Berklee College of Music Ea Caurvicubem Workbook Series EAR TRAINING 2 WORKBOOK Scott deOgburn Tony Germain Mitch Haupers Steve Prosser Roberta Radley Dave Vose © 2002 Berklee College of MusicContents Chapter 1 4.4 Rhythm. eee 1.2 Melody a ee 1.3 Harmony . ce 44 1.4 Solfege Exercises... 216 Chapter 2 24. Rhythm a 18 22 Melody oo... cccccceeeeeeee es 23 28 Harmony ..... 2... 26 2.4 Sollege Exercises Beene Chapter 3 841 Rhythm . 8.2 Melody 3.3 Harmony . 84 Solfege Exercises ........ eee 02 At Chapter 4 4.4 Rhythm .. peerer 4.2 Melody i aT 43 Harmony 53 4.4 Solfege Exercises 56 Chapter 5 5.1 Rhythm 5.2 Melody 5.3 Harmony 5.4 Solfege Exercises Chapter 6 6.1 Rhythm 62 Melody 63 Harmony .... 6.4 Sollege Exercises Chapter 7 7A yt 7.2 Melody 7.3 Harmony ......+ TA Soltege Exercises Chapter 8 8.1 Rhythm 8.2 Melody 83 Harmony 84 Solege Exercises . 57 62 87 70 wat Bi 83 88 93 96 97 101 = 106 108eae 4.1 Rhythm rT Conducting i ‘Conducting is a method of timekeeping commonly used in ear training. P ‘Conducting patterns consist of distinct points in which beats are placed. In Onswayw| this way, there is only one point within the patter that shows beat one, thus, pneia decom | aiding the student in the development of a sense of “place” within the meas- ducting panes | fe. Once these patterns are learned and practiced, the student can rely ‘eolng sah ‘upon them to maintain flow as changing rhythms and meters become more szoniager | complex in their study. ‘ ero Basic Patterns ‘The conducting patterns used in ear training are designed to be simple, effective and inter- changeable. For example, the pattern used for 2/4 can also be used for 6/8; conducting in 4/4 can be used in 12/8, etc. As well, we have developed simplified patterns for 5/4, 6/4, and 7/4 that are all based upon the 4/4 pattern. These patterns function regardless of stress divisions within the measure (.e., a bar of 5/4 divided into 3+2 or a bar of 7/4 divided into 2+3+2). Most importantly, the student can focus on rhythm and meter rather than the plethora of con- ducting options that exist in varying schools of thought. (Note: Students will be introduced to appropriate conducting methods and pedagogy in the required conducting courses later in the curriculum.) Conducting is to be performed with the right hand. When practicing conducting patterns, try to maintain a sense of flow. Do not stop on the beals. Instead, bounce the hand off of each beat, while moving toward the next beat with a sense of steady motion. Avoid angular movernents, as these will create a dupie feel. Although good for straight eighth-note subdivision, this can make learning odd divisions of the beat (triplet, quintuplet, and septuplet) difficult in later prac- tice. Once you've mastered the shape and flow of each pattern try to keep its size relatively: small and off to the right side — outside of the direct visual sight line for reading, yet within a comfortable peripheral visual zone. The conducting patterns shown on the following pages will be used throughout the entire train- ing process (levels 1-4). It is important that you take the time to familiarize yourself with the pattems and practice them separately until you can perform them accurately without thinking about them. Make certain that your pattern shows the beat-and does not stop motion any- where — in other words, keep the flow between the beats, ‘ET2 Chapter 1-14.3 Rhythm Let's start with a simple two-beat pattern (ex. 1). The example on the left (14) shows the conducting pattern in two, whereas the example on the right (1b) is a more realistic and flowing version likely to occur in practice. Make cer- tain that in both patierns the beats are placed accurately within the flow of the pattern. pattern in two looks lke this in practice ‘When practicing, try to place the beats consistently each time throughout the pattern. In all patterns, there is an imaginary plane where all.beats except the last are placed. Notice the ‘common plane for the placement of beats 1 and 2 in the 3/4 pattern (ex. 2). While beat 3 is, placed higher than the common plane for beats 1 and 2, it falls on the same descending line of beat 1. Also note that the downbeats (1, 2 and 3) are all arrived at in a downward motion while the upbeats (+) are all passed in an upward motion. ex.2a g ex.2b [ i a” imaginary plane ~=24--~= Sot pattem in three Yooks fike this in practice ‘The pattern for 4/4 is similar to the three-pattemn except that beat 2 is placed to the left of beat 1 (ex. 3). Now, beats 1, 2 and 3 are on the imaginary plane and beat 4 is higher than beat 1 but on the same descending line. The 4/4 meter is perhaps the most popular time signature and therefore is also notated as “common time” (€). cago x pattern in four looks like this in praction 2-ET2 Chapter iPerformance Itis imperative for the beginning student to learn, feel and intemalize steady pulse and subdivision as a means to improving sight-reading skills and \Fhelingabai-| expanding one’s rhythmic vocabulary. There are a number of practice/per- vision iatemally | formance methods to help develop this skill, Yet, they all have the same ‘sdiffcak, wy | objective in mind: the externalization of pulse and subdivision as a means of "apping the suib- feeling rhythm. We cail this “laying down the grid? ‘with thelst | ‘The grid is determined by the pulse and its most prevalent subdivision. For tandwiileyou | example, in 4/4 time where the eighth note is present but not sixteenth notes, Ga ‘+ | students need to keep the quarter note constant and feel the beats divided in two as eighth notes. Whenever more than one subdivision is present, (Le., eighths and sixteenths together) students should perform the exercise two ways — feeling both eighth and sixteenth notes against the pulse. Accurately interpreting rhythm notation requires a combination of coordination, pattern recog- nition and sense of fiow. Since we can break rhythm down into three “events” (attack-duration- release) that occur in time flow, our practice methods should help us to develop an awarenees of these concepts and fluency with their execution. The following practice method, called “tab and conduct,” is the most widely used and has proven quité effective for rhythmic develop- ment. Other useful practice methods are described in this chapter on page 10. Performance Method — Tah (or Dah) and Conduct This practice technique relies on the conducting patterns in the right hand for timekeeping. The subdivision is internalized and the rhythm itself is performed vocally by saying “tah* (or “dah") in the appropriate places. The “in tah (or “d” in dah) is the attack and the “ah” is used for duration and release. (Note: For simplicity, this technique will be referred to as “tah and conduct” in the future, even though “dah” is an option.) Try to release as accurately as you attack. Precision at an early stage of learning develops a keen sense for reading, performing and transcribing rhythms in the future. ‘ne commen problem is running out of breath when “singing” the rhythms. Make sure you are inhaling in a “musical” place within the exercise (e.g., in between phrases or measures; not in ‘the midst of a rhythmic duration). You may even want to mark the places where you discover breathing does not disrupt your rhythmic flow during your practice sessions. The common symbol for a “breath mark” is an apostrophe (’) above the staff. Practice hints: i you notice yourself dropping or adding beats in a measure, check your con- ducting patiern and make certain you are not changing it, If that checks out, perhaps you are ignoring rests and “skipping ahead” to the next note. Feel the rests and their subdivision as they pass by in the flow of time, Perform the rests! BT2 Chapter 1-34.1 Rhythm Rhythmic Exercises T The 6/6 time signature is introduced in this chapter. The eighth note gets one i beat and there are six beats in a measure. 6/8 is usually felt in a “2" feel, P [@] meaning that the natural pulsation in each measure occurs twice per meas- Checcdeaaa | Ure, once on beat one (ihe first eighth note) and then on beat four (the fourth my cfyou | eighth note). The conducting pattern is the same as the 2/4 conducting pat- mis | tam. 7 ng then Ae eetee | The eighth note triplet grouping is also introduced in this chapter. J] The triplet is a grouping of three eighth notes that is compressed into a ‘space where there is normally two eighth notes. This compression of these notes is known as an arlifcial grouping. IMPORTANT: There is a similarity of rhythmic phrasing between rhythm exeroises 1-4 which are in 6/8 meter and exercises 1114, which are in 2/4 meter. These exercises have been writ- ten so that the phrasing is similar. The eighth note thythms in 6/8 meter (ex. 14) correspond to the triplets in 2/4 (ex. 11—14). A comparative analysis of these exercises is helpful in gaining a better understanding of the similarities and differences between 2/4 and 6/8 time signatures. ‘Tempo changes occur in this chapter, indicated above the staff, The following markings indi- cate tempo changes: accelerando (accel.): a gradual increase of the tempo tallentando (rall) or ritardando (rit): a gradual slowing down of the tempo a tempo: return to the original tempo aggeys da by NTI STI ba poy Sa by 4-ET2 Chapeer 1fe Ps Td. | Td 4 aggds bs 4 ped qedd dha a oy. FTI r ET2 Chapter 1-514. Rhythm Exercise 9 shows an Afro-Cuban time line also known as a bell pattern. Repeat the example many times. +s + 7 2 The following 4-part rhythm is common to many African rhythm styles. in line two you will find the above mentioned bell pattern, Practice each part separately using a variety of sounds. Notice that line four uses two tones. After the individual fines are perfected, divide the class into four groups and perform all parts together. This will result in a musical layering effect. Repeat the groove many times. 6-ET2 Chapter 12 AR pa wd dod Mn de ao 3 ET2 Chapter 1-714 Rhythm Summary Quartet Start with line one; repeat until the cue to go on. 8~ET2 Chapter 1 non can /1.2 Melody Book Two Sol-fa and melodic exercises begin with a brief review of Book One materials. We will then begin to work on minor-scale exercises in Chapter 2. We'll study the minor scale commonly called “natural minor” This is the most commonly used minor scale in contemporary music. Other scales that we will study (and ones that you may be more familiar with) are “harmonic,” ‘jazz melodic minor,” and “traditional melodic” minor scales. Natural minor is best learned by comparing it to the major scale we have already studied: Major Do Re [Mi] Fa sot [ta] [ti | Do Natural Minor Do Re |Me| Fa Sol | le} |e} Do Notice that there ‘are three different Sol-fa syllables in the Natural Minor Scale (Me, Le, and Te). The exercises in this chapter will concentrate on major scale motion. In later chapters, we will investigate minor scales and also compare those scales to the major scale. Sol-ta Exercises 1. Do Re Mi Do Re Fa Mi / Fa Re Mi Sol La Soi Re / Mi La Sol Ti La Sol Fa / Sol Do Re Do Mi La Sol / Mi Do Mi Ti Re La Do Mi Do Fa Mi La Soi Re / Mi Fa Re Ti Do La Sol / Mi Do Re La Do Soi Mi Ti Do 3. Do Sol La Re Sol Fa Mi / Sol Ti La Sol Re Fa Re / Mi Ti La Fa Re La Sol Mi / Re Do Mi Ti Re Fa Mi / Re La Sol Mi Ti Re Fa Ti Do Mi Do ET? Chapter 1-91.2 Melody Practice Method for Sightsinging The following outline is a suggested practice method for learning to hear and sing a new melody using movable-Do solfege. Please note that the order of steps (shown below) is the generally accepted approach for the beginning student. After some time has been spent prac- ticing this approach and a reasonably comfortable level of facility with itis attained, the student is encouraged to choose only those steps that are best suited to accomplish small tasks and/or solve procedural problems as they arise. Do not play the melody first and then sing it! Do not write the solfege in the book! Practice slowly! — with or without a metronome. . Rhythm: Practice just the thythm with Tah (or Dah) and Conduct. 2. Dry Solfege (Out of Time): Identify each new note in the melody by saying its corresponding solfege syllable without pitch. If solfege recognition is not immediate, try saying each new syllable with every beat of the metronome as a practice method for improving this ski 8. Dry Soifege (In Time}: While conducting, practice saying the syllables in their notated rhythm — yet still without pitch. 4, Melodic contour singing: Sing each pitch of the melody with solfege (in order while skipping repeated notes), but out-of-time. 5. Sing the Melody: Put all of the elements together — soltege, rhythm, pitch, in time while conducting. Problem solving techniques: Practice the problem areas out-of-time by: 1. Singing additional unnotated target pitches with solfege to help you hear the notated pitches (ie, to hear the interval do to mi, sing do, re, mi); 2, Inner hear (imagine singing the pitch without actually singing aloud) additional unnotated target pitches with solfege to help you hear the notated pitches (i.e., to hear the interval do to sol, sing do, inner hear re, mi, fa and then sing sol); 8. Use octave displacement as a means to hear larger intervals that may occur in a melody {(ie., to hear a minor seventh interval from do down to re, first sing or inner hear the high do moving up to re. Then sing the re one octave lower). This technique will make singing and hearing larger intervals much easier. 4. (Especially for sight reading): Look over the melodic contour for melodic and rhythmic. patterns which repeat, pitches which outline triads and 7th chords, inversions, and aocidentals/non-diatonic pitches. Practice material enough to perlorm accurately, in time, in tune, and with correct solfege. You can practice and perform melody and rhythm at any tempo you wish, as long as you can per- form it accurately and without interrupting the time flow. When sight-singing, do not stop time to “fix’ errors or comment on your own performance (i.e., expletives, facial gestures, groans, etc.)...maintain the flow! 1O~ET2 Chapter 1Melodic Exercises T Chapter 1 reviews the major key melodies of C, F; Bb, G and D. (@] Pp Arise, perform | 4, ‘he mclodies withous aniculations and dynamic. Gradually indade them as you become maze comforable with P cole, sbythen (essa an) ‘and pinch. ET2 Chapeer 1 - 11SF (last time) 12 -ET2 Chapeer 1 BbMaj7_ C7sush C7sus4, EMaj7BT2 Chapter 1-131.2 Melody Melodic Etude f =p, —==_ Ff 1.3 Harmony Review of the Major Triad and Diatonic |, 1V, Vand V7 In Book One, we explored the major triad structure and the diatonic major chords: |, IV, V and V7. In this book, we will study the remaining diatonic triads and seventh chords within the major tonality; diatonic harmony within minor tonalities will be discussed in Book Three. As a review, the major triad consists of a major third interval between the root and third, and a minor third interval between the third and fifth. Another approach is to consider the major triad as represented by “do, mi and sof’ of a major scale. We discovered that there are three diatonic major triads within a major tonality: I, {V and V. Respectively, these three triads represent: |, “do, mi, sol”; IV, “fa, la, do”; and, V, “sol, ti, re.” Voice Leading Through 2 Chord Progression Voice leading is a linear (melodic) approach to learning how to sing and hear your way through a chord progression. This involves moving from one chord tone to the next with the smallest degree of movement. Using this voice leading approach is often easier to sing because of the common tones and stepwise motion that result. 14-ET2 Chapter 1Review Exercises 1, Play @ major triad on your instrument or a piano and listen. While playing the block chord version, sing the arpeggio “1, 3, 5” 2. Establish a major key setting by singing the scale, then sing “do, mi, sof’ to represent the I major triad. Likewise, sing “la, la, do” for the IV chord, and “sol, ti, re” for the V chord. 8. Sing the root position arpeggios to the following progressions. Sing both up and down the triad to make linking the chord roots easier, 4. Sing the voice-led lines, supported by the roots in the bass voice. If possi- ble, sing the lines in ensemble with others to appreciate the full chord ‘sound. Keeping your pari, and not being swayed by the others, can be challenging and a very good test of your intonation and listening skills. 1 IVs eee g sol fa sol sol sol mo fa mire mi do do do tf do do f@ do sof do_(Root motion) eee eee sees seeeec reece eee 'owevii sol la sol sal mio fa emi do do ti do do fa sol. do (Root motion) 1 ow wo sol la sol sol mi. fe fa mi do do ti do do fa sol do _—_ (Root motion) ET2 Chaprer 1 = 151.8 Harmony Voice Leading Exercises ; Use voice leading techniques on the following musical examples to fully realize the harmonic ry progressions. Sing the melodies using solfege; sing the root motion using numbers and/or solfege. E c G7 c F c G7 c 1.4 Solfege Exercises The solfege exercises throughout this book are designed to contribute to fluency with the mov- able-Do system. As you master the challenges offered with each exercise, your skill level will increase with piteh/soffage recognition, articulation of the solfege syllables, functional relation- ships between “do” and other pitches, and familiarity with common structures such as tetra- chords, triads, and seventh chords. ‘The example below shows all the solfage names used in movable-Do with corresponding notes on the staff in the key of C. Solfege & Note Names in C °O"GO"S+G" P9H*G+9-GH-O"9 SabuSHaded eOOHsa OahHsaGu® / 16 - ET2 Chapeer 1Exercise ‘Sing the following exercise in C major. Use solfege and conduct when performing. Diatonic 3rds in © major. BT2 Chaper 1-17Ear Training 2 Workbook Chapter 2 In Chapter 2 we revisit 16th notes. m The sixteenth, eighth and sixteenth pattern, coanceth, ebteonth,sbaoonth rest, siteenth pater, Jd J and the sivtsenth rest and three siteonth patorn 7 d are patterns that are common in many musical styles. ‘Mezzo piano (mp) and fortissimo (f°) dynamic markings are included to expand the oppor- tunity of expression in performance. Carefully display the differences in dynamic nuances and continue to develop in the area of rhythmic accuracy, mp = mezzo piano ff'= fortissimo \ Rhythmic Exercises === ss see 18-ET2 Chapter 2re Chaper 2-1824 Rhythm ‘The following duet includes occurances of the 8th note triplet against the two 8th note pattern: Observe precise rhythmic accuracy and notice the rhythmic tension that this combination cre- ates. Also, timing of straight eighth notes flowing into 8th note triplets presents concerns. Be careful of tempo control as it is not unusual for the musician to either slow down or speed up during this transition. 20—ET2 Chapter 2The following three-part piece should be performed with a 6th note drum groove. Also, sing pitches to form intervals or chords which will add to the development of musicality. | @= 108; 16th groove mp BY2 Chapter 2—2124 Rhythm Perform exercise 10 with a variety of tonal pitches and indefinite pitches. 10. mf 22 ET2 Chapter 2Chapter 2 introduces the natural minor tonality. The scale for this tonality uses three new solfege syllables: Me (lowered Mi), Le (lowered La), and Te (lowered Ti. “This scale construction also corresponds to the Aeolian mode. Here is an example: £ natural minor — = “oS = = = = Do Re = Metis Sho Te Do Notice that the A natural minor scale has the same key signature as C major. Thus, A natural minor is said to be the “relative minor’ of C major. Conversely, © major is the “relative major” of Anatural minor. Sobfa Exercises 4. Do Re Me Fa Sol Le Te Do / Do Te Le Sol Fa Me Re Do / Do Re Me Do Re Fa Me / Sol le Sol Fa Me Fa Sol / Do Me Re Fa Me Re Do / Sol Le Te Sol Do 2. Do Me Do Re Fa Me Do Sof Me Do / Sol Le Sol Fa / Fa Sol Le Sol / Me Fa Solle Te / Te Le Te Sol / Do Te Le Te Le Sol Fa Me Fa Sot / Do Te Le Sol Do Re Me Te Do 3. Le Sol Le Sol Me Do. Le Sol Le Sol / Te Le Sol Fa Me Do Re Me Te Do / Sel Le Fa Sol Me Do Sol Le Te Sol / Me Re Fa Me Sol Te Le Sol Me Fa / Me Do Re Me Le Sol Me Te Re Do ET2 Chapter 2-232.2 Melody Melodic Exercises << ff ee mp 24 —ET2 Chapter 2ET2 Chapter 2~252.2 Melody Melodic Etude 2.3 Harmony Introduction of the Minor Triad: Diatonie VI- and Ili- In Chapter 1, the construction of the major triad was reviewed. Similarly, we can approach the construction of the minor triad. A minor triad consists of a minor third interval between the root and third, and a major third interval between the third and fifth of the triad. It is the minor third interval between the root and third that gives the chord its primary sound quality as “minor.” ‘Throughout this book, minor tonalities will be explored; a minor triad can be considered as representing “do,” “me” and “sol” of a minor scale. Exercises 1. Play minor triads on your instrument or a piano and listen. While playing the triad, sing the arpeagio version: root, minor third and fifth. 2. Compare the sounds of major and minor triads. Note that it is the third of the chord that is the distinctive tone. Sing “do, mi, sof" and compare with “do, me, sol” Within the major scale, there are three diatonic minor triads: II-, Ill~ and Vi-. We will focus on iII- and VI~ in this chapter. These two chords function as tonic, or stable sounds within the tonality. Both triads each contain two commen tones with the tonic functioning | chord, and therefore have a simi- lar sense of stability within the key. 26-ET2 Chapter 2 osChord Progression Exercises Listen to the two simple progressions: |, lll-, I; and i, Vie, |. Sing the following: root motion using solfege or numbers; root position arpeggios. Use the following exercises with these additional common progressions involving lll- and Vi-. 1, Sing through the root motion with sotfege or numbers. 2. Sing root position arpeggios through the progression. 3. Sing through the voies-led lines, supported by the root motion. 4. Within these progressions, you get a mix of major and minor triad sounds; pay attention to ‘these comparative features. 1 tw wove sol sol ja sol sol mimi fate mi do fi do ff do do mi fa ~—sol_-«do.~— (Root motion) 1 th wviot sol sol fa sol sol mimi mire mi do ff do ti do do mi fa sol_-do (Root motion) 1 We Ww ovo sol fa la sol sol mom fa orem do do do ti. do do 2 fa sol do _—_ (Root mation) ' oN vv sol la sol la mo fa rem do do ot do do fa sol fa» (Root motion) ET2 Chapter 2-272.3 Harmony Voice Leading Exercises Use voice leading techniques on the following musical examples to fully realize the harmonic progressions. Sing the melodies using solfege; sing the root motion using numbers or solfage. F An Bb c7 F A Bo C7 1% = = Chord identification Exercises The following exercises and those found in the rest of the book are designed to help you to hear chords by two methods: by determining the function of the melody or bass note (top down or botiom up hearing) and by the chord's relationship to the key (harmonic function). ‘The examples are to be done in class, but also serve as a model by which you can practice outside of class on a keyboard, alone or with a friend. identify the following triads by using the pitch in the melody. Identify the root if itis not in the bass. ‘Try to determine the type of triad first (major, minor, etc.). Also determine the function of the melody (root, 3rd ete.). This is called “hearing from the top down." A FE c F- c Ab =F 28 Se Si ‘Minor Identify the following triads by their harmonic function — give a Roman Numeral answer as in “{ major’ or “VI minor? etc. Use “do” as a reference point to find the chord. c A- E- F G Cc E G A> E- SS SSS Imajor 28 - BT2 Chapter 22.4 Solfege Exercises Try mastering the “dry solfege” approach (solfege syllables in time, with no pitch) before attempting to sing the exercises with pitch, Exercise Sing the following exercise in A natural minor. Use solfege and conduct when performing. Diatonic 3rds in C natural minor. ET2 Chapter 2-29Pact izc| ing 2 Workbook Chapter 3 in Chapter 3 we will acquaint ourselves with swing style rhythms. This style requires a special interpretation of standard notation. Eighth notes are not to bbe performed with an even note spacing. Instead, perform them with a spac- ing that is close to that of broken triplets: m3 3 fTT1-s dS tt should be pointed out, however, that this rhythm adaptation is not necessarily the accurate representation of the rhythm. The players must interpret the rhythm, and most importantly the feel, relative to the tempo. The upbeat is at times performed later than usual if the tempo is slower, (<. J) but this is not a specific adjustment. As previously stated, fee/is the key to per- forming the rhythms in a swing style. It is recommended that you practice these rhythms with a straight 8th note technique as well, since straight 8ths are used in other musical styles, includ- ing rock and Latin. Additionally in this chapter, we will cover 16th notes with the emphasis on 2-note groupings. ae interpret exercises 11—17 with a straight-8th feel. ‘The marcato accent ( A } is introduced in this chapter. Traditionally, it is performed with a heav- ier, or stronger accent than the standard accent (> }. In the jazz swing style, the marcato marking is commonly interpreted as staccato with an extra emphasis. Rhythmic Exercises 30 -ET2 Chapter 3‘B72 Chapter 3-313.41. Rhythm 32-BT2 Chapter 3as aie = == ae ET2 Chapter 3-3332 Melody Perform example 17 as a class duet or an individual duet. There are many ways to play it as an individual duet. This exercise works especially well if you play the top part with the right hand and the bottom part with the left hand. 3.2 Melody ‘Chapter 3 continues our study in natural minor. Sofa Exercises 1. Me Sol Le Sol Me Le Sol / Te Le Sol Me Re Fa Re / Do Fa Me Do Fa Me Re / Me Sol Le Sol Te Re Do / Re Fa Le Sol Le Sol Fa / Sol Te Le Sol Me Fa Sol / Re Fa Le Sol Le Fa Re / Sol Fa Me Do Re Te Do 2 Do Te Sol Te le Fa Sol / Fa Le Fa Re Me Le Sol / Le Do Te Le Fa SolLe / Sol Re Fa Me Do Te Do / Fa Sol Le Sol Me Fa Sol / Me Fa Le Te Sol Fa Sol / Do Te Sol Le Fa Sol Me / Fa Do Me Re Te Mes Do 3. Sol Me Do Le Fa Re Te Le Fa Sol / Do Me Sol Re Fa Le Sol Fa Le Sol / Do Te Sol Fa Le Sol Me Fa Sol Re / Fa Me Le Sol Te Le Sol Me Do Te / Do Le Te Sol Re Fa Me Te Me Do 34—ET2 Chapter 3 oOET2 Chapeer3~3532 Melody POnd time) 36—ET2 Chapter 3Melodic Etude Med. fast ET2 Chapter 3 - 373.3 Harmony Exercises 1. Continue with the same exercises from Chapter 2 in regards to the minor triad. f- and Vsus4 In Chapter 2, the minor triad was introduced. The following progressions will now incorporate the diatonic Il- triad. Unlike IIl- and VI-, the function of the {I+ chord is not stable; its function is nor-tonic and sets up the need for resolution. A unique structure, the Vsus4 chord is not constructed of thirds. The term “sus” stands for suspended; traditionally, the suspended fourth above the root resolved to the major third of the V chord. In contemporary harmony, this resolution does not always occur. The “tension” quality of this chord sound lies somewhere between that of the II- and V chords; its function is certainly non-ionic and sets up a strong need for resolution. 2, Play the Vsus4 triad on your instrument or a piano and listen; play the Vsus4 triad, followed by the V chord in order to hear the resolution of the suspended fourth to the third. 3. Compare the two progressions: |, V, | with I, Vsus4, I. Also, listen to: |, Vsus4, V, |. itis the movernent of do to ti that is most apparent when comparing Vsusé with the V chord. 4. Sing through the following progressions using root position arpeggios. Sing both up and then returning down the chord to pronounce the root motion links within the progression. 5. Apply the voice leading routines with the following progressions. Remember to support these lines with the chord roots as the bottom voice for a clear statement of the chords. Inversions of the chords can be tricky to hear at the beginning stages of your practice. 1 Veo i ov 1 sol fa la sol sol mimi fa re mi do do roti do do oa re sol ~—da._—(Reot motion) ' i i Ve Veus4 sol la ti do. do do do mo ofa sl a la sol sol do re mom fal ore mi doe mola fa sol do (Root motion) 38 -ET2 Chapter 3 /1 wv Vsus4 V7 1 ‘sol la ‘sol ‘sol sol mi fa te fai do do dt do do fa sol sol. da._—_(Root motion) Voice Leading Exercises Use voice leading techniques on the following musical examples to fully realize the harmonic progressions. Sing the melodies using solfege; sing the root motion using numbers or solfege. G a Bb7 Eb Cc Ab Bosiss4 D Eb FZ Bb Fsusé F7 G- E7 Bb ET2 Chapeer 3-393.3 Harmony Chord Identification Exercises Identify the following triads using the “top down” technique. Use the pitch “C" as a starting point; iry to hear the function of the melody as root, 3rd, or 5th of the chord. a> Ee c F A eI SSS Gsus4 aK Identify the following triads by their harmonic function. Using solfege, find the relationship of the chord to the key center. E D- Bb G c A Csus4 # = S 5 ———— 3= au v s = a = 40 - ET2 Chapter 3ET2 Chapter 4-4341 Rhythm bar phrase Tar phrase S-bar phrase S-bar phrase 44-BT2 Chaprer 4 pe3.4 Solfege Exercises While the key centers and scale choices for each exercise correspond to the current chapter in which they are found, you are encouraged to explore other keys which may have more com- fortable vocal range and ability. Exercises Sing the following exercises in D natural minor. Use solfege and conduct when performing. Diatonic rds in D natural minor. BT2 Chapter 3~41i[@] ‘When perform- ing the fare wal, ing 2 Workbook eri ryelC aes 4.1 Rhythm in this chapter we further explore the swing feel but this time in 3/4 meter. ‘Swing in 3/4 is known as the jazz waltz. Again, the 8th notes are performed with the swing interpretation. As in Chapter 3, also practice the rhythms with the straight ath feel. In exercises 9 to 14, odd phrase lengths are introduced. Vary the tempo from one exercise to the next. Note: these are net swing style rhythms, Rhythmic Exercises 42 BT2 Chapeer 44-bar phrase into a -bar phrase 13 ‘S-bar phrase ET2 Chapter 4~4544° Rhythm Perform this exercise in a swing fesl. Make the second part sound like hi-hat cymbals with the splash sound on the notes with the circle above them. 5 ‘Swing > Perform this exercise as a jazz waltz. As in exercise 15, make the second part sound like @ hi-hat cymbal. Swing % ‘¢ = open hi-hat 46 —ET2 Chapuer 44.2 Melody Chapter 4 continues our study in natural minor. We will also be mixing in some major scales, chords and cadences. We also introduce the keys of Ab, F minor and F# minor. Sol-fa Exercises cf Do. Me Sol Me Re Le Te Re Do Me Do Te Le Le Sol i i Sol Fa Sol g3 Re Sol Mi Te La Mi Re Ti Re see ~ Me Fa Sol Mi ag Sol / Sees Re Re Re Fa Mi Mi Me aso Me Re Sol Sol Sot Me so RF Sol Ti Te Sol Fa Fa Me Sol Mi Re Re Fa Me Sol Mi Brea Sol / Do Sol a6 Fa Ti b Sol Sol Fa Me Le Re Te pase Re Te Sol 8b > Sol ET2 Chapeer 4-47Use of relative major and minor. Med. swing P SF ad and last time) 48 ~ET2 Chapeer 4FL? BZ FLT FR-7 Ccir7ds) sae FLT B-7 FR7 FRAT ch FAL7 (se time >>>> >> >> > fixe _onb) FT B-7 ch7 FR >>r> Vo va Vv v —— Bo OA C7 FR Gtous Girtho) Clirig) 2 tre == Use of relative minor and major. ET2 Chapter 4-4942 Melody Slow swing DMaj7_ E-7 FR-7 GMaj7 FHT B-7 E-7 A7 3 DMaj7, CMaj7 B-7 E7 FR7 B7 E-7 A7 DMaj7 Use of relative minor and major. March, f 50-ET2 Chapter 4Chorale Use of parallel major and minor. Med. slow BT2 Chaprer 4—$142 Melody 52. -ET2 Chaposr 44.3 Harmony Vil? and Review of Diatonie Triads The remaining diatonic triad is Vil diminished; its function is also nan-tonic. The construction of a diminished triad is symmetrical, consisting of minor third intervals between the root and third, and third and fifth of the chord. Exercises 1. Play diminished triads on your instrument or a piano and listen. While playing the triad, sing the arpeggio version: root, minor third and dimin- ished fifth, 2. Compare the sounds of minor and diminished triads. in this comparison, itis the fifth of the chord that is the distinctive tone. Sing “do, me, sol” and ‘compare with “do, me, se” 3. Establish a major key setting by singing the scale. Then extract ‘ti, re, fa” which represent the VII diminished triad. Review of Diatonic Triads When it comes to creating diatonic chord progressions, the possibilities are many. Consideration of root motion, chord color, cooperation with the melody, and the balancing of stable and unstable chords within the tonality are important ingredients when building a “workable” chord progression. ‘The following progressions represent but a few of the many possibilities. Experiment with creating some of your own, applying the voice leading exer- cises that have been suggested. Perhaps one of the most popular patterns, the following progression uses the constant pattern of diatonic cycle 5 roct motion. Note that within this cycle, it is a diminished fith interval between the IV and Vilo chords. You can practice this pattern starting anywhere within the cycle, or simply use a portion of the cycle. Exercises 1. Sing root position arpeggios with this diatonic cycle 5 progression. 2. Apply the voice leading routine; again, it is important at this stage of your practice to sup- port the progression with root motion in the bass voice. 1 Vovit ie Vk wh vowiot sol la ti fi do re fe re do m fa fa sol fa la ti t — sol do do re mi m fa col fa mi do f@ ti mi ta re sof sol do (Root motion) ET2 Chapter 4~5343 Harmony ‘Supply the voice-ied lines to the following progressions. Remember to look for common tones and stepwise motion from one chord tone to the next whenever possible. +) 1 Ie ith Ve IV Veus VI 1 Me VE OV Vv te Vv VW 1 L Vie Ie Vv ie Vie WM V7 1 Voice Leading Exercises Use voice leading techniques on the following musica! examples to fully realize the harmonic progressions. Sing the melodies using solfege; sing the root motion using numbers and/or solfege. 54—ET2 Chapter 4Chard identification Exercises Datermine the type of chord quaiity anc function of the melody, AD F CC An re ce Gust x = ze =a = es Identity the following triads by harmonic function. Be a Ab, Se Fe Bb DP # = z= is = Fisy rahdorn tlads Gii.2 keyboard with'a friend arid take tums identifying triads dnd harmonic: functions in a Key center, Play'a note, cait it*do” anc! play a triad in that key for identification. B12 Chaps (~5844 Solfege Exercises Try singing portions of any exercise using octave displacement fo achieve a more successitt! performance in difterant keys and ranges, ‘Sing te following exercise in Ab major. Use solfege and conduct when performing. Sing tho following exorcise in F natural minor. Uso soliege and conduct when performing, 2 ee z See = & eae oak a. ee 56~BE2 Craprer 45.4 Rhythm gligteal emai iore (exos0) eam OL) In Chapter 1 we learned about 6/8 meter. The smatiest note denomination was an eighth note, With cighth notes es the smallest value, 6/8 is,aimost always felt in two. With: sixteenth notes in €/8 it ig Sometimes necassary te stow the tempo’ and be more deliberate with the six beats. Practios the con- ducting pattern. and perform the following 6/2 oxampies. i 1h A imaginary plane ook Mee this in peactic’. When dynamic fluctusticins aro added to long musical phrases (as in exercise 11), the marke ings (erese., dim., etc:) are usod with ividly spaced dashes or dots notween the first eymanic mark and the resulting dynertic mark, Fe —ehenth el ET2 Chapter § -37$8-—ET2 Chapeer S$1 Rhythm 3 =e ee se 12 or = Pm af <= PF - = =. ae Err: mE ae aa aa = —== F Summary Dust 6) = BT2 Chaps $Samos ‘The samba, which is the nationat dance of Brazil, is in 2/4 mater and is performed et a medi- um to fast tempo. Ling one is a fundamental ctythm of the samba. Line twos characterise of ‘an agogo bell part. Line three is a shaker and line four a surdo, which is a bass erum, Line five is an oiectric bass part. Spit the class up into five groups and try to simulate the sounds to perform this rhythm groove. surde (bass crim) BT2 Chapee 3 ~ 825.2 Melody Chapter 5 continues our study of major and minor tonalities. We will also introduce the keys of & major and Ca minor, Sol-fa Exercises 1, Bo Mi Re Sol le Te Do / Ae Fa Me Ae Me Fa Sol Le / Te Ti Ro Re Mi Sol Ti La. / Ti.Do Re Do Te Le Sot / Fa Mi‘Fa Solia TY / Do Té ts Soi Me Re Do Tr La Sol Fa Sot / Sol Fa Mi Re Do / 88 Do -Mi.99./ Do Me.De £ Sol Ma 4 Sok Mi Soff Fa Re Mi Soi Fa Re Me Sot / La Fa Mi Sot / Le Sol Fa Me Sel / Do Sol le Sol Do Sol La Sol / De Te Le Sol. Oo. Ti La’ Set.Do Soi Soi 3. Sol Mi De Mi Sol Me Do Me Sot / Sol. Te Re" Je. Sol Th Re Th Sol / ka Fa Re Fa te Fa Ag Fa le / Sol Mi Do Mi Soi Me Do Te Do Me Sol Te Do Re Do! Be Th Sol Mi Do. Ti Do 62 BV2 Chapeer §Slefodic Exercises> Sone ART? Chageer 5Chorale 7 ET2Chapeer $65$2 Moicdy Melodic Etude Use of parallel miner.and major, 6 ET2 Chapter 5Introduction of the Major 7th Chord: § major 7, 1 major 7 itis important to continue work wth triadic chard structures and diatonic tri- adic progressions. Leaning to comfortably recognize these harmonies will requite steady practice over a good period of time; be patient. When addressing seventh chord harmony, much can be. built from your krowledige of triacs. in this chapter, we wil introduce the major seventh chord structure and explore the possibilities of the distonic harmonies; imajor7 and tvmajor7. A major seventh chord consists of a major iriad plus a major seventh above the ‘cot. Another way of looking at this clidtd Is 16 consider “do, mi, soi, and {i of the major scale. Within a Major tonality, we find two diateriie major sam enth chords: imajor? and iVmajor7. Exercises 1. Play a major seventh chord on.your instrument or a plato and listen: play the. chord as & block structure as wel as arpeggisted. While playtrig the block structure, sing, the arpeggi “3,577 2, Give yoursett 2 ranciom foot tone andty-singing a major seventh sthiciuré: toot, third, fh; seventh: Try this without sotfege. 2. With solfege, practica singing the two dlatonic major séventh chords: | major? as “de, mi, gol, t Wmajor7 as “fa, fa, co, mi,” 4. Gomparé the major seventh struchire with the dominant seventh structure; sing “4,3, 5,75 compare with “1, 3, 5,572. 5. Practice with root positién imajor?. lrhajor? and V7: “do, mi, Sol, t's fa, fa, do, ral"; “sot, ti, fe, fa" returning 10 "do, mi, Sol, ti” EYE Chapeer 5-676. Practice voice loading through the following diatonic seventh chord pro- greceions. Notice thet the reet is eliminated in the upper three voices and is always prasent in the bass voice; in this way, the root motion is clearly stated, imaj? may tmaj7 8 do t sot a sol mi mi mi do Bot de {Rect motion) Srnal7, Wai? .Vsus7 Vv? Amajz: % do, do a t sol ja fa fe sol mi mi @ re mi oo ccd sot sal do (Foot motion). Voice Leading Exercises Use. voice leading techniques. on the following musical examples to fully realize the harmonic Progressions, Sing the melodies using sollege; sing the root motign using numbers or salfege, Distonie 2th Chords and Romian. Numeral Functions: a7? WF VMajT VT vats = = Mair . MT a F Maj? a A? Barbs) DMal7 GMaj7_ DMaj7 GMaj7 DMaj?_ A? DMZ * 68-572 Chapter §GMaj7 CMaj7 GM3j7 Dy : geo =a GMaj7 CMaj? D7 GMaji7 x BoM? BbMaj7-RbMaj7_ EbMaj7_—B>Maj7_ EbMaj7 F7 Chord Identification Exercises Identify the following tiads and 7th chords using the “top dewn" technique. From this point on, only the iead note of the voicing wil be shown, Re pbeaj7 ae os BMal? labia 0 BP oe = ES = = = o 4 qi identity the following tiads and 7th chords by hartonic function. CMaj?—_ EM3i7 G7 D- Be EMaj7 xe = a BT Chapter $= 695,4 Solfege Exercises Remember: do not write the sollege syllables on the notation. if necassary, choose a slower tempo for performance of the exercises. Sing the fellowing oxersise.in.& major. Use solfege and conduct when performing, Fi ote A Sing the following exercise in E natural minor, Lise solfege and conduct when performing, E- RP S Aq 70m RTD Chapter §Ele iets Ce LC cele ae aha “Alla breve," or “cut time,’ indicates there are two beats per measure and the half note receives one beat. The actual tine signature i 8, but @ is com- ironly notated as.@, and ¥s often used for fast tempos, Give bach measure.a “iyo” fel and ase the 2/4 Sonductiag pattern. Bhythmic Exercises BT2 Chapre 6-7264 Rhytin 2. Ree oe eee ae uf PoE onanneneees F 72» B12 Chapeer §Exercises 10a, b, and ¢ show common hemicia pattems, Hemiola is the relationship of two attacks against Uiree attacks within the same time span, Patterts a, b, and ¢.sound identcat but are displayed in different meters. Practice each pattern and then go on to example 11, Be a ‘The tollowiihg 9/4 groove isin a rock feel As in. the past, Split up the. paris In class and. put ait that you have learned to work EBT? Chapter 673BA Rhythen aythm To de 960132 wwe a = ~~ bap : i = = a eS * 7 bo a ent z See alsa ae me f 74 BT2 Chapner 6EY2 Chapser 6-756.2 Melody, ‘Chapter 6 introduces the traditional melodie minor scale. In this scale, < ) ascending melodies use “La” and “Tl” Descending meiodias use “Te” and “Le? The resclution of a note will determine whether It is lowered or raised. c- For exeinpie: ‘Here, while “Ab° appaars to be ascending, it in fact reseives down to Sol. ‘Thus, itis a descending step — “Lo” not ‘La? Sob-fa Exercises Do Re Me Fa Soila Ti Bo / Do Te Le Soi Fa Me Ae Do / Go...Me Fa.-Sol- Le : Soi fo. Sol. la Te Sot. Do Re Do # Do De Sel Do Te / Soi Le Sct Fa Me Re / } Me Fa Sol.Le Ti Do Sol Do. Te Le. Sel. Me..Re . Do: 4 Me Le Sol Fe a8 g 5 £ & a Bo Sol Le Soi Fa Ma Do Me. Sol Do Sol la Ti g # 5 zg gee a To 19: Sot Re Ma J Soi Te..te Sot Fa Me De Ti Do 88 ee ad b 8 Ls a pews ~ 8 Sol Ti Do Re / Ma Do Solia Ti De Ti / Le Te Le Soi Me Re Do Ti Re Me Do / Sol Me Fa Soi / Te Sol Lo Fa Sol Me Ro / Le Fe Sot'Le / Re Do Te Le Scl Do Ti Do geegg 3p 685 76~ET2 Chapoce 6am Melodia Exercises Medium a ; — . = a — as eet = nf® . the eveceneeentenstiaes eS] DG. ab fine > oe : PY et PRR pepe} —$§$ ip tread bo > 2 ee , | 10. Seep oe 7 Ee SEE + ee > SS ee ee = a aSpit up the paris for this funk groove. The E7{9) can be’ piayed ona piand or sting by the class. Fusk Groris E70) >> 1s. Fee a 3 ald ebe ei th Ad E72 Chaper? -877.2 Melody In Chapter 7, we iritraduce the minor scale called jezz melodic minor. This scale uses raised Gith (La) and 7th (T') degrees at all times. We will also review the major, natural minor, end trae ditional minor seales studied in previous chapters. Solfa Exercises 1. Do Re Me Fa Sof La Ti Do / Do Ti La Sol Fa Me Fo Do / Do Ms Re Do Me Soi la / Ti La Sol Me Re Do Re / Me Do. Me Fa Sol.La Ti. / Do Soi Me Sol La Ti. Do 2 Sol Me Soi La Sol Me Ro / Me Gol la Ti Got Me / Do.. Sol Me-Re Fa..Me La 4 Ti Do Sol: Re Ti Do. / Re “Me Sol Ti La Ti Sol Me Fa Me Sol la / Ti Do La Fa Me Soi Fa Re Do Me la Ti Oe Re Do 8s Sci Me 3. Me. Sol Ti Do Ti Soi Me Do / Me Sol Tl La Sol Ma Re. / fa Mola Ti / Oo La Sol Me Fa Re Do / Fa Sol Ti la Mo Re Fa / Fa Sol Ti Me Re Ti / Do Me Sol Ti Re Do Scl Fa / La Ti Sol Me Do Ti. Do &Melodic Exercises De apa, BT2 Chaprer 7-872 Melody ‘Medinm fist in “2” ET? Chspter 772 Mslogy Chorale Melodie Etude Swing spate Fad —s + ‘ By oy So fe ‘ = > > £ > $24 ET2 Chapter?7.3 Harmony r @ iG Compa tos sounds of raner 7h 20d, | ‘VB-755 and V?susd fn this chapter, we will attend to the two remaining diatonic seventh chords: \Viln75 and V7sus4, Once again, we can refer to thisir triadic counterparts, for explanation, Acrinor 755 consists of a diminished triad plus a minor seventh interval above the toot. VI=7bS is represented by “th, re; fa, ehd la in a major key. Visuotis tie tadle struchire blis @ minor, seventh interval above the rogt. iamajer key, this chords represented by “sol, do, 16, and fa” Both Vii-755 and V7sus¢ maintain thelr non-tortc function, Exercisss 1. Play a minor 758 chord Ghord ont’ your instrument oF @ pian and fisten; Blay both the bidck chord and arpeggiated verbion. Whie playing the block chord Structura, sing the arpeggio™t, }, 65,572 2. Give yourself a random root tone anid sing the arpaggio“t ,b8; 95,477" than play tha cotrect Souiid to cheek your eecikacy. 8, Play or sing the major scale for reference, then sing “t,re,fa,la” to represent the diatonic Vite 75 chore, 4. Play a dominant saventh siis4 chord df your Instrument or a piano and Tieton, Apply the above routines with this chord structure. Work on singing the arpeggio “1, 4, 8,7" as well ‘as is diatonic identification “sol, do, ra, fa” ¥ possible, always chock your work aftorwarcs ‘by playing the answer to Gonfirtt your accuracy. 5. The following eyete § progression will bring us through ali the diatonic seventh chords. Remember, you can start this progression at any point, or practice smaller portions from it wmajy ivmaj7 vilerhs m7 t sof ri ao do re Ed fa mo fa fa 8 ro 8 zo! si ver to sel mi a Ce do la fe re Vroust V7. teaj7 do a8 fa fa sot ro re mt sot sof do {Root motion} ET2 Chapsir? - 9873. Harmony Wren working with long harmonic phrase, oftsn compromises are necessary with the voice feading, in order for the entire chord siructura to move smoothly to the next, at times the indi- " 5 vidual fines de not adhere to strict common tone er tendency tone resolutions. : As weil, consider the above example as only one recommendiad solution to voice ieading. There are several cther good solutions. At times you will not have four voices to work with and wil need to be “economic” with your choice of notes. Fer exampie, if you ere limited te three voices, the foliewing practice is common: the bottom cies will romain the root motion, with the upper two voices representing the Grd and 7th. of the chord. Theco two tones. are often referred to as the “guitle tones" because they represent tha moet essential eptor of the.chord sound Below ia an example of this: ‘Practice with the cycie 5 progression used previously. bmaj7 Wmajy VIA7b5 M7 VT 7 V7sus V7 imal? tia fa sot sol fa fe fa. mi mio tre we do dy do ag do fa a. ee. Je. re Sof oi. de {Rect motien) Voice Leading Bxercises Use ubiée leading techniques on the follewing. musical examples to kuly realize the hanmdnic prograssions. Sing the melodies using solfage; sing the rot motion using nembers of solfege. mS Introduction to V7susd. Typical voicings {in the key of C) are: B7/G, Fmal7i@ or BiG. : ‘The basic formuta for simple sus4 voicings is: SEVS of the key. The SD, or sub-dominant 7th chord afo-tinT and iViAaj7. Chord symbols using a diagonal line represent a chord aver a'bass nots. These aro alse cated ‘Sash chords” EMaj7_ BbMaj7 £-795, An? D7 Ge7 CYsusé EMaj7 AT EAT FMaj7 CMaj7 D-7 E-7 — FMsi7/G = CMai7 sear 2 94 —ET2 Chapter 7EbMaj? D-7?3 EbMaj7G-?_ C7 AbMaj? Ab/Bb S)Maj7 EMaj7_ G7sus4 CMaj7 EMaj7 8-795 Ea] Aa? EMaj? CMgj? = = === = fs so ee Chord identification Exercises identify the following 71h chords using “top down” arid hatrnonic function techniques, A-7 EMsji7 AbMaj7 D-7 A-7*S £7 FG P=? PMaj7/G AW C-7 D276 Aes = = = 1 ae = OMg7 FMag? AL7 Du7 E-7 B73 Maj? Asp FMGZIG BL7 B73 AA? = o = = = BY? Chapeés 7-987A Solfege Exercises White the soifage exercises in “sola” on a separate piece of papar. This approach will point ext the generic qualities of the sollege patterns. Sing the following exercise in Ab major. Lise solfege and conduct when performing. ho AbMai7 Bi-7 or DSMaj7, mare pnp See at = Seta > # Ey F7 GaTS A> Diatonic Srds in © jazz melodic minor, Se —— =e o 7 aeaeee 96 ~ ET2 Chapeer 7PSETaeUe haste prantdcis > > f —— = os ee = 5 ee =o a aaa = = =| f —= og Med. fist, 12 BT2 Chap 3cn Z BG sl fie ETD Chapter 8 = 103106 - B12 Chapeer 3Metodic Etude ‘Qhice stowly aa = f. 3 a = —— os Ff < > ET2 Chapter 8-1058.3 Harmony Review of Distonic Harmony within # Major Tonality Authis point, wo hive éxolored al! of the diatonic fads and seventh chords within a major tonality, The emphasis has been on heating individual soot position siructuies as welt as dia- tonic progressions where the root is clearly represented in the bass vcice. This practice in itself will require lols of tine and attention, so be patient, Having a strong, cornfortable sense of root position harmonies wil set the table for further work with inversions and tensions. ‘There are rio short cuts whert comes t6 ear training. Continue te work with the axercises outlined throughout this book. For example, singing and recognizing individual chore ypec: major, miner and diminished trindes major 7, dominant 7, mine 7 and ininor 755 structures, Racognizing and creating dlaterée chord prograssions, using the vaiee leading techniques, prosonts many, many passibiities of study, Most significantly, apply your nowiedge of hearing chords to your dally rhusical activities, Take note of hew many songs thére-are that consist of dia- tonic harmonies. Werorize tunes for their melodic and harmonic faatures, Try transeribing the changes to recorded tunes you are interested in ieam- ing. When composing, tty to hear the harmonise in your head rather than totaly depending on en instrument to hear them, in these ways you can per. sonaiize *he jearning experiance: Through these. salfenotivated activisies you inti gain the exprience needed t6 truly incorporate the knowledge nto your own milSical. journéys and pursuits. Voice Leading Exercises Use voice leading techniques on the following musical examples to fully realize the harnonie progressions. Sing the melodies using solfege; sing the root mation using nombers or softage. c e oS? E E- BG ¢ 20d. BT2 Chapeer 8