Music Theory - Melodies for Sight Singing - Benjamin Crowell
Transcript of Music Theory - Melodies for Sight Singing - Benjamin Crowell
7/31/2019 Music Theory - Melodies for Sight Singing - Benjamin Crowell
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7/31/2019 Music Theory - Melodies for Sight Singing - Benjamin Crowell
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7/31/2019 Music Theory - Melodies for Sight Singing - Benjamin Crowell
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7/31/2019 Music Theory - Melodies for Sight Singing - Benjamin Crowell
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Brief Contents
I Rhythm 13I-1 Whole, Half, and Quarter Notes 13
I-2 3/4 Time, and Dotted Half-Notes 14
I-3 Eighth Notes 14
I-4 Dotted Quarter Notes 14
I-5 Sixteenth Notes 15
I-6 Dotted Eighth Notes 15
I-7 Compound Time 16
I-8 Syncopation 16
I-9 Triplets 16
II Major Keys 17II-1 Introduction to Solfeggio 17
II-2 Melodies Containing Only Steps 19
II-3 Leaps to ‘Do’ 25
II-4 Leaps Back to Remembered Notes 25
II-5 Easy Leaps Within the Tonic Triad 27
II-6 The Leap of a Fifth Within the Tonic Triad 31
II-7 Leaps of a Sixth Within the Tonic Triad 33
II-8 Leaps Within the Dominant 35
II-9 Wider Leaps Within the Dominant 41
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III Minor Keys 51III-1 Solfeggio in the Minor Mode 51
III-2 Steps 53
III-3 Leaps Within the Tonic Triad 56
III-4 Leaps Within the Dominant 59
IV Other Diatonic Materials 67IV-1 Leaps Between the Tonic and Dominant 67
IV-2 Leaps Within the Subdominant, Major Keys 69
IV-3 Wide Leaps Within the Subdominant 81
IV-4 Leaps Within the Subdominant, Minor Keys 83
IV-5 Leaps of a Seventh 86
IV-6 Other Perfect Fourths and Fifths 91
IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale 101
V Nondiatonic Materials 103V-1 Secondary Dominants and Chromatic Passing Tones 103
V-2 Blue Notes 116
V-3 Relative Minor and Major 118
VI The C Clef 121
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Contents
I Rhythm . . . . . . . . .13I-1 Whole, Half, and QuarterNotes . . . . . . . . . . . . . . . . 131 rhythm of Twinkle Twinkle, Little Star , 4/4 . 132 rhythm of Little Brown Jug , 4/4 . . . . . 133 rhythm of Bingo , 4/4 . . . . . . . . . . 134 rhythm of Rain, Rain, Go Away , 4/4 . . . . 135 rhythm of O Come, All Ye Faithful , 4/4 . . 13
I-2 3/4 Time, and Dotted Half-Notes . . . . . . . . . . . . . . . . 146 rhythm of We Three Kings , 3/4. . . . . . 147 rhythm of Take Me Out to the Ball Game , 3/414
I-3 Eighth Notes . . . . . . . . .148 rhythm of O Little Town of Bethlehem, 4/4 . 149 rhythm of We Wish You a Merry Christmas ,3/4 . . . . . . . . . . . . . . . . . . 1410 rhythm of This Old Man, 4/4 . . . . . . 1411 rhythm of Hush Little Baby , 4/4 . . . . . 14
I-4 Dotted Quarter Notes . . . .1412 rhythm of Jingle Bells , 4/4 . . . . . . . 1413 rhythm of Jimmy Crack Corn, 4/4 . . . . 1414 rhythm of Away in a Manger , 3/4 . . . . 1515 rhythm of Rockabye Baby , 3/4 . . . . . 1516 rhythm of Home On the Range , 3/4 . . . 15
I-5 Sixteenth Notes. . . . . . . .1517 Tchaikovsky, rhythm of trepak from The Nutcracker , 2/4 . . . . . . . . . . . . . 15
I-6 Dotted Eighth Notes. . . . .1518 rhythm of Alouette , 4/4 . . . . . . . . 1519 Tchaikovsky, rhythm of waltz of the owers from The Nutcracker , 3/4 . . . . . . . . . 1520 rhythm of I’ve Been Working on the Rail-road , 4/4 . . . . . . . . . . . . . . . 15
I-7 Compound Time . . . . . . .1621 rhythm of Here We Go Round the Mulberry Bush, 6/8 . . . . . . . . . . . . . . . 1622 rhythm of The Itsy-Bitsy Spider , 6/8 . . . 1 623 rhythm of Pop Goes the Weasel , 6/8 . . . 1624 rhythm of Row, Row, Row Your Boat , 12/8 16
I-8 Syncopation . . . . . . . . . .1625 Joplin, rhythm of The Entertainer , 2/4 . . 16
I-9 Triplets. . . . . . . . . . . . .1626
Tchaikovsky, rhythm of march from The Nutcracker , 4/4 . . . . . . . . . . . . . 16
II Major Keys. . . . .17II-1 Introduction to Solfeggio . .17II-2 Melodies Containing OnlySteps . . . . . . . . . . . . . . . .1927 C, 4/4 . . . . . . . . . . . . . . . 1928 C, 4/4 . . . . . . . . . . . . . . . 1929 C, 3/4 . . . . . . . . . . . . . . . 1930 Beethoven, Ode to Joy , C, 4/4 . . . . . 1931 G, 3/4 . . . . . . . . . . . . . . . 1932 G, 3/4 . . . . . . . . . . . . . . . 1933 carol (Bohemia), D, 4/4 . . . . . . . . 2034 Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’ , A, 4/4 . . . . . . . . . 2035 Latour, The Beautiful Angel , E, 6/8 . . . 2 036 Lewis, B, 3/4 . . . . . . . . . . . . 2037 B , 4/4 . . . . . . . . . . . . . . . 2038 Lewis, B , 4/4 . . . . . . . . . . . . 20
39 E , 3/4 . . . . . . . . . . . . . . . 2040 A , 4/4 . . . . . . . . . . . . . . . 2141 D , 4/4 . . . . . . . . . . . . . . . 2142 G , 4/4 . . . . . . . . . . . . . . . 2143 G, 6/8 . . . . . . . . . . . . . . . 2144 C, 4/4, 1 . . . . . . . . . . . . . . 2145 Emerson, Whither Through the Meadow? ,C, 2/4, 1. . . . . . . . . . . . . . . . 2146 C, 3/4 . . . . . . . . . . . . . . . 2147 G, 4/4 . . . . . . . . . . . . . . . 2248 Lewis, C, 4/4 . . . . . . . . . . . . 2249 Lewis, C, 4/4 . . . . . . . . . . . . 2250 Lewis, C, 6/8 . . . . . . . . . . . . 2351 Lewis, B , 4/4 . . . . . . . . . . . . 24
II-3 Leaps to ‘Do’ . . . . . . . .2552 G, 3/4 . . . . . . . . . . . . . . . 2553 F, 3/4 . . . . . . . . . . . . . . . 25
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II-4 Leaps Back to RememberedNotes . . . . . . . . . . . . . . . . 2554 C, 4/4 . . . . . . . . . . . . . . . 2555 Bach, Chorale, ‘Seelenbr autigam, Jesu,Gottes Lamm’ , A, 4/4 . . . . . . . . . . 2556 Bach, Chorale, ‘Jesu, meiner Seelen Wonne’ ,A, 4/4. . . . . . . . . . . . . . . . . 2557 G, 4/4 . . . . . . . . . . . . . . . 2658 folk song, C, 3/4 . . . . . . . . . . . 26
II-5 Easy Leaps Within the TonicTriad . . . . . . . . . . . . . . . .2759 Beethoven, opening theme of Symphony #3 (‘Eroica’), E , 3/4 . . . . . . . . . . . . 2760 Scarlatti, Su, Venite a Consiglio , G, 3/4 . . 2761 Latham, Broadway Sights , A, 6/8 . . . . 2762 A la Claire Fontaine (France), F, 2/4 . . . 2763 Pergolesi, aria ‘Sancta Mater’ from Stabat Mater , G, 4/4. . . . . . . . . . . . . . 2764 Sullivan, E , 6/8 . . . . . . . . . . . 2765 A Recouvrance (France), F, 4/4 . . . . . 2866 Froebel, Pat-a-Cake , C, 12/8 . . . . . . 2867 Carmela (Mexico), E , 4/8 . . . . . . . 2868 My Father, How Long? (Florida), F, 4/4 . 2869 Bach, Chorale, ‘Es ist gewisslich an der Zeit’ ,B , 4/4 . . . . . . . . . . . . . . . . 2870 Annie Laurie , C, 4/4. . . . . . . . . . 2971 Cutler, The Son of God Goes Forth to War ,B , 4/4 . . . . . . . . . . . . . . . . 2972 Luther, We Come Unto Our Father’s God ,G, 4/4. . . . . . . . . . . . . . . . . 2973 Lawlan’ Jenny (Scotland), D, 3/4 . . . . 2974 Foster, Hard Times Come Again No More ,E , 4/4 . . . . . . . . . . . . . . . . 3075 Weston, Row, Burnie, Row , E , 2/4 . . . 3076 En Revenant d’Auvergne (France), B , 2/4. 3077 Entendez-Vous Sur l’Ormeau (France), F,4/4, 1 . . . . . . . . . . . . . . . . . 30
II-6 The Leap of a Fifth Within
the Tonic Triad . . . . . . . . . .3178 Rousseau, Hush, My Babe , F, 2/4 . . . . 3 179 Dans la Foret Lointaine (France) , F, 2/4. . 3180 The Beggar Girl (England), F, 6/8 . . . . 3 181 Hawthorne, Home, By and By , F, 4/4 . . . 3182 Froebel, Beckoning the Pigeons , G, 3/8 . . 3283 F, 2/4 . . . . . . . . . . . . . . . 32
II-7 Leaps of a Sixth Within theTonic Triad. . . . . . . . . . . . .3384 As-Tu Vu la Casquette? (France) , G, 2/4 . 3385 Praise, Member (South Carolina) , G, 2/4 . 3386 Froebel, Beckoning the Chickens , F, 2/4. . 3387 folk song, G, 2/4 . . . . . . . . . . . 3388 Poor Rosy (South Carolina), G, 2/4 . . . 3389 Poor Rosy (South Carolina), C, 2/4 . . . 3490 Wrighton, The Dearest Spot on Earth , B ,4/4 . . . . . . . . . . . . . . . . . . 3491 Absent Davie (Scotland), D, 4/4 . . . . . 3492 A, 4/4 . . . . . . . . . . . . . . . 3493 B , 3/4, 1 . . . . . . . . . . . . . . 34
II-8 Leaps Within the Dominant 3594 Mozart, allegro from ‘Eine kleine Nacht-musik’ , F, 4/4 . . . . . . . . . . . . . 3595 Mozart, Duet No. 2, Menuet, from 12
Duets, K.V. 487 , G, 3/4 . . . . . . . . . 3596 folk song, G, 3/4 . . . . . . . . . . . 3597 Derrier’ Chez Nous il y a Trois Fleurs (France) , G, 2/4. . . . . . . . . . . . . 3598 ¨ Annchen von Tharau (Germany), G, 3/4. . 3599 Ah! Mon Beau Chateau! (France) , A, 2/4 . 36100 Ainsi Font, Font, Font (France) , G, 2/4 . 36101 Husband, Revive Us Again, C, 3/4 . . . 36102 Lightly Row (Spain), F, 2/4 . . . . . . 36103 God Speed the Right (Germany), C, 4/4 . 36104 Mozart, aria (Papageno) from ‘The Magic Flute’ , G, 2/4 . . . . . . . . . . . . . . 36105 Sch¨ onster Schatz, Mein Engel , D, 3/4 . . 37106 Down in the Valley , C, 9/8 . . . . . . 37107 Musieu Bainjo (Louisiana), G, 2/4 . . . 37108 Brother, Guide Me Home (Tennessee) , A,4/4 . . . . . . . . . . . . . . . . . . 37109 Serenata (California) , B , 2/2 . . . . . 37110 Mozart, adagio from string quartet # 1 , G,3/4 . . . . . . . . . . . . . . . . . . 37111 Bach, Chorale, ‘Es spricht der UnweisenMund wohl’ , B , 4/4 . . . . . . . . . . . 37112 Beuttner, Es kam ein treuer Bote , F, 4/4 . 38113 Bach, Chorale, ‘Valet will ich dir geben’ , D,4/4 . . . . . . . . . . . . . . . . . . 38114 Bach, Chorale, ‘Wie bist du Seele in mir so gar betr¨ ubt’ , G, 4/4 . . . . . . . . . . . 38115 Gardez Piti Milatte-la (Louisiana), B , 4/4 38116 Shout On, Children (Georgia), A, 2/4 . . 38117 Schubert, Wohin? , G, 4/8 . . . . . . . 39
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118 Bach, Chorale, ‘Liebster Jesu, wir sind hier’ ,G, 4/4. . . . . . . . . . . . . . . . . 39119 Haydn, menuet Oxford symphony , G, 3/4. 39120 Bach, Chorale, ‘Mach’s mit mir, Gott, nachdeiner Gut’ , D, 4/4 . . . . . . . . . . . 39121 Schubert, Halt! , C, 6/8 . . . . . . . . 39122 Holst, Venus theme from The Planets , D,
3/4 . . . . . . . . . . . . . . . . . . 39123 Serenata (California) , B , 2/2 . . . . . 40124 If Your Foot Is Pretty, Show It (United States) , D, 3/8 . . . . . . . . . . . . . 40125 G, 3/4 . . . . . . . . . . . . . . . 40
II-9 Wider Leaps Within theDominant . . . . . . . . . . . . .41126 Bates, America the Beautiful , C, 4/4 . . 41127 Eli Yale , B , 2/4 . . . . . . . . . . . 41128 Krambambuli , D , 2/4 . . . . . . . . 41
129 Go ’Way, Old Man (Louisiana), E , 3/4 . 41130 Our Baby (France) , A, 2/4 . . . . . . 42131 Aux Marches du Palais (France), F, 6/8 . 42132 Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’ , A, 4/4 . . . . . . . . . 42133 Bach, minuet , D , 3/4 . . . . . . . . 42134 Arlequin Tient Sa Boutique (France) , A,2/4 . . . . . . . . . . . . . . . . . . 42135 Ballade de Roland (France), G, 6/8 . . . 43136 folk song, G, 6/8 . . . . . . . . . . 43137 Tu Eres Mas Bella (Costa Rica), F, 2/4 . 43
138 Praise, Member (South Carolina) , G, 2/4 . 43139 Wach’ Auf, Mein Hort , F, 6/8 . . . . . 44140 Barbara Allan (Scotland) , B, 4/4 . . . . 4 4141 I’m a Pilgrim (Italy), G, 4/4 . . . . . . 44142 Haydn, nale, London symphony , D, 4/4 . 44143 Dans Notre Jardin (France) , F, 2/4 . . . 45144 The Gypsy Warning (Missouri), E , 3/4 . 45145 Jungfraulein, Soll Ich Mit Euch Gehn, F,4/4 . . . . . . . . . . . . . . . . . . 45146 G, 4/4 . . . . . . . . . . . . . . . 45147 Strauss, Not Yet , A , 6/8 . . . . . . . 46148 Ah, Suzette, Chere (Louisiana) , E , 3/4 . 46149 La Paloma Blanca (Arizona), F, 6/8 . . . 46150 Schubert, Das Wandern , B , 4/8 . . . . 46151 C, 3/4 . . . . . . . . . . . . . . . 46152 Chill Ether (Scotland), E , 3/4 . . . . . 47153 folk song, A , 3/4 . . . . . . . . . . 47154 folk song, A, 6/8 . . . . . . . . . . 47
155 Bach, Chorale, ‘Nun ruhen alle Walder’ , B ,4/4 . . . . . . . . . . . . . . . . . . 48156 Bach, Chorale, ‘Wenn wir in h¨ ochstenN¨ oten sein’ , G, 4/4 . . . . . . . . . . . 48157 The Duke of Argyle’s Courtship (Scotland),D, 3/4. . . . . . . . . . . . . . . . . 48158 Samuel, The Fairy Boat , G, 2/4 . . . . 48
159 Gar Lieblich Hat Sich Gesellet , F, 2/4 . . 48160 B , 4/4, 1 . . . . . . . . . . . . . 49
III Minor Keys . . . .51III-1 Solfeggio in the MinorMode . . . . . . . . . . . . . . . .51III-2 Steps. . . . . . . . . . . . .53161 a, 4/4 . . . . . . . . . . . . . . . 53162 a, 6/8 . . . . . . . . . . . . . . . 53163 a, 3/4 . . . . . . . . . . . . . . . 53164 a, 3/4 . . . . . . . . . . . . . . . 53165 Lewis, a, 4/4 . . . . . . . . . . . . 53166 Lewis, a, 3/4 . . . . . . . . . . . . 53167 Lewis, a, 3/4 . . . . . . . . . . . . 54168 Lewis, d, 4/4 . . . . . . . . . . . . 54169 Lewis, d, 4/4 . . . . . . . . . . . . 54170 Lewis, d, 3/4 . . . . . . . . . . . . 54171 Lewis, d, 3/2 . . . . . . . . . . . . 54172 Bach, gavotte in G minor , g, g/minor . . 54173 Lewis, a, 4/4 . . . . . . . . . . . . 55
III-3 Leaps Within the TonicTriad . . . . . . . . . . . . . . . .56174 c, 4/4 . . . . . . . . . . . . . . . 56175 c, 4/4 . . . . . . . . . . . . . . . 56176 Wedge, c, 3/4. . . . . . . . . . . . 56177 Who Got Dirt on the Carpet Again?, c, 4/456178 c, 3/4 . . . . . . . . . . . . . . . 56179 c, 4/4 . . . . . . . . . . . . . . . 56180 Wedge, f, 2/4 . . . . . . . . . . . . 57181 Wedge, f, 2/4 . . . . . . . . . . . . 57182 Wedge, f, 2/4 . . . . . . . . . . . . 57183 f, 4/4 . . . . . . . . . . . . . . . 57184 Bach, Chorale, ‘Herr, nun lass in Friede’ , a,4/4 . . . . . . . . . . . . . . . . . . 57185 Every Hour in the Day (Georgia), e, 2/4 . 57186 Forget na’, dear Lassie (Scotland), a, 3/4. 58187 Bach, Chorale, ‘Es steh’n vor Gottes Throne’ , g, 4/4 . . . . . . . . . . . . . 58
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188 Mozart, theme from symphony in G minor ,g, 4/4 . . . . . . . . . . . . . . . . . 58189 Thou Poor Bird , c, 4/4, 1 . . . . . . . 58
III-4 Leaps Within the Dominant59190 Wedge, g, 3/4. . . . . . . . . . . . 59191 Wedge, g, 2/4. . . . . . . . . . . . 59
192 My Field (Russia), g, 4/4 . . . . . . . 59193 g, 9/8 . . . . . . . . . . . . . . . 59194 Wedge, g, 3/4. . . . . . . . . . . . 59195 Wedge, g, 3/4. . . . . . . . . . . . 59196 Wedge, c, 3/4. . . . . . . . . . . . 60197 Bach, melody from the notebook for AnnaMagdalena, g, 3/4 . . . . . . . . . . . . 60198 lullabye (Russia), e , 4/4 . . . . . . . 60199 Las Tristes Horas , e, 2/4 . . . . . . . 60200 Wedge, g, 3/4. . . . . . . . . . . . 60201 Froebel, The Wolf , c, 4/8 . . . . . . . 60202 Guten Abend , g, 3/8 . . . . . . . . . 60203 Bach, Gavotte II from cello suite # 5 , c,12/8 . . . . . . . . . . . . . . . . . 61204 Lolotte (Louisiana), c, 4/4 . . . . . . . 61205 Mozart, menuet from string quartet # 15 ,d, 3/4 . . . . . . . . . . . . . . . . . 61206 Los Ojos Mexicanos (Mexico), g, 2/4 . . 61207 White, Ophelia’s Song , e, 4/4 . . . . . 61208 Bach, Chorale, ‘Nun sich der Tag geendet hat’ , a, 4/4. . . . . . . . . . . . . . . 61209 Reir Es Necesario (Mexico), d, 2/4 . . . 62210 En Avant, Grenadiers! (Louisiana) , e , 4/4 62211 Angel de Mis Amores (Mexico), d, 2/4 . . 62212 Schubert, Am Feierabend , a, 6/8 . . . . 6 2213 Bach, Chorale, ‘O Traurigkeit, o Herzeleid’ ,a, 4/4 . . . . . . . . . . . . . . . . . 62214 Brahms, Nachtwache 1, b, 4/4 . . . . . 63215 Mi Sue˜ no (Mexico), c , 3/4 . . . . . . 63216 Bach, Chorale, ‘O Haupt voll Blut und Wunden,’ from St. Matthew’s Passion, d, 4/4. 63
217 Bach, Chorale, ‘Von Gott will ich nicht lassen’ , b, 4/4 . . . . . . . . . . . . . 63218 Wedge, g, 4/8. . . . . . . . . . . . 64219 Wedge, g, 3/4. . . . . . . . . . . . 64220 Handel, aria ‘O Jordan, Sacred Tide’ fromEsther , g, 3/4 . . . . . . . . . . . . . . 65221 Go Down, Moses (Unites States), g, 4/4 . 65
IV Other DiatonicMaterials..........67IV-1 Leaps Between the Tonicand Dominant . . . . . . . . . . .67222 Ya Viene El Alba (California), G, 2/4 . . 67223 Scarlatti, Gia il Sole dal Gange , A , 3/4 . 67224 Schubert, Danksagung an den Bach, G, 2/467225 Grieg, e, 4/4 . . . . . . . . . . . . 67226 zandunga folk song (Southern Mexico), e,3/4 . . . . . . . . . . . . . . . . . . 68227 Carcini, Amarilli, Mia Bella, g, 4/4 . . . 68
IV-2 Leaps Within the Subdom-inant, Major Keys. . . . . . . . .69228 Jehovah, Hallelujah (South Carolina), F,3/4 . . . . . . . . . . . . . . . . . . 69229 Arlequin Marie Sa Fille (France), C, 3/4 . 69230 folk song, F, 2/4. . . . . . . . . . . 69231 folk song, F, 2/4. . . . . . . . . . . 69232 Foster, Old Folks at Home , D, 4/4 . . . 7 0233 Lang Johnny More (Scotland), F, 2/4 . . 70234 The Bonniest Lass in a’ The Land (Scot-land), C, 2/4 . . . . . . . . . . . . . . 70235 Old Hundred , G, 4/4 . . . . . . . . . 71236 Da Unten Im Tale , E , 3/4 . . . . . . 71237 I Want To Be Ready (United States) , E ,2/4 . . . . . . . . . . . . . . . . . . 71238 Fasolo, Cangia, Cangia Tue Voglie , C, 2/4 71239 The Ash Grove (Wales), F, 3/4 . . . . . 71240 West, The Jenny Lind Mania (United States) , G, 2/4 . . . . . . . . . . . . . 71241 Au Jardin de Mon Pere (France) , F, 6/8 . 71242 Strauss, Devotion, C, 4/4 . . . . . . . 72243 I Ride an Old Paint (United States) , D, 3/472244 Whittier, Song of the Free , E , 3/2 . . . 72245 Handel, aria ‘Hush ye pretty warbling quire’ from Acis and Galatea, F, 3/8 . . . . . . . 72246 Tallis, If Ye Love Me , F, f/major . . . . 73247 Sinner Won’t Die No More (Tennessee), A,4/4 . . . . . . . . . . . . . . . . . . 73248 Mozart, opening from clarinet quintet , A,4/4 . . . . . . . . . . . . . . . . . . 73249 The Gold Band (Tennessee) , G, 3/4 . . . 73250 Pergolesi, tune from Stabat Mater , G, 4/4 74251 Bonnie Wee Window (Arkansas), E, 6/8 . 74
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252 Fearis, Beautiful Isle of Somewhere , A , 6/874253 Bradbury, He Leadeth Me , B, 4/4 . . . . 7 5254 Sullivan, The Blue Juniata , F, 2/4 . . . 75255 Red River Valley , E, 4/4 . . . . . . . 75256 I’m In Trouble (Florida), C, 4/4. . . . . 75257 Haydn, introduction, London symphony , D,4/4 . . . . . . . . . . . . . . . . . . 75
258 Rosa Lee , A , 2/4 . . . . . . . . . . 76259 My Lodging Is On the Cold Ground , A, 6/876260 Cowboy’s Home Sweet Home (Arkansas),G, 12/8 . . . . . . . . . . . . . . . . 76261 Calinda (Louisiana), F, 6/8 . . . . . . 76262 The Braes O Yarrow (Scotland) , C, 3/4 . 77263 Gaudeamus Igitur , G, 3/4 . . . . . . . 77264 Mozart, andante from string quartet # 2 ,A, 3/4. . . . . . . . . . . . . . . . . 77265 The Wild Moor (Missouri), B, 3/4 . . . 77266 Brahms, introduction, 1st symphony , C,
4/4 . . . . . . . . . . . . . . . . . . 77267 Caroline (Louisiana), G, 4/4 . . . . . . 78268 Avril (France), E , 6/8 . . . . . . . . 78269 Mozart, menuet from string quartet # 10 ,C, 3/4. . . . . . . . . . . . . . . . . 78270 The Hallowed Spot (Missouri), A , 3/4. . 78271 folk song (Russia), G, 2/4 . . . . . . . 79272 The Ship That Never Returned (Missouri),A, 2/4. . . . . . . . . . . . . . . . . 79273 Paradies, M’ha Preso Alla Sua Ragna, A ,2/4 . . . . . . . . . . . . . . . . . . 80274
Die Sonne Scheint Nicht Mehr , E, 4/4 . . 80275 Ubi Bene, Ibi Patria, C, 6/8 . . . . . . 80
IV-3 Wide Leaps Within theSubdominant . . . . . . . . . . .81276 Mozart, presto from string quartet # 4 , C,2/4 . . . . . . . . . . . . . . . . . . 81277 Ellor, Diadem, B , 3/4 . . . . . . . . 81278 Mozart, rondo from string quartet # 6 , B ,2/4 . . . . . . . . . . . . . . . . . . 81279 Adieu, Bonne Hˆ otesse (France) , F, 4/4. . 81280 Derriere Chez Moi (France) , F, 2/4 . . . 82281 Foster, The Song of All Songs , F, 4/4 . . 82282 Gladden, The Mountains , B , 4/4 . . . . 8 2
IV-4 Leaps Within the Subdom-inant, Minor Keys. . . . . . . . .83283 Wedge, f, 2/4 . . . . . . . . . . . . 83284 Wedge, f, 3/4 . . . . . . . . . . . . 83
285 Wedge, c, 2/4. . . . . . . . . . . . 83286 g, 4/4 . . . . . . . . . . . . . . . 83287 Hanukah O Hanukah, d, 4/8, Presto. . . 84288 Vivo Llorando la Suerte (Mexico), d, 2/4 . 84289 Mozart, Osanna (bass solo, allegro) fromSanctus, Requiem, D, 3/4 . . . . . . . . . 84290 Bach, trio from Brandenburg concerto #
1, d, 3/4 . . . . . . . . . . . . . . . . 84291 Que No Te Amo (Mexico), g, 4/4 . . . . 8 4292 folk song (Russia), d, 4/4 . . . . . . . 85293 folk song (Russia), f, 2/4 . . . . . . . 85294 Entre Vous Tous Gens de la Ville (France),f, 3/4 . . . . . . . . . . . . . . . . . 85
IV-5 Leaps of a Seventh . . . . .86295 Mozart, menuet from string quartet # 8 ,F, 3/4 . . . . . . . . . . . . . . . . . 86296 Hess, Little Charley Went a Fishing , F, 6/8 86297 folk song, A, 4/4 . . . . . . . . . . 86298 Carmela (Mexico), E , 4/8. . . . . . . 87299 Mozart, menuet from string quartet # 1 ,C, 3/4. . . . . . . . . . . . . . . . . 87300 Gwine Follow (South Carolina), A, 2/4 . . 88301 Mendelssohn, aria ‘If with all your hearts ye truly seek me’ from Elijah, E , 3/4 . . . . . 88302 Bayly, Long, Long Ago , D , 4/4 . . . . 88303 Cradle Song , F, 4/4 . . . . . . . . . 88304 Widdecombe Fair (England), C, 3/4 . . . 89305 Walk, Shepherdess, Walk (Arkansas) , C,4/4 . . . . . . . . . . . . . . . . . . 89306 Reir Es Necesario (Mexico), F, 2/4 . . . 89307 folk song (Russia), A, 3/4 . . . . . . . 89308 A Quinze Ans (France), g, 6/8 . . . . . 89309 Mozart, menuet from string quartet # 8 ,F, 3/4 . . . . . . . . . . . . . . . . . 90310 Mozart, presto from string quartet # 7 , E ,2/4 . . . . . . . . . . . . . . . . . . 90311 Upidee , G, 4/4 . . . . . . . . . . . 90
IV-6 Other Perfect Fourths andFifths . . . . . . . . . . . . . . . .91312 Mozart, opening from string quartet # 4 ,C, 4/4. . . . . . . . . . . . . . . . . 91313 folk song, G, 2/4 . . . . . . . . . . 91314 La Rana (Mexico), D, 3/4 . . . . . . . 92315 Poulton, Aura Lee , F , 4/4 . . . . . . 92316 Weber, Softly Now the Light of Day , A, 2/492317 Harris, After the Ball , B , 3/4 . . . . . 93
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318 Sullivan, Take a Pair of Sparkling Eyes , F,6/8 . . . . . . . . . . . . . . . . . . 93319 Sullivan, Sing Hey to You, Good-Day to You! , G, 2/4 . . . . . . . . . . . . . . 93320 Foster, Slumber My Darling , E , 6/8 . . . 93321 Foster, Gentle Annie , E, 4/4 . . . . . . 93322 Were You Ever in Rio Grand , B, 6/8 . . . 94
323 Rimsky-Korsakov, Scheherezade (theme from third movement), C, 6/8 . . . . . . . 94324 Beethoven, opening movement from string quartet # 1 , F, 3/4 . . . . . . . . . . . 94325 Mozart, trio from string quartet # 1 , C, 3/494326 Abt, Kathleen Aroon, G, 3/4 . . . . . . 94327 folk song (Germany), D, 4/4 . . . . . . 95328 Moore, Love’s Young Dream, G, 6/8 . . . 95329 Giordiano,, Caro Mio Ben, D, 4/4 . . . . 96330 Remon (Louisiana) , F, 2/4. . . . . . . 96331 Juanita , D, 3/4 . . . . . . . . . . . 96332 Thompson, Lilly Dale , B , 4/4 . . . . . 97333 G, 2/4 . . . . . . . . . . . . . . . 97334 Pergolesi, aria from Stabat Mater , G, 4/4. 97335 Bach, menuet II from cello suite # 2 , D,3/4 . . . . . . . . . . . . . . . . . . 97336 Brahms, introduction, 1st symphony , C,4/4 . . . . . . . . . . . . . . . . . . 98337 processional march song (Germany), D, 4/498338 Milhaud, Chant de Sion, A , 4/4 . . . . 98339 Sagt Mir, O Sch¨ onste Schaf’rin Mein, A,6/8 . . . . . . . . . . . . . . . . . . 99340 Gunhilde , F, 2/4 . . . . . . . . . . . 99341 Ach, Englische Schaeferin, F, 3/4 . . . . 99342 Bach, Chorale, ‘War’ Gott Nicht Mit Uns Diese Zeit’ , C, 4/4 . . . . . . . . . . . . 99343 Handel, Angels Ever Bright and Fair , E ,4/4 . . . . . . . . . . . . . . . . . .100344 Beethoven, allegro from string quartet # 6 , B , 3/4 . . . . . . . . . . . . . . .100
IV-7 The Diminished SeventhChord, and the Harmonic MinorScale . . . . . . . . . . . . . . . .101345 a, 4/4 . . . . . . . . . . . . . . .101346 O Daniel (Florida), d, 4/4 . . . . . . . 101347 Bach, Invention 2 , c, c/minor . . . . .101348 Mozart, andante un poco allegretto fromstring quartet # 5 , a, 4/4 . . . . . . . . .101349 Goldfaden, Raisins with Almonds , a, 3/4,Lullabye . . . . . . . . . . . . . . . .102
V Nondiatonic Materials103V-1 Secondary Dominants andChromatic Passing Tones . . . .103350 Luther, A Mighty Fortress Is Our God , D,4/4 . . . . . . . . . . . . . . . . . .103351 Kevin Barry (Ireland), C, 3/4. . . . . . 103352 Who Got Dirt on the Carpet Again?, c, 4/4103353 Conkey, God is Love, His Mercy Brightens ,G, 3/4. . . . . . . . . . . . . . . . .104354 Shoals, Valedictory , G, 4/4 . . . . . .104355 Autrefois le Rat de Ville (France), G, 2/4.104356 Webbe, Come, Ye Disconsolate , B , 2/2 .105357 Keller, Angel of Peace , F, 4/4 . . . . . 105358 Buttereld, When You and I Were Young ,C , 4/4 . . . . . . . . . . . . . . . .106359 Woodbury, Speed Away! Speed Away! , A,3/8 . . . . . . . . . . . . . . . . . .106360 Mozart, aria from the Magic Flute , E , 3/8106361 Let God’s Saints Come In (Virginia), G, 2/4106362 Vivo Penando (California), F, 2/4 . . . .107363 Allan Maclean (Scotland), G, 3/4 . . . .107364 Stradella, Ragion Sempre Addita, A, 3/8 .107365 Dans le Port, Il Est Arrive (France), G, 2/4107366 Root, Brother, Tell Me of the Battle , D,3/4 . . . . . . . . . . . . . . . . . .108367 Cooper, Beautiful Bells , A , 3/4 . . . . 108368 McNaughton, The Faded Coat of Blue , G,4/4 . . . . . . . . . . . . . . . . . .108369 Mozart, menuet from string quartet # 1 ,C, 3/4. . . . . . . . . . . . . . . . .109370 Haydn, adagio poco cantabile from string quartet, Op. 73, #3 (‘Emperor’) , G, 4/4 . . .109371 Crep´ usculo (Mexico), D, 2/4 . . . . . .110372 Media Noche (California), E , 2/4 . . . .110373 Pergolesi, tune from Stabat Mater , f, 4/4.110374 Bach, Bourree I I from orchestral suite #2 ,b, 4/4 . . . . . . . . . . . . . . . . .111375 The Cruel Mother (England), E , 3/4 . .111376 Hawthorne, Out of Work , A , 4/4 . . . . 111377 Joplin, The Easy Winners , C, 2/4 . . . .112378 Edwards, In My Merry Oldsmobile , G, 3/4112379 Erlaube Mir, Fein’s Madchen, F, 3/4. . .112380 Bach, Menuet I from orchestral suite #1 ,G, 3/4. . . . . . . . . . . . . . . . .113
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381 Handel, chorus from ‘Judas Maccabaeus’ ,C, 4/4. . . . . . . . . . . . . . . . .113382 Shackleton, The Orange and the Black , B ,4/4 . . . . . . . . . . . . . . . . . .114383 Adelphi School Song , G, 4/4 . . . . . . 114384 Mozart, Duet from The Magic Flute , E ,6/8 . . . . . . . . . . . . . . . . . .115
385 Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487 , G, 3/4 . . . . . . . . .115
V-2 Blue Notes . . . . . . . . . .116386 The Graveyard (South Carolina), F, 2/4 .116387 Roll, Jordan, Roll (United States), D, 2/4 116388 Cyclone at Ryecove (Missouri), A, 3/4 . .116389 Europe, Goodnight Angeline , G, 4/4 . . .117390 ’Tis Me, O Lord (Unites States), A , 4/4 .117
V-3 Relative Minor and Major .118391 Schwesterlein, g, 3/4 . . . . . . . . .118392 Es Ritt ein Ritter , b, 6/8 . . . . . . .118393 Cradle Song (Sweden), f, 2/4 . . . . .118394 Bach, Chorale, ‘Beehl du deine Wege’ , b,4/4 . . . . . . . . . . . . . . . . . .118395 Bach, Chorale, ‘Das Walt’ Mein Gott,Vater, Sohn’ , d, 4/4 . . . . . . . . . . .119396 Feinsliebchen, Du Sollst , a, 2/4 . . . . .119
397 Bach, Chorale, ‘Gib Dich Zufrieden und Sei Stille’ , e, 4/4 . . . . . . . . . . . . . .119398 Crouch, Kathleen Mavourneen, C, 3/4 . .120
VI The C Clef . . . .121399 C, 4/4 . . . . . . . . . . . . . . .121400 C, 3/4 . . . . . . . . . . . . . . .121401 The Ash Grove (Wales), C, 3/4 . . . . .121402 Haydn, menuet Oxford symphony , C, 3/4.121403 folk song, C, 6/8 . . . . . . . . . . 122404 Wach’ Auf, Mein Hort , C, 6/8 . . . . .122405 La Paloma Blanca (Arizona), C, 6/8. . .122406 Holst, Venus theme from The Planets , G,3/4 . . . . . . . . . . . . . . . . . .122407 folk song, G, 6/8 . . . . . . . . . . 123408 Pergolesi, aria ‘Sancta Mater’ from Stabat Mater , F, 4/4 . . . . . . . . . . . . . .123409 Mozart, aria (Papageno) from ‘The Magic Flute’ , B , 2/4 . . . . . . . . . . . . .123410 Haydn, nale, London symphony , D, 4/4 .123411 Every Hour in the Day (Georgia), a, 2/4 .123412 lullabye (Russia), a, 4/4 . . . . . . . .123413 Feinsliebchen, Du Sollst , a, 2/4 . . . . .124414 Crouch, Kathleen Mavourneen, G, 3/4 . .124
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Chapter IRhythm
The rhythms in this chapter all come from well-known tunes. After reading them, you may want tolook at the titles, which are given in the table of contents. If you’re working with a teacher, you maywish to clap the rhythm twice, with the teacher counting beats the rst time, and singing the tunethe second time.
I-1 Whole, Half, and Quarter Notes
1 2 3
4 5
1 , rhythm of Twinkle Twinkle, Little Star 2 , rhythm of Little Brown Jug 3 , rhythm of Bingo 4 , rhythm of Rain, Rain, Go Away 5 , rhythm of O Come, All Ye Faithful
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I-2 3/4 Time, and Dotted Half-Notes
643 43
743 43
I-3 Eighth Notes
8
9
4343
10 11
I-4 Dotted Quarter Notes
12 13
6 , rhythm of We Three Kings 7 , rhythm of Take Me Out to the Ball Game 8 , rhythm of O Little Town of Bethlehem 9 , rhythm of We Wish You a Merry Christmas 10 , rhythm of This Old Man 11 , rhythm of Hush Little Baby 12 , rhythm of Jingle Bells 13 , rhythm of Jimmy Crack Corn
14 Chapter I. Rhythm
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14 4343
15 4343
16 43 43
I-5 Sixteenth Notes
174242
I-6 Dotted Eighth Notes
18 19
43 43
20
14 , rhythm of Away in a Manger 15 , rhythm of Rockabye Baby 16 , rhythm of Home On the Range 17 P.I.Tchaikovsky, rhythm of trepak from The Nutcracker 18 , rhythm of Alouette 19 P.I. Tchaikovsky, rhythm of waltz of the owers from The Nutcracker 20 , rhythm of I’ve Been Working on the Railroad
I-5. Sixteenth Notes 15
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I-7 Compound Time
21 8 6 8 6
22 8 6 8 6
23 8 6 8 6
24 8 128
12 I-8 Syncopation
254242 I-9 Triplets
26 3 3
21 , rhythm of Here We Go Round the Mulberry Bush 22 , rhythm of The Itsy-Bitsy Spider 23 , rhythm of PopGoes the Weasel 24 , rhythm of Row, Row, Row Your Boat 25 Scott Joplin, rhythm of The Entertainer 26 P.I.Tchaikovsky, rhythm of march from The Nutcracker
16 Chapter I. Rhythm
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Broadly speaking, there are two main approaches to learning solfeggio singing. One can learn to singintervals, or to sing each note according to its role in the key. That is, we can hear each note in relationto the preceding note, or in relation to the tonic. Suppose, for example, that we’re singing a piece of music in the key of C major, and having just sung B, which is ‘ti,’ we see that the next note in themelody is C, which is ‘do.’ In the rst approach, we recognize this as the interval of a half-step (minorsecond), so we move to the note a half-step above the one we’ve just sung. In the second technique,we know how to sing ‘do’ because of its special sound in relation to the key: it’s the tonic, the note
that sounds like it would be a good one to end the song on. In reality, one doesn’t use either techniqueexclusively. We might as well ask Shakespeare what he does when he reads words: ‘Mr. Shakespeare,do you use phonics, or do you recognize whole words?’ A uent reader is actually decoding patternsat a subconscious level, and the process is extremely rapid because most of the patterns are familiar.
Because the goal is rapid recognition of patterns at a subconscious level, one should not expect tobecome a uent sight singer by articial devices. For instance, many people learn to recognize theinterval of a major sixth using a tune such as ‘My Bonnie Lies Over the Ocean’ or the NBC jingle.This is a good thing to learn, just as it’s good to learn that an E at the end of a word makes thepreceding vowel long. But a uent reader doesn’t look at the word ‘sure’ and think ‘silent E makesthe U long.’ Learning the phonics rules is necessary, but having learned them, we actually becomeuent readers through the act of reading large amounts of English.
There is also a pitfall to this technique of learning to hear intervals via a personalized list of familiarmelodies. The leap of a major sixth in ‘My Bonnie’ is a leap from ‘so’ up to ’mi,’ but your brain willprobably refuse to recognize the leap from ‘re’ to ‘ti’ as being the same thing, because ‘re’ and ‘ti’play different roles in the key than ‘so’ and ‘mi.’ Some people learn two melodies, one for ‘so-mi’ andone for ‘re-ti.’ Some might even do another two for the downward leaps ‘mi-so’ and ‘ti-re!’ This justshows that the technique is articial and not usually very useful.
18 Chapter II. Major Keys
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II-2 Melodies Containing Only Steps
In each example, start by identifying which line or space on the staff represents ‘do,’ the tonic. If you have an instrument at hand, play the tonic, and then sing enough notes from the tonic chordto bracket the range of the melody, e.g., ‘do mi so do’ for the octave spanned by the rst example.If an instrument is not available, pick a note for ‘do’ that will put the melody in the most comfort-able part of your vocal range. Locate the notes of the tonic chord on the staff to use as reference points.
27 28 29 4
343
famous tune (identied in the table of contents)
30 The following example is in a new key: its ‘do’ is the former ‘so.’ If you have trouble convincing yourbrain to switch keys, try singing ‘do re mi fa so’ in the old key, then repeating the last note as ‘do,’and nally singing ‘do ti do’ — with authority!
31 4343
32
4343
II-2. Melodies Containing Only Steps 19
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33 34
35
Moderato
8 6 8 6
Note that the following two examples both have the tonic on the line at the center of the staff, so theone with ve sharps actually isn’t any more difficult to read.
364343
37 The following ve melodies all begin on ‘so.’
38 We now begin moving around the circle of fths in the opposite direction. ‘Ti’ in the previous keyis attened, and becomes ‘fa’ of the new key. If you’re singing the new, attened version of the notecorrectly, you should be able to hear its strong tendency to resolve down to ‘mi.’
39 4343
33 anonymous, carol (Bohemia) 34 J.S. Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’ 35 Pierre Latour,The Beautiful Angel 36 L.R. Lewis 38 L.R. Lewis
20 Chapter II. Major Keys
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40 3 3
41
The following two melodies both have the tonic at the same place on the staff.
42
43 8 6 8 6
Canon for two voices:
44 21
Canon for two voices:
4521
4242
46
43
4343
43
45 L.O. Emerson, Whither Through the Meadow?
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Canon for two voices:
47
48
49
48 L.R. Lewis 49 L.R. Lewis
22 Chapter II. Major Keys
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24 Chapter II. Major Keys
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II-3 Leaps to ‘Do’
52 4
343
53 Adagio
4343
II-4 Leaps Back to Remembered Notes
54 *
*
55 **
56*
*
The following example uses both leaps back to remembered notes and leaps to the tonic.
55 J.S. Bach, Chorale, ‘Seelenbr¨ autigam, Jesu, Gottes Lamm’ 56 J.S. Bach, Chorale, ‘Jesu, meiner Seelen Wonne’
II-3. Leaps to ‘Do’ 25
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II-5 Easy Leaps Within the Tonic Triad
This section introduces leaps of a third, a fourth, and an octave within the tonic triad.
famous tune (identied in the table of contents)
594
3
4
3
60 Allegro
4343
61
Allegretto
8
6
8
6
62Allegro
4242
63
64 8
6 8 6
65
60 Alessandro Scarlatti, Su, Venite a Consiglio 61 W.H. Latham, Broadway Sights 62 anonymous, A la Claire Fontaine(France) 63 Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater 64 A.S. Sullivan 65 anonymous,A Recouvrance (France)
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66
8 128
12
67 8
48 4
3 3 3
68
69
70
66 Froebel, Pat-a-Cake 67 anonymous, Carmela (Mexico) 68 anonymous, My Father, How Long? (Florida) 69 J.S.Bach, Chorale, ‘Es ist gewisslich an der Zeit’ 70 anonymous, Annie Laurie
28 Chapter II. Major Keys
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71
72
7343
43
3
71 H.S. Cutler, The Son of God Goes Forth to War 72 Martin Luther, We Come Unto Our Father’s God 73 anonymous,Lawlan’ Jenny (Scotland)
II-5. Easy Leaps Within the Tonic Triad 29
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74
75
Allegretto
4
2
4
2
The following example includes a leap of a sixth, but it’s an easy leap back to ‘do.’
76 Con moto 4242
This four-part canon includes a leap of a sixth to ‘do.’
77321 4
74 Stephen Foster, Hard Times Come Again No More 75 H. Burgess Weston, Row, Burnie, Row 76 anonymous, En Revenant d’Auvergne (France) 77 anonymous, Entendez-Vous Sur l’Ormeau (France)
30 Chapter II. Major Keys
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82 8 38 3
8342
Andante
42
82 Froebel, Beckoning the Pigeons
32 Chapter II. Major Keys
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II-7 Leaps of a Sixth Within the Tonic Triad
84 42
Allegro vivace
42
85 4
242
86 4242
874242
The next example includes both leaps within the tonic triad and leaps to ‘do.’ Because of its widerange, it is given in two keys; make sure to choose a key in which you can actually reach all the notes!
8842 42
84 anonymous, As-Tu Vu la Casquette? (France) 85 anonymous, Praise, Member (South Carolina) 86 Froebel,Beckoning the Chickens 87 folk song 88 anonymous, Poor Rosy (South Carolina)
II-7. Leaps of a Sixth Within the Tonic Triad 33
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89 4242
Another example that includes leaps to ‘do.’
90
91 92
Canon for two voices:
93 2
1 4343
89 anonymous, Poor Rosy (South Carolina) 90 W.T. Wrighton, The Dearest Spot on Earth 91 anonymous, Absent Davie (Scotland)
34 Chapter II. Major Keys
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II-8 Leaps Within the Dominant
This section introduces leaps of a third within the dominant. Fourths, fths, and sixths are includedin section II-9, and leaps of a seventh within the dominant chord are deferred until section IV-5.
famous tune (identied in the table of contents)
94 95 4
343
96 4343 97
Un poco allegretto
4242
98
43
43
99
4
2
Moderato
4
2
95 W.A. Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487 96 folk song 97 anonymous, Derrier’ Chez Nous il y a Trois Fleurs (France) 98 anonymous, ¨ Annchen von Tharau (Germany) 99 anonymous, Ah! Mon Beau Chˆateau! (France)
II-8. Leaps Within the Dominant 35
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10543 Hell und freudig
43
106 8
9 8 9
1074242
108 109
3 3 3 3 3
110 4343
111
105 anonymous, Sch¨ onster Schatz, Mein Engel 106 anonymous, Down in the Valley 107 anonymous, Musieu Bainjo
(Louisiana) 108 anonymous, Brother, Guide Me Home (Tennessee) 109 anonymous, Serenata (California) 110 W.A.Mozart, adagio from string quartet # 1 111 J.S. Bach, Chorale, ‘Es spricht der Unweisen Mund wohl’
II-8. Leaps Within the Dominant 37
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112 113
114
115
Allegretto con grazia
116
4
242
112 Nikolaus Beuttner, Es kam ein treuer Bote 113 J.S. Bach, Chorale, ‘Valet will ich dir geben’ 114 J.S. Bach, Chorale,‘Wie bist du Seele in mir so gar betr¨ ubt’ 115 anonymous, Gardez Piti Milatte-l` a (Louisiana) 116 anonymous, Shout On, Children (Georgia)
38 Chapter II. Major Keys
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117 8 48 4
118
119
4343
120
121 8
6 8 6
122
4343
117 Franz Schubert, Wohin? 118 J.S. Bach, Chorale, ‘Liebster Jesu, wir sind hier’ 119 Franz Joseph Haydn, menuet Oxford symphony 120 J.S. Bach, Chorale, ‘Mach’s mit mir, Gott, nach deiner Gut’ 121 Franz Schubert, Halt! 122
Gustav Holst, Venus theme from The Planets
II-8. Leaps Within the Dominant 39
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123
3
3
3
3
3
3
3
3
3
3
124
Moderato
8 38 3
12543
43
123 anonymous, Serenata (California) 124 anonymous, If Your Foot Is Pretty, Show It (United States)
40 Chapter II. Major Keys
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II-9 Wider Leaps Within the Dominant
This section introduces leaps within the dominant as broad as a sixth. Leaps of a seventh are deferreduntil section IV-5.
famous tune (identied in the table of contents)
126 127
42
42
128 4
2 42
129
43 43
127 anonymous, Eli Yale 128 anonymous, Krambambuli 129 anonymous, Go ’Way, Old Man (Louisiana)
II-9. Wider Leaps Within the Dominant 41
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1304242
131
8 6 8 6
132
133 4
343
1344
2
Un poco allegretto
4
2
135
8 6
8 6
130 anonymous, Our Baby (France) 131 anonymous, Aux Marches du Palais (France) 132 J.S. Bach, Chorale, ‘Herr,wie du willst, so schick’s mit mir’ 133 J.S. Bach, minuet 134 anonymous, Arlequin Tient Sa Boutique (France) 135
anonymous, Ballade de Roland (France)
42 Chapter II. Major Keys
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136
8 6
8 6
137
42
4
2
13842
42
136 folk song 137 anonymous, Tu Eres Mas Bella (Costa Rica) 138 anonymous, Praise, Member (South Carolina)
II-9. Wider Leaps Within the Dominant 43
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139
8 6
Mit kraeftiger Leidenschaft
8 6
140
141
142
139 anonymous, Wach’ Auf, Mein Hort 140 anonymous, Barbara Allan (Scotland) 141 anonymous, I’m a Pilgrim (Italy)142 Franz Joseph Haydn, nale, London symphony
44 Chapter II. Major Keys
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14342
Allegro
42
144 4
343
3 3 3 3
145
Lebhaft, doch zart
146
Allegretto
143 anonymous, Dans Notre Jardin (France) 144 anonymous, The Gypsy Warning (Missouri) 145 anonymous,Jungfr¨ aulein, Soll Ich Mit Euch Gehn
II-9. Wider Leaps Within the Dominant 45
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147
Molto mesto 8
6 8 6
14843
Allegretto comodo
43
149
8 6
8 6
150 8
48 4
151Andante
4343
147 Richard Strauss, Not Yet 148 anonymous, Ah, Suzette, Chere (Louisiana) 149 anonymous, La Paloma Blanca
(Arizona) 150 Franz Schubert, Das Wandern
46 Chapter II. Major Keys
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15243 43
153
43 43
8
3
Fine
D.S. al ne
154
8
6
8
6
155
152 anonymous, Chill Ether (Scotland) 153 folk song 154 folk song 155 J.S. Bach, Chorale, ‘Nun ruhen alle Walder’
II-9. Wider Leaps Within the Dominant 47
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156
15743
43
3
158
Andante
4242
159
42 Anmutig
42
Canon for two voices:
156 J.S. Bach, Chorale, ‘Wenn wir in h¨ ochsten N¨ oten sein’ 157 anonymous, The Duke of Argyle’s Courtship (Scotland)158 Harold Samuel, The Fairy Boat 159 anonymous, Gar Lieblich Hat Sich Gesellet
48 Chapter II. Major Keys
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1602
1
II-9. Wider Leaps Within the Dominant 49
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50 Chapter II. Major Keys
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Chapter IIIMinor Keys
III-1 Solfeggio in the Minor Mode
Some people sing in the minor mode using these solfeggio syllables:
doremefaso
le
tedodo
ti
lasofameredo
This system has the advantage that most of the notes have the same functions as in the major mode.‘Do’ is still the tonic, ‘so’ the dominant, ‘ti’ the leading tone, and so on. In this system, the names of the notes stay the same when switching between the parallel major and minor.
Others prefer this:
latidoremi fa solala si meredotila This system highlights the relationship between the minor and its relative major.
If you don’t have a teacher who wants you to use one system or another, I suggest you use the rstone, because it lets you recycle many of the patterns you’ve learned in minor. For instance, ‘so-ti-do’is still a formula for a cadence.
In both systems, the vowel ‘i’ is used for a sharpened note, and ‘e’ for a attened one. The chromaticscale looks like this:
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dotililasisofamiriredido
so
le
la
tetido
do
ra
re
memi
fa
se
The important thing is to pick a system and learn it thoroughly. (I use my own enharmonic systemin which the chromatic scale is ‘do gu ri bu mi fa ka so ja la pa ti do.’)
52 Chapter III. Minor Keys
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III-2 Steps
The purpose of the rst exercise is to get used to the solfeggio syllables used in minor.
161Poco a poco accelerando
162
8 6 8 6
163
Largo
4343
This melody introduces the use of the ascending and descending forms of the melodic minor scale.The rhythmic gure is the same as in the preceding tune.
164 Largo
4343
165 166 4
343
16743 43
165 L.R. Lewis 166 L.R. Lewis 167 L.R. Lewis
III-2. Steps 53
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168
169 170
4343
171 2
3 23
172
168 L.R. Lewis 169 L.R. Lewis 170 L.R. Lewis 171 L.R. Lewis 172 J.S. Bach, gavotte in G minor
54 Chapter III. Minor Keys
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III-3 Leaps Within the Tonic Triad
174 175 176 4
343
177 3 3
178
43 43
179
176 G.A. Wedge 177 Who Got Dirt on the Carpet Again?
56 Chapter III. Minor Keys
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180 4242
181
4242
182 4
242
183
184
185 4242
186
43
43
180 G.A. Wedge 181 G.A. Wedge 182 G.A. Wedge 184 J.S. Bach, Chorale, ‘Herr, nun lass in Friede’ 185 anonymous,
Every Hour in the Day (Georgia) 186 anonymous, Forget na’, dear Lassie (Scotland)
III-3. Leaps Within the Tonic Triad 57
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187
famous tune (identied in the table of contents)
188
Round:
189 321 4
187 J.S. Bach, Chorale, ‘Es steh’n vor Gottes Throne’ 189 anonymous, Thou Poor Bird
58 Chapter III. Minor Keys
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III-4 Leaps Within the Dominant
19043 43
191 4242
famous tune (identied in the table of contents)
192Andante
193 8 9
Vivace
8 9
194 4343
195 4343
190 G.A. Wedge 191 G.A. Wedge 194 G.A. Wedge 195 G.A. Wedge
III-4. Leaps Within the Dominant 59
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196 4343
197
4343
198
Largo
199
42
42
200 4
343
201
8
4
8
4
202
8 3
Draengend, doch nicht schnell 8 3
196 G.A. Wedge 197 J.S. Bach, melody from the notebook for Anna Magdalena 198 anonymous, lullabye (Russia) 199
anonymous, Las Tristes Horas 200 G.A. Wedge 201 Froebel, The Wolf 202 anonymous, Guten Abend
60 Chapter III. Minor Keys
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203 8 12
8 12
204
205 4
343
206
4
2
42
3
3 3
207 Andantino
3
208
203 J.S. Bach, Gavotte II from cello suite # 5 204 anonymous, Lolotte (Louisiana) 205 W.A. Mozart, menuet from string quartet # 15 206 anonymous, Los Ojos Mexicanos (Mexico) 207 Maude Valerie White, Ophelia’s Song 208 J.S. Bach,Chorale, ‘Nun sich der Tag geendet hat’
III-4. Leaps Within the Dominant 61
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209 42 42 3
210
Allegro marziale
211
42 42
3 3
3 3
212 8 6 8 6
213
209 anonymous, Reir Es Necesario (Mexico) 210 anonymous, En Avant, Grenadiers! (Louisiana) 211 anonymous, Angel de Mis Amores (Mexico) 212 Franz Schubert, Am Feierabend 213 J.S. Bach, Chorale, ‘O Traurigkeit, o Herzeleid’
62 Chapter III. Minor Keys
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219
4343
220 4
3 43
219 G.A. Wedge 220 G.F. Handel, aria ‘O Jordan, Sacred Tide’ from Esther
64 Chapter III. Minor Keys
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famous tune (identied in the table of contents)
221 Lento
III-4. Leaps Within the Dominant 65
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66 Chapter III. Minor Keys
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Chapter IVOther Diatonic Materials
IV-1 Leaps Between the Tonic and Dominant
The following three songs contain the leap from ‘ti’ to ‘mi.’
2224242
22343
Allegro giusto 43
224 4
242
The next three use leaps of a diminished fourth, an interval which sounds like a major third, and istypical of minor keys.
225
222 anonymous, Ya Viene El Alba (California) 223 Alessandro Scarlatti, Gi a il Sole dal Gange 224 Franz Schubert,
Danksagung an den Bach 225 Grieg
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226 43 43
227
Moderato affetuoso
226 anonymous, zandunga folk song (Southern Mexico) 227 Giulio Carcini, Amarilli, Mia Bella
68 Chapter IV. Other Diatonic Materials
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IV-2 Leaps Within the Subdominant, Major Keys
The rst two tunes clearly imply the subdominant chord in the marked measures.
22843
* *
43
* 229
*Allegro
4343
More commonly, the melody leaps into or out of ‘la’ without spelling out the subdominant chordexplicitly. Although dominant harmony can often be implied strongly with only one or two notes, thisis not usually true of the subdominant, because of its weaker character. Since thirds are the mostcommon leaps, the most important new leaps to learn to sing are the ones between ‘do’ and ‘la’ andbetween ‘fa’ and ‘la.’ This melody leaps from ‘do’ to ‘la:’
230*
*
4
242
This one jumps from ‘la’ to ‘fa:’
231*
4242
famous tune (identied in the table of contents)
232
3 3
3
228 anonymous, Jehovah, Hallelujah (South Carolina) 229 anonymous, Arlequin Marie Sa Fille (France) 230 folk song231 folk song
IV-2. Leaps Within the Subdominant, Major Keys 69
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3 3
3
A great deal of Scottish folk music uses a major scale that omits ‘ti.’ ‘Fa’ is sometimes left out aswell, forming a ve-note, or pentatonic, scale. Once one’s ear adjusts to the sound of the scale, the
characteristic leap between ‘do’ and ‘la’ no longer sounds like a leap at all. Of the following twoexamples, the rst is pentatonic, while the second uses the full major scale. The rst example hasbeen notated with the style’s typical elaborate ornamentation, which you may wish to ignore.
233 4242
234 42 42
233 anonymous, Lang Johnny More (Scotland) 234 anonymous, The Bonniest Lass in a’ The Land (Scotland)
70 Chapter IV. Other Diatonic Materials
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235 236
Sanft bewegt
4343
237
Andante 4242
238
Moderato
4242
239 4343
240
4
2
4
2
241
8
6 Animato
8 6
235 anonymous, Old Hundred 236 anonymous, Da Unten Im Tale 237 anonymous, I Want To Be Ready (United States)238 G.B. Fasolo, Cangia, Cangia Tue Voglie 239 anonymous, The Ash Grove (Wales) 240 W.H.C. West, The Jenny Lind
Mania (United States) 241 anonymous, Au Jardin de Mon Pere (France)
IV-2. Leaps Within the Subdominant, Major Keys 71
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242
Moderato
243 43 43
244
23
Andante sostenuto
23
245 8 3 8 3
242 Richard Strauss, Devotion 243 anonymous, I Ride an Old Paint (United States) 244 J.G. Whittier, Song of the Free245 G.F. Handel, aria ‘Hush ye pretty warbling quire’ from Acis and Galatea
72 Chapter IV. Other Diatonic Materials
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246
247
248
249 4
343
246 Thomas Tallis, If Ye Love Me 247 anonymous, Sinner Won’t Die No More (Tennessee) 248 W.A. Mozart, opening from clarinet quintet 249 anonymous, The Gold Band (Tennessee)
IV-2. Leaps Within the Subdominant, Major Keys 73
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250
2518
6 8
6
252
Moderato
8
6 8 6
253
250 Giovanni Battista Pergolesi, tune from Stabat Mater 251 anonymous, Bonnie Wee Window (Arkansas) 252 J.S.Fearis, Beautiful Isle of Somewhere 253 W.B. Bradbury, He Leadeth Me
74 Chapter IV. Other Diatonic Materials
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254
4242
255
256
3
257
258
42
Allegretto
42
254 M.D. Sullivan, The Blue Juniata 255 anonymous, Red River Valley 256 anonymous, I’m In Trouble (Florida) 257
Franz Joseph Haydn, introduction, London symphony 258 anonymous, Rosa Lee
IV-2. Leaps Within the Subdominant, Major Keys 75
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259
8 6 8 6
260
8
12
8 12
261
8 6 8 6
259 anonymous, My Lodging Is On the Cold Ground 260 anonymous, Cowboy’s Home Sweet Home (Arkansas) 261
anonymous, Calinda (Louisiana)
76 Chapter IV. Other Diatonic Materials
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26243 43
263
43
Maestoso 43
264 4
343
26543
43
3 3 3
3 3
3
3
266
262 anonymous, The Braes O Yarrow (Scotland) 263 anonymous, Gaudeamus Igitur 264 W.A. Mozart, andante from string quartet # 2 265 anonymous, The Wild Moor (Missouri) 266 Johannes Brahms, introduction, 1st symphony
IV-2. Leaps Within the Subdominant, Major Keys 77
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27142
Adagio
42
272
42
42
273 42 42
Allegretto mosso
271 anonymous, folk song (Russia) 272 anonymous, The Ship That Never Returned (Missouri) 273 Pier DomenicoParadies, M’ha Preso Alla Sua Ragna
IV-2. Leaps Within the Subdominant, Major Keys 79
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274
Gehalten und empndungsvoll
Lebhaft
43
275
8 6
Moderato
8 6
Vivace
274 anonymous, Die Sonne Scheint Nicht Mehr 275 anonymous, Ubi Bene, Ibi Patria
80 Chapter IV. Other Diatonic Materials
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IV-3 Wide Leaps Within the Subdominant
27642 42
277
43 43
278 4242
279 Moderato
276 W.A. Mozart, presto from string quartet # 4 277 J. Ellor, Diadem 278 W.A. Mozart, rondo from string quartet # 6 279 anonymous, Adieu, Bonne Hˆotesse (France)
IV-3. Wide Leaps Within the Subdominant 81
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28042 42
281
Moderato
282
280 anonymous, Derriere Chez Moi (France) 281 Stephen Foster, The Song of All Songs 282 S.W. Gladden, TheMountains
82 Chapter IV. Other Diatonic Materials
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IV-4 Leaps Within the Subdominant, Minor Keys
283 4242
284 4343
285 4242
286
Largo
287 8 4
Presto
8 4
283 G.A. Wedge 284 G.A. Wedge 285 G.A. Wedge 287 anonymous, Hanukah O Hanukah
IV-4. Leaps Within the Subdominant, Minor Keys 83
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288
42
42
289
43
43
290
4343
291
292
Allegretto
288 anonymous, Vivo Llorando la Suerte (Mexico) 289 W.A. Mozart, Osanna (bass solo, allegro) from Sanctus, Requiem 290 J.S. Bach, trio from Brandenburg concerto # 1 291 anonymous, Que No Te Amo (Mexico) 292 anonymous, folk song
(Russia)
84 Chapter IV. Other Diatonic Materials
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293
Allegretto
4242
294
4343
Lightly
293 anonymous, folk song (Russia) 294 anonymous, Entre Vous Tous Gens de la Ville (France)
IV-4. Leaps Within the Subdominant, Minor Keys 85
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IV-5 Leaps of a Seventh
With leaps of a seventh, as with any very broad leap, the most common problem is simply theinability to reach the note. Make sure to sing each example in an appropriate key. If the leap of aseventh is upward, nd the lowest key in which you can comfortably sing the lowest note of the melody.
A factor in the sight-singer’s favor is that the most difficult leaps to sing are usually the ones thatare ugly as well, and therefore composers don’t write them; in real music, most leaps of a seventhoccur in certain special contexts that make them both easier to sing and more acceptable to the ear.Although it is possible to memorize the sounds of the minor and major seventh leaps and sing themon demand, that’s a fundamentally unnatural way to think about melody; keep in mind that most of the examples in this section are folk songs created by people who were illiterate, and probably couldnot have performed such a trick themselves.
Another technique for use when all else fails is to imagine the seventh as a downward step, with thesecond note moved up an octave. In all the following examples, however, we’ll see that there are better
solutions arising naturally from the logic of the melodic line.
The rst example is easy, because the leap begins a repetition.
295 * 4
343
The next two examples are not much harder; there is repetition, but at a pitch one step higher.
296 *
Lively
8 6 8 6
297 *
295 W.A. Mozart, menuet from string quartet # 8 296 C. Hess, Little Charley Went a Fishing 297 folk song
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In the next tune, the leap upward from ‘ti’ to ‘la’ is heard as the inversion of the earlier step downfrom ‘ti’ to ‘la.’
2988 4 8 4
3 3
3
*
The next example has a leap of a seventh as part of a dominant seventh chord. It resolves downwardto ‘mi,’ and this ‘fa-mi’ relationship is one of the most prominent landmarks of the key, so you maynd that the easiest way to hit the ‘fa’ is simply by locating ‘fa-mi.’
299 * 4
343
This tune, like the preceding one, uses the familiar ‘so-fa-mi’ pattern. The leap is also made easierbecause we’ve just sung ‘fa’ in the low register, and because, looking ahead, we anticipate the de-scending scale ‘fa-mi-re-do.’
30042 42
*
298 anonymous, Carmela (Mexico) 299 W.A. Mozart, menuet from string quartet # 1 300 anonymous, Gwine Follow (South Carolina)
IV-5. Leaps of a Seventh 87
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Another ‘so-fa-mi’ example. The ‘fa’ is heard as part of a logical progression of prominent high pointsin the line.
301 4343
*
302
*
303
301 Felix Mendelssohn, aria ‘If with all your hearts ye truly seek me’ from Elijah 302 T.H. Bayly, Long, Long Ago 303
anonymous, Cradle Song
88 Chapter IV. Other Diatonic Materials
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30443 43
*
305
3 3 3
3 3 3
306 4242 3 3
307
43
*
Moderato
43
308
8 6
8
6
304 anonymous, Widdecombe Fair (England) 305 anonymous, Walk, Shepherdess, Walk (Arkansas) 306 anonymous, Reir Es Necesario (Mexico) 307 anonymous, folk song (Russia) 308 anonymous, A Quinze Ans (France)
IV-5. Leaps of a Seventh 89
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309 * 4
343
310
4242
311
309 W.A. Mozart, menuet from string quartet # 8 310 W.A. Mozart, presto from string quartet # 7 311 anonymous,Upidee
90 Chapter IV. Other Diatonic Materials
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IV-6 Other Perfect Fourths and Fifths
We’ve already sung leaps of a fourth and a fth within the tonic, dominant, and subdominant chords,and those leaps strongly implied their chords. For instance, it’s difficult to hear the ‘so-re’ leap withoutperceiving a dominant chord. Although other leaps of a fourth or a fth may imply other triads, inreal music they are more commonly produced not by the harmony but by the logic of the melodyitself. In the rst example, the composer simply wants to repeat a molodic idea at a different pitch.
The ‘la’ is easily sung by thinking of it in relation to the ‘do’ it leads up to.
312*
In this example, the leap from ‘la’ to ‘re’ is heard as an imitation of the preceding ‘so-do’ leap.
3134242
*
Here, we really have the easy ‘so-mi’ leap, but with ‘la’ interposed.
314 4343 *
312 W.A. Mozart, opening from string quartet # 4 313 folk song 314 anonymous, La Rana (Mexico)
IV-6. Other Perfect Fourths and Fifths 91
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42
famous tune (identied in the table of contents)
315
31642 42
317
4343
Tempo di valse
316 C.M. von Weber, Softly Now the Light of Day 317 Charles K. Harris, After the Ball
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318
8 6
8 6
319 4
242
3208 6
8 6
321
Andante
318 A.S. Sullivan, Take a Pair of Sparkling Eyes 319 A.S. Sullivan, Sing Hey to You, Good-Day to You! 320 StephenFoster, Slumber My Darling 321 S.C. Foster, Gentle Annie
IV-6. Other Perfect Fourths and Fifths 93
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327 Moderato
328
8 6 Moderato con espressione
8 6
329
327 anonymous, folk song (Germany) 328 Thomas Moore, Love’s Young Dream 329 Attributed to Guiseppe Giordiano,,Caro Mio Ben
IV-6. Other Perfect Fourths and Fifths 95
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330
42
42
3
3
3
3
3 3
3 3
331
43
43
Andante
3
3
332 Andante
330 anonymous, Remon (Louisiana) 331 anonymous, Juanita 332 H.S. Thompson, Lilly Dale
96 Chapter IV. Other Diatonic Materials
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333 4
242
334
335 4343
336
333 anonymous 334 Giovanni Battista Pergolesi, aria from Stabat Mater 335 J.S. Bach, menuet II from cello suite # 2 336 Johannes Brahms, introduction, 1st symphony
IV-6. Other Perfect Fourths and Fifths 97
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337 Alla marcia
338
Moderato
339
8 6
Zaertlich und lebhaft
8 6
337 anonymous, processional march song (Germany) 338 Darius Milhaud, Chant de Sion 339 anonymous, Sagt Mir, OSch¨ onste Sch¨ af’rin Mein
98 Chapter IV. Other Diatonic Materials
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34042
42
In ruhigem Zeitmass und teilnehmend erzaehlt
341 43
Mit guter Laune
43
342
340 anonymous, Gunhilde 341 anonymous, Ach, Englische Schaeferin 342 J.S. Bach, Chorale, ‘W¨ ar’ Gott Nicht Mit UnsDiese Zeit’
IV-6. Other Perfect Fourths and Fifths 99
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IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale
345
346
347
348
346 anonymous, O Daniel (Florida) 347 J.S. Bach, Invention 2 348 W.A. Mozart, andante un poco allegretto from string
quartet # 5
IV-7. The Diminished Seventh Chord, and the Harmonic Minor Scale 101
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Chapter VNondiatonic Materials
V-1 Secondary Dominants and Chromatic Passing Tones
350
351 4343 352 3 3 3 3
350 Martin Luther, A Mighty Fortress Is Our God 351 anonymous, Kevin Barry (Ireland) 352 Who Got Dirt on the
Carpet Again?
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35343 43
354
35542
Allegro moderato
42
356
353 Ithamar Conkey, God is Love, His Mercy Brightens 354 Shoals, Valedictory 355 anonymous, Autrefois le Rat de Ville(France) 356 Samuel Webbe, Come, Ye Disconsolate
104 Chapter V. Nondiatonic Materials
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357
Maestoso
358
357 M. Keller, Angel of Peace 358 J.A. Buttereld, When You and I Were Young
V-1. Secondary Dominants and Chromatic Passing Tones 105
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362 42
42
363 43 43
364 Allegro
8 38 3
3654
2
4
2
362 anonymous, Vivo Penando (California) 363 anonymous, Allan Maclean (Scotland) 364 Alessandro Stradella, Ragion
Sempre Addita 365 anonymous, Dans le Port, Il Est Arrive (France)
V-1. Secondary Dominants and Chromatic Passing Tones 107
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3694343
370
371Moderato
42
42
369 W.A. Mozart, menuet from string quartet # 1 370 Franz Joseph Haydn, adagio poco cantabile from string quartet,Op. 73, #3 (‘Emperor’) 371 anonymous, Crep´ usculo (Mexico)
V-1. Secondary Dominants and Chromatic Passing Tones 109
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372
42
Slowly
42
373
372 anonymous, Media Noche (California) 373 Giovanni Battista Pergolesi, tune from Stabat Mater
110 Chapter V. Nondiatonic Materials
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374
3754
3
4
3
376
Moderato
377 4242 Not fast
374 J.S. Bach, Bourree II from orchestral suite #2 375 anonymous, The Cruel Mother (England) 376 Alice Hawthorne,Out of Work 377 Scott Joplin, The Easy Winners
V-1. Secondary Dominants and Chromatic Passing Tones 111
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378 43
Tempo di valse
43
3794
3
4
3
380
4343
378 Gus Edwards, In My Merry Oldsmobile 379 anonymous, Erlaube Mir, Fein’s M¨ adchen 380 J.S. Bach, Menuet I from orchestral suite #1
112 Chapter V. Nondiatonic Materials
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381
Maestoso
382
381 G.F. Handel, chorus from ‘Judas Maccabaeus’ 382 Frances Shackleton, The Orange and the Black
V-1. Secondary Dominants and Chromatic Passing Tones 113
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383
3848 6
8 6
Andantino
8 6
8 6
383 anonymous, Adelphi School Song 384 W.A. Mozart, Duet from The Magic Flute
114 Chapter V. Nondiatonic Materials
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V-2 Blue Notes
386 42 42
387 4
2 42
388 4
3 4
3
3
3 3
3 3
389 Moderately, not too fast
386 anonymous, The Graveyard (South Carolina) 387 anonymous, Roll, Jordan, Roll (United States) 388 anonymous,Cyclone at Ryecove (Missouri) 389 James Reese Europe, Goodnight Angeline
116 Chapter V. Nondiatonic Materials
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390
Moderato
390 anonymous, ’Tis Me, O Lord (Unites States)
V-2. Blue Notes 117
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V-3 Relative Minor and Major
39143
Nicht zu langsam und mit inniger Teilnahme
43
392 In ruhiger Bewegung
8 6 8 6
393 42
Lullabye, andante con espressione
42
394
395
391 anonymous, Schwesterlein 392 anonymous, Es Ritt ein Ritter 393 anonymous, Cradle Song (Sweden) 394 J.S. Bach,Chorale, ‘Beehl du deine Wege’ 395 J.S. Bach, Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’
118 Chapter V. Nondiatonic Materials
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Chapter VIThe C Clef
This chapter recapitulates some melodies from earlier chapters, using the C clef. The clef indicatesmiddle C. In modern music, the C clef is used almost exclusively for the viola, but it will also beencountered in older scores, both vocal and instrumental, as an equally important companion to thetreble and bass clefs. The C clef is a movable clef, but the examples in this chapter are all given withC placed at the middle line. Sight-singing from the C clef is not difficult, because one merely followsthe usual procedure of determining which line or space on the staff represents ‘do,’ and reading allother notes relative to it. A trick for instrumentalists is to imagine that the middle line is really theledger line for middle C on the grand staff, while the top two lines belong to the treble clef, and thebottom two to the bass clef. (The same trick can be handy for vocalists when using the key signatureto nd the tonic on the staff.)
399 400 4
343
4014343
402 4343
403 8 6 8 6
401 anonymous, The Ash Grove (Wales) 402 Franz Joseph Haydn, menuet Oxford symphony 403 folk song
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407
8 6
8 6
408 409
4242
410
The following three examples are in the minor mode.
411 4242
412
Largo
413 4
2 Heimlich und zierlich bewegt
42
407 folk song 408 Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater 409 W.A. Mozart, aria (Papageno) from ‘The Magic Flute’ 410 Franz Joseph Haydn, nale, London symphony 411 anonymous, Every Hour in the Day (Georgia) 412 anonymous, lullabye (Russia) 413 anonymous, Feinsliebchen, Du Sollst
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414
Andante e penseroso
4343
414 F. Nicholls Crouch, Kathleen Mavourneen
124 Chapter VI. The C Clef
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Thematic Indexddddddtl — p. 22, no. 49dddddrmf — p. 21, no. 46dddddtdr — p. 23, no. 50ddddmdss — p. 90, no. 310ddddmfsl — p. 55, no. 173ddddmsff — p. 37, no. 108ddddffff — p. 40, no. 123ddddslsd — p. 30, no. 76ddddsltd — p. 22, no. 47; p. 22, no. 48ddddtltd — p. 23, no. 51ddddttss — p. 114, no. 384dddrrrmd — p. 42, no. 130dddrrmmf — p. 19, no. 29; p. 121, no. 400dddmdsmm — p. 57, no. 185; p. 123, no. 411dddmmssm — p. 87, no. 300dddmssll — p. 71, no. 237dddsmmrd — p. 61, no. 205
dddsllls — p. 69, no. 229dddsltdt — p. 103, no. 350ddrdmfss — p. 31, no. 81ddrrmmrd — p. 30, no. 77ddrmrdrr — p. 28, no. 69ddrmrrmr — p. 97, no. 334ddrmrmfm — p. 48, no. 156ddrmmrdf — p. 73, no. 246ddrmmmfs — p. 26, no. 57ddrmmfsl — p. 88, no. 302ddrmfsss — p. 38, no. 112
ddrmfssl — p. 71, no. 241ddmrdrrm — p. 29, no. 72ddmmrmdd — p. 27, no. 62ddmmmdts — p. 38, no. 116ddmsslls — p. 75, no. 258ddmsltdt — p. 57, no. 183ddsdrmfs — p. 85, no. 294ddtdrdrm — p. 25, no. 55ddtlsdrm — p. 37, no. 111; p. 71, no. 235ddtltdrm — p. 99, no. 342ddtltlls — p. 25, no. 52drddtdrm — p. 20, no. 36drdrdrmr — p. 53, no. 161drdrmfss — p. 32, no. 83drdtdsdr — p. 94, no. 324drdtlsls — p. 19, no. 32drmdddrm — p. 44, no. 141drmdrmrm — p. 56, no. 179
125
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drmrdtdr — p. 53, no. 167drmrmfmf — p. 19, no. 28; p. 121, no. 399drmrmfsf — p. 19, no. 31drmrfmrt — p. 109, no. 370drmrsdrs — p. 60, no. 197drmmmrfm — p. 91, no. 312drmmmmsm — p. 30, no. 74
drmmmsrr — p. 45, no. 143drmmfmfs — p. 21, no. 45drmmfsds — p. 58, no. 189drmmss — p. 71, no. 236drmfrmdm — p. 61, no. 207drmfmrdt — p. 53, no. 165drmfmrmf — p. 20, no. 37drmfmfsl — p. 21, no. 44drmfsmfs — p. 47, no. 153drmfsfmr — p. 54, no. 172drmfsfsl — p. 101, no. 345drmfssfm — p. 39, no. 120drmfsssf — p. 20, no. 33drmfslsf — p. 53, no. 162drmfslss — p. 60, no. 201drmfslsl — p. 54, no. 169; p. 54, no. 171drmfsltd — p. 19, no. 27drssmddf — p. 79, no. 272dmddmssl — p. 57, no. 180dmdmsffm — p. 28, no. 68dmdsdmsd — p. 27, no. 59dmdslfmf — p. 112, no. 380dmdtdrmm — p. 58, no. 187dmrdmfst — p. 63, no. 215dmrdssms — p. 33, no. 87dmrsdmrs — p. 60, no. 198; p. 123, no. 412dmrtdmrt — p. 81, no. 276dmmmrfff — p. 67, no. 222dmmssm — p. 76, no. 260dmfssrss — p. 46, no. 151dmsdmssm — p. 33, no. 84dmsdlsdd — p. 70, no. 233dmsdtdrm — p. 59, no. 190dmsrdrmm — p. 47, no. 152
dmsmrf — p. 101, no. 348dmsmmddt — p. 62, no. 210dmsmfrfr — p. 96, no. 330dmsmslsf — p. 56, no. 177dmsfslsf — p. 103, no. 352dmssdtrr — p. 70, no. 234dmssdtls — p. 28, no. 66
126 Chapter VI. The C Clef
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dmsssmfs — p. 27, no. 60dmssssfm — p. 102, no. 349dmsslfsd — p. 69, no. 231dmssltds — p. 95, no. 327dmslsddr — p. 36, no. 100dmslsmss — p. 37, no. 105dsdrmfsf — p. 57, no. 181
dsdsdsdm — p. 35, no. 94dsdtdsmr — p. 60, no. 196dsmdrmrt — p. 116, no. 389dsmdslsm — p. 56, no. 175dsmdslst — p. 83, no. 285dsmrdrmd — p. 57, no. 182dsmrdrmf — p. 27, no. 63; p. 123, no. 408dsmrdlsf — p. 83, no. 284dsmrmfmr — p. 104, no. 355dsmsmdrm — p. 40, no. 125dsfmddsf — p. 59, no. 195dssddd — p. 118, no. 393dssdlllt — p. 77, no. 263dssfrdtl — p. 86, no. 295; p. 90, no. 309dssfsfmr — p. 78, no. 268dsssslls — p. 48, no. 159dsslsmrd — p. 59, no. 191dsslsfmd — p. 35, no. 96dssltddm — p. 38, no. 113dslsfmrd — p. 82, no. 281dsltdrms — p. 107, no. 364dsltdmfs — p. 34, no. 93dtddddrm — p. 56, no. 174dtdrrdrm — p. 20, no. 34; p. 42, no. 132dtdrmfsl — p. 53, no. 164dtdrmsfm — p. 111, no. 374dtdrmslt — p. 101, no. 347dtfmdsls — p. 84, no. 289dtlsfmrd — p. 54, no. 168dtlsfmms — p. 71, no. 238dtlslsfm — p. 72, no. 245; p. 95, no. 329rddrmrdr — p. 53, no. 163rmfsdmrd — p. 45, no. 144rsdsdddd — p. 74, no. 252
mdrmfsfm — p. 47, no. 155mdrmfsss — p. 97, no. 335mdmrdtrs — p. 63, no. 214mdmrsmrd — p. 59, no. 192mdmfmrdl — p. 83, no. 283mrdddttl — p. 28, no. 70mrddrdrm — p. 93, no. 321
127
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msmfff — p. 76, no. 261msmssl — p. 69, no. 228msmlmsml — p. 92, no. 317msfmslsm — p. 72, no. 244msssffmm — p. 38, no. 115mtrddrmr — p. 68, no. 226ffdddtdr — p. 118, no. 392
fslsfmfs — p. 79, no. 271sdddddrr — p. 47, no. 154; p. 121, no. 403sddddrrr — p. 45, no. 145sddddmrd — p. 116, no. 387sddddtdr — p. 84, no. 292sddddtss — p. 101, no. 346sdddmddm — p. 31, no. 79sdddslss — p. 41, no. 127sdddlssd — p. 72, no. 243sdddtdrs — p. 26, no. 58sddrmfsl — p. 99, no. 341sddrtddm — p. 91, no. 313sddmdtls — p. 89, no. 304sddmrdls — p. 98, no. 337sddmmssm — p. 43, no. 136; p. 123, no. 407sddtlslr — p. 100, no. 343sddtlslf — p. 83, no. 286sdrdsdrm — p. 59, no. 193sdrmdmmr — p. 37, no. 106sdrmdsrd — p. 69, no. 230sdrmrdrm — p. 27, no. 65sdrmmfmd — p. 28, no. 67; p. 87, no. 298sdrmmffs — p. 61, no. 208sdrmfrdt — p. 63, no. 217sdrmfmfs — p. 48, no. 158sdrmfsdr — p. 81, no. 277sdrmsssl — p. 105, no. 357sdrsdrmr — p. 67, no. 225sdmdmdmr — p. 98, no. 339sdmdtlsd — p. 104, no. 353sdmrdrms — p. 35, no. 97sdmrfmrd — p. 98, no. 338sdmmmmrm — p. 75, no. 255sdmmfmrr — p. 112, no. 379
sdmsdmsd — p. 118, no. 391sdmsrmld — p. 94, no. 325sdmsfmdd — p. 71, no. 239; p. 121, no. 401sdmssdms — p. 44, no. 139; p. 122, no. 404sdsdrmrr — p. 42, no. 134sdtdrmfs — p. 67, no. 223sdtdrlrd — p. 92, no. 315
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sdtdlsdr — p. 77, no. 266; p. 97, no. 336sdtlsfsr — p. 63, no. 216; p. 118, no. 394sdtlssls — p. 41, no. 128sdtlslsf — p. 110, no. 373sdtltdtl — p. 93, no. 319srmtdrrs — p. 68, no. 227smdrssdd — p. 75, no. 254
smdsslsd — p. 40, no. 124smdlssfs — p. 104, no. 356smrdrmfr — p. 73, no. 248smrdsmrd — p. 34, no. 92smrdslff — p. 74, no. 253smrdtlds — p. 34, no. 90; p. 90, no. 311smrdttdl — p. 88, no. 301smrrdmrs — p. 39, no. 122; p. 122, no. 406smrmdsss — p. 81, no. 279smrmrtdd — p. 62, no. 213smrmfmrl — p. 104, no. 354smmddtrm — p. 71, no. 240smmrrddt — p. 99, no. 340smmrrmmd — p. 65, no. 221smmrsdtd — p. 114, no. 383smmmrddd — p. 27, no. 61smmmmrrr — p. 86, no. 297smmmmfmr — p. 108, no. 368smmfrrdr — p. 36, no. 102smfrrrmf — p. 35, no. 95smfsddtt — p. 29, no. 71smfsdrmf — p. 113, no. 381smfslsmd — p. 56, no. 178smfslsfm — p. 119, no. 397smsmrdmr — p. 33, no. 88; p. 34, no. 89smsfmrsf — p. 64, no. 219smslssmd — p. 33, no. 85; p. 43, no. 138sfrfmdss — p. 44, no. 142; p. 123, no. 410sfmdrldl — p. 95, no. 328sfmrrdtl — p. 20, no. 39sfmmrdrd — p. 100, no. 344sfmmrrmf — p. 96, no. 331sfmmmmfm — p. 73, no. 247sfmmsdsm — p. 46, no. 148
sfmfmmfs — p. 21, no. 41sfmfsdrd — p. 25, no. 53sfmfsldt — p. 78, no. 269sfmfsltd — p. 77, no. 264sfmsmrrd — p. 113, no. 382sfmsmsmf — p. 112, no. 378sfmsfmrd — p. 31, no. 80; p. 87, no. 299; p. 109, no. 369
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sfslsfss — p. 61, no. 203ssftrd — p. 108, no. 366ssdddtdr — p. 60, no. 202; p. 82, no. 280ssdddttd — p. 77, no. 262ssddrmrd — p. 44, no. 140ssddmrtd — p. 72, no. 242ssddssmm — p. 107, no. 365
ssddsldr — p. 78, no. 270ssddtddr — p. 119, no. 396; p. 123, no. 413ssdrdtdr — p. 37, no. 110ssdrmmmm — p. 109, no. 371ssdmrdrm — p. 84, no. 291ssdmrdtl — p. 82, no. 282ssdmmfsm — p. 80, no. 275ssdmsfmf — p. 35, no. 99ssdsmmsm — p. 36, no. 103ssdssmmr — p. 46, no. 147ssdtdrdt — p. 111, no. 376ssdtrddt — p. 89, no. 307ssdtfmsm — p. 46, no. 150ssmdddrm — p. 62, no. 211ssmddtll — p. 39, no. 121ssmdsfrm — p. 59, no. 194ssmrddtd — p. 86, no. 296ssmrdrdd — p. 105, no. 358ssmrdssf — p. 74, no. 251ssmrdtdr — p. 62, no. 212ssmmmddd — p. 41, no. 129ssmmmddt — p. 106, no. 360ssmmssrr — p. 41, no. 126ssfmmrdr — p. 74, no. 250sssddmms — p. 89, no. 308sssdmsss — p. 60, no. 199sssmrmdr — p. 42, no. 133sssmfsls — p. 78, no. 267sssffmmm — p. 37, no. 107ssssdsss — p. 37, no. 109; p. 83, no. 287ssssssss — p. 30, no. 75; p. 106, no. 359sssslsmm — p. 116, no. 388sssslssd — p. 61, no. 206ssslsssf — p. 54, no. 170
sslddsfm — p. 75, no. 256sslsmsss — p. 106, no. 361sslsfmrd — p. 56, no. 176sslsfmrl — p. 97, no. 333sslsfmmf — p. 63, no. 218sslsffmm — p. 62, no. 209ssltddtl — p. 20, no. 38
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ssltdtdr — p. 32, no. 82ssltdtdt — p. 20, no. 35ssltdttt — p. 57, no. 184sstrddrd — p. 45, no. 146slsmdsls — p. 36, no. 101slsmrddt — p. 84, no. 288slsffmmr — p. 21, no. 42
slssddrm — p. 35, no. 98slslsdtd — p. 64, no. 220slslsssd — p. 89, no. 306sltdrmrm — p. 21, no. 40sltdmmrd — p. 107, no. 362strsfmfs — p. 85, no. 293stlsmfsd — p. 111, no. 375lmrdsdrm — p. 80, no. 274lmsltddt — p. 93, no. 318lsslssls — p. 58, no. 188tdmddrfr — p. 49, no. 160
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Index’Tis Me, O Lord, 117Annchen von Tharau, 35
Absent Davie, 34Abt, Franz
Kathleen Aroon, 94Ach, Englische Schaeferin, 99adagio poco cantabile from string quartet, Op.
73, #3, Franz Joseph Haydn, 109Adelphi School Song, 114Adieu, Bonne H otesse, 81After the Ball, Charles K. Harris, 92Ah Mon Beau Chˆateau, 35Ah, Suzette, Chere, 46
Ainsi Font, Font, Font, 36Allan Maclean, 107allegro from Eine kleine Nachtmusik, W.A. Mozart,
35Alouette (rhythm only), , 15Am Feierabend, Franz Schubert, 62Amarilli, Mia Bella, Giulio Carcini, 68America the Beautiful, Katharine Lee Bates, 41andante un poco allegretto from string quartet
# 5, W.A. Mozart, 101Angel de Mis Amores, 62Angel of Peace, M. Keller, 105Angels Ever Bright and Fair, G.F. Handel, 100Annie Laurie, 28Arlequin Marie Sa Fille, 69Arlequin Tient Sa Boutique, 42As-Tu Vu la Casquette?, 33Ash Grove, The, 71, 121Au Jardin de Mon Pere, 71Aura Lee, George Poulton, 92Autrefois le Rat de Ville, 104Aux Marches du Palais, 42Avril, 78Away in a Manger (rhythm only), , 15
Bach, J.S.Bourree I I from orchestral suite #2, 111Chorale, ‘Beehl du deine Wege’, 118Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’,
118
Chorale, ‘Es ist gewisslich an der Zeit’, 28Chorale, ‘Es spricht der Unweisen Mund
wohl’, 37
Chorale, ‘Es steh’n vor Gottes Throne’, 58Chorale, ‘Gib Dich Zufrieden und Sei Stille’,
119Chorale, ‘Herr, nun lass in Friede’, 57Chorale, ‘Herr, wie du willst, so schick’s mit
mir’, 20, 42Chorale, ‘Jesu, meiner Seelen Wonne’, 25Chorale, ‘Liebster Jesu, wir sind hier’, 39Chorale, ‘Mach’s mit mir, Gott, nach deiner
Gut’, 39Chorale, ‘Nun ruhen alle Walder’, 47
Chorale, ‘Nun sich der Tag geendet hat’, 61Chorale, ‘O Haupt voll Blut und Wunden,’from St. Matthew’s Passion, 63
Chorale, ‘O Traurigkeit, o Herzeleid’, 62Chorale, ‘Seelenbr¨autigam, Jesu, Gottes Lamm’,
25Chorale, ‘Valet will ich dir geben’, 38Chorale, ‘Von Gott will ich nicht lassen’, 63Chorale, ‘W ar’ Gott Nicht Mit Uns Diese
Zeit’, 99Chorale, ‘Wenn wir in h¨ochsten N oten sein’,
48Chorale, ‘Wie bist du Seele in mir so gar
betr ubt’, 38Gavotte II from cello suite # 5, 61gavotte in G minor, 54Invention 2, 101melody from the notebook for Anna Mag-
dalena, 60Menuet I from orchestral suite #1, 112menuet II from cello suite # 2, 97minuet, 42trio from Brandenburg concerto # 1, 84
Ballade de Roland, 42Barbara Allan, 44Bates, Katharine Lee
America the Beautiful, 41Bayly, T.H.
Long, Long Ago, 88Beautiful Angel, The, Pierre Latour, 20
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Beautiful Bells, George Cooper, 108Beautiful Isle of Somewhere, J.S. Fearis, 74Beckoning the Chickens, Froebel, 33Beckoning the Pigeons, Froebel, 32Beethoven
Ode to Joy, 19opening movement from string quartet #
1, 94opening theme of Symphony #3, 27string quartet # 6, allegro, 100
Beggar Girl, The, 31Beuttner, Nikolaus
Es kam ein treuer Bote, 38Bingo (rhythm only), , 13Blue Juniata, The, M.D. Sullivan, 75Bonnie Wee Window, 74Bonniest Lass in a’ The Land, The, 70Bourree II from orchestral suite #2, J.S. Bach,
111Bradbury, W.B.He Leadeth Me, 74
Braes O Yarrow, The, 77Brahms, Johannes
introduction, 1st symphony, 77, 97Nachtwache 1, 63
Broadway Sights, W.H. Latham, 27Brother, Guide Me Home, 37Brother, Tell Me of the Battle, George F. Root,
108Buttereld, J.A.
When You and I Were Young, 105
Calinda, 76Cangia, Cangia Tue Voglie, G.B. Fasolo, 71Carcini, Giulio
Amarilli, Mia Bella, 68Carmela, 28, 87Caro Mio Ben, Attributed to Guiseppe Gior-
diano,, 95carol, 20Caroline, 78Chant de Sion, Darius Milhaud, 98Chill Ether, 47chorus from Judas Maccabaeus, G.F. Handel,
113Come, Ye Disconsolate, Samuel Webbe, 104Conkey, Ithamar
God is Love, His Mercy Brightens, 104
Cooper, GeorgeBeautiful Bells, 108
Cowboy’s Home Sweet Home, 76Cradle Song, 88, 118Crep usculo, 109Crouch, F. Nicholls
Kathleen Mavourneen, 119, 124
Crowell, B.a, 3/4, 53A, 4/4, 34a, 4/4, 53, 101a, 6/8, 53A , 4/4, 21B , 3/4, 1, 34B , 4/4, 20B , 4/4, 1, 49C, 3/4, 19, 21, 46, 121c, 3/4, 56
C, 4/4, 19, 25, 121c, 4/4, 56C, 4/4, 1, 21D , 4/4, 21E , 3/4, 20F, 2/4, 32F, 3/4, 25f, 4/4, 57G, 3/4, 19, 25, 40G, 4/4, 22, 26, 45g, 4/4, 83G, 6/8, 21g, 9/8, 59G , 4/4, 21Who Got Dirt on the Carpet Again?, 56,
103Cruel Mother, The, 111Cutler, H.S.
Son of God Goes Forth to War, The, 29Cyclone at Ryecove, 116
Da Unten Im Tale, 71Danksagung an den Bach, Franz Schubert, 67Dans la Foret Lointaine, 31Dans le Port, Il Est Arrive, 107Dans Notre Jardin, 45Das Wandern, Franz Schubert, 46Dearest Spot on Earth, The, W.T. Wrighton,
34Derriere Chez Moi, 82
134 Index
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Devotion, Richard Strauss, 72Diadem, J. Ellor, 81Die Sonne Scheint Nicht Mehr, 80Down in the Valley, 37Duet from The Magic Flute, W.A. Mozart, 114Duet No. 2, Menuet, from 12 Duets, K.V. 487,
W.A. Mozart, 35, 115
Duke of Argyle’s Courtship, The, 48Easy Winners, The, Scott Joplin, 111Edwards, Gus
In My Merry Oldsmobile, 112Eli Yale, 41Ellor, J.
Diadem, 81Emerson, L.O.
Whither Through the Meadow?, 21En Avant, Grenadiers, 62En Revenant d’Auvergne, 30Entendez-Vous Sur l’Ormeau, 30Entre Vous Tous Gens de la Ville, 85Erlaube Mir, Fein’s M¨adchen, 112Es kam ein treuer Bote, Nikolaus Beuttner, 38Es Ritt ein Ritter, 118Europe, James Reese
Goodnight Angeline, 116Every Hour in the Day, 57, 123
Faded Coat of Blue, The, J.H. McNaughton,108
Fairy Boat, The, Harold Samuel, 48Fasolo, G.B.
Cangia, Cangia Tue Voglie, 71Fearis, J.S.
Beautiful Isle of Somewhere, 74Feinsliebchen, Du Sollst, 119, 123nale, London symphony, Franz Joseph Haydn,
44, 123Forget na’, dear Lassie, 57Foster, S.C.
Gentle Annie, 93Foster, Stephen
Hard Times Come Again No More, 30Old Folks at Home, 69Slumber My Darling, 93Song of All Songs, The, 82
FroebelBeckoning the Chickens, 33Beckoning the Pigeons, 32
Pat-a-Cake, 28Wolf, The, 60
Gar Lieblich Hat Sich Gesellet, 48Gardez Piti Milatte-l` a, 38Gaudeamus Igitur, 77Gavotte II from cello suite # 5, J.S. Bach, 61
gavotte in G minor, J.S. Bach, 54Gentle Annie, S.C. Foster, 93Gia il Sole dal Gange, Alessandro Scarlatti, 67Giordiano,, Attributed to Guiseppe
Caro Mio Ben, 95Gladden, S.W.
Mountains, The, 82Go ’Way, Old Man, 41Go Down, Moses, 65God is Love, His Mercy Brightens, Ithamar Con-
key, 104
God Speed the Right, 36Gold Band, The, 73Goldfaden, Abraham
Raisins with Almonds, 102Goodnight Angeline, James Reese Europe, 116Graveyard, The, 116Grieg
e, 4/4, 67Gunhilde, 99Guten Abend, 60Gwine Follow, 87Gypsy Warning, The, 45
Hallowed Spot, The, 78Halt, Franz Schubert, 39Handel, G.F.
Angels Ever Bright and Fair, 100chorus from Judas Maccabaeus, 113Hush ye pretty warbling quire from Acis
and Galatea, 72O Jordan, Sacred Tide from Esther, 64
Hanukah O Hanukah, 83Hard Times Come Again No More, Stephen
Foster, 30Harris, Charles K.
After the Ball, 92Hawthorne, Alice
Home, By and By, 31Out of Work, 111
Haydn, Franz Joseph
Index 135
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Menuet I from orchestral suite #1, J.S. Bach,112
menuet II from cello suite # 2, J.S. Bach, 97menuet Oxford symphony, Franz Joseph Haydn,
39, 121Mi Sueno, 63Mighty Fortress Is Our God, A, Martin Luther,
103Milhaud, DariusChant de Sion, 98
minuet, J.S. Bach, 42Moore, Thomas
Love’s Young Dream, 95Mountains, The, S.W. Gladden, 82Mozart, W.A.
allegro from Eine kleine Nachtmusik, 35andante un poco allegretto from string quar-
tet # 5, 101aria (Papageno) from ‘The Magic Flute’,
36, 123aria from the Magic Flute, 106Duet from The Magic Flute, 114Duet No. 2, Menuet, from 12 Duets, K.V.
487, 35, 115opening from clarinet quintet, 73Osanna (bass solo, allegro) from Sanctus,
Requiem, 84string quartet # 1, adagio, 37string quartet # 1, menuet, 87, 109string quartet # 1, trio, 94string quartet # 10, menuet, 78string quartet # 15, menuet, 61string quartet # 2, andante, 77string quartet # 4, opening, 91string quartet # 4, presto, 81string quartet # 6, rondo, 81string quartet # 7, presto, 90string quartet # 8, menuet, 86, 90theme from symphony in G minor, 58
Musieu Bainjo, 37My Father, How Long?, 28
My Field, 59My Lodging Is On the Cold Ground, 76
Nachtwache 1, Johannes Brahms, 63Not Yet, Richard Strauss, 46
O Come, All Ye Faithful (rhythm only), , 13O Daniel, 101
O Jordan, Sacred Tide from Esther, G.F. Han-del, 64
O Little Town of Bethlehem (rhythm only), ,14
Ode to Joy, Beethoven, 19Ojos Mexicanos, Los, 61Old Folks at Home, Stephen Foster, 69
Old Hundred, 71opening from clarinet quintet, W.A. Mozart, 73opening movement from string quartet # 1, Beethoven,
94opening theme of Symphony #3, Beethoven, 27Ophelia’s Song, Maude Valerie White, 61Orange and the Black, The, Frances Shackle-
ton, 113Osanna (bass solo, allegro) from Sanctus, Re-
quiem, W.A. Mozart, 84Our Baby, 42Out of Work, Alice Hawthorne, 111
Paloma Blanca, La, 46, 122Paradies, Pier Domenico
M’ha Preso Alla Sua Ragna, 79Pat-a-Cake, Froebel, 28Pergolesi, Giovanni Battista
aria from Stabat Mater, 97Sancta Mater from Stabat Mater, 27, 123tune from Stabat Mater, 74, 110
Poor Rosy, 33, 34Pop Goes the Weasel (rhythm only), , 16
Poulton, GeorgeAura Lee, 92
Praise, Member, 33, 43processional march song, 98
Que No Te Amo, 84Quinze Ans, A, 89
Remon, 96Ragion Sempre Addita, Alessandro Stradella,
107Rain, Rain, Go Away (rhythm only), , 13Raisins with Almonds, Abraham Goldfaden, 102Rana, La, 91Recouvrance, A, 27Red River Valley, 75Reir Es Necesario, 62, 89Revive Us Again, John Husband, 36Rimsky-Korsakov, Nikolai
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trio from Brandenburg concerto # 1, J.S. Bach,84
Tristes Horas, Las, 60Tu Eres Mas Bella, 43Twinkle Twinkle, Little Star (rhythm only), ,
13
Ubi Bene, Ibi Patria, 80Upidee, 90
Valedictory, Shoals, 104Venus theme from The Planets, Gustav Holst,
39, 122Vivo Llorando la Suerte, 84Vivo Penando, 107
Wach’ Auf, Mein Hort, 44, 122Walk, Shepherdess, Walk, 89waltz of the owers from The Nutcracker (rhythm
only), P.I. Tchaikovsky, 15We Come Unto Our Father’s God, Martin Luther,29
We Three Kings (rhythm only), , 14We Wish You a Merry Christmas (rhythm only),
, 14Webbe, Samuel
Come, Ye Disconsolate, 104Weber, C.M. von
Softly Now the Light of Day, 92Wedge, G.A.
c 2/4 83
Song of the Free, 72Who Got Dirt on the Carpet Again?, B. Crow-
ell, 56, 103Widdecombe Fair, 89Wild Moor, The, 77Wohin?, Franz Schubert, 39Wolf, The, Froebel, 60
Woodbury, I.B.Speed Away Speed Away, 106Wrighton, W.T.
Dearest Spot on Earth, The, 34
Ya Viene El Alba, 67