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TRAINING
FOR
TEACHER
AND
PUPIL
A.
ALCHIN
BOSTON
OLIVER
NEW
DITSON
YORK
COMPANY
CHICAGO
Chas.
H.
Ditson
"
Co.
by Oliver
Lyon
DifsoN
"
Healy
Copyright,
MCMIV,
Company
INTRODUCTION.
The
aim
so
of
this the
work
ear
is to the and
teach
the that
pupil
even
to
think
in
tones
and learn
to to
train
and
feeling
the
tone-deaf
;
to to
may
sing,
at
name,
write
play
what
they
hear and of
harmonize
melodies and
sight, to
not
improvise
accompaniments,
melodic The
effects voice of in the the
recognize
but what the is
appreciate
and
an
only
as
the
music,
express that
harmonic
not
rhythmic
idiot in the
well. best
cannot
felt, and
not
is the hand
proof
fact
skill of hand
Soes
reside
alone, but
is
mind.
to
a
Discriminative
and shall muscle
must
hearing
or
indispensable
all lines of
musical that
"
education,
the lessons
precede
be like
accompany of
a
study,
not
those
shop
or
manufactory,
training of
only.
tone
Every
in
key
has
its
special
the
character
or
color,
is the
guishing distin-
melodic
effect, aside
and when the
from
pitch,
which these
result
of
he
key relationship,
has the basis of the of
pupil perceives
is the
distinctions
of
harmony,
which
natural
outgrowth
this
system
For
ear-training. advantage
of teachers and numbers refer be
to
students
are
who used
have in the of of
ence, prefer-
syllablesand
i,
interval
exercises.
the
3,
5, etc.,
always
must
the old
degrees
system
of but
scale.
syllables are
this is
a
used, it
not
the
"Movable
ship relationtones
Do,"
for
; the
system
of
absolute
not
pitch, but
sounds,
key
the
syllables representing
names
fixed the
uses
of
the
scale, the
Different
identical have
with
teachers
different
syllables,and already
the
ours
is the
to
express
key
Do"
relationship only.
habit,
it would be
student
to
use
has
"Fixed
better
numbers
IV
INTRODUCTION.
for only,
this work.
each
"
Isolated
tones
a
mean
related
we
to
other
one
accordingto
of the
fixed of in
call
key,
essentials
syllables
the the
and
numbers
be
discontinued
when sight-ieading
to
think
"
and
names.
pupil
.The
Fixed
Do
to
is sufficient for
student
merely mechanical
music. the
useless
the well
"
the
of instrumental
Excepting
derives from
vowel
sounds, he
the
same
might just as
sounds
as
use
since letters,
they represent
to
the
Fixed
numbers "I
the
scale
or
call the
from
it,
the
C.
In
the
way
should the
certain Tonic
in placeand relationship in
key
Why } Because Harmony. it is wholly a matter of relative, not absolute pitch. Each chord bears a certain relationship to the Tonic, the name for that relationship in all keys. If C should remaining the same always be Do, regardlessof key, then the C chord should always
group. be the Tonic
as
movable
chord
for
the
same
reason.
The effect.
nothing
compared
the
same
with
the melodic
on
key
B.
of C
has
effect
the
ear
as
it would
key
of
the same in as Why should the tune which is remembered both keys be called by different names .' To think an interval, is vastly distance only, different considering from thinking that interval in a definite relationship. For instance,
3-S the
of
same
key, a
tones
minor
are
a
exactly
G
to
and
thought as
6-8.
Think
above,
as
key and then as 1-5, and note the difference of from the change of relationship. To see these resulting is not enough, their place in key must h"felt.
5-2
teachers that the
are means
of
making
much sound
and farther,
and
color
INTRODUCTION.
being
the result of
that
there is
to
correspondence between
from the
too
; but
whether
it
can
be used
a
any
question.
; for
to
I would
to
suggest
possible
over-use,
as
many
things tend
distract the
tho,ughts
from other
real and
unrelated
word
"
devices
seem
be the fad
justat present.
"
A doctrine as or theory is defined by Webster of thingswhich scheme terminates in speculations without a view is certainly to practice." That a good definition of the theory of the taught. With two or three exceptions, generally it a purely mechanical current operation, hindering, systems make the one's musical rather than faculties, developing or cultivating work being done without reference the two to melody or rhythm, factors that determine the harmony. all-important music
as
The
it is
"
Think from An
you
wrote
an
unmelodious
bass, and
that worked
the
melody
of
and
accompanying .voices 1
is neither
exhaustive
a
discussion of this
Harmony
a
possiblenor
desirable in
matter
work
kind, but
conscientious
to
included
to
will enable
the student
harmonize
wishes, and
composers, teachers.
'
but
This
is not
a
"acquired
art.
while
you
mere
play of
great
It is not and
for the
the
earnest, serious
"
student
teacher.
to
suggest
work
to
give some
sdme
of the work
all of the
pupils. To accordingto
Most hour fervor than that
but not all of the work to pupils, accordingto his needs, and from every one his ability.
of the lack of continued and
all of the
every
one
The
first
both
teacher
pupilis
and
of mark
a
that
of
when
waned
a
the
goal seems
able really says,
"
nearer
It is
student
to
finish what
prominentwriter
As
thingsrise
VI
INTRODUCTION.
in
must
the
scale
of
value,
the
interval of
value
between
seedtime
increase
and
lengthen.
Increase
means
of
growth."
The of
and idea work of the
use
of
the
Principle
the
"
of
Progression
a
as
basis
this
was
suggested
work
by by
is Mr.
Septonate,"
Klauser,
all of
most
excellent
comprehensive
Some
is of the
Julius by
Milwaukee.
matter
taught
of The of made
theorists,
but
and is
the
my
of
own,
the
result
extensive order in
teaching
which it
an
study
suggested
the the
classics.
given
has
been
by
development
has of each
my
to
pupils.
condense
as
Every
and
effort
been
briefly
as
possible,
the
of the
success
step
depends
The
upon
thorough
few,
but
ing understandthe
preceding
many.
one.
principles
are
tions applica-
are
C.
A.
ALCHIN.
CONTENTS.
CHAPTER
Sbotion
I.
I.
Pacb
i
14.
5 16.
20.
37.
CHAPTER
II.
38.
41. 42. 44.
Tonal Cadence
Magnetism
12
45.
48.
52.
III.
53. 54.
19
Singing
from
Exercises 19 Ti
20
55.
62,
22
64,
Exercises
to
be
Completed
25
CHAPTER
IV.
65.
67. 69.
70. 71.
Fa
Introduced
from and to be
26
Fa Ey-Tones 27 Completed 26
34 35
76.
36
vui
CONTENTS.
CHAPTER
Section
V.
Pags
77. 81.
La
Introduced
Singing
4" 40 42
81. 82.
from
La
42 43
83. 84.
Drill Exercises
,
Dictation
50
CHAPTER
VI. S3
54
yj
86. Passing
8q.
,
Tones Tones
95.
96.
97.
57
Tones
and
57 ,57
59
98.
102.
Syncopation
Writing
and to be
108.
120.
Corrections Completed
of
Faulty
Work
6i
65
VIL
70 71 71 72
CHAPTER
123.
124. 127. 129.
Hearing
Three
and
Tones
Simultaneously
Major
138.
140.
Positions
of
the
Chords
74
76
77
146.
147.
78
be
156.
157. 160.
Completed
82
Songs Exercises
83
85
CHAPTER
VIII.
88
163.
164.
Chord Songs
to be
Harmonized
88 92 94
165.
166.
Exercises Chord
for to be
167.
'
Playing Harmonized
95
95 9^
168.
i6g.
170.
Exercises Chord
98
CONTENTS.
IX
Sbctioh
Page
171. 172.
for
Playing
Harmonized
1
" "
98
99
100
be
173.
174.
Exercises Chord
be
102
175.
Harmonized
103
CHAPTER
IX.
,176. 178.
104
Chords Exercises
be
185.
186.
Minor
Mode
109
no
187. 189.
190.
to
be
the
112
be
191.
192. 193. 194.
Sixth Diminished
of the
115
116 116 117
Seventh Te Employed
Scale
Lowered
CHAPTER
X.
196.
197.
199. 203. 206.
First Harmonizing Second Fifth Sixth Second Fifth Summary General Reduction
of
the
Scale
Melodies
Raised
119 119
of
the
120
of
the
of
the
208.
209.
210.
of
the
of
the
125
Chords Dictation 126 126
of
211.
Exercises
Harmonic
312.
132
EAR
FOR TEACHER
TRAINING
AND PUPIL.
I,
Key Mi Introduced
"
"
"
Dictation
Exercises.
1
.
Begin
one,
with for
to
any
tone
the
one
pupil
can
can
sing
both
the
is If
see
good
you
nearly every
use can
sing
higher
sound
lower.
F
want
the
piano, let
the
the
tone
teacher and
and
if the
If
pupil
he
remember
two
or
find
it
the he
board. keywill
tries
three
F
times
without
and
success,
have
to
forgotten just
it
how he
the
can
sounded,
find it.
to
it will
be
necessary
hear
again
before
2.
the
It is sometimes
between
a or a
necessary
call the
a
pupil'sattention
tone.
to
difference
singing
it is
a
and
speaking
to
3.
For
F
young
Do
"
pupil
bell.
interesting
lesson in
call
it the let
us
tone
of
bell, the
For
rhythm,
ring
this
bell several
times
$
ringing
the
time. first with the
"jL_"L
left hand
and
a
then
the
tone
right, alternatingto
than
end, the
Next,
left hand
making
sing
two
stronger
weak
tones
the
right,each
strong one,
with the
play
or
after
each ended
excepting
strong
the
or
last, which
is
more
if satisfactory called.
of
beat,
of
pulse,
as
it is sometimes
The
an
essential
principle
time
thythm.
off for
or
is the the
can
regular
ear
recurrence
interval
accent
of
marked
by
be
the
accent.
Whether the
generates
rhythm
only
felt after
rhythm
is estab-
EAR
TRAINING.
lished,is
tant question.In either case, the accent is a very imporfeature of rhythm, and rhythm is the most important element off of music. This grouping of strong and weak pulsts is marli^gd for the eye by puttinga bar before the accented note
a
"
4.
use
Since with
all
English words
cannot
are
it rhythmical,
is advisable to
them
pupilswho
could
otherwise
feel the
the
rhythm.
For
instance,no
one
fail to
recognize it in
little sentence,
of rhythm through "Merrily,merrily sing." Develop a sense with the touch also, by making the tones on your instrument of strength; that is,emphasizing the same the same proportion and in speaking. Doing this without words as a syllables of directing his change of pitchgives the pupilthe opportunity the rhythm. attention to the one thingonly
"
5.
Write
"
^i
as
you
Should
we
hold
two one,
strokes,we
like
place a
when
second
we we
mark
the
a
this, O
a
; and
add
are
also
made
with
stroke
downward,
have
tion concep-
of duration
6.
Begin with
beat after
i W7.
the How
i
does the bell insist upon
many
times
ringingafter
tones following
Tj"i-
EAR
TRAINING.
8.
measure
How ?
will you
group
these, into
two
or
three
pulse
9.
We
can
establish
and
more
rhythm
to
and
a
not
by adding more
at the
same
notes
measure,
measures
regular intervals.
same
The
necessarily
the
same
contain
number
the
number
To
of notes, but
they must
have
of beats.
illustrate:
EHTTOia
beginnerthat the notes joinedtogetherare sung beat or pulse,the first bearinga stronger accent in one than the the syllables of the the proportions as being about the same last, word and "lightly."Say the word "light" and then "lightly," about the same interval of time as requires you will notice that one
Explain to
the the other.
10.
Teachers
use
pulsea great help in counting,and time and which requirestoo much and etc., instead of "one two-ly," rhythmic feeling. Say "one-ly, for triplets as two and," etc., adding two syllables "one-er-y,twohabit of speaking the unaccented lables syler-y,"etc. The life-long it natural makes and them to in quite play quickly, lightly
"
syllable "ly" fot a halffar preferable to the old "and is altogether too strong for the
of the
the
same
manner.
11.
in it.
Do
not
dictate
an
exercise with
less than
two
accented
tones
quently Anything less contains nothing positivein melody,conseis meaningless. Train the pupil to think in groups and he also to feel the will read much more readily; dynamics, which the should be taught from beginning. Develop the feeling of
progress
to
from
accent
to
accent, and
measure
to measure,
explaining
the
the
pupilthat
this
of feeling
progress
is
rhythm
not
accent,
EAR
TRAINING.
but
the
grouping together
two two
or or more more
of
strong
and
weak,
in
one
"
pulse rhythm
pulse ;
section
measure
arisingfrom rhythm
from from
tones
grouped
in
on a
pulses
so
measure;
to
"
rhythm
as
the
largergroups,
same
the of
lines of poetry
grouped
in the
into stanzas,
the
as
alternation
strong
groups.
and
weak
large
as
well
the
smaller
rhythmic
1 2.
Add
another
section
to
complete these.
.17
18
EAR
TRAINING.
20
d=4
:i
1E3 g)"
3^
(gi 4
24
Fa=g"
-"
"
"
"
""
-"
"
"-"-"
13.
with the will and
Sound
again and
"
then
give the
the
tone
of another A
bell
"
voice if
possible
if not, with
piano.
or
musical fourth
son per-
always give the third or fifth above, after a few experiments the unmusical one Having
from
the
below,
the
decides
they are
the
and
below
for in
our
second
note bell,
the distance
F,
the
difference
quality.
F,
the
Do
stable ;
but bright,
and repose stability call it a children The sometimes of the Do tone. going tone, "where is it Back and that gives rise to the question, to going .? Red is the color for Do, and lightblue for Sol. Do, of course. the fist for Do, we use Expressing the quaUty with hand signs, for Sol. and the open hand, palms facing, Although it is play for the young pupil,this unity of action and feeling is not a small of value feature. Suit the action to the word," is an old principle
" " " "
of progressionrather quality
too
ear
trainingonly^
lessons, -vyhich
think of the
but is
are
obligedto
do it in connection
with
his other
work.
EAR
TRAINING.
always a convenience and saving of he the teacher's voice,and a saving of time for the pupil because can to all of his technical exercises. applythe ear-training Do, also called the 16. A key is a family of tones in which stable than any of the others, and the key note," is much more
The
piano and
violin
are
"
onlytone which expresses absolute repose. Any tone may little family, each key note. Do, and will possess its own
the
same
be the
member
distance Do.
to
from
"the
father,"
have be the
as
the A
as
sometimes
call the
For
instance, if we
not
Mr.
that
or
familywill
be ; E
same
to
Mr. F.
Mr.
Sol for A, D
the
17.
Find
the and
Sol
belonging to
each
one
B.
; the
To Do
Fj}, Write
sing
twice
using this
18. and
character and
for the
sharps,a
as
and
this for Do
the
flats v.
Think
sing
times
E for
Sol, and
then
above, singing
"
playing three
the
rhythmical effect :
i w
Do you
the
same
^m
each
followingletters, writing as Ab. E, C, Db, sing. F, Bb, A, Fjf, Writing what and, hearing,
the and eye without
one
with
of the
19.
that of
hears
one ear
trains
the
sense
of
sees.
sight with
neously simulta-
hears what
he
When
sees
the
should
has its own /i?^/. As each sense difficulty, the development of these three solves the seat of memory, tion, quesof memorizing, and gives the student that much desired when how a thing sounds he sees to know it and studies ability
silently.
EAR
TRAINING.
24,
Sol
naturally
progresses
to
the
Do
above, consequently
our
When we belongsto that particularDo. by figures instead of the staff notation, we dash
over
represent
write
no
melody
a
5 with
little
the
it to represent the
Sol
above
Do, but
sign when
voice progresses
I
would be
I, 5, 3, 5,
i.
25.
ii
Beginning
S.
with
each
letter,find
:
"
the
three
tones
"
3"
For successively.
example
I^S^^^^l i fe^=g='--^i^gg-'^ft--^^
26.
Where shall
we
etc.
place Sing
the
accent
on
the
i
ing: followand
51315131?
S
3 1-5 3
I-
Omit
then
the
sing
Place
sing S35153SI,
teacher
should
name
also 353x351.
keys.
the
27.
various minor
tones,
see
play
the when up.
thirds to difficult to
if the
pupil can
more
recognizethe
intervals
28.
Think
and
sing 3 above.
(Do-Mi-Do.)
Think
as
29. your
Some
peopleaim
one
at
everything and
a
hit nothing.
leave the
Direct
some
energiesto
of
success
thing at
been
time
and
do not
it until weak
degree
has
acquired,returning to
points
again and
thorough and
complete.
EAR
TRAINING.
30.
can
The
cuckoo
sings two
:
of these
tones.
See
if the
pupil
tell what
they are
Cuck
-oo,Cuck-oo.
"
31
The
.
quailsings,
"
Bob-White
name
the
tones.
^^^^B
32. and
There is
a
little bird
in
Michigan
that appears
at
sunset
sings,
i
"
^5
morning
the
^
littleTufted little song,
33.
Early
in the
notifies
you of his
i
"
^i
Here,
says.
here,
here."
While
another
warbler
\*-
lYz
"
Twohee-e
"
"
Twohee-e
e."
34.
Who
has not
heard
the
Carolina Wren
call,
w
At
ever
m
"
m
Sweet-heart,Sweet-heart."
Meadow
the
same
time and
Lark
announces
the
welcome
cheeringnews,
W"
fe3=g^^a =^
Spring is
here,Springis here."
10 Another
EAR
TRAINING.
littlefellow says,
iE
"
m
What cheer ? What
X
? What
or
i
? What
?
35.
are
Write
these
bird
songs
in three
four
keys.
be
As
they
if the
tain cer-
staff
are
better
added
In
the
keys," means
on.
Do,
not
to begin necessarily
instance, Do,
the
if ,we and
want
the The
song
for
on
the
cuckoo third
song,
is to be
C|,the
the
notes
above
pupil should
of each
bird
as
teacher
playsit.
If the another
36.
I, while I, and
teacher
is
sings3, and
i
pupil sing
3 add
5 and
with
5 add
and
3,
as:
tg,^,^-
harmony aids in the development of key feeling which is such an important factor in ear-training. If the pupil is justlearningto read music, have him play and write like this : these in four different places on the staff,
"
The
the
R.H.
^
L.H. R.H.
I
etc.
i WL.H.
that should Playingthem will help much in acquiringa free arm precede fingertechnique. When 5, be sure 3 or you begin with to think the tones as Mi,) 5 i 3, (Sol Do 3 s i (Mi Sol Do,) or and not simply the letters It is a great mistake to E G C, etc. begin every thing with Do ; one should be able to hear, think, and
"
know
how
to
proceed from
any
tone.
EAR
TRAINING.
11
37.
write them
Tell
what the
bird teacher
songs
you
them
"
hear
in
the
following,
and
as
plays
5?=f=5)
iE
gJiLr
Lj
Lrll^^^i^a
"m *=n
i i
^^^^^"
?E=:=5i
it=":
=8=307
-I
"
S-
Elt^Si^^
-9"-
CHAPTER Tonal
Magnetism Singing All Cadence
"
II.
Re
"
"
"
Introduced Melody
"
Sight
Exercises
By-Tones
Writing.
38.
what-
tones
have termed
tones
the
quality
either
or
progression,
of the
"
might
be
tonal have
magnetism,
to
move
strong
to
tendency
nearest
certain
tone
in
the the
of but in
repose.
we use
Strictly speaking,
the
term
"
say
it
voice
more
moves,
going tones."
seems
definite
quality to
tones,
and the
2
the
i
young
and 3,
pupil.
are
39.
The
repose
the
magnets,
the latter
the
former
2
attracting 5, 6, 7
and
4
of
the
scale, while
below you the
attracts
only.
In
example
tone
will F
notice
in the
that
C, the
key-note,
which
attracts
every
to
excepting
third
of the
last
"example,
progressed
E, the
key.
i
Following
into Do and
EE
i
resistance, all
tones
the
line
i
of least
of
key
resolve
Mi,
"
and has
:
3.
a
40.
which 3 in
The
fifth
synthetic quality,partaking
of of repose when
of
that with
i
with and 3 in
that and
combined
when the
chord,
progression
It also has
combined
with
and
a
5 of the
lesser
domihant when
chord. it
occurs
quality
with
of repose
a
degree
For
simultaneously
rhythmic
point.
instance,
Chopin.
^M
35
X
12
^m
"
EAR
TRAINING.
13
41.
When
a
repose
tone
and
or
the accent
occur
simultaneously,
a
the effect is
a
completed
group
idea,and
such
close is called
cadence.
(a)
(6)
{c)
i IE
In
a.
=F=^
(d) the
first
example above, C,
measure,
repose result
tone, falls
is
a
on
the In the
accented
part of the
repose and
as
and
on
cadence.
{b) the
measure,
tone,
the
E, falls
unaccented
unaccented
part of
feelingof of E, the Mi, consequently there is the repose quality small boy understands or feeling of completion. The perfectly by comparing the rhythmic flow or motion to
accented, the
of the river which.cis
so
cadence the
case
strong it carries
The
large
bodies
it,
seemingly without
influence than
next
rhythmic
so
current
the
the tone,
same
we
are
carried
to the next
accented
point.
applies to principle
i
the
example, (c).
42. Let the teacher resolution it ?
and
the .'
pupil find
Does Which of Mi
the
what
magnet
ways
"
it
move
also attract
most
is the
i, and
123.
.? What
is the
character
color is orange,
easily changed to
write each Re
palm slantingupward.
43.
Sing
Re
I 2
and
in connection
with
all of the
old tones,
approaching it from
Do
two
:
"
successively.
Do Re
Do,
3
2
121.
I.
Mi, 123,
then
combining the
Re
Now
and
see
Mi which
Re you
a
Do,
32
Next
approach
Mi,
or
Re
from Do.
Sol Re
the
After
larger than
oppositedirection,
14
EAR
TRAINING.
hence
and Do. which From and
the
first
example, S
same
3, is the
reason
better.
If will
we
sing Sol
to ,:
the
voice
progress
Sing
Re
1251.
accentingthe Re in both cases How degrees is it from Re up to Sol many .-' What kind of a fifth .? Sing 1213251,
1251,
should be accented.
3251. 35251.
3251.
35
Singing from the figurescompels one think the tones to independent of their a positionon the staff, quite necessary and very helpful process whose to of hearing is much one less keen than that of sense Seeing. 44. As the pupilsings the following exercises, the teacher
251. 2521. 2551.
should
play the
Tonic
chord of the
chord
repose
or
"
magnet
"
tones, and
with
tones
character which
establish
should be
chords if
cultivated from
the
beginning.
to
pupil
can
play the
advanced sufficiently
3
do
so.
1= i w
Do
-si-
* ^^i^ss"^sa
Do
Ir
ii=
9
Re
^^^^^^^^^^m^^
15 16
jgp
^jjgp
-#-'
"^
16
EAR
TRAINING.
47
48
49
i W45.
When
"
3
a
g5^S T*^=F#==^
"
it;
mony, harwith the repose is sung tone progression will call with the progressionharmony, we tone or a repose such tones by-tones." Any tone foreign to the harmony then presiding,may be called a by-tone. For example,
"
ih
Re is
a
"Gh-r
I
presiding quality a by-tone in the in a progression
by-tonein
measure measure
the
first
measure
because Mi
the is
of the
is the because
repose it is
harmony.
a
second
measure.
repose
tone
46.
Name
the
by-tonesin
the following :
?=H^
i St
^a
^
^
!"!=:*:
-1"
^JfTjgTJj
;s^
EAR
TRAINING.
47.
the
various
tones
as
the
lables syl-
indicate
^
^
t
Sol, Do.
Re, Sol.
"m
V^
i \-^E^
Re,
Mi.
^tt=t^
"Sh^
m
Mi. 6
i
Re. Do.
*"
fe
-=*-i
^
Sol. 8
#
^m^^
Sol.
IJ
\o
i
Sol.
10
1
Re.
11
12
"=3=3E
m
Re.
fei^fea
^Sol.
48.
vacant
we
of tonal magnetism, supply the Following the principle places in these little melodies, using only the four tones
have
had,
"
123
and
5.
i
3
4.
'
4^
m i^et
fffi
18
EAR
TRAINING.
49.
Let
the
pupil
great
write
melodies
See
to
short
pussy
sentences
cat.
for my
instance, See
pretty
bells An
rose.
my
big dog.
the
my rain.
See
sleighJingle, jingle,
come
ring. Gently, so
can
gently
snowflakes
of do.
or a
down,
etc.
adult pupil
that
select sentences
different
sentimen,t ; any
quotation
words and
is
rhythmical
is
will
accent
Feel
the
rhythm
of
to
of
the
first,exaggerating the
after the
can
emphasis
the
see
words,
if the
melody
be better
keys
thought
50.
expressed
is used for with
particular key.
fur, delicate
ear
If the
piano
instance, smooth
etc.
a
the
sitive sen-
the
snowflakes,
to
The
fact
to
should
lost
be
just as
qualityas
to
pitch
"
sometimes learn.
sight of
in the
simple,
of
a
natural
expression, for
with
that
is true
art
and
best child
can
method retain
cultivatinga melody
his
is not
much
more
readilythan
directed
as
without
them, but
he
thought
called
wholly
is
to
the
discriminate
closely
scends tran-
to
exercise
his and
imagination. beyond
the the
something
the
that
speech,
the effort
to
first
simple stages,
is belittled
by
not
ex^jress it in words.
and
Cultivate
imagination,the
words
element, spiritual
be needed
to
may
give it meaning.
exercise should in
never
51.
in its
An
longfor
at
pupil
to
think To and
entirety,either
a
dictation
the
instrument.
develop
not
as
feeling
or
appreciation of
cultivate the
the
larger rhythms
of
must
habit
thinking in
groups,
is
Playing or reallypitiful.
in
singing note
by
note
52. of
lesson
the
dictation, the
or
teacher
can
play the
cises exer-
"
44
and
pupil name
write.
CHAPTER
Ti
III.
Introduced
FROM
"
Sight
"
Singing
to
Exercises
be
"
Intervals
Ti
Exercises
Completed.
53.
the
Now
let
us
sing
the
first
tone
below the
Do,
the
of
scale, called
Ti. because
Color, violet
that
hand-sign,
in
finger
tone
is the
direction
which
Sing
I.
Do
Ti
Do,
571.
171.
I
Do
Ti
I. I
Do
Re
2
Do,
i.
571.
I2
I7
I I.
7321.
I2
5 7 3721. 7253,
I I.
i|72|S7|i.
37521. 5721.
I
i|27|s7|i.
712
I.
i|72|s7|i.
752
I.
72
1 5 7~I I-
1=
*=
1=
1=
"*zji.
SB
i w
^
8
g^
,9
^mE^^s^^^m^^^^
10
Ftsfe
tf
11
i*
*-'
"
m^i^m
"
At
1 r"
14
-n-rM
"
^^^
19
20
EAJi
TRAININU.
15
16
i
17
^
?3=
1
18
.aJiiII
\m
a
3^
teTF
^^
-."*a-ra'
19
1=^
ai
20
PJE?
^,
ifznt
I
"l-"'"i ;icgj
i
21
gF^^^
s
*""!-*
r^_+-^5;.
^m^
iE
56.
What How far
t
Sol ? sung ?
"
is Ti
above
What
kind
of
third ?
other Think G
major
"
third have
as
you
Sol
"
Ti, and
sing
^
5
T=^
"X
sfffe
I
^2-
As
Do
Mi,
F^l
I
i
56. Think
III
sing
"
I
fe
Cjf
"
as
Mi
"
Do, and
*
3
I
^gjg
5
as same
The
Ti
"
Sol,
tF^
*^
I*
*=
EAR
TRAINING.
21
57.
we
How
a
"
far is Ti
minor
Re belp.w
What Think
kind A
"
of
third ?
Re
"
Have
found
third
before?
FjJas
Ti"
and
sing
i iE
2
--"^
7
same
"=3t
?^
Sol
"
-^
I I
The
letters again as
"Mi.
i W
68.
Think G
"
'
"\i"Ti
"
P
Re, and sing
Bt^. as
721
The
same
again as
--U- tM=
Mi
"
Sol,
i w
3
^5
i
is Ti below Mi? ?
n
What Think
gjj-J-bJ-J^ 9"si-r
kind B
"
59. Have
we
How had
"
far
a
of E
as
fourth? Ti
"
perfectfourth before
Mi,
and
sing
i
7321
"i"-
1
371
"
i
Do,
The
same
letters
as
Sol
* i i \\j_m gj-f
fi-i^
7
m
is it from
k=^
Ti to Do ?
60.
What Do
"
kind
of
degree
"
Think
"
Ajlas
Ti, and
sing
^^171
Think
Fjf
"
as
Ti
"
Do,
I
,
7
.
22
EAR
TRAINING.
61
sixth ?
What
Re
up to Ti ?
What
2
kind of
Sing, 72SI351
the tone
|3"
2|i.
\2
\. ", T^\
long dash after it two pulses.) 62. Sing the following exercisesi thinking the interval : key indicated by the syllables (Hold
with the
and
i w
Do
Re
3^=*
Do
^r-^^
6
Mi
^^"^
"^
Re
Do
'^
Sol
Mi
10
11
Lu^^
SolTi 12
^
13
SS3
IN
tat
Co 14
Mi
IT
:S-
15
"^2-
i 11^*
"^ Sol
Ti
i
Sol Ti
16
"J^
t; Ti
Cni Sol
^*'
Mi Mi
r"n Do
24
EAR
TRAINING'.
37
38
i
Mi
=w
?5' Jtiz
i
Mi 40
39
m
Sol
11
Re 43 ^
42
m
Sol 44
I *?"
eg
Re
E^
45
^
b,
Pcife
3 W
Ti
^L_H
46
i^
Mi
Ip I
47
"^
'
Ti 48
Mi
i
Ti
ip
a
=s
Select from
the
tej
I
tation, dicuse
preceding
of which until he is
exercises
for the
lessons in
marking
them
those
the
pupil seems
sure.
uncertain, and
Test
quite
often.
in by-tones the exercises following
:
d:
%j
i^i
i^
6
^^
%-k ^^1^^^
EAR
TRAINING.
25
In
the
last because
should
two
exercises the
the
in
the
second
measure
is
by-tone,
of The
progression
on
quality
hence exercise.
prevails.
A,
The is
a
change
quality
same
occur
the
the
accent,
next
(Do),
by-tone.
thing
occurs
in
t-U"[iA^lM
^"
J"
64.
Complete
these,
employing
Ti
in
each
^
3
tSi
i *5=^"F
-"-aH
6
^^
fe^
CHAPTER
Fa
IV. Completed
Exercises. the other Piano
Introduced
"
Exercises
"
to
be
"
Studies 65.
We will
Dictation
now
sing
tone
a
that
progresses from
to
'"magnet,"
but
a
Mi.
Like
a
Ti, it is
minor
that
degree is,it
name
its
"magnet,"
down
new
unlike
Ti, it is
instead color
down-leader;
up,
as
progresses of this
to tone
cadence,
Fa
;
of is Mi
Ti
does.
The
is
the
green Fa
; the
hand-sign,
then Mi
index Fa
finger pomting
Do, and
you
will
downward.
Sing
to
Mi, and
"
readily see
66.
the
to
which
"magnet
the scheme the
Fa of
belongs.
the
to
Following
tones
"
ing combin-
first
repose
to
and
us
progression
repose, 143. Mi Fa
then Do Mi.
progression
Fa
progression,
let
sing. Do
Fa
Mi,
Do,
Fa
Sol
Sol
Fa
Mi.
1543421.
1543243.
1543.
15543.
5243.
Now 123
placing
I.
the 13243.
accent
on
the
progression
tones
"
1353243-
1543251. 15423.
I.
35443.
43221.
35471. 3435251.
1524321.
1535421.
343|257|
343|2S2|i.
471232
I.
351I747I1. 3|4S2|i.
What you
same
52
4|342|i.
67.
What
as I
How
other
kind sung
of
}
fourth G
? and C
perfect
143.
fourth Think
have
the
Think
as 2
4, and
sing
letters
5, and
sing
2543.
Think C
same
as
Do
and
as
below
Re
as
Sol, and
sing
Re
Do
Fa
Sol Mi.
Re
Do.
The
letters
Sol
and
26
sing Sol
EAR
TKAINING.
27
3 and
2
Think
G
as
G
I
as
and and
sing 121.
sing
Fa 131.
as
sing 343.
i
353.
again
3421. far
mmor
as
3 and
sing
third?
3454 68.
What
3How
is
above
have you
Re?
sung
What ?
kind A
of C
as
other
third
Think
5 and
sing 3
S 4 4 3the
same
Think
letters
as
4 and
sing 24321.
lends variety and syllables to the work as Singing both figures of tones, and the well as to fix the distances and individuality change of keys compels one to think the .characterand exact in key. of the tones relationship 69. Sing a few of these with the chord accompaniment as calls for a new tone The new chord, the Subdominant, indicated. and if both
progression chords
are
employed,
the
Subdominant
should
:^t^^-i-j^:^
I IV
I I
-g^
sy
jEg^^^
I IV I
I
V
I
IV
g =^ ^"1
I
1=
"g" -zp-
f=:*
I IV I
^
V
I
"=jt
IV
I
n
IV
7
.
ij^
^^m
IV
5=
IV
4=1=
:^
=1
-JS^-
10
i"
1==?* i
12
!i
11
ii^
i^
IH
28
13
EAR
TRAINING,
14
15
4"""'"'^
Do Sol
1
Re
^^fl
^y
16
17
?TP=F^rTyT77^^^:;^ il
Ti 18 Sol 19
i W^^^
Do
^iJ-j^^lf
Re
J^il
20
Ti 21
i ^^:
Sol
*-"-^
E^
^^^g^
f-pf
^
i P^
22
"^
"F^^^
t^
j"-i-"-
i
E^
Do
^*^
i^^^^^
^
-z:!
^ i=d=f=
?c=-"^=
"
ft
23
"Ei SeS
" "
I
25
Re
24
^^
Ti
=5^
:t?2i
"
D^
EAk
TRAINING,
29
27
'26
hff
Sol
JU
.r:^ij:a^^^rf"Ff^^^^ B
Mi
28
29
^-^
Fa
"
Do
'
30
31
i
32
?c=3=^
Sol
r*-=Si
Do
33
^i=^ i WFa
i^e
Do
T^-W-
^-T^rr^^F^^rT-^^^aE^P^^B
34
35
i
36
^
Fa
^^E^ ^^ifi
Do
fTi^f'~7=^
5^
i
Re
^=::S=p?fE
^E=1?J^*^^5. Ij ^EES'"
" "
37
^
Fa 38
iE
39
^=g^^f^t=f^"=g
Do
^1
40
a
Re
!5i:
:p=":
Fa
ao
EAR
TRAINING.
^^ g-^^i-ffpif^a^Tb^i^"gaii
Ti 43
Mi
42
44
45
L. ?cfe=5c?"zfi
46
bffl
I t'pg
5g=H-|^-^=W
9=^r-^^
^--p"g-
Mi
5=f^
i t^^^
^ j^i-L
49
11
47
?'=5i
Sol
J in
48
f^Y^ fltJt7^^^^n^^^lf^ Q^
Mi
Re
50
51
i
'-'Re Re
52 Sol
12^
Re
*^
^
54
iF
I
"
S 1" bsl
"
53
-"
"
(="
eI
I
Re
Ti
55
i ^^?^
Re
^:
itr?:
"
S^
57
g)-r
56
32 74
EAR
TRAINING.
i
Do
^3^^
-"
^^^
d^
75
76
i WSol
^=p=
fp
Mi
g^^s^^^fa
78
*^'=g=
77
Fa
Do
79
80
f^^]"^TtgH3^^^ggg^aa f?
Sol
Re
81
82
*^
Ti
"
Sol
83
i
Re
:p=:"
""
i=t:
fc=^^kU^iJ=j
85
84
i
Ti
Ml'
1 wKJ-
J I ! Hd=l^"
*\ei
.
"-U-f
H-" Sol
^^i
86
87
Fa
88
iEEE^
-""
P-
EAU
TRAINING.
33
89
90
;gs=
"^
Fa 91
^rT
'"*"
"*-hb
92
i 5^E
Sol 93
Mi
2F==^
?^
U=^
94
1
Re
:12P=
"
I'rTf^
i^^"^^
95 96
"
z^
i ist
Re
i2ti?^
"J-^bsi-
^^^mm
Fa
97
98
i
Do
Re
i
3
-Ti
iS
^
iEaEf!
W=f=f=i
-i^"
""
I^
^m
4
t^^=t^=t^
"s^-
i=?^^=5^
^gj^a
i
5
^^m
-et-T-
1^
W-p p-4 4
"
v"
"
34
6
EAR
TRAINING.
Armand
^. i F4=3==^
"=?= i is
"1/
"
"
-"
?==*
-i^" *
-sH-jS-
"=bi!:
Nageli.
;64 i f^^
-"
"
*-
^^^S
*-
t Bte
8
-d
i
Gluck.
^^
70.
f=
"
^-^^?"
ss $
#-| r?
"-|-H-p-"t=F=ftrp=^a_,-etc,
t4:
iW
Keeping
in mind
the principle of
cises, supply the notes that are needed to complete the followingexerThink and feel from, in each. the fourth employing Fa accent to accent, using the tones having the least resistance to the from one rhythmic point to another. progress
" "
i i^Et
"^
N^
"3*-
1 1 i
fl^g^ i
w
4=t
i-r-p-
te^
l=#F zsm
-"
"
"-
EAR
7RAINING.
35
71.
hears
If the pupil is
exercise
beginner
he
with
not
the
piano, ask
what
he
in every
that
plays ;
always
places
something.
for
For
instance,in
whether
a
Gurlitt,Op.
cadence
on
punctuation;
former
comma,
usingthe
for
a
of
group,
the latter
"
perfect cadence
If at the much
Do the
one
the cadence
can
places,
with several
a
and
an
interrogation point
tone.
same
when time
progression
tones
hear
of the
melody, so
the
I
3 and
only.
Op. 187
i m
IE
note
same
=t
=(=
i
first four
measures,
the in
so
in each
"
of the four
then
the
the
can
measures
following. Knowing
occurred between them.
those
tell what
72.
^-
IY-.
It
ES
^
i W
we comma
:t
*
hear the familiar
135,
and
measure
follow
; the
the Mi
key-track to
to
the
point in
group.
the second
seems
prevailin
the next
73,
In the next
exercise.
"
i i
=p=?c
-"
I F
"-
It
_(Si;_
-n I
"
1*-
36
BAR
TRAINING.
the
first group
contains
on
the
simple tones,
Mi
12321,
next
Do
on
the
first accent, Re
voice the
next
use
the
second, and
Do
the
returning immediatelyto
for the
next, which
than
completes begin
the
phrase. Leaping
phrase with
the term Fa
one
degree higher
end it with
Mi,
we
and
We
74.
because Sol,the final cadence tone, is a pro"rising," gression the effect of an point. interrogation tone, giving In this next hear i 2 3 2 i again,but differently one we It is
to
a
arranged.
so as
and
is
ened lengthplace..
tone, 3,
same
the
accented
The back
second
group
way
up three
degrees and
again,but beginningon Re, and the third,is the same with Mi. We might designate these as the Do, Re,
ning beginand Mi
phrases.
i W75.
first a Mi This
next
one can
a
^
be group, then Fa
I
analyzed in the same with a Sol, finishing
way, the two
hearing'
tones
and
that progress
downward.
^
76.
These
3E
give to
Besides
have been given, not for the teacher to suggestions but what the teacher should expect from the pupil. the pupil, him to listen, it is invaluable in developing centration concompelling and
retentiveness.
upon
Instead
of
asking
to
what
he
hears,,
the
insist frequently
his
remember
study.
The and the
teacher
should
play the
as
exercises
in various
pupil write
note
them
in the he hears
sometimes
keys followingthe
after the
teacher entire
by
note
them, and
sometimes
exercise has
been played.
EAR
TRAINING.
37
In
addition
to
the
be
made
from
the
precedingexercises
before.
^^^r^-aV^^r^s^^^
iTa J
J If J
ia5fe^=F-^f.^-^^=B=
Schumann.
ft^^^^^EJgEgir r
r r
ir-rrr
^^^^rtr-^^l^^=f=Nf^^
Mozart.
i|"H
gjl^-Tfr rir?rf
^^SE^^
"
feES ^
I
Haydn.
s i P
"
iig
.^
L^
6
r Ir
"ir
* 9v4r
rii f iEiSE
^^^e^
38
EAR
TRAINING.
i w
8
4-^
*\
a
.
L jL
"ei
"
M~-"
i teE^
9
*-s
^"* ^
^^^1
Beethoven.
g^
-^
^^
im
^
^^
-!*-
j=j^'
'^
^*"=-
10
Brahms.
^^ fc^ ^
Bach.
#.^^^^
-^
12
Mozart.
^4
g
4"
[g=^
^
-^
CHAPTER La
Introduced Intervals sixth of the La
V. D-ictation Exercises.
that does The
not
"
from
"
77. progress
of least
La,
the
scale, is the
only
Do
tone
or
directly to
resistance
and
either is to
Mi.
line
more
Sol than
Do. the
The
quality is
blue
serious
reverential
other
tones,
color, dark
; the
Sing
the
following
you
will
readilysee
it to
make
the
a
necessity of combining
cadence. satisfactory
another
progression
tone
with
better
not
good.
better.
Iq^
79.
the down
to
r-ii
La
can
i=3C
Rj^jjiiJjjn
same we
be
sung
with with
the
harmony
have
a
as
Fa, and
that
ing combin-
two
(Fa and
Do
or
La),
Do,
chord
progresses
the Has
repose chord.
80.
to
the
pupil
noticed and
that make
a
the chord
three that
to
tones
progressing
up
to
Do Do
could chord
be
.'
combined
Heretofore for the
progresses chords
was a
the
reference
case
the
by
name
intended time
names
teacher, in
should know
the
pupil
beginner
the
"
pupil
Do,
and
or
play them,
callingthem
Tonic, Sub-
by
root
Fa, and
Sol,
by
the
names
dominant,
81.
and
Sing
the
chord
accompaniment
i
I IV
i#
IV
V 40
1
IV
f=-#-
EAR
TRAINING.
41
6
^^AMM'i
I
gz^^s^t^i^
gi
Ig
fFr^^Ei
10
IV
IV
^
11
12
m
13
^fe^brrTW^SaVf^yrfl
14 15 16
i ^E
17
^^^^^^^^
18
f
^ #
"
Jr
rUff^sj^MfftJajitt^fi
20
19
lt-|-|-|L-,.
ezTttb
22
?^i
21
24 23
ItfW irl^
25
^^^^H
""s"-^
f^
26
i?^ i^
3=3=
i^
42
EAR
TRAINING.
Point out
27
the
in by-tones
these
Armand.
at*
t^
"s ^=^=i
^
a
28
Armand.
-ei"\~"si
,/"
"
IJ
S
^
-z^-
:"zit
2^"
29
Armand.
^ i i"
""^. I
j==^y
'-=f=^
i
30
tz*i
1"^^ ^t=iL
t=j=te==.
=i=pE:
Rheinberger.
s^^^^ i ^^^E^i|^Ei^^EE^E^"EE3
T~r"^
SE
^^=^ i^"
ff^^S^^
82. of La
-f
i"
^
the distance interval
Sing
the
these
without
the of the
accompaniment key,
What
-
; note
from
and
sing the
of
a
before Sing
beginningthe
How
Do
B
as
1 Do
kind
sixth .?
major
La, and
sing :
*"-*
:}N
-"
"
ai-
=#i
"""
^3E
EAR
as
TRAINING.
43
Sol
-Mi,
^iSlS^B^^
as
=*K
=#t
Re-Ti,
i
as
^E^
Fa
"'
"
^is
?s
-Re,
^^i^gE^a:fJ#M^:t^^^
421
83.
third.
What Think A
kind
-
of
third Do
is Do
to
La
below
Sing a
minor
Fjf as
-La, and
sing :
i^^^^^^^^E^i^
as
Sol
Mi,
i p^^
5
as
i=33
-^
^
^d^EJ =IK:
"^^ti:
Re-Ti,
:#t
as
Fa -Re,
^^j^^u^ppB^jjie^^^^
Follow could
1
~P' ^^
M
this
scheme
through
all of the
intervals
in which
La
occur.
I jg"
^
Sol
44
EAR
TRAINING.
EAR
TRAINING.
45
15
Folksong.
^
^
mk
It
Mi
i
16
*^
f^
"^
F==F===W
I
gg^^
Mi
'
17
i F
18
F-
l^g^
Ti
S^
=gi^^=g
19
Schubert.
^
Fa
EE
P=Q
i
20
-""
F-W-"
=^
Folksong.
I
-^w
i^
Mi
ip=
^"
"
F=f=
=^r=p
^e
21
La
22
Re
46
23
EAJi
TRAINING.
Ti
24
^
Do
ig
-LM^j Cj-.il_Ll^
29
""
i"tt|t
I a
26
m
Sol 27
*:::''-^
-fi^-
1??:i=z*=t:
Meyerbeer.
3
,
1
Mi
28
"i5:=t
La
29
'-^Ti 30
:t
^
ScpUBERT.
^^
Mi
3ES
La
^3t?Bt
^^^
=1
^"4-i^
"
f^iEE^::^
Schumann.
I^
31
lE
Sol Do
=p=?=
=^=t
#-
=p=t
fc^^eE^?=g
i::5=^=i=t^
ti:
48
EAR
TRAimNG.
43
J lttJ=d=:J^^ J. ^
Re
:t::t
="*
44
^^^i^i^^^
^^i^i^^i^i^^i
45
i
Fa
=*K=s=fft
\'fz
p^^^=3f^^pyi^:
;b
46
Mi
47
P^
^
Sol 48
:^
49
=^==
^-^
Re
Fa
""
t ji^^EE^
50
Dtti
"W^
^
^i
S^
La
51
bV
Do
EAR
TRAINING.
49
52
"
Fa
53
f^^^^^^jgg^g^^
-m
i !l"
54
-^ it^'
*S
T^:
"-
Se^
Re
55
i p
56
*
Ti
i"==s
-Ti-
SgJ
p-
i
15^
57
=P=^lv-
^=s=
Mi
^f^
H-^
"
""
"
;bEE
^^
-^^-
^^-^F
"
""
^"
i
"
T~-l*-^"
11
i^i^
Do
i*"T^-
t^
:#-^
59
"*^t-* ^f*--
3Ej^
siP
ithal:
58
'^
Fa
La
60
61
Ep
Re
Sol
60
62
EAR
TRAINING.
IE
Ti
84.
and
In
the
dictation scheme.
exercises
Note
that
follow,hear
section
name
the
rhythmic
to
harmonic
to
first whether
; then
responds
the
section,line
felt in each repose.
1
line, or
or
two
lines to two
that
harmony
section
measure,
is, whether
progression or
Schumann.
i B3
T-^"
Pe
-F
"
i=?=?c:
^
"-
"
^
i
*
-
uu\
i^^^^
i
iE
e
E^ :i; 5i=F=
P=?c:
f-F!^
Schumann.
*:
^"
"
p-
t=x
?^
F
"
f i=
"
^"=F!"-
F=f"
""
^-ff-"
"
F=rTr
=e
^^
EAR
TRAINING.
51
Schumann.
m i ^^^="
%i
IS
^^^S
g^^
l=r^?=^
t=^
Mozart.
Si
^^^^^
isz-
f-F-^
^^
i
i ^e: k^
6
^=j" #-f#-^-^^-^
-""-=" -4
"
?=^^=^
I
Reinecke.
-""-i
"
"-
-n
B5
^
Schumann.
fe^--^-l4-iV:^H^-'-fd-1^^:^i^^ ^^^^p^
=^ ^*=ti
I
1^
^
-"=3i
B"S
-A
"
1-!
^Tf?r^^
52
"AIl
TRAINIl^ii.
^S^
-f^
f
Gluck.
i^^^^^P
"""
s
p-
p^^^^
d-
m^
4-U^^
i
From Chopin.
*^^^
*":?^E
?^M3
9=fTf^i^
E^
i"S^^^^S:^^^
10
^^=r=r
^
'
I
Mendelssohn.
-""
^-
*5S
a m^
w
rii^
-""d"*-!
"
^ H-*-
at="
;^
J^7lJ
J.J'N-Jj
CHAPTER Passing
and
VI. The
"
Auxiliary
"
Tones
"
Appoggiatura Writing.
"
pensions Sus-
Syncopations
be in well this
Melody if the A
85.
some
It would
tasks
at
point
pupil would
little
undertake
invention
larger
the
original writing.
faculties with the
melody
other
a
develops
creative of trains
receptive, and
that
no
gives
an
understanding
affords. It
a
melodic one's
construction
ear
to
hear that
not
only
to
few
points, but
music. For of
myriad
of little
things
help
make
bad
convenience
of
expression,
we
will
specializein
one
the for
matter
by-tones, having
tones.
term
all
non-
chordal 86.
Simple
as
passing
A and C
by-tones
in the
are
those
occurring
and B
between
two
harmonics,
first measure,
and
of
the
second, in the
example
below.
^^
I V
4^
P=^
I
first,as
in
87.
should
return
When
second
same
passing
note
follows
to
the
(3),it
not
proceed
to
in the
direction
another
harmonic,
and
the
first,as
in
(c).
(^)
(6)
88. note,
and
passing
tone
may
of
a
be
taken
to
by step
another
from
one
harmony
note.
proceed by leap
third
harmony
^^
53
54
EAR
TRAINING.
89.
When
the voice
moves
one an
called
to the same
* "E^^^.
I
*
I
V I
*
IV
instead If,
third and
tones
of
returningto
to another returns
then
are
then
it leaps a immediately, side of the harmonic, auxiliarynote on the opposite harmonic between the two, the auxiliary to the called,"changing tones." They change from an the
to
one
harmonic
tone auxiliary
above,
below,
or
vice
versa.
iiss^HiEE
tone, and instead of returnr auxiliary aboVe, and ing immediatelyto C, the voice leaps to D, the auxiliary then returns D and B are to C, so they are changing tones." In this
example, B
is the
"
the
same
group,
with
the order
90.
:
"
out
the
passing and
tones auxiliary
^^^^^^^1 ps
3 Bach.
"^2-
Bach,
E^5BE
SE
izat
'^m
-IS
"
etc.
56
EAK
TSAI.VING.
93.
to
Restatingthe
accented If the voice
matter
the
note, the
direction.
should
one if the voice moves briefly, degree be will in the note same first cha^nging leaps to a third, the first changing note
be in the If
we
direction. opposite
wish of
a a
94.
harmonic
at
a
the
fourth
note
of the
group may
note
to
be
another
instead of
of repetition
the
one first,
be
employed
to
a
distance
third,the
second
changing
leaping
will enable
degree beyond
95. A
the desired
harmonic, then
returningto it.
the
dents, mor-
of thorough understanding
this work in
pupil to
solve
many
trills, turns,
some
etc., and
it would
simple
i i w
m
ISFfH^^^S
m
i i
"j^-*
g^sEEj
i^
^
I
r
p^^^^^^^^^
jgz^Mj-J-^ff^^g^g
IE
"
etc.
^^
g^
EAR
TRAINING.
57
96.
called
an
Appoggiatura.
Nocturne.
"_
Chopin.
^ m: i ^^
97. accented The
tone
=P=i;
^
the by-toneanticipating is called
an
tt^
m
following
Bach.
harmonic
of the
anticipation tone.
EE
:U;^
3:
ife x^^3es
98.
the accent When It is the
^^^
binding
the is of
two
^
similar notes
upon
a
so
I
that first. the
Syncopation is the
note
belonging to naturally
carried
over
second, falls
it by-tone, of
one
is called
suspension
reverse
anticipation.
voice
;
99.
be
felt in
by thinkingthe
cented ac-
by-tone.
For
example
gIE
one
i
feels
a
i
harmony
that and
tone
on
change
of
the into
a
first beat
of the the
second
same
measure,
which
converts
by-tone,and
thing occurs
in the fourth
sixth
measures.
In this case.
i
the
same
i
continues quality and
we
i
measure
i
in which
meter
a
through the
a
the note
or
is carried over,
have it is
a
disturbance
of the
not
balance
F excepting
only, so
and syncopation,
rhythmic suspension,
in the sixth
measure.
58
EAR
TRAINING.
100.
at
a
To
are
accustomed
of
to treat
this
subject
more we are
out
place here,
it before
but
opinion,it seems
and complicated,
to
introduce
the work
experience has
proven need
that, prepared as
three
or
by
the
preceding lessons,we
it.
Point
out
do not
four voices to
demonstrate 101.
the
and syncopations
suspensions
in
the
: following
Beethoven.
^M ^
-Bt
"
m
a*
tr
eEt
^^
^
.L=i:
it?
! H
^^.
^^-r"r"r^r-^
"!^"
P=t=:a:
fe^4=r.
^J^l
J^
'i"-fJ--"-t,"-:
^
etc.
i"
j^^n^3=^
8^
=gi^
EAR
TRAINING.
69
] WiDOR.
"
^^^^fT^^^^^^
etc.
"*C-J!:i-_"
"^ly# PE
3
JH: =F=i=
Lar
f
Beethoven.
i^
^E^
^4
?^rc^
J^ i
=ft3 u_^
^?^ ^^
are
"
^pa
"-J-
i^^^
il
I
few
1 02.
It is often
both
to
write
and
to
rhythmic,and
the
to
103.
it is better
Excepting
make
tone first
melody
tone
when
it is unaccented,
Xhs
followingaccented
one.
from
the
preceding weak
For
instance, the
might
be written.
g
but the
"
better, because
there
following is
each
much
is
change of
on quality
accented
beat.
I
Tones consecutive of
a
similar character
when
a
measures
60
EAR
TRAINING.
Invitation
to tlie Dance
Weber,
r4"fr~i~i^
-*-
.fJ-^t-^-^(L-ff^^
H?-
g^^
Ii
?
i
^
*
"J N*
It
^^^
i^
^^
f=
Ctrt
s^
t^^
fdegrees
are
Consecutive
and Note
it is not
always good, but for commanding, vigorous more powerful effects, leaps are employed. this in particular. After two or more consecutive degrees,
good
For
to
leap in the
an
same
or
direction in the
to
an
accented
tone. to
an
Make
the
leap to
unaccented,
:
direction opposite
accented.
bad.
example
good.
bad.
i ^
tone
good*
3E
i^gamtmn
This
f-f .\T f
"-
etc.
104.
as
leap may
occur
when
to
by-
in this from
: Tchaikovsky
^^g^^^^
105.
tone
If
voice leaps
not
more
than
third,it should
For
proceed to
instance
:
within,
and
beyond
i w-
J r r IH=f=^ II
EAR
TRAINING.
61
This
the
to suggestion applies
tones
within find
to phrase,not necessarily
largerrhythms.
do not
so
One
may
many
instances the
the the
voices chord
progress,
when especially
melody
exceptions are
few, compared
be
to
ber num-
of times
106.
in
a
leap largerthan
contrary
to the
sixth should
left
direction
leap itself.
For
i
107.
the Classify
i
tones
"^-^
of
; the
own
key
into two
planes ;
Ti
a
the Do.
upper A
one
Do
and
in its
plane,and
after
return
leap from
or move
plane to
direction
in the
of the It may
planejust quitted.
be
an
108.
of
assistance
to
see
some
of the
work faulty
and pupils,
the
corrections.
{a)
i W
The and
a^^iHFQt^
Bl? in the second
measure
of
{a)is
the fourth
of the scale.Fa,
to A, the third of the key. progressed to F, at the close is not In (b)the progression good after of closingwith If desirous leap of a fifth from D to G.
should have
the that
in (c) would as tone, to have moved particular 109. Paragraph 105 explains the error
have
been this
better.
one.
in
on
The of
example
at
suggests (t:)
in
a
the
entire
phrase
Which
the is
line
least
resistance, and
(a)
different
rhythm.
better.
? preferable
"b)
62 110.
from (and E
to
EAR
TRAINING.
In the F
on
example below,
measure
the voice
; Ti
should
have
progressed
to
naturally progresses
to
Do,
it is
line of
least resistance
the
next
accented
tone, G.
better.
"
V-
^
If
we
"
^
a
at {a) with begin the one cadence is very unsatisfactory. To begin on bring the seventh into prominence by two points; if we think it in a two pulsemeasure,
111.
the
accented
point is
a
also
Ti, and
We
the
tone
has
too
much
prominence
a
short
melody.
and
corrected second
it by
omitting the
E,
as
changing it to at (b).
three
pulsemeasure,
W112. because
three This the
one
F^fe^H^-^feM^
is not
the
one as
bad
as
it
(b)is better
{a)the
last
of quality
are
measures
measures
of
the quality,
(a)
(")
IS
113.
are pulses
^
This is not
IS
in this
good
that
rhythm because the strong and the weak pulses progresquality, sion.
one
Place
of the
accented
a
notes
will be
at
and (U),
you
have
smooth, satisfactory
m
"
-*"
#-
^i
64
EAR
TJiAIN/NG.
118.
this and
Before
it is time may
to
see
and he
of all
think
getting too
much have
to
a
theory
proven certain
enough ear-training. Many and varied tests that this is the,best kind of ear-training, because, extent, it is self-training.
As
once
teacher
has very
correct
by writing and
stated
tones
for listening
certain music
and
obliged
think for
with The
discrimination, and
teacher
at
writing is
at
lent equivafor
are
naming.
four
more
should
test
him
sure
each
lesson
three
not
or
minutes,
than has
doing
The there
a
the
author
included
be
a
many
ways number
of
doing
of need
the
same
thing
drill,
others
that
might
to
sufficient Some
exercises
and
without
pupilsmay
and all,
not,
matter
a
by
the teacher.
without variation is fact,that repetition psychological and the teacher of children knows to the memory, wealcening only is proportionate Attention too well that it is fatal to interest. to to attention. and retention is proportionate interest, 119. For further in singing the large intervals and practice both the feeling for correct and melodic progression, cultivating rhythmic,begin with each tone of the scale and leap to a third, and octave, both above and below, adding three fourth, fifth, sixth, For example : tones to complete the group. or more
It is
then
third
below
;
s
gy
tf m
ff
t t*=^=i.
-^2
M 'm-
md
-0-1-4"
e^^
"ji
zzt
EAR
TRAINING.
65
adding enough
you below
to
make
the
cadence,
the
or
several
1-4
measures,
just as
above and
prefer.
:
Next
begin
phrase with
both
rffef^=#^aai^5^isa
othen the
an
of five
degrees,and
so
on
to
the
octave,
omitting
Mi, the
seventh 120.
is seldom the
desirable.
same :
follow For
scheme
beginning with
example
^2
3
1=
5
i
3
I
"^jt
ife
365
and then exercises
^t
Sol, Re, Fa, La, and
indicate.
^^^^=MdJ
the following Ti, successively, as
tf m
I
^
3
M^
I
"
6
HEfE
I
I i
i r.^^
%
I
.5
m
s
fet
I
tf
s
s 9
I
fet H
I
ftl
S
*
I
M S
I
I
8
,11
12
^
3
-|t|J" ^
5
3
I
tf g^sg
3 6
66
EAJi
TRAINING.
M"
3 7
14
15
|S
tf
3 7
^
17
U
3 6
etc.
!i
.18
"S
5
7
J J p-ti
S
3
lA ii'ti
5
19
20
21
"
S
2
ffp f;
5 23
2
" ^
5 24
I
i
etc.
22
^
2
^
4
2
25
26
27
a ^E
2
^m
6
2
i
s
etc.
rhythmicalquotationthat interests character of the melody that the key and best you, selecting the sentiment. Plan the lengthand think the rhythmic expresses end abruptly, otherwise the melody may and if we first, groups without words, it might flow on in an aimless way, without are writing proportion. In this little rhyme
to
121.
Set
music
any
"
pulse measure
Under
Out
is
unmistakable, while
the
following is
pulse.
a
toad-stool
to
crept
shelter
wee
elf.
,
of the rain
himself.
Placing the
bar
to
locate
the accented
be like this
EAR
TRAINING.
67
Un-der Out
I toad
I crept stool,
to
wee
I elf, I self.
of the
I rain
I shel
ter
him-
"Politeness The
"
is to do
and
in
say.
kindest
thing
way."
tree.
could see.''
Sewing
"
long
as
her
eyes
122.
necessary
1-
To
to
those
here the
complete
i^^
P
fe^EJ^^Uk^
^ l"^^
a
W
=P=F* =F^
-s)-
Er"^=m^
P3S
^^^^^^m
M
6
p=t
g^^^
i^^
ii
'
^-
68
EAS
TRAINING.
H""
"-!*-
^itz--^t=tF=?=bt="rj
F=P=P= i=t
i
8
^^^^BgiSfep
9
tt
10
ffl^iE
^=^=FF
^=Fl=
^^
i""
"-
:p=F"=l=P=F"'=t=t:
i
11
i^
12
r=a
fc:i=
:;"=5=":
^"
jt-
^=
-^"=i:
SeS
I*
13
%-^~
gEEgEJ^ijg^gEg^^^
T^
O^
EAR
TRAINING.
69
14
i
ps
#=
M=:
"
i^MC
r
si^^^^^
tSt:
i!
15
i
P
lib
?^^^^^
-^
"
"-
:*=3t
=t=F
fe^= 13
16
i i^^
^^^^^Ifc
1^
CHAPTER Hearing
AND
VII. Various
Melodies
Three Their
Tones
Inversions
Simultaneously
"
"
Triads
"
Dictation
123. learn
know
to
We
use
will them
now
try
we
to
are
simultaneously,
them,
for words
not
and
to
while
and how
learning
them
the
chords
to
can
to
use
is like
knowing
out with-
being able
1 24.
to
we
form
sentences.
One
always
For
;
make
chord
by adding
G
we
the
third B
we
or
fifth
any have
given
a
tone.
instance, if with
D
we we
combine
and
a
D,
D
chord
tone
if with
Fjfand
or
A,
have
we
chord
; the
from
which
from
upon its
which
name.
build the
is called three
the
root, and
it the
takes
Write
positions
125.
of every
chord.
the
not
mistake
of
naming
chord
the
from latter
the
voice in any
which voice.
is
necessarily the
instance
:
root, since
may
For
i"
u
Being
C
and under
composed
but
of
C
root
and
occurs
G,
all in We
three the
of
these voice
chords of
one as
must
be
chords,
in the and
the
upper
of the
them,
over,
middle central In
our
of the
other.
will
to
speak
the
of them
positions,according
first
location sound
of the of
root.
126.
minor
lessons
we
the staff
major
and the
thirds
is the
and
same
perfect
to
fifths.
representation,
it is the
major
number
to
the The
eye
as
minor,
may be
because very
as
same
of young
degrees.
difference the
aptly
illustrated
sized the
the
pupil by representing
one
thirds of
two
different
mode of
blocks
(the smaller
for
the
minor,
7o
course),
the
72
EAR
TRAINING.
128.
Change
the
to following
diminished
chords.
129.
and
An
augmented chord is
one
semi-tone
larger than
major,
"
by making
both
intervals
major thirds,as
Major. Major.
Change
the
to augmented following
chords
130.
Has
the
pupil noticed
the for altered
that in
changing
or
the mode
of the
major
the
minor, and
and
the
tones
augmented
to
an
diminished
131.
to
a
Change
:
an an same
F A
major chord
minor
to
an
augmented
:
: a
major
to
a
diminished
:
to
an
augmented
: an
an
Eb major
to
a
diminished
a
the
to
an
augmented
a
At? major
to
a
minor
a
DI? major
to
a
augmented:
major
diminished:
Dt"
major : a Dt? minor to a diminished. this work 132. the tones Pupils can simplify by classifying those of the diatonic scale, of into three relationships, tones calling that resolve into them, tones th" firstrelationship ; the chromatics and the chromatics which resolve into of the second relationship, of the third relationship. those of the second, the tones resolves into G and is a tone For instance, in the key of C, Fj{ resolves into G^ of the of the second a tone : Fjlfft relationship the F|}J| is a tone of the third relationship. second relationship : so
minor
"
133.
into tones
Intervals
that may
of the first
be
do not
of the third
ship relation-
do ; and
has been
effected
they become
EAR
TRAINING.
73
tones
of the second
should of the
Tke third and seventh of a key relationship. not be augmented because they would not resolve into a tone certain tones cannot firstrelationship. For the same reason, Find
be flatted.
them.
of
Many
not
students
to
composition do
a
not
allowed
employ
tone
double
sharp or
diminished
Following
progress and
to
this
a
settled. satisfactorily
examples below.
ibsi
*
Maj.
fa-jzit'zr-^^
=tf
3SI
I
you
can,
Min.
Dim.
134.
a
Now
write
as
many
as
ing containthat
given
include
tone.
For
example, see
number
of chords
may
E.
Do
to
this with
a
every
letter within
the
octave, for it is
one
thing:
themi times
find
few
chords
in the
in all of the
keys ; and the desired one. before finding Listening for combinations
are
and
sixths sound
much
more
harmonious
than
the fourths
whrchi fifths,
empty.
Name whether these, stating
135.
or
augmented.
-p"
i?p"^'.
-^ -^T
-^i
3*5
-3^3
J^-Jf
"
-^^
"
9
S^rj?d2g
What
has
been
added
to these
thirds .'
fe ^
tes
a ej p
"
"
-g-
74
EAR
TRAINING.
Although Harmony,
familiar the
to
this is not is
a
intended
as
an
exhaustive
text
book
of
there
considerable
work
required of
means
the of
cause bepupil,
in the
author's
with the
becoming doing
care
one's
thing one's
self.
the convenience
of those who
study
are
the
preceding chapters,some
for those resolution
same
explanationsare
who have. upon The the chord
or
included
which
quite unnecessary
The
as
136.
of the
of the chords in
is based
Principle
built
"Do" of its
a on
singlevoice.
Roman
of the
"Tonic"
chord, and
designated by
The
no
numeral
I, because
place in key.
137.
"
repose,
quality possessed by
The chord that the
that
is based
or
on
fifth of
The
ear
the
scale
and
is called the
"
Dominant" demand
"Sol"
chord. the
two
for the
Tonic,
chords
together making
cadence. three the
the
most
cadence, satisfactory
and
positionsof
the
the Tonic
as
"
Dominant
in
key,always closingwith
"
IS.
" "
Tonic,
"_^^
^:
^"
^aJk/s"O"
gj a"
etc.
"""
"-S'-"-"-r-^-^'-"r(tg-"r n 25TI25"
zsr-
139.
To
together according
either
to
some
figured bass
melody
or
rhythm
is both
mine deter-
useless.
not
an
generate and
which
making
the
are
the
law of
the student what he cannot do, and galoretelling work Guided purelymechanical. by the melody and progression both rhythmic and melodic, but few rules
necessary. 140.
Harmonizing this
little figure.
EAR
TRAINING.
'75
wnote
the first,
of
a
tones
of
progressionand
Of
course
repose,
we
and
chords
similar
not
quality.
a
will
in
chord, but
in
chord. does
not
Why
make
.'
a
Because
chord We
progressing to
have of the both does chord scale
the
good
as
cadence.
just learned
occurs
Dominant
does, and
we
that
chord,
will
employ
In other
the
not
melodic
and
rhythmic demands.
own
words,
tone
harmony,
but is
placed
in
(on the
line of least
to resistance)
"
the next
accented
the magnet
of the entire
key
group.
i
141. In
we
i
we
paragraph
find that the
to
13,
learned of which
that
Sol
progressed
voice
up
to
Do, and
but
chord the
also ;
are
keep
the
melody
at
obligedto
to
move
all, progress
downward
downward
; and
establish
feel
for
the
we progression,
employ F,
leader.
the seventh
is
down
or
stated, a Briefly
the
creates
strengthens
know voices
downward when
up
to to
progression of the
use
voices.
Now
you the
ployed. em-
why
and
it.
so
In
the
followingexercise
should
not
progress
.
the
Tonic,
the seventh
be
With
each
new
chord
one
should
learn how
the
and
when
to
use
it.
By
so
doing
other
he will grow
familiar with
sound
of it in its relation
to know
to
the only way chords, and that is really has neither character
nor
them,
since
chord
meaning
its
without
key
tionship, rela-
the (excepting
mode).
76
EAR
TRAINING.
142. chords
we
Harmonize
have
had,
on
Tonic which
and
Dominant chord
"
and
write
the numerals.
degree Keep
the
the
is built
by
the
the chords
and
1=
I
TT
-w
I V
1
6
I i i I
i i
10
rsi
1
8
1
11
-t-g^
'
*= i liE3E
tr
'
1
B
;t
the Tonic called is that built
on
143.
the fourth
Another
chord of the
that
demands
degree
Unlike
immediate than
the
Dominant,
resolution.
and
to
it is
down-leader, and
is serious If the
demand
Its character
sombre, rather
demands is It
a ployed, emwas
bold
aggressive like
the
the Sol.
melody
down-leader
final cadence
tone
in that the
chord.
used
occur
in the in
a
example
at
140, because
melody
and
Sub-dominant
three chords
chord.
"
1 44.
"
These
Tonic, Dominant
in
Sub-dominant
are
include
of the
the
only
It
occur alteration,
major key.
in the
to
play these
studies.
chords
For
three is
scale
that
he
instance,if he
as
many
chords
he
knows
in the
key
of F,
aiso.
EAR
TRAINING.
11
play I-V-I,
pupil can
the
and
I-IV-I,
in different
keys and
three
if the
recognizethem.
voice,and transpose them
145.
Harmonize
three sharp
keys.
3
-ap-
.12
g IE
e"
IV
I IV V
IV
i
IV V
IV
i
IV V
1
9
S
V
II
11
10
1
12 13
I t^
^rp=r=it s"^
I IV V
:
i W
Write them with
-^-
the
root
tones
i
tr
"
i
""-
:g
S-251-
I i
i
146.
chords
make
We
found the
demand
that
both
the
now
Dominant
we
and
reverse
demanded
the Tonic
Tonic, and
them demand
will
by employing
the
other
than
the
root
in
Dominant
and of
mand to de-
The
first inversion
a
chord
the the
third
also makes
very
smooth
progression
say. As
a
to
Sub-dominant
chord, almost
demands
it, one
might
78
EAR
TRAINING.
major
same
third
should
not
be
doubled,
chord
that
is,occur
in
two
voices
at
the
as :
time, it is omitted
in the
when
employed
in the
bass,
9t
i
in may
a
i
should be in the
a
It
may
root
be and
doubled fifth
minor,
doubled
and
diminished.
root
The
be
excepting
in
the
diminished 147.
chord.
Working
bass
to
as
on
different
current
principle, we
methods. It
note
no
use
for
to
the the
figured
student of the
taught
the
or
in
confusing
it is the
writ^
figure
over
bass
third
more
chord,
With
to
play
it from there
that
figure,
no reason
I is still
puzzling.
should and with If the
we
this
system
to
is
why
tone
figures
chord,
chord
i, etc.
6
not
correspond
the
location
means,
of
that
will
employ
in the finds and d.
some
that bass it
simple
indicating
the fifth in the
the
the
third
by
i,
3
with
the
bass
by
student
a
easier, he
can
indicate
inversions
by
the
letters
148. will
Using
to
use
of hear of
more
the the
patterns
chords
in
of with
the the
preceding lesson,
different
variation
we
learn
and third
or
inversions. when
the
Employ
chord
the
occurs
the
two
the
chord
in
the
bass
for
as
times
succession,
at
(")
at
below the
; where
change
or
of line
as
harmony
where
at
a
only,
as
at
(b) ;
and
a
end
of
phrase
is necessary
perfect cadence
undesirable,
(c).
80
EAR
TRAINING.
151
.
ear
to
between distinguish
"
the I and
6
the
the
Dominant both
because
demand
a
they both
cadence. Note
the Dominant
in the
bass, and
V
this
I
6
always demands
two
chords, the
and
I
I, while usually
one.
the V
occurs
demands
on a
only.
more
important
the
fact is that
never on a
stronger beat
:
than
V, and
weaker
See examples
t i \i ^r\^\ i i LsD
e
152.
-"-
i
I to
6
the
establish the
does
key
chord
estabhsti the
a
key, for with it we anticipatethe V and I which will always fix key. Note the use of it in the extract from Lohengrin :
^^^^^^fapjfe^
D I
6
gagej^gs^^^
feg
"
"-
jS^^^f^^^
Ai?ii
3
"s
EAR
TRAINING.
81
153.
with the
The
exception to
lower
the
rule
chord is
fifth in the
case
minor
seventh
present ; in that
were
resolution
though
the root
in the bass.
example :
Beethoven.
^Mm^h^^^
etc.
^=fJ
*
154. A
I
as
-=1--
chord
once
may
be
by
the
what is used
it demands;
to
mentioned
effect
before,the word
and
on
express
the
of tonal Of
course
magnetism, showing
chords
they may
we
do resolve the
of which
speak
is
line of least
in
resistance," always
both
to
correct, and
and
to
use.
very
important
we
feature
helping
I. IV
recognize
a
Summarizing degree.
I is not V
this law,
occur
have IV
to
to
I in
lesser V and
may
S
between I to IV.
7b
3
and IV
5
I, but IV
I. IV
8
between
to
good.
Let
I to V. the
to
I.
S
155
name, not
teacher
and
for the student to play the following to familiarize himself should also play them the characters that
only with
The
to
represent
of
i
them.
figureabove
be
numeral
indicates the Be
the tone
the chord
employed
in the upper
voice,and
beat.
long
sure
dash
to
continuation them
7
of the chord
through another
I-IV-V-I.
play
I-V-I. rhythmically.
8 7 8 5 7
!-IV-V-I. I-I-IVI-V,-I-IV-IS 8
V-I.
I-V-I.
3
I_.V-I-V-I.
7 S
I^V-I-IV-I-V-I.
8 6
82
EAR
TRAINING.
v-i.
i-v-i-iv-i-v-i.
SS 6
i-v-i-iv-i-v-i;
7,
3 6
i-iv-i-i-iv-v-i.
58
I_V-I-IV-I-V-I.
5S
I_V,-I-IV-V_-I.
63
I-I_IV-V-I.
b7
3
We
must
emphasize
the of
playingin
in the
every
of C
peoplewho
can
playchords
:
key
166.
te
4z*zr5:
""i" #-
ifeis
I i sa a
S=
6
M
p5g 4="=i
i
i
i ^3eie?
ga:^
li^
ra
^ i I
g_
b4
! J-
m
^E
m-n-s^ =1^
=ftBf
T
^
EAR
TRAINING.
83
ii
^^S %
P"^-f
=?cr=i:
i I
many littlesongs
and that
\U1
chords
There
are
requirebut
be both this work them
these
three
in the
accompaniment,
make
a
it would
and profitable
to pleasurable
by making
at
one's
own
accompaniment. Sing
the
harmonize
at
as
sight,
and
making
158.
on
simplest harmonic
of
"
outline
first,if necessary,
desired. chords
of the chords later,change the positions In the song beats and V-I
7
the Jack-in-the-Pulpit,"
measures
employed
3
may
measures.
be I-I-IV-I,
or
sixth
to
the
to
progressionfrom
measure
measure,
or, better
yet,
be the
iass
between the
on
beats,allowing
any
by-tonesthat
as
points to
tones
treated
such,
changing
harmony
measure
the
of
melody change.
For
instance, the
Y%
in the
second
is
occur
foreignto
as a
the
Sub-dominant
and do
not
one.
harmony
change
the
then
presiding ;
let it
next
by-tone
is an
harmony
until the
beat, which
accented
^
-
Jack
in
the
pul
pit Preach
as
to
day,
^ iE
:^
^^
Un
-
3E
der the green
trees,
Just
ver
the
way
1^
Green
is
^=
E^=
his
sur
-
^
are
Green plice,
his
bands,
In
his
84
EAR
TRAINING.
$
the The in
two
h^=fi I
queer
m
lit
tie
E^
-
i
stands.
pul
pit,
The
lit
tie
priest
the
159.
In
the
second
measure
of
"Baby Land,"
not
or
change
of
harmony
is not
so
permanent,
one
that
is,it does
"
continue
I
3
"
through
be best.
measure,
next
of the inversions
IV
6
would
beginning
at the
would
the be
be
the
by employingI
3
first
sung
must
last three
measure as
will of
course
with
occur
the
on
harmony,
should Tonic
not
the G
change
of
a
accented
beat, the
be
becomes
harmony by-tone.
"
The
Dominant
"
harmony
but
a
repeated in
be
the next
the fourth
employed, for the harmony beat should not be anticipated the preon occuring on an accented ceding The would make the weak beat. root position wrong for an but I would be sentence, interrogative qualityof cadence
measure,
s
should
very taken
What satisfactory.
to create
of position for I ?
a
the
Dominant the
chord
should
be
the from
demand the
Marking
would
harmony
S
of each
accented
beat
it beginning,
be
I-I-IV-I, I-V-I,
3 7 3
V-V-I-I,
I-V-I.
6
p=4J=^4=J^Jj^iPE"^^
How
ma-
ny
miles
to
Ba
by Land?Say,
can
an
one
tell?
one
flight to
have
care
the
to ring rightjPlease
the bell.
The
pupils who
lessons with and the
correct
the
no
one-voice
work
of the
ceding pre-
groups
harmonic
EAJi
TRAINING.
85
160.
WHERE
THEY
GROW.
J. H. Fillmore.
i P^^^^
Down
^;
the val
ley,
i
deep,
deep,
deep.
i lYz
Un
der
the
grass
es
hid
ing
low,
i wThere's
*
-:^
where the dear
^
lit tie
'"^sm
lets grow.
Reinecke.
Used
by permission.
* i ii=a; ^
Up
-^
"
m^
-
S=i
A
on
the
?.
"
blooming meadow,
"
flow
'ret may
be
seen.
Its
F^
"
"
s-
*-
?-E"
asHeav-en,
Its leaves
are
i:
^=
Its
eyes
are
blue
fresh
and green;
^"
eyes
are
^^^
blue
as
^
Its
-^-
Heav-en,
The
leaves
are
fresh
and
green.
for dictation.
pupilsshould
name
the chords
as
playsthem.
2
3
t?=d=4=
i
:gg1-gO-
fc
-ar-
i
-Sa
"
=5=
^m ^ffl-tg
^
86
EAR
TRAINING.
i i5i
E^
=S^ :^
5-ta: 1^
i V-
-J=
-iS-
-"!-
m
"
eS
-s-
gsi^
"
jfi
fct
^a.
i
=f=
i
gizfc
:ii;=2?ei
1
li^S
10
=p
II
:i
fi^^^^^^g
Wj
11
-SI,
"
-g|
-gj
-gi
"
i
s
a"-
-"5^iV
i i
-IS'-
-"=-
s=^
12 13
-jsf-
i^^ i a=S=g=EB:rfcEi=IE=g=Sii
s!-
J-JzzcJ
'^^^
(2
gi-fc e"
"
s"
i^i
^^- isl"
"="=t
fg
W.
14
15
i^=:fe^^ii|Ei^=^^^^i
5" "^
-(2
FS=?=
""-
iS
CHAPTER The
VIII.
Mediant
and
SuPERTONic,
162.
"
Submediant,
Subtonic
Chords.
Each the
major
chord of
chord the
has
minor
are so
"a
stitute,'' subis
tainly cer-
they
place
of the
progression
chord the
163.
first
minor
that
or
"'
built
Re"
on
the
second
degree
to
scale, called
Supertonic
as a
chord, progressing
for the
to
a
It is used
substitute
when
SubdomiDominant it
nant,
cadence.
and
in the
major
mode
are
leading
in size
Roman
letters
smaller
when
is
minor
chord.
n^a
I IV
V7
II
3
164.
tonic be IV
must
Harmonize
each.
the
the V
Super
may
the II
in
Heretofore
have
tone
placed
is
Re
in
or
; V ; but
preceded
may be be
by
IV
if the
melody
II
Fa, La
is Fa
Do
or
substituted
if Re
are
by
occurs
if the in the
melody melody
lead
La, and
two
employed
where
to
a
qualities
Some
of of
progression
the The exercises
ear
chords
required,
II and the
and IV.
cadence.
require
both
distinguishes by
V
mode,
11
being
V
or
minor I.
chord
demanding
It the is
only,
and
IV
major demanding
to
sometimes of
difficult
the
distinguish
3
the
Subdominant
the
from
first inversion
minor
quahty
of the
latter
is not
so
marked
in the
bass.
88
EAU
TRAINING.
89
to:^33infe
II 3
-Sh-
-g
"
2g-
"s I
3 II 3
(s
\"-
Vt
III
i iI:L^
^-H^II
3
"
-o
I CJ
is
I
a
3
^E^-^f\yr[x^wm3=mit^^^m
m
h.
I
3
fe
V
S
^="
"-
i
-.s"
I
3
10
11
""
"
(2-
.(Z-
I I
I
""z
"
"^
Vt
13
5^F=F
ffi
IS
15
IS
(2-
:^HE
14
#
16
ii
^i^
-gi
'g-
"si-
17
-gj-eif"
^^m="
-f=
"
i2^
E^
s"~
Eg
90
20
EAR
TRAINING.
^1^^^
1. 2.
-^lit
-
^tie bios
snow
-
Dear Lit
soms
down
I
un
der
you
the
a
snow,
tie white
-drops,
pray
rise,
i w
i
rYou
must
EifeE
be
-
wea cro
-
ry cus,
of
come
win
o
ter
I your
know;
eyes;
Bright
yel
low
pen
rHark ! While I
^^
sing
Daf
you
a mes
-
=t:
sage
of you
cheer,
hear?
Daf
fo
dils!
fo
dils !
Say,
do
i
Sum
mer com
-
Ei^
mg
::t
here.
Spring-time
is
21
* I paSEESf
22
=i=F'f
Eg;
5=?i=
-gj-
-ti:
n
3
I
^:
-")
g iOES^EE^EE;
a
23
W=T^
Vy
i="^
5=t
lt-\-6t-
I7B
E^ifc
-""
-"=i-
I-
^
"
t=1""|" g^-S'-r-
IV
9
V
5
II7
7
24
Schubert.
migl^pg^^pigg^gggg^
a=
A
streamlet
clear and
sun
ny. With N
rip-piesall
bout,
Was
m
once
ifc=t
the bath
^^^
for bon
-
"
rg3S
gen
-
ny.
For
tie
lit
tie trout.
On
EAR
THAINING.
91
^^E^^^=^=|^^eSee^
shore
I N
stood
N
ob
serv
ing With
exquis
ite
de
light
The
i SSEiE
hap
-
-N
"
py
-"i
"
-ji=^was a
I
-
lit- tie
crea
ture,
It
prat
ty
sight;
The
m.
25
S^t^EgEEtE
hap
-
Z3Li.-=*"-J
-
iii^EiiE^
a
py
lit
tie
crea
ture,
It
was
pret
ty
sight.
Schubert. i\""
-I
nfe
F !"
"
""'
W^
the brook
grow
^
drops
of
side
flow-'retsblue Which
peep
thro'
tt
ip=ii
=rpf
s=t:=s:-tt^spark -ling
dew: The
mil
^E^".^^
-
:?"="=
t=^:
this stream doth And prize.
ler
much
fefe
s^^fs
light
blue shine
-^
:t*
my
eseeeS
eyes. So
fair
one's
mine
^^^1
call these flow
-
"
"?=^3=E
ers,
P"
r-^-M
7"-i
"
W"^
r-
^i=^="^-
So
mine
26
Ml ^E^a=tjE
I'm
a
-fc" 5
^
thing,
5*"
^-
-fc-ii ing
with the
pret-ty
lit
tie
Al- ways
com
^M
-V
"
3!
KV
:^=":t
I'm
S-
^^
-t^
"
="=S:
a-bove the
-V
H-
"
s--
spring;
In
the mea-dows
green
found,Peeping just
-5"
?!-?"
"
""
^ii33
stalk is covered
-"
""
^^^^.
flat With
a
SE!F
and
ground;And
my
white
yellow hat.
92 27
EAR
TRAINING.
Schumann.
^^i
Come,
la
-
Wt=-^^^^^^your
-self
up
on
my
hand,
up
g^^jq^^^gl^^
on
m
harm you, No!
I'll not
my
hand,Be
sure
will
not
4-=^ ^=s= i p
harm
you, I
^^^^^^^
will not harm
you,pret-ty dear,Show
your
tiny wings
and
^^^
nev
-
-5.
""-
-"
"
"" I ^B"S
gay
^-
er
fear,
Ti
ny
wings
so
and
pret
ty.
28
Schumann.
"
Hark!from
"
"
"
i^
=^
-est
f^^^
-
^
he's
thefor
calls
the
cuc-koo,Light ly
swinging,
^^^^^^^^m
Gai
-
ly
he's
sing
ing.
^
Spring-time,
165. that
1
a
PJ^^^^^^
Wel-come
to
welcome you,Spring-time,
to
you.
Dictation may be
chord
Remember,
Reinecke.
p^^^^^^^m
l^E^
itrt
EAU
TRAINING.
93
Schumann.
^a^iiia^^^^i
w-r
=i=p=
-3T
^^^
i
etc.
9^
m-(3-
|=E^
E
T^F
Reinecke.
^^^^#^^^"^111
tr^^r-
f^r=r=^
-^
-^
-^i
-fi
_^
"5:g^
-""
i= F=Fi:t=t=r=:t 1"
t=|:
:U:=:tt
I
Haydn.
^
"5^
^=F^
:J=bJ.-j-Hr^J=j: E^S
fJ
j-
=^E
"S'-^
iE
i
fJ
-i
a*
iN^E^
i
Mendelssohn.
94
6
EAR
TRAINING. Schumann.
tt
-^^^^m.
^
\-i
3^^
itrii
Handel.
1 i
s
tt 3^
"#=
:J=5
^i^tEaiS^
QT-^^v
j:i.-f-_j
tEQ
^ip^l^ii^^^i^
^g^^
v
eS
s
_,_L^.
r^-^
-" "
"
1^
ife
"s"-^
J=t=^t=r=fc3
-^
I
P=
8-
:b
"O"fV
r'
rir=je
r'
"
a^-^f^
166.
the Next
comes
S
chord, built
on
the
Submediant
or
"La"
well to
equally
both
the
Sub-
for the
Tonic, it
frequentlyemployed
Submediant
and
delay the
cadence.
Supertonicare both minor chords, but for progresby the different demands they may be distinguished sion, well as chord is much as quality. The Submediant more and does lead not to a stable than the Supertonic, cadence, bui
96
EAR
TRAINING.
t
^
g
4
VI
:rrTl-^#-^^NJg ^
I
8
.]U r
rr^=^iibJteQJ^^^a
-gi
"
iE
10
s^
"gi
"
|-ig
aJ
"
r-ig-
^z^pj^^^i
11
(2
jS).
B^H
fe^
12
?=F.5=FF
-"
!"-
iti*:
^^iS^^^^^^^B
13
^ i S!^^E ffiEEEEEEf
14
"sJ" ig-
:B
;t?=6: ^E i^ [g"jg^ ^
i-]j?"
VI II
3
-si"
VI
"-
^=
"
s-
t="t=f
IV
15
^ i P
:i2
"
si"
gl
"6
"
(ff-
""=i-
"
"3" "=
zj"
zJ-
"f2"
"-
:t=iF
the including
1 69.
Dictation
exercises
Submediant
chord.
JSAH
TRAINING. Dykes.
97
pl
g"Tri=f=f
Efe^
^
i
"0
"
"
^Sl
rr^^
t^=^
I
i
iJrz-ttli
?^E^E
Arr. from Handel
eS
i*
*i-^
:pr
'
:tri:
5(
Hr-^
a"
,"""-*-'-,"'
"
i^^; ^:
ff#'
^^^^^^m
la ! i iE
^
=Ef =i^
i.jif.
s^
Irsls
i^pa
*-r
r --r
iS
:^ ^ rir r
'P '^-^
i^
i^
German Choral.
"^r
feiit
Hfe^^
Wf
=^=
98
EAX
TRAINING.
Make but
a
selections from
book
hymn
based the chord
the
Gospel Hymns,
from the
classical music.
170. chord
but
a
In its natural
on
mode, there is
no
strong demand
the
third
degree
of the of the
with
chromatic
as
alteration
major
it is most
used, frequently
altered Note
Sublation moduof
key
of the
these
examples
its
use
as
substitute
following the
Supertonic
which
demands
the Dominant.
Mozart.
p^^
fe 7^ itf
5-M tj:
=F=J=^-^
Bach.
EiS
E^^
-J-t
i
etc.
^^
171.
^m
I-III-117-11-I-V-I.
3 as
Play I-III-vi-IV-ii-V-I.
I-IV I-III-l7|,-IV-I-V-I.
S 6
I-III-IV-
ii-V-I.
IV-III
$3
I vi-ii
IV^-| I-I^. I
'
iv-ivI i-v 1 1,
'
i-iii
1 n,-v
I i-vi I ii^-v 1 1.
These
chord HI the
172.
scale when
alwaysbe transposedinto several keys. is nearly always employed for the seventh of the latter is used consecutively.
groups should
EAR
TRAINING.
y"
Harmonize
1
g i^^
"2"
-"
i
IV
3i
III
i
g
4
"
^
VI
F i
f=
"
s"
|g
III
VI
I
e"-
III
II
m
VI
"^=-(Sl
t=t:
II7 III
VI
m
VI
"="
s
"
"ri
"
ztf-
i I
II,
i
9
s
III
"s""\rSt
"
s^
i^
-'g
"
s""s"
zi"^^
"gi" h^-
10
""g"
pSiEE?
'r
5|
jg"
"?=:te
p^^is
I
Bertine
III
11
Lakey.
i4
i W-
a: i
p-
^
song
=P=" that
"-
:t--Fi
know the the blue
-
EEEEE
bird is
sing
ing,
"
"
#-
3=
-
-CI Out
in
the
ap
pie
tree
when
he
is
swing-ing;
m
Brave lit
-
=J:
fel low I The skies be drear
tie
may
y,
I.
3:
"
mB
"
"
^-4 he
"
Noth-ing
cares
while
his
heart
is
so
cheer
y.
100
EAE
TRAINING.
i fe
fe
^^
O
pen
Caroline
Dale
Parke,
the
gates
as
high
as
the
sky,
And
#1=E i P
let
=^
:^^
King George
and his
men
pass
by.
pen
the gates
as
r=E i tf
high
as
"" f
I* If
:p=i:
::"
P=t^
and his
men
i
by.
the
sky,
And
let
King
George
pass
13
Franz
Ries.
gs
The moonbeams
fe^P^fe^i Efcl
through the
win dow
peep.
To
see
if babe's
in
i^
bed
;
:"
-" "
--"^
My
^
to
"
"
j_ -^
"
*-"
precious dar-ling,go
sleep, He'll
watch
keep
o'er
thy
i w173.
1
""-r-
^
-
""=-
:b=te
by, sleep,He
watch o'er thee will
head. Sleep,dar-ling ba
keep.
Dictation
exercises
the including
Mediant
Old
chord.
German
....
Melody.
^^^^^^^^m
f-
"is
^ "=?"-
feE i i aE^^fmff
EAR
TRAINING.
101
^^^^m
^
te
Bach.
tFKfcg^zte
fcga?
err
4 V :^=^:^:
"
=1
:i=i:5ef
i^^^^Sif^^^
??~:^
Beethoven.
i"
-^
i-S1
^1
T^^
^-^v-
^^^^^^^^^_^^
y^-N'^
V
9t?te=:ii^
i^-
Alexander
Ewing.
i=t^=i==i=t3=^: 8 i __j__L._^j^_^_5_^g_^
-
^M
"-"
gh -^ -it
9iii^E8^=g=^
m f-
rm
;e*
^^jip
^-^*"j="=
^P"! ^=tS^F^
rt
ii
102
BAR
TRAINING.
S|^Sgi^^ip^@
174.
Subtonic there The
or
chord
on
the
seventh
so
degree
of
the
or
scale, the
""Ti"
chord, has,
use
little character
mode.
is very
we
a
little
as
for
individuality, natural By
"
mode,"
mean
it is formed
alteration.
as
Being
diminished
chord, the
of the the
Subtonic
heard is
the
third,fifth and
classified.
resolves Like into
seventh
Dominant
of which
usuallyso
a
Dominant,
It
reallyis
the
root
part, it
the the
Tonic.
is not
good
position,
seventh loses of its
neither with
the
Dominant
chord the
which
Subtonic
of
almost the
doubling
seventh.
examples below
Bach.
.
i rf
He
2
^
J
i
^:
i
i
^^
Teshner.
'
-"
"
"g
."J
"
' es
"
Cie" n
-A
-fa-
CHAPTER Chromatics
Raised
"
IX.
Fourth Chord Lowered.
to
"
"
Altered Augmented
THE
Chords Sixth
"
of
the
Scale
of
Seventh
Scale
return
a
176.
We
will
now
single
voice
work of
and
include It will
chromatics, which
furnish for upon
a
will be of the of
finer
comparison
of the
sounds.
good
the
test
thoroughness
the
preceding lessons,
the
certainty
diatonics, depends
certainty
of
singing
177.
or as
and
recognizing
altered
to
the
chromatics.
may the
occur as
The
tones
embellishing by-tones,
of the be chord
:
harmonics,
case,
change
of
character
must
in
the
latter
the
Principle
the
can
Progression
so
chord be
is sometimes
altered what
a
it loses
original
identified should
only by
move
it demands. of the be
not
178.
If
as
chords does
not
to
principal chord
thekey.
chords
an
the
they
have
been
sure,
alterations
composers
will have
aid,
been
although
always
their for
because
;
particular
for and 2I?, the
with
notation is
a
sometimes
error.
writing i^
All
for
6
,
\%
4I
of both
a
very
common
things
and
Principle
for
Progression
is the
and
most
reliable
basis 179.
the be Dominant
a
employment
chord has
identification.
the
When
or
seventh diminished
neither
characteristics
out
of
chord, nine
because
the
times
of
ten
supertonic
than the
seventh,
other
latter
is The
used
that
oftener
secondary
is toward the the
sevenths.
tendency for of
the
of
the
altered
Most
chords
major
old and
chords methods
key.
consider
most
180.
chromatic the charm
analysts
as
follow
and
the
of
a
alterations of the
modulations,
by
so
doing, lose
chords
harmonic
setting.
104
Altered
suggest
EAR
TRAINING.
105
rich
coloring that is lost with the constant because in establishing a new key, the II-V-I be employed, and consequentlythere is much
As the chromatics
use are
shiftingof keys,
or
IV-V-I
must
less
variety.
most
quent fre-
will be many
but given,
cases.
it would
be
impossible to
mention
rare
For
extended
study
of this
a
the subject,
student
would
find both
work
entitled,
the of
"
Harmonic
Ditson Co.
Oliver
ear
realizes that
music
is
it is 2ind feeling,
teachers
and
give so
energy
on
this most
important
more
of music and
education.
The
less of
feeling and
181. We
less of will
finger.
with the lowered
two
begin
is of
i one
a
3d
it with
called
may), which
the minor
a
of the
tones
employed
other
i
lish estabof.
2: 3!?
mode
key, sing
I. I
3I?i.
4
key. Combining i 3b 3b 2 2 i.
I
tones
i.
3I? 5
3b
3b 2
I3
2 2
3^
I.
3b 2
I.
I 3 3^^ I2
I
5 S
2
I I.
3b
I.
I
I 3 3b'
7
2
I2
I
I I. 3b
I 2
S 4
r.
7
2
3b
7
I.
3b
I.
I.
3b
I 2
3b
3b 4
3b
I.
3b
31^ 7
I.
ih.
wDo
tf
etc.
3Et
sol
me
P=:p=^"
J-S
^BE^d^^^^aL^J,J3^3^^
33t
^gE^gE^^ggSgg^l
106
EAR
TRAINING.
^s^^^^^^^^^m
*A
^
6
i!!L=|*=iat
1
=pa"r^
?Et:"
-j^=X
r=a=pc^j: i ^53t:
^E^^E
=t=^^tf
f^i^SSB
Grieg.
i ^: ElE:^;
Me
I *-=L-t-.r:=^E-:=z=tJK=-'-3E^z=E
;^=
do
feSaEEii
-1"
182.
of the each
tones
The
other
flat
employed
makes
to
fix the
one
minor of
key
is that
in
change
intervals
of any
For
chord
either containing
occurs
changed. necessarily
and Mediant and
instance,the third
the
Tonic, Submediant
dominant,
183.
chords, and
sixth in the
Submediant
Supertonic.
i
Sing
I
5 6b
5.
2
gb 5.
3
4
6^ 5.
6|7 5.
5
6b 5.
5
I
7 6b 5.
6b s
3b
I.
I.
3b 6b 5
I.
3b
I.
6b s 3b 2
I.
3b 6b
6b 7
5 4
I. I
3b 2
6b 6 7
5
I.
3b
F 7 6b 5 4
3b
I.
3b
3b 6b
4.2
P^^f^'
Sol le
3=g^Bfc^g
m
^
-al-g*" ^^-
f=M="^-=Mi
--w=^.
=^3^^J^E
5t
3E? 3E5
EAR
TRAINING.
107
i ^
D
^=F6"=1=;:
li^^^i^B
Schumann.
-^ P-sH
minor.
^-f=-^
"-
"
=t=E
I
Schumann.
fefefE^:^
i4:
E
SHI
J2^
SI
f=^
F*
^y-
I a
minor.
iI^=iS5
^=^
:?s=^"i2i
3^
fzt"it
tut
i==ii="^
IE
ip=
"25l-
3f
S^^^E^EE^
^i
^^i^^g^^isi^^
9
Wagner.
i%
10
^=i^ i^jt
i
Reinecke.
srt
etc.
Pi^lg
^aEB3
ipaw
3=1=
itd"*
108
EAR
TRAINING.
1 84.
1
Sing these
in both
modes
fe=Ffr-=^^i^^fF^%=^fe:fe
3
"h
ftid^t i=j=m^=gg=^^^^ #
i fe
^' i r^^^E
6
=^
"w=t~
itz:i
-^"
^*
i
i
"^'A-
-P=:S:
1-. i^^^^
:i=p=
*"
"
"ig
"-
rf-"^^^^^^^^
fe^^^^
185.
1
^;
"i^-#-
""^-*-
fg
"
(g"
-#
i
Schumann.
Write
these
as
the teacher
plays them
la
A
^^
minor. w
'
_'W
-ft I
-I"
t-
r-y
^^^^^
Bach.
minor,
EAR
TRAINING.
109
H7-r" '^' i ss
;E^
tl?^
:t=t
?Ci=*-
ffl
"-j-
-*-V
i^l \
"
ztf-
Beethoven.
Harmonize
these
2
C mi. I 4
C mi.
mi.
i
Ami.
-"=
"
""
g^
A
-(="
ra-
5t
I
a
Vs
5
mi. Vt
5
I
8
German
Choral.
li^i^.
G
*==t
:#t=3^
-"
"
1"-
f"
mi.
Ea^
(""
S^^^HfSFfSEf 5^ i w
7
"=^
ii^i^g
Schumann.
i
E
s=e3E
mi.
-"-T
^_^=M-^"
lt="t
^=
Tt""
pjggg^^^gaig^^^ipa
4"
164
can
be
harmonized
in the minor
mode.
110
EAR
TRAINING.
187.
suitable cadences
I_ii
3
i_ii
.
I_I
.
1-1
.
__.
I_II
i_iio_i_v
3
'
"
i-iii
.
"
i-iii
.
"
i-iir.
._.
I_IV-s
I_iv I_vii"
8
i_iv
I-vi
.
I-VI
.
I-vi
.
i-VI
.
I-VI I
.
n"-I
.
"
-.
ii-II
ii"-II-.
ii_III
ii_iv
.
ii"-iv
.
ii-iv
.
II-VI-.
II-VI-.
.
n"-VI
ii-vii"
.
II.
VII-
iii-I
.
iii-i
3
iii-ii
.
iii-IV
.
"
III-V
.
iii-V
.
III-vi
.
III-VI"
.
iii-vii
3 3
iii-VII
.
III-VI
.
vi-I
.
VI-1I--
vi_II
VI-II
.
."
VI-ii
3
VI-III
.
VI-III-.
VI-III
vi-V
.
vi-vii"
.
VI-vii"
.
VI-
VII3
vii"-I
VII-III
3
vii"-ii
.
VII-II-.
.
"
VII-II,
vii"-vi"
.
vii"-III"
.
vii"-IV
.
vii"-V
.
vir-vi-3
vii"-vi
S
vii"-VI
.
vii"-VI
.
I-ii
3 3
188.
Dictation
in minor
keys.
Schumann.
fe^
:??=
"""
,^
^ i^
i
-4"(Setc
ii^Em^^i^i^^ m ft-^-f"
D
I
V
^-*Tr-*#
minor.
IV
112
EAR
TRAINING
Schubert.
iE
^m
*-T
"
I"
g=gEfeEgE^^g
r
=p
"
-iA^Ll:d=i
'rr
r
n-
$
^^
:^^^^l^^
-iS-^
""
^^ft^ r
r^j-^1
Handel.
^^ "T
m
i^
4a" i ^ pa*^=pj5fsf3f
I"
""
-I,
^3.
etc.
Pf^s:
*:"
*E
I
raised
189.
4th
S 4
"
Fi."
15
44
3-
4K
5 3-
3-
1524543. 1742542
i.
36
4#5i.
i|74|6|5i4|3-2|i.
EAR
TRAINING.
iia
4
2
S.
I2 4
3b 4
6t" s 7
I5
I4#
3
7 6 s
I 5I.
I I.
5.
I.
J2 I 3
6b 4
I 2-
3b 4jfs
5 6b s 7 .1,
I.
^E #
"
-\i
""
"
^3 ^g^3^
Fi
HB
gt#j^^fe^l^E^E|^E^E^EaE
Wagner.
:ffl
"
i ^^Si
(^
cpgygzcg.
"
"-
^i
^
"
^^^sii
:^=f=5i
^=tf^=E^^
r-+-ii
'g-
feE^^^j^gg=Cfj=C=fr=^|J^^
Schubert.
^^^^^^^^s^^^
190.
in the
Harmonize
will note
that
Fi
usually
of the
occurs
Supertonicchord,
the
substitutional
harmony
tone
altered.
S
I
E^ S^^Pi
III IV
I II V I
l"
IV
aa^s
II
114
3
EAR
TRAINING.
VI
II
VI
II
II
i^
-gi-
s
V
s
F=5
117
s
"/=-
^=^
V
7
i
Reinecke.
feE
Wea-ri
-
:f^
3(zt
1=dE
S
re
-
?=^
pose;
ly
at
Lord.as
i
here in bed I
^
lie,Watch
me
s^
with
a
i
Abt.
Fa
ther's eye.
^
Calm
-t
*=dz:i="!^
night had
stol
-
-m
"
*"
"""
"-
en
on,
had
gone,
The
i IE
birds had ceased their
=P
glad songs,The bees
to
^
hum their sad
songsjThe
i^
moon
^
in
i^
sailed the skies
a
^1
lone. Reinecke.
splen-dor shone.
And
5^ i 11-=^^
The
-P=E
P-t^ blue-bell ringsado
wn
3^
vale
=t
A mer-ry
2E
*=5=
chime,
so
the
fine and
fesii^^^e %w
Come clear;
^
-^
join
no
one
Ye fail,
lit-tle dar
lingflow-ers
EAR
TRAINING.
115
B3:
fair!
Ss i^
The
f=i":^w" r-h"=^5Eg
and blue.Coiiie
mbrightar-
white flow'rets,yel-low,
peeping
out
in
ih
ray,
^
Employing
=F=F^^
p^?^
A
m
-
host
of flow
ersgay.
191.
Fi in the
and
one
minor
key,
we
have
:
triad
consisting
of
one
diminished
third
major third
i
In the first
inversion,
iE^it
for the be.
to
a
becomes
an
augmented
sixth.
very troublesome
no reason
chord
pupils of
the old it
school, although
as an
there is
or
why
case
it should
Regard
V,
or
altered
ii
it progresses with Le in
I-V.
The
effect is
the
where
combined
major key.
Reinecke.
A
tc,
"
rrr
v-^e3^.
t ?E
-(=
"
cg,.
i
etc.
V-
-1^
fe
"b:i-
i-^
VI
E
Franck.
^
z"
m
r
"
"
^
"
-w
I
etc.
f
=#F
iSteii
=^
116
EAR
TRAINING.
Beethoven.
ffl
^
a^ "^
^^^
|^i^g=i=t^==J=t3=H^":^
" " "
"zsj
to,
g^
IB I
-"-
P-""-
"Jte$E5E
192. Fi is
_^__^
g
r^
JT
frequently combined
with
or
Me
in
diminished
Tonic
: fifth
Schumann.
i fc^
Z2
n
ifiE"
Lfe
etc.
i
Beethoven.
feg^: s m S
is^
^^"i"~"
"""
"
"=x=:* :33
""
"
"F
aa
'
"
"-
r
etc
193.
what
We
will
now
lower ?
the
it seventh, calling
"
Te."
Into
does
it resolve
Sing
421. 4
I 7 7i?I6 7b 6 et' 5
2
II
2
I I.
s
6 7!?
4
61? s 7
5 s 4
i.
6 7!? 4 3
2
5
I.
I.
7b
6 3.
3-2-1.
I
7b 6 3b
I.
7b 6
I.
7b 6 eb
I
s 4 7
7b 6b
I
I.
3b
7b 6b
5 4
3b 2
I.
4#
7b 6
I.
4# 7b 6-7
EAR
: Sing by syllable
TFtAINlNiO,
117
m w^=^
tt
-tH"
^
"
\p. ^-
ais^a^^g^^^^^^^^E^
% g lsM=M^
3
EEEE
-!"""-
gl^^^^i
^-EEE
itj-^
^^^^-gfe^^^g^
P
Melodic
4
-^
"
"=^
"""I
"
i^
minor scale
F-=
"
"
s"
i W
r^
Do
te
le
194.
in the
Harmonize Tonic
will notice
that Te
usually
curs oc-
chord, demanding
IV.
3-1" g w
"
m^"-
qcziz
1=
"
"-Ff2^
i 4zM
P=""-
?=5i
gpB
n
:P="i=
M=
M
195
of IV.
Te in
a
Szta
;^=i^ ^ti5i
It
""-=-
I demands
IV.
S
Te
in I demands
1$
II, the
substitute
118
EAR
TRAINING. "Mozart.
^^^^^^^^^m
etc
ilzfc*
^^E^^M
Mendelssohn.
i^ii^i^fe^l^ ^
-0 *"
-d-
1:
3t:t
J-^f
I
:^
fe^^.^"^^S
Te
S-S-
fejj*^
I
so
is seldom it creates
used
in
the
Dominant
chord, but
V
to,
where
or
employed
the unusual
progressionof
IV
to
ii.
Wagner.
i EE
f-
"A-=l
*=-jtzM.
is^
Wagner
-"SL -"2
S'-
IF^^=FFF^
Te
to
:
-f=" fe
frequently employed
effect
a
change the
mode
of the
modulation
Wagner.
i^^fe^^^
l-Xh
'"P^^^^
etc,
mm^^^^^^^msm^^
120
EAR
TRAINING.
Schumann.
tf i P^ ^
"
f-
itdi
O beau ti
^
ful
"-
x:
i?=it
-
star,
So
ra
diant
far, How
=j|^
dear
-
^
-v V-
^
you
1
are.
ly
3 3.
love
though dis
tant
you
198.
21.
Sing
2J} 3
7
I.
S
I.
2Jf 3.
4 3. 2}(
5
4
2Jt3. 2t
3
2
6
I.
2J(3
6
I.
2Jf 4 2#
li
32
2}( 3
7 f il3
4
7
I
2# 4| 4tt
3
3 3.
I.
4 2Jf3.
4
5 5
4| 2t
3 3.
21.
2#
3.
41
5 4
2 ijf 2# 3
6 s|}
5 4
eb 2ft 3
^
i
^^
I
t=t
-^
"
-^
"
^
Ri
=iH=
^=^
I
"=^
^
^
::J=
^
*
^=t
*H-^-
dW
'"^'
"
I
I
^z^it^i^i*!^
4
SSg
^t
-ri-^*
i i(p
"
-"-i"
^
i
^
used
"
ife
199.
*3
Ri
a
\d
-"s^
is
commonly
with
same
Fi
as
as
a
anijin such
case
is treated
the
"A/!
TRAINING.
121
Liszt.
^m
i=iEEi:
m^^
^.
I
i
) i^^^3
Ri
"j
Ji^^TiTl: z^^rTil
employed in
the
^
III
also
tute (thesubsti-
izTh^fe^i w=^
9fc
-4-
j^i^
"zjis-
"
^
Schumann
^^ip^^^ps^gli
:"*
^1^^
The the mode
most
:1
y-___l
fc
it is
gia
employed
to
use delightful
for Ri chord.
is when
alter
of the
Subtonic
Wagner.
iaw
"^-lS
200.
3
2
^j.i
i
i'^j^^^^g
J^
^-
ii^i
s
i.
--^Sing 5 S# 6 5
4
4
2 2 I. i
6 sj{
4 6
S# 6
3
7
2
i.
5# I 7
6 _5#
I 1-7
I I.
6
5}f65
I.
7
2
I.
s#
5. 5
7 6
3
I
5 4
I.
5.
sj7
I
5 4
6. 3
s#
7 6
2
S# 4l st 6 i# 5# 6
5.
54321.
5#
4I s# 6
s 3 4
I.
122
EAR
TRAINING.
^qFf="p=|Mr=H^Tfr'h'=^l^
f^H=JEfe^J^E^Ea^E"^jiE^
^pspp^i
201
What What What What kind kind kind kind of of of
a
IV
itt|
gi^[f^^af^
^^^^^^^^^^si
.
of
fifth is is
2
i-
-5# ?
i
i#--S# ? 5|?
? 5 jf
fourth
5| ?
? s|{
a
a
third is 3 sixth is 7
7
3
"
5|?
5#?
202.
1
Dictation.
Chopin.
^^ i SEE P
B^ 3^?^
dZii
g:^^T^^=g^
^
'
d2c
V^
*ti^
*-
"
taE
ri"
^"^teH
Schumann.
rp^i
"
F^
"^E^E^i^
EAR
TRAINING.
123
15=^
:M=9
=E
EJES3
^^gi
Reinhold.
ri=iS s^^
f=^
^^
=SF=^^t^^==t
tit
^'g^^^^^^^^EE^g^^B203.
Si is most
frequently found
It also the
occurs
in the Mediant
chord, altering
chord, and
See
it to
the
major
cases
mode. demands
in both
both.
Submediant
example
Folksong.
of
^
ii^3
204.
2
fca
-^
-^
H^
t=p:
"""
"
"
"
"
yi
,1^-gik::
^
6#
7
I. i
!i"i -^-g-
i
s
Sing
I.
6 7
I
I 7 6# | 7
I
| i.
I.
6#
6
5 7
r.
6#
6#
I.
I.
6#
2
7 3
I.
#7
5
5^ s#
I.
6#
17
i-
6i 7
2# 3
3
i#
2b
I.
2#
4#
S# 6 6# 7
7^.6
fit' 5
S'' 4
3^^ 2
205.
1
Dictation.
i^^^^^
5=r=^ i W
-"
"
: \'^
*-
^.
eE
^r=^
fezET^^^^i^^J-g^^g^^
v
"
"
^^
124
EAR
TRAINING.
^^8^^^_EEpE^tfEEFtr^n3^;"^
Schumann.
is
-!!2-=" ^
*
"
*"
EE^a^^j^-zt^
^
"E
r
i i^^^
206.
1
:#*
^^
an
etc.
Li is coipbined with
Di
in
2
embellishing chord.
Haydn.
Hi^
^
^
etr
5Se^
207.
5
I'
^i^=Fp:
za:z"-^
^agJSJ^^
I I.
5^=^S
Sing
7
I.
2^
I
I.
2I? 3b 21? I.
I.
I I
3b
I
2b 2I7 2b 7
I.
I
I. I.
2|?
4
I.
2b
I
4
I
ib
7
3
I
2b
I. I
3b 5 2b 7
2b
1
I
3b 6b 2b
I.
6b
3b 2b
6"
I-
"*^
tt:S=:^
Ra
^^^^SiE
-^"
g*-
^ig^s
ti=5i
^i-b*-4i:
S^^B
EAR
TRAINING.
125
BE*
s:
3;
:t:tW
^^=E|
^
Song of the White-Throated Sparrow.
NovembeT
1^ VF^F^208.
what
1
^^^^^^I^^^^^B
In the first inversion of the
Supertonic chord
Ra
creates
is
commonly
known
as
the
Neapolitan Sixth.
Cramer.
it
--^minor.
3e^ w*
3^^
W^F^
A
i
R
^S
f
etc.
i?*
Cramer.
(i
C
sti
^g
minor.
)"^4
^ii^^^i
r
:g=
"^
I i^
5
I
Efct
209.
Sing
3
2 I. I.
5
I
sb
3. 4 3
s'' 4
3I.
3b 5b 3b
I.
5b 4
2b
1
6b s 5b
2b 2 3I7
sb
s i
I.
5b 2b
=5i=
Se
il =^
E^r
ia
^
ni-V*-
=^
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:"^trtr?EESES
126
EAR
TRAINING.
t tifff=
d*
^fe^^il
pjEaEa^E^j^^pfegEg^^g^g
210.
Di Ri in in
we Summarizing the alterations, may expect to hear I demanding ii. a VI or the first inversion of II demanding III, or with Fi : bellishing em-
of of
a
ii
forming
the
Neapolitan Sixth.
mode
key.
VI.
a
Fi in
II
Si in III
Le in the
key
and
with
Fi
forming the
mented aug-
sixth. Li with Te in
a
Di I
in
an
embellishingchord.
IV and in the
demanding
note
descending melodic
fourth first,
a
minor
scale.
It is the scale
to interesting
"
that
when
the of
and
fifth of
one
the root
tones
of the thus
major
chords
occur
key
"
are
raised
semitone, the
of each. 211. Name it.
altered
or
write
the
Roman
numeral
for
each
chord
as
you
hear
128
EAR
TRAINING.
^E^E^^m^M^-^.^^=^^^
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-(=2-
^^
tMi^M
%
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Bach.
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*:
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s
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Bach.
Crrj-^^
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i^E^ s
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129
l-d^-
;!=*
d^S=
^i
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i^^
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vV
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it
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r
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r
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hd
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fejgE^=^:
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pift
4:"
H^!-
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130
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"i|g--^^"j=e
6
'
p^^
GUILMANT.
EPife
sJ
^Ma
r
r
etc.
-"i=-
gf^e EQ^
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r^=F^=;^a
i i
S
Brahms.
-i.
^^
^S
^^
f:
4-hg" ^
^ 9iifca ^
8
^^^
^
J
Mendelssohn.
W:^E"
UJ=a
iiSeE^
-,-^
F^^^P^^^F^P
EAR
TRAINING.
131
Bach.
^B^-i^^f^
Pi? P
r
r
^^Pl
1F=S
=g=
H-
-4r-
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i=^
M Pee
^
i
^^
itit
p
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g-
1^=^=^
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#
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fr
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i
f-
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f-
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t=t
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rf
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Arr. from
Bach.
^-^;
15,
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(2-
-ei
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igi-
^-
^E^E^ii
s-"g-
3"
s^
w^
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.g_lZg_
fg-
feg: =^=
132
EAR
TRAIN^ING.
"27"
PTpfe^^idi^
JH JM
Wagner.
Jl
ii^i^^^^^
iT""
^
r
^
r
p-
^
El^^^
?^Ht:F"
^J-j^J^-^J-J-l^'J
ij-j. 1^^
"
^^
rt
1
f
f
i
^^212.
not
P
j^:
:9 ^=^=l=g^T^-J=3^
-^-'-^
cifff-
1
have
r
Just
a
rf
Reduction is based
to
on
few
words
about
to
those scale
who
or
alreadypracticedit.
sooner
All music
the
chords,
or
and the
the
student
learns
hear
this framework
har-
EAR
TRAINING.
133
background,the quicker he reads, memorizes, and acquires the necessary velocity and Form with the florid passages. ease the habit of doing these things early, and it will requireno special mental effort to analyzethe difficultthings as they are encountered in the course of study. As suggested once before,do not burden
monic the
we
memory
sometimes
with
term
every
our
the
"
"
generaloutline
upon and which the
"
what minor
memory
pegs
details
a
hang.
When
one
rhythmic
outline of
Followingare
some
only then, is
in
this line.
Heller.
la
Reduction
of
i.
f
iizptt-==:
%
Heller.
g^
i*
^^^^^^
^i
m
Reduction
of
z.
2a
^
9^
^
d._
-s"-
134
"AJi
TRAINING. Steibelt.
^
i^
If^
=^f^=^
I #
!"gi
Sst
i iE
"^
3a
f^^E.
t
,"F
^^^g^^j
=^
Reduction
of 3.
pfc
^^
[H^^
P*
Heller.
136
EAX
TRAINING.
5a
Reduction
of
5.
1: i m^:
iSL
-^
j.
j-^-r
J-
J.
J=^n
It
ji-fEk^
^i:=J
^^
ft
The
think.
parting
Of
a
word
to
both
the who
teacher
and
musical the
pupil
is, think,
think,
there
people
or
play
than
instruments,
is
but
one
who Listen.
feels
more
technique
way, is but related be with
of
position. com-
not
in
general
nation. discrimi-
Observe else.
cause
and
effect
everything
Success
can
to
something only by
Classify
your
knowledge.
work.
achieved
honest,
conscientious