ œ

œœ œœ

œ˙ œ˙

œœ˙ œœ ˙

œœœœ˙ œ œœ œ˙

œœœœ˙ œ œœ œ˙

œœœ œœœ

œ˙ œ˙

Determine each of the chords in the exercises below (vertically). Sing the line your teacher tells you to sing in the exercises below: A. 1. S S 2. M M 3. D D 4. D D I

L F D F

S M D D

T S T S

T R S S

B. 1. D 2. M 3. S 4. D I

D M S D

D F L F

R F L R

R S T S

M S D S

R F L R

T R S S

D M S D

C. 1. D 2. S 3. M 4. D I

M S D D

R F L R

D M D S

L F D F

F S D R RM R T S L S D

ANALYZE: Do a chord-by-chord (vertical) analysis of the exercise below. The first measure has been analyzed for you. Sing the exercise. Example 1.

& 44 œ œ œ œ & 44 œ œ œ œ V 44 œ œ œ œ ? 44 œ œ œ œ

&œ

œ

I

œ œ

&œ

œ

?œ

œ œ

V

œ

œ

œ œ

œ œ œ

œ œ œ œ

œ œ ˙ œ œ

œ ˙

œ ˙ œ œ ˙

œ

œ

˙

œ

œ

œ

˙

œ

œ

œ

˙

œ

œ

œ

˙

œ

4

œ œ ˙

œ œ œ œ œ œ œ œ œ œ œ œ

œ œ ˙ œ œ ˙ ˙

˙

œ œ œ

œ

œ

œ

˙

œ

œ

œ

œ

˙

œ

œ

œ œ

œ

˙

œ

œ

œ

œ œ

œ ˙

I, ii, IV, and V CHORDS -- 2

Roots The root of the chord is the note upon which it is based. The root of the I chord is Do. The root of the V chord is So. What is the root of the IV chord? The ii chord? Thirds The third of the I chord is Mi. The third of the V chord is Ti. What is the third of the IV chord? The ii chord? Fifths What is the fifth of the I chord? The V chord? The IV chord? The ii chord? Copy the table below and finish filling it out.

I chord Do

Root Third Fifth

V chord So

IV chord

ii chord

All three notes of the triad need not be present for a chord to be analyzed as a I, V, IV, or ii chord. In most cases, if the root is present in two or more voices and the third is present in one voice, it is enough evidence to call it by the name of the root. Look at the last chord in Example 2. Notice the final chord contains 3 Gs (Dos) (soprano, alto, bass voices) and one B (Mi) (tenor). Even though So is missing, the other notes are sufficient to qualify the chord as a I chord. Read the exercise and see if you agree. Example 2:

# 4œœ œ œ œ 4 # & 44 œ œ œ œ # 4œœœ œ œ V 4 &

? # 44 œ I

œ œ œ

I

œœœ ˙ œ

œ ˙

œ

œ ˙

œœœ ˙

Finish analyzing the chords of Example 2.

5

œœœ œ œœ œœœ

œ œ œœœ œ œ œ œ œ

œ œ

œ œ œœ œ

˙

œ ˙

œœ˙ œ

˙

2 -- I, ii, IV, and V CHORDS

Nonharmonic tones In harmonic analysis, all notes must be accounted for. A nonharmonic tone is a note that sounds simultaneously with chord (harmonic) notes but is not actually a part of the chord. Below are some common nonharmonic tones found in choral music. 1. Neighbor notes: A neighbor note is a note that falls between 2 other notes of the same pitch. Notice in Example 3, the soprano part in the last beat of measure 3 contains 2 eighth notes, A and G (Mi and Re). The A (Mi) falls between two Gs (Re). The A (Mi) is a nonharmonic neighbor note because it does not belong to the chord (the V Chord) formed by the notes in the other three voices on the beat. The G, (Re) however, which falls on the last half of the beat is a part of the V chord. Neighbor notes can be either upper (in this case) or lower. Example 3:

& b 44

œ œ œ.

j œ œ œ ˙

œ œ œ œ œ

? b 44 œ œ œ .

œ œ œ ˙ J

œ œ œ ˙ œ

œ œ

˙

œ

& b 44

œ œ œ. V b 44 œ œ œ . &b œ œ &b œ œ Vb œ œ ?b œ œ

œ. œ. œ. œ.

j œ œ œ ˙ j œ œ œ ˙

j œ œ œ ˙

œ

œ œ œ

j œ œ œ ˙ j œ œ œ ˙ œ œ œ ˙ J

œ œ œ ˙ œ ˙

2. Passing tones A passing tone does just what its name says--it passes from one note to another in a scalewise manner.

œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙

œ

˙

œ œ

œ œ ˙ ˙ ˙

œ œ œ

˙

˙

˙

For example, there are eighth notes on the third beat of the measure 7 of Example 3. The note on the beat, C (So), is a harmonic note; that is, it is part of the V Chord. The second eighth note, D (La) however, is not a member of the V Chord or the chord on the next beat (which is also a V Chord). And so the D (La) is a nonharmonic tone, a passing tone. In this case, since it is on the last half of the beat and not on the beat itself, it is an unaccented passing tone.

6

I, ii, IV, and V CHORDS -- 2

If the passing tone falls on the beat, it is called an accented passing tone. In the first measure of Example 4, there are 2 accented passing tones on the second beat--one in the soprano voice, and one in the tenor. Their function is to pass between two notes of the I chord. Example 3:

# 4œ œ œ œ œ & 4 # & 44 ˙ œ œ # 4œ œ œ œ œ V 4 ?# 4œ œ œ œ 4

# œ # & ˙ # V œ ?# œ &

œ œ œ œ œ œ œ

œ œ œ

œ

œ œ œ œ

œ œ œ œ

œ œ ˙ œ œ ˙ œ œ ˙ ˙ œ œ

œ ˙

œ œ œ œ œ œ œ œ ˙

œ œ

œ

œ ˙ œ ˙

œ œ œ œ

œ œ

œ

œ

œ œ œ œ œ œ œ œ œ ˙

œ ˙

œ œ œ ˙

œ œ

˙

˙ ˙

˙

œ Œ

Œ

˙. ˙

œ Œ

˙.

Œ

3. Suspensions A suspension is a note (or notes) held over from the previous chord. On the first beat of the last measure of Example 4 Fa and Ti (C and F # ) are held over from the previous chord and ultimately resolved on beat 3 to harmonic notes of the I Chord (Do and Mi), Fa resolving down to Mi, and Ti up to Do. 4. Anticipations Anticipations are notes that sound before the rest of the chord. Notice the Do is heard in the soprano line 1/2 beat before the rest of the I chord is heard in the other voices. Example 4:

## 4 & 4œ œ œœœ ## 4 & 4œ œ œœœ # V # 44 œ œ œ œ ? # # 44 œ œ œ œ

œ œœœ œ œ œ

œ œ œ œœœ œ œ œ

œ œ

7

œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ

œ˙ J

œ œ ˙ œ œ ˙ œ œ ˙

2 -- I, ii, IV, and V CHORDS

5. Appoggiaturas An appoggiatura is a nonharmonic tone that is approached by a leap and resolved by a step in the opposite direction to the nearest harmonic note. In Example 5, the note on beat 3 in the soprano voice, C (Re), is not in the I Chord, but the note to which it resolves on the next beat is Bb , the tonic of the I Chord (Do). Example 5: pointpurpledown.tif

b 3 &b 4 œ b & b 34 œ b 3 Vb 4œ

œ.

? b˙ b

˙

˙

œ

˙

˙

? b b 34 œ

b & b œ. b &b ˙ b Vb ˙

œ.

œ œ J j œ œ

œ J œ

œ.

œ œ J

œ.

œ

˙

˙

œ

œ

œ.

œ

˙

j œ œ

˙

œ

˙. ˙.

j œ œ œ

œ

œ

œ

œ

œ œ œ œ œ œ ˙

œ

œ

œ

œ

œ

˙

œ

˙

œ

˙

œ

œ

œ œ

œ

˙.

œ œ ˙ œ ˙ œ

˙

6. Pedal point A pedal point occurs when one voice part (usually the bass) holds to a single note and the other voices continue in their harmonic progression over it. The pedal point in the Example 6 occurs when the note F (So) is sustained in the bass line from measures 5-7. These are six examples of nonharmonic tones, notes that may sound at the same time as harmonic notes--notes in particular chords--but are not a part of that specific chord. This will help you in your analysis of the music that you will be learning in this book. Read all of the examples again, paying close attention to the chord structure and the nonharmonic tones that are used in each.

Pencil Time 4: Activity Sheet 4: Chord Analysis

Activity Sheet 5A and B: Nonharmonic Tones Activity Sheet 6: Literature Analysis

8

I, ii, IV, and V CHORDS -- 2

ANALYZE the following exercise before singing. 1. Analyze the chord sequence. 2. Locate and identify the nonharmonic tones. 3. Audiate before singing.

& 44 œ œ œ œ œ & 44 œ œ œ œ V 44 œ œ œ œ ? 44 œ œ œ I

&œ œ œ œ &œ

œ œ œ Vœ œ œ œ ?œ œ œ œ

œ

œœœœœ œ

œ œ œ

œ

œ œ

œ

œ œ

œ

˙

œ

œ œ œ

œ œ œ

œ œ œ

œ œ œ

œ œ œ œ œ œ œ œ

œœœœœ œœ œ œ ˙ œ œœ œ œ ˙ œ œœ œ œ ˙

œ œ œ œ ˙

œ œ œ œ œ œ œ œ œ

œ œ œ œ

œ œ ˙

œ œ

œ œ ˙

œ œ

œ œ œ œ ˙

œ œ

œ œ ˙

The song, "The Bluebonnet," on the following pages contains examples of several kinds of nonharmonic tones. Can you identify a few of them? Remember, a nonharmonic tone, by definition, must not be a part of the chord. Activity Sheet 6 will guide you through a complete analysis of this song.

9

2 -- I, ii, IV, and V CHORDS

The Bluebonnet SATB A cappella

F

Andante

# 4œ & 4

S

œ

There

&

A

stands a

There

stands a

# 4 Fœ V 4

T

There

F

# œ &

œ œ œ

# & œ

œ œ œ

V œ

œ

?# œ

œ

neat - ly

#

neat - ly

neat - ly

neat - ly

dressed

dressed

œ

œ

œ

œ

œ

There

3

œ

stands a

? # 44 œ

B

œ œ œ

F

# 4 4œ

Patti DeWitt

œ

by

the

road

All

œ

œ

la - dy

œ

by

œ

the

œ.

road

œ

œ

œ

œ

œ.

All

the

road

All

road

œ J

œ

stands a

œ

la - dy

by

œ

by

œ œ œ.

the

˙.

œ

œ

in

blue

She's

all

decked

out

œ

˙.

œ

œ

œ

œ

in

œ œ

dressed

in

œ

œ

dressed

in

blue

œ

She's

˙.

œ

blue

She's

˙.

œ

blue

10

She's

j œ

la - dy

la - dy

œ

œ œ œ œ.

all

œ

all

œ

œ œ œ

j œ œ J

All

œ œ

in her

œ œ

decked

out

in her

œ

œ

decked

out

œ œ

in her

out

in her

œ

all decked

œ

œ œ

I, ii, IV, and V CHORDS -- 2

# & œ 6

& V

#

Sun - day

Quite

e

œ.

Quite

œ

#

Sun - day

best

œ œ œ.

Quite

day

Quite

œ

œ

œ

œ

best

?# œ

-

best

œ

&

œ

œ.

œ

œ.

#

stands

œ

stands

# œ V

stands

?# œ

stands

&

# ˙.

&

˙.

12

#

hues,

œ.

e

œ J

best

# œ & 9

j œ

œ.

Sun - day

Sun

j œ œ

œ œ œ.

œ œ œ -

le

-

-

œ œ œ

le

œ

view.

She

œ

˙.

œ

P

view.

She

-

gant

to

view.

˙.

She

-

gant

to

view.

She

œ

œ

œ œ œ

le

to

to

œ J

-

œ

gant

e - le

e

˙.

-

œ

œ

gant

œ

P

œ œ

œ œ

œ

P

˙.

P

œ

œ œ œ

œ

œ

œ

œ

œ

œ J

her

flor - al

a - mid

her

œ

flor - al

friends

Of

vi - vid

rain - bow

a - mid

her

flor - al

friends

Of

vi - vid

rain - bow

her

flor - al

friends

Of

vi - vid

rain - bow

œ

œ

a - mid

œ

œ.

a - mid

œ

The

j œ œ œ J œ J

œ

Of

vi - vid

œ

œ

œ

œ

œ

fire - wheels

œ

friends

œ œ œ

œ

œ

œ œ

œ

œ

œ. and

œ.

œ œ œ

œ J

the

œ

œ

œ

œ

œ

œ œ ˙

rain - bow

œ

œ

œ

but - ter - cups

Set

œ

j œ œ œ ˙

hues,

œ

The

fire - wheels

and

the

but - ter - cups

Set

hues,

The

œ

fire - wheels

and

the

but - ter - cups

œ œ ˙

Set

hues,

The

fire - wheels

and

the

but - ter - cups

Set

# . V ˙ ? # ˙.

œ

œ

œ

œ

œ

œ. œ.

11

œ J œ J

œ œ ˙

œ œ œ

2 -- I, ii, IV, and V CHORDS 15

& & V

# #

œ

off

œ

off

# œ

off

?# œ

off

# œ &

œ œ œ

œ

œ œ œ

œ

her

& V

blues.

And

P

so

blues.

œ

And

œ

so

her

œ

œ

œ

œ

œ

bril - liant

œ

her

blues.

U œ

P

œ

U œ œ

œ

blues.

so

P

œ

œ

And

j œ œ

œ œ œ

j œ œ

œ œ œ

e

-

œ

she

œ

stands,

œ

-

œ

œ

œ

she

œ

she

stands,

e

œ

e

œ

-

stands,

e

-

˙.

F

so

shy,

And

œ

˙.

œ

œ

#

œ

rect

œ

and

œ.

prim,

So

mo - dest

and

so

shy,

And

and

œ

prim,

œ.

So

mo - dest

and

so

shy,

˙.

And

and

prim,

So

and

so

shy,

And

j œ œ

œ œ œ

œ

j œ œ

œ œ œ

œ

rect

&

# œ

&

œ

#

œ

œ œ œ

sto - ic

œ

sto - ic

# œ

œ

sto - ic

?# œ

œ

sto - ic

-

-

-

-

ly

œ

ly

œ

ly

œ

ly

œ œ

holds

œ

holds

œ œ

holds

œ

holds

œ J

œ

and

stands,

#

œ J

mo - dest

so

she

œ

prim,

œ.

So

œ

And

decresc. e rit. . .

bril - liant

œ œ œ.

œ

decresc. e rit. . .

œ œ œ

and

rect

V

œ

rect

?# œ 21

œ

bril - liant

œ

P

A tempo

U ˙.

bril - liant

her

18

U ˙.

œ

œ

œ œ

œ

mo - dest

œ

œ œ

œ œ œ.

œ

œ

F

œ

˙.

œ

her

head

œ

œ

œ.

A - gainst

a

œ

Tex - as

head

A - gainst a

Tex - as

œ

high

her

head

œ.

œ

œ

her

high

her

œ

œ.

head

12

œ J

œ

œ J

œ

A - gainst

a

F

high

high

A - gainst

F

œ a

Tex - as

œ œ

œ

œ œ

œ

Tex - as

I, ii, IV, and V CHORDS -- 2 24

&

#

˙.

œ

œ

sky.

And

# & ˙.

then

œ

œ

œ

one

day,

œ

œ.

sky.

And

then

sky.

? # ˙.

And

œ

then

œ

œ

sky.

And

then

one

# ˙. V

27

& &

# #

œ.

j œ

œ.

j œ œ

out

œ

out

a

?# œ

out

# œ & 30

& V

a

out

# œ V

#

œ

œ

soft

œ

soft

# œ

soft

?# œ

soft

a

œ a

œ

œ

frown

or

or

tear

rains

rains

œ

œ

spring

rains

œ

rains

œ

œ

That will

œ

œ

That will

œ

œ

That will

œ

œ

That will

œ

œ.

-

day,

she

p

van - ish - es

œ œ ˙

With

œ

-

day,

she

van - ish - es

With

-

œ J

œ J

Œ

˙

œ

-

With

œ

bring

f

œ.

œ

œ.

P

And

P

we

And

we

œ œ œ

œ

U. ˙

next

year.

œ œ

œ œ œ

rit. . . . . . . . . . .

her

œ

œ

bring her

œ

bring her

13

œ

we

bring her

œ

And

œ

œ

œ

f

œ

And

œ

f

P

œ

we

Πf

œ œ ˙

P

Œ

frown

œ

With

van - ish - es

˙

tear

van - ish - es

p

Œ

or

p

j œ œ œ ˙

˙

frown

œ

she

tear

œ

œ œ ˙

day,

˙

tear

œ

she

œ.

œ

spring

spring

one

or

œ œ œ

œ

œ

frown

œ œ œ

spring

one

p

œ J

œ.

back

rit. . . . . . . . . . .

œ

back

œ

œ

next

œ œ

rit. . . . . . . . . . .

back

next

œ

œ

back

next

rit. . . . . . . . . . .

a - wait

œ J

the

j œ

a - wait

œ.

the

a - wait

the

a - wait

the

œ

œ

œ.

U ˙.

year.

U ˙.

year.

U˙ .

year.

œ J

œ J

2 -- I, ii, IV, and V CHORDS

Vocabulary:

1. Accented passing tone--A nonharmonic note that passes between two harmonic notes and falls on a strong beat 2. Anticipation--A nonharmonic note that sounds ahead of the rest of the chord; it sounds while the previous chord is still heard in the other voices 3. Appoggiatura--A nonharmonic note that leaves one harmonic note by a leap and resolves to the next harmonic note by step in the opposite direction 4. Lower neighbor note--A nonharmonic note between two harmonic notes of the same pitch that is a half step or step lower than the harmonic notes 5. Nonharmonic tones--Notes that are not a part of the chord being sounded 6. Pedal point--A drone (continuously sounding) note, usually in the lower voice, over which the harmonies continue to change 7. Root--The note upon which a chord is built--for example, the root of the V chord is So; the root of an F Major Chord is F. 8. Suspension--A note that is held over from the previous chord 9. Unaccented passing tone--A nonharmonic note that passes between two harmonic notes and falls on a weak beat or the weak part of the beat 10. Upper neighbor note--A nonharmonic note between two harmonic notes of the same pitch that is a half step or step higher than the harmonic notes

14

3: Sixths and Octaves SIXTHS: Here is an exercise that covers all of the sixths in the major scale. Sing with handsigns slowly. Sing in higher or lower keys.

b & b b 44

œ

? bb 4 b 4 œ

œ œ œ œ œ œ œ œ

œ

œ œ œ œ œ

b œ &bb œ œ œ œ œ œ œ ? b bb

œ œ

œ

œ

œ

œ œ œ

œ

œ

œ

œ

œ

œ œ œ œ œ

œ œ œ œ œ œ œ

œ

œ œ œ œ œ œ

œ

œ œ œ œ œ œ œ

Sixths can be major or minor. A major sixth is the interval of a perfect fourth plus a major third. Or 4 1/2 whole steps. Or 9 half steps.

w

& w Do ? w

w

La

Using the keyboard representation, above, figure out what note is a major sixth above: 1. F

2. D

3. G

4. B b

5. A

6. C

Using solfege, tell what note is a major sixth above: 1. Do 2. Re 3. Fa 4. So

15

#

7. G

#

8. B

9. E b

3 -- SIXTHS AND OCTAVES

A minor sixth is the interval of a perfect fourth plus a minor third: Or 4 whole steps. Or 8 half steps.

&

?

w

w

w

w

Using the keyboard representation, above, figure out what note is a minor sixth above: 1. F

2. D

3. G

4. Bb

5. A

6. C #

7. G #

8. B

Using solfege, tell what note is a minor sixth above: 1. Mi 2. La 3. Do 4. Ti

9. Eb

Pencil Time 4: Activity Sheet 7: Sixths

Activity Sheet 8A and B: Key Signatures Activity Sheets 9, 10: Vocabulary Word Search #6

Reading exercises: Sixths in the I Chord The following exercises contain the sixths of the I Chord-So - Mi (major sixth) and Mi - Do (minor sixth) 1. Identify the sixths in the following exercises as major or minor. 2. Audiate each sixth before audiating the whole exercise with handsigns. 3. Sing on solfege using handsigns. 1.

& 44 œ œ œ œ œ

œ œ œ œ & œ

œ œ

˙

œ œ œ œ œ

œ

œ ˙ œ œ ˙

œ œ œ œ œ œ œ œ œ ? b 24 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2. ? b œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ ˙ 16

˙ œ Œ

SIXTHS AND OCTAVES -- 3

œ œ ˙. 3 œœœ œ œ b œ œ œ ˙ œœ 3. & 4 œ œ œ œ œ œ ˙. &b œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. &b œ œ œ œ œ œ ˙ ? b b 44 ˙ œ 4. œ ? bb ˙ œ 5.

&

### 4 & 4 œ œ œ

###

œ œ

œ

œ

œ

˙

œ œ ˙

œ œ œ œ œ

œ

7.

œ œ œ ˙

œ œ œ ˙

&

#

˙

œ œ œ

œ œ œ œœœœ œ

œ œœœ

œ

œ œ œ œ

œ œ œ ˙

œ œœ˙ ? b b 44 œ œ œ œ œ 6. ? bb œ œ œ ˙ œ œ ˙ # 4 & 4 œ œ œ œ

œ

œ

˙.

˙

œ

œ œ œœ œ

œ œ œ ˙

œœœ œ

œ œ ˙

œ œœ œœœ œ œ œ ˙ œ œ œ œ œ

œ

œ œ œ œ

œ œ œ œ œ œ œ œ œ

? bb b 6 œ . œ œ ˙ J b 4 8. . ? b b b œ . Jœ œ œ œ œ œ œ b ˙ œ œ ? b b b œ . œJ œ œ œ. b

17

Œ

Œ

œ

œ.

œ œ J

˙ ˙

˙ œ . œJ œ œ œ œ. œ œ œ œ ˙. J J œœ J œ œ

Œ

œ

3 -- SIXTHS AND OCTAVES

Sixths of the V Chord: Re - So (major sixth) and Ti - Re (minor sixth)

9.

? œ œœœ œ

. ? œ œœœ œ ˙ 10.

# & # 34 ˙

&

##

˙

œ œ œ œ œ œ

# & # œ œœœ Œ

œ œ œ œ œ œ œ œ ˙.

˙

?4 œ œ œ œ œ œ 4

œ œœœ

œ œœ œ œ œ œ

˙

˙

œ

œ œœ

œ œœœ œ œ œ œ œ œ œ œ œ œ ˙. œ œ œ œ

œ œ

œ

˙

œ

œ œ œ

œ œ ˙

˙ Œ

œ œ

? b b 44 œ œ œ œ œ œ œ œ ˙ b 11. œœœœ˙ ? bb œ œ œ œ œ b

Œ

˙

œ

œ

œ œ œ œ

œ œœœ

œ œ œ œ

œ œ œ œ

œ

œ œ

˙

œ œ

˙ Œ

œœœœ˙

œœ œ œ Œ

#### 4 4 œ . œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ 12. & #### jœ œ œœ œœœ œ œ & œ œ . œ œ œ œ œœ œ ˙ 13.

? b b b 34 ˙ bb

? bb b ˙ . bb

œ œ œ

œ

œ

œ

œœœ œ

18

œ

œ

œ œ œ

œ œ œ œ ˙.

SIXTHS AND OCTAVES -- 3

& 44 ˙

14.

& ˙

œ

œ œ

œ œœœ œ

˙

˙

œ ˙ œ œœ œ œ ? # # # # # 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ # 15. œ œœœ œ œ ? #### # œ œ œ œ œ œ œ œ œœ ˙ œ œ œ œ # 16.

&

œ

# 3 & 4 œ

# ˙

œ

œ

œ œ œ œ œ œ

œœœ œ

œ

œ

œ

œ

œ œ œ

œ œ œ

œ œ œ œ

œ œœ œ œ œ ? 2 b 17. b 4 œ ? bb œ œ œ œ œ œ œ ˙

˙

œ œ

œ

Sixths of the IV Chord: Do - La (major sixth) and La - Fa (minor sixth)

& b 44 œ œ œ œ œ

18.

&b œ œ œ œ œ ? œ œœœœœ

20.

&

#

&

# 4 œ. 4

œ.

œ

œ œœœ

œ

œ

œ œ œ œ œ

œ

˙ œ ˙

œ œ ˙

œ œœœ œ

œœ˙

œ. œ.

19

œ œ

˙

œ œ œ œ

œ œœ˙

œœœœ˙

œ

˙.

œ

œœœ

œ œœœ œœ œœœœœ œ

j œœ œ

j œœ œ

œ

œ œœœ œ

? 44 œ œ œ œ œ

19.

œ œ œ œœ œ

œ œ œ ˙

œ

œ

œ

j œœ œ

j œœ œ

œ

œ

œœ˙

œœœœœ œ

œ œ œ œ œœœ

3 -- SIXTHS AND OCTAVES

21.

? b 3 œ. bb 4

? bb œ b

œ.

œ œ J œ œ J

œ œ

œ

œ œ

œ.

œ

œ.

jœ œ

˙.

œ ˙. J

# 4 j j œ œœ j œ œ œ œ œ œj œ j œ 4 œ œ J œ J J œ˙ 22. œ œ œ Fine # j j j œ j œ œ œ œ œ œ & œ œ œj œ J œ œ œ J œ œ œ œ ˙ J DC al Fine # j j j œ j œ œ œ œ Jœ œ & œ œ Jœ œ œ œj œ œ ˙ Jœ œ ˙ &

23.

œ œ œ˙ œ œ Jœ J J œ œ œ œ . Jœ ˙ J

? # # # # 44 œ .

? #### œ .

œ.

œ.

## 3 4 œ . Jœ œ œ œ œ œ œ 24. & œ. # œ. & # œ œ œ œ œ œ œ ˙. # & # œ œ œ œ œ œ œ œ œ œ œ œ

#### # 5 # 4 œœ œ œ œ 25. & œ œœ œ #### # # œ œ œ œ œœ œœœœœ & #### # # œ œ œ & œ œ œ œ œ œ #### # œ # œ œ œ œ œ œ œ & œ 20

œœœœ œœœœœ Œ J œœ J œ œ œ œjœ Jœ ˙

j œ œœœœœ

œ Jœœ œ œ œ œ œ œ œ

œœœ œ j œ. œ

œ ˙.

œ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ

Fine

œ

œ œ

œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

DC al Fine

SIXTHS AND OCTAVES -- 3

Octaves: The following exercises contain octaves. 1. Identify the octaves in the following exercises as major or minor. 2. Audiate each octave before audiating the whole exercise with handsigns. 3. Sing on solfege using handsigns.

œ œ. œ ˙ ? # # 44 œ œ œ J 1. œ œ œ ˙ ? ## œ œ œ . J

œ œ œœœœ œ œ ˙ œ œ œ œ œ œ ˙

bb 4 œ œ œ b & 4 2. œœ œ œ ˙ bb œ . œ œ œ œ b & J œœ ˙

œ œœ œ œ ˙ œ œ œ œœ œ œ ˙

Do - Do

3.

? œ

So - So

4.

&

œ œ œ

? 34 œ

&

#

œ œ œ

# 4 4 ˙ ˙

˙ œ.

œ

˙

œ

j œ œ

˙

œ œ œ œ

œ

˙

˙ ˙

œ.

œ ˙ ˙

œ

œ ˙ J ˙.

œ œ œ œ

œ œ

œ œ ˙ Œ

˙.

œ œ œ œ œ œ œœ œ ? b b 44 œ œ œ œ œ œ œ œ œ œœœ b 5. œ œ œ œœ œœ œ œœœ˙ ? bb œ œ œ œ œ œ œ œœ œ b 6.

& b 44 œ œ œ œ œ

&b œ

œ œ œ

œ

œ œ œœœœ œ

œ œ œ œ œ 21

œ œœœ œœ œ œ œœœœ œ œ œ

œ

œ œ ˙

3 -- SIXTHS AND OCTAVES

œ œ ˙ ? b 44 ˙ ˙ œ œ œ œ ˙ ?b ˙

Fa - Fa

7.

8.

b & b b b 34 ˙

˙ œ œ

œ œœœ

œ

œ œ b ˙ & b b b œ . Jœ œ œ œ œœ˙ b œ œ œ œ œ Œ & b bb ˙ œ œ

? b 44 œ œ œ œ œ œ œ ˙ 9. ?b œ œ œ œ œ œ œ ˙

œ

## 3 & 4 œ œ œ

12.

& &

## ##

œ

œ

œ œ œ œ œ œ œ œ œ œ

œ œ

œ ˙

œ

œ œ

œ

œ

˙

œ

œ

Œ

˙

œ œœœœ

œ œ œœœ

œ œ

œ

j œ ˙.

œ œ œ.

œ œ œ œ œ œ œ ˙

œ œ œ œ œ ˙

œ

œœœ ˙

œ œ œ

˙

˙

˙

œ ˙ œ œ œœ œ œ œ œ

Œ

œ œ œ œ œ œ

22

œ œ

˙.

œ œ œ œ œ œ œ ˙

#### 4 œ œ œ œ œ œ ˙ 4 10. & œ #### œ œ œ Œ œ œ & œ œ œ œ œ ? # # # # # 44 œ œ œ œ œ œ ˙ # 11. œ œ ? #### # œ œ œ œ œœœ œ œ œ # La - La

œ œ

˙

œ œ œ œ ˙

œ œ

œ œ ˙ ˙

Œ

Fine

DC al Fine

œ

SIXTHS AND OCTAVES -- 3

œ ˙ ? b 44 œ œ œ œ œ œ œ 13. œ ˙ ?b œ œ œ œ œ œ œ

œ

œ

œ œ ˙ œ œ œœ

œ œ œ œ œœœœ˙

## 4 Œ & 4 œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ ˙. 14. œ ## œ œœœœœœœ & œ œœ œ œœœœœ œ œ œœ˙ œ œ œ œ ˙ œ œ œ ? 3 b œ Œ ˙ 15. bb 4 ˙ œ œ ? bb ˙ œ œ œ œ œ ˙ œ ˙ œ ˙ œ œ b œ œ œ œ œ ? bb œ œ œ œ ˙ Œ œ œ œ œ œ ˙. b b & b 44

Re - Re

16.

&b 17.

b

œ.

œ.

œœœœœ j œ œ œ œ œ

? ### 4 œ 4 œœ œ œ

? ### œ œœ 18.

œœœœœ jœ œ œ œ œ

œ

œ

œ ˙ œ

œ ˙ œ

& 43 œ œ œ œ œ œ œ œ

& œœœ œ & œ œ œ

˙. œ œ œ

œ œœœ

œ

œœœ

œ œ œ

œ œœœ œœ œ

œ œœœ œ œ œ œ œ.

œ œœ˙

œ œ œœ˙ J œ œœœ œ œ œ œ œ ˙ œ

œœœ

œ œ œœœœ œ œ œ

œ œ. œ œœ œ œ J

œ œ œœœœ œ œ œ 23

œ ˙

˙

œ

œ œœœœ

œœœ

œ

˙.

3 -- SIXTHS AND OCTAVES

Harmonic Exercises: 1. b 4 œ

j 4 œ œ. œ œ œ ˙ & b 44 œ œ œ . œj œ œ ˙ j V b 44 œ œ œ . œ œ œ ˙

œ œ

&

&b

œ

&b œ Vb œ ?b œ 2.

& &

œ œ œ

œ. œ. œ. œ.

# 3 4 œœ œ # 3 & 4 œ œ # 3 œ œ V 4 ? # 34 œ ˙

j œ ˙ j œ ˙ j œ ˙ œ ˙ J œ

&

# # #

˙ ˙

˙ ?# ˙ V

œ

œ œ œ

œ

œ

œ œ œ

œ ˙

˙

œ

˙

œ

˙

˙

˙

œ

œ

œ

œ

œ œ

œ.

j œ œ œ

œ œ

œ

œ

œ

œ

œ

˙

œ œ

œ œ

24

œ œ œ

œ œ ˙

˙.

œ

œ

œ

œ

œ

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˙.

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˙

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œ

j œ œ œ

˙

œ

œ œ œ

œ.

œ œ

? b 44 œ œ œ . œ œ œ ˙ J

œ œ

œ

œ

œ

˙

œ

œ

œ

˙

œ

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˙

œ

œ

œ

˙ ˙

SIXTHS AND OCTAVES -- 3

& 44 œ œ œ œ 4 &4 ˙ œ œ 4 V4 ˙ œ œ

3.

? 44 œ œ œ œ & œ œ œ œ &

˙

V ˙

œ œ œ œ

? œ œ œ œ # 4 & 4 œ œ œ # 4 & 4 œ œ œ # 4 œ œ V 4 œ œ ? # 44 ˙

4.

& &

# #

œ œ œ œ

œ œ œ œ # œ œ œ œ V œ œ ?# ˙

œ œ œ œ

œ œœ˙

œ œ œ œ

œ œ ˙ œ œ ˙ œ œ ˙

˙

˙

œ œ

˙ ˙

œ œ

œ œ œ œ œ ˙

œ œ œ

œ œ

œ ˙

˙

˙

˙ 25

˙

˙

˙

œ

œ œ

˙

œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙

œ œ

œ œ œ œ œ œ œ œ

˙

˙

˙ œ œ œ œ œ œ œ œ œ

˙

˙

œ œ œ œ

˙

˙

˙ ˙

œ œ

œ œ ˙ œ œ ˙ ˙ ˙

œ

˙

œ œ œœœ

œ œ ˙ œ œ ˙ œ œ ˙ œ

œ œ ˙ œ œ ˙

œ œ œ œ

œ œ ˙

œ

œ œ ˙

w w w w

3 -- SIXTHS AND OCTAVES

5.

& b 34 œ œ œ œ œ œ œ œ 3 &b 4 œ œœ œ œ œ 3 V b 4 œ œ œœ œ œ œ ? b 34 œ œ œ œ œ œ

& b œœœ œ œ ˙ &b œ œ œ œ ˙ Vb ˙ œ œ ˙ ?b 6.

œ

œ

& 34 œ œ & 34 œ œ V 34 œ ? 34 œ

œ œ ˙

œ ˙

œ œœ œ œ ˙ œ ˙

œ œ œ ˙.

œ

.. œ œ œ œ œ œœ œ œ œ œ .. œ œ œ œ œ œœ œ œ œ .. œ œ œ œ œ œ œ œ œ

& œ œ œœ œ œ œ

˙

œ œ œ œ œ œ œ œ œ

œ

œ

˙

œ

˙

œ

˙

.. ..

2

œ

œ œ

˙

.. .. œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ ˙ œ .. .. œ œ œ

œ œ œ ˙. œ œ œ ˙.

˙

? œ œ œ

œœœ œ

œœ œ œ ˙.

.. œ œ œ

& œ œ œ V œ œ œ

1

œ

œ ˙

œ

œ œ

.. ˙ œœ ˙ Œ .. ˙ ˙ .. ˙. ˙ ˙ . œ . ˙

œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ 26

Œ

œ œ œ ˙ Œ 2

œœ œ œ œœ œ œ œ

œ œ œœ œ œ œ œ œ œ œ œ

˙

Œ

œ œœ ˙ Œ œ œ œ ˙ Œ

œ œ ˙ 1

˙

Œ

œœœ œ ˙ Œ

œ œ ˙ œ œ ˙

œ

˙

Œ

œ œ

œ œ

œ œœ œ œ œ ˙

œ œ œ ˙ œ œ œ ˙ œ œ œ ˙

SIXTHS AND OCTAVES -- 3

# 4 4 œ œ œ œœœœ œ ˙ # 4 Œ & 4 œ œ ˙ œ œ œ # ˙ V 44 Œ œ œ œ œ œ ? # 44 Œ œ œ œ œ œ ˙ &

7.

& &

# #

œ

œ # œ V ?# œ 8.

œ œ œ œ

œ

œ œ

œ

œ

& 44 œ œ 4 &4 œ œ 4 V4 œ œ ? 44 œ œ & œ œ œ œ

œ ˙ ˙ œ

œ

œ

œ ˙

œ

œ œ œ œ œ œ

& œ œ œ œ V œ œ œ œ ? œ œ œ œ

œ

œ œ œ

œ œ

œ

œ

œ œ œ œ œ œ œ œ œ œ œ œ

œ

œ œ œ œ œ ˙ œ

œ œ œ ˙. œ œ

œ

œ œ œ œ

œ

œ

œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ

œ

œ

27

œ

Œ

˙. ˙. ˙. œ

œ œ œ œ œ œ œ œ œ œ œ œ

˙

œ œ œ

œ

˙.

œ

œ œ

œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ

˙. ˙.

˙.

œ œ œ œ œ œ œ œ œ œ œ œ

œ

œ

˙

˙ ˙.

œ ˙ ˙ ˙ ˙

Œ

˙.

Œ

˙.

Œ

˙.

Œ

3 -- SIXTHS AND OCTAVES

4 &b 4 œ œ œ œ 4 &b 4 œ œ œ œ V b 44 œ œ œ œ

9.

? b 44 œ œ œ œ &b œ œ œ œ &b œ œ œ œ Vb œ œ œ œ ?b œ œ œ œ 10.

& &

œ œ œ ˙

# 4 4 œ œ œ œ # 4 & 4 ˙ ˙ # 4 V 4 ˙ ˙ ? # 44 ˙ ˙ &

# #

œ œ œ œ ˙

# ˙ V ?# ˙

˙ ˙ ˙

œ œ œ œ

œ œ

œ ˙

œ

œ

œ ˙

œ œ ˙

œ ˙ œ œ ˙ ˙ ˙

˙ œ ˙ œ œ ˙ œ

œ œ ˙ œ œ ˙

œ

˙

œ œ œ

œ

˙ œ œ œ

œ œ œ œ œ œ œ œ

œ

˙

˙ œ

˙

œ

œ ˙ ˙ œ ˙ œ ˙ ˙ ˙ ˙

œ œ

œ

œ œ

œ

˙

œ

œ ˙

œ

œ ˙

œ

28

˙ ˙

œ ˙ œ ˙

œ

œ œ ˙ œ œ ˙ œ œ ˙

˙

œ

œ

œ

œ ˙

œ œ

œ œ

˙

˙

˙ œ

˙.

œ

˙.

œ

˙.

œ

˙.

Œ Œ Œ

Œ

˙.

Œ

˙. ˙.

Œ

˙.

Œ Œ

SIXTHS AND OCTAVES -- 3

11.

bb &bbb b & b bbb

œ œ 4 4 œ œ 44 œ œ œ œ b V b b b b 44 œ œ œ œ ? b b 44 ˙ ˙ bbb

b & b bbb œ œ œ œ b & b bbb œ œ œ œ b V b bbb œ œ œ œ ? bb ˙ ˙ bbb 12.

& &

V

### 3 & 4 œ ### 3 & 4 œ ### 3 œ V 4 ? # # # 34 ˙ ### ### ###

œ œ œ

? ### ˙

œ œ œ

œ œ œ

œ

˙

˙

œ

œ

œ œ

œ œ

œ œ œ

œ

˙

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œ œ œ œ œ œ œ œ

œ œ

œ

œ

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29

œ œ

œ

œ œ

œ ˙

œ

œ

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œ

œ

œ

˙

˙

˙

˙ ˙

˙

œ œ œ œ

˙

˙

œ œ œ œ œ œ œ œ

œ œ ˙ œ œ ˙ œ œ ˙

œ œ ˙ œ œ ˙ œ œ ˙ œ

œ œ œ

œ

œ œ ˙

œ œ

œ œ

˙

˙

œ œ ˙ œ œ ˙ ˙

˙

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˙.

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˙.

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˙.

˙.

˙.

˙.

˙.

˙.

˙

3 -- SIXTHS AND OCTAVES

13.

b & b 34 œ b & b 34 œ b V b 34 œ ? b b 34 ˙

b &b œ b &b œ b Vb œ ? bb ˙ 14.

œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

b &bb b &bb

44 œ œ œ œ 44 œ œ œ œ œ b V b b 44 œ œ œ ? b b 44 ˙ b

b &bb œ œ œ œ b œ &bb œ œ œ b œ Vbb œ œ œ ? bb ˙ b

œ œ

œ

œ

œ œ

˙.

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˙.

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˙ 30

˙.

œ œ œ œ

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œ ˙

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œ œ œ œ ˙ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ ˙ œ œ

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˙.

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SIXTHS AND OCTAVES -- 3

15.

& &

## 3 & 4 œ œ ˙ œ œ # 3 & # 4 œ œ ˙ œ œ # 3 V # 4 œœœ œ œ œ œ ? # # 34 œ œ ˙ œ

## ##

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&

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# & # œ ## œ V ? ## ˙ &

##

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# & # œœœ œ ## œ . œ œ V J ? ## ˙ œ

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%

˙.

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Fine

˙.

j œ. œ œ

œ œ œ jœ . œ ˙ œ œ œ œ œ. œ ˙ J œ. œ œ ˙ œ J 31

œ œ

˙

˙.

˙. ˙.

œ

˙.

˙.

j œ. œ œ

˙.

œ œ œj ˙ œ œ œ . œj . œ œ . œj ˙ œ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙ œ ˙ œ

œ œ œ œœ ˙. # œ V # œ œ ˙. ? ## ˙ œ ˙. ##

œ œ œ

œ

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˙

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˙.

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˙ ˙ ˙

œ œ . œj ˙ œ ˙ œ œ. œ J œ œ. j œ

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œ

œ

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˙.

D.S. al Fine

˙. œ ˙ œ œ. œ œ ˙ J ˙ œ ˙.

4: Meter Matters There are 2 basic types of meter. The first type is called simple. Meter is simple when 23 4 the beat divides into two. Examples of simple meter are 4 , 4 and 4 .

68 4 3 œ œ œ œ4 œ œ œ œ œ œ œ œ 4 œ œ œ

2 œœœœœœ 4 œ œ

œœœœ

In compound meter, the beat subdivides into 2 or 3 or a combination of the two. For example, 64 usually divides into 2 subgroups of 3 beats each:

64 œ œ œ œ œ œ And

œ.

œ œœœ œ œœœ

œ œ œ. J

54 usually divides into 2 subgroups of 2 and 3 beats, like this:

Or like this:

45 œ

œ

45 œ

œ

œ

3

2

œ +

œ

+

œ

2

œ

œ

œ œœ

œ

œ œœ

˙

œœ J

˙

œ

3

Other notes besides the quarter note can serve as the basis of the time signature. In fact, any note value can serve as the basic beat unit: 1. 2. 3.

23 ˙

˙

˙

68 œ œ œ œ œ œ

1. What is the basic beat unit in #1? 2. What is the basic beat unit in #2? 3. What is the basic beat unit in #3?

Write

169 œ œ œ œ œ œ œ œ ≈

ACROSS THE CURRICULUM:

1. Of the three meters given above, which is/are simple? Which is/are compound? Discuss why you made the decision you made. 2. What other beat units are possible for time signatures?

32

METER MATTERS -- 4

Common meter and "cut time" (alla breve):

4

Common meter ( 4 ) is often abbreviated with the following marking: measures below would be read the same as if the time signature read 4 4

cœ œ œ œ

œ œœœ œ

˙

˙

c

The

œ œ ˙

The technical name for cut time is "alla breve," or "according to the breve" (half note). Cut time looks the same as common meter, but it is performed with the half note being the basic beat unit, so that the quarter note becomes half of a beat (like the eighth note in common time). Cut time is used for marches and for quickly moving common meter. It reduces the need for beamed notes such as eighth notes and sixteenth notes. Cut time is abbreviated with this symbol:

C ˙

C

˙

œ œ ˙

˙

˙

w

Below is the conducting pattern for two beats per measure.

Left hand

Right hand

Read the following exercises while conducting: 1. 2. 3. 4. 5.

C˙

C˙

C˙

C ˙. C ˙.

˙

œ œ ˙

œ œ œ œ

˙

˙

w

˙.

˙

˙

œœœ ˙

œ.

Œ

Œ œ ˙

œ œ œ.

œ

j œœœœ

œ œ œ œ œ.

j œœœœœ œœœœœœœ 33

˙

Ó

Œ œ ˙

j œ w

œ ˙

œ

4 -- METER MATTERS

Compound meters with an eighth note beat unit: 6/8 Time:

68 œ œ œ œ œ œ

œ

68 œ.

œ œ œ œ œ œ

6

j œ œ

j œ œ œ œ œ œ œ

œ.

œ.

Notice that in 8 time, the notes usually fall into a pattern of 2 groups of three eighth notes. 6 So the feeling is of sets of triplets rather than straight eighth notes. 8 time is generally conducted in two, with each of the two beats dividing into three.

œ.

j œ œ

œ

j œ ˙.

6 time is compound because the basic beat unit is not the quarter note which which 8

divides into two, but the dotted-quarter that subdivides into groups of three eighth notes.

6

Work Activity sheet 11 and invent your own counting system for 8 time. It is not recommended to count the groups of three eighth notes like triplets, because triplets represent a deviation from the regular 2 eighth-note division. In 68 time, the groups of three eighth notes are the regular division, and not a deviation. One possible counting system for

68 œ. 1

œ. 2

˙.

1

(2)

6 8

time:

œ œ œ œ œ œ œ

1 si-di 2 si-di

1

j œ œ

di 2

j j j œ œœ œœ

di 1 si

2 si

READ the exercises below. Conduct the appropriate pattern (2) and use either your own counting system or the one provided above. 1. 2. 3. 4. 5. 6.

68 œ.

68 œ. 68 ˙.

68 Œ . 68 œ

68 Œ

œ. œ

œ œ œ œ.

j œ œ œ œ œ

˙.

j œ œ

j œ œ.

œ œ œ œ œ œ œ œ œ œ. œ œ œ œ

j œ œ

j œ œ.

j j œ œ œ

j œ œ

j œ œ

j œ ˙.

œ œœœ œ.

œ œ œ ‰ œ œ œ. 34

j œ œ

œ œ œ œ œ œ œ œ

j œ œ

‰

j œ

œ.

j œ œ œ œ œ j œ œœœ œ œ

j œ œ

œœœ œ

METER MATTERS -- 4

5/8 Meter: 5/8 meter is a cross between compound and simple meters. It generally employs both. Like 5/4 time, it usually divides into patterns of 3 and 2:

58 œ œ œ œ œ

œ.

Or 2 and 3:

58 œ œ œ œ œ

j œ œ

œ

œ

œ.

œ

5

œ œ œ œ œ

œ œ œ œ œ œ œ.

It is important to remember that in 8 time, the eighth note remains stable. Every eighth note gets exactly the same duration, they are simply grouped in units of two and three. READ the following exercises, conducting a two pattern. What will happen to the beat pattern when conducting for the group of 2 eighth notes as opposed to the group of 3? 1. 2. 3. 4. 5. 6.

58 œ œ œ œ œ

œ œ œ œ

58 œ.

œ

58 œ

j œ œ œ

j œ ‰

‰ œ œ œ

58 j œœœ œ ‰ œ œ 58 œ œ œ œ œ

58 œ œ ‰ œ œ

j j œ ‰ œ œ

œ

Œ

j œ œ

œ œœœ œ œ

œ.

œ

œ.

j œ œ œ

œ œ

œœœ œœ œœœœœ œ

j œ œ œ œ

œ

œ œ œ

‰ œj œ œ œ

œ œ œ.

j œ œ

œ œœœ œ œ

Œ

j œ œ j œ œ

In summary, the same kind of note may not have the same value (in beats) in different meters. In cut time, the beat value is cut in half: A half note receives one beat, a quarter 6 note receives one-half of a beat, etc. In 8 time, the dotted-quarter receives one beat, and the eighth note receives one-third of one beat. Complete the table in Activity Sheet 12.

Pencil Time 4: Activity Sheet 11: Simple or Compound? Activity Sheet 12: Note Values Activity Sheet 13: Conducting Patterns

35

4 -- METER MATTERS

Meter changes: Often in a piece of music the composer will write meter changes--one section will be in one meter, and a subsequent section in another. When going from one simple meter to another (with the quarter note as the basic unit), the quarter note will retain the same 5 6 duration from one meter to the next. When going from 8 to 8 or vice versa, the eighth note will maintain the same duration, unless otherwised specified. When going from a simple 6 4 meter (such as 4 ) to a compound meter (like 8 ), then the eighth note would maintain the same duration unless otherwise directed. When going from common meter to cut time, remember that the duration of the quarter note will be cut in half, unless otherwise specified. The best tactic for reading a new rhythm exercise is to read it at a very slow tempo, allowing time to read ahead as you go. (Note: The double barline is for organizational purposes only. Some composers use it before a meter change; some do not. But there should be no delay in the rhythm at the double bar. And the student should not stop reading until the final barline at the end of the exercise.) READ the following multi-meter exercises, changing the beat pattern as indicated. 1.

2.

44 3 j j j œ. œ ˙ œ ˙ œ œ œ œ œ œ œ. œ ˙ ˙ 4 œ œ œ. œ œ œ œ œ œ 44 j j œ. œ œ œ ˙. œ œ œ œ œ œ œ. œ œ œ œ ˙ œ œ œ œ œ œ œ Œ œ 34 j œ œ œ. œ œ Œ œ œœœœœ œ ˙

3.

4.

44 œ. œ œ œ ˙

64 j œ œ. œ œ œ ˙ 44 œ œ . œœ œ œ

2 j j j j œ œ œ œ‰ œ œ. œ œ œ 4 œ œ œœœ œ œ œ 34 j œ. œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ

j œ œœ ‰œ œ

j œ œ œ œ œ œ ˙ Œ œ œ œ œ œ œ. œ œ œ œ œ œ ˙. j ‰ œjœ œ Œ œ œ œ œ. œ œ œ œ œ œ ˙

j 44 œ œ œ œ. œ œ œ œ œ œ œ

w 44

j œ œ œ œ œ. œ œ œ œ œ œ Œ œ

œ ˙

œ

j j œ œ œ ˙

œ ˙ œ œ œ œ œ œ œ œ ˙ j œ œ œ œ. œ œ œ œ ˙ œ œ œ œ œ Œ œ. 36

C˙

w

j œ˙

˙

METER MATTERS -- 4

5.

6 8 œ œ œ œ œj œ . œ œ œ . œ

œ

œœœ œ œ ˙ 68 œ œ œ œ.

œ œ œ 6.

68 œ

j œ œ œ œ œ. œœ œ.

j 58 œ œ œ ‰ œ œ

24 œ œ œ œ œ. 7.

8.

j œ œ œ œ œ œ. j œ. œ œœœœœ j j œ œ œ œ ˙. œ.

j œ œ œ

j œ ˙

œ œ œ

C˙

˙

w

44 œ œ œ

j j œ. œ œ. œ œ œ œ œ œ œ œ œ œ 3

j œœœ œ œ œ œ.

j œ œ œ œ

3

˙

j œœœ œ ‰ œ

j j œ. œ œ. œ œœœ œ œ œ œ j j œ œ œ œ œ œ ‰ œ. œ

œœœ œ

œ œ œ

˙.

œœœ

œ.

˙

œ ˙

˙

œ. œ œ œ œ œ 37

œœœ œ œ

œ

œœ œ ˙

œ

j œ ‰ œ œ ˙.

j œ œœœ œ œ

œ œœ œ œ œ . œœœœ ˙

˙.

j œ. œ œ œ

œ ˙

œ œ

œœœ œ ‰ œ

œ.

œ. œ œ œ

j j 44 œ œ œ œ. œ œ. œœ œœ œ œ. 68 œ. œ. œ œ œ œœœ 58 œ. œ œ œ. œ œ 34 œ

2 4 œ

œ.

œ

œ. œœ ˙

Œ

68 j œ œ œ.

j œ œœœ œ œ

34 œ œ œ œ ˙

j œ œ

œ.

œ œ ˙.

˙

œ

4 -- METER MATTERS

SATB A cappella

Lightly, with life

S A

T B

F

# 6 & # 8 ? ## 6 8

œ

Oh, j #œ

˙˙ ..

? ##

j #œ

youth, too soon.

˙˙ ..

# œ. & # œ.

loo,

? # # œœ

œ

j œ

œ Jœ œ

hours of glad - ness,

˙˙ ..

loo.

œœ # œœ .. J

of the

Loo,

j œ œ. œ œ

Gone, a - las! like our

˙˙ ..

˙˙ ..

j #œ

H'room

œ. œ.

˙. ˙. œ œ

œœ ..

the ring

H'room

When 12

˙˙ ..

j #œ

H'room

j œ œ.

j œ œ. œ œ

Oh,

˙˙ ..

Oh, for one of those

? # # ˙˙ ..

œ

Ker - ry danc - ing,

j œ . œ œ œ œ

pi-per's tune;

Arr. Patti DeWitt

œ

j œ

H'room

# & # œ j œ. œ

# & #

œ J œ

œ

the days of the

F

4

8

j œ œ. œ œ

Traditional Irish

œ œœ œ J

the boys

œ. œ.

Loo,

loo,

œœ J

œ œœ J

sum - mer night, And the Ker - ry

pi - per's

38

loo.

œ œœ œ J œ

be - gan

˙. ˙.

œ œ œœ œ œ J

loo,

œœ J

˙. ˙.

œœ ..

œœ J

Loo,

to gath - er

œ. œ.

œœ ..

loo,

œ œ

Loo,

œœ J

œ œ

tun - ing made

œ œ

in

œ œœ . œœ œœ œ . J

the glen of

f

U œ œ

a

j œ œ

Uœ f œ œ œ œ œ œ œ J loo.

With

us long

with

METER MATTERS -- 4

16

&

##

œœ

de - light!

Oh,

œ œ

œ œ. œ œ. J

œœ

great

&

##

œœ

Fills

œœ

? ##

Fills

22

&

##

œ œ

great

? ## 19

j œ œ. œ œ.

de - light

Oh,

j œœ

j œ œ œ

my heart

œœ J

œ œ

my heart

j œ œ œ œ

to think

œ œœ .. œ J

to think

œœ ..

with

tears!

œ œ J

œ. œ.

with

j œœ

j œœ œœ ..

the

? ## œ œ

œ œ J

œ œ

œ œ J

25

&

##

œ

j œœ œœ .. œœ œ

Ah,

? # # œœ Ah,

the mer

-

ry

œ œœ . œ œœ œ . J J

the mer

-

ry

œ œ

œ

Lads

the

f

Lads

j œ œœ œ

œœ J

heart - ed laugh - ter

39

œ œ

Ring

œœ œ . J œ.

œ œ œ œ

œœ œœ

to dream

of it

j œœ œœ .. las

-

œœ œ

œ œ. œ œ J

-

and

las

ses

œ œœj ses

j œ œ.

a - gain

j œ œ. œ œ.

œ œ

down

a - gain

j œœ œœ ..

œœ œ

œœ .

œ œœ J

-

ing

-

œœ J

œœ Ring

of it

down

mid - dle and

j œœ

to dream

œœ

mid - dle and

j œ œ œ œ

j œœ # œœ . .

and

œœ

‰

heart - ed laugh - ter

œ œ

f

‰

œœ œœ

Up

Up

Oh,

œ .. œ

your pla - ces

your pla - ces

of it

œœ œ

to

to

œœ

j œœ œœ ..

œ œ

j œ œœ œ

Oh,

œœ œ œ

U œ œ

p

tears!

œ œ

of it

U œœ

p

œœ

œœ œœ

ing

through

through

the

the

4 -- METER MATTERS 28

&

##

œœ œj œ .. œ œ

hap - py glen!

? # # œ œ œœ .. œ œJ

P

j œ œ œ. œ œ

œ

j œ

œ œJ œ

Oh, the days of the

Ker - ry danc - ing,

Oh,

∑

∑

œ

P

hap - py glen!

32

&

##

j œ œ.

œ

# & #

œ

35

? ## &

&

Gone,

danc - ing,

a - las!

œ Oh,

œ J

œ

for

Oh,

the

of those

œ

Oh,

œ.

youth,

too soon.

œ

j œ œ.

##

? ##

œ J

Oh, j #œ

˙ .. ˙

the ring

j #œ

π

˙ .. ˙

of

the

œ œ J

of

the days

of the

œ

j œ œ.

pi - per's tune;

˙ .. ˙

Gone,

glad - ness,

of the

œ œ. œ œ J

a - las! like our

œ œ J

œ

œ œ

j œ

Ker - ry danc - ing,

˙ .. ˙

œ

Oh,

˙ .. ˙

H'room

40

j œ

œ

j œ œ.

œ

œ J

j #œ

H'room

of the

∑

H'room

œ œ

the days

œ œ. œ œ J

pi - per's tune;

glad - ness,

j œ œ.

of the

of

œ

too soon.

hours

π

hours

j œ œ.

œ

∑ œ

ring

youth,

œ œ. œ œ J

of those

the ring

œ J

œ

œ. œ œ

œ

like our

for one

one

œ J

j œ œ. œ œ

##

? ## 41

Oh,

œ œ J

Ker - ry

j œ œ. œ œ

œ

pi - per's tune;

? ## œ

38

Oh,

j œ œ. œ œ

j œ œ. œ œ

for

one

of those

METER MATTERS -- 4

44

&

##

œ

hours

? ##

˙ .. ˙

##

œ

47

&

œ œ J

of

œ

j œ œ. œ œ

Gone, j #œ

a - las!

˙ .. ˙

like our

œ

youth,

˙ .. ˙

j œ œ.

too soon.

H'room

j œ œ. œ œ

œ. œ.

youth, too

∑

Vocabulary: 1. 2. 3. 4. 5.

glad - ness,

Gone, a - las! like our

? ##

j œ

œ.

œ.

soon.

∑

∑

˙. j #œ

˙˙ ..

H'room

2

Alla breve--"Cut time"; 2 meter 4 Common meter-- 4 meter Compound meter--Meter that divides into subgroups of three 2 Cut time-- 2 meter Simple meter--Meter that divides into subgroups of two

41

U ˙.

U. ˙˙ .

5: The vi Chord The following exercise presents chords based on all of the notes of the scale. Which chords are major? Which chords are minor? Which chord is neither major nor minor?

### 4 & 4 œœœ œ ˙ ? ### 4 œ œ œ 4 œ ˙ ###

I

œœœœ˙ ? ### œ œ œ œ ˙ &

œœœœ˙ œœœœ˙

œœœœ˙ œœœœ˙

œ œœ œ œœ

œœœœ˙ œœœœ˙

œ˙ œ˙

œœœœ˙ œœœœ˙ œ œœ œ˙ œœœœ˙

The vi chord The vi chord is a minor chord. It is made up of a minor third and then a major third: minor major

bb b &

w

? bb w b

La

w w

Do

42

w w

Mi

THE vi CHORD -- 5

Identify the chords in the exercise below:

œ œ b œ & b b 44 œ b &bb b Vbb

44 œ œ œ œ 44 œ œ œ œ

œ

œ

œ

œ œ

œ

œ

œ

? b 4œ bb 4 œ œ œ I

œ œ

œ œ œ œ

œ œ ˙

œ œ œ œ

œ œ œ œ

œ œ

œ œ œ œ œ œ œ œ

œ œ ˙ œ œ ˙ œ œ ˙

Intervals of the vi chord The intervals between notes of the vi chord are shown below:

b &b b ˙

˙

La

? bb ˙ b

minor third

˙

˙

Do

Mi

˙

˙

major third

˙

˙

La

La

˙ Mi

˙

perfect fourth

˙

perfect fifth

˙ ˙

Do

minor sixth

˙

˙

˙

Do

La

˙

major sixth

All of the intervals, above, have been covered in previous chapters of this series of books except for the fourth (Mi - La) and the fifth (La - Mi).

Pencil Time 4: Activity Sheet 14: The vi Chord Activity Sheet 15: Chord Game

Write

ACROSS THE CURRICULUM: Write a brief essay discussing the triads built on each of the seven notes of the major scale. Which chords are major? Which are minor? Which is neither major nor minor?

43

5 -- THE vi CHORD

vi chord--Perfect fourth, Mi - La

b & b b 44 ˙ Interval Practice:

˙ ˙

? bb 4 ˙ b 4

b & b b 44 œ œ œ œ œ œ ? b b 44 œ œ b

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ ˙ œ œ ˙

READ the following exercises: 1. 2. 3. 4.

Read the rhythm while conducting. Locate and audiate the perfect fourths (Mi - La). Audiate the entire exercise with handsigns. Sing with handsigns.

## 4 j jœ œœ œ œ œ . & 4 œ œœœ ˙ 1. œ œ œ œ œ. œ # & # œ œœœ œ œ œœœ œ œ œ œ œœ œœœ ˙ ? b b b 44 b œ ? bb b œ œ œ œ b

2.

œœœœœ œœ œ

œœ œœ ˙ œœ˙

œ œœœœœ œ œœœ œ œ œ œ œ œœœ œ œœœ œ

j bbb 4 œ œ . b œ œ b 4œ œ œ œ œ œ œ œ œ œ œ œ œ 3. & j b . œœ œ œ œ œœ œ œ œ œ & b bbb œ œ œ œ ˙ œ œ œ œ œ œ œ œ 44

THE vi CHORD -- 5

4.

3 & b 4 œ.

&b œ œ & b ˙.

œ œ œ œ œ œ œ œ. œ œ œ ˙. œ œ œœ J J œ œœ ˙ Œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ J J œ œ . œ œ . œj œœœœ œ œ œ ˙. J

? # # # # 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5. ? #### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b & b 34

j . œ œ œœœœœœ ˙ œ œ œ œœ œ œ œ œ œœ b j & b œ œ. œ œ œ œ œ œ œ œ œœ œ œ œ œ ˙ b j Œ . &b œ œœœ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

6.

7.

? # # # 45 œ œ œ œ œ

? ### œ œ œ œ œ œ œ ? ### œ œ œ œ œ œ ˙

œ

œ œ œ œ œ œ œ œ ˙ œœœœ œ œ œ œœœœœœ˙ œ

œœœœœœœ

#### 6 . j œ # œ 4 & œ œ 8. #### jœ # & œ œ œ œ . œ #### # œ. j œ œ & œ œ ˙ œ

œ

œ

œ œ.

œœœœœœ˙ j œ œ

œ

˙

jœ œ œ j . œ œ œ . œ œ œ ˙. œ j œ . œj œ œ œ œ œ œ ˙ Œ . œ 45

5 -- THE vi CHORD

vi chord--Perfect fifth, La - Mi

#### 4 # 4 ˙ & Interval practice:

˙

˙

? #### 4 ˙ # 4

#### 4 œ # 4œ œ œ &

? # # # # 44 œ œ œ œ #

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ ˙ œ œ ˙

READ the following exercises:

1. Read the rhythm while conducting. 2. Audiate with handsigns. 3. Sing with handsigns. 1.

2.

? # # 44 œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœœ œ œ œ œœ œ

? ## œ œ œ œ œ

œ œ œ œ œ

b & b b b b 34 œ .

œœ œ œ œ œ J

b & b bbb œ œ œ b & b bbb ˙ .

œ

œ

œ œ.

œ œ œ

œ œ œ œ œ

j œ œ œ œœœ

œ . Jœ œ œ

œ œ œ œœ œ œ œ ˙. œ œ œ œ œ œ . œJ œ œ œ œ œ œ œ . œj ˙ . 46

THE vi CHORD -- 5

3.

? # 44 œ

œ.

?# œ œœœ œ 4.

b & b b b b b 34 œ œ œ .

b & b bbbb œ .

œ œ J j œ œ

b & b bbbb œ . b & b bbbb œ . 5.

? bb œ b 6.

œ

œ J œ

? bb œ œ œ œ œ b œœœ

œœœ

& 43 œ .

œ J œ œ œ &œ œ & œ. & œ.

œ œ J

j œœ œ œ

œ

œ œ œ

Œ

œ.

œ

œ œ œ

œ œ œ œ œ

œ œ œ.

œœ œ J

œ

œœ œ œ œ

˙ œ

œ

j œ ˙

œ œ

j ˙ œ œ œ j œ ˙ œ.

œ

œœ œœœœœ

œ

œ œ œ

œ œ œ œ.

œ

œ œ J

œ œ œ œ

œ œ œ œ

˙

œ

œœ œ œœ œœœœœ œ œœ œœœœœ œ œœ J

? bb 5 œ œ œ . b 4

? bb œ b

œ œ œ Jœ œ Jœ œ œ J œ œ œ œJ œ œJ œ œ J

œ.

œ œœœ œ

œ œ œ

œ

œ

Œ

œœ œ

˙

œ

œ œ œ

œ

˙

œ 47

œœ

œ

œœœ

œ œ œ œ œ œœ œ œ

œ œ œ œ œ

œ

œ Œ œ œœ œœœœ

œ

˙ œ ˙

œ œ œ œ ˙ .

Œ

œ œ

œ œ Œ

5 -- THE vi CHORD

Locate and identify the vi chords and the intervals of the vi chords in the following exercises. Locate and identify nonharmonic tones. Audiate the intervals and the exercises before singing them. 1.

### 4 & 4˙ ### 4 4 ˙ & ### 4 œ œ 4 V ? # # # 44 œ œ

œ.

œ. œ

j œ œœœœœ œ ˙ œ . œj œ œ œ ˙ j j j œ œ œ œ . œ œ œœ ˙ œ œ œ œ. œ œ œ ˙ œ œ œ œ œ œ œ œ œ. œ˙ J

œ œ

### ˙ œ . œj œ œ œ œ ˙ & ### œ œ œ œ œ œ ‰ œjœ œ & œ ### ˙ œ œœ œ œ œ œ V ? ### œ œ œ . œ œ œ ˙ J

### œ œ œ œ œ & ### œ œ œ œ & ### œ œ œ œ V ? # # # œ œ œ . œj

˙

œ

œ

œ œ ˙

œ

˙

œ

### ˙ œ . œj œ œ œ & ### œ œ œ œ œœ œœœ & ### ˙ œ œœ œ œ V ? ### œ œ œ . Jœ œ œ

œ

œœœ œ œ

œœœ œ œ œ œ œ.

œ

œ œ œ. ˙

œ˙

œ œ œ œ ˙

48

œ.

œ œ œ œ œ J j œ œœœœ˙

j œ œ œ. œ œ œ œ œ œ œ œ . œJ

œ œ œ œ ˙

œ

œ œ œ.

œ.

j œ œ. ˙ œ œœ˙ œ œ ˙

U œœœ ˙

œ œ œ uœ U œ œœœœœ œ J œ œ œ œ U˙ J

j œ œœœœ˙

j œ . œ œ œ œ œ œ œ œ œ œ . Jœ

j œ œ. ˙ œ œœ˙ œ œ ˙

THE vi CHORD -- 5

# 4 & 4 # 4 & 4 # V 44 ?# 4 4

2.

œ œ œ. œ œ œ. œ œ œ. œ œ œ.

# œ œ œ. & # & œ œ œ. # œ œ. V œ ? # œ œ œ. &

# #

œ œœœœ J j œ œ œ œ œœœœ J œ œ œ J

œ œœœœ˙ J j œ œ œ œ œ œœœœ˙ J œ œ œ ˙ J

j œ ˙ œ œ œ. œ œ

œ œ ˙ œœœ ˙ # ˙ œ V œ œ œ. J œ œ ? # œ œ œ . œj œ œ ˙ &

# & œ œ œ. # & œ œ œ. # . V œ œ œ ? # œ œ œ.

œ J j œ œ J

˙ œ œ

˙

œ œ.

œ ˙

œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ

˙

œ

œ

œ. œ œ J œ

œ œ œ œ

œ œ

j œ œ

œ.

˙ œ. œ.

œ œ œ.

œœœœ˙

œ. œ œ

œ œ ˙

œ œ œ œ œ . œJ ˙ œ. œ œ œ J

œ œœœœ ˙ J j œ œ. œ ˙ œ œ œœ˙ œ œ

œ j œ œ œ œ œ J j œ œ

œ

œ

œ œ

œ œ

œ

˙

œ œœœœ˙ J j œ . œ œ œ œ . œj ˙ œ œ œ œ œ œœ˙ œ œ œ œ ˙ ˙

œ œ œ œ œœœœ˙

œ œ œ ˙ J 49

˙ œ œ œ

5 -- THE vi CHORD

4.

j œ. œ ˙

b &bb b &bb b Vbb ? b bb

4 œ 4 œœ œ œ 44 j œ. œ œ œ 44 œ œ œ œ œ 44 œ . œ œ œ J

œ

œ

œœœœ˙

œ

œ

œœœ

œ

œ

œ

œ œ ˙

b &bb b &bb b Vbb ? b bb b &bb b &bb b Vbb ? b bb b &bb b &bb b Vbb ? b bb

œ

œ

˙ ˙

œ Œ œ Œ

œ. œ. ˙

œ œ

j œœ

œ œœ œ J œ œ

j œ œ. œ ˙

j œ œœœ ˙ œ œ œ . œj œ œ ˙ œ . Jœ œ œ œ œ ˙ œ œ œœœ œ œ ˙ œ œ œ.

œ

Œ œ

œ œœœ ˙ J

jœ œ . œ œ œ œ ˙ j œ . œ œ . œJ œ œ ˙ œ. œ œ œ œ œ ˙ J

œ œ ˙

œ . œj œ œ ˙

˙ œ Œ œ œ œœœ

j œ. œ ˙ œ œ ˙

œ œ ˙ œ œ ˙

œœœ œœœ

œ

œ œ œ.

Œ

Œ

œ ‰ œJ œ œ

œœœ Œ œ œ œ Ó œ œ Ó ˙ Ó

œ. ˙

œ œ. J œ Œ

j œ œ.

œ ˙. J j œ ˙. œ. œ. œ œ. J œ Œ ˙.

Œ

Œ

œœ J Œ

Œ

œœœ œ

œ

œœœ ˙

œ. œ.

œ œ

œ. œ.

œœ J œœ J œ œ ˙

j œ˙ œ J˙

œ œ œœœœ Continued 

50

THE vi CHORD -- 5

b &bb œœ b & b b œ. b Vbb œœ ? b œ. bb b &bb b &bb b Vbb ? b bb

œ œ œ j œœ œ œ œ œ œ œ Jœ

œ œ œœœ œ œ œœœ œ œ œœœ œ œ œ œ

œ. œ.

j œ˙

œ œ œ.

j œ˙

j œœ œ œ œ ˙ j œ œ . œJ œ œ ˙ œœ œ œ œ ˙ J

œ.

œ œ ˙

œ.

œ œ ˙

œ œœœ ˙ J

œ.

j œ œœœ ˙ œ œ œ . œj œ œ ˙ œ . Jœ œ œ œ œ œ ˙ œ œ œœœ œ œ ˙

œœœœ˙

œ

œ œ ˙ œ œ ˙ œ œ ˙

51

œ

œ.

5 -- THE vi CHORD

4.

b & b 44 œ œ œ . b & b 44 œ œ œ . œ. b V b 44 œ œ

b &b œ b &b œ b Vb œ

? b œ. b

b &b œ b &b œ b œ Vb ? bb œ

œ œ œ

œ œ œ œ

œ œ œ. œ.

œ œ. J

œ œ ˙

œ œ ˙

œ J œ œ ˙ œ œ œ ˙ J

œ œ ˙

œ œ ˙

j œ œ œ ˙

? b 4 œ œ œ. b 4

b & b œ œ œ. b & b œ œ œ. b œ œ œ. Vb ? bb œ œ œ.

j œ œ œ ˙

j œ œ.

j œ œ œ ˙

j œ œ œ ˙ œ œ œ ˙ J œ ˙ J ˙

œ.

œ œ œ J œ œ œ J

j œ œ œ

œ œ ˙

œ œ ˙

œ œ ˙

œ œ

œ œ ˙

j œ œ.

œ œ ˙

œ œ œ œœ œ œœ˙ œ œ ˙ œ œ ˙

œ J œ œ ˙ œ œ œ ˙ J

œ. œ. œ.

œ˙ J

œ œ œ œœ œ œœ˙ œ œ ˙ œ œ ˙

œ.

j œ œ œ ˙

j œ œ œ œ œ ˙ œ œ œ ˙ œ œ J œ. œ œ œ ˙ ˙ J

œ ˙ J

œ. œ.

œ œ ˙

œ œ

˙

œ œ ˙

œ œ

˙

œ œ œ œ œ œ œ œ˙ œ œ ˙ œ œ ˙

˙ ˙ ˙

52

6: The V 7 Chord Chords can have more than three notes. All major and minor chords consist of only three notes, but sometimes other notes are added to them to create more interesting sounds. The V 7 chord is a V chord which has had a note added to it--Fa, the seventh note above So, the root of the V chord. The four notes of the V 7 chord are So, Ti, Re, and Fa. The V 7 chord is the dominant seventh chord for major keys. IDENTIFY the key and analyze the chords in the melodic exercises, below, before singing them. Exercise A:

#4 œœœ & 4 œ ˙ ? b 44 œ œ œ œ ˙

# & # 44 œ œ œ œ œ œ

? b b 44 œ œ œ œ œœ

*œ œœœœ œ œ œ œ œ œ œ œ œ V7 œ œ œ œ œ œ œ œ œ œ œ œœ œ

œœœœ˙ œ œœ œ˙ œ œœ œ˙ œœ

œ œœ

œ

œ œ œ œ œœœ œ œ œ œ˙ œœœœ œœ œœœ œ œ œ œ œ

* Fa, the seventh note above So. ANALYZE the chords in the harmonic exercise, below, before singing it.

b & b b 44 œ œ œ œ

Exercise B:

b & b b 44 œ œ œ œ b V b b 44 œ œ œ œ ? b 44 œ œ œ œ bb

œ œœ˙

œ œœœœœ

œ œ ˙

œ œ œ œ

œ œ ˙

œ œ œ œ

œ œ ˙

œ œ œ œ

How many V7 chords are in Exercise B? On what beat(s)?

53

œ œœ˙ œ œ ˙

œ œ ˙ œ œ ˙

6 -- THE V7 CHORD

Intervals of the V7 Chord: The intervals between notes of the V7 chords are: So - Ti (major third), Ti - Re (minor third), Re - Fa (minor third), Ti - Fa, (tritone), So - Fa (minor seventh). As discussed in Chapter 8, the tritone is the interval of a diminished fifth (one half step smaller than a perfect fifth). It could also be an augmented fourth, (one-half step larger than a perfect fourth). It consists of three whole steps (six half-steps or semitones), thus the name, tritone. It has been considered a most dissonant interval for centuries of music theory:

#

& œ #œ œ #œ œ nœ#œ

The tritone divides the octave exactly in half. No matter in which order Fa and Ti are placed, the result is always a tritone, either a diminished fifth ( o5) or an augmented fourth (+4). o Tritone (+4) o

# & w w w w Tritone ( 5)

So Ti

Re

Tritone ( 5)

w w w w

Re

Re Fa So Ti

w w w w

Fa

Ti

Fa

So

Tritone (+4)

w w w w

Fa

So Ti Re

Harmonic tritones: 1. Tritone (+4) between sopranos and tenors.

b & b 44 ˙ ˙ b & b 44 ˙ ˙ ˙ b V b 44 ˙ ? b b 44 ˙

˙

2. Tritone (o5) between tenors and basses.

3. Tritone (+4) between sopranos and altos.

˙

w

## ˙

w

w

b ˙

˙

w

##

˙

˙

˙

w

w

b ˙

˙

w

## ˙

˙

w

w w

b ˙

b ˙ ˙

54

w

##

˙

˙

w

THE V7 CHORD -- 6

Melodic tritones:

#4 œ & 4 œœ œ˙

œœœœ˙

? # 44 œ œ œ œ ˙

o

Tritone ( 5)

˙

˙

œœ

Tritone (+4)

œœœœ˙

œ œ ˙

œœ œ˙ œ ˙

œ œ ˙

Melodic exercises: 1. Locate the tritones in the following exercises. 2. Audiate each exercise. 3. Sing on solfege and with handsigns.

1.

& b 44 œ œ œ œ œ

& b ‰ œjœ œ œ œ 2.

? 34 œ œ œ

? œ œ œ

œ

œ

œ œ ˙

œœœœœ œ

‰ œjœ œ œ œ

œ œ ˙ œ

œ

˙

œ œ œ

œ œ œ

˙

b & b 44 œ œ œ œ œ œ œ ˙ b &b œ œ œ œ œ œ œ ˙

3.

4.

? # # 44 œ œ œ œ œ

? ## œ œ œ œ

œœœœ˙

‰ Jœ œ œ œ

œ

œ

œ

œ œ œ œ œ

œ œ œ œ

œ œœ œ œ

œ œ œ œ œ

œ œ ˙

œ œ ˙ ˙.

œ

˙.

œ œ ˙ œ

˙

œ.

œ ˙ J

œ œ ˙

bb 4 œœœ œ b & 4 œ œ œ œ œ œœœœ˙ 5. œ œ œ ˙ b œ œ œ œ œ œ œ œ &b b œ œ œ œ œ œ œ ˙ ˙ 55

6 -- THE V7 CHORD

6.

? ## 4 4

œœœ œ œ

œ œ œ œ ˙

? # # ‰ Jœ œ œ œ œ

### 4 4 œ. 7. & ### œ . œ œ & J 8.

œ œ ˙

j œœ œ

œ œ ˙

œ œ œ œ ˙

œ

œ œ ˙

? b b 44 œ . œ œ œ J b

? bb œ . b

œ œ ˙

œ œ œ J

œ œ œ œ œ œ œ ˙

œ œ œ œ œ

œ. œ œ œ J

œ. œ œ œ J

œ œ

˙

œœœœœ œ

œ œ ˙

œ. œ œ œ œ œ ˙ J œ . Jœ œ œ œ œ œ œ œ ˙

œ bbb 3 œ œ œ œ œ œ œ œ . œ œ b J & 4 œ . Jœ œ œ œ œ œ œ œ œ œ 9. b œ œ œ. œ œ œ. œ œ & b bb œ œ ˙. œ œ œ J J œ b œ ˙ œ œ œ œ œ . œJ œ œ œ œ ˙ . & b bb œ œ ? # # # # 44 œ . # 10. ? # # # # œ . Jœ œ # ? # # # # œ . œJ œ # ? # # # # œ . œJ œ #

œ Jœ œ œ

œ œ

œ

œ œ ˙

‰ Jœ œ œ œ œ œ œ ˙

‰ Jœ œ œ œ œ 56

œ

œ œ œ. œ œ œ ˙ J œ œ œ œ œ œ œ ˙

œ œ œœ œ œ œ ˙ œ œ œœ œœ œ œ ˙

THE V7 CHORD -- 6

HISTORICAL SHORTS: Diabolus in Musica The tritone interval, which consists of three whole steps, was banned from all use in music for the medieval church. It should have been a perfect interval. In fact, it should have been the most perfect interval for several reasons: First of all, it consisted of three tones--three represented perfection to the medieval church, as it was the number of the Trinity. Secondly, it divided the most perfect interval--the octave--into two equal parts. In spite of these "spiritual" indicators, the tritone was the most dissonant and harsh-sounding of all of the intervals. And because this interval was so "deceptive," it was considered evil and became known as "diabolus in musica," "the devil in music."

The minor seventh The interval that occurs between the tonic of the V7 chord (so) and the seventh (fa) is a minor seventh (m7). A minor seventh is a half step smaller than a major seventh (M7) which occurs between Do and Ti.

& 44 ˙ ? 44 ˙

˙

˙

˙

˙

& b 44 œ œ ˙ ? b 44 œ œ ˙

˙

˙

˙

˙ ˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙

M7

˙

˙

˙

˙

˙ ˙

˙

˙

˙

m7

˙ ˙

˙

˙

˙

˙ ˙ ˙

w

˙ ˙

w ˙ ˙

˙ ˙

Interval practice:

b & b b 44 œ œ œ œ œ ? # # # 44 œ

œ œ

œ

œ œ œ œ œ ˙ œ 57

œ œ œ œ œ œ œ œ œ

œ œœ˙

œ œœ˙

˙ ˙

6 -- THE V7 CHORD

1.

˙ œ œ œ

? ### 4 œ œ œ œ 4

? ### œ œ œ œ

œ œ œ œ

˙ œ œ œ

bb 4 b & 4 œ œœ˙ 2. œ œ œ˙ b ˙ œ œ œ œ ˙ &b b œ œ

? b 34 œ . Jœ œ 3. ˙ œ ?b ˙ ?b œ. œ œ J

˙.

˙

œ

œ

˙

˙.

œ œ œ œ

œ œ ˙

œœœœœ œ

œœœœ˙

œ œ œ J

œ.

œ

˙

œ œ ˙

˙

œ

œ

œ œ œ ˙ ˙

˙. œ. œ

œ œ J œ

˙ œ

œ ˙.

### 4 œ ˙ œ ˙ œ œ . Jœ œ œ ˙ œ . 4 & œ œ 4. œ J ### œ œ œ œ . Jœ œ œ œ œ œ ˙ & œ œ œ œ ˙

? # 44 œ . œ œ œ œ œ œ ˙ 5. J œ ?# œ. œ œ œ œ œ ˙ J

œ.

œ œ œ œ œ œ œ œ J œ œ œ

j b œ ˙ & b b 44 œ . œJ œ œ œœ œ œ . œ b œ œ œ ˙ œ œ œ œ œ & b b œ . œJ œ œ œ œ

6.

58

œ

œ œ ˙

œ œ œ ˙

œœœœ˙ œ œ œ ˙

THE V7 CHORD -- 6

Locate and identify the tritones in the following exercises. Audiate them and the whole exercise before singing.

1.

j œ b & b b 44 œ . œ œ b j & b b 44 œ . œ œ œ ˙ œ œ b V b b 44 ? b b 44 œ . œ œ œ b J

b b œ . œj œ b & œ b & b b œ . œj œ œ œ œ b ˙ Vb b ? bb œ . œ œ œ b J b & b b œ. b & b b œ. b ˙ Vb b

œœ J

œ

j œ. œ œ j œ. œ œ œ . œJ œ œ œ . œJ

œ œ ˙

j œ. œ ˙ œ. œ ˙ J œ œ ˙

œ œ. œ. œ

œ ˙ j œ ˙ œ ˙ J œ ˙

œ

œ œ j œ. œ œ œ . Jœ œ œ œ . Jœ

œ

œ œ œ œ œ œ œ . œj˙ J œ . Jœ œ . Jœ ˙ ? b Œ œ œ œ ˙. Œ bb

59

œ œ

œ

œ œ œ

œ

œ

œ œ œ œ œ. œ. ˙

j œœ œ œ Jœ œ œ œ

˙.

2nd time to m9

Œ

œ œœ œ Œ œ œ œ Œ ˙

œ Œ

˙.

Π..

˙

œ Œ ..

Œ .. ˙. œ œ œ œ Œ ..

œ . œj ˙

œ . œj ˙ ˙ œ œ

w

6 -- THE V7 CHORD

# & # 34 œ # 3 & #4 œ ## 3 V 4 œ ? # # 34 œ

2.

œ œ œ œ œ œ œ œ œ œœ j œ. œ œ œ œ. œ J

## œ œ œ œ œ œ œ &

œ.

œ

œ.

œ

œ.

œ œ

œ.

j œ œ œ

œ œ œ œ j j œ . œj œ œ œ œ. j œ œ. œ œ œ œ J j œ œ. œ œ. œ J œ J

œ œ œ

˙.

& &

##

# V # ? ##

œ œ œ œ œ jœ œ œ. œ. œ œ J œ . œ œ J

# & # œ # & # œ ## œ V ? ## œ

œ œ

œ œ œ

œ œ œ œ œ œ œ œ. œ œ

œ

˙ ˙ ˙

j œ ˙

Œ Œ Œ

Œ

œ œ. œ œ. œ œ.

œ œ œ œ œ œ œœ œœ œ œ. œ œ œ. œ jœ œ J œ œ . J œ œ œ. œ œ œ J œ œ . Jœ 60

œ œ J

œ œ œ

œ œœœœ œ

œ

œ

œ œ

œ œ œ

# j & # œ œ œ œ œ œ. œ œ œ œ œ ˙. ## œ œ œ œ œ œ ˙. œ ˙ V œ œ œ. œ œ œ. j œ. ? ## œ . œ J œ J ##

œ

œ. œ. œ. œ.

œ œ œ œ œ œ œ œ.

j œ

œ œ œ œ œ

j œ œ œ œ J œ J œ

œ ˙

œ

˙

j œ œ œ

œ

j œ . œj œ œ œ j œ œ œ j œ œ. œ J œ Continued 

THE V7 CHORD -- 6

# & # œ œ # & # œ. ## œ . V ? ## œ . 3.

& b 34 œ .

&b œ œ œ &b œ œ œ Vb œ ˙ b œ ˙

& b ˙. & b ˙. ˙. b V ?b ˙.

œ œ œ

˙

œ œ œ œ

˙.

œ.

œ œ œ

˙.

j œ œ œ œ ˙ . œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ ˙ œ œ œ. œ œ œ. j ˙ œ. œ J œ J

j œ œ œ J œ œ œ J

3 & b 4 œ. 34 œ . b V ? b 34 œ .

?

œ œœœœ œ œ œ

œ œ œ

œ Jœ j œœ œ Jœ œ œ J

œ

˙

œ ˙

œœœ œ

œœœ œ œ œ œ

œ œ œ œ. œ. œ. œ.

˙. œ œ œ œ œ œ œ ˙.

œ ˙ œ ˙

œœ J j œ œ œ J œ œ œ J

Fine

˙. ˙.

˙.

˙.

œ œ œ œ 61

j j œ œ. œ œ. œ œ j . œ œ œ . œj œ œ œ œ. œ œ. œ œ J J j œ œ . Jœ œ . œ œ

œ œ

œœœ œ

˙

œ œ œœ

œ. œ. œ.

œœ J j œœ œ Jœ œ œ J

œ œ . œJ œ œ . œJ œ œ . œJ

œ œ . œJ ˙.

œ œ

œœœ œ

˙.

˙

œ œ œ

˙.

˙.

D.C. al Fine

6 -- THE V7 CHORD

4.

b & b 44 œ œ œ œ b & b 44 Ó œ œ b ∑ V b 44 ? b4 b 4

œ. œ. œ.

∑

Œ

b &b œ œ œ œ b &b Ó œ œ b ∑ Vb

œ.

˙ b &b Œ œ j b & b œ œ œ. œ ˙ b Ó b V ? b Œ œ œ œ b

œ.

? b b

∑

˙ b &b Œ œ j b & b œ œ œ. œ ˙ b Ó b V ? b Œ œ œ œ b

œ

œ œ œ J j œ œ œ œ œ œ J

Œ

œ œ œ J

œ

œ œ

Œ

˙.

Œ

˙. . œ œ œ . Jœ ˙ œ œ ˙. Ó

Œ

œ œ

œ

œ

œ

œ

œ ˙ J

œ. œ. œ

œ œ œ œ œ œ œ. œ ˙ J œ ˙ œ 62

œ

Œ

˙

Œ œ œ œ ˙

Œ

j œ ˙. œ ˙. J

œ œ

œ

œ œ ˙

œ œ œ œ ˙.

Ó

œ ˙ J

œ œ œ œ œ œ. œ ˙ J œ.

œ

œ

œ œ œ J

˙

œ œ œ œ

œ œ

œ œ œ œ œ.

œ œ œ . œJ œ œ ˙ j j œ œ œ. œ œ. œ ˙ œ œ œ œ œ œ ˙

˙

œ œ œ. ˙ ˙

Œ œ œ œ

œ

Œ

Œ

˙. ˙.

œ

œ œ œ ˙ J œ œ œ œ w

THE V7 CHORD -- 6

b &b œ œ œ œ b &b Ó œ œ b Ó Vb ˙

œ.

b &b œ œ œ œ b &b Ó œ œ b ∑ Vb

œ.

? b b

? bb

∑

∑

œ. œ. Œ

œ

œ.

Œ

œ

œ œ

œ œ œ J j œ œ œ œ œ œ J œ œ

œ J œ

œ

œ J œ

œ

œ

œ

œ

œ

63

œ œ œ ˙ J j j œ œ œ. œ ˙ . œ œ œ œ œ œ œ œ ˙ œ œ œ.

œ œ œ œ œ

œ œ ˙

œ œœœ œ œ œ Œ œ

j œ œ œ œ Œ œ J œ œ œ Œ œ œ œ œ œ œ œ Œ

œ œ œ. œ œ œ.

6 -- THE V7 CHORD

5.

œ œ ˙ & b 34 œ œ œ œ œ ˙ & b 34 œ œ œ œ j œ ˙ 3 œ œ b œ œ . V 4 ? b 34 œ œ œ

&b œ œ œ

œ

œ

œ

?b œ œ œ

œ

œ

œ

œ œ ˙

&b œ œ œ œ œ. œ. j œ œ b œ œ V

œ œ œ

œ

j œ œ œ

œ œ ˙

&b œ œ œ œ œ œ œ ˙ j & b œ œ œ. œ œ œ ˙ œ . . œ œ J œ Vb œ œ œ J ? ˙ œ b œ ˙ &b œ œ œ & b œ œ œ. œ. Vb œ œ ?b ˙

œ œ œ œ ˙ j œ œ œ œ œ J œ

œ

œ

œ œ

œ

œ.

œ. œ.

œ œ œ œ

˙ 64

œ œ

œ.

˙

œ J

j œ œ œ œ. J œ

œ œ ˙

˙. œ œ ˙ œ œ ˙ œ

˙

œ.

j œ œ

j œ œ œ œ

œ

˙

œ

œ

œ. œ

œ J œ

j œ œ œ œ ˙ j œ œ œ œ œ ˙ ˙ œ œ œ J

œ œ œ.

˙

j œ œ œ ˙

œ œ J

œ.

œ œ œ

œ. œ

œ œ ˙

œ. œ œ œ

œ

œ

œ

œ œ

œ œ œ œ

THE V7 CHORD -- 6

&b œ œ œ &b œ œ œ

V b œ œ œ.

œ

œ œ ˙

œ

˙ ˙

? œ œ œ b

œ

&b œ œ œ

œ

œ

j œ œ œ

œ

œ

œ œ ˙

œ

œ

œ. œ

œ œ

œ.

œ œ œ

œ œ

œ œ ˙

œ œ

œ œ ˙

œ. &b œ œ œ œ œ. j œ œ œ b œ V ?b œ œ œ

œ

j œ œ œ

65

œ œ ˙

œ œ œ

œ

œ.

œ. œ.

œ.

j œ œ œ ˙

œ J

œ

˙

œ J œ

j œ œ œ œ œ ˙ j œ œ œ œ œ ˙ ˙ œ œ œ J

6 -- THE V7 CHORD

6.

œ œ œœ b & b b 44 œ b œ & b b 44 Ó œ œ œ b V b b 44 Ó ? b b 44 b

∑

œ. œ œ œ Jœ j œ œ Œ œ . œj œ œ œ. œ. œ œ œ œ . œJ Ó J œ œ œ. j œ Œ Ó œ œœœœ

œ œ

œœœœœ b œ &b b œ œ œ œ œ œ œ b œ œ œ œ œ. &b b Ó œ œ œ œ œ œ œ. b Vb b Ó œ. œ ? b ∑ bb Jœ œ b &b b Ó

œ œ

œ œœ b &b b œ œ b Vb b Œ œ œ œ œ ? b œ œ œœœ bb Melody:

œ.

œ˙ J

œ œ œ J

œ œœœœœ

œ œ œ œ œ. œ œ œ J

œ ˙ J

œ œ œ ˙ J œ˙ b &b b œ œ œ œ œ œ œ œ œ. œ œ œ œ œ b V b b œ . œJ J ? bb œ œ œ œ œ œ œ ˙ b œ. b &b b Œ œ

66

œ œ ˙ œ œ œ œ œ œ ˙

œœœ ˙

j œ œ œ œ œ œ œ ˙ œ œ œ œ. œ œ œ ˙ J J œ œ œ œ œ œ œ ˙ Œ.

œ œ ˙ œ œ ˙ œ.

œ œ œ œ œ

œ œœ˙

œ.

œ ˙ J

œ œ ˙

œ œ ˙ œ œ. œ J˙

œ œ Œ œ

˙

j œ œ œ œ œ œ œ

œ œœ œ œ

œ œ œ œ

œ.

œ œ

œ œœ˙

œ œ œ œ

THE V7 CHORD -- 6

b œ œ &b b œ œ œ b œ œ &b b Ó b œ œ Vb b Ó ? bb

b

∑

œœœœ œ œ œ œ œ. œ œ œ. œ œ

œ.

j œ

œ J j œ

œœœœœœ b œ &b b œ œ œ œ œ œ œ b œ œ œ œ œ . œj &b b Ó œœœœ b œ œ œ . œJ Vb b Ó œ. œ ? b ∑ bb Jœ œœ

67

œ.

œ œœ œ œ J œ Œ œ . œj œ œ. œ œ Ó J œ œ Œ Ó

œ œ œ œ

œœ˙ œ ˙

œ œ œ œ ˙

œœœ ˙

œ œ œ œ œ œ ˙ œ ˙ œ œ œ . Jœ œ œ œ œ œ œ œ ˙

6 -- THE V7 CHORD

œœœœœ œœ œ œ œ œ

œ œ œ & 44 œ œ œ

7.

& 44 œ œ œ œ œ œ œ œ . V 44 œ œ œ œ œ œ œ . ? 4 œ œ . œj œ œ œ . 4 œ œ & œ

œ

& œ œ œ œ œ œ œ.

œ œ

?

œ ∑

?

œ

œ

j œ œ œ ˙ œ œ œ ˙ ∑

œœ œ J œœ œ J œ

œ œ œ œ

œ.

œ œ œ œ

œ œ ˙

œ

œ

œ

˙.

˙

˙

j œ œ. œ œ

˙

˙

˙

œ

œ œ ˙ œ ˙ œ Œ œ j ˙ œ. œ œ œ

œ

œ

œ

œ

œ . œj œ œ œ œ œ œ

œœœœ œ œ

œ ˙

& œ œœ œœ & œ œ j œ V œ.

œ œ ˙

j œ œ œ œ J œ œ J

j œœ œœ j œœ œœ œ˙ J

œ . œj œ œ j œ. œ œ œ œ œ œ œ

œ œ œ œœ

& œ œ œ œ œ œ. V œ œ œ œ œ. œ. ? œ . œjœ œ & œ œ V

j œœ œ

œœœœœ œœ

œ

œ ˙ 68

œ. œ. œ.

œ J˙ œ . œj ˙ œ œ ˙ Œ

˙

œ

˙

œ œ œ œ

œ

U œœœœ œ œ œ j jU œ œ. œ œ. œ œ œ œ œ œ œ Uœ U ˙ œ œ œ œ

Fine

Œ

Œ

D.C. al Fine

THE V7 CHORD -- 6

## 3 & 4 œ œ œ # 3 & #4 œ œ œ ## 3 œ œ œ V 4

8.

˙

˙ œ œ œ œ

? # # 34 œ œ œ

&

##

œœœ œ

˙

œ

& &

## ##

j œ. œ œ

˙ # V # ˙ ? ## ˙ & &

## ##

œ œ

œ

œœœ œ

œœœ œ # œ. œ œ V # J ? ## ˙ œ

˙.

œ œ œ œ œ

˙ ˙

˙

œ

˙

˙.

˙

œ ˙ ˙. ˙.

œ

˙ ˙ ˙

%

œ

Fine

œœœœœ

˙.

˙

˙.

œ

œ ˙ œ œ.

œ. œ œ J 69

œ œ œ

œ . œj œ œ œ ˙ J ˙

œ œ

œ

˙

œ

˙ ˙

œ

œ

˙

œ

j . œ œ œ ˙. ˙ ˙ ˙

œ œ

œ ˙ ˙. ˙.

œ

œ œ . œj ˙

œ

œ . œj œ œ ˙ œ œ. œ ˙ œ J œ œ œ. œ ˙ J

œ œ œ œ ˙. . ˙ œ œ ˙

j œ. œ œ

˙.

˙.

œ œ

j œ œ. œ ˙ œ œ . œj ˙ œ œ œ œ œ œ œ œ œ œ œ ˙

˙.

œ

˙ ˙

j œ. œ œ

˙.

œ

# & # œ œ œ œ ˙. # ˙ œ œ ˙. V # ? ## ˙

œ œ œ

œ

œ

œœœ œ

˙.

DS al Fine

˙. œ ˙ œ œ. œ œ ˙ J ˙ œ ˙.

6 -- THE V7 CHORD

œ œ œœ œœ & b 44 œ œ œ œ œ œ œ œ œ œ œ œ . œJ ˙ . œ œ œ œ œ . œj œ . œj ˙ . & b 44 œ œ œ œ ˙ œ œ œ œ œ œ. œ œ œ œ œ ˙ ˙ 4 œ œ œ œ b J V 4

9.

œ œ ˙

œ œ ˙

? 4 œ b4

œ œ œ œ

œ œ œœ &b œ œ œ œ œ œ œ œœœ &b œ œ ˙ Vb œ œ ˙ ?

b

œ œ œ œ œ œ œ œ œ œ ˙

œ œ ˙

&b œ

& b œ. Vb œ ? œ b

. &b œ & b œ. Vb œ ?b œ

œ œ œ

j œ œ

œ œ œ œ œ œ

œ œ J j œ œ

œ œ œ œ œ œ

œ œ œ. œ J œ J œ.

˙.

œ

˙.

œœ J .

˙.

œ œ

œ.

œ œ

œ.

œ

œ.

œ œ

œ

œ.

œ œ.

œ œ J j œ œ œ œ J j œ œ 70

œ œ

œ

œ

œ œ œ œ œ œ œ œ œ œ œ œ

œ

œ

‰ œj ‰ œj œ ‰J

j œ œ. ˙. œ œ ˙.

j œ œ œ œ . œJ ˙ j œ . œ œ œ œ œ œ . œj œ œ . œJ œ œ œ œ œ œ ˙ œ . œj œ œ œ œ œ . œj ˙

œ

œ

œ œ œ

‰ œJ

Œ.

j œ j œ œ J

œ ˙

œ œ

Œ.

œ Œ.

Œ.

œ J

˙ ˙

œ œ œ œ

˙

œ œ

THE V7 CHORD -- 6

&b œ

œ œ œ œ œ œ œ œ œ œ œ œ œ.

&b œ œ ˙ ˙ Vb œ œ ?

b

œ œ ˙

œ œ œ œ œ œ œ œ œ œ ˙

&b œ œ œ œ œ œ &b œ œ ˙ ˙ Vb œ œ ?

b

œ œ ˙

œ. œ. œ

œ

œ ˙ œœ J . j œ œ . œj ˙ . œ œ œ œ œ œ ˙ J œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ ˙

71

œ

˙.

˙

j œ œ . œ ˙ œ. œ œ œ ˙ J œ œ ˙ J œ. J œ. œ

œ

Œ

Œ

Œ

Œ

6 -- THE V7 CHORD

10.

#### 4 4 œ & #### 4 4 œ & #### 4 4 œ V ? # # # # 44 œ

œœ œ œ

œ œ . œj œ œ œ ˙ œ œ . Jœ œ œ ˙ œ œ . Jœ œ œ ˙

#### œ œ œ œ . & #### & œ œ œ. #### V œ œ œ. ? #### œ &

####

V

####

&

####

&

####

&

œ œ.

œ J j œ j œ œ J

œ œœ ˙ œœœ

œ œ œ.

œ

œ. #### œ . V œ. ? ####

œ Jœ œ

j œ . œ œœ j œ œ œ œœ œ J œ œ œ J

œ.

œœœ œ œ

œ œœœ œ œ . Jœ œ œ œœœ œ œ

œ

œ˙ J

œ

˙

œ˙ J

œœœœ˙

œ œœœ œ œ. œ ˙ J œ. œ ˙ J 72

œœœœœ Œ Œ œ œ œ œ. œ œ Œ J

œ œ œ . œj œ œ œ Œ

˙

œ œ œ œ œ œ. J œ œ œ ˙ j œ. œ œ œ œ œ œ œ œ œ œ œ ˙ j œ. œ œ œ

? #### œ . ####

œœœ ˙

œœ œ œ œ . Jœ œ œ œ œ.

œœœœ˙ œ

œ

˙

j œ œ

œ

˙

œ

œ

Fine

˙

j œ œ œ œ Œ j j œ œ œ œ. œ œ Œ j œ œ. œ œ Œ œœ J œ œ œ œ œ Œ Jœ

œ œ œ œ œ.

œ. œ. œ. œ

œ œ.

j œ œœœ œ˙

œ . œj œ œ œ œ œ œ œ œ œ. œ œ œ œ œ J œ œ. œ œ œ. œ œ œ J J

THE V7 CHORD -- 6

#### œ œ œ œ œ œœœ ˙ & #### j & œ œ œ. œ œ œ œ ˙ #### œ œ œ . Jœ œ œ ˙ V ? # # # # œ œ œ . Jœ œ œ ˙ #### œ œ œ œ . œ & J #### j & œ œ œ. œ #### j œ œ œ. œ V ? # # # # œ œ œ . œJ & &

#### ####

œ œ œ œ œ

œ œ #### œ œ V œ œ ? #### & &

#### ####

œ. œ. œ œ

œœ œ œ œ

œ œ œ. #### œ œ œ. V œ œ œ ? ####

œœœ

œ

œœœ œ œ . œJ œ œ

œ.

œ

œœœœœ Œ

Œ œ œ œ œ. œ œ Œ J

œ œ

œœ˙

œ

œ œ

œœœ

˙ ˙

œ˙ J

œ œ ˙

j œ œ œ ˙ œ œ œ ˙ J œ œ ˙ œ œ ˙

j œ œ ˙ œ œ œ œ ˙ J œ œ œ ˙ 73

œ

œ.

œœœ

j œ œ

œ œ

œ œœ œ œ œ œ. Jœ

œœœœ˙

œ œ

œ

œ.

œ

œ

˙

j œ œ

œ

˙

œ œ œ œ. œ œ œ œ œ œ.

œ œ œ œ

œ œ œ œ œ œ œ œ.

œ œ œ

j œ œ œ œ

œ Œ

œ

œ œ œ

œ

œ

œ ˙. J

˙ Œ Œ

˙. ˙.

Œ

œ ˙. J

Œ

œ ˙ œ

D.C. al Fine

˙ ˙ œ œ ˙ œ œ ˙

6 -- THE V7 CHORD

11.

& b 44 œ œ & b 44 œ . V b 44 œ . ? 4 œ. b4

j œœ œ j œœ œ j œ œ œ

j &b ‰ œ œ œ œ j & b œ. œ œ œ. œ œ b V J œœ ? Ó b &b œ

œ

œ œœœœœ

œœœ œ

œ

œ œ œ œ

œ

œ œ œ œ œ œ œ œ œ

œœœ

œ œ œœœ

œ œ

œ.

œœ œ J

œ

œ.

œ œ ˙ œ œ ˙

œ.

œ œ œ œ œ œ œœœ

œ œœœœ œ

œ œ œœœ j œœ œ j œœœœ

œ œ œ œ j œœ œ œ Jœ œ œ œ œ œ œ. œ.

œ œœ œ œ

œ Vb œ œ œ ?b Œ

œ

&b œ

œ

œ œ œ

&b œ

œ œ Vb œ œ ? Œ b

œ

œ œ œœ œ œ

œ œ. J œ œ œ œ œœœ œ œ œ œ Œ œ

œ œ ˙

œ œ œ œœ œ œ ˙

j jœ œ œ œ œ œ œ. J œ. œ œ. œ œ œ œœ œ œ ˙ œ œ œœœ œœœœ œ œ œ œ Œ œ

&b œ

œ ˙

œ œ œ œ

œ œ ˙ œ. œ ˙ J œ œ ˙

œœœœ ˙

œ œœ ˙ œ . œJ œ œ œ œ ˙ œ œ ˙

j œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ . Jœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 74

THE V7 CHORD -- 6

&b œ œ œ œ œ &b

œ. V b œ. ?b œ.

j œœ j œœ j œ œ

œ

œ œœœœœ

œ

œ œ œ œ œ œ œœœ

œ œ

œ œ œ œ

j &b ‰ œ œœ œ œ j & b œ. œ œ œ œ. œ œ œ b V J œœœ ? Ó b

œ œœœœœ œ œ œœœ œ œ œ œ œ.

œœ œ J

œ œ œ. œ.

œ œ

j œœ œ j œœœœ œ œ

œ œ œ œœ ˙ j œ. œ œ œ œ. œ œ J œ œ œ œ œ

Vocabulary: 1. 2. 3. 4.

œœœ

œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ w

w ˙ ˙ ˙ œ œ w œ œ œ œ w

Augmented fourth--A tritone made by raising a perfect fourth one half step Diminished fifth--A tritone made by lowering a perfect fifth one half step Minor seventh--A major seventh that has been lowered one half step Tritone--The interval of 3 whole steps; one-half of one octave

Pencil Time 4: Activity Sheet 16: Seventh Chords Activity Sheet 17: Tritones

75

7: Cadences A cadence is a chordal progression that marks the end of a phrase of a musical composition. There are several types of cadences, named for the chords that they use. 1. Full cadence. Also known as an authentic or perfect cadence A full cadence involves the chord progression of V (or V7) to I. It is the most final sounding of all of the cadences, and is often found at the end of a piece in a major key. Analyze the chords in the exercise below. What are the last two chords? Sing the exercise with solfege and handsigns.

& b 44 œœ œœ ? b 44 œœ œœ

œ œ œ œ

œœ œ œ

œœ œœ

œœ œ œœ œœ œ œ

œœ œ œ

œœ œœ œœ œœ œœ œ œœ œœ œ

œœ œ œ

œœ œ œ

˙˙ ˙˙

2. Half cadence. Also known as an imperfect cadence. A half cadence ends on a V chord. It lacks the feeling of finality of a full cadence. Analyze the chords in the exercise below. What are the last two chords? Sing the exercise.

& b 44 œœ ? 4 œœ b4

œœ œ œœ œ œœ œ œ œ œ

œœ œœ

œœ œ œœ œœ œ œ

œœ œ œ

œœ œœ œœ œœ œœ œ œœ œ œ œ

œœ œ ˙˙ œ œœ œ ˙ œ ˙

How does this cadence "feel" to you? How would you feel if you were singing or listening to a song or piece of music that ended on this cadence?

76

CADENCES -- 7

3. Plagal cadence. Also known as the "Amen" cadence. The plagal cadence involves the chord progression IV - I. Analyze the chords in the exercise below. What are the last two chords? Sing the exercise with solfege and handsigns.

4 & b 4 œœ ? b 44 œœ

œœ œ œœ œ œœ œ œ œ œ

œœ œœ

œœ œ œœ œœ œ œ

œœ œ œ

œœ œœ

œœ œ œ

œœ œœ œœ œ œ

œ œ œ œ

œœ œ œ

˙˙ ˙˙

Why is it called the "Amen" cadence? Because it was used so frequently at the end of Christian hymns in the 18th - 20th centuries.

& b 44 ww w ? 4 b4w

A -

-

ww

ww

- men.

4. Deceptive cadence. The deceptive cadence resolves to a vi chord rather than a I chord. Analyze the chords in the exercise below. What are the last two chords? Sing the exercise with solfege and handsigns.

œ & b 44 œœ œœ œ œœ ? b 44 œœ œœ œœ œœ

œœ œœ

œœ œ œœ œœ œ œ

œœ œ œ

œ œœ œœ œœ œ œœ œ œœ œœ œ

Why do you think this cadence is called "deceptive"?

77

œœ œ œ

œœ œ œ

˙˙ ˙˙

7 -- CADENCES

Sing the exercises below and identify each of the cadences: 1.

### 4 4 œ œ œ œœ & œ œ œœ ? # # # 44 œ œ œ

œœ œœ œœ œ œ œ œœ œœ œœ œœœ

2.

#4 œ œ œ & 4 œ œ œ œœ œ œ ? # 4 œœ œ œ œœ 4

œœ œ œœ œ œ œ œ

3.

b & b b 44 œœ œœ œ œœ œ ? b b 44 œœ œœ œœ œœ b

œœ œ œ

b & b 34 œœ ? b b 34 œœ

œœ

œœ œœ

œœ œœ œ œ œ œ œ œ

œœ œ œ

œœ œœ

& b 34 œœ

œœ œ

œœ œœ

œœ ˙ ˙

œœ œ œ

œ˙ œ œœ ˙˙

4.

5.

? 3 œ˙ b4

œœ

œ œœ œ œ œœ œ œ œ œœ œ ˙ ˙ œ ˙˙ œ

œœ

œ œ œœ

œ œœ œ œ œ œ œœ œœ œœ œ œœ

78

œœ œœ ˙˙ œ œ ˙ œ œ ˙

œœ œ œ œ œ œœ œœ œ œœ œœ œ

œœ œ œ

œœ œœ œ œ œ œ œœ œœ œœ œœ

œœ œœ ˙˙ œ œ ˙ œ œ ˙

œœ œœ

œœ œ ˙˙ .. œœ ˙ . œœ

œœ

˙˙ . .

˙˙ ..

œœ ˙˙ œ ˙˙ œ

CADENCES -- 7

6.

7.

& 44 ˙˙ ? 44 ˙˙

œœ œ œœ œœ œ œ

˙˙ ˙ ˙

#### 3 ˙ 4˙ &

8.

9.

œœ

# & 34 œœ œ œœ œ œ ? # 34 œ œ

œœ œ œ

œ bbb 3 ˙ b & 4œ œœœ œ œœ ? b b b 34 ˙ b ˙

b & b b b b 44 œœ œœ œœ .. ? b b 4 œœ œœ œ . b b b4

10.

& 34 œœ

11.

? 34 œœ

œ œ œœ

œœ œœ œœ ˙ ˙

œ

? # # # # 34 ˙˙

œœ œ œ

œœ œœ œ œœ œœ œœ œ œœ œœ œ

˙˙ ˙ ˙ œœ œ œ œœ

œ

œ˙ ˙˙ œ œ œ œ

œœ œœ œ œ œ ˙ œ œœ œ

œœ œ œ

œ œ

œ œ

œœ

j œœ œ œ œœ œ ˙˙ œ œœ œœ œ ˙ J ˙ œœ œ œœ œœ œœ

œœ

œ 79

˙˙ ˙˙

˙˙ .. ˙˙ . .

œœ œ œ

˙˙ .. ˙˙ ..

˙œ œ œ œœœ ˙ œ ˙ œ

˙˙ ..

œ œ œ œ œ œ

œ œ

œœ œ œ

œœ œœ

œœ œ œ

œœ œ œ

˙˙ . .

œœ œ œœ œ œœ œœ ˙˙ œ œ œ˙ œ œœ œœ ˙˙ œ œ œ œ

œ œ

œ œ

˙. ˙. ˙. ˙.

7 -- CADENCES

Write

ACROSS THE CURRICULUM:

Write a short essay about cadences including a definition and description. Describe and contrast the four types of cadences presented in this chapter.

Pencil Time 4: Activity Sheet 18: Cadences I

Activity Sheet 19: Cadences II

Vocabulary:

1. "Amen" cadence--A plagal cadence; IV - I; so called for its prominent use in closing hymns 2. Authentic cadence--A full cadence 3. Deceptive cadence--A cadence that resolves to the vi chord; for example, V7 - vi 4. Full cadence--A final cadence: V - I 5. Half cadence--A cadence that resolves to the V chord 6. Imperfect cadence--A half cadence 7. Perfect cadence--A full cadence 8. Plagal cadence--A cadence using the chord progression IV - I

80

8: "Fi" V of V

When the note Fa is raised, it becomes Fi. Fa can be raised in several ways:

&

1. Sharped

2. "Natural"ed: When a natural sign cancels a flat and raises the note. 3. Double-sharped:

##

˙

Mi

? bb ˙

˙

Fa

˙

Mi Fa # ## # # # # ˙ ˙ & Mi

#

˙

#˙

Fi

n˙

So

Fi

So

Fa

˙

‹˙

Fi

˙

So

In the key of C Major, to raise the Fa (F# ) it is necessary to double-sharp the note to make it "Fi." Note the double-sharp sign .

Å

Handsign for Fi.

NOTICE: An accidental (altered note) lasts for a whole measure; it is cancelled out by the barline.

b & b b 44 œ n œ œ œ

So Fi Fi So

œ œ œ œ œ

Fa Mi Re Do Do

œ œ œ nœ

So La So Fi

œ œ ˙

Fa Mi Re

Fi remains "raised" for one The accidental is whole measure unless cancelled cancelled by the out by another accidental sign. barline.

Pencil Time 4: Activity Sheet 20: "Fi"

Activity Sheet 21: Secondary Dominants

81

8 -- "Fi"

Just as Ti is the "leading tone" to Do, Fi is the "leading tone" to So; that is, both Ti and Fi tend to resolve upward to the next note. This is a general tendency for all raised notes as well as for Ti. There are several uses for the altered note Fi--that is, several different purposes it serves. MELODIC: 1. Cadential--at a cadence--the end of a phrase--to establish the dominant-tonic relationship in the dominant key (V of V) œ

? 44 œ œ œ œ œ œ œ œ ?œ

˙

#œ

œ

Nœ

œ

œ œ œ œ

˙

œ

œ œ œ œ œ œ

œ

2. Passing--a passing note usually has no the piece; its function is melodic.

b & b b 44 œ œ œ œ œ œ œ œ œ œ

œ

œ œ œ ˙

harmonic influence on

œ œ œ nœ œ œ œ œ œ œ œ œ œ

3. Neighbor note--a neighbor note usually has no harmonic influence on the piece.

# & # 34 œ

œ œ œ

œ œ œ œ œ

œ #œ œ

œ œ ˙.

4. Modulatory--Harmonic in nature; indicates a change of key (1) œ œ œ œ (2) (3)

? 44 œ œ œ œ œ œ ˙

C Major:

(5) ?œ œ œ œ

Do/So

w

˙ #˙

œ œ œ œ

So Fi

œ œ

So/Do

G Major:

œ œ ˙

˙

˙ #(4) ˙

Do

œ œ œ œ

œ œ ˙

C Major: Notice how the piece begins in C Major (1), cadences on a V of V-V chord (2), So which becomes the pivot note for the next key (3)--So in C Major which turns into Do in G Major. Another cadence (V-I), this time in G Major (4). Then Do in G Major turns into So in C Major (5) for a modulation back to the original key.

82

"Fi" -- 8

READ the following melodic exercises: 1. Identify Fi in each exercise. 2. Define the function of Fi in each case. 3. Audiate while handsigning. 4. Sing. 1.

& 44 œ œ œ œ œ

&œ

œœœ

œ

œ œ œ œ# œ

&œ œœœœœ 2.

? bb ˙ . 3.

& & 4.

œ œœœœœ

œ œœ˙

œœœ œ

œœœ œ

#### 4 œ œ œ & 4 œ œ #### ####

œ œœœœœ œ œœœœœ

? b 44 œ œ .

? b œ. . ?b œ

˙.

œ.

œ œ nœ

˙.

œ nœ œbœ œ j œœœœ

˙

œ œœ˙

œ œ œ œ œœœœ

œ œ nœ œ

œ œœœœ

œ œ œ œ œ ˙.

œ œ #œ œ œ œ

œ #œ ˙

œ œ œ œ œ#œ œ œ œ œ ˙ œ J œ œœœ œœ œœœœ˙

œ œ œ œ.

œ #œ ˙

œœœœœ œ œœœ œ J

œ nœ œœœœœ œ œ J œ nœ œ œ œ œ J

œ œ ˙

œ œ œ œ œ œ œ #œ

œ

œ

? b b 34 œ œ œ œ œ œ œ œ

? bb œ œ œ œ

œ œ# œ œ œ œ

œœœœœ œ

œ

œ œ œ nœ œ œ 83

œ œ œ œ œ œ nœ œ œ œ . j œ œœœ œœœ œ œ œ œ œœœœ œ œ œ œ œ

8 -- "Fi"

## 4 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ 5. & ## œ œ & œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ # & # œ œ œ œ œ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? bb b 6 œ . œ œ œ nœ œ œ . œ œ ˙ œ œ . œ œ œ nœ œ œ œ bœ œ œ œ ˙ . J bb4 6. J J œ œ œ œ . œ ˙ nœ œ . nœ œ ? bb b œ . œ œ œ œ œ œ œœœœœ ˙ Œ J J bb J HARMONIC:

1. Cadential-used at the end of a phrase

#4 & 4 œœœ #4 & 4 œœœ #4 œœ V 4 œ ? # 44 œ œ œ

œ œœ˙

˙ #˙

w

œ œœ˙

˙ ˙

w

œ œœ˙

˙ ˙

w

œ œœ˙

˙ ˙

w

œœœœ œœœœ ˙ ˙

w

˙ œœ œœœ œ ˙ ˙

w

˙ œœ œœœœ ˙ œœ w ˙ œœ œ œ œœ ˙ œœ w

2. Passing: May or may not have harmonic signficance:

#4 & 4 ˙ ˙ w #4 & 4 ˙ ˙ w #4 V 4 ˙ œœ ˙ ˙ w ? # 44 ˙ ˙

˙ ˙ (1)

œœœœ ˙ ˙

w

œ #œ œ œ w ˙ ˙ w ˙ ˙

˙N˙ ˙ ˙

w

˙ ˙

˙

˙ ˙

˙ ˙ (2) ˙ #˙ n˙ ˙ ˙ ˙ ˙ ˙ ˙

w w w w

Notice the Fi at (1) has only a small harmonic effect, whereas the Fi at (2) establishes a V of V - V cadence and has a significant harmonic effect.

84

"Fi" -- 8

3. Modulatory

b &bb b &bb

4 œ œœœœœ 4

44 œ œœœœœ b œ œ œ œ V b b 44 ? b 4 œ œ œ œ bb4 b & b b œ nœ œ œ œ b &bb œ œ œ œ b œœœ Vbb œ œ ? b œ ˙ bb œ

b &b b œ œ œœœ b & b b œ Aœ œ œ œ œ œ b Vbb œ œ ? bb œ œ ˙ b

œ œ œœœ

œ œ œœœ

œ œ ˙

œ œ œœœ œ œ œ œ

œ œ œœœ

œ œ œ œ œœœœœœœ œ nœ œ œ œ œ œ œ œ œ ˙

œ

œ ˙

œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ

œ œ ˙

˙

œ œ œœœ œ œ œ œ

œ

œ œ œ œ œ œœœ œ œ œ

On the following pages are four-part exercises that use the note "Fi." READ the following harmonic exercises: 1. Identify Fi in each exercise. 2. Define the function of Fi in each case. 3. Audiate while handsigning. 5. Sing in 4 parts. ________________________ * Modulation will be discussed in greater detail in Chapter 12.

85

œ nœ ˙ œ œ ˙ œ œ ˙

Eb Major:

œ œ œœ œ

œ œ œœœ

œ œ ˙

/

V of V I

Bb Major:

œ nœ ˙ œ œ ˙ œ œ ˙ œ œ ˙

Bb Major: I Eb Major: V

œœœœ˙

œ œ ˙ œ œ ˙ œ œ ˙

/

8 -- "Fi"

1.

& &

V

? & &

V

###

###

###

? ###

### 4 4 ### 4 4 ### 4 4 # # # 44

œ œ œœ j œ. œ œ œ œ œ.

œ œ œ œ œ . œJ œ œ œ œ

œ œ œ . œj œ œ ˙ œœ œ œ ˙ œ œ #œ œ . œ œ œ œ . œ œ #œ ˙ J J J œ œ œ œ œ œ œ . œj œ œ œ œ œ œ ˙

œ œ œ œ . Jœ œ œ œ œ œ j œ. œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ J œ œ œ œ œ œ œ œ

### œ

œ . œj œJ œ ### j j œ œ œ œ . & œ œ œ œ ### œ œ œ . œJ œJ œ V ? # # # œ œ œ œ œ . œj œ œ J &

œ œ ˙

œ

### œ œ œ . & ### œ œ œ œ. & ### œ œ œ. V ? ### œ œ œ œ .

j œ j œ

œ J j œ

œ œ J j œ œ œ œ J

œ œ J

œ œ J . j œ ˙ œ ˙ J œ ˙ J

œ J œ. j œ ˙ œ ˙ J œ ˙ J

86

œ œ œ.

œ œ œ œ ˙ J J J œ œ œ . œj œj œ œj ˙ œ œ œ œ #œ œ nœ ˙ J J œ œ œ œ œj œ œ ˙ J œ œ œ J œ œœ

œ œ ˙

j œ œ #œ ˙ œ œ œ ˙ J œ œ œ ˙ œ ˙ œ œ #œ . œ œ œ.

Fine

DC al Fine œ w # œ œ œ œ J j œ œ œ. œ œ œ ˙ œ œ œ. œ œ œ ˙ J œ œ œ œ w

"Fi" -- 8

2.

b4 & b 4 œ œ œ. b4 & b 4 œ œ œ. b V b 44 œ œ œ . ? b b 44 œ

œ

j œ œ œ œJ ˙ J

j œ œ œ ˙ j œ œ œ ˙ œ . œJ œ œ ˙

j ˙ b & b œ œ œ . œ Jœ œ Jœ b & b œ œ œ . œj œ œ ˙ b V b œ œ œ . œj œ œ ˙ ? bb œ œ œ . œ œ œ ˙ J

œ œ œœœ œ œ œ œ œ œ

œ œ œ œ œ

œ

œ

œ

œ.

œ œœ œ

˙.

œ œ

œ œ œ

b œ œ œ &b œ œ b & b œ . œj œ œ œ b Vb œ œ œ œ ? bb œ œ ˙

œ œ œ ˙

œ

œ.

œ.

b œ &b œ œ œ œ b & b œ . œj œ œ œ b Vb œ œ œ œ ? bb œ œ ˙

œ œ ˙

œ œ œ ˙ œ œ ˙

œ ˙ J œ œ œ œ œ n œJ ˙ J œ œ œ ˙

œ œ œ.

œ œ œ.

j œ ˙

œ œ ˙

œ

j œ œ. œ œ.

j œœ œ œ

œ œ œ œ ˙

œ

œ œ œ œ œ nœ œ œ

œ œ ˙ œ œ ˙

œ œ œ œ 87

Fine

j œ˙

œ J˙ œ J˙ Œ

œ nœ œ Œ œ œ œ Œ œ œ œ Œ

œ œ œ œ œ ˙

œ œ ˙

œ ˙

DC al Fine

˙

œ nœ ˙ ˙ ˙

˙ ˙

8 -- "Fi"

3.

4 & b 4 œ. & b 44 œ . 4 V b 4 œ. ? b 44 œ .

j œ œ œ j œ œ œ

&b œ œ œ œ Vb œ œ œ œ ?b œ œ ˙

œ &b œ œ œ œ &b œ œ œ œ œ Vb œ œ ?b

∑

œ œ

œ &b œ œ œ œ & b œ . œj œ œ œ Vb œ œ œ œ ? b œ.

œ.

œ œ œ J œ œ œ J

œœ œ œ œ b &

œ J œ œ

œ

œ œ œ œ œ nœ

œ œ ˙ ˙ œ. œ

˙ ˙ ˙

j œ˙

œ

œ

œ J˙

œ

œ

˙

œ

˙

œ

˙

œ.

˙

œ.

˙

˙

œ œ

œ

œ

œ ˙ J œ . œj ˙ œ œ ˙ ∑

j œœ œ œœ œ J œ œ

œ œ ˙ œ œ ˙

˙

œ

œ.

˙

œ œ

œ œ ˙

œ œ

œ œ

œ

œ

œ œ nœ J

œ.

j œ ˙ j œ ˙ œ ˙ J j œ ˙

œ nœ ˙

DC al Fine

j œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ.

Fine

œ œ ˙

œ

˙

88

w

œ œ œ œ ˙

œ.

˙

w

œ œ

œœ J j œœ

œ œ ˙ œ nœ ˙

˙

œ

œ œjœ œj œ œ ˙

œ œ œ œ œ

œ.

w

"Fi" -- 8

4.

b œ &bb œ œœœ b ∑ &bb

œ œ œ. œ œ œœœ

œ œ

b Vbb Ó ? bb b

œœœ œ œ Ó œ œ

∑

b œ œ œœ &bb œ b ∑ &bb

œ œ œœœ

? b bb

Ó

b Vbb Ó

œ

∑

œ

b &bb œ œ œ œ œ b &bb œ œ œœ œ b œ. œ œ œ J Vbb ? bb œ œ œ . œ b J b œ œ œ œ &bb b œœ &bb ˙ b œ œ. Vbb œ ? bb ˙ b

œ

œ œ

œ œ œ œœœ J œ œ œœœ œœœ œ œ œ œ œ.

œ

œ

œ

œœœœœ œœœœœ œ

j œ n œj ˙ œ j œ œ œj ˙ œ œ œJ ˙ J œ. œ ˙ J

œ œ œ œ œ

œ œ

nœ œ œ œ ˙

œ œ œ œ

œ œ œ nœ ˙ J œ œ . Jœ œ œ 89

œ œœœ

œ.

j œœ

œ nœ œ . œ œ ˙ œ œ œ.

œ œ œ. œ œ œ. œ nœ œ œ

œ œœœ œ œ nœ ˙

œ œœœœ J ˙

œœ œ œ ˙

œ œœœ œœ œ œœœ œ

œ

œ œ ˙

œœ œ ˙ œ œ ˙

œ œœœ˙

œ

œ

Fine

œ œ

˙

˙

˙

œ nœ œ ˙ J œ œœœ ˙

œ œ œ œ U˙ J œ œ . n œj œ J œ J n œ . b œJ œ

D.C. al Fine

œ

œ

U ˙

U bœ Uœ

8 -- "Fi"

5.

# 4 œ œ & #4 œ œœ ## 4 & 4 œ œ œœœ ## 4 œ œ œ œ V 4 ? # # 44 œ œ œ

œ

œ œœ ˙ j œ œ œ . œ j œ. œ ˙ œ œ ˙

# œ œ œ œ œ œ œ œ œ˙ & # œ ## j & œ #œ œ . œ œ #œ ˙ ## œ œ. œ ˙ J V œ œ œ. J ? # # œ œ œ . # Jœ œ œ œ œ # & # œœœœœ œ ## & œ œ œ #œ ## œ œ œ œ V ? ## œ œ œ œ 6.

œ œœ˙ œ œ ˙ œ œ ˙

# j . & # 64 œ œJ œ œ œ œ œ . œ œ ## 6 & 4 œ . œj œ œ œ œ ˙ œ ## 6 j V 4 œ. œ œ œ ˙ œ . œJ œ ˙ œ ? # # 64 ˙ œ œ ˙

œ œœ œœ œ

œ œ œ ˙ J j œ œ . œj ˙ œ œ #œ ˙ J œ œ œ ˙ J œ œ œ˙

œ œœ œœœ œ œ œ œ œ œ

œ œ œ œ œ

œ. œ. œ.

œ œ ˙

œ œ œJ œ j œ œ œ œ j œ œ œ œ œ œ . œ

œ

œ œ

˙ œ œ œ˙

œ

œ

j œ #œ œ œ œ œ œ J œ œ œ #œ J

œ œ

˙

œœœœ˙

œ œ œ

œ œ

˙ ˙

œ

˙

j ˙ œ . # œj œ n ˙ œ œ. œ œ œ . j ˙. ˙ œ ˙ œ œ. œ œ œ ˙ œ ˙ œ ˙ œ ˙ œ œ. œ œ ˙ œ J œ ˙ œ ˙. ˙ ˙ œ œ œ œ ˙.

Continued on next page 

90

"Fi" -- 8

& &

V

? 7.

& &

V

## œ . œ œ J ## j œ œ. œ ## j œ. œ œ ## ˙ œ

œ œ œ œ . Jœ œ jœ œ œ œ œ œ . ˙ œ œ ˙

œ

œ J œ

˙.

˙

œ œ

˙.

˙.

˙

œ

#˙

### œ . œ œ & J ### œ & ˙ ### ˙ œ V ? # # # œ . œj# œ

˙

œ ˙ œ ˙ ˙.

œ œ

œ

#˙

œ nœ

˙.

˙

œ

˙. ˙.

.. ˙

.. œ .

œ œ œ J

œ

91

œ

œ

˙

œ

˙

œ

˙

œ.

j œœ

˙.

œ #˙

œ nœ

˙

œ

˙.

œ

˙ œ

œ

œ

˙

˙

œ.

˙. ˙

œ ˙ Œ

œ.

œ

œ

œ ˙ Œ

œ

.. ˙ .. ˙

œœ˙ Œ

˙

˙.

œ . œjœ œ œ œ ˙

˙.

˙

œ œ

˙

j œœ

œ.

œ

˙

? ### ˙

œ

œ

œ

œ.

œ œ

˙ ˙

œ

### ˙

œ œ . œJ œ ˙ Œ

˙.

œ

### ˙ ###

œ ˙

j œ . œ #œ œ œ œ ˙ jœ ˙ ˙ œ ˙. . œ #œ ˙ œ œ œ œ ˙ œ . Jœ œ ˙ .

œ ˙

### 3 & 4 ˙ ### 3 & 4 ˙ ### 3 ˙ 4 V ? # # # 34 ˙

˙

˙.

œ

œ. ˙

œ

œ Jœ j œœ œ

œ Jœ ..

˙.

..

˙.

..

..

8 -- "Fi"

YOUR BRAIN:

8.

j bb 4 b œ b œ œ œ . & b4 œ œœœœ œ œ b & b b b b 44 œ œ œ œ œ œ . œj œ œ b . . œ ˙ V b b b b 44 œ Jœ œ œ œ J j˙ ? b b 4 œ. œ œ œ œ œ. bbb4 œ J

j b & b bbb œ œ œ œ . œ œ œ œ œ œ b & b bbb œ œ œ œ œ œ œœœ œ b œ œ œ œ V b b b b Œ ‰ œJ œ œ ? b b œ. œ œ œ œ œ. œ œ œ bbb J J œ. œ œ œ ˙ b & b bbb œ œ J b & b bb b œ œ œ œ œ bœ n˙ œ b V b bbb œ œ œ . J œ œ ˙ j ? bb œ ˙ bbb œ œ. œ ˙ j bbb œ œ œ b œ . & œ b œ œœ b & b bbb œ œ œ œ œ œ œ œ b œœ œ V b bbb Œ ‰ J œ œ ? b b œ. œ œ œ œ œ. œ bbb J J

œ œ œ œ œ œ œ œ 92

œœ œ J j œ nœ œ œ. œ œ œ J œ . œ œ nœ J œœ J œ.

œ œ.

œ

œ œ.

œ

˙ ˙

œ œ œ œ

œ œ œœ œ œœ œ ˙ j nœ . œ œ œ nœ œ œ ˙ œ. œ œ œ œ œ ˙ J œ . œ œ œ œ œnœ ˙ J

œ œ

œ. œ ˙ J œ œ ˙

œ œ. œ œ.

œ. œ œ œ J j nœ . œ œ œ œ. œ œ œ J œ. œ œ J œ

œ J w

j œ œ bœ n˙ œ J œ œ ˙ j œ w œœ œ ˙ J J j j nœ œ bœ ˙ œ œ ˙ œ

œ ˙

"Fi" -- 8

9.

#### 3 # 4 œ œ #œ œ & #### 3 #4 & œ œ #œ œ #### 3 # 4 œ œ nœ #œ V ? # # # # 34 œ œ œ œ #

#### œ # & #### # œ & #### œ # V ? #### œ # #### œ # & #### # & œ #### # œ V ? #### œ # #### œ # & #### # ˙ & #### ˙ # V ? #### œ #

œ #œ œ œ #œ œ œ nœ #œ œ œ œ

œ

œ œ #œ nœ œ œ œ œ œ

œ

œ.

œ.

œ

œ œ œ

œ

œ

œ

œ

˙

œ

#œ

œ

œ

œ œ œ œ œ

œ œ

˙

œ nœ #œ

œ

œ œ

œ œ œ œ œ nœ

œ œ

œ œ œ

œ

œ

œ

œ œ œ

œ

œ œ œ

œ

œ

œ #œ œ œ #œ œ

œ œ œ œ œ œ œ œ #œ œ

œ #œ œ

œ

œ #œ œ

˙

œ

œ œ œ

œ

œ

œ #œ œ

œ

œ nœ #œ

œ

œ #œ œ œ œ œ 93

œ œ œ #œ œ ˙

œ œ

˙ ˙

œ œ #œ

œ

œ œ œ œ œ œ œ

œ #œ nœ œ œ œ

œ œ œ œ œ œ œ œ J œ j œ œ œ œ

œ œ

œ. œ. œ.

j œ œ

œ #œ œ nœ

œ œ œ

œ œ œ ˙

œ œ J j œ ˙

œ #œ œ œ œ œ œ

œ œ œ

œ ˙. ˙. ˙. ˙.

8 -- "Fi"

Strolling with You SATB A cappella

#### 4 P œ #4 œ & Andante

S

A

œ.

Stroll - ing

thru'

œ

œ.

#### 4 P #4 œ &

Stroll - ing thru'

T

#### 4 P œ #4 œ V

Stroll - ing

B

P # ? # # # 44 œ œ #

Stroll - ing

#### œ # & 3

&

####

V

####

œ œ œ.

Where the

# œ

œ #œ .

Where the

# œ

œ

Where the

? #### œ #

play

œ

Where the

play

œ.

play

œ.

play

-

-

-

-

˙

thru'

œ.

thru'

j œ œ œ #œ

ful

bree - zes

j œ œ

œ

œ œ œ œ J

the rest - less grass,

j œ #œ nœ œ

œ

˙

œ

˙

rest - less grass,

œ œ J

the rest - less grass,

œ

œ

œ.

pass.

Life

is

young

˙

œ

œ

œ

pass.

˙

F

Life

F

Life

œ #œ œ œ J

˙

œ

pass.

is

œ.

pass.

94

˙

the rest - less grass,

ful bree - zes

ful bree - zes

˙

F

j œ œ œ œ œ ˙

ful bree - zes

Patti DeWitt

F

Life

young

œ œ. J

is young

œ

is

œ.

young

œ J

and

œ

and

œ J

and

j œ

and

"Fi" -- 8

#### œ . # & 6

&

####

œ J

grand

and new

# œ.

#### œ # V

grand

œ

grand

and

? #### œ . #

grand

8

& & V

#### #### ####

# œ œ œ

mea-dow with

# #œ œ nœ

meadow with

& & V

#### #### ####

and

mea-dow with mea-

F

# œ

Laugh

F

# œ.

Laugh

ing

F

-

Laugh

-

# œ.

F

? #### œ #

Laugh

-

œ

new

Stroll

-

ing

a - long

new

Stroll

-

ing

ing,

œ œ

p

œ œ œ.

œ

œ

œ œ

œ.

a - long

the

j œ œ

œ

œ.

Danc - ing,

p

œ.

flirt - ing

j œ œ

œ

œ

you!

œ

œ

œ

Danc - ing,

˙

you!

œ

œ

˙

œ.

j œ œ

œ

œ.

œ œ J

œ

but - ter - flies,

flirt - ing

but - ter - flies,

∑

œ.

œ J

but - ter - flies,

Danc - ing, flirt - ing

p

œ J

the

Lightly

you!

∑

j œ ˙

brook

and

smil

-

brook

œ

and

œ.

smil

-

j #œ ˙

œ

œ.

-

j œ #œ

œ

j œ

œ œ œ.

the

˙

ing

the

a - long

you!

œ J

a - long

ing

˙

ing

ing

-

˙

œ

-

Stroll

j œ ˙

œ

-

œ

œ J

new

# œ œ œ œ ˙ mea-dow with

Stroll

j #œ ˙

and

? #### œ œ œ # 11

œ œ œ œ œ.

˙

œ

brook

and

œ

œ

brook

and

95

smil

œ

smil

-

ing

skies

ing

skies

ing

skies

j œ ˙

œ

ing

˙

skies

8 -- "Fi"

# # # # œf # &

œ

œ.

f

is

young

Life

œ

is

œ

13

&

####

Life

# œ

#### œ . # V f

young

œ . J œ

Life

f ? #### œ #

Life

16

& & V

####

#### ####

œ

is

œ

# #œ

œ nœ

# œ

œ

œ

& V

#### ####

# œ œ œ

end of the

# #œ œ nœ

end of the

# œ œ œ

day of the

? #### œ œ œ #

end of the

˙

day

˙

day

˙

day

˙

day

œ J œ

œ

and new

new

and new

P

you!

œ

˙

œ

P

-

Stroll

œ

œ

œ œ œ.

œ

œ œ œ.

œ

œ œ œ.

Stroll - ing a-long

j œ ˙

˙

mea - dow with

œ

grand

and grand

mea - dow with

Stroll - ing a-long

j #œ ˙

œ.

j œ œ.

œ

œ

and new

and grand and

young

mea - dow with

&

and

œ.

mea - dow with

####

œ

œ œ œ œ œ.

œ ˙ J

and grand

is young

# œ

? #### œ # 18

œ œ. J

œ.

œ

ing

at

œ

œ.

-

ing

at

˙

Stroll

P

œ

-

ing

at

Stroll

-

œ œ œ.

j œ

œ

œ

j œ

œ

œ

œ

œ

œ

Gen - tle

Gen - tle

Gen - tle

Gen - tle

96

bree - zes

#œ .

bree - zes

œ.

j œ

bree - zes

œ.

œ J

bree - zes

œ J

the

P

you!

the

Stroll - ing a - long

Stroll

˙

j œ

the

you!

you!

the

Stroll - ing a-long

˙

œ

œ J

œ

œ

œ

œ J

the

j œ

œ

the

œ.

ing

at

their

œ œ #œ

cease

œ

their

œ

play.

˙

play.

˙

cease

their

play.

cease

their

play.

#œ œ œ

the

œ J

the

œ œ œ œ ˙

cease

œ J

˙

"Fi" -- 8

&

####

&

####

V

####

21

F

œ œ

#

Life

F

is

Life

is

# œ œ F

# œ.

Life

F ? #### œ # œ Life

&

####

&

####

V

####

24

# œ

is

œ.

peace - ful,

œ

œ J

œ.

j œ

is peace - ful,

peace - ful,

œ œ œ nœ

your

? #### œ #

your

Write

œ.

œ J ˙

sweet,

and fine

j #œ ˙

œ.

œ œ. J

your hand in

# œ

œ

peace - ful,

your hand in

# #œ

œ J

sweet,

and fine

œ œ sweet, and

œ.

sweet,

˙

fine

j œ ˙

and fine

Broadly

˙ mine.

˙

mine.

œ œ ˙

hand in mine.

œ œ ˙

hand in mine.

f

œ œ œ œ Uœ œ

Stroll - ing home with

f

U œ #œ

œ

œ

f

œ #Uœ œ

Stroll - ing

œ

Stroll - ing

f

œ

œ

Stroll - ing

home with

home with

Uœ œ

home with

œ œ œ œ œ Stroll - ing

œ

œ

œ

œ

œ

œ

œ

home with

œ.

Stroll - ing

Stroll - ing

home

with

œ.

œ J

home

œ.

Stroll - ing

home

œ œ œ

U ˙

your hand in

mine.

rit. . . . . . . . . . .

rit. . . . . . . . . . .

œ œ œ

your hand in

U ˙

mine.

# œ œ œ n œ U˙

rit. . . . . . . . . . .

your hand in

œ œ

rit. . . . . . . . . . .

œ

your hand in

mine.

U ˙

mine.

ACROSS THE CURRICULUM:

1. Write new words for "Strolling with You." 2. Write a short essay describing "Fi," and its various uses in a piece of music.

97

j œ

with

œ J

with

8 -- "Fi"

Vocabulary:

1. Accidental--A note that is altered from its "natural" state in the scale

2. Cadential--A note that is used to create a cadence and mark the end of a phrase or section. 3. Fi--A raised Fa (sharped, double-sharped, or naturaled, depending upon the key signature) 4. Leading tone--In the natural major scale, Ti; otherwise, any note that has been raised and resolves to the next higher note 5. Modulatory--Serving to change keys 6. Passing tone--A note that serves as bridge between its upper and lower neighbor notes

98

9: "Si" V of vi

When the note So is raised, it becomes Si, a leading tone to La. So can be raised in several ways:

&b ˙

1. Sharped

So

2. "Natural"ed: When a natural sign cancels a flat and raises the note. 3. Double-sharped:

? bb

b˙

#### # # #˙ & So

So

#˙

˙

Si

La

˙

n˙

Si

La

‹˙

Si

˙

La

# In the key of C Major, to raise the Si (G # ) it is necessary to double-sharp the note to make it "Si." Note the double-sharp sign

Å.

Handsign for Si.

The most common usage of Si is in relationship to the relative minor chord or key: the vi chord, based upon La. Level 3 of this series covers the natural minor scale, the aeolian, which has no altered tones. However, in modern practice the minor scale is often altered depending upon the usage of the scale. In addition to the natural minor scale, there are 2 other minor scales that are commonly used: The harmonic minor, which is frequently used in Jewish and Middle Eastern music, and the melodic minor which is a variation of the harmonic minor. In the harmonic minor scale So is replaced by Si, creating a leading tone for La (the tonic--i--in a minor key) and a major dominant (V) chord (Mi - Si - Ti).

#4 & 4œ œ œ œ

œ œ #œ œ 99

#œ œ œ œ

œ œ ˙

9 -- "Si"

The problem with the harmonic minor scale is that it causes a difficult interval between the sixth and seventh degrees of the scale--an augmented second--which was shunned during the Middle Ages and Renaissance and generally avoided by western composers in general until the twentieth century. Augmented 2nd

œ nœ œ œ ? b b 44 œ œ œ œ œ œ n œ œ b

œ œ ˙

SING the harmonic minor scale up and down and listen for the augmented second. The augmented second, although shunned by western composers, is a distinguishing trait of eastern music, especially Jewish music. Listen to the prominence of the augmented second in "Hava nagila." Where does it first occur in the song? Hava Nagila

b & b 44 œ

œ.

Ha - va

4

&

bb

1

#œ

ve - nis'

b & b œj œ

ha - va

&

bb

#œ

na - gi - la,

.. #œ

me-cha.

ne - ra - ne - na,

œ

b & b œ œ œ œ. 13

U - ru a - chim

b & b œ œ œ œ. 15

U - ru a - chim

b &b œ œ œ œ 17

U-ru a - chim,

me - cha.

U

sa - me' - ach,

œ œ œ œ be-lev

œ œ œ œ

u - ru a - chim

œ

U - ru a - chim

b'lev

100

œ

œ

u - ru

œ œ œ œ.

sa - me' - ach,

..

œœœ ˙

œ

ru,

œ

ne - ra - ne-na,

ve - nis' me - cha.

˙

-

œ œ œ œ œ

be-lev

#œ

ne-ra - ne - na

˙

œ œ œ ˙

1

na - gi - la

j œ œ œ œ

Ha - va

œ. œ œ œ œ

ha - va

ha - va

.. j #œ œ

me - cha.

œ œ œ J

œ.

œ

na - gi - la,

œœœ ˙

ve - nis'

j œ œ œ œ

ve - nis'

œ.

ha - va

2

#œ

j œ œ œ

2

œœœ ˙

7

10

j #œ œ œ

Traditional Jewish Folksong

œ

œ

a - chim,

œ œ œ œ œ

be-lev

sa - me' - ach,

œ œ œ œ.

œ œ œ œ œ

U - ru a - chim

be-lev

œ œ œ #œ w

sa - me'

-

ach.

sa - me' - ach,

"Si" -- 9

In order to "fix" the problem of the augmented second in the harmonic minor scale, the melodic minor scale was formulated. The melodic minor scale raises the Fa to Fi so that the augmented second is eliminated. Sing the melodic minor scale below with solfege and handsigns:

? b b 44 œ œ œ œ b

œ nœ nœ œ

The traditional melodic minor scale has an interesting quirk. Although it uses both Fi and Si when ascending, when descending, it reverts to the natural minor:

? b b 44 œ œ œ œ b

œ nœ nœ œ

œ œ œ œ

œ œ ˙

COMPOSE:

Write a short song using the harmonic minor scale from Activity Sheet 23 as a basis. Then rewrite your song using the melodic minor.

Pencil Time 4: Activity Sheet 22: "Si"

Activity Sheet 23: Natural, Melodic, Harmonic Activity Sheet 24: "Weep, O Mine Eyes"

Melodic uses of Si: 1. Cadential

b & b b b 44 œ œ œ œ œ œ œ œ œ n œ ˙

2. Passing tone # ? # # # 44 œ œ œ œ œ œ œ œ# œ œ 3. Neighbor note

# & # 34 œ œ œ

œ

4. Modulatory

? b 44 œ œ œ œ œ

? b œ #œ œ œ œ

œœœœœ œ

œ œ œ œœ œ œ ˙ œ

œ #œ ˙

œ #œ œ

œ œœœ œ

œ œœœ œ

œ œœœ œ 101

œ œœ˙

œ œœœ œ

œ œ ˙ œ #œ ˙

œ œ ˙

9 -- "Si"

Locate the Sis in the exercises below and identify their function before audiating and singing each exercise:

1.

b & b œ.

2.

j œ œ œœ œ œ ˙ j œœ œœ œ œ ˙

b & b 44 œ .

œ #œ nœ . œ œ Jœ J J œ. œ œ Jœ œ . # œ œ J

? 68 œ

?œ

## 4 œ . œ œ œ œœ˙ & 4 3. J œ # j & # œ œ œ . #œ œ œ œ œ œ

œ œ œœœ

œ #œ œ œ œ œ œ œ œ ˙ œ

œ

œ œ œ œ œ J

& b 24 œ œ œ œ œ œ

& b #˙

&b œ œ œœœ

&b œœœœœ œ

œœœœ

j œ œ œ œ œ #œ ˙ œ œ œ . Jœ œ œ œ ˙

œ œ œ œ œ œ #œ

œ œ œœœœœ

œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ

102

œ œ. J

œ œ œ œ. œœ œ. J œ

œ.

. ? b b 44 œ ˙ œ œ œ œ œ œ . Jœ œ n œJ œ œ b 4. œ œ œ œ œ œ œ nœ œ œ . œ œ œ œ ? bb œ œ J b ? b b œ ˙ œ ˙ . Œ œ ˙ œ œ œ œ œ . œJ b

5.

œ œ œ #œ nœ

œ œ œ œ œ Œ œ ˙ nœ œ ˙ nœ œ œ ˙ œ œœ œ œœœœœ Œ

œœœœœ œ

œ

œ œ #œ œ œ œ

œ œ œœœ œœœœœ œ

œ œ

œ œ œ œ œ

œ #œ œ

"Si" -- 9

HARMONIC:

bb &bb b & b bb

4 œ œ œœœ 4

44 œ œ œœœ œ ˙ b V b b b 44 œ ? bb b 4 œ œ ˙ b 4

Analysis:

& &

V

?

I

V

I

œ œ ˙

œ œ œ œ

œ œ ˙

œ œ œ œ

œ œ ˙ œ nœ ˙

œ œ œ œ œ œ œ œ

vi V of vi

IV ii V V7

tone: # #2. 4Passing œ œ œ . œj œ œ œ ˙ 4 ## 4 j œ. œ œ œ ˙ 4 ˙ ## 4 ˙ ˙ œ œ ˙ 4 œ ## 4 œ œ ˙ 4 œ ˙

b & b bbb b & b bbb

3. Neighbor note

34 œ 34 œ

b V b b b b 34 ˙ ? bb 3 ˙ bbb4

œ œ

œ œ œ œ

œ nœ ˙

œ

˙.

œ

œ œ œ.

œ

œ œ

œ

œ

103

˙

œ

I

V7

œ œ ˙ œ œ ˙

œ œ ˙ œ

œ œ ˙

œ œ ˙

œ œ#œ ˙

œ

œ œ ˙ œ œ ˙

œ œ œ ˙ J

œ œ ˙

œ

œ œ ˙

œ

˙.

œ

˙.

œ

˙.

œ

˙.

I

9 -- "Si"

### 4 & 4 œ. ### 4 & 4 œ. ### 4 œ . V 4 ? # # # 44 œ.

4. Modulatory*

& &

### ###

A Major: I

œœ œ J j œœ œ

œ œ œ œ ### œ œ œ œ V ? ### œ œ œ œ & &

### ###

I

œ #œ œ œ

i

œ. œ.

### œ . V ? ### œ.

A Major: I

V

iv

iv

œœ œ J j œœ œ œ œ Jœ œœ œ J

V I

I

œ œ ˙

œ œ ˙

˙

œ œ

V

V7 V7

œ œ ˙ œ œ ˙

œœ œ J œœ œ J

V I

ii

IV I

œ œ ˙ œ œ ˙

œ #œ V

˙

i

i

V

œ.

i

œ œ V

j œœ œ

œ œ œ œ œ. œ œ œ J œ . œj œ œ

œ œ ˙ œ œ ˙ œ œ ˙ IV

vi

I

V

ii

V

ii

On the following pages are four-part exercises that use the note "Si." READ the following harmonic exercises: 1. Identify Si in each exercise. 2. Define the function of Si in each case. 3. Audiate while handsigning. 4. Chant all parts together in rhythm with handsigns. 5. Sing in 4 parts. ________________________ * Modulation will be discussed in greater detail in Chapter 12.

104

V of vi

F# minor: / i

j œ œ #œ œ . # œjœ œ ˙ œ œ ˙

œ œ ˙

ii

œ œ ˙

œ.

œ œ ˙

i

j œ œ œ œ œ #œ ˙ j œ . œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ.

œ œ ˙

œ œ ˙ œ œ ˙ œ œ ˙

iv

œ.

iv VII

A Major:

œ˙ J j œ˙

œ.

œ œ ˙ œ œ I

˙

V7 I

/V

"Si" -- 9

Four-part exercises

b & b 34 œ œ œ b & b 34 œ œ b œ œ V b 34

1.

? b3 œ b 4

b &b œ b &b œ b œ Vb ? bb ˙

œ. œ. œ.

œ œ œ œ J

bb

j #œ œ

œ.

b &b ˙ b Vb ˙ ? b ˙ b

œ

œ œ

˙

œ ˙

œ

˙

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

œ

˙

œ

˙

˙

œ

j œ œ

˙

œ ˙

Œ œ œ œ œ œ

˙

˙

œ

105

Œ

˙

œ

˙

œ

œ œ Œ

œ œ

œ

Fine

˙

˙

œ

˙

˙ ˙

œ

œ œ

˙

˙

œ

œ œ

˙

˙

j œ œ

œ. ˙

œ

œ

œ

œ.

œ

œ

œ œ

œ œ

œ.

œ

œ

œ

œ

œ

œ

œ

œ

˙ ˙

œ

j œ ˙

œ œ

œ œ œ

j œ œ œ œ œ œ œ J œ œ œ j #œ œ

&

j œ œ ˙ œ œ ˙ J œ œ ˙

œ. œ.

˙

b & b œ. b &b ˙ b Vb ˙ ? b ˙ b

j œ œœ˙

œ.

˙

˙

DC al Fine

9 -- "Si"

2.

&

####

œ œ

C ˙

#### C ˙ & ˙ #### ˙ ˙ C V ? #### C œ œ ˙ ####

˙

˙

˙

˙

˙

˙

˙

œ œ œ œ ˙

˙

˙

˙

˙

˙

˙

? #### ˙

˙

œ œ ˙

&

V

####

####

˙

#### ˙ & #### ˙ & #### ˙ V ? #### œ œ

œ œ

˙

˙

œ œ

˙

˙

˙

˙

˙

˙

œ œ ˙

˙

#### ˙ œ œ & #### œ œ ˙ & #### œ œ œ œ V ˙ ? #### ˙

˙

˙

˙

#œ œ ˙

106

˙

˙ ˙

œ œ

w

˙

œ œ

˙

w

œ œ

w

˙

œ œ

w

˙

œ œ œ œ

˙

œ œ

˙ ˙ ˙ ˙

œ œ œ œ

#˙

˙

œ œ œ #œ

˙

#˙

œ œ œ œ

œ œ ˙ œ œ ˙

w

˙ ˙

˙

œ œ ˙

˙

˙

˙

˙

˙

˙

œ œ

˙

˙

œ œ

&

œ œ

w

w w w

n˙ ˙

"Si" -- 9

#6 & 8 œ #6 & 8 œ # V 68 œ ? # 68 œ .

3.

œ . œœ œ œ œ œ . œ œ œ .

j œ œ . œœ œ . œœ œ . j œ . œ œ œ œj œ . œ œ œ œJ œ . œ œ œ . J œ œ œ. œ. J

&

#

# œ.

# Œ & # Œ V ?# Œ

œ

j œ œ

œ œ J œ œ J

œ œ. œœ œ J j j œ œ œ œ # œ œ œJ œ J œ œ œ œ J J

j œ œ.

œ . œ œ œ œ #œ œ .

œ.

œ.

œ. œœ œ œ œ œ. œœ œ. # j & œ œj œ œ œ œj œ . # œ. œ œ œ œ œ. V J J ? # œ œ œ œJ œ # œ œ . J J &

j œ œ

œ

j œ œ

œ œ œ œ.

œ. œœ œ œ œ j œ œj œ œ œ. œ œ J œ œ œ œJ J j œ œ. ‰ Œ ‰ Œ

‰ Œ

107

œ

j œ œ j œ œ œ J œ

œ.

œ. œœ œ œ

œ œ

j œ œ œ œ J œ œ J

œ œ œ J . œ œ. j œ œ œj œ . œ œ œJ œ . J œ œ œ œ. J J

œ J ‰ ‰

‰

9 -- "Si"

4.

j 4 j & b 4 œ œ. œ œ. 4 j & b 4 œ œ. œ œ V b 44 œJ œ . Jœ œ . ? b 44 œ œ œ œ

j j & b œ œ. œ œ.

& b œ œ œj œ . V b Jœ œ . œ œ ? œ œ œ œ b &b ˙

& b œj œ . Vb ˙ ?b ˙

œ.

j œ #œ . ˙

œ.

œœœœœ œ

?b

#˙ ∑

œ œ œ œ. J œ œ

œ œ œ œ œ œ ˙ œ œ œ œ

œœœ œœ œ

œ œ œ œ œ

œœ œ œ˙

œ ˙

j œ œ œ ˙ œ œ ˙

j œ œ œ ˙

˙

j œ œ.

Ó

˙

˙

œ œ. J

˙

j œ œ œ œ œ œj œ . ˙. Ó ∑

˙ 108

œ œ. J

˙

˙

œœœœ˙

œ œ œ œ œ œ ˙

œ œ œ œ. J œ œ

œ . œj œ œ j œ œ . œJ œ . œ œ œ œ j œ œ.

œœœœ ˙

. j & b œ œ œ . œj ˙ j j b œ. œ & œ œ. œ. Vb ˙

j œ œ . œj œ .

j œ œ.

œ œ ˙

œœœœ˙

j œ ˙ nœ . bœ ˙ J œ œ ˙ œ.

˙

œ #œ

œœœœ˙

œ.

œ œ ˙ j œ œ œ ˙

œ.

j œ ˙

œ

˙

˙

j œ #œ . ˙

œ

Fine

DC al Fine

œ

œ œœœ œ ˙

˙

"Si" -- 9

5.

j œ œ

b & b bb b & b bb

34 œ. 34 œ. b V b b b 34 œ . ? b b 3 œ. bb 4

j œ œ

b & b bb œ . b & b bb œ . b V b bb œ . ? b b ˙. bb b & b bb œ . b & b bb n˙ b V b bb œ ? bb ˙ bb

b & b bb œ . b & b bb œ . b V b bb œ . ? b b œ. bb

j nœ œ j œ œ

j nœ œ j œ œ j œ œ

n˙

œ

œ

œ

œ

nœ j œ œ

j nœ œ j œ œ j œ œ

œ

œ

œ œ œ œ œ nœ ˙ .

˙

nœ œ

˙ ˙

˙ ˙

œ

˙.

œ œ

œ œ

œ

œ

˙.

˙.

˙

œ

˙

œ œ

˙. ˙.

nœ œ

œ

œ.

œ œ

œ

n˙ œ

œ

œ

˙

œ œ œ œ J œ

œ

œ œ ˙

œ ˙ ˙

n˙

œ

œ œ

nœ œ œ 109

œ

˙

œ

œ

˙.

œ J œ œ ˙ œ

˙ ˙

œ œ œ œ œ œ œ œ

œ

œ

˙ ˙

nœ

œ

˙

œ

œ

œ œ œ œ œ nœ ˙ . ˙

œ œ œ œ œ œ œ œ

œ œ œ

˙. ˙. ˙.

œ

9 -- "Si"

John Bennet, a contemporary of John Dowland, was an English madrigalist who lived in the late sixteenth century. Little is known about his life except that he composed several popular songs and madrigals, including a book of madrigals for four voices which was published in 1599. His madrigals include both light and solemn works. His madrigal, "Weep, O Mine Eyes," is one of his solemn works, and it is also his most popular work. John Bennet's works show the influence of his famous colleague, Thomas Morley. Things to look for in "Weep, O Mine Eyes": 1. Form 2. Non-harmonic tones 3. Style: homophonic or polyphonic (or both); melismatic or syllabic; legato or marcato; homogeneous or contrasting, etc. 4. "Si." 5. The use of the melodic minor scale. 6. The use of the "picardy third"-- a raised third of the chord at a cadence.

110

"Si" -- 9

eep, O Mine Eyes SATB A cappella

John Bennet, c.1575-1614

Adagio; molto legato. In two

S

& 44

∑

A

& 44

∑

T

B

∑

p

Weep,

˙

p

P

˙

œ

poco cresc. . . . .

Weep,

? 44 w ∑

& &

˙.

œ

eyes,

Vœ ?˙

weep

#œ #œ ˙

cease

˙ and

O

#˙

˙

mine

eyes

œ

œ

w

O

mine

eyes,

p

˙

Ó

œ

˙

Weep,

œ

œ

O

mine

˙

not,

w

cease

111

P

˙

O

P

˙

poco cresc. . . . .

Weep,

4

∑

poco cresc. . . . .

w

p

4 V4 Ó

Ed. Patti DeWitt

œ

and

œ

O

˙

˙

˙

˙

#œ

˙

˙

not,

weep,

eyes

weep

œ

mine

œ

mine

˙

and

O

œ

mine

9 -- "Si"

P

˙

7

& #˙

eyes,

weep,

&w

cease

œ ˙ J

V œ.

eyes

and cease

? ˙. O 10

&œ

œ

œ

P

&˙ eyes,

mine

#œ

#˙

weep

˙

#˙

mine

eyes,

weep,

O

˙

mine

eyes,

˙

œ

˙

œ

œ

O

œ

O

˙

eyes,

weep

&

w

not,

#˙

w

cease

V˙ ?w

not,

#˙

cease

P

˙

A

-

not,

not,

cease

œ

œ

and

112

not,

œ

˙

O

mine

˙

mine

and

cease

˙

mine

˙

eyes

and

˙

#˙

˙

w

˙

mine

eyes

and

cease

and

w

˙

P

∑

w

˙.

and

˙

˙

13

&w

weep,

˙

œ

not,

P

˙

eyes,

˙

˙

weep

?w

O

˙

not,

weep,

V˙

˙

˙.

˙

O

œ

w

A

˙ -

˙

las,

˙

Ó

˙

w

#˙

P

A

˙

cease

-

las,

w

not,

-

-

˙

these

-

"Si" -- 9

17

&w

˙

las,

your

?

#˙

w

∑

A

& Ó

˙

A

˙

V w a

? ˙

-

-

-

#˙

& #˙

tides

˙

not,

˙

tides

? ˙.

not,

-

˙

me

˙

me

-

˙

œ

˙

spring

-

thinks

in

˙

˙

thinks

-

œ ˙

-

œ

- thinks

me - thinks

˙

in

˙

in

these

˙ j œ œ

me - thinks

˙

in

œ

spring

œ

in

-

your

˙

your

˙

your

tides

in

˙

˙

las,

œ.

˙

∑

F

Ó

˙

las,

w

these

tides

w

-

tides

˙

w

tides,

w

these

las,

-

me -

-

w

-

F

˙

˙

spring 25

-

-

˙a

tides

-

las,

your

-

-

w

˙

these

-

w

spring

˙

-

F

˙

F

spring

spring

21

V

˙ w

˙

these

&

your

your

V˙

˙

these

˙

&˙

&

˙

w

crease

˙

w -

w

spring

crease

-

crease

not.

-

w

#w

-

-

-

113

˙ -

w

crease

not.

#˙

- crease

-

˙

w

crease

œ

w

not.

w

not.

-

9 -- "Si"

F

29

& .. Ó

˙

˙

O

F

& .. Ó

˙

˙

O

F

V .. w

F

O

when,

O

when,

33

&˙ &˙ V ˙.

when

you

˙

œ œ ˙

#˙

be - gin

w

F

you

w

œ œ J

high

that

F

œ

high

that

œ

that

you

œ

œ

œ

to

to

p

O

Ó

Œ

Ó

Œ

œ

œ

swell

so

F

œ.

œ

swell

so

œ

œ

œ

to

high

œ

so

p

˙

me

in

you?

I

œ

œ

œ

˙

˙.

œ I

˙

me

œ

may

œ

drown

w

in

114

me

˙

me

p

in

œ

in

so

œ

may

œ

that I

drown

drown

œ J œ œ œ J

high

˙

swell

that I

F.

œ

œ

œ

to

may

may

O

w

swell

œ

˙

O

œ

œ

p

w

I

j œ œ

& œ.

you

O

p

w

˙

œ

be - gin

& œ.

drown

œ œ

when

?˙

be - gin

be - gin

? ˙.

drown,

when,

w

œ œ ˙

˙

Ó

#w

#œ

˙

when

Vœ

when,

w

when

Ó

w

œ

#œ

w

? .. w

37

œ

p

may

˙

that

œ

you?

p

that

you?

p

that

˙.

you?

œ

that

˙.

œ

"Si" -- 9

40

& œ

œ I

˙

may

& ˙.

œ

I

V˙ I

?˙ I

˙

˙

may

may

˙

may

w

˙

last time rit.

w

drown

me

in

you?

˙

˙

w

#w

drown

#˙

drown

˙

drown

me

in

˙

˙

me

˙

w

me

in

you?

#˙

in

.. ..

w

..

w

..

you?

you?

Interpretation: Few interpretative markings (tempo, dynamics, etc.) were used in ancient music, and so the arranger/editor must use his/her own judgment when editing a score. Some people feel that it is a violation of the music to impose one's own interpretation on a score, while others feel that it is necessary for those who do not understand the music of the time. The interpretative markings were added to this score by the editor. Examine them carefully and evaluate them: 1. Are they adequate? 2. Are they appropriate? 3. Are they faithful to the musical style? 4. Are they reasonable for performance by the "average" choir? 5. How would you mark the score if you were the editor? Perform an internet search and locate downloadable performances of English madrigals such as "Weep, O Mine Eye" from at least two different sources. Evaluate each performance for interpretative techniques. How do the performances differ? How are they alike? Which performance do you consider the most "effective" musically, and why?

115

9 -- "Si"

Vocabulary:

1. Adagio--Slowly; take your time. 2. Augmented second--A raised second; an interval of 3 half steps 3. Cadence--A point in the music when all voices come to rest on a common chord 4. Harmonic minor--A minor scale in which the So has been altered (raised) to Si 5. Homophonic--Chordal; a style of music in which all voices move to the next note at the same time 6. Leading tone--The seventh note of the major scale, or any raised note that resolves to the next higher pitch 7. Legato--Smoothly 8. Madrigal--An a cappella polyphonic choral piece popular in the Renaissance 9. Marcato--Heavily accented; the opposite of legato 10. Melismatic--Several (or many) notes to a single syllable of text 11. Melodic minor--A minor scale in which Fa and So are raised to Fi and Si when ascending, but are natural (Fa and So) when descending

12. Molto legato--Very smoothly. Molto is Italian for "very." 13. Picardy third--A raised third in a minor chord at the end of a major cadence 14. Polyphonic--A style of music in which the voices sing independent melodic lines

116

10: Other Leading Tones 1. Di -- (V of ii) Di is the leading tone to Re, just as Ti is the leading tone to Do.

Melodic:

#### ## 4 # 4 œœœœœœœ œ & œ ‹œ ˙

? # # # # # # 44 œ œ œ œ œ œ œ œ œ ‹ œ ˙ #

œœœœœœœœ œ œ ˙

œœœœœœœœ œ œ ˙

Harmonic:

& &

V

?

#### ## 4 # 4 #### ## 4 # 4 #### ## 4 # 4 # # # # # # 44 #

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

˙

˙

œ ‹œ ˙ œ œ ˙

œ œ ˙

œ œ œœœ œ œ œ œ œ œ œ œ

œ

œ œ œ

œ œ ˙

œ œ ˙ ˙ œ œ œ œ ˙

COMPOSE an 8-measure melody in which you use at least one "Di." If you use music notation software, you will be able to listen to your melody. Write or improvise an accompaniment to go with your melody. Improvise a counter-melody to accompany your melody.

117

10 -- OTHER LEADING TONES

2. Ri -- (V of iii) Ri is the leading tone to Mi.

Melodic:

b & b b 44 œ œ œ œ œ œ œ œ œ # œ œ ? b b 44 œ œ œ œ œ œ œ œ # œ b

Harmonic:

b & b b 44 œ œ œ œ ˙ b & b b 44 œ œ œ œ # ˙ b œ œ œ œ ˙ V b b 44 ? b 4 œ œ œ œ bb4

˙

œœœœœœœœ œ œ

˙ ˙

œœœœœœœœ œ œ

˙

œ œ œ œ

˙

œ œ œ œ œ œ œ œ œ œ œ œ

˙ ˙

˙ ˙

œ œ ˙ œ œ ˙ œ œ ˙ œ

œ ˙

COMPOSE an eight-measure melody in which you use at least one "Ri." Write or improvise an accompaniment to go with your melody. Create your accompaniment in a different style than for the melody that uses "Di." Details on how to write an accompaniment are presented in the first 2 books of this series.

Pencil Time 4: Activity Sheet 25: Raised notes

Activity Sheet 26: Hans Leo Hassler Activity Sheet 27: Dixit Maria

118

OTHER LEADING TONES -- 10

3. Li -- (V of vii) Li is the leading tone to Ti.

#### ## 4 œ œ œ # 4 œ œ &

Melodic:

œ œœœ œ ? # # # # # # 44 # #### ## 4 # 4 œ œ ˙ & #### ## 4 # 4 & œ œ ˙ #### ## 4 œ œ ˙ # 4 V ? # # # # # # 44 œ œ ˙ #

Harmonic:

œ ‹œ ˙

œ œœœ œ œ œœœ œ

œœœœ˙

œ œ ˙

œ ‹œ œ œ

œ œ ˙

˙

œ œ ˙

œ ‹œ ˙

œ œ ˙ œ œ ˙ œ œ ˙

˙

œœœœ˙

˙

˙

˙

œ œ ˙

˙

œ œ ˙

Ascending Chromatic Scale:

& 44 œ # œ œ # œ ? 44 œ # œ œ # œ

* œ œ œ #œ œ #œ œ #œ œ œ œ #œ œ #œ œ #œ

w

w

* After the ascending chromatic scale is mastered a cappella, to extend learning, sing in canon with the second voice starting here.

119

10 -- OTHER LEADING TONES

READ the following exercises. Identify the raised notes and audiate them before singing.

? # 44 œ . Jœ œ œ œ œ ˙ 1. ? # œ . œJ œ œ œ # œ ˙

œ

œ.

œ #œ

œ

œ œ œ J

œ œ ˙

œ œ ˙

j œ #œ œ . œ œ œ ˙ & b 44 œ œ œ . œ œ # œ œ œ ˙ J j œ œ œ & b œ œ œ . œ œ #œ œ œ œ # œ œ Nœ œ œ ˙ j œ œ #œ œ N œ œ ˙ & b œ œ œ . œ œ #œ œ œ ˙

2.

3.

? 34 œ œ œ

?˙

‰ œJ œ ?œ œ œ ˙

œ #œ

˙

œ œ ˙ œ œ œ œ #œ

œ œ œ œ œ œ

œœ œ œ œ

˙

## 4 œ œ œ & 4 œ . œj œ œ œ 4. ## j œ œ œ œ. & œ œ ˙ œ œ. ## j . œ œ œ œ & œ #œ ˙

? # # # 34 œ . œ œ œ . ‹ œ œ œ œ . J J 5. ? # # # œ . Jœ œ œ œ . Jœ ˙ . ? ### œ œ .

œ ˙. J

œ . #œ œ J

120

‰ Jœ œ œ # œ œ œ œ #œ ˙ ˙

˙

œ #œ œ œ œ œ œ œ œ œ . œj œ œ œ œ J

˙

œ œ

œ

œ ˙. J œ. œ œ J

œ . Jœ œ

œ œ.

œ

˙

œ . #œ œ J œ . ‹œ œ J

œ ˙. J

OTHER LEADING TONES -- 10

j œ. j œ bbb 4 ˙ b œ œ nœ œ œ œ œ œ Œ œ ˙ nœ . & œ b 4 œ œœœ 6. œ œ b & b b b b œ œ œ œ œ œ n œ œ œ œ œ . œj œ n œ œ œ œ ˙ œ œ ˙ b & b b b b œ ˙ œ ˙ . Œ œ ˙ œ œ œ œ œ . Jœ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ ? # # # # # # 45 œ . œ. œ # 7. J ? # # # # # # œ . ‹ œJ œ œ œ œ œ . ‹ œ œ œ ˙ # J j œ ? #### ## œ . œ œ œ ˙ . œ œ œœ œ # J

œ œ œ œ œ J œ . œJ œ œ œ œ œ . œj œ œ ˙

YOUR BRAIN:

b & b b b 68 œ . œ œ œ œ œ œ b œ. & b bb œ œ œ. œ. b & b bb œ . nœ œ œ œ . œ œ œ œ œ b . & b bb œ . #œ œ œ œ

8.

9.

#### # 5 œ . # 8 œ œœ &

#### # # œ œ . ‹œ œ &

œ œ . œ œ œ nœ œ œ œ œ œ . #œ œ œ œ j œ œ œ nœ œ nœ . œ œ nœ œ . œ œ . #œ œ nœ œ œ . œ œ œ œ œ œ œ œ œœ œ œ œ œ n œ œ

œ ‹ œ . œ# œ

œ œ . ‹ œ œœ

œ œ. œ œ œ œ. œ œ #œ

œ.

œ œ . œœ œ œ œ . œ œ

œ œ .‹ œ œ œ œ ‹ œ . # œ œ

#### # # œ & œ œ. œ œ œ œ . œ œ œ œ‹ œ . # œ œ œ œ œ . ‹ œ œ œ œ ‹ œ .# œ œ #### # œ œ œ œ # œ œ. œ œ œ . œ œ œ ‹œ . œ#œ & œ . œ ‹œ œ œ . #œ œ 121

10 -- OTHER LEADING TONES

HARMONIC EXERCISES:

1.

b & b bbb b & b bbb

b V b bbb

? bb bbb

3 œ 4 34 œ 34 œ 34 œ

œ. œ. œ. œ.

œ œ œ J j œ œ j œ œ œ œ œ J

b & b bb b œ nœ nœ œ œ œ œ b j & b bbb œ œ. œ œ œ b V b bb b œ œ œ nœ œ ? bb œ œ. œ œ œ bbb J b & b bbb œ b & b bbb œ b V b bbb œ ? bb b œ bb b & b bbb œ b & b bbb œ b V b bbb œ ? bb œ bbb

œ.

œ

œ ∫œ

œ

œ

œ

˙ œ

œ. œ. œ. œ

œ œ œ œ œ. J œ

œ

œ

œ.

nœ œ œ .

˙ ˙

œ J œ

œ œ œ œ

œ

˙

œ

œ.

˙

œ

œ

˙ ˙ œ œ

j œ œ œ ˙ j œ. œ œ œ ˙ œ ˙ œ bœ nœ œ.

122

œ

œ.

œ

∫˙

œ

j œ ˙ œ œ n œ . œj ˙ . œ œ . n Jœ ˙

œ œ

œ œ œ ˙ J œ

j œ œ œ ˙ j œ. œ œ œ ˙ œ ˙ œ bœ nœ œ.

œ

˙

œ œ œ ˙ J j œ œ œ ∫œ j œ œ œ ˙ œ œ œ œ J

œ.

œ

˙

œ. œ.

œ

œ ˙ J j œ ˙ j œ ˙ j œ ˙

œ

˙ Œ Œ Œ

Œ

OTHER LEADING TONES -- 10

2.

j œœ

b & b 44 œ . b & b 44 œ . b œ. V b 44

j œœ œœ J ? b b 44 œ . œj œ

œ œ œ œ

˙

˙

œ œ J

œ

œ

œ

œ

œ

œ. œ œ J œ œ ˙

b & b œ. b & b œ. b . Vb œ

j œœ

œ

œ œ ˙

? bb ˙

? bb œ . b & b œ. b &b ˙ b Vb ˙ ? b ˙ b

j œ œ œœ J j œ œ

œ œ œ

œ œ J

œ

œ

œ

œ. œ

œ

j œ. œ œ œ. œ Jœ œ œ . Jœ

œ #œ ˙ ˙ ˙

b & b œ. b &b ˙ b Vb ˙

œ.

œ . œj œ

œ œ ˙

œ.

œ œœ œ ˙

j œ œ nœ ˙

œ

œ . œj œ

œ.

œ.

j œ œ. œ. œ.

˙

œ Jœ œœ J

w

œ

˙ ˙ œ œ œ œ

œ

œœ œ ˙

œ

œ nœ ˙

œ

œ

œ œœ œ

w

œ nœ J œœ J

œ œ

œ œ œ œ œ œ

˙

˙

˙

œ

œ

123

œ œ ˙

œ

œ

œ

œ œ ˙

˙

j œœ

œœ J

j œœ

œ nœ ˙

œ

˙

˙

˙

œ œ

œ

˙

œ #œ ˙ ˙ ˙

œœœ ˙

œ œ J œœ

˙

œ. œ.

œ

œ œ ˙

œ œ

˙ ˙

œ œœ ˙ œ œœ ˙ w

10 -- OTHER LEADING TONES

3.

& &

V

?

#### 4 œ 4 œ #### 4 4 œ œ #### 4 œ 4 œ # # # # 44 ˙

˙ n˙

#˙

œ.

œ œ #˙

œ ˙ J

œ.

œ œ œ œ

˙

œ œ œ œœœ J

œœœ ˙ œ œ ˙

˙ ˙

˙

˙ #˙

˙

œ œ œ.

œ œ ˙

˙ ˙ ˙

#### œ œ œ œ ˙ œ #œ œ œ w & #### & œ œ n˙ ˙ œ œ w #### œ œ œ œ w œ œ #˙ V ? #### œ œ œ œ œ œ œ ˙ œ . œ œ J 124

œ œ ˙

j œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ.

œ œ n˙

#### œ œ œ œ œ ˙ & œ ˙ #### œ œ & œ œ n˙ w #### œ ˙ œ #˙ ˙ V œ œ ? #### ˙ œ. œ œ. œ ˙ ˙ J J #### œ œ ˙ œ . œ œ #œ œ ˙ & J #### œ œ ˙ & ˙ ˙ œ nœ #### œ œ œ œ #˙ V œ #œ ˙ ? #### œ œ ˙

œ œ œœœ

œ œ ˙

˙

œ œ œ.

œ œ œ œ œ œ œ. œ œ œ.

œ J j œ

œ œ #œ œ œ . œ œ œ Jœ

œ œ œœ˙ J j œ œ œ ˙

œ œ #œ œ œ œ #œ ˙ . œ œ œ œJ œ œ ˙ œ œ ˙

œ œ œœœ

œ œ #˙

œ œ œ œ

œ œ n˙ ˙

j œ œ œ. œ

œ. œ œ œ œ œ œ J

OTHER LEADING TONES -- 10

&

#### ####

œ œ ˙

œ œ ˙

œ œ œœ œ

œ œ ˙

˙ ˙ œ œ œ œ œ œ n˙ #### œ œ œ ˙ ˙ ˙ #˙ V œ ? #### œ œ œ œ ˙ œ. œ œ. œ ˙ J J &

4.

& b 34 œ . V b 34 œ . ? b 34 ˙

œœœ œ

&b œ œ œ

˙

& b œ œ . œj œ œ b œ ˙ . V b œ b œ n œ œ œ œJ ˙ œ ˙ ?b ˙ œ ˙ &b ˙ Vb ˙ ?b ˙

œ œ #œ n˙

#˙ ˙

˙

˙

œ œ ˙

Œ Œ Œ

Œ

œ. ˙ ˙ ˙

Œ Œ

Œ

Œ

j œ œ œ œ

œœœ œ œ œ J j œ œ. œ œ

œ. ˙ ˙ ˙

œ

œ

œ

œ

œ bœ

œ

˙

œ

œ

œ

125

œ

œ

œ

œ œ ˙

œœœ

œœœ œ œ œ Œ œ œ œ. J ˙ J j œ œ œ œ . œj œ œ . œj œ œ œ œ œ œ œ œ œ œ œ œ œ bœ ˙ Œ J œ œ œ . œj ˙ Œ œ ˙

& b 34 œ .

&b ˙

œ œ ˙

œ.

œœœ J j œœ

˙

œ

œ. œ. œ. ˙

œœ J

œœ J œ

œ

œ œ œ

b˙

œ œ

œ

œ

˙

bœ

˙

œ œ œ œ

n˙ ˙

œ

œ œ

˙ ˙

œ bœ ˙

œ

˙

Œ Œ Œ Œ

10 -- OTHER LEADING TONES

b & b bb bb &bb

44 œ œ œ. 44 œ œ œ. b œ œ œ . V b b b 44

5.

? b b b 44 b œ œ œ.

% b b & b b œ œ œ. b & b bb œ œ œ . b V b bb œ œ œ .

? bb b b œ œ œ. &

bbbb

∑

j œ œœœœœ œ

j œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ J

j œ œ œœœœ

j œ œ œ œ œ J œ œ J œ

œ œ œ œ

œ

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œ

œ

œ nœ

œ

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œ

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126

œ œ

œ

œœœ

œ

œ

œ

œ

œ

˙

œ.

œ œ

j œ œ œ

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∑

œ nœ œ œ ˙ œ. œ. œ

œ

j #œ ˙ nœ œ bœ œ œ J ˙

Fine

œ œœœ ˙ j œ˙

œ.

nœ bœ ˙ œ œ

˙ œ œ

D.S. al Fine

˙

˙ w

˙

œ œ œ œ

OTHER LEADING TONES -- 10

6.

3 &b4

∑

∑

& b 34 œ œ œ œ œ ˙ œ V b 34 ? b 34

œ

&b œ œ œ œ œ V b œ œ #œ ?b œ &b œ Vb œ

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œ

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œ

∑

∑

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˙.

œ œ œ œ œ œ œ #œ œ #œ œ œ#œ œ ˙ œ

∑

&b ˙

∑

œ œ œ #œ œ #œ ˙ .

Œ Œ œ œ

œ œ œ œ œ œ œ ˙ ˙. œ œ œ œ œ #œ œ œ œ œ œ œ ˙. œ #œ œ œ œ #œ œ œ œ œ œ ˙ œ Œ œ

œ

127

Œ

10 -- OTHER LEADING TONES

7.

b b &bb b & b bb

b V b bb

? bb b b

b & b bb b & b bb b V b bb ? bb bb b & b bb b & b bb b V b bb

6 œ. œ œ 8 œ nœ j 68 œ œ nœ œ 68 œ . œ œ œ n œ 68 œ . œ œ œ

œ . nœ œ bœ œ

œ.

œ. œ

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œ. œ œ œ œ œ œ J ? b b œ. œ œ œ bb b & b bb œ œ . œ œ . b & b bb œ œ . œ œ bbb œ œ . œ nœ b V

? b b œ œ. œ œ. bb

œ œ

œ J

‰

‰

œ J j œ œ J œ J

œ . nœ œ œ

‰

œ. œ

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œ . nœ œ œ

‰

œ œ

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‰

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œ

‰

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‰

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œ J j œ œ J œ J

‰

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œ. œ œ œ

‰

œ. œ œ œ nœ j œ œ nœ œ œ . œ œ œ nœ œ. œ œ œ

‰

œ œœœ nœ œ bœ œ œ œ J

œ

‰

œ

‰

œ œ. œ œ œ œ

j nœ œ œ . œ œ œ œ œ œ œ. œ œ œ œ J œ œ. œ œ œ œ

œ. œ œ œ œ . #œ œ œ œ œ œ J

‰

‰

‰

œ œ. œ œ œ œ

œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ. œ

U œ . nœ œ bœ œ œ œ Uj œ œ nœ œ œ Uœ nœ œ œ œ J Uœ œ œ œ J œ

Continued on next page 

128

OTHER LEADING TONES -- 10

bb & b b œ . œ œ œ nœ œ j bbb b œ & œ œ nœ œ œ œ nœ œ b V b bb œ . œ ? b b œ. œ œ œ bb

œ J

b & b b b œ . nœ œ bœ œ . b & b bb œ . œ œ œ œ b œ . nœ œ bœ œ V b bb ? bb b œ œ œ b J bb & b b œ. bb & b b œ. b . V b bb œ ? bb b œ . b

œ . nœ œ œ

œ œ œ

œ œ œ.

‰

‰

‰

‰ ‰

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‰

œ œ J

œ

‰

œ. œ œ œ

œ J j œ œ J œ J

œ . nœ œ œ

‰

œ. œ œ œ œ œ œ J œ. œ œ œ

œ . œ œ œ nœ œ

œ.

œ. œ.

œ nœ œ œ nœ œ

œ. œ.

œ.

œ.

j œ œ.

j œ œ. œ J œ. œ.

129

œ. œ

œ

œ

œ nœ œ œ nœ œ

œ.

j œ œ.

œ œ. J œ œ. J

œ. œ Œ J j œ Œ

œ J

Œ

j œ Œ

10 -- OTHER LEADING TONES

8.

3Œ œœœœ ˙ b & 4 & b 34

∑

? b 34

∑

3 Vb4 œ. &b

& b œ. Vb Œ ?b

Ó

& b ˙.

∑

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œ

œ #œ

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œ.

œ

œ ˙. J

Œ

œ œ œ œ ∑ ∑

Œ

Œ Œ ˙

œ.

œ

œœ

∑

nœ œ J j #œ œ

œ œ œ# œ œ œ

œ œ œ# œ Œ œœœœ œ œœ

œœ œœ œœœ œ œ

∑

œ œ œ œ œ. œ

œ œ œ œ œ Œ

Œ

Œ œœ œœ

∑ œ

Œ

Ó

∑ ∑

j œ ˙

œ

˙ œœœœ

Œ œ œ œ œ œ.

∑

j œ ˙

œœœœ ˙ œœœœ ˙

œ J ˙. j œ ˙.

œ‰œœœœ ˙ J œ œ œœ œ‰œœœœ ˙ J Fine

Œ

˙.

Œ œœœœ

œ œ.

œœœ œ‰ J œœœœ œ‰ J

œ

∑

œ œ œ.

&b œ œ œ œ œ Vb œ œ œ œ œ ? b ˙.

œ œ œ œ #œ œ

#œ œ J j #œ œ

& b œ œ #œ œ Vbœ œ œ œ

œ œ œ œ ˙.

œ

Œ œœ œœ œ

∑

& b œ œ œ œ œ œ ˙.

?b œ

œ

œ

œ.

œ œ œ œ ˙

œ œ œ J

œ œ œ œ œ J œ œ

Continued on next page 

130

OTHER LEADING TONES -- 10

& b ˙.

& b ˙. Vb œ ?b œ

Œ

œ #œ œ œ ˙ œ œ œ œ ˙ ∑

& b ˙. V b ˙. ? b ˙. &b Œ

V b n˙ ?b ˙

œ œ œ #œ œ

œ. œ œ œ œ œ. Œ Œ

Œ

nœ œ J #œ œ J

œ œ œ.

œ œ œ. œ

œ œ œ œ œ

œ

œ

nœ J j œ

œ œ œ œ

œ œ œ œ œ nœ œ œ n˙ . ˙ Œ nœ œ œ œ œ œ ˙ . œ œ œ œ œ œ œ œœ œ œ. œ œ œ œ œ ∑ J nœ ∑ œ œ œœ œ Œ œ œ œ œ ˙

& b ˙.

&b

∑

Œ

∑

œ œ œ #œ œ jœ . n œ œ # œ œ #œ œ œ. #œ œ Œ J ˙ œ œ

131

œ nœ #œ œ œ œ œ

˙

œ

œ.

œ

œ

˙ œ

rit.....

œ

rit.....

j ˙ rit..... œ #œ

œ

rit.....

U œ

U œ U œ U œ

10 -- OTHER LEADING TONES

# 4 œ œ . œj & #4 œ ## 4 & 4 ˙ #œ œ ## 4 œ ˙ V 4 œ

9.

? # # 44 ˙ &

##

˙

# & # ˙ ## V ˙.

˙

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? ## w # & # ˙ œ œ # & # œ œœœœœ # ˙ V # #œ œ ? ## œ #œ ˙ &

##

œ œ œ.

# & # ˙ #œ œ # œ ˙ V # œ ? ## ˙

˙

œœœœ˙

œ.

œ œ ˙

œ œ ˙

j œ. œ ˙ œ œ ˙

œœœ ˙

œ œ œ œ

j œ œœœœ˙ j˙ œ œ. œ œ ˙

#œ œ

œ œ #œ ˙

œ œ œ œ #œ

œ œ #œ ˙

˙

œ ˙

œ #œ œ œ ˙ œ #œ œ ˙ ˙

˙

œ.

œ Jœœœ

œ

œ

œ œœœ œ ˙

œ œ ˙

œ œ ˙

œ J˙

œ

˙

œ

œ.

œ #œ ˙ œ œ ˙

˙.

œ œ ˙ œ . œj˙ j œ œ #œ . œ œ œ #œ œ

œ œ #œ œ ˙ j œ. œ ˙ œ. œ ˙ J

œ œ œœœ œ œ ˙

˙

œœœ ˙ œ œ ˙

œœœœ J

œ œ ˙ #œ œ œ nœ œœ œ œ˙ ˙

˙

œ œ #œ œ ˙ j œ. œ ˙ œ. œ ˙ J œ.

œ˙ J

Continued on next page 

132

OTHER LEADING TONES -- 10

&

##

˙

#œ œ

# & # ˙ # V # ˙. ? ## w # ˙ & # ## & #˙ ## ˙ V ? ## ˙

˙

œœœ ˙

œ œ ˙

œœœ ˙ œ œ ˙

#œ œ œ

œ œ ˙

œ œ œ. œ ˙ J ˙

œœœœ ˙

œ

œ ˙ œ œ

œ œ ˙

˙

œ œ

˙

œ œ

œ œ ˙

œ œ œ . œj œ œ œ ˙

#˙

˙

œ œ ˙ ˙ ˙

133

œœœ ˙ ˙

˙ ˙

#˙

œ. w

œ J˙

#œ nœ ˙

œ œ ˙

œ œ ˙

w

œ œ ˙

œ œ ˙

10 -- OTHER LEADING TONES

10.

b œ œ & b b 34 Ó b 3 &b b4 Œ œœœœ œ b V b b 34 Œ œ œ œ ? b 34 œ . œ œ œ œ bb J

œœœœ œ œ

? b b #œ . b

œ œ

œ œ nœ œ œ nœ œ œ œ œ J

j b & b b œ. œ œ b & b b œ œnœ œ œ b œ Vbb ˙ ? b nœ œ œ bb

Œ

Œ

œ œ œ œ

œ œ œ œ œ œ œ œ

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˙

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œ.

œ œ œ ˙. J

Ó

Œ

∑

Œ

∑

Œ Œœ œ

œ

Œ œ œœœ

œ œ œ œ œ ˙.

˙

b & b b œ œ œ œ œ . œJ n œ ˙ b & b b œ œ œ œ œ œ nœ œ ˙ b V b b œ œ œ œ nœ œ œ ˙ ? bb œ œ œ œ . œ œ œ ˙ b J b & b b Œ œ œ œ nœ œ œ œ œ b &bb Ó #œ œ œ œ #œ œ b Vbb Œ

œœœ œ

œœ œ

Œ œ œ œ . Jœ œ œ

Œ œ. œ ˙ J œ œ œ œ œ Œ œ œ œœ œ œ œ ∑ ∑ ∑ ∑

Œ œ . Jœ œ œ œ œ œ n œ . œJ œ œ ˙ . œ n œ . œj ˙ Œ Œ œ nœ œ ˙

nœ œ #œ

nœ

œ.

œ ˙ J œ ˙

#œ nœ œ

˙.

˙.

Œ

Œ

Œ

Ó

œnœnœ œ œ. œ œ œ J œœœ œ

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Œ

œ

˙

œ œ

œ . œJ œ œ œ œ œ

Continued on next page 

134

OTHER LEADING TONES -- 10

œ œœœœ b & b b ˙. b & b b œ . œjœ œ ˙ . œ b ˙ V b b ˙. ? bb œ . œ œ œ ˙ . J b b &bb œ œ œ b & b b Œ œ œœ œ b V b b œœ œ œ ? b œ. œ œ œ J bb

œ. œ œ J

˙

œ

œ œ œ œ

bb œ œ œ œ œ œ œ b & b &bb ˙ œ œ ˙. b œ V b b œ œ œ œ ˙. ? b b œ . Jœ œ œ ˙ . b

˙

œ

Ó

œ

˙

Œ

œ. œ œ œ œ. j œ ˙ œ œ œ Œ J œ œ œ œ ˙ œ œ œ . œJ ˙ œ œ . Jœ œ œ œ œ œ œ . œJ œ œ ˙ Œ

œ œœœœœœ œœ ˙

œ œ œ

œ

˙.

œ œœœ œ.

Œ œ œ

œ J œ œ ˙.

œ œ œ œœ œ œ

˙

œ ˙

œ . Jœ œ œ œ œ œ

œ œœœœœœ œ œ œ

Œ œ œœ œ ˙

œ.

Œ œ œœœ œ œ œ œ œ

˙. ˙.

œœœ œ

œœœ œ

œ œ

˙.

œ œ œ œ œ ˙. œœœ œ

œ œ œ œ œ œ œ. J

˙.

œ œ œ ˙. J

INTERPRETATION: The piece on the following pages, Dixit Maria, has been presented without editorial expression markings. Study the score. Ask your teacher for a photocopy of Dixit Maria (permission is granted by the author for this piece only) so that you can write in dynamics and expressive markings. Be prepared to defend your decisions.

135

10 -- OTHER LEADING TONES

Dixit Maria SATB a cappella Moderato; not too fast

S

&bC

∑

∑

A

&bC

∑

∑

∑ ˙

Di

T

VbC ˙

œ œ

?bC

∑

œ œ

˙

Di - xit Ma - ri - a

B 5

&b ˙

Di

-

œ

œ

xit

Ma

& b œ. j œ œ œ œ

ad

?b

-

An

-

-

-

∑

-

-

xit

Ma - ri

œ . œj œ œ œ

An

-

-

ad

œ . œj œ œ œ

An

œ œ œ œ

˙.

-

a

-

˙

œ

œ œ

- ri

-

œ

∑

jœ œ œ . b œ œ œ œ œ œ œ V An

-

∑

∑ ˙

-

Hans Leo Hassler ed. Patti DeWitt

-

-

- ge - lum, ad

-

œ

œ nœ -

˙

-

-

ge - lum, di - xit

œ

Ma - ri

-

xit

Ma - ri

-

œ

j œ œ œ

œ.

Ma - ri

˙.

œ œ

- ge - lum, ad

ge - lum, di - xit

Di

ad

∑

œ

˙

a

œ nœ œ œ

-

∑

œ œ

˙

-

˙

a

œ œ -

-

a

-

ad

Pronunciation:

Latin: Dixit Maria ad angelum: Ecce ancilla Domini, fiat mihi secundum verbum tuum. English translation:

dik - sit ma - ri - a ad an - d¯E - lum E - tSE an - tSi - la d• - mi - ni fi - at mi - hi sE - kun - dum vE « - bum tu - umMary said to the angel, 'Behold the handmaiden of the Lord; Let it be done according to your word.'

136

OTHER LEADING TONES -- 10

9

& b œ . Jœ œ An

œ

-

ge

Œ œ

˙

-

lum,

di - - xit Ma - ri

& b œ œ œ œ œ œœ œ œ œ œ - ad

An

Vb ˙

˙

a

?

-

-

œ nœ

-

-

&b œœ˙

œ

-

˙

di - - xit Ma - ri

˙

_

_

xit

Ma - ri

Ó

œ œ ˙

di - xit

Ma - ri

17

&b œ œ ˙ -

-

œ ˙

ge - lum,

xit

œ ˙

Vb œ ?

b

ad An

œ ˙

nœ

-

&b œ

Ma - ri

Œ

-

œ

ge - lum, ad

∑

-

An

-

-

œ ˙

-

-

-

Ó

ad An

˙

di

-

-

œ

-

137

xit

-

j œ

An

-

Œ œ

-

di

w

œ

- ge - - lum,

œ œ œ œœœ

- ge - lum, ad

œ ˙

Ma - ri

-

œ ˙

-

-

œ œ

ad

Ó

œ œ œ . œj œ œ œ œ n œ a

˙

œ ˙

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Hans Leo Hassler was born in Nüremburg, Germany in 1564. Born into a family of organists, he received his initial musical training from his father, famed organist Isaak Hassler. In 1584 he started a tradition that German organists would follow for decades to come: He relocated to Venice to receive instruction in the Italian style directly from Italian maestro Andrea Gabrieli. In 1586 Hassler returned to Germany to enter the service of Count Fugger at Augsburg to whom he dedicated his first collection of works in the Italian style. In 1595 Hassler, together with his brothers Jakob and Kaspar, was granted nobility status by the Emperor Rudolph II. This was extremely signficant because this also granted him the privilege of copyright. In Augsburg he worked for a time as organist at the church of St. Moritz, and later as director of the town band. He returned to his home town in 1601 to become director of music for the city of Nüremburg. At the beginning of 1602 he was appointed Kaiserlicher Hofdiener ("Imperial servant") and was sent on several journeys for the Emperor. This position allowed Hassler time to pursue some of his personal ventures, including musical composition. In 1604 Hassler moved to Ulm where he married the daughter of a local merchant the next year. In 1608 he accepted an appointment as organist to the Elector of Saxony in Dresden. His duties also included overseeing the Elector's music library and led eventually to his appointment as Kapellmeister to the Electoral Chapel in Dresden. He was frequently ill in his later years. He traveled to Frankfort-am-Main with the Elector for the coronation of the new emperor in 1612. He died there on June 8 of the same year at the age of forty-seven. Hassler left behind him a rich repertoire of work containing masses, Latin and German motets, chorales, hymns, and songs, as well as masterworks for instrumental groups and for the organ. His compositions as well as his virtuosity on the organ led to his being hailed as the greatest German musician of his time.

140

11:

Sweelinck (yan pi-t«r-zon svE-li‡k)

Jan Pieterszoon Sweelinck, 1562-1621, was perhaps the most important organist and composer from the Netherlands in the late Renaissance and early Baroque eras. He is best known for his vocal compositions and organ works. He was also one of the leading organ teachers in Europe during his time, numbering among his students his own son Dirck and other notable organ masters such as Nicolaus Hasse, Samuel Scheidt, and Michael Praetorius. He has been called the "maker of German organists" because the succession of his pupils descended directly to J. S. Bach and Handel. In his organ fugues, called "fantasias," he was the first to give the pedals a voice of their own. His father was Drawing by Cecelia Johnson organist Peter Swybbertszoon, his first teacher. His mother was Elske Sweeling. Sweelinck's father served as organist at Amsterdam's Oude Kerk ("Old Church") from 1564 until his death in 1574. Young Sweelinck may also have studied with organist Cornelis Boskoop, who succeeded his father at the Oude Kerk for a short time. For a reason that remains unclear, Sweelinck changed his name to a variant of his mother's surname. In any event, his keyboard talents blossomed quickly and Sweelinck succeeded Boskoop at the Oude Kerk in the late 1570s. His post at the church was less a religious one than a civil appointment, since he actually worked for the city officials of Amsterdam and not for the Calvinists who forbade music performance during the church services. It is likely that he played the organ in the morning and evening when services were not scheduled. He would serve in this post for over 40 years and was succeeded by his son, Dirck, who kept the the position for nearly as long until his own death in 1652.

"Oude Kerk," full color engraving, 1726 Published by Ten Hoorn, Amsterdam

141

11 -- SWEELINCK

Sweelinck's mother died when he was 23, leaving the young composer to care for his younger brother and sister. In 1590 Sweelinck married, and, already receiving a healthy salary, forsook an automatic increase allowed for in his contract upon marriage in favor of an alternate perquisite--rent-free living quarters. His wife would give birth to six children, five of whom would survive their father. By the time of his marriage, Sweelinck had already established himself as one of the finest teachers in Europe and had a substantial income from that source also. His first published music was a collection of 18 chansons (French word meaning "songs," printed in 1594. Additional publications came in 1597 and 1604, both collections of Psalm settings which included "Psalm 96," presented on the following pages. While his keyboard works rank in importance with his vocal music, no instrumental music was published during his lifetime. Unlike most composers and artists, Sweelinck led a rather uneventful life, and relatively little is known of him. He traveled outside Amsterdam only a few times, generally for matters associated with his post at the Oude Kerk. It is recorded that he returned to his birth place, Deventer, in 1595 and 1616 for brief visits and that he also traveled to Antwerp, Harderwijk, and Rotterdam. It is almost certain that Sweelinck became a close friend of English composer John Bull (1562 - 1628), who left England in 1613 to live in Belgium, from where he often visited the Netherlands.

Pencil Time 4: Activity Sheet 29: Sweelinck

Activity Sheet 30: Renaissance Art and Music Activity Sheet 31: Psalm 96

Write

ACROSS THE CURRICULUM:

Compare Sweelinck's "Psalm 96" to Bennet's "Weep, O Mine Eyes" in Chapter 9 and Hassler's "Dixit Maria" in Chapter 10 which originated during the same time period. How are they similar? How are they different?

PREPARING to learn "Psalm 96": What is the form of the piece? What is the style of the piece? Is the piece imitative? If so, at what points? "Psalm 96" may seem to be more difficult than previous pieces in this book because of abundance of eighth notes and sixteenths. The secret is to take the piece slowly enough that the notes can be performed with ease.

142

SWEELINCK -- 11

Art in the Renaissance Renaissance art was divided into three distinct periods--Early, High, and Late. Renaissance art was born of revival of the philosophies of the ancient Roman and Greek art and architecture that took place during the 14th and 15th centuries. The "rebirth" of art in Italy was connected with the rediscovery of ancient philosophy, literature, and science and a new emphasis of empirical methods of study in these fields. The term "early Renaissance" characterizes virtually all the art of the 15th century. Florence, the cradle of Renaissance artistic thought, remained one of the undisputed centers of innovation. The first generation of Renaissance artists included Donatello in sculpture, Filippo Brunelleschi (who discovered linear perspective) in architecture, and Masaccio in painting. Central to their thinking were theoretical foundations of art and the conviction that development and progress were not only possible but essential to the life and significance of the arts. The challenge of accurate representation in sculptural form (Donatello), a commitment to linear perspective (Masaccio), and effects of light and color, were approached with intense and methodical inquiry. Rational inquiry was believed to be the key to success; therefore, efforts were made to uncover the specific laws for the correct proportion for architecture, for the representation of the human body, and for systematizing pictorial space. By the late 15th century the novelty of the first advances of Renaissance style had progressed to a general acceptance of such basic notions as proportion, contraposto (twisted pose), and linear perspective; consequently many artists sought means of personal expression within this relatively wellestablished repertoire of style and technique. The Early Renaissance was not, as was once maintained, merely an imperfect but necessary preparation for the perfection of High Renaissance art, but a period of great intrinsic merit. The essence of the High Renaissance art was its unity-- the balance that is achieved intuitively, beyond the reach of rational knowledge or technical skill. The High

From The Ghent Altarpiece, Jan van Eyck, 1432, Ghent, Belgium

143

11 -- SWEELINCK

Renaissance style endured for only a brief period (c.1495-1520) and was exemplified by a few artists of exceptional genius such as Leonardo da Vinci and Michelangelo. Da Vinci's fresco The Last Supper (bottom) is an icon of High Renaissance balance and unity. Michelangelo not only produced the masterpiece paintings on the ceiling of the Sistine Chapel (like the example on the right), he also produced many magnificent works of sculpture (David, Moses). Michelangelo believed his gift to be of divine origin and had no qualms about taking artistic license with his subject matter. Central to the development of Renaissance art was the emergence of the artist as a creator, sought after and respected for his scholarliness and imagination. Art, too, became valued--not merely as an outlet for religious and social change, but even more as a way of personal, aesthetic expression. Music of the High Renaissance followed the trend of the visual arts. Music, instead of merely being a "Jacob - Joseph," Sistine Chapel ceiling conduit for a religious text, became Michelangelo, 1511-1512 appreciated for itself, and the High Renaissance produced some of the most beautiful choral music ever written, due partly to the same feeling of unity and balance in the musical compositions as can be seen in the artworks of the time. As you study and learn "Psalm 96," feel free to allow yourself to be swept away by the sheer beauty of the music itself--the long, independent phrases, the interaction between between the voices, the beauty of the melodic lines.

"The Last Supper," Leonardo da Vinci, 1495-97; Milan

144

SWEELINCK -- 11

SATB A cappella

Jan Pieterszoon Sweelinck (1562–1621) Ed. Patti DeWitt

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11 -- SWEELINCK

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149

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11 -- SWEELINCK

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150

œ

chan - tez,

F

ce

- li - vran - ce

P

chan - tez,

j œ

j œ œ œ

-

sa

F

œ

dé

œ œ œ.

le, chan - tez,

œ -

le,

sa

chan - tez,

le,

-

-

‰ n œj

#œ

dim.

-

œ œ œ.

F

bœ œ œ . #œ nœ œ œ -

le,

œ

so - lem - nel

dim.

so - lem - nel

-

œ

so - lem - nel

œ

œ œ œ

P

‰ œj P

‰ œJ

œ

chan - tez,

œ

chan - tez,

œ

chan - tez,

‰

œ J

et

SWEELINCK -- 11 25

& œ

F

cresc.

œ œ

‰

œ œ

son Nom be - nis - sez,

& ‰

nœ œ et

œ

et

F

cresc.

Ó

‰

son Nom be - nis - sez, cresc.

‰ œ œ œ œ

cresc.

F

et

œ œ

œ

œ

son Nom

& ‰ œ

f

et

&

œ

son Nom

œ

œ

V ‰ œ

œ

œ

be - nis - sez,

? œ sez,

f

et

f

œ

et

œ f

‰ œJ œ

Œ

be

et

-

œ œ

œ

son Nom

œ

son Nom

be

nis

-

sez,

j œ

œ

œ -

nis

œ -

sez,

˙

œ -

nis

-

sez,

151

œ œ

œ.

et

Œ

œ

son Nom be - nis -

œ œ

œ.

F

œ

son Nom

cresc.

F

˙

be - nis - sez,

œ be

œ

cresc.

Ó

œ œ

be - nis - sez,

Œ

j œ œ

son Nom

œ

œ

œ œ

et

F

son Nom be - nis - sez,

27

Œ

œ œ œ œ

son Nom be - nis - sez,

œ œ œ œ

V Ó ? œ

j œ

cresc.

et

œ œ

de jour

de jour

œ

en

œ en

œ

jour,

Ó F

œ.

œ œ

œ

et

de jour

en

11 -- SWEELINCK 29

Œ

& œ

jour

an

œ œ

œ.

et

P

V œ. et

31

& œ. cez

œ en

en

œ

œ œ

jour

jour

œ.

œ œ

et

de jour

en

œ

œ

jour

so - lem - nel

Ó

Œ

œ

œ

œ œ œ œ

sa

P

-

dé - li - vran - ce

œ J

so

œ

œ œ œ œ

œ

œ

sa

dé - li - vran - ce

so - lem - nel

152

-

f

-

an

-

non

‰

œ

le,

œ

œ ˙

dim.

-

le,

-

P

j œ sa

dim.

lem - nel

-

œ

œ œ œ

#œ J

œ

non

œ

sa

-

œ

an

œ.

cez

cez

œ

non

f

œ

-

œ

-

dim.

dé - li - vran - ce

V œ

an - non

an

œ #œ

œ

œ

œ

œ

œ

œ J

f

an - non - cez,

œ

œ œ œ œ œ œ œ Œ

? œ

non - cez,

œ

f

‰

œ

an - non - cez,

& œ

cez

œ

an - non - cez,

œ œ

sa

-

˙

œ

P

? œ jour,

de jour

œ œ de jour

‰ œj

Œ

P

& Œ

P

œ -

le,

P

œ

sa

SWEELINCK -- 11

F

33

& œ œ œ œ œ œ de - li - vran - ce

œ

œ.

F

sa

dé

sa

œ

de

œ

œ

œ

so -

œ #œ J

œ

œ

œ

‰ œj œ œ œ œ œ œ œ œ œ

œ

œ

so - lem - nel

& œ œ œ œ œ œ #œ dé - li - vran - ce

so - lem - nel

V nœ œ bœ œ œ œ dé - li - vran - ce

-

le,

-

œ

Œ

-

& œ œ #œ

œ œ œ

& œ œ

œ

œ œ œ

V nœ œ

œ

œ

? œ œ

œ

so - lem - nel - le,

_

lem - nel - le,

sa

sa

so - lem - nel - le,

dé

so - lem - nel - le,

li - vran

-

sa

œ œ œ. œ sa

dé -

-

j œ œ

-

‰ œj

sa

dé

-

œ

œ

-

-

-

li - vran - ce

œ

-

so

-

œ

œ

li - vran - ce

bœ œ -

lem - nel

-

œ

œ œ bœ œ . #œ œ œ

- li - vran - ce

so - lem - nel

œ

œ

œ

œ

dé - li - vran - ce

so

œ

œ bœ

œ

œ

- li - vran - ce

so

153

-

œ

dé - li - vran - ce

j œ œ

ce

œ œ

li - vran - ce

F

le,

F

dé -

-

‰

œ

sa

35

œ

le,

œ

so - lem - nel

? Ó

œ

œ

-

-

-

œ œ

lem - nel

-

-

œ œ

-

lem - nel

-

11 -- SWEELINCK

37

& #œ

le,

& œ

le,

f

œ. so

f

-

f

? œ

f

œ.

le,

so

so

-

-

-

lem

-

ƒU

œ

nel

-

œ

lem

-

˙

nel

-

-

j œ

-

-

-

lem

j œ

-

nel

-

œ

-

-

-

-

lem

-

nel

w

le.

ƒU

w

-

cresc. e rit. . . .

-

le.

ƒU

bœ

cresc. e rit. . . .

-

-

#w

-

cresc. e rit. . . .

so

#œ .

le,

-

œ

V œ

bœ J

cresc. e rit. . . .

-

le.

ƒU

w

-

-

le.

Translation: Sing to the Lord a new song; Sing to the Lord, all the earth. Sing to the Lord, praise his name; proclaim his salvation day after day. Pronunciation:11

Chantez a Dieu chanson nouvelle, Chantez, ô terre, chantez, ô terr' universelle, Chantez, et son Nom benissez, et de jour en jour annoncez sa délivrance solemnelle.

©o* - te a d jU ©o* - so* nu - ve - l« ©o* - te o ter - « ©o* - te o er u - ni - ver - se - l« ©o* - te e so* nom be - ni- se e d « ¯ Ur o* ¯ Ur a - no* - se sa de - li - vro* - s « so - lem - ne - l «

* Nasalized vowel 1. These pronunciations are written using the IPA (International Phonetic Alphabet). A chart of the IPA is provided on page 243. Practice in using the IPA can be found in Pencil Time Activity Sheets from Levels I (Activity Sheet 30) and III (Activity Sheet 25).

154

12: Modulation Modulation is the act of changing keys within a musical composition. Modulation can be either formal (with a specifically designated key change) or informal (no specifically designated key change, but with a definite change in tonality as indicated by the repeated use of altered notes). Much of modulatory tonal music modulates to another key and then back to the tonic before the end of the piece. Modulation may be direct; that is, a change of key with no warning or preparation. But most often key changes are implemented in a smooth and seamless manner. The way this is accomplished is through the use of pivot chords. A pivot chord is a chord serves as a common link between two keys. The chord may include altered notes, or it may not. INFORMAL MODULATION: Consider the 8-measure phrase, below, in which there is a brief modulation and back again. In what key is the example? To what key does it modulate? Now all that needs to be decided is where the modulation begins and where it modulates back to the tonic. Example 1:

& 44 œœ œœ œ ? 44 œœ œ

œœ œœ œ œ œœ œœ

& œœ œœ œ ? œœ œ

œœ œœ œ œ œ œ œ ˙˙ #œ œ œ œ œ # œ œ œœ # œ ˙˙

C Major: I

I

IV

œœ œ œ #œ œ œœ œ œœ œ

œœ œœ œœ ˙˙ œœ œ ˙ œ ˙

œœ œœ

œ œ œ œ

œ œœ

œ œœœ œ œ œœœ œ œ œ œ˙ œ œ œ

œœ # œœ

˙˙ ˙˙

/

V7 of V G Major: I

œ

œœ ˙˙

œœ œ œ

˙˙

Although there is an F-sharp in measure 3, we cannot be sure that this is a full modulation until measure 4, where we have a full cadence in the new key: G Major. Then we can use the last chord in the full cadence as a point of modulation. This is called a pivot chord, a chord common to both keys (the V chord in the key of C, and the I chord in the new key, G Major), which serves as a link from the one to the other. At what point does the piece modulate back to C Major? Is there a specific pivot chord? If so, which chord is the pivot chord? Finish analyzing the chords in Example 1. What specific indicator do we have that the piece has, indeed, modulated back to the key of C major? When the key changes, so does the assignment of the solfege syllables to specific pitches.

155

12 -- MODULATION

In the Example 1, the pivot chord has been located and identified, but what does this mean to the individual singer? It means that the scale has shifted as well as the key, and different solfege syllables will apply to the pitches. Look at these two measures from Example 1 in Example 2, below. It has been stated that the last chord in measure 4 is the pivot chord; that is, it changes from the V chord in the key of C Major to the I chord in the key of G Major. Thus the solfege must change also. Example 2: 4

& œœ

œœ

œ œ ? œ #œ Re

Do

5

˙˙

˙˙

œœ œœ

Ti

/I

œœ

œœ

œœ œ #œ

V7 of V

œœ # œœ œ œ

The soprano note (G) changes from So to what solfege syllable on beat three? What change of notes occurs in the alto part? Bass? The tenor line is shown inside of the staves. What happens to show us that the piece modulates back to C Major by the end of the piece? Example 3: 6

& œ œ œœ œ ˙˙ œ ? œœ # œ ˙˙

7

œ œ œ œ

œ œ œ œ œ œ œœ

œ˙

œœ œ

Which is the pivot chord back to C Major? What is the pitch and solfege syllable in the soprano voice in the pivot chord in G Major? To what solfege syllable does the soprano voice change in the new key of C Major? What is the pitch and solfege syllable in the alto voice in the pivot chord in G Major? To what solfege syllable does the alto voice change in the new key of C Major? What is the pitch and solfege syllable in the tenor voice in the pivot chord in G Major? To what solfege syllable does the tenor voice change in the key of C Major? What is the pitch and solfege syllable in the bass voice in the pivot chord in G Major? To what solfege syllable does the bass voice change in the key of C Major?

156

MODULATION -- 12

Modulations often occur to the dominant. To help visualize this, look at the Circle of Fifths* chart, below:

34

Dominant (V) Subdominant (IV) Circle of Fifths

If one wants to find the dominant of a key, he looks to the next key clockwise from that key. What is the dominant of the Key of F? G? A-flat? B? If one wants to find the subdominant of a key, he looks to the next key counterclockwise from that key. What is the subdominant of the Key of C? D? E? If one wants to modulate from one key to another, he can find the chords that the two keys have in common by looking at the chart. For example, if a person wishes to modulate from the key of C to the key of B-flat major, the F Major chord may be used as a pivot chord, since it is common to both keys. It is the IV chord in the key of C and the V chord in the key of B-flat. Modulation to the dominant is quite common in music in a Major key. Modulation to the relative Major or minor is also quite common. Modulation may also occur between parallel major and minor keys. Two keys are said to be parallel if they share a note name. For example, E Major is parallel to E minor; B-flat Major is parallel to B-flat minor; F-sharp minor is parallel to F-sharp Major. When this occurs there is a change in key signature and modality, but the tonal center remains the same. _________________________________ * The reason this chart is called the "Circle of Fifths" is because as one moves clockwise around the circle, the notes move up by fifth (or down by a fourth). As they move counterclockwise to the subdominant, the notes move down by a fitfth (or up by a fourth). If one keeps modulating up by a fifth, one will eventually end back up in the original key.

157

12 -- MODULATION

In the exercises below: 1. Identify the key of each. 2. Identify the key to which each modulates. 3. Locate the pivot chords (to and from) and define them in both keys. 4. Identify the solfege syllable for the pivot notes (to and from) of each voice part.

1.

# & # 44 œ œ œ ? # # 4 œœ œ 4

# & # œœ ? # # œœ 2.

# œœ œ œ

œœ œœ œœ ˙ ˙

œœ œœ œœ œ

n œœ

œœ

œœ œœ œ œœ œ œ œœ œ œ

œœ œ œœ œ œœ œ œ œ œœ œ œ œ œœ œ œœ œ œ œ œ œ

b & b b 34 œœ œœ œœ œœ œœ œœ œ œ œ˙ ? b b 34 ˙˙ b

b & b b œœ œ œœ œ œ ? bb œ œ b

œœ œœ œœ œœ œœ œœ œ œœ ˙˙ œ

œœ œœ œœ œœ ˙˙ œ œ ˙ œ œ ˙

? b 44 œœ œœ œœ œœ

3.

œ œœ œœ œœ # œ œœ œœ # œœ ˙˙ œ œ ˙˙ ˙ ˙˙ œ œ ˙

œœ œœ ˙ ˙ œœ ˙ ˙

œ œ # œœ œ n œ œ œ œ œ œ œœ œ œ œ œ

& b 44 œœ œœ œ œœ œœ

& b œœ œœ œ œœ œœ ? b œœ œœ œ œœ

œœ œ œ

œ œ œ

œ œ œ œ

œœ œ

œœ

œœ

œœ œ œ

œ œ œ œ œ œ œ œœ œ œœ œœ œ 158

œœ œ œœ œ œ b œœ œœ œ œœ œœ œ

œœ œ œ

œ œœ œœ œ œ œœ œœ

œœ œ œ

œœ œœ ˙. ˙. ˙. ˙.

œœ n œœ œ œœ œ œ œ œ œ

œ ˙ œ œ ˙˙ œ

œœ œ œ

˙. ˙˙ ..

˙˙ ˙˙

MODULATION -- 12

FORMAL MODULATION: A formal modulation occurs when there is a notated key change in the piece. This kind of modulation may be prepared with altered chords, or it may be sudden, without warning. Is the modulation in the example below a prepared or unprepared modulation? Defend your answer.

b & b 34 œœ ? b b 34 œœ

œœ œ œœ œœ œ œ

œœ ˙˙

œœ œœ

b & b œœ ? b b œœ

œœ œ œ œ œœ œ œ

& b œœ ? b ˙˙

œœ

œ œ œ œœ œœ ˙˙

œœ

& b œœ ? b ˙˙

œœ

œœ œ œœ œœ ˙˙

œœ

b & b œœ ? b œœ b

I

b & b œœ ? b b œœ

œœ œœ

œœ ˙˙

œœ

œœ

œœ œœ

œ œ œ ˙ ˙

˙˙ .. ˙˙ ..

œœ œ œ ˙ ˙

n œœ œ œ

œœ œ œ

œœ œ œ

œœ œ ˙˙ .. ˙˙ .. œœ

œœ œ œ

œœ œœ œ œ œ œ œ œ

œœ œœ

œœ ˙˙

œœ œ œ

V7 of

/I

V

œœ

b œœ œœ I7

œœ œ œœ œœ œ œ

œœ œœ

œœ ˙˙

œœ

œ œ œ ˙ ˙

œœ œœ

˙˙ ˙˙

œœ œ œœ œœ œ œ

œœ œœ

œœ ˙˙

œœ

œœ œ œ ˙˙

œœ œ œ

˙. ˙.

159

œœ œœ

˙˙ ˙˙

œ

œœ œœ

˙˙

/ V7

12 -- MODULATION

MODULATION TO THE RELATIVE: Perhaps the simplest modulation is to the relative major or minor, because, in its natural form, the minor key has all chords in common with the major. Even if the raised sixth is used to create a major dominant (V) chord for the minor key, it is still very easy to slip back and forth from relative keys. If there are no altered notes (no major V chord), one has to determine whether or not a modulation has taken place by looking at the cadences. If there is a iii - vi cadence in one or more places and the chords keep moving back and forth from the iii chord (dominant to the vi chord) to the vi chord, then it is safe to assume that a modulation has occurred. Below is an example of a modulation to the relative minor with no accidentals or other markings indicate a modulation. In what measure does the modulation begin? In what measure does it end?

# & 34 œœ œ ? # 34 ˙ # œ & œ œ ?#˙ &

#

&

#

?#

œœ ˙œ

œœ œœ

˙. ˙. ˙˙ ..

œœ œ œœ œœ œœ œœ œœ

œœ

œœ

œ œ œ œ

œœ œ œ

œœ œ œ

œ œ œ œ œœ œ œ ˙˙ .. ˙ œ ˙˙ .. ˙ œ

œœ œœ

œœ œ œ

œ œ œœ

œœ

œ œ

œœ œ œ

œœ œœ

œœ œ œ

œ œœ œ œ œ œœ

œœ œ œ

œœ œœ

œœ œœ

œœ œ œœ œœ œœ

œœ œ œ

˙˙ .. ˙˙ ..

œ œœ œ œ œ œœ

œœ œ œ

? # ˙˙

œœ œ œ

œ œœ œ œ œ œœ

160

˙˙

œœ œœ

œœ œœ

MODULATION -- 12

The following exercises contain modulations, some formal, some informal, some to the relative or parallel major or minor. 1. Identify the pivot chord or point of modulation and the new key (and back). 2. Determine the pivot note for your voice part, both modulating and returning. 3. Audiate the point of modulation--first in the original key; then in the new key. 4. Audiate the entire piece. 5. Chant in chorus. 6. Sing in chorus with solfege and handsigns.

1.

# & 34 œ . #3 & 4 œ. # 3 œ. V 4 ? # 34 œ .

# & œœ˙ # & œ œ œ # œœ˙ V ?# œ ˙ # ˙. & # & ˙. # V ˙. ? # ˙.

œœ J j œœ œœ J œœ J

œœ˙

œ.

œ œ œ œœ ˙

œ.

œ ˙

œ. ˙

j œ. œ œ œ ˙.

Fine

j œ. œ œ j œ. œ œ

˙. ˙.

œ

j . œ œœœ

j œ. œ œ œ.

œ

œ.

œ

œ

˙

œ œ

j œ œ œ ˙. j œ œ ˙.

œ œ.

œ.

œœœ J j œœœ j œœ œœœ J

œ œ œ œ œ. œ œ.

œ œ œ

j œ

œ J

œ #œ œ #œ

˙

D.C. al Fine

œ

˙

œ

œ

œ

j œ œ ˙

œ

œ

œ ˙

œ

œ

161

œ.

j œ œœ˙ j œ œ ˙ œ œ ˙ J œ œ J ˙

œ œ. œ œ.

œ ˙

œ.

˙.

œ

œ œ.

˙.

œ.

œ œ J œ ˙.

œ

œ

#œ

˙

œ œ

œ œ

12 -- MODULATION

2.

b & b 44 œ œ b & b 44 œ œ b4 œ œ Vb 4 ? b b 44 œ œ b & b œ œ œ. b & b œ œ œ. b V b œ œ œ. ? bb œ œ œ .

j œ œ œ œ Œ

œ.

j Œ œ œ œ œ œ œ œ œ Œ J œ œœœ œ Œ J

œ. œ. œ.

j œ œœœœœ œ

j œ œ J œ J

œ œ œ Œ œ œ œ Œ œœœ œ œ

œ œ œ. œ œ œ. œ œ œ. œ œ œ.

œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ

& b œ œ œ.

œ J j œ œ J œ J

&b ˙ œ œ Vbœ œ œ œ ?b ˙ œ œ

j œ œœœœœ œ ˙ ˙

œ œ

œœœ œœœ œ œ œ œ œ œ œœœ

œ œ œ œ œ œœ œ œ œ œ

œ nœ ˙ œ œ ˙ œ œ ˙

œ œ

˙

nœ œ ˙ œ œ ˙ œ œ ˙

œ œ œ œ œ œ œ œ œ œ. œ œ J J ∑ œ œ œ . Jœ œ œ œ œ œ œ œ &b œ œ œ œ œ œ. œ œ V b œ œ œ. J œ œ œ œ J ?b ˙ œ œ œ œ œ œ ˙ œ œ œ & b œ œ œ.

* ˙ œ œ

œ ˙ œ

˙ œ ˙ œ ˙

œ œ œ

œ

œ œ œ bœ œ œ œ œ œ œ œ œ

* This may appear, at first sight, as a modulatory cadence, but since it continues in the key of B-flat in the next measure, the is merely a half cadence with a secondary dominant (V of V).

162

MODULATION -- 12

b & b œ œ œ. b & b œ œ œ. b V b œ œ œ. ? bb œ œ œ . b & b œ œ œ. b & b œ œ œ. b V b œ œ œ. ? b b œ œ œ. b &b w b &b w b Vb w

? bb w

j œ œ œ œ Œ

j œ œ J œ J

œ œ œ Œ œ œ œ Œ

œœœ œ Œ

j œ œœœœœ œ

j œ œ œ œ Œ œ J œ œ œ Œ œ J œœœ œ œ

œ œ œœœ œ œ œœœ œ œ œ œ œ œ œ œ

œ œ œ. œ œ œ. œ œ œ. œ œ

œ.

œ œ œœœ œ œ œœœ œ œ œ œ œ œ œ œ œ w

˙

œ œ ˙ œ œ w œ ˙

˙.

œ œ ˙ œ nœ ˙ œ œ ˙ œ œ ˙

What kind of cadence?

˙. ˙

œ J j œ œ J œ J

œ.

œ˙ J j œ˙ j œ˙

œ. œ. œ

œ w

˙ ˙

w

w w

What kind of cadence?

163

˙

12 -- MODULATION

This exercises modulates from one key to its parallel minor. Name the key. Name its parallel minor. Notice at the point of modulation, the tenor note changes from C # to C n in the next measure.

### 4 j & 4 œ. œ œ œ ### 4 & 4 œ œ œ œ ### 4 œ œ V 4 œ œ ? # # # 44 œ œ œ œ

3.

& &

### ###

& ˙ n C V ˙ ?

œ.

& œ. & ˙ V ˙ ?

œ.

œ œ œœ œ J

œ œ œœ œ J

œ œ ˙ œ œ œ œ

œ #œ ˙ œ œ ˙

œ œ œœœœ œ œ œ œ

œ œ ˙

œ œ ˙ œ œ ˙

œ œ œ œ œ œ œ œ

œ

œ ˙ œ œ ˙ œ œ ˙

œ œ œ œ ˙# C œ œ ˙

œœœœœ œ

w

œ œ

œ œ œ œ œ œ

˙ ˙

˙

˙

œ œ œ œ

#˙ ˙

œ œ œœœœ

œ œœœœœœ œ œ ˙ œ œ œ œ ˙ ˙ œ œ ˙ ˙ œ œ

œœ œœ œ œ ˙ J ˙

œ œ ˙ œ . œjœ œ

œ œ œ œœ

œœ œœ œ œ ˙ J ˙

œ œ œ œ

œœœ ˙ j œ. œ ˙ œ œ ˙

œœœœ˙

œ œ œ œœ

œ œ ˙ ### œ œœœ V œ ? ### œ œ œ œ

& œ.

œ œ œ œœ œœœœ˙

œœœ ˙

œ

œ ˙ œ œ ˙

œ œ ˙

164

œ œ ˙

MODULATION -- 12

& &

###

###

œ.

j œœ œ

œ œ œ œ ### œ œ œ œ V ? ### œ œ œ œ

œœœ ˙ j œ. œ ˙ œ œ ˙

œœœ œ œ

œœœœ˙

& &

###

###

œ œ ˙ ### œ œœœ V œ ? ### œ œ œ œ ### œ . & ### & œ ### œ V ? ### œ & &

###

###

œ œ œ

œœœ ˙

œ œœ˙ ### œ œ ˙ V ? ### œ œ ˙

˙ ˙

œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œœ

œ œ ˙ œ œ ˙

œ œ œ œ œ œ œ œ

œ œ œœœœ œ œ œ œ

œ œ œ œ J ˙

œ œ œ œœ œœœœ˙

œœœ ˙

œ. nœ nœ œ œ œ

œ

nœ nœ œ ˙

œ œ nœ œ œ œ ˙ œ œ ˙

165

œ nœ œ œ J

œ.

œ œ ˙ œ . œjœ œ œ #œ ˙ œ œ ˙

œœœœ˙ œ œ ˙ œ œ ˙

˙ ˙

œ

œ

˙

œ

œ

œ ˙

œ

w

œ ˙ œ œ œ ˙

w ˙

˙

w

œ

œ œ

œ

œ œ œ œ œ J ˙ ˙

œ

œ

˙

12 -- MODULATION

## 4 & 4 # & # 44 ## 4 V 4

4.

œ œ ˙

˙

j œœ

&

##

˙

œ œœœœ œœ

# & # ˙ ## ˙ V

? ## w

œ

# œ & # œ œ ˙ ## & œœœœœ œ ˙ ## V œ œ œ ˙ œ œ ˙

b ˙ œ œ & b b .. j j b & b b .. œ œ œ œ œ œ b œ œ V b b .. ˙ 12

? b .. w bb

œœœœœ œ

œœ˙

j œ œœœ œœœœœ œ ˙ œœ ˙ œ œ œ œ

œœ˙

œ œœœœ œœ

œ œ œœœœœ œ

œ œ œ œ œ œ

w

œ

˙

œ

˙ b˙

nœ

œ ˙

œ œ œ œ ˙

9

? ## œ

œ œ œ

3rd time to m 9

j j œ œœœ œœœœœœœ œ œ œ œ ˙ œ œ ˙ ˙ œ œ w

? # # 44 w 5

œœ œ ˙

œ

˙

˙

œ

œ œ œ

˙ ˙

œ

œœœ ˙

Œ Œ

Œ

Œ

œœœ œ œœœ œ

œ

œ

˙

bœ

œ

œ

œ œ

3rd time to m. 20

jœ j œ œ œ œ œ œœœ œ œ œ œ ˙ œ œ ˙ œ œ ˙ œ œ w 166

.. .. ..

Da Capo

œ œ

œ

..

œœœ œ

œ

n˙

œ

˙

œ

n˙

œœ˙

œœœœœ œ ˙ œ œœ ˙ œ

œœ ˙

.. .. .. ..

MODULATION -- 12

b &bb b &bb b Vbb 16

.. ..

œ

˙ .. ˙

&

bbb

œœœœœ œ œ

? b œ bb b &bb b &bb b Vbb

œ

j œ œ

œ œ œ œ œ œ œ œ œ

œ œ œ

j œ œ œ œ

œ œ œ œ œ œ œ ˙ œ œ

? bb w b

b &bb œ œ œ œ b &bb œ œ œ œ b Vbb ˙ ? b œ œ bb 25

œ

œ

œ

œ

˙

œœœ œ œ

œ œ

œ œ

˙

œ œ

œ œ œ œ œ œ œ

œ

.. ..

œ

œ œ

œ œ œ œ œ œ

œ œ

˙ œ

.. œj œ ..

œ

œ œ

œ œ

j œ œ œ œ

œ œ œ œ œ œ œ .. ˙ œ œ .. w

" œ œœœ œ œ œ œ œ œ œ œ œ œ " œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ " œœœ œ œ œ œ œ œ œ œ " œœœœœ œ œ œ œ œ 167

œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ

.. .. w

œ

œ

w

œ

œ œ œ œ œ œ œ .. .. ˙ œ œ

œœœœœ œ ˙ œ œœœœœ œ

œ

˙ ˙

j œ œ œ œ

.. .. œj œ

2nd time to m. 12

b &bb œ b œ Vbb 22

œ œ

œ

? b b .. w b 19

œ œ œ œ œ

œ œ œ œ œ œ œ

œ œ œ œ

12 -- MODULATION

The following exercise contains several places in which it seems that it might be modulating, but, in reality, it only modulates one time. Analyze the piece carefully and find where it truly modulates into another key. Then decide the function of the other, nonmodulatory altered notes. This is a rather long exercise. Make sure you study over it all the way to the end.

œ & 34 œ . œj œ œ œ œ . & 34 œ . œj œ œ œ œ . œ V 34 ˙ œ ˙ œ œ . ? 34 ˙ œ ˙ œ ˙

5.

8

& ˙.

& ˙. V ˙.

? ˙.

œ œ œ. œ œ œ œ . œj œ œ ˙ J j j . œ œ œ œ œ ˙ œ. œ œ œ œ jœ ˙ œ ˙ ˙ œ . œ œ œ ˙

j œ . &œ #œ ˙ . 15

&˙ V˙ ?˙

œ œ œ ˙ œ . œJ œ œ J j j œ œ œ ˙ œ. œ œ j œ œ ˙ œ œ . œJ œ œ ˙ œ ˙ œ

œ ˙. œ ˙. œ ˙.

œ ˙

œ ˙

. œ œ œJ œ œ œ j œ . œ #œ œ œ œ œ œ . œJ œ ˙ ˙

œ

œ œ œ

168

œ ˙

œ

œ œ œ œ œ œœ ˙ œ ˙ œœ œ œ œ œ œ œ œ œ œ œ œ œ

œ ˙ œ. œ œ œ œ œ J œ ˙ œ ˙ ˙

œ

œ œ . œJ j œ #œ œ . œ ˙ ˙ œ œ œ œ

œ . # œj œ

œ ˙

œ. œ œ J

#˙

j œ. œ œ œ . œj œ

œ œ œ

œ . œJ œ

œ

˙

œ

MODULATION -- 12

œ œ œ œ #œ . œ ˙ . & œœ J 22

&œ œ œ œ V œœ œ œ ?˙

œ œœœ œ J j œ œ# œ œ œ œ œ ˙ J ˙

& œ œ. 29

& œ #œ . V œ œ. ?

œ ˙

35

˙.

& ˙. & ˙ V ˙.

? ˙.

œ œ œ #˙ . œ œ œ ˙. ˙ œ ˙.

œ

˙. ˙. ˙.

œ œ . Jœ œ œ œ . # œj œ œ œ œ ˙

œ

˙

œ

œ ˙ œ œ œ #˙ . œœœ œ œ œ #˙ . ˙ œ œ ˙ ˙.

#œ œ #œ

˙.

œ œ œ

œ œ œ

#˙ . ˙.

œ #œ œ œ œ œ

œ œ #œ œ œ œ œ

#œ ˙

#œ œ œ œ #œ œ ˙

#œ

œ œ œ

˙.

œ œ œ

œ œ œ. œ œ œ œ . œj œ œ ˙ J j j . œ œ œ œ œ ˙ . œ œ œ œ œ j ˙ œ ˙ œ œ. œ œ ˙ œ ˙

42

& œ œ œ œ œ œ œ ˙.

& ˙ œ ˙ œ œ ˙. V œ œ œ œ œ œ ˙. ? œ œ œ œ œ œ ˙.

˙.

œ ˙

œ ˙

œ

˙

œ

œ œ œ. œ œ œ . œj œ œ J j j . œ œ œ œ œ. œ œ œ œ jœ ˙ ˙ œ . œ œ œ ˙

169

œ ˙

œ ˙

œ

œ . œJ œ œ j œ. œ œ œ. œ œ J ˙ œ œ ˙ #œ ˙ ˙ ˙

œ

œ

12 -- MODULATION

œ. œ œ & J j & œ. œ œ œ V ˙ œ ?˙ 49

œ œ œ œ. œ œ ˙. J j œ œ œ œ. œ œ ˙. ˙ œ œ . œj œ # ˙ . ˙

œ ˙

œ ˙.

œ. œ œ œ œ œ œ . Jœ œ ˙ . J j œ. œ œ œ œ œ ˙ œ ˙. ˙ œ ˙ œ œ. œ œ ˙. J ˙ œ ˙ œ ˙ œ ˙.

Vocabulary:

1. Direct modulation--"Unprepared" modulation; a modulation that occurs with no preparation or warning 2. Dominant--The fifth note above the tonic; the V chord 3. Formal modulation--A modulation that is indicated by a change in key signature

4. Informal modulation--A modulation that is indicated only by a change in modality or the use of altered notes 5. Modulation--A change of key in the midst of a piece of music 6. Parallel major/minor--Keys which are called by the same letter name, for example A major and A minor; F major and F minor 7. Pivot chord--A chord common to both the original key and the key of modulation that serves as a link between the two keys 8. Relative major--A Major key that shares a common key signature with a minor key 9. Relative minor--A minor key that shares a common key signature with a Major key; The tonic of the relative minor is a minor third lower (La) than the tonic of the Major key. 10. Subdominant--The fourth above the tonic; the IV chord

Pencil Time 4: Activity Sheet 31: Pivot Chords

Activity Sheet 32: Modulation to the Relative or Parallel Major or Minor Activity Sheet 33: Circle of Fifths Activity Sheet 34: Analysis: "Navy Hymn"

170

MODULATION -- 12

The Navy Hymn

The hymn, "Eternal Father, Strong to Save," was written by two Englishmen. The original poem was in 1860 by William Whiting of Winchester, England, for a student of his who was sailing to America. The poem was set to music in 1861 by Rev. John Bacchus Dykes, an Episcopalian priest. It is has come to be known as the "Navy Hymn" because it is not only sung for official ceremonies at the U.S. Naval Academy, it is also used by the British Royal Navy and the French Navy. "Eternal Father" was President Franklin Delano Roosevelt's favorite hymn and was sung at his funeral William Whiting in April 1945. It was also played by the Navy Band in 1963 as President John F. Kennedy's body was carried up the steps of the Capitol. Both Roosevelt and Kennedy had served the Navy, Roosevelt as Secretary of the Navy and Kennedy as a PT boat commander in World War II. In 2004, "The Navy Hymn" was again played, this time for the funeral of President Ronald Reagan. In 1879, Lieutenant Commander Charles Jackson Train (later a Rear Admiral), then director of the Midshipmen's Choir, instituted the practice of singing the first verse of "Eternal Father" at the conclusion of the U.S. Naval Academy's Sunday Services. Because of this practice "Eternal Father" came to be called "The Navy Hymn," became an integral part of Navy tradition, and gained increasing popularity among U.S. Navy personnel. Other verses have been added over the years to include all military personnel, such as submariners, pilots, and land forces.

Rev. John Bacchus Dykes

171

12 -- MODULATION

The Navy Hymn

Eternal Father, Strong to Save SATB A cappella

William Whiting

Rev. John Bacchus Dykes Arr. Patti DeWitt

Reverently

P

& 44 œ 1

S

E

A

T

B

P

-

P

E

-

E

-

& 44 œ V 44 œ

P

?4 œ 4

E

4

F

-

œ

œ

F

doth

bind

arm

doth

& œ

arm

& œ

F

V œ

arm

#œ œ

F

doth

arm

doth

? œ

œ

œ

bind

œ

bind

œ

bind

œ.

ter

œ.

ter

œ.

ter

œ.

ter

œ

the

œ

the

œ œ

the

œ œ

the

-

-

-

-

j œ œ

œ

œ

nal Fath - er,

j œ œ

œ

j œ œ

œ

rest - less

œ

œ

œ œ œ

rest - less

rest - less

œ

œ

rest - less

œ

œ

p

œ

p

œ

wave, Who

p

œ

wave, Who

Where is the modulation in "The Navy Hymn"? What is the pivot chord? From what key to what key does it modulate? What is the function of the pivot chord in the first key? What is the function of the pivot chord in the second key?

172

œ

œ œ œ œ œ

œ

œ œ œ œ œ

œ

to

to

strong

wave, Who

œ

œ

save, Whose

save, Whose

cresc. . . . . .

wave, Who

œ

œ

strong

p

œ

save, Whose

cresc. . . . . .

nal Fath - er,

œ

œ

cresc. . . . . .

strong

œ

#œ

to

œ

nal Fath - er,

œ

œ

strong

nal Fath - er,

j œ œ

cresc. . . . . .

to

œ.

bids

save, Whose

j œ œ

œ

j œ œ

œ

cresc. . . . . . . . poco

the might - y

cresc. . . . . . . . poco

œ.

bids

the might - y

j œ œ

œ.

cresc. . . . . . . . poco

œ.

cresc. . . . . . . . poco

bids

bids

œ

the might - y

j œ œ

œ

the might - y

MODULATION -- 12 7

j œ #œ

œ

a . . . . . . poco . . . . .

& œ. o

-

cean deep

j œ œ

Its

a . . . . . . poco . . . . .

& œ. o

-

cean deep

j œ œ

#œ

Its

V œ. o

? #œ .

-

cean deep

j œ œ

œ

10

& œ.

hear

&

œ.

hear

V bœ .

hear

? œ.

hear

13

& œ. on

&

-

cean deep

j œ œ

us when

j œ œ

Its

œ

#œ

œ

œ

œ

œ

œ

F

#œ

œ

œ

F

œ

#œ

Its

own

ap - poin - ted

œ

j œ œ

we

cry

to Thee

j œ œ

œ œ J

us when

j œ œ

us when

œ.

œ

we

cry

œ.

œ

we

cry

œ

to Thee

œ œ J

œ.

cresc. . . . . .

we

cry

to Thee

Ó

sea.

the

sea.

V œ. on

the

sea.

œ.

P

the

sea.

O,

œ

Œ ∑

œ.

migh

-

173

œ œ J

œ

Oh,

œ

#œ

œ

keep.

œ

Oh,

œ

œ

œ

œ

li - mits

œ

œ

li - mits

for

œ

those

in

œ

for

œ

those

#œ

œ

œ

œ

for

those

œ

œ

those

p

œ

Ah

p

œ

Ah

œ

ty Spi - rit,

p

œ

œ

keep.

in

#œ

in

Oh,

œ

œ

œ

œ

œ

œ

œ

per - il

per - il

per - il

per - il

œ œ œ œ œ cresc. . . . . .

p

œ

cresc. . . . . .

œ ∑

œcresc. œ. . . . . œ who

p

Oh,

in

œ œ œ

œ

keep.

œ

œ

for

Œ

Ó

j œ ˙ j œ œ

œ œ J

cresc. . . . . .

j œ ˙

j œ ˙

to Thee

keep.

li - mits

ap - poin - ted

#œ .

#œ

F

ap - poin - ted

p

œ

li - mits

ap - poin - ted

cresc. . . . . .

on

on

œ

own

œ.

?

œ

cresc. . . . . .

us when

the

own

#œ

œ

a . . . . . . poco . . . . .

o

œ

own

a . . . . . . poco . . . . .

F

didst brood

P

œ

Up

P

-

œ

Up -

F

œ

Up -

12 -- MODULATION 16

& œ

œ œ œ œ œ

œ

on

the

cha - os

& œ #œ

cha - os

V

∑

on

? 19

œ œœ œ œ

the

œ

œ

on

the

dark

œ

dark

œ

and

˙

rude,

and

œ

œ

œ.

j œ œ

œ

Ah

rude, And

bid

œ

∑

F

Œ

˙

dark

and

rude,

œ

#œ

œ

And

give

for

wild

œ

œ

#œ

œ

œ

œ #œ

˙

F

œ œ œ

œ #œ

cha - os

& #˙

œ

j œ #œ

ang

And

nœ œ

-

˙

-

œ

œ

cresc. . . . . . . . poco . . . . . . . . a . . . . . . . . poco . . . . . . .

con

the

bid

tu - mult cease And

œ

give

œ

for

œ

wild

œ

con

œ œ œ

-

∑

˙

dim. e rit. . . .

fu

-

sion

œ

Œ

œ œ œ

œ

œ #œ

fu - sion

œ

peace:

cresc. . . . . . . . poco . . . . . . . . a . . . . . . . . poco . . . . . . . dim. e rit. . . .

V œ œ ? 22

tu - mult

cease And

for

∑ p

A tempo

œ

peace:

œ

O,

∑ p

V bœ .

œ

con

-

peace:

Ó

Œ

œ.

F

œ

œ

#œ

p

œ

O,

œ

F

those

in

per - il

cry

œ œ J

For

to thee

For

F

those

in

œ

per - il

to thee

For

those

in

per - il

we

œ

#œ .

hear

us when

we

cry

œ œ J

174

œ

œ œ

in

œ

O,

those

us when

For

Œ

p

F

p

œ œ J

œ œ œ us

hear

œ

fu - sion

Ó

hear

œ œ J

? œ.

wild

∑

& ˙ &

give

œ

the

cresc. . . . . . . . poco . . . . . . . . a . . . . . . . . poco . . . . . . . dim. e rit. . . .

& œ.

ry

œ #œ

œ œ

œ

per - il

œ

œ

œ

œ

œ

œ

MODULATION -- 12

U œ œ & œ. J on the sea. molto rit. . . . . . U &œ œ œ 25

on

œ

the

# & # œ &

##

and

œ

œ

love

Tri

Tri

and

"

sea.

pow'r

& &

##

Tri

pow'r

ni - ty

of

-

-

ni - ty

of

-

-

ni - ty

of

œ

-

œ œ J

ni - ty

of

œ

œ

ren

shield

œ

in

œ œ

-

œ

œ

Our

breth

œ

-

j œ œ

œ œ

œ œ œ #œ œ

œ œ œ œ

œ œ ? ## œ œ œ ##

# # 44 œ .

œ

O,

# œ œ V # œ œ œ

29

## 4 4 œ.

f

œ

-

j œ œ

## 4 4 œ œ œ œ œ œ œ

U œ

œ

love

œ

f

O,

the

27

-

œ

O,

sea.

molto rit. . . . . . œ ? œ. J

on

Tri

Broadly

sea.

molto rit. . . . . .

on

"

O,

## 4 4 œ.

U U" f œ #œ œ

the

Vœ

f

"

molto rit. . . . . .

Our

breth

-

ren

shield

in

œ

œ œ œ

œ œ œ œ

love

and

pow'r

Our

œ

breth

œ

-

ren

shield

œ

in

love

and

pow'r

Our

breth

-

ren

shield

in

œ

dan

-

#œ

ger's

œ

hour

œ œ œ œ œ œ

dan

-

ger's

hour

P

From

P

rock

From

rock

œ œ

P

# œ œ œ œ œ œ V # œ dan

? ## œ

dan

-

ger's

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ger's

hour

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hour

œ.

œ

From

œ

œ. œ.

P

rock

From

rock

œ

175

œ

j œ œ

œ œ

cresc. . . . . . . .

and tem

-

œ

pest,

j œ œ œ œ œ

cresc. . . . . . . .

and tem

j œ œ

-

and tem

œ œ œ œ œ

and tem

pest,

cresc. . . . . . . .

-

œ

pest,

œ

cresc. . . . . . . .

-

pest,

12 -- MODULATION 31

& &

## ##

j œ #œ

œ

poco . . . . . . . . a . . . . . . . . poco . . . . . . .

œ.

fire

and foe;

Pro

j œ œ œ

-

them

œ #œ

tect

-

so

-

tect

them

where

-

so

-

poco . . . . . . . . a . . . . . . . . poco . . . . . .

. f

fire

tect

them

where

-

so

-

foe;

Pro

-

œ

œ œ J

œ

e'er

e'er

# V # œ

e'er

? ## œ

e'er

œ

œ

and foe;

œ

œ

#œ œ œ œ œ œ œ œ

#œ

œ

they

go.

œ #œ

they

œ they

œ

œ nœ

go.

œ

œ

go.

they

go.

œ

j œ œ

#œ . rise

& V

## œ .

to Thee

a . . . . . . poco . . . . .

to

Thee

œ J œ

a . . . . . . poco . . . . .

rise

? ## œ .

to Thee

œ œ J

a . . . . . . poco . . . . .

rise

Pro

-

F

œ

to

Thee

#œ œ œ #œ œ œ œ œ

Thus

F

ev

Thus

ev

œ

-

er - more

œ

shall

cresc. . . . . . . . poco

œ œ œ

œ

F

j œ œ

cresc. . . . . . . . poco

œ.

œ

F

ev

Thus

ev

œ

f

œ

œ.

œ

Our

-

er

nœ

Thus

-

œ œ œ

more

œ œ œ

shall

œ œ

cresc. . . . . . . . poco

-

er - more

œ œ J

shall

œ

cresc. . . . . . . . poco

-

er - more

shall

œ

œ

œ

f

hymns

Our

f

hymns

of

praise

from

Our

f

hymns

of

praise

from

œ

Our

œ

hymns

#œ

œ

œ

œ œ œ œ

œ œ œ

rise

-

#œ

and foe;

a . . . . . . poco . . . . .

##

Pro

œ

-

where

# & # œ #œ

&

so

them

? # # #œ

##

-

f

and

fire

35

where

œ

œ

# V # œ.

&

œ

œ œ #œ

fire

##

#œ

f

poco . . . . . . . . a . . . . . . . . poco . . . . . . .

33

œ

tect

poco . . . . . . . . a . . . . . . . . poco . . . . . . .

œ.

f

œ

176

œ œ œ

of

praise

from

œ œ œ œ œ œ

œ

of

œ œ œ œ

praise

from

MODULATION -- 12

&

##

&

##

V

##

37

œ.

land

land

&

U

and sea.

## ˙ .

land

œ

and sea.

œ œ œ œ ˙

land

##

˙

œ œ œ œ œ

land

&

j œ ˙

j œ ˙

œ and

land,

land,

? ## ˙.

land

"

U ˙

"

dim. e rit. . . .

w

# V # ˙.

U ˙

dim. e rit. . . .

and sea.

ƒ

w

œ

and

Our

F

˙

Our

F

˙

Our

F

˙

Our rit. . . . . . . . . . .

sea.

ƒ

˙

rit. . . . . . . . . . .

˙

rit. . . . . . . . . . .

˙

land

œ

˙

"

˙

and sea.

F

"

dim. e rit. . . .

? ## œ. 40

U

dim. e rit. . . .

ƒ

and

˙

land

ƒ

w

and rit. . . . . . . . . . .

sea.

177

œ

hymns

œ

œ

œ

cresc. e molto rit. . . . . . . .

of

praise from

œ

cresc. e molto rit. . . . . . . .

œ

hymns

œ

hymns

˙

hymns

U ˙. U ˙.

U ˙.

sea.

sea.

U ˙. ˙.

œ

of

œ

praise from

œ

cresc. e molto rit. . . . . . . .

œ

of

œ

praise

from

cresc. e molto rit. . . . . . . .

œ

œ

praise from

13: Lowered Notes 1. Te--Lowered Ti When a note is lowered, it has a tendency to resolve down by step, as opposed to 7 the raised notes which tend to resolve upward. A note can be lowered in several ways:

& ˙

1. Flatted:

b˙

Ti

? ### ˙

2. "Natural"ed: When a natural sign cancels a sharp and lowers the note 3. Double-flatted:

Te

Ti

b b b ˙ b & b b b

b

˙

La

n˙

˙

Te

La

∫˙

˙

When Ti is a flatted note, such as in the key of C b Major, above, it is necessary to Ti

Te

La

double-flat the note to make it "Te." Handsign for Te:

#4 & 4 œ œ ˙

Melodic:

œ nœ ˙

œ œ ˙

Te

œ œ ˙

Te is a part of the I 7 chord, a secondary dominant leading to the IV chord.

œ œ œ ˙ œ œ œ ˙ nTeœ œ œ œ œ œœœ˙ œœœœ˙ œœœœ˙ ? ## 4 œ œœœ œ 4 I

V

/ V7

I7

178

of

IV

V

I

LOWERED NOTES -- 13 Major 7th

Minor 7th

œœ & 44 œ œ œ œ œ œ œ7 œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ ˙ œ œ œ œœ œœ œ˙ œ Ti Te 



Harmonic: Finish analyzing the examples below. Then sing them.

& 44 œ

& 44 œ V 44 œ ? 44 œ

œ œ œ bœ

œ œ œ

œ œ

œ œ œ œ

œ œ œ œ

œ

œ

œ

/

œ

I7 V7 of IV

˙

˙ ˙

œ

˙

˙

/

˙

I7 V7 of IV

œ ˙. ? 44 œ . œ œ J 1. œ ˙ N ? ˙ . Œ œ . Jœ œ Melodic exercises:

? b˙ .

Œ

bœ .

œ

œ

œ œ

œ

œ

œ œ ˙

œ

œ

œ œ ˙ œ œ ˙

œ

œ œ œ

œ œ œ œ bœ œ ˙ b 4 &bb4 œ b & b b 44 œ œ œ œ œ œ ˙ b 4 Vbb4 œ œ œ œ œ œ ˙ ? b b 44 ˙ . b

œ

œ

œ

œ œ ˙

œ

œ œ œ œ

œœœ ˙

œ œ œ œ

œ œ ˙

œ œ ˙

œ œ ˙

œ œ œ œ

œ œ œ œ . Œ J ˙ œ. œ œ œ J Nœ . œ œ œ ˙. Œ J

b˙ .

œ œœ˙

bœ . œ œ œ J œ ˙. Œ œ . Jœ œ œ œ œ ˙. J Œ Œ

#3 j Œ œ nœ œ œ 2. & 4 œ œ œ œœœ œ ˙ œ œ œ œ. œ # œœœ œ œ œœœ œ & œ œ œ œ œ ˙. œ œ # Œ œ œ œ œ ˙. & ˙ œ œ nœ œ œ œ ˙ 179

13 -- LOWERED NOTES

3.

? b b 44 œ œ œ œ œ

? b b œ bœ œ

œ

? bb œ œ œ . 4.

& b 44 œ œ œ œ œ

? ## 3 œ œ 4

? ## ˙

œ

œ

œ

œ

œ

œ

œœœœ œ

œ œ œ œ œ

? ## ˙

œ

œ bœ œ nœ œ œ bœ œ nœ œ

œ

œ

œ œ œ œ œœ ˙ J

œ œ bœ .

œ œœœ œ

œ œœ œ

œ œ œ

? ## ˙

œ œ œ . œJ œ œ œ œ œ ˙

œ œ œœœ œ œ

œ œœ J œ œ œœ œ œ

&b œ œ œ œ œ 5.

œ œ œ œ œ œ œ bœ . œ ˙ J

œ œ œ œœœ œ œ

œ

œ nœ œ

œ œ œ

œ œ œ

œ œ œ.

œ œ ˙ œ œ œ ˙ œ œ œœ œ

œ.

œ nœ œ

œ œ œ œ œ J

œ œœœ œ

œ œœœœ ˙ J

### 6 ‰ œ œ. œ œ œ œ œ 8 œ œ . œ œ œ œ œ nœ . œ œ œ œ 6. & ### ‰ œ œ . œ œ œ œ œ œ œ œ . œ œ œ œ œ nœ . œ œ œ œ & ### ‰ œ œ . œ œ nœ œ & nœ œ . œ œ #œ œ œ œ œ . œ œ &

###

œ

œ.

œœ

‰

œ œ. œ œ nœ œ 180

. œ œ

œ œ.

LOWERED NOTES -- 13

2. Me:

Me is a lowered Mi.

Handsign for Me:

b & b b b 44 œ œ œ œ œ œ b œ œ œ œ b œ œ œ œ ˙ œ œ œ ˙ ? b b 4 œ œ œ œ œ œ bœ œ œ œ bœ bb 4 b & b b 44 œ œ œ b œ b & b b 44 œ œ ˙ b œ œ ˙ V b b 44 ? b b 44 œ œ b 3. Ra:

˙

œ œ

˙

œ œ œ œ œ œ ˙

œ œ

˙

Ra is a lowered Re.

# & 44 œ œ œ œ œ œ œ ? # 44 œ œ œ œ œ œ œ

Melodic:

#### 4 4 œ œ œ œ & #### 4 & 4 œ œ œ œ #### 4 œ œ œ œ 4 V ? # # # # 44 œ œ œ œ

œ

œ œ œ œ œ œ

œ œ

œ œ œ

œ

œ bœ n˙

˙

˙

˙

˙

œ œ

Handsign for Ra:

œ œ b˙ œ œ b˙

Harmonic:

œ œ œ

˙

bœ œ œ œ nœ œ œ ˙ bœ œ œ œ nœ œ œ ˙

˙

œ nœ ˙ ˙ ˙

˙

˙

181

œ œ œ nœ

œ œ ˙ œ œ ˙

˙

˙

œ œ ˙

œ œ ˙ œ œ ˙

˙ œ œ

˙

13 -- LOWERED NOTES

4. Le:

Handsign for Le:

Melodic:

& b 44 œ œ œ œ œ œ b œ ˙ œ bœ ˙ ? b 44 œ œ œ œ œ #4 & 4 œ œ œ œ #4 & 4 œ œ œ œ #4 œ œ œ œ V 4

Harmonic:

?#4 œ œ œ œ 4 5. Se:

œ bœ œ œ œ œ œ ˙ œ bœ œ œ œ œ œ œ. ‰

œ œ ˙

˙

˙

˙

˙

& 44 œ œ œ œ b œ ? 44 œ œ œ œ b œ

œ bœ ˙

# 4 œ œ œ œ & #4 ## 4 & 4 œ œ œ œ ## 4 œ œ œ œ V 4 œ ? # # 44 œ œ œ

œ œ œ œ

œ œ ˙

œ œ ˙ œ œœ˙

Handsign for Se:

œœœœœ œ œœœœœ œ

Harmonic:

œ œ ˙

œ œ œ œ œ bœ œ œ œ

Se is a lowered So.

Melodic:

œ œ œœœ

œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ

œ bœ ˙

œ œ œ œ œ œ œ œ

œ œ ˙ œ œ ˙ œ œ ˙

œ œ

182

œ œ

˙

˙

œ bœ n˙ ˙

˙

˙

˙

LOWERED NOTES -- 13

Descending Chromatic Scale:

& 44 œ

œ bœ

œ

* bœ œ bœ

œ

œ bœ œ bœ

w

* After the descending chromatic scale is mastered a cappella, to extend learning, sing in canon with the second voice starting here.

Full Chromatic Scale, ascending and descending: SING the full chromatic scale, ascending and descending with handsigns: 1.

œ œ bœ œ bœ œ bœ œ œ bœ œ bœ w

* & œ # œ œ# œ œ œ # œ œ # œ œ # œ œ w

? œ œ b œ œ b*œ œ b œ œ œ b œ œ b œ w

œ #œ œ w œ # œ œ # œ œ œ # œ œ #œ

2.

After the scales above are mastered a cappella practice singing them simultaneously and in canon.

Melodic exercises: 1. Locate and identify the lowered notes in each of the melodic exercises, below. 2. Audiate each exercise while handsigning. 3. Sing with solfege and handsigns. 1.

? # œ.

? # œ. 2.

œ œ œ J

œ œ J

œ

œ œ ˙

œ œ œ bœ

œ

œ bœ œ œ

œ. œ œ

˙.

bœ œ œœ ˙ J

b & b b œ œ œ œ œ œ œ bœ œ œ œ œ bœ œ œ œ œ œ œ ˙ b &bb œ œ œ œ œ œ œ . b œJ œ œ œ œ œ œ œ œ œ . œ œ œ b œ bœ œ œ & b b œ bœ œ œ œ œ œ œ ˙ œ œ œ œ œ. œ

Œ

‰ ‰

? 6 œ . œ œ œ œ bœ œ . bœ nœ œ œ œ . œ œ œ œ . œ œ . œ œ œ ‰ 8 J 3. œ œ œ . bœ œ œ. œ œ œ ? œ. œ œ œ œ œ . œ œ . œ œ bœ œ Œ ‰ 183

13 -- LOWERED NOTES

4.

## 3 œ œ œ. & 4

œ J œ

œ œ bœ œ œj ‰ œ œ

## œ & œ . œj œ œ œ œ œ œ œ # & # œ œ nœ

j œ œ ‰ œ œ œ . Jœ œ

œ œ ‰ œ œ œ œ bœ J

j œ œ ‰ œ œ

œ œ œœ œ œ œ

œ œj ‰ œ œ j‰ œ œ

œ . Jœ œ b œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5. Jœ Jœ œ bœ œ œ œ œ œ œ ? # œ . œ œ œ œ œ œ . œJ œ bœ œ œ œ œ œ Œ J œ œ bœ œ œ œ bœ œ œ . œ œ œ œ . œ œ œ œ œ . J ?# œœœ œ œ J J œ ? # 44 œ .

?#

6.

&

œ. œ œ œ œ bœ œ œ bœ œ œ œ J œ

#### 5 # 4 œ œ œj œ œ œ œ & J ####

&

####

&

####

j # œ œ œ œ œ ˙ J

j # œ œ œ œ nœ œ J œ # œ œ œJ n œ œ œ œ J

œ. œ œ œ œ œ œ œ œ œ ˙ J

œ œ œJ n œ œ œ œ J

œ œ œj œ n œ œ œ J

j j œ œ nœ œ œ œ #œ

œ œ Jœ œ œ œ œ J

184

œ œ œJ œ œ œ œ J

j œ œ n œj œ # œ œ

œ œ œj œ œ œ œ J j œ œ œ œ œ ˙ J

LOWERED NOTES -- 13

7.

? #### 4 œ œ œ œ œ œ œ 4

? #### œ œ œ œ œ œ ˙ ? ####

œ nœ œ œ œ œ

nœ œ ? #### œ œ œ œ œ

8.

œ œ nœ œ œ œ œ œ nœ œ œ œ œ

œ

œ

b & b b b b b 34 œ œ œ œ œ .

b & b bbbb œ b & b bbbb œ

Œ Œ

b & b b b b b œ Œ œ œ œœ œ .

œ

œ

œ œ œ œ œ nœ œ

œœœœœ

Œ

œ. œœœœ

œ

Œ

œ œ œ œ œ.

j œ œœœœ œ

Œ

œ

œ œ œœœœ˙

j œ œœœœ œ

j œ œ œ ∫ œ . œ œ œœ œ œ œ œ œ.

œ œ œ œ œ œ nœ

œ

œ

œ nœ œ œ œ œ

œ

œ œ œ œ œ œ nœ œ

œ

œ œ. œ œ œ

j œ. œ œ œ œ Œ œ œœœ

œ œ ∫œ J j œ œ ∫œ œ œ œ J

j œ œ ∫œ ˙

œ œ œ ? # # # # 64 œ . # œ œ # J

n˙ œ ‰ œ . ‹œ œ œ œ œ . œ œ # œ 9. J J J ˙ œ œ œ nœ œ œ œ. œ . ? # # # # œ . Jœ # œ ˙ œ ‹ œ J ‰ #œ J‰ # J J Fine . œœ œ ? #### œ J œ n œ œ . œJ œ œ ˙ œJ ‰ œ . ‹ œ œ œ œ œ # J ? # # # # œ . n Jœ œ n œ ˙ #

œ ‰ œ . #œ œ nœ œ œ J J

185

œ . n Jœ œ‹ œ ˙

œ‰ J

DC al Fine

13 -- LOWERED NOTES

j œ œ œ

# 4 œ. 4 # & 44 œ .

Harmonic exercises:

&

1.

j œ œ nœ

# 4 œ. V 4 ? # 4 œ. 4

# & œ. # & œ. V

# œ.

? # œ. & &

# œ. #

œ œ

# V ˙ ?# ˙

œ.

j œ œ

œ œ œ J œ œ œ J œ

j œ œ nœ

œ œ J œ œ J

œ œ

œ œ œ J œ.

œ œ œ œ

œ bœ œ œ œ. œ.

œ.

# œ œ œ œ. & œ. J # j & œ œ œ. œ œ. # œ œ œ. V ˙ ?# ˙

œ

œ

œ.

j œ ˙

˙

œ.

˙

œ.

˙

œ.

œ.

œ ˙ J

˙ j œ œ.

˙

œ.

j nœ ˙

œ.

œ.

œ ˙ J

œ. œ.

œ ˙ J

œ.

œ.

j œ˙

œ.

j œ˙

œ.

œ˙ J œ˙ J

œ. œ.

j œ˙

œ.

j œ˙

˙

œ.

œ˙ J œ˙ J

œ. 186

j œ œ œ œ

œ.

œ ˙ J œ

œ œ bœ ˙

œ ˙ J

j œ œ œ œ

œ œ œ ˙

œ

œ œ œ ˙

œ œ J j œ œ œ œ J

œ

œ

œ

œ.

j œ œ

œ

œ.

œœ J j œœ

œ

œ.

œ

œ.

œ

œ.

œ Jœ œœ J

œ

œ

œ.

œ œ

œ

œœ œ J

˙

˙

˙

j œ ˙ œ ˙ J œ ˙ J

œ˙ J j œœ

œ nœ

œ

˙

œ œ œb œ œ . J œœ œ J

œ

Fine

œ

œ˙ J

j œ œ œ

DC al Fine

œ

œ œ œ œ œ

œ

LOWERED NOTES -- 13

2.

&

6 &8 œœ œ œœœ œ 6 œ &8 œœ œ œ œœ œ œ œ J V 68 œ œ œ œ œ œ ?6 œ œœœœ 8 œ œ œ bœ

& œ

œ.

œ œ œ œ œ œ œ œ œ œ œ V ? œ œœœœœ & œœœ

j œ

œ œ bœ œ

j & œœ œ œ œ œ œ V œœ œ œ œ œ ? œ œœœœœ œ J œ bœ œ & œœœ

‰

? œ œ œ œ

‰

& œœœ œ œ œ œ œ œ œ œ œ V œ

œ œ œ œ œJ œ

œœœ œ œœœ

œœœ œ œœœ œ œ œ œ œ #œ œ

œ œ œœœ œ œ œ

œœœ œœœ œ œœœ œ œ œ œ œ œ œJ œ œœœœœ

œ œœ

œœœ œ œœœ

œœ œ

œ œ

œ

œ Fine

‰

œ œ œœœ

‰

œ œ

‰

œ œ bœ œ œ œœœœ

œ œ œ bœ œ œ œ

‰

œ œ bœ nœ œ œ œ œ œ œ œ J œ œ œ œ œœœ 187

œ œ œ œ œ bœ œ œœœ œ œ œ J œ œ œ œ œ œJ œ

œœœ œ œœœ œ œ œ œ œ #œ œ

œ œ œœœ œ œ œ

œ œ œ bœ œ œ œ

œ œ bœ nœ œ œ œ œ œ œ œ J œ œ œ œ œœœ œ bœ œ . œœœ

DC al Fine

œ œ œ œ œœœ œ œ œ œ .

œ œ œ œ œœœœ

13 -- LOWERED NOTES

3.

b & b b 44 œ œ œ b & b b 44 œ œ œ b V b b 44 œ ? bb 4 œ b4

œ

œ œ. œ. œ

b & b b œ œ œ œ œ œ b j & b b œ. œ œ œ b V b b œ bœ œ nœ ? bb œ b

j bœ œ œ œ ˙ œ bœ ˙ œ J œ j˙ œ œ. œ œ.

œ J ˙

œ

œ

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œ

bœ

˙

œ

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˙

˙

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˙

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? bb b

˙

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b & b b œ œ œ

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b V b b œ

œ

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˙

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∑

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˙

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œ bœ ˙

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∑ 188

œ

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bœ bœ œ

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œ

b & b bœ œ œ

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˙

j œ œ œ œ j œ. œ œ œ œ œ œ œ œ

b & b b œ œ nœ œ ˙ b j & b b œ. œ ˙ œ ˙ b V b b œ ? bb œ . b

œ œ œ

œ

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∑

œ œ œ nœ ˙ œ. œ ˙ J ∑

bœ œ

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LOWERED NOTES -- 13

j œ œ œ œ b j & b b œ. œ œ œ œ b œ œ œ œ b V b b & b b œ.

? bb œ b

b & b b œ b & b b œ b Vb b œ

? b b b œ b & b b œ b & b b œ. b Vb b œ ? b œ b b

œ

œ.

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˙

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˙

˙

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œ

n˙

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œ

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189

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j œ œ

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˙ ˙

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13 -- LOWERED NOTES

4.

b b4 & b b 4 œ

œ

œ ˙

j b b4 œ œ & b b 4 œ. b V b b b 44 œ œ ˙ ? b b b 44 œ b

œ

œ

b & b bb œ œ œ œ ˙ b b & b b œ œ œ œ b b œ œ ˙ V b b ? bb b œ b

œ

œ œ

b b & b b œ

œ œ œ

œ œ œ. b b œ. nœ ˙ Vb b J j ? bb b œ. œ ˙ b

œ

œ

œ ˙

œ

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œ œ œ ˙ j œ œ œ œ.

œ

œ œ

œ

˙

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œ

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j œ œ

œ bœ ˙ œ 190

œ

˙

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œ. œ

œ

bœ

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˙ œ œ œ œ

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œ

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œ œ œ œ œ j œ. œ œ œ œ œ. œ œ œ J œ ˙ œ j œ œ.

œ bœ œ

œ

œ

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˙

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œ

œ

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b b & b b œ œ œ œ ˙ b b & b b œ œ bœ ˙ b b œ œ ˙ V b b ? bb b œ . œ ˙ b J

b & b bb œ

œ

œ.

œ. œ.

œ

œ

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j œ œ œ œ œ bœ œ J œ œ J

œ

LOWERED NOTES -- 13

b b & b b œ

b b & b b œ.

œ œ œ j œ œ

bœ œ J

b b œ. V b b ? bb b œ . b b & b bb œ

b & b bb œ. b b V b b œ ? bb b œ b

œ œ œ

&

bbbb

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œ.

œ

œ ˙

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œ

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bœ

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œ

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œ bœ œ œ œ œ œ

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U nœ nœ œ U œ

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œ

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b b & b b œ œ bœ b b œ œ V b b

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b & b bb œ œ œ œ ˙ b & b bb œ œ œ œ b b œ œ ˙ V b b ? bb b œ b

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œ

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13 -- LOWERED NOTES

### 4 & 4 ### 4 & 4 ### 4 V 4

5.

& & V

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œœ œ œ

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###

˙

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nœ

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bœ ˙ J œ nœ ˙ œ

˙

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œ

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nœ nœ œ

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œ

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œ

œ

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œ. œ œ œ J

œ œ œ œ 192

œ œ œ

œ

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˙

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LOWERED NOTES -- 13

& & V

###

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˙

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? ### œ &

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###

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# # & # œ ### œ & ### œ. V

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? ### œ. # # & # w ### & œ œœ œ œ ### œ œ œ œ bœ V ? ### ˙

œ

œ œ œ œ œ œ

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˙

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œ œ œ œ œ œ œ œ œ. œ œ œ J œ œ œ œ œ œ

nœ

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∑

w w

∑

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∑ 193

œ.

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œ

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nœ

13 -- LOWERED NOTES

6.

## 2 œ œ œ œ & 4 # œ & # 24 œ

œ

? ## 2 4

œ œ œ œ œ

# 2 V #4

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œ

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∑ ∑

# œ œ œ œ & # # œ & # œ œ œ œ œ # œ œ œ œ œ bœ V # ? ## œ œ œ œ œ

œ

# & # œ # & # œ

œ

œ

œœœœ œ

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œ

œ

? ## œ œ œ œ œ

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# œ V #

11

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##

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# & # œ œ œ # œ œ œ nœ œ V # ? ## œ

œ

œ

œ

œ œ

œœœœœ

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œ nœ

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œœœœœ œ œ œ œ œœ œ œ œ

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œ

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4

7

œ

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œ

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œ

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nœ

œ

œ

œ

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194

œ

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œ

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LOWERED NOTES -- 13 14

&

## œ

œ

œ œ œœœœ œ œ œ œœ

œ œ œ bœ œ

# & # œœœœœ # œ œ V #

œ

œ œ œ œ œ nœ œ

œ œ

? ## œ œ œ œ œ

œ

œ

œ

œ œ œœ œ œ œ œ œ œ

œ œ

# œ œ œ œ œ œ œ & # œ œ œ œ # œ œ œ œ & # œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ bœ œ œ œ œ V # œ œ œ ? ## œ œ œ œ œ œ œ œ œ 18

21

&

## œ

œ œ œ œ œ

# & # œ œ œ œ œ œ œ # V # œ ? ## œ

œ

##

œ

24

&

##

œ

œ œ

nœ

œ œ œ œ œ œ œ œ œ œ œ œ

œ

œ

œ œ œ œ œ

œ

œ

œ

œ œ œ œ œ œ œ ## œ œ œ œ œ œ œ V ? ## œ œ œ œ œ œ œ &

œ

œ

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U œ œ œœ œ œ

œ

œ œ

œ œ 195

œ

œ

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œ

œ

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#œ œœœœœ

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œ œœœ

Œ œ

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œ œ œ

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œ œ

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œ

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U œ œ œ œ œ œ œ Uœ Uœ œ

œ

œ

" œ œ œœœ "

œ œ œ " œœ œ œœ

"œ

œ œ

œ

13 -- LOWERED NOTES

b b 4 j & b b bb 4 œ œ

7.

b b 4 & b b bb 4 œ b b 4 V b b bb 4 œ

b j & b bbbb œ œ b œ V b bbbb ? b b b œ b b b b & b bbbb 6

œ

? b b b b 44 œJ œ b b

b b j & b b bb œ œ 3

œ

œ œ J

œ.

œ J œ

œ

œ œ œ

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j œ

œ.

œ œ ∫œ œ J j œ œ œ

œ ∫œ œ

œ

œ J

œ

œ

nœ

œ.

b b œ œ œ œ œ œ ˙ V b b bb ? bb b b œ . b b

j b & b bbbb œ œ 8

b & b b b b b œj œ b b j V b b bb œ œ ? b b b b Jœ œ b b

œ ˙ J

œ œ J j œ œ j œ œ œ œ J

œ ‰ J j œ ‰ j œ ‰ œ ‰ J

œ

œ œ J

œ

œ

∫œ œ bœ ∫œ

œ

œ

œ

œ

œ

œ

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œ

œ

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œ œ œ œ ∫œ 196

œ

œ

∫œ œ bœ ∫œ œ œ

œ

œ ‰ œj œ œ œ œ J J j j œ ‰ œ œ œ. œ œ ‰ œ œ œ. œ J J œ ‰ œ œ œ œ œ J J J

œ

∫œ bœ J

œ

œ

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œ nœ

œœœœœ œ œ

j œ œ

j œ œ

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œœ œ œ œ œ œ

bœ œ œ œ œ œ ˙

b & b bbbb œ .

œ œ œ œ œ œ œ

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œ

œ œ

œœœœœ œ ˙ œ

œ œ ˙ œ ∫œ œ œ ˙

j œ œ

œ ˙ J

LOWERED NOTES -- 13

b b j & b b bb œ œ

œ œ J

11

b b & b b bb œ b b V b b bb œ

? b b b b Jœ œ b b

œ

œœœœœ œ œ

j œ œ.

œ.

œ

œ.

œ

œ J œ

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œ

b b V b b bb

œ.

nœ

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? bb b b œ œ œ œ œ œ œ b b ∫œ b & b bbbb J 17

œ

œ J

b b & b b b b ∫œ œ bœ ∫œ b b œ V b b bb œ ? bb b b œ b b

œ ∫œ

b b b b ∫œ bœ b & b J b b V b b bb œ

? bb b b œ b b

œ

œ œ

œ

œ œ

œ

œ ∫œ œ

œ

œ

œ

œ œ œ œ œ

œ

œ

œ

œ

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197

œ ∫œ j œ

œ ˙ j œ œ œ ˙

œ

œ

œ œ

œ

œ

œ J

œ

œ ˙ J œ ‰ J j œ ‰ j œ ‰

œ œ J

œ

œ

œ œ œ

œ œ J j œ œ j œ œ

œ

œ œ

j œ œ

œ

bœ ∫œ

œ ∫œ

œ

œ

œ

œ

œ œ

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j œ œ

j œ œ j œ œ œ J œ

œ

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19

b b & b b b b ∫œ œ

j œ œ

œ œ ∫œ œ J j œ œ œ

bœ œ œ œ œ œ ‰ œj œ œ œ œ J J j j œ ‰ œ œ œ. œ œ. œ ‰ œ œ œ. œ œœœœœ J J œ ‰ œ œ œ œ œ. J J J œ

b œ & b bbbb œ œ œ œ œ œ 14

b b & b b bb œ

œ

œ nœ œ ∫œ b˙

œ

j œ œ

œ ‰ J ˙ ˙

˙

˙

13 -- LOWERED NOTES

&

8.

& V

####

####

# ˙ nœ #œ œ ‹œ ˙ #### ˙ ˙ ˙ ˙ #

? #### ˙ ˙ #

#### ˙ œ œ # & #### # ‹œ #œ ˙ & #### # œ œ ‹˙ V ? # # # # œ #œ ‹œ œ # 5

9

& &

####

####

j œ ˙

# ˙ n œ# œ œ .

# ˙

# ˙

#### ˙ # V ? #### ˙ #

nœ #œ nœ #œ ˙ ˙

#### ˙ œ œ # & #### # ˙ & nœ œ #### œ # V œ œ œ 13

? #### ˙ #

œ ‹œ

œ. œ.

œ.

œ

œ.

œ

nœ #œ

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œ ‹œ ˙ ˙

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˙ 198

œ nœ ˙ œ

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#œ œ

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œ œ nœ œ j œ. œ ˙

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w

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LOWERED NOTES -- 13 17

& &

####

####

#

˙

nœ #œ

? #### ˙ #

nœ #œ

V

21

& &

####

####

####

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#

˙

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? # # # # ‹œ #œ ˙ # 25

& &

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˙

nœ #œ

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œ ‹œ ˙

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œ.

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∑ œ

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nœ #œ

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œ.

œ n˙

˙ 199

˙ ˙

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w

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∑

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j œ ˙

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nœ #œ

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˙

nœ #œ

29

∑

œ ‹œ ˙

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∑

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∑

∑

∑

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13 -- LOWERED NOTES

j b b 4 œ . & b b b4 ˙ œ ˙ œ œ b b 4 & b b b4 ˙ œ œ œ œ ˙ b b 4 œ ˙ V b b b 4 œ bœ œ œ ∫˙

9.

? b b b 44 w b b

b & b bbb ˙

œ

œ

b & b bbb œ œ œ œ ˙ b b & b b b œ . œj ˙ b b œ Vb b b ˙ 14

˙

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w

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˙

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w

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b b & b b b œ ∫œ œ bœ œ b b œ œ Vb b b œ ? bb b œ b b

œ œ

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˙

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Vocabulary:

1. Chromatic scale--A scale that moves up or down by half steps 2. Secondary dominant--A chord that is altered from its normal state in a key so that it becomes a V Chord of another chord. For example, in the key of C Major, a D minor chord in which the third has been raised to form a D Major Chord may function as a secondary dominant chord to a G Major or G minor chord.

Write

ACROSS THE CURRICULUM: Select one of the exercises in this chapter, and write lyrics for it. If you select a unison exercise, write an accompaniment for your song.

Pencil Time 4: Activity Sheet 35: Lowered notes

Activity Sheet 36: Secondary dominants Activity Sheet 37: Write a Solo!

204

14:

Franz Schubert Franz Schubert was born in Vienna in 1797, the son of a schoolmaster. He showed an amazing aptitude for music and studied piano, violin, organ, and harmony. While a chorister in the imperial court chapel, he studied composition with Salieri (1808-13). By 1814 he had produced piano pieces, settings of the poems of Schiller and Metastasio, string quartets, his first symphony, and a 3-act opera. After his voice broke while he was a boy soprano he started teaching and composing. Eventually he gave up teaching altogether so he could compose full time. While he was still teaching, however, he was able to produce a huge volume of work. His output of work from1814-15 alone includes Gretchen am Spinnrade and Erlkönig (both famous for their textpainting), numerous other songs, two symphonies, and three masses.

Schubert and Beethoven were contemporaries in Vienna at a time of significant change in the development and shape of music. Beethoven was well-known, well-funded and working towards a major revolution in musical expression. Schubert was a bit younger, less-known, under-funded, and his innovations in musical expression were not so well appreciated at the time. Schubert did gather a vast group of supporters over time, a loyal group of associates who enjoyed his music who would support him and promote his music. His brother was one of the first ones to provide creative stimulation and financial support. Although Schubert was a skilled pianist and violinist he was neither a virtuoso performer or flamboyant conductor who could promote his own work on the public stage. Because of this, most of his orchestra compositions were never performed publicly during his lifetime. His chamber music and songs did find some acceptance in smaller social gatherings, but this resulted only in a meager income. His songs (about 600) did fairly well though. Johann Vogl, a noted baritone soloist, grew very fond of Schubert's songs and sang them on many occasions. This resulted in recognition of his music and, of course, more money. Schubert often wrote several songs a day. Some say they found his notes on the backs of menus in restaurants where he ate. Schubert very effectively established the "German Lied" as a new art form in the 19th century. He used the late 18th-century outburst of lyric poetry and the new possibilities for picturesque accompaniment offered by the newly developed piano. His genius is most apparent in his use of harmony and accompaniment patterns to represent shifting.

205

14 -- FRANZ SCHUBERT

emotions and subject matter in the text. For example, the accompaniment "gallops" in .. Erlkonig (the Erl King) as the horse gallops home in the text. Schubert was a great admirer of Beethoven. When Beethoven died, he served as a pallbearer at his funeral. Schubert himself died of typhoid in Vienna at the age of 31, just as he was beginning to explore new directions in music and gain some modest recognition Although having lived a very short life, Schubert achieved much, and all with poetic perfection. His musical works combined the styles of the Classical Period of Mozart, Haydn, and Beethoven with the Romanticism of Chopin, Schumann, and Liszt. Friend and poet Franz Grillparzer wrote Schubert's epitaph. His tombstone reads: "The art of music here entombed a rich possession; but even far fairer hopes. Here lies Franz Schubert." It wasn't until after his death that people began to recognize his genius. It was only then that some of his works were published and performed for the first time. Gradually his works received wide recognition and appreciation. Schubert left a remarkable legacy of chamber music, including several powerful String Quartets and Piano Sonatas. Facilitated by his brother, Schubert's works were later discovered by Schumann and Mendelssohn who helped them achieve a wider recognition. Some of the symphonies were similarly discovered much later by George Grove and Sir Arthur Sullivan. Romanticism was a movement that was first made manifest in literary works. German Romanticism was given impetus by the works of such literary giants as Fredrich Schiller and Johann Wolfgang von Goethe. Although Schiller is primarily known as a playwright, his poems found their way into the music of the Romantic Era composers. Schiller's poem, An die Freude ("Ode to Joy") provides lyrics for the last movement of Beethoven's great Choral Symphony. Schubert also set many of Schiller's poems to music. Schubert's famous and haunting lied, Erlkönig, is based a poem by Goethe (below).

Erlkönig

English Translation

by Johann Wolfgang von Goethe

Wer reitet so spät durch Nacht und Wind? Es ist der Vater mit seinem Kind; Er hat den Knaben wohl in dem Arm, Er faßt ihn sicher, er hält ihn warm.

Who is riding so late through night and wind? It is the father with his child; He has his arm well around the boy, Holding him securely, and keeping him warm.

Mein Sohn, was birgst du so bang dein Gesicht? Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron und Schweif? Mein Sohn, es ist ein Nebelstreif.

My son, why are you hiding your face in fear? Do you not, father, see the Erlking*? The Erlking with his crown and long robes? My son, that is a trail of mist.

"Du liebes Kind, komm, geh mit mir! Gar schöne Spiele spiel ich mit dir; Manch bunte Blumen sind an dem Strand, Meine Mutter hat manch gülden Gewand."

"You sweet child, come, go with me! Very lovely games I will play with you; Many colorful flowers grow near the beach, My mother has many garments of gold."

206

FRANZ SCHUBERT -- 14

Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht? Sei ruhig, bleibe ruhig, mein Kind; In dürren Blattern säuselt der Wind.

My father, my father, can you not hear What the Erlking so softly promises me? Be calm, stay calm, my child; It's only the wind rustling in dry leaves.

"Willst, feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Reihn, Und wiegen und tanzen und singen dich ein.

"Will you, fine boy, come with me? My daughters shall attend you lovingly; My daughters lead the nightly circle of dance, They will rock and dance and sing you to sleep."

"Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort? Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau.

My father, my father, and can't you see there, The Erlking's daughters in that dark place? My son, my son, I see it quite well: It is the old willow-trees looking so grey.

"Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt." Mein Vater, mein Vater, jetzt faßt er mich an! Erlkönig hat mir ein Leids getan!

"I love you, I'm charmed by your beautiful shape; And since you not willing, I will have to use force." My father, my father, now he's grabbing me! The Erlking is hurting me!

Dem Vater grausets, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Mühe und Not; In seinen Armen das Kind war tot.

The father shudders, he rides faster still, Holding his moaning child in his arms, And with perilous effort he reaches the farm; But in his arms, the child lay dead.

* The Erlking personified death. German Romantic Art The 18th century ended with the ruling philosophy that man was the measure of all things--that all good things could be attained by the exercise of man's logic and reason. The 19th century brought about a change of perspective, and man was no longer the center of the universe, but an integral part of the world around him. This new trend toward Romanticism was a reaction against the "classicism" of the the Age of Reason, and a turn away from the idealization of the rational friedrich_zwei_manner.tif powers of man and a turn toward the expression of man's innermost feelings based on real experiences and interactions with the rest of nature.

Two Men Contemplating the Moon Caspar David Friedrich, 1819

207

A fascination with nature as well as with the fantastic pervades the art works of this genre. Emotionalism became the driving factor in much of Romantic art, and much of the artwork as well as the music of the Romantic Era was extremely passionate.

14 -- FRANZ SCHUBERT

German Romantic art focused mainly on their landscape as a manifestation of the "divine" or--God. This school of painters were highly religious and proud of their country. Pride in their landscape fueled the German Romanticists to use it as a metaphor for God and his power over humanity. They felt that their mountains and trees were of such beauty that they were rivaled by nothing anywhere else on all the earth. The Germans were influenced by the concept of the 'sublime' experience in nature--fear of the unknown, fear of God, fear of nature, and danger in nature illustrating that man has no power over the forces of God and nature. But in accordance with this, they wanted the landscapes to be beautiful in the same way, like tension created at the prospect of sky diving, for example, when one is afraid to jump, but at the same time exhilarated and in awe of the experience. Another concept presented by German writer E.T.A Hoffman, was "Infinite Longing." It presented the belief that man was mortal and helpless in the face of the power of nature, and Romantic paintings exemplified this in their subject matter: landscapes of waves crashing upon deadly crags, dramatic lighting, violent storms, as well as symbols inferring loneliness, melancholy, estrangement, mystery. Humans were dwarfed by large trees whose limbs appeared to be alive with their own personality and agenda. Their belief was also that nature was an extension of God further illustrating the idea that man was defenseless in the face of God and nature. Frightening cliffs, mystical wild trees, unmodulated expanses of water or land (desolation) with one or more figures somewhere in the painting showing psychological suffering: fear or hesitation, yet intrigue. They painted emotion within the human knowledge of the uncharted landscapes that were meant to instill the "fear of God" in the figures and also the viewers of the paintings. This was the German Romantic way of illustrating human emotion and infinite longing in their art. German literature and music also reflected this emotionalism. The Romantic Era saw the birth of the Gothic novel exemplified by such authors as Edgar Allen Poe. Romantic music reached its apex in the massive operas friedrich.wanderer-sea-fog.tif of Richard Wagner. Schubert was to appear at the very beginning of this Era. Along with Beethoven, he would serve as a segue from the absolute forms and restraint of the Classical Era to the passion and emotionalism of the Romantic.

Activity Sheet 38: Franz Schubert Activity Sheet 39: Analysis, "Kyrie" Activity Sheet 40: Classical vs Romantic

208

"The Traveller Above the Sea of Clouds" Caspar David Friedrich, 1818

FRANZ SCHUBERT -- 14

The Mass Western music history has its roots in the mass of the Roman Catholic Church. The Roman church was not only the dominant religious group in Europe for many centuries, it was also the dominating political power for almost 1000 years. And so it was that all matters, whether they were spiritual, social, political, scientific, or artistic, were decided by the church. And so it followed that most music was not only written for liturgical purposes, but its creation and characteristics were overseen by the church. Thus, it was through the development of the mass... from single-line, plainsong chant to the parallel harmonizations of the twelfth and thirteenth centuries to the lush polyphony of the late Renaissance to the refined and structured forms of the Classical and early Romantic periods to contemporary music in which individualism is honored more than tradition ...that we trace the bulk of music history. Nearly all of the great composers have written a setting for the mass. After the Reformation, many composers wrote "masses" in their native tongues (rather than in Latin) and even replaced the traditional mass text with texts that better suited their reformed ideas. For example, Brahms wrote his requiem mass, called it Deutsche Requiem (German requiem) and used Biblical scripture rather than the usual requiem liturgy. The ordinary of the mass consisted of six main parts: I. Kyrie--"Lord, have mercy on us..." II. Gloria--"Glory to God in the highest...." III. Credo-- "I believe in one God..." IV. Sanctus--"Holy, holy, holy..." V. Benedictus--"Blessed is the name..." VI. Agnus Dei--"Lamb of God..." Most of these parts remain in the liturgy of mainstream Protestantism in one form or another. Some of them, like the Creed, are spoken instead of sung, but it is the chanting, later singing, of the mass that led to specific rules being established for the composition of the mass. These rules, in turn, became the foundation of the music characteristics that we hear all around us in our society today. Listen to a CD or search the internet and download a .mp3 file that features Gregorian chant, specifically the "Kyrie." Compare the chanted Kyrie to Schubert's setting of the Kyrie. Draw a table that outlines the similarities and differences between the two. Listen to a CD or ..find an .mpg file on the internet with Schubert's lied, Erlkonig and find a CD or .mpg with a song by Mozart. Compare the two and write down your findings in a short essay.

209

14 -- FRANZ SCHUBERT

Kyrie

from Mass in G

# 3 p˙ & 4

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"Silence" John Henry Fuseli, 1801

210

FRANZ SCHUBERT -- 14 5

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14 -- FRANZ SCHUBERT 13

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FRANZ SCHUBERT -- 14 21

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# ˙

œ

e,

e

˙

œ

#

e,

œ

# V œ

e,

e

œ e

nF ˙. -

e,

e

F

-

lei

F

-

lei

F

-

lei

-

-

-

-

˙.

-

˙.

-

-

-

-

# œp & & V

#

Ó

p

son.

p

son.

# œ

Ó

p

son.

?# œ

bœ . Ky

Ó

œ

P -

ri - e,

e

Ky

P

-

œ œ

œ

œ bœ

œ

P

-

ri - e,

e

œ œ

œ

ri - e,

e

nœ . œ. œ.

# œ œ œ œ œ bœ œ & œ œ œ œ œ bn œœ œ son.

p

? # œ ‰ œj œœ œœ œ œ

nœ

P

Ky

Ó

œ œ

Ky

P

˙

-

ri - e,

œ œ

e

nœ nœ

œ

e

œ -

lei

-

lei

-

-

lei

˙.

lei

-

-

-

lei

-

-

-

-

-

-

-

-

-

#˙ . ˙.

-

-

-

œ ˙ œ œ œ œ œ œ

œ œ

˙ -

lei

œœ

œ

-

˙.

e

˙ -

lei

-

œ

œ

#˙ .

-

˙.

œœ # œ œ n œ œ œ œ #œ œ nœ œ œ œ

lei

-

œ

Œ

son,

bœ œ œ œ œ 213

œ

Œ

son,

-

-

e

œ

œ # ˙ n ˙˙ œ & œ œ œ n œ œ œ n œ œ œ œ œœ œ F œ #œ ˙ . ˙ ? # œ #œ ˙ . ˙ 25

Œ

son,

-

˙.

e

œ -

œ

Œ

son,

˙.

œ #œ

?# ˙

lei

œ

-

#œ

-

œ œ

-

-

œ œ œ n œ œœ # œ œ n œœ œ œ œ œ œ #œ ˙ œ

˙

Œ

˙

Œ

son.

son.

˙ -

-

Œ

son.

˙

Œ

son.

œ # œœ œ œ œ œ œ œ œ œœ œ

j ‰ œœ œœ œœ

14 -- FRANZ SCHUBERT 29

& &

#

∑

Sopranos or solo:

&

œ

#

b œœ œ œœ

37

&

œ

# œœ œ

# #œ œ ˙ #

œ

lei - son.

# #œ œ ˙

# œ œ œ œ œœ œœ œœ œœ j ? # œœ œ œ‰ Jœ

œ

œ

&

# n˙ Chris

Chris - te,

e

-

‰ œj ‰ œj ‰

?#

œ

Ó

lei - son,

Chris

œ œ œ œ œ œœ œ ‰ œ œ J

p

œ

-

F œ œ nœ J

te, e -

œ

F

œ œ œ œ œ œ

nœ œ ‰ œj œ

Œ

e - lei - son,

œœ œœ # œœ œœ œœ œœ œ œ œ œ œ œ

œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œ œ œ œ #œ œ œ œ œ œ œ œ p j œ ‰ œ nœ œ J œ ‰ œj ‰ Jœ ‰ œ Ó

œ

te, e - lei - son,

# & n œœœ œœœ œœœ œœœ œœœ # œœ œ

te, e -

œœ # œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ #œ #œ œ ˙ -

-

œ.

Chris - te,

œ œ

œ #œ

Chris

nœ œ ˙

˙. œœ œœ œ œ

n˙

Œ

e - lei - son,

lei - son.

&

41

j nœ œ ‰ œ œ

œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ # œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œœ p œ œ nœ ‰ Ó œ œ Ó J œ

œœ œœ œœ œœ œ œœ œœ œ œ œ œ œœ œ œ j ?# œ Ó œ &

œ

Chris - te,

? # n œœ 33

p

œœ œœ œœ œœ œ œœ œ œ œ œ œœ œ œ Ó 214

œ

œ

Chris - te,

e

f

˙.

-

œœ œœ œœ œœ œœ œœ œ œ œ œ #œ œ j ‰ j ‰ œj ‰ œ œ

lei

-

-

-

œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ f

œ œ œ œ œ œ

FRANZ SCHUBERT -- 14 45

& & V

# #˙ . #

œ

______

∑

Ó

son.

∑

F

Ó

#œ

E

#

∑

F

Ó

∑

lei

-

-

-

lei

F

-

-

49

& & V

# #

œœœ œ œ

œœœ œœœ œœœ œœ œ œ œ œ œ œ œ œ œ

∑ ˙.

lei

# ˙. lei

?# ˙

Chris

Chris

œ -

-

-

-

-

-

œ

-

te,

œ

#œ

-

te,

Ó

son,

œ

-

-

œ œ J

Ó

215

Chris

-

te,

#œ

Œ

œ

œ

Œ

son.

E

-

œ

son.

E

-

te,

œ œ J

œ

œ œ J

˙.

œ

-

-

-

lei

te,

-

#œ

Œ

E

-

∑

te,

œ -

-

-

∑ ˙œ œ œœ ˙ œ œ œ œ

Œ

son,

œ E

˙

Chris

j œ œ

Ó

œ

te,

Œ œ œ œ œ œ œ œ œ œ œ

œ

∑

˙.

œ

˙

Œ œ œ ˙œ œ œœ # œ œ œœ œ œœ œ ˙ œ œ œ œ

˙

E

˙

Chris

-

Chris

Œ

F

œ

Christ

son,

œ

# ˙ œ & œ˙ œ œ œ œœ œ ? # œJ œ

œ œ œ œ œ œ œ œ œ #œ œ œ

˙

-

˙

∑

Chris

# & # œœ œ ? # œ œ

-

˙.

œ

E

?#

-

˙.

Tutti

œ

-

-

te,

Œ œ œ œœ œ # œœ œ œ #œ

j œ œ

Ó

14 -- FRANZ SCHUBERT 53

& &

# ˙ #

lei

-

˙

lei

lei

lei

son,

Chris

œ.

son,

-

?# ˙

œ.

œ

-

# ˙ V

œ

-

Chris

œ

œ.

son,

Chris

œ

œ.

son,

Chris

-

-

-

-

n˙ .

œ œ J

te, e

j œ œ

te, e

œ œ J

te, e

j œ œ

te, e

-

-

-

-

lei

˙.

lei

˙.

lei

˙.

lei

p

˙ -

-

-

-

-

-

-

-

-

-

-

-

œ

son,

E

p

-

˙

œ

son,

E

p

-

son,

œ

E

-

˙

p

œ

E

-

˙

son,

# ˙œ œ œœ & ˙ œ œ œ œ ? # œj œ

# ˙. &

œ

œ˙ œ œ œ n ˙ ˙. œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ J p j j j j j œ œ œ œ œ œ œ œ œ ˙.

57

lei

# & #˙ . V

#

lei

˙.

lei

? # ˙. lei

˙ -

-

-

-

-

-

-

son.

-

˙

-

-

# ˙ .. & # œ˙ œ œ œ œ œ ? # ˙.

˙.

Í

-

-

-

Chris

-

-

-

Chris

Œ

∑

˙.

Œ

∑

∑

Œ

∑

∑

son.

˙ -

∑

son.

˙ -

Œ

Í

son.

˙ #œ ˙œ œ # œ œ œ œ œ ˙.

œ œ œœ œ œ œœ œ œ œ œ ˙.

216

œ

π

œœ œœ œ J

œ

œ œœ

œœ J

FRANZ SCHUBERT -- 14

&

# œ

&

œ

61

V

te,

#

& & V

Œ

Í

-

e - lei

-

Chris

-

# œ

-

-

Ó

j j œœœ œœ œœ œœ œ œ

#

∑

#

∑

-

-

Œ

te,

œ

-

‰ . Rœ ˙ .

œ œœ œœ œ J

œ

œ

. ‰ . Rœ ˙

-

e - lei

-

te,

œ œœ

œœ J

∑

son.

e - lei

Œ

Ó

son.

œ -

∑

-

-

œ

-

∑

œ

-

œ

∑

fi Coda ˙

D.C. al Coda

∑

∑

∑ ∑

∑

œ bœ œœ œœ œœ œœ œ J J

˙

œ œ bœ nœ j j œœ œœ œœ œœ ˙˙ .. ? # œ œ bœ ˙. 217

œ

œœ œ

œœ Œ ˙.

-

-

œœ œ

ri

œ

ri

-

-

œ

Ky

-

ri

œ

-

Ky

-

ri

-

˙

∑

Ó

œ

˙

∑

∑

Ó

son.

Ó

j j œœœ œœ œœ œœ œ œ

Ó

son.

Ky

#

#

-

-

Ó

Ky

?# &

‰ . œr ˙ . œ

Í

Chris

œ -

# ˙.

? # 65

e - lei

te,

? # ˙. &

‰ . Rœ ˙ .

Œ

Ÿ œ œ œ œ œ œ œ œ œ ˙ ˙

œ œ

14 -- FRANZ SCHUBERT

# ˙ &

œ

69

& V

#

e,

e

˙

œ

e,

-

˙ -

e

-

lei

lei

œ

œ

e,

-

œ #œ ˙

?# ˙

e,

e

-

3

-

-

˙

# œ

e

œ

-

˙

lei

lei

-

-

-

-

-

& &

# #

œ

Œ

e,

e

lei

son,

œ

lei - son,

?# œ

Œ

e,

&

#

-

e - lei

nœ

œ

-

-

˙

œ

son.

Ky

œ

œ

œ

nœ

-

son,

Ky

-

ri

-

œ

œ

-

˙

-

son.

Œ

˙

e,

-

œ

-

e

˙

œ

e,

˙

Ky

ri

e

-

ri

-

œ -

˙. œ œ œ œ œ œ œ œ œ ˙.

˙.

˙.

poco cresc. . . .

-

-

œ

œ œ œ œ œ œ nœ œ ˙ ˙.

son.

-

-

œ

-

œ

˙.

son.

˙.

˙.

˙.

poco cresc. . . .

lei

-

-

-

son.

e

-

lei

-

-

-

son.

œ

ri

œ œ

-

˙.

Ky

son,

e

œ

˙

poco cresc. . . .

˙

œ œ œ œ œ œœ œ œ œ œ œ

? # œ ˙.

lei

œ. œ ˙

˙

# V œ

˙

œ

Œ

œ

# ˙ œ œ œ œ. œ œ œ & œ œ œ œ œ J œ #œ œ œ œ œ œ œ ? # ˙ œ œ #œ ˙ ˙ 73

˙

˙ ˙ œ œ œœ œ œ œ œ ˙. 218

˙.

poco cresc. . . .

˙.

œ œ œ œ œœ œ œ œ œ œ œ œ

œ œ œ œ œœ œ œ œ œ œ œ œ

˙.

˙.

poco cresc. . . .

FRANZ SCHUBERT -- 14 77

#

π

#

π

Ó

∑

∑

∑

Ó

∑

∑

∑

# π V œ

Ó

∑

∑

∑

?# œ

Ó

∑

∑

∑

& &

œ œ

π

&

#

˙˙ .. ˙.

π

œ ? # œ œ œ œ œ

˙˙ .. ˙.

œ œ œ œ œ œ

œœ œ œ œ

œœ œ œ œ

œœ œ œ œ

˙˙ ˙ ˙ ˙

Œ Œ

Vocabulary:

1. Chamber music--Music for small ensembles, such as string quartets 2. Lied--German for "song" 3. Mass--The celebration of Eucharist in the Catholic church; each part of the mass has specific words set to music and sung or chanted. 4. Plainsong--The original chanting of the mass parts 5. Requiem--A mass for the dead 6. Text-painting--One characteristic of Romanticism; the composer tries to express thoughts and feelings through musical techniques.

Write

ACROSS THE CURRICULUM: Do some research online and write an essay discussing the role of the development of the mass in the development of Western music history.

219

15: The Spiritual Almost all Africans who first arrived in the New World came as slaves, sold to work on the cotton plantations of the South, the sugar cane fields of the Caribbean Islands and the tobacco fields of Virginia, North Carolina, Tennessee, and Kentucky. Slaves were allowed to gather for Christian services, and it is from these services that the spiritual developed. The rural slaves liked to linger after regular worship services for singing and dancing. But the slaveholders did not like for the slaves to assemble and interact. Fearing an organized revolt, most slaveholders would not allow the slaves to gather for drum playing and dancing, as their custom had been in Africa. Because of the oppression, many slaves held secret meetings in order to commiserate and to gain strength from each other. Often these "camp meetings" would involve thousands of slaves, gathered together for hours to listen to traveling preachers and to sing spirituals. The lyrics of spirituals were tightly bonded to the lives of the slaves. While they did have work songs about their daily occupations, the spirituals were inspired by the Christian message. Most of the spirituals focused the slaves' faith on a better life hereafter, as the life that the slaves experienced was so exceedingly harsh. Today the spiritual is considered a very important part of our American folk music heritage. The haunting melodies, the faith that shines constant through the words of sorrow and physical pain, the universality of human feelings of despair mixed with faith, joy mingled with sorrow, resignation combined with determination--all of these work together to make the spiritual one of the purest expressions of human spirituality in the midst of a hostile world.

A page from Slave Songs of the United States. New York: A. Simpson & Co., 1867.

220

THE SPIRITUAL -- 15

Didn't My Lord Deliver Daniel? SATB a cappella

4 &b 4

Spirited; well-accented

4 &b 4 4 Vb 4

·

·

·

·

p

? b 44 Ï . f

& b Ï.

Dan

&b

-

f

Ï.

Dan

-

f

. Vb Ï

Dan

-

f

? b Ï.

Dan

? b Ï.

-

6

Dan

?b Ï Ï J

Dan

Ï Ï Ï Ï Ï J

Dan - iel,

4

Ï.

·

-

9

my Lord

de - li -ver

jU Ï Ï iel.

U j Ï Ï

iel.

Ï UÏ J

iel.

U Ï Ï J

Ï.

Traditional spiritual Arr. Patti DeWitt

·

cresc. . . . . . . . . .

Ï.

Dan

-

j Ï Ï Ï Ï Ï iel,

de - li - ver

Dan

-

Ï Ï Ï Ï Ï J iel,

de - li - ver

-

Ï Ï Ï Ï Ï J

Ï.

Ï Ï Ï Ï Ï J cresc. . . . . . . . . .

-

iel,

de - li - ver

Ï.

Ï Ï Ï Ï Ï J

cresc. . . . . . . . . .

Dan

-

Ä Ä Ä Ä

iel,

de - li - ver

"Î "Î "Î "p

Dan

44

·

44

·

44

·

Opt. solo

Ï Ï 4Ï 4J

iel.

Did - n't

my

Lord

de - li - ver

ä Ï

Ï Ï Ï Ï Ï ä Ï J

j Ï Ï Ï Î

Ï.

Ï Ï J

de - li - ver

de - li - ver

Dan - iel,

Dan

-

iel?

221

de - li - ver

Ï Ï Then-a

de - li - ver

j Ï Ï Ï Î

Ï

Ï Ï Ï Ï Ï J iel,

iel,

Ï Ï Ï Ï J

Dan - iel;

Did - n't

Ï Ïä Ï Ï Ï Ï J

why not

ev

- er - y

15 -- THE SPIRITUAL 12

&b

·

&b î

P

j Î Ï Ï Ï Ï

Altos:

Î j Ï Ï Ï

Dan

-

iel,

Dan

-

Ï ú J

Did -n't my Lord

Vb

Ï

Dan

p

? b ú.

Ï.

man?

Dan

15

&b

Ï ú J

j Ï Ï Ï Ï Ï

Dan - iel,

V b nÏ.

de - li - ver

j Ï Ï Ï Ï Ï

-

iel,

-

nÏ ú J

-

Ï ú J

#Ï . Ï.

iel,

·

&b ä Ï

Ï.

de - li - ver

p.

·

·

·

Dan

iel,

iel,

· j Ï Ï

ä Ï

Dan - iel;

j Ï ú

de - li - ver

· Ï Ï

j Ï Ï

Did -n't my Lord

Ï.

jÏ Ï Î Ï

de - li -ver

Ï ú J

Dan

-

bÏ ú J iel,

Dan

-

iel,

Dan

-

iel,

Dan

-

iel,

Dan

-

iel,

Dan

-

iel,

? b Ï. 18

&b

Ï ú J ·

& b Ï.

Dan

V b #Ï .

Dan

? b Ï.

Dan

-

j Ï Ï

iel,

-

nÏ ú J

-

Ï ú J

iel,

iel,

Ï.

Ï.

Ï.

Ï ú J ·

j Ïj Ï Ï ä j Ï Ï Ï Ï Ï

Then - a why not

nÏ. Ev'

Ï.

Ev'

ev - er - y

-

bÏ Ï J

-

Ï ú J

ry

ry

222

Ï

Ï ú J ·

ú.

man?

ú.

man.

ú.

man.

F

Ï Ï

He de -

Î

Î

THE SPIRITUAL -- 15

P

. &b ú 21

Oh,

V b ú. b Ï

Dan

&b &b Vb ?b

-

iel

ú.

whale.

ú. ä Ïj Ïj Ï

The He-brew

fromthe whale;

Ï Ï Ï ú

from thewhale;

why

&b Ï

Ï

not

Ï Ï Ï

ev - er - y

j Ï Ï.

Ï.

He

-

Ï

chil - dren from the

j Ï Ï

brews

- ry fur

fie

- ry

Ï

-

Ï Ï

nace, so

Ï Ï Ï

fur - nace.

Ï Ï Ï

Ï Ï

-

nace, so

man?

Ï

Yes,

Î

ú

Ï

Î

Ï

Î

ú

not

ev'-ry

man?

Yes,

ev'-ry

ú

Ï

not

Ï Ï Ï

- ry fur

He - brew chil - dren from the

why

why

nah

Ï Ï ÏÏ Ï Ï Ï

Yes,

j Ï Ï.

ú.

nace, so

man?

Ï

-

nah

fie

Ï Ï Ï

from the

-

ú.

-

ev'-ry

?b Ï

the

- ry fur

not

Ï Ï. J

from

fie

Why

Ï

Ï

j Ï Ï Ï Ï Ï Ï

Ï

Ï Vb

Jo

#Ï

Oh,

Ï Ï Ï ú

&b Ï

Jo

li - on's den

from the

whale;

27

Ï

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

Ï Ï Ï ú

24

- nah

Ï

Jo-nah from the bel - ly of the

w

Ï

Ï Ï Ï

Ï Ï Ï Ï Ï Ï Ï Ï

li - on's den,

li - vered Dan - iel from the

?

Jo

j j j Ï Ï Ï Ï Ï Ï Ï Ï ú

j &b Ï Ï Oh,

Ï

w

Ï

#ú

man,

Yes,

223

Î

fie

j Ï Ï

ev' - ry

j Ï Ï

Ï Ï Ï Ï Ï Ï U Ï Ï J man? jU Ï Ï

Tempo I

Ï Ï

Did -n't

Ï Ï

bÏ Ï J

man?

Did -n't

ev' - ry

nÏ U Ï J man?

Did -n't

ev' - ry

U j Ï Ï

man?

Did -n't

ev' - ry

j Ï Ï

Ï Ï Ï Ï

15 -- THE SPIRITUAL

F-p

& b .. Ïj Ï 30

j Ï Î Ï Ï

my Lord de - li -ver

F-p

& b .. Ïj Ï j Ï Ï Î Ï my Lord de - li -ver

F-p

Ï V b .. J Ï

Ï Ï Ï Î J

my Lord de - li -ver

F-p

? b .. Ï Ï Ï Ï Ï Î J J my Lord de - li -ver

&b ä Ï

j Ï Ï

&b ä Ï

j Ï Ï

33

Dan - iel?

Ï.

Dan

-

Ï.

Dan

Ï.

Dan

j Ï Ï Ï Ï

Did-n't

my Lord

j Ï Ï Ï Ï

iel,

j Ï Ï Ï Ï Ï

de - li -ver

Dan - iel,

-

-

Ï Ï Ï nÏ Ï ä nÏ J

Ï Ï Ï bÏ Ï J

-

Ï Ï Ï Ï Ï ä Ï J

j Ï Ï Ï Ï Ï

iel,

iel,

de - li -ver

Dan - iel,

de - li -ver

Dan - iel,

de - li -ver

Î j Ï Ï Ï

Dan - iel,

Ï.

de - li - ver

Dan

Ï.

Dan

-

-

jÏ Ï Î Ï

Did-n't

my Lord

de - li - ver

Dan - iel?

Did-n't

my Lord

de - li - ver

Dan

de - li - ver

Ï.

?b ä Ï

j Ï Ï

Ï Ï J

Dan - iel?

Ï Ï Ï Ï J

Ï Ï Ï Ï J

Did-n't

& b Ï Ï ä Ïj Ï Ï Ï

my Lord

Ï Ï Ï Î J Ï Ï Ï Î J p

36

why not

why not

Dan

Ï Ï

iel?

Then-a

iel?

Ï Ï

Then-a

iel?

Then-a

iel?

Ï Ï

j Ï Ï

Ï Ï J j Ï Ï

nÏ Ï

Then-a

man?

p

man?

f

Did-n't

ev - er - y

ú.

Did-n't

2

. Ï Ï . ú. Ï Ï . . ú.

ú.

de - li -ver

p

man?

man?

-

de - li -ver

Î

ev - er - y

V b n Ï Ï ä b ÏJ Ï Ï Ï

#Ï .

-

j Ï Ï

de - li -ver

. Ï Ï . ú.

ú.

& b Ï Ï ä Ïj Ï Ï #Ï

de - li -ver

j Ï Ï Ï Ï Ï ä Ï

Dan - iel?

Vb ä Ï

?b

j Ï Ï Ï Ï Ï

iel,

#Ï . Dan

j Ï Ï Ï Ï Ï ä Ï

Î Ï

why not

ev - er - y

man?

Did-n't

man?

The

why not

ev - er - y

man?

Did-n't

man?

The

ä j Ï Ï Ï Ï Ï Ï

p

Ï Ï .. ú .

ú.

224

f

Ï

THE SPIRITUAL -- 15

39

P

&b Ï

Ï

Ï

f

Ï

Ï

Oo

P

&b Ï

Ï

Ï

Vb Ï

Ï

Ï.

?b Ï

Ï

Ï.

Oo

Ï

f

Ï

Ï

Ï

Ï

j Ï Ï

Ï

Ï.

Ï

Ï.

Ï

Ï

Ï

ú.

Ï

Blows

like

ú.

Ï

Blows

j Ï Ï

like

j Ï Ï Ï Ï.

wind blows east,

the wind blows west;

It blows like the Judg -ment

wind blows east,

the wind blows west,

It blows like the Judg-ment

Ï Ï b & J 42

Judg-ment

j &b Ï Ï

Judg-ment

V b ú.

Day.

? b ú.

Day.

Ï Ï J

Ï ú J Day.

j Ï Ï Day,

(melody)

Ï

And

Î Î

Ï Ï J

ú.

#Ï

Ï.

Oh,

And

ev'

Ï

Ï.

Ï

ev' - ry

ú.

Ev'

Ï

-

Ï

Ev' - ry

225

-

Ï

soul

Ï J Ï

-

ry soul

Ï

that does - n't

soul

-

j Ï Ï

Ï Ï Ï Ï. J

Ï

ry

Ï

that

Ï.

soul

Ï.

does

(melody)

Ï Ï

will be

Ï Ï Ï pray,

Ï ú J

will be

-

Ï Ï Ï Ï Ï J

n't pray will be

15 -- THE SPIRITUAL

45

&b Ï Ï Ï Ï Ï Ï glad to

pray

in that

&b Ï Ï ÏÏ Ï Ï glad

to pray

in that

Vb Ï Ï Ï Ï Ï Ï glad to

pray

in that

?b Ï Ï ÏÏ Ï Ï glad

to pray

in that

p

b j & b b b b b Ï Ï Ïj Ï Ï Î 48

my Lord de -li-ver

p

b j & b b b b b Ï Ï Ïj Ï Ï Î

Ï Î

cresc. . . . . . . . . .

ú

day,

Ï Î

cresc. . . . . . . . . .

day,

Yes,

Ï Î

#ú

cresc. . . . . . . . . .

day,

Yes,

Ï Î

cresc. . . . . . . . . .

ú

day,

Yes,

Ï.

Dan

U Ï

j Ï Ï.

in

Yes,

ú

f

molto rit.

that

Tempo I

P

day.

bÏ bÏ

day.

bÏ bÏ

Did - n't

j molto rit. U Ï Ï. bÏ

f

in

f

that

f

molto rit.

that

Î

day.

U Ï

j Ï Ï.

in

Did - n't

U Ï

#Ï Ï . J in

P

molto rit.

that

Î

day.

-

Ï Ï Ï Ï Ïj ä Ï

iel,

j Ï Ï Ï Ï Ï j Ï Ï ÏÏ Ï

Ï.

de - li -ver

Dan - iel,

my Lord de -li-ver

Dan

-

Ï Ï ä Ï J Ï Ï Ï

Dan

p

-

iel,

Dan

-

iel,

Dan

-

iel,

Dan

-

iel,

Dan

-

iel,

Dan

-

iel,

p

b Ï. V b bbbb ? bb b b Ï. b b

Ï ú J Ï ú J

nÏ. Ï.

226

iel,

Ï ú J Ï ú J

de - li -ver

Dan - iel,

nÏ. Ï.

Ï ú J Ï ú J

de - li -ver

de -li -ver

THE SPIRITUAL -- 15

b b & b b bb ä Ï

j Ï Ï

51

Dan - iel?

b b & b b bb ä Ï

j Ï Ï

Dan - iel?

b V b bbbb Ï.

j Ï Ï Ï Ï

Did-n't

my Lord

my Lord

de - li -ver

Ï.

Dan

nÏ.

-

iel,

Dan

-

iel,

iel,

Dan

-

iel,

Ï.

Dan

-

iel,

Dan

-

Dan

-

iel,

Dan

-

Ï ú J

Ï.

j b & b bbbb Ï Ï ä Ï Ï Ï Ï ev - er - y

man?

why not

ev' - er - y

ú.

j Î Ï Ï Ï

Ï ú J Ï ú J

54

why not

b & b b b b b Ï Ï ä Ïj Ï Ï n Ï b V b bbbb nÏ.

Ï Ï J

Ev'

-

ry

Ev'

-

ry

? bb b b Ï. b b b . & b bbbb nÏ 57

Dan

b & b bbbb Ï.

-

Ï

Ï ú J

ú.

Î

f

man?

ú.

iel?

Then - a

iel?

Ï Ï

j Ï Ï

Ï ú J

Then - a

Ï ú J

Dan

f

-

Ï ú J

Ï.

Dan

-

iel,

iel,

j Ï ú

j Î Ï Ï Ï

Did - n't my Lord

de - li -ver

man?

Did - n't my Lord

de - li -ver

f

Ï Ï Ï Ï J

iel,

Dan

Ï.

Dan

-

-

bÏ ú J iel,

Dan

-

iel,

Ï.

-

iel,

Dan

-

Ï Ï Ï Ï Ïj ä Ï iel,

de - li -ver

Dan - iel,

Dan

-

iel,

de - li -ver

Dan - iel,

Ï Ï Ï Ï Ï Ï ä J

227

Ï.

j Ï ú

-

? bb b b Ï. b b

Ï.

Ï Ï

man?

Dan

b V b bbbb Ï.

f

j Ï Ï Ï Ï

nÏ.

j Ï ú

-

Ï.

Î

ú.

bÏ ú J

Ï Ï J

Dan

Ï ú J

? b b b Ï. b b b

Ï.

de - li -ver

j Ï Ï Ï Ï

Did-n't

j Î Ï Ï Ï

Dan

Ï Ï Ï Î J U , Broadly Ï Ï Ï Ï J iel? Did -n't U, j Ï Ï Ï Ï iel?

Did-n't

de -li-ver

Dan - iel?

Did -n't

de -li-ver

Dan - iel?

Did -n't

j Ï Ï Ï Ï Ï ä Ï

Ï Ï Ï Ï Ï ä Ï J

jU , Ï Ï Ï Ï

Ï UÏ , Ï Ï J

15 -- THE SPIRITUAL

b b j & b b bb Ï Ï 60

my

my

Lord

de - li - ver

Dan

Lord

j Î Ï Ï Ï

de - li - ver

ú

Lord

j Î Ï Ï Ï

b b j V b b bb Ï Ï my

? b b b b JÏ b b

my

P

b & b b b b b ÏJ 62

why

P b b b &b b b j AÏ

Why

P

b V b bbbb Ï

Why

P

? bb b b b b Ï

Why

Ï.

Î j Ï Ï Ï

b j & b bbbb Ï Ï

Dan

ú

de - li - ver

Dan

Ï Ï Ï Î J

Ï Lord

Dan

j Ï Ï Ï Ï

ten.

not

ev

-

er - y

j Ï Ï

Ï

not

ev'

Ï

not

Ï

not

ten.

-

-

Ï

ev'

Ï

ev'

nÏ

ry

Ï

ten.

-

ry ten.

-

-

-

iel?

Ä

-

Ï

ry

228

-

U

nÏ iel? Ä U Ï

-

-

-

-

Ä

ú

de - li - ver

Ï

U, Ï Ï J

Ä

-

iel?

U Ï

- iel?

P

A piacere; rubato

Ï

Ï

Then - a

Î Î Î

Tempo I

w

man?

w

man?

w

man?

p

Ï.

Dan

-

Ï Ï Ï Ï Ï J

iel,

de - li - ver

THE SPIRITUAL -- 15

b b & b b bb 64

·

b b & b b bb

·

·

b b Ï. V b b bb

cresc. . . . . . . . . .

Dan

-

-

iel,

de - li - ver

de - li - ver

Dan

-

-

iel,

de - li - ver

de - li - ver

Dan

-

-

iel,

de - li - ver

Ï Ï Ï Ï Ï J

Ï.

cresc. . . . . . . . . .

Dan

-

? b b b Ï. b b b

iel,

Ï Ï Ï Ï Ï J

Ï.

cresc. . . . . . . . . .

Dan

iel,

U Ï Ï J

f

b & b bbbb Ï. 66

-

Dan

f

b & b bbbb Ï.

Dan

f

Ï. b V b bbbb

Dan

f

? bb b b Ï. b b

Dan

-

-

"Î

iel.

U

j Ï Ï

"Î

-

"Î

U Ï Ï J

"Î

iel?

Ï

Ï nÏ Ï Ï

Ä

ev-er - y

Ï

Ï nÏ Ï Ï

Ä

Ï nÏ Ï Ï

Why not

Ï UÏ J iel.

Ä

Maestoso; largo

Why not

iel.

-

j Ï Ï Ï

Ï.

Ï

Why not

Ä

Ï

ev-er - y

ev-er - y

Ï nÏ Ï Ï

Why not

ev-er - y

Ï Ï Ï J

Ï Ï

Ï Ï Ï J

Ï

ú

U Ï

man?

ú

man?

-

man?

man?

Ï

U Ï

Hm.

-

Hm.

-

Hm.

ú

Ï

Hm.

-

ú

Ï

U Ï

UÏ

FIND a spiritual online and write out its melody. IMPROVISE a counter-melody and an accompaniment. Complete your arrangment using Activity Sheet 44.

Pencil Time 4:

Activity Sheet 41: History of the Spiritual Activity Sheet 42: Analysis, "Didn't My Lord Deliver Daniel?" Activity Sheet 43: Arrange a Spiritual

229

16: Quartet singing has been a part of Americana tradition for the past century or more. Although it has not been as prominent a part of our society for the past 50 years or so as it was in the early part of the 20th century, it is enjoying a renaissance today. Thanks to the Barbershop Harmony Society and to Sweet Adelines International, quartet singing is thriving today. The quartet singing tradition ("barbershop") was born from the African American tradition of amateurs getting together informally (yes, even at the barbershop) and blending their voices together in four-part harmony, a cappella, of course. The Mills Brothers, a famous African-American quartet who cut records in the 1940s and 1950s, learned to sing in their father's barbershop, and several Gospel quartets also trace their roots directly to the barbershop. Barbershop music also employs several important traits of the African-American music tradition. First of all is the call and response. This technique is a very simple one in which the leader sings a phrase of music, and the group answers with its own response. Secondly, barbershop often employs the echo effect, where the harmonic voices echo a word or phrase in order to keep the rhythm alive and moving. Last is the use of special harmonic techniques. Barbershop frequently uses the dominant seventh chord (V7) but without any specific harmonic function. For example, you have learned in this book that in classical music, the V7 chord has a specific harmonic function--that is, to resolve to the tonic chord. But in barbershop, the V7 is used for color and for character. Barbershop also borrows other characteristics from the black music tradition. 1. A concentration on vertical harmonies 2. Improvisation, and 3. The "blue" note--the lowered third (Me) The Barbershop Harmony Society, formerly known as Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America, was founded in 1939 for the precise reason that its name states. Six years later, wives of the barbershoppers met to form their own group, which they called Sweet Adelines International. Both groups sing the same style of music--"Barbershop." Both are voice in 4-part a cappella and have the same designated voice parts: Tenor--the highest voice Lead--the second highest voice, and the one which usually sings melody Baritone--the second lowest voice Bass--the lowest voice Because barbershop involves four parts in close harmony, they rarely use only simple major or minor triads. More often than not, the harmony will involve an added seventh (as discussed above) or some other note. On the following pages are some examples of these chords "stacked" with extra notes.

230

BARBERSHOP -- 16

Below is a barbershop harmonization of "Give My Regards to Broadway." Solfege through the arrangement. Listen for the melody. Which voice has the melodic line?

j j & b 44 œœ œœ œœ œœ

Tenor Lead

œ ? b 44 œ J

œ œ œ œ J

Give my re - gards

Baritone Bass 4

Her - ald Square

&b œ œ w

˙

Square.

˙ œ

œ #œ ?b œ # œ & b ‰ n œœ

j œ œœ œ

I

œ ?b‰ œ 10

& b ˙˙

œœ J

?b 14

& b œœ

old

œ ?b œ

j œ œœ œ

œ œ œ œ J

the gang

œ œ

# œœ

œœ n œ

Broad - way, and

œ

œ œ

to min-gle with the old

œœ

œ

œœ

œœ

œœ œ n œ

j œ œœ œ

j œœ œœ

œœ

Whis - per

œ œ J

of

œ œ œ œ J

time throng

œœ b œœ

say

that

œœ n œœ b œœ

œœ œbeœ

I'll

231

œœ

œœ I'm

œœ

œœ

œœ œœ œœ # œœ J

Give my re-gards

œœ œ b œ œ # œœ œw J

œœ

how

œ

œœ # œœ œj œ œ œ J

w w

Oh, won't you

œœ # n œœ

œœ

For - ty - Sec - ond Street that

I'll soon be there.

be

œœ .. œœ œ J œ

at

œ

œ œœ œœ œ œœ œœ

œœ

w œJ œ n œ b ˙ ‰ there. j ‰ œ œ œ ˙˙ ˙

œœ

œ œ

Re - mem - ber me to Her - ald

j œœ œœ œœ

j œœ .. œ œ œ œ œ œœ œœ œ œ œ œ œ #œ

yearn - ing

b ˙˙

œ œ

will soon

œ .. œ œ œ œ œ J

Broad - way,

œœ œœ b ˙˙

œ œ œ œ J

œ

˙˙

to

Tell all

Her - ald Square

7

œœ

- ber me to j œœ .. œ œ œ œ œ œ œ œ œ œ œ #œ œ Re - mem

there

œœ

œœ

ere

˙˙ ..

˙. ˙.

Œ

long.

Œ

to

16 -- BARBERSHOP

Barbershop music is used only as a guideline for the performers. The performers are not only allowed, but expected and encouraged, to improvise the music and individualize it according to their own personalities. One of the things that is dearest to the heart of barbershoppers is the tag. A tag is an elaborate ending for a song, usually the last four to eight measures, which contains, according to one barbershopper, "the best chords of the song."* Tags originate as improvisations on the endings of songs. They are often written down and are freely shared and distributed to barbershop groups and Sweet Adelines who will practice them, put them to memory, and create more tags to share. Below is an example of a tag for "Give My Regards to Broadway":

& b 44 œœJ # œœ

Give my

œ œ ? b 44 # œ œ J & b œœ

j œœ œœ

re - gards

# œœ

n œœ

b œœ

œœ J

œœ

œœ ?b

œœ

& b ‰ œœ

j œ œ œ œ

I'll

be

I'll

œ ?b‰ œ

be there

œœ œœ J

œœ

œœ

to

there

Broad

œœ

œ

‰ œœ I'll

‰

wÓ

long.

œœ

˙

ere

œœ

# œœ

old

œœ

œœ œœ

œœ

ere

˙˙

Ó

-

œœ n œ

way,

and

œœ

œœ # n œœ œœ b œœ

say

that

j œœ œ #œ

œœ

œœ J

œœ

be

U w w U ˙ w

long.

u

there

œ

U ˙

Improvise your own tag for "Give My Regards to Broadway." Improvise a melodic tag for the "Home on the Range," and "Take Me out to the Ballgame." Write it down if you have trouble remembering it.

____________________________ * From the website of the Tualatin Valley Harmony Masters, http://www.evg.org/~tvhm/tags/barbershoptags.html

232

BARBERSHOP -- 16

SING the barbershop arrangement of "Give My Regards to Broadway." Make any changes to the harmony that you would like (or rearrange the melody for yourself). Sing the arrangement with the added tag. IMPROVISE or write your own tag for this song with music notation software that allows you to listen back to it. COMPOSITION: Select a public domain melody. (Use the internet search engines.) IMPROVISE a countermelody. Let this be the Tenor part. Keep the melody in the lead, add a good solid bass line. Fill in the baritone with notes of the specific scale, and you have arranged a piece for barbershop singing.

Vocabulary:

1. Barbershop--A style of a cappella quartet singing characterized by improvisation, close harmony, and the melodic line placed in the second highest voice

2. Call and response--A type of performance in which a soloist "calls" out a phrase of music followed by a response by the larger group 3. Echo effect--A repetition of several words by the harmonic voices in order to maintain the flow of the beat 4. Tag--An elaborated, harmonically rich ending to a song, characteristic of barbershop singing

Pencil Time 4: Activity Sheet 44: Barbershop!

Activity Sheet 45: Write a tag! Activity Sheet 46: Improvise a Melody!

If you are interested in pursuing this style of singing, recruit some people and form your own group. You can also get help from the Barbershop Harmony Society or from Sweet Adelines International. There may be a chapter near you. http://barbershop.org/

233

234

l

Glossary

L

A cappella--Sung without instrumental accompaniment Accelerando--(accel.)--Gradually faster; accelerate Accidental--A note that is altered from its "natural" state in the scale Accompaniment--Music that supports the melodic line Act--The major division of an opera. Operas are often divided into 3 acts. Adagio--Slowly; take your time. Aeolian mode--The mode whose tonic is La; also known as natural minor. Alla breve--Cut time; 2 , usually abbreviated 2 Antiphonal--Music sung by two groups who respond in turn to answer each other Aria--Solo song in an opera Arrangement--A new setting of an existing melody A tempo--Resume the music at the previous tempo; often used after a ritard or a fermata Audiation--"Inner hearing"; the ability to "hear" written music in one's head Augmented second--A raised second; an interval of 3 half steps Ayre--An old English term for song Barbershop--A style of a cappella quartet singing characterized by improvisation, close harmony, and the melodic line placed in the second highest voice Barline--A line through the five lines of the staff that divides music into measures. A double barline denotes the end of the piece or the section. Baroque--A period of music history loosely defined as the era around the years 1685 through 1750. Characteristics of Baroque music include an emphasis on instrumental music that was missing in the Renaissance, the invention and prolific use of the fugue, figured bass accompaniment, and ornamentation. Much Baroque music was showy and dramatic, written to show of a performer's virtuosity. Bass clef--A sign that indicates that the notes presented are in the lower range in pitch Beat--A regularly repeating pulsation in music Bordun--"Open" fifth accompaniment Broken bordun--An open fifth accompaniment in which Do and So are played consecutively. Broken chord--A triad in which the notes are sounded consecutively instead of simultaneously Cadence--The end of a section of the music when all voices come to rest on a common chord "Amen" cadence--A plagal cadence; IV - I, so called for its prominent use in closing hymns Authentic cadence--A full cadence Deceptive cadence--A cadence that resolves to the vi chord; for example, V7 - vi Full cadence--A final cadence: V - I Half cadence--A cadence that resolves to the V chord Imperfect cadence--A half cadence Perfect cadence--A full cadence Plagal cadence--A cadence using the chord progression IV - I Call and response--A type of performance in which a soloist "calls" out a phrase of music followed by a response by the larger group

C

235

GLOSSARY

Calypso--A style of music originating in the West Indies characterized by strong melodies, syncopated rhythms, and an abundance of percussion instruments, often steel drums Canon--Performance of a single melody by 2 or more voices beginning at different times Chamber music--Music for small ensembles, such as string quartets Chanson--Literally, song (French); also a particular form of song in the Renaissance Chorus--An ensemble of many voices Chromatic scale--A scale that moves up or down by half steps Classical Era--A period of music history loosely defined as the era around the years 1685 - 1750. Characteristics: Refinement, restraint, elegance and the rise of concrete musical forms such as the sonata, symphony, string quartet, and concerto. Coda--New musical material added to the end of a piece of music Common meter-- time. Four beats in each measure, the quarter note receives 1 beat. 6 Compound meter--Meter in which the beat that into triple subgroups; for example, 8 meter which divides into 2 subgroups of 3 eighth notes Concertmaster--The first violinist of an orchestra. In previous times, the conductor of the orchestra Counter-melody--A melody written to accompany the original melody Counterpoint--Literally "point against point"--a style of musical composition in which two or more independent lines of music interact with each other Crescendo--Gradually grow louder 2 "Cut time"-- 2 , usually abbreviated C DC al Fine--Go back to the beginning and end at "Fine." DS al Fine--Go back to the sign (signo % ) and end at "Fine." Decrescendo--Gradually grow softer Diction--How words are pronounced; involves vowel and consonant production Diminuendo--Gradually grow softer; decrescendo Dominant--The fifth note of the major scale; So. The V chord is the dominant chord. Dorian mode--The mode whose tonic is Re Downbeat--The first beat of a measure Dynamics--Loudness and softness in a piece of music Echo effect--A repetition of several words by the harmonic voices in order to maintain the flow of the beat Engraver -- A person who prepares the printed musical score for publication Ensemble--Two or more people performing together; a French word meaning "together" Fifth--The interval of five; the distance between the first and fifth notes of a scale (Do and So) the second and sixth (Re and La), third and seventh (Mi and Ti), etc. Finale--The last musical scene in an opera before the final curtain Fine--The end (Italian) Flat-- b --A note that has been lowered by one-half step F Major--The major key that has one flat ( b ) in the key signature. Form--The pattern of repeated sections in a piece of music. Forte--Loud; symbol- f Fortissimo--Very loud; symbol- Ä Fugue--A polyphonic musical form in which the voices enter at different times and present the theme in higher or lower keys from the first statement of it G Major--The major key that has one sharp ( # ) in the key signature Grand pause--A complete break in the music for as long as the director wishes; symbol--

"

236

GLOSSARY

Half note--A musical tone that sounds for 2 beats in common meter Half rest--A two-beat period of silence in music Half step--The distance between a note and its closest neighbor, either above or below Harmony--Performance of 2 or more different lines of music at the same time Harmonic minor--A minor scale in which the So has been altered (raised) to Si Harpsichord--A stringed keyboard instrument in which the strings are plucked to produce sound. The predecessor of the piano Homophonic--Chordal; a style of music in which all voices move to the next note at the same time Homophony -- A style of music in which the voices tend to move from note to note at the same time; chordal music Hootenanny--An informal concert, usually of folk-type music, in which the audience is expected to participate I Chord--A triad consisting of the notes Do, Mi, and So ii chord--A triad whose root is Re; the ii chord is minor in a major key Improvisation--The spontaneous creation and performance of music Interlude--A musical piece between the acts of an opera. Also called intermezzo and entr'acte Interval--The distance between two musical tones Ionian--The mode whose tonic is Do; a major key Intonation--How well a musician or group of musicians matches the given pitch IV chord -- A chord whose root is Fa; the IV chord is major in a major key Key Signature--The indicator at the beginning of a line of music that identifies the key the piece is in--indicates how many notes in the scale are sharped ( # ) or flatted ( b ) Leading tone--The seventh note of the major scale, or any raised note that resolves to the next higher pitch Legato--Smoothly Libretto--The text of the opera; the story Lied--German for "song. Locrian--The mode whose tonic note is Ti Lute -- A stringed instrument of medieval and Renaissance times with a long bent neck and a pear-shaped body Lutenist -- A lute player Lydian--The mode whose tonic note is Fa Madrigal--An a cappella polyphonic choral piece popular in the Renaissance Major scale--A series of eight notes that progress in order (either up or down) from one pitch to the next pitch of the same name, using the sharps or flats, in any, that are indicated in the key signature for the key that corresponds to the pitch name Major sixth--An interval of a perfect fourth plus a major third Major third--The distance between Do and Mi; 4 half steps Marcato--Heavily accented; the opposite of legato Mass--The celebration of Eucharist in the Catholic church. Important in the development of music history because most of the surviving music from ancient times was written to support the words of the different parts of the mass, normally the Kyrie, Gloria, Credo, Sanctus, Agnus Dei, and Benedictus. Measure--The distance between 2 barlines of music.

237

GLOSSARY

Melisma--Two or more notes for a single syllable of text, indicated by a slur Melismatic--Music that contains melismata (the plural of melisma) Melodic minor--A minor scale in which Fa and So are raised to Fi and Si when ascending, but are natural (Fa and So) when descending Melody--A tune; the predominant line in a musical composition Meno mosso--Slower; literally "less motion" Mezzo-forte--Medium loud. Literally "half-loud"symbol-- F Mezzo-piano--Medium soft. Literally "half-soft"symbol-- P Minor scale--A sequential series of eight notes, beginning and ending on La Minor seventh--A major seventh that has been lowered one half step Minor sixth--An interval of a perfect fourth plus a minor third Minor third--The distance between Mi and So; 3 half steps Minuet--A dance form in triple time popular in the courts of 18th-century Europe. Mixolydian--The mode whose tonic note is So Modulation--A change of keys in the midst of a musical piece Direct modulation--"Unprepared" modulation; a modulation that occurs with no preparation or warning Formal modulation--A modulation that is indicated by a change in key signature Informal modulation--A modulation that is indicated only by a change in modality or the use of altered notes Molto legato--Very smoothly. Molto is Italian for "very." "Movable" Do--A sightsinging system that uses solfege syllables to identify the pitches of the scale. It is called "movable" because Do "moves" from key to key depending upon which line or space the tonic pitch is found. Natural minor--The aeolian mode; minor key in which no notes are altered Nonharmonic tones--A note that sounds at the same time as, but is not a part of a chord Accented passing tone--A nonharmonic note that passes between two harmonic notes and falls on a strong beat Anticipation--A nonharmonic note that sounds ahead of the rest of the chord; it sounds while the previous chord is still heard in the other voices Appoggiatura--A nonharmonic note that leaves one harmonic note by a leap and resolves to the next note by step in the opposite direction Lower neighbor note--A nonharmonic note between two harmonic notes of the same pitch that is a half step or step lower than the harmonic notes Pedal point--A drone (continuously sounding) note, usually in the lower voice, over which the harmonies continue to change. Suspension--A note that is held over from the previous chord Unaccented passing tone--A nonharmonic note that passes between two harmonic notes and falls on a weak beat or the weak part of the beat Upper neighbor note--A nonharmonic note between two harmonic notes of the same pitch that is a half step or step higher than the harmonic notes Octave--The interval of 8; the interval between one note and the closest note of the same pitch class Octave bordun--A bordun accompaniment that echoes the fifth in a higher octave Obbligato--A counter-melody in a high voice Opera--A play that is sung. Plural of the Italian word "opus," meaning "a work." Oratorio--An opera that is written to be performed with out the dramatic elements of set, costume, and acting. For the concert hall rather than the theatre

238

GLOSSARY

Ostinato--A short and continously repeating accompaniment pattern Overture--A musical work presented before the first act of an opera. Often the overture contains statements of musical themes from throughout the opera. Parody--An imitative, often humorous or satirical, composition based on an existing work Passing tone--A note that serves as bridge between its upper and lower neighbor notes Patsch--Body percussion sound made by slapping hands on one's thighs Pedagogy--The science of teaching Percussion--Musical instruments played by striking, scraping, or shaking. Perfect fifth--The distance between Do and So; 3 and 1/2 steps Perfect fourth--The distance between Do and Fa; 5 half steps Phrygian--The mode whose tonic note is Mi Pianissimo--Very soft; symbol -- ¹ Piano--Soft; symbol-- p Picardy third--Raising the third in a minor chord at the end of a major cadence Piu mosso--Faster; literally "more motion" Plainsong--The original single line unison chanting of the mass parts Polyphonic--A style of music in which the voices sing independent melodic lines Pivot chord--A chord common to both the original key and the key of modulation that serves as a link between the two keys Polyphony--Literally, "many voices." A style of music in which the voices each carry a melodic line, often starting and ending at different times. Prerequisite--Learning that must take place before being accepted into a degree program or other course of study. Quarter note--A musical tone that sounds for a duration of 1 beat in common meter. Quarter rest--A single beat of silence in music Rallentando--Get gradually slower; ritard Recitative--Dialog in an opera, often sung in free rhythm Relative Minor--A minor key with the same key signature as a specified major key Renaissance -- The period of time that is loosely defined as the 15th and 16th century when the world began to move into the modern age of machinery and technology. Repeat sign--A sign that tells the performer to repeat the previous measures, or to the beginning of the piece Requiem--A mass for the dead Rest--A period of silence in music Retrograde--Performance of a musical passage in reverse order of what it is written; from right to left instead of left to right. Ritardando--(ritard, rit.) Get gradually slower Romantic Era--A period of muisc history loosely defined as the last 3/4 of the 19th century. Romantic music showed the reaction against classicism by its emotional content, its focus on nature, its fascination with the fantastic Root--The note upon which the chord is built. In a I Chord, Do is the root. Rubato--Varying the tempo of a piece of music as a tool for expressiveness Scat--Jazz singing using nonsense syllables to improvise Scene--A subdivision of an act of an opera. Often the scene changes when there is a change in setting

239

GLOSSARY

Secondary dominant--A chord that is altered from its normal state in a key so that it becomes a V Chord of another chord. For example, in the key of C Major, a D minor chord in which the third has been raised to form a D Major Chord may function as a secondary dominant chord to a G Major or G minor chord. Setting--Where the specific scene in an opera takes place Sharp-- # --A note that has been raised by one-half step Simple bordun--An open fifth accompaniment in which Do and So are played at the same time Singspiel--A German musical play Sixteenth notes--Notes that receive ¼ of one beat in common time; four sixteenth notes fill up one beat of music in common time. Slur--An arc connecting 2 or more notes of different pitches, indicating a melisma Spiritual--A religious song of the slaves of America in the 18th and 19th centuries; part of American folk tradition Staff--The set of five lines upon which music is written. Steel drums--A West Indian musical instrument originally made from the lids of 55-gallon steel drums. Steel drums are associated with calypso music. Strophic--Having more than one stanza or verse. The music repeats with each stanza, but different verses are sung each time. Most hymns are strophic. Subdominant--The fourth note of the major scale; Fa. The IV chord is the subdominant chord in a major key. Supertonic--The note above the tonic. The second note of the major scale, Re Syllabic--Music that primarily presents one note of music for every syllable of text Syncopation--A rhythmic style in which accented notes fall on normally unaccented beats. Tag--An elaborated, harmonically rich ending to a song, characteristic of barbershop singing Tempo--Speed; how fast or slow a piece of music is Text-painting--One characteristic of Romanticism; the composer tries to express thoughts and feelings through musical techniques. Theme--The predominating melodic idea in a musical work or in a section of a work Third--The distance between two notes in the scale with one note between them Three-four meter--Time signature in which there are 3 beats in a measure and the quarter note receives one beat. Tie--An arc connecting two or more notes of the same pitch Time signature--The sign that indicates how many beats will be in each measure, and what kind of note will receive one beat. Tonic chord--The I Chord Treble clef--A sign that indicates that the notes presented are in the upper range in pitch Triad--A chord of three notes Trill--A rapid alternation between a note and another note--usually its upper neighbor Triplet--A group of notes resulting form dividing the beat into 3 equal notes Tritone--The interval of 3 whole steps; one-half of one octave Augmented fourth--A tritone made by raising a perfect fourth one half step Diminished fifth--A tritone made by lowering a perfect fifth one half step Variation--Manipulating a theme in using various techniques, including changing the accompaniment style or embellishing and elaborating the melody vi chord--A chord whose root is La; the vi chord is minor in a major key

240

GLOSSARY

Waltz time--Another name for three-four meter Whole note--A musical tone that sounds for 4 beats in common meter. Whole rest--One whole measure's rest Whole step--two half steps

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Index of Poems

L

..

The Prickly Pear, 3

Erlkonig, 206

l

Index of Songs

Bluebonnet, The, 10 Didn't My Lord Deliver Daniel?, 221 Dixit Maria, 136 Give My Regards to Broadway, 231 Hava Nagila, 100 Kerry Dance, The, 38

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Kyrie Eleison, 210 Navy Hymn, The, 172 Psalm 96, 145 Strolling with You, 96 Weep, O Mine Eyes, 111

Index of Composers

L

Hassler, Hans Leo, 140 Schubert, Franz, 205 Sweelinck, Jan, 145

Bennet, John, 111 Cohan, George M., 231 DeWitt, Patti, iv Dykes, John Bacchus, 171

l

L

Orff Abbreviations

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AX--Alto xylophone BX--Bass xylophone SX--Soprano xylophone Rec--Recorder FC--Finger cymbals Rat--Ratchet VS--Vibraslap WB--Woodblock

AM--Alto metallophone BM--Bass metallophone SM--Soprano metallophone AG--Alto glockenspiel SG--Soprano glockenspiel Cym--Cymbals Whis--Slide whistle TB--Temple blocks

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l

IPA Chart

L

Common English Vowels English Word

IPA SSelling

as in i as in e a as in as in o as in u

meet ate lock home food

( mit ) ( et ) ( lak) ( hom) ( fud )

as in as in    as in as in    as in as in  as in ɔ

sit red hat alone cuS should draw

(  ) (   ) ( h  t ) (   ) (  )

IPA Symbol

I











( )

(  )

DiSthongs (double Yowel sounds)

  as in ei as in as in   as in as in    as in  as in  as in

sign Slay Yoice mouth hear where for sure

(  )

fire hour

(    ) (  )

( Sl ei )

(   ) (  ) 

( ) (  ) (  ) (   )

TriSthongs (triSle Yowel sounds)

  



as in as in



TheInternationalPhoneticAlphaEet deYeloSed by the International Phonetic Association DeSartment of Theoretical and ASSlied Linguistics Aristotle 8niYersity of Thessaloniki Greece.

243

INDEX

l

General Index

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Internet search, 115, 209 Le, 182 Leading tone, 81, 82, 98, 99, 117-119 Li, 119 Lower neighbor note, 6, 14 Madrigal, 116 Major sevenths, 57 Major sixths, 15-31 Major third, 42, 43, 54 Mass, 209 Minor sevenths, 57 Minor sixths, 15-31 Minor third, 42 Me, 181 Melodic minor, 99, 110, 116 Modulation, 155-177 Natural minor, 99 Neighbor notes, 6 Nonharmonic tones, 6-14 Octaves, 15-31 Passing tone, 6, 14, 82 Pedal point, 8, 14 Perfect fifth, 46-52 Perfect fourth, 44-45 Picardy third, 110, 116 Pivot chord, 155 Plainsong, 209 Ra, 181 Ri, 118 Root, 5, 14 Relative major, 160, 170 Relative minor, 160, 170 Renaissance, 143-144 Salieri, Antonio, 205 Schiller, Friedrich, 206 Schubert, Franz Peter, 205-206 Se, 182 Secondary dominant, 162, 178, 204 Si, 99 Spiritual, 220 SPEBSQSA, 230 Subdominant, 157, 170 Suspension, 7, 14 Sweelinck, Jan, 141-142

5/8 meter, 35 6/8 meter, 34 Accented passing tone, 7, 14 Accidental, 81 Accompaniment, 117, 118, 204, 229 Analyze, 4, 5, 9, 53, 168 Anticipation, 7, 14 Appoggratura, 8, 14 Arrangements, 231, 233 Audiation, 85, 86, 104, 122, 161, 183 Augmented second, 100, 116 Barbershop, 230-233 Beethoven, Ludwig van, 205, 206, 208 Cadences, 76-80, 82, 160 Chords V7 Chord, 53-75 vi Chord, 42-52 Chamber Music, 206 Chromatic, 183 Circle of fifths, 157 Classical Era, 208 Cohan, George M., 231 Composition, 76, 140, 155, 233 Compound meter, 32, 34 Conducting patterns, viii, 33 Countermelody, 117, 194, 208 Cut time, 33, 35, 36 da Vinci, Leonardo, 144 Di, 117 Dominant, 157 Dominant seventh chord, 230 Dykes, Rev. John Bacchus, 171 Erlkonig, 205- 207 Fi, 81-98 Form, 110, 142 Friedrich, Caspar David, 207, 208 Goethe, Johann Wolgang von, 206 Hoffmann, E. T. A., 208 Handsigns, ix Harmonic minor 99, 116 Hassler, Hans Leo, 136, 140 Historical Shorts, 57, 110 Improvise, 117, 229, 230-233

244

INDEX

Sweet Adelines International, 230, 233 Non-harmonic tones, 6, 8, 14 Te, 178 Triplets, 34 Tritones, 54 Unaccented passing tone, 6, 14 Upper neighbor note, 7, 14 Van Eyck, Jan, 143 Vogl, Johann, 205 Whiting, William, 171, 172 Write across the curriculum, 3, 32, 43, 80, 98, 142, 204, 219

245

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Bibliography

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Blume, Friedrich; Norton, M. D. and Norton, Herter, trans. Classic and Romantic Music; A Comprehensive Survey. New York: W. W. Norton & Co., 1970. Dirksen, Pieter. The Keyboard Music of Jan Pieterszoon Sweelinck, Its Style, Significance, and Influence. USA: Music Library Association, 1998. Hamm, Charles. Music in the New World. New York: W. W. Norton, 1983. Holmes, George, ed. The Oxford Illustrated History of Medieval Europe. Oxford: Oxford University Press, 1988. Kennedy, Michael. The Oxford Dictionary of Music, 2nd Edition. Oxford: Oxford University Press, 1997. "Negro Spirituals." Atlantic Monthly (June 1867): 685-694. The Norton Anthology of English Literature, 6th ed. vol. 1. New York: W. W. Norton & Company, 1993. Noske, Frits. Sweelinck. London: Oxford University Press, 1988. Ousby, Ian, editor. The Cambridge Guide to Literature in English. Cambridge, Cambridge University Press, 1993. 669-670 "Romanticism," Art Cyclopedia, http://www.artcyclopedia.com/history/romanticism.html Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. New York: W. W. Norton & Co., 1997. Sadie, Stanley and Tyrrell, John, ed. The New Grove Dictionary of Music and Musicians, Groves Dictionaries, Inc., 2001. Seay, Albert. Music in the Medieval World, 2nd Edition. Waveland Press, Long Grove, IL, 1991.

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