NEW ENGLAND CONSERVATORY COURSE
Sight-Singing
(SOLFEGGIO.)
EDITED BY
SAM'L W. COLE
Book 1. Major Scales, Intervals and Plain Forms of Rhythm, v
Book 2. Minor Scales,- Chromatic Intervals and Complex Forms of
Rhythm.
PUBLISHED BY
NEW ENGLAND CONSERVATORY OF MUSIC
BOSTON.
1890
L
LJ*-
NEW ENGLAND CONSERVATORY COURSE
IN
Sight-Singing.
(SOLFEGGIO.)
EDITED BY
SAM'L W. COLE.
Book 1. Major Scales, Intervals and Plain Forms of Rhythm.
Book 2. Minor Scales, Chromatic Intervals and Complex Forms of
Rhythm.
PUBLISHED BY
NEW ENGLAND CONSERVATORY OF MUSIC
BOSTON.
1890.
A//A2T
Copyright, 1890, by SAMUEL W. COLE.
UNIVERSITY OF TORONTO
EDWARD JOHNSON
MUSIC LIBRARY
TYPOGRAPHY, PRESSWORK AND BINDING BY F. H. GILSON, BOSTON.
PEEFAOE.
THE following course of instruction in Sight-Singing has been com-
piled to fit the needs of an American Conservatory of Music. Not that
there are no works of a similar nature by American authors ; but all such
which have come within our notice fail at many points to meet the
demands of an American music school.
These courses have been produced for the presentation of the subject
to children in the public schools, or for use in private instruction. For such
purposes some of the works to which we refer are well nigh perfect ; at
the same time they fail to meet the wants of an institution where all
branches of music are taught, and where the instruction in sight-singing
must cover the most intricate forms of musical composition, and that in
the shortest possible space of time.
While it may be, that the principle of tonality, key relation, is the
only plan which is possible to the people at large, yet for the professional
musicians and those intending to become such, to read by interval is cer-
tainly possible, and is, we believe, the only practical way to deal with the
intricacies of modern music. We have been forced to this conclusion by a
practical experience.
It is well known that in the music to which we refer, the key-signa-
ture is no guide at all to the reader, for the reason that the composer does
not feel bound by the signature to remain even in contiguous keys, but moves
IV
to the most distant, or changes the key with every two or three measures ;
as this is done by means of the proper sharps or flats and not by a change
of the signature, it manifestly becomes a very complex matter to read by
means of the key.
It is a well known fact that reading by interval is the system taught
in many if not most of the European Conservatories, and in this compila-
tion we shall draw frequently from works in use there, but which, from
the radical differences between the conditions of musical affairs in general,
in America and Europe, have been found inadequate to our needs. It is
not expected that this work is to settle all questions which are still hotly
discussed by the advocates of other so called systems ; we have simply
undertaken to arrange a course of study based upon experience in teaching
sight-singing in conservatory and public schools, and to collect from all
available sources a sufficient number of illustrative examples to make a
complete and thorough method suited to the needs of such an institution
as we have named.
Attention is called to some of the characteristics of this work which
are believed to be unique. An effort has been made to simplify the course
so far as possible ; to this end only those matters are touched upon which
are absolutely indispensable.
Again, those who are to read from the F clef have an equal opportunity
for practice with those who are to read from the G clef. Another important
feature is the introduction of a' large quantity of music with words ranging
from the hymn tune in its best form to the oratorio chorus and embracing
a large number of glees and choruses in three and four parts, intended to
give the student practice in reading music at first sight with words. Con-
sidering all these features, it is expected that this work will be found use-
ful in high schools, academies, seminaries, colleges and in private instruction
as well ; in short, wherever a course of instruction in sight-singing is
required in which the subject has been reduced to its lowest terms.
TO THE STUDENT.
THE course is not intended for the beginner but rather for those who
have mastered the rudiments of music.
To particularize : the student of this course should be able to sing the
major scale correctly ; should know the position of the letters on the staff
in the G or the F cleffs, and should be able to distinguish between the
different kinds of notes and rests ; some knowledge of the piano-forte also
will be found very helpful. There is no disguising the fact that to learn to
read music at sight is a difficult task, therefore all who enter upon this
study must do so with the determination to faithfully pursue the directions
given to the very letter, whether such directions refer to writing or singing.
At the same time, no one need be deterred from making the attempt, but
none need hope to succeed except those who make an honest, determined
effort.
Mental concentration is one of the first requisites to success in this
study, and happy is the student who succeeds in forming this habit early in
life ; it is quite as necessary to be able to think in music as in mathematics.
The power to imitate is directly opposed to the thinking power, there-
fore guard against it ; first know what you are going to sing, then sing it
if you can, and every time you succeed, be assured you are making
progress toward becoming a musician.
VI
Let no comparison with your fellow student either encourage or discour-
age ; we are only required to do our best in whatever we attempt, but if this
much is not done we pay the penalty.
Success rarely comes suddenly to anyone, but is usually won by patient
effort. Some one has defined genius as " long patience ; " if this be correct
we mdy all aspire to some genius, because patience can be cultivated.
With the hope that this course of study may prove a real help to all
who desire to become intelligently musical, the editor submits his work to
the public.
NEW ENGLAND CONSERVATORY COURSE
IN
SIGHT-SINGING.
LESSONS.
THE Major Scale is the foundation of Music as known to us, because it
contains the two intervals from which all other intervals are composed, and
into which they may be resolved, namely, Major (larger) and Minor (smaller)
seconds. Upon i knowledge of these two intervals, and the various ways of
representing theu, depends all future success in this study ; we mean by
" knowledge ", the ability to produce each of these two intervals at will, and
to recognize them vhen they are produced by others, either vocally or instru-
mentally. To acqu're this ability is much easier than to gain a familiarity
with their varied representations.
In Ex. 1 will be c ound the scale of C major, commonly called the Natural
scale because no sharp or flats are required in order to properly represent it on
the staff, but in point of sound it is no more natural than any other major scale.
These, and all the other intervals will be taught as so many facts, but certain
Musical Mnemonics, (Memory Aids), will be suggested in the case of each
interval ; for instance, a najor second may be associated with the sound of
1, 2, 2, 1: A minor second with the sound of 3, 4, 4, 3, of the major
scale.
The learner should wite out each major scale, viz., C, G, D, A, E, B, F#,
F, Bb,Ep,Ab,D?, G>; as in Exercises 1, 2 and 3. In Ex. 2, the scale of G
major is written for Sopraio, Alto, Tenor and Bass voices ; in writing out the
scales, each student should rcrite in such a position on the staff as will bring
them within the compass oihis or her voice. Use no signature, but the sharps
and flats should be placed kfore the notes to which they belong, and mark the
(5)
6
minor seconds with a bracket, as in the examples given. But two facts need to
be borne in mind in order to write these scales correctly. Fact 1 : The minor
seconds must be made to occur between 3, 4 and 7, 8, of each scale. Fact 2:
From E to F and from B to C is a minor second. When therefore, these minor
seconds are found to come between other numbers than 3, 4 and 7, 8, they
must be made to come between these numbers by the use of sharps or flats.
After each scale is written, prove the work by writing the numbers below the
notes and marking the minor seconds.
The letters may also be written above the notes. After each scale is
written, take the pitch from some instrument, and sing it several times with
the syllable " Loo ", or any other better adapted to the voice, b ut not with
do, re, mi, etc. Sing slowly, with a light voice, and with great care as to the
correctness of each tone.
SCALES.
The ability to recognize major and minor seconds, both in sound and
representation (with the ears and eyes), and to produce either variety at
will with the voice, being of so much importance, /he learner should now
write out the following example in thirteen keys, fini without signatures as
in Ex. 4 and 5 ; then again with signatures as in Ex.6. As before, each pupil
should be very careful to write every example in sucl^a position on the staff as
to bring it within the compass of the voice, as it is if the utmost importance
that these exercises be sung in every key, not once/merely, but many times.
The minor seconds should be carefully marked with a bracket (r i) and
the effort made to discriminate between the major pid minor.
Attention is called to the time signature, f j the upper figure denotes
the number of beats in a measure, the lower figure the kind of a note to be
given to each beat.
When each example has been sung correctly as to the intonation, then
sing it again in time, giving a slight accent to the first note in each meas-
ure. Where this course is studied without a teacher, a perfectly correct guide
as to time may be obtained by suspending a slight weight, (say one or two
ounces) at the end of a string a yard long and causing it to swing.
It is important that the proper use of the piano-forte, as related to the
study of sight-singing be clearly explained at this point.
First, the piano should be always in tune, then use it only as follows :
sound the first note of the example thus getting the pitch. When singing
without regard to time, sing each note and while singing it, play softly each
note on the piano. If the voice is found to be in tune with the instrument,
proceed to the next note, and so on to the end of the exercise. Thus by com-
paring each note with the piano, the student can praotice correctly, and rapid
progress can be made.
If the piano sounds the note first, then the practice is of little use, as the stu-
dent becomes at once a tone-imitator instead of a tone-producer. When singing in
time, take the pitch from the piano, and sing on to the end of the example.
Play the last note while still singing it; if in tune with the piano, it is pretty
good evidence that the whole example has been sung in tune ; if not, return at
once to the practice without time. If, after repeated trials of the most careful
sort, you are still out of tune, then consult your teacher.
In all the following examples in one part, the melodies are also written
out in the F-clef, in order to give those who must read from this clef an equal
opportunity with those who read from the G-clef. In the two-part exercises
the Alto part is reproduced in the F-clef for the same reason.
SECONDS.
Ex. 4.
c.
1 . i 1 '
J/ ^j
~~l 1
~\
1 1 _j L
\y) 2 1 ~l
1 J
--<$! ^ > ^ L2 f_
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, i
1 '
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<*r? ^^
(^ f^ 1 p 1 If
* I A J 2
^^
i L
GZ rSuIZZZZ Z
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II ' ' :
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-(22-
Z^=
Ex. 5.
D-flat.
^
rd gi
OE2
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=L '|^H
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5s> te^-
-P^-
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i
.
Ex. 6.
SOPRANO.
TENOR, j
.i* k ^ ^*~
f
f~T~^
_ j J. J ^ ^ A A
BASS.
=t!=t= L| t=t
LJ
==1:1
From Ex. 7 to Ex. 18, the Commas are introduced to mark the phrasing,
and the pupil should take time from the last note in each phrase for breathing.
After Ex. 17 they are omitted in order that the learner may decide where
the breath should be taken. The minor seconds should still be marked with
a bracket until they are readily and certainly recognized.
Ex.7.
==0
-&-
Ex.8.
10
Ex. 9.
J^i
jj=+==:=
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Ex. 10.
... 4 6 , , 4 6
1
666 66
fEEBoiiiM^^^ie^
i
Ex. 11.
11
?=p:
^==E=^=jgEE
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Ex. 12.
fcrju=i====qps==q:
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^H= | F dE
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ipzz
39
Ex. 13.
vr-t, h t^ j
j * * \
w p
ErSE * J
* r & ii
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it i
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p f~ P p "f* 1
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ly 5 K 9 "/i
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4
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II
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12
Ex. 14.
nn
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Ex. 15,
1 ..-
3=^5= --^=^-
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i n
lfr
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Ex. 16.
1 |-
4 4
4
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:
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N. _j
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-
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4 4
]
4
r i
13
"F
^i^-r y-
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^i
Ex. 17 and 18 should be sung as one, and the attempt made to change
the key without instrumental aid. The careful marking of the minor seconds
will facilitate-this. Attention is called to the four-part measure here introduced.
Accent the first and third counts, making the accent on the first count
stronger than that on the third.
Ex. 17.
^f-^yr^f .j r-
m
Ex. 18.
-B* ' *
| 1
H^fl
f ,.
^ r ^J
_j9 ^ ....
d> ii
? =MI
14
The two following exercises (19 and 20 ; should be treated in the
same manner as the preceding, (17 and 18 ) Also exercises 21 and 22.
Ex. 19.
jgvEEiD I ^~~
1 1 1
j s5 -^
v-i/ m \ 9 ,f-\ 1
-A pi
25* d ~1
J -J- ^ '
SB J J=* f If 2 * *-)
p *-
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- ^ * 1 F
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1 i
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P ^ ^ J
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* *- r ~?~ *-
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Ex. 20.
F^l
'-V*7 j
j
1 =
J
j
1
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J *
3
J
^
22
3
*
-i 1
I
01 &
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9
^
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rc? C S ^
r :
r
f fctf
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15
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Ex. 22.
fSr*irT-h-h-<
e-EE
- f- ,- -T75 -7-1- [ 1
If the minor seconds are not readily recognized in the following studies,
they should be carefully marked. 7 -
Ex. 23. BATISTE. Arr.
>-^ 1 :
=t=t
=^=#5L-:
==1=
=1=3
^
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3
zj=ifa=d=rt=i
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16
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-1- - -1 j H U H_q
*T^ L g.
^ ifr -. 1 J*^ A 2 1
-* ft= r- 1
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_l
-p^ifes Mf --f
z f
|
i
1
T" 1 ' ! *Y "ft
i
T i 1 F
i 1 1 rH 1 1 1 i
-jX j
1
' =i 1 d f ~z ifer-
-^ -rH d_ ' J J J
I?T\ 1 1
u- J J "9 <? *V
e ^ C^> ' * UP * 9 ~
\>t/ ^\
K j ^j
m $*
* +T" ^ |
i
^
* *r ~r '
, (2 g,$> ^*_g^ F ,
f~\i ^ 'er^ }
tf
i
' f
- ~x $
1 E , r- \- \
^r 1^\^
1
_
.
1 1
-
^B
-2. -&.
m
Attention is called to the twenty-eighth measure of this exercise, the first
note being g-flat and the following note f-sharp, two ways of representing the
same tone; called an Enharmonic change. It will be readily seen that these
two notes are played upon the same key, therefore they are to be sung alike.
Ex. 24.
BATISTE. Arr.
2
m
^^
17
as.
-^^^^=^j=t^==i=
ife
28
i
fer
*=i
18
Attention is called to the chromatic half-step between measures four and
five, ten and eleven etc. of Ex. 25. The chromatic half step is the same in
sound as a minor second, and the learner may mark it and sing it as such.
As this form of progression will occur frequently in this course of study,
the student is urged to notice carefully the manner in which it is written.
Ex. 25.
ABT.
.'i 3
! . ^
1
K
j E
l^- b& ^ *-$& ^
x x 10 11 ^
"^ ^
t_
h
1 * hxn
f N* M
{/.^
i* s - na
^ N*
*J v ^*
f ^ ". tiZ
r ^ - - ..
i '^
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* r* 2 r* 1
t=S=^P=^?t:
19
:i^
fez
-*
fea. J0- tfcsz- J0- ^ if: ft?: '.t
i
JO-
rh
-H |. H I I | I 1 | -n
*=p p^ P * ^==pii X^pzaB^ ^ j
-F y-*-q
^F^f
=E3
1~~*
-
fe^
3
20
EEE
* -
* -
Ex. 26.
BAPTISTE. Arr.
3_|_J-J=U I 1=^
-* fl* i Pi ^~ff^ g^H
J
^=j^^J-J^d^d=^^
p=i^
H 1 -^
*
21
mi
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a. 3
f
fef.
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;
i
H
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1
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.= (S UP ^
fy
U
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i
1
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1 1
^
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22
Ex. 27.
SOPRANO & TENOR.
LEMOINE. Arr.
CONTRALTO.
<- ^ ,
^ME
<s-
i^
BASS.
--Z--
tS
... &
g/
- ^ = F
HZ
g 1 <:>
J
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ts
L/
>
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H
: (3)
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&
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;
H
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S' 25 1
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Ex. 28.
yr h u /f
/5< 1
1 (^ H
f?r\ p OCZia 22
1
1
^> ~
1
L '
I 1 <y -\
*J
1 +_
Xf K U /(
__J '
& P 75
\ | 1 1 1 . ^
!^ p 2JLi^ 1 g
&
<V &
- + F
-^ ^ -& J - A
& &
1 U ^
-*- f- -#-
\ 1 e i ^ 1
tf 5 <^
\ * h 1 t^
23
p p? ; ^ ^ i
ZEZB / ^ I
\ \
i r ^ J
z! B-du
\ '
1 1 1 - .
23
Ex. 29.
LEMOIXE. Arr.
i=
-&-
I^B
-1 I-
&
~&x=^-
28
^
i
24
Ex. 30.
LEMOINE. Arr.
I ~ J
-- * *
-F
fig ^ <*' . J
H H
1 H
1 -H
H H
^-&-. i-J
.5:
2?
__) IJ
rK fr - J
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i
i i
i
! II
<J ' -&- -J- -T- J. 1 J. _ 1 i |
Q- J2, h <2
=t 1
~1 M
1
1_-
Ex. 31.
^-4:-^ p-~rF=f==t&
LEMOINE. Arr.
- f Tfg ^=q
=^^P^^
3E
^
25
ZS&-
EKE:fc
^
1
_;
f-=
h
^
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^r
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H
i ]
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-
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.
&
\
-si
-.sL J
=4---
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&
^
1
t
-
P
h^
k^
_(22
ESOZ ^ < f
f E
_| ^_^ p_
E 9
/^ H
\J
rTr-^ffi i
j
,
mf\\ V \^ 1
1
1
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iv
J J J
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--
-&-
*\ " K
i- ^.
1
u
l [/ u ^ ^^
s^ u i
<2 m
J 1*
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n K - i
\ f
=1 r
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z II
Ex. 32.
-tt
CARRULLI. Arr.
t^
^S-A . i n r i -
?
a
.# ,
3E3
zjz:
3E 3E
^^
^^
> *-
-
g
: f ===I F
27
THIRDS.
We now proceed to the study of Thirds, this being the next largest interval
found in the major scale. As has no doubt been observed from what has
preceded, an interval is the distance up or down the staff from one line or space
to another line or space ; and we shall hereafter call these lines and spaces
degrees. We have already studied the smallest interval in the scale, namely,
Seconds, so called because there are two degrees found in every second.
In the intervals we are now to study there are three degrees, they are
therefore called thirds. As we have before said, all larger intervals are com-
posed of seconds and may be resolved into seconds. A minor third is made
up of one major and one minor second, == F"~~ A major third is com-
posed of two major seconds,
For memory aids use 2-4 for a minor, and 1-3 for a major third, as in
the above illustrations.
It is evident that one who has become familiar with major and minor
seconds can at any time gain a knowledge of any other interval by resolving
it into seconds : for instance a major third is to be sung, S.- ^ the sound
of D you have, but cannot think of the sound of F-sharp ; by singing up two
major seconds from D, the voice produces F sharp, and all you have to do is
to repeat it a sufficient number of times in connection with D to impress the
sound upon your memory, and the difficulty is at once overcome.
EXAMPLE.
( -\j~
fc2=i #2=
i ___ I
2
'
Or, the memory aids may suggest the proper sound, if not, the plan of
resolving the interval into seconds, as suggested above, must always succeed,
until finally the sound of each interval has become as much a fact as those of
the multiplication table.
28
We must again emphasize the necessity of learning to recognize intervals
when heard, as well as how they look when written or printed. Thus we
cultivate two senses, for with the musician it is a necessity that both sight and
hearing be equally developed.
In all the following examples the learner should carefully mark the minor
thirds with a bracket.
Ex. 33.
t
1 :
j 1
1 4
4
DURAND. Arr.
i 1 1 1 1 i__3
^T) : 4 |
:
pl
FT1
J |_ |
1 J
... |
:g!
^r-S5 j 1 i
6
I I 1 1
&>
6
r
6
a
1
-j 1
F-
^&
E
2
h h-
-&
-F^
iEEEEt5E:SE
1 L/
tnr J-
1 -
F
H-
1 1
-J j-
_i
t=H
i
h^1
i
i
h tl
SSIZ *
a
_^
c J
J :
32
II
o
6
o
^
6
P
.^
i i
-&-
6
Rf ^ f
/^
-^
"h* F^
-^
(f ^
ss
-J H
' \
H
H
i- . r
.r
r f
^
-1
^ II
29
Ex. 34.
=t
DURAND. Arr.
1-1 1 h
Ex. 35 contains all the thirds in a single octave, therefore it should be
copied and written out in the thirteen keys, as in some of the foregoing
exercises in seconds. Mark all the minor thirds with a bracket.
Ex. 35. DURAND. Arr.
/5 a i
J
* i J W m
- Ut ^
ifh 4 i J
9
m * P
S2 9E J * J *
m
III
.4.
* *'
J* ^ 1* p 1
-9 1
T i ~rt '
-1 ff S*~~~1
S 9
I
1 *v i
4- '
]
1 i i
it J
l '
-Q- 1 1 j 1 : T . T T
1 III
1 | ! 1 j j | |
1-^*-
V^L/
J rd H i-^ 1 LJ
J 1 1 II
r- f
c\- Pi * P
f* i it
= id 3T-U
_J3 1 P
p j IP
J h \-
L tc: _4_ Lr 1_ i_ ^M
Ex. 36. DURAND. Arr.
i L/ So { 1
-
q
'~&\ ^? * *i ^
3 9
f ^
i
[ I
4 -
*"*" * '
f- ,
W- t 1
_| p 1
9^ i 1 [-! ?-
- -| E : '
! -4- ' 1 1
1
Aft , ' 1 '
6
y** | J
i n
^h: -^ J * F &
> i
1 *
^ ^ ff 9 r, ^
9
9 ^ M
6
i V &
- r * n
30
Ex. 37.
DURAND. Arr.
6 6
IvK^^t , , |
-f r , (- -f h=t-t=l i -|
|\(J) 4 '
---& 3 |- ^ j * * g
*_/ ^ 9
tr
\C\--\)- : 1
1 1 - * * -H 2 ^ 1
-j: 1 fr-
g e g p^ F N: ^
HH> 1 1
' 1 ~
6 6
/n h _i J P
& i f a ^
$} -* * * (-
t- ^ - r ^ 3
^. . * -
1 1 1 1 ! 1 1 j 1
6 *
r _^- ^ f p ? , r fff
^T-fr f
H 1 1 1 1 f h- 1 = 3
ZZE-ZI 1
I.' i
1 1 H
* , , *
i 1 i t zzn
XL. b m m
^ p J
(ft) I 1
2 > ! . ^
<^ W &> 1
f- P P
r ' f . .
r>. u , r 2
<? r r i ^3 i H
B-J2 \ f
_L 1 _ L ff ? ^_ J
^-$ 1
3 ! ! 1 : 1
6 i
i j 1 1 -
r/5_~n m \ 1 1
i 1~~ ~^~
irrv" J J
/d i
2 * 1 ! . |l
r
A
J W V -2^
6 i
C~\ K i ' f* P
^ 1 1 II
*-j. C r r *
c n i
--f 2 f f r r i H
[
Ex. 38.
1 Jf u^. l>-4-- 1
r
DURAND. Arr.
i 6
1 r; 1 1 j ^~\
J=H H^- =3-^+^1
* *
LV H-ts4 H J 3 ( -1
J 4 J- w -*-
6 6
- 1 _ -J * j? p ^ J 1)
|P^i4i=3L. f i 1
- -fL-tfc^
31
SH
X -
3t=
-I
^^
^
t
i
idgrfa
fa
4=q
Ex. 39.
DURAXD. Arr.
Efczz
^f=^=t
^
"* ^
g *_ _,_d=gz= _^_
:=j=d=:
--
E^e
=1
Pi
32
=p=t
Ex. 40.
WULLNER.
3^
^
=j=;
ii
^3
atza
s
_j ,.
^^
*
S
33
.^-
r F
In Ex. 41 three-part measure is introduced. Aooent strongly the first beat
in the measure, leaving the others unaccented, so as to make a marked contrast
between the accented and unaccented beats. By so doing a "fading" for
this form of measure will soon be developed.
Ex. 41.
WULLXER. Arr.
E35Z B /I 1 _j \ m m
* *
, ^
532 4 3 4 1 J
2^ 1
C\* h Q 1 P P
--s- ^ -f h -
^ s. '"I
C_J.t.jJ/__t-l fS2 ^. 1-| P j
, H j 1 1 1 ; -
^~
1 1
f 1
A i_ , I i
1 i
V 4 * 1 i
1
/a b H I J J m
j J p m
J ^
rt\P~ ZZZZSo f 1 H -
fy -w
\ 1
j
p _* ^ f
C^T )} ^
j _) 1
1 ^ -1
Z S k 1 1
1 I
" "17 ' '
1
p-^_ k 1 p r
r *
j{G) ^
_i 1 1 1 1
* * ^
r f f r f
-
1
i .1
i i
1 N
"^^ L* K ' '
E
]/
i
I
L/ i_ /s A L 2
-^ i
3
Jf [7 r * r^ j_ p
i BUZXZ F
gS v
if r
i K
i r M t
j_ 1
f * -r f r-
1 r 1
Ci' K
i i > !* i r
] I
iM . |7 ' t t l
- ' -i r i
1 '
J >*
~
i/kb b <* Is * J
X
<<& - 3 ! * E
J * a -& ~
cr i
f 5 *' f ~f'
c\* u r f * gy m
2 "o "1
JS 17 f
^ ^ i ^
r ? b h 1
: : c : cd
(HT ~fe d ~~i ~~*' i -^ "i
h i i ^ Fl
-- w ^
P tf2-i
Ex. 42.
'^l_ftBr | 1 j
1 "1
3^~^~
.
t 3 3=3
-^ (5 1 (2 ,
J *T> ft * * i^ 2
'^ ^
-& f2 j
t-(22
] i !
^..., '
2> '^ . &
cz.
t(\\ ^r ^^
K
-
, , . .. .
|
1 h
j ' j ' '1
^ ^ & (2 1
^ r
^ f- f
^Vff-l 1 ^
1 sr-
H 1 1
=i=^=^=
35
$*- zr
ip=i
:t
=ff==t
P
^
-P
Ex.43.
WULLNER. Arr.
'*
^
=P=
t=
-^1
n
; * -J j J~^ *-
^Z -_| 1 1 1 1 1
j__ -- ? ,_.;- .^ r f * -j
r a 9 i ,
Q-Hr-fc - 1 3-'
" * ^ ^
^ I r f i
P I? U 1
i
j{ U*^^ | N 1 \
"1 Z ~^T~
I K ^1
VM/ xj ^ I
J * 1 2 I'l
.&. &~
^.-fr'ft f f f ~ r? ~ ~ f i* * I* ^ '
~m -m ^5 |
b u 1 r | ^ < F _ \
i 1 ^2 ^ ^^ ^ 1 1
1 II
Ex.. 44.
WULLNER. Arr.
!~>K~t} rr i N* ' j
~"7 ~\ \~^ 5 zfc n
vT) ~I 1 ' 1 ^J 1
---J 1 j ~"-J J -4
s v ^ v j. . ^. j.
__ 1 j , 1 r - 1 1
-1-^ L^j ^
^^zfcp:id 5 1 =3 = pr-^s : j ^ J
1* f ^ 2"
- K f
I ^ '
1 fo T 1 1 i 1
r r '
> 1
1 In nl ' ' ^
^x ^ ^ *^ ""
V--L/ ^ 9 M ^^ ^ 9
v v
r-- J pp ^.
^^ =F-*- f=r^^^-r=F-*-
1 j ;; rj \ i
^^ ^ * P- r * - ^ * -
J j ^ i :
-*- * ~ - A-
^JZ 1 ( \ 1 L.
^
C 1 & 1
li^-i ' t-^-4- u *-^ r ^
\- '* -j ? P
37
EEtEfe^
i=3=
-&-
=e==EB^B*
^=
Ex. 45.
WULLNKK. Arr.
ETC rr i
i
3'J ^
1 '}
SB ?
! J 1
\
J &
cJ .,$]- * w _($J- *" <-"
Rff-TT 1- /5
'
^
m ^
7?.
9"-(r ^ -f 2 -
F 25*
1
*-
-&. 1
f(T\ m 1 *^
&
a * J *
-j ^--^
* 9 A
2J
a s
? 1
=
-f 2 r -
-F i r^H
^i
B
9
P=t
Ex. 46.
WULLNER. Arr.
^=d
7T
1 , V.
i
i 1 ^
(g> ^
i j
1 -1 J ~
\
1 _i j ~_
1 1
5*
L_^ ^__
-& 1
i ^ ^_
i 1
-g? 1- i
9^~
1* f >f
jg
1 _
^ ^
cz
i . \ . *
* i ^
^ :a
-1 -
Ex. 47.
WULLNER. Arr.
li^:
7?r N* -- ^.-- ^
S* *
' ^ J
1
1 1
gK * [_ _ *<
\
* V * -*
' I
1 1
1
^5 1
r
|
* 1 \* \B
1 1
W
s N A
*N.
S 1
\ ' 1
f i
J2
Ex. 48.
WULLNER. Arr.
+ +. **-
39
* !
-* i h-x-
Examples 49 and 50 should be sung as one, without instrumental aid,
and an earnest attempt made to sing each interval so correctly as to end
on the key.
Ex. 49. WULLNER. Arr.
-{2
H
Ex. 50.
WULLNER. Arr.
1:
*-bd
s * 1
HUpE
P jl L ^
_^
r-^ r
H 1*
z^fcfl
-* P-hf p
' A P
-f !
H 1 1
1
! U u
r .r ,
r
1 '
40
So also Exercises 51 and 52.
Ex. 51.
WULLNER. Arr.
C\j$f -A-0 ffi ~ I r^-~
|fcg^il|
^F
PUS
o
Ex. 52.
WULLNER. Arr.
^d 111
Ex. 53.
WULLNER. Arr.
41
pi m
-*-
k 5 ^^-
^
m
t f=i
n*
f *
~1 1
f-f
1 3
-
Ex. 54.
LEMOINE. Arr.
SS3:
3
-*-
2
(?
\-"
: r
_^ ^ __J__ ^ -& (2 - ^__^i -
W 3 -
-f-
1 t
-h h - ^4- [- 1
J
-g-
1
i
-
j
t
-j
1 1 ^ _J
li : ^
-J
1
1
1
i
- & d ? ' 5* -& j i :
~ 4 L fi ^ L-25) & - ^_J
Bvp
>2
^^
>=i
^
1
^ I*"** 1^ f 5 * iS> (^ " "f 5 * 1*1*^
-S \
-|
1
w.~~
">
F
-*-
-~PT
&
L
P'
1
"^
_^ * ^ P ^H
'
F
-
TK
1-
^
p
1
t- i 1 i'|i nrt"i J- I 1
J
1-
1
- -d *- Tsi sH^ ^ ^ i^ 1
^-"^ *
^_
2
i ^ ^ ^
^.f
f
^
-i
^
F ^ i
42
\-=2==J#
m
=3=
m
Ex. 55.
LEMOINE. AIT.
y=tF^^^^f=f=ff=H^3g
^N43=4tM
\ 1
43
I 1 * t E-FtrirEteJ_
9
-f-*-
=- *
-J -1-
fT '
~1
h H
m t t tj:_f:_t=Ltz
H
I 1
qrrt=f
I !
^/ |
:~/^"fc jg I 2
J
m ^*
^H
I"
i
i f
f^\\ ^ ^ tj
<^ X
~ii
* ^
1
_,
, V^'y
1
& M
^ ~*~ ( ^ ~~
*
! C*- 1 i P r 1 .
i
1 9
A
: TI
r-j., r
5
ES ^
?
s
-^ h ' ' i M
^
h
:
r M
Ex. 56.
LEMOINE. Arr.
XL ( * & i
S3
5x
t
^
J 3
{3 1
fpK'A >
|
[
332
1
l
xP 1 1
1
I
I
&
5
; 1
^
j ,
i
/^r\ (. 7 (S^ ^
g
4
^
A
p
'& \
Z3
/-^ 2
-p-
<^
cs
I
&
S3
!j-:zi
r^
\
\
r n
(V
-^ \ / i
F
I
Brr ^
-_^ 1&-
_ , - *
i i
S S
"~. |T~
-j . % 1
VJ
t
1"
1
r^ i
-yK -j
s*
,i,|
.
,1,1
^5 1
' %(\\ !
j <R
1 1 J
1 1
1 *
J f| J j
| 1
t_; ^x
1 1 1
~^ * h* f^
f t
-r- i i H
-U-MM
feU
^fcEJ
44
p=
^
^
L_
LL_^
-&*
i i
]
1,1, i n
f\ I*
I
|
M
-i szd
frv 1*
^d
^ 2 >_H < i-l _H J "^
Vj
j
^x
1
g
^^ Ir^^ ^^^ w ^^ I ( ^^ 41
Ci'-U
^2
-^ ^>
2
HH
-=i
r
=E 1
.J 1 1-4 \ )-): p \f HE]
^^
^
^
^3
^^
?^^
~-
f^^E
t==*
tp
*=t
*-^
j^^P^ j-P
^
Ex. 57.
ik -. 1 j-P-H 1 =
45
LEMOINE. AIT.
i *-
t=t
46
=
-2 j r_
;:
_(..
-*-**=
Ex. 58.
LEMOINE. Arr.
^
^7
Pi
3F
^
1 -
47
t
^ ^
1
1
-(22-
I
gy 1 I I I I I ill I 1-
9i=2*= == gg ^F ==== =i~H~*:S
48
fcatr
*=F=f
^f^
-I H
=f
^
=t=
^
^
^
i!
^B
* s
~~
i
l 1
- B
FOURTHS.
The next largest interval is the Fourth, so called because it includes four
degrees. There are two varieties of fourths found in the major scale, namely,
the perfect and augmented. The perfect fourth contains one minor and two
major seconds, the augmented fourth includes three major seconds.
Per. 4th. Aug. 4th.
We shall first study the perfect fourth. In exercise 59 will be found
all the perfect fourths between G and E pjS ~ '=, each one reduced into
~^y
seconds, and then presented as a fourth, descending. In exercise 60 will be
found the same treatment of the interval, ascending. In exercise 61 the same
fourths are found without the intermediate notes.
From this point on, each example should be analyzed and each interval
marked with the following signs, and the bracket, major , minor , perfect D,
augmented x, diminished o , as in the first four measures of exercise 59. If
this is done with care it will be found to be a great advantage to the learner.
After each exercise has been analyzed, it should then be sung with the
greatest care, repeating the fourths several times in order to fix the sound of
the interval in the memory, frequently testing the tones by the piano, after
which each exercise should be sung in time. For memory aid, use 5-8 : 8-5,
for the perfect fourth.
Ex. 59.
m
50
jE^^^E^^^Eg^^^z^E^E
: =^=^=^=^=^x d i *-N=l
g!3 t* 8" * c f* s a n -*
Wf
E ^r^-d
^Q^&^^E^E^^^^^E
51
3E3E
_^ pt-p. &-*-
^=i=^
Attention is again called to the enharmonic change in the fourth and
other measures of Ex. 60, the two notes being the same in sound.
Ex. 60.
Enharmonic
change.
a-^a^ r ==j^=a E y = ^ = ^.jSEH-'jEEjE^jj
-I h-*-
-T
---*- V
-*--
Ex. 61.
ABT.
to F&^ F^- F - FH
its::
=t
T=fc
5^
:ten=
fc*?r|=
SH
U ^-f^ 1 U
9<9\ \&5>
53
AUGMENTED FOURTHS.
There is but one interval of this order found in the major scale, namely, from
4 to 7 : F to B on the staff. The same treatment of this interval is found in
Exercise 62, as of the perfect fourth in the preceding examples. Exercise 63
is a transposition (change of key,) of the same exercise. Exercise 64 is still
another transposition of exercise 62, but without signature. The learner is
expected to ascertain the key. All these examples should be first analyzed
and marked, then sung. This interval is usually called difficult, but it has
strong characteristics which will help to fix it in the memory ; if therefore
these three examples are studied with sufficient thoroughness it will soon
become as easy as any other interval.
The memory aids for the Augmented Fourth are 4-7:7-4.
Ex. 62.
DURAND. Arr.
===pE EijEBEEiE
EEEH3E
' V> J ^^ '
&
i
i ' in
-*-
rP
i
i
-(2.
ri n
p* 1
|_L
1
~\L r
r u
: L-
^
-t
i -
Ex. 63.
DURAXD. Arr;
54
: m-\-f^ r~n ri
Ex. 64.
DURAXD. Arr.
t 1
$3=.&
^--1^--^ ,
h^o .-IK? . I . 1&2 . Q<s
Ex. 65.
WULLNER. Arr.
CM E ^t
i 3
-1 1 J-
q I 3
*
-J it*a
\C\' A 1 1
H
p 1
i i
r)' 4- J P
& s*
^ P.
s
(2 p_
p ^
2_ /I <5>
m. ^
E
i *^
r^
i r ^.
1 4 |
h~ '
1 ' '
1 i
i
t **
I
hz -1 1 1
J 1- s.
!
Ed
& -1 ... {
: g_~_ *-
-d *+-
-g -
Y& f t
g *
IvsL/ & m "
1
\
1 T
/p
-&-
\ i
v.
.(SL f_f_
M- ^ ^
-p r i-
S r v. -1
&f r i
_j 1 1_
~^-
-i i *
-h-*-
55
=F
m
-&- -&- m -0-
^=f==^^^^=
J *
i
^- r& i Jp: t
: /r p sues j
irtT 3 i ~ *
3 ? *
~* i J
* *^
^ -I- L
-0-
^
^ 1
1 F
p ~J
1 ' >* 1
^ >
1 1 1
<? N*
Z EZJ
1 ^
1
1 1 ^
^k + H
(r > & ^
-*-
1
-1 j
, i
-^
Saz E: * J - ; - c^
J 89
^\* r^*
P Ti
-&
^
-75 II
^~ i , 1_ i
- (^ *
E
P r
^ i
a
Ex. 66.
WULLNER. Arr.
-25*-
L^ ,5) 1 ^ f 1
E5E
^
^$=\~
56
.u JffVf f-
,_* -- s - f f
-
The student should wri c ,e out Exercise 67 in the thirteen keys, with signa-
tures, marking each interval with sign and bracket.
Ex. 67. BATISTE.
=^=^
^- C u
57
tztrrzrrt
&=
*==?=
tr
1
Ex. 68.
NAVA. Arr.
g--*t*-j
4- . 4:
"F=f:
3=S
-
=f=jfP=^&jE_ r=^^Eg
58
-g f p
Ex. 69.
WULLNP;R. Arr.
-&-
i
1
p-
g i -
n=i
59
IBS! fi i
t-^
^ =H
^?
-^ gE
i
r}
^
: ^^1
^ |
?r
-*-
P-% i- j
R=
l-^l
F M
t M
L/ft ^
FfT i ^^=^~
h .
r j
1
1
1 J 1
s
&F
^ <ry
&
ey & _^_ __ '
i"^"^* ~~& ^
_ ,.
?
<^>
& ^5
m
: .~j -I
I 1 1
^JZ ; & 1
*
-
-&~
-J.J.-J.
C^-;^-S ^
/^ '~
&
/-5 1
1 ' ; T~"
z if 1
d_
* \ *
&
~ & J
Ex. 70.
:3EE
^Q ^-! ^
b=jba=jE:
^:
60
:=^=t^=
-7Z-
=F=
<5--
&-
#L ^: :&
^2 ^^ i
t=t==t==
T=
_, ^ n
i u "~1
EKZ Z 2
/^
^^ ^^
^ II
1 \S'/ ^^^
^x
3
"3
r L^3
-<$- -fy-
^r; 1 ^5 P 1
B-H2
^^ r^ r
^ b h
r 1
^ 1
Ex. 71.
WULLNER. Arr.
:-] H
61
i=:}=s=:]
fi -t-
* -
-*--
Ex. 72.
WULLXEK. Arr.
fcliut
-
62
Ex. 73.
BATISTE. Arr.
, p-^ r& ,- r
.25*
S
^^^gj^sF-i gU
F
^zz f p g - ^ j
-&=
I
JO-
5=4=
EfE
r H
=.C
-(2- g ^- ^1 ^2- .^. JCSL
5
^E
64
Ex. 74. (Accompanied.)
COXCOXE. ATT.
\ *
jl \srr O 1 i 1 1 1
-1 -m-
3 I
J \^KT *-* 1 -A -j & -^ ^ 9 (^ 9
--& f-
*
li v^L/ *~ w 1 i ^^
*
\
r * *, .
^ P f"
m
i* i T' 1
r r
!L>J i i
i -1- 1--
1 1
|| 4 I ' 1~ ' ' '
r
Aft
1 j
?T\ ' ^ / ' *
i^ 9
&* jj
tj *
f " P r*
P
S53EI22 P i PU t
P 1 P m 1
S3 m "I
~J3* 1 001 1 '
rr r
P
z P r? M
1 1 '
1
Ir It '
1 1 1
r \
I r
Att i i
V \ s? /r>
1 1 1 1
, i
2t_ _l >* ^ "" m ? s-
H
i ~
J J 1
SS 2* h '
J *L
1 s " " P T 5 '" (2?
~ *
9*S ' ~
P 1
- 1
P n
r
1 I'
1 - '
Aft 1 I 1 t 1
r
I
3P n J -^ - I 4-9 -\ U-_
H -d -1 4-
1 i
^j J , 9 -& <S> ^- -p ^ -\
-.9 -9 4-
:: ^-i==
9 j 9
m P "i 5 '" P (5 i P "P"
- = r M
C^+t P t tt 1 If
P P
T** i P
P
>^ " 1 1 1 ' '
1 ! - | 1
- J k H
i 1 I
\-^J _ . j 1 ^ _
41 j
-^- p p H
ItTV J * EHJ32ZZ3
32 J
p r r
VMJ ^ * '
\J 9 9
- * + ?- fi -
^, ._
r^-*r r
et PI
^. * P f ^
r i
1 1
-^ r r 1 ' . . ' ^ f
' .'
65
atz
3F5
~- 9 9 ^
I
-t
^E
> TI^ n
Ex. 75. MARCH. (Accompanied.)
SOPRANO & TENOR.
MARSHALL. Arr.
^
ALTO.
BASS.
1
^g
^^^^pg=^^
t=:
-H-^
E^E@SE
iS^E3
rtz
^f
66
IE^M
1 r r
m
rrn
i I 4
II
*
3=1=
:|i [t
Ex. 76.
LEMOINE. Arr.
1
FIXE.
tr=4=J=j==^=
SK ^i P i r
FINE.
=p==j:
FINE.
gg
67
=4=)
S
4 _
PzEgE
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XL b P
. 7r-
u i * ^
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EEC:
I
ff
HZ i
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i
1
1 i i 1
1 '
yK L j
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i 1
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9 J u. i J
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it*
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M ^ ^^
9
/-*v . ^ /^
P tt P
5^2
m <? \
T' t P
i *r r
m
2f fi
U
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i
Da Capo.
3r+-^-*t
68
Ex. 77.
CARULLI. Arr.
3g
-rr
F=^=
I
9
1
* I
(? m ^
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s J
vv
33
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69
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Ex. 78.
CARULLI.
br-TT i p
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d 1 r~
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r ?..=?,
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^ gl
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^^^^^^
ft 2 pr 1
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pif ^ m . j 4
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^ : . , 1 , 1 : , \ ...
RT-^ ^ ^
^
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^ j ^~
j = rl
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^ II
Ex. 79. _^
LEMOINE. Arr.
* d
:t=t
71
-F
3
P=t
i
|
r
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1
|
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i
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72
m i E
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o
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l
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r ^ *t J
fi P
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1
1
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J
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s ""
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sESHtlli p p
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1
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73
i 1 n
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1 ft* *
m
1 f jfyff tfZ
r
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r
1 ii
2 ' !
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=fLjp [r-
r * H
Six-part measure is first introduced in Exercise 80. It is very much like
two three-part measures ; the accented beats are the first and the fourth, the
fourth beat should be accented less strongly than the first.
Ex. 8O. HIGGS. Arr.
MM
^S^I^^
74
f-f-f-f-r-p T r~i~rt^ r-rrtJ-Fr? r~hr^ r-nH
4=u-uj-4f I _u.Llt:izzrg^^- lb:ib r ^fr L
tet
75
FIFTHS.
There are two varieties of fifths in the major scale, namely, perfect and
diminished. As its name indicates, a fifth includes five degrees on the staff : a
perfect fifth includes one minor and three major seconds ; the diminished fifth
includes two major and two minor seconds. The perfect fifth is first presented
for study. Exercise 81 etc. should be studied in precisely the same manner
as the corresponding exercises in fourths. For memory aids use I 5, 5 1.
Each exercise should be carefully analyzed, and marked with brackets
and signs, before singing.
Ex. 81.
J( i *
..] i
i i
i i i
!
J 1 '
BJ J
v i - -
J 4 ^1
i i
U"jj)' i7~^" "*"
i i
L,~I-
c~~\* i i
i i
J- / k i
J i * i
*
bJ
j/A A
Z- J ^
kJ bJ * p *
i U^_
I
i i
1 1
CD i i i
i
J i
s \ s \
! i* J jiw
B^it IT*
- , 1 1 -
* -L *
r i 1 1 1
fr~i~ ~j~
f)' \~~ fit'
~~P 1 F
]-
' -j i 1 m
f i
2: h-J H.W &^ J *
.,,r_. j. L
., j
bJ : W
- ! b J
m
m
3=*=
76
-j I-
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^*
m
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rzz^
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pJ *j gg l-ft^ I ^ 1 1~* 4fy-
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:t=t=:
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77
Ex. 82.
s^f
. ^^ ^
78
S5
IF 1
-I I
9i
i
Ex. 83.
^P
3
:tet
^^^gEi^^ZjJJ=^
3
9f
&&
79
{7-5*-
EiFElEEF^iE:
m
:-^\
Cci) I "i
- 3
<!>
2 1
-t-J *
z
-fr-l
q
^ ^
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W0
L i
u
i u
i
9-=-^ 3
Sp "-
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pqz '
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1
yl u^j
a
a
,
^
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: <5*
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1 x5
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& "I
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^
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j
a^
1 s 1 l-gfe^
i
; r-|-==^=zp?;
^^==g=fa
.
4=1
80
i
~j i [ bp?
^ F ~E-
:t=:
3H1
SI
:l2^z=^
i
^
DIMINISHED FIFTHS.
As there is but one augmented fourth in the major scale, so there is but
one Diminished Fifth, which is produced by the inversion ( turning over ) of
the augmei.ted fourth, as will be seen from the following illustration.
Figure 1.
Figure a.
PER. FOURTH.
In Figure 1 we reckon an interval from C up to F. In Figure 2 we invert
the interval by placing C above F, and reckon the interval from F up to C.
We have now discovered the fact that fourths, when inverted, become fifths.
Figure 3. =_.__ p _:j Figured
If we augment the fourth as in Figure 3, it is plain that we must at the
same time diminish the fifth which we produce by the inversion of the aug-
mented fourth in Figure 4. As we learned in the study of fourths, we find an
augmented fourth from F up to B on the staff, we shall find then, a dimin-
ished fifth in the inversion of this interval. See Figures 5 and 6.
Figure 5. bfe _, * 1?=J Figured
-DIMINISHED FIFTH.
We have, therefore, in any major scale a diminished fifth from 7 up to 4,
or from 4 down to 7, and we can use these numbers as our memory aids, but
the learner is cautioned not to confound these with the memory aids of the
augmented fourths. We give them again : for augmented fourths, 4 up to
7: 7 down to 4; for diminished fifths, 7 up to 4 : 4 down to 7.
On account of the intimate relation of fifths and fourths we shall treat
them together in Exercise 91 to 97 inclusive.
Ex. 84.
EiE
te T^ -
r~
i
^P
1 i
3 ~=i
1 i i
* i 9 i
*
h
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f~
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i
1 i y
r H
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r
<si
J I J
If^-T^^
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i 1
^
_i 1
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j z*
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n 1
pJ -J- -J-
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1 i 1^, 1
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1
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: ^=N
-f ^~l
--^-Jr
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j - II
Ex. 85.
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3^^ r- j *
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^ * U=
^
I . I"
-4 I -jz
--# A 1 1 1 f 2
bz5b- fz:
p --j t
^~- (g~ |
-tL -f*-
fes
83
g* Jt
4- -P-
Ex. 86.
DURAND. Arr.
1 -t
i:
j L <& n. n .. ..J
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*=3=d:
-
ass
=
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Ex. 87.
WULLNER.
z
^ * _J==
9*
84
r-Jt i
2 -1 J
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J 1 ;5
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m
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t fcfp. f f
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Ex. 88.
85
WULLNER. Arr.
id:
us
5
b
rfe:
"ffi
ss
n
__ ____ _ II
86
Exercise 89 should be carefully written out in the thirteen keys, the inter-
vals carefully marked, and then sung in all the keys.
Ex. 89. BATISTE. Arr.
.*-r *-M
9lElirnrpi irpd
P- -P.
P=t=P=t=
iMi
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t---- 1=* !
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1
1 f 1 f
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l^^^^^^pqq^^ir^^i
Ex. 9O.
NAVA. Arr.
XL / i
1 >
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87
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-1 II
XL ^i P J
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P : 3 jzzl
ITV J I nJ ^ J
j ^ i
S3z 3* L^ j
II
1 "f" P
P
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l r
P II
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1 K II
FOUETHS AND FIFTHS.
EX. 91. WULLNER.
-J*-V
r-5>
r~nH=f
^^
^
fef
88
n. U
1 I:
f
-
^m
ffi-*T. ^
H * i *-
^^
^F*T
1 IK
D
H
cJ
9 jt H i
i 1 1 1
3 1 5 ^
^-5^
F^ P=^1 ^~
\-& t 25*" *
=^=B
Ex. 92.
BATISTE. Arr.
* tf~^ ^ ' (S * ^p g
^ |
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_^ a :zs _^
2.
^ ! 3
tt C? ^ S3 S3 ~&~
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fi
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ft ^
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Ex. 93.
(JFiM
accompaniment.)
l
CONCONE. Arr.
L/ , ^4
' hJ" H-
1
-^
1
.. _ 1 l
/rH^ 4
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<^ 1 *
II
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1
1 f
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Ex. 94.
MARSHALL. Arr.
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93
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i
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94
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1
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p
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1 ! II
J J 1 J J
1 J * 1
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1
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1 1
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1 j
i -i - - ;
+
1 1 1
-&- -&- --&-
i j 1 1 1 j_ M
c~\ - 1
j
ii
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d <J \ d'
Ex. 95.
J -2
I
t' J '\ ^ 9 (
i
* . ^ *
2
-^
M / . I
, ,
-1 -1
i i i
i
\ ) / J
J J
tljjj * 1
p
_ ^
^* 4- (^
m P m
P jjf
9 * " 1
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^ " i
2: b /i 1 ^
I
i 22
1
96
FINE.
^
e
:rr
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4 j^+q^^^^^l
* 3 r-g * * i
^
*
/L h /~?
* r?
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HSZI-ZZ J
Ifn 17 m \
1
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UP [ 9
SSQ * i I
j
\
1
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i 1 1 1 1
\ '
i r* 1
1 i 1 1
->Jf~t '
___J J
1 ! 1 1
?T\ xJ x.
J d *
ttJ ^ J
J
fl* * 1
i_j
P ?%~ m
m
pv_t (O r
-h F F
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4^ g -I
^irf-
3 i 1
-i r i i
-1 1 1
. Capo.
(Tr ~""l
h
1
L_ at
BE r r H
1
"1
I
1 j 1
L-_) j 1 IJ
i i 1 n
&* | J
*
i
i
j d i-
^ j=-/
^^
^s
r 1
s
ft
*
^r-F ^~
i
F r r^
^ t M
97
Three-part music is introduced with Example 96 ; these numbers, how-
ever, are complete without the bass, except as may be stated differently.
Ex. 96.
LEMOINE. Arr.
^-Fr S
ji
:z*
1 1
& * i
E3-^
-=( J J-H
w
i
1 !
i 1 1
~l i i
1 1 1
feEB -
9
i i
_^_
*
J ^
1 2^ (f
i
* J i-
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1
\ ^. ^
E
y 1
(S> j
<9 1
& 1 q
ZZfeuE
u
22
22
V 9 9
1 ! -1 -
i v ex
\\)
1
J
-0- -
M i r
=~J ^ ^^J 3 j J
| ! i
v.!/ 9 9 &
^ r r
B^ 2 [I
_J 2
-T* (^-4-^ r
J i ~\
i*\^ j
i *> i s^ f
&> . <
A0> EHZ3tZ*
m c* * 9
& m 9
\f .1.
| i i
-
~<5* f
I , ,_
1 1 T
__
r ^H tf
9_ I |3 ^ ^
J
J
j
Ik ^~^ i
~^ ^ I ^
*
! &
& o
&~i ^
98
m
m\\
-jt*~
m
m
i
99
SIXTHS.
There are two varieties of Sixths found in the major scale, namely, major
and minor sixths. This interval includes six degrees of the staff, hence its
name. A major sixth includes one minor and four major seconds ; a minor
sixth includes two minor and three major seconds. As in the case of seconds
and thirds, these two intervals are presented together for study in the first
example under this head, (Example 97).
As thirds have now become somewhat familiar to the learner, it may
assist in the quick recognition of the two kinds of sixths, when they are
presented to the eye, to state in advance, that a major third inverted becomes
a minor sixth ; a minor third inverted becomes a major sixth.
I
MAJOR THIRD.
MDJOR SIXTH.
MINOR THIRD.
MAJOR SIXTH.
For memory aids use 1-6:6-1, for a major sixth : 3 - 8 : 8 - 3, for a
minor sixth.
It is necessary once more to remind the learner that the sounds of these
intervals must become fixed in the mind as facts : specially is this important
in the case of the wider intervals, they should be sung at call, and recognized
when heard, and it is hoped that all who pursue this course will take pride in
learning to both sing and recognize each interval studied.
The following exercises on sixths should be carefully analyzed and marked
before they are sung. If any notes are found too high for some voices, they
may be sung an octave lower, or such measures or notes omitted.
Ex. 97.
WULLNER. Arr.
1 'TV " i
1~
\ j
S '
El 5
| |
^
J *
;
]
!
^=
4 1
"I 1
-1 -i-
1
-t
100
iil
m
C
iam
SE
- a--* 2
:=
1
3^^ ^~H^^
-^F=f7JH: \r*=S=3
-0-
---4
9
S
101
Exercise 98 should be transposed into the thirteen keys, each interval
carefully marked in each, and then sung in all the keys.
Ex. 98. BATISTE.
/HA \__f_ j 9 ! . 1 ^
J 1 J 1 1 H
r * ~ * ' y
^ ^
^ ^
ipv i r i r i i i PI
r i
L _^ | 1_ kg -|
~? H * 1 ^ ' 1 (2. |_jL ' f ' |_^
-i '- i
g ^- r t 3
H i
r/ III
i n
1 n
fjv \ r i * |I
/5> - | J
... 1 j
* | . II
f* "f* ^ P P ^
^' III
^^ s i tf T~~r ii
tf m m
J ~' p f t
"9 9
i ^ i i *2
i " r I
t \ j
Ex. 99.
n k
UURAXD. Arr.
! L/ , [/ o i
1 ~ r j i
tZZKllJ , s *
^
fpfv f ZZZI 2 i <J : ^ -
i
<5? i I ? ^
532 4- ] J 9 & \
J
1 L 1
i
^-
P 1 F \
J * V * ' tfj "^
P i
NB
-S fel / J /o *^
* r i
1 eJ 1 ^
t/ ^. . r i oj
1
D k 1 1
! LL^2 _^_ __J _ 1
1 i 1 '
h 1
A 9
vP J ** 3
i ^ . i
m
-p-. -5>-
i
)'l fr 1 J-" >*
^ . \
-^ b ' i i r *
i
f - - \
f - 1 - \
i
r i
I [/ , " ,^ , -3
A i
/ b Pi* i ^
p j
& . ^
frrv" i <
j
^
vj7 9_ H 1 ^ t
i
ZZZZtZ 22 1
i_ " a
f-'
\ 9
rj, 17 r ' " i 1 ^
- t= p=
| 1 zjiiji ^_J]
102
/kb * J l f 2
l
j
>{(\\v 9
* '
J
|
^
SsZ * L d '
i ~2>
1
f" i "P"
c.- HI r 1
bjzzC l f . r2>
&? N*
1
-
-^-'
t=
-- -^s-.
=1=
n
Ex. 100.
WULLXER. Arr.
X a- *+ i
1
C3 i
i3s "/i i
! i.
A i
>
2 r 1 ^
Baz ' 4- -
22
jj 2 I J
'&
^ ^ *
u- I
^^
-^- -^-
{3
KSS jj ^ j |
<<? i
/? i
S3 1
2 \ I
r
y -i
1
S3 r?
^ it ^ J ^*
-^H ifl
<^ S
c <^
1 1' 1
i ^ (^
d> t -* r
!
M ! L 1
n+f ti i
!
1 1
i
at 5 j ^~
1=-^ +4=^-
--^ j^ 1
a ^
r-g-h^ J -
I* ^
H- "^ ^-^
-&-
1 1
F- &
<* *
\- ' z
-5" iss
-1 1 1 ?
"*" ^
B%* -
~l 7S (-
1 1 jg)
1 <
_ 1 1 & 1
^5=f g
p F-
, 1 ,., |
1 _p
1 |
103
3
-S
^HB
F
==
Ex. 1O1.
WULLNER. Arr.
>=3=$.
-&-
--
EiE
^A.4E*ii=^E^
:t=
E-S
-=
'i?iji_ i
tt
^=
4=4
f^\ IT
*
r 2
-&.
V y
s
*
^i
2
cr
=t=-
9 \ S3 ^
r
-&
H
+-r~
-fs
r m
|
H
-&
-1
I
-S ^j>
\-\- ..
_L- - .
1 1
1
: n
T= TJ^T^ =
S^EgE^tEESti
H
^B
104
All combinations of two and three part measure are called Compound
time. Nine part measure is compounded of three, three part measures, conse-
quently every fourth beat should be accented, but the first accei.t in each meas-
ure should be the strongest.
Ex. 1O2.
WULLNER. Arr.
1 =t
m -&- -&- -9- -
m -19- -&- +--&- -P- -t- m -t-
twL-tfi 1 i <
^
&x **
105
In twelve part measure accent every fourth beat, but make the first and
seventh beat stronger than the others.
Ex. 103. W'CLLXER. Arr.
:g:_fe_lg" _ f" "g: ^: -g: g_ ^ <9 .^t
E*
=j=k=
106
=pi:3irt=3=t=H=:
Ex. 104.
DURAND.
s-
- S-
-F :
fL^f
^ P=h
-t=-
i rp | -=l=q
=1=
Ex. 1O5.
107
DURAND. Arr.
1 -
9 _Q_
-* -e 2
--?
- r-^
-<SZ *-
&
-^>
o? 9 ^
*
1^
*
! J I
1 (^
>
_j
I f5>
^s-f 2 I
^r
-<, c - 1
^ F
"*S ^
I-
f=fc4
-^
108
Ex. 106. ( With accompaniment.)
CONCONE. Arr.
-i
-0- -&-
i=t
f=
BoSE * BZ
CM** 1
r n w ^ ^
^ i F -
EE I r 1
- 5*
r ^ 5^
hT ^ f -^
Tzf t f ,
=ff- =*=d
=^
EEEE3
109
piip=3
unii
Ex. 107. (TPz/i accompaniment)
CONCONE. Arr.
-
I _g
^=p
|(T\ 0! ^J
w
q
1 = -M
w i
5* ^ J
m
i
i
MI i*
1 4f IL 4"f |
-^
1
*
p
i i
-^ TL 4r
.. i 1 ^ * ._! P
u
it L~
110
Ex. 108.
ABT.
S- /*
d H
V l i
i ^
1 ^^
1<3
I \*
& i- II
EEC! S
'.
1 II
52
f^ \
II
J <
.^ ^
\ ( 1 rm
CJj$-$
H
-a.
_| .
9 1
__._
Ex. 1O9. (With accompaniment.)
WEBER. Arr.
. ^ * afr ^ -^ pi-i |g ,zq
=J=E=I =b=
Ill
j h; r- I ~~~r l~~
"f"
I
-*- --
i
A-
^ m
U '^^F
?=e=^=
-t/
-b v-
HF *
112
X N^ _^
u f- 17 - f-- r ^- * ^-f^'-^-.J-ar
f-h ^ ^ * -L f ^ Hia^-i
- t? F
II
Ex. 11O. (TF^/i accompaniment.)
BATISTE.
XL /I* i^ 2
/^ j
!
fn\ v v r
j" j
E |
' I
laz a
t-^
|
-
... ^ ^
^-
-&-
-5-
1
P \
P 1
/<? "1
_ _ ^
1 s?
\
1- J
J
g
P
rh -j
z^ |
^~.
2_
j
SSZ 2
J ^ ^ _^_ ^
| 1 X^
{3
ic
^^ 2J
to
.
.,p.
^ i
1 1
: I ^)
& i
- 2 1 '
, ,
1 J J, .^5,. ^ "
1 -&*- ~ ( ^X" ^^
-p-
/^
^ i
j -
r 1
^^
2
i i
/=>
r
^
s
1
113
gudE-g' :-H
-*.
:p:
=
=t
..pip i
_ __
-&-
^;
S>-
:t:
=F=t=F
iEE
i I__J xd I ^
^L ID
:^
h=:
Pi
:=
t=^=
I
.^
^
114
US:
-&-
jo.
"7T"
._ L__
&
^ i
^
r^
vMy 1
^
1
\ -
-^
.
-&-
^
r
CV- .. |
2
(2. 1
2E3
-1 ^H
r
-
P
:??---
IB
In the two following examples, (112&113) the inversion of the sixth is
given. As will be at once seen, a third results from such inversion. These
two examples should be transposed into the thirteen keys, analyzed and sung.
Ex. 111.
/L / k
E
_
/(TV I y | Jg
1 '^^
I
gj
1 '^
J
j
'
1
1
"*
^
*
1
^22. ^
ZP ~
LA* 1 i^
1 i
~|
J2
h '
"i r
^^fe
i
M^;i-
I 1 c?
=
I
-h-*
\7["~^~ f 2
-& 1
73 =T
^
r 9 1 -
:_^ , :_^
ivT)' i i
2
-<5>-
&-
1
^ f 3
i
\ ' r
r
: F-
| '
115
=tr
_r? r==F-<g ' F^ 1
Ex. 112.
H 3 -
:it=:
^
H
J 5 ?!
BE zr-
m \
i : _
, 1 1 1 \- 1 1
in\ J 2
A
\ G) f& \ - 1 H
laz g 5:
-J
-?- ^
p & r~~^ 1 5 "* i 1
^ ,2 jZ
1
(22 .
1
BE
(S2
=q =
_ 1 ^
1 1 1 1 1
-i
rS>-
r~-
S 1
-<sz-
t^ ^-^
t^* i^ I
-.(22
^ 1 /^-- \
* - & -1
P E
~l 1
U [_|
Eg ___= -_\
\-%
i
-^
i
\ m
H
\F(T\
|
i I
1
1 ^
i
1 1
\\^\)
II
E
-&-
\ 1
1
-&
-
2^
1
r^~
(? =
5 r~
1
H
P'
ty
L
^
^ _u
116
Ex. 113.
CARULLI. Arr.
+t-St
=
I/MX ' -' IEe_
Pi
2 E
-^ r ^r
_K__a j -j
i '
fir
^ * j
1
i ,
1 r r
^y l
i i
I
i i
\si I L,
>
N | 1
ft) I 1
J ^
.
J i
1
1 J
^ 1 '
b*
j|
Ir 1 *-*
|T '
it *---
L^i j _j
117
_^ _ I * ! x^
^ESJEJEJE
>T * F
l* F
h~F
^ l
F r g
i^i> 1
j
~1 i
1
1 | *
'"7^ j i 1
i i
|
1 1_
i i i J
. * J
j j
* *
j tj j j
r .- ^ _.
9^ ( F
F F
1 1
, ,_
^ T M ^
^
^
-=t:
118
Ex. 114.
LEMOIXE. Arr.
i ~y r~i
;vr I? ^ f^ n ^
h*~ ~n~~
TL ^ . 1
IfTTy^ A j U, p
B F -
rl i
J |_.. .. ,_ F
' ^-% J
1 1 ^
i i
~i i -n
jW-= = ^ -i* ^
-*, i^
- : ^ F .
ist- -J *-
t^\ t - i "L^ P
1 J/ *" " I
F ^
- ~f~ f 9
ff " F r 1
f r~- =1
j Phi : 1
J 1
~|j 1 i |
i a i
: 7T6 3 J i
"F f 1 f~~
(22 . 9 | ^ ^ |
P i 1
-r i i i
=1 -4 ^
H 3 i h i - 1
ITrV
^t/ <y m 9
1^- ^ f t |
-^ * j | j *.
r^ 9 r^ i
1* f ^f
y b
-' 1
1 ^--^- ^ F-^ 1
\
^--^-^=
T r r
^ f-*
^ P- f=1
ivl/ 1. L
-i i i
- _j j
-1- '
i 1
4- 1 \ J
XL b ! i
1 1 55-
- m s-
~d i r~
> r J J j
*& ]
& w w
22 -^
-^ i -4 -
-*&.
<s ff
i * *~
^f 1 ; 75 *
*5 ^ N.
-p- r p
\ 1 ^s
-f- J -J ,
SB f 2
-i 1 EE
*-
ah- f
119
-F :
Jtn
s*
it:
^EEH^^
t=P==a=
3=3
_1 .-_
-F
4=s:
i
120
3
* *~
- --
m
m
nPi i i i r~ i ' H f
7 Wo
j. ^/ |
^ A 1 ill
Mkfr * J J-
-f & W J-
-^-
I
I | tz * II
i v 2 i
I/ L 1 1 1
^ 1 1
; ^ .-i ^ u
(cl) J J J j
-d ^J &J 1
3 1 -t * - -i H * I
i ^ ^ i u
^ i
i V 2 |
r_l i
i * i- i i i
1 I. ^
^-^-^i| ^ ' s fl
121
SEVENTHS.
There are two varieties of this interval found in the major scale, namely,
major sevenths and minor sevenths. The former includes five major seconds
and one minor second; the latter four major and two minor seconds. There
are two major sevenths and five minor sevenths in the major scale. Sevenths
inverted will become seconds, and it will aid the student in recognizing the
two kinds of sevenths, when they are presented to the eye, to remember that
major sevenths when inverted become minor seconds ; minor sevenths invert-
ed become major seconds ; See Exercises 122 and 123. For memory aids use
1 up to 7 : 7 down to 1 for major sevenths, 5 up to 4 : 4 down to 5 for minor
sevenths. Sevenths founded on the fifth degree of the scale are called domi-
nant (ruling ) sevenths because they decide the key. See Exercise 125 which
contains several illustrations of the dominant seventh including the notes
which form the dominant seventh chord. Each of the examples under
sevenths should be carefully analyzed and marked before singing.
Ex. 115.
rT\ O I
d=
J=
-j 1
g
|
i
__|
"1 h~J J -
V^'y
J
H
I
2
^
CJ _^i. ^
'--"
r-(G 1 r-
^")~i~7T ~z.
.
9
1 p
-1 :! -
-_H
r >^
35z:
r?
~~T
1
-j
^
in
S> ;
~ =\
^
^x
i
.^
&
9*
-19-
[__; f_
i
22.
--
2.
~
-1
1 r
1 ~
122
1=3
ltd
*ES
==*
t:
t=:
1
1 yT I
| I
, 1 (2
^j J
-J 1 J j L
iiD *
j) ^
__J j
__j j
- J J h
- i
&
2?
-&-
fry
kv r ^
2
1
1
c
P !
r~J* t
i*
-
-
cz
]
-^ 1
r
r f ^
<% i ^-
3 i5
-JTLj_| .
& r
-& j-j=j-
HZ
1 J
M
tr-^L
* ^gh
If?
g
r^ r ^ ^
ii
9'-s* 1
\
^=5
g I 3!
] P- "F F r
1 1
Ex. 116.
SE Ej
-F
:3=C=rq:^ffe^=|^r^i^
123
-<s>
i .
-* : -*- -g- _t . & m m
Ex. 117.
lEBEfe
3=3F
~ TL
^t^V J I ~^ '
E3E
t
::^:
5^tE ^r^^r^F^^P^f 1 5 F z=
L y ' - L ^^F L- 1-
t===p
zzzzp
I
^
?
i^zzi:^::
t=t
124
E-*
ptf
i
3
1
& H
2 -j
_&! 1
-^ 1 R h-J 3
iF
\ m
3-
pv-J* Jf j |
1 - 1
i i
p ,
J * U
z5E3 ^
^s
1 ,-J
<v *
7fbr$ 1
' ' 1 '
|
M
-<sL_ i li j 1 ^
<J '
1
~^
-&
j
-4
i 1- 1
t^ -g-4J (22 1
^ tt 1 '
4t 1 ^
-&
[^
-^-H
Ex. 118.
t>-H~ I
bfcEE
^z^-c
i=l
fc
=t f
125
4SE. -f. -0- -p- - 9 -
-*- +-
3=f=t=
I
IS
J
' 1
- h F
' f-
( "T~
T f
1
^ ^
fx l_ 1
1
i
p ^ "*
-. i - H -
1
pi
-I !*
fegEgE
i=^^fc%.
1=
*
=1
Ex. 119.
DURAND. Arr.
BE8E
^=^
--
1
-\
r--
^
126
*=fe
: -*- ~i='
n
^ f g p-_ --
^^^^
-9
-* I i"**^= r= ^:~ir 1~ri ~^m
Ex. 120.
127
DURAND. AIT.
^ [7 1
7T"5 K"T* -I ' *
___ 1_
a 1-
1 -1 ^
EK?I2 EZZ3 i
i l ^
9 , J
JU - ^- ^ \
<
-9-
__ _ ,
&
RF *-!
, j 9,
,$> -p ;- 5
f3jF~
1 1
i & 1
3 1
^s
-(5^
=!==
z=t:=r--
F=M^=f^==F=f===f^ r-^i 1 ^
h -F ^F"^ -t *~
:-l2z=^:
5i=t:
^^s^
t
at
=te=
=F :
=i
fcfc*
i:t
^^
^P
-($>-
F=F" ?
a 1 9 &
t=3=
m
m
m
Ex. 121.
DURAND. Arr.
9 ~
*=$
128
I (= F d-
3-MH=
-1 -
= j- i it
f f
c f t-
i * a
^vtrtr-f E
F 1 1 F
-f f-
~1 '
^-._t-J t [ : -
-^r-
*
II
Examples 122, 123, 124 are not to be sung until after octaves have been
studied, but are to be analyzed and marked in order to aid the student in
quickly deciding which kind of seventh is presented.
INVERTED SEVENTHS.
Ex. 122.
WULLNER.
1-X--2 =
<?
-^
\- & - J
($>
u r ^
f>K o i l -^
J -st
h
rf
*
&-
LJ J
-
^2-
F '
\J- 9 ^ E
! 2
1
|-
*
u ~t~"
q
liS~?=d
J ex
Ik^
H
^. ..:,. ...
OL
=1
-
i 1
==r
-H 1
&
1
^ \
~-
==H
129
Ex. 123.
fi hi 1
f
WULLNER
. Arr.
\J ' \) <.J
1 rs>
i
(^
f? \ <r*
j
/?i\ O ^^ 1
, ^^
I
\
j
[ II ^
_l
*-* -&-
-&
/O- -4^-
\ L
1 1
'" i
1 J I? /y ' -I
1
g
, i f mz
-S b ^ ' 5
<J '
^^
--
IB
5T
Ex. 124.
WULLNER. Arr.
^ s s
^ _.-...
1.
I-
I
*
/^ ~^" ~^~
i
^ J 2 w :
" EE "
.g) ..
-9-s-S
1 _
ii
1 _
K
1
^ " H
1 I
|r -
-^-
_/*? ^3
u. 1 ___ -. ( __
3 tett
L ~^ H= ~' '
28
&
^ ' ^
iMt -HI
130
In the following exercise will be found several illustrations of the domi-
nant seventh chord. The student should decide what is the key indicated
in every other measure and to specially notice the notes which lead up to each
key. In measures 6, 12, 14, 16, 20 and 22 the keys will be found to be minor
keys, not major.
Ex. 125. AST.
3=-.
^ :
iqrrz:
B^EEE
u
e* *
i ^
_0_
g-_5-_p.
^^
__|
*f P
|
^-^' m 4_^' . \_ -
.
W ~^ J~ ~~^ i^d~
~&
S -J- iH -j-
22
^-- f $9
-f 1
(%-i J i r~H
~J 1~
= : E
H
592 * J tltZ22
* !
1
^ II
P 3
a g
p
* 5
Ex. 126.
131
DURAND. Arr.
Ep^^S^BSESEgEg^S^ ^3
^ j -V^F* I- F | Ff * P* g J-H
EH J *
i j
Mr r
1 VTy * r
II ! I I
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f f
1 ' i
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c\ *t
r
^-l.S r i
i
1 1
1
-^
1
132
=1=
i r i
EEEEE
M
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Ex.127. (With accompaniment.')
NAVA. Arr.
^:ti --]
J
*
1 '
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r
& * 1 F 5
v) 4 1 D*
B
r
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ry o , U
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*-
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p ? p
133
F* -
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to
3E
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IB
134
Ex. 128.
-fro
Dim AND. Arr.
- -
- --
=: ====[ ===
- '"^- -^*^
*
fc=t
as
-t
&
L. !?|
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pirfzir^ =5"z=g^if z=p
135
?=J 1 Jt=ztr
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Ex. 129.
ABT.
7T P" " "
U j
-
irrV JU i j*Zd
2
, ff^H
a
Saz fi 25 * " "
1
T^(&
3
J
S
1 &^i
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i P
--I
1 fe^2
h-f = H
m -\ E - E3 S
i
1
-^ P
^ |7<7 Jt^, fS X5>
1 L t*5> \ '
0- , -&-
R* H h^ H h-H It B
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czq 1
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-& 1
m
rP^ ;
n
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** r
zi:
m
&*--&- -P- ^
- pt-_ _ -pu~ j r-p=rzn
136
Ex. 130. (With accompaniment.)
i i
q ztzi
BATISTE.
* , p-
s?=
m-
yr <t * i
j j ^ '
! l(TY i 1 i -1
- -I I i- ^
9 ,
-
-
tr * * ./ 4JT-"
-- *: " -^' *
*
IJ
-H 1 1 '
F 1
II
-J~
* *
:
1 J
t-& -H
Ex. 131. (With accompaniment.)
BATISTE.
i:
^
^
-fSL
=t=Ft
zr:
"27"
137
1 U [ *2
-j
s? : : 1 -\
ivy} 25
dzz
*
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& 1 1 1 1 1
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^ d
n & & -\
i i i
& \
V i I ii i
1
\ \
x L L ' U '
\ v
^ i
ja
((T) ^ (- (- | 2 [- - --"I <s>
/-^
-^
"-5- ^ ^~
C\* n 1 1 (^ I F \ If
^ 1
LJJLH22 Z5
3
r ^*
i 1 &< i
_Q. 1 . 4 1__
. LI
| XL_^ ^ pz ^ L_fS
2 {2
i i H
i r ' <3 ' 1 /r^) '
|
II i-i
- * r 1 : T 1 -T | ^ I f
?- -&-
1 1 1 1 ri
^T- 75 -P 1 ,=
-d d- J
138
OCTAVES.
This interval is so well known that it is necessary to say but little in
explanation of it. There is but one form of it in the major scale, namely, the
perfect octave which may be formed from each degree of the scale ; it includes
five major and two minor seconds, or the complete scale. For memory aids
use 1-8 : 8-1. Although the octave is so well known generally, yet it is not
easily produced under some circumstances, and should be faithfully studied.
The examples under this head have been chosen with care and each one should
be analyzed and marked before attempting to sing them. We have now
treated each interval in the major scale, but before proceeding to new diffi-
culties all these intervals should be carefully reviewed, as there will be no
more opportunity to treat them again specially; in the exercises to follow,
each interval heretofore studied may be introduced at any time, and the
student should be able to recognize them at sight.
Ex. 132.
fri ' i J 9 * r
r -
Bat J j m *
1 i
J -J- ^
-<
?-
tf^V /I 1 1 1* ^ 1
1
i
r~J* T" m P
\^ \ 9
^/
14- 1 ' 1
-P ill
-
-^
/L i 1 1*
E
^
H
irrv j m *
H2 J * 1
1
1
1 1
cJ *
9 r f " "T
-
]
g-
r\. i* r
. 1
| 1
/ a P 1
1
z , c r .1 '
5
5
f(T\
_]
J
J I
r r
1
a
SaZ
9
1 ^i
(9 1 '
i
J
-F r rr f "MF -^ ^
-&-
-:?
p
-P-
-f M 1 ^ - --^--
-' 1^
-' f 2
IB
139
/L m
1 .
0) J
r j | I
l
1 J 1
x
B
A |f ' '
!r~v A '
i rt /^?
r7 i |
i:
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fc e- ^~
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~i 1
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'
* ^
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j
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I .
9z_t J
4= F j? f
^ 4
1 *
J-
^ M
140
XL
n
i i
|
|
II
m
J
1 ~!
1 H H H
1 fi
* ^ Jr ^. -1 .^
1 i
II
J 1 1 i
a
J
1
r f
II
Exercise 132 should be written out by each learner after the manner of
Exercise 133, that is, write each scale in the key of the note with which it
begins by using the proper sharps and flats.
Ex. 133.
I(T\ j \ \
1
* I
i i i i
\^\j L + \
J
<
i
1 n
tr i
-=^ -J i
4
i
^ *
-F 1
-{$*. .^- .^.
T-1 "P T-1 T 1
E55E:
?
1
t
r
I"
f F-
1 1 ) 1 _
-j-
r * ^S
2f
_
i
~1~~
Wk- 1
1
*
-J
-
-J-
0-
3
f
-
<
-
-
-*i
9-
-f-
etc.
_^_ (2
1 1 i 1 ~~n
JC^-;- j
>
t*
-*
3
i
1 1 ~ =
.y. 9
\~ i 11
r t
i
II
Ex. 13
r\ u.
4.
i
1 1
DURAND. Arr.
1 1 1 1 1 ~\
;
;
~J
1 f^|\ f \ y
j
1
of
^ w 9
L$E!EZ
9
w \ ^
"*
I
&
L
9
"25
h
9 7*-
U~x . .^
1
I r 1 * M ~
r J * I/ /" ^
r
1
^t
b &
|
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1
1
1 ^r u
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irH i
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i
i
1-
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&
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^
-5
J-
&
L f~\ r~~T~~ i
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3
1
$
-
*-
m
-- f ! Tp !1 -
141
&-
fpf=t=t
^
<s>
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m
i
rmzz
^
E_P *
Saz *
| M * 1
J
^
-&-
-&-
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&+ ^_
3 r~F-
_i 1
P^-* r ^ M
ETVP 1
^ i
K -ex .
J * !
i 1 1. i
I I II
^E -f 1 I 1 i
^ ^^^^
^--JE=5^
p
-=
m
142
Ex. 135.
DURAND. Arr.
: 1'
r*i
, *
*
^
^E!
ft
I-
s
=?
i g=|=:
m
=f
=d
^i
E^. 136.
DURAND. Arr.
-1
mfc
.-j
^=
^
143
\tns7 i ^ - m
J
Baz ~ & I ^
J *
2_
1 ^2 IP
K"\ u , ^ )
I ^
ii
^^ = a P L
3= P
a H
Ex. 137.
DURAND. Arr.
XL3
I I J
rh 4 3 i
1
1 i
11 "^
E2 '+ & 1
~l M *
cJ 99 m- 1
S T fi~3 ^ ^ f * ' *~~ ' ' i ~ ^ '
^ . f~
1 d
a
rTv
1 1 '
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p \
2
]
-j F
3= r * "
| 3
~J-
ffi. -_
LJ 1
p ,
9-
g
cv&s
1
>~3 1
I^L
^
*=^F
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xf tt
H r f
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~1 *~
^p 1 : 9
L
1 .... ., J , , , |
- \- r P *
^ J
u
.
-^ 1 1 1
pt-T p f=
I ^ v
~ 1
'
i 1 j
: 1
U ^ 1
144
ES
'f&* r r~~
r f . l
1
1 : 1
1 ~H
= F_f tn
Jjj
m ^
r r
i 7*~' n
N
A
i
3 ^- U
Ex. 138.
DURAXD. Arr.
2^5
i
-*
g^^fcd^^
145
in
=*
H?-
* , 4
E3^=*
fpr\i' v ' *-* J i
C | 31
& J A
Sat *
1
^-
SE K P
I i
i- 17 | r
L J I
i ^*
-^ b H i
^J '
1 i
1 *
yr 'k u 2
i
J
g
ft\P 17
J
l p
* ' J
"^ :
_
1
L & J | 1
iJ
X7
-&-
P
' \
X2 II
Tv^
r p
* ^
P ' ^
-^ ft U '
1 1
r
- j , -, - f
^ II
Ex. 139.
fn 1518 ^
1 r H
i
j f i f
\s\) a
J J ~
<T3
l
ii ii
f f
9
-
& _~m_ m
;t^-^-4f ^
I
~
P
-^
i i
"^^ ^f f* ,
^ w
^^
9 9 '
p p
=*=*
146
*?-
-*-
-4- 4=t
II
m
Ex. 140. ( With accompaniment.)
BATISTE.
|*=r^
l-&^-
~
1 1
=]
q
_ . ~ 1 1
-<s-
-T
-^=
-^-
i i 1
i f f
-,$>- ^2.
BT 2 --
H
i 1
^
"
^
1 1 .
-S o ^
^3
c2
__
ex
^K
H
h ^ 1
=4 F-F^- :
c* cs cs cs
~P~ ^ ~l~ S3 * ~&~
9* a
^
-^=^F-
- - . i-
::t e 2 -
H
frrv 2! i
i r
i i
1 1
1' ' 1
v-W
i I
\
i i
} \
1
S -J- -^ ' -si- -^- ^ <^ ^
^ ^- T9- -f2- , tS>- -f=-
c\ _j
3
tj2 1
-
, i
! \
2
Z ' xj
&
^s
._ ,!
22
P
?s
-(2-
^=*
147
E "^tf 3
EEj p> JL-^2 3
tr
f 2 -
-P-
I 2 - 1^- I
c\* \ \
- ^ . -4-
&
I ^
__^ j _j_ _J n
-**-\ Uq
: _^2_
F-
3 i
]
&
\ \
, ... _
5Hz
J
\ ^
\
/3 - "-
j
^sr
-tf-
-dSi-
-&-
f~
-&-
^S-
g:
^v
2
X5
X5 1
H.
3
1 C
a
2
X5
22 ^
2
2g
i
Xk (^
j
j
1 t
<$) 1 d
fl\ i
1
&
$32
j i
5^
J -d- f
^2. ^2. .f2.
s~^
i |^
^
*~~J
^_ >^
,
i
1
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2_
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h*"
/p 1
^1 '
,
,
|
j
1 |
j
1
|
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<^
i
^ _^_ '
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(^ ^^
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^3
1
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o*
^
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^-
3
2.
&
&.
sp
&. II
j i
II
-&--&- -&--&-
$i-+-
_j
1
i-
: \\
r ^
a. ,.
('-
IJ
148
Ex. 141. (With accompaniment )
i
NAVA. Arr.
._3__
'. L
i
ir*- *
F=t
^^
9*^=^^^^^^^^^^^^
i*
- *-
* -- 8-g- ^_
i-J-Q^
Ex. 142.
DURAND.
-
=i
150
^
frp . p .1- - :t_
' '
=TE
-F- 1 -
fc=*
1
:t=
-&-T
Ex. 143.
i
CONCON]
S~
151
E. Arr.
-x
-i
I ill
, 1
/L r* &
_j
^^ O
^^ *?
j^j f?
f^S
rr f F~
p^
E
-g ^ hj
-1 1
1
\ I
1
^L_l_^ ^i_
-1 1 '
1
'/k'P |
j
=J-
-J J--(S> (
>
-H h
|
\ \
1 ^n
g
L- L| 1__
1
^H
\ 1
&
~~\ 1~
"^^
- \
Ex. 144.
CONCONE. Arr.
/L /* ^
2 1 i
S3 \
3 3
Cb
9
^ J
1
r ^
J
| |
i
1 XiL / ^ J
I
I |
> i
f i\ ^ /
m \
J
j < i
-^ i
j
p=r-r 1 1
~^.
3-TI-:
\ 1
-^ _
f f J 1
! ((1) ~y.
'.
i
I 9
I
I j
\ I
J '
i i 1
fl> J 25
y j-J I
-J j
^J * J I
3 J ' -
IP^ '
t=
| 1
^L _j!_ _|_
--*-
ifcj-j J
152
\
gii
J
\ m \ \ \ i
v
Z
,
. * w
* <
t
^
|
1 ' -' 1 1 '
_
i
Q
y
di
1
]
-H 1 i 1 M
r
\
!
2 j J
j
_
J
E 3 *
-
J _,*
t
*
4
P
L
I ^
|
,
*~
ir~J_
-J
L -j
-J
J
1
f j .
9
H i
9
/
t-
/
T !-
~i
i J p
-J* S-
i iS
^>
i 1 1 IJ
l
T
w
4
J ^' ^^ ^*^ ^^ ^^
_
'
r
9 1
\
1 I
7
/
\
1 ^
I
!-
I
=~ ~T~
i
\ i
.
1 *
|
I t i
/
^
4
j i
J
^J
Q
J -1 J J *
*_
i 1 a 1 i 75 1 n
if js
'
^
1 |*
2
j
,
-
~W~ ~T~
5
j
I
i
-J
j m
... '0
Ex. 145.
CONCONE. Arr.
153
*___=
s
fN^
fe
-:
p?
p_
M
rtT r j '
E
i
i
1
i _
SHZ p
&
2
y^k 1 1 =
i '
-)
. J- -^-
J
i i 1 1
^~) ~ "
^
:*
J
p
r-\
m *
H
__J &
O
^
H
] Hi
ft\\ s J
i
i
V- / <iP
^J
22
B
^-^--e;
3
=E
E^^E
_| i 1
3 |]
154
Ex. 146.
WEBBE. Arr.
m
-*
S
&
e
0_u4J^E3gEEEE3Ei3E!gs^|
INDEX.
PAGE
SECONDS 7
THIRDS 27
FOURTHS 49
AUGMENTED FOURTHS . .54
FIFTHS 75
DIMINISHED FIFTHS 81
FOURTHS AND FIFTHS 87
SIXTHS . . 99
SEVENTHS 121
INVERTKD SEVENTHS 128
DOMINANT SEVENTHS ; 130
OCTAVES '. 138
ENHARMONIC CHANGE . . . . . 16, 51
PLEASE DO NOT REMOVE
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