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71

Intervals

Write 3 8 on

Name

staff.

Play

it.

it

as an harmonic

and and then 3. 8 and sing Flay again, from G, F, D and Bb. Play Practise the minor 6th in each key as outlined above. interval.

then

Sing

it

again after playing, singing 3

8.

1358

Play the following:

(2)

6

Pitch Drill:

may

resolve

643 instead of 6

Sing:

56531 564321 51653 5164321 3516535 1643 35 1643 5643

3565 35643 31653 31643

13565 13564321 135643 16531 16431 164321

5.

585643 82785643 8564321 1 271643 835643 571643 5721643 81653 81643

The above numbers should be written on the staff in C, F and and bass. Then they should be referred to later and from the staff by number and letter. They should also be sung used for dictation. After they have become comparatively easy in major, they should be studied in minor by lowering the 3rd and 6th. They should also be written in c, f and g minor and sung number. by G, treble

(3) Exercises for Dictation:

Melodies containing 6

4, for dictation

and

>l

singing:

I

I

fs

iCj ifl-H-

7' ^li Trf

'

If

I" FQ-

fr

[j-lr

=*=*

^N

IJI

T

m n

f

CiTr

rr

If

ii

r r

Lrif

IT

i

[r^^^

Ear-Training and Sight-Singing

72

10

J ^

u

i

j

12 ~^Y

n

I

w

mig- m m

I

i

j

n

J.

I |

These should be written in other keys and and with different note-values.

in the

minor mode,

Section C. Pitch Drill:

The

(1)

skip 4 6 5

is also

5346538 The above numbers

used.

5346571 853465 83465 81465 8283465

13565 1346531 1346538 35465 53465

Sing

to be written as directed in Lesson 12,

Section B, page 71. (2) Exercises for Dictation

and Singing:

Melodies containing any of the skips 7

2,

2 4, 6 4, 4 6.

2

i

IUJ

J

r

i

rjir

r

10

rrf

iffcrffirrrrj 12

13

*"!

14

r

i^cJcj

'r

Cy

r

iLTLJ-i

if

erf;

73

Intervals

16

The above should be written in other keys; also in minor and with different note-values.

(3) Exercises

in Sight-Singing: 2

l

J IJ j.

irrr

if

r

if

r ir

ifrrr ir?r

r

f

rr

ir

r

^

Ear-Training and Sight-Singing

74

MI rr irrr 'rr

i

r

10 r

if

r

'

'

!

r

i

i

r r

n

' i

ir r

i

H

LESSON 13

The Up-beat may begin with

the accented or the unRhythm in music accented pulse of the meter. This corresponds to the rhythm or kind of foot used in poetry. If the rhythm begins with the v_^ or a trochee. If the rhythm accented pulse, the effect is or an begins with the unaccented pulse the effect is

^

iambus. will

When the rhythm begins on the accented pulse, the measure correspond to the space between the bars, thus: 1.

|

Ma

-

-Ma-

ry,

J_

,

J

ry,

J

quite

con

j

J

,

Ua -

-

ry

J

,

J

When the rhythm begins on the unaccented pulse in duple meter, a measure will extend from the unaccented through the accented pulse, thus: 2

The

shades of

night were

fait

-

Ing

fast

When

the rhythm begins on the unaccented pulse in triple will extend from the second unaccented through a measure meter, the first unaccented pulse, thus: 3.

I

A

3

-

long came

.3

3.

a

spl

-

der

and

sat

down be

-

side her

J.JJJ.JJJ.JJ

Section A. Suggestions for Study: (1)

Erect (using accidentals) a Perfect 5th Minor 6th 1

Major

2nd

I

Minor Major

[

3rd 7th

from

E,A,D,G, B

Perfect 4th

and F#.

75

Intervals

(2)

Erect (using accidentals) a Major

3rd

Minor Major

6th

2nd

Perfect 5th

Minor (3)

Name

(4)

Scan the following

from [

Db

Ab, C,F,

Bb and

7th

the following intervals:

lines,

marking the long and short

syllables:

Jack and Jill went up the hill. Rock-a-by baby on the tree-top. Sing a song o' sixpence. Humpty Dumpty sat on the wall.

Maxwel ton's braes are bonny. Flow gently, sweet Afton. O say, can you see, by the dawn's early light. By yon bonnie banks and by yon bonnie braes. (5) 3,

page

Make rhythmic

outlines of each, as in

Examples

1,

2

and

74.

Section B. (1)

(a)

Play the following:

Sing each; first the lower tone (3), and then the higher (8). Play each again, and sing 8 first and then 3. from C. (b) Play

1358

Think

1

5.

Think

Play the following:

5 8.

fe

tT