Practical Music Theory - Forgotten Books
Transcript of Practical Music Theory - Forgotten Books
PRACTICAL MUSIC THEORY
(Melody Writing and Ear Training)
PRACT ICAL MUS IC
T HEORY
Revised Ea’
iz‘
ion of
(Melody Writing and Ear Tra ining)
FRANCES M . QICKEY ,M . A .
PROFE S SOR OF MU S ICU N IV ERS ITY OF W A SH INGTON
,SEATTLE
AUTH OR OF Early H istory ofPublic S chool Music in America
AND
EILENE FRENCH (R ISEGAR I) , M . A .
FORMER IN STRU CTOR OF MU S ICUN IV ERS ITY OF W A SH INGTON
,SEATTL E
OLIVER DIT SON COMPANYTH EODORE PRE S SER CO .
,D I STRIB UTORS
17 1 2 Chestnut S treet Philadelphia
MADE IN U . S . A .
Copyright MCMXXVI, by Oliver Ditson Company
International Copyright Secured
Copyright MCMXXXVI, by Oliver Ditson Company, Inc.
PREFACE
This book is intended for freshman classes in col leges and uni
versities or in high schools to serve as a preparation or intro
duction to the study of harmony. The training Mplied in this
course is essential to all vocal as well as instrumental students
whether or not they continue with. the harmony.
The aim of the book is to present to the student an approach
to the study of harmony through the development of the hearingof music which means a sensitiveness to all rhythmic and tonal
possibilities of music.
In this text, we have digrassed from the usual point of attack ,
through intervals and scales as abstract elements and instead
insist that students discover these elements through observation
and analysis of musical il lustrations .
In order to promote progress or growth on the part of the in
dividual which contributes to understanding and appreciation .
stres s is laidpn the actual doing or performance rather than mere
discussion or memoriz ation of facts . Therefore,the physical ao
tion in marking pulse, duration , and pitch and constant expression
at the keyboard. orally and on paper,tend to make students con
scious of the ‘
ideas presented . The appeal is always to the ear
first and then the expression through the voice,keyboard and
writing follows .
Music is a language and the purpose of this book is to increaseunderstanding of that language through experience with technical
ideas which gives a keener appreciation of the emotional content .Grateful acknowledgment is made to Carl Paige Wood, Pro
fessor of Music , Helen Hall , Ass istant Professor of Music , andMiriam Terry, Instructor in Music , of the Un iversity of Washington , for examination of the text and for many helpful suggestions .
Frances M. Dickey
Eilene French (Risegari )
Seattle,Washington
TO THE TEACHER
EXPERIENCE in Sight singing is essential both to precede andto accompany the work proposed in this text
,for the students
need to acquire What would correspond to a vocabulary in
language before attempting to express themselves in writing .
The song references have been chosen to provide this vocabulary
and to il lustrate the use of musical material in relation to each
problem that is discussed . This material may be supplemented
by other material providing the student actually sings the illustra
tions .
The recordings proposed are essential , for they give the
student opportunity to app ly the ideas developed to the hearing
of music . Analysis and discussion should clarify the ideas
presented to the ear.
The melodies for dictation should be supplemented from
several sources . The authors of this text use Bernice White’s
Melodic Dictation , the two texts by Caro lyn Alchin , and selected
song material. Aural analysis and discussion are particularly
va luable in that they demand concentration and guide the inex
perienced student in the discovery of the various structural
elements . Written dictation is too frequently testing rather
than training .
Melody writing should be conducted so that the result is a
beautiful or interesting expression rather than the mechanical
following of suggestions as to details of structure . It is a desir
able creative activity to be encouraged but not forced .
The keyboard on the inside of the last cover of the text is
invaluable to both teacher and student in that it visualiz es inter
vals as , for instance , in Chapter One , in connection with the scale
patterns,in the study of chromatic auxiliary tones and even in
the presentation of the great staff . The uti liz ation of this key
board in the text in the class period will facilitate the actual
practice at the piano .
CONTENTS
CHAPTER
I . Structural Elements , Pulse , Duration , Pitch, and
Form
II . Scales and Notation
III . Diatonic Figures ; Interval of a Third
IV. Interval of a Fourth
V. CompoundMeasure , Six -eight
VI . Interval of a Fifth ; Eighth Note as Pulse Note
VII . Chromatic Auxi liary Tones . Chromatic Passing
Tones . Interval of a Sixth
VIII . Half Note as a Pulse Note ; Triplets
IX. Interval of a Seventh and an Octave ; Use of nX . Extended Period
Analysis ofMajorMelodies
XII . Melodies I llustrating Characteristic Rhythms
XIII . MinorMode
XIV . Bass Clef and the Great Staff
XV . Analysis ofMinorMelodies
XVI . Triads of theMajor Scale
XVII . Triads of theMajor Sca le , Continued
XVIII . Bytones ; Dominant Seventh
XIX . Triads of theMinor Scale
XX . Four Part Harmony
XXI . Modulations
XXII . Cadences
XXIII . Melodies for Analysis
XXIV . Melodies for Dictation
CHAPTER I
STRUCTURAL ELEMENTS
THIS text approaches a l l the prob lems of musical gramm ar
through the hearing and the reading of music . The modernmethod of learning any foreign language is through conversation
in order that the students may become familiar with the sounds
which they hear,and derive meaning therefrom . Thus , they ao
quire a vocabulary and the ability to use simple sentences . The
study of grammatical structure is encountered at a later time .
So in the teaching of music the feeling of the student for
mus ic and the acquiring of a musical vocabulary must be de
veloped and this can be accomp lished best through sight singing .
The “language of music can be learned through music itself .
$
Later the analysis of the various elements in the structure of
music will contribute to the understanding and appreciation of
mus1c .f
Analysis of modern me lody reveals three fundamental ele
ments : rhythm , pitch, and form,all of which combine to make
up the structure of music . In order that the student may have
the satisfaction of discovering each of these structural e lements ,al l of the following musical il lustrations should be sung . If
necessary, the less fami liar ones may be learned by rote .
Rhy thm in music includes three essential factors , ( I ) pul
sation , the regular recurrence of strong and weak beats ( pulses ) ,(2 ) accent, the arrangement of these beats into groups
,
or measures , and duration
,variety in tone - length .
Pulse group ings to be considered at this stage are as fol
lows —Duple measure , containing one strong and one weak pulse ;
n tune
2 PRACTICAL MUSIC THEORY
Trip le measure, containing one strong and two weak pulses ;
Folk song
Bal lade in Gminor
Quadrup le measure, containing one strong and one secondaryaccent on the third pulse .
6 Al l through the night Wels lIAir
PRACTICAL MUSIC THEORY 3
NewWor ld Symphony
S chubert
Ex. I . For practice in Observing pulsation, students should
sing the melodies and beat the pulses regular ly as indicated by
the measure Sign . The beat for duple measure is down,up ; for
triple measure down , right, up ; for quadruple measure down ,left
,right
,up ; the physical expression of rhythm is the only way
to insure an accurate sense of this vital factor .
Ex. 2 . For practice in observing duration,students should
sing the melodies again and clap the duration . Observe ( a ) thedifference between the notes that are of beat va lue and those that
are longer or shorter than beat value , and (b ) the picture on the
staff of the various tone - lengths . Here again the physical ex
pression is necessary and the teacher should continue this dril lwith these and subsequent melodies until each student shows thathe feels $ the essential elements of rhythm .
P itch implies a musical tone which , depending on the
rate of vibration,is ordinari ly described as
“high$ or “low .
$
“Higher$ tones are produced by more rapid vibration than
lower$ tones . The staff“and its clefs indicate definite pitches
which can be modified by sharps and flats .
Pitch also includes a relationship of tones . That relationship may be in the form of a group of notes arranged consecutively as in a melody, or in chords as in harmony . As soon
4 PRACTICAL MUSIC THEORY
as a group of tones is heard in a bit of melody,conform ing to
a definite rhythmic scheme , a fee ling of tonality is usually established , or a feeling that one of those tones is the resting pointor “home tone $ Of the melody . This key center is cal led the
tonic . The chord bui lt on this tone is cal led the tonic triad .
A Maj or Scale is an example of a melodic group that demands a return to the home tone . Examine the first mus ical
il lustration in th is chapter and note how the melodic resting pointagrees w ith the
“
rhythm ic pause in the fourth measure .
The fol lowing example i l lustrates the Maj or Scale, but ob
serve the rhythmic contrast with melody No . I .
The scale is divided into two parts cal led tetrachords , eachconsisting of four tones .
Ma jor S c a le . At the p iano p lay the white keys withinthe octave from c to c and note the position of the whole and
half- steps I 2 3 4 5 6 7 8 . The distance from 6 to f ( 3 -4 ) and
b to c ( 7 -8 ) is a half- step or a smal l second . Note that in the
maj or scale the form of the two tetrachords is identical,two
whole -steps and a half-step .
Ex. 3 . Write the scale on the staff and Observe that hereis a note on each degree of the staff. Then the distance from e
to f or b to c 1 5 an interval of a sma ll second, because it embracestwo degrees of the staff and because it is a half-step . An interval
is the pitch difference between any two tones . The distance fromc to d is a whole-step or a large second and comprises two ha lfsteps . Play a maj or scale on F
, on A, on D,placing the half
steps in the proper places . Write, spell, and play maj or sc aleson Ab
,on Eb
,on G, on E,
etc .
Because syl lab les represent the relationship between thedifferent tones of a key
,it is important that the student Should
learn to use them in connection with al l melodic and harmonicstudy . To facilitate this part of the work sing the fo l lowing
groups starting on D 2 do,re, mi/re, mi, fa/mi, fa, so l/fa ,
PRACTICAL MUSIC THEORY 5
so l, la sol , la , ti la, ti, do ti , do ,
re do do, ti,
la ti, la , so l la ,so l
, fa so l, fa, mi fa , mi, re m i,re,
do re, do , ti do
Also a second exercise starting on D i do ,mi re, fa
Form refers to the musical structure of a composition,that
is, the arrangement of its tonalities and the various rhythmic and
me lodic parts into wh ich it is divided . It is through the repetition and contrast of these rhythmic and melodic patterns thatsymmetry and unity of effect are obtained
Phra se .
“
According to Goetschius, The term phrase is
equivalent to ‘sentence’ and repres ents the smallest musical unit
that expres ses a complete idea : not necessarily whol ly finishedand therefore independent of other adj oining phrases
, but at leastas c omp lete in itself as is an ordinary brief sentence in grammarwith its subj ect, predicate and obj ect .
The length of the phrase is determined by the cad ence, the
rhythmic resting point or the point of repose . The cadence maybe final in character or it may be a half or rising cadence . Thepurpose is to give a rhythmic pause to the melodic progressi on .
Cadences are discussed at length in Chapter XXII .
The typ ical phrase length is four measures as wil l be oh
served in the melodies of this chapter . Later,phrases of various
lengths wi ll be included in our study.
6 PRACTICAL MUSIC THEORY
Observe the three regular phrases in the song above .
Observe the half cadence in the fourth measure of the Moz art
melody below.
Mozart
Note the unusual ending of the first phrase of No . 3 .
In No . 1 3 observe the number of cadences and the type .
Study such songs as Swanee River, Flow Gently Sweet Afton ,
Santa Luc ia and Love’s Old Sweet Song,and observe both the
final or ful l cadence and the half cadence .
Se c tion . The phrase is frequently divided into two parts
which are cal led sections . The second section , third and fourth
measures , of No . 6,i l lustrates a different rhythmical pattern from
the first section . In most songs,these sections correspond to the
lines of the poem . For vocal students , who think of these as
being phrases , it may be confusing , for in musical theory it is
necessary to think of two sections as making a phrase . Examine
Nos . 2 , 8 , 1 2 , 1 3 and Observe the sections .
8 PRACTICAL MUSIC THEORY
FIRST AS SIGNMENT
1 . Drill on all melodies at beginning of chapter : ( a ) sing with syllables ; ( b ) sing with neutral syllable ( la ) , indicating the pulse with beats ;( c ) sing with neutral syllable and clap the duration .
2 . Analyze and discuss the form and cadences of these melodies.
3 . Each pupil shoul d be ready to sing alone the exercises under Pitch
in this chapter.
4. Play the two exercises just drilled upon in the keys of D, F, G,
and Bb.
SECOND ASSIGNMENT
singing and analysis, to illustrate
( a ) Two-part measure.
Folksongs (Whitehead ) pp . 56b, 62h .
Twice Fifty-five Songs ( Brown ) Nos
b ) Three-part measure .
Folksongs pp . 2 1 a, 34b, 55C , 61 a.
Twice Fifty-five Nos . 27 , 46 , 74, 1 24.
2 . DurationFolksongs pp . 22b, 23c, 25bc , 49a.
Twice Fifty-five Nos . 75, 78, 1 18, 124.
Folksongs pp. 48h, 21h, 52a.
Twice Fifty-five No. 98.
2 . ChordFolksongs pp . 4a, l l b, 1 2b, 1 5a.
Twice Fifty-five Nos. 3 , 27 , 74 .
C. Form
1 . RepetitionFolksongs pp . 21 a, 9b, 38b.
2 . RecordingsTo a Wild Rose McDowell .
Cradle Song SchubertLul laby Brahms .
Barcarolle Offenbach.
The Swan (Le Cygne ) Saint Saens .
Rondino Beethoven-Kreisler.
Shepherd’s Hey Grainger.
March Militaire Schubert.
CHAPTER II
NOTATION AND SCALES
MANUSCRIPT musm i s almost always difficult to read. There
fore it is essential to know just how to make the most
common musical symbols and estab lish the right habits from
the beginning . Below are indicated the symbo ls most frequently
used :
G Cle f. Notice that the clef extends about
a space above the staff and the lower part fil ls
the first two spaces .
Sha rp s a nd Fla ts . In making the sharp ,
the vertical lines are close together and longer
than students usual ly make them . The bars of
the sharp are'
a heavy black, slant upward and are a space apart .
The flat is two spaces long and pointed at
the$
bottom . Often in manuscript music the flat
is too small and not round enough .
Mea su re S ign . For the four -quartermeasurO
I
Sign , draw a bar,like a measure bar ,
finish the upper four as in the il lustration above ,and then comp lete the lower figure . In al l measure signs , the
upper figure fil ls the third and fourth spaces and the lower figure
the first and second spaces .
S tem s of the notes go down on theleft side if the note is above the third line
of the staff. Stems will go up on the rightside if the notes are below the third line of the staff. Since thethird line is the middle of the staff
,they may go either up or
down , according to the context.Re sts . The eighth -rest is l ike a figure
seven . There is an old fashioned quarter - rest
that you will find for instance in s ome scores of
the Messiah that is like an eighth-rest reversed (Y) Add anextra hook at the bottom and you have the modern quarter -rest
(X) There is another quarter -rest in general use . (3)
9
IO PRACTICAL MUSIC THEORYThe whole and half-rests are written in the
third space of the staff and the other rests onthe third line . Because of the confusion regarding the who le and half-rests we sometimes tell beginners thewho le -rest is perhaps heavier so fal ls below the line whereas thehalf -rest remains above the line .
1 . W ritten W o rk . There should be ~
practice at the black
board under the teacher’s direction , also criticism on thepart of
the class as to which work is best and how some may be improved .
A bit of competition in practice is very desirable . Fifteen min
utes of the recitation period Should be sufficient time to bring this
subj ect to the attention of the students and the results of this
should be evident in all written work of the future .
2 . Dril l on S c a les . The maj or scale pattern was given
in Chapter I . The purpose of this particular study is to familiar
iz e the students not only‘
with the various scales but also With the
signatures of the fifteen keys .The following suggestions for drill are offered
1 . Students wi l l spell the different scales , for examp le, Bb,C,D, Eb, F, G, A, Eh.
2 . Various scales are to be played at the keyboard ( the
lower tetrachord with the left hand, the upper tetrachord with
the right ) .
3 . Signatures of the various keys should be written at the
b lackboard . Ab, for instance, with the do , mi, so l located ( rather
than j ust the key note ) .
PRACTICAL MUSIC THEORY l l
3 . First T e st. (The fol lowing devices were used by Prof .
C. H . Farnsworth of Co lumbia University. It is an imitation of
the o ld-fashioned “spel ling down $ and is most helpful in getting
quick results . )The class wil l stand divided into two groups and the teacher
wi l l put questions to individuals on one side and then the other .
If the question is answered correctly, the student takes his seat and
the ones that need the dri l l remain .
ILLUSTRATION OF TYPE OF QUESTIONS TO BE ASKED
1 . How many sharps in the signature for the key of A
maj or ?
2 . Name the key with two flats in the s ignature .
3 . Where on the staff shal l we write the second sharp in a
signature ?
4 . Where on the staff shal l we write the fifth flat in a
signature ?
5 . Where shal l we write the key note if we have six sharps ?
6 . What I S the name of the sixth sharp ?
4. S ec ond Te st. Divide the class ( two sides of the room ,
or A’
s against B ’
s ) Each side wil l choose a repres entative to go
to the b lackboard . A signature , for instance, D maj or , with the
tonic chord, must be written by the two peop le to see which isthe quickest and most accurate in the writing . A second sig
nature , for instance , Ebmaj or, is given and the class decides whichis the better and makes criticisms . Two other people are selected
by the groups and sent to the board for a similar exercise .
A part of one lesson period can be given to the oral test
and a simi lar amount of time for the written test should be sufficient .
ASSIGNMENT
1 . Preparation for the above tests and practice in notation .
2 . Practice in playing scales .
3 . Lead student to di scover the c ircle of keys through the playing andwriting of tetrachords.
CHAPTER III
DIATONIC FIGURES AND THE?
INTERVAL OF A THIRD
N intervali
has already been defined as the distance between
two musical tones . All melodies as well as al l harmonic
combinations are made up of intervals of varying si z e . The
sma llest interval that we use is the half- step or smal l second
which was defined ln Chapter 1 . Any succession
of half-steps and Who le - steps W ithin any one scale
is cal led a diaton ic figure as
In the fo l lowing musical i llustrations find the scale passages
( diaton ic figures ) , frame them with the thumb and finger on the
page,and sing these with syl lab les . For instance in No . 2 1 , the
student finds the scale passage in the second and third measures
and sings re, do , ti, do ; in the fourth measure he finds do , re, mi ;
then he finds re, mi, fa ( twice ) ; fa ,mi
, re,_ do , etc . In No . 1 7
he finds so l , la , so l ; do , re, mi ; la , ti, do ; mi, fa , mi. The thirds
of No . 1 6 are observed as so l , m i, la , fa ; mi , do , mi, so l . In
No . 1 8 he finds so l,m i
, so l , mi ; re, re, fa , fa .
While the foregoing is primari ly a pitch study rather than
rhythmic,the teacher should not al low the figures to be sung
unrhythmica lly . A defin ite feeling for phrase and also for the
motive and sections within the phrase can b e secured if a correct
tempo is estab lished .
A major or large third is composed of two
whole -steps . Do,mi of the maj or scale gives a
pattern for a maj or third .
A minor or small third , is composed of one
who le -step and one half- step . La,do of the maj or
scale or do ,me of the minor scale gives a pattern
for the minor third . Practice in singing , in recogniz ing , and in
playing these different thirds is invaluab le .
PRACTICAL MUSIC THEORY 1 3
ANALYSIS OF MUSICAL ILLUSTRATIONS
At the beginning of the analysis of each of these melodies ,mark in your text each of the phrases , sections and possibly
motives .
No . 1 5 . Teach this melody by rote if necessary so it will be
sung rhythmically . Observe the form , the half-cadence, the dia
tonic figures , and the contrast in melody line and in rhythmical
figures .
Cherubini
No . 1 6 . Note the irregular form,that of two four-measure
phrases and one S ix-measure phrase . Find the measures that con
tain the same rhythmic pattern and note the number of thirdsthat are
'
used .
Allegretto Old B ohem ian Ca rol
No . 1 7 . Observe the anacrusis (unaccented beginning) , the
regular form and the l ittle motives of four notes .
1 7 Al legrettoM.La S a l le
No . 18 . Lead the students to make their own observations asto the form of this .
German Folk song
1 4 PRACTICAL MUSIC THEORY
No . 1 9. This il lustrates thirds and the use of repetition.
B .Oehme
No . 20 . Wh at means are used to secure unity and variety ?
Cherubiui
No . 2 1 . Note the length of phrases and the contrast in the
use of thirds and scale passages .
hou Almighty King E de Gia rd in i
No . 22 . Observe the gaiety of this little melody. Just how
are the seconds and thirds used in the construction of this tune ?
S c h iitt
After completing the analysis , the melodi es are to be sungagain , one half of the class or an individual singing the antecedent
phrase and the other half or second individual singing the consequent phrase. The purpose of this repetition is to give emphasis
to the idea of the phrase and develop the feeling for the balanceof phrase.
EAR TRAINING
1 . Pitch Dic ta tion . Th is will include the use of thirds
and seconds in various keys and the dril l will be divided into
three parts . ( a ) The teacher dictates with a neutral syllable the
1 6 PRACTICAL MUSIC THEORY
Ear TrainingAural anal ysis and written dictation.
Melodic Dictation( B . White ) pp . 8, 9, 1 1 , 1 6,
RecordingsRuins of Athens Beethoven.
Minuet in G Beethoven.
Hear Me, Norma Bellini.
Santa Lucia Folksong
SECOND ASSIGNMENT
In writing a melody, block it out in this style
Hal f cadence
Complete each of the following melodies,adding a consequent phrase
which will give an effect of unity to the period. Sing the melody and test
for smoothness .
Moderato
CHAPTER IV
INTERVAL OF A FOURTH
APERFECT fourth contains two whole -steps and one half-step .
An augmented fourth contains three who le-steps . The most
important fourths in melody writing are the skips so l to do, sol
down to re, mi to la , and do to fa . The pattern so l to do (5 to 8 )wil l help the student to recogniz e and measure fourths quickly.
A S a-viour,wh ich is Christ the Lord .
Students wil l sing the following tunes to observe the scale
passage containing the two whole -steps and the half-step .
Aug. 4th
MUSICAL ILLUSTRATIONS
Find fourths in the melodies below :
Mendel ssohn
PRACTICAL MUSIC THEORY
S uabian Folk song
S gambati
S chu tt.
PRACTICAL MUSIC THEORY 1 9
ANALYSIS OF ILLUSTRATIONS
29. A good i llustration of the two sections within thephrase.
30 . If necessary teach this tune by rote for the rhythm isdifficult and it
'
fmust be accurate.
3 1 . Notice how the melody line comes down in a scal e passage aft
'
e
'
r
r
the use of the seventh of the scale ( ti ) .
32 . This stately tune may have to be taught by. rote. What
gives this melody its strength and dignity ?
33 . This Handel tune expresses something of the same feeling as the minor one in No . 32 . Wh at elements make these twosimilar in effect ? Note the contrast between the scale passageand the wider intervals .
34. Note the interval expansion in the second phrase,
the same melodic line lifted to a higher level through the use ofsixths instead of fourths . Teach the melody by rote if necessaryrather thanhave any carelessness with the rhythm .
35 . Is this a period or an eight measure phrase ?36 . Observe the intervals used. What is the length of
phrase ?
ACTIVE AND REPOSE TONES
It has been said that the tones of the scale are different j ustas people are different . Consider the quality In so l as it occurs
20 PRACTICAL MUSIC THEORY
in the bugle cal l (No . 37 ) its bri lliance and strength . Contrast
this with mi in No . 8 in Chapter I , or in the Barcarol le from Tales
ofHofiman (NO. 52 in Chapter V ) . Sing these with syl lables to
get the feeling and co lor of the fifth tone of the scale in the bugle
call and of the third of the scale in the other two examples .
The strong progression quality and the upward tendency of
the seventh of the scale can be emphasiz ed if the class sings j ust
this much of the fol lowing song
Wel sh Air
S leep my child and peace ai -tend thee All thro’the night.
As they wait poised on theu ti, they are going to discover not only
that ti is an active tone but that do is a repose tone . The down
ward tendency of fa and re can be developed in a similar way.
A feeling of progression is secured through the use of rhyth
mic ideas as well as through the use of active tones . In the il lus
tration above , the feeling of progressmn 1s dependent not only
on the desire to move from an active to a repose tone but also
for the demand that the weak pulse be fol lowed by a strong pulse,closing a phrase on the accent .
Which tones of the scale are active and which repose ?
Classify them . Students should bring to the c lass examples or
illustrations of active and repose tones from this text an d from
other sources .
EAR TRAINING
1 . Rhy thm ic . The following melodies should be used for
rhythmic dictation . The teacher p lays the little tune and the
students discuss the rhythmic ideas , as in Chapter I II . The pitch
element in this form of dictation is ignored , attention being given
on ly to the rhythmic values .
PRACTICAL MUSIC THEORY 2 1
2 . P itch . Dictate the tunes below with a neutral syl lable
and one stil den‘t must respond with syllable names whi le another
plays,the first one for instance , in Bb, in C, in Ab and B . Nos . f,
g,h should be played in ED, F and C. Nos . i , j , k and 1 should
be transposed to F, Ab and Bb.
3 . S tu dy of Th ird s . The students should observe the
reso lution or tendency of the tones in Ex. 50 . Major and minor
thirds built on other pitches should be dictated, the individual
students responding with syl lab le names for the third and for the
pitch which seems to natural ly fo llow the third . Continue key
boa rd practice of thirds .
22 PRACTICAL MUSIC THEORY
do ami fa l a s ol ti
sol do 1a do sol ti re do
DICTATION IN BOTH PITCH AND RHYTHM
CHAPTER V
COMPOUND MEASURE
SIX -EIGHT is compound dup le measure with a primary and a
secondary‘
accent. .It is cal led compound because of the three
inner pulses on each of the ac cents . Some of the new elementary2
texts use this measure sign with the six-eight(J )
In order to emphasiz e the two counts to the measure , the
class should sing a phrase as S ee, S aw , .Margery Daw, without
reference to the text and mark the pulse ( down , up ) and then
draw conclusions as to what notation would express the idea . A
similar experiment should be made with Drink to me on ly with
thine eyes , Gaynor s S lumber Boat, and Barnby’
s Sweet and Low.
MUSICAL ILLUSTRATIONS
ofHoffman, Barcarol le Offenb ach
Irish Tune
PRACTICAL MUSIC THEORY 25
R eichardt
S chumann
Old Engl ish(A b out 1 2 50 )
S chube rt
26 PRACTICAL MUSIC THEORY
El l iot
ANALYSIS OF MELODIES
52 . A familiar melody. What rhythmic and melodic ef
feets are used to give the effect of the barcarolle?
A delightful old song that is ‘quite characteristical ly
Irish . Note the sweep of the melody. What gives it a bit of
p laintiveness ? Note the unusual rhythmic figure in the middle
of the second phrase.
54. Observe the color suggested in the first phrase and the
contrast in the beginning of the second.
55 . Each phrase divides into two sections as definitely as
though it might he intended for the four lines of a poem . Not
withstanding the fact that the quarter and an eighth ( on a pulse )are used almost exclus ively, the melodyhas great interest. How
is this secured ? What mood does the tune s eem to suggest?
56 . What is the key for this well known melody? Note the
simplicity and yet color in the melody. Note the repetition in
the rhythmic idea.
57 . There is unity in this melody but what gives it variety
and interest ?
58 . Compare this melody‘
with No . 57 .
59 . What instrument would the shepherd probably use for
the p laying of this tune ? Note the number of times do, la is
suggested.
60 . A quick tempo should be used for this Schubert’s Hark,
Hark the Lark to express the brightness and j oy we associate with
this song .
61 . A melody that is useful because of its simp licity and its
rhythmical value.
PRACTICAL MUSIC THEORY 27
DICTATION OF TUNES IN SIX-EIGHT MEASURE
( a ) The teacher sings the tunes with a neutral syl lab le and
one student sings back the syl lab le names ; another student after
noting the dup le measure describes the kind of notes in each
measure . For instance , in No . 62 a there are two dotted quarters
in the first measure, three eighths and a dotted quarter in the
second measure . In No . 62 b there are a quarter and an eighth
in the first half of the measure, three eighths in the second half
and two dotted quarters in the second measure.
(h ) After the ora l practice, the melodies are dictated and
the pup i ls write them on the b lackboard . Some student who is
very quick and accurate in the writing could use the time more
profitably to be seated at the p i ano and as soon as the melody is
written by the class be readyto transpose No . 62 a , for instance , to
Eb, to E,to C,
to F. Additional melodies should be secured by the
teacher and dictated in a second and third lesson at a later time
for one lesson$
is only a beginning . There must be continued
dril l .
ASSIGNMENTSongs for singing and analysis .
Folksongs pp . 2a, 4a, 6b, 9b, 21b,24c , 37 .
Twice Fifty-five Nos. 44, 146 .
DictationMelodi c Dictation pp . 32, 36, 48.
RecordingsWild Horseman Schumann .
Stars and Stripes Forever Sousa.
Morning ( Peer Gynt Sui te ) — Grieg.
The Swan — Saint-Saens 2 measure ) .
CHAPTER VI
INTERVAL OF A FIFTH ;
THE EIGHTH NOTE AS A PULSE NOTE
N the melodies below will be found the two kinds of fifths thatwe are to study, the perfect fifth and the diminished fifth
.
The skip from so l down to do , that is so frequently found in the
bass of a c losing cadence, is a perfect fifth . In the other voices ,often in the soprano
,the skip
, fa down to ti, is a diminished fifth.
The perfect fifth contains three whole-steps and one halfstep . The diminished fifth contains two whole -steps and two
half- steps . Try a succession of fifths at the piano and note thecontrast between the two kinds . Examine your piano
,violin or
vocal music and see if it is not true that this interval is used lessfrequently than thirds , fourths or even sixths in a melody.
MUSICAL ILLUSTRATIONS
Mozart
De l ibes
PRACTICAL MUSIC THEORY 29
Pol ish Dance
Old French Carol
No . 63 . Compare the two phrases . What makes this melody interesting ?
No . 64. What is the form of this delightful old dance tune ?
No . 65 . Why is this phrase not monotonous Since the opening phrase is repeated ? Note how the octave on dil
'is broken
into a fourth and a fifth . The fourth inverted becomes a fifthand vise versa
No. 66 . What fifth is used here ?
No . 67 . This illustrates the diminished fifth which is es
pecially good for a closing cadence .
No . 68 . The form , the rhythm ,the modulation as well as the
fifths are of interest in this melody.
Nos . 69, 70 . A certain amount of practice is necessary in
reading the melodies that have the eighth note as a pulse note.
30 PRACTICAL MUSIC THEORY
EAR TRAINING
Use the following motives for dril l and carry out the plansuggested for pitch dictation in Chapter 111 .
do sol mi re la sol fa do 1a sol so l re do
1a mi re sol fa mi
DICTATION
CHAPTER VII
CHROMATIC AUXILIARY TONES . CHROMATIC
PASSING TONES . INTERVAL OF A SIXTH
CHROMATIC auxi liary tones and chromatic passing tones arecolor qualities that are brought in to embellish a melody.
A chromatic auxiliary tone is a tone which does not imply a
modulation,because the chromatic immediately returns to the
original scale tone.
A chromatic passing tone comes between two different tones
of the scale as ( a ) mi, fa, fi, sol . (b ) do , ti, to, la .
73 Chromatic auxiliary tones Chromatic pas'
ng tones
so l fi - so l mi ri m i
MUSICAL ILLUSTRATIONS
Fo lk song
German Folk song
PRACTICAL MUSIC THEORY 33
Kruse
ANALYSIS OF MELODIES
Sharp two ( ri ) is used and even though it is of very
short duration serves to make the tune much more interesting.
75 . The folksong is written with the two voices just a third
apart through most of the melody . The fi and ri before the first
bar are chromatic auxiliary tones while the fi in the middle of
the second line is a chromatic passing tone ( alto part ) .
34 PRACTICAL MUSIC THEORY
76 . Notice the use of the natural Sign to indicate the ebromati c auxiliary tone.
77 . Which are chromatic auxiliary tones and which are
chromatic passing tones ?
78 . A lovely melody that you might memori z e.
79. An 6 minor melody that the teacher should teach by rote
if the students cannot read it for themselves . Note the upward
tendency of the first two phrases and the downward tendency in
the swiftly moving third phrase .
80 . The sharp two as well as the sharp four are found prob
ab ly more frequently than any other chromatic auxiliary tones .
MAJOR AND MINOR SECONDS
Maj or and minor seconds have been sung again and againfor in al l diatonic passages a minor second occurs between three
and four (mi, fa ) in the lower tetrachord of the scale and also
between the seven and eight ( ti, do ) of the upper tetrachord .
The purpose of this particular study is to contrast the two inter
vals by starting on the same pitch , for Instance A, and singing
with a neutral syllable .
The following diagram shows the relationship of these inter
vals (whole-steps and half-steps )
In b above we could write A, All for the pitches but it would
be an interval of an augmented prime rather than a second.
The teacher sings 81 a ( these pitches with the syllable la )and the class or an individual Sings back the syllable names .
Again from the pitch of A,the teacher sings 81 d with a neutral
PRACTICAL MUSIC THEORY 35
syl lab le and the class may di sagree as to the proper syl lable
names , re, do , re— la , so l, la , or sol, fa, so l, may be suggested but
their study of active and repose tones ought to help the students
to determine which are the most desirab le names for this maj or
second .
EAR TRAINING
Dri l l in recogniz ing , singing and writing the maj or and
minor seconds
1 . The teacher sings the following exercises with la and the
students respond with the syl lable names ( ear training ) .
2 . Students are given a certain pitch as Ab and one sings
(with neutral syllable ) a large second up ; another sings a small
second down ; another a small second up ,etc .
DICTATION
The teacher Sings the tune with a neutral syllable , one
student p lays at the p iano and the others write at the b lackboardor on paper after the teacher announces from what pitch to start .
Chrom a tic Ton e s . In the ascending scale we have sharp
one (di ) , sharp two ( ri ) , sharp four (fi ) , sharp five (si ) , andsharp six ( li ) . In the descending scale flat seven ( te ) , flat six
( le ) , fiat five ( se ) flat three (me ) , and flat two ( ra ) Sharp six
and flat five are rarely used .
36 PRACTICAL MUSIC THEORY
Maj or scale pattern with chromatics indicatedill £2 $5
b2 b5 b6 [77
Analysis of the recordings In the assignment reveal a more e labo
rate use of chromatic tones .
DICTATION
Chromatic auxi liary tones and chromatic passing tones .
PRACTICAL MUSIC THEORY 37
INTERVAL OF A SIXTH
The interval of a Sixth wil l be‘
readily recogni z ed as theinvers i on of a third and wi ll be identified as maj or ( large) andminor ( smal l ) like the thirds in Chapter I II .
Fo l lowing the rule that a large interval inverted becomes
a smal l one and vice versa , each sixth may be quickly named bychanging it into a third . For example the interval from m i to
do is an inversion of do mi whi ch the
student recogniz es as a large third and isthen a small sixth.
The interval from so l to mi is a largesixth , being an inversion of mi so l, a smal lthird .
In the fo l lowing melodies , note that the easiest sixths to singare those which occur in the tonic triad— mi do and so l m i.
MUSICAL ILLUSTRATIONS
Donizetti
Don i z etti
38 PRACTICAL MUSIC THEORY
Chopin
Handel
Doni z etti
(1 m inor
FIRST ASSIGNMENT
Songs for singing and analysis .
Chromatic Tones Folksongs pp . 24b, 38, 39, 49a .
Twice Fifty-five Nos. 79,1 10
,124.
Sixths Folksongs pp . 36 , 40a.
Twice Fifty-five Nos. 32 , 1 13 .
Melodi c Dictation pp . 41 , 50, 52, 1 08,
Dictation
RecordingsSong of India Rimsky-Korsakoff.Butterfly Grieg
SECOND ASSIGNMENT
Write melodies a period in length, using chromatic auxil iary and
chromatic passing tone.
40 PRACTICAL MUSIC THEORY
Hatton
R igb ini
S ic ilian Melody
91 Country Gardens
92 S arah and e H andel
PRACTICAL MUSIC THEORY 41
S chumann
DICTATION
l'i’l ll Century Melody
Nageli
The next point to be brought out is the triplet as a rhythmic
figure . It is often used as a decoration for an otherwise simp le
melody or it may have the character of a distinct figure around
which the‘
composition is built .
42 PRACTICAL MUSIC THEORY
MUSICAL ILLUSTRATIONS
Ethelbert Nev in
1 02 S erenadeS chubert
Yradxer
Gome z
ANALYSIS OF MELODIES
No . 1 01 . The first phrase of this example can be reduced to
the following simple me lody but the
triplets add rhythmic and melodic
interest .
No . 1 02 . The Schubert melody shows in a similar way the
ornamentation of a very simple melodic design .
PRACTICAL MUSIC THEORY 43
No. 1 03 .
The character of a Spanish dance song is es tab
lished through the use of the trip let . It is the most important
figure used in this composition and suggests perhaps the castanets
as an accompanying instrument .No
. 1 04 .This melody in four-quarter measure must not be
confused with S ix-eighth measure .
NO. 1 05 . The triplet figure is characteristic of this dance
song. Why are sixteenth notes used in the trip let instead of
eighth notes ?
DICTATION
emecke
J B W
Use_ melodies
from the dictation exercises in Chapters IV
and VI (pp . 22 , 30 , 31 ) The teacher plays some one melody and
the students upon hearing it once must locate the tune on the page
44 PRACTICAL MUSIC THEORY
by framing it with the thumb and finger . The purpose of the
exercise is to make sure all the individuals recogniz e the notation
for the melody, which ability wi ll be of inestimab le value in read
ing music scores at a later time .
ASSIGNMENT
A . Songs for S inging and analysis.
Triplets Folksongs pp . 39a, 41 a, 44.
Twice Fifty-five No. 1 3 .
B . DictationMelodic Dictation p . 63 .
CHAPTER IX
INTERVAL OF THE SEVENTH AND OCTAVE
USE OF THE DOTTED EIGHTH AND SIXTEENTH NOTES
EFORE discussing these two new intervals it is important to
notice the two general ways in which melodi es are con
structed . Some melodies remain within the octave with do as
the outer tone as Joy to the World, No . 1 in Chapter I . Other
melodies move over and under the tonic, as in All Through the
Night, No . 6 in Chapter I . The first style is usual ly more
rugged than the second . The first one is sometimes cal led the“authentic$ tune and the second the “plagal ,
$
these terms coming
down from the Middle Ages when each style had religious significance .
Wide intervals tend to add interest to a melody becaus e of
the striking change in melody line . Melodi c motion and pro
gression is as important as rhythmic motion and the seventh and
octave are especial ly useful in lifting the melody out of the
commonp lace . The best seventh to use is the one from so l up to
fa . Other useful sevenths are ti up to la and re up to do .
The seven th Skip should be approached from within the interval and must be left in the opposite direction to the skip . The
regular resolution is either up or down one step . The same ruleapplies to the approach and direction of the octave interval as tothe seventh . The skip gives breadth and scope to a melody .
45
PRACTICAL MUSIC THEORY
MUSICAL ILLUSTRATIONS
Ma id en’s
Beethaven
S ttau s s
S cotch Folk song
l l eise
48 PRACTICAL MUSIC THEORY
ASSIGNMENT
1 . Write a melody in Ab illustrating the octave Skip on sol .2 . Write a melody in six-eighth measure illustrating the 7th sk ip .
3 . Illustrate in a third melody the octave skip on do.
4 Write a melody ill ustrating the chromatic auxiliary tone and a 7th
DOTTED EIGHTH AND SIXTEENTH NOTE
This rhythmic figure gives a brightness and urge to the musicthat is most effective . It is used in the March frequently.
Sing
the Beethoven melody (No . 1 26 ) as written and then sing a second
time ignoring the dots , using even eighth notes and observe howthe character of the tune is changed .
In four-quarter and three-quarter measure this rhythmic figure is given one pulse and it must not be confused with thedotted quarter and eighth which covers two pulses .
In No . 127 the figure is reversed and gives what is some
times called the “Scotch Snap .
$ This figure is found occasional lyin Irish music also (NO. 53
, Chapter V ) .
1 26 Minuet in G Beethoven
The figurefi should not be confused with J JS Note con“L
trast In the two figures .
127$
Comin’ thro’ the Rye S cotch Polk song
PRACTICAL MUSIC THEORY 49
DICTATION
The tunes below are to be written and transposed to other
keys. As the student listens for the melody, he should get the
accent first , then clap the duration so as to recogniz e particularlythis new rhythmic figure . The clapping will bring it more
definitely to his consciousness .
German 1 34Handel
FIRSTI
ASSIGNMENT
Songs for singing and analysis .
Sevenths and eighths . Folksongs pp . 24b,240 , 26a, 34b:
Dotted eighth and sixteenths.
Folksongs pp . 1 50 , 2 1 a, 20b,59e,
Twice Fifty-five Nos . 32 , 34, 41 , 89, 1 18,Dictation
Melodi c Dictation pp . 56 , 58, 69, 70 .
SECOND AS SIGNMENT
Write melodi es , a period in form, illustrating the use of the dotted
eighth and sixteenth notes .
CHAPTER X
EXTENDED PERIOD AND IRREGULAR PHRASES
IN our melody writing we have been limiting the form to the
eight-measure period which included two cadences . We have
seen that the typical phrase is four measures long, and that it isthe cadence that is the distinguishing mark of a phrase and not
the length . However, we find in many compositions periods that
are from one to four measures longer than the eight-measure
period . These extensions are very important for they contribute
new rhythmic and melodic interest to the melody ; furthermore,since every phrase looks to the cadence for its goal
,the feeling
of suspense in reaching that goal is prolonged . This constant
process that goes on in music , which keeps the listener antici
pating a cadence or a harmonic resolution , is a large part of
appreciation,and the -extended period contributes to this process .
Some phrases , especially in folk tunes , may be three meas
ures in length instead of four, or they may be any,
length from
two to ten measures . Frequently the two -measure phrase is
called a section and is balanced by another two -measure section
as in No . 1 1 7 , in Chapter IX . In the i llustrations , No . 1 36 and
No . 1 38 are examples of the three -measure phrase . Here again
this group of measures is often called a section . No . 1 42 illus
trates the Six-measure and the eight-measure phrase . Often thelonger phrase i s taken at a more rapid tempo than the short
phra
MUSICAL ILLUSTRATIONS
PRACTICAL MUSIC THEORY 51
I rish Folk song
Ippol itoff Ivaiioff
French Folk s ong‘
B ehr
52 PRACTICAL MUSIC THEORY
14 2 Caval leria Rusticana Ma scagm’
ANALYSIS OF MELODIES
In No . 1 35 the extension in the second phrase is rhythmic ,for the last four measures could easi ly be put in two measures .
No . 1 36 consists of four three -measure groups , three of the
sections being exactly alike. This p lan is often described as A
A— B— A,A representing the like phrases .
No . 1 37 Shows another method of extension that of repetition
of the last two measures . The extension in this case might be
cal led a miniature coda .
No . 1 38 is another A— A— B— A pattern consisting of four
phrases six measures in length and each phrase divided into two
sections . Think how easily such a folk tune might be memoriz ed .
No . 1 39 is an irregular melody consisting of two four -meas
ure and one three -measure phrase . Notice the continuity of the
song ; it does not sound finished until the final cadence .
No . 140 is unusual in that it consists of three distinct groups ,each quite different from the other . The first two : phrases of
four-measure and the third phrase of six-measures are rhythmic
al ly Similar,but notice the effect of rapid motion produced in
the third phrase through the use of the sequence in the second,
third and fourth measures and the extension of two measures
fol lowing the sequence . The final two phrases introduce a new
rhythmic idea . With al l this variety, what produces unity in the
song ?
No . 1 41 . Where is the extension in the second phrase ?
No . 142 . What is the length of the phrases in this melody ?
PRACTICAL MUSIC THEORY 53
DICTATION
FIRST ASSIGNMENTDictationMelodic Dictation pp . 80, 1 1 1 .
SECOND ASSIGNMENT
1 . Write a melody of twelve measures, il lustrating the three-measuresection .
2 . Write a melody illustrating the A— A— B — A pattern , each phrasefour measures long.
3 . Write a ten measure melody using a-
coda- like extension as inNo. 1 37 .
4 . Write an extended period of ten measures as in No 141 .Delay the
cadence until the last measure.
5. Make a list of all the rules you have discovered that should governmelodic invention .
CHAPTER XI
ANALYSIS OF MAJOR MELODIES
THE purpose of this study has been to help the student interpret
for himself the language of music . Behind the sensuous
factors , sound and rhythm , lies always the personal message of
the composer, and if we[are to grasp this and make it our own,
we must go hand in hand so that the music actually lives again
in our minds and imaginations Music is a language usedas a means of personal expression sometimes in the nature of an
intimate soliloquy, but far more often as a direct means of com
munication between the mind and soul of the composer and of
the listener . To say that we understand the message expressed
in this beautiful language j ust because we happen to like beauti
ful sounds and stimulating rhythms is surely to be our own dupes .
The question , therefore, faces us : how shall we learn the mys'
terious language so as to readily understand it ? And the answer
is equally inevitable : by learning something ‘of the material of$
which it is composed, and above all , the fundamental principles
of the structure .
$
(Music An Art and a Language, W. R.
Spalding, Harvard University. )In analyz ing these melodies ( I ) the Form should be con
sidered first or the general plan on which they are built. Is it
a period ? If an extension,where is the extension ? What is
the character of the cadence? ( I I ) Unity and Variety are to be
considered next . How are these secured? Observe the rhythmic
and melodic unity or contrast. Each of these melodies has a
character of its own,a certain individuality.
ANALYSIS OF MELODIES
No . 144 is an eight-measure period with sections as well as
phrases clearly marked and contains the unusual feature of having
54
56 PRACTICAL MUSIC THEORY
S chubert
ChOp lfl'L l S Zt
Pol ish Folk sofig
PRACTICAL MUSIC THEORY 57
I rish Folk s ong
B aumfelder
58
1 56 L’Aurore
PRACTICAL MUSIC THEORY
B i z et
S lovak ian Folk song
Sw ab ian Folk s ong'
Mend el s sohn
C roatian Folk song'
PRACTICAL MUSIC THEORY 59
H ande l
Many of the melodies have been transposed so they can be
sung , but in this Chapter and Chapter XII some of the instru
mental melodies are retained in the original key in order to pre
serve the color which a transposition would destroy . Students
should smg as much of each melody as possible .
CHAPTER XII
CHARACTERISTIC RHYTHMS
THE student so far has been acquiring a vocabulary through
an acquaintance with great music and also through an at
tempt to create short musical forms of his own . The study of
intervals and forms corresponds to the study of grammar in any
other language . In a song the words share with the music in the
expression of the idea while in instrumental music,the composer
and performer are wholly dependent upon the musical elements
to convey the idea .
THE EXPRES SIVE POWER OF RHYTHM
A. De sc rip tiv e Rhy thm s : Hunting song, Barcaro lle,
March and Cradle song . The measure sign of the hunting song ,the barcarolle and the cradle song is the same but there is a
distinction between each of these forms through variation in
tempo and the use of large and small intervals . Certain pitches
( tonic chord ) are characteristic of the Hunting song suggesting
the bugle call . In orchestral music of this type, the idea is con
veyed through the use of brass instruments . There is no danger
of confusing a hunting song and a cradle song . There is usual ly
a greater similarity between a Barcaro lle and a Cradle song if
both are in six-eighth measure . I l lustrations : ( 1 ) Tannhiiuser,theme for Hunters’ horns
, (2 ) Chop in’
s Berceuse, and ( 3 ) Bar
carol le from Ta les ofHoflmann .
The March is a form dominated by a regular rhythm . Musical literature contains many kinds of marches . Perhaps the most
familiar one is the military march . There is the religious march,the processional which we find in opera
,and the funeral march .
The four-quarter measure is the characteristic pulse for the march
60
PRACTICAL MUSIC THEORY 61
but the Sousa marches often use a sturdy six-eighth measure .
Illustrati ons : ( 1 ) A'
ida and (2 ) Onward Christian So ldiers.
B . Da n ce Rhythm s : Waltz , Maz urka , Minuet, Gavotte,Po lonaise, Courante, Rigaudon,
and Tarantella . Each of these
has its characteristic rhythm and has evolved into an elaborate
musical form retaining only the rhythmic idea of the early dance.
Dance rhythms make up a large part of both classical and modern
music .
The Wa ltz , Minuet, Mazurka , and Po lona ise are al l written
in three -quarter measure,but through variations in duration ,
accent and tempo , the forms are absolutely differentiated . The
four measure phrase which the dance impl i es , i s also characteristic
of al l of these forms . The Minuet, as a dance , is taken in much
s lower tempo than the Waltz . The Moz art Minuet is an example
of the real dance form so is p layed in a much slower tempo than
the—
instrumental form ,for instance
,the Beethoven Minuet.
The Maz urka ,a Polish dance , invariab ly has an accent on
the second pulse of the measure . The n is a distinguishing
feature.
The Po lonaise, another Polish dance or processional is
stately . These Polish dances have been
idealiz ed by Chopin . I llustration of
the characteristic figure .
The Gavotte is in four -quarter measure beginning on the
third pulse of the measure . The Amaryllis (No . 64, Chapter VI ) ,and No . 1 76 , in this chapter illustrate this dance of the 1 7th
Century.
F
A few of these rhythmic forms are illustrated and the
student wil l no doubt be acquainted with additional ones .
The Courante of the 1 8th Century ( courir, meaning to run )was a lively dance often containing runn ing figures . No . 1 75 is
a good example.
The Rigaudon , another 1 8th Century dance form ,was always
in four-quarter measure- a
but began on the fourth pulse. It was
characteriz ed by a ro llicking movement
The Tarantella , an Italian dance in six-eighth measure, is
always in a very rap id tempo .
62 PRACTICAL MUSIC THEORY
The five-quarter measure (No . 1 79 ) is characteristic of
certain S lavic fo lksongs .
Bal let or dance music from an opera is il lustrated in No . 1 73 .
MUSICAL ILLUSTRATIONS
Kien z l
Tcha ikovsky
1 68 Ma z urk a , opi 7 , No . 1
S a int S'
aens
R einhold
64 PRACTICAL MUS IC THEORY
1 76 Gavotte
1 77 Holberg S u it e, R igaudon
ChopinB erceu s e
PRACTICAL MUSIC THEORY 65
FIRST ASS IGNMENT
Melodies for analysis.
Melodic Dictation p . 89.
SECOND ASSIGNMENT$Write a Hunting song , a Cradle song, a March
, a Waltz, a Gavotte,a
Minuet or a Barcarolle, and present to the class without giving the title.
The students should discover and di scuss the structural elements whichhave been used to produce the characteristic effects.
CHAPTER XIII
MINOR MODE
MUSICAL ILLUSTRATIONS
Andante R u ss ian Folk song'
J .H .Hopk ins
Volga B oatmen’s S ong
Nggro Spiri tu al
PRACTICAL MUSIC THEORY 67
1 86 S low ly R u s s ian Dance
Provence Folk song
R eineck e
Sing these minor melodies ( first five ) with the la , ti, do
syllables for these syllables are probably familiar and observe
that in No . 1 81 a seems to be the key center rather than C. In
No . 1 82 e is the key-tone rather than G. Memoriz e the first
phrase of No . 1 81 and p lay at the piano starting on g, on c and
on f. Play the first section of No . 1 88, noting the color produced
through the use of the bb. Try itwith a b“and observe the contrast . Transpose No . 1 88 to f, b and c .
The minor melodies have a color unlike the maj or tunes .
Often the minor is considered sad but these illustratl ons g 1ve you
an idea of the brightness and ruggedness or strength possible in
this mode . The tempo i s often slow and the intervals give astrong rugged character . The slow tempo is illustrated in Nos .
1 83 and 1 84.
Sing No . 1 85 and observe whether it is maj or or mlnor.
S ing No . 1 81 again and since a is the key center rather than C as
68 PRACTICAL MUSIC THEORY
the signature might imply we think of a as do and the key as a
minor .
Sing No . 1 81 with la , ti, do , ti, la , si.
Sing No . 1 81 with do , re, me, re, do , ti.
The smal l seconds are the same in both cases but the syllable
do defines the tonality more than the syllable la .
Sing No . 1 84. so l, me, me, re, re since it is g minor.
Sing No . 1 88 . do ,
l
so l , do ,re, me, etc .
Sing No . 1 82 . so l , fa , me, do .
KEY SIGNATURES FOR THE MINOR
Every key signature may suggest two
different keys,a maj or and a minor . It is
usual to use a smal l letter to indicate a keyof the minor mode . The key for the minor is always a minor
third lower than the maj or and is called the relative minor al
though the keys have nothing in common except the signature.
The tonic minor is j ust as important as the relative minor.
It begins on the same p itch as the maj or ,il lustrating the two colors of the same
key .
Gmajor eminor
SIGNATURES FOR THE FIFTEEN MINOR KEYS
SCALE PATTERN
In melody No . 1 81 there is a small second between 2 and 3
( 1 is on a ) the syl lables re, me, and another small second between
7 and 8 (do , ti ) . In No . 1 87 , the interval in the middle of the
first score , from eb to d ( le, so l ) i l lustrates the third smal l second
PRACTICAL MUSIC THEORY 69
that we have In this form of the minor scale (between 5 and 6
of the scale ) . The pattern of the scale would be as follows
A
do ,re, me, fa, so l , le, ti , do .
41 2 3 5 6 7 8v + v
This 1 5 what is ca lled the harmonic form of the minor scale.
Note the augmented second between 6 and 7 ( one and one-half
steps ) .
The melodic form of the minor is more often used in vocal
scale . The pattern of the melodic form of minor 18 as fo l lows
There is a third‘
form of the minor,the primi tive, with a
pattern as fol lows :
A
do , re, me, fa , s so l , le, te, do .
“
1 2 3 4 5 6 7 8
It I S Important to remember that the lower tetrachord of
the three forms is the same.
DRILL
1 . Spelling and writing tetrachords, scales and signatures .
2 . Give spelling and writing tests similar to the one proposed in Chapter I I for the practice in maj or signatures .
Ascending
f so l ,
3 4 5
Descending
le, so l, fa ,
6 5 4
70 PRACTICAL MUS IC THEORY
DICTATION IN THE MINOR MODE
1 . ( 1 ) Oral . (2 ) Written on paper or blackboard and (3 )Transposed at the keyboard.
II . To be used as above In Dictation I .
‘
The rhythmic ele
ment now being added.
CHAPTER XIV
BASS CLEF AND GREAT STAFF
MANY singers as wel l as p layers of orchestra l instruments
such as
“
the violin,cornet and clarinet, have insufficient ex
perience in reading from the F clef . All music students must
learn to read chord-W i se, which means four -part harmony, and
for this reason the bass l s absolutely essential .
Recall the first melody in Chapter I
The bass melody in the key of G, as given below, sounds one
octave lower than the melody above .
Another examp le, Stars ofthe Summer Night
The bass melody looks like this
Sing each of these melodies from the G clef and then from
the F clef and observe that relative pitch governs in both instances .
Also notice that the melody line for the bass is higher on the staff
than for the treb le . In the first example , 1 92 (a ) , do is G on the
second line, and in the bass melody G is in the fourth space . In
72
PRACTICAL MUSIC THEORY 73
1 93 (a ) , so l is On the third line and in ( b) in the space above the
staff .
With some experience it is as easy to sing from one staff as
from another .
GREAT STAFF
In the above example is p ictured the ton ic triad in the key
of F on the two staves . Have the boys in class Sing ( a ) do , mi,
so l . Have the girls Sing ( 19 ) do , m i,so l .
In singing (a ) listen to see that the boys S ing the tones that
are written and not one octave lower .
Play ( a ) and ( b) at the p iano and associate the pitches
board with the notation . Play ( 0 ) or the F scale and have the
class Sing from the staff,the girls s inging the upper tetrachord
and the bOyS the lower .
When the male voices sing O ( so l ) in Ex. ( a ) above, they
are using the same pitch as the treb le voices on so l in Ex.
There is real ly a distance of but one line between the two staves
and that one line is cal led middle C. The male voices frequentlysing as high as an 6 above the staff and e for the male voices
would be represented by a note on the second added line above
the staff although it is the same p itch as the first line on the staffwith the G‘ clef.
Observe below the two ways of representing the same pitch .
DRILL
1 . Dri l l on the p itch names of the entire staff and alsowriting key S ignatures with the F clef .
74 PRACTICAL MUSIC THEORY
2 . Observe that the clef begins on the fourth line which isthe F line and fil ls the three upper spaces“ The dots at the rightof the clef call attention to the F line .
EXERCISES IN READING AND DICTATION
Use the following exercises in several different ways .
(a ) Sing them with syllables ; (b) play at the keyboard as written
and also in several different keys ; ( 0 ) write from dictation at theblackboard and be able to transpose into more than one key
,
using the proper signature . Throughout this chapter insist thatthe boys sing as written and not an octave lower .
MUSICAL ILLUSTRATIONS
Have the c lass Sing all the melodies,the girls singing one
octave higher than written . Drill in beating the pulse and clap
ping the duration may be necessary in No . 1 96 . Practice p laying
all the melodies at the keyboard . An important thing to notice
is that the bass songs have equally as much interest as any of the
soprano melodies we have studied .
Eng l ish Folk song
PRACTICAL MUSIC THEORY 75
Engl ish Fo lk song
Neapol itan Folk song
1 98Unfinish ed S ymphony, 2d Theme, 1 st Movement S chub e rt
76 PRACTICAL MUSIC THEORY
P insuti
Ze lter
German Folk song
Cham inade
B izet
PRACTICAL MUSIC THEORY 77
DICTATION
These examples are to be sung, played at the keyboard, and
written from dictation,the girls singing one octave higher than
written .
FIRST ASSIGNMENT
Songs for singing and analysis.
Bass, Unison Twice Fifty-five Nos. 45, 124.
Part songs ( Sing bass while playing all parts ) .
Twice Fifty-five Nos. 81 , 1 55, 160 , 1 64, 1 65, 170, 172 .
B . Dictation .
Melodic Dictation pp . 74,87 , 102, 103, 1 1 7 .
78 PRACTICAL MUSIC THEORY
SECOND ASSIGNMENT
Write eight-measure melodies with the F clef using the following keyS ignatures and measure signs.
1 . 8 17, four-
quarter measure.
2 . A, S ix-eighth measure.
3 . ED, two-hal f measure.
4 . Eminor, three-hal f measure.
80 PRACTICAL MUSIC THEORY
Rus s ian Fo lk song
Engl ish S ong( i 7 th Century )
( 1 6th Century )
Russian Folk song
Lambert
PRACTICAL MUSIC THEORY 81
Meyer Helmund
S chum ann
Ma s s enet
Mo z art
CHAPTER XVI
TRIADS OF THE MAJOR SCALE
TRIAD consists of a fundamental tone cal led the root,with
the third and fifth above it . There
are four kinds of triads, major, minor,
diminished and augmented .
A maj or triad has a large third and a perfect fifth ,i.e. , it is a large third , with a small third on top
of it, as A, Cit and E.
A minor triad has a small third and perfect fifth ,1 .e. ,
i t is a small third with a large third on top of
it, as A, C, E.
A diminished triad has a small third and a “di
minished fifth, i.e . , a small third and another
smal l third on top of it , as A, C, Eb, or B , D, E.
An augmented triad has a large third '
and an aug
mented fifth, i .e. ,
it is a large third with another
large third on top of it , as A, Cit, Eli.
Triads may be built on any tone of the scale. The ones on
do , so l and fa are maj or triads in the maj or mode and are called
primary triads . The minor ones on re, mi and la are called
secondary triads . The triad on ti is dimini shed and is explained
further in Chapter XVIII . Chords in the key of Eb are givenbelow
Primary triads Secondary triads Diminished triads
vn'( ti )
PRACTICAL MUSIC THEORY 83
Each tone of the scale is distinguished by a special name
fo l lows
I Tonic V Dominant
ii Supertonic vi Sub -Mediantiii Mediant V i i
° Subtonic or leading tone
IV Subdominant
DRILL
This wil l consist in ( a ) spel ling , (b ) writing and ( 0 ) play
ing triads according. to the following directions
1 . Construct maj or triads on the following roots ; Ab, l) ,G,Db
, F, B , Eb, Fit, CiF.
2 . Construct the three maj or triads for each of the fo l lowing keys : E,
Bb,A
, C, G, B,Db.
3 . Name the three keys in which
each of the fol lowing triads would occur
as a I , tonic ; V, dominant ; and IV,Sub
dominant of the scale .
4 . Construct minor triads on the following roots : g, git, f,d, a , c , eb,b, e, cit.
5 . Construct three minor triads for each of the following
keys ( supertonic , mediant, sub-mediant ) Ab, D, Eb, G, G, F, E.
6 . Name the three keys in
which each of the following
triads would occur as 1 1 , i i i andV I .
7 . Construct diminished triads on the following roots : fit,e, b, dfli, all , f, a , g. Construct the diminished triads for each of
the following keys : F, A, G, Bb, D, C Ab, E.
8 . Analyz e the fo llowing triads
A valuable reference on the subj ect of triads will be foundin ( a ) Heacox
’
s Harmony for Ear, Eye, and Keyboard (FirstYear ) , Lesson 2 and 1 1 , and in (b ) Smith and Krone
’
s Funda
mentals ofMus ic ianship ,pp . 1 23 - 1 29.
84 PRACTICAL MUSIC THEORY
MUSICAL ILLUSTRATIONS
Very frequently melodies are built from triad material.
When this is true , al l three tones of the triad do not have to bepresent in order to indicate any particular harmony
.Only two
tones are sufficient to designate a harmony. The third of thetriad is as important as the root for it is the color tone and determines the character of the chord .
Russian Folk song
German Folk song
Negro S piritua l
ANALYSIS OF MELODIES
No . 224 . In the first measure we have a tonic chord and in
the second measure a dominant. Spell a I and V in the key of G.
Measure 4 contains another dominant,but ignore the c until Chap
ter XVIII . Analyz e each of the other measures .
No . 225 . Here we find a dominant harmony in the fourth
measure . Have the students play the root bases for each measure.
No . 226 . The harmony is obvious in this example.
PRACTICAL MUSIC THEORY 85
No . 227 . In this melody we find the fourth measure contain ing two harmonies
,first dominant
,then a tonic .
Nos . 228 and 229 . The bugle cal ls Show the use of the tonicchord .
FIRST ASSIGNMENT
For aural analysis.
Melodic Dictation p . 21 . (Ex. 1 , Ex.
SECOND ASSIGNMENT
Write the following melodies in period form using the harmonies
suggested.
D, I I IV I , I I V I .
F , I IV V V , I IV V I .
A, I V V I , I V V I .
Db I IV V I, I IV V I .
CHAPTER XVII
TRIADS OF THE MAJOR SCALE, CONTINUED
EAR TRAINING
THE teacher plays the two triads on F and the students singsyllab les of each as indicated . The teacher should continue
the dri l l with the class and then with the individual students until
all are sure of the triad structure. The root of any chord iscalled chord root; the third, chord
three ; and the fifth, chord five re
gardless of the position of the tonesin the scale I do. mi . sol . dooms. sol .
TRIAD INVERSION
Three positions of the tonic .
Inversions of the dominant. The syllables of the dominant
are so l, ti , re which are 5 , 7 and 2 of the scale. In singing these
chords as we analyz e them,we sing sol, chord root ; ti, chord
three ; and re, chord five.
Dominant chord . sol , ti, re.
Chord 1 , 3 , 5 .
v XV Scale 5, 7 , 2 .
5
Inversions of the sub -dominant .
In the second i l lustration of No . 2 we have a tonic thirdwhich means that in the do , mi, so l chord, the lowest note is mi
or the third of the chord . In ( c ) of No. 2 we have second in
86
88 PRACTICAL MUSIC THEORY
W elsh Fo lksong'
Reineck e
S cotch Fo lk s ong
B i zet
R e inecke
PRACTICAL MUSIC THEORY 89
Play and sing the above melodies and discover what triad
structure is suggested. Note how frequently the harmony changeson the accent . Observe there are tones which do not belong to
the harmony.
ASSIGNMENT
A . Aural analysi s.
1 . Mel od ic . Harmonic Dictation (White ) pp . 1 1 , 12, 1 3.
2 . Harmonic . Harmonic Dictation pp . 19, 20 .
3 . Analyze Cadences in Twice Fifty-five .
B . Harmonize at keyboard melodies in Folksongs pp . 59a,24C
,20h, 1 7a.
CHAPTER XVIII
BYTONES AND DOMINANT SEVENTH
PON analysis of a number of melodies it will be found thatU while they are constructed on a foundation of triad material
,
they contain many tones that cannot be included in this harmonicformation . These tones may be close ly associated with a particular triad , for instance, and yet be foreign to the chord , andso are considered bytones . Some of these tones may be of thecharacter of ( 1 ) passing tones
,connecting
the different parts of a triad . They serve togive smoothness and fluency to a melody .
Other bytones are called (2 ) auxiliary tones , which move de
gree-wise away from a harmony tone and back to the same one.
The auxi liary tone serves to decorate or embel lish a melody.
We have already considered one form of
the auxiliary tone in Chapter VII .
Certain characteristics of these auxi liary bytones should benoted . First, they are dissonant, and foreign to the prevai ling
harmony . Second,they must resolve , thats is , progress to the har
mony tone degree -wise,without a Skip . Third, the auxi liary tone
usual ly progresses by step if it is above the harmony tone , and
by half- step if it is below the harmony tone .
MUSICAL ILLUSTRATIONS
Spanish Folk song
Hunga rian Folk song
92 PRACTICAL MUSIC THEORY
ANALYSIS
No . 240 . Which is the passing tone and which the auxiliary
tone in the first and fifth measures ?
NO. 241 : Since the harmony in the first measure is tonic ,e and g become passing tones . Find other ones .
No . 245. This Shows very clearly how the auxiliary tone
decorates a Single harmony that has continued for three measures .
Continue the analysis of all the melodies in this chapter .
They also Should be sung with syllables and played at the keyboard .
REVIEW
Review Chapters III and IV and determine which are thebytones in the melodies found there .
DICTATION
The students should first Sing the following melodiw and
then mark the bytones . In most of the melodies the harmoni es
are very simp le , one to a measure. In No . 251 as an example
the first measure is tonic and the second dominant . By spel ling
each of these maj or triads in the key of Ab, the passing and
auxiliary tones may be easi ly found . Dictation of these tunes
at the b lackboard or on paper will be necessary to complete the
practice in recognition of bytones .
PRACTICAL MUSIC THEORY 93
In Chapter IX we found that the most desirable Skip of a
seventh was from so l up to fa . Further,in analyz ing the mel
odies in Chapter XVI , we discovered fa in a measure designated
as dominant harmony . In the musical i llustrations at the begin
ning of this chapter, No . 242 contains the melodic progression
so l , ti, re, fa . When these tones are combined vertical ly, there
results the Dominant-seventh chord,a dominant triad and a small
third above it . The tones of this chord are$
all active or progress ion tones and must move
,or resolve
,to repose tones , the regular
resolution being to the tonic triad . The followmg i l lustrationsshow this chord in the key of G and its progression to the tonic .
The dominant-seventh chord remains the same for both maj or
and minor keys as illustrated in the following examp le . Play
both resolutions at the piano to hear the difference .
DRILL
Practice playing this chord in every key. Also write andSpell the dominant-seventh and the tonic chords in the followingkeys : F
, A, Eb, D, Bb, G, E.
ASSIGNMENT
Aural anal ysis and dictation .
Harmonic Dictation pp . 23,24 .
CHAPTER XIX
TRIADS OF THE MINOR SCALE
N the minor mode, there are maj or , minor, diminished
augmented triads .
2 3 4 1 2
Int w V V I vu °
Notice the triad on the dominant is a maj or triad (V ) in the
minor mode j ust as it is in the maj or mode (so l, ti, re in either
case ) .The tonic in this mode is do , me, so l ( i ) , a minor triad .
The sub -dominant (fa, le, do ) is a minor triad also . See il lus
tration 62 above .
There are two diminished triads , on re and ti (2 and 7 of
the scale ) . There is a second maj or triad, on le ( 6 of the scale )and the new triad ( augmented one ) occurs on me, the third of
the scale.
DRILL
Spel ling , writing and playing of triads .
1 . Spell the tonic and dominant in each of the followingminor keys
, c , g, d, fli, a , b.
2 . Spell the two diminished triads in the following minor
keys , f, e, a , elf, git.
3 . Spel l the augmented triad that would occur in each of
the keys suggested in No . 1 and No . 2 above.
4 . These exercises (Nos . 1 , 2 , 3 ) should be written and
p layed .
261Tchaik ovsky
96 PRACTICAL MUSIC THEORY
Ru ss ian Folk song
Sing these melodies with syllables and find the measures that
outline definite harmonies P hrases or sections should be transposed at the piano . Bytones should be observed .
DICTATION
Melodic phrases in the minor mode are to be sung with syl lab les , played at the p i ano , transposed and written in various keys .
INVERSION OF TRIADS
No.1 a b
No . 1 gives the inversi ons of the g minor triad . No . 2 shows
how g may be root , third, and fifth of three minor triads . Recall
that a minor triad is composed of a smal l third with a large third
on top of it . Then in b of No . 2 since g is the third of the triad,a large third is needed first and a perfect fourth above .
“ In c of
No . 2 a perfect fourth above the fifth of the triad with the small
third above since that is a skip from thel
root to the third of theminor triad .
No . 3 Shows how d can be used in a similar way. The
reason for stress on this idea is because in musical composition ,one tone is often used as a pivot around which the muS IC swmgs
into various keys . The French Horn of the orchestra often carriesthis pivotal tone .
A given tone may be either root,third or fifth of either a
maj or, minor, diminished or augmented triad . It may therefore
be a part of twelve different triads . If the tone g is taken as anexample , it may be a part of the fol lowing twelve triads .
PRACTICAL MUSIC THEORY
FIRST ASSIGNMENT
Aural analysis and dictation .
1 . Melodic Dictation pp . 95 , 96 .
2 . Harmonic Dictation pp . 26,27 , 28.
SECOND ASSIGNMENT
Wri te minor melodies with the following structure.
1 . Key of d,four-
quar ter measure . i i V V i i v i .
2 . Key of f, three-
quarter measure . i i V i i i V i .
3 . Key of e,four-eighth measure . 1 1 W V i i V i .
4 . Key of g , six-eighth measure . i iv V i i iv V i .
97
CHAPTER XX
FOUR-PART MUSIC
N writing for four voices , since there are but three tones in’
a
triad, one of these tones must necessarily be doub led ; usually
it is the root?
or the fifth. The third is rarely doubled because
of its strong color quality . When four parts are used,the root
is not always the lowest tone ; practice is needed in listening for
the root in the inversion . Dri l l similar to the fo l lowing is then
abso lutely essential$ before attempting four-part work .
Drill . This is for practice in listening for the root in chordinversmns
The chord is played by the teacher and the class sings the root
of the chord . This kind of dri ll must be continued unti l every
student can sing the root when called upon individually. The
student,besides S inging the root must be able to spell the chord,
beginning with the lowest tone, i .e. , (first one ) , e, a , C111. Second,
he should sing the three tones of the chord as follows so l, chord
five ; do , chord root ; mi , chord three. Thenext chord should be
spel led by the class or an individual, fit, b, d, and then sings so l,
chord five ; do ,chord root ; me, chord three . Spel l and sing the
other chords . This drill will have to be returned to again and
again . Use additional chords for further study till every student
can sing the root of any inversion he hears . This cannot be
accomplished in the average class in one or two lessons .
CHORD PROGRESSION
PRACTICAL MUSIC THEORY
voices are within an octave . Transpose a, e and g at the piano
and into close position .
DR ILL
1 . Using 269 a , sing the bass part first as fo l lows Bass , do ,
chord root ; so l , chord‘
root ; do , chord root .‘
Soprano, do ,
chord
root ; ti, chord three ; do , chord root . Alto, mi, chord three ; re,
chord five ; mi, chord three . Tenor , so l , chord five ; so l , chord
root ; so l, chord five .
This device shows two things ; the syl lab le defines the p lace
of the tone in the scale and the chord number defines its p lace in
the triad . To talk about it is not enough . It must be sung to
get the relationship$
. Take al l the other exercises in this chapter
in a Simi lar way .
EAR TRAINING
Students should review the Mus ica l I llustrations in Chapter
XVII and the Dictation Exercises of Chapters IV and VI con
sidering the harmonies implied .
PRACTICAL MUSIC THEORY 1 01
In the recitation period one student is asked to sing one of
these melodies while the class with books closed listens for the
harmonies suggested . The first student repeats the melody while
another student sings the bass 2 7 1accompaniment. This duet per
formance requires analysis of
the phrase from a rhythmic and
harmonic standpoint.
ASSIGNMENT
A . T ra n sp o s itio n of these exercises into at least three different keys,for instance
,No. 269a in Bb, C and Eb. Memorize the exercise before at
tempting it at the keyboard. Ask the students to spell the new tonic and
dominant chords they are about to play.
B . 1 . Dic ta tion of the above exercise in other keys.
2 . Harmonic Dictation pp . 1 5, 19, 20 .
The experience in singing these exercises under Drill above and the
transposing proposed in the Assignment should be very definite preparationfor the dictation .
Note for teachers . The material in th is chapter is a part of th e preparation for
formal study of harmony . We are ngt ask ing for the written harmon iz ation of melodiesbut students must develop a feeling for simple chord progression .
CHAPTER XXI
MODULATION
AMELODY is often of greater interest when it moves awayfrom the original key into a nearly related one. The most
usual modulation is to the dominant key,and less often to the
subdominant and minor keys,both relative and tonic .
The chromatic tone is used not on ly as a bytone within a keyas we found in a previous chapter
,but it also may be used as a
means of modulation . The student from this time on will needto discriminate between these two uses . The modulation wil l
usually be defined by the cadence at the close of the phrase . The
dominant of the new key introduces the new leading tone,and
is the chord which affects the modulation,for its res olution will
be to a new group of tones that becomes a tonic of a new key .
The dominant chord affirms the change in key. and the tonic chordconfirms it .
MUSICAL ILLUSTRATIONS
Morley ( 1 595)
R einecke
Lovoff
1 04 PRACTICAL MUSIC THEORY
FIRST ASSIGNMENT
Songs illustrating modulation,for analysis.
Folksongs, pp . 1h , 3a, 8b, 1 8a, 2 1b, 22C 28h, 30h, 34h 35h,44a
, 62b.
SECOND ASSIGNMENT
The following melodies are to be in period form. Write the two new
chords needed on the staff before the melody is attempted.
1 . Write a melody in Gwhich would modulate to D.
2 . Write a melody in Ebmodulating to Bb.
3 . Write a melody in F modul ating to C, six-eighth measure4. Write a melody in bminor modulating to D.
CHAPTER XXII
CADENCES
E have discussed briefly the half cadence and the clos ing
cadence in Chapter I , and in the writing of melodies have
made constant use of both . Now we are prepared to use the
chords we already know and to find other harmonic combinations
for cadence purposes . The most important of all the cadences
is the perfect cadence.
No . 1 . The perfect cadence, or final cadence, has so l, do
in the bass and the soprano also progressingto do .
The Imperfect cadence is like the perfect cadence only the
soprano voice has three (mi ) or five ( so l ) in the final chord ih
stead of the root (do ) .
No . 2 . The half cadence or rising cadence is not conclusive
but marks a rhythmic and melodic pause comparable to a comma
or a semi -co lon in grammar . The half cadence‘
is formed by
ending a phrase with a dominant chord.
No . 3 . The p laga l cadence ( IV, I ) is found frequently at
the end of a hymn , is the “Amen .
No . 4 . The interrupted or fa lse cadence ( frequently V to
vi, the dominant to the submediant ) is a progression of the domi
nant to some other chord other than the tonic . This is dependent
upon the rhythm to‘o .
Perfect Cadence lmperfect Cadence. Half Cadence . P laga l Cadence. Interrupted Cad ence .
V v i
1 06 PRACTICAL MUSIC THEORY
MUSICAL ILLUSTRATIONS
ASSIGNMENT
Aural analysis,dictation and transposition.
Harmonic Dictation pp . 39, 42, 43 .
1 08 PRACTICAL MUSIC THEORY
289 Pri z e S ong , Th e Masters inger
Gounod
PRACTICAL MUSIC THEORY 1 09
W elsh Folk song
1 1 0 PRACTICAL MUSIC THEORY
297 My Heart Ever Faithful
Ancient Plain Song
Cherubini
Smetana
CHAPTER XXIV
MELODIES FOR DICTATION
Folk song
Folk song
B rahm s
bl o z a rt
Fo lk song
Beethoven
PRACTICAL MUSIC THEORY 1 1 3
B eethoven
Mendel s sohn
Mendel ssohn
A .Ha rtm ann
R ichter
1 1 4 PRACTICAL MUS IC THEORY
Ita l ian Folk song
R ub instein
Old W el sh S ong
S chubert
3 2 8 - Anvil Choru s,I$ Trovatre
S chubert
3 3 1 Sonata in El$B eethoven
1 1 6 PRACTICAL MUSIC THEORY
347
PRACTICAL MUSIC THEORY 1 1 7
S chumann
Moza rt
Mendel ssohn
Wagner
Handel
1 1 8 PRACTICAL MUSIC THEORY
Old Engl ish
REFERENCE LIST
SONG MATERIALFolksongs and Other S ongs (Radcliffe-Whitehead. )H igh Road ofS ong (Foresman )Golden B ook ofFavorite S ongs .
Music ofMany Lands and People (Music Hour ) .
Twice Fifty-five S ongs ( Brown )
EAR TRAININGAlchin,
Ear Training .
Alchin, Tone Thinking and Ear Testing.
~
Wedge, Ear Training and S ight S inging.
White, Har-monie Dictation.
White,Melodic Dictation .
TEACH ER ’S REFERENCEDiller, First Theory Book .
Earhart,Music to the Listening Ear.
Gehrkens,Fundamentals ofMusic .
Scholes , B eginner’
s Guide to Harmony.
Smith and Krone, Fundamentals ofMusicianship .
Spalding,Mus ic An Art and a Language.
Trotter,Making ofMusicians .
Victor,Music Appreciation for the Elementary Grades .