Xướng Âm Dùng m - ThanhLinh Choir

Xướng Âm

Dùng một trong ba cách:

1. Movable Đô: a. Tập xướng âm kỹ Âm Giai Đô. b. Gặp bất cứ âm giai nào, ta xướng cũng xướng âm bậc I = Đô, II = Rê, III = Mi, IV

= Fa, V = Sol, VI = La; VII = Ti c. Thí dụ nếu bài hát là cung RE

2. Dùng phương pháp “One-Two-Three” a. Học xướng âm kỹ Âm Giai Đô đọc theo bậc nốt:

1 2 3 4 5 6 7 1 One two three four five six seven one

b. Khi gặp một bài ở bất cứ cung nào, ta ghi (nhớ) số bậc nốt và xướng âm theo “One-Two-Three”

3. Kết Hợp Mobable Đô và “One-Two-Three” Như phương pháp 2, ta ghi ra số bậc nốt trong âm giai, nhưng thay vì xướng âm One-Two-Three, ta xướng âm Đồ-Rê-Mi Đô = 1, Rê = 2, Mi = 3, Fa = 4, Sol = 5, La = 6, Ti = 7

II-2 Melodies Containing Only Steps

In each example, start by identifying which line or space on the staff represents ‘do,’ the tonic. Ifyou 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 first 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.

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II-2. Melodies Containing Only Steps 19

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Note that the following two examples both have the tonic on the line at the center of the staff, so theone with five sharps actually isn’t any more difficult to read.

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38 >>>>>>>(>=>>>>>(>>>>>>>>>� 33 ��33� (= :>=>>>>>>We now begin moving around the circle of fifths in the opposite direction. ‘Ti’ in the previous keyis flattened, and becomes ‘fa’ of the new key. If you’re singing the new, flattened version of the notecorrectly, you should be able to hear its strong tendency to resolve down to ‘mi.’

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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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The following two melodies both have the tonic at the same place on the staff.

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II-3 Leaps to ‘Do’

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II-4 Leaps Back to Remembered Notes

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55 J.S. Bach, Chorale, ‘Seelenbrautigam, 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.


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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)

II-5. Easy Leaps Within the Tonic Triad 27

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II-5. Easy Leaps Within the Tonic Triad 29

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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)


II-6 The Leap of a Fifth Within the Tonic Triad

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78 J.J. Rousseau, Hush, My Babe 79 anonymous, Dans la Foret Lointaine (France) 80 anonymous, The Beggar Girl

(England) 81 Alice Hawthorne, Home, By and By

II-6. The Leap of a Fifth Within the Tonic Triad 31

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II-7 Leaps of a Sixth Within the Tonic Triad

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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 anonymous, Poor Rosy (South Carolina) 90 W.T. Wrighton, The Dearest Spot on Earth 91 anonymous, AbsentDavie (Scotland)


II-8 Leaps Within the Dominant

This section introduces leaps of a third within the dominant. Fourths, fifths, and sixths are includedin section II-9, and leaps of a seventh within the dominant chord are deferred until section IV-5.


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y a Trois Fleurs (France) 98 anonymous, Annchen von Tharau (Germany) 99 anonymous, Ah! Mon Beau Chateau!(France)

II-8. Leaps Within the Dominant 35

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(Spain) 103 anonymous, God Speed the Right (Germany) 104 W.A. Mozart, aria (Papageno) from ‘The Magic Flute’


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105 anonymous, Schonster 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’


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‘Wie bist du Seele in mir so gar betrubt’ 115 anonymous, Gardez Piti Milatte-la (Louisiana) 116 anonymous, ShoutOn, Children (Georgia)


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123 anonymous, Serenata (California) 124 anonymous, If Your Foot Is Pretty, Show It (United States)


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.


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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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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

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143 anonymous, Dans Notre Jardin (France) 144 anonymous, The Gypsy Warning (Missouri) 145 anonymous,

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147 Richard Strauss, Not Yet 148 anonymous, Ah, Suzette, Chere (Louisiana) 149 anonymous, La Paloma Blanca

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6 (*>�>>>>>*>�>� >>>>�>>�>� ///86

� /// >> :�>>>>>> :�>>>>>>>>> :>>>>>>�>>�>(*>�>>>>>

///�

155 � >>>>>>>>33 >=>>>>>>>>=>>>� >>>� 33 �

152 anonymous, Chill Ether (Scotland) 153 folk song 154 folk song 155 J.S. Bach, Chorale, ‘Nun ruhen alle Walder’


� 33 >>>>>>>>>>>=>>>>>>>=>>>>>>= :33�

156 � >>>>� > :>>>>>>>>>>/ >>>>>>>� / �

� / >>>>>>>>>>>>>> :>>>>>/�

15743 >> :>>>>>� >>>>>> :>>>>>// >>>>>> :� //43

3

� // >>> :>>>>>>>> :>>>>>>>> >//� >>

158 > :>>*>>>>>>>> :=>>>>�>>>>>>>>>>Andante

+� /4242

/� ==> :>>

159 >>3 >>�>>�>>>>>�>*>>42 >>>�>>�>>>>>�Anmutig

>� 342�

� 3 >>>>>>>>>>>>>>>>>>�>*> >3�Canon for two voices:

156 J.S. Bach, Chorale, ‘Wenn wir in hochsten Noten sein’ 157 anonymous, The Duke of Argyle’s Courtship (Scotland)158 Harold Samuel, The Fairy Boat 159 anonymous, Gar Lieblich Hat Sich Gesellet


160 >">>>>>>>2((>>>(>>>>= :=:: =1>� 33 ��33� ::::>>=>>>



Chapter III

Minor Keys

III-1 Solfeggio in the Minor Mode

Some people sing in the minor mode using these solfeggio syllables:

�333�do

<re

<me

<fa

<so

<3le

<3te

<do

<do

<2ti

<2la

<so

<fa

<me

<re

<do

<� 333 �

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 ofthe notes stay the same when switching between the parallel major and minor.

Others prefer this:

�333�la

<ti

<do

<re

<mi

<3fa

<3so

<la

<la

<2si

<2fi

<me

<re

<do

<ti

<la

<� 333 �

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 firstone, 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 flattened one. The chromaticscale looks like this:

��do

<ti

</li

<la

</si

<so

</fi

<fa

<mi

</ri

<re

</di

<do

<� �

�so

3le

<2la

<3te

<ti

<�do

< 2do

<3ra

<2re

<3me

<mi

<2fa

<3se

<2<

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

III-2 Steps

The purpose of the first exercise is to get used to the solfeggio syllables used in minor.

161 >>>>>>=>>>>>>>>>>>>>Poco a poco accelerando

>� �� ::::>>>>>>>>>>

162 > :>*�>>> :> :>�>>�>� 8686� >*>�>> :

163 >>>�>>>�>>>>�>>>�Largo

>� 4343� = :�>>>�>

This melody introduces the use of the ascending and descending forms of the melodic minor scale.The rhythmic figure is the same as in the preceding tune.

164>>�>>/>>>>�>>>�>>/>/>>>>�>>/>�

Largo

>� 4343� = :�>>>/ �>>/>>>>>�>

165 >>>2>>=/>/>>>2>>/>>>>>>>>� �� =>>>>>>>/>/>

166 >>>/>/>>>2>>>>/>>>>>>>� 4343� (=>>>

16743� >=>2>>= :>>>/= :>>>= :>>� 43

165 L.R. Lewis 166 L.R. Lewis 167 L.R. Lewis

III-2. Steps 53

� >= :>=>>>>>>= :/>/>>= :>>=�

168 �3� =/>2>>>>>>>>>>>>>� 3 �

169 �3� =/>>>>/>2>=>>>>>>� 3 �

170 >/>2>>>>>>>>>>>(>>>/>>>>>>>>>>>>� 343433� (=/>2>>>3>2>

171 >=<3=2==/=23 </=2=>>=<===� 323� 3 (===>

172 � >>>>>>>33 >>>>>>>>>>>>>� >>>>>� 33 �

� 33 =�>> :>>>>>>>>>>>>>>>>>>>>>>2>/>>33�

168 L.R. Lewis 169 L.R. Lewis 170 L.R. Lewis 171 L.R. Lewis 172 J.S. Bach, gavotte in G minor


173

/

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>>"

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173 L.R. Lewis

III-2. Steps 55

III-3 Leaps Within the Tonic Triad

174 >>>=(>=>>=(>=>>=(>=2>>� 333 ��333� =(>>

175 >>(>>>(>>>(>>>(>>>(>>>(>� 333 ��333� <>>(>

176>>>>>2>>>= :>>>>>>>>>>>>>>� 333 4

343333� = :>>>>>>

177 �333� =�>3

>>�>3

>>>>� 333 �

17843� >"= :�>> :>>=> :> :>=> :> :�>> :333 >� 333 43

� 333= :2�>2> :>>=> :> :>=> :> :�>> :>333�

179 (� 2>(>>>>>>>=� >>>>>>>>333 >� 333 �

� 333 (>(2>(>>>2>>>>>>>>>>>2> >333�

176 G.A. Wedge 177 Who Got Dirt on the Carpet Again?


180 =>>>>>>>>=>>>>>>>>� 333342423333�

181 =2>>>>>>>>=>>>>>>>>>� 333342423333�

182 > >>>>>>>>>>>>>>>>>>>>� 333342423333� =

183�>> :"(>=>3>>2>2>>>>>� 3333 ��3333� = :

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

� >> :>>>>>> :>>> :>> :=>> :>>>> :>>�

� > = :> > > :> > > > > > :> > > > :>� > => > :>

187 >>>>>=>>>>>>=>/>>>>� 33 ��33� = :/>famous tune (identified in the table of contents)

188 >>W>>(>W>>>>>>>>>� 33 ��33� >W>W>>>W>Round:

189 >2>>>3>>>>2

>=>1

>� 333 ��333� =>4

>>>>

187 J.S. Bach, Chorale, ‘Es steh’n vor Gottes Throne’ 189 anonymous, Thou Poor Bird


III-4 Leaps Within the Dominant

190 >43

>>>>>= :>>>>>>>� >/>>>>>� 334333 = :/>>>>>>>

191 =/>>>>>>>>>=>>>>>>>>>� 33424233�


192 >/>>>>>>>>>>==>>/>>>>==>>Andante

=� 33 ��33� <>>>>>>>

193 > > > > > >� > > > > > >� * >89 > >33 > >� >33 >> >

Vivace� > > > >89 > >

33� 33� >>>>>>>>>>>>>>>>>>>>*�>>>>>>

� 33 > > > >� * >2 >3 > > > > > > > > > > > >� * > > >� >33 > >>2 >/

194 >>>>>>>/>>>=>/>>>>>>>>>>>� 33434333� =>>/>>

195>>>>>>>= :>>>>>>>>>>>>>>>>� 33

434333� = :>>>>>>>

190 G.A. Wedge 191 G.A. Wedge 194 G.A. Wedge 195 G.A. Wedge

III-4. Leaps Within the Dominant 59

1962>>>2>>>== :>2>>>>>>2>>>=� 333 4

343333� = :>>>

197 >>>>>>>>>>>>>>>>>>>>>� 33434333� ::::= :/>>>>

198 >>>>>>>>>><>>>>>>�>> :>>�>Largo> :� 333333 ��333333� <>>>>>>

199 >>/>42 >>>+>>>>>>� >+>>>>>>>+� /42

/ =>>>>>+>

200 >>/>>>>>>>>=>>>>>>>>>>>>>� 33434333� =/>>>

201 >>>> :*�>>>>>>> :� 3338484333� *�>>2>>>>

202 � 33 �>>�>>>>>�>>�>>>83 >> :>/>>>>>�Draengend, doch nicht schnell

>� 3383

� 33 >/> :>>>>>>>>>�>/>>>>>>>>>>> :33�

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


203 >2>>>>>>>>>>> :>>>> ::>>� 333 812 > :> :>>� 2> ::>>>>>>>>333 >>>>>>>>>>>812

204 �� 333333� > > > >: > >> :> > >2 > > > >

333� 333� :> :>>>>>> :*>>2>>>>>>>>>> : >>

� 333 >>> :> :> >>>> > > >2 >� ::333 > ::> > :> :> >

205>>>>>> :>>>>>>> :>>>>>>>/>>>>>>>>> :� 3

43433� =/>>>>/>>>

206 >>>>>> :�>>>� />>>�>+>�>>>>33 >>>>� 33

42 *>�>>>/>> :�>+42 >�>>

33 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’


209�>>>>> :�>+

42 >/ �>>>>>>

�>+>� �>>>>> :�>� 342 *3 > :>>>> :

�>+>3

210 �� > =� > > =333333333333 >� > > >> > >Allegro marziale

> > > > > = > >

333333� 333333� >>>>>>>>>>>>>=>>>>>>>=

� 333333 =333333 >>>>2> >2> >> > >3 >3 > > > > > > > > > >� 2 >2 > >

211 � >>> :>>>>>�>> :>>3 >*�>>>> :>>>>>�>4

2 > :�>� 342

3 3

� 3 =>>>>>�>> :>>*>>>> :>>>>>�>> :>>*>3� 3 3

212 > :>>*�>>>/>>�>>>>� 8686� ( :�>

>�>>>>

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’


214 �>> :�>*((/>>>>�>

Langsam> :pp

� // ��//� ">>>>>>>

215 = := :/ �>> :>>=�>> :(= :�>> :>= :�>> :(= :�>> :>= :� ////4343

////� ::::

216 � 3 >� > > > =3 M> > >� > > > >> M:=� > > > > >

3� 3� >>M=>>>>>>= :M>>>>>>>M=

� 3 > M:=>>> > > > > > > = M> > >� > > > M:=3 >

217// >� = :>>>>:: >= :>>>>>>>� �>> :>>>>>� // �

� // = :/>>>>>>>�>> :>>>>>> :>>>>>�>> :>>>>//�

218 � >/>33 >>>>>>>/>>>>>>84 >>>>>>� 3384

214 Johannes Brahms, Nachtwache 1 215 anonymous, Mi Sueno (Mexico) 216 J.S. Bach, Chorale, ‘O Haupt voll Blut

und Wunden,’ from St. Matthew’s Passion 217 J.S. Bach, Chorale, ‘Von Gott will ich nicht lassen’ 218 G.A. Wedge


� 33 =/>>>>>>>>>>/>>>/>>>>2>33�

219 >>>>>>>>>= :>>>>>>>>>>>>>>� 33434333� = :>>>/>>>>/

220 > > > > > :==43 > >/:>� 43 /33 :"� :" :"> > > > = >33 /

33� 33� �>> :>>>>�>> :>>>>>>>>>>>>>>>/= :>=

� 33 />� >:=33 :" > >>�>> :=>> >=

�>> :>= :=

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� 33 >>> :>/>>>2=>2>>>>= :>=>/=>>>>>" :� 33

� 33 =>� >> �33 *> > :>/ >� = :>/>>> >>= :�>*(>/ �>*(� :>

219 G.A. Wedge 220 G.F. Handel, aria ‘O Jordan, Sacred Tide’ from Esther


� 33 = :>>" > :> > > :> >� > > > :>/ >� :=� 33 />2>=2>/>>>>" :/famous tune (identified in the table of contents)

221 33 �33� >Lento

� > > > > > > = > > >�/ :> :=� > > > > >

33� 33� �>> :== :>= :>(= :> :/�>>>=>>

� 33 >> : :>> > > :> = > > > = * >� >� > >�/ :> <33 >



Chapter IV

Other Diatonic Materials

IV-1 Leaps Between the Tonic and Dominant

The following three songs contain the leap from ‘ti’ to ‘mi.’

222 >>>>==>>>>>>>>>=>>>>=� /4242

/�

22343

�>> :>>� >>>W>W>W�>> :>>>>>3333 >>>>>Allegro giusto

>� 333343

� 3333 = :=>>>>�>> :>>>�>> :�>> :>>>>3333�

224 >>>*>>>>>>> :>>>>>> :>>>>>� /4242

/� (*+�>>>>>>>>>

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, Gia il Sole dal Gange 224 Franz Schubert,

Danksagung an den Bach 225 Grieg

226 � //= :>>>>=>=>=>>4

3 >/>== :� /43

� / = := :>>>>>>= :/=>/>=>>>>/=/�

227 >=>>===>>>==�>> :>>>>=>/>=>Moderato affetuoso= :� 33 ��33� <=>>

226 anonymous, zandunga folk song (Southern Mexico) 227 Giulio Carcini, Amarilli, Mia Bella

68 Chapter IV. Other Diatonic Materials

IV-2 Leaps Within the Subdominant, Major Keys

The first two tunes clearly imply the subdominant chord in the marked measures.

22843 >� >>>>>>>>*>>=>3 >>>>*>>>>>>� 343

� 3 =>>>>>>>>>>>>*>>=>>>>>>=>>>>>=3�

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 >>>>>>>*>>>>>>�>*>

*>>>>>>�>*>>>>>>>�>� 342423� *>>

This one jumps from ‘la’ to ‘fa:’

231 >>>>>>>>>>>>>>>>>>>>>>>*>>>>>� 342423� *�>>>>>


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

� // (= :>>>> :>> :>�>>>�>>�>>=//� 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 five-note, or pentatonic, scale. Once one’s ear adjusts to the sound of the scale, thecharacteristic leap between ‘do’ and ‘la’ no longer sounds like a leap at all. Of the following twoexamples, the first is pentatonic, while the second uses the full major scale. The first example hasbeen notated with the style’s typical elaborate ornamentation, which you may wish to ignore.

233 >3 >4242 >3 �� :>� > > > :>> > >� > :> > >

��

� :> :> >

3� 3� >> :> :��>>>��>>>��>>> :>>��>>>��>>> :

� 3� 3 >> :> :>> :>> :>>> :>��>>>>> :>> :>

� 3 :> > > > > > >

��

> > :> > :> > :>> :>�>

3� �

>

234 �>>>>>>>> :>>>>>> :>42 >>>>>>>> :� >>>>>>�>� 42

� �>>>>>>>> :>>>>>>> :>>>>>>> :>>>>>>>>>> :�>�

233 anonymous, Lang Johnny More (Scotland) 234 anonymous, The Bonniest Lass in a’ The Land (Scotland)


235 >>>>>>>>>>>>>>>>>>>>>>>>>>� / ��/� >>>>>>

236 **�>>�>**�>>>>*�>>>�>> :>�>> :�>> :>>Sanft bewegt

>� 3334343333� (>>�>> :

�>

237 >>>>>>>>>>>>>>>>>>>>>>>>Andante

>� 3334242333� >>>>>>>>>>>>

238 >>>>>>>>>>>>>>> :>>>>>>>>>Moderato>� 4

242� =>>>>>>>

239 >>>>>>>>>>>>>>>>>>>>>>>>>� 3 43433� =>>

240 >>>>>>>>> :>> :>>>>>�>>�>>>>>�>� /4242

/� (>>>>

241 �>� *�>> :>>>> :(�>3 > :�>>�>>�>*�>> :>>>> :(�>8

6 > :�>>�>>�

Animato

>� 386

� 3 >> :�>>�>>>>>*>�>>�>>�>*�>> :�>>> :�>>*>�>>�>>3�

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)


242 �>>�>>>�>>*>>�>> :>>�>Moderato

> :� �� =>>�>

> :�>>*>>

24343//� >// :> >� > >� :> > :> >� > >�43 :> > :> >� > > > > :> >� > >�

//� //� >>�>> :>> :�>>�>> :>=>>�>> :>>>>>�>> :>=

� // =>>>=>> > > > :> >� > > := = > > :> >� > >� :> > >� // :> >�

24423� =<====333 =="<====<==

Andante sostenuto

=� 33323

� 333 < :=<=<==="<=<=<===< :333�

245 � > :>>>> :�>>>>>+3 �>>>>+�>>> :>>>>

83

>> :� 383

� 3 > :>> :>>>>>> :> :>> :>>>>>> :*>*>( :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


246 � >3 >=>>>(==>>>>==>= :� 3 ��

� 3 =>=>>>>>>= :>>(=>>> >3� !

247 � :>� /// > > > > > > > > * >� > > > >� > >� > :>/// >

///� ///� >>>>>(=>>>> :>>(>>>>>>>

� /// ==== :> >� > > > > > > = :> >� > > >� :>� /// =

248 >>= :>>>>==>>>>====� /// ��///�

249 � >> :*�>/ >>> :*�>>>> :=>> :=>> :� /4343

� / =>> :*�>>>> :*�>>>> :=>> :=>> :=/�

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)


250 � / � =/ > W> = >� =W => > > W> " W> = > W>� = > = =

/� /� >W>W>>>=>W>W>>W==>W>W>>W===>(>W>>

� / >>W>W>>> > > > > > > > > W> W> > > > W> W> > > > > > >� / <

25186

�>>>>>>>>>>� >�>>>>>>>>>//// >>�>>>>>>>> :>>>�>� ////

86

� //// ::>>>>>>>>> :>>�>>>>>>>>>> :>:: >�>>>>>>>>>>////� ::

252 >�>>>>>>>>*>�>>>>>>>> :> :> :> :Moderato

> :� 333386863333� *>> :>>>>>>*

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


� ///// >>>>>>> > > > > > > > > > > > > > > > > >� > :>///// >� >

254 � *>�>>>>>>3 >>>>>>*>�>>>>>42 >>>>>� 342

� 3 *>�>>>>>>>>>>>>*>�>>>> :>>>>>> >3�

255 >>>>>>>>>= :>>>>>>>>=>>>>>>>>>>� //// ��////� = :>>>>>>>>=>

256 > :(> :>�>> :>> :>�>> :� �� =>> :>>>>> :>�>3

257 � >>>� >>>======>>>>>// >>>=>>=� // �

� // =>>>>>>======>>>>>>>=>>=(>�>> : >//�

258 >>42 >>>>>>>>>>>� > :>>>>>>>>>>>3333 >>>

Allegretto

>� 3333 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


� 3333 >>> :>> :>> :>>>>>>> :>> :> :>>>>>>>>>>>>>>3333�

259 > :>/// > >86 > >86 > >/// > >� > >> > :> > > :> > > :> > >� >

///� ///� �>>> :>>> :>>>>>>>>>>>>>>> :

� ///� /// >>>> :>>> :>>> :>>>>>>�>>>>>

///� > > > > > > > :>> > > :> >/// > >>> : > >>�

260/

�>>�>>�>>812 �>>�>(> :>>>�>� >>>>�>>�>>�>>�>� /812

� / >>>�>>�>>�>>�>>�>>( :> :>>>�>>> :�>>�

>>�>>( :> :>>>�>>/� (> :

261 �>>�>>>>> :�>>�>>>>>

�>>>>>�>>>>>�>>�>� 3

86863� ::::>�>>

�>>>>> :�>>

259 anonymous, My Lodging Is On the Cold Ground 260 anonymous, Cowboy’s Home Sweet Home (Arkansas) 261

anonymous, Calinda (Louisiana)


26243

= :>=>== :>>((= :>=>� == :>> :�43

� >>>>>=>>>>>((= :>=>>>>=>((�

26343

=>>>>>> :(>>� >>>>> :(>>> :>>/ >Maestoso> :� /

43

� / >>>>>>>> :>>>>>>>> :=>>>>> : >/�

264 =>>>>>>>>>*�>=>>>>>>>>>� ///4343

///� >>>>>>>>>>>>*�>

265///// �>4

3 >=> :>=>�>> :

�>>=>� >>>>=�>>� /////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


267 � �>*>>� >>>>>>>>/ >>>(>>>>>>>>>>>>>� / �3

3 3

3

� / >�>>>>�>>>>>�>>>>�>>>>�>>>>�>>>>/� > :>>>>>>

3

26886 �>� >> :>>> :�>>�>>>333 >> :>>> :�>>�>� 33386

� 333 >>�>>>>>>> :�>>>>> :>>> :�>>333�

269 � >>>>>>>>>((=>>>>43

=>>>>� 43

3

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3

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43

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3

3 3

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>>>>>>>>>>>>>> :�>3333�3

267 anonymous, Caroline (Louisiana) 268 anonymous, Avril (France) 269 W.A. Mozart, menuet from string quartet #

10 270 anonymous, The Hallowed Spot (Missouri)


271/

42 =�>> :>� >>�>> :>>�>> :>>>�>

Adagio> :� /42

� / =>>>>>>>�>> :>>>>>>>�>> :/�

272 ///42 �>

> :=>> :>�>> :>>> :� >�>> :>>> :�>> :>>� ///42

� /// >=�>> :�>> :>>>>>�>> :>>> :�>> :///�

273 � 333342 > > > :3333� >> > > > > > > > :>> > > > >42

Allegretto mosso

> > > >� > > >

3333� 3333� >> :>> :>> :>>>> :>> :>> :>> :�>*>>>>>>>>>>

� 3333� >>> >> �>> :�>* *>>> :��>>> :>> :>>3333 >> : >

3333� *� 3333 >>>>>>>>>>>>>>>>>�>>>>>>>>> :

271 anonymous, folk song (Russia) 272 anonymous, The Ship That Never Returned (Missouri) 273 Pier Domenico

Paradies, M’ha Preso Alla Sua Ragna


� 3333 > (> > > >> >3333 :> > > :> > :> >>

�� :>> > >+>>>>>>>�

274//// �� >//// > > > >� := >> > > > >

Gehalten und empfindungsvoll

> := > > > > >�

////� ////� �>> :>>>>>>>>�Lebhaft

>43(=>>>>>>>=

� //// >>>> > > > > :> >� > > > > :> >� > > = >� =////

275 >>86� >

Moderato

>�86 >� > >� > >� >� > * > >� > >� > >� :> >:: >� > *> >�

� > :> :> ::: > :> :�>>�>>�>::Vivace

>> :�>>�>>�>>�

� >� :> ( * :> :> :> :> > >� > >� :> ( *� > >� >

274 anonymous, Die Sonne Scheint Nicht Mehr 275 anonymous, Ubi Bene, Ibi Patria


IV-3 Wide Leaps Within the Subdominant

276

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277>

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279 3 � >>=>>>� >>= :>>=>>=>>=Moderato

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276 W.A. Mozart, presto from string quartet # 4 277 J. Ellor, Diadem 278 W.A. Mozart, rondo from string quartet # 6279 anonymous, Adieu, Bonne Hotesse (France)

IV-3. Wide Leaps Within the Subdominant 81

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280 anonymous, Derriere Chez Moi (France) 281 Stephen Foster, The Song of All Songs 282 S.W. Gladden, TheMountains


IV-4 Leaps Within the Subdominant, Minor Keys

283 =2>>>>>>>>>>=>>>>>>>>� 333342423333�

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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 3 >>>>>�>> :�>42 > :/�>

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288 anonymous, Vivo Llorando la Suerte (Mexico) 289 W.A. Mozart, Osanna (bass solo, allegro) from Sanctus, Requiem290 J.S. Bach, trio from Brandenburg concerto # 1 291 anonymous, Que No Te Amo (Mexico) 292 anonymous, folk song

(Russia)


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293 anonymous, folk song (Russia) 294 anonymous, Entre Vous Tous Gens de la Ville (France)

IV-4. Leaps Within the Subdominant, Minor Keys 85

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, find 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 ofthe 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 bettersolutions arising naturally from the logic of the melodic line.

The first example is easy, because the leap begins a repetition.

295 >>> :>>>=>*>(>>W>W>W>>>>> :>>>=>>� 343433� "=>W>W>W>>

The next two examples are not much harder; there is repetition, but at a pitch one step higher.

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295 W.A. Mozart, menuet from string quartet # 8 296 C. Hess, Little Charley Went a Fishing 297 folk song


In the next tune, the leap upward from ‘ti’ to ‘la’ is heard as the inversion of the earlier step downfrom ‘ti’ to ‘la.’

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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 mayfind that the easiest way to hit the ‘fa’ is simply by locating ‘fa-mi.’

299 >>>*�>>>>>=>>>>>*= := :� 4343� (=>>>

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

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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.

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303 3 >>>� >>>>>>(=>>>� >>(=>>=� 3 �

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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


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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 W.A. Mozart, menuet from string quartet # 8 310 W.A. Mozart, presto from string quartet # 7 311 anonymous,

Upidee


IV-6 Other Perfect Fourths and Fifths

We’ve already sung leaps of a fourth and a fifth 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 fifth may imply other triads, inreal music they are more commonly produced not by the harmony but by the logic of the melodyitself. In the first 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.

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In this example, the leap from ‘la’ to ‘re’ is heard as an imitation of the preceding ‘so-do’ leap.

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� / >>> >> > > > > * >� > > > > > > > > > > > > > > > > > > >� > > >/ *Here, we really have the easy ‘so-mi’ leap, but with ‘la’ interposed.

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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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316 C.M. von Weber, Softly Now the Light of Day 317 Charles K. Harris, After the Ball


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318 A.S. Sullivan, Take a Pair of Sparkling Eyes 319 A.S. Sullivan, Sing Hey to You, Good-Day to You! 320 Stephen

Foster, Slumber My Darling 321 S.C. Foster, Gentle Annie


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322 anonymous, Were You Ever in Rio Grand 323 Nikolai Rimsky-Korsakov, Scheherezade (theme from third movement)324 Beethoven, opening movement from string quartet # 1 325 W.A. Mozart, trio from string quartet # 1 326 Franz

Abt, Kathleen Aroon


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327 anonymous, folk song (Germany) 328 Thomas Moore, Love’s Young Dream 329 Attributed to Guiseppe Giordiano,,

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330 anonymous, Remon (Louisiana) 331 anonymous, Juanita 332 H.S. Thompson, Lilly Dale


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333 anonymous 334 Giovanni Battista Pergolesi, aria from Stabat Mater 335 J.S. Bach, menuet II from cello suite # 2336 Johannes Brahms, introduction, 1st symphony


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338 3333 �>> :�>> :�>> :>>>� >�>> :>>>>�>> :� >>>>�>> :�>> :�Moderato

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86

337 anonymous, processional march song (Germany) 338 Darius Milhaud, Chant de Sion 339 anonymous, Sagt Mir, OSchonste Schaf ’rin Mein


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340 anonymous, Gunhilde 341 anonymous, Ach, Englische Schaeferin 342 J.S. Bach, Chorale, ‘War’ Gott Nicht Mit UnsDiese Zeit’


343 �333� (>>>>>>>>>>>>"(>>>>>>>>Larghetto

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344 >W>W>�>>*>>W>W>W>W>W>>>W>W>W>W>>>W>W>W>W>�>Allegro>� 33

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343 G.F. Handel, Angels Ever Bright and Fair 344 Beethoven, allegro from string quartet # 6


IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale

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346 �� :>� >� > >3 >3 /� = > :>> >� >/ > := > = > > >

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348 �� >>>/>>> :>> :>>W>>+>W>/>+>W>>+>W>>+>>>>>>>>� �

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346 anonymous, O Daniel (Florida) 347 J.S. Bach, Invention 2 348 W.A. Mozart, andante un poco allegretto from stringquartet # 5

IV-7. The Diminished Seventh Chord, and the Harmonic Minor Scale 101

349 � >Lullabye> > > > :> >� > > :=

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349 Abraham Goldfaden, Raisins with Almonds


Chapter V

Nondiatonic Materials

V-1 Secondary Dominants and Chromatic Passing Tones

350 �//� >>>>>>>>>>>>>>>>>>>>>>>>>� // �

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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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354 � / � >/ >/ > > >� � > > > > > > > > := > > > > >

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355 >>42 >>>>>>>>>>>� >>>>>>>>>>>>/ >>>Allegro moderato

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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

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358>/////// :>�� > > > > =/////// >� >� >� >> > > > =� ( >

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357 M. Keller, Angel of Peace 358 J.A. Butterfield, When You and I Were Young

V-1. Secondary Dominants and Chromatic Passing Tones 105

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360 � �>>�>*333 �>2>>> :>>> :>>>>>>>>83 >>>>>>>�>(� 33383

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36142 >>>� >>> :>>>>>>>/ >>> :>>>>>>>>>� /42

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359 I.B. Woodbury, Speed Away! Speed Away! 360 W.A. Mozart, aria from the Magic Flute 361 anonymous, Let God’sSaints Come In (Virginia)


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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)


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367 >2 >3333433333� >43

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368/ >>>/>>>>>� >>>>>>>>>>� > :>>> :� / �

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366 George F. Root, Brother, Tell Me of the Battle 367 George Cooper, Beautiful Bells 368 J.H. McNaughton, The FadedCoat of Blue


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370 � :>� / �/ > > > > > > >> >� > > > > > => :> >� > > > >�

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371// Moderato

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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, Crepusculo (Mexico)


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372 � 333 >>>>>>�>> :>2>�>*>42

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373> * > > * > W> " = > > > > >3333 > := * >� >�3333� =� >>>>> >

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372 anonymous, Media Noche (California) 373 Giovanni Battista Pergolesi, tune from Stabat Mater


374 �//� ::::= :>>>>>>>>>>>>>>>/>>>>>>>>>/>>� // �

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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


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378 Gus Edwards, In My Merry Oldsmobile 379 anonymous, Erlaube Mir, Fein’s Madchen 380 J.S. Bach, Menuet I fromorchestral suite #1


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381 G.F. Handel, chorus from ‘Judas Maccabaeus’ 382 Frances Shackleton, The Orange and the Black


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385 W.A. Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487


V-2 Blue Notes

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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


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390 anonymous, ’Tis Me, O Lord (Unites States)

V-2. Blue Notes 117

V-3 Relative Minor and Major

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391 anonymous, Schwesterlein 392 anonymous, Es Ritt ein Ritter 393 anonymous, Cradle Song (Sweden) 394 J.S. Bach,

Chorale, ‘Befiehl du deine Wege’ 395 J.S. Bach, Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’


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396 � (>�>> :>>>>>>>>>>>2>>>42 >>/>>>>�Heimlich und zierlich bewegt

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396 anonymous, Feinsliebchen, Du Sollst 397 J.S. Bach, Chorale, ‘Gib Dich Zufrieden und Sei Stille’ 398 F. Nicholls

Crouch, Kathleen Mavourneen

V-3. Relative Minor and Major 119

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